Recording - July 2019 - 59

Continued from page 56
anybody can weigh in on it. I've only been
doing this for about six months, and one of
the processes I use is I don't get married to my
stuff. If I spend two or three hours working
on a cue of some kind, I have no problem with
just dropping it and saying, "No, I'm not feeling this," and I'll move on to the next thing
and work on that. Does anybody have any
thoughts on that?
Marcus: I would be careful with being OK
with... It's great to be able to move on, and it's
great to know when something's not working.
But be careful with being OK with throwing
stuff out, because then you get comfortable
with throwing stuff out, and then you get
used to being like, "This isn't that good."
Either figure that out quicker, like, "I'm not
really feeling this yet," or after the two or
three hours, make it work. Make it work . Not
being married to the track, and when I say
that-I don't know what I said earlier-but
it's more along the lines of where it ends up is
fate; which publisher it ends up with could
end up being who called that day.
So I'm not married to where it ends up with
like, "Well, I gotta get it to my big-money guy,"

and, "I gotta make sure that this happens."
Write the cue, then go to the next one, and
then maybe the next day listen to that first cue,
and you might go, "You know what? This isn't
that bad, all I gotta do is switch out the
drums," or, "This might be OK for this
publisher, because they need stuff that sounds
like this. So let me stop trying to make this
sound like an EDM smash hit and just take a
couple of the elements out, and maybe I can
just get this in some sort of hybrid thing."
So it's cool to be not married to the endgame,
but don't get comfortable being like, "This
sucks-next one." Because then you end up
with 10 or 11 things that were just sitting
there, and you didn't know that they could be
something if you really went back to them
another day, maybe.
Randon: Usually, if I'm just not feeling it on
something, I save it off to a different folder
and I start something different. But nine times
out of 10, I revisit it later and turn it into
something else. I revisit a few weeks later and
I'm like, "Oh, damn, that wasn't bad."
Marcus: Sometimes it doesn't work, but try
to shorten that time period. I definitely do it,
and she can attest to that. We are sitting there
writing, and, I mean, I could be 40 minutes in
and have a lot of it done, and I just get out of
the mind of being this close and I get about

this close, and I go, "Ahh, not there." But get
that earlier; get that before three or four
hours, because in three or four hours you
should be done and be OK with moving to the
next one. So shorten that time with realizing
that this isn't what you're looking for.
Keith: Yeah, I'll jump in on that one too. I've
run into situations where three to four hours
in I have the same thought, "This isn't that
good. Maybe I should just sit on it for a
while." But my problem is I never go back to
stuff-ever. So if I don't finish it and get it
out, then it's just three to four hours of
wasted time. So at that point I'll finish the mix
wherever it's at, and then maybe a couple of
days later go back and listen to it and say,
"Hey, I think it's done after all." But if I ever
give up on something, it happens within the
first 10 minutes. I don't give up on something
I've put in three to four hours on.
I gotta say that I am so glad that none of you guys
have given up, because my staff and I are proud to
serve people like you. We really are. You guys are
an amazing example of everything that every TAXI
member should aspire to be. Not that they can be
exactly like you in every way, but you guys... You
know, people say sell dreams. We don't sell
dreams-everybody in the room has already got
the dream. We sell the tools that help people
achieve the dream, and you guys are a great example of that. Thank you, guys! [Applause]

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Recording - July 2019

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