Show Notes:

We sat down for a conversation with MostlyEverything and talked about… pretty much everything.

In this episode you’ll hear about the benefit of working with engineers and producers, adding value to your community through collaboration, continuing to evolve through your career, and even a bit about navigating the landscape of record labels.

KOBY: [00:00:00] How’s it going? Everybody. I’m Koby Nelson and I’m here with my cohost Jake Mannix.

JAKE: [00:00:05] Hey,

KOBY: [00:00:05] How’s it going, Jake?

JAKE: [00:00:07] doing pretty good. How are you doing?

KOBY: [00:00:08] Pretty good. And today we’re sitting down with the supremely talented artist producer engineer. He recently opened up a brand new studio space called sunroom studios and his new single understand has gotten stuck in my head. Literally every single time I’ve gone for a run since the tape came out, MostlyEverything.

How’s it going, man?

MOSTLY: [00:00:29] Hey, how’s it going, bro?

KOBY: [00:00:31] Pretty good. Thanks for being here.

MOSTLY: [00:00:33] Thank you guys for having me.

It’s a it’s dope. I feel like, you know, we were talking a little bit before this and I think you guys are both some cool dudes. We’ll we’ll definitely have a good conversation.

KOBY: [00:00:43] Yeah, thanks. So I’m looking forward to it. I mean, we’re just meeting now for the first time. I know you and Jayco go back pretty far. Why don’t you guys just give me a rundown really quick of, how that relationship developed, how you guys met how you’ve come to work together.

MOSTLY: [00:00:57] work Damn. I think the first time I actually met Jake. Wasn’t it a, it was an upstate concert hall. Yeah. One of those summer shows. Yeah. When like the two dressing rooms shared the out outside space and it was Johnny and solely and swab.

Right. That was like that big one with like 700 people, like close to. but yeah, one goes to that now. Shit,

JAKE: [00:01:21] at least a year or two.

MOSTLY: [00:01:23] Yeah. So like

JAKE: [00:01:24] probably two years, this, this, this summer,

MOSTLY: [00:01:27] I mean, I feel like I’ve known you way longer. That’s crazy. Um, but we’ve just spent that time together in the studio at this point.

pretty much Johnny stuff always sounded good. So when I saw Jake at the show, I was like, you know, I introduced myself cause I was an engineer too. And I just could respect that. And, um, I don’t know he was a cool dude. I guess I was a cool dude to him too. And we just got into like, just started working on shit.

You know what I mean? Um, and from there I just was just kinda like, dude, I need an engineer. Like ironically enough, when I try and engineer my own music, I always get stuck up on it. Like I could mix my own music, but like, I couldn’t track my own music cause I always like second, guess it way too much, like in the process.  I wanted somebody there who could just like, kind of help me push through that. And yeah, we’ve just been working like steadily every ever since. Pretty much. Yeah.

KOBY: [00:02:18] nice. So that was, you said around two years ago that you guys met, how long had you been making music before that? Cause you’ve been at this for a little while. It seems like, right?

MOSTLY: [00:02:28] Yeah. I’ve been at it for a long time. I started rapping and just like writing songs when I was like, literally like 12 or 13, like,  know, they were bad for a long time, I guess. Like, I don’t know. I look back at that shit and I’m like, Holy, Holy shit. You know what I mean? but then I got into the technicalities of music and engineering was the first one that kind of revealed itself to me.

Cause. Whenever I recorded myself, it sounded awful. Or like, whatever, whatever me and my friends recorded ourselves, it sounded terrible. So like, I just felt like that’s something that I wanted to, you know, a problem I wanted to solve and engineering just started because of that. And then, um, The producing just followed kind of naturally, I guess, you know what I mean?

I don’t really know when I started making beats. I just know that like I’ve made a lot at this point, you know?

KOBY: [00:03:18] So that was all self taught. Then you just kinda pick that up on your

MOSTLY: [00:03:21] Definitely. Yeah, definitely. Everything is self-taught. yeah, no, I’ve, I mean, I’ve had people help me along the way. You know what I mean?

There’s always people you can learn from. but like, I never went to school or anything like that.

KOBY: [00:03:34] So how do you think that as far as like your song writing and everything, how do you think that being an engineer. and then having that evolve into being a producer has helped you become better as an artist or like influenced your artist’s career in any way, or I don’t know your, your whole brand as an artist.

MOSTLY: [00:03:52] Um, I feel like it’s definitely allowed me to like, I feel like when you’re writing a song, right. You’re like making a prediction that what you’re writing is going to work with whatever production that you’re, you know, writing it to. Cause, I mean, unless you’re writing it and nothing and just place any on production later, which I’m sure people do.

but I kept doing that. I would write something and then it wouldn’t really work out on the beat. So then. I honestly just started freestyling, like, and I’m not saying I freestyle my songs. I just mean like, I oftentimes I like to curate beats and production first and then kind of figure out, you know, what’s the vibe like, what am I feeling?

