We Interviewed the King of FL Studio ft. Larry Ohh

The reason why I got into making beats is in my head, I was like, all right, how can I make a living off of this eventually? If these companies are reaching out, more will reach out at a certain point. FL Studio has all the stock plugins that you you need. I produce for a ton of people that you don't know, but that doesn't mean that I'm not a producer. My placements are when I get a brand deal. My placements are when I can put a course out and people actually want to grab it. I can put a pack out and people want to download it. So it would spin in and it would pop, it would be you get me. Yes. It seems like every music producer wants placements with the biggest artists. They want the Grammys and they want the platinum plaques. But in reality, the modern producer has so many more choices, so many more paths of success that they could choose to walk down. Our guests today walked down one of those paths by taking many, many years to become an absolute monster. I mean the king of FL Studio, one of the most popular, some people say the most popular digital audio workstations in the game today. Larry O discovered that he gets more fulfillment out of learning and mastering his DAW and then sharing this knowledge with other people than he does doing the traditional placement chasing game. And he has built a very real business around this passion.

This episode is perfect for music producers, especially if you use FL Studio. But I think it could be beneficial to any creative and challenge you to start thinking outside the box when it comes to turning your passion for creating into a real business. Start that theme music, Mr. Editor. Start that theme music, Mr. Editor. I'm like at the stage in life where I prefer things to be like I used to give my dad shit for needing like the I guess like size of his text messages to be larger. Larger than normal. And like volume to be louder than normal, but I'm like starting to hit that stage. I'm already getting close to it. Yeah, it's like I need everything big and loud to be able to comprehend what's going on. But yo, we got the king of FL Studio on the podcast. I was gonna say in the building, because that's what I always say. You do, but he's not in the building right now. He's on the building. He's on the screen.

I'm in my building. Yes. He's in his humble abode. But no, appreciate Larry O coming on the podcast. I'm excited about this one, man. Thank you guys for having me. Are you okay with the title King of FL or like I don't think I'm the king of FL. Who is the king? I appreciate that though. Who's the king? I don't know. I don't know. I mean, in what aspect though? Like the king of like knowledge in FL or the king of like hits and Grammys in FL? I think that could be two. Right. You're right. You're right. Okay, let's go with let's go with knowledge of FL. You gotta be the guy, right? I'm going with Larry O on that. one. It's gotta be, bro. I don't know. Well, I appreciate that. Yeah, no, so I think you know, the way I want to structure the conversation, if it's cool with you, is like I do want to talk about kind of what made you fall in love with LL with FL because you are with LL Cool J. Love. That guy. How'd you get into LL Cool J, man? What, ladies love cool James, and so does Larry. But no, I do want to get into what made you fall in love with FL Studio enough to like spend 20 plus years like just diving deep into FL Studio and all things FL.

But then I do want to talk about like the business that you've built as a producer because I think it's pretty unique in comparison to what like a lot of our community might think of as far as like how to make it as a producer. Um so I think that's important. And then I do want to just talk about like some tips, tips and tricks and and like shit that you can do within FL and just as a producer in general. So I think those are kind of like the bases I want to cover if that's cool with you. Oh yeah. For sure. So um, so as far as like FL, like how did it become your DAW of choice? What Was it like out the gate? That's what you started on and just never never looked back. Pretty much for the most part. I mean, I don't really count it, but the first time I ever touched any sort of music production was hip hop and dance EJ, like way, way, way back. And I didn't this is when I didn't even know I was gonna get into music at all. It was just like a video, like a like a computer game in a sense. It was all loops, all loops. You would just put these loops together. And then now years past that, maybe like a good five or six years past that, I decided to, you know, I wanted to get into music production. So I did a little bit of research.

I'm searching online, like how to make beats. I think I might have Googled literally how to make beats. FL Studio popped up, and I downloaded it and I just started doing my own research, kind of stumbling upon things in the daw. At that time it was FL3, so Fruity Loops 3. That was back before the uh the copyright happened with uh is it Fruity Pebbles was the reason that that was Kellogg's Kellogg, literally is the reason I had to change. Really? Uh huh. I just found this out. This is crazy, because on my podcast I'd said it and I didn't really know 100% what happened. I knew or thought that they got sued by Kellogg's. It wasn't really like a like I don't think they fully like went against and sued them in court or anything. I think I they sent them a letter and cease and desist threatening, yeah, like a threatening kind of thing. And it's because Kellogg's said that they operated in the music space. Oh, because they created a CD ROM studio software called like something's uh something studio, like uh I can't remember, like Fruit Loop Studio or fruit, something like that, because they own Fruit Loops. Yeah, right.

Created, yeah, they created this like little stupid uh computer raw CD ROM disc studio software like that you literally was kind of like hip hop EJ back in the day where you just drag loops into and now they said that hey we operate in the music space, so you have to achieve it. You think they made that just to have an argument against that's what I thought. That's what I they probably made a product in every vertical in the world just to have protection, like just in case we're gonna make a fruity loops That's wild. football, you know. I mean let's get the sports industry online. But no, so at that point, like obviously I'm sure it evolved. So, like, what were you You know, what I mean, like, what were your goals as a producer originally? Because I doubt you wanted to make FL tutorials and and shit like that starting out. It's like what was the goal then? Yeah, that definitely wasn't the case right out the gate. What I wanted to do was become a placement producer. I wanted to, you know, get my beats out there to big artists. That was like the goal.

That was the end goal, really, at that time. Um, the short-term goal was just trying to get better at producing, just trying to figure out the door, how to even like make a beat, because I had no musical background whatsoever. I had never touched an instrument really. I besides maybe a recorder in elementary school or something. You know what I mean? Like see, that's fascinating to me. Cause I feel like a lot of producers have this story of like, yo, I played drums or I played in the band, or I sang in church, or you know, they had like some musical thing that drew them then to like to production, but you were just like more of a video game guy or some shit that just like not even video games. I just like I was just uh a consumer and a listener, and I would you know, just like focus in on the beats and not really pay attention to the lyrics at all until maybe the third time around. The beats was the were the first thing I noticed. Everything that I paid attention to was you know just the production side of things, and like I was saying, like I had no musical background, nobody in my family was a musician, wow, or is a musician, and I just you know took it upon myself to just dive into FL. I think that's why it's so great because almost anybody can dive into it if you have that motivation, you know, and a you know, a little bit of talent going into it, or some ideas at least.

It's really just figuring out how the doll works. But yeah, I didn't, I I went into it just knowing just wanting to like create beats for people. Yeah, and then you know, I got with a group of friends, started making beats for them, and then years, years down the line started making tutorials, like you know, 15 years down the line pretty much. so just being honest, right? And I and I'll I'll let you weigh in as a you know fellow producer engineer. Like, how does FL Studio compare to other DAWs? Like, let's be as unbiased as we can. Like, what's it good for? You know what I mean? What are the other dolls good for? Let's just do some like comparing and contrasting and like current state, you know, not when you're getting started, but like in today's landscape, how does it stack up against the other DAWs? And that and the the time frame that you're saying, that is a very important part of it, I think, because back in the day, I think it was very different. Um, it's funny you said hip hop EJ felt like a video game to you. That's kind of how I looked at FL. I was actually in FL before any other DAW as well. And I think a lot of uh the youth kind of gravitated toward it because it was it it also felt a little gamified, you know.

