0:23

You're listening to the Inside the Mix podcast

0:25

with your host , Mark Matthews .

0:28

Hello and welcome to the Inside the Mix podcast

0:30

. I'm Mark Matthews , your host , musician

0:33

, producer and mix and mastering engineer

0:35

. You've come to the right place if you want to know

0:37

more about your favorite synth music artists

0:39

, music engineering and production , songwriting

0:42

and the music industry . I've

0:44

been writing , producing , mixing and mastering music for

0:46

over 15 years and I want to share what

0:48

I've learned with you . Hello

0:51

, folks , and welcome to the Inside

0:53

the Mix podcast . In this episode

0:56

, I am very excited , as

0:58

I always am , to welcome my guest today , my friend

1:00

FastEddy856

1:02

, who is an independent music producer

1:04

, writer and artist , and he's joining

1:06

me today for a producer

1:08

kickstart strategy session

1:11

. Hello , fast Eddie , how are

1:13

you ? How are things going ? Buddy , I'm good . Mark , how

1:15

are you doing ? I'm good , I'm good , I'm

1:17

good . We've been back and forth on Instagram

1:20

for a while now , so it's good to finally

1:23

chat via this medium that we

1:25

find ourselves in today . So I'm looking forward to . So I'm looking forward to

1:27

this .

1:27

I'm looking forward to it . Me too , I hope .

1:30

Yeah . So in the notes in the lead up

1:32

to this , you found the podcast because

1:34

you were starting mixing and mastering and you wanted

1:36

to listen to an informative podcast

1:38

about mixing , which is also by Layback

1:41

and Cool , and I love that description . I should add it as a tagline

1:43

for the episodes or the podcast itself

1:45

. Maybe if you could just tell our audience

1:47

a little bit about your music production

1:49

journey today . What is it that has inspired

1:52

you to start sort of this mixing

1:54

production journey ?

1:55

well , I've been producing since I was

1:57

16 years old , so about 30

1:59

years I'm giving my age away

2:02

. But yeah , 30 years now and , um

2:05

, I didn't have the funds really

2:07

to keep on paying for my mix and master . So I

2:09

kind of figured out myself and learned myself . So

2:11

that's why I started mixing and masking part

2:14

.

2:14

It makes perfect sense and you're certainly not alone

2:16

with regards to that and individuals taking

2:19

it in-house to to save funds , because

2:21

being , as being , an independent artist

2:23

and producer , obviously it does require

2:25

financial outlay and you

2:28

kind of need to weigh up , like

2:30

I want to do some of it myself , but at the same time we

2:32

need to obviously see opportunities

2:34

whereby we need to outsource . So you've got to kind of

2:36

weigh up where , if you've got that pot of money

2:38

that you can invest in you as an artist and producer

2:41

, you need to spend it wisely . So

2:43

I totally get what you're saying with regards to bringing

2:45

it in-house . So maybe if

2:48

you could describe well I've got it written

2:50

down here your biggest pain point at the moment is

2:52

doing mixings or mixes

2:54

over and over again . So you're

2:56

going through that iterative pattern of binge

2:59

mixing for one of a better way of putting it . So

3:01

you're doing another mix and another mix and another , which

3:03

, my friend , you are not alone , there

3:05

are many individuals that do this . I used

3:07

to fall into this pattern as well . Maybe

3:10

if you could tell us a bit more about that , what is

3:12

? What is it ? And you mentioned about

3:14

competing with yourself in the notes

3:16

I've got here ? What is it that you're competing

3:19

with ? What ? What does it drop ? What's driving you to

3:21

do these multiple mixes ?

3:23

I'm thinking I can do better

3:25

and then I go back to a mix

3:27

I've done and it didn't sound bad at all and

3:29

I'm like what am I doing ? So I

3:32

believe I have , I'm getting with the confidence almost

3:35

there , but it's still . I'm still lacking

3:37

something in confidence . I don't know what it is yeah

3:40

, you're totally not . I keep saying this I was gonna

3:42

be recurring theme of the episode here .

