THG interviews guest Scott Slagle. Scott is Charlotte-based recording engineer, producer and owner of Asylum Digital Recording & Mixing Studio. A veteran in the Carolina music scene, he has worked as a freelance recording engineer/producer at The Bassment, Chung King, D&D, DARP, Firehouse, The Hit Factory, HUSH Studios, Reflection Sound Studios and The Sonic Cafe’. He is a founding member of Electric Mountain, a team of producers that consists of Stephen Barrett, Dave Haire, Christopher Holston & Jason Michel and 1/5 of the band Super Ape (handling keyboards, percussion, production & programming). Scott is a voting member of the Audio Engineering Society (AES).
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Episode 33 Scott Slagle
[00:00:00] Hey everyone. Welcome to another episode of the Hilltop glove podcast. Today, we have the pleasure of speaking with Mr. Scott Slagle. Scott is a Charlotte North Carolina based veteran record producer and entrepreneur. He has worked as a freelance recording engineer and producer at the basement D and D the hit factory hushed studios and reflection sound studios.
In 1998. Scott opened the doors of asylum digital recording and mixing in Charlotte and has worked extensively with indie and major label acts of all genres. He is a founding member of electric mountain, a team of producers, and also a member of the super eight band handling keyboard, protect percussion production and programming last but not least.
He is the voting member of the audio engineering society, a non-profit organization that unites audio engineers. Creative artists, scientists and students worldwide by promoting advances in audio, new [00:01:00] techniques and networking skills for career growth. Welcome Scott, how are you today? Good. Thank you for joining us this morning.
So we know a little bit about your background, but can you tell the people where did your interest in music actually be? Oh, man, it's really always been interested. Probably first thing I can really remember is my mom putting headphones on me and making me listen to money for pink Floyd. And by the way, the, are you familiar with the records?
You know, what I'm talking about? The coins are, you know, panned all around and then the spectrum and this, from that point on, it was just like, oh, this is, this is interesting. You know started basically, honestly, I started DJ first, like early on, like I was like 12 and 13. [00:02:00] I mean, I'm talking from a kid, you know?
And I was doing at college parties probably by the time I was 14. Yeah. Like it was crazy. It was crazy. And but just from that, just learning about, you know, as, or as I'm playing these records and listening to this music and just kind of growing up with it in real time, like, you know, sampling technology and so on and so forth.
You know, I started, excuse me, like, you know, getting into those records, you know, where it came from. So, you know, you were hearing like James Brown loops and kinda just veering off into this, you know, and excuse me, give me one second. I'm at home. So I got interruptions, unfortunately,
but yeah, so basically just loving their music and growing up [00:03:00] with it and just really just gravitating to the sound. You know, it's how I, I was like, how do they do this? How do they make, you know, and just the different techniques involved and started getting into production. Really when I was in high school.
So when I had the high school. Just really, really started, you know, I started buying gear and traveling and just meeting people and making connections. And, you know, one thing led to another, I ended up being an assistant and then a tape operator, basically editing, you know, editing and cutting two inch tape in a corner, gorgeous studios.
I mean, just stick you in a bathroom or whatever, you know, it was wild and it was, there's definitely been a grind, but I feel like I had, you know, really kind of like perfect time and the whole time, because, you know, in the late nineties when I was really ready to, you know, start my own [00:04:00] thing it's when digital technology really started growing.
So instead of having to have, you know, 48 tracks of tape and a large frame console, I was able to start with a doll and a smaller con. You know, and we could do at that time and you couldn't really do much more than like 16 tracks at a time digitally. Just please or computer limitations and so forth.
But, you know, it was the perfect time. So I was able to go right into it. And you know, I've been here almost 25 years since, since then, so yeah. So of course, given the interest in seeing how long you've been doing this and working on is. Of course, you know, musicians y'all have trained ears, man. Certain sounds jumped pass you.
That's all he pointed it out with with pink Floyd, with the money, with the coins, moving around, like you start to have a love for that type of stuff that, that your magic. Right. And at what age did you decide to take it [00:05:00] more seriously? And it seems like you started extremely young. Yeah, I know. I was kind of rambling and I'm trying to put a lot into like two minutes, so it was not hard.
So you gotta, I mean, you're better at this than I am, so just guide me in
we ain't got nobody else after this. You can talk for two hours. Yeah, you're good. Yeah. Yeah. Just like, because of course we know your background. Of course my brothers told me about you. I know who you are. I'm still looked at yourself, but we want our, our audience to really get a feel and know for who you are, because we respect your, your abilities and what you do.
And we want other people to understand, like, how do you become one of these folks? Because the cool thing about this show is, is all we always like to tease us about adulting properly. Like, how do you take a passion, a love, like what you had and turn it into a actual grown quote, unquote adult business and run it properly.
Like and especially as being a producer, because, [00:06:00] you know, Kevin, we all work on music and it's, it's hard to stay focused at that over years of change and new styles and whatnot and learning new techniques. So like as a producer, like how, what, what, how do you separate yourself from everybody else?
Cause this craft is, there's lots of duplicates in this. Yeah. And you, you have a couple of very good questions in there, but you've got to cover each of them, but as far as like how to, oh man. How to get started. Yeah. As a produce, like it's a hard thing to do. Like people don't think about that. I mean, I think honestly, the best thing you can do is you gotta be around people that are better than.
Do you know what I mean? Like, like not, not being around, you know, you got to push yourself, you know, cause if you're around people that are, you know, under where you are in [00:07:00] whatever particular crafts, right? Like you're not gonna, you're not going to grow and people are just going to say, oh, that's great.
That's great. But you know, you got to have people to beat you up. Do you get in those positions where you beat it? Cause I, you said you, of course you're in, you're cutting that tape and
look, I've been lucky. I been, I mean I think I'm very lucky, you know, and I was just in the right places at the right times around the right people, you know, for so many different points in my life, you know, like seriously. And as you get into the first like large format studio that you've worked in.
I got to know this. Okay. So that production used to be very different than it is. Right? So like, you know how, you know, you know, plenty of artists, you know, and, you know, people are able to work on things at home. [00:08:00] They're able to like compose beats or music or whatever, you know, you have, you know, you have sense with sequencers, you have computers, you know, none of that stuff existed.
Our audience understand that like sequencers were like way rude, very, very rudimentary. Like you didn't have, you didn't have the capabilities to do what you're doing now. Like if you listened to, like, if you listened to like R and B rap, like R and B record now, and R and B record from like the early nineties, right.
Technically the stylist's still very sad. You know, because technology has the sound of the technology. Hasn't changed that much. But if you listen, like, because we have like sequencing and the way you can just like drag and drop things, now compositions, compositions have gotten way simpler.[00:09:00]
You know what I'm saying? If you listen to like, see if you listen to like a Joe to see record and not the beat ones, but the ones where Devonte's plan, right?
