Hey guys, I'm Matt Major from Growth Mode Content.
Welcome to Good News York. It's Tuesday? I think
so. I think it's Tuesday. I vaguely remember
coming to work yesterday, so I think that...
I vaguely remember you being here, honestly.
It's true. Yesterday was a day's. It was. Dude,
we're back in the saddle. It's been a while,
dude. Like, I did a quick thing yesterday. It
just wasn't the same. It was like a week. Yeah.
It was like... Danny had vacation. He went out
and bagged himself a mouse in Florida. Yeah,
Mickey Mouse. Had fun at the magical kingdom
or whatever adults do at Disney. I don't totally
understand. But anyway, dude, Mikey's back. What
is this shirt we got today? Oh, it's a Bill shirt.
Of course it's a Bill shirt. No, no, no. Kind
of. So my favorite sports show on television
is Good Morning Football. On Tuesdays, they do
Angry Run segment. Long story short, my favorite
guy, Kyle Brandt, he plays like four clips from...
You're wearing a t -shirt? ...for a bit on another
show. No, I'm gonna get there. I'm gonna get
there. Okay. So he picks like four plays from
the weekend of angry runs, and what he means
by that is like when a running back just fucking
plows someone over, right? Okay. All right, fair
enough. And then they vote who wins the scepter.
They have the scepter, and they send it to the
football player. And then through homage t -shirts,
they then release a shirt that week of the player.
James Cook Morning reruns this past week. What
a racket, man. Yeah, it's a huge racket. It's
very brilliant. And so I bought my shirt, because
I'm a sucker. And here we are. But dude, forget
it. Well, without further ado, we have a guest.
We have a great guest. I'm very excited about
this. Listen, everybody has been telling me about
this gentleman, and we've been looking at his
website, and I'm very, very excited. Tell us
who this fella is. This, ladies and gentlemen,
welcoming Steve Sopcich to the show. Steve, writer,
musician, songwriter, composer. What am I missing?
The producer? Producer, right. Hello. Engineer.
He does it all. He is the owner and operator
of the Square Studio right here in Syracuse.
We can call him ours. Steve Sopcich. Thank you
for coming, man. Absolutely. You are an impressive...
guy, quite the resume. Yeah. Yeah. Steve, why
don't you just give us kind of a little bit of
the rundown? What is your... Sure, it started
in a basement studio. Well, I started as a recording
studio in high school and just was recording
my band practices, friends' bands' band practices
and sort of got hooked on the technology and
the process of that. When I graduated college,
I started doing a full -time out of my mom's
basement, my parents' basement. Stayed there
for probably two or three years and then met
up with a guy named Jason Randall who owns, at
the time it was called Morsound, now it's Capture
Studio, right on Bernat Ave in Syracuse. And
he had been kind of a mentor of mine over the
years, opened up his space to me and I built
out the back half of his building, which is where
I still am today. Oh, wow. and kept recording
bands, writing with bands. And then probably
around 2014 or 2015, I started doing composition
for TV ads, movie trailers, TV shows, things
of that nature, and have sort of split my time
between the composition side and the writing
and producing side ever since. Wow. It's wild,
man. How do you get to that point? Like, how
do you go from a local wooden Syracuse to these
big opportunities? It's weird. The funniest thing
is I can actually trace it back to my first client
ever. Every opportunity I've ever had, I can
trace back to the first guy that I ever recorded.
I love that. And it's without going into all
of the details of how, I think it just, it speaks
to like, you know, every person you meet is an
opportunity. You never know where the next job
is going to come from. You never know who can
open the next door or what door you can open
for the next person or however that works. Throughout
the years, each opportunity that I've gotten
has been a result of somebody that I've worked
with previously, or some relationship that we've
formed previously. So the transition from solely
recording punk and hardcore bands and stuff like
that into doing the custom composition stuff
was I recorded a band called the Venetia Fair
from Boston, and the singer of that band was
a very talented multi -instrumentalist. awesome
with music. And he went to school with a guy
whose job out of college was working at a music
house that sort of, you know, all these brands
and ad agencies would come and say, we need a
song like this. We need lyrics like this. We
need these sorts of things. And then his friend
was like, hey, you two should try this. You're
good in the studio together. Like, let's see
what happens. We tried it and we won the first
job that we pitched on. It was a national campaign
for Ashley Furniture. And we were just like,
we were hooked. It was like, yeah, dude, this
is way better than what either of us were doing
at the time in terms of time in and potential
benefit and stuff like that. So we were hooked.
