Latest / Brett Keane and Eve Show / Brett Keane Talks Musicians, Studio Work, Mastering, AI Editing, Music Production, Distribution

Transcript

Brett Keane Talks Musicians, Studio Work, Mastering, AI Editing, Music Production, Distribution · Brett Keane and Eve Show

• 0:07
  Hello ladies and gentlemen, my name is Brett Keane from GOD TV
• 0:11
  Radio. I hope you're all having a
• 0:12
  blessed day out there. When you get an opportunity,
• 0:15
  check out my radio station on Spotify that's connected to
• 0:19
  hundreds of other outlets. You can listen to me on Spotify
• 0:23
  as well as Amazon Music, iTunes, iHeartRadio, and the list goes
• 0:28
  on and on and on. Plus, you can check out my books
• 0:33
  and I've written quite a few of those.
• 0:36
  You can check them out on Amazon.
• 0:39
  And also I have created several albums of music.
• 0:45
  Quite a few of those albums are now distributed to the world.
• 0:49
  And there's more to come. Just recently, my newest one, my
• 0:56
  most recent one is called Trials and Tribulations.
• 1:01
  You can find that on the front of my YouTube channel, along
• 1:04
  with everything that is distributed so far through
• 1:08
  YouTube and so on. My songs are copyrighted and
• 1:14
  they do have content ID on them, but I've set it up to where if
• 1:18
  anybody decides they want to use it, and they don't even have to
• 1:23
  ask me permission, all they need to do is not edit the music in
• 1:28
  any kind of way. Like if you want to use one of
• 1:30
  my songs for your intro or your outro, you're perfectly capable
• 1:35
  of doing that. But what happens is is you will
• 1:39
  get a thing that says that you're playing copyright music.
• 1:44
  It'll say by Brett Keen, GOD TV Radio, but it'll tell you that
• 1:49
  it'll have no impact on your channel.
• 1:52
  It'll only have impact if I decided to do something about
• 1:56
  it. So if you're doing some kind of
• 2:00
  rude, hateful videos or you're messing around with my sound,
• 2:05
  then we'll have issue. But if you're just using it for
• 2:08
  an intro, I see no problem with it.
• 2:12
  I've already set up an application and it's already
• 2:17
  been approved that my music will start becoming a part of.
• 2:22
  I don't know if many of you know this, but you can actually add
• 2:26
  YouTube Music to your videos. Like for instance, if you get a
• 2:31
  copyright thing, you can like put some music over it or add
• 2:37
  music to places in your videos that you want.
• 2:41
  Well, they have entire list of songs that you're able to use.
• 2:45
  I did an application that sets it up to where my music will
• 2:48
  eventually show up on the list and you'll be able to use it
• 2:52
  like that through YouTube's video editor.
• 2:56
  And that's pretty neat. And of course, I'm getting paid
• 2:59
  for it. How do I go about getting paid
• 3:03
  to do music through Spotify as well as YouTube and all these
• 3:06
  things? Well, it's set up to where every
• 3:08
  time someone just simply plays my music, if you play it on
• 3:12
  Spotify or you play it through YouTube, YouTube monetizes all
• 3:17
  of my songs. Spotify does that.
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  And all the other sites, of course, I get paid through
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  Amazon, iTunes, iHeartRadio, and the list goes home and home and
• 3:31
  home again. So some people out there might
• 3:35
  be asking me, Brett, why did you choose to do like angels and
• 3:40
  demons and all this kind of stuff?
• 3:43
  For those out there who've actually bought the physical CD,
• 3:47
  it's got a lot of artwork for every album and a lot of it's
• 3:51
  heaven, hell type of concepts. The one in the middle with the
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  woman with the red hair holding up the apple.
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  She represents many visuals I've seen in the past and paintings
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  of a character that they claim is existing in mythology or lore
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  of Judaism and mentioned a little bit in the Torah and I
• 4:20
  believe something called the Kabbalah.
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  The character's name is Lilith. You're probably familiar with
• 4:26
  the name because you've probably seen the LGBT parades.
• 4:29
  They endorse her because she represents A demoness who was
• 4:37
  originally the first woman that Adam got hooked up with.
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  She was created equal alongside Adam according to the lore, and
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  then obviously she was banned and she had special powers where
• 4:52
  she could shapeshift. There's fascinating stories
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  around her. Each one of my, every bit of the
• 4:58
  artwork that you see for my albums, there's a story behind
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  it. There's biblical references or
• 5:06
  something that you can find in lore.
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  I guess the reason why I went for demons and godly stuff.
