Getting Back In The Game. My Top 3 Tips

I had a really interesting set of sessions with clients last week. A good few of them came to me with the exact same problem. Sure, it was delivered in different ways, but essentially they had all fallen off track. Their creative habits of daily practice which they spent so long installing had gone out the window. Procrastination and distraction had set in, and not much productive work on music had been taking place at all!

It was coincidentally really apt considering that earlier in the exact same week, I had also fallen off. After a particularly productive couple of months, a singular day and night of partying completely derailed me. I went from smashing out 10 / 12 hour days on my projects and finishing my tracks to days of essentially sitting on the couch doing nothing.

I don’t think I’ve met a single person that this hasn’t been a problem for at one time or another. It’s been a fairly regular problem of mine over the years and after getting out of my initial stink about the whole thing I am actually pretty grateful for it as it allows me to practice getting my shit together again, so that next time it hopefully won’t take as long. With that in mind, here are my top 3 tips for getting back on the horse.

Tip #1 - Don’t beat yourself up. They say that doing nothing is the worst thing you could do - I disagree. You’re already doing nothing, the worst thing that you could do in this situation is to beat yourself up.

Anyone who has done any amount of work that requires focus, discipline and consistency will tell you that it’s totally normal to lose momentum from time to time. No one can consistently perform day in day out for the rest of their lives.

Something derailed you and that’s ok. Maybe it was in your control, maybe it wasn’t , the point is that if you chastise yourself for where you are right now the last thing you’re going to want to do is work. This will lead to more distraction, more procrastination, feeling worse about your situation, and then the cycle continues.

So, recognize that you have failed, give yourself some compassion and remember that you are a human and that you make mistakes, and get back up.

Tip  #2 - Start again, and start small. Congratulations! You’ve made the decision to get back up and get to work. Awesome. Seem’s daunting doesn’t it? All that work that’s built up as you have procrastinated while time slipped away. What was once par for the course seems like a massive impenetrable task. How to deal with this? Start small. Like really fucking small.

Break whatever it is that's a challenge down into the smallest possible part that’s so easy that you can’t not do it. For me - writing this article seemed impossible. Even though I was feeling inspired to write and I’ve written way more complex things than this it was a nightmare. So I broke it down. I wrote myself a step by step process that read like this. Step One - Open my laptop. Step Two - Open Google Docs. Step Three - Write a title. Step Four - Write the first word of the title. Step Five - outline the very basic concepts I want to talk about. Etc. etc.

The key here is just to take action. You need to get SOMETHING going to rebuild momentum and start working again. So make it as easy as it could possibly be, and pretty quickly you’ll be able to snowball yourself towards knocking out those bigger goals. After all a massive task is just a whole bunch of smaller jobs to do, so pick the easiest one, and get cracking.

Tip #3 - Be clear on what you are actually trying to achieve by starting to work again, and don’t set your expectations too high.

You’ve gotta be realistic about where your at. You are most likely not in flow, and there are probably a whole bunch of things going round in your head and the added stress of getting the ball rolling again that even once you start working, you can derail your progress by putting quantity or quality judgements on your work.

An example of a quantity judgement could be “Great! I’ve started working again, but shit there’s no way I am going to get these 2 tracks finished by the end of this week now, I’ve left it too late. I might as well go and (insert distraction / procrastination here).

An example of a quality judgement could be “Great! I’m back to smashing this track out. But listen to it! It’s shit. It’s nowhere near as good as the last 3 tracks I did or (insert idol’s name) track / ep / album.

THOSE THINGS DO NOT MATTER!!! What matters is that you are learning to trust yourself to work again. Your learning to show the fuck up and do the work no matter what it takes. You need to learn how to work and be in flow state again and then you can start thinking about how good or how much you are actually doing.

Learn how to work again, and then work.

This article is already way longer than I wanted it to be so I’ll leave it there. So in summary, here’s the deal.

1 - It’s OK.

2- Just start, and start small.

3 - Don’t judge yourself, just get used to working again.

When was the last time that you fell off? How did you get the ball rolling again? Keen to hear what your experience was like.

Unfinished Tracks: 3 Ways To Not Waste Your Time

In an ideal world, I wouldn’t need to write this article. In an ideal world, every single production session that you do would be a resounding success. A stint in the studio would be totally in flow, awesome ideas coming to you left right and center. You’d capture all your ideas first take, the loop would come together quickly and easily, the arrangement would just seem to make it self as you press play and you’d barely need to do any mixdown to finish the track.

