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Cause you know, we also when you go on a forty city tour, you also have forty sound checks
where you can iterate and rehearse and stuff, and that's how we treat sound checks.

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I often will be like, Hey, I know this is what we decided, but I'd love to try this other
way.

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Hello and welcome to the Keyboard Chronicles, a podcast for keyboard players.

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I'm your host, David Holloway, and I'm excited as always to be here with you.

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I'm really pleased to introduce Mr.

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Danny Silverston.

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Danny is part of the amazing outfit called Couch.

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If you're a fan of bands, and these guys sound different to these, but just talking about
broad genres, you know, Wolfpeck, Snarky Puppy, Lawrence, just really

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Nicely integrated, beautiful sounds with a brass section, great keyboards, both analog and
digital, then couch are definitely someone to check out.

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We talked to Danny about his career to date, his career prior to Couch and with Couch.

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he has some great insights on the challenges of translating what they do on record to the
live environment.

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Yeah, lots to enjoy here.

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So yeah, I'll let you jump in and enjoy the interview and I'll see you after the show.

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Danny, it's an absolute pleasure and honor to have you on the show, sir.

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How are you this fine day?

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I'm doing great, David.

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It's an honor to be here.

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I'm I'm excited to chat.

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No, we're very excited to chat with you.

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So, um, I thought we'd kick off, Dave, just talking a little bit about your musical
upbringing because I think I'd like you've had quite an interesting musical upbringing.

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Tell us about the early years and what got you into music in the first place.

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Yeah, sure.

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So I, you know, like many other little kids, started playing classical piano when I was
maybe in kindergarten or first grade just because that's what my mom said I was gonna do

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and that's what my sister did, and so that's what I did.

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I think around maybe fifth grade or so, I started to become a little more interested in
pop music and started to become more interested in like using my ears in addition to just

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reading whatever my piano teacher gave me.

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And I think once I hit middle school and early high school, that's when I got a lot more
into jazz and it sort of took up a lot more of my time once jazz became a thing for me.

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And there was a period of time in high school when I was taking classical and jazz lessons
for about a year or two.

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But ultimately I decided that jazz was for me.

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And so that's kind of what I ran with for high school at least.

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As you know, most teenagers aren't looking towards jazz.

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Yeah, it's a good question.

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I think, you know, in middle school was I played trumpet also.

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I don't play anymore.

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I don't have the, you know, breath support for that.

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But I was in the, you know, like symphonic band and that was all good and stuff.

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But there was also a jazz band after school, which was just our band teacher put together
a group and it was nothing crazy.

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It was just like, you know, playing basic stuff and just dipping our toe into jazz.

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But I remember like actually

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digging it and thinking like, this is really fun and kind of exercises a different muscle
than the other stuff that I really enjoy.

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And that prompted me to, there were other people kind of in my class who I knew who were
into jazz at that point, like had ensembles outside of school they were going into.

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And so I joined one of those that was just this group that met I think once a week.

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And yeah, I was going to start playing piano with this little jazz group.

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And I remember after my first rehearsal with this group,

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I literally cried.

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I was like, I can't do this.

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Like they were just they dropped so many terms and language that I just did not
understand.

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Even something like a two five.

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Like everyone knew what a two five was and I had never heard that before.

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But then kind of the learning curve commenced and uh you know, now I'm where I am now.

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Um but I think that I think, yeah, middle school, just like seeing that there was this
thing called improvisation and and harmony, I think I found more interesting.

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And so yeah, maybe that was it.

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And and that's great.

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And obviously the education around the playing the piano went well.

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So what were the things that you had good teachers?

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What was it that really, you know, kept your passion going for the instrument?

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That's good question.

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I definitely had great teachers who, you know, I never felt I think early on I felt like
practicing was a chore.

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And I think practicing not to say that it's a chore, but it always is work.

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And I think it absolutely is work and there's no way around that.

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But I think I had teachers that kind of never made me feel too like, you know, you just
hear about these like super intense classical piano teachers that want their students

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practicing for like, you know,

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five hours a day and that that wasn't me and that wasn't my experience.

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and I think my teachers kind of just wanted to foster my like musicality and interest
without kind of being overbearing.

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I also think just like listening and just finding music that I began to really love also
made me more interested in the instrument.

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And I'm sure we'll talk more about that.

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But but I think kinda once I unlocked this thing I could do, which is I could learn from
listening to music that I like.

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And when I heard something I liked, I could learn that and like

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develop my vocabulary that way.

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I think piano and jazz piano and just music kind of took on a different like dimension for
me.

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Yeah, no, absolutely.

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And so I'm assuming Danny was sort of late teens sometime.

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you spent a lot of time at a camp, um Crane Lake camp.

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And then this is obviously before Couch took off.

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So, you know, w as a song leader or leading music in sort of a community focused
environment, how did that sort of help you in your development as a musician and as as a

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performer too, I'd probably argue.

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Wow, you did your research.

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That's true.

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That I went to camp, Jewish summer camp for eleven years.

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Um I was a counselor for a few years.

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Uh the skills absolutely translate.

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I think one thing that people take for granted about like just playing concerts and and
stuff is that yes, you need to rehearse some music and you need to make sure that you're

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dialed in musically, but a big piece of it is just making sure that maybe the the biggest
piece of it is making sure that an audience member feels

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engaged from the moment they step in to the moment they leave.

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And it's about these like talking points between songs or it's about, you know, when do
you choose to introduce the band or when do you choose to kind of put your slower songs in

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the set.

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Um and just you know, making people people connected to you throughout the whole thing.

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Besides like just I enjoyed the music.

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I actually feel connected to what's going on.

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I think being a Jewish song leader and actually Zach, who's our guitar player and manager,
also was a song leader at his camp, the

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reason we met is because we were song leaders together at our synagogue that we went to
growing up.

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Um, you know, he understands this too, which is that being a Jewish songleader for, you
know, anywhere from like a group of kindergartners to a congregation of, you know, adults

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is challenging and that, you know, you you need to kind of grab the attention of these
people that could have very, very limited attention spans and make them feel like, okay,

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it's worth my time to like be in this space and be singing or whatever it is that we're
doing.

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That's really hard.

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I think like song leading in high school, I wasn't great at it at the beginning.

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Just like I could play songs fine on my guitar and I could sing okay.

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But the the act of like putting on kind of a variety of show of sorts of just like I'm
gonna be the C for this thirty minutes that I'm in here with you eight kindergartners, and

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there's never gonna be a dull moment.

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We're gonna sing and the songs will be great, but also you're gonna feel like engaged and
part of it the whole time.

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Um, I think that's a b a big thing.

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and Jewish songleading.

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And at camp it was I wasn't ever songleading kindergartners, but I was leading services
along with some other songleaders who happened to be very formidable musicians, which was

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really fun.

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And we would kinda like spice up a lot of the arrangements to these songs.

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And it was fun.

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I got to we had like a keyboard, but I also would play guitar and I'd play this djembe
drum that we had.

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So I got a lot better at hand percussion.

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That's one thing I I got better at with being a Jewish songleader.

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you know, I've even

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I don't think I have with couch, but with my last band I was in college, I would track
congas and stuff like that on the record 'cause I just was good enough at that type of

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thing.

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But all I was saying was that, you know, for at at camp we were leading services for like
the entire camp, which like includes kids from ages ten to eighteen basically.

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And that's a different thing entirely, but

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But also like, you know, the the feeling you get when like everyone's singing and like
super engaged and having a great time.

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Exactly right.

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No, and it sounds like an amazing training ground.

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And I mean you've mentioned there yourself.

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So talk talk about sort of leaving high school and the early years before couch.

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You've just mentioned you're in a previous band.

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Tell us about that era and and what sort of you learnt from those years.

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Yeah.

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yeah, totally.

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So I graduated from high school thinking that I didn't want to pursue pursue music, or at
least I didn't think that was the right choice for me.

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Whatever that means to pursue music.

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I think that's even kind of a reductive way of putting it.

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But I chose to go to liberal arts school because I also had these other interests.

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I studied math and I still do love math.

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And I also was when I was looking at schools, I was specifically interested in schools
with a good jazz program because I thought like

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Well, I wanna, you know, study whatever I do, math, physics, whatever it is.

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I also wanna keep playing jazz.

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Although it wasn't like a I want to become a professional jazz musician.

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I think part of that comes down to like in high school, in the jazz programs, I don't
know, like becoming a professional jazz musician doesn't feel like the most attainable

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thing in the world when even if you're good, but like if you're not at that like elite
level, if you're not like the Joey Alexanders of the world, it feels like wow.

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you know, you can be so good and still just scraping by playing at these clubs wherever
you're playing.

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But anyway, went to liberal arts school and I just so happened to in the like the first
week, like first or second week of college, meet this group of folks and we started a band

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called Orange Guava Passion.

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Our stuff is still out in Spotify.

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You can totally listen to it.

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That was being in Orange Gava Passion and like being in kind of a, you know, music
director role and and an arranger type role.

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Um

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was totally formative for me, just like learning how to play this style of music, which is
like pop music, but with horns with elements of R and V and soul and stuff.

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And Orange Robin Passion was a great band.

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We had some really, really excellent musicians who still are playing music and doing it
professionally in some capacity.

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and some of even like, you know, including all the couch gigs, still like some of my
favorite musical memories are these like house parties we'd play that just

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were shoulder to shoulder and just like super sweaty and electric, basically.

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And I look back very fondly on Orange God fashion in those years.

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And we we made music, you know, like we made an EP and then we released two singles after
that.

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And the band sort of dissolved once we graduated.

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And I think people had just other projects they were working on and stuff.

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Um but I definitely think I I'm I'm not close the musician I am today without having that
band and that in that experience.

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Yeah.

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Absolutely.

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Sounds like it.

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And so I mean, for you, Danny, what was the transition from that to what you're doing now?

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It I wouldn't say it was little awkward, but it was kind of like there was a a period of
time when I kinda had a foot in both camps and that was definitely challenging.

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Like couch most most of the guys in couch are a year above me.