Am I even going to be able to get on this? And Jay can attest to that. I’m sure. Like at some studio sessions I’ve come in with. We’ve thrown six, seven beats in the same session. And like, I just try and do a melody to each one. And like, we just cycled through them and like, whatever, if something catches, you know what I mean?

It catches and then you can just make a song to it.

KOBY: [00:04:47] Yeah, so that’s, I mean, that’s kinda like the, the speed of, a session. I feel like that’s where having another person there that you’re familiar with, you’re like on the same wavelength as the person who’s engineering, and that can be like super helpful to just like, get those. Song ideas out super fast.

Do you guys like do that for each other? Right? Like it’s kind of, it goes both ways there. Right?

MOSTLY: [00:05:10] we’re kind of on the cusp of him, like starting to come into my studio to record his stuff, but

JAKE: [00:05:16] talk about that all the

MOSTLY: [00:05:17] time,

JAKE: [00:05:17] the, the, the importance of the connection between an artist and an engineer in many

MOSTLY: [00:05:23] facets.

Yeah. That’s true. That’s so true because. We’ve both been engineers to other artists as well. So we’ve kind of seen like, you know what I mean, have we have two perspectives on it? Like, so when we work on music together, I think it’s just like a real team-based effort. Honestly. Like I don’t think a lot of my songs would be the way they are without Jake.

You know, it’s funny to think, but like half the songs I record, I hate. And just use a song concepts and like rip to something else until I can get here. You know what I mean?

I feel like, you know, as much as artists do travel to different studios and deal with different people.

at least in New York, I’ve seen a lot, like artists deal with the same people relatively often. Like once they find a sound that works and like is hitting every time they’re going to go back to that. Um, and I, you know, I’ve seen guys who have worked with like, Just a couple examples and they’re both New York, acts two is a J I, uh, the Prince, I know like a producer he’s worked with for mad long time.

like I haven’t known him for a long time. He’s worked with Jai for a minute now though. Like, I guess he’s, you know, one of his in house dudes, and I’ve just seen on social media, you know, he’s super loyal to him and I know, uh, Let’s do that in New York who works with Lil TJ a lot as well. And, um, I’ve kind of seen, you know, he’s consistently working with him.

It’s not like it was a one song type of deal. And, um, I think that’s important because hasn’t always been that way in the industry, like, um, producers and engineers for so long. And even now, like kind of just get. You know what I mean? Like use the leisure of the, you know what I mean? Whether it be the artists coming in and just pay an hourly, which is still, you know what I mean?

Cool. To go book studio time, of course like support the craft by any means. But you know, like I think equity is a different conversation for sure.

KOBY: [00:07:22] Yeah, definitely. I mean, for, for artists who are out there listening to this and want to be able to do that same thing, like be able to

Hook up with somebody who really understands what they’re going after. Like what do you, how do you think artists should go about doing that? Like, is that just one of those things where you kind of, I don’t know, like you and Jake, like you sort of meet up with each other at a show and it just happens or are there ways that you think you can actually go about finding.

That person for your brand, because ultimately I think that’s a really important thing for developing as an artist and having a consistent brand is having, I mean, we’ve talked about team like teams on this podcast a lot, and people that you bring into your team. so I think having somebody, like you said is really important, but how do you think you’d go about finding that.

MOSTLY: [00:08:13] I think it definitely all starts with like, just being a part of a community.

Like, I mean, I wouldn’t have met Jake if, you know, I didn’t make music in upstate New York and, you know, really try and go out there and meet other artists and meet other producers and engineers and not only meet them, but show love where it was. Do like, you know what I mean? I think a lot of people overlook the importance of that too, because what that does is, you know, if, if you have. 10 20 people doing the same thing and they’re all dope. Now. Everybody knows everybody and everybody collabs with everybody. So you’re naturally by becoming a part of a community you’re always going to. Essentially have these little trial runs with people. Like, and I don’t want to say trial runs in the sense of like, Oh, if it doesn’t work out, you’re not cool with them.

I just mean like, you know, you can’t force anything. Like if you get in the studio and like, you make something cool, but it’s not something that you could do every day, then that’s just the way it is. but like you said, it’s been like, what two years we have at least one session a week. So a hundred sessions probably easily.

Yeah. Like at least eight,

JAKE: [00:09:25] cause there’s some times where we’ve done two week for weeks in a

MOSTLY: [00:09:28] row.

