Mike Moore Interview on
The TrevBeats Show 

Cold Open [0:00] And Ye was at the show and he pops in on the bus. He was like, Cudi on here? And I was like, nah. And he was like, you mind if we chill? [0:07] It was him and Ivan. So they chilled on the bus and wait for Cudi to come out. [0:11] And we chat, we like talked for like 45 minutes, Just me and him, like just talk. And it was like right when “Niggas in Paris” came up. [0:20] And it was like, I was just talking to him like, man, what made you put that sample in there? Like I was just so like, I was blown. I was first off, I was shook. [0:29] And I was like, oh. [0:30] And so I'm just sitting, before I knew it, we sitting there talking, and he was cool as hell. Like, I'm like, man, it's talking to a genius. [0:38] And then fast forward, we did Coachella. Cudi was doing Coachella, his headlining. [0:45] And this is when Kids See Ghosts came out. [0:48] So it was like, I found out the day before, well, Cudi, we knew Ye was coming, [0:54] but he came to rehearsal and we was building an intro for one of the songs on Kids See Ghosts. [1:02] And I remember he came in and he seen my rig like, you playing all of this? And I'm like, yeah. [1:09] And so we sat over there and did the intro And I was doing like this key bass and some like tribal Tom stuff. [1:17] He was like, really rocking with it like, dang. [1:21] And then we did the intro and then after that, I remember talking to him outside and he was like, you gonna come play with me for Sunday service? [1:29] I was like, yeah, let me go. I'm down. [1:33] Real quick, if you're new here, welcome to the TrevBeats Show. Hit subscribe so we can keep building together. And to my regulars who show up every time, I see you. [1:42] And your viewership means everything. [1:43] 1 minute, 43 seconds If you ever wanna help fuel this channel so we can do even bigger things, you can grab some fresh gear from the merch store below or jump into the backstage membership next to the subscribe button. [1:52] Now back to the show. TrevBeats Show, TrevBeats Show. Sponsor B.BEAT by M LIVE [2:12] Before we get into today's conversation, this episode of the TrevBeats Show is sponsored by B.BEAT from M LIVE. When you're putting together a live show, there can be a lot of moving parts. [2:22] Backing tracks, stems, MIDI commands, videos, and all of it has to happen at the right time. [2:34] B.BEAT is built specifically for live music and gives you one dedicated system for managing those elements on stage. [2:41] You can run backing tracks, MIDI commands, video, lyrics, and sheet music all from one place. [2:47] And for musicians, musical directors, and live production teams, having that kind of streamlined setup can make a real difference when you're trying to keep a show running smoothly. [2:56] If you want to check out B.BEAT from M LIVE, I've got the link right at the top of the description. Now let's get into today's conversation. [3:06] What's up everybody, welcome back to the TrevBeats Show. [3:11] Today we're doing something that we haven't done on the show yet and that is, I want you all to understand what it means to be a hybrid musician. [3:19] Now this is a hybrid musician at the highest level. [3:23] And of course one of those instruments is the drums, but there's also keyboard player. [3:29] And when I say keyboard player, I don't mean spare time in the hobby. [3:32] I mean, actual keyboard player that at one time, as he was the musical director with Ty Dolla $ign, was playing drums and keyboard in the same show, in the same setup. [3:42] And he also brought his genius on keys and production to who? Ye. That's right, y'all. Ye, and Kid Cudi and so many other people. [3:52] But today we're talking to Mr. Mike Moore, who behind the kit has a synth rig. And on the yea, he's just playing synth. [4:00] So when you talk about hybrid musician, you have to mention this man in the conversation. [4:06] So ladies and gentlemen, without further ado, I want to introduce to you my brother, Mr. Mike Moore. [4:19] Mike, what's up, man? What's up, bro? How you doing, man? I'm great. Meet Mike Moore [4:27] Man, so, man, You, you know, you talk about globe trotting, bro. [4:33] You have been out here making history with what we will look back as one of the craziest, like, I'm not even gonna say comebacks [4:42] because he ain't really never gone anywhere, but one of the craziest public, how I can say, just get basically like pivots. [4:51] It's like, oh, okay, it's weird here. [4:52] Where we about to go all around the world and they're gonna create and build stadiums for us to perform in. So, you know what I'm saying? [5:01] And that's with none other than Ye, man. So, I really welcome you to the show, bro. [5:07] I'm so happy we were able to do this because the schedule has been crazy. Thank you for having me and working with me. Scheduling's been crazy. [5:15] Yeah, it's all good, bro. [5:17] It's worth it, man, because I want people to understand, once again, we don't just have to do one thing, man. And you've been such a inspiration with that. [5:27] So let me go back to, So for those of you that don't know, or may have just got familiar with Mike recently, Mike is a drummer that was musical director [5:36] and you saw him pretty much the entire time with Ty Dolla $ign. [5:40] Now, for those of you that know me, you may know that I've known Ty before he was Ty Dolla $ign, back when he was in Ty and Corey, and I was doing sessions with them, years, years before. [5:50] So to see his ascension, I'll never forget, man, I never will forget this moment. [5:55] I was on the red carpet at the step and repeat years ago at the BMI Awards. And I saw him and Tooted and Booted had just bubbled. [6:05] 6 minutes, 5 seconds I said, bro, congrats, man. Like, you did it, bro. [6:09] And it's like for the years ensuing after that, it just was like all you heard was Ty Dolla $ign. Absolutely. [6:17] You know, and you know, and you've been there, man. You were there the whole time. And so now you've migrated. [6:25] Of course you've done other things, but you've migrated. And I want first to go back to the beginning. [6:31] So what are your influences? [6:35] Like when did you start playing the drums and when did you start playing keyboards? Two Years Old on His Uncle's Lap [6:40] So I started playing drums, I think, it told me I was like around two or three. I would sit on my uncle's lap. [6:48] He had a drum kit at the house at the family house. And he was a drummer at my family's church. [6:54] So, you know, I'll be at the house banging and just pots and pans, you know how we do as little kids. [7:01] And then I think around like four or five, they started letting me play Offering. I would play one song and they would let me play Offering. [7:09] And I was like, I used to look forward to it every Sunday, like, yes. And then like, I would get a little better. [7:14] And they was like, oh, you can play for the children's choir now. Yes. Like it was always a step up. And then, you know, time got better. [7:23] Like I kept getting older and getting a little better. [7:26] And then it became a point where it was like, my uncle was like, okay, you got it. Like, you know, he didn't really care no more. [7:32] So it came to church drummer at my family's church. [7:37] And then through that, it was an organist that played there. It's a guy named Eric Dennis. I'll never forget. Seven Three Six and the Organ Lessons [7:45] Shout