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and so I was still in college at the time that couch was starting to like pick up and
actually like play gigs and stuff like that.

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Um and I was still committed to my other band, um at Brown.

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and so yeah, there were days when I would

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be in Providence, that's where I went to school at at Brown.

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And I'd drive up to Boston, which is about an hour, to go to rehearsal.

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And as soon as the rehearsal ended, I had another rehearsal scheduled for OGP that I would
race back down to to go to that.

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and you know, I just did it for the love of the game.

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But I think at even at that point I didn't know what couch was gonna be.

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And so, you know, I knew that I love my bandmates and couch and I really like the music.

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Um

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But I don't think at that time I felt the same ownership over the product with Couch that
I do now.

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I think since then, and that was like, you know, twenty twenty one, twenty twenty two ish.

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Um since then with couch, I've gotten a lot more involved with writing, arranging, um,
production, just more aspects of the musical product that is couch.

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And at the time I was more like, Yeah, yeah, I'm gonna come up.

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But I also still have this other band to worry about.

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So

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and so y you raise a good point there, Danny, about not even knowing what couch was really
yourself in those early days.

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So for the sake of those unaware of the band, tell us what couch actually is.

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Couch is a band of seven individuals that met mostly in high school, went to different
high schools.

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And at this point, Couch is an internationally touring band.

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We play certain kind of pop music that has horns and has elements of RB and soul and kind
of live instruments.

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I mean our show is very live.

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There's not really tracks at all.

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And we've really just grown our live following.

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Our biggest show ever was in Boston this past

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fall which was at a venue called Roadrunner for over thirty five hundred people or for
thirty five hundred people.

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And we just played our second biggest show biggest headline show in London for around two
thousand people, which was really, really amazing.

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Uh and we just wrapped up this forty city big talk tour.

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That was our debut album that came out in the fall.

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So yeah, we're a band and we're growing and we want to keep growing and playing more gigs
and, you know, making music.

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Yeah, no, absolutely.

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00:13:50,216 --> 00:13:57,084
And so tell us about um I know you've sort of covered that you had your foot in both
camps, but what led to you actually joining CADS?

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What was the approach there?

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And did you have to audition or because you were known with Orange Gravel, you didn't need
to?

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What what was the situation there?

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So I've actually been a part of Couch since high school, and Couch kind of was Zach,
who've already mentioned, who I knew from the Temple.

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His kind of group collection of musicians he knew from the greater Boston area.

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00:14:16,899 --> 00:14:18,310
And it was a random collection.

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It was me that he knew from Temple.

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It was, you know, other guys that he met through his girlfriend at the Times band or
school or whatever.

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00:14:26,330 --> 00:14:31,099
You know, Tema he met at a Lawrence concert and I went to high school with Tema.

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Eric Tarlin, our sax player.

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knew Jeff from the Allstate jazz band and Jeff knew Zach from this band that they were in
at the time.

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Whatever, a bunch of different connections.

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And so early on, Zach was like, Danny, do you wanna record music for this song I'm making
for this project?

203
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And I knew it was couch, but it was I guess the vibe at that at that point was less like
I'm making I'm

204
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like having this band called Couch and we were gonna start by making the song.

205
00:15:01,982 --> 00:15:06,116
It was more like, I'm working on a song, you wanna help me with this.

206
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And I was like, Yeah, totally.

207
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And so, you know, I remember going over to his house and doing these like four to eight
hour recording sessions just in his basement on my Nord at the time.

208
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And yeah, so I was kind of a part of Couch for all of college.

209
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Um, even though I just we didn't do that much.

210
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And so I think I was one of the

211
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more I was passively a member, I I s I suppose you could say.

212
00:15:29,939 --> 00:15:34,621
And just like Zach and Tema were writing over FaceTime and stuff like that.

213
00:15:34,621 --> 00:15:44,765
And I was just kind of, yeah, on keys whenever they would need a keys player, but that
didn't happen necessarily until things got more serious.

214
00:15:44,765 --> 00:15:53,209
I think in in once COVID happened, that was also kind of a big step for me because I went
on a on like a little COVID quarantine retreat with a few of the people.

215
00:15:53,209 --> 00:15:56,970
And that's where we, the four of us, which was me, Zach, Tema and Eric

216
00:15:57,022 --> 00:16:00,524
Um, Zach and Guitar, Tema on Vocals, Eric on Saks.

217
00:16:00,924 --> 00:16:04,607
that's where we wrote Blackberry Lane because that's a song of ours.

218
00:16:04,607 --> 00:16:09,671
And Blackberry Lane is the address of this house that we were staying at, which is Zach's
grandparents' house.

219
00:16:09,671 --> 00:16:19,818
Um, I think at that point I felt, okay, now I feel like I have kind of more of a stake in
this like musical product.

220
00:16:19,818 --> 00:16:25,502
Um, and I've I've recorded at that point on all the songs that had came out to that point,
which was like,

221
00:16:26,284 --> 00:16:28,155
The Nana song was our first single.

222
00:16:28,155 --> 00:16:29,966
Then we released I don't remember the order.

223
00:16:29,966 --> 00:16:33,757
We released a cover of Conjunction Junction, which is pretty insane.

224
00:16:33,757 --> 00:16:35,958
And then Easy to Love and Fall Into Place.

225
00:16:35,958 --> 00:16:37,219
I don't remember the order.

226
00:16:37,219 --> 00:16:39,450
But I wasn't really that involved in writing those songs.

227
00:16:39,450 --> 00:16:44,212
I recorded keys, organ, clove on all those, but not so much the writing.

228
00:16:44,386 --> 00:16:45,166
You know, great.

229
00:16:45,166 --> 00:16:51,949
And I mean, I I think it's amusing that you said that w you know, one of the the meetings
between people in the band was at a Lawrence concert.

230
00:16:51,949 --> 00:16:56,818
Because I mean couch couches is very distinctive sound from Lawrence and vice versa.

231
00:16:56,818 --> 00:17:03,094
They're very different bands, but there's also some similarities as far as makeup, brass
section, stu stuff like that.

232
00:17:03,094 --> 00:17:11,117
But what was going back to that COVID um retreat or even prior to that, how did you decide
what the sound was going to be?

233
00:17:11,117 --> 00:17:13,474
And I understand it's not a sound, but just

234
00:17:13,474 --> 00:17:19,016
What y you all just agreed from the start on what roughly this this project was going to
sound like?

235
00:17:19,406 --> 00:17:24,479
Part of the reason that we bonded at the beginning is that we had these similar tastes in
music.

236
00:17:24,479 --> 00:17:30,814
It's, you know, like me and Zach bonded over Snarky Puppy in Wolfpeck in high school and
that was those were big for us.

237
00:17:30,814 --> 00:17:33,656
And then Zach was the first guy to introduce us to this band, Lawrence.

238
00:17:33,656 --> 00:17:41,561
I mean, you gotta credit Zach for kind of being a fan of Lawrence when they were kind of
more on the ground floor, like from very early on.

239
00:17:42,121 --> 00:17:49,036
and so I think Lawrence was, you know, we know those guys and they're a great band, very,
very talented, all of them.

240
00:17:49,036 --> 00:17:52,479
I think early on we drew a lot of inspiration from their music.

241
00:17:52,479 --> 00:17:58,104
I think, like you said, I think our paths have diverged a little bit in terms of the sound
that we cr that that we make.

242
00:17:58,104 --> 00:18:06,992
But I think yeah, and you know, I w we we get asked this a lot, like in interviews or VIP
sessions, whichever that happens before the shows, that's irrelevant.

243
00:18:06,992 --> 00:18:10,866
But we get asked this a lot of like how do you choose your sound or how do you form your
sound?

244
00:18:10,866 --> 00:18:13,048
And and I I really think it's we don't go to it.

245
00:18:13,048 --> 00:18:14,419
It sort of more comes to you.

246
00:18:14,419 --> 00:18:15,704
And it's like we all

247
00:18:15,704 --> 00:18:22,657
have the musical tastes and sensibilities that we have, which are a product of the music
that we listen to and we like and that that's kind of seeped into our bones.

248
00:18:22,657 --> 00:18:30,040
And that'll inform, you know, me when I say, actually, I want that section to go like this
with this group or have these chords.

249
00:18:30,040 --> 00:18:32,621
Less like, I want it to sound like this product.

250
00:18:32,621 --> 00:18:33,831
I want our music to sound like this.

251
00:18:33,831 --> 00:18:36,563
And more like, no, it feels feels right to me for it to sound this way.

252
00:18:36,563 --> 00:18:40,854
And I kind of think we were always following our hearts in that way and making that kind
of music.

253
00:18:40,854 --> 00:18:43,885
It's just that our tastes have totally evolved.

254
00:18:43,885 --> 00:18:45,566
So in COVID,

255
00:18:45,566 --> 00:18:52,890
at the Black Bear Lane retreat, for instance, um, you know, definitely Lawrence is an
influence.

256
00:18:52,970 --> 00:18:56,442
The the song Blackberry Lane has more of like a laid back kind of feel.

257
00:18:56,442 --> 00:19:05,537
It goes like And I think like D'Angelo is an influence for us still.

258
00:19:05,537 --> 00:19:07,258
That definitely seeps in.

259
00:19:07,258 --> 00:19:10,800
Stevie Wonder, there's like a key change up by a minor third.

260
00:19:10,800 --> 00:19:11,563
Lots of things.

261
00:19:11,563 --> 00:19:15,222
But I think that that's what it's about is just, you know, we have artists that we

262
00:19:15,662 --> 00:19:22,603
really look up to that have influenced us and that we've kind of learned their vocabulary
and and that just seeps into the music.

263
00:19:22,603 --> 00:19:23,404
Yeah.

264
00:19:23,638 --> 00:19:24,778
No, it absolutely does.

265
00:19:24,778 --> 00:19:29,102
And obviously I'm interested now about your actual role within the band.

