Ep. 010 - The Impact of Premium Music and Sound Design

In this episode of That Wedding Videographer Podcast, we delve into the transformative power of music and sound design in crafting unforgettable wedding films. As UK-based videographers ourselves, we understand the importance of delivering premium products to our clients. That's why we made the strategic decision to invest in a premium royalty-free music service. By doing so, we found that it not only elevated the quality of our finished films but also enhanced the overall viewing experience for our couples.

Choosing the right music sets the tone for each wedding film, creating an emotional connection that resonates with viewers long after the event. We discuss how investing in a premium royalty-free music service allowed us access to a diverse library of high-quality tracks, ensuring that each film is unique and tailored to the couple's story. Additionally, we explore the significance of sound design in enhancing the cinematic experience. From capturing the subtle whispers of vows to the joyful laughter of guests, every sound contributes to the narrative, immersing viewers in the magic of the day.

Join us as we unlock the secrets to unlocking the full potential of your wedding films through premium music selection and expert sound design. Discover how these elements can elevate your business, leaving a lasting impression on both clients and audiences alike.

We mentioned in this episode

OUR RECOMMENDATIONS
https://www.musicbed.com
https://multiply-media.shop/

OTHER ROYALTY FREE MUSIC LIBRARIES
https://audiio.com/
https://www.soundstripe.com/
https://www.epidemicsound.com/
https://artlist.io/

You all know this by now.... reviews mean the world to us! If you took anything away from this we'd love for you to leave one for us.

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https://www.instagram.com/thatweddingvideographerpodcast

Danny Rizzo
https://www.instagram.com/rizzo.films

Jase Hunter
https://www.instagram.com/afterglowweddings

Transcript

Jase (00:00):

Are the glasses. All right. Do you like my new glasses?

Danny (00:04):

Oh, are these the new ones? I don't even notice these new

Jase (00:06):

Glasses. I didn't even notice. Right, because you may or may not know match

Danny (00:08):

Her jumper

Jase (00:10):

Today. Yes, they do. They do. I went in there, right and I really wanted to get something zany and colourful and Jean went with me, which was probably the worst thing I could have done if I wanted something zany and wonderful. She was vetoing every single pair of glasses.

Danny (00:22):

She go beige.

Jase (00:24):

I should have gone beige. Did she go be? No, no, she's gone green, but she's got something zany.

Danny (00:28):

Oh really?

Jase (00:29):

She

Danny (00:30):

Wanted all the zaine for herself.

Jase (00:31):

She took a little slice of zany and took it for herself and I had to be left with these. I mean these are zays I could get

Danny (00:36):

Mean. They're quite zany.

Jase (00:37):

I feel zny,

Danny (00:38):

But

Jase (00:39):

I mean they're quite big. Now that I'm actually seeing, I'm like, right, I'm going. They're

Danny (00:41):

Quite mine actually.

Jase (00:46):

I have not. How long have I been spending time with you that I'm just absorbing next? Oh, wait a minute. Am I wearing Adidas? Give me the glasses. Give me your glasses. Wait a minute. You won't be able to see in them.

Danny (00:55):

I don't know. You said you could see mine? Yeah, I can see perfectly of these.

Jase (01:00):

Are you having a laugh?

Danny (01:01):

We are both blind. Oh, I can kind of see of these. This is our thing then. Oh, they are quite zany, aren't they? They're quite zany. Well, they're just a bit

Jase (01:11):

Oh,

Danny (01:12):

Oh. They've still got bit of the glare going on though,

Jase (01:15):

Do you know? Right. I saw that's not, I've got this anti blue screen thing in

Danny (01:19):

It. That's not, that's like extra blue screen. Look at that. That's like,

Jase (01:23):

I don't think I should have got that because whenever I'm on a Zoom call now I get this blue light on my face. I'm like, oh. The point of this was tablet

Danny (01:29):

Lights from my glasses there.

Jase (01:31):

So what yours do yours do the same?

Danny (01:33):

Not well.

Jase (01:34):

Oh you, there you go. Okay. Good luck. Well, yeah, they're nice though. By next week I thought you'd just noticed this, but week by week I'm just changing a bit of my atti and I'll be full Adidas junkie in a couple weeks time. Do

Danny (01:50):

I just like Adidas because I am still a medium ad discourse.

Jase (01:57):

Really? I don't think I qualify for a median these days.