KOBY: [00:09:29] are there any other people that you could point to, whether it’s within the community or outside the community that have been a big influence on you as an artist, whether that’s through your music or just through your. Business as a whole, because I mean, it seems like you’ve, you’ve seen at least from what I can see on my end, like a, quite a bit of growth, over, especially the last two years.

Is there, are there any specific if people that have, have been influential, I guess Jake would fall into that, for sure. Um, but are there any other influences you could point to.

MOSTLY: [00:10:04] Yeah, definitely. Jake, I mean, of course, You know, I’ve been known as to like, to be part of a collective for many years called entre band. So all the members of honor band, have definitely helped me grow as an artist and put things into perspective for me. And, um, you know, I have a lot of friends who do music, that just you meet through whatever Instagram like social media is great that way.

Like meat and actually using it to meet other people. And, you know, there’s a producer out of Boston. I did many songs with in a row. Some of my biggest songs at the time was flying. and it was cool cause I, I kinda like locked in on a bunch of his beats and like we built a relationship and we still talk from time to time.

And then, like I haven’t done one of his beats in a minute, but you know what I mean? I just. He kind of helped me develop a sound along with Jake for a long period. Like that was like the month where I said, I’m going to drop a song like every week, this month. So we just like shot off five and they weren’t even all done when I announced that we just kinda like cooked them all up, like super quick.

And, um, so that was, that was a cool little stage. And then, um, you know, I was started working with this dude, Nick Nash, we did a bunch like, and that’s what I mean, you meet producers and then they’re just going to keep giving you that sound like every time you need that sound, you can go to that person.

And it’s like, I’ve rarely worked with like, I’m super picky too. So like, I rarely work with someone and make something dope once, you know what I mean? Like if we make something fire and I’m like really liking it and thinking it’s going to go somewhere, you know what I mean? I’m going to hit you. For more of that.

And I think that ties into the last conversation topic that we were talking about, about just having the same team and building those relationships to like, develop your sound.

KOBY: [00:11:47] Yeah, it sounds like, I mean, from what you’re saying, it sounds like you kind of really jump in and just try and create a lot of material. I dunno if that’s all stuff that you use, how important do you think it is to have that like volume of, of work? Is that a big part of your sort of creation process where you’re just creating a lot and then some of it gets scrapped and that’s kind of how you work out a sound with these producers and these other collaborators,

or just like how important is it to, to try and just be prolific with what you create?

Like you’re just putting out a ton of material, whether you release it or not actually creating all of that material.

MOSTLY: [00:12:28] it or Yeah. So I think, I think this is pretty standard, at least as far as I’ve seen, um, everybody has their throwaways, like nobody gets in the studio and makes a hit record every single time. I mean, and if you do like great go, you know what I mean?

Like great. That I’m like, you know what I mean? That’s amazing, but I wasn’t as lucky and like everybody, I know wasn’t as lucky either. So like literally

it’s.

Yeah.

KOBY: [00:12:59] I think that’s something that a lot of people need to hear though. Cause I mean, there, I think there are a lot of people out there Who feel like, I don’t know, that’s a barrier for them, like creating a lot of songs and feeling like they’re not good is like a, a reason to not make more music.

You know what I mean? Instead of a reason to make a bunch more music. So I don’t know. I think that’s something that a lot of people need to kind of do like get bad songs out in order to create enough material that you actually have something that you’re proud of. And that’s, that’s worth putting

MOSTLY: [00:13:33] there.

Yeah. And what a lot of people like Hm. Neglect to realize, and like myself included is that nobody really gives a shit like nobody is sitting there, like waiting for you to drop a bad song. Like if you drive a song and it doesn’t hit, usually what happens. Cause I’m like, this has literally happened to me.

Is. People just don’t listen to it. And then like, nobody really says anything and you’re like, all right, that didn’t really work. Let me see why that didn’t work. And usually honestly, like it’s because I didn’t, or whoever didn’t promote it correctly in that scenario, because I’ve seen people promote absolute trash, but if you do it the right way, you’re going to get numbers.

Like that’s unfortunately the truth of the age that we live in too, like. Anything can get heard right now. So it’s a double edged sword, for sure.

KOBY: [00:14:25] Yeah. I mean, I think that’s what you just said is huge. Like people are so worried that they’re going to put something out that isn’t. Loved by everybody that they just don’t put anything out. And I think that, I mean, that holds you back completely. You, if you, if you put something out and people don’t like it, you move on to the next thing and you learn from it and yeah.

And use that as a feedback loop. That’s something that we’ve talked about on this podcast before. Like, if you’re putting out content regularly, putting out songs regular, you can use that too. Adjust and, and kind of read the room and read the reaction of the audience, and use that to change the way you make songs and the type of songs that you make and your overall sound.

