Mike Oz – Finding Success In Music With Artist and Producer

Tim Melanson: Hello and welcome to today’s episode of the Work at Home Rockstar podcast.

I’m super excited for this episode. I got another, another music person on this on this show. And, uh, what he is, is he’s a music producer Yeah. With, uh, studios Ed Produ Productions, and he helps emerging artists express themselves in a professional way. Very excited to be rocking out today with Mike Oz.

Hey Mike. Are you ready to rock?

Mike Oz: You bet.

Tim Melanson: Perfect. Right on. We always start off on a good note here. So tell me a story of success in your business that we can be inspir.

Mike Oz: So I think one of the most recent ones was the way that I saw, um, my artists tackle covid. So, uh, you know, it was a time when, you know, you could, you couldn’t do much as an artist.

You couldn’t go play. So if you were, if you were supporting yourself with gigs, which. A lot of people out here in New Brunswick definitely do mm-hmm. , uh, it was kind of a tragic time, right? And so unless you kind of shifted and moved over to the internet on some form of subscription or payment basis, you’re kind of screwed.

Yep. So, uh, so, you know, I have about 10 artists usually on rotation here. And so, uh, you know, we, I talked to all of them and I. This is a time for you guys to really bunker down and be able to work on your portfolio, work on your electronic press kit. Let’s get some videos done. Um, let’s finish the songs you weren’t ready to finish.

Let’s work on your vocals so when it opens up again, you’re gonna hit the ground running. Right. And the proof in the pudding is that that’s exactly what’s happened. So you’ve got some artists that I, that I, that I run like, uh, Sam Hudson. He, they just, you know, and now he’s blooming, right? Because he worked really hard during covid, which is tough.

This was tough. This was a moment where you didn’t see the end of the tunnel, you know? So, you know, that’s really tough on an artist to not be able to go play to not, to not even have an audience. After two years, you forget your. Right? Yep. So, uh, so I think the success was really seeing, uh, the resilience that they put into their career.

You know, music, New Brunswick really helped in this because they offered up some great, uh, grants that, uh, most of my artists got, you know, And which, you know, I’m from Toronto, so hearing that a few, or even one of your artists got a grant is a big thing because in Toronto, , it’s very rare that you actually see that money, right?

Mm-hmm. . So, uh, so I would hear, yeah, Music, New Brunswick. Kudos to. Really well done. You know, they help my artists get, um, get a leg up, get some videos done. And, um, yeah, that’s been, that’s been one of the best success stories, uh, you know, around here for me. That’s for sure.

Tim Melanson: Right on. Oh man, it’s so cool. Uh, I’m, I’m so excited for this episode cuz you know, I talk about the business side all the time and very, like, I, I, I, you know, bring a little bit of my music side in every once in a while and what I do on that, but it doesn’t come in very often.

So I think it’s gonna come in quite a few times. And this episode, because, uh, Sam actually has been out to my, to my jam nights several times, . And, uh, so I think it’s funny that the way. We probably work together without knowing that we work together, is that, uh, you provide the sort of structure, the, the, you know, working on their songs, all that stuff.

And then what he does is he comes out to my jam nights and way up mics and he goes and he performs them and gets some,

Mike Oz: Absolutely. Perform them live. And, you know, you offer an amazing gift for people because you know, to be an artist, you can be in the studio and that can be fun or it can be disheartening for some, but it could, you know, it’s going out and playing and cutting your teeth.

If you can’t do that, you’re also not gonna be great in the studio because you need to be out there with, uh, like I used to always say, when you go to a jam, That is like three to four times the equivalent of a rehearsal that you do in private. Yep. Because your nerves are up and you’re gonna, you gotta fight against speeding up your songs cuz your nerves and, you know, um, the inhibition can also cut in on your talent.