3:43

You're not alone , uh , in that

3:45

, and it's kind of like that imposter syndrome , isn't it

3:47

? and I I get this routinely with the podcast

3:50

. When you look at other podcasts that are doing xyz

3:52

and they're , all these numbers and stuff and you

3:54

, you cannot help but compare yourself to others and

3:56

get that imposter syndrome and think , oh , they're doing

3:58

that , why doesn't mine ? Sound like that ? But I

4:00

think you're right at the beginning of your journey

4:02

here . The way at the moment well , like if

4:05

you've only just started to dip

4:07

your toe in the water , so to speak , of like mixing

4:09

and mastering and there's that classic

4:11

sort of 10,000 hours isn't there I don't know if you've heard

4:13

of that You've got 10,000 hours of something to really

4:16

not necessarily even master it

4:18

, but really get it and understand it and get it under

4:20

your belt . So often

4:22

my sort of response to that is don't

4:25

compare yourself to others . For one , I mean , it's

4:27

hard , it's easy for me to

4:29

say that . It's really easy for me to sit here and say don't

4:31

compare yourself to others , because we do . And social media

4:34

is often the catalyst

4:36

for that and you cannot help but look for a feed

4:38

and see what someone else is doing . But

4:44

we're only seeing the positives generally , I think with music , what people are portraying and

4:46

putting out there . So that would be like the number one thing is straight away , not to

4:48

compare yourself to others

4:50

. But with regards to the mixing iterations

4:53

, I think a lot of the time a

4:55

lot of that falls down to sort of knowing

4:57

the fundamentals of mixing

4:59

itself . So things like EQ and

5:02

dynamics processing and time

5:04

based processing like reverb and delay , and

5:08

dynamics processing and time-based processing like reverb and delay . And what I often

5:10

say to individuals is like , if you've got a select few plugins , is to

5:12

know them very

5:14

well , because it's quite easy to

5:17

see that silver bullet plugin . A

5:19

lot of the time and this happens with mixing you got a

5:21

mix right , you're thinking , oh man , it's

5:23

just sounding really muddy in the low end , or my

5:25

vocal just isn't sitting right , it's not present enough

5:28

, and I and if I increase the level , then it stands

5:30

out to and it's too proud of the mix , or if

5:32

I don't , then it's too , I cannot hear it

5:34

, it's not staying . And then you see this video

5:36

, this advert on tv tv

5:38

, I don't know you may see it

5:40

on tv , but you see it on youtube , for example and

5:42

it said oh man , tried this plug plugin and

5:44

now my mix sounds absolutely bang and everything's

5:46

X , y , z , and you can quite easily

5:48

fall into that . So one thing I often say to

5:50

individuals and I particularly do this with

5:52

coaching clients as well is like , if

5:55

you've got a select few plugins , like an EQ

5:57

, a compressor , a reverb

5:59

metering is to get

6:01

to know those ones really , really well

6:03

and fully understand what they do before you

6:05

start reaching for another

6:08

plugin that you think might solve

6:10

the issue . Because I think a lot of the issues

6:12

sometimes arise specifically right at the beginning

6:14

of your sort of mixing and mastering journey is

6:17

you've got an issue , but you're , or

6:19

you can identify it , but maybe

6:22

you're not at the place whereby you know how to fix

6:24

it . And I think knowing like

6:26

an EQ , for example in Logic

6:28

, like the Logic EQ , knowing it inside out

6:30

and what it can do before you move on to another one , is

6:33

highly important . Does that make sense ? It

6:35

?

6:36

makes a lot of sense and I believe I've been doing

6:38

that recently . I've

6:40

done what you said too . I've

6:43

seen people say , use this , use that , and I've used

6:45

it because they said it and I said you know what , I'm going

6:47

to stick with this first and

6:49

learn this , and I've been doing

6:51

that now and it's been working for me .

6:53

A hundred percent , and that's the thing to

6:55

do , because there are so many and I fall into

6:58

this trap hands in the air . I

7:00

think I did it earlier today or it might have been yesterday . Youtube

7:03

, I find , is the worst for this . I agree

7:05

, yeah , you'll put on a video

7:07

and the first thing you'll see is an advert saying

7:09

this plugin has created this chord

7:11

progression . For me , it's out of this world and

7:13

I'm like I don't want to see this right

7:15

now , or something along those lines . So that

7:18

would be my first step and

7:20

it's great that you're already doing that is to really get to grips

7:22

with the plugins and the tools that you have at hand

7:24

, and logic is fantastic . I love logic

7:26

. Like with what ? Yeah , with what it has

7:28

. You're a logic user , right , if I ? remember , yes

7:31

, yes , yeah , have you updated to

7:33

logic pro 11 ?

