This is the Unstarving Musician podcast. I’m your host Robonzo. The podcast features conversations with me, indie music artists and industry professionals. And it’s all intended to help other indie music artists be better at marketing business, the creative process and all the other things that empower us to do more of what we love. make music
Hey indie music fans, and indie musicians. My new single New Gods Part 2 is out now on all digital platforms. It’s a collaboration with Peter Rand, who’s been on this podcast. There will be a link in the show notes to that episode. The song is my personal homage to Led Zeppelin, Yes, and prog rock with a little social commentary. Find popular streaming service links to New Gods Part 2 on my website robonzo.com or listen to it right there. Heck, you can even download it for name your own price. That’s cool, right?
My guest for this episode is Lars Deutsch. He is a LA based producer, who is acquainted with my friends at SoundStorming the musician fan collaboration app for iPhone. Thanks to Arnau Bosch SoundStorming for connecting us. At the time of our conversation, in February of this year 2021, Lars was excited about an artist he’d been working with the artist is Amina. You can find the link in the show notes to her latest single Halo, which I believe will be followed up with a full album soon. This was a really great conversation in part because this episode is on the heels of another artist development guide David fronds, you should check out that episode. Also. I will link in the show notes for that. But mostly, this was an interesting conversation because Lars and I had such a great discussion about the artist development world. We also discuss his career, the struggles he sees in artists regularly, the artists he deals with audio branding, think licensing, what emerging artists should consider before taking the plunge to work with an artist development professional or company and more. And there’s a wee easter egg. At the end of the episode after we were officially done with the episode, Lars shared some more interesting stuff. We were still recording. So I considered editing that bit into the prior conversation the official episode but decided it would best serve as a bit of bonus material at the very end of the episode. After all the credits so to speak, after the point at which I normally sign off with a whole lot of love and all that. There’s more. And it’s good stuff. So hang out for a few extra minutes at the very end. You’ll be glad you did. Alright, here is me and Lars Deutsch.
Hey, Lars, how are you?
Lars Deutsch 2:46
Good. How are you? Pretty good.
Do you see me on video? No, right? Let’s see.
Lars Deutsch 2:49
No, I don’t see you on video.
Love the camera spot? [Now I see you]
Lars Deutsch 2:54
Well, it is really helpful with the hiding of the age. I mean, then again, I’m too lazy to shave. That’s hard to be little there, but yeah, the angle works a little for you.
Well, there’s no there’s no help me with the gray hair. So I don’t think angle’s gonna help.
Lars Deutsch 3:14
There are there are limits. I have to, my buddy Yoko does this stuff where he does all these like Skype and all this video in front of like a black. It’s black behind him. And he looks very like 3d. Very nice. I tried this earlier. And I have kind of like lights for for that flood the room. So I doesn’t look don’t look as wrinkly, but the problem is I tried it and without a green screen, so when I moved around, I kind of morphed with a piano behind me and it was just not very effective.
Too funny. I heard today that zoom has a new feature where, this is funny and I’ll tell you something funny about myself that what I thought of, but they said that there’s a new feature that like for women, it will allow them to change the color of their lips. It’s a filter, video filter and like change your eyebrows. And and they’re saying you know, for men, they can change their beard. So so one of the guys was saying I wonder if that lets you like get that grey out. But the whole thing is kind of funny what the gal said she had tried it and it worked amazingly well on her lips. But I don’t know if you can see but I have these really tiny eyebrows and it’s always been kind of a joke with me my wife that I have no eyebrows. I’m like well, I gotta try the eyebrows.
Lars Deutsch 4:31
Maybe you get the full on fix, like Danny Levy or something that actor that has the like ginormous eyebrows. You could try those.
Totally. Well. How long have you known our Arnau Bosch? Is it Bosch or Bosque from sound storming?
Lars Deutsch 4:45
I think it’s Bosch. I’ve known him for say two years now or a little longer. And when he started out sound storming, he had an event and you know we just friend of mine and I I went to the event and we talked to him a little bit. And he’s just a, he’s a great guy is such a, I don’t know, like such a good energy about him. And he loves music, you know, and he was just I don’t know, he was very, very sweet. And then, you know, with the sound storming, he did this competition, and I was the kind of producer and residents that, you know, whatever, when I would kind of like work on develop the song. And I’m very happy to tell you a lot of funny stories about this off the record after.