So all these things, the more you do it, the more you become disinhibited and become, you know, freer with your expression looser and. And, and, and actually tighter with your timing, right? ? Yeah. Yeah. The time. That’s

Tim Melanson: great. Yeah. No, absolutely. For sure. And, and, uh, and it is a bit of a, an addiction too. I, I know that once, So many times, so many times that I’d, I’d go and I’d, I’d really have to just pull someone up on the stage and be like, Listen, you know, I, I know what you could do.

Come on, let’s just try it out. Let’s just get it going. And then once they get on that stage and they come back off again, they want to go back up again immediately. It’s, Yeah, it’s one of those things where it’s difficult to get someone out there and, and I even in regular business, what I always recommend anybody is go to a karaoke night and sing a karaoke song.

Doesn’t matter if you’re a terrible singer, you will get some nerves out and it will help you in your public

Mike Oz: speaking. Sure. A hundred percent. A hundred percent. Um, so yeah, like, uh, for example, and, and he’s not the only one. I mean, I’ve got all, all the artists that I’ve been working with just have, you know, been able to.

Hone their craft over covid and uh, it’s just great to see them now starting to bloom, do all their, you know, this has been the first summer that people have been able to get out and, uh, do real shows again. Yeah. Almost made me forget covid even happened. Oh

Tim Melanson: yeah, absolutely. . So now, uh, with those good notes, there are some bad notes as well.

I mean, we all hit ’em, right? And I’m wondering, can you share with me something that just doesn’t, didn’t go as planned, and how you recovered?

Mike Oz: Yeah, so, uh, when I first moved here, so I’m from Toronto, but when I first moved here with my whole studio, uh, clearly my client, I was used to a Toronto client base, and while my wife, who’s from here, she’s from Rogersville, she, uh, you know, she kinda let me know how, what the mood is out here and, um, but when I first had the, the, the first band that I recorded here, um, when you’re mixing, when you do a big outboard analog mix, uh, that can take like four or five.

and uh, and I had this band here and I said to them, I said, Listen, I’m gonna turn around about every hour and I’m gonna ask you how you, what do you think about the mix? And this is your cue to tell me, Okay, well I think the guitar’s a little too loud, or the vocal needs a bit of this, or whatever it is, right?

And then as we get closer, you know, in the four, four hour mark, you know, we’re gonna have honed in on, on the mix. Then we got final touches, right? So I thought that you understood. And they just kept saying, Oh yeah, perfect. I’d turn around, they’d be like, It’s great, it’s great. And uh, you know, after four hours I was like, Man, okay.

I like it. They like it great. So I sent it home with them and lo and behold, seven o’clock in the morning I get an email that is a biblical versus, you know what I’m saying? Of, of changes that needed to be. I mean, all those changes need to be made in the mix while you’re here with me. Right? But so my, it’s my fault.

I tried to impart how to listen to your mix, but I ha I needed to be quite more specific, right? So now I’ve, I teach people how to listen to their mix critically while they are here to save us all a lot of time and money. So, so, so now, I, I, I, I don’t make that mistake anymore. You know, what we ended up with back then as the failure, it’s never a failure.

I mean, it’s music. If you’re not having fun, you’re doing it wrong. Right? Yeah. So it’s, uh, but it was that, uh, we ended up with a mix that was a Frankenstein, you know, by the time, cuz we ended up with like, it was a mix 15 by the time we were done, you know, so no one was happy and, um, because we had just lost touch of the, of the trace, you know, So the big lesson learned there, but.

But it’s all good. You know, again, like in music, it’s all a learning experience. That’s why I love it so much. Cause I love learning. I love knowledge. You love imparting knowledge, you know? So, um, So, yeah, that’s kind of the only real failure. I mean, my other one would’ve been to try and go back into hip hop

Yeah. That was, that, That was like, you know, I did a lot of hip hop work when I was in Toronto and, you know, paid handsomely for it. But, you know, out here, uh, I, I, I chose a different mentality for myself. That’s why I moved out of the big city. I, uh, uh, I’m not gonna say that I wanted a more wholesome experience in my life, but.