7:34

not yet . Well , I try to , but my

7:36

uh apple , my computer stops at

7:38

uh 10 point like the last one

7:40

.

7:41

So I think I need a new computer a

7:44

new apple that yeah , that's the problem

7:46

, isn't it like apple does that man ? It releases

7:48

this update and says , oh yeah , we've got this great update

7:50

stem splitter , chroma glow , but

7:53

you need to have this first . I heard so much about

7:55

it .

7:56

I heard your , uh , your stem splitter episode

7:59

too . Um very interesting yeah , it's

8:01

really good , I heard the difference between

8:03

, uh , the difference when you split them up too

8:06

. I was like wow okay

8:08

, it's quite impressive .

8:09

Now I think I said it in the episode , I haven't

8:11

actually used other stem splitting applications

8:13

, but maybe I'll go

8:16

away and do that , but I was quite impressed . I

8:18

briefly looked at Chromaglow

8:20

yesterday and what that can do

8:22

and that looks quite exciting in turn . It's like

8:24

a saturation uh saturator and it's got

8:26

various different um saturation

8:29

parameters , let's say and

8:31

, and emulations in air quotes that

8:33

you can use and it looks pretty good from what

8:35

I can see . So and I'm also gonna I

8:37

want to have a look at the um . There's

8:40

a , not an a , is it ai ? Like a bass

8:42

player sort of thing as well for composition

8:44

to generate those as well . Anyway , getting

8:46

off track , but it just looks . It looks really good

8:48

. But Logic has some fantastic

8:51

plugins native to it , like the EQ

8:53

and the compressors . So I often say to individuals

8:55

like , before you go out and buy like the

8:58

latest and greatest EQ or compressor

9:00

, get to know those really well . And

9:08

also I think in particular with compression , is to actually understand the different parameters

9:10

and what they do . I think is quite important important as well and actually be able to identify what

9:12

they're doing when you do it , because I

9:14

think it's quite easy when you start out , to think , oh , I'm gonna slap

9:16

a compressor on it , because that's what people do without

9:19

actually knowing what it's doing . You know , um

9:22

, which is a whole like episode

9:24

in itself . You could do a whole episode just on

9:26

the attack setting . Yes , you're right

9:28

, compressor , right , um . But

9:30

my next bit of like advice for the , the

9:32

mix iteration . So we've got the first one , which is to

9:35

know a select few tools really , really well

9:37

and get the fundamentals down in terms of understanding

9:39

tonal balance with eq and

9:42

also dynamics processing in particular . But

9:45

the next one is , uh , with regards to like feedback

9:47

. So I think this is really important and having

9:49

like a supportive network of peers

9:51

that you can send your track to for feedback

9:54

. Is that something that you have at the moment ? I do

9:56

have .

9:56

I have that . I can say I do have that and

9:59

once again I'm like it , like

10:01

those , like it sounds pretty good put it out

10:03

and I'm like all right , and then I go back and

10:05

try to touch it again

10:07

, yeah , yeah . That's the thing .

10:09

It's the thing as well , isn't it , with friends , I think , when you send

10:11

it to friends , sometimes they have that like

10:14

they can hear something but they don't

10:16

necessarily want to tell you for

10:18

fear of like . But you're not going to

10:20

upset me , I'd rather you tell me if something's not right

10:22

or something's standing out . But

10:24

what I would say with feedback is a lot of the time

10:27

I find this in particular you may be getting hung up

10:29

on a vocal that

10:31

is you're thinking , oh man , I'm going to boost it . It

10:34

needs to go up 0.5 of a dB in the

10:36

chorus , but nobody . More

10:39

often than not , if you send that out for feedback , no

10:48

one is going to pick that up . And what is more and I've I've done this as well and I've been

10:50

hung I when I did my ep last year and there's a vocal section and I'm like fiddling around , I'm like

10:52

, oh , 0.5 up , 0.5 down . I'm like , generally , the the general public isn't going to know

10:55

the difference of whether or not you

10:57

boosted it by 0.5 db and stuff like

10:59

that . You know , man . So I think for

11:01

what I'm getting out there is like with that peer review

11:03

is trying to get them to be as honest as possible , and

11:05

you will often find , like

11:07

, if you send it to them and

11:10

you don't articulate what you want feedback

11:12

on , which is the way I do it and get them

11:14

just to do it unbiased so they're not taking

11:17

your opinion on , more

11:19

often than not they won't pick up on what it is that you

11:21

have identified yourself . Um

11:23

, so that's sort of like . The second one is it's

11:25

good that you've already got that . Anyway , you've got that peer review

11:28

going on .

