I just wanted to say one thing, which is, a great piece of advice that was said to me years ago, which is, Â doesn’t really matter what door or digital audio workstation that you use, as long as you, you know, learn one and learn it really well.
 So I don’t want you to feel that you need to know lots of different doors. Okay, yes, there are some people that do, out there, but there’s lots of people that don’t. Lots of incredibly successful people just know one piece of software. In fact, some people in no obscure software. Well, it wasn’t obscure years ago.
Fruity Loops, for instance. That’s a big American, thing. And, you know, loads of people  still use that and have been super successful, with it and whatnot, but don’t feel like you have to learn logical Ableton. I think of them like instruments.  So I  know Ableton reasonably well,  nowhere near as sigh, I am sure. but I feel like the music that I may I I’ve made in Ableton, it, it is stylistically different. It just makes me do things in a different way.
It’s a little bit like  the guitar and the piano. Write a song on the guitar, write a song on the piano. They’re gonna come out differently by sheer nature of the instrument. So Ableton  facilitates things in one way, and logic facilitates things in the other way. Nowadays, especially, logic Pro Tools, Ableton Cubase, new Endo, whatever it might be. They’ve all got very, very similar things. And, I’m very, very happy with, using Logic now because as we’ll get into, there are loads and loads of things which really remind me of Pro Tools and Remind of Ableton.
So Logic has stepped up the game, massively  over the years. and it’s, you know, it’s really exciting. It just facilitates more and more music making and ease of music making as well, really. so don’t feel as though you need to learn Object Logic and Ableton. just pick one, the one that you’ve started with, and just carry on learning it more in depth, really, because  they’re in a lot you can’t do with all of them, to be honest.
In fact, I’m, I’m not even sure, that I once thought about going to Cubase because of this various compulsory things, which are pretty cool. but, you know, I don’t do enough film work or things like that to really warrant getting into those things. But for Songwriting Logic’s, brilliant. Â Okey-doke. So, let’s get into, just one brief subject.
I know this is of course all about logic, but you are after all, always in, aspiring songwriters, or no, let’s face it, by the fact you’re doing this course, you are already songwriters  ’cause I’m sure you’ve written at least one song by now. just wanted to get into a little subject matter that, I’ve been talking about this week. It seems to be in mentoring sessions and appraisal sessions that I seem to have weekly themes.  I dunno why I don’t really mean to, but things that just seem to come up.
And this week has been about listening, and listening with certain types of ears, and the analytical process of listening. So just because I played Rag and Bone Man at the beginning, I wanted to play you. just to give you a little insight, I’m just gonna play this track All You Ever Wanted, which is one of the latest Rag and Bone Man tunes.  And  just give you a little insight into what my brain is doing when I’m listening to music. I did it with somebody the other day and I thought it would just be interesting because obviously the way that my brain’s listening to this track is exactly the same way that I’m listening to any music that I make  from the drums, the bass, the vocals, the melodies, the lyrics, all these kind of things.
It’s got a nice vibe. It’s got a bit of sonic material, that sort of guitar  kind of thing, which has got, gives it a sort of vibe, a sort of vibe sound. It’s got a driving rhythm. it’s got a intro, which feels like exactly the right length for a single. It sets the scene without going on too long. Lot of information to take in, in the thing, but it sort of paints the picture.
The backing is talking about, you know, jumping over fences, kids, it’s very sort of street sceney. It’s sort of, it’s a bit of a story type lyric straight away, quite a lot to take in, in that first phrase. You almost might miss it. So we need a bit of a break, Â and that’s what he does pretty much straight away with just giving us a little instrumental little piece of instrumental break to let us take in what you just said. a little break with a little hooky bit.
So sonically, that sound’s been really worked on, Â which I really like. It’s the synth, but it’s a cool sounding synth, not just anything. It sounds modern sounds now. and we’ve got the right amount of break before the lyric with something hooky that really super engages us as well. Now what this strikes me as, like, what, what’s he talking about?
I’ve sort of got fences and helpless. I get, it’s very sort of story based, but I’m missing quite a lot of lyrics.  Do I mind? Not really, because  you’re giving me such a hooky, kind of like traveling, melody,  repeating just enough and then changing.  So  humans, we get really bored  giving me this melody, you know, it’s just sticking in my head round and round and round, but I don’t get bored because then he changes it exactly the right time for the human being to engage with it again.
So I’m listening in super, super detail. And the one thing that this is great, which I’m always talking about is the point, the point the mic at a an arena crowd moment. Â Can your song possibly have a bit in it that when you point and when it’s performed in an arena as we who wants to, their song performed in an arena?
Yes, please.  What, when you, when all the band stops and you put the microphone at the crowd, what they’re gonna sing to you,  if your song doesn’t have that in even a little bit,  you know, use your imagination.  Maybe it’s worth trying to get something like that in  that bit. For me, there is  crowd, oh, you ever Wanted, I can hear, I can hear thousands of people singing that back. So that to me is a big tick,  you know, in the hit box,
