1
00:00:06,480 --> 00:00:09,360
the opportunity in in in in these

2
00:00:09,360 --> 00:00:13,840
devices exists to go and try and do

3
00:00:13,840 --> 00:00:16,720
truly wacky things.

4
00:00:16,720 --> 00:00:18,880
And truly wacky things I I think that's

5
00:00:18,880 --> 00:00:22,560
actually unfair, but it's it's a tool.

6
00:00:22,560 --> 00:00:25,519
It's a tool just like a violin is a tool

7
00:00:25,519 --> 00:00:28,320
or you know if if you want to get more

8
00:00:28,320 --> 00:00:30,480
basic

9
00:00:30,480 --> 00:00:34,239
I think the thing that most kids at one

10
00:00:34,239 --> 00:00:36,880
point or the other get to play with is

11
00:00:36,880 --> 00:00:39,520
like a Fender Strat. Fender Stratacica.

12
00:00:39,520 --> 00:00:41,440
So everybody's got one. Everybody knows

13
00:00:41,440 --> 00:00:45,120
somebody who's got one. And here's the

14
00:00:45,120 --> 00:00:46,800
amazing thing about the Fender Strat.

15
00:00:46,800 --> 00:00:48,879
It's just plank of wood with some

16
00:00:48,879 --> 00:00:51,120
strings attached to it.

17
00:00:51,120 --> 00:00:52,800
It's

18
00:00:52,800 --> 00:00:56,160
but it's such a great design that Stevie

19
00:00:56,160 --> 00:00:58,239
Ray won will sound completely different

20
00:00:58,239 --> 00:01:00,239
from Jeff Beck will sound completely

21
00:01:00,239 --> 00:01:03,120
different from Eric Clapton will and it

22
00:01:03,120 --> 00:01:06,120
amplifies

23
00:01:06,479 --> 00:01:09,200
the you know it it somehow amplifies the

24
00:01:09,200 --> 00:01:11,439
DNA of the human being the musicality of

25
00:01:11,439 --> 00:01:13,360
the human being and that's what that's

26
00:01:13,360 --> 00:01:15,439
what you want this stuff to do. You

27
00:01:15,439 --> 00:01:17,439
don't want it to be in in the way. You

28
00:01:17,439 --> 00:01:20,479
want it to

29
00:01:20,479 --> 00:01:23,119
become expressive. And you just need to

30
00:01:23,119 --> 00:01:25,280
break through the myth the myth of the

31
00:01:25,280 --> 00:01:28,080
elitism that unless it's a sign where

32
00:01:28,080 --> 00:01:30,400
you can't play music on it. You know,

33
00:01:30,400 --> 00:01:33,280
I'm saying if it's a laptop, you can

34
00:01:33,280 --> 00:01:35,680
make music on it.

35
00:01:35,680 --> 00:01:39,759
And for instance, I I I use

36
00:01:39,759 --> 00:01:41,920
I'm surrounded by synthesizers, but if

37
00:01:41,920 --> 00:01:44,880
it really comes down to it,

38
00:01:44,880 --> 00:01:47,360
I use very few and I just try to get

39
00:01:47,360 --> 00:01:50,799
really really really good at them. Um

40
00:01:50,799 --> 00:01:54,240
because the the wealth of possibilities

41
00:01:54,240 --> 00:01:56,720
is there

42
00:01:56,720 --> 00:01:58,880
if you learn how to use it. And it's not

43
00:01:58,880 --> 00:02:01,600
like you know if you approach it as a

44
00:02:01,600 --> 00:02:04,960
musician then learning is a very you the

45
00:02:04,960 --> 00:02:08,080
word learning isn't so difficult cuz

46
00:02:08,080 --> 00:02:10,160
musicians play. So if you're playful

47
00:02:10,160 --> 00:02:12,720
about the thing it actually becomes fun

48
00:02:12,720 --> 00:02:14,480
to experiment and it takes you on

49
00:02:14,480 --> 00:02:16,640
journeys and it takes you places you

50
00:02:16,640 --> 00:02:20,480
never thought you you would get to.

51
00:02:20,480 --> 00:02:25,840
And once you know it pretty well,

52
00:02:25,840 --> 00:02:28,000
you can direct where the journey goes.