And I think that a lot of people, if they put something out and it doesn’t, do well right away or it doesn’t do as well as their last song. That’s more of a, a reason to not make more music than it is to make music. So, yeah, I think, I think that’s huge. I mean, what do you think, what do you think are some of the other bands, barriers that lots of artists out there have that they need to push beyond?

Like, what’s the main thing that you see holding other people back? Cause you’re working with people in the studio as well. so, so what are those kinds of things that you see the most.

MOSTLY: [00:15:41] Um, honestly, big thing they don’t, they don’t build relationships. I don’t want to use the wrong terminology and like, make it seem like. Anything negative. but I feel like you can build two different types of relationships and like, one of them being, you know, you kinda come into the studio. He would just want to do something quick. You’re not really looking to have me like take the proper time. you haven’t really considered the proper budget.

Like, you know what I mean? I’m always going to

work with what anybody has, but at the end of the day, like budget is definitely a factor and people, I think, need to be realistic about that. Like, you can’t go into it with no money. You gotta be able to pay money for. The mix, you know, I mean, to be, I don’t know if you’re getting a free beat off of YouTube or whatever, but then you got promotion, the art, and I mean, that doesn’t sound like it’s a crazy amount of things, but for an independent person who might not be doing music full time, yet it definitely adds up. and I just think you need to, like, you’re better off building relationships than throwing money at something. And, and also building your, building your value because that is, what’s going to get people to even give you the time of day. You know what I mean? Like I know a lot of people. That I’ve just seen work really hard.

That from the start, our relationship was just mutual and I’ve never seen a dollar from them at all. And we’ve made so many songs. You get what I mean? And that’s just because of the way that relationship happened. And, I can keep bringing it up, but that just goes back to the whole community and, you know, doing something for the right reasons and attracting the right people because.

A lot of people don’t do it for the right reasons. And I think that that shows and you know what I mean, energy, energy just doesn’t lie. Like,

KOBY: [00:17:31] well, I really like what you just said about value. Relating back to community. Cause that’s kind of, that’s something that I’ve never really thought of in that way. Before that your value as an artist, isn’t just value to your potential fans or your potential listeners. It’s also value to the community as a whole and, and coming at it from, from that angle, especially when you’re in the point of your career where you’re just kind of starting out, budgets may not be.

Huge or maybe they’re non-existent and you’re, you’re just trying to figure out how to get the first song made. I mean, that’s, that’s a really interesting idea of value in that you’re helping other people in your community and your just collaborating like that’s value as well. Not just your value as an artist.

You’re. I don’t know, you’re well known and you have tons of streams and you put on a good show, like that’s one type of value. And then I really, really liked that. That’s one, that’s something I’ve never really thought about

MOSTLY: [00:18:36] before.

Yeah, of course. I think a lot of people overlook that, um, They just don’t care. I mean, it’s the truth. Like majority of people just don’t care enough to think about, the impact. I think a lot of people, especially in upstate New York, didn’t even realize that it was possible until this last like, generation of. People came through and you know what I mean, kind of got slept on for however many years that we all got slept on up here. And even now, I mean, even now people are getting slept and it’s, I don’t know why that is, but, I guess we could talk about that too. Like, why is upstate New York, like with so many talented artists wise, upstate New York, not really one of those cities that’s like on the map yet, like quotes.

KOBY: [00:19:24] Yeah, but I mean, at the same time, I feel like it’s, it’s definitely headed in that right direction. Like there, like you said, there are a ton of talent people up there, and I think it’s kind of right on the cusp of that. Like, I don’t know if, if in, from your perspective there was a point along the way, or either of your perspective, if there was a breakthrough point where, it started to become a real thing, like can either of you think of.

Something some event or anything like that. That was really kind of the turning point where this community up there really started to see some actual recognition and beyond that sort of upward trajectory where it looked like it could kind of flip over to something bigger.

MOSTLY: [00:20:09] I honestly think it was the night Jake and I met,

talking

about yeah, because that was a big show. That was a big show with only local talent on it.

JAKE: [00:20:19] it was

KOBY: [00:20:20] So how did that come about then?

JAKE: [00:20:21] Yeah.

MOSTLY: [00:20:21] again, this is what I mean, the essence of relationships and community, we all just knew each other and were friends and had made music and like, Had made music over many, many years, like I’m talking, you know, swab, the Dom was on that show.

him and solely did a song two, two years before that show even happened. You know what I mean? And nobody could have even anticipated how those paths would have developed to that point, at least at a local level, but they did. And it was just because people got together to make music.

