Latest / 52 Cues - A Production Music and Sync Podcast / The Truth About "Passive" Income

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The Truth About "Passive" Income · 52 Cues - A Production Music and Sync Podcast

• 0:35
  Unknown: Napoleon Hill calls a mastermind an alliance of two or more minds working in perfect harmony for the attainment of a common definite objective. And I can't think of anything that more encapsulates all we do here at 52 cues than this idea, because truly, we are better together. And if you're feeling stuck with static courses or video curriculum, and you're looking for professional mentoring, weekly accountability, and you're serious about making real progress towards a sustainable career in the production music industry, than the 50 to cues mastermind, is absolutely for you. It's a 12 week program beginning on July 11, where we workshop ideas and network with other like minded composers and producers. We discuss strategies and practices for production music, we take deep dives into industry topics, and we listen to each other's cues and give feedback all in an open yet candid forum. Plus, you get three private one on one sessions with me a $225 value, where we take a hands on look into your composition and production process, mixing and mastering techniques. And together, we work towards your goals as a production music composer. So if you're ready to supercharge your career and Production Music, then head over to 52 cues.com/mastermind 22.
• 1:53
  Unknown: That's 52 cues.com/mastermind 22. And sign up today. Registration is July 8, and the seats are limited, I sure hope to see you there.
• 2:14
  Unknown: From selling beats to selling books, if you've done any research on entrepreneurship in the 21st century, then you know, chances are you've come across this idea of passive income, which is money that comes your way without your constant attention. I mean, it sounds like a really sweet deal. I mean, you make a thing once, and then you get paid for it until the end of time. But what if I told you that passive income really isn't passive at all, especially in the production music world? And what if I told you that you're fooling yourself if you think you could just crank out some cues and then rake in the royalties while sipping mimosas in your pjs without ever having to lift another finger. So we're going to talk about it, we're going to take a look at passive versus active income, and discuss why I think that the passive income sales pitch doesn't really tell the whole story. Plus, we're going to feature the winning cue from our inaugural 52 cues production Derby, which features sounds all sampled from items found in the kitchen. On this week's episode of the 52 cues podcast.
• 3:34
  Unknown: What is happening everybody, this is Dave Kropf. And welcome back to another episode of the 52 cues podcast a weekly podcast dedicated to all things production and library music where we talk about industry topics and take deep dives into the different aspects of being a working production music composer. Plus, we feature a cue written by you a member of the 52 cues community in this week, we'll be taking a listen to 25th hour by Scott McLaughlin. And Scott's actually joining me on the podcast today, because his cue was the winning submission of our first ever 52 cues production Derby, which is a cue a tension cue featuring sounds sampled from the kitchen. So really excited to have him on the podcast. He's going to talk about his process talks talk about the sounds he used, and how he manipulated those sounds for a very, very good tension queue. So you definitely want to stick around for that. But if you want to skip over the topic and get right to that cue critique, then be sure to check out the timestamps in the description below. But before we get started, I have to give a special word of thanks to the family, friends and patrons of 52 cues who helped keep the podcast, the channel and everything here going. We are 100% community supported. So if you like what I do here, don't think me think them. And if you want to learn more about how you can help support 52 cues and unlock extra perks like live streams, workshops, feedback, sessions, lesson discounts, and much more. Be sure to click on the links in the description or stick around because we're going to be talking about that a little bit later in today's episode. So I want to talk about this idea of passive income.
• 5:19
  Unknown: Because like I said in the intro, you know if you've poked around on the internet, and you've looked for ways to make money, ways, ways to make to make a living As in music, in as online in the 21st century, then this concept of passive income kind of comes up quite a bit.
• 5:36
  Unknown: And I've seen it from everyone from, you know, write your own nonfiction book or sell beats online or, or sell, sell music in game marketplaces or, or, you know, data thinking that royalty income is considered passive income. So, so let's first define what what most people think, when they think of passive income, which is this idea that you make a thing, it could be a book could be some beats, it could be game samples, whatever MIDI packs, and you put them up into a marketplace. And the marketplace, then will generate income for you. And so you sell the thing, you put it out there, and every time somebody buys it, subscribes to it, or whatever, then you continue to get passive income.