While I hope that we have all experienced this magical flow state from time to time, the everyday reality is that it’s a lot harder and messier than that. Often ideas aren’t free flowing and those that you do get are boring and lifeless. The arrangement falls apart instantly and you seem to spend hours mixing your track going through countless iterations of it and still not being able to come close to the sound you want.

Just recently, I took what I thought was a decent idea and got too obsessed with it not sounding like a reference track I was using to initially balance my levels. I spent the next 4.5 hours in self deprecating agony, over-engineering the few parts I had, completely wrapped up in the story I was telling myself about how I just couldn’t get it to sound right. I’d lost all sense of direction and came away frustrated and anxious about my music.

I’m a big believer of doing everything I can to stay focused, streamlining my workflow and process so that I don’t end up going down these rabbit holes that lead nowhere. In an ideal world, that would happen every time but, in reality, it doesn’t always happen. So how do I deal with this situation when it arises? How can I look back at all of that time not see it all as wasted?

Once I realize that I am caught, I step away and take a breather and ask myself the following questions:

  1. Can I learn something from it?

  2. Can I finish it? (i.e. is it of musical value)

  3. Can I salvage anything from it for later?

If the answer to anyone of these questions is yes, then it’s still been a success.

If there is something I can learn from this process - I set about integrating the lesson by writing it in my journal and so that I don’t make the same mistake in the next track. If I think I can finish it quickly and easily without falling into the same rabbit hole then I will do that - great! I’ve finished another track. Salvaging parts is always a great idea. There is almost always some drum kits or sounds, a synth sound, some cool midi patterns or some interesting audio that I can drag to my user library.

This for me is the difference between feeling like I have wasted a bunch of time or not. It’s helped me to learn some of my most valuable lessons, know what to spend my time and energy on and build a library up of highly useable, unique sounds.

The Pink Noise Mixing Trick

Mixing. Depending on who you talk to it can be the part of music production that is most looked forward to or put off and avoided like the plague. Why is this? Well in my experience it's because there are so many variables to get right. Levels, panning, EQ, compression, spatial effects, distortion, phase, your monitoring setup, your tiredness levels, your room acoustics... the list goes on and on.

Even then when you think you've got it right you take your newly mixed track which sounds awesome to you and play it somewhere else - in the car, at your friends house, in your DJ set, and surpise surprise it sounds terrible. Nothing like how it did when you mixed it. 

There are myriad issues at to why your mixes don't translate and while going into these right now is beyond the scope of this post, one thing that will definitely help you to get better mixes that not only sound more like you want them to but also translate well is CONSISTENCY. Consistency is so important when it comes to learning mixing because it helps you to focus on ruling out one by one all the different variables you can't trust while you can learn your ears and what your speakers sound like in your space. 

An awesome little trick that helps with this process is the Pink Noise Mixing Trick. This little trick will help you to get a clinically balance mixed in no time at all. It's an awesome starting place and will provide you with not only a little window into what things ACTUALLY sound like on your speakers and in your room - but also a good ear reset if you've gone down the mixing rabbit hole and just don't know whats going on anymore. 

Why pink noise? Why not white or brown noise? Well it all has to do with the way that our ears work. Pink noise - unlike brown and white noise is noise that it more accurately represents how we hear things. Humans don't actually hear things with a flat frequency response. We are way more sensitive to speech and higher frequencies than low frequencies (check out stuff on Fletcher Munson curves to really geek out about this), and we need way more energy to reproduce lower frequencies at a similar perceived volume to higher frequencies. This is why speaker tweeters are way smaller than the woofers. 

So have fun with this and let me know how you got on using this trick!

Download a Pink Noise Mixing Trick Worksheet here. 

The Fear Cave

Work. It's hard to get into sometimes. Esepcially when it's something you've been putting off for a really long time. Like writing these blog posts.

It's hard because the longer I leave it the more all sorts of reasons and justifications for not doing it build up in my head. The most prominent for me include (although definately not limited to), "It's going to suck", "It's going to be really hard", "It wont be good enough", "It's going to look really stupid doing a ###### now after not doing it for ages" & "People are going to to think it's crap". 