Wait the set line, the Seth parts, he played the whole song. The whole, if you listen to it, it's constantly, it's the same, but it's constantly moving because he played it because you didn't have the ability. I mean, you could punch things in, but you still had to play the whole. Basically now you only have to play two bar or like a bar and it's repetitive over and over and over.
Like I'm not beating up on anybody. It's, it's interesting. It's interesting that we have all this technology, but somehow you guys, you know,[00:10:00]
We can go so much further, you know, what's a T, but you know, that's another discussion, but, you know, so production was very different in the early nineties. Like, you know, there would be an artist, it would rent out. I mean, they would have, they would have a studio room on lockdown for maybe like six months, eight months, maybe a year, shit, you know?
Cause they have to go in there to pre produce. They have to go in there. Right. They have to go in there to make it, you know, cause they couldn't do pre-production at home. You didn't have the capability. So you had to go in there. But of course, you know, people aren't in the studio, you know, 24 hours a day.
So, you know, P I was able to go, my first experiences were going in. You know, on other people's budgets, right? [00:11:00] What happens, you know, more than a more contemporary examples of that. The, everybody knows the story is, is like Kanye west college dropout, but they didn't get, he didn't have a budget to make that album, that album of JCS budget in the off time, you see what I'm saying?
He was going, just do it, you know? And so it was the same kind of scenario we were doing that. So that was my first experience. Isn't it? I found it, I loved it. Oh, I love this is, this means into, you know, my technical interests, you know? I'm not necessarily, you know, the financial part was also a big thing because it's like, I'm not dealing with speculation as much.
Okay, will this thing work or will it not work? Will we ever get paid for this? Right. You know, it's like I'm on the front end of getting paid, you know, and say, okay, this can, this [00:12:00] can be something. And timing was perfect because like head Daws, not starting to evolve, like I wouldn't have been able to do it because there there's no way I would've been able to afford, afford a large for my console and the 48 tracks to tape it.
Wasn't gonna happen at the time. Ironically, now I can, but you got a dose set up by the way console now. But yeah, so yeah, it does. So was McCormick, like I said, my time, that was perfect. And we able to get into that. It just works. Wow. Now, were you more interested in the, the, the creation of the actual, like music or the editing of the music?
Ooh, man, I love both.
I love to help produce people in, in the [00:13:00] real meaning of the sense, like, not necessarily like making beats for rappers so much, but like, you know, getting in the room and working with somebody. Like, I love that. There's nothing, there's nothing better than that. Can you explain how you do that? Yeah. I want to know like, how do you get people to relax and then our natural, authentic self?
How do you that right there, that right there though, you said it like your natural, authentic self. Everybody's just gotta be a hundred percent real, you know? And like there's a lot of psychology involved. People have to relax and you have to do. Take the edge off, you know I try and do it with humor sometimes.
You know what I'm saying? Just get people, you know, you get people to shrug their shoulders off a little bit, you know, but just with over over time, you get the experience to know how to read the different situations, what someone's going through and, [00:14:00] you know, you just get better and better with practice at that, you know, but there's no shortcut around it, you know, you're not going to just happen to be.
Great. I mean, it's, it takes, you know, repetition. Do you have any examples of your early attempts that failed at U-turn helped produce?
And there was plenty of things that I wasn't ready for. Okay. And you know, thankfully they didn't, you know, crush me, you know, in, in, in my whole, you know, thing, but, you know, I think that, again, like I said, my time and has always been good, I do believe, like, I know it's kinda vague, but I think I've always been exactly where I was supposed to be.
And like, you know, just, I just continued to feel like that it's this weird, [00:15:00] very in tune with yourself, I try to be.
I have a quick question. Is there a certain like thing or mark that, that pulls takes a Scott Slagle production it say, all right, this guy, he did that as opposed to somebody else. Ooh. I don't know. You'd have to ask somebody outside. We're going to have to listen to a couple of tracks and be like, all right, there we go.
What do you think it is? Like what D what is something that you lean on more than others? I've always been very proud of my trumps. Ooh, go ahead. I know you've been cultivating that pack of drums. Oh man. I got a, I am proud of my drum sounds and the way I approach it maybe a little different than some people.
And then, you know, the flip side of that, it's been kind of a [00:16:00] challenge lately because you know, the, the, the move right now is no drama. Yeah, no, seriously just like lit in the vibe. Well, it's just like running a sample and it's no fucking drums. There's nothing absent music. So that's, that's, that's been a challenge.
I did one record for And there was no drums on the whole joint and it was, but it's doing well, you know, it's doing real well. And it was produced by a guy named Navy blue in New York. But yeah, there's no drums, so there's no transients. There's no, it doesn't bang. It doesn't hit, you know, it's just loud.
That's wild. How the, that's the difference in the style, like the sound and stuff like, and that's another thing being in the war, you have to keep. Like staying abreast and current. Yeah. [00:17:00] See. Okay. And so that was another part to the original question she asked. And I was like, yeah, there's a lot of parts here.
You know, like that's hard for a lot of people. That's really, really hard for a lot of people. Like, you know, I read somewhere and I think I don't want to misquote it, but it's like, is it was something along the lines of the music you, the, the musical growth you had up to the year to year 22 until when you was 22 years old, that's where you stopped growing.
I mean, that's terrible. It's just true. I mean, like, this is true. It makes sense because people kind of, you know, stick to that era, like whatever they were at when they were 22, that's what, you know you had to come to kind of suck. So, and I think the thing for me is like, because I love sound first, right?
Like, [00:18:00] cause I hear, well, I'll go back to that, but because I hear sound first, I'm always searching for something else. And I think that's, I think that's basically why I'm able to stay relevant. It's like a miles Davis. That's that's how he was. He just wanted to push sound. He just liked sounds. Yeah. And like, because it, because of that, I can kinda hear the theme, you know, in anybody's style.
You know that I like, you know, like a lot of people hate it. Like, you know, the, when the, the, the turnip auto tune era started happening, but no, the energy in these records is insane.
Short energy. Like, you know, w what was the one? The Bugatti one. Yeah.[00:19:00]
Mean that's, you know, and so I look, I listened to things like, excuse me, I don't listen to lyrics as much at all. You know, I never have like, out here, which I hear how you say what you say before you say. Great energy behind that. So yeah, I hear the emotion, the energy and the pattern. I don't know what you might be saying.
Like, it's always been like that for me. Right. But like the minute the song comes on, I can feel the way it feels. You know what I mean? And it's like, just trying to harness that and like, I think that's the root of all, you know, good music like of any genre. That's the key. So once you break it down. Yeah.