You know, and I found it out here, you know, for sure compared to big city living, you know, out here almost nobody comes at me with an angle. Um, There’s just, you know, everyone’s relaxed, Everyone out here, as a musician, I don’t have to fight against these egos of people that want to be famous yesterday.

Right. Everyone’s out here mostly to have fun. So when I, I, I’m on take three, take four. I got it in Toronto. You’re like, Take 12, take 14. It’s okay. I already had it at take four. But the client doesn’t believe you because you know, they had to be that best and it’s like, , you don’t get it. You gotta be relaxed and having fun and suddenly you’re playing better.

Yeah. In fact, you’re playing your best when you’re most at, at peace. Right. So, out here I definitely found that, and I’ve been, you know, I’ve been blessed.

Tim Melanson: Right on. And you know what, that’s something that can, that can translate a lot to most businesses as well, because, and, and especially like you said here, you know, everybody’s kinda giving you the thumbs up.

Yeah, it sounds good. People are, uh, depending on where you are, and I think Toronto would have a different mentality, but around here especially people are, they don’t wanna tell you that it’s, it doesn’t sound good, , They wanna, they wanna give you the thumbs up. They don’t really want to give you their real feedback.

Right. And I, I think one of the things you probably learned is that you have to really be specific about what it is that you are asking them. Cuz if you’re like, Hey, does this sound good? They’re all gonna say, Sounds good. Right?

Mike Oz: Absolutely. And then

Tim Melanson: afterwards they’ll figure out that it didn’t sound good, right?

Mike Oz: Yes, yes. When you’re not there watching them, right? So now what I do is I really explain that, but I also don’t do the, the, the four, five hour, uh, sessions, uh, mix sessions anymore. Now I do my mix. Then I invite the artist to come in for the last hour of check. Where he gets the opportu, he, she get the opportunity to, uh, to, to listen to the mix and give me some suggestions, and then I offer them the opportunity to please go home and send me one page of notes.

Right on. Not good and Right. And then, and, and now, and ever since then, ever since I corrected that, it’s been a breeze. Right. Everyone gets it.

Tim Melanson: Right on. So let’s talk a little bit about practicing and getting good at is at what you do. And you know, in music it’s it’s very simple to, to to, to make that, uh, comparison in business, sometimes it’s a little bit more difficult, but, uh, what is it that you do to, you know, stay on top of your.

Mike Oz: Yeah. So first of all, uh, if you run a studio, you should know all the manuals, and I know that in this day and age of YouTube, People don’t do that. People are like, Oh, I’ll, I’ll just go YouTube it when I need it. Oh yeah. Well, when you’re working with a client, you don’t have that liberty. Okay. And when you’re thinking on your feet, you gonna go look at YouTube every, every five minutes to go figure out your mix.

You’re gonna, you’re gonna be lost. You need to go study when the client isn’t there. That’s called being professional. It’s what you have integrity to do when they’re not looking right. So I study, and I’ve been at this for 30 years. I study every. An hour, two hours, sometimes more. Right? I’ll go on, I’ll, I’ll go watch.

I’ll go watch people that are, that are, that have been in the business longer than me, how they’re still doing their mixes, new plugins, all the manuals for those plugins. I mean, you gotta stay on top of your game right now. There’s immersive audio, right? So, I don’t know, am I gonna fill my studio with speakers right now?

I can do it in headphones, but some people don’t even know what immersive audio is. And it’s like, that’s, that’s up and coming. So, you know, I mean, it’s here already, but, uh, it’s the future. So just being, you know, staying on top of your game, that’s, you know, and, and doing the hard work of learning your plugin.

Learning your hardware, your hardware works, and, and I mean your plug-ins were created to be based around the hardware. So if you don’t know how hardware works and you’re just working outta plug-ins, guess what? You should be studying the hardware anyways, because that’s what it was. The plug-ins were created for from, you know, to spec.