Well, okay, so I didn’t realize you were part of the competition they did. Is there anything interesting that you would like to share with listeners about that? I guess we’re kind of like a little promo for sound storming. But I’ve had some, I’ve had some episodes about sound storming. So you don’t have to explain that. I’ll refer listeners to some past episodes for that. But how did that what was the experience like for you that you were doing the competition?
Lars Deutsch 5:55
Well, I mean, so so I, you know, I know, it’s great. And his partner, she she is wonderful too. And they all have, I always say when it comes to music, I always I’m very careful with people’s passions, and not selling false hope. And I want to surround myself with nice people. And I know definitely, you know, belongs in that category. And he just, you know, he loves music. And so the idea was to get a little bit of attention to sound storming by doing this competition and a lot of very talented people. And the winner of the competition kind of managed to do every single possible thing you can imagine to implode and self sabotage the career on the day, the day before the day after, and then in the mixing stage after. So that is an interesting experience. And yeah, it’s it’s so Arnau, and the studio first time for me a gold diggers in Hollywood. That was everything was nice. And the app was cool. It was just an interesting experience. Because I think, you know, there was somebody who was a little too all over the place to to understand how some of this works.
Interesting. I didn’t hear any of this good stuff. Juicy stuff. Wow. Well,
Lars Deutsch 7:20
I mean, you the name of your podcast. And all this is a little bit of like this kind of like development thing for me is something that I love to do. And I, you know, like, I like science. I like education. And I like clean information and all of this. And it’s interesting how many artists, I see that so. So clearly self sabotage every step of the way. And you really have this, I’ve worked with so many people where a door opens, because they’re lucky or something. And they try everything in their power to squander that moment they have. And that was one of those times.
Wow. And, you know, I guess to varying degrees, it’s not uncommon for this to happen. Now, if it was extreme, maybe this one was not so common. But you know, I think of myself, for instance, like they’re just, you know, how we put those kind of roadblocks up when we’re trying to do things sometimes. And we need a little outside help to, you know, navigate through the things that we the obstacles we set up. But that’s Yeah, interesting, I suppose, with artists of any type, maybe it’s can be more prevalent. I don’t know if that’s true or not, but I guess
Lars Deutsch 8:31
I yeah, I mean, first of all, one thing that was really, I, you know, like, I’m happy to do something, as long as I learned something from it, and the sound storming experience was really interesting, because there were five, six music professionals around there as well, people experienced. And because we all saw the same thing, we could try to address and help from different angles, and you could see everybody’s perspective. But one thing that was really great for me about this was that it really helps if you’re not the only person saying something. And what I’m trying to say is because I’ve developed artists before, and I think that one thing that I learned is that it’s it’s sometimes useful when you work like this was a brief moment, but when you work with somebody longer, when you can find a second or a third or a fourth voice in the room, as long as that person understands where you’re going and then maybe somebody else’s approach somebody else saying something might open the door. And that was very, very useful and because Arnau surrounds himself with nice people, there were nice people who all try to do the right thing in the in the room and they all had a very different approach. And I was like, okay, the clock is ticking. You want to waste this chance. Okay, you know, and there was somebody else who tried the man you’re so talented. Let’s do this and somebody else tried the energy flow in the room approach, and at the end, none none of them work. But I think that this idea of a team and different voices was was, yeah, it made life for for all of us a little easier.
Well, well, to get to the kind of rush to the end of the story did did things work out ultimately where you, you guys could accomplish what you were trying to accomplish with the artist.
