RECORDING January 2023 - 69

is, " I'm really big in Japan. "
Continued from page 66
really deserve to be. It might be a little bit different
for different people, so it's good to know
where that comes from, right? I mean, you want
to try to understand yourself, " Well, why am I
feeling that way? Where do I get this notion
that somehow, I'm not the real thing? "
Now a beautiful way to counteract that is to
remember the story I told you earlier, which
came from Julia Cameron's book, is that actually
you can't be an imposter if you're writing
something that comes from your own actual
life. It may not be a saleable piece of music, but
if it's something that's coming from your own
life experience, from your own particular set of
skills, your gifts, your genes, then it's actually
not only that you are not being an imposter,
but you are bringing something into the world
that nobody else can. Just keep that in mind.
But if you're being haunted by a sense that you
don't deserve to be in the game-I'm gonna
sound like a typical psychologist right now-
that probably comes from dear old Mom and
Dad, who might have said, " What are you
doing tinkering around the guitar? Do something
useful. What are you doing playing the
piano? Go up and study your math. " I mean,
there are so many people in the world who have
been told that what they are doing is a waste of
time, that creativity is a waste of time.
In my own life, I know very few people whose
parents have really supported their child's creativity
to the point that they say, " Listen, if you
want to make this your life, go for it. Go for it if
you're willing to face the instability of that, and
all the whims of TAXI and whoever else. Go for
it-do it. " That takes a lot of courage to make
that your thing, but if it's who you are, many
people just have to do it. You gotta do it.
Then Imposter Syndrome, I suspect, would typically
come from somebody who stood on your
delicate creative soul at some early point in
your life, and you haven't quite gotten over it
yet.
One of the manifestations I see of what I think is
the Imposter Syndrome is people who will say,
" Oh, yeah, my music's up on Apple Music, " or wherever,
" and I had 12 people from Germany and
Slovakia download it. " Yeah, that's something:
Somebody from the other side of the world heard
your music, appreciated it enough to maybe pay
for a download or stream it, whatever. So there's
definitely some value, and I believe should take
ownership and pride in that and feel the reward.
But at the same time, I've heard that a lot- " Oh
yeah, they love me in Japan. " That's the mantra of
rock stars who get dropped from their record label
RECORDING January 2023 69
So what are they doing when they're saying that?
Maybe it's not Imposter Syndrome, but what are
they trying to accomplish from a psychological
perspective by taking that little thing and making
something more important out of it to prop themselves
up... I guess?
Yeah, in my mind, Michael, that just speaks to
how painful it is to not be seen when you want
to be seen. We use that term in psychology a
lot-people want to be Seen, with a capital S.
So the person saying, " In Japan, seven people
saw me and they found me relevant. " You
know, we all want to feel relevant. So it's a way,
I guess, that a person is helping themself to feel
a bit better, which in my mind would be okay if
it helps them to keep going.
The main thing I'm interested in in this work
with all of you is that you should keep going.
Keep doing what you love, take it as deep as you
can, learn the things you need to learn, and if
somebody in some godforsaken place
downloads one idea of yours, celebrate, why
not? You gave something to somebody. Now, if
you're gonna use it as an excuse for just resting
on your laurels and not continuing to grow,
well, then you've limited yourself. If you want
to be in Deepak Chopra's field of infinite possibilities,
then Timbuktu is probably not quite
enough for you, so you may want to keep working
it. Keep workin' it.
Don't miss the final part of this interview next
month!
http://recordingmag.com/total-recording