out to him. [7:46] He would always show me like different chords at the end of service. [7:50] And it would like, every Sunday would be like, well, not every Sunday, but every other Sunday, It would be like a different pass, like three, [7:57] first thing he ever showed me was three, no, seven, three, six, like the church, seven, three, six. [8:08] And he would show me that and be like, learn it in every key. So I'm like, all right, what do I do after that? Like, where do I go? [8:15] And then it was like a couple months later and then he showed me, all right, now go into the one. Oh, and he always taught me the chords and numbers. [8:24] Like as a shorty, he showed me numbers. [8:28] So that's why I'm like really, you know, kind of heavy on like numbers and calling stuff out. [8:33] But, so yeah, he used to show me numbers and little chords and stuff like that. And then he had a habit of always being late for service. [8:43] So I had a strict mom and she would like, every time we would get there and he's not there, she'd look at me that, you know, that parent looked like, get on the organ. [8:52] I was like, man, no, no, no, no, I'm not ready. And I would get up there and flop. It would be so bad. Like they'd be looking at me. [9:00] And I was like, I just know the seven, three, six. [9:02] Like in the one, like everything was either seven, three, six or just stay on the one. [9:08] And then it got to a place where I was like, I'm not getting embarrassed no more. [9:12] So I used to shed and put like headphones on with my little CD player and be at home playing with songs, as many songs as possible. [9:22] I remember I studied the Carlton Pearson early records, the All the Mizzouzes, Jason White, [9:32] I think it was Jimmy Newell, Jonathan DuVose, and all that, like churchy stuff. [9:37] And then my pops, James Moore, he was so strict when it came, when he found out I was trying to play keys. [9:47] Cause you know, he could play, he was a monster on keys. [9:50] 9 minutes, 50 seconds So he, he would really own me about learning hymns and like just learning structure and different core progression. [9:59] So every time I was around him, that was a good lesson. And then before I knew it, I think it was a good round. [10:06] I think it was 13, 14, I was kind of solid, you know, to have a church gig on keys. Playing Total Praise at His Father's Funeral [10:13] And I remember playing at his funeral, which was like the roughest thing ever. I played total praise. I hate playing that song to this day because of that. [10:22] Yeah, right. I hear you. [10:25] So before I knew it, I was like, okay, I'm actually a keyboard player and like actually really an organist. I was an organist before anything. [10:32] So I was kind of backwards. [10:34] Most people probably learned piano first, but I learned organ. Wow. And then from there, it just kind of went up. [10:40] And then I just had, no, it's like once you get the love for it, is like you wanna dive in deeper and try to figure out everything you could get out of it. [10:49] Yeah. [10:51] I didn't ask you what city and state where did you come up in? Oh, Baltimore, Maryland. Got you, Baltimore, got it. Some killer players out there too. [11:00] Oh yeah, oh yeah, man. Oh yeah, for real. That whole area, man, like the whole area. You been down to DMV, that whole area like crazy. [11:09] So since you play both, when you're playing drums, right? [11:13] So how do you think that kind of shapes how you approach the key side, like in sense and programming? [11:21] Like how does that, your drummer side and then vice versa. [11:24] So we start with how does your drummer side and playing the drums influence your keyboard approach? Space Is the Greatest Thing in the World [11:31] So I really try to be sensitive to the music first and foremost, like, okay. [11:38] Because a lot of times when I play drums and I see other keyboard players, like what if I play with other keyboard players, kind of sometimes they like be a little busy and I be like, eh, you know, it's got kind of cringe, like, eh. [11:52] And it's like, I can only back up so much, you know what I'm saying? And it just be all over the place. [11:58] So it always sticks out in my mind, like, all right, if I was to play this, I would do it like this. You know what I'm saying? [12:05] like, okay, I would kind of stay out the way on that part. You know what I mean? I'm a real advocate of like space. [12:12] Space is the greatest thing in the world to me, everything like, leave it open. You know what I'm saying? [12:18] Like let it breathe, you know, cause we still have an artist, which is the main thing, be it, you know, R and B gospel, whatever, like. [12:26] Yeah. So my main thing is just to make it sonically make sense. [12:31] Yeah. And that's also what we say, which is serving the music, right? the same concept. [12:37] And then I imagine, I mean, cause you know, it's kind of dope to have the thought process of a keyboard player, when you're playing drums, [12:46] because now you're not just focused on the rhythm and you might be more focused on movements and like the chordal rhythm more than a drummer might be adept to that. [12:56] So when as a keyboard player, how does that actually influence your drumming? Or have you seen a change in your drumming over the years? [13:05] You know what I'm saying? As you become. Absolutely. Really? Absolutely. Like, even more, it's still going on now. [13:13] Like, cause I'm doing a lot of key bass now. So it was like, whoa, okay. I mean, okay. [13:21] Oh, I was doing this wrong all this time. Like, you know what I mean? Like, just different grooves and what's the word? [13:29] Like, the vibe, just, you know what I'm saying? [13:33] approaching songs differently, like, okay, let's take this spot. Play straight, play straight as possible. [13:42] Right, and then, you know, I wanna go back to kinda what led up to even the tie gig before we get to where you are now. [13:50] But so, you're a drummer at a certain age. At some point, obviously you moved to LA. [13:56] So when you got to LA, what was like the first thing that you did? [14:01] you know, what was the first kind of, my first real gig that you did in LA? So I did the Making His Band show. Making His Band and Four Buses to the Audition [14:10] The big MTV. So that was really the game changer for everything for me. [14:17] We, that was, for people that don't know, that was when Diddy was auditioning musicians to play with Dirty Money. [14:24] And I was living in Houston at the time. [14:27] And I got a call, Nisan called me, because I used to bug him all the time about working. [14:32] And then he called me like, you know, you got to get out of here for this audition, bro. [14:35] And I remember I called, like I didn't have, it was like not playing. [14:40] And I had a friend, she worked, she had a friend that worked at the airport and they had a buddy pass. [14:47] And he was like, yo, get out here. Like I left a gig on a Friday night. [14:53] I never forget like late Saturday morning, caught a flight, didn't have no plan. I didn't know how to get to center staging. [15:01] I caught like four buses. Oh man, I was like, I was, it was bad. Caught like four buses, I get to center staging. [15:09] The line is around the corner. And I'm like, yo, what am I doing? Just like, if I call Nisan, I'm like, bro, I'm here. [15:18] He sent somebody out and they came and got me from all the way in the back