Episode 007 - Interview with Kathryn Ezzy of Darwin band ”Kathryn And The Overbytes”
In this interview episode:
Self-producing musician Kathryn Ezzy of the band Kathryn and The Overbytes gives insight into how she and her band recorded and produced her debut EP in their homes - and how they achieved a phenomenal sound without using any fancy gear.
Also in this episode:
- How to record and produce from home
- How Kathryn recorded professional-sounding vocals without expensive gear
- Kathryn's tips and tricks of file exchange between different DAWs.
Some links mentioned in this episode:
Follow Kathryn and The OverBytes on Facebook
Follow Kathryn and The Overbytes on Instagram
Listen to KATOB's EP 'Hindsight 2020'
KATOB Interviews and EP reviews:
Stems and Multitracks: What's the difference?
Also mentioned: Flamenco Guitar player Francis Diatschenko
It would mean the world to me if you'd consider giving this podcast a 5-star review. Thank you!
How to Subscribe, rate and review this podcast (in less than 40 sec)
Contact the podcast host Yarn at mixartist.com.au
Tags:
#music production, #home recording, #recording, #mixing, #music production, #KathrynAndTheOverbytes, #Rock
Transcript (auto-generated by a bot - please forgive the occasional error):
Jan 'Yarn' Muths
Welcome back to episode seven of the production talk podcast. Thank you so much for being on board again we had lots of new subscribers again, if this is your first show with me, thank you so much for subscribing and maybe check out the previous ones, there were a few good ones among most of the time, the band's first release is not their proudest moment. In retrospect, at least, that is definitely true for other bands that I played in as a young lad. It took us a couple of albums to actually solve Okay, and play okay, but I guess that's most of the bands we all have our skeletons in the closet and the early releases are usually not our very best. So whenever a band comes across, that just knocks my socks off with a very first song. I think that's worth a mention. A while back, I came across the band by the name of Kitab or Kathryn and the overbites and long and I really liked the song and I got involved with the mixing and it kicked back straightaway and I really enjoyed it. And a turnout. It was the very first release and that is really noteworthy. Also, I really liked the music, so jumped at the opportunity to have an interview with the bandleader and main singer of Cato hub. So without further ado, here's our interview with Kathryn Ezzy. Good Okay, so Today my guest is Katherine Ezzy. Katherine is the bandleader and main singer of the band Kathryn and the overbites. You will from Darwin. Is that right Sam from Darwin, the Northern Territory Welcome to the podcast. Thanks for joining us today. So please tell us about yourself and your relation to music How did you end up being you know, the lead singer of your band, so I've always been involved with music, I started learning music from when I was about eight on all instruments, you know, the first instrument I started was the recorder and
Kathryn Ezzy
I wasn't too happy about learning the recorder but I loved music so I that's where I discovered that I really loved music and record a teacher I had was a piano teacher too. So I started piano when I was about eight. So music has been a part of my life from when I was very young.
My family isn't musical though. So my parents aren't musical. So my first introduction to music was really through these lessons as a child
so piano is actually my main instrument. And along the way, I've learned to play quite a number of different instruments and bass being one of them so I play bass in the band. And I've been writing songs since I was about 1213 so not too long after I started learning music I was writing my own songs not that they were any good I think and but I don't really have the records of I used to have a sort of file with a lot of the songs that I wrote from a really long time ago from when I first started writing but then when we moved to Australia I somehow lost that file and which I mean the songs weren't great in any way so I'll just you know there was my training ground and yeah, so I love the songs that I have now I started writing when I was fat 1718 and I wrote quite a lot through through uni because I was going through a little bit usually when you go through some kind of crisis some kind of emotional hole you could say that guy song like you more creative I don't know if you find that when you're at your lowest points that you're potentially you're at your most creative
Jan 'Yarn' Muths
yes yes yeah creativity can be like a vent for for for for the sower to steam of negative energies can really help to adjust and deal with the past so that's really good. Some of the most amazing music comes from these places.