11:28

So you're saying I'm sorry . So you're saying

11:30

like , let them know specifically what to look for

11:32

when I send it to them to listen to , like

11:35

yeah , I mean that's that's

11:37

the way I do .

11:38

I don't generally say or , unless

11:41

, unless I really need

11:43

help with a particular . I might say a frequency

11:46

range , okay , I might say like the

11:48

low mids , or I might say the mid

11:51

range , or I might say the upper mids

11:53

or something like that . But I try not to um

11:56

impart that unconscious bias

11:58

, because if I say to the individual oh , I'm

12:00

not happy with the snare on this , then

12:03

they're going to hone in on that and maybe ignore

12:05

the other parameter , the other features , where

12:07

actually the snare is probably all right , but they might be looking for

12:09

an issue that's not necessarily there . So you've

12:11

got to kind of weigh it up . Maybe you could send it to one

12:13

person and say I need help with this in

12:16

particular and then send it to another person

12:18

and say look , just give me some feedback .

12:20

I like that I'm going gonna write that down and think about that

12:22

.

12:22

appreciate that because I've done it when individuals

12:24

have asked me for feedback , and I've zeroed

12:27

in on a specific part , which is fine , and

12:30

then I tend to ignore the other , the greater

12:32

picture , you know , um . So

12:34

I think that's , that's quite important . But

12:36

there is a caveat with that . I think when you're , when you

12:38

do ask for feedback , and

12:41

that is just because somebody has said it

12:43

, doesn't necessarily mean you have to act upon

12:45

it . So it kind of contradicts everything

12:47

. I just said but you do have to take

12:49

it with a like a pinch of , not a pinch of salt

12:51

, that's the wrong phrase . But you got to think , okay

12:54

, I don't agree with that . But , thank

12:56

you , sometimes you know and

12:58

don't necessarily act on it , unless

13:00

you're you

13:03

100 , even 100 , I suppose you could try it . You can

13:05

try it and then you can . That's the beauty of of uh

13:07

, working in the box , right , we don't have to go recall

13:09

large consoles , you can just recall it

13:11

. The other bit after that

13:14

I mean this is where it

13:16

might be contradictory to what you said earlier about

13:18

um , bringing it in-house

13:20

is and I've done this

13:22

previously is like you've done . Your

13:25

mix one , two , three you've sent it to

13:27

your peers for feedback is

13:33

then there are mix feedback services out there , run by professional engineers , and

13:35

they'll charge between sort of like 30

13:37

to 60 quid whatever that equates

13:39

to in dollars and then they'll give you like

13:42

feedback on your mix . So you could what

13:44

I generally say with that is maybe for like

13:47

two or three projects get to that

13:49

place whereby you're almost

13:51

there and then just

13:53

maybe outlay 30 or 40 quid

13:55

, send it to a pro

13:58

mix feedback service and

14:00

just get that extra little bit of feedback

14:02

. If you do that , two or three times , you'll

14:05

find that not only

14:07

will it improve your knowledge and your expertise

14:09

of what you're doing , but you'll notice

14:11

commonalities and then you'll be able to think

14:14

, okay , well , I've had three instances of feedback

14:16

from this pro engineer and each time they've

14:18

said that , um , there's

14:20

too much going on in the low mids . So I now know

14:23

that I need to address that in my , I

14:25

need to research why that's happening and how

14:27

I can stop that happening and what I can do . So

14:30

yeah , it's going to cost money

14:32

to do it , but I think if you do it two or three times

14:34

, it is a worthy investment . Yes , I

14:36

agree in doing so , you know , and it's

14:38

a fresh year . Fresh , fresh pair of ears

14:40

too , which you need yeah , yeah , 100 , mate

14:43

100 , and the next one , the

14:45

next tip . So so far we've

14:47

got the knowing , the fundamentals of

14:49

EQ compression , and you've got your tools . You

14:51

know those really well . Feedback

14:54

, and then that pro feedback

14:56

. But then they're setting deadlines and I often

14:58

I bang on about this a lot because you mentioned

15:00

it there like you release a track and then you go

15:02

back and listen to it and you're like , oh , I can change this , this and this , but I think that's the

15:04

beauty of music , right ? If you set yourself a deadline , say you've got a track , you then you go back and