• 6:27
  Unknown: And that's what I think most people think when they think of passive income. Then as an educator, I see this a lot with the idea of selling courses, you do all this work, you create a course. And then you put it out there and it generates this back end, passive income. And I've read books like bet read books, like The Four Hour Workweek, and these types of ideas, where you put it out there, and then you literally just wait for the money to show up. And I don't think I don't think that's really how it goes. And I think that it's not really telling the whole story. And dare I say, we're getting dangerously close to snake oil. In fact, most of most of the people that I see, especially like in like writing nonfiction books, or whatever, most of the people that I see touting passive income, they're making their income, passive income, by selling books, and systems on generating passive income. That's how they're making their living. You can't necessarily call yourself a best selling author, if the only books you're selling are books about becoming an author. I mean, don't get me wrong. That's that's, that is that is justified. And I'm not downplaying that. But it's hard to say, Hey, I'm a successful author. And here's how I did it.
• 8:00
  Unknown: And then write a book. If your only books are books on how to write books, then yes, you're a nonfiction author. But you're not really right writing other nonfiction, it's like the snake eating its own tail kind of thing. Does that make sense?
• 8:22
  Unknown: And so in the production music world, you know, I've seen courses and books and YouTube channels all about selling beats and or selling your cues, or learn how to be a production music composer and all that, and they're all great, they're all great. But the idea that you can just batch a bunch of cues together, push them out there, and then relax, I think is is very misguided. I think it's, I think it's very misguided because that's not actually how it works. And which which then now we have to define active income. Okay, on the surface level, active income is something is income that you generate from doing something and you only do it once and then you get you get income once that's that's active income, I guess the definition maybe I should have looked up a Webster's Webster defines active. But that's, that's my concept of it. It's my understanding, when I do a lesson in real time, that is active income. I'm there, it's occupying an hour of my time.
• 9:34
  Unknown: And I get paid for that hour, they get the lesson, I give them a little video, so they have something you know, to remember me by. And the deal is done in the transaction. Now I could create a series of lessons and put those out there and put them up on on the 52 cues website or something and then people subscribe to it. And that gets us into passive income. But I'm here to say that, again, I don't think that's the whole story. So let's look at courses and lessons. One of the things that 52 cues, is is all about is creating interactive relationships. So the educational model isn't here a bunch of courses that you subscribe to and I just rake in the money. It's very much an Active, interactive type of community and all of the educational resources that I provide. They're not courses don't come to 52 cues, if you're looking for courses, instead, it's interactive feedback, interactive lessons, and all of that through zoom, or YouTube live streams and there, and this isn't a commercial for 52 cues, just helping kind of put some parameters on that. But even if I did have a course, then I would still want to have an active role in supporting that course. I would look to support those students taking that course I would, I would participate in discussions, I would be on the forums, you know, I would be answering questions. And most of the time when I answer questions, I shoot little videos just like this.
• 11:24
  Unknown: Hey, you had a question? It's much easier for me to make a video than it is for me, like, wall of text type you back. So it's a win win. Students feel like it's an interactive experience. And I don't have to sit there and bang my head on the keyboard. But that is active participation. To which that course isn't necessarily passive income anymore. Because I am actively working with it. And the same is absolutely true with your cues. You're working with them. you're submitting cues to the libraries, you're writing cues, there's this interactivity back and forth. And guess what?
• 12:17
  Unknown: Those libraries are going to want more the production music world is insatiable, these libraries have a burning hunger that needs constant feeding. And so no, you can't just write a batch of cues, send them on their merry way, and then crank out our rake in the royalties.
• 12:39
  Unknown: Not only because trends change, I mean trailer trailer folks, they know this trailer trends change. So by the time you have an album of trailer music, then that might have a very short shelf life to three, maybe four or five years. If you're getting five years out of a queue, then you're doing really, really well. Especially cues in modern styles, like hip hop cues, EDM cues, as soon as those trends shift, then guess what you have to keep writing more trends change, styles change tastes change. So you have to you have to change with him, which means that he's actually pretty active. Your relationship with your libraries is very active, not to mention, libraries are always always looking to pitch more music because music supervisors are always looking and wanting to use new music. Season Two of a show is going to want new music.