Kathryn Ezzy
Yeah, yeah, exactly. Um and sometimes you know when there's some songs and the songwriting is so good that you feel like you know, no one could actually think that up themselves that it's something bigger than themselves that just comes upon them and song kind of writes itself oh
Jan 'Yarn' Muths
yeah
Kathryn Ezzy
that's that's what a lot of you know if you have quite a lot of my my stuff is a bit like that where it just comes you know, it's it's something that has to get out this angsting Yeah, so it's not like I sit down and think I'm gonna write a song, it's it's more that I have something to say that is really from deep within me. And I want to try and get out there and hence then write the song. So a lot of the songs that I have and that I sing with the band now You know, like, eight years old or you know, then I wrote them quite a while ago. But it's only now that I met other musicians that I mean, I've worked with musicians my whole life. So I've, I play classical music as well. So I have my foot in both worlds. I'm a classical musician, and a contemporary musician. But I think with my job and stuff, I was really quite busy and wasn't really in the mental space to fully pursue my own music and to bring life to my own music. So I didn't really actively seek out other contemporary musicians to work with. And then I noticed that you know, sometimes happy accidents happen when you meet someone who you just work really well with them, and they somehow give life to your ideas that you never thought was possible. So that kind of happened with so the lead guitarist in the band, his name's Tyson.
Jan 'Yarn' Muths
Phil has a bit more about your band, please send his band members.
Kathryn Ezzy
Yeah, so so Tyson. He's the lead guitarist, and I met him at a guitar festival that was held here in Dallas. And so his, his teacher is Francis dyachenko, which I don't know if you've heard of that name before. He's quite a well known flamenco guitarist,
Jan 'Yarn' Muths
I love flamenco. Some of the most amazing guitar playing is you know, flamenco is like the, the Emperor's League of guitar playing in my eyes, you know, it's,
Kathryn Ezzy
yeah, is a really good flamenco guitar player. So well, I got to look them up is is Tyson's lecturer at uni. So somehow coax Tyson into performing at this Guitar Festival. And, and, and I went to the Guitar Festival and I thought, this is he like had a backing track that then he played along. He soulard over is the backing track he recorded, as it was, yes might be someone who, you know, approached him and said, Hey, would you be interested in maybe doing some recording work like working together, because at that point in time, I just thought of trying to just record my songs, not necessarily make a band. And so I worked with him a bit. And then we decided to actually make a band. And I remember, you know, a couple years ago talking to him, or we should, you know, find and find two other people, drummer and guitarist or bass guitarist, to play with us. And then I sort of kept my eye out. So that's when I asked, So Josh, who is our drummer, I have worked with him in other areas, with like music camps in music education, because I'm a music teacher and Josh is also a music teacher and in instruments with music teacher, and so I knew him in sort of that area. And then I asked him, Hey, do you want to join our band, and the other guitarist Corey? As a funny story, how I met him too, so I play usually every year I play in the rural community carols by candlelight. I've organized the music for that for the last four years or so. And I knew someone who I asked Can we do you know someone who could play bass because I need a bass player? And then he recommended Cory to me, which is the other guitars so I've played with Cory before in Christmas carol bands before he was even in my band. So I approached him like hey, do you do you want to maybe be in a band together to play playing my stuff? And he's like, Oh, yeah, sure. So that's you know, that's us. So there's the four of us yeah, so I think you know, I drew from people that I knew because I'm a bit selective with who I work with as well
Jan 'Yarn' Muths
well that's that's probably a good thing you know, it's good to be picky there. And as you mentioned earlier now with creativity if somebody else can elevate your work to the next level, you know, sometimes when creativity bounces formed back between two people it can this literally Yeah, make magic moments happen and I guess that's probably the case in your new EP let's say where would somebody find your music if if we wanted to, you know, look your band up and find the song Please tell me that you released on March 5, where would people find it?