Danny (02:00):

I've not been qualifying for a medium for a little while, but in Adidas, so

Jase (02:06):

It's so sad that progression sizes, I've weighed it. Unfortunately, my favourite shop tends to be super dry and you have to go xl if you go super dry, it's really demoralising.

Danny (02:16):

They're all like surfer boys and that. Aren't they surfer skater boys?

Jase (02:19):

Isn't that like Hollister? That's what you're thinking. Is

Danny (02:21):

That what I'm thinking? Super dry is,

Jase (02:22):

I dunno. Super

Danny (02:23):

Dry is just for really cool people. Right? When they were 18 probably.

Speaker 3 (02:32):

Lemme hold on to something.

Danny (02:33):

You have to have the eyesight of an 18-year-old to actually be able to find clothes in places like Hollister or Super Dry.

Jase (02:39):

I like this. I have been enjoying good music though. Yeah, I have been enjoying going to m and s.

Danny (02:45):

Why? The tables have time.

Jase (02:46):

I know, right? I was like, oh, this is a nice plaid shirt. Yeah, that's getting cut.

Danny (03:01):

Welcome to that Wedding Videographer podcast. I'm Danny.

Jase (03:04):

I'm Jace, and we've had a really fun couple of weeks.

Danny (03:09):

We have haven't we?

Jase (03:09):

Recording a bunch of episodes and yeah, sorry, it's really warm in here. It's just

Danny (03:15):

Like extra

Jase (03:15):

Toasty. The summer has actually begun. Do we open a window?

Danny (03:19):

Yeah, let's open a window because it's going to get warmer,

Jase (03:21):

But then we're going to get a bunch of sound. Well,

Danny (03:25):

It's on topic, isn't it? Sound design?

Jase (03:27):

Well, I could just put sound design in if, do you want to hear the city? I can just put a sound

Danny (03:31):

Design. There's not a button to hear the heat though, and it's like absolutely roasting. I think we just have to power through it, right? Let's just do it. Oh my God. Imagine this good in July though, when it's, I mean, we've got a big black thing behind us just soaking in all the heat. It's probably like a radiator.

Jase (03:44):

We have two suns right here just blaring down us

Danny (03:47):

And a big solar panel behind

Jase (03:49):

Us. Honestly, we've just come out of of winter and it's like the first day of it, first weekend where there's generally a little bit of heat and we're like, oh my God, remember how cold it was in here in the winter? So cold

Danny (03:57):

And now it's really warm.

Jase (03:59):

We had four of these electric hears just blasting on throughout the day and now

Danny (04:04):

The tables have, well, sun

Jase (04:05):

Hasn't even been in here because the won have been shut all day. So

Danny (04:08):

Anyway, yeah, so our topic of discussion today is going to be about music choice and I guess the platforms that we use and would recommend because it's a topic of discussion that I actually get asked quite a lot. I actually got asked it today, funnily enough when I was speaking to the photographer that was working with, who was basically saying that there's some ones that she uses and she just thinks it's about naff.

Jase (04:40):

Yeah, I mean there's so many layers when it comes to music and music choice. I think when I started, I had this idea that, oh, this just could be very oral. Just choose one song beginning to end and that's it. But without actually thinking about why I'm using this song I'm doing or how I can even enhance that song, because there's so many tools out there now that can actually allow you to enhance it and edit it to a length that you actually want. The editing software we have now can actually make music so customizable to the project that you're working on.

Danny (05:09):

Yeah, totally. So it's going to be a fun one today and one that I'm sure a lot of people, I know a lot of people ask questions about it and are curious about it. So yeah, I'm really looking forward to talking about it.

Jase (05:22):

Sounds like it.

Danny (05:24):

Yeah, I'm really, really looking forward to it, but I'm looking forward to it. It'll be a good one. Yeah,

Jase (05:31):

Music is something that you and I talk about a lot, just you helped me so much. It's not everyone's strong point and I didn't think it was really a strong point in mind,

Danny (05:40):

But you've definitely got a superpower when it comes to it. I think different filmmakers have different superpowers when it comes to filmmaking. You definitely have a superpower and when it comes to music, which I do not have,

Jase (05:56):

I think it was always something I thought everyone kind of had. It was a skill that everyone could just have to just count beats and that just comes naturally to me to be able to hear a song and think, right, this is how I can splice that up to make this go from a three minute song to a one minute song. And it was something I've just always been able to do naturally. It was only when I really started talking to you that I thought, oh, I mean unless it's just

Danny (06:20):

You, there are morons out there. No, but I remember because I used to have decks because all my friends used to dj, but I wasn't that good at itt.

