Welcome to The Writing Coach. On this podcast, I speak with the instructors, editors, coaches, and mentors who help writers and authors create their art, build their audience, and sell their work.
In episode #109 of The Writing Coach podcast, I speak with Will Henshall.
Will is a Los Angeles based tech entrepreneur, inventor, and music producer. He was the founding member and main writer in the UK pop soul band Londonbeat. Their massive early 90s hit “I’ve Been Thinking About You” reached #1 in the Billboard chart, was the top selling single in all major territories, and won him BMI/PRS songwriter of the year.
In the mid-90s, he founded San Francisco based audio tech company Rocket Network. The “DigiDelivery” media transfer system, now part of ProTools 12 Cloud collaboration, is a standard tool used every day in pro audio production for TV, movies, and music. He sold the company to Avid in 2003.
His most recent start up is www.focusatwill.com, a science driven instrumental music streaming service (2 million users) that helps people at work and study reduce distractions and be more productive. He holds 5 patents, and has a new one in the oven!
During our discussion, Will describes:
- What it was like to write a #1 Billboard Hit and how he dealt with the pressure to follow it up with even more hits
- The role the limbic system plays in creativity
- How music and writing are “real time” art forms
- The science of music, focus, concentration, and productivity
- Why achieving a flow state is essential to creative success, especially for writers
- The different brain types and what music they each need to thrive
- And much more!
Listen to the full podcast episode:
Watch the video of the conversation:
The Writing Coach Episode #109 Show Notes
Learn more about Will’s productivity app at www.focusatwill.com
Check out Will’s most recent music project at www.naturebeat.com
Episode Transcript
Today on the podcast, I have William Henshall. Will, welcome to the show.
Well, thank you.
It’s not every day on The Writing Coach podcast that I have a genuine rock star on the show, so I’m so excited to have you here. Very cool.
Thank you. It’s a lot less glamorous than you might think it is.
Well, I think anyone who works in the creative field knows that a there’s a whole lot of, of working effort and nose to the grindstone behind the scenes of the glitz and glam
That’s for sure. It’s very true. You be referring for the fact that before I was the guy behind what I’m doing now, I was the founder and the white guy in the, in the band London beat.
Yes. I mean, I think that would be a great place to start. I myself, work with writers. Now I’m an author, but I got started in music as well. Not nearly the level of success that you had, no number one, billboard hits, but I grew up in the punk rock scene, writing a lot of music and I feel like it informed a lot of my approach to art as a whole. So I’d love to hear a bit about your upbringing bringing just in the world of music in general, but how your experience in music has translated over into all these other amazing things that you’ve done with your career.
Thanks very much. I’ll play you a burst of one of my well-known songs. So, so your listeners know who you’re talking to. Remember this [inaudible], this particular song was number one all over the world. In 1991, literally 30 years ago, it was a, it was a fun, very fun experience.
I was 11 years old in 1991, I believe London beach may have been the first cassette tape. I went to the mall and bought by myself. There’s this mall in Ottawa where I live Bayshore. And I remember I I’m a big grown-up kid. Now I’m 11 years old. I’ve got my own money. And I went out and I bought that car.
We were on Much Music all the time.
Absolutely. I mean it’s one of those soundtrack of your childhood type songs. When you’re writing a song like that. Do you ever anticipate 30 years later, you’re still going to be talking about it on podcasts.
Well, you’re getting me something I wanted to talk to you about is this as a writer, you tend to have a hit rate, right? So it depends what kind of writing you do, but we all know that some things you write a more successful than other things and part of building a career is understanding how much stuff you have to write to find the wheat and the chaff. Right? If the pipes are blocked, you’ve just got to let the, the junk out to find the nuggets to come through. Right? And as a songwriter, sure. I’ve, I’ve written five big hits. That was the best known one I’ve been thinking about you, but I’ve also got nearly 600 songs published, which means that I have about a 1% hit rate. It’s worse than that. Thinking about you. It was about half of my royalty strength. It’s what’s the math on that?