Yeah. So I think, I think it's being able to see that and understand that and just let things [00:20:00] be, you know, instead of being, without wanting them to be, but just letting them be. Yeah. I think that, you know, I think that's what allows me to, you know, have continued to grow and change and understand to protect.
And because I, like, I grew up smelling my career, started smack in the middle of just like everything changed, you know? So, I mean, everything has changed like so many times since 92 sort of flipping quickly, I guess, flipping so quickly. Like if you, if you're not paying attention, I mean, I mean, damn, you know, can't take a year off.
You're gonna get left behind. Yeah. Yeah. I mean, even though we had, even though we, we, we was all dealing with COVID for
a year or two. That was the best thing that, I mean, to be honest, that's another conversation too, but that was like one of the [00:21:00] best things that ever happened to me. Just having some of that time to reflect, oh my God. Oh man. But yeah, with a lot of labels and re. Recording studios. Has any of them actually like as a freelance artist, a recording producer.
So any, has anyone ever like taken you under their wing and mentored you and just early on? That's kind of where I started, you know I was around some of the, you know, some of the very best people and just watching them and not so much just completely taken me under the wing, but just like making sure I'm paying attention to situations, you know?
But yeah, man, some of the, some of the very best man, you know, from, you know, some of the guys at D and D and, you know, hit factory to like, I mean, you know, it was wow. It was wow.[00:22:00]
You know, there was a dude, a guy here. I really always felt like he was my mentor, probably the closest one, but his name was Scott and he had a little, he had a studio here in Charlotte. But I learned just a lot, you know, of the technical stuff around him. He was like the first person I knew even before the studio in New York.
The first one that had sound tools, which was, you know, well, we had to go pro tools. I mean, we talking like 91, you know, what's that movie with prince. forget the name of it. The, the, the rainbow bridge, something, I forget what it was, but he's yeah. Graffiti bridge. And he was using the dog in it.
Let's name when I was like, yo, this is wild. What is he doing? He's making computer music. Yeah, yeah, yeah.
A lot of people are unaware that you're actually a veteran. So, could you please [00:23:00] explain your your agenda? Basically how your journey of serving this country has influenced your work as a Korean? Well, no, no, no. I'm not a veteran. I'm a veteran of the, no, I'm not a veteran. I'm sorry. I'm of the scene.
yeah, yeah, yeah. No,
definitely. I'm so sorry. Definitely, man. I'm useless. Not really. Cause I have to say, look, I was like, you know, he's been doing this for such and such time. He couldn't do that. Him being the military. I'm literally about to ask that question, like, how did you handle both? And at what point did you decide to actually do music instead of having, you know, like
I can go back. I can tell you the moment that like I decided to, to do the studio side fully instead of just production. We were at a studio in New [00:24:00] York working on a record. It was a studio called hush. But I think it was, it was 88 keys. Yeah. 88. Was, he had just got a budget for, for this record.
He was working off on that, you know, and the number was something like 2, 2 20 or two 50, you know, 250,000. I can't remember the exact details, but, you know, he was so disappointed because it wasn't enough. Right. And like, I mean, I was just sitting there. I was just so puzzled, you know, I was like, no, you can do it now.
This is a wrap, you know? And I just like, at that moment, I was like, well, I mean, I know what those guys, I know what those guys can do. You know, and if we can't get it, then I definitely, I need to completely switch, you know? And from that [00:25:00] moment on, I was like, I want a photo. This was in like 90, this was like 96, 97.
This was in 90 snow. This was on 96. And I was just like, I definitely, I want to switch and just be on the studio just period, full time and just go that way. And so, you know, between then and 98, I started just, you know, making my transition by 98 is when I. And when did you open that first studio? And again, it was on Albemarle road in Charlotte.
Wow. Wow. How big was it like, like how many boosts you have in there? It was it was two, then it was three. It started off with two and then I expanded, made a big lab room. But yeah. Yeah. So I have more road. That's how I can tell that, you know what you're doing and you hit, you're pulling some of that old era over you're serious about this live room stuff.
You were serious about this lab [00:26:00] room stuff. I don't know what on your website. That's why I started looking through all your gear and everything that you have from miking up that might locker is exquisite. And I was just saying, you know, he really liked, it likes to experience a lot of music. Could you explain where you were, like, why you're so into having the ability to do live performance and record it?
I mean, it goes back to, I think it was back to records, man. Like, you know, I've just been on this lifelong thing now. I mean, I had like, you know, 9,000 records at home. Wow.
My wife, my wife is cool. I got a best wave ever,
but. No. It's like the, everything that do is sorta informed by the sounds that I grew up listening to. Do you know what I mean? Like I think music should sound like [00:27:00] this, you know? And so just, you know, the challenges in the journey of trying to get there.
I don't want my horn. Like, I want drums to sound like this. You know, this is what we love about drums. You know, the sound like this, or this is what I love about bass or horns or vocals. Yeah. That's a producer mindset. Right. And you, ain't not lying. Like how do you, like, you know, something, I know when I'm talking, this is getting like the nerdy stuff, like your sound forming, like how you form your sounds.
How has that changed over the years? Like since 98, like till now, like how you form your sounds. Cause I know you've been putting together your drum kit for a while. So how it's so different. I mean, technology has changed so many times. So what would you do back in 98? Like when you're, when you're editing, pulling drugs, like what did you use?
Shit. I mean, I started doing, I started putting together [00:28:00] samples at like 89. Yeah. Yeah. So like my first sampler, like I had a court DSS. And this weird little, Elisa's mm. Or the MMT eight was like a, it was a sequencer, but it was so rudimentary, like hard to use. I couldn't, it was terrible. It just didn't nothing work, but it was the one that Primos says he used it on the the very first Gangstar record.
No more Mr. Nice guy or whatever. But yeah, so, so things have changed. I mean, you know, you have I mean, as far as the capture, you know, is very different because, you know, we had eight bids back then, you know, Sanford was with Ebbets back then, and now they're, you know, 24. Yeah. You know, so sound quality got better.
The the da and da, the 80 and 80, [00:29:00] you know, 80 and da cause that was getting tongue twisted, but you caught that the conversion on those units are, is just considerably different. You know, that's why, when you hear people talk about like the MPC 3000 and a SP 1,260 and stuff like that, you know, people saying it has a certain sound going in, like it's crunchy and heavy going in is because it was converters are different, you know, and now things are more pure and better.
So you, you know, there's, there's, you know, gains and, you know, in losses and losses in both of those, you know? And so you must have like, Your ability then to like, to bridge that gap. Like, are you, are you still using some of those older sounds that you created when you first went to, wow. I've been toying with the idea, like, I don't [00:30:00] know.