All of these reasons, if you really go into them and break them down are either entirely false statements, but most importantly based on fear. Fear has played a really important role in my life the last 6 months. Mainly in that I am learning to embrace the fear and see it as a compass. Anything I am scared of likely means that there will be something growthful or awesome on the other side of it. It's such a cliche but in my experience it's also completely true. In the words of Joseph Campbell "The cave you fear to enter holds the treasure you seek". 

I used to think that the win from this was to get the thing on the otherside of the fear. The problem was that often the "thing" I got on the otherside of the fear often wasn't as good as I had hoped, or I couldn't see the value or relevance of it at the time. 

So now through this experience I have come to see that the win from fear isn't to get the thing on the otherside, it"s simply to face the fear / challenge / hard work / challenging situation. That's it. To actually face it. It's the act of facing and standing up to it istelf that provides me with a good feeling simply of knowing that I stood the fuck up and did the best that I could. The magic comes afterwards and usually in unexpected ways too. 

So how is this relevant to creating better art? Well just like sitting down and writing this blog post in spite of feeling all pressure of these negative reasons listed above, you can apply the same process to your art. 

Haven't written any music in a while? Feel the fear and start anyway. Write one drum groove. Haven't finished off that album you've been putting off for ages? Start somewhere and do the smallest possible thing you can do. Even just sit down at your DAW and listen through to your tracks and make a list of things you can do. Do the smallest thing. Make something rubbish. This is a fun thing for me to do often when I've been in a funk - just don't care AT ALL about the quality of what you create. Fuck it make it intentionally the WORST thing you've ever done and have fun with it. The funny thing is as soon as you're able to push past these initial reasons you'll realise you are totally capable of doing the work and things will start to flow again. 

Here's to diving into the fear cave. 

Set Systems Not Goals

So this is a post completely inspired (read ripped) from a really interesting Youtube video a friend of mine sent me. It provides a really interesting perspective on how best to use and set goals, as well as a framework that allows you to take action and get positive feedback every step of the way along your journey.

So if we look at this – lets break down how this could work for music production, improving your skills, finishing and releasing that album or EP, getting more gigs and DJ sets etc... the list goes on.

In the following passage I have adapted the main message from the video and applied it to music production.

“I am a music producer – my goal is to finish this EP, but I'm not going to think about it that way. Eventually I will have enough tracks for my EP but I am not going to think of it this way. Instead, my system will be that for an hour every morning I will sit in my studio and produce music. It doesn't matter what this looks like now, I am not going to evaluate the number or quality of my tracks at this stage. What I can do is just say here is my system, an hour a day in the studio and I will do what I can trusting that the result's will follow”

I think this is a much healthier realistic approach to producing on music. No creative, no matter what their field or level of accomplishment has or will ever be able to consistently produce great results on demand without fail. So by sticking to your system, rewarding yourself for this, and watching your quantity and quality of work take care of itself, you will be happier, more motivated and most likely reach your goal much faster that by only focusing on the fact that you haven't achieved the goal yet.

This shares some similarities to installing a Cycle of Success in your work.

How to be a better producer: Templates

The aim of this article is to help you build a maintain a good production template in your DAW of choice. I use Ableton Live, so this is the DAW I will be using for this tutorial. Most of the things I cover will be transferable to other DAW's but might require a bit of research on your part to achieve the same results.

Why a template?

As you are no doubt aware, inspiration at its best is fleeting, and at its worst seemingly non existent. An idea might pop into your head for a few minutes and if you don't get it down quickly, its gone. Or you might be familiar with the feeling of boredom and despair as you open up a new blank project in your DAW. What do I do from here? Where are my sounds? Spending a heap of time finding sounds and devices you regularly use is not only frustrating, its a big time waster and it doesn't do your muse any favours. Having a good template in place means you are always ready to work as soon as inspiration strikes, with sounds that you know you like, and everything is ready to go. It removes another layer of decision making, and another obstacle to being in a flow state.

What makes a good template?

In my opinion a good template has the following;

  • A basic set of sounds that you can use right away to start capturing ideas and inspiration as soon as it strikes

  • A bunch of plugins or settings set up in a way that some of the more mundane production tasks are done for you

  • Enough content to get going, but too much content that you are repeating yourself and making cookie cutter music

  • A set of arrangement tools to help you with structure.