I think I have a 0.4, 5 cent hit rate. So you don’t know when you’re doing something, whether it’s going to be a hit. And if you sit and write anything as a musician or as a, as a, as a, especially if you’re a novelist, if you try and if you’re trying to write something and you’re trying to write a hit, yeah. I’m going to, I’m going to write a swimming pool. No, I’m gonna write a Learjet. I’m gonna write myself a Learjet. Those I’m going to do don’t do, do, do, do the blues. No, that’s not gonna work. Right. So you’ve got to do it for the right reasons. And uh, I found early on that you just have to be inspired. You have to look into the top right-hand corner of the room and you just have to think and wait, wait, wait, wait. And then eventually the life force, the universal energy, God says, get a pen. I’m like, I can’t find one too late. The mirrors. And this is the building went straight out of the door. You’re laughing. I can see that as well.
Well, I love this idea that you write so many songs to find a hit. I’ve actually been using that musical metaphor a bit with my clients lately. I recently had a client who said, you know, I wrote a scene this week and you know, it wasn’t out of the park. And I was saying to him, back in the day, we used to have albums rather than the just singles, right? And an album would have one or two, or if you’re really lucky, three hit singles on it. The other songs were there to kind of tell a story about a band in a place in a time. And just because something’s not a hit single doesn’t mean it’s not a valuable song. And I was saying, as a writer, when you’re putting down a novel, not every single seed needs to be a hit single it’s. The whole is greater than the sum of its parts.
It’s the narrative. Yeah. This, this other thing happens too, as a creative force that anybody who’s not a writer has heard of writers walk. It’s a thing. People know there’s a thing and it is a thing. But what I learned early on, especially in London Bay, I was the founder and I was the main writer. So there was me and three singers. So it was a kind of a slightly unbalanced band in a certain way. I’m like the Beatles, which were like the four guys that drummer bass player, the two guys are saying, no, this was me. And I double tracked all the music and wrote this stuff in the studio. And then the Thies three insanely talented R and B vocalists with, uh, where the singers, uh, Jimmy Helms, uh, George Chandler and Jimmy chambers. And they were much older than I was. And so they were nearly 20 is my, uh, I was their junior at nearly 20 years.
And all the pressure was on, especially when we started to have hips about keeping, writing more heads. We want more like, thinking about you more like, better love, more like come back. Oh, I’m like, Oh my God. And so it’s easy to get to this sort of paralysis where you’re trying to write, trying to write the hits. And my manager at the time was very perceptive. She managed the arithmetics, uh, as well as my band London beat. And she said, really just sit and write stuff. Don’t try and figure out what it is. Just sit with your guitar and noodle. No, just make it happen. Just turn the spigot on, let the water come through the pipe. And you know, that a percentage of that is going to be nonsense and then will, you’ve got the process. And I used to make myself go to my studio. I used to make myself sit down. When the last thing in the world I wanted to do was just write, I needed some, you know, a break and I would just be like the moon and June. I know there’s dumb song.
I’d just be like, just writing nonsense. And then somehow God would say, get a pen. I’d be like, Oh, okay. I got one mate. Here we are. And somehow the act of forcing yourself to write, knowing that you’re just not, you’re not doing anything creative, but actually you are. You’re just waiting for the nugget to come down the pipe. And if, if I hadn’t done that, I wouldn’t have found the nugget because I, I, I didn’t clear the pipe. It’s like priming a pump. If you live on a farm and you got a pump and the pump fails, you’ve now got to prime the pump again, otherwise you’re not going to get water to come through it night,
Fluidly, that momentum you get from studio or picking up that pen every day and doing the creative work of trying to get that thing that’s inside of you out
And not over-analyzing and not editing too soon. Right,
Is that something you find as a musician? I think there’s this inherent sense of play, like jamming out a song. I think writers can, uh, you know, literary writers can sometimes be a little more apprehensive about this idea of playing or just jamming on this story.