So all these people I see working at with red lines or close to the red and stuff like that, that’s, that’s just crazy. You need to be working on such low levels, like minus 18 db. But if you don’t know these things and you don’t read the manuals, how are you gonna know? Right? Yeah. So the other thing that I try to do is, uh, to stay on top of my game is I also try and keep, um, the artist knowledgeable.

So while I’m working. I show, I teach them what they’re, what I’m doing. I show them what I’m doing so that when they go into a bigger studio and other place, whatever it is, guess what? They’re gonna know what they’re talking about and they’re gonna, you know, they’re gonna look good instead of looking like schmucks.

Yeah, yeah, exactly.

Tim Melanson: And what you said there. So I find that, uh, when you’re even in a performance, in a performance, things are gonna go. Like, and, and I mean this can work as a salesperson when you’re doing your sales presentation. Like you can’t possibly prepare for every possible scenario that’s gonna happen cuz something’s gonna get thrown at you that you’re not gonna get.

Oh yeah. But uh, from what I’m understanding what you’re saying, You’re doing as much preparation as possible so that you’re at least confident going into it. So if they’re gonna throw something at you that you’ve never seen before, you have enough base to be able to go No, no, no. Okay. I, I, I think I know how I’m, how I’m gonna solve this on the

Mike Oz: fly, right?

Absolutely. And then, and then learn from every experience. So for example, from, from every mix, I do something new. Has been put into that mix. I’m not just cookie cutting anything here. So when I do that, I will save those presets as fu for future use. Right? So, you know, a classic one that some people should have always in their repertoire is the telephone effect that everybody wants on some part of their mix here and there, right?

Oh, okay. Well that should be one button press away for you and stuff like that. So preparing yourself, um, with. Saved presets stuff where you can immediately go and, and in this little box of tools. Right. Um, of audio tools and be able to pull them out when, Yeah, when, um, because you’re always being creative.

The client in the middle of a mix, if you think it’s all said and done. No, no. The client’s always gonna change his mind, right? Yeah. Yeah. So cuz I’m an artist too, That’s what I do. I got some songs that, that, that are 10 years old, still haven’t finished being mixed. They’re still in the mix. , right? Yep. So, I mean, and I know, you know, so I know how people are.

And so that’s why it’s good to have, uh, different things on the ready so that when people’s ideas are creative, you’re not there taking 10, 15 minutes to figure out how to do that. By the time that’s done, The creativity moment is gone.

Anik Malenfant: Hi, my name is Moff. I’m from Mastering Ascension and I’ve been working with Tim Melanson and the Creative Crew Agency for a number of years now.

Tim is my go-to guy for all things technology, and his team have helped me to really. Create the platform that I need that represents my brand, my message, and connects me directly to my ideal clients. What I particularly love about Tim is before he starts to dive into the technology, he always makes sure that he understands what your global view is, what your ultimate goals are, so then that way you’re not wasting a lot of time back and forth.

Switching around technology or platforms, he creates something from the get go that is scalable, which is highly, highly, um, beneficial for any business. What I’ve experienced from Tim and his team is they’re highly responsive. They are a wealth of information, and they’re gonna offer you the tools that you need to really make the mark that you wanna make in the world.

That’s my recommendation for Tim. He’s awesome. You’re gonna love every minute. You won’t regret it.

Tim Melanson: So let’s talk a about, a little bit about getting fans. What, what’s your approach to, to, you know, attracting business? Yeah.

Mike Oz: Uh, back to that word, integrity. Right. So I was fortunate, uh, to move out here and, and where there is a ton of musicians, I mean, per capita, there must be one in five people out here is a good.

That’s a lot. Hey, like in Toronto, the numbers just aren’t there. And counterintuitively, you know, in, in Toronto there’s a thousand studios. You know, I don’t know how many have survived from Covid, but there’s a lot of studios out here. It’s not so many. So, um, when I moved out here, I put a couple of K Gigi ads, but really the night that solidified it for me and I, I, I do.