KOBY: [00:20:57] So, where do you, where do you see that going next as a community or for your own career? like what’s, what’s the,

I dunno, what’s the end goal, from, from this point or even what’s the next step? Moving up.

MOSTLY: [00:21:15] And this, the question that gets asked all the time is like, you know, this one, like what is, what was the reason like, you know what I mean? Why? And, um, it’s all the answers always changing. I mean, I used to want to make all these crazy platinum records and like be the biggest producer ever. And. just go that route. And like, as I got older and like dealt with more industry situations, I kind of realized like, it’s cool, like that. Stuff’s cool. And, Success is definitely cool. I mean, nobody who’s succeeding as a music producer right now is going to look at you and tell you, you know, this sucks. Um,

yeah, unless they signed a bad deal, which is one of those industry situations that’ll

make you hate the industry. but now I just wanna make the best music I can. and I’ve just, you know, I’ve realized that the learning never stops either. You just always gotta be willing to learn, because what happens is when you think, you know, everything, you just get dated. And that’s what I’ve seen happen to like a lot of, a people who just like get to a certain point, nobody likes super close to me, because again, I feel like you are the energy you attract. So like, I mean, I try and keep it super relevant and like, I guess, relevance of bad term, but just like evolving, you know what I mean?

And like, because of that, I rarely am stagnant or hanging around people who are stagnant, just in life and in music, I think stagnancy is very dangerous.

KOBY: [00:22:55] is that, I mean, is that a matter of. Changing where your inspiration is coming from, because I mean, from what you just said, before, where you’re kind of goal has changed from the objective a of making a bunch of platinum records, being a huge artists, whatever, whatever that can really mean too, just making the best music you can, and constantly trying to learn constantly trying to evolve.

Does that, is there a, A difference in where your inspiration comes from now versus when you first started either on the music end, like I dunno where you get ideas for production, or, or even on the business end too. Like, what does, what does that look like now versus how it used to

MOSTLY: [00:23:42] how to use work? I guess I just like, when I started making music, right.

It was just like, It was great. It was, I mean, all my friends and we would pretty much just make records and nobody really worried about anything. and I think everybody kind of has this evolution as well and the business side of things. And then, um, you know, when the numbers started coming and everybody had a little bit of money coming in and whatever, you know, other people caught wind of it and got involved.

And I, I think eventually. You know what happened for me at least, was it became about making money and meeting deadlines. And, in a lot of cases, like, especially with the, in a label, Case like you, you kind of have to end up tracking down what you were promised, at least from what I’ve experienced.

And I know a lot of producers and guys who have told me the same stories, it just kind of is the way it is and the industry cause labels just, I don’t know, they hold all the cards or AKA all the money. So, which is changing, which is changing. But

you see it time

and

time

KOBY: [00:24:44] Yeah. I mean, that’s something that I wanted to talk about on the podcast at some point, like, even with all

Kanye stuff that’s happening, that’s happened recently with contracts being posted and all that kind of stuff. It’s got people talking about labels again. I think, I mean, part of the reason that this podcast even exists is because the industry has been sort of.

I dunno, par parts of the industry at least have been sort of moving away from the label based structure, just because people are sick of that. People are sick of having to, Yeah. Like you said, chase everything down and make sure that they’re getting what they’re supposed to be getting for the value that they’re providing.

So, yeah. I mean, I think that’s a really interesting thing that’s happening right now. And what, do you have any ideas for? Like what the solution to that is? Like, is it, is it still worth pursuing the label route right now or is that kind of like a sinking ship at this point? Do you think?

MOSTLY: [00:25:46] You think? I mean, don’t get me wrong. It always, it’s always case by case. Like if somebody, if somebody has money in the right connections and the terms are good, and they’re going to put you through that door, like.

You know, walk through the door, like, why wouldn’t you? because in a lot of cases, like if you get a good deal, it’s not for an insane amount of time. Like you might be on it for a few years, but you know, that’s kind of the thought process. I think at this point is do a deal when you need one quote, unquote, and then, you know, really hustle while you’re on the deal and come off it and, you know, gain something from it and then capitalize on it.

Which isn’t, isn’t a bad way to go about it. But personally, I feel like. It’s not necessary anymore. And I think, um, the way we change that is just by own linking, like you brought up the Kanye thing is he’s just talking about ownership. I mean, that’s the whole game. These guys have always had the money and they’re just trying to, I mean, I don’t think their goal was like, we must maintain the money power, but like, you know, it’s always just like a metaphorical power struggle.

KOBY: [00:26:55] it’s been going on for forever. going back to like, I don’t know who the first person to have that sort of. Discussion about ownership, Prince or, yeah, probably Prince was one of the famous ones and I don’t know, Michael Jackson had that same sort of thing. Taylor Swift has had that same conversation.