Lars Deutsch 10:21
At some point I packed my bags and just left and because basically, that there is something I one thing that I see a lot with, with working with artists or something is that when I work with an artist who has a background as an athlete, or has done something like this, they totally understand if somebody tells you, you know what, in order to achieve this in your game, you need to do try this, like practice this specifically and then integrate it into your game. any athlete gets that and they are not offended by it, they understand this is a building block for something better. When you work in music, because of passions and this this idea of art, if you do the same thing, when you say you know what we could, I don’t know, your, your timing is very relaxed, which is great for half of the album, but we also need you to be able to attack or be ahead of the beat. So let’s work on this, let’s you know, take a couple of songs that may not come natural to you like a cover letter or something and practice that and try to get you in the habit that you can do both. So we have an A in plan a and a plan B. And that really, if somebody has been an athlete before or if somebody is kind of open for that you can make progress very quickly. But if somebody then thinks this is like a personal attack, or this is my art, then you slow yourself down. And one of my composition professor who had he had, he said something fantastic, which is always think yourself as a craftsman, not as an artist. And I think that’s fantastic advice. And his his thing was like, you know, if you’re a carpenter, and you have a limited market, and somebody shows up, and there’s a piece of wood you haven’t worked with, or, you know, they want a chair with three legs or something like this, you’re not like, you know, like saying, Oh, this is against my artists, so and so you’re the Craftsman that’s supposed to build that chair, the end. And the huge difference with this approach is not that it’s less artistic, but it is more about skills, learning and progress. So as the craftsmen you have no excuse not to make progress as an artist, you can find a lot more excuses. So I don’t know, maybe plays into that.
That’s a lovely metaphor and advice. Yeah, I really like it. Okay, off off on from that story. That’s but thank you for sharing that is really interesting. You have a very broad career you’ve clearly been at this a long time. So for those listening, I’m just going to kind of throw some things out there that you have been or you are you are a singer songwriter, you have dabbled, I suspect in early days as a stop,
Lars Deutsch 13:01
I have to cut it like any just one thing, because like anybody who knows me when you say the word singer, like, you know, like this is it feels like this is so wrong. I just defending the universe if I don’t contradict you there. I I do write. I’m a songwriter. And I write that pretty much all the artists I produce, and I sing horrific demos for them. Vocal phrasing and stuff like this. But really, you don’t want me to sing on anything. That’s that’s very important to do it, you know, for you, your pets, your plants, and everybody should know.
Okay, got it, but you have an ear clearly. And then feel free to as they say fact check me as I go along here. So I suspect in your early days you played some heavy metal guitar has since progressed on to classical composition you’ve done looks like a number of international performances of your classical works. You lecture on composition and audio production. You’re into artist development, which you kind of opened with you’ve done a lot of music for film. And maybe for me one of the more interesting things only because I’ve never talked about it before I read a little bit about it on your site is audio branding. Yeah. So tell tell me a little bit about audio branding, and then tell me separate from that. What are you doing today?
Lars Deutsch 14:23
So the I think my everything I do is is storytelling. And I just happened to to go into music because I love music, but it’s always this this approach that it’s communication and it’s storytelling. And I think that so as a film composer, for example, I know a lot of composers who try to go into film music and they are struggling because they don’t understand that. It’s not about making the music beautiful. It’s not about writing music that you can impress your mom with. A lot of times the outta tune guitar that is ugly and tinny is the right thing for the for that scene or something. So that’s me, I’m kind of like I want to, I want to get as close to some kind of truth you can get with the music, telling the stories over the lyrics. And the thing, why I really like to do all your branding is that you have a marketing team or a CEO or somebody in front of you, and they tell you what the product is about how they came about. And there’s like this, sometimes it’s 20 years or 50 years history. And they want to subconsciously, communicate that in six seconds of sound. And that’s just fascinating and fun. And I love this very detailed, very, kind of like, yeah, it’s storytelling, but it’s very clean, very simple, in a way. And it goes, like I had a case where we did a vocal casting for for just for the guy to say, the name of the company, and then their tagline, where they cost all around the world. And they listened to 1000s of of voices to see what voice would represent this company. And it’s, it’s, I think it’s totally fascinating and it goes into I’m very interested in what is now called biohacking. But there’s all things you can do with perception and space. And I think now 12, 15 years ago, I did a fear of flying, guided meditation or relaxation for that Sennheiser is using for the noise cancelling headphones, and there’s so much you can do. And in audio branding, one thing that I work very specifically with is how does the sound interact with the virtual space that I create? And how does it listen to feel about it? So there’s a lot of items, there’s a lot of fascinating stuff in in a six second or seven second logo.