Julie, uh, Ann O’Connor, one of my artists and, you know, great person. And, um, she helped me because she invited me to, uh, J Country, Jason Cormier’s night at, uh, that he organized at, uh, in fact I should thank him too, uh, that he organized at the Dark Club. And I went and, uh, you know, I watched all the bands and I ended up producing most of them.

And by word of. The rest is history because I’ve never put out another ad, and I’ve never paid for any ads out here. So if you want, I haven’t really done any marketing for the studio, you know, as of yet. My first one is being on the show right out here, and so I’ve just been really blessed that, uh, I guess because I do good work and the way that I treat people and the way that that, you know, that kind of thing, all that revolves around integrity in my mind, if you had to sum it up.

And so all that has just kept my business going by word of mouth. Um, you know, I don’t have a, a list at the door waiting to get in, but I’ve never missed out on any work or, or, or needed any, any work. You know, it’s, it’s always been pretty full, um, without having to do. So that’s one of my pieces of advice.

If, you know, apart from your marketing, you can, you can market yourself as much as you want. But, um, especially out here where, you know, new Brunswick’s like a big village and my, my wife taught me that. Mm-hmm. , Uh, but you know, out here, word of mouth, it’s everything, you know? Yeah. It’s everything In Toronto, it’s so big, you know, you know, you, but out.

If you, if you’re, if you’re a dig , that’s gonna get around. If you’re unprofessional and your work socks, guess what? That’s gonna get out too. And so, so that kind of integrity is, um, again, it’s done when people aren’t even looking. And, uh, just to be prepared and all that stuff. Treat people the right way.

Treat people like the way you want to be treated. And, um, and that, that goes. That goes real far. Wow. Now the other thing about marketing though, is in my business is I help and I try to help my artists market themselves. So there’s two sides of marketing in my business. There’s one that I might need to do for myself as a studio.

Um, but it’s really the artist and showing them how to market themselves, helping them, how to mark themselves, staying on top of new ways for artists to mark on themselves. You know, when they started the streaming. Which frankly, you know, if I could change it, I would, I would put, I would bulldoze it, I would find other ways, you know, because it’s screwing the artist in so many ways.

But it’s also, what it’s done is it’s put everybody on, uh, as the, we’ve all become the creators. Yeah, right. We’ve been handed the keys to the kingdom with, with very small, uh, I information on how to do it. Right. So before, if you were a band, you had to go only to the big labels. And the big labels. They would take all your money, right?

They’d give you a lot of money to do your videos and promotion, all that. But they would spread out all that money to try and get you, uh, fans and stuff like that. But now you can do it. Right. So, so what, What do you have to do as an artist now? You have to do it all really. So you have to market yourself.

You have to do the album, do the graphics, do your own pub publicity. Yeah. Then put yourself, put yourself out on radio. Uh, So it’s, it’s

Tim Melanson: tough. Yep. Yep. It’s, but it has leveled the playing field right now. You know, you, you can make it happen as it’s just a regular

Mike Oz: dude in your, in your house. Oh yeah. That’s definitely, that’s definitely the, the, the plus side.

The plus side is that you have become the creator so you can brand yourself the way that you want to. And if you don’t want, if you want it to be done a certain way and big sh and big heads and at a big label say, Nah, that’s not for us. Who cares? As long as you are good with. You can do it. So that you’re right.

That is definitely the plus side. Right on.

Tim Melanson: Yeah, it’s funny, uh, so I, I moved here from Ottawa, uh, 10 years ago and I had been playing music in, in, in Ottawa for 10 years. And as you said, like it was actually really easy to get gigs. I, I just went to open bikes in Ottawa and there was a booking agent there who asked us if we wanted to do some shows, and that was it.

It was easy, . However, when I moved to Moncton, it took me two years. To get a gig in Moncton. It was very, very difficult. And I mean, I, I had been playing in a big city. I played the large audiences on Canada today.

