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How to be a music producer with Marta Salogni
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Feb 9, 2025
Marta Salogni is an award winning record producer, sound engineer and mixer. Over her esteemed career she has worked with the likes of Björk, Depeche Mode, Dream Wife and lots more. In this conversation with journalist, Lisa Wright, Marta takes us through her career journey to date, sharing practical advice for how to get started in a facet of the music industry that is still incredibly male dominated.
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0:03
all right good dad thank you so much for joined against uh
0:09
I thought I'd wait until you were happy until we did a sort of introduction and uh so that people can see lady that we
0:17
are talking to you whilst I'm describing you um so yes so for anyone who is watching or watching on catch up
0:24
um this is the first of a news Theory I thought advice is going to be doing uh called I won that job
0:29
um which is talking to you women uh in football behind the scenes roles in the
0:35
music industry I think how they got their getting people like about it here
0:40
to give their tips and tricks to Andy aspiring people trying to work in this
0:45
Industries um my name's Lisa I'm going to be hosted needs uh every month once a month
0:53
there's the plan um and then also if you're watching and you're front and you're trying to
0:58
scribble notes don't worry we're going to write everything up it'll be on the 45 site next week
1:04
um in a sort of Handy choose guide form um but yes so today is the Plasma series
1:10
welcome to wonderful Martha sarandi uh here is a producer of mixer of record
1:16
engineer um she's worked with all sorts of people uh Robbie dream wife depression Island a
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little aspiring the artist called bill um you've done so much over your career
1:31
already um and I'm excited to hear all the things that you have to say
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um so I guess to begin with um what sort of first Drew you
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um to this job like was there something like what kind of was the seeds that got you excited about the learning
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production and to get you several
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um
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I was part of the group with uh students activists
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um friend back in it and will be um in this uh social Center
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um and where in the results at the back because they they um uh the initiatives
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that they um uh that we were um trying to be bring forward uh which
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were effective and through the venue at the back one
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afternoon I just took a walk and I saw that there was the box with the Nixon desk was open and so I suppose object
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math uh objects full of faders it really
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um needs and I want to understand what
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what uh yeah um how did you make those love yeah no
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sorry so someone's saying in the comments that the audio is a bit wonky it is a little bit for me it's like I
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don't know where there oh
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right
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well so then where do I have phones because I'm hearing glitches yeah let's do that
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if they're better right
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about town
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is this better come on
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oh is that what they in the comments keep an eye on it
3:59
made some nice fans make mistakes um yeah sorry Marion so you were out there and you went to the venue in the
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back of this bar you'd seen the desk and was like oh right what's that like how
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did he sort of first make the lesson into learning what that was all about
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well um I asked to be introduced to you to the sound engineer there which is
4:25
which name is Carlo and I'm very patiently he started describing to me
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how the mixing desk the meant that the people on stage will be able to be heard
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in different in different ways so for example if a single stage would have
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sung very quietly then on the other side of the stage uh a mixing engineer
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could bring the fader up and then make the performance feel very intimate so
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ultimately I started seeing the object as another instrument where you can
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perform but you are not sort of like being being senior not on stage and I
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thought it was very freeing the the concept that you could alter the listeners experience
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um to an emotional level and they sound experience on a quality level and for
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that to be tied in with you know um art but also science and in a world that
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fell to me that in which there will always be scope for uh experimentation
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um so all of that I fell in love with short of first sights um and I started working alongside
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common in the venue um to to learn as much as I could but I
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was still going to school so my time was limited I was given uh that learning a
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lot of time I then ended up a few years later
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doing all of the concerts and theater production and festivals
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um in in the area where uh when I was born sort of like that uh
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more Italian uh sort of circuits uh but then there's
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a big question I finished high school and you ask yourself there are really two groups one is um
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what do you do do you go to UNI do you stay in Italy uh do you continue what
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you love which for me was Sound Engineering or do I go in what they're
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really that I thought I was going to have you even before um you know which for me he was going