Kathryn Ezzy
So all the general streaming sites for now, so Spotify, it definitely will be on Spotify, which is the main one, I mean, I know it's a bit controversial, you know, Spotify and how much they actually pay artists and all of that but as as a starting as someone who this is our first song, we don't, you know, really, you know, we're not a bigger band that has a big following. So we kind of need to put our stuff up everywhere. So Spotify, it's definitely going to go on Triple J on Earth. So you could look it up on Triple J on and hopefully it gets onto Triple J that I'd be really cool, but who knows. So
Jan 'Yarn' Muths
all the big platforms and then people just type in and search for Katherine and the overbites. And just for clarity, the the bite is like the megabyte rather with a Y, rather than the bite from a dog. So overbite with a Y
Kathryn Ezzy
Yeah, and Kathryn has k a THRY
Jan 'Yarn' Muths
Okay, so we've got two y's in the name Yes, my boys name is miles and we call the miles with a Y. I love that letter. That was completely unrelated. Okay, look in the letter one. So yeah, just just to sum it up one more time. So it's literally the first release of your band. It's the first record that you ever put out. And yes, you know, looking at the typical career of most musicians, the first work that people release is often well I guess you know, we all have our skeletons in the closet if you look at the first demos that I did with my first band when I was you know young oh my god I don't want anybody to hear that today. But I guess your first release just came out right on the top of the performance scale and you know, production scale. So it doesn't sound anything like first release to me and you know, it actually stands up against some very well seasoned recording artists. So I found that's at least my opinion. So, you know, my compliments on performing so well and correct me if I'm wrong, but you actually recorded everything yourself. Is that right?
Kathryn Ezzy
Yeah. So yes, so Tyson, recorded to the lead guitarist recorded most of that track in his bedroom with you know, he has a he's got quite a fancy pedal board. And you know, he's one of those lead guitarists that loves the pedal board and does all crazy things with a pedal board. So like that intro, that main riff in the song is actually uses a delay effect as well to actually create that sound. And so I think I think when he originally recorded that stuff, I think he plugged it into an AMP I don't, I can't, I don't know exactly if he plugged the pedal board straight into the interface into the computer, or if it went through an amp, he probably did both. And just miked up with an SM 57 just you know, this microphone that I have here, standard and he did the drums as well. And I recorded the bass so I'm through an AMP so I'm miked up the amp and had a DI out from the AMP so there was two bass signals and the vocals were done in a spare room of quarries out so Cory has rented a place with a with another bloke who is quite a well known down musician as well and they have a spare room that's their drum room but the drums rent set up when I went to go and record it has just a mattress on the window two blocks down from the neighbor's because the neighbor's house is right next door and there's weird looking vocal booth thing that sits on you know the stick like a speaker stand I think that's pretty much what it is mounted on and it's like this thing that like goes around your head is quite disconcerting using it but we've got there in the end so to try and you know, so there's not too much refraction from the room and that's pretty much that was our recording situation it's you know, less than ideal but we just make do with what we have Yeah,
Jan 'Yarn' Muths
fantastic. Well I guess that's the spirit of our time you know that some of the most amazing recordings nowadays literally come out of living rooms and bedrooms and rehearsal rooms rather than top notch high end Studios which obviously is nice to have but yeah, you definitely prove those people wrong you know you don't need a major studio to achieve a major sound anymore yeah my compliments on not only being a musician but effectively also being recording engineers which is a completely different job description and thank you yeah I I'm always advocating for you know working with professionals usually then for the reason that you can be a musician 100% rather than being a musician for five minutes and then sorting out a driver issue and then you know, playing musician and then realizing Okay, I'll do a punch in right now and soak up the menu you know, this this mindset shift how that can take away from being a performer and but again, you know, that is obviously not a real concern because you proved us wrong there you know, you got to record it or can you just describe the the gear that you used? Did you use any fancy computers or any, you know, major audio interfaces or top notch microphones or do you can can you comment on that
Kathryn Ezzy
Sure, so I so my laptop is actually on the table in the kitchen is it's just a MacBook Pro that I got. I bought a refurbished MacBook Pro in 2012. And bought Pro Tools back in the day when you could still outright buy Pro Tools and not have to subscribe. Bought Pro Tools and spent the money on an inbox Pro. This was brand new and you know this is this is top of the line hardware when I first got it,
Jan 'Yarn' Muths
that's the gray looking model and you've got the bigger the FireWire one is that the the pro model. I've worked with those and you know, I was an Xbox user for a long, long time. And you know, nowadays the discontinued I believe, but they were great interfaces at that time. I
Kathryn Ezzy
can't get them here but as long as it works. Yeah, it's a bit of a hassle because it's the fight. You know, it was FireWire. And there were two different variations FireWire 400 and FireWire 800. And I had a bit of an issue with trying to get adapted, I have to use like three adapters to connect that to my computer. But whatever it works, I'm kind of stuck with I have a I can't update the computer's software. And because then it won't be compatible with Pro Tools. Anyway. So that's the setup. I have a very old computer with an old with Pro Tools 11 on it from eight years ago with a piece of hardware that's discontinued. In terms of in terms of microphones, the verticals were recorded through an audio technica condenser microphone
Jan 'Yarn' Muths
to do another model, possibly 2020 or
Kathryn Ezzy
right here. So it's an O the 4035 Yeah, 35. So I bought that secondhand, on Gumtree as well, sorry, secondhand condenser microphone. And I mean, yeah, I mean, it's not a it's not a Neiman. But it, it does, it does a good job. I'm sure there's other microphones that are that are better. But that's what I have. And I don't I don't have heaps of money to spend on very expensive microphones. So that's what, that's what the vocals were recorded through
Jan 'Yarn' Muths
the outcome speak for themselves, you know, just look at the results. And if that's good enough, well, you've got gear that will probably last you a long time. And I've worked with those microphones before. And you know, there's really nothing wrong with those microphones. If you have a good control room. If it's not too reverberant in the room, if you have not set the game carefully, then there's really nothing wrong about that. So you don't need you're not to buy yourself an $8,000 microphone and you know, $5,000 preamps, just to do good recordings, what you've done there speaks for itself.