266
00:19:29,102 --> 00:19:39,319
So you're one of those amazing keyboard players that I know I'm jealous even as a weekend
warrior keyboard player where you never have to worry about playing a brass a brass patch

267
00:19:39,319 --> 00:19:42,501
on a keyboard as a general rule, I'm imagining, with a great brass section.

268
00:19:42,501 --> 00:19:51,497
So just tell us about how you approach playing keyboards because you have a great mix of
sort of some great e electric pianos and then you've got some great synth sounds.

269
00:19:51,497 --> 00:19:52,502
How you approach

270
00:19:52,502 --> 00:19:57,041
Sort of creating your own sonic real estate within the band when it is such a big band.

271
00:19:57,410 --> 00:20:03,956
Yeah, I think the the approach is I kind of have several tools at my disposal that I feel
like I know how to use and deploy.

272
00:20:03,956 --> 00:20:10,131
I mean, the first is, like you said, like e piano or acoustic piano or something like
that, as like a bass layer.

273
00:20:10,131 --> 00:20:19,529
And I think a lot of most of our music at the beginning had this core layer of electric
piano, like a Rhodes or a Whirly, even though it was just a sim on my nord.

274
00:20:19,529 --> 00:20:23,412
But there's that and that has a sound and a particular purpose.

275
00:20:23,412 --> 00:20:26,366
There's the organ and playing organ is

276
00:20:26,366 --> 00:20:35,863
is I think an area where I've evolved, particularly like in the last year or two, after
receiving some feedback from a guy named Kevin Gastongwe, who maybe you're familiar with.

277
00:20:35,863 --> 00:20:39,336
I'm surprised.

278
00:20:39,336 --> 00:20:40,747
He is an absolute monster.

279
00:20:40,747 --> 00:20:45,781
I think he's one of the best like keys players, session players, gigs, keys players out
there.

280
00:20:45,841 --> 00:20:51,586
And I got to know him because we opened for Corey Wong for a bunch of dates in the US and
in Europe.

281
00:20:51,586 --> 00:20:52,226
And

282
00:20:52,226 --> 00:21:00,459
Basically at the time I would I was treating organ more like a patch and I was kind of
like playing a chord on organ and then hitting the sustained pedal on my left foot and

283
00:21:00,459 --> 00:21:01,283
then just leaving it there.

284
00:21:01,283 --> 00:21:06,077
Um thinking, okay, great, I played organ and now we have that texture in the song and it's
good to go.

285
00:21:06,077 --> 00:21:10,820
And Kevin actually brings a real, you know, B three to the gigs.

286
00:21:10,961 --> 00:21:18,232
And his biggest piece of feedback for me, just listening to our show night after night,
was like, you gotta get a volume pedal.

287
00:21:18,232 --> 00:21:24,244
For the organ and you gotta hit the Leslie because it's not just this patch, it's this
like breathing kind of living thing.

288
00:21:24,244 --> 00:21:26,484
And I was like, damn, that makes total sense.

289
00:21:26,484 --> 00:21:33,166
And so since then, yeah, I've gotten the volume pedal, I've gotten another little switch
for hitting the Leslie on and off.

290
00:21:33,166 --> 00:21:42,649
I'm not still nowhere near to where Kevin is, and it doesn't really sound like an or I
mean it sounds closer to a real organ player, but still it's not quite there.

291
00:21:42,729 --> 00:21:46,634
But all that's to say I have that texture to play with, and I think the organ.

292
00:21:46,634 --> 00:21:56,411
often can occupy the higher register in couch songs or it can just give it like more of a
I don't know, like a warm, like John Mayri, like gravity type sound.

293
00:21:56,411 --> 00:21:59,643
That's kind of another place where I'll deploy the organ.

294
00:21:59,643 --> 00:22:01,885
And then you have synths.

295
00:22:01,885 --> 00:22:08,239
Um and I think since I've gotten still have a long way to go and I'm still totally
intimidated by like everything that's out there.

296
00:22:08,239 --> 00:22:15,468
But I've learned a lot more about synthesis in the past year or two after getting one of
these my

297
00:22:15,468 --> 00:22:16,938
Roland Juno 106.

298
00:22:16,938 --> 00:22:17,419
Yeah.

299
00:22:17,419 --> 00:22:26,261
and just starting basic, you know, just like ADSR and chorus and the envelope and stuff.

300
00:22:26,561 --> 00:22:37,124
And so the the synth sounds have started to make our way into the music a little more like
since the early days, just as the music kind of takes on more of like a synth pop type of

301
00:22:37,124 --> 00:22:37,644
vibe.

302
00:22:37,644 --> 00:22:45,486
And I think I've gotten a lot better at crafting these synth sounds, whether it's kind of
like a warm

303
00:22:45,880 --> 00:22:57,003
kind of pad that's gonna live underneath a piano layer, or whether it's more like a bouncy
like square wave that's gonna be like a chord note layer, or if it's a leaf patch that's

304
00:22:57,003 --> 00:22:59,634
gonna be like super saw.

305
00:22:59,634 --> 00:23:01,515
Or if it's what else can you do?

306
00:23:01,515 --> 00:23:03,175
Whatever, whatever it is.

307
00:23:03,875 --> 00:23:13,358
I think if you like look at the couch set and and look at like the new tunes on the new
album and how those work, there's a lot more sense in those.

308
00:23:13,358 --> 00:23:14,186
And

309
00:23:14,186 --> 00:23:21,772
Yeah, I think to answer your question just generally about like it's such a big band, how
do you kind of carve out your space?

310
00:23:21,772 --> 00:23:32,391
I think when we record the music, it's it's very keys heavy and and super like keys driven
and there are always so many layers and it's usually the challenge for me is less about

311
00:23:32,391 --> 00:23:43,586
like how can I make myself heard and more about like how can I effectively like translate
all eight of these keys layers into my two hands and my two keyboards.

312
00:23:43,586 --> 00:23:48,589
without tracks and make it sound as full as possible, like of an arrangement.

313
00:23:48,589 --> 00:23:59,036
And so if you come to a live show, one thing you'll see a lot of me doing is playing a pad
or an organ or whatever it is on one of my keyboards and then hitting the sustain pedal.

314
00:23:59,037 --> 00:24:03,580
And so that pad will just live there for the entirety of the four or eight bars or
something.

315
00:24:03,580 --> 00:24:06,682
And then I'll play something different with both of my hands on the bottom keyboard.

316
00:24:06,682 --> 00:24:10,555
There's one s one song in particular on the new album that we play called Static and
Noise.

317
00:24:10,555 --> 00:24:12,750
That's the most hairy

318
00:24:12,750 --> 00:24:18,412
keyboard like choreography that I have to do in the set because there were basically a
bunch of layers that we cared about.

319
00:24:18,412 --> 00:24:25,135
There was this one kind of driving piano layer where it's a piano with a like phaser
effect on it.

320
00:24:25,135 --> 00:24:30,017
Um and it kind of has this like that type of vibe.

321
00:24:30,017 --> 00:24:39,921
There's an organ, just like kind of an organ, maybe like a fourth or a fifth in the high
register that's kind of just like a like a whistle, like a like that type of thing.

322
00:24:39,961 --> 00:24:42,842
And then there are these synth stabs on

323
00:24:44,014 --> 00:24:50,677
Uh on the four on the uh of fours before every like new chord hits.

324
00:24:50,677 --> 00:24:55,179
And that's three different patches on two keyboards.

325
00:24:55,179 --> 00:25:04,773
And so what I've done is basically the bottom keyboard has that piano, that driving piano
like layered patch that has the phaser and whatever.

326
00:25:04,773 --> 00:25:09,205
The top keyboard and the Nord obviously lets you do the do stuff like this.

327
00:25:09,205 --> 00:25:12,246
I split into one of them is this

328
00:25:12,600 --> 00:25:16,513
Like kind of screaming synth saw patch with some LFO.

329
00:25:16,513 --> 00:25:18,635
So it kind of has this little wobble to it.

330
00:25:18,635 --> 00:25:20,577
And then the upper half is just organ.

331
00:25:20,577 --> 00:25:25,601
The problem still is like I want to use both of my hands for playing that keys driving
layer.

332
00:25:25,601 --> 00:25:31,145
And so what I end up doing is and and and so I need to sustain the layers in the top,
right?

333
00:25:31,145 --> 00:25:32,146
Like I want to sustain the organ.

334
00:25:32,146 --> 00:25:33,267
I'll sustain it my left foot.

335
00:25:33,267 --> 00:25:37,440
I don't want the synth stabs to sustain, because those sound like and then it they're just
off.

336
00:25:37,440 --> 00:25:42,314
So what I've done is I've basically turned off the sustain pedal for the synth.

337
00:25:42,434 --> 00:25:49,497
which is like the first half of the top keyboard, but left the sustain pedal on for the
organ, which is on the upper half.

338
00:25:49,497 --> 00:25:57,981
And then what I'll do is I'll just hit the organ, hit the sustain pedal, and then play the
bottom keyboard for the piano like fader patch.

339
00:25:57,981 --> 00:26:05,084
And then whenever I need to hit the synth patch, I just kind of hit it and the sustain
pedal doesn't affect it because it doesn't have the sustain function on.

340
00:26:05,084 --> 00:26:09,856
Um and with doing all three of those things, I can maybe get like

341
00:26:09,986 --> 00:26:12,017
forty percent to the way it sounds on the record.

342
00:26:12,017 --> 00:26:21,772
Like it's still just an uphill battle, but I think that's the best that I've come up with
so far for like making it feel as good or close to as good as as the record.

343
00:26:21,772 --> 00:26:22,863
And amazing insights.

344
00:26:22,863 --> 00:26:23,854
That's really well put.

345
00:26:23,854 --> 00:26:24,364
Thank you.

346
00:26:24,364 --> 00:26:26,326
That's yeah, our listeners, viewers will love that.

347
00:26:26,326 --> 00:26:29,478
And so let's talk about probably briefly your rig there, Danny.

348
00:26:29,478 --> 00:26:31,560
So what is it that you do take out on tour?

349
00:26:31,560 --> 00:26:36,574
I'm assuming you back line on a larger tour, but just what are the core parts of your
setup?