It was you could click in like drums and you have a grid, and you can it's just the even just the look of it, you know, felt like it was fun. Whereas a Pro Tools maybe looks more like a spreadsheet or something, you know what I mean? Like kind of different. But um these days, my opinion is that DAWs can basically every major DAW can basically do everything, and it matters almost not at all anymore. Like I really don't think that the DAW you're in, like it used, yeah, things used to have like strengths before, but just it's just every DAW is so good and has so many features these days. Um, I I don't think it matters as much what you create in. But I'll let Larry give his take as well. Yeah, I agree. I agree. I think I just got lucky in the sense that FL is constantly being updated and there's so many people that use it that you know I'm I'm lucky in that aspect. But I I agree with you too, man. I think that any DAW out there can pretty much can get the job done in any way. Some things might be a little faster, some things might be a little slower.

So, you know, there might be some workarounds in different DAWs or new features that come out that maybe a DAW can't do, like stem separation or um, you know, stuff that FL's doing, like the core generation, like all those stock things that are like brand brand new. But I mean, you can get those done in a lot of other third-party things that people might already have. But aside from that, I mean, the basics, like the things that you need to get done to put music out, you can do in any DAW. I agree a hundred percent. Yeah, but like just like personal preference at this point. But like, let's be like, come on, guys. Let's be a little like they have different showing up to a major commercial studio and recording someone in FL, right? I mean, you're doing it in you absolutely can if you bring your own computer and your own setup. Yeah. Hey, if somebody asked me to come to a session right now, like at this point in my life, if somebody asked me to come to a session and say, hey, bro, I need you to come through and you know, let's cook up and let's record. And if they wanted me to be be the one that did all that, I'd be doing everything in FL. If they didn't like it, I'd be like, hey, I don't know what to tell you.

Oh shit. He said, fuck your Pro Tools, bro. Don't need it. But if that was me, because I know I know I'm not fluent in Pro Tools, I can make sense in there. I can maybe get the job done. But if we want to get it done fast and have a good end result, I'm gonna do it in FL. Which is which is super important in a session to be able to capture ideas quickly because they're fleeting a lot of times. And if you're if you don't have that, like I can record in Pro Tools too. I know how to hit seven, but like if you if we want to be like catching, you know, lightning in a bottle, I'm in logic all day. Yeah, it's just what I think, yeah. At that at this point, it's like what's fastest. Now, if you're if you're gonna be hired as an engineer to come in to work a session, you shouldn't be knowing Pro Tools and very fluent in Pro Tools. It is still the standard. It is it is that industry standard as far as that goes. Yeah. But my sessions and my studio sessions when I ran a studio before I started doing the tutorial stuff, even like six years ago, I had you know full, I was full-time clientele in the studio, 100% FL Studio, top to bottom. Love it.

So what what drew you more towards the like educational, like tutorial types of content, right? Versus being in sessions with artists, right? Because like I said, a lot of our community, especially if they're just getting started as a producer, they might think of the path only being to work with artists. Like that's how I gotta make hits. That's how you do it. I gotta make songs with with with artists. That's what we do. So, like, what did you not like about that? Or what drew you to this kind of like newfound path that you've been on for the last several years? I loved being in the studio with artists. I did, and I I got to a point where I could kind of just hand pick and it was a word of mouth thing. I didn't have to do too much promotional, you know, marketing outside of the studio. I went to some show, local shows. Uh, you know, people started hearing about the quality and liked it. And then I think what happened was in the studio, I would always like looking back on it, and when people ask me this kind of question, I always think back to the same thing is like when we were in studio sessions, some people might not have liked it, but I would always get into like a going on like on tangents about um like educational stuff, just in person with other artists and producers that were in the studio. Like, hey, this is how you should this is how you do this, and this is how you do that.

They might not even have asked for it. I was just I was just giving it to them, you know what I mean? You were getting a tutorial from Larry O whether you fucking wanted it or not. Like this guy was just teaching you things on the spot. I don't even know what parallel compression is. What are you talking about? Whether you like it or not, you're gonna learn today. But I mean, I just realized that I had um like a passion for teaching in a sense. And then there was one time where for the longest time one of my friends was like, Why don't you post tutorials? I'm like, ah, I'm not good enough to like post tutorials. I had that mentality for a long time. I was like, there's so many people better than me that are doing the tutorial thing that are killing it. I don't feel like I'm at that level to post tutorials really. And then there was just one day I went and I posted on Instagram. I had tried the YouTube thing, and it was like, you know, making beats from scratch, that type of video just never worked out, never did well. And I didn't really love it.

It was felt like way too much work for me. So then I went to Instagram, and all I did was screen record this one thing because I was in a session with somebody, and I was literally telling them, and they were telling me, you know, my engineer never does that. My the engineer that I had never really did that. And all it was was lining up layers of vocals by hand, like manually, not using vocal line or anything like that. It was literally just by hand. I was taking dubs, and it was while they were recording. So like they were recording a take, and then I'd be like, you know, uh in the back end of that verse that they were recording, and I was like lining up doubles and and ad libs and stuff. And they're like, and my engineer never does that. And so I got the idea. I said, Let me screen record a little bit of this while I'm doing it, and literally just post it. No voiceover, no nothing, just uh a title, like a meme, like an old school meme, and it said, make sure your engineer is doing this. Nice. And then it got people going in the comments. And I was like, Yeah, that's that's kind of funny. Like, you know, it's probably the most views I've ever gotten in my life on a video. Let me post something else like this, or along these lines.

And my next video was um how to do the reverse reverb classic in FL. And then that one went crazy, and I was like, Yeah, people seem to like this kind of content. Let me just do more of it. And then it just kind of spiraled from there. What's the last thing you learned by accident? You know what I mean? Like the last thing you stumbled into. I think it was a f oh, you know what it was? It was this uh this is one of the most recent ones that I didn't know. Um, it's this feature in the browser. So if you're familiar with the FL browser and how you can preview samples, so you can like click on a sample, right? But it doesn't play the whole sample. So if you have a sample that's 30 seconds, I don't know what the time limit is on it, but it'll only play, say, five seconds of it. But if you want to play the full version of it, you can hold the alt key and then just left click it and then let go of everything, it'll play the entire sample all the way through. And I didn't know that. I would have to like drag a sample into the playlist in order to figure out you know the entire what the entire sample sounded like. And then you don't like it and you gotta delete it.

And then you gotta go through that whole thing because I got my OCD going and I gotta, but yeah, if I'm not using this, it's gotta go, or else I'm gonna lose my mind right now. The extended preview. Yeah. Yeah. Good one. So that one that and that one's been around for a long time. And I didn't know that for the longest. You know, maybe within the last like a couple of years, um, I learned that one. And then now what they did was you can turn this is newish though, new a pretty new feature, is you can turn something on to where it always plays the full preview no matter what. Like it'll always always play the full sample no matter what. Yeah. So you're obviously like a content creation machine at this point, right? It's become a huge part of your business. And I think that, you know, whether you're trying to monetize that as an artist or a producer, I do think it's clearly important. So like talk to us about your content creation regimen. Like how do you stay so consistent? I just think that FL Studio is so vast that there's always something to talk about. What I like to do a lot of times is just work on music, and then I I will stumble on some ideas.