It’s sort of the same conversation that keeps coming back to. To ownership and, and what artist’s rights are and it’s again, I think a question of, of value of value as an artist and then the value of a label structure. And I think that’s

sort of broken down that, that balance kind of recently. And like you said, like it’s, it’s not really.

Necessary anymore. I think the tricky thing right now is that having a label deal, a record deal, I think is still one of those things that is, I don’t know, it’s kind of this like romantic notion. Like if, if

you, if you get a deal, that means you have crossed some threshold. I don’t know.

It’s one of those kind of weird things. it’s going to be difficult, I think to get around that just because I feel like at least for the moment, there’s always going to be an artist that’s willing to jump into a deal that doesn’t really work in their favor just because it’s, you know, it’s a record deal.

Like it’s, it’s that kind of symbol of crossing over into something

MOSTLY: [00:28:24] something Yeah. And I think that’s like what they do, that’s their business. It’s like, it’s like the same question of. Is the return on investment of a college degree still worth it? Like if you ask any university professor, they’re going to tell you absolutely. Like, I mean, At least if you know, they’ve been working there for a couple of years and they want to keep their job, right?

KOBY: [00:28:45] yeah, I’m a university professor. So I’m going to, I’m going to stay out of that conversation.

MOSTLY: [00:28:50] Yeah.

Okay, cool. So like, I mean, you get it then. right. So like, if you’re an ANR at a label, you’re not gonna, you’re not gonna say to these guys, you know, this isn’t the best thing for you. You know what I mean? You’re going to tell them what ever they want to hear.

KOBY: [00:29:05] and it’s also a case by case thing, like you said, like as a, as an ANR person, you can’t go up to somebody and say, well, I don’t think this is right for you.

MOSTLY: [00:29:14] you.

I’ve literally been in the room where an ANR said the wrong thing and just literally, just like that, the deal, like literally in a puff of smoke, like it was gone and just,

that was it

done. that’s the job of the ANR. Like you got

to

make that,

that work for the artist and like how they think, my point ANRs responsibility is to make the label appealing.

you know, that’s pretty much what they do at this point and also, you know, work hands on with the artists. At least the good ANR is working hands on with the artist and. That’s why I say everything is case by case too, because of course there’s anomalies in this industry and like the big quote unquote business that there’s still people on.

They’re still good people, you know, there. but I think what has happened in music and a lot of industry, and this generation is just like a lack of concern and like integrity. you know, people are just in it for like the money. And like the quick, the quick satisfaction, like nobody’s really trying to build something for the longterm.

KOBY: [00:30:13] and it’s, it’s still pretty focused. I feel like focused on the old ways of making money and like, like things get left in the conversation that just aren’t Appropriate anymore, you know, like like in label deals now, like it’s just starting to come over to being like streaming focused and having things actually changed to be streaming focused versus like distributing hard copies of things.

I don’t know the music industry. It’s kind of funny. Like, it seems like it’s always just slow. to make those changes and, and people like to hold on to the way that things have been done in the past and not like disrupt the system.

MOSTLY: [00:30:55] It’s terrible. It’s

KOBY: [00:30:56] yeah, it’s just kind of bizarre.

MOSTLY: [00:30:58] I know something I’ve been running into personally is like, bringing engineers into the conversation of receiving longterm equity on a song. because most of the time  And I think like, you know, five, 10 years ago, that was the case for the producer too. And like you were just saying, we take so long to realize these things when we’re kind of just going through the same thing over and over again, and like compartmentalizing, everything, like first it was the artist deserves, you know, to make money on their own music.

And then it was well, So does the producer, because they also made the song with the artist and now like, and I get why back in the day, maybe like the engineer kind of was pushed under the rug, because if you were getting into a big studio with like a studio engineer and stuff, like before it was accessible to everyone, you were probably paying a lot of money and very serious about your career or label funded.

So like, You were a talented singer, musician, whatever. And the, the mix engineer wasn’t really like producing you are vocally producing you. Like they were mixing you and like your natural sound, but that’s changed

KOBY: [00:32:14] It’s, it’s a really interesting, that’s a really interesting conversation, I think, Where the line of like the art versus like service services

MOSTLY: [00:32:24] provided, Totally. Yeah.

KOBY: [00:32:26] I

mean, I think you, you guys both have a unique perspective on that. I would want to hear your perspective on that, Jake too.

being kind of in all of the roles at once. Like you’re both artists, you’re both engineers, you’re both producers. You mix. You kinda see it from every angle, like for, in your personal workflows I’m to hear from, from both of you for this one, is, is there a line at any point there for yourself or is all of that part of the actual, like art creation?