15:06

listen to it and you're like , oh , I can change this , this and this , but I think that's the beauty of music

15:08

, right . If you set yourself a deadline , say you've got a track you're working on now and

15:10

you're giving yourself the month to mix it which is quite

15:12

a long time to mix a track a month and

15:15

then at the end of that month you're like well , however that

15:17

is , I'm going to release it or

15:19

, at the very least , going

15:23

to put it on streaming platforms and

15:25

then move on to the next one , because I think

15:27

, as creatives and engineers

15:29

and audio engineers

15:31

, producers

15:36

, let's put all in one pocket here . I mean this could be a sweeping statement

15:38

, but

15:41

generally you will go back and you will find something that you're thinking I could change

15:43

that I do it in my own stuff . I go back and

15:45

I'm like , oh man , that vocal's a bit proud , that

15:47

reverb or that tail's a bit long or

15:49

I don't know , maybe that kick drum or it's a bit bland

15:51

. Here there's no impact between the verse and

15:53

the chorus , but if you can

15:56

identify that in a previous body of work

15:58

, then you know in your next one , okay , well , that

16:00

was an issue in the previous track . This time I'm going

16:02

to make sure that there is an obvious

16:04

, um , there's an obvious

16:07

transition in in terms of macro

16:09

dynamics between the verse and the chorus

16:11

, macro dynamics being the difference in

16:14

in loudness and volume between the sections . Or

16:16

you're like , oh , in my last project the vocal

16:18

was too quiet . So I know in the

16:20

next one I need to really hone in and figure

16:22

okay , I need to really get my automation

16:25

down and my my dynamics processing down

16:27

of this vocal and maybe look at some other um

16:29

, some other techniques to get in there as well . So

16:31

I think deadlines are good in that , because you do need

16:33

to draw a line in the sand right and then move on , you

16:36

know , and then not get hung up on that

16:38

um and iterations

16:41

in terms of mixes . What would you say

16:44

? Probably calling you out on this

16:46

a bit here and put you on the spot , but how

16:48

many iterations are you going through

16:50

at the moment ? How many mix versions on average

16:52

?

16:53

So my buddy of mine I work with he

16:55

was like what I mean I could say

16:57

I've done for

16:59

one song about 20 different versions . That's

17:02

a lot . I know it's a lot , okay

17:04

, I mean it's not the most I've ever heard okay

17:06

, yeah , you're right there , it's

17:08

20 . Yeah , it's a lot , though it's 20 ?

17:11

yeah , yeah , yeah , it's uh . So when you

17:13

get to like , when you get beyond four or

17:15

five , what is it that you're tweaking

17:18

? What is there like a particular

17:20

instrument group , or is it a particular

17:22

um concept that you're tweaking

17:24

? Is it like the time-based processing

17:27

? What is it that you're finding you're tweaking the most ? I

17:29

?

17:30

make it hard for myself , because sometimes I say I'm going

17:32

to go back and change the bass , I'm going to

17:34

go back and change the drum , and then

17:36

I end up just changing the entire

17:38

song . I don't know why

17:41

I do that , but I'm working on that

17:43

now . I'm getting better with that now . I'm just like

17:45

why not go back and change everything and

17:48

then it sounds different again ? You

17:50

know it's another version of the song

17:52

yeah , yeah , it's

17:54

.