Yeah. That’s very true. The, uh, there were some parallels between being a songwriter, which is what I am fundamentally, I’m a composer and a, and being a creative or a technical words, writer or writer, writer. Um, but it starts falling down when you realize that both writing and music are both real time arts right now. What I mean by that is you play back the music in real time. Right now you might think that novels are not, but they are because you read them in real time. Right now words are read in real time right now, unlike fine art paintings or sculptures, right. These happen in real time right now. So the, the parallels between, um, writing music and writing words sort of fail. When you realize that as, as a writer, you look at a word at a page of words, and you’re able to see the shape of it all in a single, you know, in a single glance or, or two pages on your word processor. Whereas as a songwriter, you can kind of see that in a, in a doll, which is the music or the audio recording apps, but it, you, you can’t get a sense of it until you play it back. And it requires a different part of the brain.
Well, speaking music Apps and playing it back. When did you make this transition from being a live musician and a composer and writer to starting to actually work on the technology side of recording audio?
Well, my dad’s an inventor and my granddad’s an inventor. I’m a Brit, as you can tell from my accent, um, I come from a long line of eccentric, British inventors, and my dad was always like, there’s a much better master at people. Literally be like that master app. There’s a better way of doing that. And he would make a better master. And, um, that sort of been ingrained into me that way of looking. I can remember my grandfather saying this door handles very badly designed. I’m like, you know, the age of eight that goes in, right? I’m like, yeah, I know what he means. It’s kind of the wrong shape. Know there’s a better design for that. You know? And so after I’d been in the band, um, for, I was in the band for nine years, I, I left the band in 94 or five.
And, um, I’d become very interested in digital recording technology because prior to that time, as you’ve probably seen movies where you had these huge tape machines going round and round in recording studios and these massive mix mixing desks, right with orchestras and microphones and stuff. And in the early days of digital recording, there were no more tapes, but there was still no way of shipping the tapes that the digital hard drives from one studio to the other use to still have to carry these big clumsy hard drives around with them. And that led me into meeting some other guys to clear, and I called Matt Mahler, who, uh, who along with two other guys, we started a company called rocket network. And we developed, um, audio collaboration technology that’s used in recording studios. We actually built a system called rocket network, and we sold it to, uh, avid anybody who is listening to this that knows about audio and video editing avid make the standard video editing tools that are used in Hollywood and on TV and a digital design, uh, which is the same company have pro tools, which is the, you know, the, the standard audio recording tool.
So I’m quickly wining through nearly a 10 year period of my life, where yes, I was the CEO of a company that created the, um, what is now the avid cloud collaboration system. And me and the other guys, we have our names on quite a few patents actually. Um, and we sold the company to avid and, uh, I, 2003, I got out of, uh, I actually had to work at avid for a couple of years as a part of the deal, which was, which was pretty hard. Cause I’d never had a desk job before.
You went from stadiums to nine to five in a cubicle.
Well, well, I kind of. I went from playing big gigs to running my own company. I was the boss. I had 70 employees. We’re in San Francisco. We were, but I can do it my way. You know, I really good. I could figure out how I wanted to, you know, be creative and how I wanted to hit the deliverables. We raised a lot of money, uh, in, in the rocket that w we raised 42, 43 million, uh, make then. So it was quite a ride. And then I sold the company and I had to sit in a cubicle and avid were very explicit. They were like, we need you in the office. I’m like, Whoa, I’m really creative when I’m walking around. And when I’m like with a dog on the beach, you might look like, might look to you. Like I’m walking around on the beach with my dog, but trust me, I am thinking about the problem. And I will come in on Thursday and I will have the whole thing for you, bang, ready to go. And they said, no, that’s not going to work for us. And I was like, Oh,
How do I, how do I focus and concentrate when I’m working then? And that led me to focus at will. And in the last 10 years I’ve been running a company I founded called focus at will. And we do music, which is specifically designed to help you when you’re working specifically for that. Because I found when I had my first desk job, that I couldn’t find any music that would help me work because there’s always lyrics or there’s always confusing. Or if it’s classical, it’s too loud and then it’s too quiet. I was always like, Oh, I just want something that is going to help me focus and concentrate.