And he actually ended up moving to Syracuse for
a couple of years. We worked together in the
studio full time doing that. Just every pivot
has been some result of a relationship formed
through the process. I love hearing that. I am
a huge believer, in fact, of 90 % 7 % of my business
has been built on relationships and networking
and where it goes from there. I think that's
incredible. Could you talk about a little bit,
obviously, you're a creative person, you're an
artist, first and foremost, right? But you've
clearly had to become a business person as well.
And can you tell me how those worlds kind of
melds, how that's worked out for you? That's
a great question. Kind of kicking and screaming,
honestly. Sure. Both my parents are... Business
minded my mom is a business manager for the Sisters
of st. Francis and my dad has been a consultant
for most of my life that I can remember So they've
always been like sort of really helpful in in
making sure I don't do stupid things like you
know like You know helping me figure out the
things that so I went to SUNY Oswego. I graduated
with a marketing degree But I graduated, and
I was like, well, I don't know how to do taxes.
I don't know how to do it. What am I supposed
to do? So my parents have been really helpful
in terms of guiding me through that. But most
of the business side of it has just been kind
of figuring it out as I go. And yeah, I mean,
I never really did advertisements or anything
like that. It was always word of mouth and going
and meeting people and going to shows and shaking
hands and just kind of trying to beat. part of
the things I wanted to be a part of. And it's
led to where it is. I love hearing about that,
man. That is just the best story. Yeah. So one
thing I want to ask you is, you've grown. You've
got this massive success. And you've stayed right
here in Syracuse. Yeah. You're not going to LA
or Manhattan or anything like that, as many folks
might. Why? I think a number of reasons. The
first is I... I've always sort of felt like if
my work isn't in service to my life outside of
it, what am I doing? So to go to a place solely
because work is there, if I don't have to, feels
like why would I? And I grew up here. I grew
up in Marcellus. I still live in Marcellus. And
I do travel a lot for work, but it's always nice
to come back to the place that feels like home.
And luckily, through one of the... benefits of
COVID time was that all this technology was developed
where it used to feel like you were expected
to be in a room with people. Now, there's all
these ways that we can record remote and we can
write remote. You're not expected to be in the
places like maybe you once were. That has been
super helpful. It allows me to do a few trips
a year to LA or a few trips a year around and
then fill in the gaps with those remote sessions.
It's been nice. Also, some of the bands that
I work with actually love coming to Syracuse
and just experiencing that and having just a
different place to be and work. We absolutely
have a lot to offer. I can imagine especially
for a group, and Mike can speak to this, working
in the studio and things like that, being able
to maybe escape. in a little prettier, not necessarily
braced type city might be kind of cool. Yeah,
man. First of all, for 10 years, I had a band.
We recorded three albums. We toured. So my life
has been back and forth between stand -up comedy
and music. And I, too, I know exactly what you're
talking about. We had to become our own label.
So I was the same way. I'm like, wait, we have
to do business as what? And then I have to do
sales tax? And it's like... Oh, and then I got
to register with ASCAP. And you really do just
learn as you go. And again, I relate to the city
thing. I never had the means to be able to live
in New York or LA. I didn't have the money. And
we were in a time, like you, where things were
happening to where you could do everything from
where you are. And I think you and I made out
OK, because with the way things are going, I
don't know if I want to be there. The reason
I'm telling you all this is because at one point
in my music career, we've got approached to do
some composing, and you've done a lot of composing.