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  Obviously I'm a Christian, I believe in God, but I've always
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  found angels and demons very fascinating.
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  I've actually researched writings about angels and I've
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  also dabbled in demonology, looking into that, and I found
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  that fascinating. And one at one point in time, I
• 5:36
  actually reached out towards the Satanic Church and some of these
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  Satanist groups out here because I was interested in seeing what
• 5:44
  kind of study or research they've ever done.
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  But I found out that many of them were just fakes or fluffy
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  bunnies or just atheist posing, using the religion as a prop to
• 5:57
  cause controversy or just simply to antagonize Christians.
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  And they really had no idea anything about the history of
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  Satanism except for my buddy. You guys have met him before.
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  He's been on my shows and my podcast.
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  He's what you call atheistic Satanist.
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  I always mess up his name though, 'cause he's got this
• 6:22
  really, really big name, but he calls himself Lucifer, Liva
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  Gordon, something like that. I apologize if he watches the
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  video. He always gets a little pissed
• 6:34
  at me that I get the name messed up, but I've always been that
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  way with names. If somebody says their name's
• 6:40
  Bob, I'll say Boob. I don't know why that is.
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  It's just a keenism, I suppose. Some people have asked me how do
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  I go? How did I go about creating the
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  music and all this? Was AI involved?
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  I did use AI, but not in the sense that some people are
• 7:01
  thinking or what they're theorizing about.
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  AI can be used in studios. You can go in and let's say you
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  record a ref on the guitar and you come up with something
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  really sexy and the timing's a little funky.
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  Well, normally back in the 80s and 90s, and even in the early
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  2000s, if you went into a studio, usually you had to
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  record an entire track all the way through.
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  And if you screwed up on guitar, then you would have to, you
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  know, cut that part out and then redo that part of the track in
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  the timestamp, kind of like a video.
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  However, with AI, you can simply say, I really like the way this
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  riff is going. I want you to copy and paste the
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  riff. Like if you got something that
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  goes dead and then, then, then, then, then, then, then you can
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  tell it loop that four times and then you have almost an entire
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  minute worth of stuff. And with AI, you can also add
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  sound effects. You can say I'd like it to sound
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  like a police siren right here, you know, And I wanted to have
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  like dynamic sound effects. Like there's people screaming
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  and yelling. I did a song called Annihilation
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  that is talking basically about souls being destroyed and liars
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  burning in hell. This kind of concept, Dante's
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  infernal type of message and you hear screams, you hear yells,
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  you hear the sound of wind and falling and all that kind of
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  stuff. It's not just enough just to
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  simply say AI do this. You have to kind of direct it.
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  You have to tell it where you wanted in the in the music and
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  all that, explain to it by doing prompts and information.
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  And you have to be really clear on what it is that you're
• 9:00
  looking for the tone of the music.
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  As far as vocalist, you get people that are You'd be
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  surprised how easy it is to find people who want to sing.
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  But some people are too busy, like doing jobs and working and
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  all that to be able to go out on the road.
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  Or some people don't desire to go away from their families.
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  But if they're offered the ability to be heard on the radio
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  or be on a studio CD, it's really easy to get people to do
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  things. And surprisingly, there's a lot
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  of people that are not professional singers where if
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  they're offered the opportunity, some people actually have
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  natural talent that you can bring in and saying.
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  And even if they're not that great of a singer.
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  The great thing about AI is let's say someone is singing
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  really well, but on some chords they don't match up.
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  Like they sing too high or they sing too low, or they have a
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  problem with some of the notes. You can simply use Pitch Bender
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  where you adjust and make sure that their voice actually hits
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  the octave along with the music. Luckily a lot of the people that
• 10:21
  brought in are naturally talented and didn't have to do
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  that much editing with voices and all that.
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  I in the past, of course, when I first started doing music, the
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  music was meant when I started taking music seriously and
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  learning engineering and production and all this.
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  I am obviously the plan was to upgrade and improve my music.
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  But as I got better and all that, and then I started having
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  friends who had their own visions and their own bands and
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  their own desire to do music, and they were willing to pay me
• 11:03
  to make the most optimal, maximum type of sound for them
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  recorded. They realized that not only was
• 11:13
  I talented, but because I was so good at doing things digitally,
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  I was. I was somebody they could go to
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  and they could get it done cheap, but sounding like it's
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  absolutely 100% fidelity and professionalism is where a lot
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  of you out there. If you ever wanted to do music
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  and go into somebody's studio, you could be paying thousands of
• 11:38
  dollars, hundreds of dollars per hour to use the stuff.