Yeah. And it’s kind of got my gears in my head turning about all the different ways that it can be utilized and maybe the different meanings. It brings two different projects or different significances it brings to the various projects you do. So all these many things, many of which are maybe all of which you’re kind of still involved in Are you working on something? Well, for instance, are Arnau to means like a a friend of mine was kind of interested and you know, looking around at some podcasts that might be fun to, to do interviews on and, and he’s so he thought of me. So what are you doing? And why? Why were you looking to have a conversation like the one today?
Lars Deutsch 17:35
Well, so I am, for the last 18 months or so I’ve worked with Amiena who is a who’s an artist with a with a wonderful voice, who she came to a show saw another artist I developed perform. And she found our music so fresh and exciting. And she herself that’s that’s always felt that everything, she does sound the same and she wasn’t very happy, especially with her last last project. And so she she basically sought me out and said I want something that’s more edgy, I don’t want my voice to be covered up. And I want something that you know, that has some bite to it. And she played me a couple of others and couple of things. And so over, over the last 18 months, we worked on an album and we worked on a new sound we worked on very interesting new stories for her. And basically just like I said, with all your branding before, it’s very specific, very detail oriented, we kind of like re calibrated or redone like a new kind of music that she enjoys. That makes sense with her story and it makes sense with her voice. And so now I we this we’re recording this one week from release for the first single. And so one of the things is I kind of like I want to talk to a couple people I want to mention the project as much as possible. I’ll have the link in your show notes. And I don’t know we’ll see I’m trying to help her a little bit with with attention and for a kind of like music production or any of this. This is me very painstakingly producing, arranging and playing my buddy Yuko did a fantastic job on the mixing Gene Grimaldi mastered so this is this is kind of very if you have a sub in your car this is a very hi fi cool kind of hip hop production with actual songs and a voice like Sade kind of all rolled into one. So next I want to talk about it and hope as many people give it a listen to as possible.
Cool. How do you spell Amiena?
Lars Deutsch 19:49
A m i e n a
I was close II and a the Latin in me are the recent immersion in Spanish in me was wanting to put an i where the e goes. Amiena okay, cool
Lars Deutsch 20:01
And the song’s called Halo and doesn’t we finished the album pretty much the we might do another one more song to ever we’re not sure, but technically done with the album. So it’s kind of it’s kind of interesting when you have these songs lying around, as you can imagine that you spent so much time on, and now it’s a little bit of piecemeal, but it’s nice for the first song to come out.
Cool. I forgot to ask where you’re based. And where did you record this? Where did you where were where were you and Amina working together.
Lars Deutsch 20:30
So I’m in Los Angeles in Toluca Lake, right between universal and Warner. And when I was traveling Europe and I had a whole thing planned in when COVID hit and then I came back here. And so once it was a little clearer what was going on, we decided to kind of use the quarantine together and keep working on the album. And yeah, I recorded vocals here and my corridor. This might be a little misleading when you hear the album, and this does not sound like something somebody recorded the vocals at home. But vocals, I do here. We had bass and drums remote. And then there’s me on guitar on a number of the songs and yeah, I think that’s it.
For those listening, we’re actually speaking on the 11th of February 2021. When is the full album coming out?
Lars Deutsch 21:23
Not really sure yet. We have we shot two music videos for the album’s called flares and halos. And so the first kind of the, the bookends of this is a song called Halo, which is the first single, which is to kind of like the most, I don’t know, directly, poppy and fun. And flare is really, really dark. And they kind of like the two bookends. The question a little bit, and we have videos for both and the video for Flare turned out amazing. We shot in a church here, and it’s really dark and mysterious and really cool images. The, the songs are very, very different. And Flare is almost a metal song with the funeral march in the end, or like, you know, and Halo is a new hip hop track with the Sade voice on top of it. So we will have to see a little bit how things develop with Halo. I’m also you know, I work in in sync as well. So you pivot if you if you get a track place somewhere. So theoretically, Flare is the second single and then we could think about the album. But it depends a little bit. If we shouldn’t have a second song that is closer to Halo as the second single, we’ll see.