Jase (06:31):

I understand why.

Danny (06:33):

I just wasn't, I dunno, don't think I've got that part in my brain wired in. I think I need to spend more time just trying to, it's the cutting up and figuring out how to dice it up that I seem to struggle a little bit with that. You can just go in and go boom. Whereas if I need to extend a song, I will use Adobe Audition

Speaker 3 (06:55):

To

Danny (06:55):

Do it for me and let the AI figure it out. Sometimes it doesn't always work. And to be honest, if that is the case, then I just go, not that song.

Jase (07:02):

Yeah, I mean Adobe

Danny (07:03):

Jason,

Jase (07:05):

I mean Premier Pro is so smart now what I was talking about before where I made a song go from three minutes to one, you just have to click on it now and just drag however long you want it and it just figures it out. Maybe there's one or two times where I'm thinking, oh, that doesn't sound too clean, but it

Danny (07:21):

Doesn't like lyrical music because it can, it's not smart enough to, sometimes it does get it, but I think a lot the time it struggles to have the context of what the verse or the chorus.

Jase (07:35):

That's it. I mean it's going to have a problem with It'll get

Danny (07:37):

There though. It'll get there.

Jase (07:38):

Yeah, it's going to have a problem with the structure of the lyrics as well in terms of what vocal key they're in, because sometimes that can be variable

Danny (07:44):

Rather

Jase (07:44):

Than The beat is clear cut, but the vocal can go over that screen.

Danny (07:47):

You can sing

Jase (07:48):

Over the beat. So it does struggle with that. But

Danny (07:51):

Because I've done a weird, I remember I'd done one, done a weird mashup of the two verses and it didn't make any sense,

Jase (08:01):

But I think ultimately what we're saying here is that music is such, it's such a important part of filmmaking and choosing a song in the first place. Before getting to all this, we all know that the most difficult part is sitting on that music platform and actually going, right, what song are we going to choose? Because some people can say that this can take them hours.

Danny (08:24):

I mean it's taken me years sometimes just trying to find, well, it depends though, doesn't it? Sometimes because you can go to the computer and you're on music bed or whatever. The main one that Jason and I use is Music Beds, and we'll touch on why that is in a bit. But you go up to the computer, you sit down, you log on, go on music bed, click on it, a few tracks, boom. You find five minutes from being on there. You're like, brilliant, this is great. And then times you're on there for hours and hours and hours just trying to find something that fits the vibe of the day. It can be one of the most painless tasks or one of the most painful.

Jase (09:09):

I think there's a relationship between scouting for hours for a song and not knowing what direction you want to take the film in the first place. I know that I can suddenly find a song in five minutes if I know exactly what it is I'm looking for and the website that we use, music Bed, I've got a system where I've sourced songs in the past so I can kind of know, right? If I am going down this field, I'm going to find a song that suits like this.

(09:39):

If I'm completely lost or I need inspiration and I get a bit overwhelmed, I start scouting through the wrong genres, the wrong genres. I shouldn't even be looking through and that's why it's taken me so long. So I mean for me, I have music bed pretty much playing the entire time I'm in the car or if I'm walking the dog, I'm always listening to music bed. If I'm not listening to a podcast, it's going to be music bed when I'm on the way to a wedding or when I've come home from a wedding open up music bed and I just have put on basically what the new songs that week are and kind of wait for it a bit of inspiration. And then if I like something, I will kind of go down that path. And I'm always favouring as I go, but often because I'm right in the mood of what the wedding was, I hear a song and I go, that is going to work well with the shot that I got today. Music is the inspiration for me. That's how I craft together sequences. Before I've even gotten to the edit

Speaker 3 (10:31):

Suite,

Jase (10:31):

I'm listening to music to get ideas. So the reason that I chose Musicbed is because I feel like the collection that they've got is so diverse that it allows you to come up with different ideas that other platforms just weren't offering me. I felt that they were quite restricted in what they had.

Danny (10:50):

Yeah, I think if I think back to when I first started, I was using Epidemic sounds,

Jase (10:58):

Oh yeah.