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  And then that's only just to use some of the equipment.
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  And the equipment may not even be that great or exactly what
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  you're desiring, especially if you like to do music like I do.
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  I like to do a lot of experimental stuff.
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  I like to do a lot of genres and sometimes you need certain
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  instruments and a certain type of tone in order to be able to
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  do that. And that's one of the things
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  that AI and technology's gotten really good at.
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  Like I could sit down at my keyboard and play a really plain
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  sounding piano and then I can, you can do this with any kind of
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  equipment in the 1st place, but AI makes it easier.
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  Like I'll say, huh, I like the way that melody sounds.
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  I'm going to tell the AI that I want the piano to sound like
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  strings. Or what would it sound like if I
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  were to tell it to replace the instrument with a guitar?
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  Like Techno Wizard, for example, if you go through my music,
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  you're going to hear a techno industrial type of computer,
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  digital sounding type of track. It's something you could really
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  dance to. Techno wizard, boom boom, techno
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  wizard, boom boom. I decided that it would be smart
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  to make it sound really computerized as well as add
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  explosive sounds whenever it does the boom boom, and it
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  turned out really well. I imagined that it was going to
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  be interesting, but sometimes the finished product is a hell
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  of a lot better than what you assumed it was going to come
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  out. Now, as far as AI, there's some
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  people who have wondered, did you just generate it?
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  Is that how you did it? There's a lot of programs out
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  there and a lot of websites offer the ability that if you
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  write some lyrics out or some lines and then you put it down,
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  the AI will attempt to create music around it.
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  But it's not that simple. If you're trying to do music
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  that's actually good. If you go right now and mess
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  around with any AI and you try to generate some noise or just
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  have the AI off the cuff try to do something, you're going to
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  notice that whatever it produces is not going to sound emotional.
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  Listen to my music and you'll be able to hear the effort and
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  you'll be able to hear the pronunciations.
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  You'll be able to hear high pitches and screams and and
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  yelling and all that kind of stuff.
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  Like I got a song called These Walls and if you listen to it,
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  you will actually hear towards the end of the song where the
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  singer, the real singer is actually screaming and kind of
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  scream singing it like Sebastian Bach does on Skid Row.
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  Like on songs like 18 and Life, you can't get that from the AI.
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  The AI doesn't know how to do that kind of expression, and you
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  can tell very quickly that a generated song is computerized
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  as opposed to an actual singer with emotion and expression in
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  their voice. Listen to Broken Dreams or
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  Crying Tears of Blood. You know, that's from my first
• 15:16
  and second album that you could listen to right there, and
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  you'll be able to tell the difference.
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  You'll be able to go, Oh yeah, that's definitely an actual
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  vocalist. AI is really, really smart and
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  it's good and it's great for editing and it's great for
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  enhancing your music and adding effects, but it's not so great
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  as at mimicking humanity just yet.
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  Now you probably have seen that people have been screwing around
• 15:44
  as of recent with Google AI like VO 3.0 where they're able to
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  make like 10 second little clips and then they make a bunch of
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  clips and then they put them together in a compilation and
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  make it appear as though it's actually a full video when it's
• 16:01
  actually little clips here and there.
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  And it looks a lot of that looks real and it looks good and
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  everything. And they are starting to get
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  better expressive. So I do expect in the future
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  that people will be able to get more results from just simply
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  generating or describing to the AI what they're wanting to do.
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  I fully expect that musicians in the in the near future, I'm
• 16:31
  talking in the next 5 years will be absolutely put out of
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  business. Sad to say for them, AI is going
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  to completely take over every department of creativity that is
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  out there. So it is one of the reasons why
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  I myself, I started learning about it.
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  I started wanting to understand the code and the scripting.
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  I wanted to understand what you could do with it, take advantage
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  of the technology because I knew that AI is going to be the
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  future period. It's going to put painters,
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  people who draw, people who do any kind of art form whatsoever,
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  it's going to put them out of business.
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  And if they ever create some kind of holographic technology
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  where it can create physical matter like sculptures and
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  things like that. Oof.
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  So some people would be like, what do you mean physical
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  matter? If it could actually make a
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  representation of an image and then create a physical version
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  of it. It's kind of like what you see
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  on Star Trek with the with the teleprompter.
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  Not the teleprompter, but the how they travel from the
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  different planets. I forget what the name is or how
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  they produce food. It gets all the ingredients
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  together and then creates the actual product as long as the
• 18:02
  substance is there to use it from.