350
00:26:36,834 --> 00:26:40,486
Yeah, we actually don't really rent s a lot of back line, at least yet for me.

351
00:26:40,486 --> 00:26:42,317
It's I have two Nords.

352
00:26:42,317 --> 00:26:54,963
Right now they it's a Nord Stage EX, which is like the OG Nord, which it's an old keyboard
and it's just, you know, I bought it a while back from a guy used and I haven't replaced

353
00:26:54,963 --> 00:26:55,363
it yet.

354
00:26:55,363 --> 00:26:57,034
'Cause, you these Nords are expensive.

355
00:26:57,034 --> 00:27:01,890
And while I consider myself a, you know, a good and accomplished keys player, I don't know

356
00:27:01,890 --> 00:27:06,292
how soon it'll be until I have the Nord sponsorship where they're just giving me the
keyboards for free.

357
00:27:06,292 --> 00:27:15,256
Um, but I did recently replace for a while I was using the Nord Electro 2 on the top with
like semi-weighted action.

358
00:27:15,256 --> 00:27:16,856
And I really like that keyboard.

359
00:27:16,856 --> 00:27:19,533
And that was like the actually the first keyboard I ever bought.

360
00:27:19,533 --> 00:27:25,600
I mean I used it for all of my gigs in college, but it started to kind of fail on me.

361
00:27:25,600 --> 00:27:29,102
Things were breaking that seemed not super repairable.

362
00:27:29,102 --> 00:27:30,530
So I replaced that.

363
00:27:30,530 --> 00:27:40,633
with the Nord Stage 4 um compact, which is also semi-weighted action, like it's not fully
weighted keys, but it's got all the new new stuff that the Nord Stage 4 has.

364
00:27:40,633 --> 00:27:42,653
And so I'll bring those two keyboards.

365
00:27:42,653 --> 00:27:49,125
I'll put the I have the stage EX, a fully weighted one on the bottom, and then the stage
four on the top.

366
00:27:49,125 --> 00:27:59,286
And I think the rationale is like it's as if I had a piano, like a grand piano, where I
put a synth on top of it because

367
00:27:59,286 --> 00:28:05,169
I play the piano or e piano patches on my keyboard that has weighty keys because I prefer
the feel of that.

368
00:28:05,169 --> 00:28:11,271
Um where else whereas I'll play synth or organ or cloud or whatever it is on the top
keyboard that has light keys.

369
00:28:11,271 --> 00:28:23,806
And then I bring um we ha we've gone through so many of these like apex stands or like I
don't know the y you know the ones, like the kind of triangle ones that the the I don't

370
00:28:23,806 --> 00:28:27,938
know if I'm so attached to those honestly, because they just they just break and

371
00:28:28,012 --> 00:28:36,138
You know, we can get for cheap because our s our front house engineer production manager
works for like a music gear distribution company.

372
00:28:36,138 --> 00:28:39,731
And so he his cost is often like way better than retail.

373
00:28:39,731 --> 00:28:41,472
But I bring that stand for now.

374
00:28:41,472 --> 00:28:47,709
I mean, and the nice thing about it is that it kind of folds up, I guess, and I can put it
in a but I feel like that's table sticks.

375
00:28:47,709 --> 00:28:49,078
Your stand's gotta fold up.

376
00:28:49,078 --> 00:28:51,980
But in addition to that, I also bring a bunch of pedals.

377
00:28:51,980 --> 00:28:55,052
I have two stand pedals, one for each keyboard.

378
00:28:55,052 --> 00:28:59,004
I have a volume pedal and a little just like foot switch.

379
00:28:59,004 --> 00:29:06,088
And like I s mentioned earlier, the volume pedals for mainly for organ to connect to the
top keyboard and the foot switch is mainly for Leslie.

380
00:29:06,488 --> 00:29:11,131
But I'll use the volume pedal as an expression pedal for other kind of synth patches and
and other things.

381
00:29:11,131 --> 00:29:22,117
But yeah, and I have I basically for this past tour I just had a playlist of all the songs
on both my keyboards and I'll just, you know, switch to the next tune and it'll have all

382
00:29:22,117 --> 00:29:23,938
my presets there for me.

383
00:29:25,356 --> 00:29:33,200
Yeah, there's some times where or often in the couch that we'll like directly transition
from one song into another and so that can get a little dicey or I'll have to kinda like,

384
00:29:33,200 --> 00:29:36,656
you know, find the knob and in the right time like switch over.

385
00:29:36,656 --> 00:29:39,068
But yeah, that's that's basically the rip.

386
00:29:39,510 --> 00:29:49,588
And I'm assuming at this stage that things like uh computer based MIDI control, as far as
particularly as you said, those quick changes that is probably overkill given how organic

387
00:29:49,588 --> 00:29:53,674
and live the sound is, you actually are better off having that direct control.

388
00:29:53,836 --> 00:29:54,386
Yeah, totally.

389
00:29:54,386 --> 00:30:03,654
I I I think it's something I've thought about, like, you know, going all through a laptop
and just like using a MIDI controller and or and yeah, or doing something like you're

390
00:30:03,654 --> 00:30:08,759
saying of like having MIDI switch the songs for me or whatever.

391
00:30:08,759 --> 00:30:19,148
But I think as a band, it's like, you know, we now use Able Set, which is so we can sync
up the it's like an Ableton session that allows us to sync up the lights to time code.

392
00:30:19,148 --> 00:30:22,582
And so we've kind of done had that

393
00:30:22,582 --> 00:30:29,274
advancement, but I think we're all still hesitant to go the kind of overly like laptop
logic session route.

394
00:30:29,274 --> 00:30:34,270
I think we still like the vibe of here's my instrument, this is my hardware, I'm playing
the instrument.

395
00:30:34,270 --> 00:30:36,291
Like what you see is what you get, you know?

396
00:30:36,312 --> 00:30:41,325
And absolutely I can spend time programming ahead of the gig and do as much as I need to
do.

397
00:30:41,325 --> 00:30:44,377
But I think probably it would be overkill, like you said.

398
00:30:44,377 --> 00:30:52,032
But that's the thing is I still like, you know, being a keys player, a gig and keys player
is there's just so much you can do and

399
00:30:52,214 --> 00:30:58,896
You know, you have these keys players who show up with the organ and the Prophet and the
Nord and the Juno.

400
00:30:58,896 --> 00:31:06,758
And like that does sound nice, but also we're trying to do this at scale and you know,
there's every ch bag you check costs money and stuff.

401
00:31:06,758 --> 00:31:10,476
And I thought about bringing the the Juno one six on tour.

402
00:31:10,476 --> 00:31:12,790
I think I just got nervous about it with analog gear.

403
00:31:12,790 --> 00:31:20,950
Like already just being sitting in my room, it's like broken once and I've had to repair
that and

404
00:31:20,950 --> 00:31:22,433
Just get nervous, I'll bring it on the road.

405
00:31:22,433 --> 00:31:30,588
Plus like I just I can get close to what I want it to sound like just if I spend some time
programming the Nord synth synth engine.

406
00:31:30,588 --> 00:31:31,758
So yeah, that's what

407
00:31:31,758 --> 00:31:32,900
Exactly right.

408
00:31:32,900 --> 00:31:35,773
And I mean we've talked a a couple of bits about the brass section.

409
00:31:35,773 --> 00:31:43,042
So I mean I know on tracks like I think it was called Slow Burn, the piano and the trumpet
you you know play off each other beautifully.

410
00:31:43,042 --> 00:31:50,796
C how do you arrange keyboard parts to complement rather than compete with those amazing
brass guys?

411
00:31:50,796 --> 00:31:51,206
Yeah.

412
00:31:51,206 --> 00:31:59,079
That's an interesting question because usually what ends up happening, and I think our
horn players have a bit of a chip on their shoulder about this, as they should, is the

413
00:31:59,079 --> 00:32:04,210
horn players are the final layer that gets added after everything else is already
arranged.

414
00:32:04,210 --> 00:32:15,744
I think in the case of slow burn, that's actually one of the cases where at least for the
for the bridge, which the bridge is kind of like more of a like a laid back.

415
00:32:16,408 --> 00:32:27,667
D'Angelo type of vibe and the horns have this line that goes like that was I had that idea
before I had an idea for like the melody even.

416
00:32:27,667 --> 00:32:32,491
and so that was an example of a horn part that like kind of is core to that arrangement.

417
00:32:32,491 --> 00:32:43,771
Um but I think in terms of how I can play keys parts that don't stomp on the horns or that
complement them, I think a lot depends on like what register I'm in.

418
00:32:43,771 --> 00:32:45,762
You know, it's like I think

419
00:32:46,624 --> 00:32:56,157
while I'm playing a lot of different stuff, mm, a lot of my playing for over the course of
the whole song Lux Slowburn is kind of in lives inside of this register.

420
00:32:56,157 --> 00:33:06,454
That's maybe like I don't know exactly where it is, but nothing is ever like it's it's
usually kind of like warm lower to mids and chords and the horns live on top of that.

421
00:33:06,454 --> 00:33:16,002
I mean sometimes I'll kind of harmonize the horns, um like deliberately, but I'm very
rarely like playing

422
00:33:16,544 --> 00:33:20,838
a line or like a little flourish that is kind of i where a trumpet would play.

423
00:33:20,838 --> 00:33:24,011
It's funny, it's like I don't even it's not anything I would think to do now.

424
00:33:24,011 --> 00:33:29,566
I just like feel like when I would do that it just would sound like what's happening or or
or what's going on.

425
00:33:29,566 --> 00:33:39,685
I think what's e more challenging is figuring out a keyboard part that complements guitar
and trying to figure out a keys and guitar part that sound good together and that aren't

426
00:33:39,685 --> 00:33:43,688
redundant, but that actually like y you know, just like

427
00:33:43,714 --> 00:33:47,113
drive the section forward effectively and and yeah, yeah, yeah.

428
00:33:47,113 --> 00:33:48,705
There's lots to talk about there.