• 13:54
  Unknown: Now it might pull some cues from previously which is great. But they're always always on the lookout for new music. I mentioned this before I do a lot of work with CBS Sports. All of their major sports brands that they broadcast the NFL, the PGA NCAA Tournament, the big three tournament, the Masters tournament PGA golf, or basically any sports broadcasting that you would see on CBS. I have music that is submitted into into those into those shows. Now, every year, they want new music. And so a cue that got a ton of traction, a ton of rotation previously is now out of rotation for whatever reason, for whatever reason.
• 14:52
  Unknown: They just don't like it anymore, or chances are they found something new, something fresh, which is it's just new. And as much as music editors are creatures of habit, right? This is works if it if it's not broke, don't fix it. As much as they're they're creatures of habits. They're also also on the lookout constantly for something new, which means that our relationship with those libraries has to be active. You can't sit back and think that this is just passive and have, you have to always be considering and looking to continue to feed the library, new music. So as soon as you start thinking, hey, this is passive, then you're in real trouble, you're in, you're in real trouble. Not to mention that passive isn't really passive at all. So let's let's, let's talk about my very first season with the NFL. I wrote 17 cues, I was so excited, I was so hungry, to get music on, on on the NFL broadcasts that I wrote 17 cues. And of those 17, only five ever got picked up, or all 17 got published, all 17 went up to the network, but only five ever saw air. And of those five, only two saw rotation, meaning they were showing up every single week. And of those two, only one saw rotation all the way through to the end of the season. And this is especially, you know, as I was learning how to how to write these types of cues, I was learning about the industry, and learning, you know, the difference between, you know, like tension music versus sports music, and my publisher was super patient with me. But the hours and hours and hours that I spent on the front end, like I don't even want to think about how many hours I'm sure I made less than minimum wage on those on those cues. But the income that I made, certainly wasn't passive. When I got my royalty statements, that income wasn't passive, I just front loaded all of the work. I did all the work on the front end, without any upfront, put it all out there, five got air to saw rotation, and only one kept getting into the rotation week after week to the end of the season. But I probably spent, I don't know, early, probably eight to 10 hours per cue. Now it's about four to six hours.
• 17:52
  Unknown: Just the process is much more streamlined. And I know a lot more of what I'm doing. So I can't really consider all of those those cues that made air as truly passive income. Because I did all this work on the front end. If anything, it's just it's a deferred income.
• 18:18
  Unknown: And so when I see somebody talking about passive income from selling like game music, or selling courses, or selling books, you know, it's not passive income, it's deferred income, the hours and hours that goes in to making a good course, to making a good book. You're not getting paid for all those hours, you're hoping to recoup that money later. That's that's the whole at least on top of creating interactive, active experience while the thing is happening. So is active versus passive income is passive income really a thing? Are there actual instances of passive income? I think, yes. Where, where the money you're getting back exceeds the time, energy money that you put into creating it. I think there is a point where that equation flips. And that's a great place to be. But yeah, so those old cues are still generating income, and they're giving you giving you income.
• 19:38
  Unknown: For example, just this week, I pulled up some stats for a question over on the community.
• 19:46
  Unknown: And I pulled up some stats on the queue that was about five years old. And that made me $20 last quarter. Yes, by this point that Q is generating income without me having to put any new energy into that queue into getting that cue finding that cue a home. Now, the library, that's not passive income for them, because they're the ones pitching the queue. They're the ones doing all this is why they get their publishing share. This is what what I pay them to do.
• 20:20
  Unknown: And by paying them I mean cutting them in to my royalties by giving them publishing share because it's sure as heck isn't passive for them. But that same library still wants more from me, they still require an active role for me to participate in their library. And I know that's true, because I've actually been kicked out of a library. Because I wasn't active enough, I went three or four years without submitting something, and they were just pruning, you know, their, their composer list. And I didn't make the cut. And I can't really blame them to be honest, because I wasn't, I wasn't actively supporting their business.