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  So as far as my AI software, you I'm able to put notes in and I'm
• 18:16
  able to play into my software. I use stuff like Cakewalk and
• 18:21
  Cool Edit Pro that was originally created by a company
• 18:25
  called Centrillium. I can use a multitrack
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  sequencer, record my music, and then run my music through AI
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  type of effects. If I don't feel like my guitar
• 18:39
  sounds heavy enough, or I don't feel like my keyboard's got
• 18:42
  enough reverb or doing the kind of sound that I want, or I feel
• 18:47
  like it's not merging well with the other instruments.
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  I can simply tell the AII want the keyboard to sound more like
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  a synth, or I'd like it to sound like a church organ, or I want
• 19:02
  the piano piano to sound more like an old classical, or a baby
• 19:06
  piano. These are the kind of things you
• 19:09
  could do, but you could already do that kind of stuff if you had
• 19:13
  expensive ass equipment. You just simply change the dial
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  on a keyboard to the instrument or sound that you wanted to.
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  The problem with the keyboard, though, is that once you
• 19:25
  recorded the track with the melody or the instrument you're
• 19:28
  using, you couldn't just simply replace it.
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  But now AI is able to read everything like information and
• 19:37
  digital, kind of like DNA. You just tell it.
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  Look, instead of it playing a keyboard in this part, I prefer
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  to do a guitar. And there you go.
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  So that's why it sounds so clear.
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  There's so much clarity to it. The reason why my music sounds
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  100,000 times better than any generated AI crap out there is
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  because the difference is is I'm actually a musician.
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  I know notes, I understand. Arrangements and changes I
• 20:11
  understand. You'll notice with a lot of
• 20:13
  people who generate music, they don't have any choruses, they
• 20:17
  don't have outros, they don't have solos, they don't have
• 20:20
  intros. It just sounds like a bunch of
• 20:22
  shit thrown together and kind of resembles like a cheap sounding
• 20:27
  song that you might hear on the radio and it might even be
• 20:31
  somewhat convincing. But listen to my shit.
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  You'll hear tons of arrangement. You'll hear tons of effects and
• 20:39
  a lot of things going on in my music.
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  My music actually will take you for a ride because I know how to
• 20:45
  do the notes and I know how to make the music work.
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  And then on top of that, I know how to produce the kind of
• 20:52
  effects as well as what I want. And not just with the
• 20:56
  instruments, but you could do it with a voice too.
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  Like I got a track I did recently called Where Did Love
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  Go? And you'll hear me do all these
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  neat ass effects where it makes it sound like the person's voice
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  is reverbating throughout the speakers.
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  You hear it go Where Did Love Go?
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  Go go go and do all kinds of neat shit.
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  Techno Wizards are a perfect example.
• 21:30
  I've been dabbling a lot in trying to kind of combine
• 21:34
  techno, industrial and thrash metal and technical metal all
• 21:40
  together. It's a little bit difficult to
• 21:42
  combine thrash metal with technical metal though, because
• 21:46
  technical is more like Dave Mustang, Joe Satriani, Steve I
• 21:52
  and Maumstein is where Drass Metals more erratic sounding and
• 22:03
  dirtier. I like more cleaner sounding
• 22:06
  guitars. I I like it.
• 22:09
  I like going from doing something that sounds like clear
• 22:12
  Megadeth sounding guitars to something that you would hear
• 22:17
  that fuzzy sound that you get from 70s music.
• 22:21
  I like the 70s and and early 80s type of music.
• 22:26
  It's really cool. Before it became bubble gum
• 22:29
  shit, you know, like Fear the Reaper, that kind of shit.
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  And so that's the difference. I've got no problem admitting
• 22:44
  that I use AAI in order to help with the fidelity and clear
• 22:48
  things up. Anybody can take my challenge,
• 22:53
  try to generate some garbage and shit, use something that you
• 22:59
  know about on the Internet or look up some videos and try to
• 23:03
  just generate some music out of nowhere and see, compare it to
• 23:07
  what I have going on and you'll see.
• 23:10
  You'll be like, Oh well, it's clear that Brett Keene is a
• 23:13
  musician. He understands arrangements and
• 23:16
  chords and and changes and all that you do.
• 23:21
  If you do something with AI, you're going to get the same
• 23:24
  shit over and over again. Now there are some generators
• 23:28
  out there where you could add some prompts like say, OK, I
• 23:32
  want this repeated a couple times, I want this.
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  Do the it's a little bit more advanced where you can, if you
• 23:39
  know what the hell you're doing, you could tell it to do copy
• 23:43
  paste of the chorus and shit like that.