And I remember thinking, you know, songwriting
is, I don't want to say easy, but you know, songwriting
is natural to me. Composing was a whole different
story. And so I didn't know what the process
was, right? Like there's no hand written. So
I kind of just had the guy send me some footage
and I watched it and sat there with my guitar
and just kind of. just wrote to what I was seeing,
and I was just curious what your process is in
composing, if there is one. Yeah, I mean, every
project is different. Some of the projects, you
know, I never see picture, which is the craziest
thing in the world. You know, I'll get a creative
brief that, you know, in words describes what's
supposed to happen and gives me sort of general
time stamps or things I'm supposed to hit, because
a lot of times that footage is like, they're
trying to keep it real secret, so they don't
want it distributed. And that's that's always
weird because the natural thing would be I would
love to watch this and make the thing that looks
good against this So yeah, I would say you know
many of the projects are things that I never
see against picture until it's released interest
But there are certainly a fair share of like
lower stakes projects that you know I'll everybody
will send video and I'll be able to do whatever
I need to to the video and And that's nice. But
process -wise, it's different every time. I get
asked to make a lot of different styles of music.
I'm one of the few composers in the companies
that I work with that still record things in
open air. So I'm mostly playing everything. I
do use samples. And if I need to use synthetic
things, I do. But that is, I think, a lot of
the reason. the process looks different every
time. It's like I'm grabbing a different instrument
or I'm in a different space. Every project has
its own DNA. Totally. Yeah. And I think that's
the fun of it is just to try to chase that. There's
times I'm like, I don't know why this reminds
me of it, but I think it's a funny story. There
was a time where this huge thing of chicken wire
blew up against the back of our building on Burnett
Ave. And it was just this ball of weird. wire
and, you know, so I went out to my car to leave
for the night and I, it was against my car and
I picked it up and it sounded weird and like
I was shaking it and it was strange. And so I
brought it into the studio. I was like, we'll
mess with this tomorrow. And so we did, um, and
we were, you know, we took like violin bows down
it and did all these crazy things. And it became,
uh, like major backbone of, of sound effects
for this Netflix show that we scored. Fearless.
Yeah. But that was literally just happenstance,
that that blew against the car. That's the greatest.
We shook it. It was weird. But that's kind of
like the things we were chasing. In my experience,
I've had times in the studio, we had this one
thing where I was doing a guitar track, but I
was in the live room. I forget why. And all of
a sudden, I just got this weird feedback. And
I remember looking at the producer and he's like,
keep going. So I just kind of got closer. And
we ended up using it as kind of like a... Like
those moments of those beautiful mistakes are
the best. Chicken wire is next level though.
That is fucking next level dude. That's Foley
sound shit. That's why he stays in Syracuse.
The random sounds that appear. You're gonna get
in your car in LA and find chicken wire. You
know what I'm saying? That's fantastic dude.
I love it, I love it. Let me ask you, so out
of all these different things that you're doing,
is there one that's really predominant? Are you
doing composing more than anything else, or where
do you find yourself? I feel like it's kind of
switched over time. Initially, it was almost
all recording, and then it very quickly switched
over to almost all composing. And then in the
last couple of years, as I think just honestly
like the... The production music and sync music
market has just become like so sad. Yeah, there's
so many people doing it You know, I've just I've
gone back to songwriting and I've been doing
a lot a few of the bigger metal bands that I
work with they're on the same Cadence with their
album cycle. So the last two years I've been
like heavily focused on the songwriting side
of that and I'm still doing the composition stuff
But it's kind of it's it's been a nice like kind
of fortunate blend that as the composition opportunities
have sort of The low -hanging fruit in that is
essentially gone now. The things that would keep
me busy every day. But I've, in a weird way,
just replaced that with the songwriting for some
of these albums and been able to stick with the
bigger composition projects. Yeah, and see, you're
lucky too in that when these music projects,
when there's a lull between the actual songwriting
and recording of bands or artists or playing
yourself, You know, we're in a time now where
there is so much work out there for scoring and
composing that, you know, it's funny that back
in the day, it would be like, we got to get more
bands in here. We got to, you know, it was harder
to get those kind of those those licensing gigs
to do music for movies and film and video games.
And now, you know, that could almost be your
bread and butter more than the music, I would
say. Yeah. And it was for many years. I think
I think unfortunately, A .I. is kind of shaking
that up a little bit. But yeah, I mean, I think.