Kathryn Ezzy
So I think liking, like you said, Sorry about the about the room being quiet, the space, your record is probably the most important. Obviously, you don't want to record on a really crappy microphone. But the space obviously is one of the most important things and that's some of the problem that I ran into. I tried, I thought his space was good for recording. And then I recorded a vocal take and you know, compiled the vocals and then when you actually really carefully listen back, you can actually hear there was room noise or refraction. Yeah, so yeah, like you said, finding, finding the right space to record is, particularly with condenser microphones is really important. You're
Jan 'Yarn' Muths
so right with that. And you actually just described a really good method, you know, how do you know if you unexperienced as a recording engineer, do you know whether the room is good or not. And what you just described is literally trial and error. Just give it a shot. You know, set up your microphone, record yourself for a minute and then put on headphones and maybe just turn it up a little bit and just listen back very carefully what you hear. And then once you've got this, you know what to do. Now that's a concept that I call listen and react. And if I had to sum up you know, 20 plus years of music production experience, that's the three words listen and react. That's effectively what I do for a living every single day and you know you can apply this to anything now how you place the microphones which microphones you choose whether the gain set right room acoustics, all of it, just rather than you know overthinking it, which microphone you should buy looking at spec sheets and so on just start with what you have and actually have a quick listen and that will guide you in the right direction very easily, very effortlessly. So well done you know you seem to be unnatural and all comes you know very natural to you. You do all the right things here and you know, look at the results. It really speaks for itself. Can Can you just tell us a little bit more about the drums You said your guitar player, the record of that drums. Is that something you're happy to talk about?
Kathryn Ezzy
Yeah, yeah. Okay, so this is a I don't know if this is it's not it's not a secret and and when I say it and people hear the track, they'll be like, Oh yeah, I can hear it now, but it's programmed drums it's not actually live recorded drums so that is something that we spent a fair amount of money on so Tyson and myself when have these on buying the drum software because we use Superior Drummer three i think is the latest version. And it's related to easy drama. Sorry, he'd use easy drama before when some of his stuff but superior drama was sort of a we did I did quite a bit of research into it and the samples in Superior Drummer three are like they redid the samples from the ground up sort of thing and you know, sampled really high quality drums. So yeah, so it's programmed drums, we like molded the sound how we wanted so that is one good thing about programmed drums is that you can change the kick just like that you don't you know, if you have an actual drum kit drum kit, we can't change the snare the sound of the snare or change the sound of the kick just at the click of a button. So we tailored the sound of the drum kit to our preferences and what we wanted and we were able to actually lay a multiple kicks on top of each other in the program to get the sound we wanted. So I mean for purists out there though, look look down on look down at us for using a program but where we where we are at the moment we don't have the space I mean I've got I've got three drum kits which I could use but I don't have the big enough space to set up the drum kits or or the right kinds of microphones at the moment so program drops is
Jan 'Yarn' Muths
that's fair enough Do you know there's really nothing wrong about it so please don't feel bad but tell me some more how you actually created those strong takes Did you play them on a keyboard or was there a drum pad or were they displaced with a mouse on a piano roll editor or what was your workflow there to to make those drums
Kathryn Ezzy
I'm pretty sure that so because Tyson Tyson did it I'm assuming what he's done but I know that he didn't have a MIDI keyboard so wouldn't have been via MIDI keyboard we tried to connect it to the electric drum kit that I have here but we for some reason couldn't get it connected anyway and so I don't know if he punched it in with his like computer keyboard or if he clicked it in with a mouse in the piano roll okay but yeah just it's it's purely the drums are purely done on computer like no MIDI keyboard, no extra gear just the program just on a computer on Okay,
Jan 'Yarn' Muths
well look this you know, in the end it's always the result that council how you got there is somewhat irrelevant. And you know, you've got some really fat pumping drums now, of shattering the way they just carry the beats or whatever you did there it works. So that's what counts we're done. We're done in just tell us a little bit more you're working on an entire EP, what can we expect here.