• 23:48
  But even there, I've always tried to make it to where every
• 23:51
  one of my songs has a build to it, where it works its way into
• 23:56
  the the plot and the concept of the song.
• 23:59
  And it gets heavier and heavier and more complicated as it goes
• 24:04
  on. Some people are going to ask,
• 24:07
  Brett, you are mostly into like heavy metal, right, And Hard
• 24:13
  Rock. So why did you do a lot of these
• 24:15
  slow songs, especially for this newest release of GOD TV Radio?
• 24:20
  Why? Why the Crying and Blood Angels
• 24:24
  and all that and all these pretty songs?
• 24:28
  Well, I wanted my music to. I'd already done like heavy
• 24:33
  songs when I was younger and it was hard to get Radial airplay.
• 24:38
  Metallica had a hard time when they first started out as a lot
• 24:42
  of lot of bands who do thrash metal or heavy metal, like my
• 24:47
  brother's kind of music unfortunately, as though it's
• 24:50
  beautiful and it's awesome what he does.
• 24:53
  He was never going to get on the radio doing that kind of music.
• 24:58
  That's not what they'll play. We live in, we live near Saint
• 25:02
  Louis and we got a radio station called KC95 and KC95 plays
• 25:08
  classic rock and shit like Led Zeppelin, Pink Floyd and
• 25:11
  Journey, you and Scorpions, Def Leppard, that kind of stuff,
• 25:16
  stuff popular shit from the 80s, you know, cultural things.
• 25:21
  My brother is like a clash between Black Sabbath, Megadeth
• 25:27
  and Metallica, so and not the Black Album.
• 25:31
  Once Metallica kind of mainstreamed with the Black
• 25:34
  Album and also their song one from the Justice For All, they
• 25:39
  started getting radio airplay but realize that they weren't
• 25:43
  getting shit. None of their music from Ride
• 25:47
  the Lightning or before that was getting out there on radio play.
• 25:52
  It was only about 10 years ago. After the Black Album cut they
• 25:56
  started releasing songs on the radio like Master of Puppets and
• 26:02
  some of their older tracks, but they had to breakthrough the
• 26:05
  mainstream first in order to have that happen.
• 26:11
  Same with Ozzy Osbourne, took a while for songs to get out there
• 26:16
  and you'll remember Black Sabbath.
• 26:20
  A lot of their more chill songs were the ones that ended up
• 26:23
  playing over the radio like Iron Man.
• 26:29
  A real chill type of ref is where a lot of the other stuff
• 26:33
  that was really dark and rough wasn't getting any airplay.
• 26:37
  It took a few years before War Pigs started getting radio
• 26:41
  airplay. Well, that was back during the
• 26:45
  time of The Beatles and shit. People weren't ready for that
• 26:48
  kind of stuff. That's probably one of the
• 26:50
  reasons why eventually when people started really listening
• 26:53
  to Ozzy, why he picked up like he did.
• 27:02
  So some of you may not know this.
• 27:05
  I mean, we talked a little bit about music, but I actually have
• 27:09
  written an entire book about my life.
• 27:12
  From the moment I could remember, from the moment I
• 27:16
  became conscious and sentient and understood what was
• 27:22
  happening around me, I wrote everything I could possibly
• 27:25
  remember. And it wasn't terribly hard to
• 27:30
  remember because since I've been a young person, I wrote journals
• 27:35
  and Diaries and all that kind of stuff.
• 27:37
  I've always kept notes. I used my journals and Diaries
• 27:42
  to write hundreds of thousands of poems and songs and stories
• 27:48
  and all that and drew pictures. IA lot of you may not know that,
• 27:52
  but I am an artist as well. But I went from drawing pictures
• 27:57
  and doing sketches to graphic design because I always believed
• 28:01
  that eventually computers would take over graphics.
• 28:06
  And because of that I was able to construct a lot of great
• 28:11
  websites and design a lot of good stuff.
• 28:14
  Some people are going to say, well, where did some of your
• 28:15
  websites go? I remember you used to have some
• 28:18
  pretty bad ass websites. You even had a video sharing
• 28:21
  site. Unfortunately, I was hacked
• 28:23
  repeatedly. Although I knew how to design
• 28:26
  websites back then, I didn't know how to keep a website
• 28:30
  secure or safe from hackers and shut in groups like Anonymous.
• 28:36
  Now I've gotten a lot better, but I just don't feel like
• 28:39
  dealing with it. If I do use a website or
• 28:44
  distributors or whatever, I go through third party places.
• 28:49
  That way they're insured and they can actually protect it and
• 28:53
  back shit up. I don't want to be in charge
• 28:59
  independently of any kind of website anymore.