I mean, I think we all generally have a sense that we work better with, there’s some music playing in the background, but I think there’s some actual science behind them, all of this that you’ve built your company around. Can you talk a little bit about the science of music and of concentration?
It’s easy to understand if I put it this way. I think, and that is, we all have two parts of our brain as the conscious Mino, which is going, Hey, Kevin, talking to you right now, we’re talking, we’re actually on a zoom call, but we can see each other. And, uh, the conscious part of my brain is looking at you and we’re having this concentration and that we’re having a talk. And I’m concentrating on this conversation with document. The other half of my brain is my subconscious, so my non-conscious brain. And that is the part of me that is keeping me breathing, having me stand up. Right. Uh, I sit upright is making my, you know, what my autonomic nervous system, which is keeping the, my food digesting weight, right? The, that the mechanics of being a human that I don’t have to worry about.
And, uh, another critical part of that aspect of our brain in particular is the part that runs the fight or flight. Well, we’ve all heard about that. And technically it’s called the limbic system, right? Which is the, it’s the lower part of the rear brain. And this is the fun part of your brain. This is where all the feelings happen. And the limbic system is the part of the brain that runs your fight or flight. Why is this relevant as the obvious question with music and working? Well, the reason is this, as I’m sitting, talking to you, my limbic system, or my fight or flight is constantly monitoring my surroundings to let me know whether it’s safe to talk to you or not. How’s it doing that? Usually using sound mostly because when I’m looking forward like this, I’ve got about 120 most, there’s about 120 degrees of vision.
I’m holding my hands, just behind my eyes. I can’t see them so about here, but my ears work in three 60 and my ears are always on. So when I’m asleep, I can’t see anything, but remember, don’t wait the baby, right? You can make someone up by shouting because their ears are always on our ears are the thing that keeps us safe. So we discovered that it’s possible to play specific types of music and the type I’ll talk to a little bit more in a minute, um, based on your brain type to help soothe the fight or flight response in your brain, which means that that feeling of the, you know, you have that, that uneasy feeling like did I lock the door? Um, I think I left the oven on that, that we’re all familiar with that feeling, right? That’s, that’s the distraction. That’s the little voice. And, um, one of our science advisors is this funny guy he’s in Australia. He’s called Dr. Evian Gordon. And, um, he’s a brain technology expert in San Francisco and he’s, he’s on our advisory board. And he says, it’s like the kids in the backseat, the kids in the backseat that you’re driving and the kids in their backseat, which is your limbic system. And what you’ve got to do is while you’re driving, you got to give the kids in the back seat. I can’t do his accent very well.
You got to give him something to do mate. So it’s like, give them a bloody game, boy, and then you can drive and you’re still going to it.
Are we there yet? But right. So what are you doing when you’re working is, uh, the folks that will assist them works by playing music that engages and subtly sues that response because you are safe. I can see your doors closed. I’m looking behind you. And I get in the door is closed. There’s nobody on the sofa there. You’re safe in there, but your limbic system is still going to be like, ah, one kid in the backseat would be going, Hey, Kevin, I think you let the oven on. Right?
Absolutely. So the app Focus at Will, it allows people to choose, not just music that helps calm that, that fight or flight response, but music that’s specific to them. That’s something that, you know, I was lucky enough, your folks, let me check out the app really impressed with it, loved it. But the idea that it wasn’t one size fits all music. Um, but that it could be personalized. Tell me a bit about that idea of personalized sound
People’s brains can be put into about 12 different types. I’m generalizing enormously. But if you think of it this way, we all know somebody who is very easily distracted. Let’s talk about dogs. Someone who is like, maybe like a Chihuahua, right. Someone who’s like, I don’t know, Elon Musk hyper just never, ever stopped. And we also have all got a friend or two who is super, super cool, super chill. Right? You’ve got friends, male or female. It doesn’t matter what age we know people are just like, yo, what’s up. Right. Absolutely. Like Snoop dog. Right? What, you know, what’s how does that happen? Yeah. I don’t know. I’m I’m into all ended things. So I, I wish I could be that. Cool. We’ll talk a little bit about that. Cause yeah, me too, actually, most of my friends, but you could think of, you could think of this as a scale of how easily distracted you are.