53
00:02:28,000 --> 00:02:30,160
And I think that's important. You know,

54
00:02:30,160 --> 00:02:32,640
don't let the machine control you. You

55
00:02:32,640 --> 00:02:34,959
have to be able to control the machine.

56
00:02:34,959 --> 00:02:37,519
So all these computer programs, it

57
00:02:37,519 --> 00:02:39,200
doesn't matter if it's Cubase or Logic

58
00:02:39,200 --> 00:02:42,080
or ProTools or Ableton Live or, you

59
00:02:42,080 --> 00:02:44,720
know,

60
00:02:44,720 --> 00:02:47,920
the best one is the one you know. It's

61
00:02:47,920 --> 00:02:51,040
it's you know there's no favoritism. You

62
00:02:51,040 --> 00:02:53,040
know I work on Qbase because I've always

63
00:02:53,040 --> 00:02:55,519
worked on Cubase and the other advantage

64
00:02:55,519 --> 00:02:59,920
I have that everybody has is talk to the

65
00:02:59,920 --> 00:03:02,879
guys who built this thing. talk to them,

66
00:03:02,879 --> 00:03:06,640
you know, and tell them, you know, how

67
00:03:06,640 --> 00:03:09,920
your workflow is and and and

68
00:03:09,920 --> 00:03:12,640
sometimes are very often

69
00:03:12,640 --> 00:03:15,760
you you get them to change it or you get

70
00:03:15,760 --> 00:03:20,000
to get them to improve it. Um I I

71
00:03:20,000 --> 00:03:21,760
remember sitting there with the Cubase

72
00:03:21,760 --> 00:03:24,879
guys years ago and coming up with this

73
00:03:24,879 --> 00:03:26,959
very elitist statement which was

74
00:03:26,959 --> 00:03:28,720
something like, "Well, you should talk

75
00:03:28,720 --> 00:03:31,680
to me. I'm a professional composer. And

76
00:03:31,680 --> 00:03:34,319
they just went [ __ ] You

77
00:03:34,319 --> 00:03:36,000
professional composers, you just have

78
00:03:36,000 --> 00:03:37,920
this paradigm of how you work. You

79
00:03:37,920 --> 00:03:40,239
always think the same way. You know, the

80
00:03:40,239 --> 00:03:42,959
the interesting ideas come from some kid

81
00:03:42,959 --> 00:03:46,480
in a garage in the Bronx who doesn't

82
00:03:46,480 --> 00:03:48,560
play keyboards and he's going to come up

83
00:03:48,560 --> 00:03:50,959
with, you know, he doesn't think in in

84
00:03:50,959 --> 00:03:53,599
in the fixed metaphor of, you know, the

85
00:03:53,599 --> 00:03:55,840
keyboard in in the classical way. he's

86
00:03:55,840 --> 00:03:58,400
going to come up with a tool and an

87
00:03:58,400 --> 00:04:02,959
invention that is um revolutionary. And

88
00:04:02,959 --> 00:04:04,959
you know, I had to sort of agree with

89
00:04:04,959 --> 00:04:08,480
that because

90
00:04:08,480 --> 00:04:10,720
most of most of the advances that I've

91
00:04:10,720 --> 00:04:14,239
seen happen in musical technology is is

92
00:04:14,239 --> 00:04:17,359
from people who love music but aren't

93
00:04:17,359 --> 00:04:19,440
musicians themselves.

94
00:04:19,440 --> 00:04:21,120
And they think just slightly differently

95
00:04:21,120 --> 00:04:23,040
and they they make you think in a

96
00:04:23,040 --> 00:04:26,479
slightly different way.