Danny (10:58):

Way back at the start. And I think it was probably more, I dunno what it's like now because I've literally just been using Music Bed for as long as I can now remember. But I felt like a lot the music was probably more, it was more geared towards a YouTube creator or something like that rather than a wedding film. So then I went from using pretty much scraping the barrel with epidemic sounds. I think I then went and tried Sounds Stripe for a while. I wasn't too keen. I know a lot of folks still use Sounds Stripe personally, I just wasn't too keen on the variety that was there. I didn't feel like it suited my films, but at the time I couldn't really afford, or I had in my head that I couldn't afford music bed when the reality was I could have, obviously it's a lot of money per month to use it, but in my head I was like, I can't justify paying that per month because at the time I think was charging about, I dunno, a thousand pound we maybe sub thousand pound.

(12:13):

So I started using art. Art actually got me reasonably far to be fair. It was good. But then and again, I felt like I outgrew it and I'd used pretty much everything that I had. And then, because I remember I was talking to Ty about it, I was like, I really want music bed. And she was like, you can't be spending 80 quid a month on music bags. I didn't have a massive amount of bookings at the time, but yeah, I ended up just pulling the plug and I was like, I need to do it. Just completely ran out of tracks to use and I didn't want to start just going and reusing tracks again. I wasn't finding much on artist at all. And then, yeah, since using Music Bed, it's just been so, so much better.

Jase (12:53):

I think I remember the decision for me when I first discovered it, I was listening to the songs and I'm like, okay, they sound very different to Y Be because I was on Sound Stripe originally as well and it got me so far I had a sound that I liked and I stuck to that and then I started running out of songs of that pretty quickly. But when I heard a music bed, the songs were very premium and sounded non-commercial, if that makes sense.

(13:22):

And I knew that I wanted my product to be more premium. I was raising my prices I, I was trying to make myself a leader in the industry and trying to push myself forward and have something different. And I hadn't heard songs like this on wedding films around us, so it wasn't really as popular as it is now. So I knew if I was going to be heading towards charging a premium price, why shouldn't I have a premium sound selection? And I think there's some people who might think, oh, well their song selection is fine, but I know I can tell the difference between a commercially viable song and something that I hear on Music Bed. I can tell the difference when I hear it. I can know if that song has come from somewhere else and that gets some people by and that's fair enough. But for me, I needed the variety. I need the professional sound. I want someone to be able to go on Spotify and hear their

Speaker 3 (14:20):

Song,

Jase (14:21):

Which you can ause bed. And of course it's not the only premium option that's out there. You can, because a lot of people will think, well on Instagram now you seem to be able to use commercial music. You can actually get a commercial music licence. There's a website called Licked,

Danny (14:36):

If you've heard I've seen that. So

Jase (14:37):

You pay a monthly subscription and then you think you pay per song and it's not too expensive, but that is an alternative if you want to get it seen on YouTube and stuff.

Danny (14:47):

A hundred percent for me, music Bed was the one that, like you said, had the most variety and just the quality of music was just much better than the other. And I don't like saying that just because I know that there's lots of people that still use Sound Stripe and stuff like that and still make epic wedding films from it. Totally. I think just for me, I just wasn't getting the sound that I wanted. I had a certain sound that I was searching for that I'd just completely used up on our list and couldn't hide it on sound swipe. I did also try, so there's the audio, which is audio, but it's got two eyes so that they do, I think it's normally it's like 500 quid or something. It's a lifetime membership, but they do an offer quite constantly and it's like half price. So I was like, I'll take a punt on it, but it's okay, the catalogue isn't quite there, but for like 250 pounds it's worth the punt.

Jase (15:53):

See, I think people base the value of music on what the industry is telling people. So if you've got things like Art in Sound Stripe, which are perfectly acceptable to get you by, but they're charging what I think both the subscriptions are under 20 quid a month. It's been a long time.

Danny (16:10):

Yeah, there's a stark difference between that and Music Bed.