I said something. On Facebook or Twitter, like a couple of weeks ago, I want to throw all my drum sounds away and start over
the whole shit away. Don't look at this boring. Now
I want to hear something new. Like you don't even, I can't even make, make a track with those drums. I'm off. No, no, I don't trash.
Listen on that means you you've been around long enough that you can throw that out and you don't need it. I don't want it
because no, if so like the hard drive is so like, it's, it's got so many sounds and like there's just no rhyme or reason to what. Yeah, it's just out of control. Like I don't need 15,000 kicks. Yeah. That's true. That is [00:31:00] true.
I give you that. And that does help. So like in stream, like, so basically talking about streamlining it, updating that process right now. Have you started working on that already? I saw
I've been doing another challenge. That's completely unrelated. We'll talk about that later, but I'll be clean. I've been cleaning up my, my digital musical library for Serato, right? Because I, it was literally unusable because it dated back 20 years to like Napster era where we were just downloading everything.
Yeah. You know what I'm talking about? So it's crazy looking file types and names and everything viruses. Oh yeah, yeah, yeah, yeah. There was definitely a virus. Everything was in there and it was just a mess and it was unsearchable and it was [00:32:00] just unusable. So I've been spending the past two months in my spare time, like tightening that up and it's been fun and it doesn't, it doesn't make you it's not tiring.
No, because now it's useful. So now I can use it. Now I can go out and like, I can play a said Serato and they'll be fun. Painted ass. Like a look at me. It's not bad. It's good. Now that's good now. So it's the same thing with the drums, the same thing. I'm going to go through it and I'm sure there's like, I'm sure there's duplicates with different names.
And like, I just got to figure out a way to cleaned up and tighten it down and start. Do you have a like a favorite daughter use to produce music with? I use three, I use logic. I use pro tools and I use
a lot of, [00:33:00] a lot of mastering in environments. That's what I was about to ask. Is there one is better for mastering than just music creation? Yeah, it would be that one. Yeah. And it, it shares a lot with logic. I figured out at one point they kind of had the same developers right before apple bought logic.
Cause. People don't know that's what that, yeah. They basically stole a switch, take it with them. What are they? But they bought logic too, so they could make garage bands. So like, so garage band is logic is just strictly. So it's easy for like, you know, quote unquote, just regular people, anyone, you know, it's a very Workman kind of thing, but logic has been around forever, you know, old, old, it goes way, way, way back.
But the thing about Sequoia is like you can do offering and you can do layouts, [00:34:00] you know, for an album, you know? And so it's very useful like that and you can do this, get onto base editing. It's awesome. But they all have things that they, you know, pluses and minuses. Okay. So you use them in and you use them in tandem as you need them, right?
Yes. Yes. Okay. For creation for creation, logic is bad is better, right? Composing music. You know what I'm saying? Logic is probably by far, it's the most stable platform I've used. I know everybody likes. They always, they always have your other ones. Of course, you got your little, your fruit loops and stuff like that.
Low for lose all that stuff. You use that stuff as well. But I love how stable logic is and how you can build on the production in it. Stability. I like stability should be fine. That should be, it should be, but I know what you're doing with it. Yeah. I mean, you know, at this point in 2022 [00:35:00] stability, shouldn't be a problem no way.
And if it is like there's got bigger problems, do you know what I mean? As far as composing, oh man. It's just. So great. But yeah, like, you know, when it came up, I mean, you know, we didn't have, we could do that. I mean, you had tape. Yeah. Can you explain that process? So again, this is so they can understand that balance between how you're getting to where you are now, explain them how tape recording work, how they operate it, what part of it?
So the, how you record into the real, and then take that from the real, putting it out onto something that you can use, you had to have, you had to tape machine and you had it in the console. Right. And the reason the consoles were so big is primarily because, you know, you had it, wasn't there. I mean, you know, in a, in a console, every channel is exact same.
They're just copies. You know, the thing [00:36:00] about a large for my console is that you needed. Like, you know, if you have 48 tracks of tape, then you had to have like a 96 tracks on the console. It's 48 or going into 48 are coming out. You see what I'm saying? So it was a huge footprint, you know, then they started doing online console, so you could switch.
So you'd only have 48 tracks and you could switch in and out. But so it was a little smaller, but you know, the process is, you know, you basically have a sound that's going into, into the console, you know, and you're treating it, you know, like with volume and EEQ and compression, maybe effects, and you print that to the, you know, it's going through that into the tape.
And then the playback from the tape is coming to a new channel. So you, so you can monitor it, you know it's, it's expensive. It's heavy. I mean, like for 30 minutes of tape [00:37:00] depending on the speed of the tape machine, the tape can be roughly 15 minutes or roughly 30 minutes of, of music on one tape.
One tape right now is like 400 bucks. So you don't know like 400 bucks for 15 minutes to tape. You know, it's expensive. I mean, just even on that, I mean, dislike, that's a lot of money, you know, cause people are used to having a flash drive in their pocket. At this point with 128 gigs probably would contain their whole musical output.
Can I explain how it gets from the tape to A's source that you can play outside of, outside of a real, real through mixing? So like the same thing, it's the same situation as a, as a door session, right? So like anything that you have up in pro tools, you know, you have your B, you have your, you know, your, your vocals, you ad libs, whatever.
And [00:38:00] it basically the tape machine acts as the, it's the same thing as the doll, it's just not intelligent. So, but what I mean by that is like, you know, it doesn't do anything extra. It does that, it doesn't cut. And so if it doesn't turn itself up or down, you know, it just records the plays back.
Everything is on the console. And if you need to edit something, like say, if you, if you make a flow. Like timing wise, like on drums, you either rerecord it or you edit it. So you would literally cut the tape with a razor blade paperback together, literally. Yes. And that's why he got, yes. This is an amazing process.
That's where cut and paste comes from. Yeah. So real thing on your computer now used to be analog. So like when he would cut the [00:39:00] drums through, we'd stick us off with her, you know a copy of the tape and we'd be in like a fricking bathroom and basically cut, you know, mark and the pieces of tape, cutting them, taping them to the wall and then reorganizing it together.
Yes. Yeah. I mean, I'll send you some Kevin, I'll send you some clips of things like that, so you can see what I'm talking about. Cause it's real. Yeah. That's wild, man. That is so wild currently. Like you also hear records with bad edits because of that. Like people make mistakes. I would love to hear you critique something like, oh, Nope.
That's the mistake right there. It gets your ear. Yeah. I can show you so I can show you some mistakes. I can. For sure, because they're out there. I mean, there's on major records. There's like oldest terrible. That should be, [00:40:00] but it goes by so fast. Nobody knows what happened. They should be one episode where they're like, oh, this is really, yeah, this is what's going on.