Many templates (both paid and free) that you will be able to get from various sources online to me usually tend to contain too much content. They will essentially be pre produced tracks in their own right and while this can be useful for learning it generally leads to cookie cutter music and a lack of originality on your part. So, we want something that sits somewhere between the two extremes of a blank project and a finished production. I'll run through my personal production template below, and explain my thought process behind it so you can create one specific to your needs. While I started with one template, I have now created a bunch of different ones for different tasks, for example I have a production template, a remix template (similar to my production but with more audio tracks and less of my own devices and settings), multiple arrangement templates of songs that I like and know work on the floor, a sound design template and so on and so forth. Just create one for now to get used to the process and then move on from there.

My Production Template

This is the screen that I am presented with when I load up a new project. My though process behind this was, “What do I need to get going straight away? What do I use all the time in my music and what are certain things that I find myself doing all the time?”

Lets break it down -

Tracks In General: For all of my tracks there were a few things I did. Referring to my thought process earlier, I made default audio and midi tracks set up how I like and made them default. First, I expanded the width of each track out so I could see the dB numbers on the meters, which I always do when mixing. Then I levelled each track to -12dB so I know that I'll have good headroom, this prevents clipping and is also for mixing. I also then loaded any instrument racks that I know I would need (more on this when we get to specific tracks) and then loaded an EQ8, Compressor, and Utility device on each track, and I use these pretty much every time on every track. I also then disabled them so that they wont all load up at once when the project opens, saving more time. Once I had set one one midi track, and one audio track up the way that I liked it, I right clicked on the header and went “Save As Default”. That means that whenever I make a new audio or midi track the same settings come up each time.

Drum Tracks: I looked at all my previous tunes and worked out what I commonly used. I have two kick drum tracks, with 4/4 floor clips programmed in off the bat. I have one for a 909 coming from Drumazon (check out my video on kick drums here), an 808 coming from the default Ableton rack. I've mapped all the controls that I use the most into racks so that I can quickly put together variations on 909 and 808 kick drums ready to go in my tune. I've also got my Kick Verb send set up and ready to go. I levelled the hi hat tracks down a little because I tend to find they sit below my other drums, so its a good starting point. I've got a off hat (on the 3 of every beat) and a 16th (one every 16) programmed and put into each track so they are ready to go. These a pre loaded with basic 808 and 909 hats, with racked macro controls to get instant variation on my hats. I have a ride channel set up in an identical way. Then I have 2 percussion channels set up – with a empty simpler on them ready to load different samples. I haven't been using many claps or snares lately so I haven't included them. I also haven't grouped my drums together. This is just the way that I like to work, if you do commonly use drum buss compression or would like them to be grouped together by all means to that, there's nothing wrong with that I just prefer to do that later if I need to. The final thing I did for my drum racks was to name them all, and colour them according to my colour system (see my post on organisation here)

Bass Track: Next I have my bass track. On here I've got an instance of the excellent TAL Bassline 101 which is a recreation of the Roland SH 101. I recently got this plugin and have been rinsing this for basses for the last couple of months. I've yet to rack it up as its super easy to program. I used to have Operator on here but feel free to put whatever you most commonly use for bass on here.

Idea One & Idea Two: These are my main core ideas or themes for the track. I find that usually I only use one or two main themes in my tracks, so I put two tracks in. This is a good example of providing a halfway point. They don't contain any sounds yet because those main themes could come from a bunch of different places, a plugin, a sample, a bunch of recorded or re sampled audio – but it gives me a place to capture them and helps me to mentally be aware that I need to move on from my drums at some point

(I spend AGES making drums).

Pad / Texture: I'll almost always have at least one pad or texture sound in my music. Often times I will start with a big pad or texture to provide me with some context while I start writing the other elements of my track. I might replace it later, or keep it the same, but either way I usually use Omnisphere 2 for this task, so I have that loaded with a blank patch ready to go.

Empty Audio Tracks: More and more these days I am getting into re sampling and found that I was often having to create a bunch of different audio tracks. I usually re sample my kick verb, and often generate ideas by running sounds through things like Reaktor or a bunch of free mangler plugins that I'll record back so I have created 3 channels ready to go.

Sends / Returns: I then have my basic sends and returns set up. On A I have a small room reverb that I tend to use to gel my drums together and add space. I often change this depending on the track later but any small room is a good starting place. Then I have a similar reverb set up but for longer spaces, and I've dropped EQ's after them to clean up the bottom end and roll off a little of the tops. Then I've got a delay coming from Echoboy, so I've got some basic delays running when I need them, and then the kick verb mentioned earlier. I've also taken these channels down by 6 dB or so to make sure they aren't filling up the mix when mi writing.