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into teaching going into uh study literature and um probably she tells me that's what I
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was going to do but I choose to move to London because that's where the best opportunities were
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and because I wanted to move from live sound into Studio sounds I wanted to
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learn uh the differences and um wants to have more time to experiment because lifetime is very immediate and
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it's beautiful for that because there is a um kind of formal performance to it
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um but yeah I wanted the time to truly deconstruct uh sound in a way that I I
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couldn't do uh in life and they were in studios or opportunities where I was yeah so that I think um is it an
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industry where you sort of have to go and actually normally studies on my do you think or like how important do you
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think it is like doing sort of classical training name or you know going to school studying a course or something
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well it depends how how you prefer to learn really I did build both
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um but my learning at school on this subject was very was very short it was a nine month course
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um I could not afford anymore so I made the most of it um
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but I think that you know there is there is part of the job which is good to learn on books which is which are I will
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I would say like the more technical side of it uh theoretical and then there is
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the Practical which obviously you need to you need to learn on the on the job and
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um One affect the other so if it makes people more comfortable to be able to have a uh the foundation of in terms of
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um Theory then there are plenty of good books out on the subjects
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um and uh but you know I think that most of what I learned I learned they're on
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the job and I learned on the uh on on the situation of being left alone with a
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with a recording or with a session where I actually really um it really pull myself uh there and
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and put into practice what how did you find Pacific inner you're talking about like
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but that's going and just you know having to make friends with people and stuff maybe what are the things that
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sort of you know was quite intimidating about that industry is you know you go in and there's these huge mixing desks
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with like a million buttons and everything looks quite sort of intimidating and scary if you don't know
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how to use it like how would you say like how what how did you get over that
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or did you not really not that I understand that yeah I've been there
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but if you look at a really big desk it's just one channel multiplied by
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however many channels so always break it down to one um and learn what one does because you
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know that then everything else is the same when you're we're talking about so it's about big mix Industries it's quite
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intimidating at times um then a studio the complexity of a Studios is it feels like you know I I
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feel like when I enter someone else's Studio I'm entering almost like their own brain the wiring is different uh
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things are delayed differently but that's the beauty of um of Studios being unique everyone you
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go to will have uh different uh qualities um I think it's something that you know
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with with time and with confidence that you start learning the and ultimately is
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uh is a master of um keeping calm and understanding that
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is the uh is all about getting from A to B so you have a signal we want a source
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and we have a destination and so to think about it in those uh simpler terms then can make it can make it easier you
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know to break down a massive uh kind of sort of intimidating situation into small
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um
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the other and eventually you'll get um it says that uh
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things if you're not able to because you know resources the things aren't serious actually these days studying is just a
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wild expense um if people kind of aren't able to to go and study and there's certain things
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that you raise in terms of getting experience in other ways or like certain books or anything that you found have
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been really helpful okay
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um I would say that if you don't have the opportunity to study
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um what I will do is I would um try and befriend people in the same
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situation and if possible get together and split the costs of maybe buy some
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gear buy some equipment uh learning it together um if it's possible to create a sort of
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you know Community around you I find that that always helped and it's also very good to you know to be able to
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bring each other up it is a community after all uh everywhere you know the
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audio Community uh and the music industry I don't like I like to think as a as a community
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um uh books yes I can I can send you some suggestions on the top of my head I can't remember the exact title but it
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was this a Yamaha sound book that I it was one of my first the first presents that um uh Carla the first sort of role