And some people like the Elon Musks are really easily distracted there and 11 on the scale of 10, and then you’ve got the Dalai Lama and maybe Snoop dog on the left side who are just like super chill. They’re at a one. Now, weirdly you might think that the music that someone who is very hyper needs to listen to is like really calm invite. I have the, um, I have a live, uh, alive, uh, app running here for all of the folks that will have system. And what I’m going to do is I’m going to play you. This is, um, and there was 12 different types of music, uh, uh, genres in principle that you can put your brain into. And I’ll, I’ll talk in a minute about what you have to do to find out what, what is recommended for you. But this is like, you might think this will be perfect to play someone who’s really hyper.
And that wouldn’t work at all. The more hyper you are, the more crazy energy you need. And about 40% of our users listen to this all day. This is the UpTempo channel.
So this is the uptempo channel. And about 40% of our listeners, listen to that. There’s a downtempo version of that, which is called alpha chill. And about 40% of our listeners listen to this
Much slower, right? Yeah. Much slower. Now, each of the channels on the folks that will system has three energy or intensity levels,
So even though this is the alpha chill, if I go up to the high energy version of this, you’ll hear it change. So this is the alpha chill channel.
But what about those people that we’re about who are really super hyper? What about Elon Musk and people like that? Well, they find this relaxing. [inaudible] this hasn’t got going yet. Just a minute. [inaudible] I forget, I’m sorry. Dancing here. Yeah, here we go. And the reason why this makes people who are actually add and ADHD, which is the same thing in many ways, uh, relax, is that I’m just going to turn this off because anybody listening to that who has ADHD will find it actually kind of interesting and able to help them concentrate, but anybody that doesn’t find it incredibly distracting. You know how people with ADHD are given stimulants to concentrate.
That’s exactly what I was thinking about; this idea that you would think you’d give them something calming, but Ritalin is actually a stimulant.
It’s the same thing. And it’s to do with the way that the brain needs to be overclocked. And what it means in practice is that some people need a lot of stimulus in their surrounding to be able to concentrate and evolutionarily. There are really good reasons for that. Let’s say you and I are in the compound back in the day, thousands of years ago, and the neighboring tribe are attacking us. And there’s arrows coming over. There’s chaos going on, someone in the tribe, probably you, because you’re kind of hyper is able to go. I got this because you’re really calm in a crisis. I have a hunch. I only just met you. Haven’t but I have a hunch, your, the guy that if it’s going sideways, you’re going to be able to be like, yeah, I got this. I was really,
Really shocked when of my wife went into labor. The first time I thought I was going to be over my head freaking out, but I was like, no, we can do this. Let’s take care of it.
Yeah. My point entirely. So the point is that some people and it’s about 10%, sometimes a little more of the population are really good in a crisis. And these are people who tend to do jobs that have a lot of things going on. Um, first responders of any kind police work, um, air traffic control, right? Uh, battlefield surgeon, fifth grade teacher. You put that in the same sentence as battlefield surgeon. And I think a lot of people listening to this, um, this is just like, people are very calm when there’s a lot of things going on. And so what can happen is once you figure out your brain type, once you figure what kind or what genre or energy of music works best for you, you can dial it in and you on demand can get that peaceful flow. And the folks that will system is actually all about getting a flow state, getting a flow state.
It’s about that moment when you’re really dialed in as a writer and you lose the sense of time and you feel this sort of oneness right. With what you’re doing, and there’s this feeling of intense sort of almost spiritual pleasure. You’re just like, this is what I’m meant to be doing. And as a writer, we all know that we know that feeling and you can find that on the folks that will system, if you are able to, you know, get the genre and get it dialed in and then to early, you know, train the system a little bit and, um, to be bladder three, who try it, find it works really well for them. Some people need silence to work, right? I’m not one of them.