• 21:10
  Unknown: But the real danger, the real danger of the active, or I'm sorry, the passive income mindset is this, I only have to build it once. And then I can just kind of roll in the money.
• 21:24
  Unknown: And I think that's where some courses, some books, I think this is where it's a little disingenuous. To be honest, this is how I feel. And I'd love to know what you think. And I know that we've got some some folks from some other communities who watch the channel, hello. And please know, I'm not like looking to call any one person or anybody out specifically.
• 21:46
  Unknown: Because I know that those people who run courses and everything, I know that they take an active role. But I'm talking about the YouTubers, the get quick, rich, kind of, you know, make tons of money off of your music passively. And again, this four hour workweek idea, I think is super misguided. And it's a good book, it's an inspiring book, you know, but the idea that you can just write a bunch of stuff, and it all works for you. I think it works for maybe a handful of people. But for the rest of us muggles, we've got to, we've got to keep an active an active role in how we make music, or how we make money, making music. And if you think that it's just putting a bunch of stuff out there and waiting for the sort of the royalty checks to show up. I think you're going to end up very, very, very disappointed. But I would love to hear from you.
• 22:43
  Unknown: What do you think? Have you had success with passive income? And what's your take on passive versus active income? I'd love to hear from you. Let me know, in the comments below. I do read all the comments and I make an effort to reply to them if possible. And and I would love to hear from you. So we're going to take a quick break. And then when we come back, I am sitting down with Scott McLaughlin, we're going to be talking about his cue 25th Hour, which was the winner of the May 2022 Production Derby over at 52 cues. So you don't want to miss that. And we'll talk about it on the other side of the break.
• 23:22
  Unknown: Hey, y'all, I'm Shannon Kropf.
• 23:22
  Unknown: And I want to tell you that the 50 T cues podcast is made possible by viewers and listeners just like you, composers and producers who are looking for a better way to connect and collaborate. You see 52 cues isn't just another website selling static pre recorded videos to a mass audience. It's a fun, vibrant and positive community that comes together online for sharing cues, getting feedback and discussing what's up in the production music industry.
• 23:48
  Unknown: You'll find both personalized feedback and live interaction which are the best and fastest ways to grow your skills and earn more placements. The best part is that the 52 cues community is absolutely free.
• 24:03
  Unknown: And when you're ready to take your career to the next level, we offer friends and family subscriptions which unlock weekly live streams, live interactive group feedback sessions, monthly interactive workshops and more. Head over to 50 to cues.com and sign up today. And while you're there, check out our personalized feedback videos, private lessons, and of course, merch I can't wait to see you at 52 cues.com You? And I gotta tell you this is absolutely amazing. And I am so thrilled to be joined by the composer, the composer of that cue 25th hour. Scott McLaughlin, welcome so much to the podcast, my friend, how are you doing?
• 26:40
  Unknown: Thank you, Dr. Dave. I'm lucky and honored to be here.
• 26:45
  Unknown: Oh, it doctor night. Not quite yet. Master Dave, I guess. But I thought about my mic getting my doctorate, but just at just throw it on the pile of life goals. But for our listeners, that queue called 25th hour, was composed by Mr. McLaughlin, and was an entry into our Production Music Derby, which is essentially a series of challenges that we've got rolling in the community. We've got lots more, lots more in store for all of this. And but this was the first one for May of 2022. And the challenge was write a tension cue using a recorded sounds from the kitchen. And and Scott took that to the absolute maximum. And cuts. The understanding was you could write basically anything you want, as long as there is one element, you know, from the kitchen. But Scott, am I correct? That every sound that we just heard was a sample recorded in the kitchen got Yes.
• 27:50
  Unknown: Got the bolt, the whisk the bowl to prove it. Oh, Mike. I so tell me it was that was a lazy Susan.
• 28:08
  Unknown: Right?