429
00:33:48,824 --> 00:33:50,615
No, that's absolutely agreeing.

430
00:33:50,615 --> 00:33:58,340
And I mean, as as writers across the seven of you, I mean, you're all credited with
writing and producing, you know, on on the album.

431
00:33:58,340 --> 00:34:04,684
So as you as a keyboard player, what's the creative workflow from your perspective when
you guys are coming together?

432
00:34:04,684 --> 00:34:08,167
Are you bringing in different ideas, working them up, jamming?

433
00:34:08,167 --> 00:34:09,407
Like what is the approach?

434
00:34:09,407 --> 00:34:13,780
I and I imagine it varies by the song, but yeah, love some insight into that.

435
00:34:14,060 --> 00:34:18,833
Yeah, it does vary by the song, but often it is like just 'cause we're talking about
Slowburn.

436
00:34:18,833 --> 00:34:23,685
Slowburn started as an idea like a I had on my Juno right here.

437
00:34:23,685 --> 00:34:32,320
And I ha kinda had this I I had this these chores and I had the melody and I had this like
kind of harmonic rhythm and and vibe, but I didn't have any lyrics.

438
00:34:32,320 --> 00:34:37,353
And Tema is our singer, is kind of the source of most to all lyrical content.

439
00:34:37,353 --> 00:34:43,326
we'll often help her write the lyrics, but they're all like her stories and and maybe, you
know.

440
00:34:43,330 --> 00:34:48,852
She might have this poem she's been writing or these things she's been mu musing on and
this content.

441
00:34:48,852 --> 00:34:51,292
And so with that song, I sent it over to her.

442
00:34:51,292 --> 00:34:52,362
I said, What do you think of this?

443
00:34:52,362 --> 00:34:53,633
She said, I like it.

444
00:34:53,633 --> 00:34:57,894
She came over um and we started writing the chorus of that song.

445
00:34:57,894 --> 00:35:06,456
And I had basically a melody, but we kind of tweaked it together and she, you know, looked
through her massive notebook of little ideas and things she's been musing on.

446
00:35:06,456 --> 00:35:11,618
And she said, I think that it would be cool to write about this, like having a crush in
high school and missing that feeling.

447
00:35:11,618 --> 00:35:12,268
And I Okay, cool.

448
00:35:12,268 --> 00:35:12,738
And let's

449
00:35:12,738 --> 00:35:13,819
We ran with that.

450
00:35:13,819 --> 00:35:22,456
Um, and then the song gets brought to the full band where, you know, it's anyone in the
band can say anything they want about it and can take a turn trying to like mess with it

451
00:35:22,456 --> 00:35:23,146
or whatever.

452
00:35:23,146 --> 00:35:33,504
Um I think that's the thing that that's true basically across all the songs in the album
is that basically everyone signed off on every single song by way of just having a group

453
00:35:33,504 --> 00:35:38,658
arrangement session with everyone there and people can kind of take turns.

454
00:35:39,288 --> 00:35:48,203
People kind of take turns MDing and if it's kind of your idea and you have ownership over
it, like Slowburn was for me, for instance, you know, maybe you have the final call on

455
00:35:48,203 --> 00:35:58,230
certain arrangement decisions, but there's a lot, a lot of time spent just, you know,
taking turns saying, I wanna try it this way, I wanna try it this way.

456
00:35:58,230 --> 00:35:59,540
What if we did

457
00:35:59,608 --> 00:36:01,919
guitar playing this way or whatever you got the melody being like this.

458
00:36:01,919 --> 00:36:09,181
And I think we all just there are a bunch of people on couch that have that skill set
where they can music direct and they can try to execute a musical vision of theirs and

459
00:36:09,181 --> 00:36:11,421
that we want to honor that for everyone.

460
00:36:11,961 --> 00:36:14,342
So yeah, it made the album super collaborative.

461
00:36:14,342 --> 00:36:21,264
I think there are some other songs that there are a few songs on the album that, you know,
two people or one person wrote basically the whole thing.

462
00:36:21,264 --> 00:36:24,815
And then it was basically just like, this is the song.

463
00:36:24,815 --> 00:36:25,225
Great.

464
00:36:25,225 --> 00:36:25,785
Let's play it.

465
00:36:25,785 --> 00:36:27,386
Let's not do too much to it.

466
00:36:27,386 --> 00:36:28,984
But most of the songs

467
00:36:28,984 --> 00:36:34,839
Kind of had this phase of like maybe two to three people working on it in a smaller group,
bring it to the full band.

468
00:36:34,839 --> 00:36:40,905
It goes through this, this kind of round of full band feedback and iteration and stuff.

469
00:36:40,905 --> 00:36:50,934
And then yeah, once we recorded it, which we actually, this is the first time we record in
like a proper studio that had nice gear and stuff, we make even more kind of decisions and

470
00:36:50,934 --> 00:36:55,197
and there's more creativity that happens there just with how the parts get recorded.

471
00:36:55,197 --> 00:36:56,328
It's like, you know.

472
00:36:56,428 --> 00:37:03,665
You can affect a song a lot just by being in the room, like being in the engineering room
while drums are getting recorded, for instance.

473
00:37:03,665 --> 00:37:05,396
And I was there a lot.

474
00:37:05,396 --> 00:37:12,733
And so a lot of my kind of tastes and sensibilities with regards to drums are on the album
just 'cause I was like there for a lot of those sessions.

475
00:37:12,733 --> 00:37:18,306
Um Yeah, and that's that's how songs get made these days generally.

476
00:37:18,306 --> 00:37:23,009
Which which sounds great on the surface, but I mean that's an incredibly challenging
process.

477
00:37:23,009 --> 00:37:28,972
I mean, having seven people and I'm I'm not for a minute envisaging that you all agree on
everything all the time.

478
00:37:28,972 --> 00:37:30,403
That's just not how bands work.

479
00:37:30,403 --> 00:37:34,025
I mean, obviously there needs to be debates and and contention and whatever.

480
00:37:34,025 --> 00:37:40,468
So how do you work through that as seven adults without it getting too contentious or too
unsettling?

481
00:37:40,598 --> 00:37:42,640
It's a great question and it's absolutely challenging.

482
00:37:42,640 --> 00:37:44,702
And I think it's it I think it slows us down.

483
00:37:44,702 --> 00:37:53,751
Like, you know, you you think that, you have seven people in the band, you can efficiently
allocate all your, you know, human capital so you can do parallelize and do so many things

484
00:37:53,751 --> 00:37:54,391
so much faster.

485
00:37:54,391 --> 00:37:55,722
And the answer is no, actually.

486
00:37:55,722 --> 00:38:03,310
Like, because we're seven people, it takes way, way longer to like get a song to the point
where everyone feels good about it.

487
00:38:03,310 --> 00:38:06,292
There are absolutely some arguments that

488
00:38:06,562 --> 00:38:10,544
just I remember having with people over the course of writing this album.

489
00:38:10,544 --> 00:38:18,577
And sometimes, you know, people sometimes we just put things to a vote and say, okay, is
this let me think of an example.

490
00:38:18,577 --> 00:38:21,989
Like, are the chords going to be like this or like this?

491
00:38:21,989 --> 00:38:24,340
Let's vote and see what happens.

492
00:38:24,340 --> 00:38:31,413
And there's also this notion in couch of of RCC, RCC, which means relinquish creative
control.

493
00:38:31,413 --> 00:38:34,904
So if I RCC, that means I am creative

494
00:38:34,904 --> 00:38:38,956
kind of not part of this particular decision musically or creatively.

495
00:38:38,956 --> 00:38:44,278
And it also sort of means that I don't get to like have criticisms for it after the fact.

496
00:38:44,278 --> 00:38:53,682
Like, you know, if there's a particular rehearsal or writing session that I'm invited to,
but I don't want to go to, I just have to RCC and say, hey, whatever happens, happens.

497
00:38:53,682 --> 00:38:59,615
And I think RCCing, I think some people in the band are better at RCCing than others.

498
00:38:59,615 --> 00:39:02,294
I think a lot of people just

499
00:39:02,294 --> 00:39:05,076
want to touch everything and just not in a bad way.

500
00:39:05,076 --> 00:39:09,908
They just like have that hunger and they just want they don't want to be a fly on the law.

501
00:39:09,908 --> 00:39:17,323
They want to like, you know, be able to like craft this entire product to be like as good
as they feel like it should be.

502
00:39:17,323 --> 00:39:28,209
But I think I think I kind of found a lot of peace with just like for these several songs,
this is kind of my brain child or this is like has a lot of me in it.

503
00:39:28,209 --> 00:39:30,680
But for these other songs, you know, I'm fine.

504
00:39:30,680 --> 00:39:34,272
Taking more of the backseat and letting someone else just kinda execute their vision.

505
00:39:34,272 --> 00:39:35,331
It's different from mine.

506
00:39:35,331 --> 00:39:38,814
If if I were in charge, it would sound totally different, but that's fine.

507
00:39:38,814 --> 00:39:46,718
And I think if the general population was listening to an album that was just Danny, they
probably wouldn't like it as much as a couch albums.

508
00:39:46,919 --> 00:39:59,025
Yeah, I just have a lot of trust for all those people on couch and and I like that I can
kind of feel good about letting them write and produce a song that I might never touch and

509
00:39:59,025 --> 00:40:00,256
it's still gonna be a good song.

510
00:40:00,256 --> 00:40:00,598
So

511
00:40:00,598 --> 00:40:00,998
Yeah.

512
00:40:00,998 --> 00:40:01,508
I love it.

513
00:40:01,508 --> 00:40:03,999
I love the RCC's a a pressure relief valve.

514
00:40:03,999 --> 00:40:05,139
That's that's amazing.

515
00:40:05,139 --> 00:40:14,062
And I mean, I do need to ask, because I think we're all human, are there times where
you've actually been incredibly directly involved in the creation of song, maybe not

516
00:40:14,062 --> 00:40:17,943
gotten the actual parts that you would have ideally liked?

517
00:40:17,943 --> 00:40:19,523
Does that tend to linger with you?