Okay, that’s interesting. I did notice that you appeared to do some things in in sync, based, I checked out your website and found that out. So that’s very cool. Yeah, I look forward to listening to Halo and, and seeing the videos hearing the rest of it when it comes out. So since you know about the theme of the podcast, why don’t we throw something in for all those indie musicians that might listen to this conversation? And maybe you have something better than this. But I wanted to ask if there’s anything you would like to say to musicians aspiring to do whatever they do you know, what’s, what would you say to them today?
Lars Deutsch 23:20
There’s a couple of things that I’m passionate about where I think that people have very often are misinformed. So the first thing that I think is very important to understand is that a musician, or a good a good musician, or a good singer doesn’t make you an artist or writer. And that’s truth that a lot of people don’t want to hear and it takes as long as it took to be good on your instrument to be a proficient writer of music. And in composition. I have a bachelor’s and master’s in composition. I taught composition at a university level people say 15 years of practice means you’re not writing your limitations anymore, but you’re writing what you want. So here’s the the advice to to, you know, indie musicians work with somebody who’s done the 15 years, or do the 15 years one of the two. Because otherwise, what happens is that your talent will carry you only so far. And this is something that’s very difficult to see from your side of things, much easier to see from the other side. And so that’s, I think, and you know, you will see that all big artists have a team of professionals I understand with budgets, that that’s tricky, but I would rather do three songs really well than an album meh. So that’s that’s the first thing writing is very, very important. And there is a substantial amount of development that needs to happen between somebody being a talented and engaging artist, singer and an artist. Sometimes you see people be successful playing live and it’s because they are engaging personalities and they have a great voice. And basically that carries average material for for a while. But I had a, I had an interesting case with somebody wanted to work with me, who, who played a style of music that was just a little dated for the college radio scene, but he played on a lot of colleges. So after doing this round for five years, and he’s great singer, great live, he wondered why his sales wouldn’t pick up why he wouldn’t get more followers on social media and why this thing wouldn’t take off, but the colleges would book him again. So basically, what happened is that the person who books for the college sees that this is a great guy, a great performer, and all of this. And so you know, people stick around, but when they leave, this guy didn’t stick with them. And this, this is something where, you know, this guy is working so hard. He’s so good at a couple of elements of his of his profession, but he doesn’t understand that at the end of the day, you are the oil you are what makes the business flow. When you play live, when you don’t play live, it’s the songs. And that’s where I think that’s very important, which a lot of people underestimate. And then, you know, that term producer has become now anybody who has Apple loops on their computer. I think that the old fashioned producer, somebody that you know, you know, like Rick Rubin reading the poems of of the singer of the Red Hot Chili Peppers, and say, Wow, this Under the Bridge should be a song. You know, that kind of stuff, I think is very important. And I think that the recording at home, you’re missing out on this, and I think this is this development side of it is a very important thing. So that will be one. another thing is that it is just really hard. And, logically, music business doesn’t make a lot of sense. That’s another thing to keep in mind as well. I am surrounded sometimes here by relatively big names. And you see that they are struggling to keep their studio open. And I sometimes wish that you know, somebody starting out with age 18 would, I don’t know, that it would be explained to them that at the moment only Spotify gets rich on Spotify. I can go on for hours. If you have a specific question.
No, no, it’s really good. I did. You know, think of one thing and I don’t know if it’s gonna make sense or really fits in, but like you said of producing, recording music has become and publishing music has become ridiculously accessible. If somebody has been doing that for, you know, years recording from home, and you know, maybe they did 15 years of that and a pretty good songwriter, whatever. What kind of changes should they prepare themselves for to work into a development kind of relationship, like what I gathered from what you were saying was, consider, among other things, working with a producer who brings the these certain types of a certain type of value and experience to what’s going on? What kind of changes should they anticipate? And what kind of things maybe could they do to prepare for a relationship endeavor like that?