97
00:04:30,000 --> 00:04:32,800
I never use presets on synth. I always

98
00:04:32,800 --> 00:04:35,280
start off I have I have an idea for a

99
00:04:35,280 --> 00:04:40,000
sound in my head and I start with a like

100
00:04:40,000 --> 00:04:45,120
a a clean blank patch because if as soon

101
00:04:45,120 --> 00:04:47,600
as I hear a preset, as soon as I hear a

102
00:04:47,600 --> 00:04:49,840
different sound from a preset, it sort

103
00:04:49,840 --> 00:04:52,400
of blunts the memory of the sound I'm

104
00:04:52,400 --> 00:04:54,080
trying to have in my head. you know,

105
00:04:54,080 --> 00:04:56,160
it's it's a distraction. It's like when

106
00:04:56,160 --> 00:04:57,440
you're trying to write a tune and

107
00:04:57,440 --> 00:05:00,720
somebody walks by whistling,

108
00:05:00,720 --> 00:05:04,960
you know, your tune's gone. Um,

109
00:05:04,960 --> 00:05:08,720
and so for me, it it becomes it just

110
00:05:08,720 --> 00:05:10,320
becomes second nature. I hear something

111
00:05:10,320 --> 00:05:12,960
in my head and I sort of know how to

112
00:05:12,960 --> 00:05:15,520
build it. you know, it might be a bit of

113
00:05:15,520 --> 00:05:19,039
a struggle and but part of it is is just

114
00:05:19,039 --> 00:05:21,440
to to to to remember what that thing is

115
00:05:21,440 --> 00:05:22,880
in your head and you can just train

116
00:05:22,880 --> 00:05:25,759
yourself to to to memorize the thing and

117
00:05:25,759 --> 00:05:27,440
and and

118
00:05:27,440 --> 00:05:30,639
figure out how to get there. Um, let me

119
00:05:30,639 --> 00:05:33,440
see if I can There's a thing I've been

120
00:05:33,440 --> 00:05:36,080
playing around with. Now I have to just

121
00:05:36,080 --> 00:05:39,720
find these guys.

122
00:05:48,240 --> 00:05:51,520
I love the idea of that you hear the you

123
00:05:51,520 --> 00:05:53,680
know just before you get slapped that

124
00:05:53,680 --> 00:05:57,560
where you hear the wind.

125
00:05:58,240 --> 00:06:00,880
So just adding a little bit of that sort

126
00:06:00,880 --> 00:06:02,400
of

127
00:06:02,400 --> 00:06:06,000
intent of something

128
00:06:06,000 --> 00:06:08,000
scary could be h you know something

129
00:06:08,000 --> 00:06:09,840
something not quite healthy could be

130
00:06:09,840 --> 00:06:12,880
happening to you. Um, let me see if I

131
00:06:12,880 --> 00:06:15,880
can

132
00:06:20,800 --> 00:06:23,120
I mean that's the opening to

133
00:06:23,120 --> 00:06:27,600
Interstellar which is I just wanted wind

134
00:06:27,600 --> 00:06:30,680
you know.

135
00:06:39,520 --> 00:06:41,840
You know, it's fairly descriptive. I Let

136
00:06:41,840 --> 00:06:45,479
me see what this is.

137
00:06:51,759 --> 00:06:53,759
I wanted

138
00:06:53,759 --> 00:06:56,960
I wanted big waves, you know. So, so I

139
00:06:56,960 --> 00:06:59,120
made them, you know, but then of course

140
00:06:59,120 --> 00:07:03,199
you can do things. Hang on.

141
00:07:03,199 --> 00:07:06,919
Oh, yeah. That was the

142
00:07:15,520 --> 00:07:17,440
because I was using so many organs in

143
00:07:17,440 --> 00:07:19,520
the score and there's certain things

144
00:07:19,520 --> 00:07:22,560
real organs can't do. I just had to, you

145
00:07:22,560 --> 00:07:28,199
know, um let's see this one.

146
00:07:28,960 --> 00:07:31,039
They can't really come from nothing

147
00:07:31,039 --> 00:07:33,919
because it's either on or off,

148
00:07:33,919 --> 00:07:37,319
you know? So,

149
00:07:38,080 --> 00:07:42,360
and what's this one?