I'm like, oh, this will be a good idea to make a video about. Let me stop right now and create a you know, screen record, create a video or write it down if I'm like in the middle of something important. Um make a note of it. I like to I don't really like stack too much content. It's really uh it's been a day like a day-to-day uh process. When I first first started out, I thought like, oh, I gotta stockpile, stockpile, stockpile. And I don't know what it was, but that got old real quick, maybe because it felt like too much work, like more like a job type of thing every day. But I now I'm like more in the moment. And uh especially now with the with the podcast I have, I always have different kinds of content to post. That's why I wanted to start the the pod. It was just like a different different vibe for the you know, talking about the same stuff, but just like a different visual on it. Shout out to Larry O show one time. Yeah, but but also Larry O show. But also I hate that advice. Yeah, because I love it. I hate that it's because me and Larry are the same. But exactly. You're the stockpile type.

But this goes to show that like you gotta find what works for you and what yes, what makes it sustainable, right? Because for me, the day in, day out grind of like what am I gonna post? Like, fuck, I don't I don't have anything. Now I gotta make something because you feel that pressure to like always be, you know, putting stuff out in the world, that stresses me out. But to your point, you were getting stressed out by feeling the need to like batch create and like have a stockpile of inventory of content to post. So it's just interesting. Like, obviously, you and I are a two-man team, whereas you know, he's his own brand, and so he can kind of make the like he's the CEO, or co-CEOs, you know what I mean? Um we need a tiebreaker sometimes. Exactly. Maybe we'll call Larry O, but actually, not in this case. No, I'm not calling you Larry. Yeah, because let's definitely bring on Larry. No, no, fuck Larry in this case, bro. Sorry, bro. We're not we're not calling you about this one, my friend. Um, but no, it's it's just I think you know, to the to the people out there that are maybe getting stressed out by the demands of content creation, it's cool to hear someone who is as consistent as you take that approach. Because I think a lot of consistent content creators really preach the whole like batch create and like you know, batch up content.

So it's it's well he's really out here in FL every day, you know. You're really out here working and making beats like all the time. So you know, if as long as you know in the back of your mind that you know the content should be made at some point, then you're gonna stop and have those moments where it's like, yeah, this is something, and it kind of happens naturally. That's how I like to look at it as well. Yeah, and I guess like starting out, I you know, I had that mentality of like stockpiling, but what I I don't know, what I learned was like for me personally, when I started stockpiling stuff, I was stockpiling just the stockpile, just so I could say I have five videos. But are those five videos top notch? Yes. That's something we do struggle with too, right? It's like, so it's like, let's not just post. just the stockpile, or are we making the a top-notch quality stockpile? Yes. That's you know, that's a hard, a hard balance. And then you're like, you know, we have these, so let's just post them. And then, you know, if they're not if if you had that and and you didn't put a hundred percent, not that you didn't put a hundred percent into those stockpiled videos, but maybe you were just going through the motions of, you know, I gotta get this video done, I gotta get one out. Let's just and it's forced, you know what I mean?

And it's not as good as like I kind of just make sure that I'm like working in FL every day, I'm doing something every day concerning, you know, concerning FL and knowledge in FL, whether I'm looking at comments, my own comments, looking at my DMs and questions, and now that I have the pod, I always have something to pull somewhere, and then I have that in a sense I have a stockpile, but maybe it's like more of a mental stockpile than a physical stockpile. Yeah, no, it's it's super interesting, man. I think you you hit the nail on the head of like we don't want to be just like posting for the sake of posting, you know what I mean? We want to be like super excited about what it is that we're putting out, you know what I mean? And I think to your point, well, you know, when you get caught in that like hamster wheel mentality, the quality and quality is so fucking subjective, so like do what you want with this. But like in my mind, the quality does suffer, and it just feels a little bit more like you know, repetitive and like mindless, and this just doesn't get you excited. And if it's not getting you excited, I think that's when you're gonna experience burnout.

Like, so have you dealt with with burnout periods where you're just like fuck this. Like I can't, like I can't post, I can't create, like, it's just I need to break, or or is that something that doesn't really impact you? The most I probably have ever gone without posting is on Instagram is a day. If I have gone a day, it's been one, it's probably just been one day, and that's it's very rare that that's happened in the last like seven years. Whoa. Whoa, see, bro. See, now that that's something to inspire because like he's doing the daily grind and still manages to get something out. You know what I mean? Yeah, because I'll like if if I'm really stuck, like I'll I'll sit there for an hour and I'll look through old stuff that I've done. What did well, what didn't do well, what I haven't, or like at this point now that since I've posted so much, and Instagram is such a short attention span platform. You can repost something that's six months old. Right. People haven't seen it. You know what I mean?

Like you think everybody's seen it, like you post that, and there's not one comment, even if it did well six months ago, there's probably not one comment that says, Oh, this is a repost. Yeah, because what kind of fucking dweebs are in there be like, this is a repost, anyways. Like, no one's fucking doing that. And if they do say that, it's a lot of times it's even in support, like, oh yeah, I'm I'm a real one, I'm a OG. I know real ones know this is a repost. Yeah. They're excited. I'll get that a lot. They'll be excited in the comments, like, yo, I remember when you posted this the first time. Yes, I forgot about this. Thanks for the repost. Yeah. I get those kinds of comments. What do you think the biggest hurdles are to learning how to produce, right? Like just some of the most common obstacles that you know, new producers might be running into. I think it's not knowing the DAW. Yeah. I think it's really not knowing whatever DAW it is that you're using. Because you can have the I you gotta have the ideas, you gotta have the ear for it. You gotta pay attention to music, reverse engineer what what's going on in music and the songs that you wanna sound, you know, your your beats to sound like.

So I think you gotta have that special, you know, fine-tuned ear for the music, but also you have to know your dog. The person that knows their DAW front to back is probably gonna produce, I would say, some like better sound and stuff than somebody that doesn't, but maybe maybe still has more musical knowledge, you know. Yeah, but that's interesting. There's then there's the other side, of course, the where the Slim Wave interview, you know, like he sometimes feel like he knows too much. He has all this knowledge where he's not breaking rules and not experimenting enough because he does know every like proper way to do something. It's it's interesting kind of balance. Yeah, but yeah, but the way Slim was talking about it was like being musically trained, like knowing too much about music theory versus your software. He's saying like you might have the best fucking idea in your head, you gotta be able to translate that. And you can't get it out into the DAW, yeah, right. Yeah, and like unless you're hiring like session musicians or something, right? You're not gonna be able to get that idea out of your head into anything tangible, you know what I mean?

That's interesting. Yeah, that's interesting. It is. You gotta to figure out how to get those ideas out of your head like on on wax fast too. Quickly. Facts, yeah, fast. Yeah, you have to, or else, like you said, like you'll lose it. you'll lose it. Yeah, or if you're in a session with people, they lose interest and it people get bored. So it's gotta be fast. In today's age, man, it's like you gotta be faster than ever. You gotta be fast and get ideas out. Hey, Henry here. Sorry to interrupt this podcast, but there is something I have to address. As many of you know here at one more time, we love doing live music reviews. We love hearing the music from our community and providing helpful feedback that is hopefully helping you further your career. But if there's one piece of advice that we are tired of giving, it's that your master is too quiet. We shouldn't have to turn up the volume for your song just to have to turn it back down for the next song. That's not good. But Henry, good mastering engineers are so hard to find and so expensive. Enter DistroKid's newest tool called Mixia. I master music myself, and while I don't think AI mastering will ever replace the quality you get from an experienced human mastering engineer, it's pretty damn good. And if you already distribute through DistroKid, you can now master unlimited tracks using Mixia.