518
00:40:19,523 --> 00:40:27,686
I know if it was me and I was playing live six months later and I'm I'm playing a section
of a song and go, No, I still think it should be this way, does that tend to happen to you

519
00:40:27,686 --> 00:40:29,014
or you just let it go?

520
00:40:29,014 --> 00:40:30,154
That's funny.

521
00:40:30,154 --> 00:40:39,358
It you know, on this on this last record, I I feel like I I feel like I tended to get my
way most of the time.

522
00:40:39,358 --> 00:40:47,601
I feel like y usually like things ended up kind of the way I wanted them to, but and the
cases where I didn't, I'm trying to think of examples.

523
00:40:47,782 --> 00:40:50,453
Yeah, I think totally i I don't let go of that.

524
00:40:50,453 --> 00:40:53,774
I think I every time we play it, I feel like I wish it were this other way.

525
00:40:53,774 --> 00:40:56,575
And yeah, I I might not take that to the grave.

526
00:40:56,575 --> 00:40:58,606
I might I might actually after

527
00:40:58,936 --> 00:41:06,330
Cause you know, we also when you go on a forty city tour, you also have forty sound checks
where you can iterate and rehearse and stuff and that's how we treat sound checks.

528
00:41:06,330 --> 00:41:11,053
I often will be like, Hey, I know this is what we decided, but I'd love to try it this
other way.

529
00:41:11,053 --> 00:41:18,277
Maybe we end up pivoting and we play differently fr on, you know, in the live stream than
we do on the record.

530
00:41:18,277 --> 00:41:23,200
Yeah, actually come to think of it, there are several things that I wish were different
about the record.

531
00:41:23,200 --> 00:41:26,486
And yeah, I think when I do hear it, like

532
00:41:26,486 --> 00:41:34,132
Whether it's listening back to the record or it's the live rings or whatever, I'm probably
like, dang, like I wish that were different than it than it

533
00:41:34,444 --> 00:41:35,520
You're only human, Daddy.

534
00:41:35,520 --> 00:41:36,295
You're only human.

535
00:41:36,295 --> 00:41:36,759
Yeah.

536
00:41:36,759 --> 00:41:40,869
I think everyone in the band probably h feels that exact same way, honestly.

537
00:41:42,178 --> 00:41:43,029
No, absolutely.

538
00:41:43,029 --> 00:41:46,562
No, I think I think that's very healthy, um, again, normal behaviour.

539
00:41:46,562 --> 00:41:55,591
Um, and you mentioned way back when you're talking about initially, you know, growing up
and practicing, and practicing is a chore, but it's hard work and so on.

540
00:41:55,591 --> 00:42:03,198
What is the practicing you do both in the lead up to the tour and I'm assuming when you're
on tour, maybe not, but I mean, are you doing warm ups or you just the sort of person

541
00:42:03,198 --> 00:42:05,320
who'll just, you know, turn up and play?

542
00:42:05,320 --> 00:42:07,772
What's sort of your approach to that discipline?

543
00:42:08,034 --> 00:42:10,306
Yeah, I'm not really doing warm ups as much anymore.

544
00:42:10,306 --> 00:42:11,106
Maybe I should be.

545
00:42:11,106 --> 00:42:18,241
I think I think more of the practicing is just about like first of all, like the full band
rehearsals.

546
00:42:18,241 --> 00:42:27,787
That's you can practice as much as you want on your own, but like it's it's hard to get a
sense for how it's gonna feel, especially when you're like coordinating all these

547
00:42:27,787 --> 00:42:37,954
different patches and stuff between two keyboards and like it's not so easy for me to like
set up my two keyboards with like at my own home or something and

548
00:42:37,954 --> 00:42:41,917
And so I guess I don't have the luxury of just like grab my guitar or bass and shed.

549
00:42:41,917 --> 00:42:50,723
But I think like more of the practicing was like thinking about these arrangements and
like the keyboard arrangements of these songs and like kind of messing around with stuff

550
00:42:50,723 --> 00:42:51,284
like that.

551
00:42:51,284 --> 00:42:59,330
Um even if it's like on my genome, just like, for you know, verse two of this song, what
would sound the best?

552
00:42:59,330 --> 00:43:01,151
Let me kind of mess around with that.

553
00:43:01,151 --> 00:43:05,334
And th there were some parts that definitely required some

554
00:43:05,976 --> 00:43:06,886
Just reps.

555
00:43:06,886 --> 00:43:13,050
Um, there are some like just like there are a few parts of the set that are more
physically ch like demanding as a keys player.

556
00:43:13,191 --> 00:43:17,094
I think I got those reps in just with the sheer number of fold band reps that we did.

557
00:43:17,094 --> 00:43:25,089
And yeah, but I think I I say this to a lot of people for the most part, like the the
couch set is not that technically challenging from like a keys perspective.

558
00:43:25,089 --> 00:43:33,875
It's a lot more about just like the memorization of the arrangement and all the different
kind of keyboard choreography they call it that you have to do across a song with like

559
00:43:33,875 --> 00:43:34,846
switching sounds and stuff.

560
00:43:34,846 --> 00:43:35,296
That's

561
00:43:35,296 --> 00:43:36,557
really the challenge.

562
00:43:36,557 --> 00:43:43,111
Like if we're hiring you as a key sub, that's the thing that you have to deliver on, not
so much like being able to play like crazy synth lines and stuff.

563
00:43:43,111 --> 00:43:50,096
So yeah, I think I I also should practice way more than I do um for things like that.

564
00:43:50,096 --> 00:43:54,859
Um it's hard because, you know, there's lots of other stuff I've uh interest in whatever.

565
00:43:54,859 --> 00:44:04,916
I think more recently like the practicing is has been like taking just trying to l
transcribe more honestly, just like taking artists that I like.

566
00:44:04,920 --> 00:44:08,672
Their solos, and I'm like, wow, I'd just like here's an example, like Anatoly Muster.

567
00:44:08,672 --> 00:44:09,712
Have you heard of him?

568
00:44:09,712 --> 00:44:10,573
Not.

569
00:44:10,573 --> 00:44:10,933
Okay.

570
00:44:10,933 --> 00:44:15,985
He's he's an accordion player primarily and a producer, but he's absolutely brilliant.

571
00:44:15,985 --> 00:44:18,556
He's I think he's London based, but he's a Swiss guy.

572
00:44:18,556 --> 00:44:21,777
And his I mean, his original music I think is so, so cool.

573
00:44:21,777 --> 00:44:26,039
And also when he dig solos, like he has this very unique sensibility.

574
00:44:26,039 --> 00:44:32,824
Um, and he kind of like the accordion, I think, allows him to kind of play these more
angular lines that.

575
00:44:32,824 --> 00:44:38,959
feel a little pianistic but also feel very kind of I mean angular I feel like is the best
word for them.

576
00:44:39,300 --> 00:44:42,193
and I just absolutely am in love with his playing.

577
00:44:42,193 --> 00:44:50,851
And so I've been trying to transcribe a bunch of his solos and often it's like not super
pianistic like to play the kind of thing that he's playing.

578
00:44:50,851 --> 00:44:53,344
But like shedding something like that is something that I might do.

579
00:44:53,344 --> 00:44:53,666
Yeah.

580
00:44:53,666 --> 00:44:54,267
Yeah.

581
00:44:54,267 --> 00:44:55,308
No, that makes sense.

582
00:44:55,308 --> 00:44:56,970
And you just mentioned memorisation.

583
00:44:56,970 --> 00:45:05,792
I mean, is everything still in your head at this stage or are you having other means or
starting to document stuff when maybe your memory starts to not be as good?

584
00:45:05,792 --> 00:45:07,373
No, everything is still in my head.

585
00:45:07,373 --> 00:45:15,658
I mean, we have some basically with couch we'll only make charts when we need to have a
sub and we won't make them really before then because there's not a need.

586
00:45:15,658 --> 00:45:18,540
I mean, sometimes people reach out to us being like, Can you give us a charge for this?

587
00:45:18,540 --> 00:45:20,651
And we'll be like, We they don't even exist.

588
00:45:20,651 --> 00:45:25,134
Like, just, you know, you can try to learn learn it by year, I guess.

589
00:45:25,134 --> 00:45:31,338
So yeah, it's it's in our heads mostly and and it is sometimes a challenge when like

590
00:45:31,650 --> 00:45:42,246
You know, the our set night tonight was pretty was very, very similar just for this past
tour, but we also do like a VIP session before the main gig where we take requests and

591
00:45:42,246 --> 00:45:43,747
we'll play whatever they want us to.

592
00:45:43,747 --> 00:45:51,671
And sometimes that's kind of fun and a little bit like, whoa, like when they might ask for
us to play a song that we literally haven't played as a full band in like years.

593
00:45:51,671 --> 00:46:00,146
But I think we've just I feel like I've gotten so many reps in and I just know the music
that viscerally that I will be able to play it for a long, long time.

594
00:46:00,146 --> 00:46:01,386
And also like

595
00:46:01,410 --> 00:46:06,693
The yes, it's memorization, but it's also it's also intuition, right?

596
00:46:06,693 --> 00:46:09,045
Like I know how this is supposed to feel.

597
00:46:09,045 --> 00:46:13,618
I know in my bones that this is going to the four or it's going to the flat six or
whatever.

598
00:46:13,618 --> 00:46:20,862
So I can do that and have conviction that that's what it's gonna be, even though I might
not have remembered that that's like the way it goes, you know.

599
00:46:20,908 --> 00:46:29,538
Do you do you tend to find I mean, this tends to be more I I suppose amongst those amateur
players, but I know the the more I think about a part when it's coming up, the more likely

600
00:46:29,538 --> 00:46:32,914
I am to not get it right versus trusting intuition and muscle memory.

601
00:46:32,914 --> 00:46:35,596
Do you still find that at the level you're playing at?

602
00:46:35,596 --> 00:46:36,386
Yeah, I think so.

603
00:46:36,386 --> 00:46:37,457
I think that's definitely true.