• 29:02
  And besides, what's the point of having a website anymore?
• 29:06
  I'm doing videos and music. So the idea is if you want to
• 29:10
  get heard or you want to get seen, you use the more popular
• 29:14
  websites. If you do something
• 29:16
  independently, then you got to go through all the bullshit of
• 29:19
  promoting that, going through that nonsense.
• 29:23
  So I stick with sites that are popular, that already have
• 29:28
  credibility, that I know aren't going anywhere anytime soon,
• 29:32
  that have good security. And so I wrote a biography.
• 29:41
  At this point, it's about 450 something pages.
• 29:46
  The reason why I haven't released it live and distributed
• 29:49
  it to people is because unfortunately, besides talking
• 29:54
  about my life, obviously throughout my life I've had
• 29:57
  interactions with real people and had real experiences, and
• 30:02
  real places are mentioned in the book.
• 30:05
  If I released it, some of my family members may not enjoy my
• 30:10
  perception of some of the experiences I had with them.
• 30:15
  There's a lot of talk in my books about abuse and
• 30:17
  abandonment and neglect, some really, really traumatic,
• 30:23
  terrible experiences that I've had in my life, and some of
• 30:27
  these people may hold me liable if I just release it.
• 30:31
  So I'm still trying to figure out how to handle that, even
• 30:35
  though I've got the entire manuscript put to put to use.
• 30:40
  And I've also got a sequel I've been working on of afterlife
• 30:43
  simulation too. I had originally thought I would
• 30:48
  re release remaster the eternal and dying loves trilogy about
• 30:54
  Damian Andrews, John Reznor the detective and the basically the
• 30:59
  demon vampires and the apocalyptic fights and wars that
• 31:04
  were happening on a divine level.
• 31:07
  Thought about it, but I don't know if I want to go through the
• 31:14
  process. I've already used AI to fix the
• 31:18
  grammar and the spelling problems and the run iron
• 31:22
  sentences and and paragraphs. As many of you know who've known
• 31:26
  me for a long time, Eternal and Dying Love was.
• 31:29
  The entire series was written whenever I was between 13 and 18
• 31:37
  years old. I was a teenager when I wrote
• 31:40
  it, so it was wasn't as deep or intense as the kind of material
• 31:47
  I do nowadays. And unfortunately, back then I
• 31:50
  wasn't the greatest speller, and I didn't put paragraphs the way
• 31:57
  they should be. I mean, if somebody put forth
• 32:01
  the effort, they'd be able to understand the plot line and the
• 32:04
  story and the point. And there was a lot of people
• 32:07
  who did buy the original books that thought they were pretty
• 32:11
  cool. And I've had people non-stop
• 32:14
  say, hey, are you ever going to re release it or anything?
• 32:19
  I don't know. I thought, but I there was a
• 32:24
  point where I thought it'd be cool to do that, but I didn't
• 32:28
  want to release them as 1-2 and three like the trilogy.
• 32:32
  I wanted to combine them and just make one big giant novel,
• 32:38
  you know, kind of like the way Stephen King used to do those
• 32:41
  big thousand page books. That's what I thought about.
• 32:44
  For example, the size of an old phone book with art and
• 32:49
  everything else. But I don't know, I'm so
• 32:53
  involved with the biography and doing music.
• 32:59
  I just don't know if I want to go through that process.
• 33:02
  My old books are still out there on PDF files of people look hard
• 33:07
  enough they can find them, but I don't want to.
• 33:13
  I don't want to deal with that shit.
• 33:15
  And of course, some of you may not know this, but I had
• 33:18
  actually wrote an atheist book a long time ago too, back when I
• 33:23
  was a former atheist, and it got a lot of popularity.
• 33:29
  A lot of people bought it, but when I transitioned over to
• 33:34
  Christianity, I ended up taking that shit off the shelves.
• 33:40
  I stopped distribution, aren't it?
• 33:43
  Because why would I keep an atheist book out there if I'm no
• 33:48
  longer atheist and endorsing or promoting that death cult in any
• 33:53
  kind of way? So what does the future hold for
• 34:02
  me for music? Well, I've spent the last year
• 34:09
  and a half, right before I quit YouTube a year and a half ago, I
• 34:17
  I knew that I needed to get in the zone.
• 34:20
  You got to be in a certain zone and have a certain creative
• 34:24
  spark in you in order to do things.
• 34:27
  For a long time I thought, man, I tried doing music when I was
• 34:31
  younger, what the Hell's the point?