And if you don't, we have a link right here. You can sign up for DistroKid with 30% off, upload unlimited music yearly for an insanely cheap price. Humans perceive louder as better. It's dumb, but it's true. Use Mixia for a clean master and you won't sound weak on that playlist. Let's get back to the episode. Well, you know, you kind of alluded to the fact that you used to be like more so in sessions with artists and recording and you know, producing for artists and like doing the whole placement thing. Obviously, your focus has shifted. So in today's like Larry Ohh business, what are the different ways that you're making money as a creative? Because I think once again, it's like super helpful for our audience to understand like the various different ways that they can monetize a career as a producer without necessarily needing royalties from a song that they made with an artist, right? So if you can kind of just like break down some of the different ways that you're making money, that'd be good. That'd be helpful. Uh one of them is the store that I've built up where I have some physical and digital producer items. Everything that I have there is to help producers.

Um mostly FL related stuff, but I have like the I have mouse pads and like uh cheat sheets and some courses there. And then I also have like FL Studio preset template packs, mixer templates, song starter templates, MIDI packs. Um, I pretty much I stay away from like like hardcore like sample packs. That's just never been my thing. What I love to do is create things that will just help them produce faster. So like plug-in presets for FL, all stock stuff, templates and etc. And then from uh aside from that, I do brand deals on on social media content. So I work out brand deals with different brands and you know, in the music space, uh, for Instagram and YouTube, and and then uh what else? I have like I maybe get some like mechanical royalties, like you know, streaming royalties from music that I've put out in the past, but that's pretty much like lower on the on the revenue side of things because I don't like I haven't really put much music out uh over the last maybe five to seven years. But you know, the stuff that I that did well back then still making some money.

Yeah, so what do you do with all the music you make? Um I make videos with them I make videos with the music. That's it right It's crazy. I make music now for more fun and for the content. So the music that I make now is like it's it's for the content, and then somebody might stumble upon it and say, like, hey, what are you doing with that beat? What are you doing with this beat? Want to work together? Or I'll still send out uh beats to some of my friends that I made music with over the years and say, Hey man, I think you might like this. I'll send them a few beats here and there. Yeah, but mostly it's just it's just for fun right now. You know, I'm making it for content more than anything. That's there's something beautiful about that. Something that I never thought I'd be doing, to be honest. Like we said earlier, like the reason why I got into making beats, I the in my head, I was like, all right, how can I make a living off of this eventually? I gotta be able to get these placements. Get these placements. Mm-hmm. Yeah, and boy, is that not the only way to do it. You know what I mean? No. It's it's that's the toughest way, man. Yeah, no, it arguably is. So are you an official FL Studio like partner?

No. They know who you are. They they they labeled me as uh like a power user. I don't know if you guys know what about that stuff. It's like no, what is that? It's pretty much like uh, I don't know. If you it's like a hall of fame almost for like FL Studio users, he's he's recognized by Image Line. Uh it's like you know, it's like a nod by Image Line and FL, just like you're on their website. It's like they write a nice little article about you, and it's like uh a cosign in a in a sense. Yeah. Um, just recently I just started doing a couple of brand deals with Image Line, but for my entire career, I wasn't officially partnered with them whatsoever. I just would make content just to make the content. That's crazy. It was popular and people used it, so I knew that it, you know, it would gain attention. When did you uh when did you get the tattoo? Show him that. Oh, just recently. I did it, yeah. Yeah, Oh shit. Yeah. That little fucking little fucking thing changed his life. A month ago.

Do you know the story of that um hybrid fruit? I don't think so. I don't think I know the exact story behind it. I think they just do you? I did, and I'm like, bro, it's a hybrid. How disappointing was that just now? Because I was so sure he would know it. No, so it's like uh it's a hybrid between two fruits or something. Bro, give yourself a wah, wah wah. Come on. It's a persimmon. It's half persimmon. Yeah, and it's like half persimmon, half uh not mango. I don't know, Or like strawberry. Yeah, it might be maybe a strawberry. There is a story behind it. That was the biggest disappointment I've had like all week, easily, bro. I was so happy for you to like teach the FL God something, bro. Yeah. And then you just fell completely flat, bro. That was man, do better next time. Let's move on, bro. bro. Um, okay. So, you know, what have you learned from your like um experience in like the digital digital and physical product world, right? Like, is there something that you can share about?

Like, if I'm a producer and I want to make, you know, presets or to your point, like sample packs, like they're all kind of one and the same. You know, the target might, you know, target customer might be slightly different, but just like, how have you found success selling those, right? Like anything that you've learned through the journey of like selling these products, because I think it's a lot different than just like posting content, you know what I mean? I think you just gotta have your stuff stand out. And if stuff will really help and save people time, they're gonna gravitate towards it. I mean, look at anything that we spend money on that you know, every month or every week or every day. It's always you always gravitate towards the things that are gonna save you time. So if there's something that's gonna save you time, you're gonna you'll want to spend money on it. Yeah, so are you making content that demonstrates like the time-saving nature, and then that is ultimately like what sells the product? Yeah, for instance, um, I'll talk about in one of my recent videos. I'll talk about mixer shortcuts and like organizing the mixer in FL Studio.

And then as a call to action in that post, it's like, hey, download these free uh these four mixer templates for FL Studio, these song starter templates for FL Studio, they include mixer templates uh for different genres. They include arrangements that are blank that you just kind of you can see what the arrangement would be, and they also include some samples to just kind of get you started in those different genres. So it's like you know, you open it up and it just there's a bunch of that like um mundane work is just kind of done for you already, and then you can uh save those and open them up in every session that's brand new and blank. So for you know, for producers who might want to approach brands, like what was your first brand deal? Do you remember? Man, I remember my first my first pretty big one, my first big one. Yeah, I can't remember maybe the very first one, but um, it was Slate. Slate uh one of my Steven Slate, one of my favorites. Yeah. So how'd that one come about.

Big one. Well, you have that come about? I think they reached out online on on IG, and they wanted me to promote um the ML, the uh the VMS mic. The one I've been using for many years. Yeah, the one that you can model, you can where you can model different mics and stuff. Absolutely, it's still pretty, it's still popular now. Yep. And they they uh they sent that to me. They um well, I did like an unboxing video and then did a kind of review of the microphone and whatnot. Like so that was big to me because I would I'd been uh a huge fan of Steven Slate and all his you know his brands and companies for a long time, especially being in like the metal scene. We talked about this, I think before we hit record, but like before that, before I got into um the content and all that stuff, I was in the uh hip-hop metal band and I was always looking for drum samples, so slate drums was huge for me. That plug-in, SSD, I think Steven Slate drums. Yeah, they dominated the metal drum and that microphone too. Is yeah, you could buy like 20, 10,000 microphones, or you could buy this one $1,000 microphone that sounds 99% like them, you have all of them in one.

I that this is not an ad, but Steven hit me up. But yeah, so just well, yeah, so just an exchange like product for promotion, right? Like you got the product at that point. And that's that's totally fine. I think that's how a lot of brand deals start, right? Is like, yeah, let's let's get product in hand and let's see how this goes, right? Um that's how these happy dads started. I don't think I think it was just an exchange for like an unboxing type of video. I don't think there was a payment attached to it at that point. Yeah. I was at that point, I was so excited that anybody would send me anything. Yeah. I was like, yo, for real. Yeah, no, facts. Yeah. Is there anything that you've learned? Um, like through working with brands now at this point, because I'm sure you've done, you know, um several more at this point. Like any any words of wisdom for like producers that might be either being approached by brands or that are doing some outreach, like hitting up brands, trying to collaborate, like, you know, what are some things that you've learned that might help them, you know, do more brand deals? Be careful, do your research, don't get taken advantage of, but also don't like don't shoot yourself in the foot either.