RECORDING January 2023

Table of Contents for the Digital Edition of RECORDING January 2023

Fade In
Fast Forward
Roland SPD-SX PRO Sampling Pad
Session Log with Marc Urselli: Trasfrontera Japan, taiko drums, Kaoru Watanabe and Anna Sato
Soundware Showcase: Toontrack Hitmaker SDX
PreSonus Studio One Version 6
Hugh Padgham: Behind the Gates of the Hitmaker
LEWITT BEATKIT PRO
Soundware Showcase: Spitfire Audio Abbey Road Orchestra: Low Percussion
Studio 101 with Joe Albano: An Intro to Drum Recording
sE Electronics T2
Solid State Logic SSL CONNEX
API 3122V
Inside the Studio with Mark Hornsby: Steve Gadd
Plugin Outlet: Strymon BigSky Plugin
Panda Audio Future Impact v3
EFNOTE 3X & EFNOTE 7
Readers’ Tracks
Fade Out: New (Year’s) Studio Resolutions
RECORDING January 2023 - Intro
RECORDING January 2023 - Cover1
RECORDING January 2023 - Cover2
RECORDING January 2023 - 1
RECORDING January 2023 - 2
RECORDING January 2023 - 3
RECORDING January 2023 - Fade In
RECORDING January 2023 - 5
RECORDING January 2023 - 6
RECORDING January 2023 - 7
RECORDING January 2023 - Fast Forward
RECORDING January 2023 - 9
RECORDING January 2023 - Roland SPD-SX PRO Sampling Pad
RECORDING January 2023 - 11
RECORDING January 2023 - 12
RECORDING January 2023 - 13
RECORDING January 2023 - Session Log with Marc Urselli: Trasfrontera Japan, taiko drums, Kaoru Watanabe and Anna Sato
RECORDING January 2023 - 15
RECORDING January 2023 - 16
RECORDING January 2023 - 17
RECORDING January 2023 - 18
RECORDING January 2023 - 19
RECORDING January 2023 - Soundware Showcase: Toontrack Hitmaker SDX
RECORDING January 2023 - 21
RECORDING January 2023 - 22
RECORDING January 2023 - 23
RECORDING January 2023 - PreSonus Studio One Version 6
RECORDING January 2023 - 25
RECORDING January 2023 - 26
RECORDING January 2023 - 27
RECORDING January 2023 - Hugh Padgham: Behind the Gates of the Hitmaker
RECORDING January 2023 - 29
RECORDING January 2023 - 30
RECORDING January 2023 - 31
RECORDING January 2023 - 32
RECORDING January 2023 - 33
RECORDING January 2023 - LEWITT BEATKIT PRO
RECORDING January 2023 - 35
RECORDING January 2023 - 36
RECORDING January 2023 - 37
RECORDING January 2023 - Soundware Showcase: Spitfire Audio Abbey Road Orchestra: Low Percussion
RECORDING January 2023 - 39
RECORDING January 2023 - Studio 101 with Joe Albano: An Intro to Drum Recording
RECORDING January 2023 - 41
RECORDING January 2023 - 42
RECORDING January 2023 - 43
RECORDING January 2023 - sE Electronics T2
RECORDING January 2023 - 45
RECORDING January 2023 - Solid State Logic SSL CONNEX
RECORDING January 2023 - 47
RECORDING January 2023 - API 3122V
RECORDING January 2023 - 49
RECORDING January 2023 - Inside the Studio with Mark Hornsby: Steve Gadd
RECORDING January 2023 - 51
RECORDING January 2023 - 52
RECORDING January 2023 - 53
RECORDING January 2023 - 54
RECORDING January 2023 - 55
RECORDING January 2023 - Plugin Outlet: Strymon BigSky Plugin
RECORDING January 2023 - 57
RECORDING January 2023 - Panda Audio Future Impact v3
RECORDING January 2023 - 59
RECORDING January 2023 - EFNOTE 3X & EFNOTE 7
RECORDING January 2023 - 61
RECORDING January 2023 - 62
RECORDING January 2023 - 63
RECORDING January 2023 - Readers’ Tracks
RECORDING January 2023 - 65
RECORDING January 2023 - 66
RECORDING January 2023 - 67
RECORDING January 2023 - 68
RECORDING January 2023 - 69
RECORDING January 2023 - 70
RECORDING January 2023 - 71
RECORDING January 2023 - Fade Out: New (Year’s) Studio Resolutions
RECORDING January 2023 - Cover3
RECORDING January 2023 - Cover4
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