• 28:08
  Unknown: Yeah. Hey, good. Yes.
• 28:11
  Unknown: Thanks. Turning over a lazy Susan and sampling that? Well, obviously, you do. So tell us a little bit about the process.
• 28:19
  Unknown: From from like reading about the Derby, and some of your recording techniques and some of the sounds that we just heard.
• 28:27
  Unknown: Okay, well, first of all, I read the brief from 52 cues. And I was excited signed up for the derby. And so then I decided, well, if we're going to cross the bridge into making my music concrete, by sampling sounds, I'm just gonna go to the kitchen. And I said, How can I do this? So I just picked up some items. And I'm very good.
• 28:55
  Unknown: And very, oh, yeah, Lacroix ambassador there.
• 29:05
  Unknown: And so this became the atmosphere. This little thing, which sounds like, what it sounds like here, right? became the sub boom.
• 29:20
  Unknown: And what does that just describe, describe what you have there for any folks who might be listening to the podcast.
• 29:26
  Unknown: This is a plastic container that we actually keep the brown sugar for coffee in the kitchen. And so through Valhalla room, through a bx sub sent through pitch shifting in logic and EQ shaping, it became a shock, but wow. Because that's there's nothing inherently subby about that sound. No, not at all. And so you mentioned the Lacroix Can Can you show you show us that again and describe kind of what you were doing there? We were taking a can and kind of grinding it onto another surface. Is that what was happening there?
• 30:13
  Unknown: Yeah, so basically, as you know, with audio manipulation, you can take just about any sound and morph it into something so the raw sound on the Audio Technica microphone with that elfy are x cleaner which doesn't really sound like much, right? And that's just a like a baking pan that you've got there. Yeah, this is a, a bread pan.
• 30:45
  Unknown: Yep. Yep, I make my own. I make my own banana bread. So he's just thinking about that. I haven't had breakfast yet.
• 30:58
  Unknown: Anyway, so it was that. And then what I did for that was I decided to drench it in reverb and lower the pitch. And then I took just part of the wav file, looped it, then I put it through the EQ and I went to latch mode in logic, and I just sort of played with the, I guess, EQ sweep the filter sweep, I'm not sure what you would call this. He just grabbed the node and started moving around basically recording the automation.
• 31:35
  Unknown: Exactly, exactly. Programming the automation, and then that sort of became a combination of a pulse or a tick and the atmosphere.
• 31:47
  Unknown: And then go ahead.
• 31:50
  Unknown: Well, some of the other sounds, you know, the traditional transitional elements of risers, I took a wineglass which actually became the melody, but then also served a multipurpose as I put it through alchemy, and logic. As you know how easy that is, you just place a sample in there, and then you can play it like a keyboard. For one of the risers I think, I can't remember but it was maybe something like this. And then I detailed it reversed it and a lot of reverb created a crescendo into, you know, bar one, or wherever it was gonna be. And that became that transitional riser.
• 32:43
  Unknown: Wow, absolutely, absolutely amazing. So, uh, tell me again, you mentioned, you know, Valhalla and some of the other, but were you essentially, using as far as the sample engine? Was that just stock logic like alchemy and those types of sample instrument? Or did you bring in anything into contact or anything? Anything fancy like that?
• 33:04
  Unknown: I wish I could say I did. I would love to be able to, you know, develop an instrument in contact, but and I know, it's just a learning curve away. But, man, I gotta tell you, I don't know, man, what you have here is stellar. And I mean, you know, we voted on this, it wasn't just like me or Shannon saying this is the best. But we we voted amongst the derby participants, and there were 1010 10 entries.
• 33:37
  Unknown: And so the derby members all voted, and it came down to a tie. It was a tie. And so we then put the voting out to the greater community, and you won your track won the 25th hour and that was voted by not only the derby participants, but the entirety of the 52 cues community. And so obviously, congratulations. And I think it's no, it's no wonder why your q1 because and this is in taking away from any of the other entries because we had some absolutely, oh, stellar stellar entries.