I mean, be realistic. At that point, when I was starting out and I got my you know first couple of offers, I wouldn't have been like, oh yeah, hey man, um I need I need three grand for this video, by the way. Like I wasn't worth that at that point, you know what I'm saying? If I did that, I could have ruined ruined that relationship. But what ended up happening was we built a relationship and I still talk and work with them to this day now, five, six years later. So I mean, just be realistic. Also don't get taken advantage of, you know, stay on your ground, but just I don't know, just be cool. How many of their brand deals were you reaching out to the brands versus them reaching out to you? Honestly, at the beginning, I didn't even think it would be a thing to get these brand deals for what I was doing. Because I was on Instagram. At that point, I mean, somebody can fact check it, but I I feel like there was nobody else doing the tutorial thing on Instagram at that point, like short form stuff. That's why I went to Instagram and decided to do it there.

It's the one, it's the platform that I was consuming the most. So I think we're talking like I'm talking like 2017, 2018. And that's when I started doing this kind of content on there. And I didn't even think a brand deal would be a thing on Instagram like that. So I didn't reach out to anybody. So the first ones that came in was you know, everybody reaching out to me. And then I just kept it going like that. I was like, if I keep posting like this, if these companies are reaching out, more will reach out at a certain point. So I think you know, now it's like unless I see um or get referred to by somebody, it's probably like 97% them reaching out to me. Yeah, huge. You know, yeah. So with so many people making FL tutorial type content now, logic pro tutorial type content. Like I'm always curious, what do you think sets you apart from the other I mean, there's tons now at this point that have like entered into the space? A lot, bro.

A lot. And I the it's brand. I think it's just it's brand, personality. The fact that I um, you know, I'm on there, you know, in the videos, I think is a big thing. Personality, being funny, or if you're not funny. I think it's the tagline for me. It's it's a game. Yeah, it's just so that's brand. Like a tagline. That is brand, yeah. Yeah, yeah, and that's brand. And it's something goofy like that that just kind of happened organically. That started out as an inside joke between me and a friend. Mm-hmm. Or me and an artist, which was one of my friends that, you know, we were in the studio all to all the time together. And that became like an inside joke, and I just kind of started throwing it into my content. And people and people vibed with it. It was at the beginning, it was just text. It would be text, just text in my in the descriptions on my Instagram videos. And then I started incorporating it into the video itself in the voiceovers. And I started out at the beginning because I didn't like to be on camera. So this is something cool.

Um, but like I didn't want to, I didn't like to be on camera at the beginning. And I probably didn't even like have the technology to do it the right way. So I was like, all right, I have this app on my phone that I can you know take these screen recordings and do a voiceover to. I'll just do the voiceovers and throw them up on Instagram. And then I had like the cartoonish logo of my face back then. I remember that. And then that was like my logo. I would have it like spin in. And then I remember that. I yeah, right. I stole this, I stole that from uh from Gary Vee. Yes. Gary Vee did this thing in the beginning, a lot of his videos then. And I was like, Oh, I should do that with me and in the and the cartoon logo and the you get me tagline. Yes. So it would spin in and it would pop it with you get me. Yes before every single video. I remember that, man. Yeah, I've been following you for a minute, man. Bro, I was about to I was about to say if he does this whole little spiel and doesn't say the you get me, yeah. This is trash, bro. Like fucking say it right now, bro. I don't want to have to voice over you in, bro.

Come on. We can sample it now. No, I know, exactly. We've got the audio. And he gave me the pop. He gave me the little clip. That was a good pop, by the way. So good. Even in these headphones coming across a video chat. She was like. But no, so definitely okay. So yeah, so brand is huge, right? Because I mean, yeah, like I mean, I'm sure you give some better tips than others, but to your point, like you might have similar tips to other people, right? Like that's all that's like with music, too, bro. It's like who like they go. I mean, you can put it this way like you can get a burger almost anywhere nowadays. But if you're thinking, like, I want just like a fast food burger, you're going to the one spot in your head that you know you is consistent every time they've been around for a long time. It's always right when you order it. You know what I'm saying? Like, you're gonna go to that one spot every single time. Yeah, you feel comfortable. Not to say that I'm the one spot that people might go to for information, not by a long shot, but like they know that they can trust the information that I'm giving. Yeah, building trust is huge, man.

Yeah, so underrated because like that's all you got, really, in a especially in like I mean, in any business, really, but specifically like a personal brand like yours, like we attach you, Larry O, the person to this thing, right? It feels a lot more like we're connected to you, you know what I mean? And if you gave me like a shit tutorial, I would feel like almost like backstabbed betrayed, yeah, like betrayed, seriously. So I do think that that's that's huge. And to your point, like you're living this shit, you know what I mean? Like, you're literally just screen recording shit like as you do it, and I think that's what makes Sides so successful, too, is that she's also doing that exact same approach where it's like she's just in Logic Pro so many hours in a day messing around, making her own stuff, like working with other people, or like etc. And then just an idea stumbles across her head because of like something she's running into, and then she just documents it, right? It kind of it kind of goes back to that documenting thing, bro. Yeah. If you just like live it, it's a little easier than coming up with something from scratch, yeah. Just do what you're doing.

Do you ever get um, you know, sides gets this all the time, like you're not a real music producer. Like, do you get that criticism? I I not really um I don't know. I started out like putting all my own music out. So if people wanted to do the research, some once in a while I'll get a comment like, um, and I know what's behind that comment or that question. It's like, who have you produced for? Yeah, like and I know what's behind that question. You know what I mean? I know where that question. Yeah, that's that's what I mean. That that sort of critique. Yeah, yeah. I'll just say, hey, go on Spotify and search my name. It's same, it's spelled the same way as it's spelled here. You know, I'm not gonna sit there and and uh argue a case for myself. Just go and like you know, look it up. And I have songs out there, and if you if you don't like them, you don't like them, but I've been producing and making music for 20 years, you know what I mean? Yeah, that's just that I don't know, I fucking hate that idea of yeah, that's what being a producer requires, is like that's the old mentality that I used to have that thought that that was the only way that I can make a living off of music was like who yeah, who do you who have I produced for? Like I produce for a ton of people that you don't know, but that doesn't mean that I'm not a producer.

Yeah, and there's tons of amazing music out there that the world doesn't know about, you know what I mean? So it also doesn't mean that it wasn't good music, it just means that it didn't blow up. And there's producers out there who have placements with huge artists that are broke as shit, broke, bro. No, that's facts. I mean, that's it's a fact it's a fact, and like the thing is, there's a lot of people that say I have this placement and that placement, and they're still chasing checks. Yes, and never got paid off of those, and all their, and all they can and they'll tell you the same stories, and all they can really go off of is the fact that you know they have had that credit on their record. You know what I mean? Like they have those credits. And really, you mean that's like as far as it goes, is as far as like what they've gained from it. You know, it's and that's that sucks. I wish you know that wasn't the case, but that's uh the story for a lot of producers. And that's why I think it's like you you guys explained it a little while ago, too. It's like that's not the only way to make a living off of music.