Jase (16:13):

So a lot of people see Musicbed and if you go onto it, you might see, okay, it ranges from maybe 70 quid a month to 90 quid a month depending on a wedding or a business membership. So some people might see the subscription of Music Bed and think, well why should I pay that much or I can't even afford that, that's too much. But I try to think about it in a business sense where if this is going to make the product better, then why can't I put that cost onto each project I deliver? So let's say I did 20 weddings a year and 800 quid a year is what Music bed cost for example, if you break that down per wedding, that's only 40 quid a wedding. So if you increase your price by 50 pounds per wedding, you've actually covered the cost for the music. I mean that's what we're doing when we're building packages. It's not just essentially, right, you're getting my services for a day, it's everything included. Putting into your pricing is everything from music to your insurance to your travel, to your editing time, to the equipment you use. Absolutely everything should be considered when you're building your price,

Speaker 3 (17:14):

Including

Jase (17:15):

Music. So if you want to get a more premium sound, increase your price by 50, which most people shouldn't be scared to increase their price buy because it shouldn't scare a lot of people off. It's a reasonable request. And if you did that, then every client going forward could get that service

Danny (17:31):

And ultimately we'll get, once you start using it, you'll realise that they're going to get a better wedding film out of it in the end just because of the quality of music and the variety that you've got there to choose and you're more likely to find something on there that's going to probably fit the couple as well.

(17:50):

So yeah, no, it is definitely the right way to think about it. It was kind of the mindset shift that I had at the time because I think I had, like I said, I had Kirsty saying to me, you can't be spending 80 pounds because that is a lot of money really when you think about it. Especially if Kirsty's coming at it from just a normal consumer approach. Do you know what I mean? I get Spotify from tenor. Exactly. She'd be like, that's ridiculous. That's like 80 pound, that's more than what we pay for Sky. I know some people pay more than that for Sky, but do you know what I mean? It is a lot of money for just to have access to from the outside just music. But what we can then do with that music is to help further the business. It's totally worth it. It's an investment like anything else. And I would say it's worthwhile investment. I definitely get more than my money's worth out of it in terms of the amount that I deliver

Jase (18:47):

On the priorities of list of things that I would need for my business. Music bed would probably be one of the top,

Danny (18:53):

It's

Jase (18:54):

One of my mandatories.

Danny (18:55):

I

Jase (18:55):

Couldn't use another service.

Danny (18:57):

Well, think about it. It's like the skeleton of every film that's underneath everything.

Jase (19:07):

That is what dictates the pace of your film, the feel, the energy, and it totally blends into your brand as well. The music that you choose can reflect the brand that you are delivering to clients. My image is of a more alternative sound, so I get the flexibility of choosing what's on there. Yes, other platforms have it, but the variety and the scale of the songs and the quality, just the general quality of the music that is available on there is fantastic. And I think it definitely, I found a massive difference in my end product once I changed over to that.

(19:44):

Plus there's so much more you can do to the songs as well because it doesn't just stop go with music. If we're talking about the overall sound production of your wedding films, that's what we're producing here. Epic films. If you imagine a drone shot, we all know drones don't have microphones, so you're not going to hear anything. A lot of people might just, if they're near a beach, they'll put some seagulls in there, a couple waves, that's sound design, put that with an epic track and you've got a really good combination going. Sound design is so underrated and I think people always forget once they've done the full render and they're watching the film back, they don't go through that stage of actually enhancing the song that they've got there with a bit of sound design as well. I remember when I discovered it, it was through the team at Multipli Media, they were just talking about how we could use risers to build suspense with impact. When you want to change a scene, not just like booms, but in key piano tones, like a little just to kind of

Danny (20:37):

Separate it,

Jase (20:38):

Separate it. It's amazing what it could do. And I downloaded their flow pack and I've utilised on every single project I've ever done. I mean I'm going to insert something right here, right? So we're just going to be

Danny (20:50):

Okay,

Jase (20:50):

Danny,

Danny (20:51):

Yes,

Jase (20:52):

I am your father.

Danny (20:57):

So dramatic, right? Wow. See that is impressive, isn't it? Oh no. Oh, hello,

Speaker 3 (21:06):

Hello? Is it just me? This is so

Jase (21:19):

Give us a Marvin Gaye,

Speaker 4 (21:27):

Can you turn me off please? No. Well today we're talking about music folks.

Jase (21:36):

What's the name of the show? That's all folks. What's the name of the show? Introduce the show. So welcome to that wedding video free podcast. I'm Jace. I'm Danny. Hey daddy, boy,

Speaker 4 (21:53):

Something different about you this week. Just a little. You just a, okay, I need that off. No Ram.

Danny (22:14):

Hello. Alright, we're back. We're back.