Lars Deutsch 28:19
That’s a very, very good question. A couple of different things. One thing is if you go to a museum, part of what makes the art pop is the room in the museum, the artisan, so somebody built this huge building, built all these rooms, set up these rooms, got security, that all of these things, so maybe a small painting on the wall would pop. And in a way, that’s what a good producer should do. A good producer should understand who you are. And, and I always, it’s very important to me that somebody sounds more like themselves, when when we’re done working together, not less, more, it’s more of them. It’s It’s It’s more unfiltered, that it’s more direct. And that’s kind of this this kind of setup, it’s really difficult being the artist who painted the painting, and also be the guy who runs the museum. And so I think one thing to to prepare for is to understand that because you are the person, the artist, you have a unique insight, but you also have a unique blind spot. And so in an ideal scenario, somebody would develop you. That doesn’t mean like so you know, if you have interesting stories, things that you’re passionate about, no producer should stand in the way of that. And no producer should take away anything. But there might be things, vocal tics, you do that work for you, and then vocal tics that work against you. So for me, for example, I got a I got a somebody recommend me for a project in London, and I’m producing this artist in London and I heard the demo and I went through the demo and I thought that this vocalist made, like over 90% of her choices were intuitively correct for that specific song. And that’s very rare. So I knew this would, you know, like take a lot of redos and demos away from us, because she just intuitively for the song knows where things go. I don’t find that accurate for most singers, most singers have something that is really cool that works for them. And then they sing a different song with a different topic. And they still do the same thing. Even though the song doesn’t ask for it. Yeah, I worked with a fantastic singer who made all these like interesting, kind of like creature noises and growls and all of this and it, it almost became like a like a little stunt. A long time ago, a friend of mine called that Alanis Morissette syndrome, where on the first on that big Alanis Morissette album, there was one song that she sang straight, all the other songs kind of had the same kind of elements, the same kind of things. And so I think, like, you know, working on these, like small elements, and on this last project, for example, I played a lot of rap and hip hop to somebody who doesn’t listen to rap and hip hop. And we played with the timing and luck, you know, like worked on these things. And another thing that I think that’s important to know is that the more you bring in terms of developed, carefully thought out, be it lyrics, be it visual ideas, or whatever, the more you, you can kind of like you steer the ship, if there is a creative vacuum, somebody else will fill it. And so I have this sometimes where I work with artists, and, and I tell them, Look, we need this, like basically like, whatever you want to fill this with, please fill it, but they don’t. So at some point, somebody else will need to step in and fill this vacuum so that you can have a career so you can move on. And that’s something where, you know, the more you have thought about your music in different ways, the more you have talked about and the more you understand that, I don’t know I sing falsetto 80% of the time, I should really, really also try to see what my voice does all the way at the lowest bottom. So I have the strongest possible contrast. So I can get the biggest possible excitement within a song you like development things like this. [Yeah.] So I think the best thing to do would be to have an open mind and to be patient, basically, meaning it takes a little while to open up habits and develop new sounds. And yeah, be brave. I one of the things that I love doing is that when when I work with people I try when you do an album or something you try to start with as radically different ideas as possible. And the longer you work on the album, they all kind of move together. But when you’re done with the album, you still have something where people have a reason to listen to song three or five, rather than all the songs sounding the same. [Mmm hmm.]
Interesting. That’s good stuff, man. Thanks for that. I think it gives people will give people a lot to think about. And then to kind of wrap up here, where would you? Where would you like to go? In the remainder of this year and into next year yourself professionally.
Lars Deutsch 33:21
I have one project that I’m very excited about, which is a flying Theater Project in China, which is going to be a very nice production with full orchestra choir, all of this and where I get to fly to China and mix it in the room. And it’s you know, the audience gets lifted in an LED tunnel and all of this. So this is something I’m looking forward to because it’s rare that in a film music context that you get to mix it for the actual room, it’s played in, and there’s nothing else in that space, and so I’m looking forward to that. I’m excited about the rollout for these Ameina songs, because I think there’s a lot of timely lyrics and a lot of interesting sounds and things you haven’t heard. And then, of course, with COVID, now I have a lot less sessions. I’m looking forward to you know, writing more with artists in the room again. And then also when it’s safe to to finish my Europe trip from last year, that’s a that’s a big, that’s a big one as well.
That would be great. That would be great. I hope I hope that happens for you sooner than later in for all of us who want to travel. So I know one good place to find out all things about you as well. I forgot to ask you maybe I’ll let you pronounce it. So I was looking at your website maybe you could tell listeners that your URL for the website because I’m gonna butcher your last name.