By far, it's not the only way, and it's probably the hardest, like you said. And I mean, there's many different ways that you could make a living off of music that are still as credible as getting a placement. To me, my placements are when I get a brand deal. My placements are when I can put a course out and people actually want to grab it, you know, or I can put a pack out and people want to download it. Yeah, those are my those are my placements. That's hard. I love that. So, yo, AI is obviously becoming like a huge trending topic within the production space and just music in general. The world. Yeah, I mean the world for sure. We're a music podcast, Henry. Like, come on, keep up. AI is bigger than music, man. Yeah. Really? Um what's what's FL doing in the AI space? Anything that like users should be aware of. Yeah, there's some stuff that made some like big headlines recently. One of the first ones, if you want to, you know, throw it into the AI category was um, or they may call it AI or automatic um mastering. So now, like inside the DAW, if you have the FL cloud subscription for this specific feature, you can now like master it as you know, as you're exporting the song or the beat.

So it's AI, and then you can A/B test it. They give you different genres in there that you can go and reference by. It's pretty intricate. And they just recently, in one of the latest updates, they added some more features in there as well, like to fine-tune it a little bit more. Add certain um like EQ and clipping features and multi-band compression, that sort of thing. So that's something big. The latest big thing was probably the chord generation plugin that they have in there now. So what's that? That is like if you're in the piano roll of FL, you know the famous FL piano roll. Of course. Put all the MIDI files of the MIDI in there. If you hit Alt and P now, so it's essentially it's not even really a plug-in. It's like um it's built in, it's like a feature inside the piano roll, as if like the strum feature. I don't know if you guys are familiar with the strum, like if you hold Alt and S in the piano roll, you can uh bring up this little window that can add a strum to your chord progressions, and you can adjust the the knobs and the levels on there to create like how long or short the strum is. It's essentially just like that feature, but it's I mean it it seems like a massive feature to be just that, but it is.

You hit Alt and P and then you can create a chord progression in any key. Um, and then it maps uh to the key after that. So if you create something in D sharp minor, um, you can really fine-tune the chords, you can make them shorter, longer, add different variations. It's super intricate. And then the rest of the session kind of just goes with that key. So everything can then in the piano roll be locked into that scale as well. So you're not like so you you can like snap the notes into that scale. So you never know. And then you can you can change it around and hear the beat in different tempos, different keys, and find the one that you like really quickly. So I I feel like a lot of producers, um, you know, we even had producers submit beats to our our live streams that we do where we're kind of like giving feedback and uh marketing tips. I feel like the way that producers mix their beats and like how to get like your mix better of a beat, I feel like that's a huge like concern in the producer community. A lot of like newer producers don't know how to like mix their beats properly.

What are some tips you might have for like improving the quality of a mix on a beat? Fruity soft clipper maxed out. Five sound goodizers on the mask. Yeah, there you go. That's it. Stack sound goodizer. Honestly, sounds like a fake word, by the way. Sound goodizer. It's not had a real name. I mean, they made it up. It's real, bro. It's really good. You got have you never you've never seen those memes where I think it's probably just like an FL algorithm type of thing, but I've seen it because these memes going around, it's like sound goodizer on the master. It's like it'll be like, hey bro, can you master my song? And then it'll be like, yeah, bro, say less. And then he that, that'll show, like, a screenshot of the session. It'll be like five Soundgoodizers in the master. You know what I mean? Okay, I'm starting to picture it now. But yeah, but no, that's not my algorithm, Larry. Yeah, it's like a one-knob thing that is just it just compresses the shit out of everything. That's really all of that. So yeah. But it might help. It might help a little bit. In doses, yeah, totally.

Yeah, if you use it correct, it's become like a big meme and a big joke. Yeah, if anybody says the word sound goodizer in a session, somebody's probably gonna look at you like, are you really using that? Like you're not a pro. But in reality, it's just a it's a compressor, it's Maximus. That's the FL Studio Stock plugin Maximus, which is like this mastering plugin, which is pretty advanced, and it's just four presets from that plugin that they put into this one. It's called Sound Goodizer, and it's just a one-knob thing. Yeah, I mean, they're the they're probably looking at you funny when you say sound goodizer because you're saying Soundgoodizer. If they've never heard it like me, I'm like song make better. Yeah, I'm like, what are we fucking talking about here? As no, that's true. That's funny. That's funny. I mean, FL's notorious for coming up with like wacky kind of names. Like every every stock plugin in there is pretty much fruity this or fruity that. Yeah. Fruity reverb, fruity delay. Um, but I think your original question was better mixes, right? Yeah, yeah, yeah.

So I think and this may sound like way too simple of an answer, but better samples, better sounds. No, that's it, less mixing. That equals less mixing, right? I think if you have better quality samples that actually match the vibe, things are tuned right. You know, certain drums you gotta tune, 808s you gotta tune, find the 808s, find kicks, bass, whatever genres you're making that actually fit and sit in that spectrum, you know, that that EQ spectrum, and everything has their own place in their own world that you know in that space right there. I think if you do more of that, you'll have you'll essentially be doing less mixing in the in the in the end. Couldn't agree more. That was that's a hundred percent. That was a fire answer. No, that's it. That's helpful. Yeah, you can you can make a shitty sound sound, you know, sound good, but it's gonna take a while. You know, skip that completely and start with sounds. Yeah, I mean, if you want to, I look at it like this.

Like, some people want to be sound designers. If you want to spend time like that and be a sound designer, then maybe that's your thing. If that fascinates you, go for it. That's your thing, start with a sine wave and then make a create a guitar solo out of it. I know, but if you're gonna take an eight-await, yeah. If you're gonna take an eight-await that somebody made, and then you're sitting in there in the sampler for a half an hour, uh redistorting it and adding, you know, multi-band compression and what camel whatever that you know what I mean, you might as well be a sound designer at that point. If you like it, all power to you. But if you want better mixes and you don't want to do a ton of mixing, just get better samples, find better samples. And that might be subjective, but like find samples that sound good with that beat. Yeah, yeah. Plugins that sound good, you know, synths and patches that sound good with that beat and hit those different frequencies. You know, if if you got a low sound in there, the next sound you should go for is maybe a mid-range sound. Like, don't put another low one and then try to make it fit.

I just love how basically Larry's main MO is like, how can we speed up the workflow? That's like everything you've said. This whole this whole conversation has really just been about like helping producers create faster. And like some of like some people might hear that and be like, eh, like no, that's it. Just let it just let me just let me make my art at my speed or something, right? Like, I I can like hear the people saying it that way, but like that fuck, I don't know. I don't I just love that approach, right? Because yeah, like let's just let's get fucking to it. Why would, why would we spend X amount of time doing something when we when there's a shortcut to do it this way, or like maybe try it this way or whatever, right? Like and if you ask the most successful business people of all time how they get rich, they always tell you solve rich people's problems, and rich people's number one problem is time. Yeah, how do we solve it? How do we give time back for sure? It's the one thing you can't get back. Yeah, well, I don't know if you're gonna cover this in your uh final segment.