Jase (22:18):

If you're in the city centre and you want to get cars back, passing bike and have car sound effects, there's another website I use called Motion Array and it's full of sound effects that I use. So from fireworks, people doing fireworks, maybe you don't have the scratch audio or it doesn't really fit in with the sound, you have a good quality. How many times have we used sound effects to improve that?

Danny (22:40):

Yeah, I mean I don't use it quite as much as what you do. I will do obviously fireworks and stuff like that and I'll use Scratch audio for a lot of stuff because if I think about it when I've done the wind in Amsterdam, had the tram noise and stuff like that coming through and I use the scratch audio for that and it just helps build the scene. It's quite interesting also when you look at how they do the sound design for TV shows and stuff like that or films, what the people that are hired to do the sound design, they're just basically watching the film or the TV show on the big screen in front of them and they've maybe got, I dunno, boots on the table and they use really, really weird objects as well to make the noise of what other objects make the noise for a treeing door, I can't remember, but they would have something random on the table that made that sound. I'm like, huh. But it just adds depth to the films and I definitely wouldn't start using it more than what I do. It's like another layer. It's another step to enhancing the overall quality of the film.

Jase (23:50):

I think a lot of people do get excited about finishing the film and wanting to send out

Danny (23:54):

Reaction,

Jase (23:55):

But if you do watch it one more, just watch it without any music, turn the music off. What are you seeing when people are laughing? It's

Danny (24:03):

A good tip actually.

Jase (24:04):

Yeah, when people are laughing or when they're walking down the aisle and you don't hear any cheering, we know there is cheering there and that's the big difference between video and photo. We actually have the ability to hear this stuff. So I always think it's a really good idea to include some of the scratch audio from the day. If there's people laughing, if there's people cheering, if there's any clapping, any laughing, stuff like that. It should be put in there. If there's glass is clinking, that's a favourite one of mine. If I see that, I always put a little clink in there. So once you finish the product, turn off the music and watch it through. Try and enhance the audio that way. Don't go over the top. If you see a car, don't wake up. It has to actually fit with it, but it's delicate effects that just connect you more with what's happening on screen. And that's how I think everyone can go around and just enhancing the audio of their films. So other things that you can get in these sound effect packs, that multiply offer is pads and rifts. So if you're looking to bridge songs together,

(25:08):

You can find out a music bed, what key a song is in. And this is something that kind goes a little bit over my head, but they actually have a little tutorial and how you can figure it out what keys are and such. If you've got a song that's in the Key of Sea and you can find another song in the Key of Sea, you can get a little pad that kind of sounds something like this beautiful, a nice little synth pad there to kind of register and then you can fade in another song to that. It just sounds so much better.

Danny (25:42):

It's quite cool though. I've seen you do it and it's just because again, sometimes you maybe just want to do, you've got the song, you maybe can't extend it, but you just need a little bit extra, a bit of an intro or a bit of a gap between the two songs I've seen what you've done with it. I don't actually have the pack, I will get it though, but it's really cool. And it seems like with the tutorials that the Boomer and that have put up, it's fairly easy to wrap your head around.

Jase (26:12):

Yeah, I mean as much as I've got that kind of ability to kind of spice the song up, I'm not musically talented at all. I can't play any instrument.

Danny (26:19):

He is.

Jase (26:21):

I should have maybe been a dj. I probably should have been a dj. Maybe that is my calling. So what Boomer and instead from Multiple sound have done, I've made a brilliant product. So thank you very much for releasing that to all Wedding videographers. I use it every single time. It's basically whenever I open up Premier Pro, it's part of my template that opens up. So there's a folder that says Multiply in my asset folder on Premier Pro. So I have it accessible every single time I open a project. It's how I end every single project

Danny (26:49):

And I will buy it soon.

Jase (26:50):

Yeah, yeah, because it's worth it. It just adds so many things. Like I'm always watching the film years going, we riser and there would be so good. Just we boom. Yes, get it Resolve films

Danny (27:07):

Far too dramatic

Jase (27:09):

Necessary.

Danny (27:11):

So yeah, I said earlier obviously that I use, one of the main things that I'll use is Adobe be addition because I am not as gifted as that. I say that obviously I use the Adobe edition software, which is really, really good to be honest. It's actually the only thing I pay for the full Adobe Suite just to use Audition, but I use it so often. You know what it's like sometimes you've maybe got, you've, you're putting all the clips onto the timeline and you've roughly got a five minute window or whatever and you're like, I just need an extra 30 seconds or I need an extra minute or whatever. And audition is just an absolute lifesaver when it comes to that. You basically can go in for those that don't use it, you upload the song, don't ask me because there's loads of stuff that you can do with Audition.