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model I had gave me and it was in English it was harder ready to understand Sound Engineering and then at
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the time um of being 16 my English wasn't very good um so yes I remember though uh that
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after um you know after having learned all the you know a bunch about uh Sound
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Engineering going back and reading the theory became easier so sort of like I
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think I'm better on learning by doing rather than by reading so you know for me it was it was easier to do it and
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then to go and read why I was doing made sense uh rather than reading it and
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doing it because I've read that I should do that it's sort of like about you know kind of hate Authority rather but
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um yeah so for me like learning by doing is is probably a bit more exciting for
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someone approaching the subject because otherwise it can be quite a heavy one uh in terms of in the physics of sounds Etc
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I said it yeah it depends whether you want to know what's happening uh in in the same speakers in the microphones but
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if you don't want to know it then you're good okay so if the community aspect is
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important you move to London like what the sort of Fast Math exciting things
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that you felt really helped I mean for little it felt like big milestones for
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you um well moving to London uh yeah it was
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a big big change for me and then I sort of had to like rebuild my life in
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another country and that started with doing the course of nine months I said uh to have something
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uh very stable in my everyday um finish that uh really needed in to
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find a job because a London is expensive I found this trouble she wasn't the the one I truly wanted but really helped me
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um with that Quest that I said I wanted to learn everything about sound breaking disintegration in my head and then
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understanding it so it was in post-production so I worked
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um really hard for a year employed um as a runner as an assistant so
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teasing coffees and then you know little opportunities to be able to do
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um to edit maybe um the sound for a film or going to do
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some location recording for a documentary or do some sound design which is what I actually really liked
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um uh but then I knew that what I really wanted to do and the reason why I moved to London was to find a job in a studio
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and that is really hard because um you know most Studios
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um would not have many openings for uh for assistance really because that's the
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way in or running even so um but I was really determined and so I
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started bringing my CVS uh in person to different Studios uh and Corning Studios
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up and amongst probably I don't know 40 that I've called one said I'm not gonna
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give you a job but you can come and we can meet uh for me was enough you see
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like sometimes um to put a foot in door you just need someone to hold it open just Lightly for
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you uh because that's very true if so if someone gives you an opportunity uh then
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you you then it's up to you to give to make the most of it um and I did that I showed up and the the
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first things that they told me um
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state of the art uh and um in Richmond and this was uh down
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Britain who said I don't have a job for you but I can keep in mind and I love that you
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know like he's he's uh so genuinely honest and you know what
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happened I said yes I don't care I just want to be here but a couple of weeks later he called me up and said are you
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afraid to come and assist something session um and I said yes I'll drop anything so
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um I dropped the other job uh instantly because I knew that you know when when
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you're in front of a choice when you know that yes you live in you're living what you have and what you have is kind
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of stable and you don't know where you're going but you know the where you're going would be no matter what bought you your dream so you just go for
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it and so I did you know like I showed up at the session I assisted
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um made these make coffees I didn't touch the console I didn't care I was there I was in the studio and then
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uh I was called back and then you do a different session another session same Studio
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and then I met a dancing softball producer who needed an assistant and
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that was my first um first opportunities after after state of
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the ark that made me able to start working in audio and they doing what uh
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doing exactly what I wanted to do um
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so you see like it's a series of opportunity uh that you really need to
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to to to pay attention to what's happening in the room and how you can
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um how you can help and be as helpful as you can and be open and be be receptive
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uh and really work as hard as as you can um so you need to prove yourself
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um when you go number one when when you have no credits under your belts that's the hardest thing is is getting some