Not cause like when you're dealing with somebody who's a professional, especially in the industry, like you've been for such a long time, you really have like their gifts. Like you're trained your age. It's like dealing with somebody who's a a classically trained violinist. They can tell you what's right.
What's wrong. And it's cool. Listening to that as a quote, unquote, layman, listening to somebody that really express what's going on in the, in the content that you're you're you actually conceptual. Gotcha. Gotcha. Do you have like a nickname? So what now? I do. Why you laughing man? Stop playing.
Yeah. Yeah. Yeah. So I came up with that and it was a joke, but it was, it was cool. It was, I know that that's going to fix and DJ name DJ Han. What? With a little [00:41:00] question, mark behind it is a little, you had a friend man and say, Brandon, B-School this school. He used to play as a trumpet player in the band.
And I was his DJ in little parties and college. And he was just like, man, you know what your name is, DJ and what? Cause no one is saying your name, say my name. They'd be like, what's your name? And what, what and what?
Yeah, but it was a joke. It was a joke and a session one night and was like, man, you don't. So that kind of like that.
So I want to go into some misconceptions about, you know, being white in hip hop. How does that impact you and how have you overcome those misconception? That's okay. That's a, oh boy. That's a heavy question.
It really is. It really is. Only thing I think my scenario may be very different [00:42:00] from a lot of people's. Right. So I can't like, it's, it's weird for me. I can't speak to anybody else. I can only speak from my personal experience. You know what I mean? But like I grew up, I mean,
I grew up listening to it in real time as it was not listening to it. That's not even the right word, like, as it happened. I was experiencing at the very same time. It's different, right? Like, you know, this was a brand new music, this was a brand new sat. Right. And it goes back to the thing I said about sounds, but this was a brand new sound.
And like, you know, I was there hearing the first examples of it. I didn't know, you know, like, I mean, you know, I'm in [00:43:00] Charlotte, you know, we're hearing these records. I'm obviously not in New York at the time and, you know, are we hearing this? And I'm a kid and I didn't know any of the social context to it at all yet, you know?
And I kind of grew up kind of poor and we had something called bus. When I was a kid. So like, depending on where you lived, you know, you didn't have neighborhood schools, basically you would go to where they wanted you to go to meet quotas of, of integration, integration, quotas. Right. Which is, yeah, that's the smart, you know it puts people together, but I grew up you're in cologne, all y'all in Columbia or some of you in.
Columbia Columbia. But basically I, I ended up going to basically the, my whole [00:44:00] school career was like the three poor schools. So I went from Villa Heights to Windsor park. I'm sorry. The four poor schools, like real high it's the Windsor park east way, junior high to guarantee. And I grew up with the same, like it was the same people were because again, because of busing, as I grew up with the same exact people from basically first, second grade, all the way up to when I'm out of high school, the same people were in my classes the whole damn time, you know, the whole time.
And this is who I grew up with. That was your fear. This, this was literally my period. This was what my neighborhood looked like. This is so I don't know that that was just my experience. I was experienced. I was hearing these records. [00:45:00] I was hearing, but at the same time, you know, other demographics were hearing them and it was just, I don't know.
It just, I didn't know that it was a separate thing. I wasn't aware like, you know what I'm saying? Because they grew up with me too. The same way I grew up with them since second grade, they grew up with me since second grade, these people, and this was my peer group. And I don't think any of us had an idea yet that it was not normal.
But you're supposed to be there. That's how I thought. I mean, you know what I'm saying? There wasn't this what it was. I mean, and, and I'm still friends with some of these guys, you know, to this day and you know, now we make jokes about it. You know what I'm saying? Like, you know, I was like, shut up white boy, you know what I'm saying?
But like, you know, but like at the time,[00:46:00]
I don't know. What about the hip hop culture appealed to you the most? Was it the sound or the influence? The culture the second? Well, at the time it didn't have influence
culture, but it wasn't the culture. It was new. I mean, like the first time I heard, like these records, it broke all convention. It didn't make any sense. Like, no, it didn't, you know, like. And wait like run DMC, Darryl and Joe, do you know, what do you know which we're going, I'm talking about or whatever, but like, those, those drums are so hard and like, it just keeps modulating up at the end.
It's like seven, eight minutes long and it just keeps getting lightweight up. It was crazy misses like [00:47:00] 82, you know? You know, the first time you hear public enemy,
no, but like bond squad my life, you know, late, not only is public enemy, like their content revolutionary and, you know, power and all that shit. Right. But the music was too. Yeah. It's like the music was just as revolutionary as the, as the lyric, you know, like you've never heard sounds again, game, go away to sound like you, you've never heard this done to sound and technology allowed that to happen.
You know? That's what I'm saying, you know, and this is kind of what I was talking about. Like early on, you know, when I, when I said you know, we have all this technology now, but the production has gotten simpler. It was the other way [00:48:00] back then technology to push production. I mean, on the third album, Dimmi Terrordome listen to welcome to the chair at all.
No, no, no, no, no, no, no, no BS like put on headphones and listen to it and think about what you hear, because that is the pinnacle of sampling. Yeah. Oh my Lord. Now you're not lying. Like put it into perspective. You can't go against say like, you're right, man, man, you're gonna have me listen to me cause yeah, let's do it.
Right. There's nothing that comes even close to them to power, you know? And that's why you know, Like, yeah, it's beautiful. Mean I see why you want one producer, man. Like, yo, I can tell you're passionate about it too. And that's one of the things like when somebody is passionate about something, the way in which you express yourself [00:49:00] is totally different from, from others in the same field.
Like I say, you do this because you love it. Like yeah, you kind of have to because you know, it takes a long, like if it's, if any, cause you love it. I mean, there's really no point, like there's way easier ways to make money.
A job we'll deliver a paycheck on Friday. You know what I'm saying? This might not,
but you know, again, I feel like I'm super, I'm just super lucky. Oh, you don't have a beautiful family. You have a beautiful wife and this like. This, this, this, this music thing, and the sound thing has allowed me to buy a house, you know, it's allowed me to, to live day to day, you know? Yeah, yeah. I have the things I want.
I mean, I'm not rich, but I mean, you know,
and [00:50:00] then like I'm able to collect 9,000 records, you know? So speaking of that in, and making this into something that allows you to adult and become an entrepreneur, we have to talk about, of course you're recording. It makes the studio asylum, digital And I mean, does that, not just that, but also to top daily market and dig his delight, like you're really about this life, like as people as say.
Okay. So that, that gets a little tricky, you know, because there's a few reasons that, you know, I had to kind of chill out a little bit. But I know it was, it was fun by doing, doing diggers delight was, it was a lot of fun and, you know, and that, and, and another thing is so funny because that started out from a purely production conversation.