You've covered two things that I was uh okay. Well, it's okay. What about this? This last question at the top. No, go for it. Yeah, Okay. All right. What are your top plugins for FL? I know you've been on flex lately, and I know you're a big fan of stock, so if there's some stock ones, that's fine, but just like I'll give you all stock. Okay, all stock. Give us your top stock plugins, right? Episode brought to you by FL Studio. And that's another thing. And this is before I started like really working with FL, too. So I'm not just like an ad for FL, but like I I live by it, and I still think to this day that you can get by with all stock plugins. I still think that you don't necessarily you're going to talk about want and need, right? Like, what do we need and what do we want? I think you need to make music. You have FL Studio has all the stock plugins that you you need to make music, and then from there, it's just like, all right, how can I just like fill my sound catalog and fill my library up with stuff you know that I just want to try out? But I think as far as top three, you said, yeah, top three stock plugins.

Okay, can they be like instrument plugins or like mixing effects plugins? Don't even know what that means. So go ahead. all the above. Okay, should have been my question. Like, take that one, Henry. So I'll I'll do a hybrid of both and with the first plugin. That's how crazy this plugin is, and I live by this plugin's Patcher. So Patcher for FL is out of control, and you can use it on the mixing side of things and or the instrument side of things. So you what essentially you could do with it is like you have an unlimited amount of slots that you can use inside of this one plugin, and you can essentially make a plug-in out of a plugin. So you can throw these plugins on top, like so you can throw FL keys in there, you can throw Omnisphere in there, you can throw even third parties, so you can throw um flex in there. You could stack these instruments and create a blend of instruments with different presets in there, and then from there you can throw, you know, patch that to an EQ and patch that one to a reverb and this one to a delay, uh compressor, compress everything, and then have it go out, and then everything is just in this one plugin. It's like a patch bay in a studio.

Yeah, it's just a digital version of that. That's a digital version of a patch bay, but like an endless supply of everything that is in your library, you know. I think number two would be flex. Uh, because I literally I've been using that in every single one of my sessions, especially now with all the libraries that they just put in there recently. They put a bunch of brand new ones in, and they're all fire. It's like to me, it's like a stock omnisphere, honestly. So for those that you know, yeah, so for like producers who maybe don't even know what you're saying, what does it actually do? It's an instrument. Flex is an instrument plugin. Okay, and it had it just has synths and um all different instruments in it, like omnisphere, like omnisphere was just you know banks and banks of uh presets. Yeah, and they have like some good macros in there too, so you can really go and fine-tune the sand the sounds and the synths, you know, add different effects and filters and all that stuff. It's really in-depth. Uh I think that would be my number two.

Number three, I'll go with like a strict, like just effects plugin, and I'll go with gross beat. Classic. I've heard of that one, so I know that it's good. Back when I started making beats, uh, I was in Logic, and I would actually export sounds from Logic, put them into FL to get to put gross beat on it. Oh, export it back out into Logic. So Gross Beat would be your number one. Uh I mean, I don't know the FL plugins enough, but like that is the first one that was like, I fucking need something like there's other, you know, there's things that like that I've found now that are that do similar kind of like time-based effects. Yeah. Which is basically what that is. Like a third party one that's similar to it is uh Effectrix. Effectrix, yep, I have ShaperBox. Similar Shaper Box is very similar to it. I have ShaperBox as well. Logic even has a stock one now that's very similar, multi-effects. I I heard about that one. What is it called? Multi-effects. Multi effects. I have heard about that one. Yeah.

Just like I said earlier, like every Daw has almost everything now. I used to be jealous of the way that like the FL drum rack was, and now Logic has that. Like just everyone's kind of copied everyone, and it it's not a big deal where you're at now, you know? No, it really, yeah, it doesn't matter at this point. Yeah. It's whatever you've been using. As long as long as your DAW is relevant in the sense of it gets updates frequently, I think. Other than that, like man, I think, you know, at a certain point, a DAW would be way behind in time if it wasn't, if they if the company wasn't putting time and effort into making it better constantly. That would be the only reason I would say get off of a DAW. Yeah. It's like, all right, this DAW is like, you know, looking like they're gonna close their doors up. So I think you should probably learn something else, or else you might end up being behind the times as far as like what you can create in there because all these other DAWs are trying to compete at such a fast pace. If you're still on Kellogg, uh fruity beatmaker, it's probably time to move on. Yeah, was that a CD ROM version?

Yeah, yeah, yeah. Yeah. So it, you know, just you know, one other thing I was thinking of if we're co-producing a record, does being in the same DAW help? 100%. Okay. So like it is easier to like, so that's maybe another reason to like use a certain DAW. if if you're open to it, is like who are you collaborating with often and like what are they in? If you're just getting started out, right? No, that's actually a very good point because uh not a ton of people uh in in hip hop at least I've found are on logic and it makes collaborating, yeah, kind of tough. That's something I would actually love to see is uh the fucking DAW makers all come together and figure out some type of integration solution. So how do you how do you do it? Like if you were collaborating with Larry O, we got Mr. Logic over here, and then we got Mr. FL Studio. Like, if y'all were collaborating on a beat, how does it work? How do you do it? That would never happen. What? Because Henry's trash? No. He's not a lot. Because he uses logic. Obviously.

No, I'm only kidding. Yeah, I would say, like, I don't know, Henry, but like I would say stems is one way to do it, like just send stems back and forth. Or but he's, he means almost at the same time. Oh, at the same time, there's a couple of platforms that are doing something really cool. Yeah. That where you can like share your audio in lossless audio. Yeah. And there is almost no latency. It's almost impossible to get rid of all the latency, but there's a couple of platforms that are doing it. One of them is uh submix that they just started, they're gonna start doing it. Um Muse M U S E. Oh, yeah. They they're doing it, and then I think mixed in key pilot also does something like that. Interesting. And so, how would it work? You're on your computer in FL, you're in the same session, I think, essentially, right? Yep. Yeah, like I could end up so like it could be uh a call just like this. Yeah, but the added features is like I can see your screen, I can control your screen in just your DAW.

So like I can go, and then it's even to the point where I, if I have a MIDI controller, I can play something on my MIDI controller that's going coming out of your DAW. So like I can go like into logic, and then you have a plugin pulled up inside of Logic, and I'm playing it on my MIDI controller. Okay, because I was gonna say you clicking around in logic wouldn't really be useful because you don't fucking know, a lot. or like hypothetically, if you were terrible at logic and you were terrible at FL, you being able to click around, but being able to play a MIDI controller that helps, right? Because everyone can do that, right? I'm gonna just call you for gross beat and then Yeah, you just walked yourself into that one, man. Now that's dope. And then, but but then if y'all were just like wanting to send stuff back and forth, it would be like you'd export the stems. Yeah, no, I've been in sessions with people that cook up in FL and uh they'll be working on some melodies, and I'll I'll have to go in headphones, you know, and I'll kind of like tinker with like what's the key, what's the BPM? What are we what are we in? And then I'll kind of like you know, work on something on on my own and then kind of send it to them to load in. And hopefully it sounds good.

It sounds good in my ears, but it it's not the most ideal. Damn. For sure. Yeah, no, that sounds like a pretty uh friction, friction-filled process. Yeah, it's not frictionless, no, no, for sure. But Henry, we've entered a final segment with our friend Larry O. My favorite segment. Yeah. Oh, good stuff, man. Producers, y'all can make money without fucking artist placements. That's all I gotta say. You can. True. Larry, this is the very first virtual rapid fire rampage. I'm excited for this one. It's a three part rampage. I'll explain them as we go. The first part is just some short answer questions. Let's get into it. Starting with. What is your go-to DAW for making beats? FL Studio. Sorry, uh, ChatGPT gave me that one. Okay. No, ChatGPT didn't have anything about Larry O. I should have said like garage band. I was hoping for the troll answer. It's okay. Um let's go to what are the best ways that producers can kind of keep up with the new trends and tools and stuff going on. Is there like a newsletter?