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then it's been be you know give when someone gives you the opportunity
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and the trust to be able to prove what you can do um and then from there is
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after that it was working in different Studios and learning and working in um
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difference producing London such as Dean streets then strong room then Rock
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um and I feel like I've been you know I've learned from a lot of people during
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those years of um assisting and engineering um
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and then I was putting into practice while I was learning from different engineers and producers uh whenever the
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studio was free um I would ask the studio manager if I could use the rooms
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um in exchange of uh keeping track of any folds on the desk or any gear and
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with the promise of making the studio tidier than I found it
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um so yeah you know making sure that I kept very good relationship with
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everyone so that um uh you know where as you as you're trying
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to to progress um I I feel like it's good to be able to
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to you know to always give back as soon as you can um and to maintain this sort of like you
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you're when you are in in the learning process not always it's not about taking and taking and taking I think it's
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always keeping that the right balance where you are giving a lot and uh as much as
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you're giving if you find the right people they the same people will give to you
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um so that's how I felt like I felt I was like I became part of a community and
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um uh I you know at the earliest opportunities I I was going to watch
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concerts and uh if I like the concerts and I liked the band I would ask the band if they wanted uh to record with me
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uh and that I didn't have um much uh credits to demonstrate to
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them that I you know what my uh sort of portfolio was but I was building it at
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the time and I what I could offer where my where my service is in a studio uh
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thanks to the studio managers that let me have it um and what they were getting was a
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recording a demo if they wanted or a Finnish mix if that's what they wanted and that's when
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as I was saying you know as they throwing yourself into the deep end you're there alone
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uh with a band with the artists and you have no assistance because you are the
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assistant and you are the producer and you are the mixer and you are the engineer um so you do it all and you put into
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practice what you learned or what you think you knew and you understand whether you truly know it or not or
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you're learning it so that was very very important because it allowed me to
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become um are better assistant than a better engineer and then a better producer and
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a better mixer uh by doing it all by myself and you know you work with a band that
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might be starting out when you're starting out and then that band progresses and then gets signed and then
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they remember you they tell about you to the record label and then the record
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label then gets in touch and says hey in 2010 you recorded this band is now
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2013. I don't know um would you like to record them again
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with a budget you know if things come back um so you gotta stick with um uh with uh
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with what you believe is right and work with people that you believe in and with music that you like because that if you
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do a good job and you're most more likely to do a good job if you like what you're doing then
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um hi the chances are high that you you get called back and uh so you know it's
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a small industry after all it's a world of math is important
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um and I started getting like that uh my
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first projects uh to you know my first Productions to do on my own
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um it sort of is a progressive uh
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Progressive election saying was everyone uh I think that means that you've kind of
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carried on working with and then got called back to do in the way that you were just saying
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is there anyone that you sort of worked with like really early on like that that then you did get and they did end up
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kind of getting called back would be
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yeah there is uh like a Phillips Subway for example um
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he's um uh radio at drummer and artists and who
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just released an album and I produced that and I recorded vocals uh and did
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some engineering for his album prior to this one in
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gosh a lot of maybe more than 10 years ago and I think that session more than
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10 years ago was one of the first session I was Engineering in London so
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you know fast forward 10 years 12 years or so and you're producing a record uh
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that you were recording interviews before um that for example
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um uh or uh the depressed record uh James