Mike Oz: But What year was that, that you moved here?

Tim Melanson: I moved here in 2013. And, uh, and so, uh, yeah, so it’s been almost, almost 10 years.

And, uh, but it, it was, it was quite difficult and I, I ended up having to network with some other musicians and I ended up having to one guy who, uh, who ended up getting me a show, Actually, I’ll, I’ll tell you the story cuz it’s quite funny. Uh, There was a guy that was, he was, he was playing everywhere at the time.

He was just, he was just everywhere. His name was Aaron Levi, man. And I, I don’t think he’s playing much music nowadays, but, uh, he was playing everywhere at that time. He was just the, the party guy. He just had the guitar out. And one night, uh, I was like, You know what I, I, I’d like to get. I’d like to get a gig.

So I took, I took, um, my car. I ended up driving right in front of this bar that was no longer around and I had my guitar in the car and I thought, you know, um, maybe an opportunity will present itself. So I went in and I was just dancing the night away, you know, having a great time. And right at the very end of the show, he breaks the string.

And, uh, and you know, he just keeps on playing whatever, like, like nothing happened and then breaks another string. And I’m thinking to myself, I’m looking at him and he, he kind of looked panicky a little bit and I’m like, Yeah, I bet you he doesn’t have any anymore strings. I bet you he’s, he’s outta strings, right?

So I, I go and I whisper in his ear. I’m like, Listen, I got my guitar in the car. You want, you wanna borrow for the rest of the show? And. Yeah, yeah, yeah, yeah. So I went out, grabbed the guitar, brought it back in, gave it to him. He finished out the night, uh, and uh, and it was a great night. And afterwards, you know, he gives me a guitar back.

He goes, So you want a gig, don’t you? ? Yes, I know.

Mike Oz: He hooked me up. Universe helped you help him?

Tim Melanson: Absolutely. I just had a feeling something was gonna happen that night, and that’s how I ended up getting in. Which, which is, uh, I, I, I think that’s the, the key is just try to be helpful and eventually things will work out.

Mike Oz: Right. That is, and, and that’s a great segue to what I wanted to add here, is that, you know, if whatever business you’re doing, if you can incorporate giving back to the community, to individual people, You have no idea how good that’s gonna be for your business, cuz it’s gonna, it’s gonna inundate you with good feelings.

It’s gonna inundate your, your business with good vibes. I mean, just going to be able to go to sleep at night soundly because you know that you’re helping people, you’re making a difference in their lives in a positive way, price.

Tim Melanson: Totally. So now let’s talk about learning from others and learning from the best.

What, what’s your approach? I mean, you mentioned that you study all the time, but is there people that you learn from too? Do you have coaches, mentors,

Mike Oz: anything like that? Oh yeah. So I definitely am one to think that I, I, I, when whoever I meet, I’m learning from them. Right. And throughout my life I’ve worked with a lot of really great, uh, artists and a lot of great producers, and I, I also do video.

In fact, I’m getting back into videography now and editing. My first studio in Rome, Italy, uh, in 1998 till two, 2002. So I had that studio, uh, with Anella Pure Leon, who is a great friend of mine, and now he’s one of the best videographers and editors in Italy. And, uh, you know, sitting side by side doing videos with him for four years.

I learned, I learned, and. And now I’m, and now I use that and many more things in my practice, right? So for example, um, in my bands, I had some really great producers work with us, like Gavin Brown, who’s done like Celine Dion Sting, Um, also had great music directors like Dean Jarvis, who now does Les y car.

And, and these people like taught me mostly. What to do. Right. You know, from everybody. You can learn also what not to do on your own skin. Right. And so as a client, I’m always, um, well, as a client back then, I’m always trying to remember, Oh yeah, you know what? I didn’t quite like how that felt when he did that.