604
00:46:37,457 --> 00:46:38,437
It's sometimes hard.

605
00:46:38,437 --> 00:46:49,940
Like when you play a set like forty times in a row where it's often the same, like it's so
easy to just like drift into autopilot mode and like what do you think about in those

606
00:46:49,940 --> 00:46:50,430
moments?

607
00:46:50,430 --> 00:46:52,878
Like maybe your mind just wanders elsewhere.

608
00:46:52,878 --> 00:46:56,552
I mean, one thing Kevin told me is like, yeah, in those moments I just try to focus on
time.

609
00:46:56,552 --> 00:46:59,193
Like time is an area where you can always improve.

610
00:46:59,193 --> 00:47:01,514
Definitely me is an area where I can always improve.

611
00:47:01,514 --> 00:47:03,454
And so I'll often focus on that.

612
00:47:03,736 --> 00:47:11,938
Something that I've that I've realized like after the show we played in London, it was
just it was a big show, like we b way bigger than we expected.

613
00:47:11,938 --> 00:47:14,359
Like we sold out the first venue pretty far in advance.

614
00:47:14,359 --> 00:47:16,389
We upgraded the venue and that also sold well.

615
00:47:16,389 --> 00:47:17,650
And so there were just a lot of people there.

616
00:47:17,650 --> 00:47:25,272
And the other you know, the whole Europe tour was awesome, but the venues were closer to
like five to eight hundred, and then London out of nowhere was just like two thousand

617
00:47:25,272 --> 00:47:25,866
people.

618
00:47:25,866 --> 00:47:28,913
So we were definitely a little bit nervous, and it was last night of the tour.

619
00:47:28,993 --> 00:47:33,322
And I found and we all found that, you know, when

620
00:47:33,322 --> 00:47:40,444
You're nervous, and when the adrenaline starts pumping, the set just like the songs just
feel so much slower.

621
00:47:40,444 --> 00:47:42,104
And I was like, what the heck?

622
00:47:42,104 --> 00:47:44,285
Like this song feels so slow.

623
00:47:44,285 --> 00:47:53,988
It's like, and there's one part in the set where I mean, people who've seen us live know
what I'm talking about, but we have this song called On On the Wire that for the live

624
00:47:53,988 --> 00:48:02,900
arrangement, there's this additional kind of section we tack onto the end that was the
idea that.

625
00:48:03,458 --> 00:48:09,421
that like that section was born out of was one of mine and it actually existed before On
the Wire was even a song.

626
00:48:09,421 --> 00:48:14,684
And it was something we were kind of jamming on in one of the early, early writing
retreats for this album.

627
00:48:14,684 --> 00:48:20,448
But it's basically like a very, very fast insyncopated like keys part where I'm just
playing these chords.

628
00:48:20,448 --> 00:48:29,393
It's like And it's very easy to cramp up and you know you need to kind of stay loose.

629
00:48:29,393 --> 00:48:32,114
But for that London show and and and

630
00:48:32,224 --> 00:48:37,768
You know, the vibe with that section is like we basically want to go as fast as I can
physically go.

631
00:48:37,768 --> 00:48:43,862
And like I kind of set that ceiling as like I don't think I can go much faster
consistently than this.

632
00:48:43,862 --> 00:48:47,945
And so we're like, all right, that's the tempo is I don't remember what the tempo is, but
it was whatever it was.

633
00:48:47,945 --> 00:48:52,518
At that London show, I was like, I feel like I could go like so much faster.

634
00:48:52,518 --> 00:48:54,079
I feel like I'm slowing myself down.

635
00:48:54,079 --> 00:48:55,720
Like like it doesn't usually feel like that.

636
00:48:55,720 --> 00:49:01,922
Usually it feels like I'm like racing against the clique, but it felt like wow, this is so
slow at the London show.

637
00:49:01,922 --> 00:49:03,774
No, adrenaline is an amazing thing.

638
00:49:03,774 --> 00:49:06,567
Uh it certainly affects our perception of time.

639
00:49:06,567 --> 00:49:09,189
So we're on to our last two questions, Danny.

640
00:49:09,190 --> 00:49:13,674
is there a memorable time something's gone spectacularly wrong on stage for you?

641
00:49:14,518 --> 00:49:16,739
Yeah, I feel like I've had plenty of those.

642
00:49:16,739 --> 00:49:23,961
Um there was you know, for what it's worth, I think my key setup is fairly dialed in.

643
00:49:23,961 --> 00:49:34,623
So it's it's not like like kind of electrical problems that maybe other band members have
with like connections don't really happen to me.

644
00:49:34,804 --> 00:49:44,374
One time I can think of is there was a show where I um we we all have these apps called
mixing station on our phones which allow us to like

645
00:49:44,374 --> 00:49:45,355
set or monitor mix.

646
00:49:45,355 --> 00:49:48,065
And I honestly like rarely touch it night to night.

647
00:49:48,065 --> 00:49:51,459
Like I feel like it might have had my mix dialed and the room might make it sound a bit
different.

648
00:49:51,459 --> 00:49:53,460
And maybe I'll have to dial back drums or or boost them.

649
00:49:53,460 --> 00:49:55,162
But for the most part, I don't touch it.

650
00:49:55,162 --> 00:50:01,806
And sometimes, or most of the time when I go on stage, I don't even bring my phone like
just I won't need to touch that mix.

651
00:50:01,806 --> 00:50:09,652
But sometimes when I'm feeling a little bit nervous and just like like something could go
wrong or maybe I want to boost myself or something during the show, I'll just bring it on

652
00:50:09,652 --> 00:50:11,113
and I'll have mixing station open.

653
00:50:11,113 --> 00:50:13,144
And this is one of those shows

654
00:50:13,144 --> 00:50:13,784
Where was it?

655
00:50:13,784 --> 00:50:16,996
Was it um it was on the US tour?

656
00:50:16,996 --> 00:50:18,816
I honestly don't remember which one it was.

657
00:50:18,816 --> 00:50:19,877
It's they're all blunt together.

658
00:50:19,877 --> 00:50:23,458
But basically, at the last second I decided, okay, great.

659
00:50:23,458 --> 00:50:24,058
Okay, you know what?

660
00:50:24,058 --> 00:50:24,549
I'm a little nervous.

661
00:50:24,549 --> 00:50:25,929
Let me just bring out mixing station.

662
00:50:25,929 --> 00:50:27,040
I'll get my phone out.

663
00:50:27,040 --> 00:50:33,782
And I guess what I did was I'd got mixing station open and the UI on mixing station is
just like a bunch of faders.

664
00:50:33,782 --> 00:50:42,840
And I must have accidentally clicked the mute button for my keys, like my keys one, like
the main layer that I was gonna be playing at the top of the set.

665
00:50:42,840 --> 00:50:44,211
But I didn't know that I did that.

666
00:50:44,211 --> 00:50:48,793
And so then we play the first note of the set and it's like this whole there's this whole
like intro.

667
00:50:48,793 --> 00:50:52,955
And then we all come in on these like big chords and I was like, nothing's happening.

668
00:50:53,116 --> 00:50:58,718
Of course, everyone else can hear what I'm playing, but I can't because it's just muted in
my monitor mix.

669
00:50:58,939 --> 00:51:02,991
And because I'm being dumb, like my mind jumps to like Chris, like, what's going on?

670
00:51:02,991 --> 00:51:05,863
Chris is our front of house guy, like what's happening?

671
00:51:05,863 --> 00:51:09,384
And I was like plugging in the connections, unplugging them and stuff.

672
00:51:09,384 --> 00:51:12,430
And then I started to do this thing that was like, you know, when you're

673
00:51:12,430 --> 00:51:17,876
Testing to see if you have noise, like you just go like this and you know playing like the
tune.

674
00:51:17,876 --> 00:51:25,747
And afterwards, like Zach or some of the other couch guys were clowning me, like, Danny,
like even if that was happening, why wouldn't you just play the tune to check it?

675
00:51:25,747 --> 00:51:27,417
Why did you have to like do this?

676
00:51:27,417 --> 00:51:28,328
And I was like, I don't know.

677
00:51:28,328 --> 00:51:29,009
I wasn't thinking.

678
00:51:29,009 --> 00:51:31,192
I was like, Let me get my keys on.

679
00:51:31,192 --> 00:51:33,333
So yeah, that was kind of a a bummer.

680
00:51:33,590 --> 00:51:34,881
No, that is that is gold.

681
00:51:34,881 --> 00:51:36,332
No, that is gold.

682
00:51:36,332 --> 00:51:38,364
And I I would do exactly the same thing too.

683
00:51:38,364 --> 00:51:41,116
I'd be just testing the sound, not playing the actual song.

684
00:51:41,116 --> 00:51:41,937
Totally, yeah.

685
00:51:41,937 --> 00:51:43,538
Yeah, absolutely.

686
00:51:43,538 --> 00:51:47,611
And then last but definitely not least is the dreaded desert island discs question.

687
00:51:47,611 --> 00:51:54,266
So five albums that have had a big impact on your life that if you had to go to a desert
island, what would you take?

688
00:51:54,946 --> 00:51:56,727
Yeah, the dreaded death rather question.

689
00:51:56,727 --> 00:51:57,877
These are in no particular order.

690
00:51:57,877 --> 00:51:59,428
They're just making they're just gonna come.

691
00:51:59,428 --> 00:52:02,449
I probably have to bring songs from the queue of life, best of you wonder.

692
00:52:02,449 --> 00:52:09,572
I'm sure a lot of people bring that one, but I think that album like really got me into
this kind of music, honestly.

693
00:52:09,572 --> 00:52:12,273
I'll bring I Am by Earthwind and Fire.

694
00:52:12,273 --> 00:52:15,395
That's probably my favorite Earthwind and Fire record, one of my favorite albums ever.

695
00:52:15,395 --> 00:52:22,578
In terms of I mean, harmony and stuff is great, and also just the grooves and s like every
song on that album bangs.

696
00:52:22,578 --> 00:52:24,120
Um and

697
00:52:24,120 --> 00:52:28,071
Totally influenced my like live sense sensibility interranging.