• 34:15
  Unknown: Really? Like a masterclass. And it really was so fascinating. You know, one person you know, sampled, like their, their microwave, he treated that and used it as kind of a being button tone and other person sample baloney. You never know.
• 34:30
  Unknown: So, so, so smart and like knife whips and all this kind of stuff. Yes. But But I think what really elevated your cue and why it's no surprise that your cue came out on top is because every sound, not not just like every sound from the kitchen and kind of put together like a mosaic.
• 34:56
  Unknown: Your cue sounds like a tension Q it sounds like something you would absolutely hear in the TV show and knowing that each of these sounds you recorded yourself. And I'm assuming you mentioned your audio technica. I mean, that's to tell us about kind of your microphone setups.
• 35:13
  Unknown: I'm assuming you're not rolling in there with a $3,000, Neumann UHD. Seven or anything like that. as awesome as that would be. But I'm assuming you know, you're probably doing the guerilla style.
• 35:24
  Unknown: Exactly. And actually, as per the school of day EUV I have recently purchased not for this, but your inspiration the the Samsung co2, the Samsung co2 is man. Yes. So they came in the mail, I have yet to use them.
• 35:44
  Unknown: But I'm really excited about getting the same setup that you have.
• 35:52
  Unknown: Yeah, the Samsung co2, they're like 100 bucks or they might be a little bit more now but, but I got my 30 Yeah, for the pair.
• 35:59
  Unknown: And it comes with a mount and a shock. Like, well, it comes with the mic clips, which are shock mounts, and all of that. So, so yeah, I love those.
• 36:11
  Unknown: But mainly the main mic I used was, let me get it here.
• 36:19
  Unknown: Yeah, so you don't have to have like super fancy microphones.
• 36:23
  Unknown: They help that having nice mics doesn't hurt. But, but so much you can overcome with goodie queuing and with clean up. Is that the 2020? Yes, yep. At 2020 which is, which was my first before I got my Samson's, that was my first kind of large diaphragm microphone. And I think they're stellar microphones.
• 36:52
  Unknown: So I've done quite a bit of, you know, adding to cues with that.
• 36:59
  Unknown: The one thing that I'm wanting to get into more and you have opened my eyes to that is I do have, I do have our x but now I need to learn how to use it. So yeah, and RX is the from isotope, it's the audio cleanup.
• 37:16
  Unknown: Yes. And yeah, I did a I did a test when I had my friends, you know, vintage Normans and buy a bead, like Norman's out of the box. And my $100 Samson, co2 is cleaned up an RX, and the Neumann sounded better. I'm not going to say they didn't. But with a little bit of cleanup, you can absolutely close that gap between but exponentially the money. That's yeah, great.
• 37:46
  Unknown: Absolutely. So walk us through a little bit about the the form and the structure of of your queue 25th 25th hour as your you know, once you add all the pieces together, that's one thing, but you can't just kind of put it all in just stack them in layer. I mean, there has to be, you know, conscious creative decisions behind creating attention queue. And your queue absolutely has all of this together. Because it sounds like like a an adult. I don't mean this pejoratively. It sounds like your garden variety, tension queue that can show up on any number of crime shows.
• 38:18
  Unknown: Meaning that that's absolutely usable by library. So walk us through a little bit about your form and structure and compositional thinking behind it.
• 38:29
  Unknown: Okay, so first of all, I have a lot of for investigative tension, Crime, Drama, all of that the cues that go with that.
• 38:37
  Unknown: And that is mostly what I've been focusing on lately for libraries. So I basically use the artisan approach as per day.
• 38:48
  Unknown: And you know, just use some of the same elements that I would have written for any other tension, cue, meaning minor to tonality, use of the tritone, maybe, you know, flat six, whatever, just tones that are outside of augmented intervals, things like that. As far as the form. I think I had two or maybe even three, probably just to edit points for a music editor stated the melody and sort of a call and response melody that was stated numerous times started out by quoting the melody at the beginning, then in four more phrases, continuing with that, and bringing in the transitional risers. I didn't bring any wishes in but used to all of that and sort of like the the structure or the concept of I guess the garden variety tension here.