of the line. [15:23] I go straight in and I played American, No, I played last night on drums. [15:31] And then Rob Lewis was like, yo, you like one of the only people that came in here and played the part. [15:38] Cause I guess they went and was calling and going for blood and whatever. I just played the joint, like the actual pattern. [15:44] And then as soon as I walked out, somebody came and got me was like, hey, before you leave, you made immediate callbacks. I was like, what? [15:55] They said, yeah, you gotta be back here tomorrow. And that wasn't my plan. Like I was like, I gotta be back in church. Like I was gonna get back on a plane. So I called my mom. [16:04] She got me a hotel across the street, on center stage and I don't know y'all know that. Oh yeah. [16:10] That little, I think, I don't know what it's, I forget the name. Is it a Marriott or a Hilton? Yeah, it's a Marriott. I think it's a Marriott. [16:18] Yeah, yeah. So she's like, walk down there, I got you a room. [16:23] I remember going across the street, Panda Express, got me some food, stayed in the room and just prayed all night like, God, I need this. [16:32] Yeah. [16:33] And did the audition the next day and then ended up getting on the show. [16:39] So got on the show, came to LA and that's when I met, felt like I met the world. [16:45] Like I met Jason Freeman, Chuck Gibson, Rocket, Lynette, Rob Lewis, [16:54] I already knew Nisan, but it was just like, and then being in that house was literally [17:03] like training school for being a real musician and learning how to really approach stuff and using electronics and learning how to get the right sound. [17:13] They was putting this dude a ringer like, yeah, we're not going to give you the sound. Dial in and figure it out. [17:20] So then halfway through the show, they was like, yo, we heard you like a cold keyboard. No, I won on keyboards. [17:29] I came in on the keyboard players tonight. Oh, wow. Wow. I came in on the keyboard players tonight. And so they was like, we heard you're a good drummer. So they switched me to drums halfway through the show. [17:38] Wow. [17:39] So I went over the drums and then ended up winning the whole show, me and Chris Key, double drums. Wow. [17:47] that my very first thing I did in LA, Jay Free called me to come do a gig with Tyrese with him on Keys. He was like, yo, [17:57] come play Keys. So that was the first thing in LA I ever did like music like gig wise. Mm hmm. That's from me. That's crazy. I did not know that Mike. I didn't know that bro. [18:10] Wow. So after that, so now you did that. You did that whole and you got all these new relationships and everything. [18:18] So what came after that chronologically, as far as some of the bigger stuff that happened as a result of that? [18:25] Now people know you, you're familiar, people can, you got something under your belt. So how did you flip that into the next thing? Adam Blackstone Calls About Kid Cudi [18:33] So I was still living in Houston and then I'm real close with Adam Blackstone. [18:38] So I remember Adam, he was like, Aaron Campers coming to somewhere, I think he was coming to Houston to do something. [18:45] No, Baltimore, to do like some show. And I think I flew down to go play with him. [18:52] Like just to, you know, I'm trying to be Adam's face. And so then I did that. [18:57] And then when I got back to Houston, like maybe a couple of weeks later, he just hit me up like, yo, Kid Cudi needs a drummer and it's gotta be like, you fit the aesthetic, you know what I'm saying? [19:08] Like kind of rock star-ish, he smokes a lot of weed type. You know what I'm saying? Right, right. But it's more like a look thing, you know what I mean? [19:17] But the vibe of his music, I think he would fit perfect. So I was like, all right, cool. [19:22] And then I remember going to New York, rehearsing for two or three days, and then we did a couple of shows, and then they just fell in love with me. [19:34] We had a cool relationship, and I was on the gig like that, and then I toured with him. [19:42] I toured with him for a minute. We went all around the world. We did two or three tours. [19:48] Did some overseas stuff. And then I made my decision. I was like, after this tour, [19:55] the last tour we did with him, I was like, I'm moving to LA. I was like, screw this, Houston's cool, but I need to be, and where's that? And so I moved to LA. And then I remembered [20:06] we was doing some shows. We did Complex Con. I was always cool with time. I was seeing him [20:12] because because of Chuck Gibson, he introduced me to him and I would always see him at Kitchen 24, like late night and then I would always say something like, yo, when we go work together, [20:21] bro. He's like, man, one day, one day. And then he was, I was at Complex Con with Cudi, [20:28] and he came to the show, he was standing on the side of the stage and he's seen my rig, because I had a keyboard rig on Cudi's gig as well. But I wasn't doing too much, I was just [20:37] playing like auxiliary parts. And then he was like impressed. So fast forward, Kendall [20:49] Lewis was doing Ty at the time. And Ty wasn't a big fan of drums because he was like, he [20:57] don't like the drums because it don't fit his music. And it was really just because, [21:04] offense, but it was like people wasn't playing the parts. It was playing the parts, but on [21:12] real drums. Like, come on, man. No. So he called me to... Kendall called me to fill in for a [21:19] rehearsal because he was out doing something. I was like, all right, cool. I came in, did the [21:25] rehearsal, but I did the rehearsal and approached it the way I would do it. I came in with sounds, I'll start putting stuff in the SPD. Is That My Snare and Landing the Ty Gig [21:35] And when Ty came in, he was like, is that my snare? I was like, yeah. He was like, you can do that? [21:44] I was like, yes, I'll snap with it. I remember he was tripping like, what? He was like, yo. [21:51] So then I left the rehearsal, Kendall came back and they asked me, they was like, yo, can you come back and show him what she was doing? [22:01] And I remember, I called Brian Frasier-Moore about this. I was like, should I go back down there? [22:09] I don't want to give away the juice for free. [22:12] And he was like, wouldn't you rather be known as the person that helped versus the person that was just like, nah. [22:22] So I was like, you know, you're right. So I went down there and helped, gave him the sounds. [22:27] And then after that night, I got the call, was like, we want you to do it full time. Wow. Wow, bro. [22:36] Whoa, man. That's heavy, bro. Yo, that is unreal, bro. [22:45] But shout out to Kendall though, full circle moment. He ended up getting on the Wiz Khalifa. Nice. [22:52] A couple of years ago, so it's like still Taylor Gang, same family. Of course, of course. It was all love. [22:59] Well, you know, so, but you know, that's amazing. [23:01] But one question I have is like you just said, you know, you had a keyboard, a Kid Cudi. So was that your decision? Like, yo, you know what? [23:09] I'm just going to bring a board in my rig just in case I got to play extra parts. [23:12] Is that something that you did on your own or did they ask you, was it set up beforehand? You know, or did they know you play keys? [23:19] They're like, hey, can you bring a keyboard too? Kid Cudi Built the Hybrid Rig [23:22] I really, honestly, I probably never said it