The whole thing, right? Yeah, because we were at a, we were at a [00:51:00] record show me and my partner at the time, Kim and let the record show, and there was another producer here. I don't know if you know him, do you know. No, I don't, I'm not sure you would always be at like the the frequency joints with John's stuff, a big guy, you know what I'm saying?
Kind of tall and heavy, you know, but you said a dope producer. Right. But he was buying these records and I was like, man, it's pine lake shmedium records
from these dudes. Like he was buying like, you know, like Lionel Hampton joints, dizzy, Gillespie, you know, like bop, bop, bop records. Right. And I'm like, man, you got it wrong records, man. I mean, they're jazz, but they're the wrong records at the [00:52:00] right time. It's the right. It's the wrong fucking records. And I was like, man, and I was, so I was talking to Kim.
I was like, man, we got a lot of double. Of stuff because we have, you know, we both had a lot of records say, man, we got a lot of doubles. I bet you, we can clear out our junk, you know what I'm saying? And like started doing some pop-ups and get rid of some, get rid of somebody, you know, refine our collection a little bit.
And then people started trading this stuff and it just organically, we started doing like, we, we, we did a trade thing. We did an event and it was a, I forgot what we called it. It wasn't Digger's delight yet. Right. But it was a create a trade or something. I forgot what we called it, but it was basically a come up.
And that's why as to a swap, I always do hip hop record swap. That's what it was. Yeah. That's what it was. It was like, you know, producers come in a [00:53:00] swap out record. Right. You bring something good swap out. Right. And I, so we started doing that and we did a few times and then started, you know, selling things.
And then, you know, that's how that started. So dope, man. It was fun. It was fun. It was
slow. It was slow. But you know unfortunately you know, it for a few reasons I'm not, I'm not doing that anymore. Yeah. Could you explain to our audience with a went tip top daily market is tiptop is a, basically a bottle shop and snack shop in Plaza, Midwood. And also with the record portion, that's where I got to go.
And I've been there yet. I apologize. I'm coming up here. Yeah. Yeah. So, yeah, yeah, [00:54:00] yeah. So COVID changed a lot of things. You know so we were doing a lot of live events, you know, but of course that's kind of, you know, that all stopped this stuff, you know, and you know, COVID happening in then? Like I had a, I had a health scare and 2020 you know, those things kind of slowed me down a little bit.
So I was like I need to just focus completely on how I make my living. Yeah. I made some decisions that came. I was like, I can't be, I can't be doing all these little things cause it's tastes it's a lot because you know, in 2020 at the end of 2020, I had heartfelt, oh, wow, man. I was almost outta here, man.
Yeah. So, you know, I had to make some really hard decisions. Buckled down and focus [00:55:00] and focus. It has that. And it's been positive though, correct? It was the best thing that ever happened to me. I mean, you know what I mean? It's not a good thing, but the scenario is it got me focused and cleaned me up a little bit and I started eating better.
Beautiful. Okay. That makes us feel. I always like to hear, hear, hear that type of stuff, because actually I work in a, an orthopedic office and I can see people coming in all kinds of busting up, man. And when you see somebody actually do the right thing to come out on the other side, looking better, it makes you feel good.
Yeah, man. I mean, they put me on, they put me on meds, I'll be on some meds for the rest of my life. And the main thing I had to do was just like naughty salt. Wow. You are what you eat. So I'm glad that the tension. So I CA I kicked those things and just clean myself. It's been good. It's been good. But as far as like, you know, my focus on my life, [00:56:00] like, I've always been sort of like you know, I'd get an idea and, you know, you get a, you get an idea and you get excited and you run with it.
So they're all gonna do this thing. I'm gonna do that pain, you know,
Sorry, my wife was talking to me. You know, you get excited about these ideas. I was like, oh, go do this cool thing, go do this. But you know, we've had to focus and just say, settle down and decide really just focus on the studio and that's what I'm here for. And it's an excellent, excellent studio, man.
Could you, could you explain to our audience, like the creation, the, the, the timeline behind creating that studio and how it's offering now? What do you mean exactly? What part like when did, what year did you tell them when, what year you created the studio in asylum, digital and how long has battery?
And that's what I'm saying. It's still [00:57:00] here in this it's there's been, this is the third. The third iteration right now start on Albemarle road. I was there for, oh man. What like 13, 13 or 14 years. I moved to a a larger facility in hill. And 2011, I was there for five years. And the the building was sold, so I lost the lease on that shoot.
So I was, I wasn't prepared at all. That was brutal. That was brutal. But cause you know, it was kinda, you know, it, it wasn't a. Yeah. So he didn't have any time to plan a, not really. No, no, no. And so, but I was there for five years and it was, it was a really cool, it was a cool build. I was really proud of it, you know, and that's why it also hurt me to my heart, [00:58:00] you know?
So I was like, I lost all this. But you know, in, in 2016, moved into a new space, I've been in there for this will be like almost six years now, six years. So six years in a spot I'm in now. And man, it's been, it's great. It's great because I have a team of people around me. I feel like the work I'm doing now is the best work ever.
That I've done, you know? And it's been good. You only focus on indie artists or is that just your no, no, no, no, no. I do, I do a lot of everything. I do some of everything except really country country is really probably the only thing that doesn't really happen around here because we're so close to Tennessee to Nashville.
Yeah. You just go to Memphis and Nashville
and but what was the, what was that again? Yeah,[00:59:00]
I love it. Just talking about what type of, oh, you said, do I only do Andy, right? No. No, not at all. Not at all. It's that's a lot of what, you know, a lot of what we deal with. I deal with major label clients. And a lot of times that happens, you know, when they're on tour you know, people stop in, you know, while they're, you know, stopping to record something while they're chilling, that's changed a lot during COVID because touring is very stilted, still.
You know, I did a lot of the kind did a lot of labels stuff, deer and CIW, cause everybody was here for those that week and a half, you know, it makes sense. Not so much as a destination to record the Charlotte, you know, we don't really have infrastructure like that here. You know what I mean? It's too close in Atlanta.
Yeah, yeah, yeah. So as far as you know, my, my day-to-day is people working on [01:00:00] you know either projects of love or, you know, more like independent labels working on smaller wrecks. Okay. And I have one more question before we starting to wrap up, but, and this is not always, as I always like to ask producers, like people who you sit and mainly people who sit down and actually record artists, how do you keep it fresh?
Right. When you have such a rotation, a new personalities coming in, like how do you deal with all those personalities and still like maintain yourself as you go as they go through the studio. I mean, that's condo the answer to the question because everything is so different. That's what keeps you from.
Just a different cause. Yeah. So the fact that they are such varying personalities actually is the, it keeps you on your toes. Yeah. Cause like, if you're not paying attention, paying attention, if you're not, then, you know, [01:01:00] because none of this stuff, like what applies to one person doesn't necessarily apply to the next, that's why you have to have a lot of different tools in your tool chest, you know?