Everything everything changes over time and sure
there was a time where that was scary like, you
know Not knowing what you're gonna be doing in
five years, but now I kind of feel like that's
exciting Are you are your projects just kind
of like falling into your lap? Like you always
got like an oar in the water or do you find in
between projects? Sometimes you're kind of out
there looking. Um, I feel like I I feel like
I say yes to everything I know I I do feel like
there's not often a lull but I do also, like
in the past, I would say five or six years, since
having a kid where time became this much more
precious commodity, I've been trying to set up
the long -term things. What am I trying to build?
What am I trying to do? When a project or an
opportunity comes along or I'm out there trying
to secure those things, it's easier to assess,
does this meet my goal? Does this help me get
closer to the thing I'm trying to do rather than
just Yes to everything. You said something really
key there, because I experienced it too, where
you hear about artists, bands, people in general,
they have kids, and then, you know, all of a
sudden the career kind of takes a back seat.
And when I was younger, I would think, that's
never going to happen. Like, I thought that it's
like the kid makes it so that you can't go do
what you love. It turns out it's the other way
around. You're like, like you just said, you're
like, time is precious. And I found in my adult
life now that I care more about time than anything,
who I'm with and where and when. Yeah. And it's
because where else would I rather be than with
my kid, you know? So I love that you said that,
man. It's wild how that happened. Yeah. And you
still love it. Like, you still have the same
passion for your art, but it's like now you have
something that you've never loved more than anything,
and trying to balance that can be tough. Definitely.
But you're in a fortunate situation, because
speaking of the work you're doing, dude, you're
going out on tour with... Yeah, I'm filling in
on guitar for Ice Nine Kills in Europe. So that
will be fun. One of the biggest metal bands in
the world. And I kind of cheated. I already know
how this happened. But for the viewers and listeners,
how did this come about? I know you worked with
Ice Nine Kills. Yeah. So again, this is one of
those things I can trace back to almost the first
client I ever recorded. But I've been working
with some version of people who have been affiliated
with Ice Nine Kills back to. You know, probably,
honestly, 2004 would be the earliest time, but
actually with the band, Ice Night Kills, since
2008 or 2009. And we've been friends forever.
I've produced their first three or four records.
And then, you know, when they moved to LA, because
they used to be Boston -based, but they moved
to LA in 2016 or 17, and we just kept writing
together remotely. We've done that ever since.
And so, yeah, so when their guitar player, you
know, couldn't do this one, they just reached
out and were like, hey, you know, would you be
down to do this? And I sort of instinctually
said no, because, you know, thinking about, like,
do I want to be away from my kid that long? I
went home that night and I told my wife, like,
kind of half -jokingly, like, can you believe
they asked me to do this? And she was like, why
wouldn't you? Yeah, that's awesome. He married
the right one. Yeah, yeah, definitely. You make
it work. Yeah. You make it work. Yeah. So I sat
with Why Wouldn't I for like 20 minutes and I
was like, Oh my God, I have to. Yeah. And then
a piece of chicken wire hit him in the face.
Exactly. And he was like, we got to do this.
Yeah. Man, that is amazing. During that time
with Ice Nine Kills, because things have changed
in the business, how much is it just you and
the band? Is the label involved at all during
the recording process? Not. Not in a creative
sense, really, anyway, that I'm aware of. I mean,
we've definitely, like, I've been in the studio
where somebody from the label will drop by and
say what's up and check it out or whatever, but
never in, like, a you gotta do this or make this
kind of way. Like, they, you know... Those days
are kind of over, I think, right? I mean, I can
only speak for, like, the camps that I work with,
but, like, the creative, like, the driving creative
force of... more successful bands that I work
with are such visionaries that I can't imagine
a scenario where somebody's ever telling them,
hey, this is what you're supposed to be doing.