before, but Kid Cudi is probably the reason responsible for my hybrid setup, to be honest. [23:30] Cause what happened was he's his keyboard player slash producer and best friend, Dot da Genius. Shout out to him. [23:37] He's the best producer in the world. He, him and Cudi had some differences in the tour. [23:47] And so he ended up leaving. [23:49] And I remember Cudi was like, Mac, you play keys. He was like, maybe you can cover some of the parts. [23:54] it was like a couple of songs where it's just piano and like the little interludes and stuff, and it was just piano stuff. And so he's like, yeah, slap a keyboard over there on your stuff [24:03] anyway, you just play it. And I was like, okay. Like, I've never thought of it, like to add a [24:12] keyboard to the thing. And he told me to do it. So I was like, okay. And then it became a thing. [24:18] And then before we knew it, like I started doing a bunch of the shows just like that before the [24:25] keyboard player ever came back. And then even when he came back, it was like, keep your rig over [24:32] there and like play some other shit. So he's the reason for the whole. I mean, that's that makes [24:41] sense too. Because if you have the time or the space in the music to do it, or if it switches just to a track or whatever, you'd just be sitting there. [24:48] So it's cool, cause it can just be one more human, you know, you know, human piece or human overdub to the music, which is super dope. [24:57] You know, and we have the technology these days. It's like, you know, why not, man? [25:01] I mean, I'm honestly, Mike, you don't even know this, but you inspire me, man. [25:05] Cause there was a few tours with Harvey where I had a keyboard and I was playing, I wasn't playing keyboard parts, but I was triggering the horn samples on Come Running. [25:15] the, did it? I would always, so I just be, just come runnin', did it? That was my little [25:21] piece and I was like, yeah, play keyboards and drums, you know? But, yeah, that's, you know, yeah, but dude, that's, that's a, you know, it's inspiring. I mean, if it was for [25:31] me, I know it was for a lot of people and that story is super dope because now we see the origin of that. So that, you know, we cut to, to tie. So now you're getting, you [25:40] have the tie gig, was it immediately or I mean, I did my research, but was it, was it immediately MD or was it ever MD or was it just, you know, Becoming Ty Dolla Sign's Musical Director [25:50] it became, it became MD after like maybe three or four shows. [25:58] Cause he was like, he started trusting me, like, and I remember he was like, man, cause he don't like to use a lot of pieces. So he was like, Mike, I'm depending on you to kind of figure it out. [26:10] Right. So then we grew. We grew over the years like learning what he likes and we don't like [26:17] so now we had a place where like even this tour we're going out on. I programmed it. I was supposed [26:22] to just program it and not go. And then he was like he'll leave me in the room and be like, all right do these three songs and just leave and come back a couple of hours later. [26:32] Like, okay, yeah, that, okay, not that, okay, yeah, that. [26:38] So it was like our relationship, he knows, I know exactly where he wants to go. Right, you got the synergy. What do you use to program shows? [26:47] Ableton, now I've been real heavy with the Moog Muse. [26:54] That thing is crazy for all the key basses and like different synths and stuff. And then, that's basically, I'm his fear. [27:06] Pretty basic. Yeah. Deconstructing a Record for the Stage [27:08] And when you get a song, so you get the, even if you just get the regular version, like if it hasn't been blown out for a show yet, [27:17] how do you deconstruct that when you're making these, putting shows together? [27:20] Like what's your, what questions do you ask and what's your approach to when you get like, if it's the record version, what do you do? [27:29] you know, what's the first thing you do? [27:30] You start thinking about hits or how do you, you know, approach that? I try to figure out what he wants first. [27:37] Like, cause I know he's not big on crazy changes and different, he hates hits, you know, he's like, it's sound like wedding band. [27:47] I don't like that. Like, he always saying it like, it sounds like a wedding band. [27:52] I'm like, I remember I tried, I tried doing some like stabs one time. He was like, uh-uh, no. [27:59] wedding band, I was like, okay bro. Yeah, that's crazy. [28:05] So I just try to get his vibe and figure out exactly what he wants. And he'll give me the word. [28:12] I want it to sound like queen, like super rockish, but like that queen piano. [28:20] You know what I mean? Like, okay. [28:23] Like simple, but like have like small moments, like little swells here and there. [28:30] And then maybe like a change, if it's like the basic cutout, it's just like chords and the beat, [28:37] maybe like a little switch, maybe two chords that will do a sub switch. [28:44] 28 minutes, 44 seconds And that'll make, you know, that'll take him up and then like a abrupt ending. Got it. Interesting. [28:52] So while we're here about, you kind of in the MD capacity. So let's talk about the gear that you rock with both sides. Inside the Rig with Tama Nord and Moog [29:00] So your hybrid rig is like drum wise, what are you playing? What's that setup look like? [29:07] And then what does your keyboard setup look like? [29:09] And or computer and I know you running the tracks too, usually when you do? Oh, absolutely not. Okay, also you're not running the track, got you. [29:17] Okay, so what does your setup look like usually? It's pretty simple. [29:22] 10 12 for 16 13 or 14 snare depending on what it is 10 inch snare [29:33] SPD and couple trigger pads some triggers on the snares and then um keyboard wise I'm doing like [29:42] Lately I switched over to a Nord the stage four because of the roads and pianos is crazy. [29:49] And then the Moog Muse or the Sub 37. Oh yeah. It's been real crazy. [29:56] Sub 37 is crazy. [29:58] And you can program stuff in, like you can get stuff and put it in there now. So I've been doing that a lot. [30:05] And that's basically my setup for the hybrid because it covers all areas. [30:09] Like if I need a synth, I could program it the right way and just kind of carry it. [30:17] I know like some stuff, like the last show we did in Brazil, I was playing key bass and like kick some claps [30:25] at the same time with Ty and it just worked because like the meat, like the blanket of the song is in the box. [30:36] Right. [30:37] So if you can highlight the bass and play the claps, You know what I'm saying? It makes it sound like really, really live. Like it gives it that live element. [30:46] Yeah, that's dope bro. Wow, man. Yeah, that's so smart. [30:51] And it's so where we are in technology, but yet a lot of people don't even take the time to even learn the technology and the gear. [31:00] It's like, how is it 2026? And Cass don't know at least a DAW, right? How to use a DAW, like really use it. [31:08] And then these electronic things and how to route stuff and do it, it's like, it's amazing that there's still some drummers that only focus on chops and playing acoustic drums. [31:20] That's great, but this is 2026. [31:22] And judging from what, if we just follow you, I mean, look what that has done. [31:28] First of all, it set you apart and made you