Kathryn Ezzy
So all the songs are written, so it's not like they need to finish being composed. They're similar, similar, a bit different. So two of them have a bit more of a pop punk kind of feel and a bit more upbeat. A lot of the other songs on the EP not as dark as Please tell me so two of the songs are a bit more of a pop punk, brighter, more upbeat, kind of feel to them. So one song's called toilet paper Riot which is a bit of a funny take. Yes, so yeah, you'll you'll when you hear it you'll Yeah, it's kind of a light hearted but at the same time serious commentary of where have we come to as a society for this sort of happened. And the other one is friend like me, which is that I'll give a little bit of a secret away that's got some eight bit. It's got like eight bits in it. It's Yeah, and it's a song about you know how you're really good friend someone but they don't the friendships not reciprocated. And that one's a bit more of funny, it's quirky. It's got talks about Smurfs and dragons and lightsabers and all sorts of crazy things. And then there's a song called coming for you which is a bit more dark. Again, and that one's got a lot of sense in it. So I did some synth programming just on my iPad in GarageBand. For that one, which was a mission to export every single stem, what's what's the technical term, again, for just a single signal recorded
Jan 'Yarn' Muths
track, that the word stem is a little bit misleading? And you know, there are different definitions of what that is. But the other traditional term would be multitrack. Or just a track. Okay, a track individual signal by itself. Yeah.
Kathryn Ezzy
Okay, yeah. So it was a mission to try and get each separate track, out of GarageBand. From the iPad, but anyway, I've got, so it's got quite a lot of sense in it. And it has a bit of a disco beat to it, particularly in the chorus. So even though it's dark, and it has a bit of an ominous message, because the song is called coming for you. At the same time, it's something that you could potentially dancer in a nightclub, maybe. Yeah, so and then the last song is, we're going to do an acoustic version of one of our songs called perfect nightmare. And that will, most likely we haven't recorded any of that one yet. That one will most likely just be two guitars and the vocal, all of the other tracks, they're pretty much almost done. I just need to track the bass guitar and vocals. for them. But you know, like the drums and guitars, and all the extras are pretty well done for all the other tracks. Great. So, so we're getting there, it's, I just need to, you know, spend a couple of days recording my parts, and then they're pretty well done.
Jan 'Yarn' Muths
Fantastic. And other workflows similar to the police Tommy song, do you exchange files with your guitar player?
Kathryn Ezzy
Yes.
Jan 'Yarn' Muths
How does it work? Do you work on the same program? Or do you use different programs or
Kathryn Ezzy
so we do not have the same program, because I use Pro Tools yet. So it does make it hard. But we just consolidate the tracks. And so you need to make sure that all of your tracks are exactly the same length, and that they start at exactly the same time. So that it doesn't matter what digital audio workstation anyone's working on, they can just import those tracks into their workstation. And it's the same as if it was on your workstation. So that's pretty much how we work. So he so yeah, it's a Tyson we'll do like the the bare bones of the drums and guitars and stuff. And then we'll export that, give me the tracks, and I'll put them on my computer to record my parts. And then I'll do the editing and stuff like that. So just you know, some cleaning up and whatnot. And then I'll consolidate the tracks. So that's what happened with Please tell me, I had everything in my session consolidated at all, exported the tracks, and then sent them to you for mixing
Jan 'Yarn' Muths
to easy will. You literally described one of the best workflows in the industry, when it comes to what are called door hopping them switching between Pro Tools to logic to Ableton back to Pro Tools to fruity loops, what have you, I find that it's an extremely, that can be a very time consuming process to go from one door to the other end, as you just described, use the same start point. And export files of the same length and the same start point and go forth and practice with WAV files is one of the better workflows there. There are other workflows. But yeah, that can get really painful. And you know, looking at that note, so it's some of the signals are coming from a simple newer iPad, than Tyson had a different door and you have Pro Tools. There's already three different platforms involved, and you just keep it all together. So file management is probably not easy for you in this. This case, yeah. Do you do use something like Dropbox or so to exchange funds? Or does Judas poison USB stick around.