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Ford I I worked with him on on different projects as Alexa
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um and then he called me like last
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spring uh asking me whether I uh wanted to to record and you the best record
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with them uh obviously I said yes I love the passion I love working with James
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um I was an assistant on an album um uh by the ground and soul Savers
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probably 12 years ago so I was in a system back then uh to Soul Savers and
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you see like 10 years after I'm recording with James uh Martin and Dave
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say
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it might be brave so learning as you go and putting yourself in situations
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perfect but you sort of learn on the job um and just be nice to me yeah I think
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the firstly like called like whatever they get if you're a nice person to be around and you don't you know you come
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in and you're great the opportunity and like as you you give stuff back as well
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I think because that is so dead rewards to succeed okay no one wants to be stuck in a
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tightly studio with someone that's a so who hmm
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I know yeah you know there is enough tickets out there don't need one in the studio there was someone in the comments
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that asked a little back um how do you write a CV as an assistant which I think is actually a good question like if you
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don't have that much experience under your belt um like how how would you sort of sell
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yourself in other ways or what are the things that you think are still valuable to people and it might not be just
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experienced but like you know if some I don't know if you if you want to admit series for someone to come into you what
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what would you want to see on one
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um I would say what I like to see is sometimes it's not about at all having
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like a thousand credits at all like actually the opposite um I because sometimes I get I get CVS
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of people who are overqualified to be an assistant um and I think I would be better suited
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in you know uh building the studio and doing production on everything
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um I think uh you know to be an assistant
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um first being first thing that I would look for would be someone who can be very much quite
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mythological and tidy and then meditation to detail and I've been like
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very deep attention to detail so someone who can
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um really understand that um
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the hours yeah the hours are long but the hours don't don't need to be long if
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you really do your job properly and um that job consists mostly for that
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assistant um uh will depends like for me it would be
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like um someone who is uh proficient with uh Pro Tools which is the idea W I use but
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if they're not who someone who is willing to learn so I think what I look
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for in someone is um the hunger for Learning and the sort
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of that's part of the makes you believe that they they want to be yeah that means it's something for them
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um like he did for me sometimes I want to see the same attitude and um I like to see
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um as we said kindness um just you know simple traits as we
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said but uh you know sometimes simple traits are quite complex and they're hard to find
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um someone who can be uh open and excited about projects because then it's
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up that's what you like to see see like feed off someone else's excitement about something
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um someone who can make your your life my life easier rather than how other you
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know uh someone who can be proactive um as saying yeah you asked me to do
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these but I also done this um do you like it yes no no okay well
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I'll I'll change it like this and you know someone who can be proactive and not just do the job but do something
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more that's how I felt when I was um when I was learning or uh when I was
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engineering uh where I was assisting I would always try and anticipate what I
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was about to be asked so that's a very uh very important uh quality
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because if someone if you are an assistant and you're in the room you hear that uh the producer is talking
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about recording vocals then don't wait until you get us to set up a booklet mic just go and start setting up the avocal
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mic um you know be proactive and be bold um but then also know when it's time to
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just to set and and wait um because there is a lot of that let me
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assessment is is um the sort of um is a mixture of everyone's feelings and
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artists can be different artists can be comfortable with people around or can be more comfortable not having someone
30:30
extra in the room so as an assistant also know when to step out try and read the room which again like you know a lot
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of this job a consistent technical knowledge uh and a lot of these are
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consistent reading room and understanding sort of the yeah the mood and what people