Yeah. Me neither. I mean, I’ve, that’s why I was so excited when I heard about your app because I’ve long gone, just gone to YouTube and I have some new age trans music or something that I type in. And I put that in while I’m writing. I didn’t have options. I didn’t, I couldn’t personalize. I’m stuck on YouTube. That’s why, when I started using your app, I was really excited about it. It was like taking this thing I’d already been doing through my own experience as someone wanting to be more productive and wanting to be more creative. Um, but suddenly I had a lot more control and it could be personalized so much more
Well we’ve um, about a third of the folks that will users are writers, uh, and, um, they are all kinds of writers there. You know, uh, creative writers, novelists are screenwriters. Um, we have technical writers. We have a lot of engineers in the West coast, uh, uh, Silicon Valley world, a lot of Google and Apple, uh, uh, Tesla employees, uh, that use the system. And, um, we have a lot of lawyers. Of course that’s an interesting creative writing, right?
Yes. I’ve several of my coaching clients have been lawyers and almost every time there’s some of the best fiction writers I’ve worked with. It’s really interesting. There’s a crossover there.
Yeah. There’s a super cross over. And a lot of writing is formulating these ideas idea blocks, right. And you, you know, you’ve got this thing. I w one of my really good friends in here in LA is a screenwriter. And she talks about how you have the blocks. And the half of the half of the thing is figuring out how the blocks fit together. And then the writing is kind of happens later. Right? And so there are times when you, part of the process of creating this is true for, for, I got another friend who’s a, um, who’s a lawyer who does the same thing. He writes contracts. He does it in a very creative way. And he has the blocks in his mind that are sort of the relevant pieces of the law that he needs to refer to. And when he is writing a, uh, you know, an entertainment law contract, he’s thinking about this and he says he just sips.
And he thinks, and he needs some music on, in the background while he’s thinking folks that will, and the actual writing at the end of it is he might sit for an hour and then only write for the last 10 minutes and do everything in the last 10 minutes, because it is exactly the right pieces, but together. And I find that so intriguing. I, you know, one of the reasons I wanted to be on his show is I’m, I’m obsessed with not wasting time and being creative because I think us humans are humans are amazing. Um, I’m not saying I’m amazing. I’m saying we, humans are amazing. What are the human brain and the creativity that is there that can be unlocked.
Oh, have you seen the pandemic? And this idea of global lockdowns change the way people work and how has it perhaps impact the way people are using focus at will
We have, the pandemic has been a double-edged sword for us. Um, last year in the Q1, um, a lot of, uh, our previous customers canceled. Yeah. I I’ve just been laid off and I, everything is terrifying and, Oh my God, I’m going to, I’m going to change my credit card. I’m going to cancel all my subscriptions. Right.
I saw that with coaching clients. Absolutely fear grips so many of them
Then in Q2, in Q2, people are like, Oh, I’m stressed. And I’m under pressure working at home for the first time. And, uh, Oh yeah. There’s this science-based tool that’s proven to work. That’s Oh yeah. Singularity university. That’s the Google guys. And that’s two funded us, and this is science. This isn’t some, you know, this isn’t like reading your astronomy, your astrology chart. Right. There’s not that this is proven to work. And so, yeah, we, we had a whole bunch of new people sign up, as I said, if you’re stressed and you’re under pressure and you’re working from home and that is difficult to do because your home is not set up for it or is not something you’ve ever done. And you didn’t appreciate before how important the hustle and bustle of the office is, or how important the commute was to you, because that gave you thinking time, right.