• 39:58
  Unknown: Yeah, that again, I don't mean that like any ad at all. Yeah, it's you've got to you got to throw strikes, if you if you want, if you want the editor to hit it out of the park, you got to give them strikes across on blade. They're in this absolutely. This absolutely did.
• 40:14
  Unknown: Well, Scott, man, thank you.
• 40:17
  Unknown: First of all, thank you for your support. Thanks for jumping into the derby. And for all, you know, all the all the kind words about what we do here at 52 cues. I mean, because it truly is folks like you who who helped lift the community. It's Not just like the Dave Show, it's, you know, together, we are better. And so I really, really appreciate you. And again, congratulations on the stellar Q. And they should probably should create a whole album of these kinds of things, just you know, you know, the kitchen sink, yes, because I think it really goes to show and you've proved that a you don't have to have like crazy, fancy expensive gear, or you don't have to have amazing plugins, you know, from you know, FabFilter and nothing against them. I have FabFilter plugins, but using just your, the tools that you have, and a spark of creativity, and then knowing how these kinds of cues are put together. Man, I think you've proven that you don't have to have all these million dollar million dollars of gear, you just have to have a really good ideas and a creative spark.
• 41:18
  Unknown: And I think you've proven that man well done.
• 41:23
  Unknown: With that you so much. Well, I just wanted to say that I really appreciate all that you and Shana do for the community. And part of my morning ritual is listening to you putting together cues and I love the transparency, the serenading with Ukulele and many other things that you add to the process.
• 41:48
  Unknown: So I appreciate that man. Thank you. Thank you so much. And what I'd love to do is now that we've talked about the different sounds, we're going to we're going to take us take us out by listening to 25th our one more time and now that you know what sounds you're listening for or now you know what sounds are coming from I want you to try to see if you can spot them all but Scott, thank you thank you so much Thank you.
• 43:58
  Unknown: Once again, I have to thank Scott McLaughlin, not just for joining me up here on the 52 cues podcast but also for for participating in our first ever production derby. And believe me, we have much more planned for this. And we've got a lot of ideas. So you want to be sure to stay tuned. But ultimately, you know, the cornerstone of 52 cues is the feedback community, posting your cues, leaving feedback for others receiving feedback from others all on our different journeys in our production music careers, from seasoned pros, with hundreds and hundreds of credits to folks brand new and just learning the ropes. Everybody is absolutely welcome at 52 cues and we would love to have you to join is free and and yeah, you can if you're ready to move on to take your kind of career and your skills to the next level. We have programs and subscriptions and everything available for you.
• 44:57
  Unknown: And we hope you do we hope you do join us over at 52 cues.com.
• 45:02
  Unknown: And then finally, once again I have to give a special word of thanks to our family friends and patrons who helped keep the lights on helped keep the internet happening as far as paying hosting and all of that we are 100% community supported.
• 45:17
  Unknown: We don't have any you know you are not going to hear any HelloFresh ads or anything like that. We are supported by you.
• 45:24
  Unknown: So thank you. Thank you so very much Please know that I appreciate and love every single one of you. Now, that's going to do it for us for this week, but you don't want to miss next week, where I sit down and chat with someone who's become a really good friend over a relatively short period of time, Eric Copeland have make music income in the make music income podcast that he co hosts with Steven bet all of the Production Music Academy, Eric joins me and we talked about stock music. We talked about what this career, you know, looks like in the modern day. And it's, we laugh a lot. We chat a lot. We're actually here in central Florida together. And we have since had lunch together. And so I'm really, really excited to finally be able to share with you my chat with Eric Copeland of making music income, but that's going to do it for me today. Once again, thank you for all of your support. Thank you for watching and, and yeah, I hope you had a great week and I can't wait to talk to you next time until then. Peace. The 52 cues podcast is copyright 2020 to Dave Kropf. All rights reserved to music played on the podcast is copyright of their respective owners and is used for educational purposes only.
• 46:38
  Unknown: For more information including joining the 50 to cues community and submitting your queue for consideration on the podcast head over to 50 to cues.com