698
00:52:28,372 --> 00:52:33,173
In terms of the last three, I'd bring two star and the dream police by McGee.

699
00:52:33,173 --> 00:52:34,004
That's more modern.

700
00:52:34,004 --> 00:52:37,210
That's like from twenty twenty four or twenty twenty three.

701
00:52:37,210 --> 00:52:39,166
Um, one of my favorite albums ever.

702
00:52:39,166 --> 00:52:45,268
Um I'd bring I'm suffering from recency bias here, but

703
00:52:45,740 --> 00:52:52,523
At least right now, the way I feel is I'd bring this album by a guy named Daryl Johns,
it's just the self-titled album, Daryl Johns.

704
00:52:52,523 --> 00:52:53,563
Shout out to Daryl Johns.

705
00:52:53,563 --> 00:52:55,474
He's incredibly underrated.

706
00:52:55,474 --> 00:52:57,165
He like plays bass for MacDamarco.

707
00:52:57,165 --> 00:52:59,776
That's like maybe how people might know him.

708
00:52:59,776 --> 00:53:05,758
But he makes this him and Chris Fishman, who's a keys player and a drummer also, made this
record.

709
00:53:05,758 --> 00:53:09,670
Um it's so hard to describe this kind of music.

710
00:53:09,670 --> 00:53:14,732
Like kind of sounds like it sounds like eighties sitcom music.

711
00:53:14,744 --> 00:53:17,816
That also has like elements of jazz fusion in it.

712
00:53:17,816 --> 00:53:20,799
And, you know, like Daryl Johns, I think calls it champion pop.

713
00:53:20,799 --> 00:53:28,345
But it's it basically feels like it feels very nostalgic and also very fresh and and it
just kind of scratches this itch in my brain.

714
00:53:28,345 --> 00:53:29,225
I can't explain why.

715
00:53:29,225 --> 00:53:30,716
But it's it's so freaking good.

716
00:53:30,716 --> 00:53:32,268
So I I'd probably bring that.

717
00:53:32,268 --> 00:53:35,732
And then for my final one, probably D'Angelo.

718
00:53:35,732 --> 00:53:38,554
I go back and forth between brown sugar and voodoo.

719
00:53:38,554 --> 00:53:40,768
I think right now I'm feeling more brown sugar.

720
00:53:40,768 --> 00:53:47,570
Actually I just got operated on for my ACL and they wheeled me into the operating room and
said, We have Spotify, you wanna listen to music.

721
00:53:47,570 --> 00:53:51,221
Of course it doesn't matter because they hit me with the general anesthetic a second after
that.

722
00:53:51,221 --> 00:53:52,221
So I can't listen to any of it.

723
00:53:52,221 --> 00:53:54,662
But I Yeah, you wanna throw on brown sugar by D'Angelo?

724
00:53:54,662 --> 00:53:55,422
And that's what they did.

725
00:53:55,422 --> 00:53:57,803
And we joked, like me and my friends were joking like that.

726
00:53:57,803 --> 00:54:01,464
As soon as I knocked, they're probably like, Yeah, all right, let's just switch it to
something we want to hear.

727
00:54:01,464 --> 00:54:06,065
She told me like after the fact at my post op visit that, hey, like we actually really dug
that album like we hadn't heard before.

728
00:54:06,065 --> 00:54:09,078
And I like, yeah, like you should check out D'Angelo.

729
00:54:09,078 --> 00:54:11,510
Um but yeah, I think those are my five for now.

730
00:54:11,510 --> 00:54:12,831
No, great picks, thank you.

731
00:54:12,831 --> 00:54:16,434
Yeah, look, I had the same assumption that as soon as you're under, they would have turned
it over.

732
00:54:16,434 --> 00:54:19,837
So that's yeah, to them actually listen, that's amazing.

733
00:54:19,837 --> 00:54:20,948
No, Danny, thank you.

734
00:54:20,948 --> 00:54:21,929
They're amazing picks.

735
00:54:21,929 --> 00:54:24,571
And look, it's been really great speaking with you.

736
00:54:24,571 --> 00:54:30,716
Obviously, you're uh at the start of what will hopefully be a very long rocket ride with
increasing momentum.

737
00:54:30,716 --> 00:54:34,830
And I certainly love the album and excited for what well, what is coming next for Couch?

738
00:54:34,830 --> 00:54:37,522
Probably that's worth a little bit of a final check out.

739
00:54:37,522 --> 00:54:40,214
What's, you know, the plan for the next year or so?

740
00:54:40,482 --> 00:54:43,244
Yeah, the plan for next year is to write more music.

741
00:54:43,244 --> 00:54:47,326
We as of now don't have plans to go on another big headline tour.

742
00:54:47,326 --> 00:54:51,918
I think we're gonna take our foot off the gas in that regard and try to write more music.

743
00:54:51,918 --> 00:54:54,442
We have a few festivals this summer we're going to.

744
00:54:54,442 --> 00:54:57,932
Um, but nothing like no long tours.

745
00:54:57,932 --> 00:55:06,296
I mean, we'll see what offers come in, but for the most part, I think it's gonna be
writing music, thinking about that next headline tour, the next album.

746
00:55:06,296 --> 00:55:08,578
Um, so stay tuned for that.

747
00:55:08,578 --> 00:55:09,080
And

748
00:55:09,080 --> 00:55:13,932
We might be playing near you over the course of summer, so just check check that out.

749
00:55:13,932 --> 00:55:14,942
Yes, no, definitely.

750
00:55:14,942 --> 00:55:16,613
I I would love to see you down here.

751
00:55:16,613 --> 00:55:18,596
It'd be a pleasure to come and check out your amazing works.

752
00:55:18,596 --> 00:55:20,848
And I can't thank you aga again enough, Danny.

753
00:55:20,848 --> 00:55:22,890
It's been amazing speaking with you.

754
00:55:22,892 --> 00:55:23,880
Yeah, thanks a lot, David.

755
00:55:23,880 --> 00:55:24,780
This is a lot of fun.

756
00:55:24,780 --> 00:55:26,365
I'm so glad we got to do this.

757
00:55:34,868 --> 00:55:35,818
And there we have it.

758
00:55:35,818 --> 00:55:37,620
I hope you enjoyed that chat with Danny.

759
00:55:37,620 --> 00:55:38,821
I know I did.

760
00:55:38,821 --> 00:55:43,415
And I'm hopefully going to see Couch land down under at some stage in the future.

761
00:55:43,415 --> 00:55:45,247
They certainly deserve to be heard down here.

762
00:55:45,247 --> 00:55:46,648
So fingers crossed.

763
00:55:46,648 --> 00:55:51,522
So thank you as always for listening and an enormous shout out to our supporters to date.

764
00:55:51,522 --> 00:56:01,590
And as I always mention now, we have sort of rationalized all our premium offers,
offerings, as you would call them, across Substack, Patreon, and YouTube membership.

765
00:56:01,590 --> 00:56:04,502
So if you join either of those options, so

766
00:56:05,044 --> 00:56:15,182
If you're watching the video, you'll see a join button or our patreon.com forward slash
keyboard chronicles, or if you look for keyboard chronicles on Substack, you get early

767
00:56:15,182 --> 00:56:17,884
access to episodes, snippets of episodes.

768
00:56:17,884 --> 00:56:22,608
So for example, this one was recorded about six to eight weeks before you see it.

769
00:56:22,608 --> 00:56:31,254
If you're not a member, our members have seen snippets and key components well and
literally hours after we record, which is always fun to do.

770
00:56:31,308 --> 00:56:33,199
And we have some chats about those.

771
00:56:33,199 --> 00:56:36,470
So do consider it really does help us keep this little boat afloat.

772
00:56:36,470 --> 00:56:41,363
It's it's a costly exercise, and we do appreciate the support that we get.

773
00:56:41,363 --> 00:56:46,235
And so those supporters that currently support us include the lovely Tammy Catcher from
Tammy's Musical Stew.

774
00:56:46,235 --> 00:56:47,965
Thank you, Tammy, as always.

775
00:56:47,965 --> 00:56:50,296
Derry Evans from Wales, thank you, good sir.

776
00:56:50,296 --> 00:56:52,527
We always appreciate your support.

777
00:56:52,527 --> 00:56:52,868
Mr.

778
00:56:52,868 --> 00:56:57,730
Paul Heaton or the Dreamscapist, do check out the Dreamscapist YouTube channel.

779
00:56:57,730 --> 00:56:58,350
Paul

780
00:56:58,350 --> 00:57:02,492
creates some amazing music and I'm proud to say he used to live in my hometown here.

781
00:57:02,492 --> 00:57:09,665
I know he's he's relocated, but he's another Australian musician that creates amazing
stuff and definitely worth a check out.

782
00:57:09,665 --> 00:57:11,275
So thank you, Paul.

783
00:57:11,276 --> 00:57:14,877
Dave and the team from the MusicPlayer.com forums and the keyboard corner.

784
00:57:14,877 --> 00:57:16,058
Thank you, team.

785
00:57:16,058 --> 00:57:17,418
And last but not least, Mr.

786
00:57:17,418 --> 00:57:19,379
Mike Wilcox at Midnight Mastering.

787
00:57:19,379 --> 00:57:22,820
Amazing work on mixing and mastering original works.

788
00:57:22,820 --> 00:57:24,531
I've used him for two of my albums.

789
00:57:24,531 --> 00:57:26,912
Cannot recommend him highly enough.

790
00:57:26,978 --> 00:57:28,250
So they're our great supporters.

791
00:57:28,250 --> 00:57:30,723
We'd love to have you join them join them.

792
00:57:30,723 --> 00:57:32,095
You don't have to have a shout out.

793
00:57:32,095 --> 00:57:35,049
If you prefer to remain anonymous, that's fine as well.

794
00:57:35,049 --> 00:57:39,485
But yeah, we do thank you all for your support and we've got lots of great shows coming
up.

795
00:57:39,485 --> 00:57:41,908
And in the meantime, keep on playing.