It's not so much of just like this isn't sort of a preset scenario. Yeah, you have to be prepared. You have to know flexible really quickly flexible because people are like, they're understanding, but they're only understanding to a degree,
a BS around endlessly, like, what are you doing, man?
Have you ever ran into an issue where you're working on? So the editing I need to stall. Oh man. I'm so good. I'm still going to solid, right? You would never, you would never know. You would never know I'm stalling. I'm so good at it. Like when I make a mistake, you'll never know because you know, that's what makes you a [01:02:00] professional, but you would never know.
You'd never know I made a mistake. I'm be like, yeah, let's just do that again.
But, but yeah, yeah, yeah. The. Just, you know, being on top of things and just having a lot of tools that you disposal to, to match the different situations that might, or they might come up, you know, and learning people and learning how to, you know, coach people through those. No, that's it. And that's why, that's why I'm relevant because you know, people, people do like to work with me for that.
And so it just, it just comes back to that, you know, that's a whole, it is. Do you think it's very important or have you seen it as being important in your career? To have a high business acumen since you were running your own venture and how do you maintain that professionalism?[01:03:00]
Okay. That's, it's two, it's two parts to that. I don't I don't think I, I, I don't know if I have quote, unquote good business acumen. I don't know if this why. Cause sometimes it's hard for creators. Cause you're your main thing is to make sure that you're doing what it is you're there to do. Did I write a business plan?
No, I have not. I have never, you know, somebody eat me up, but I did not write a business plan for honestly we want our audience to use everything. Everything, every cookie is not made the same way. Oh no, no, this is, this is what I do. This is what I do. I'm not useful in any other capacity,
you know what I mean? Like I don't, I don't have a fall back. There's no plan B. Right. And [01:04:00] you know, I mean I don't think I had, I think, I think the, the dedication to follow through something is good business acumen. That is a part of it. It is. That's the only, that's the only part I know and can follow through with.
Right. Like any of the other things, man, like I figured it out as I went along you know mess with it until it worked, you know? And like, luckily, you know, like again, I go back tomorrow to my wife now she wasn't my wife then, but you know she was very supportive and you have to be around people that are supportive and understand what it is that you want to do.
Like if you don't have that, then there's no way I could have done any of this.
Like if she was really like not understanding and I clean. You know, like, man, of course not[01:05:00]
working in the call center, man, like, you know, like everybody else. Oh Lord. You singling perfectly into the next point with it. Like you said, just there, like it's the people behind you who provide the balance, your system and your life sometimes. Like how, how important is it? Do you think for creative entrepreneurs to have a great support system, like you would explain with your wife to maintain proper work-life balance.
Like yeah. And that's another thing, like, I'm not sure that I had proper work-life balance. Right. I think I do now, but that's because I'm 30 years in. Yeah. You had to learn this quite late, but I don't think I did. I think I was fully immersed in work in work. I didn't go on vacation.
I [01:06:00] worked, man. You know what I'm saying? A lot of things that people do, I didn't do like my social life. Wasn't good. Cause I was working, I sacrificed a lot. My work hours suck. Right? I mean, they're, they're, they're, they're late. They're long, you know what I'm saying? Like the stuff that people that other people enjoy, I can't even bother to even get started on, but he's like, you're like, like sports books.
No, it's not, they don't have tomboy, but it falls in the wrong part of the day. Yeah, you have to wash, repeat the, so it's like, you know, it's nighttime, I'm working at night, so, and then it's different later. You know what I'm saying? You've already seen the, the, the, the results, you know what I'm saying? The same thing.
So it's like, things like sound like a movie, you know, where you can just watch it. You know, the next day is [01:07:00] different, you know, it's meant to be consumed life. It really is. You know, things like that. I mean, it's like I miss out on that man, but like the vacation thing and like certain things with the family and, you know, I miss a lot of that because I was fully immersed, but that's the price I had to pay and I'm fine.
And I'm fine with it. I'm fine with it. You know what I'm saying?
That's my point. That's my point. They feel guilty. Yes. And so, you know, to be real, wait God. Okay. So like you gotta be selfish a little bit selfish. It's a little bit selfish because nobody else is gonna, you know, go down the stream. Like, it's your drain, you know what I'm saying? So if you, if you really want to do it, man, you have to be fully immersed and that's no matter what it is that you're doing, you know, any, any sort of art variation, you know, there's, [01:08:00] nobody else believes you can't even explain this, like talking about this is so weird for me.
Like I don't, I generally, I don't like to, I don't like the public speaking. You know, and I don't do a lot of these. And so it's even talking about, it's weird. It takes me a little bit to get started, you know, but no one it's like, you feel more natural. Yeah. You did a good job. But yeah, man, you have to be somewhat and you have to be a little bit selfish, you know, it was like, well, I'm doing this because I want to do it.
I understand it. Yeah, you're right. You're right. And it feels, because it doesn't make sense on paper. None of what I do make sense on paper, but it has sort of worked out, you know, and like the thinking about the hours, you know, like one thing that would always, you know, be frustrating to my wife is like, [01:09:00] you know, I work at nighttime.
So, so like I might be laying around the house during the day. Yeah. And it looked like you're crazy, but you aren't great, but she's at work and whatever she's talking, but she's just laying around. I'm like, no, but this is my nighttime. Yeah. You know? And so like that, that was like, you know, something we have to, you know yeah.
We had to compromise and get a real understanding, you know? But yeah. So what kind of advice would you give a younger person kind of looking to do the same thing you're doing right now? Listen, listen, really listen and late. And I be around people that are better than you.
That's the hardest. That is the hardest part. Like people don't want to really, like [01:10:00] people say that, but they don't really want to do that. Because it, it, it can be a blow to your ego because you can, you can mess around, you're getting kicked out of a room, you know, you can get clown. I mean, that's, that's, you know, it beats you down a little bit, but you have to, because you have to know where you are in the scope of things.
You know, I don't mean abuse. I just mean, you know, you know what I mean? Yeah. Like your round contemporaries who were better than you, it's all best. They can tell you like, nah, that's not good. Like if you, like, if you look on like, come on, man. Like if you look on social media and when people are talking about their work or something, they created, you know, and everybody's, oh, this is awesome.
This is so good. Stop lying. Yeah. That's because they can't do it or either they don't. Cause you know, I mean, come on man. Sometimes it is great. Sometimes [01:11:00] it ain't great, but yeah, you probably should have just take this down, this ain't, you know, for a plethora of reasons, but you gotta be able to take constructive criticism.
