0:00:05.056,0:00:06.256 Hi, how are you doing? 0:00:06.256,0:00:08.426 Justin is here with quick tip for you, 0:00:08.426,0:00:10.956 and today: put on someone else's shoes, 0:00:10.956,0:00:12.896 I don't mean literally putting. 0:00:12.896,0:00:13.576 Somebody else's shoes on. 0:00:13.576,0:00:14.706 That would be a little bit weird! 0:00:14.726,0:00:15.946 What I'm talking about here is: 0:00:15.946,0:00:18.226 getting a different perspective on things. 0:00:18.226,0:00:20.316 Now this links back to the idea that I 0:00:20.316,0:00:23.226 talked previously about recording yourself 0:00:23.226,0:00:25.366 Especially when you're recording yourself. 0:00:25.366,0:00:27.186 Sometimes it can be difficult 0:00:27.186,0:00:28.406 to be objective. 0:00:28.406,0:00:30.476 Songwriters have it a lot, you know, 0:00:30.476,0:00:32.226 you've written a tune and you're 0:00:32.226,0:00:33.256 listening back to it, and you're trying 0:00:33.256,0:00:35.626 to figure it out if it's good or not. 0:00:35.626,0:00:38.156 There's lots of instances; whether you like 0:00:38.156,0:00:40.226 a particular solo, a song, 0:00:40.226,0:00:43.326 a bridge, the melody, the sound. 0:00:43.326,0:00:45.316 One of the things I find really helpful 0:00:45.316,0:00:46.276 I do all the time is 0:00:46.276,0:00:47.856 put on somebody's else's shoes, 0:00:47.856,0:00:50.096 or more particularly, close to the point, 0:00:50.096,0:00:52.426 putting on somebody's else's ears. 0:00:52.426,0:00:54.176 So if I'm doing a mix, say, 0:00:54.176,0:00:57.346 I imagine myself a good buddy, Reese, 0:00:57.346,0:00:59.446 who always used to pull up an amazing mix. 0:00:59.446,0:01:00.879 When I'm mixing a song, 0:01:00.879,0:01:02.929 after I've done what I think it is, 0:01:02.929,0:01:04.529 I'll sit there and go, 0:01:04.529,0:01:06.279 "Now what would Reese say?" 0:01:06.279,0:01:08.809 I'm trying to listen with his ears, 0:01:08.809,0:01:10.389 and I'll go, "He's going to say 0:01:10.389,0:01:11.649 that the kick drum's too loud, 0:01:11.649,0:01:13.539 or there's not enough sizzle in the hats, 0:01:13.539,0:01:14.879 or the guitar's too loud, 0:01:14.879,0:01:16.889 or the vocal needs to come up. 0:01:16.889,0:01:19.619 By imagining myself being somebody else, 0:01:19.619,0:01:21.249 it changes stuff. 0:01:21.249,0:01:24.069 It's a really effective tool, 0:01:24.069,0:01:27.409 and it's a very odd one. 0:01:27.409,0:01:30.129 I found it on a prev record I was doing, 0:01:30.129,0:01:31.789 I was working with a producer 0:01:31.789,0:01:33.209 who used to call guitar solos 0:01:33.209,0:01:36.369 with too many notes "Ernie", 0:01:36.369,0:01:38.769 maybe there was too much "Ernie" involved. 0:01:38.769,0:01:39.809 So that's something I still use 0:01:39.809,0:01:43.099 if I'm recording a guitar solo 0:01:43.099,0:01:45.429 for myself or someone else's record, 0:01:45.429,0:01:47.509 I'm listening back to it and I'm thinking, 0:01:47.509,0:01:49.509 now is there too much "Ernie" in it, 0:01:49.509,0:01:51.539 is there too much little widdly bits, 0:01:51.539,0:01:52.419 or is it okay? 0:01:52.419,0:01:54.299 Because you get attached to stuff, 0:01:54.299,0:01:55.729 as a guitar player, I'm like, 0:01:55.729,0:01:57.989 that's a really awesome lick, 0:01:57.989,0:01:59.589 but you gotta think of it from 0:01:59.589,0:02:00.769 the song perspective. 0:02:00.769,0:02:02.469 Is that lick fitting the song? 0:02:02.469,0:02:03.579 No matter how cool it is, 0:02:03.579,0:02:06.519 if it's in the wrong song, it's not cool anymore. 0:02:06.519,0:02:10.049 By stepping back out from myself, 0:02:10.049,0:02:12.109 and trying to be objective with what I'm doing, 0:02:12.109,0:02:13.799 I'm going, okay, is that really 0:02:13.799,0:02:15.079 the right thing there? 