The creation

MOSTLY: [00:33:01] art creation, the

JAKE: [00:33:02] I’ve got no idea.

have no idea myself.

KOBY: [00:33:05] Okay.

MOSTLY: [00:33:05] I think it’s honestly case the case. Like everything else, like sometimes. Sometimes. Yes. Sometimes no,

KOBY: [00:33:11] sometimes you’re just an engineer and you’re there for the, the technical part of it. And you make sure that the take happens and

MOSTLY: [00:33:20] it’s recorded.

Yeah. And you, you obviously, you know, like that’s what I mean, that is a service, but, and me and Jake’s case. He is giving me a space to grow. He’s helping me develop as an artist. He’s helping me craft a sound. you know what, I, you know what I mean? It’s like beyond just one session, it’s like, you’re building something with that person at that point.

You know,

like, I don’t

think, I don’t think if I go and pay money for studio time, the engineer should get a percentage on top of that. Like, I think that would be a little crazy, but. I think in the case, by case instance, like the industry has been changing in the direction of whatever the team says go is pretty much so like, if, if you have a strong team with leverage and  who wants that to happen, like it’ll happen.

And I think once a bunch of teams start doing that, which they of course are right now, then it’s really gonna change.

KOBY: [00:34:19] Yeah. I mean, I th I think that’s huge people coming together as teams it’s I think it’s also. Partially a matter of the technology too. Like it’s so expensive for people to record themselves, produce themselves, produce their friends, record their friends, and you know, like that, it, like you said, it used to not be a thing where you were, you were shelling out.

A lot of money to book studio time there, it was all this specialized gear that nobody had access to. But now it’s kind of, it’s kind of blurred that line and I’m, I’m sure a ton of people who listen to this podcast are in that same kind of boat where they’re filling multiple roles, trying to figure out where that line.

Is, and I don’t know how to, how to make that all work together as a business. So I don’t know. I think that’s a really interesting conversation on the, especially with the label side of it, that’s something that we haven’t really talked too much about on this podcast being, you know, self signed artists.

Like we, we talk about it from the front fully, fully independent, the things where you’re everything for yourself. You’re, you’re doing all the. The promotion. I don’t know. We talked about hiring out studios and stuff like

MOSTLY: [00:35:35] and

KOBY: [00:35:35] but,

the label side, that’s an interesting

perspective.

MOSTLY: [00:35:39] I think a lot of people who are independent to like still outsource, like, I think that’s a common misconception that independent artists are like this, like, stereotypical Jack of

all

trades. But, as long as you can figure out how to monetize something and funnel that back into your career. Like everything can be bought to PR teams, like PR teams is pretty much, you know, a label has an in house PR team for all their artists.

KOBY: [00:36:08] Yeah, that’s actually, I mean, that’s something I’d be interested to talk about with you because that’s not something that I’ve had a lot of experience with like a, a PR team and how that’s structured as part of a community. Can you give us a rundown of what that kind of

MOSTLY: [00:36:24] looks

like?

Yeah. So, I mean, to be honest with you, I’m relatively new to it as well, because it costs a lot of money. I mean, like, that’s, that’s the whole thought, right? It’s like the struggle for independence. You know, a lot of times isn’t creating something, it’s just like funding it.

I think a lot of people have dope stuff. They just don’t have the money to get it out or get it out the right way or like have the right visual behind it. Including me. I mean, I’m kind of still at a point where if I want to do, you know, a huge roll Alex, say if I wanted to get a PR team, right. Um, I mean, they, they either do it by song, which a lot of PR teams don’t do it by song because a lot of people claim you need at least like three to four campaigns to even have it be worth your time and effective.

so, you know, if you don’t get with somebody, who’s doing

JAKE: [00:37:16] it

MOSTLY: [00:37:16] song,

You’re paying off for it, like four to 6,000 for, you know, half a year, four months, something like that. And that’s a lot of money for an independent artist. Like, I mean, unless you’re doing crazy streams, which at that point, if you’re doing crazy streams, you probably have labels approaching you.

So it’s kind of like, You know, wherever you want to take it at that point.

KOBY: [00:37:40] That’s sort of like a catch 22 then because it’s one of those things where like, you need to have money in order to get the exposure, but you need to have exposure in order to. Get the money

MOSTLY: [00:37:53] Get the money

KOBY: [00:37:54] you know, it’s, it’s kind of a weird thing that I think a lot of people struggle with.

And I think, like you said, just finding something, something that you can monetize is like the key first step. We’ve talked about that before we had a couple of episodes early on that just talked about like creative income streams, like places that you can look for, just some creative way to make money.