Yeah. I mean, I gotta tell you this cause you, cause you were, you mentioned it earlier. Train the kil Ripkin Joffrey joined, right? I mean like did you meet Supreme? Was he there for the video shoot? Oh, we can talk about with Kevin. Yeah. I'm not sure if he, Kevin, can you hear my story? If he's about a west St he's still there.
I'm not sure if Supreme was at that at that shoot. I was supposed to been up there with him anyway. He don't beat me up about that, but yeah. I wouldn't. I wouldn't sure. So like he said, he was there, he met. Okay. So like Supreme, like his voice was messed up. He had got, he had got long COVID. [01:12:00] Oh, wow. Right.
And his breath control was just, it was like not good. Like, it was like a problem. And we had to rerecord, man, we recorded that song so many times trying to get it there for, I mean, for Supreme spark. Right? Yeah. And I mean, it was just, it was a lot of takes, you know, and it's just like, no, like we, you know, we would do a take and then people would come back.
Like, nah, that's not it, man. You know, my kid was like, nah, no, that's not it. You know? And just like, be honest about it, you know, not beating them up, but it's like, now I want you to get, what can we do? This has to get, we got to get the product where we want it to be, you know? And you know, so it's just, it's just people being honest about what they want and what they expect.
Those things help you grow. [01:13:00] You know, and, and just going through those experiences over and over and over again, day in and day out for 30 years, it, it helps. It's almost like you, you understand the routine and you aren't, you aren't swayed by it to know, to not do the right thing based on. It's definitely.
It's definitely, you know, definitely a routine it's not based on emotion. Yeah, that's true. That's true. Most definitely. Dang man. Yo, good conversation, man. We're going to start wrapping up now. I don't want to keep it all day, but we always ask folks at the end, of course, what current projects are you working on?
If there are any that, that we don't want to express or, or, or tell our audience about. And also how can our guests locate you on social media? As far as social media you can find me on Facebook by name or by the studio. Like you can look up Scott Slagle or asylum digital. I'm on [01:14:00] Instagram, under my name Twitter under my name, you know, just at Scott's illegal.
My website is asylum, digital.com. And some things that we're working on. Oh man. The, you know, we were just talking about kill. They just dropped a, a single yesterday and the album is finally about to come out, which is it's finally, I mean, it's been done. Right. You know, we finished it. Right. We finished it like the week before the pandemic.
Oh, seriously. Like the album was done right before lockdown, like, like going into March 20, 20, it was done. Right. And you know, it was like, well, nobody knew what to do. You know what to do, how to promote with it. You know what I'm saying? I'll be able to do anything, just put it on hold. And I completely just, just because of time and we had Tom and stuff, [01:15:00] I completely went back in.
I remixed the whole record, just completely, whatever I wanted to do. Like every little thing I wanted to change, I changed and sent it back out. I was like, this is, this is the record. I don't want to hear nothing else about it. You know,
I was like, I won't be down. I was like, I'm not going to be taking any requests. This is what it is, you know? And I think a really good record. I got some things that I can't discuss that are very exciting with like not right. The producer knots from VA to keep us up to date on the yes, yes, yes, yes.
And it's somebody, you know, so I can't, I can't say yet, but it's, it's gonna be, it's so good. We're like halfway done and it's all fire, fire. You know Lord Giamatti on mine go look him up on a Spotify, really good record. And you know, he just keeps getting more and more write-ups about it.
It is complex, just did a feature on him [01:16:00] which was nice, been a Pitchfork a few times. But it's a good underground hip hop record. I've been working on a few you know, jazz records. I just got a note from a client the other day that we did like an adult contemporary jazz record with. And, you know, he just was in billboard for most added on jazz radio.
And this is recorded at asylum. This is, I did his last project for a single off his new project. So it's been, it's been, it's been real cool. There's been, I stay busy and you know, I have no complaint. Excellent. Excellent. Well, tomorrow I'm going to let you close it out, but this was a great episode.
I actually learned a lot. Right? I hope I didn't, man. I I'm terrified. You know, I'm never going to listen to this, so don't make me, don't edit it. Don't make me look dumb. You know what I'm saying? It was very informative because you don't get to hear it [01:17:00] because the one thing about podcasts, we try not to make it just like a, oh, an artist comes up, tell us the coding, cool music they're doing what club they're going to be at.
We don't like that. We want to get into the background and how the sausage is made real expectations. Like, you know, this can go a lot longer, you know, because if you start to get into very specific parts of the conversations, I mean, you can go on and all. But, but, you know, you had some period, are you going to edit these around or was it just going to be linear or we will do some edits.
And I can, we always do some editing, but we'll keep it to the point where the conversation flows. Yeah, yeah. But no, I wanted to go back if I can. Cause you know, just a couple points, you know, when you were talking about you know, being white and hip hop, I mean, you know,
I'm [01:18:00] fully aware of it now, you know, but just growing up in it, it's just, I don't know last strike it. Nevermind. I'm not even
I don't know if my original thing was clear enough, you know, that was clear. It made so much sense. Like, I don't understand where you're coming from. Like you were being, you were, it was hard for you to be objective back then you were in it. You're only going to be subjective now, since you're removed from that time in that period, and you have this new generation, so can, right.
You can be very objective about it and see how you think. Yeah, there you go. There you go. You know, it's just, it's just tricky. I didn't want to be flippant, you know, but grow. But at the time growing up in it, man, you know, it was just, this is it. You know, this is amazing. Yeah. Like it's like being those people who grew up during Woodstock and they actually [01:19:00] got to go to Woodstock and follow bands around the country.
Like the grateful dead, it'd be a dead head. That is a different experience. You never going to see that again? And it's interesting. I went to, I mean, I was, I was at all the, you know, I saw the first fresh Fest. I see what I'm saying, like crazy. It was amazing. Yeah. It was, it was so beautiful, you know, hold on dog.
But you know, it was so amazing and like, it really was, you know, it was multicultural. Yeah. It was a multicultural event, you know, but yeah, man, I was there. I mean, I was at the, you know, the run DMC, like the raising hell tour. You know, I mean, so Houdini lab, like early on, you know, like, you know, in the, in the freaks come out at night video [01:20:00] where, you know, Jermaine, Dupri and all them are at the beginning of when the braid dance.
I mean, I was at that fresh Fest in Charlotte. I was at that fresh Fest and I used just the way it looked. I mean, it was in insane. It was insane. All right. So why go here before we are holding all day? I definitely appreciate you dropping all the gyms and knowledge on this episode. Make sure you guys subscribe to us on Spotify, apple podcasts, Google podcasts, and also follow us on Instagram and Facebook at the Hilltop glove.
Once again. Thank you so much for joining us and your conversation. Hopefully I can come back. Heck yeah. Yeah, we have finished further. All right. Thank you for tuning in. See you later. Bye.