• 34:34
  But then I realized, OK, things have changed.
• 34:40
  I don't have to go out and tour. I don't have to actually go out
• 34:43
  on the road. I can just simply create the
• 34:46
  music and then distribute it out like I'm doing on Spotify radio,
• 34:52
  and people can either love it or hate it.
• 34:55
  They can share it with their friends and I can make a little
• 34:58
  bit of dough doing it. So I figured, why not.
• 35:04
  A lot of things have changed. Back whenever I was younger, we
• 35:07
  didn't have YouTube or Spotify or things like this where you
• 35:14
  could share your music so easily and and get it out there and get
• 35:18
  it heard and seen. If you were going to make it or
• 35:21
  get signed, you had to somehow manage to get your ass in the
• 35:24
  radio and you had to do countless shows in order to be
• 35:28
  heard or hand out tons and tons of tapes back when they had
• 35:34
  cassette tapes to promote your music.
• 35:37
  And even then you were throwing away money left and right, which
• 35:43
  I didn't have, so I had given up a long time ago.
• 35:49
  I also did not enjoy working with musicians.
• 35:52
  But now I'm to the point where I'm musically inclined.
• 35:56
  I don't mind dealing with singers, but a lot of guitar
• 36:00
  players are very narcissistic. They're difficult to deal with.
• 36:04
  There's some musicians who think their shit don't stink, a lot of
• 36:08
  musicians who do drugs or drink or want to party.
• 36:12
  And I just simply didn't want to be around that shit.
• 36:14
  So I learned how to do a lot of stuff on my own.
• 36:17
  And of course, my brother's a prodigy on the guitar.
• 36:20
  He's got his own YouTube channel.
• 36:22
  You guys can hear him. I could go on for three hours
• 36:28
  describing to you the music process and what you can do with
• 36:34
  equipment and computers, and then also tell you how you can
• 36:38
  enhance things with AI. But I'm not really sure anybody
• 36:42
  wants me to go that far deep into it.
• 36:45
  You get the point. You play the music and then you
• 36:48
  record it. You come up with ideas and then
• 36:52
  you you can use AI if you want to in order to enhance the
• 36:55
  material that you've already created or whatever.
• 37:02
  Or you can just do it as is and throw it out there and see what
• 37:06
  happens, see if it sticks to the wall.
• 37:15
  How is my music doing? It's doing pretty good on
• 37:19
  Spotify. It's doing pretty good on
• 37:22
  websites that actually have something to do with music, like
• 37:28
  iHeartRadio. And Spotify is actually
• 37:31
  companies that are all about music.
• 37:35
  So it makes sense that my music's doing really great on
• 37:39
  sites that are focused and concentrated on music.
• 37:44
  ReverbNation. They actually set me up so far
• 37:47
  where I've hit #1 quite a few Times Now on their site because
• 37:54
  my releases went back-to-back to back so quickly, it wasn't hard
• 38:01
  to be able to do it. I'm in the category of
• 38:04
  experimental. Why do I choose to do category
• 38:08
  experimental when some of my stuff is clearly rock or heavy
• 38:13
  metal or slow ballads? Because if you listen to a full
• 38:18
  album by me, you'll see that I do country, I do rock, I do
• 38:24
  techno, I do industrial, I even do rap music.
• 38:28
  I do all kinds of weird shit. Some of it I wouldn't even know
• 38:32
  where to place it in a category. So I choose experimental because
• 38:37
  I'm all over the place. There's no category where you
• 38:41
  can say everything you know. It's either you choose rock,
• 38:48
  metal. When you're filling the shit out
• 38:51
  and doing the information. You either choose metal, rap, or
• 38:55
  just one genre alone. Sometimes you get a subclass,
• 38:58
  but that's about the only options you have.
• 39:07
  So who knows if people would like me to in the future, I
• 39:12
  could make some videos where I talk about the inspiration and
• 39:16
  what I was thinking about are in a couple of the different songs.
• 39:20
  Some songs they just naturally were ready to go.
• 39:25
  I already had ideas about where I wanted the songs to go.
• 39:30
  A lot of musicians, unfortunately, they, they kind
• 39:33
  of start from scratch and they just kind of throw some shit
• 39:37
  together and hope it sounds good.
• 39:39
  But I kind of, because I've been a musician for so long, I
• 39:44
  envision how I want my songs to be sang, whether they're by me
• 39:50
  or other singers. I envision how I want the piano
• 39:56
  work to go, if there's even any piano at all, and how I want
• 40:00
  guitar drum fills, how I want the bass line to go.