When that suddenly changes, you’ve got to rewrite how you do things. And a lot, especially here on the West coast, a lot of those, um, in-person work places are not coming back. Right. Twitter, same with here in Canada. Absolutely. Yeah. Same thing. It’s Facebook. You do not have to go into work as long as you deliver. Right. Yeah. And a lot of employees find it it’s harder to work and you’re working harder at home than you were when you were at work. So many distractions. Right. And you’ve got to get this thing on your boss’s desk on Friday, and it’s now Thursday evening guests, what you’re going to be doing, you know, hanging out with the kids and the dog you are working in your study. And as a boss myself, you know, we’ve, we’ve got a team of, of, uh, seven or eight people in the company. You know, I know that I can get more out of someone when they’re working at home than I can, if they were in the office, go figure it out.
What else should people know about focus that well and how they can get it, use it, and the signs behind it?
Simple go to focus@well.com. That’s it really focused, 80 will dot comma. Everything is there. There’s a quiz on the home page, which will, uh, it’s free to go into a tool which will determine it has a pretty accurate prediction of, uh, I think it’s 80% at the moment of which kind of music will work best for you. Another thing that people have told us about the focus at will system is that it becomes your working sort of blankie. It becomes wherever you are. If you’re in a coffee shop, you’re on a plane or you, you would, you can, you can put your headphones on, get some noise, canceling headphones, and then run your channel with your Angie level. And it’s like, it’s like the Pavlov’s dog, right? Absolutely.
Yeah, you can’t bring your desk, you might be able to bring your keyboard, but you can bring your phone with the, with the app with you, you have that comfortable, familiar sound there for you to work and you can switch off social mode and get into work mode. Yeah.
The app has, um, up to five hours of working offline. So it works on, uh, flights and, uh, quite a few, uh, quite a few people use it. Um, you turn off, uh, you go into airplane mode and you turn off the, or, or, you know, turn your phone off completely. Uh, and then you can just use the app for five up to five hours. So you’re not disturbed go into do not disturb mode.
Well, we’ll, we’ve said they can go to the Wil website. It is focusatwill.com. Is there anywhere else you’d like to send folks or anyone who’s heard this I’m so impressed with the app. They want to find out more.
There is earlier on in this, uh, in this, I, I, uh, showed you some of my music. I was in the band London meet. I’ve got a music project. Oh, fantastic. And it’s called nature beat from London, beat to nature, beat and nature. Beat is a channel that is on the folks that will system it’s just come like literally this month. And this is a, um, a very long form, completely unique new kind of music. And in fact, I will play you some in the background while we’re talking, please do, let me just play that. I think I’ll play this version of it. Here we go. Again, there are three different flavors.
You can hear the sounds of nature in the background. So we’re combining with nature sounds because it’s got a, it takes a minute to warm up. Remember
Most of the material winds in slowly. Cause that’s how your non-conscious mind hears music
Nature beat is this unique channel. It’s actually become the most successful channel on the system in the last month.
. This is music that was written. It’s the Delta of art and science productivity. So this sounds like music. You might hear out somewhere, but it’s not.
This is specifically designed for your non-conscious attention. It’s very repetitive, but it’s constantly slightly changing.
Seek them as they’re getting to the ticket ticket ticket.
No, that’s, uh, yeah, something new that is just on the system and you can’t hear anywhere else. It’s called nature beat. And if you want to find out more about that nature, beat.com, that then leads you into the folks, that wealth system it’s been my personal COVID project. I’ve been actually doing it for three years. Um, the nature beat project has, uh, close to 30 hours of music. That’s, it’s not, uh, in total that it’s not, um, automated in any way. It’s all done by hand. And, um, there’s lots of different. Each piece is 25 minutes long. And um, if anybody likes kind of quirky English, electronic her with that bloke from London, beat playing cowboy guitar, you’ll enjoy it. I think.
Fantastic. Well, we’ll, it was a real honor to get to speak with you today. Uh, I never thought when I bought that cassette tape at 11 years old, I’d be chatting with you science and music and nature and life and the pandemic and all these amazing things and crazy things going on in the world today. So I checked out the app, I loved it. I thought it was great. I’m going to recommend it to my clients and my listeners. So, um, thank you for bringing it to my attention for coming here and sharing your time with me and my listeners.
I really appreciate it. It’s a real pleasure.
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