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um kind of what people ex not expect but what they don't even expect but what you feel like
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the right thing to do um so yeah all of these I would uh I would
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look for and uh in an assistant as much as um I was looking
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um I was trying to achieve it myself um a Fearless group uh people are wanting more nape maybe I wanted to name
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drop a little bit more said I hate him to giving all fours and that's not unlike projects that you've worked with
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whether they're certain artists that you work in like particularly different ways that show that is there an album that
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you've worked where you really had to sort of like adapt to someone who's working methods and it's kind of pushed
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you out of your comfort zone or anything like that yes
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I don't know about name dropping ballet every every album is before yes
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sometimes uh being pushed out of my comfort zone which is good
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um I don't want to be in my comfort zone I know what it looks like it might as well be pushed out of it because then I
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learned something different um every artist is have their own uh way
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of working and it depends from where they come from in terms of like
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um what their method is like some artists prefer to not be part for for
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example of like the mixing process and some of them need to see 10 every day
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and that doesn't mean that they've been backseat drivers so it just means that for them it makes more sense for their
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process to be their present and that makes it easier for me because it's I understand better what they want uh
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rather than having endless email chains uh or calls
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um uh um production Wise from artists leave a lot
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of freedom and really do want uh to you know me to bring my own
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um uh my own set of um I don't know experiments or like ideas
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and everything so I I am lucky and I feel that people come to me because of
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that because they they want uh the ones my inputs uh uh by 100 but then other
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artists instead will be more set in sort
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of like they they were someone who can Elevate what they have already uh but
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not um uh not completely change it so like
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there'll be like different sets of sort of uh rules you should be within and that's good as well because that means
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that you learn how to work within someone else's uh mindset um and I think a good producer mixer is
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able to do to the boat to be able to sit within uh the boundaries that um
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that the artists feel they're important to have and then to be focused on one
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um on on the album on the record as it is uh and then other artists inside want
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to explore and one wants you to be to join them in that sort of Journey but
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like I couldn't really make specific examples because it's not as black and white as that but it's like
34:23
um in what I weren't saying there is been like maybe track set off more one way or another but
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um and it depends so I feel like um like the full device as publication is very
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uh it focused on women and non-minary people and like really like those boys
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out there so I feel like it's kind of unavoid to mention you know I was reading the stat but it's still I think
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it's 2.8 of purchases there was the latest statistic are
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which is still mad um like how like have they felt within
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your time at that starting to get better or do you
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do you kind of feel like um and then we encourage sort of trying
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people video to kind of you know not not that as like a her job
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so um yeah I'm very disappointed by the statistics and they've been like um
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uh the statistics I know have been five percent of music producers uh worldwide
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and a very sad uh uh female so even less of that five percent
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um if we consider non-binary and
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other minorities which is even more sad because it means that the landscape of
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Music gets created by a very small percentage of um diversity and just a
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big homogeneous uh white male dominated um
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landscape so that's not a representative of what the music uh should be because I
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believe music should represents society and to be able to truly represent what
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society looks like should be as diverse as Society um so I did feel very
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um you know uh responsible to try and push the the balance as much as I can so
36:29
my Act of um being here um and being a woman in the industry I
36:36
try and bring up other people like me so that they balance gets um a little bit
36:42
uh more towards the the fair side
36:48
um and I believe that will because I believe that will enrich the music in
36:53
the surrender landscape and I think it's about time to be honest um what
36:59
um what there needs to be uh opportunities and equal opportunities and I think that
37:06
um that is what we are going towards now is to uh put more pressure on
37:12
Gatekeepers or let's say the people at the top of different pyramids and
37:18
triangles uh people who are in power and have been in power for long enough to be able to dictate the rules and smash the