17:55

That's tricky as well , because with the bass in particular

17:57

, if you , if you've got your mix and you've done I

17:59

don't know like 10 , 15 iterations

18:01

of a mix , and then you go in and suddenly

18:03

sweep and change that bass , that's

18:05

going to change the whole tonal balance

18:07

of your track . And then you've built

18:09

all your mid-range in your upper

18:11

mids and your high frequencies , based on

18:13

the relationship between that bass , and if you change that

18:16

bass dramatically , it's going to throw

18:18

everything else out of whack . It might not

18:20

I mean it might not , it might you might put another

18:22

bass in there . You're like , oh , it's open , it's open , it's incredible

18:25

. For the most part you're

18:27

going to find , oh shit , I'm going to have to go right back

18:29

and go from the beginning

18:31

again . But it's a learning curve . Yes , it is . And

18:33

what I will say as well is you mentioned bass and

18:37

I think , from my experience chatting with

18:39

other artists

18:41

, producers as well , and other

18:43

professionals in the industry , that

18:46

seems to be the one that catches people out the most is bass and bass

18:48

frequencies and controlling bass . It's

18:52

a tough one to crack and a

18:55

lot of it comes down to I say

18:57

a lot of it . Some of it does a high

18:59

percentage of it down to listening environment

19:01

in terms of being able to recognize

19:03

, because if you're using cans or

19:06

you've got speakers , you've got monitors

19:08

. Unless you've got a sub , you're not going

19:10

to hear those sub frequencies . And that's where you

19:12

need to be using things like

19:14

spectral analyzers on screen and

19:16

looking at the relationship between

19:19

the sum and difference between the side

19:21

and the mono frequencies and

19:23

the relationship between the low end

19:25

and the rest of

19:28

the instruments as well

19:30

in the frequency range . One good tip in particular

19:32

, if you really are struggling with it and being able to hear those

19:34

sub frequencies in particular , is

19:36

to use something like tonal balance with iZotope

19:39

or just a spectral analyzer and

19:41

then have a reference track and look what your

19:43

reference track is doing in those lower frequencies

19:45

and then compare it to your own and

19:48

see where yours lies . Another

19:50

key tip here , if you're going to do that , is

19:52

to find a reference track . Shout

19:55

out to eric mitchell on this one . Find out

19:57

a reference track , find a reference track in the same

19:59

key as the one that

20:02

you are working on , because

20:04

your fundamental frequency , you'll

20:06

find will sit in a similar pocket

20:08

and you'll be able to compare apples to apples

20:10

in that lower frequency range . So

20:12

, um , yeah , just throw that one out there . Yeah

20:14

, when he said , when he told me about that , I was just like I

20:17

don't have an idea , any idea why I've never thought of

20:19

doing that before I'm saying here I'm like , well , okay , I never

20:21

did appreciate that too there's

20:23

a really good free Spectrum

20:26

Analyzer that I downloaded

20:28

recently and I need to have a proper play with it , and that is

20:30

the Tokyo Dawn

20:32

Prism I think that's what it's called . I'll

20:36

send you a link to it after the episode today

20:38

just to make double check . I've got it right , but

20:40

that looks very , very good and it's free , and

20:43

so I highly encourage checking that out . I'm going to dig

20:45

into it later today and have a play around . I

20:47

found it by chance when I was looking for other

20:49

free plugins and I was like actually

20:51

, this looks really good . There's some other great

20:53

free plugins in there as well . If you want a dynamic EQ

20:55

, the TDR Nova EQ is another

20:58

really good one as well . I'll send you links to all these . I

21:00

appreciate it , mark . Yeah , fast , eddie , we're coming towards the end now , so I

21:02

think this is a good opportunity for you to

21:05

. In fact , before we do this , what

21:08

single step from today's chat do

21:10

you think you will act on first ? What's

21:12

the first thing you would do as a result of our

21:14

discussion today ? Two reference

21:16

tracks that's about it .

21:18

Maybe three , that's about it . Cool

21:20

, not 20 , 30 , 40 .

21:22

That's about it

21:24

Excellent , man . So how

21:26

can our audience find you online

21:28

If

21:32

they want to listen to your music or just follow ?

21:33

you connect with you . Where should they go ? They can go to FastEddy856 . Everything

21:36

is FastEddy856 . F-a-s-t-e-d-d-y-8-5-6-i-g

21:42

. Youtube what else

21:44

? Spotify I have

21:47

beats on beachstarscom for sale and

21:49

yeah , that's it . I love this music

21:51

love music .

21:53

Let's keep playing .

21:54

Nice , it's good to hear yeah what's

21:57

life without music man , that's what it is . Yes , I agree

21:59

, I definitely agree , 100%

22:01

100% .

22:02

It's the soundtrack to everything we do , you know , and

22:06

yeah , I don't know what life would be like without it

22:08

but

22:10

that's a whole different discussion in itself , but

22:13

audience listen . I'll put links to

22:15

all of Fast Eddie's stuff

22:17

in the episode description

22:19

and if you would like to be

22:22

like my friend here FastEddie856

22:24

, and become a producer , kickstart

22:26

participant , click

22:29

the link in the episode description , get signed up

22:31

and come and join me on the show and obviously you can give

22:33

yourself a shout out as well . And

22:35

, FastEddy856 , it's been a pleasure

22:37

and I'm glad we've been able to finally

22:39

speak and I will catch up with you soon , buddy

22:41

.