Lars Deutsch 34:51
Yeah, my, my, my wife. I think favorite moment on this planet was when we were I got a call someone left the call on the voice machine. And somebody said, Oh Mr. douche, I heard this and I would so like to work with you. And you know, and she said douche like eight times. So a week or two after that we went shopping somewhere I gave my credit card and the woman trying to run the credit card was trying to pronounce my name and my wife leans over my shoulder and said, it’s douche. So it’s Deutsch at Lars Deutsch. I think at the moment, the best possible way to find me or to look at is to just go to Facebook, I have a Behance profile, which is, for all my, like some of my latest film stuff, and if you just go to facebook or instagram and go from that the website is terribly out of date. And one of my, like, this is how it producer that should think, we needed to fix the website of the artists first. [Yes.] And that is done, I will get to fix mine, which is a little out of date.
And so what where did they find you on Facebook then?
Lars Deutsch 36:01
So it’s the Facebook just Lar Deutsch, or you can you can google me? And yeah, for film people I’ve started use Behance because a lot of advertising people use it at a super convenient to update something. But you can see a lot of my work. And if you go through my Facebook feed or something, you can see a lot of my, my work and the stuff. I do.
Well, the website, LarsDeutsch.net. Deutsch has some really interesting reading on it too. And my only critique of it was the font sure is small.
Lars Deutsch 36:38
Yeah, yeah. I like this idea of undeniable where you have something that is so simple and so clean, like you’re not nervous about it. Yeah. The website really, really got some good comments five years ago. So So yeah, you know, I mean, like by by internet standards, this is now a rule under water apps, so it’s time for an update you know.
Well cool, they can find you on Facebook and find your Behance profile. It’s very nice and great, man thanks for spending time with me this afternoon.
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Lars Deutsch 40:21
A friend of mine is a is a music manager, and we had a coffee one day and she said, somebody asked her to watch this music career course, and it’s like, $350 to watch the, you know, the videos and like this access to this website. And, and my friend had, like, you know, done tours for Beyonce and been in the industry for 30 years. And she said, not one thing this person said, is actually like, relevant in the entire course, she was forced to give a blurb for. And she said, shockingly, even more than that, that guy has no credits in any shape or form that would qualify him to not say, you know, and so one of the things that I, that I, I have an issue with with all of this is that the clean information is so difficult. And there’s so many there’s so many things that people tell artists who are passionate, who come to LA with, you know, like with their savings and something that just don’t work. Where I don’t know, like, I could talk about this topic forever. So if you have questions about like, I don’t know, any specific special part. I’m very happy to help people not to starve, you know? Yeah.
Cool. Well we’ll make sure in the shownotes, they, they know where to find you. I’ll put those links in there. And
Lars Deutsch 41:41
yeah, and if you have, I don’t know, like, I don’t know how, you know, with your community or something, I any, like, I’m happy to do Q and A’s and things like like that. And because of my my varied backgrounds. So for the hoffa Academy in Germany, they make really, really nice plugins, but they also have a fantastic audio engineering school. I, you know, like, it’s this kind of thing where I just, they booked me for four hours, and I can walk up and talk for four hours, but I can also just do q&a for four hours. And there’s, you know, just any anything really, when I say one more time, misinformation is one thing. The other thing is I’ve spent a couple of years developing artists that at some point imploded because of homemade issues. So that’s also something that I think that is not talked about, enough. Like, you know, the stage mom that ends our daughter’s career. I’ve seen that three times. Yeah, so
Wow. Probably have a lot of wonderful stories. Cool. Well, that’s a generous offer. I will keep that in mind. And if I could orchestrate something with the community and some people that would be interesting for you, I’d certainly do that. And I think just making yourself sort of, you know, putting it out there as you have that if people are interested and want to hit you up that you know, you’ll do your best to, to offer whatever you can.
Lars Deutsch 43:05
Yeah, and I am I what I do here like when when there’s no COVID or something. What I used to do is like on a Friday or Saturday, I would go there’s a coffee shop down the street and then like you know, if you want to drop in and ask your ask your three questions or something. Yeah.
All right, Lars. We’ll enjoy your weekend. It’s coming pretty fast. And thank you again for your time.
Lars Deutsch 43:27