a unique call to where people are calling you for something that pretty much only you do. [31:36] And that's just now taking you to what we're gonna talk about now, which is one of the, [31:43] I'm not even gonna say most controversial gig, it's one of the biggest gigs in the world, but it's also one of the most historic, [31:50] it is one of the most controversial, it's all those things in one, and that's Ye. [31:54] So you've done all this stuff with Ty, and you still work with Ty, but how does the Ye call happen? [32:02] You know, where did that come from? So it's funny. It all goes back, again, it's all full circle. [32:10] It goes back to Kid Cudi, because Cudi was part of good music. You know, he has a ton of records with Ye. [32:17] And we did Coachella. Well first off, before that, like, it had to be like 2013 or 14. The Night Ye Walked on the Bus [32:27] We was overseas with Cudi, and we had finished the show. I got on the bus and I'm just, it's my record. [32:35] I'm not used to smoke weed. So I'm on the bus after the show. I'm the only one on there. I'm smoking, I'm rolling up. Got my tie wiping off, about to change my shirt. [32:45] And Ye was at the show and he pops in on the bus. He was like, Cudi on here? And I was like, nah. And he was like, you mind if we chill? [32:52] It was him and Ivan. So they chilled on the bus and wait for Cudi to come out. [32:56] 32 minutes, 56 seconds And we chat, we like talked for like 45 minutes, Just me and him, like just talk. And it was like right when “Niggas in Paris” came up. [33:05] And it was like, I was just talking to him like, man, what made you put that sample in there? Like I was just so like, I was blown. I was first off, I was shook. [33:14] And I was like, oh. [33:15] And so I'm just sitting, before I knew it, we sitting there talking, and he was cool as hell. Like, I'm like, man, it's talking to a genius. [33:23] And then fast forward, we did Coachella. Cudi was doing Coachella, his headlining. Coachella Kids See Ghosts and Mike Dean [33:30] And this is when Kids See Ghosts came out. [33:33] So it was like, I found out the day before, well, Cudi, we knew Ye was coming, [33:39] but he came to rehearsal and we was building an intro for one of the songs on Kids See Ghosts. [33:47] And I remember he came in and he seen my rig like, you playing all of this? And I'm like, yeah. [33:54] And so we sat over there and did the intro And I was doing like this key bass and some like tribal Tom stuff. [34:02] He was like, really rocking with it like, dang. [34:06] And then we did the intro and then after that, I remember talking to him outside and he was like, you gonna come play with me for Sunday service? [34:14] I was like, yeah, let me go. I'm down. But it never worked out. But I remember we had that conversation and then we did Kids See Ghosts. [34:22] I found out the day before at Coachella, no, it was the morning of Coachella rehearsal. It was like, yeah, Mike Dean's coming out too. He's gonna play. [34:30] I was freaking out like, oh shoot. Like, that was amazing. Like, man, that was life-changing. [34:39] I'm a huge Mike Dean fan. And then we did that and then that was it. [34:47] And then fast forward to Ty doing vultures. [34:52] No, so I was around for a couple of those things. I didn't play anything, but I was [35:00] just around like in the mix. And then like, of course, I met you again, you know, I mean, [35:05] just, of course, he remembered me a little bit. My thought he did. And then, um, uh, How the Ye Gig Came Together [35:13] Okay, so then fast forward to this year, André Troutman, he's the MD now. So I remember he [35:23] called me, he was like, yo, I know you know this world way more than I do. And he was [35:30] like, would you want to be down? I'm like, yes, like, come on, like, let me know what [35:37] you need. And then scheduling wise, it was kind of like conflicting. But I was still [35:43] like, you know, Andre, shout out to André Troutman. He's been my dog for like, 15 plus, [35:50] like, when I first moved to LA, he was like the first person, one of the first people [35:55] that I met, it was like real, we, you know, we was doing like local gigs and stuff like, [36:02] all over the place and he's been the same from day one. So he called me and then we [36:08] finally worked it out and he was like, yo, let's do it. So we've just kind of been like [36:14] just locked in, you know what I mean? The whole way through just passing info to each [36:21] other. You know what I mean? Like, okay, I think this would work. Okay. You know what I'm saying? And he, he has a lot of knowledge too. So it just kind of worked out. [36:30] I wonder, do you know where he is in the Troutman lineage? Cause I don't know what Raj would have been to him. [36:37] Probably a cousin maybe? He's cousins. Yeah, yeah. [36:41] Cause my first real tour for Jimmy and Terry was with Raj, with this group called Solo. [36:47] And that's where I got to meet the Minneapolis cats and that was Raj was one of them. You know what I'm saying? [36:54] So that we spent an extensive amount of time together And Andre being on this to me is so dope that that lineage is carrying on into something like this. [37:05] 37 minutes, 5 seconds That's phenomenal, bro. That's like really, really amazing. [37:09] And it's also amazing that obviously one thing I'm seeing from you too is that you're a person that is not trying to gatekeep, right? [37:18] And this theme comes up a lot on the show too, where something my dad said, where if you close your fist, you don't let nothing out, but you also don't let nothing in. [37:27] And so it's like you are a person that is not gatekeeping. [37:32] And so far from what I'm hearing, all it's done is open up doors. [37:36] So everybody that's out there trying to hoard and I know this information, I'm just gonna keep it for myself. I don't think that really helps anything. [37:44] You know what I'm saying? [37:45] I think that we put things out and we put the information out there. [37:49] I don't think you can lose from doing that and it shouldn't harm you, right? [37:53] And it's like, it's interesting because it kind of parallels this next question, which is there's a similarity there as far as, you know, [38:01] it's not gonna change who you are if you put information out. What do you think about AI and how much are you using it? AI Is a Tool Not a Threat [38:08] Because that's the big issue is people, I don't know what they think is gonna happen. [38:12] Like if you use this suddenly you're gonna forget everything you ever knew before that. I don't know. So what's, you know, what's your take on it? [38:19] Cause you definitely are in this cutting edge part of the music business right now. What do you think about it? And do you use it at all? [38:27] First off, I love it. Yeah. So we've got a problem with that. Whatever. But I love it. I love it. Yeah. I [38:35] Use it almost every day with ChatGPT. Oh sure Barnes the music I use it with music to like yeah [38:46] like I think it's a great tool to like Help. It's like having an extra person in like next to you [38:56] 38 minutes, 56 seconds to figure out something like, I got this idea, I started an idea, I don't know where to go with it. [39:04] Let me jump in and throw this in real quick. Let me see what your take is. Okay, whoa, you came up with that. I like that idea. [39:11] Let me go back and do it again my way with that idea. Yeah. You know what I'm