Especially when they have a resume like they
do. It's like you've earned the right to, we'll
trust you. Go ahead, use chicken wire, that's
fine. Steve, tell me a little bit about the modern
state of music. Are we making traditional full
albums? Are you thinking about track order and
things like that, like you may have 20, 30 years
ago? That's a great question. I think it's hard
because people tend to consume things in these
bite -sized snippets now. I have not necessarily
thought much or gotten into a situation in a
studio where anyone's thinking about, how will
this work on TikTok? Nobody's asking those questions.
because I think, first and foremost, the bands
are interested in making the thing that they
want to make. And if it works across those other
platforms, then great, but that's not been a
chief goal. But I do think that the album is,
sadly, a dying thing. And it's because a lot
of the reason, I think, is because the digital
aggregators like Spotify and all those things
that are putting content out, reward frequency
of release over, so you're better off releasing
one single every three weeks or six weeks or
three months than you are, especially as an up
-and -coming artist, you're rewarded the more
you put out. Dropping an album all at once, you
rarely will see. Even the bigger bands will do
three and four singles now before the record
is actually out. So it's definitely more single
focused or more single piece focused. Are you
recording the same way? Recording more individual
songs? Are you still doing a bunch together?
A lot of the smaller or mid -tier bands are just
coming in and doing, either they'll do one song
at a time or they'll come in and they'll do three,
but it'll be three songs that will be released
three months apart from each other. The bigger
bands, we're still making albums, but the way
that that rolls out is, and I don't have a say
in that really or whatever, but it will still
roll out in pieces usually. Then on that same
track, You know, the last album I recorded with
my band was in 2015, and things have changed
drastically since then. We were only pressing,
we would press like 100 CDs just to have physical
stuff. Yeah. And then we'd have download cards.
Are you mixing and mastering for multiple formats
now? And what's kind of the go -to format for
an album? Yeah, I mean, so typically I'll give
a digital master and a vinyl master because vinyl
is such a different medium and the dynamic range
is so much smaller. Well, actually the content
can have a much greater dynamic range. But in
any case, the... I'll deliver those two masters.
Sometimes I still will deliver what's called
a DDP, which is for CDs. But not a ton of people
are doing CDs anymore. I think the novelty of
vinyl is that's the physical sale now, and then
the digital stuff is just, it is what it is.
And the target for that is always changing, it
seems, depending on what platform it is and how
it's coming out. I feel like the biggest loss
here is the loss of the hidden track. Dude, dude.
Corn? Korn, every album I would wait because
I knew there would be some sick, twisted, dark
thing about Jonathan Davis and his father and
sure enough, he would deliver. You know, that's
the thing about the CDs. I mean, I guess vinyl's
kind of helping supplement or whatever. But I
don't feel bad that I don't get to listen to
CDs anymore. I feel bad. You know, we're the
same. I remember the day Green Day's Dookie and
I think Blues Travelers 4 came out on the same
day. And, like, we made an appointment after
school, my friends and I, to get in the car.
We drive around smoking cigarettes, whatever
we're doing, and passing around the liner notes.
And that, I'm getting goose bumps. Like, that
was... Am I old for that? Sure, I don't give
a shit. But I'm just saying, the younger generations,
it's not about us not getting to do that. I'm
sad that they don't get to experience it. Maybe
the vinyl brings that back a little, but... I
think they're... I mean, it's hard to... It's
such a different world. Like, we didn't have...
these sort of like parasocial relationships with
our, you know, the band we love. Like, we didn't
have access to like Billy Joe Armstrong. We got
him through Rolling Stone or whatever. But like
now... Now you can tweet him. Yeah, it's like,
and now the engagement between the artist and
their fan base is so much more direct. So I think
like on the one hand, you lose... That's a great
point. On the one hand, you lose this sort of
like, you know, mishap tile nature of... you
know, music is a pastime. We're devoting time
to that. But like, the entire thing that is the
artist, you have a little bit more, it's more
of a two -way thing. You just blew my mind open.
No, no, no, I see what you're saying. Like, the
whole thing about passing around the liner notes
was the equivalent of, like, getting to see behind
-the -scenes footage or seeing them on Twitter.
Right. And now they don't have that, but they
get to fucking see them like, hey, get ready
with me. Here's my new shoes. That's a... That's
a great observation, man. Yeah, and I don't know
that one is better than the other. I don't either.