And so I learned from those and I don’t do those with my clients. Right. Um, so, and that can go from big things to small things. Right. But I, um, I’ve definitely worked with some great people and. And online. I, I, I still try to reach out to really great other producers, mixing engineers and stuff like that, and always sharing notes.

And, um, like I said, if you’re not, if you’re not having fun learning, I don’t know what you’re doing here, , The life’s about knowledge and, and, and, and, um, and sharing it right. .

Tim Melanson: Yeah. And, and yeah, you learn through teaching and you learn through being taught as well,

Mike Oz: right? Oh, yeah. Like I, I, I wasn’t doing much education and stuff in, in, uh, in Toronto.

Maybe just teaching Ableton and Pro Tools, but out here, you know, I’m also a vocal coach. Uh, the, I’m a singer, like primarily, so over the years, I studied with some of the best vocal coaches around the world. Um, I started off with Shania Twain’s vocal coach in Toronto and then did opera and a whole bunch of stuff so that when I, you know, out here I’ve been doing a lot of vocal training with people and, um, while still learning it myself, you know, I’m still perfecting the art.

Right on.

Tim Melanson: Well, you know what, It’s time for your guest solo. So tell me what’s exciting in your business right now and what you’re promoting.

Mike Oz: So right now, like I said, uh, I’m starting to do videos again. Um, uh, it’s, it’s no secret that out here there’s not a ton of money. Right. Uh, big cities probably offer a bit more of that, but out here, when I moved out here, I knew right away and my wife told me, you know, she’s like, You know, you’re not gonna be able to charge what you were charging in Toronto.

And I was like, That’s fine with me actually because I’m gonna be able to spend a bit more time with people. Making music takes time. Some people, most people like to take their time when they’re making their music in a studio, and the only way to do that is to do that over. Right. So, um, so let’s say, you know, you come in, you do some mixing, you do some recording, and then I give you dailies and you sit with those dailies for a bit so that you can formulate, no, oh, maybe I wanna change that, or maybe I want to change this.

And people come back to me two weeks later and say, Okay, now I know what I want to do. And that’s great. And what that does is that also gives them some money relief, right? So that they’re. Almost in, in, you know, in installments instead of like, Hey, you gotta pay 10,000 bucks before we can even start the album.

It’s like, that’s unheard of out here, you know? And, and if somebody can, good for them. But, uh, the reality that I’m seeing is that people can, uh, do this much more easily if it’s in, uh, piecemeal, right? Yeah. And then, and so the same thing goes with now that I’m doing videos, why am I doing videos? One, cause I love doing it, but two, it’s.

Music and video after Covid, they go hand in hand and people won’t accept it really without it. Yeah, because you know, during Covid, people saw their people’s grandmothers on the toilet playing guitar, and you know, if they can do it and you’re releasing your song, guess what? You’re expected to now have a video.

Right. Something anyways. Right. And because I like things that look good, um, I try to help out the artists with doing their videos at, you know, at an affordable rate, you know, And so, um, So that’s, that’s, that’s what’s hot on my play right now. The other thing that’s hot right now is I’m starting to finally send out, uh, it’s been again, two years in the making with Covid, but finally be able to send out stuff to sync agents in the States and in Europe to get, uh, the artist music on film, TV and commercials.

So, And then also also trying to, trying to get the, the artist next year to, to do some form of a nice, um, tour in the Atlantic regions and just be organized, help them organize that and stuff like that. That’s, uh, that’s what’s on my docket right now. Right

Tim Melanson: on. So how do we find out more about this?

Mike Oz: Uh, you can definitely go on the website, which is studios at productions 11 dot.

Tim Melanson: Awesome studios@productionseleven.com. Thank you so much for rocking out with me today, Mike. This has been a lot of fun. You, I have a feeling we’re gonna talk a lot more. Oh yeah. Welcome to Moncton.

Mike Oz: Thanks buddy.

Tim Melanson: Right on to listeners. Make sure subscribe right in comment. We’ll see you next time with a Work at Home Rockstar podcast.