(28:01):

This is the only thing that I use it for purely this. But you load the song in, you insert it into what's called a multi-track and then you can just hit Enable Remix and then tell Adobe Adobe how long you want that song to be. So if it's like four minutes 30 and you need it five minutes, type in five minutes and then boom. And as we said before, it doesn't always get it terribly. It kind of struggles a little bit with lyrical stuff, but instrumentals so normally bang on the money unless you're trying to take a song from one minute or one minute 30 up to five minutes having to fill in a lot of gaps, but from just an extra 30 seconds here or there or a minute and a half maybe it'll do it pretty damn well. And it's just gives you that flexibility because you know that sometimes there is stuff in there that you just don't want to cut out because it's going to make it a war quality film. You want those moments in there. It's a lifesaver.

Jase (29:03):

Every Premier Pro user that's listening to this podcast right now is going. You use Final Cut, don't you? I do, yeah, because in Premier Pro it's all built in now.

Danny (29:14):

Oh, is it?

Jase (29:14):

Because it's an Adobe product,

Danny (29:15):

It's all built in. Yeah, but I've seen you trying to export stuff in Premier. I mean this is a whole other topic of discussion. Let's not get into it. Get into it. I've got Silk Key sound controls on Premier Pro. If it works, does it matter? How long is that going to take to export Jason? Oh my god, that's going to take us, it's not a sprint. It's five hours to export and it'll be worth it because it sounds amazing. Do you know how quick it would've happen? The final cut? It would've been exported by now.

Jase (29:40):

Well still would've shape. So on Premier Pro you can literally just click on the clip that you want to change, click on essential sounds and then click on recognise its music dialogue or whatever you want. Say what the audio clip is and then you just drag however long you want it and it will change that. That's cool. It is very cool. And it's really quick. It does it so quickly and I've used that to just get an extra 30 seconds in or shorten it down by 20 seconds. I can cut it manually, but sometimes it's just quicker just to, it just finds the loop,

Danny (30:14):

Split it doing

Jase (30:15):

It thing and it's great. So that's really good for Premier Pro users. If you don't know how to do any of this stuff, by the way, just send us the dm. We're happy to talk you through it

Danny (30:22):

To him.

Jase (30:24):

I haven't got off of my plate,

Danny (30:25):

Not to me tell you buy Adobe and press it. Do the five button workflow in that show sort. That's as far as my expertise goes. That is your bag my friend. That is your bag.

Jase (30:36):

Honestly, we could go on and on about music and sound design. We're trying to kind of keep this down, but we ought open up the discussion to yourself. What music platform do you use? Do you use sound design? Is it something that you'd like to incorporate into your films but you don't quite know how to, we'd like to have a discussion about all this stuff because if there's some skills that we can share with each other that would elevate us all, because I'm sure I'm not doing it perfectly. If Boomer and Sarah, if you want to come and tell us how it's done, absolutely come on here and give us a masterclass in that. That'd be amazing. But yeah, it's been fun. Talk about some music.

Danny (31:14):

It has been. Thank you very much for always lending a hand and getting me out of a bad spot. I promise one day to get better at it.

Jase (31:23):

It's like a challenge to when you do it. I just put all tools down and go give you that song.

Danny (31:27):

Let this baby like that. You just see me sinking. You're just like, just give me it. I'll sort it

Jase (31:34):

Out. You're just waiting for me to come over though. You set the trap. Oh, this song

Danny (31:37):

Is just, I'm having such a bad time. Jason, what's that a problem? Give me. I don't even think you could do it, Jason. I don't even think you could do it. I'll show you.

Jase (31:51):

Yeah, hook, line and sinker every single time.

Danny (31:56):

But yeah, thank you so much for tuning in and continue to send in your comments and voice notes and dms. We are just loving getting to speak to you all. It's just, it's been awesome at this point of recording. We are almost at the thousand download mark already, which is just insane.

Jase (32:15):

And when this will go live on Thursday, which is just a couple days before a month now. A month old.

Danny (32:22):

Yeah, we might actually be there for a thousand in a month.

Jase (32:25):

Yeah, because we went about 200 a week. So we should probably hit that by the time this episode goes live, which is crazy.