Kathryn Ezzy
So I've tried Dropbox and Google Drive, but because of where we live, so both Tyson and I live out in the rural area in Darwin. So we're about 40 minutes away from Darwin. So we don't have NBN. Like I have a DSL, which I actually don't even have a DSL at the moment, it's completely dropped out. So we have like cell phone so that you know how Internet's running off the cell phone network. So it's really it's actually is not efficient for us to even use internet methods of transferring files because both of our internet connections are so slow with upload and down So it's just easier to put her on a USB stick and be like, hey, when you get past Can you pick up the USB stick? Old School is pretty much analog. Yeah,
Jan 'Yarn' Muths
that looks done so to speak. quotation marks Yeah, okay, well, look. But you know, the same thing applies again, now what, whatever leads to good results, you made it work. And thank you again for, you know, still going through the effort and working with me, which means exchanging files online with the web works with my business. So
Kathryn Ezzy
if yours was really easy, it was so easy to upload, upload the stuff to your, I mean, it took a while, if I send you a message, right, I think I sent you a message when I started uploading the tracks when we first started working together. And then it was pretty much half a day later by the time they'd uploaded. And it's not even that many tracks. But, um, but it was easy in terms of, you know, you could just go to your website, upload it, and, and then your file sharing in terms of so use, you use something called file share, is that what it's called right path, this
Jan 'Yarn' Muths
is an app that I use flat file maps,
Kathryn Ezzy
that was really helpful. So cuz then you didn't have to, like, I didn't have to download the track, I could just listen to it online when I had decent internet, yep, and then comment on it online, which really helps with the workflow. I think, if I had, if you'd shared stuff, you know, via Dropbox, or the drive even, it would have made it just a little bit more complicated. By using the system you use made the workflow really easy.
Jan 'Yarn' Muths
Thank you very much. It's took me a while to work with the best methods. And I played a lot with all kinds of options. But right now, I feel like I've got a pretty good system. And I just will keep tuning it to based on the feedback that I received. But at this stage, I feel like I've got a somewhat stable system that now allows people to get through without growing gray hair or pulling the hair out, which is exactly how it should be. And also, thank you for hanging in there. And getting through all of this together, there was a good fun. Another thing that I really like about this app that I'm using is that it gives me peace of mind that an early revision can't accidentally end up in the master, which I've done it for over 20 years has happened in the past that I've worked with a bad one revisions, and now they want to changes. And we ended up on revision three or four, let's say. And then for whatever reason, they all had all the revisions on their computer, and then they passed the wrong one on and it ended up on the record. We knew we had a better sounding mix. It wasn't the end of the world. And you know, most of the listeners, you know, wouldn't even notice. But yeah, the wave, this current system works, it's just really good. Because you know, all of the old files just go into a separate folder, and you just only work on the most recent one. And for me, it's really helpful to not get to hear all the comments back. No, and you did a great job. I
Kathryn Ezzy
just what I found super helpful, was I could play through the song and pause it right where I needed to make the comment. So it's kind of like SoundCloud in that way. Yes. Where you could pinpoint exactly in the track. where, like, what what the comment is. Otherwise you have to you know, if I had to download the track, listen to it, I would have to write down the timestamp along with the notice. And then you'd have to you know, I don't have to do that. It was so easy.
Jan 'Yarn' Muths
Good. Well, thank you. I'm obviously you're not very happy that I've got a working system and that it wasn't a headache for you. So that's really good. Say, what's the situation in Darwin? Can you play life again?