saying? [39:18] Like, I feel like if people do it that way, it's not like, because I think people abuse it. Right. [39:23] use whatever they get from Suno or whatever they use it for and just use that, you know what I'm saying? [39:31] Instead of like adding their own flavor to it. So yeah, I'm like huge, I'm big on AI, I love it. [39:37] And I'm only, I'm excited to see what's next. Like, what's come. [39:44] Well, I mean, you know, an article recently just came out with Dre and now that conversation [39:50] back up because he also said, you know, you know, he uses it as a tool and it's like, [39:57] you know, people are talking all this stuff about it, but it's like, it's the same as, you know, we always say this as when drum machines happen, when all these advancements [40:06] happen and there's all these people that have all this stuff to say, most of the time those people weren't cracking before whatever that technology was. So I see that right now with AI that a lot of people are using as a scapegoat. [40:20] But everybody I interview, including you now, and now we're hearing from one of the biggest producers in the history of production, [40:27] says it's a tool and it doesn't do anything. If you're creative it just helps you. It doesn't change your creativity or lessen it. [40:34] So I think it's interesting that you say that you use it and especially that use case because that's the use case to me that makes the [40:42] the most sense. It's not really infringing. We don't want to use someone's voice. We don't want to use anything verbatim. It's just the the the analysis that happens and the things [40:53] that happen can be an inspiration. Like you know you sound like you're using as a tool for inspiration as do I. And that's what I think the best use case of that is. You know [41:04] what I'm saying. You agree with that. Absolutely. Yeah. So do you see I don't know. And then [41:12] 41 minutes, 12 seconds And as far as the next thing goes, you mentioned, it's like, I've heard different ideas of what that's going to be. [41:19] I know we're already kind of past the original phase and people just might not know. [41:25] The original chat box LLM phase, that's kind of normal now. [41:30] We're already well into the agentic phase. [41:35] Just dispersing agents to go do full problems and handle things from the beginning to end and proofread themselves and like oversee themselves. [41:45] That's kind of where we are now. [41:47] I don't know what the next thing's gonna be when it has to do with music. [41:51] I think the labeling thing that's happening is gonna probably weed out some of the people that do just use it only, right? [41:59] You know what I mean? And that'll be cool, you know what I mean? Because that's not the greatest use case, I believe. [42:05] But as far as in your world right now, like when you're gonna do a show or whatever, [42:12] you're telling me that there's ways that you can use it to help you inspire for the stuff that you're doing is what you're saying when you're making it. Absolutely. Yeah, yeah. [42:20] I agree with that, man. I mean, I think that's the best part of it, right? Sound Selection and the Low End [42:26] Now, let's get back to a drummer vibe because I wanna talk to you about Mike the drummer a little bit. [42:33] So this is something that we've seen for years and years. [42:36] And this is something that I'm sure is one of your great specialties, but it's something I pride myself on too, which is sound selection, right? [42:44] So particularly let's talk about what we deal with a lot, which is hip hop and hip hop adjacent things and the low end. [42:52] So you're usually gonna have a lot of low end in the bass area, you might have a muddy sample. [42:58] And then you got the acoustic kick drum that's just always gonna be probably a mic to acoustic kick drum [43:07] by the front of house people that do one way to mic everything with their dog on, you know, Beta 52 [43:14] and the, you know, and the, and the Sore SM, this the flat one, you know, I can't remember the number, [43:21] but it's like, no matter what we do, it's like, that's what we end up, you know, at the house. [43:27] So when you have to get it to feel right for the music, you got samples and triggers and all that kind of stuff. [43:34] how do you go about, or do you concentrate on the mix that's going out and tuning [43:42] and all that kind of stuff, when you got all these things that need to translate correctly, because you're doing gigantic arenas and stuff, but these songs still need to translate. [43:52] And even with Ye, when you're not playing drums per se, you might be playing key bass. So you gotta make sure it's hitting it a certain way. [43:59] How does that work with your thought process, man? [44:02] And how deep are you into that with sound in front of house and stuff? [44:07] I just rely on doing the actual sample cause I don't trust them. [44:13] Like I'm like, all right, you know, I'm gonna put a trigger on this kick drum. And that way you get both, you know what I'm saying? So yeah. [44:21] But I tell them a lot of times like, make sure that my triggers is up. Right. You know what I'm saying? [44:28] Make sure that is up and have the kick drum, acoustic kick sitting right under it. Yeah. [44:34] So whatever y'all doing, like when y'all got that, but make sure my triggers is up and then we don't have any issues. [44:45] Cause I noticed with hip hop, like especially with hip hop now, these artists really want their own drums. [44:52] They want what they paid money to mix for. You know what I'm saying? [44:55] Like, and that's what like one of the reasons like, you know, a lot of these artists, they don't want live drums. [45:03] They're like, man, nah, I want the drums that I paid a lot of money to get mixed. You know what I'm saying? I want that. [45:11] 45 minutes, 11 seconds So when I get a chance to play drums, I'm like, all right, let's throw these samples in here. Very, like I let them ask me to play drums. [45:20] Yeah, I mean, you know what that does too? [45:22] Well, first of all, I mean, there's two sides to that too, while a lot of them in that genre, especially hip hop, I can, you know, R&B, we've had the debate [45:30] and I wrote a book about it where, you know, R&B and pop and all that, they've been looking at drums to kind of take up the slack of all the emotion that they can't give. [45:40] Cause those artists are not like the artists of the other generations, like Michael and Prince and all that. [45:45] So you gotta have, you know, video walls and dancers and, you know, all that kind of stuff. And so they want the drums to go crazy. [45:51] But when it comes to hip hop, it's like, yeah, for the fills mostly at times, But most of the time, like you said, I mean, what makes those songs are those sounds. [46:02] Like those are what signified that song is coming. [46:05] Can you imagine, you know, some of those big records dropping and it's just acoustic. It's not the same record. It's the audience. [46:13] It's not gonna, it's gonna, it's gonna like let them down. Like, and I'm like, what? [46:18] You be ready for the bass drum and it's a complete different sonic palette. It's like, wait a second, man. That's not the record. You know what I'm saying? [46:26] So, and it's funny because we never have that issue, I don't believe, when we're talking about the thousands of different types of distortions and all that [46:35] in the other world, that's