With your music or, or with your brand, even, even not with music directly. but I think that’s, I don’t know. I think that’s super important. I mean, for you, would you say, is, is that kind of the engineering and producing side of things, or do you have other things that you do as well, to, to help help with that those income streams to help fund the

MOSTLY: [00:38:41] fund them? I mean, I would definitely say engineering and producing is my main income. That’s pretty much like, I haven’t worked like a punch the clock kind of job in like years at this point. but that’s not to say, like, I haven’t done some little odds and ends jobs. Like I’ve definitely been broke. I mean, that’s like just how, how it goes.

You gotta take the good with

the

bad, like before we had any type of like success. I did all types of stuff too. I delivered pizzas like. I bagged groceries. Like, I mean, I did regular kid stuff, you know what I mean? To get money, to do what I wanted to do. until I got to the point where I got the studio and like, I think the first rate I charged as an engineer was like $15 an hour.

You just did that for many years while like still working a regular job. And then eventually. It just got to be like, like, it pulls you in one direction, you get busy engineering and it’s like, I don’t want to go to work. I’m slammed in the studio. Why would I go to work?

KOBY: [00:39:39] Yeah, exactly

where it hits

MOSTLY: [00:39:41] It’s that tipping point.

KOBY: [00:39:44] so, so we’re, we’re starting to run lawn. Is there anything that you want to, to leave our listeners with, Hey, home message or anything like that? that, that you can, you can give some little, little nugget of wisdom

for

MOSTLY: [00:39:59] end.

yeah,

JAKE: [00:40:01] I would say,

MOSTLY: [00:40:03] I would say you determine your own value, like whatever, you know, whatever craft that you work on or are trying to grow, like don’t settle. Like, you know what I mean? You are the energy age you attract. So if you settle low, You’re going to get the low, you know what I mean? But if you like shoe high, you could fall on your face a couple of times, but eventually you’ll, you’ll attract what you were looking for by not settling.

KOBY: [00:40:31] Yeah. And I think that goes back to what you said earlier, too, that like when you fall on your face or when something happens and it’s not successful, like that’s not the end of the world. That’s just like a step people. Don’t people don’t care about the failures. when you put out something that, that really catches on and that people really latch on to that’s the thing that they, they see, they don’t look back at your old stuff that I don’t know has two streams or whatever, and say like, Oh, well I don’t, I don’t like this new song now because the old one was so bad.

Yeah, I think that’s a really good take home message. All right. So is there, where can people find you on social media or, or find your studio if they, if they want to come do some work or anything like that, working, working

MOSTLY: [00:41:18] look that stuff? Um, so my website is, uh, mostly everything, music.com, and that has like all my links and stuff on it.

and then, you know, on Spotify, Apple music, I’m just mostly everything. Um, And my studio, I, you can book right on mostly everything, music.com as well as beats everything’s right up there.

KOBY: [00:41:39] Cool. Well, I’m really excited for.

Whatever comes next from you. I’ve been a big fan of, of quite a few of your songs, songs, that, that put out over the last couple of years. I think the first one that, I really heard that caught my attention, uh, was on

MOSTLY: [00:41:54] on the rock. 

KOBY: [00:41:55] really enjoyed that song.

And then everything you’ve put out since then has been really great. So I highly encourage people, go check out, mostly everything, find them on wherever you stream music. and I mean, I’ll warn you now that his songs are going to get firmly lodged in your brain. cause it’s just a lot of catchy stuff.

So, make sure you go do that. and book some studio time. If you, if you want to get some songs recorded and produced. Real pro. So we really like doing these interviews with artists and we’ve got a lot of feedback, from you, the listeners that you like listening to them too. So if there’s somebody you think that we should talk to just shoot us an email@podcastatselfsignedartists.com and let’s get some more talented and inspiring people on here that we can talk to.

also go ahead and do us a favor and. Please go tell three of your friends about this podcast this week, and let’s just help spread the word and bring more people to the community and get everybody, learning from all these people that, um, hopefully we can bring on in the future. Sure. And we thank you in advance for that, cause it is it’s much appreciated.

so, so thank you mostly for coming on today. It’s been great having you. I think we’ve got a lot of. Nuggets of wisdom in here and some stuff that we, we haven’t gotten to talk about on this podcast a lot. So I really appreciate you being here and, hopefully we can, talk again and, and see some more stuff from you, in the

MOSTLY: [00:43:27] coming up.

Yes, sir. Absolutely.

Thank

you for

having me.

KOBY: [00:43:31] that’s all we’ve got for you today. Thanks for listening. And we’ll catch you on the next episode of Self-Signed Artist.

MOSTLY: [00:43:38] Peace.