0:02:15.079,0:02:18.079 Is that right or should I change it? 0:02:18.079,0:02:22.019 What would Thessa say, with "Ernie"? 0:02:22.019,0:02:25.329 For songwriting, it's something I do all the time. 0:02:25.329,0:02:26.829 When I'm writing a tune, 0:02:26.829,0:02:27.674 and I've recorded it, 0:02:27.674,0:02:28.769 I listen back to it, 0:02:28.769,0:02:29.839 and I start listening back to it 0:02:29.839,0:02:31.189 as if I was other people, 0:02:31.189,0:02:33.069 depending on what kind of tune it is, 0:02:33.069,0:02:34.599 or how I'm feeling, 0:02:34.599,0:02:36.629 or who I'm respecting at the time. 0:02:36.629,0:02:38.629 I'm always trying to pick people 0:02:38.629,0:02:41.449 that I really respect and whose ears I admire, 0:02:41.449,0:02:45.329 and go, well, is that bridge really good enough? 0:02:45.329,0:02:46.739 Is it linking in okay? 0:02:46.739,0:02:48.659 And I'll be going, well, it is and it isn't, 0:02:48.659,0:02:50.709 and of course because I created it, 0:02:50.709,0:02:52.669 I'm already attached to it emotionally. 0:02:52.669,0:02:55.049 Stepping back and going, okay, 0:02:55.049,0:02:57.269 what would James Taylor be thinking, 0:02:57.269,0:02:58.539 if he was doing that? 0:02:58.539,0:03:01.549 Do you think it would work for him? 0:03:01.549,0:03:03.929 Trying to step back away from the things, 0:03:03.929,0:03:06.369 it really increases your perspective, 0:03:06.369,0:03:07.799 because as musicians, 0:03:07.799,0:03:10.679 we get attached to stuff. 0:03:11.479,0:03:12.449 I always feel bad 0:03:12.449,0:03:14.229 if I'm critiquing somebody's song, 0:03:14.229,0:03:16.739 because it's like calling their kid ugly. 0:03:16.739,0:03:18.799 No matter how ugly your kids are, 0:03:18.799,0:03:20.649 you don't want hear that they're ugly. 0:03:20.649,0:03:21.939 They're still beautiful to you, 0:03:21.939,0:03:23.909 and it's the same with writing a song. 0:03:23.909,0:03:25.379 You're attached to it. 0:03:25.379,0:03:26.979 You don't want to hear from somebody 0:03:26.979,0:03:28.219 that your song is no good. 0:03:28.219,0:03:30.799 So rather than try to embarrass somebody 0:03:30.799,0:03:32.239 by asking them for a critique, 0:03:32.239,0:03:34.499 you can try and be the critic yourself, 0:03:34.499,0:03:36.399 and go, let's get really honest here, 0:03:36.399,0:03:38.229 and if I was playing it to this guy, 0:03:38.229,0:03:39.759 what would they say? 0:03:39.759,0:03:42.479 What would they hear that I'm not hearing? 0:03:42.479,0:03:44.709 Is it good enough, really, you know? 0:03:44.709,0:03:46.999 This is a really, really cool technique. 0:03:46.999,0:03:50.859 I've been using it for 10 or 15 years. 0:03:50.859,0:03:52.849 I've been trying to step out 0:03:52.849,0:03:54.829 from my own perspective to listen. 0:03:54.829,0:03:56.659 It nearly always fixes stuff, 0:03:56.659,0:03:58.979 even things that I wouldn't have noticed, 0:03:58.979,0:04:02.369 stuff that, maybe because I've played it 0:04:02.369,0:04:03.559 and I'm involved, or maybe 0:04:03.559,0:04:04.859 I just wouldn't have thought of it, 0:04:04.859,0:04:07.269 until I step into that other mode. 0:04:07.469,0:04:09.059 Well, I hope this little quick tip 0:04:09.059,0:04:10.999 increases your persepective on music. 0:04:10.999,0:04:13.026 It's a really cool idea, do give it a try. 0:04:13.026,0:04:15.046 I'll see you for plenty more lessons, 0:04:15.046,0:04:16.516 and quick tips, and songs, 0:04:16.516,0:04:17.826 and all kinds of stuff very soon. 0:04:17.826,0:04:19.766 Take care of yourselves, bye bye.