Danny (32:30):

I know. It's been wild. So thank you again just for everybody that keeps on sharing the podcast and and just giving us all the good

Jase (32:39):

We are loving the fact that user actually get a kick out of what we're talking about because this is stuff that we talk about all the time, all the time, all the time. So we're glad to have you along with the conversation. We want to encourage you to take part in these. I know a bunch of you have sent voice notes and stuff already. Just keep 'em coming in because we will fit them into conversations. Obviously when we're beginning this. We're just trying to cover a wide range of subjects, but we're going to be here for the long run, so your voice nos are going to go a long way to helping build the shows for the future.

Danny (33:12):

Absolutely. And also the exciting thing as well is that we've still got, at this point of recording actually, we've got a couple episodes already recorded with some awesome guests that we will be releasing in the near future as well with even awesome lineup to come with other people that are coming on. So yeah, there's some really, really good stuff and cracking conversations headed your way.

Jase (33:37):

And if you can think of anyone else that we probably should speak to, if anyone's making ways, I

Danny (33:42):

Want to hear from

Jase (33:42):

That person. I personally ask some questions, but you want us to say, Hey, go here, get on the show, ask you some questions. Please feel free to let us know who we should be talking to. That'd be really, really good. But yeah, the conversations that we've had so far have been so good. No,

Danny (33:59):

It went down really well. I think even we had one person that sent in a voice note,

Speaker 5 (34:04):

So I don't know how long I'm in this podcast, but it's fucking really, really good man. Genuinely really, really good. I'm listening to him and he's talking about how the retreat and the community and all that and he's talking about, he's almost saying in a much, much nicer way. The thing that I've been saying in that a bunch of conferences about mindset is great and all that, but I've really won practical stuff. Fucking your boy RU is talking to me. So I am quite excited about coder now and I am just quite amped up in general, so that's cool. Anyway, I'm going to get back to my podcast.

Danny (34:51):

That is cool, Stevie. That is cool. That is cool man. And yeah, it's cool. That is totally resonated with you, but I think what Ru obviously covered off in that podcast was just with the whole aspect of trying to build community to learn from each other and help each other grow, I think is going to speak to a lot of people. Yeah, glad you liked it, Stevie. Keep listening, keep giving us the feedback. Stuff

Jase (35:20):

Like that is golden obviously, especially the bit where you said this is fucking class, I'll take that all day. But no, just thoughts on previous episodes or guests or things or if you've got any questions, stuff, stuff like that is great because it means we can actually have conversations about it and

Danny (35:35):

Really stuff that you're wanting to hear as hundred percent. And also please, if you don't mind, leave us a little five star review. It goes a long way to help with the podcast and being found on Spotify and on Apple Podcasts. But till the next time, see you. I'm getting married this weekend. Nobody cares. Jason, it's bad. Do we have another one actually before you get married? No. Okay. So Jason, what are you getting up to? Next weekend. This weekend what? This weekend.

Jase (36:18):

This podcast goes live next week.

Danny (36:19):

Oh, I got really confused. I got so confused this weekend. I was like, this weekend? Yeah, this weekend. Honestly, I was like, Chris is going to kill me. Yeah, it's this weekend. No, right. Okay. So what is this weekend? Yeah. Do you get married this weekend? This weekend. That's so exciting. So exciting. I'm so excited. How are you feeling about it?

Jase (36:45):

Why is it always me? So I'm getting married this weekend and I'm really excited. How excited are you Danny for it?

Speaker 4 (36:54):

I'm really excited.

Jase (36:57):

Do you have any kind words for why is this always me? You wanted to be number one? No, no, no, I don't. Danny, back to the wedding. Do you have any words of advice? I mean, you're a married man,

Speaker 4 (37:10):

Happy wife, happy life,

Jase (37:15):

And yeah,

Speaker 4 (37:16):

Make sure you say nice things.

Speaker 3 (37:33):

Jesus.

Speaker 4 (37:34):

That's very great. Just say nice things about your wife on this beach. Don't drink too much.

Jase (37:42):

Should I turn around when she's walking down the aisle?

Speaker 4 (37:46):

Yeah.

Jase (37:47):

Yeah. Do you know, is it worth the surprise? Yeah. Yeah, yeah, yeah. Cool, cool. Yeah. And

Speaker 4 (37:58):

Why are.