Kathryn Ezzy
Yeah, yes. So we've been playing live probably since about July. So some people have you know, from other states have been a bit. Yeah, when we started backup having live gigs, some people are getting a bit jealous. We've been very, yeah, I could see that. people commenting on Facebook and stuff. Oh, I wish I could go to a live gig. Um, so it's been, we've been really fortunate in that we could start back up with live gigs quite quickly. I mean, obviously they don't look the same. Obviously venues have had to put things in place, like social distancing, and the whole sign in. You know, every venue you go to, you have to sign in, and all of that, and venues can not have as many people as what they used to, but at least we can still play live music. So I was very, very fortunate for our bands to be asked to play a New Year's gig at the railway club. So in Darwin, there's pretty much only two venues that support original Local live music, which is great and unfortunate at the same time, I wish more venues would come on board with supporting original music. But one of those places so the ones happier. And the other ones, the dial and railway club, to the down railway club. Ask the band if we could perform at New Year's. So that was really amazing. You know, it's been a crazy year and a lot of gigs have been canceled. But we had the opportunity to play a proper gig on New Year's Eve. For a pact, you know, pretty well a packed house. Wow. Yeah. So yeah, just really, really fortunate. Yeah, we're just really, really fortunate in Darwin in that there's been no community transfer of, of COVID, or anything like that any of the cases that we've had have been from interstate or overseas that have been in quarantine. Okay, sorry. Yeah.
Jan 'Yarn' Muths
Yeah, well, hopefully, there will be a time soon when you can to Australia. And please, you know, that'd be great. If there's any chance please take your bands out for a tour. Maybe not the entire country initially, but you know, please bring your music to other towns and other places, because I really recommend that's music that people need to hear about, definitely, no, I don't think I've ever come across a band that has such a strong debu. Release. That is, you know, definitely a really high up there. And I really recommend everybody who's joining this podcast today to check out Katherine and the overbites. Can you just maybe tell us where people would find out more about your band? Have you got a website or on our social profiles? And could you share those with us, please?
Kathryn Ezzy
Yes, so we have a Facebook page. So Katherine and the earth bytes, so it's Kathryn is k a THRYN. And the overbites overbites. As with a why not an ies, you know, like gigabyte megabyte overbite. And I'm setting up a YouTube channel and a Instagram account. I'm not a huge social media person. So having this band and trying to promote the music for the band has kind of forced me to have to think about social media and, and all of that, so soon, I'll have an Instagram account for the band. I don't have a website yet. But maybe in the future, we might Okay, we might do that better. Probably. Yeah, Facebook's biggest one. Well,
Jan 'Yarn' Muths
once we've got all these things together, please pass on my way. And then we can put it in the show notes for this episode. For the people just click on, find a straightaway. But please, everybody like Katherine's Facebook page, so that you get updates. And now when you go into, please post it out in your social media so that the world knows where to find you. Kathryn, thank you so much for making the time today. I really appreciate you know, working with you. It was a lot of fun. And thank you so much for joining the podcast today. I really appreciate that.
Kathryn Ezzy
Thank you for having me. And thanks for for working with me and thank you so much for your feedback as well.
Jan 'Yarn' Muths
You're most welcome. Thanks, Kevin. All right Bye.
I really hope you enjoyed this interview with Kathryn of Kathryn and the overbites please go straight to the show notes you will find the links to a Katherine's Facebook page and her social media channels also you can find links to the EP which of course by the time of release is already out. So there is no excuse Please get out there click the button enjoy the record crank it up. I think the music is absolutely fantastic and I would really appreciate if you could please click and have a listen. Thank you very much to narrow enough alchemy audio, who helped out with the editing of this podcast episode. The next episode will be another tech talk about MIDI this time so we're changing gears a little bit and we talk about everything that you need to know to get started as an electronic music producer. Well, obviously that's not limited to electronic music. Lots of other music like Kathryn's music also included somebody's work. So that's definitely a great skill to have. We're going to break down all the basics and start from the bottom up. And yeah, I hope that there is something interesting in there for you. So tune in again next week for a very special In the meantime, you can reach out to me if you would like to have a chat or if you need any help with mixing of course I'm here to help you out and I can also give you some advice on production if you're stuck somewhere. So don't hesitate to send me an email or reach out on my social media channels. I would love to hear from you. They will be absolutely fantastic. Now Okay, that's all for now. Speak to you next time.