Master Channel: On my master I've got an instance of the excellent Molot compressor which I use to glue my mix together. I'll usually set this once 'I've got something going that I like. I'm nearly always using the same settings so I've set a good starting point on this that I can adjust to the track later on in the process. That goes into Izotopes Ozone Limiter. Its not active by default, but at the end of the mix process ill just drag this down a bit so I'm getting an impression of some basic mastering. That runs into smexoscope so that I can easily see what's happening with the transients of my track (incredibly useful in all stages of production) and then finally a spectrum analyser that I can look at.

All of my instruments, samplers, sends and returns, and mastering channel plugins (except the limiter) are on by default when the project loads. The rest of the plugins are disabled to help with loading times. I've also set the temp to 130 which is usually what I am working on these days. When I had all my gear (I recently moved to Australia so its all back in the UK now) I have everything routed into my sound card and all other relevant routings in the I/O section ready to go.

This is a really good middle point for me – the things that I know I use all the time (basic drum patterns and certain instruments and effects) are all there, but I am not looking at complete arrangements and pre programmed midi parts or samples that are going to lead me in certain directions.

Once I set everything up how I liked it I then when to Preferences → File Folder and went “Save Current Set as Default”. I also made a Templates folder and saved this as Production Template in there, along with my other templates mentioned earlier on.

This is one of those things that you can do when you're not necessarily feeling inspired to write a tune, and will massively speed up your workflow when you start using it. I usually update my template when I start using a new plugin or technique regularly, or I am feeling bored and want to switch up the way that I'm working. So – get your template sorted, and get back to capturing those ideas and making music!



How to be a better producer: Get Organized

If you think about it, making a tune is essentially one long list of decisions. It starts of with big questions “Which type of music am I going to make?”, “What DAW am I going to use?” and quickly becomes increasingly smaller levels of decisions making “What plugin am I using for the bass line?” “What patch am I going to use?” “How do I tune this oscillator?” “What filter type am I using?” “How do I EQ this part to fit In the track?” “Do I turn it up a single dB?” and so on. Why is this important?

It's well known to science types that willpower is a finite resource, and that enough decision making will result in decision fatigue, or the inability to make proper decisions. In much the same way that your ears get tired when mixing for extended periods of time, your brain works in the same way. So one of the key things to help you to become a better producer is to get organized with your projects. Think about it – every time you have to make a decision about something you are using up your brain power, and that'll mean that you'll get fatigued quicker, and work slower. Being organized might seem like a nightmare task in the beginning, especially if you are not used to it, but by slowly being a little bit more organised every time you work you'll get more efficient when you work.

So with that in mind, here is a list of improvement's that will help you stay organized and focused.

Project Organization – Naming and Colouring Tracks

I would say this is one of the most common things that I see in clients when I start to work with them. Their projects are all over the place. Nothing is named, everything is random colours, and there is no sense of ownership over the project. You end up spending ages trying to find your tracks each time, and your using a heap of brainpower keeping these things in your head. So with that in mind - decide on a colour system. And track order for your tracks. Mine goes like this from top to bottom;

Drums and Percussion top of the project – green.

Bass – Orange

Main parts or melodic instruments – Blue

Pads or Atmospheres – Purple

Vocals – Beigey skin colour

One shots or FX – Pink

Sends, Returns, Parallel channels – Yellow

Master Channel – Red

When I started to do this it took me a while to remember to do this each time, but once I got used to it it became second nature, but now finding a track takes 2 seconds, and I save time and brainpower each time. It also looks legit and helps you get an idea of what's actually going on in your tracks.

Make your own library

Start making your own library of sounds that you use all the time. The simplest way to do this is to go back through all of the projects that you have worked on and save any of the sounds that you like into a folder on your drive. If your working in Ableton, just group any sounds native or third party and any relative effects into a rack and save it into your user library. Don't worry about meticulous organisation straight away. Just keep dragging sounds in until you've got too many to navigate and then start making sub folders to put them in. Again just go as simple as you need. IE. start with “My sounds”. When you've got to many, make a “Drums” folder. Whack all your drums in there. Then when you've got too many drums, make a “Kicks” folder and stick your kicks in. Just do as much as you need to right now. This will help you to build your own signature sound in time, and you'll spend less time finding the sounds that you like so that when inspiration strikes you can get your ideas out quickly.

and keep it clean!