• 40:04
  Do I want it to where when the singer is singing?
• 40:09
  Is it going to be just a bass line with a little bit of
• 40:11
  trickling of guitar in the back, a little bit of tickle here and
• 40:14
  there, or is it just going to be raunchy all the way through all
• 40:20
  instruments together? I've always liked music where
• 40:24
  the guitars go quiet and you hear the singer going along with
• 40:28
  the bass line and the drums and then the guitar starts ripping
• 40:32
  in. You'll notice quite a few of my
• 40:33
  songs where you hear the singer and then the guitar starts
• 40:37
  breaking in. I love that shit and the drums
• 40:43
  are picking up and speeding up in tempo.
• 40:48
  I like build songs that build up.
• 40:52
  One of my favorite songs by Metallica, Fade to Black.
• 40:56
  I love the way that shit starts out slow and melodic and then
• 41:01
  get sick towards the middle of the song after the lyrics are
• 41:05
  about done. I love that kind of music and I
• 41:11
  love Black Friday Megadeth and I like the way P Cells hits and I
• 41:19
  like a lot of shit off content and extinction.
• 41:24
  I I love songs where they have a strange and intro and then like
• 41:30
  come in really hard and shit. Like wherever I may roam.
• 41:36
  I love the way near, near, near, near, near, near, near near.
• 41:46
  I love that shit. I love when it's chill and then
• 41:50
  this fucking bust out like that. It's crazy.
• 41:52
  I love it. So that's a little bit about it.
• 42:00
  And yeah, this will go up on the radio and I'll probably throw
• 42:05
  this into one of the playlist with one of one of the albums
• 42:10
  and everything. So people will be able to listen
• 42:12
  to the music and then they can hear, you know, the musicians
• 42:17
  point on it. Some people may wonder, will I
• 42:21
  ever bring any of the musicians on video?
• 42:25
  Sure. I've actually had some of the
• 42:27
  musicians in my live shows before.
• 42:31
  The reason why I'm not I haven't announced them or sent people to
• 42:35
  their YouTube channels is unfortunately, I have people out
• 42:39
  there who like to attack me. And they have this immaturity
• 42:43
  where if I advertise these musicians and people that I see,
• 42:49
  not all the people I took off the street or were not looking
• 42:52
  for, some of them are online. I just sent them the music, they
• 42:56
  recorded their vocals and sent sent it back to me.
• 42:59
  And then I put it through production, cleaned it up,
• 43:04
  mastered it, that kind of thing. So some of them, they don't want
• 43:09
  to be attacked simply because they're friends or do business
• 43:14
  with Brett Keene. That's the that's the problem.
• 43:20
  And I can understand that. I totally respect their privacy.
• 43:25
  If I say this person did it and I give out their real name, then
• 43:30
  you people will know who they are.
• 43:32
  And if you are a hater, then you'll instantly go looking for
• 43:36
  their channel and give them shit.
• 43:39
  So we got it set up. The through the distributors,
• 43:44
  things are split up. You know, whoever sang on this
• 43:47
  song or whoever played this instrument or did this, whatever
• 43:52
  money's made it, it basically gets folded and split to whoever
• 43:57
  worked on or collaborated with me on a track.
• 44:00
  So if you're a musician out there, if you're a singer,
• 44:03
  guitar player, you play keyboards or you do anything
• 44:07
  fancy, let me know. I might be willing to
• 44:10
  collaborate with you, and I'll advise you like I did all the
• 44:13
  other musicians. Don't let people know what
• 44:17
  you're working on. One, people will try to steal
• 44:21
  your shit before it becomes copyrighted #2 if you are
• 44:27
  friends with people that haters don't like, you're going to take
• 44:30
  a lot of shit and it's going to actually hurt you.
• 44:33
  These people out here, these haters will deliberately go to
• 44:38
  CDs and music and books and write terrible reviews for shit
• 44:43
  just simply because they don't like the person they'll try to
• 44:47
  hurt and crush your job. They did it on one of my books
• 44:52
  whenever I announced it a while back.
• 44:55
  They didn't even read it. It shows on Amazon.
• 44:57
  They weren't even verified. They didn't even buy a copy.
• 45:01
  They just went over there because they're garbage.
• 45:04
  Well, that's all I got to say. Ladies and gentlemen, my
• 45:08
  throat's starting to hurt and I'm getting tired.
• 45:10
  So I hope that you found this educational and interesting,
• 45:15
  talking about music and books and and so on.
• 45:19
  If you have any questions, I ask and I'll talk about it later.
• 45:23
  God bless.