I think if I could pick one, I'd love to go back
to the time where I would sit and listen to something
and be consumed by the liner notes of the music
that's happening. But yeah, I do think that it's
just different. It is very different. All right,
Steve, I got a couple of quick... Yeah, me too.
It's a wrong answer question. Good, good, because
that's where I was going. All right. And don't
think about this too much. Yeah. It's your favorite
metal band. Oh, man, favorite metal band. That's
impossible. It's tough. I would honestly probably
X -Tol. OK. Would you say that the godfathers
of metal are Black Sabbath? That seems to be
the consensus. In my world, it's Metallica, but
I know that I don't have an opinion. I'm not
an authority on that. I lied to him. I said,
no hard -hitting questions. We're like, what's
the best? All right, I've got more. I've got
more. Favorite country artist? Ooh, Rustin Kelly.
Love that. I just saw him in Philly, too, for
like the third time, and he was awesome. Awesome.
Yeah. Favorite rap artist? Hip -hop, I guess.
We'll go any of those. Whatever the kids are
calling it, these days. Yeah, so tough. I mean,
near and dear to my heart, I think, over the
long haul, is Lil Boosie. It's nice. But throw
a Lil in front of it, you know it's gonna be
good. But John, a lazy badass now. But I, yeah,
I have not been super current on my... That's
fair. I've been busy. I'm busy getting ready
to tour with Ice Tank. Last one of these. Any
genre, any time in history, who would be your
top musical artist? Oh, man. Like, who would
I want to see or who do I think is the most,
you know... The first one that comes to mind.
By far, I think the most influential band on
me out of all time in history is a band called
Lifetime. They're a punk band from New Jersey,
but they were the first band that I heard that
was super fast, super aggressive, not manicured
in any way, but also somehow melodic. It was
outside of what I had heard ever in punk and
hardcore, meaning the chords had interesting
extensions and the rhythms were different. First
hearing that record, that changed probably the
course of my life. It was the first time I was
ever like, this music is me. It speaks to me.
So yeah, I think it would be that band. That's
awesome, man. All right. I've got a couple. Go
for it, buddy. All right. He's here. I got to
do it. Greatest concert you've ever been to.
Oh, good question. Oh, man. I know it's tough.
Greatest concert I've ever been to. Where you
left like holy fuck. I've been to a couple of
those, but if you had to... I honestly think
one of them would be seeing Rust and Kelly at
the... What is the studio? The studio on Woodstock,
the guy... Oh! Yeah, a bunch of people have recorded
there. The Barnes studio. Yeah, yeah, yeah. But
it was a very small show, probably 150 people,
and he came and he played it acoustic, and I
went with my wife. That was the first time we
saw him live, and... He was awesome. Dude, that's
rad that you even went there. That's a pretty
famous studio. It was so cool. It was so cool
to be in that space and, you know, the whole
time just thinking, like, to be here. But yeah,
that was one where it was on a small scale, but
it was, I definitely left being like, wow, I've
never seen, like, that was awesome. I think,
well, I mean, one that sticks out, I hate to
say it about a band that I've worked with, but
when Ice Nine Kills played the amphitheater here,
You know, I had not seen him in forever. The
last time I saw him, it was like, you know, in
Syracuse. They were like playing The Lost Horizon
and it wasn't full. So a couple of years ago
when they came here and, you know, they were
playing, I think it was like there was 11 ,000
people or so. It was some crazy number, you know,
and to hear everybody singing along and all that.
And I texted my parents and was like, hey, you
know, like seven miles away, we made like the
first record for this, you know, in your basement.
And now look what it is, like this many years
later. but that was one where it really actually
hit me that what I've contributed to has actually
grown in this way, and that was an experience
that I feel like I wouldn't trade. That's incredible.
Last one for me, and I just, by the way, I almost
just shit my pants. I thought we'd been interviewing
him for an hour and a half. I realized we hadn't
set our clock back. I was like, boy, I knew I
was enjoying this, but I didn't know we'd been
here for a fucking hour and a half. Now, this
one we might have to edit out, because you might
have to get back to me in a day on this, but
this is my all -time favorite question to ask
other... Musicians and songwriters if you could
pick a live or dead your ultimate band to be
on stage I'll give you an example like for me.