No one cares where your bass came from. What you DO care about is what kinda sound it is. Calling something “Moog Square envelope bass” means nothing to your creative self - “Gully Grime Growl” on the other hand is going to be much more useful and recognizable to you when you quickly need to get a bass sound in. While your at it, make sure you can easily access the different folders and libraries that you have on your computer. Got a bunch of a capella's that you use all the time? Drag that folder into your DAW's browser or make a short cut to it so you can get there in one click and not spend 5 minutes clicking through folders while your ideas fade away.

Get your gear in order

This is another biggie. I remember I used to go to a friends place to make music all the time and he had a mouse with a cable that was really short. I used to constantly try to move the mouse around outside of the cables length and would snag it on the keyboard all the time. These little things would bother me all the time I would become less focused and more distracted. So with that in mind – Make sure your gear is all working properly, get those couple of extra cables you've been needing since you got that new synth, and make sure everything that you use regularly is in easy reach. You don't need to spring clean your studio every week (in fact being overly tidy could be less creative but just make sure you're not wasting time trying to fix things when you could be making music.

Get your DAW in order

Dodgy plugins? Soundcard drivers out of date? Computer crashing all the time? Do yourself a favour and spend a few hours sorting all this stuff out. An unreliable computer is not only annoying but really unproductive. Make sure that everything is running smoothly so you can make music for hours on end without crashes and interruptions

Have a template

This is something that I will be dedicating a single article to as there is a fair bit to go through, but its worth doing a bit of research your self around this. Many companies sell or give away templates for different DAW's and genre's. These can be great learning tools but I highly recommend that you make your own.

So I hope this article has given you some motivation to get your self organized. Take half an hour and start getting organized. You'll save a heap of time and energy and you'll be that one step closer to being a better producer. 

Kick Series PT 3 - Conclusion

Well after alot of faffing about with recording and uploading Youtube videos its finally here! There's a good 45 minutes of solid discussion and demonstrations on how I do my kick drums now. Everything from building them, to getting them to sit into your track and develop a sense of space and depth with them is covered. Hopefully you get something out of this! 



Kick Drum Series PT 2 "Techno Big Room Reverb Kick"

Well this week was not so great! Just goes to show that all best intentions can be derailed by our old friend the common cold... 

Moving into Part 2 of this series I am revisiting another post I did for GEMP not long after the "Everything I Know About Kick Drums" article last week. I remember this being a really big turning point for me in my production. Alot of this was collected from various posts around the web but most especially subsekt's the hole - which is a wealth of techno production knowledge well worth going through. 

This technique pretty much opened the door to how I do my kick's now and although I have refined the formula somewhat the technique in the article will still get you a really decent kick drum. In the next post i'll be exploring my current way of making these types of kick drums, from source selection to processing chains and mixing tips.. enjoy!

Kick Drum Series PT 1 "Everything I Know About Kick Drums"

So for any of you that know me personally you will know my inherent fascination with those oh so great parts of any good tune - the kick drum. I've been known to spend days and days on end working on kick drums and its something that I am constantly improving and working on as a technique. I've decided this be a good place to start with my blog so I am starting a multi part series on all aspects of the humble kick drum. July marks the 1 year anniversary of a 12 page document that I wrote for the excellent Facebook group for which I am one of the moderators - Group for Electronic Music Production or GEMP for short. The group itself is full of a big group of different producers from all different genre's and a regular goldmine of knowledge and feedback. 

The document was called Everything I Know About Kick Drums and at the time was just that, the entirety of my accumulated knowledge on kick drums. It covers everything from samples and layering to mixing and perspective. While my methods have evolved somewhat since then (more on this in future posts) it's still a pretty comprehensive document and many people have commented on how useful it has been for them, so I'd thought I'd share it here.


I hope you get some use out of it! I'm also happy to answer any questions you might have on the subject so just ping me an email or give me a call! 

Until next time.. 

On Beginnings

Well this is a first for me! A website, a blog post, a new city, a new country, a new beginning. I am mainly just writing this to have as test material for the new blog but I have a feeling that I will end up using this space quite alot. I've got alot to do - fix up the website, carry on developing course materials, get myself out there. This is a start, and it feels good! I've got a few students already, an ace coach to help me on my way and a clear vision. BOOM. Lets get shit done.