Is there like a uh from from me or just like in general? In general, like just new things that are happening. Like, how can we stay up on this stuff? How do you learn new stuff? Social media. Social media. Yeah. Yeah. I'm on, you know, especially Instagram, Twitter, YouTube. Are there any like pages in particular? I I follow the image line page, so uh, you know, I'm on top of that. Forums. I mean, if you're an FL studio producer and you really want like the new news, like the newest of news, follow and stay in tune with the image line forums because they're that is probably one of the most underrated spots in the world for FL Studio producers. Love it. Give us your three best quick tips for people to just start making better beats in FL right now. Uh number one, I feel like we talked about it, but better quality, higher quality samples. Yes.

Number one. Know your shortcuts in your DAW. Yes. Um, and listen to different genres of music. Ooh, love that one. Love that. That was a great one. Yeah. Yeah. Bonus tip there. That is good. Larry, what is your favorite food? My favorite food? Food. Uh I'll say probably right now, as of the last maybe like year or two, is probably Chipotle. Really? Interesting. Bro, I'm obsessed with it. Like, I don't, it's it's like it's it's healthy ish. Yeah and it and it's filling. Fresh ingredients, filling. It's fresh. You go with the bowl or you a bowl guy? Yeah, I go with the bowl. I just had one a little while ago, actually. I knew it. Wow. Like an hour ago. Wow. Larry Sponsored by Chipotle. Yeah, we got a few sponsors this episode. Hashtag Chipotle partner. It's great. Larry, what does a Chipotle type beat sound like? There'd be a lot of bean farts in that one. High quality sound selection of bean farts.

Where do you get the highest quality bean fart samples? You need like a distorted fart 808. The irony is that 808s and farts are like close cousins. Bro, they're very similar. They're very similar. Yes. Yes. Let's do that. Let's do that as a piece of content. Like playing off of this interview. It would be great. Larry, if you had five minutes to make a great beat, what's your process? How do you do it? No rules. Five minutes to make a great beat. No rules. Except the beat can't already be made. Yeah. And you have five minutes. If I if I only had five minutes, I would go to like a sample loop that I had or that I've made already, or a MIDI file that I have in my library. Just because that's you know, most mostly like the most time consuming process is coming up with a really dope um intricate melody. Yep. And then from there, I'd probably stack it with one other sound. I like that process a lot. It's like starting out with a melody, get the idea like right away. Get an idea, chop it up, maybe, flip it, reverse it, do something to it, manipulate it somehow.

Maybe that might be the first like three and a half minutes. The last, you know, the last minute and a half ish, it'd probably just be creating uh drum and 808 pattern. There it is. I that's probably how I would go about it. If I had to do it that fast. That's probably be the way. Probably sound great, Ben. Yeah. He's he's going straight for that uh that MIDI file of the bean fart in his library. Load that bitch up, chop it, screw it, reverse it, flip it. Larry, you have an unlimited budget to build your dream studio. Describe it for us. Um man, I'm honestly, like I don't I don't need much, to be honest. I I don't need much. It would just need to be. Honestly, bro, like I'm I'm in pretty much a dream studio of mine. If I had to go back and look, and it wouldn't like this, doesn't it doesn't cost a lot. It's just it's in my house. It has everything that I need. I don't have anything like extravagant.

I'm not like a gearhead per se. All I really need is like a good pair of speakers, a good computer, and a decent interface, you know, and um and a mic. I really I don't need much. Humble. That's uh, and I I wouldn't even spend a ton of money on it. He had unlimited budget. He just stayed where he is, bro. You're gonna get some Augsburgers at least. That's insane. You can put a couch behind you. Yeah, I would splurge on the monitors. I think I would splurge. I would get like, I would get the high, yeah, some Augsburgers, like some like super super high quality monitors. I think that's where I would splurge there. Okay, and and the computer, and then everything else is like it could be just you know, I have some just decent handmade sound panels. Like, I don't need anything crazy other than that. Like he could have had it like on a cliff overlooking, like yeah, he could have spent all the money, bro. He just had a space studio. He just Stayed here that an Elon Musk satellite space studio. It could have been insane. Gotta love it, man.

That unlimited budget is gone now because we're moving to the last question of the short answer, which is Larry. What is your favorite curse word? My favorite curse word? Um damn, what do I say the most? Damn. Probably motherfucker. Part one. If I'm mad, and I just like if I if it's one of those things, I think people's favorite curse word is the one they say to themselves when like nobody's around, and you're just like, Yeah, motherfucker. If something happens, that's it. That's what I'm saying. That's actually the test. It is the one that you say when no one's around. That's who you ultimately are. Yeah. That's that person. That's who you are. That's great. Part two is the this or that. Larry, I'm gonna give you two choices. You just have to pick one of them. Starting with smooth melodies or knocking drums. Hmm. Knocking drums. Make loops or receive loops. Make loops. Sped up version or slowed down version? Slowed down.

Car test or phone test? Car test. Snares or claps. Snares. Make it beat in 30 minutes or make it beat in three hours? 30 minutes. Vintage analog synth or brand new groundbreaking plug in? yeah, brand new plugin. Switch Daws or tattoo the FL logo on your cheek. I'll tattoo the FL logo on my cheek. Oh shit. And finally, become a full time rapper or leave the music industry forever. I'll become a full-time rapper. Yo, his ad lib would definitely be the you get me ad lib, like that. But what's the artist name? Larry O. Artist name is Larry O. Why if you had to switch it. If I had to switch it, I'm looking for a Lil or a young Lil Larry. Lil O.

Lil O. Lil O. I like it. I like it. This guy's not going places, bro. Lil O. Hey, people with dumber names have blown up You're right. So I mean hey, who the fuck am I? Larry? Yeah. Well, I'm old, Larry now, so I wouldn't know. When are people gonna start putting old in front of their name instead of? You got old dirty bastard, I guess. He was young. He was young. He was young. Yeah, and he was old. He was thinking ahead. He wasn't even old. He was old. Yeah. That's He was thinking ahead. He was. The last part is the word association. Larry, I'm gonna say one word. I want you to just give me the first word that you think of off the top of your head. As little thought as possible. There are no correct answers. Here we go. Rampart! Wow. Starting with. That was intense. Music. Beats. Neighborhood. House. Salamander. Chameleon. 808. Bass. TikTok.

Reels. The letter Q. V. There's no, rules, Henry. Don't look at me for like I just swore he was gonna go with quantize. Okay, well. If I'm trying to be fast, I'm coming with the fastest thing that comes That's true. That is what we want. That is what we want. Logic Pro. Garbage. Why did I subject myself to that? Pickleball. Tennis. Clipping. Mastering. Green. Blue. Emoji. Face. Goat. Ram. Lil. Uzi. Yeah. Get me. Let's go. This has been Larry O, the god of FL Studio. A power user, if you will. Power user. I love that title.

Please like, comment, and subscribe if you can fuck with this interview. We're here each and every week. Follow us on Spotify Podcast. Follow us on Apple Podcasts. Leave us a five-star review if you fuck with it. Thank you, man, for tuning in all the way from uh your humble abode. Indeed. From your dream studio. I appreciate you guys. Yeah, exactly. My dream studio. It is. Until next time, Henry, what are we doing? Getting out of here. Getting out of here. Peace. Peace.