always seems to be, oh, I get it, right? [46:39] The sound, oh, I know where that's supposed to be, but when it comes to hip hop, the samples are too low, the tracks are too low, the ratio is too low. [46:48] It's just like, why can't we get this right in 2026, man? [46:51] It's like, I mean, do we need to, man, I might need to make a plug-in or something. So it's like, it's so apparent, you know what I'm saying? [46:59] There needs to be something that shows these front of house guys like, hey man, the drums should be here, but the tracks should be here, you know, with this kind of music. Do you know what I'm saying? [47:08] Right, right. [47:09] And I mean, I've been, I ain't gonna lie, I've been blessed to be around some of the dopest front house dudes that actually get it. You know what I mean? [47:15] Like, and one thing I can appreciate about Dre, André Troutman, he is, his ear with like, that stuff is crazy. [47:25] He be having that Ye stuff sitting right. [47:27] Like he'll take, our sound checks are just really about Sonics and make sure the room is like, boom. [47:37] Like, he'll take your time and be like, nah man, them drums need to come up. That sample right there needs to come up. [47:43] No, no, no, the bass needs to rumble the room. Yeah, that's tight. It sounds like it. [47:49] From what I saw, we all did the, you know, televised one, the one that came on YouTube, whatever. it was like, bro, that was crazy. [47:55] Even through the TV, you know, that was, I think it was SoFi or whatever, but that was nuts, man. [48:00] And you know, that's part of the experience of going to a show. [48:05] Like, you know, Prince was great with that, Michael Jackson and then were great with that. [48:08] I remember seeing the victory tour at Madison Square Garden was like, oh my God, this is amazing. [48:13] But, you know, we still usually have to fight for that in a lot of situations. [48:19] So, you know, it sounds like the situations you're in, you know, obviously that's part of the reason why they got you because they want the integrity of all that stuff to be right and to be like the record. [48:31] So, you know, that's another amazing thing. Now we didn't talk about endorsements. The Endorsement Rundown [48:37] What companies do you rock with and what companies do you use and maybe not rock with, but what companies are you rocking with all the way around right now? [48:45] All right now I'm with Tama. Been with them for a bunch of years. [48:49] I'm with Sabian. I just switched to Sabian from Zildjian. I mean from Paiste. [48:58] Symbol Ride has been a little weird. I was with Meinl at first, then I went over to Zildjian. [49:06] Then from Zildjian, Paiste, you know, from Paiste to Sabian. [49:11] When ProMark sticks, cause you know, ProMark is a part of the whole D'Addario, you know? [49:21] Right. So ProMark and Evans. Right, and connect, yeah. Yeah, and then I'm with Roland. Yeah. [49:29] Shout out to Pat. Yeah. Igor. Yeah. And also now I'm a part of the Moog camp. [49:39] Yeah. [49:41] that's that's that's been great and that's they're like that's the hat with Moog, Alesis, and Akai. Ah right. The [49:49] M.M. is the family. Yeah. Yeah. So. That whole family is crazy. Yeah. Yeah. That's crazy, bro. And then on the [49:58] road on the show, what are y'all on the Yay show? What are y'all using for tracks? Um they uh I'm not sure what they're using. [50:08] I know the guy Coop does the playback. So I'm not sure exactly what he's using, but. Yeah. [50:14] And do you have any, do you have any things that are, you guys, are you guys manually doing patches or patches changing with the songs from the tracks? [50:24] Are you guys manually doing that patch changes for the different songs? We manually change patches. Yeah. [50:32] We got our own, we all went in and kind of built our own patches. Yeah. Like for each song. [50:38] It works out. It's like I got a couple go-to bases that just rumbles rooms. [50:44] Yeah. Yeah. I mean, it's funny because that's one thing I still haven't really seen a lot [50:51] of people allow to happen because it's, you know, that's that, you know, changing patches with MIDI has been around 30 years, but I never know. It's not too many people that [51:01] do it because if something happens and it's the wrong patch that just ruins the whole It's a razz. [51:08] I know for a fact I was doing Lana Del Rey for a hot second. [51:13] And Byron Thompson, Thomas, my brother, he was on Making a Band 2, him and Blake. [51:21] Their whole gig, their whole musician thing is ran by MIDI. [51:28] And so when the song changes, all their sounds change. So he's got a play. Electronics on drums. [51:34] Byron, he has nothing but MIDI controllers. Wow. Everything, and he don't touch nothing. It's all ran from playback. [51:42] They song, next song, boop, doo doo doo doo. [51:46] Wow, yeah, I mean, it's there, you know, but still, if one thing gets off, it's a wrap. [51:52] That could be, whoo, that could be a showstopper right there, man. [51:55] Golly, that's a lot of pressure for tech to work all the time, you know what I'm saying? Right, right. [52:01] Yeah, there's this company I just found too called B Beat, and they make these crazy playback things that are amazing [52:08] where it can play the tracks, click, video wall, lyrics, teleprompter, all that stuff, man, for one unit. [52:17] It's crazy. That's crazy. [52:19] But even that, I think a lot of people still like laptops just for the tactical nature of being able to control something if it trips out. [52:30] It's interesting, man. It's interesting where technology is going. [52:33] But see, you're one of the guys that is current with the technology and actually using it. [52:38] So that's, you know, real inspirational man, especially being a drummer first. Cause a lot of drummers don't foray into that. [52:46] I don't understand how, I just don't understand that, Mike. [52:49] How do you, you know, it's like- This is a 2026, you're still not using- Come on, bro. You got it. [52:55] It's like, why is that not part of your, oh yeah, I'm gonna get into it. It's like, get into it. [53:01] 53 minutes, 1 second You know, it's like- I think playing now is like 40, 50% of it. Yeah, man. It really is. [53:08] It really is, bro. I think the tech part is crazy. [53:13] And it's like, I've had my time of doing shows, and I didn't really put it out there like that. [53:18] I probably should have, because I love programming shows, man, and doing it. I was doing that years and years ago. [53:24] But I see people like you and like Thaddeus Dixon and other cats that really have embraced the technology. [53:31] But then I look at somebody like Herbie who's been embracing it for 40 years, right? [53:35] And I mean, we did a tour 15 years ago and the entire tour was Ableton, [53:42] him controlling the tracks with APC, whatever, with all the buttons on it, and him manually controlling sections. [53:51] So he was extending solo, so there was nothing in the box set, but he was doing it all. [53:56] So he'd be playing a solo and extending the form And going on to the next form, you know, with a pad on the side of the stage from when he's walking around. [54:05] And dude, this is like 15, 16 years ago. He was 70 something years old. You know what I'm saying? [54:12] And you're gonna tell me that you don't mess with electronics. Like it's unbelievable to me, bro. You know what I'm saying? [54:18] So, you know, I'm happy