It would be Steven Tyler as the front man it
would be Carter Buford on the drums Victor Wooten
on the bass, and then I would probably go Eddie
Van Halen on guitar I'll just say that for now
damn. I mean that is a very difficult question.
It's a very that's why I say we probably have
to edit it out, but You know, you might just
have it top of mind. I don't. I feel like this
actually makes me feel guilty if we're not, like,
when I think about bands, I think about them
as a unit. I know what you mean. You know, and
I'll listen to it. Technically, it's got to be
what's good for this genre and what's good for
this song. You can't just pick. But even for
me, it's like, I don't know if I could identify,
like, you know. It's hard. Yeah, it is. We'll
edit it out. We'll edit it out. But man. You
are what? Steve, you have done so much. Dozens
of film and game trailers. You've co -wrote and
produced 200 albums and top 10 singles. And the
Square Studio, which is not square, it's actually
rectangular, we found out. But we won't hold
it against you. And you're right here in Syracuse,
and we're so happy. I mean, that's what Good
New York is about, is shedding light on awesome
shit going on in New York state. And when it's
right in our backyard, it's even better. Yeah.
It's so cool. Love having you on. Steve, is there
any plugs, websites, stuff where people can check
out all of it? My website is just stevesoftjack
.com. I also should plug Capture Studio. That's
the building that I'm in that my buddy Jaco owns.
You know Jaco? Yeah. Oh, no shit. Yeah, yeah,
yeah. He's like, see, he's the guy. He's been
a mentor forever. I've recorded and either played
with everybody surrounding him, but have never,
like, we all know him, but I've never worked
with him, but I know Jaco. Yeah. That's a big
name around here. Well, so his building, you
know, which is the building that I'm in, there's
three studios, a bunch of engineers, but he just
did a really cool project where he remodeled
the whole thing and essentially, like, If you're
used to recording on your laptop in your bedroom,
now you can go in and in like five minutes with
a USB drive, you can put drivers on your computer
and have access to his entire studio and run
it from a front end that you're comfortable with.
So it's super cool and the building is super
cool and all my friends work there. Definitely
check that out. I think that's capture .studio
is the web address for that. Awesome. And catch
Steve on tour with Ice Nine Kills. Yeah. No,
he's not just hanging out. He's playing fucking
guitar, man. I'm excited for you. Thank you.
How long is that tour? I think it's like 21 shows,
maybe. I leave over like four months, three months.
No, it's short. I leave the 10th of this month,
and I come back the 17th of December. Oh, OK.
We're in time for Christmas to celebrate. Not
super crazy. That's awesome, man. But yeah, it
should be fun. I'm excited for you. Enjoy your
travels, and I hope you have some fantastic shows.
This has been really awesome, man. I really appreciate
you coming into the show. Yeah, definitely. These
guys will attest. I say it off the air. I'm going
to say it on the air. This has been one of my
favorite interviews that we've ever done. Cheers,
man. Thank you. I really appreciate it. I don't
get the opportunity to do stuff like this very
often, so I appreciate it. You can come back
any time, man. Any time, my friend. All right.
I think we got it, my friend. I think we did
it, buddy. I don't know what else there is to
say. I mean, I could think of a million things,
but we've been here for four hours according
to that clock. According to that clock. This
is Good News York, sponsored by ads on the go.
Get it on the go .com. What do we got later this
week? Well, Amanda. Everson Museum. Everson Museum.
We're going there, right? Samaritan Center. We're
going there. We're going to get very cultured
this week. Samaritan Center. Yeah, I feel like...
And talking to SOS about their trip to Ghana.
Nice. We're getting worldly. We're getting culture.
We're getting... Wow. We're going to blow your
mind again. Dude, we're going to be smart by
Friday. We're going to be, like, really smart.
I totally hope. Yeah, well... I'm mad that's
Mike. Danny behind the board Steve's object the
square studio check them out peace out