150
00:07:43,919 --> 00:07:45,919
Okay. The problem is because I don't use

151
00:07:45,919 --> 00:07:48,160
presets. They're just used for that one

152
00:07:48,160 --> 00:07:49,759
project and then I forget what they're

153
00:07:49,759 --> 00:07:51,520
named and I forget, you know, I never

154
00:07:51,520 --> 00:07:53,680
use them again. The the great thing

155
00:07:53,680 --> 00:07:56,639
about synthesizers is you can have a

156
00:07:56,639 --> 00:07:58,400
completely fresh pallet for every

157
00:07:58,400 --> 00:08:01,520
project you work on. And for for me in a

158
00:08:01,520 --> 00:08:02,879
funny way, you know, sometimes I just

159
00:08:02,879 --> 00:08:04,720
sit there making sounds and it's it's

160
00:08:04,720 --> 00:08:08,080
it's a sort of a sideways way of

161
00:08:08,080 --> 00:08:09,840
thinking about what the tunes are going

162
00:08:09,840 --> 00:08:14,400
to be as opposed to sitting there and

163
00:08:14,400 --> 00:08:17,520
confronting the beast head on. You know,

164
00:08:17,520 --> 00:08:19,840
it's it's quite,

165
00:08:19,840 --> 00:08:22,560
you know, it's sort of weirdly little

166
00:08:22,560 --> 00:08:24,720
meditation going on. Oh, I'm just going

167
00:08:24,720 --> 00:08:26,479
to go and make a little wind, you know,

168
00:08:26,479 --> 00:08:29,199
and out of that wind

169
00:08:29,199 --> 00:08:33,240
a tune is going to come.

170
00:08:36,959 --> 00:08:42,279
Okay. So, I start with,

171
00:08:43,440 --> 00:08:45,040
you know, it's this is where I usually

172
00:08:45,040 --> 00:08:48,640
start. It's like my my stupid hands of

173
00:08:48,640 --> 00:08:51,440
starter patch which has nothing in it

174
00:08:51,440 --> 00:08:54,080
other than

175
00:08:54,080 --> 00:08:57,279
you know the the sound of a weasly

176
00:08:57,279 --> 00:08:59,760
horrible oscillator you know I don't

177
00:08:59,760 --> 00:09:01,120
know let's let's go and make a bass

178
00:09:01,120 --> 00:09:04,800
sound. So um well what do I need? I need

179
00:09:04,800 --> 00:09:06,480
to get rid of the weasly horrible

180
00:09:06,480 --> 00:09:09,519
quality at the top. Right. So you shove

181
00:09:09,519 --> 00:09:12,560
a filter onto it. You know stop this

182
00:09:12,560 --> 00:09:14,399
from sounding so boring. Let's put a bit

183
00:09:14,399 --> 00:09:18,240
of life into it. Um, it needs to have a

184
00:09:18,240 --> 00:09:22,640
bit of a shape. Um, you know, things

185
00:09:22,640 --> 00:09:27,440
need to move in in time, right? So, you

186
00:09:27,440 --> 00:09:30,399
can go and say this is a plucky sound or

187
00:09:30,399 --> 00:09:32,720
or it's a

188
00:09:32,720 --> 00:09:37,040
not a plucky sound, you know?

189
00:09:37,040 --> 00:09:38,959
So, hang on. We're sort of already

190
00:09:38,959 --> 00:09:43,560
getting somewhere. It's

191
00:09:44,800 --> 00:09:46,720
I want it to last a bit longer at the

192
00:09:46,720 --> 00:09:49,720
end.

193
00:09:53,360 --> 00:09:57,279
I think it'd be nice if it could do a

194
00:09:57,279 --> 00:10:00,640
bit more than that. Uh let's say we

195
00:10:00,640 --> 00:10:06,320
wanted to go uh and do this sort of

196
00:10:06,320 --> 00:10:10,920
thing just because it's easy.

197
00:10:14,480 --> 00:10:17,880
So now

198
00:10:17,920 --> 00:10:21,800
it's playing by itself.

199
00:10:24,320 --> 00:10:28,000
Of course, it'd be much more fun if

200
00:10:28,000 --> 00:10:31,640
it did something

201
00:10:44,399 --> 00:10:47,399
Heat. Heat.

202
00:11:05,120 --> 00:11:08,120
Heat.

203
00:11:24,160 --> 00:11:27,160
Heat.

204
00:11:40,000 --> 00:11:41,440
I'm not saying that was particularly

205
00:11:41,440 --> 00:11:42,959
good, but you know, it's like instant

206
00:11:42,959 --> 00:11:46,920
something, you know.

207
00:12:22,560 --> 00:12:25,120
I mean this is like 2 seconds or

208
00:12:25,120 --> 00:12:28,160
whatever. How long did it take you? Um,

209
00:12:28,160 --> 00:12:29,279
you know, it's not supposed to be

210
00:12:29,279 --> 00:12:30,639
anything great, you know, but it's just

211
00:12:30,639 --> 00:12:33,040
it's just and

212
00:12:33,040 --> 00:12:35,519
one, two, three, four modules and and

213
00:12:35,519 --> 00:12:37,360
you got something you got you got at

214
00:12:37,360 --> 00:12:41,639
least something to start with.