that you're sharing, you know, your take and your knowledge on this stuff, bro, [54:25] because you know, you've gotten to such a high level And just a quick connect, I ended up working on a record [54:32] that didn't officially come out with Ye, you know about it, but the record we did with Dre and Ye, and I guess it came out later non-officially. [54:41] But one of the songs Ty was on, and I'll never forget, it was cold and he killed it. [54:47] And it had a feeling on me, man, where I was, I kept hearing it, I was like, ah. So I told Dressa, hey man, look, this sounds crazy. [54:56] Give me a ticket to Houston. I'm gonna do something. [54:59] 54 minutes, 59 seconds So I flew to Houston, I recorded Kim Barelle on the song, and then I flew back to LA. [55:06] And when I tell you every time that record will be playing and her part came on, all these hard dudes suddenly had to go to the bathroom because the series was coming down. [55:17] Hey man, where's the bathroom? You know, hey man, hey, where's your bathroom? Because it was so emotional, bro. It was so emotional what she did on that record. [55:26] You know, but that was fun, man. And I got to hang with Ye a hot sec. [55:30] And there was also this pastor that they sampled on the record. [55:33] And I actually knew somebody in the part of Ohio that knew him. So I actually got him on the phone. I did his deal and all that. [55:40] And I remember Ye was standing with me one night and he was like, man, get him on the phone. I'm like, bro, it's Ohio. It's probably like two in the morning. You know, he was like, well, just try. So I tried to call him. [55:49] Of course he ain't answer. [55:50] But you know, that was a cool, cool little, little moment I got to hang with him, man. So I know he's a cool brother, man. [55:58] And you're in good company, bro. [56:01] Well, listen, Mike, before we get out of here, I just wanna know, since you're going all over the world and doing all this stuff, sometimes you are away from the drums, right? Portugal to Brazil in 24 Hours [56:12] So, and then you said you're gonna be doing something with Ty, so obviously you're probably gonna be playing drums again. [56:18] So what's that look like when you've only been playing keys for a month or two months or whatever, and then you gotta go see? [56:24] It is hard, man. It is hard. I'm catching my breath. I remember we was just recently [56:36] in Cat's, Cat's, Gantas can't stand or something. Some weird country. And then we went to this [56:44] little club thing and they had drums. And so there was a drummer playing with the DJ. [56:49] Everybody's like, all right, get on the drums, get on the drums. I was like, all right, man. [56:54] I started playing and I'm like, baby, a couple of minutes into the song, I'm tired. [57:03] I forgot this is work. [57:05] And then I just did a show with Ty in Brazil a couple of weeks ago. I've been on a crazy run. [57:12] Like I left one country. I think I left Madrid. [57:18] No, I left Portugal and I flew to Brazil, 24 hour flight. Wow. [57:27] Got there, played drums, then the next morning flew back and met the camp in Kazakhstan or whatever. [57:35] That's crazy. Yeah. [57:37] And I remember I was like, trying to like get right at soundcheck, like I'm backstage like, I don't know, can I still do it? [57:47] I'm like. Wow, bro. That's intense. It's hard, bro. That's intense, bro. [57:54] I'm about to do a tour with him. He got a 40 city tour coming up with Bryce and Tilly. [58:02] Nice. So I'm gonna do that. Nice. And just jump in and out. Yeah, that's crazy, man. [58:08] Well, you know, you're definitely the right guy to do it, bro. [58:12] And you know, it's like, dude, you've been really out here We had a talk a while ago, you know what I'm saying? [58:21] Previous to some of these things happening and it was like, I started singing a post and it was like, watch this. [58:27] And it was just like, oh man, the pivot is real out here. [58:32] Like, yo, I was like so excited to see that because it's like another one of us, right? [58:39] That they always look at as, oh, I didn't know you, I didn't know you produced. I didn't know you did music. I didn't know, I thought you just played drums. [58:46] like another one of us that did something different, you know, and got on doing something different, bro. So, you know, shout out to that. [58:55] Anytime we see that, bro, it's important because, you know, we have to learn [59:01] that this may be a time that we're entering where the hybrid musician actually, you know, [59:09] has more opportunity just because where technology is, you gotta be able to tap into it and speak the language, right? [59:16] You know, any good MD can really speak to all the departments and people need to know this. [59:21] You know, you need to be able to speak to lighting a little bit about some stuff in their world and the pro audio, you know, lives front of house in their world and the musicians, you know, not just only, I just know my instrument. [59:34] So, you know, I think you've been a real great inspiration to that man. [59:39] And I'm just super excited that you, you know, have found some time to come on the show, bro. So, you know, I appreciate you, man. [59:48] Anything you want to say to the next generation, man, before we get out of here? Learn timecode. Learn what timecode is. Learn Timecode [59:58] Wow, that's a bar. That's a bar, bro. That's a bar, like, wow. [1:00:04] And when you say timecode, you're talking about the Society of Motion Picture and Television Engineers. Yes, yes. [1:00:12] Okay, all right, y'all. That's the word of the day. Learn time, come on. [1:00:18] Yeah, only person that ever said that else on the show was quick. So now you guys are hearing it again. Go learn what SMPTE is. Go learn what SMPTE is. [1:00:26] It's an important thing that keeps it all together, especially live and especially films and TV. You have to know that world and how that works. [1:00:35] You know what I'm saying? [1:00:36] So, well, ladies and gentlemen, it's been a pleasure having Mr. Mike Moore on the TrevBeats Show. [1:00:43] My bro. Yes, sir. Yeah, man. Come on, man. Wow. [1:00:50] And if you haven't caught him, if you haven't caught him, if you're, you know, under a rock or I don't know where you've been, if you haven't caught him all around the world, you could catch him with Ye. [1:01:00] And now he just said he's going to be, you know, out with Ty. So if you see Ty Dolla $ign coming to your town, you get to check out Mike, too. [1:01:08] And man, it's been a blessing, brother. blessing brother and I really appreciate you man for coming. [1:01:13] Thank you bro. Thank you. We're gonna have to do it again my bro. Yes, sir. Alright ladies and gentlemen. Well, it was a [1:01:22] great time having Mike on the show. Make sure you go figure out what SMPTE is. I want y'all to go learn what that is because it's very important and you know, follow him everywhere [1:01:31] social media. It'll be in the comments. If you wanna help this channel, you can come subscribe, you know, to our backstage tier and also join our backstage tier. [1:01:40] And then you can just subscribe to the channel and like and comment. [1:01:43] And like I say every week, I'm Trevor Lawrence-Junior, this is the TrevBeats Show and we out. [1:01:48] It's the TrevBeats Show and we out We out, we out, we out It's the TrevBeats Show and we out [1:02:01] It's the TrevBeats Show It's the TrevBeats Show and we out