37:26
glass ceilings for um others as I said it takes someone to prop the door open
37:31
but that's someone needs to hold that door for you and then you can smash it
37:37
open hopefully but there needs to be you know people need to bring each other up and people
37:43
need to be um people need to be aware of the problem and and it's good that we're
37:49
talking about it um and I always dream of one day where we're not going to be talking about it
37:54
because finally we have achieved that um something which you know she should
38:00
be should be achievable I think um I've seen
38:06
I've seen in my sort of 13 years now I am here in London uh doing what I do and
38:15
I've seen a change I come from a place where I was the only female uh engineer
38:21
and so much so that people would not even say my surname they will say Martha yeah the engineer
38:28
um and I I didn't meet many people um
38:34
uh you know would be non-male um and doing the job establers doing
38:41
until I came to London and I was lucky to win one of my first session with manual who's an amazing engineer the
38:47
producer um and for me it was pretty special it was really important uh he allowed me to
38:53
see myself uh in someone else and I think representation is very important
38:59
uh if students and uh with um you know with uh with female representation it
39:07
should go away beyond the I I hope um and uh I think it's important to give to
39:15
this guys to uh to different people to come up and I've seen
39:20
uh lately in recent years that uh different uh
39:27
uh different let's ask that we were to say Gatekeepers but different uh people
39:33
who've been in their position for quite a long time to shift and have shift uh consciously and say I now need to make
39:40
space for someone else that can lead uh these company these uh record label and
39:48
I think that's that's really good that's what I would do if I was head of a big
39:55
record label or if I was in my total 60s uh and if I was a man I would say now
40:02
it's my time to give space and be part of the change
40:08
um because I think like that and you know it it gives a strong message um and uh it's it's hard to get
40:16
um it's hard to get credits when you're starting out and if um if people keep
40:22
employing the same people out of laziness then there is in space for a
40:28
new generation to come through but I do have a huge um positivity kind of feel very positive
40:36
about newer Generations coming through and then at some point you know I'll be old and I like hope that uh I will look
40:44
around and I'll feel like wow all these all these kids uh are now the CEO of
40:52
major record labels and they are doing what we were trying to do before and I
40:58
hope this is not just a dream um I think it's gonna happen soon uh
41:03
we're doing we're doing everything we can over why don't we I feel good and also you know at the credit for you
41:10
which is being excited as they like you've done so much amazing what I'm
41:17
gonna feel like it's just invite you know like you say they need people that are doing it that you can look to and
41:23
see and see someone that is sort of giving you will see off where you feel
41:29
like that looks plausible or like you can do it and I think you've done so much like you know bringing round
41:36
upwards you're waiting Awards he doesn't drink anymore and um I'm sure
41:43
that there's so many people that see your career and and feel like that is that really is I think so
41:51
right well I feel like the picture in here for a while and made the Before I Let You Go as a nice little kind of
41:58
lighter end to this chat um is that when you look back up everything that you judge about is there
42:05
one album that you've worked on that you feel like
42:10
it's kind of uh enjoyable experience or the one that you know when you're telling the grandkids about reaching
42:19
thank you
42:25
I mean uh it's hard to pick um
42:32
the BR corrector that it makes will is always gonna have a special place in my heart
42:38
um and that's because um I got to experience it in
42:46
in Iceland with her and for me that was very special because it really allowed
42:53
me to dive deep into um into the album
42:59
um and to be able to look out of the studio window and see the mountains of Iceland that have no
43:06
trains and you can see the shape of um exactly the curve of
43:12
um of of the Earth on the mountains and to see the blue and and the colors on on
43:20
the sunset uh it was just something else it was just very very very
43:25
powerful to be there with her and to feel her trust in me
43:31
um was very empowering and I love how she makes you feel empowered by
43:39
um by believing in you and giving you the space to express yourself and uh
43:46
she's such a respectful person and so generous um
43:51
I sort of um that's how I want to be that's how I
43:58
want to be with um with people and uh I sweats
44:04
um by sweating hard and it shows in the
44:10
mixes that I did I think uh those emotions weren't there where I like sort
44:16
of I tried to infuse the mixes with as much as what I was feeling
44:21
uh as also what you know what what the mixes needed to be technically created
44:28
by my enthusiasm I when I listened to that album I feel it
44:33
um and so it's something now that is that I would always be there and it means something for me means some people
44:38
for other people so it's it's you know it's a personal experience but I guess that's uh that would be one but
44:45
I haven't gone back to what you were saying right at the start about you know being down and impact on them however
44:53
guys even though you're not the one on the stage that you're still sort of altering these things and being part of
45:00
the process so that feels like a perfect way tone
45:07
about sending ecbs which I won't really obviously do here but maybe afterwards
45:13
um Ellie will get in touch on like DND or something like that if they're
45:18
interested um um yes but yes thank you so much I was
45:24
honest thank you and inspiring and like genuinely I mean like I have absolutely
45:31
no production um whatsoever but I feel like I've learned a lot
45:37
um and I hope that anyone that is watching this that has trust because she did and take these things aboard I feel
45:45
as inspired that it's not um not an impeccable thing to get into that you've
45:50
just sort of got to give it give it a go and be brave and talk full and be nice
45:57
wow yes well they they're very excited for or have you got
46:04
any like the details or anything that you're working on the moment or is it all hush hush
46:11
uh there is a record that I'm very proud of his uh just come out his desire Maria
46:18
um Aero mute um and he's an amazing record um I had the pleasure of fixing and
46:26
I would say check it out and see how you feel I think right bro they do that and
46:34
go and break like about skipping it but uh yeah thank you so much it's lovely to
46:41
talk to you um and anyone watching this um if you uh have an interest in other
46:47
areas of the industry we're going to be doing these as a series once a month with different people there's going to
46:53
be people from like sort of label PR and techie stuff and all different types of
46:59
Industries so hopefully there'll be something for everyone okay
47:05
bye
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