215
00:12:45,920 --> 00:12:50,639
I usually play with one hand because

216
00:12:50,639 --> 00:12:55,480
um I just find a long sound

217
00:12:55,839 --> 00:12:58,000
Because

218
00:12:58,000 --> 00:13:01,200
part of what real instruments do,

219
00:13:01,200 --> 00:13:05,480
you know, they have a lot of expression.

220
00:13:10,639 --> 00:13:12,399
I mean,

221
00:13:12,399 --> 00:13:17,720
you know, the whole point of,

222
00:13:20,639 --> 00:13:23,120
you know, that's all you get in Batman,

223
00:13:23,120 --> 00:13:26,320
right? So it's it's all about two notes,

224
00:13:26,320 --> 00:13:28,399
but the amount of expressiveness you can

225
00:13:28,399 --> 00:13:31,959
put into them.

226
00:13:32,959 --> 00:13:35,200
So, so there's a lot that can happen

227
00:13:35,200 --> 00:13:37,920
within a note just from them playing

228
00:13:37,920 --> 00:13:41,800
very very quietly

229
00:13:42,240 --> 00:13:45,240
to,

230
00:13:50,079 --> 00:13:53,600
you know, something fairly

231
00:13:53,600 --> 00:13:56,600
opinionated.

232
00:14:11,839 --> 00:14:14,240
It it's figuring out how much expression

233
00:14:14,240 --> 00:14:16,480
you can get wi with with within the note

234
00:14:16,480 --> 00:14:18,800
where where things start to become

235
00:14:18,800 --> 00:14:22,519
interesting and musical.

236
00:14:26,399 --> 00:14:31,720
So just a single note, right?

237
00:14:34,000 --> 00:14:39,240
And what can happen is that

238
00:14:42,000 --> 00:14:43,760
the note starts getting more and more

239
00:14:43,760 --> 00:14:46,760
unstable.

240
00:15:09,120 --> 00:15:13,240
Yes, I wanted to blow up.

241
00:15:32,560 --> 00:15:34,240
One of the things which is confusing

242
00:15:34,240 --> 00:15:36,800
right now is I'm so used to working at

243
00:15:36,800 --> 00:15:39,120
like a set volume in this room. I never

244
00:15:39,120 --> 00:15:41,120
change the volume which is you know the

245
00:15:41,120 --> 00:15:45,040
cinema 85 dB. So you know that when

246
00:15:45,040 --> 00:15:46,399
you're writing or when you're making

247
00:15:46,399 --> 00:15:50,720
sounds, it's the the appropriate volume

248
00:15:50,720 --> 00:15:54,000
for the picture.

249
00:15:54,000 --> 00:15:56,079
You you know, it's it's it's like if you

250
00:15:56,079 --> 00:15:57,680
give yourself those restrictions that

251
00:15:57,680 --> 00:15:59,440
you're not going to move the volume and

252
00:15:59,440 --> 00:16:02,079
that you're just going to move right at

253
00:16:02,079 --> 00:16:05,120
the volume of the movie, um it's one

254
00:16:05,120 --> 00:16:08,880
less thing that can go wrong later on.

255
00:16:08,880 --> 00:16:11,680
And now because of our conversation I am

256
00:16:11,680 --> 00:16:16,440
down considerably in in volume.

257
00:16:18,720 --> 00:16:21,920
So let's just stay on one note. I know

258
00:16:21,920 --> 00:16:27,440
that this guy makes things wobble up and

259
00:16:27,440 --> 00:16:29,519
down a bit.

260
00:16:29,519 --> 00:16:31,600
This guy's reverb. This guy will

261
00:16:31,600 --> 00:16:34,600
introduce

262
00:16:34,880 --> 00:16:38,759
bit of un instability.

263
00:16:50,160 --> 00:16:54,800
So this this it all gets a bit this

264
00:16:54,800 --> 00:16:56,480
sound is just about things being

265
00:16:56,480 --> 00:16:59,480
unstable

266
00:17:00,560 --> 00:17:02,800
and then this was just the idea of

267
00:17:02,800 --> 00:17:06,680
giving it a sort of a

268
00:17:11,760 --> 00:17:16,120
I mean, they're just abstract sounds.

269
00:17:36,799 --> 00:17:40,000
So, so I mean you can specify each, you

270
00:17:40,000 --> 00:17:41,840
know, which which I sort of did in this

271
00:17:41,840 --> 00:17:44,960
case. You specify each fader for what it

272
00:17:44,960 --> 00:17:46,720
can do. I mean, you build an instrument,

273
00:17:46,720 --> 00:17:51,200
you build an abstract instrument. Um,

274
00:17:51,200 --> 00:17:55,440
it's a bunch of LFOs in here. um being

275
00:17:55,440 --> 00:17:57,600
very,

276
00:17:57,600 --> 00:17:59,760
you know, with controlled randomness.

277
00:17:59,760 --> 00:18:01,679
And it's a bunch of if you look, if you

278
00:18:01,679 --> 00:18:04,559
look in here, um down there, there are

279
00:18:04,559 --> 00:18:06,960
all these little, you know, wobbly

280
00:18:06,960 --> 00:18:09,760
things that are, you know, just just

281
00:18:09,760 --> 00:18:12,960
randomness. But, you know,

282
00:18:12,960 --> 00:18:14,880
made randomness. I mean, like this guy

283
00:18:14,880 --> 00:18:17,760
here, um

284
00:18:17,760 --> 00:18:21,679
he's that that clock that Does that make

285
00:18:21,679 --> 00:18:24,640
sense?

286
00:18:25,760 --> 00:18:28,640
And then the big uh hang on. Where's the

287
00:18:28,640 --> 00:18:31,440
big swoop? Okay. So then you can see

288
00:18:31,440 --> 00:18:35,080
that if I

289
00:18:37,360 --> 00:18:41,280
So this is the the shape of the filter

290
00:18:41,280 --> 00:18:44,000
opening and it's just just in a cycle,

291
00:18:44,000 --> 00:18:47,160
you know.

292
00:18:53,039 --> 00:18:55,440
While this guy,

293
00:18:55,440 --> 00:18:57,360
he's actually he's just a subtle, you

294
00:18:57,360 --> 00:19:01,400
know, it's just a subtle very

295
00:19:02,160 --> 00:19:06,280
in tamber going on.

296
00:19:40,080 --> 00:19:42,000
And this this just speeds the whole

297
00:19:42,000 --> 00:19:46,039
thing up or slows it down.

298
00:19:47,120 --> 00:19:49,919
I just wanted things to be unstable in

299
00:19:49,919 --> 00:19:54,120
time and in pitch as well.

300
00:19:54,720 --> 00:19:57,679
But the I be but the idea that you just

301
00:19:57,679 --> 00:20:00,320
have one simple sound

302
00:20:00,320 --> 00:20:02,720
and it can become more unstable as it

303
00:20:02,720 --> 00:20:06,480
goes. And where is this other thing? So

304
00:20:06,480 --> 00:20:09,360
it's just little things. I am Oh, the

305
00:20:09,360 --> 00:20:12,320
big dive is a good one.

306
00:20:12,320 --> 00:20:15,039
So these are all sort of of a family at

307
00:20:15,039 --> 00:20:18,000
the moment.

308
00:20:18,000 --> 00:20:19,760
So I can have more reverb or less

309
00:20:19,760 --> 00:20:21,440
reverb.

310
00:20:21,440 --> 00:20:25,720
I can make it more and more unstable.

311
00:20:27,520 --> 00:20:29,120
It doesn't help that you people have

312
00:20:29,120 --> 00:20:33,320
stolen my sustain pedal.

313
00:20:44,159 --> 00:20:48,360
Now we're scaring the children.

314
00:20:55,520 --> 00:20:59,120
So you know within one sound you can

315
00:20:59,120 --> 00:21:01,200
create all these different textures and

316
00:21:01,200 --> 00:21:03,120
these different worlds and you can you

317
00:21:03,120 --> 00:21:05,039
know rather than playing a keyboard it's

318
00:21:05,039 --> 00:21:07,440
fun to go and just wiggle faders around.

319
00:21:07,440 --> 00:21:09,760
It's just a different it's it's it's

320
00:21:09,760 --> 00:21:12,320
more the way a string player would move

321
00:21:12,320 --> 00:21:15,039
the bow across the string. So you don't

322
00:21:15,039 --> 00:21:17,280
have to limit yourself

323
00:21:17,280 --> 00:21:18,880
to

324
00:21:18,880 --> 00:21:22,720
just being a rotten piano player.