Episode 3 - Bobby Cole Music Composer Renderyard Interviews

Today we speak with Bobby Cole, the composer of the hit song Trance Music for Racing Game used by the Minecraft, YouTuber, Dream. As part of the Renderyard Interviews and find out how he produces and creates his music.

Interview Transcription

Speaker 2: Joining me today is the composer Bobby Cole the composer of over 12,000 library music scores. We will be talking to Bobby about how he produces and composes his music and finding out about his journey through the film and music landscape. As an established entertainment composer, welcome to Randyard. And interviews today. We have the composer Bobby Cole and Bobby is joining us from

Speaker 1: Wales. As far as I know. Yes. Yeah.

Speaker 2: How are you Bobby?

Speaker 1: Yeah, yeah. I'm good. I have just come back from swim in the gyms to try and do some form of exercise after Christmas but yeah all good.

Speaker 2: Yeah, all good. I've got this work to do.

Speaker 2: Yeah I must go running so Bobby. Bobby is a musician that has been working with in the industry for at least 20 years and he has a very established career that includes incredibly large collection of music for sound and audio libraries. He's done composition work for well-known feature films, as well as advertising, and he also has a immersive historical event production company called his story Productions. And he's produced work, looking into the history of Titanic, true, Noble and John F Kennedy JFK. And today, I would like to What's Bobby about how he got involved in producing music and how that led to work in the film industry.

Speaker 1: Yeah. Okay. What the first sort of I think the first Venture into library music I was in university and we had this this huge library and this was you know back when library music came on CD format and see these would be posted to production houses and I remember seeing you could hire these Lively music CDs for your projects if you needed them and they had, you know, Shelves and shelves of CDs with production music. In any genre you could possibly imagine and I started looking into this. I thought well that sounds like it would suit Me You Know instrumental music, make it your own pace your own time. Make what you want to set actually you know it's almost when I was sort of 19 years old it was like a dream job. So then for my final project of uni, there's a couple of things I did an album of horror music and it was the final project you have to create something and it was quite open and ended the brief. So I said right well I'm going to create an album of library music and I'm going to see if I can place it now at the same time as all as their side I sort of written and recorded a Like an album with my own songs, like sort of sing a song right there, you know. Just a cue stick pop rock. It was it was a great. I've still got the CD in my studio today, but it's all part of your journey. I think I look back on stuff like that. And the songs are Dreadful, you know, all the lyrics are cliches about sunshine and dreaming and all that stuff. But you know it's all gravy. It's all good part of your journey. So but when I was 100% like it's good. So when I was looking into Library, I finished university has about 21 hours looking for jobs in and around London and on one of the UK music. Job boards came up audio micro which is a stock music site, is quite well known now and they develop a dreary and things like that. And this was when audio micro were very first that they were launched the website. So I got in touch with them and I said, look, I've got this album. It's got vocals on. I've got this Horror concept album as well and they said, well at the moment, we're only interested in instrumental music. So I went into the the multi-tracks in Cubase, muted all the vocals and we exported everything and that was how I got into it. I sort of placed about 20 tracks with audio micro uploaded, them, filled up all the metadata, and the keywords and the tags and all the The fun bits in the string and and I started I started that and I think the first month I made about three dollars from those 20 tracks and and I think that's what puts a lot of people off. It is the amount of upfront energy, it takes for very little reward, but I mean, I was 21, I was living in London, I was teaching music quite a lot. So I would teach guitar. In the evenings, I would teach piano in the evenings. They worked a little school so I sort of I wasn't making much money at all, but I had a regular income to, at least pay the bills and because all that teak didn't work was evening. Allowed me during the day, the time to make more songs and 20 songs, became 50 songs which came 100 songs. And then I remember the first month, when I finally made $100 for an entire month selling music online, and I was chat. I thought it was the best thing. You know, at the time, it was about 60 quid. Which doesn't get you very far these days. But the whole thing for me was a model and then over the next sort of 10 or 15 years, and multiply the number of traps and then multiply the number of companies I was working with And it does is, it takes huge amounts of time and efforts to build sort of a music library to actually live off. But that was how we got into an audio microphone. That would work very first sites. And those songs that it loaded 15 years ago, those instrumental tracks are still online and you can still buy them and license them for a project, which is crazy.

Speaker 2: Yeah, a lot of the companies come and go but the music, it will flow from one. You know, business Acquisitions of the next. So the music very rarely ever comes becomes offline. It's always yet living somewhere, but yeah. Trans between one, you know, licensing platform to the next, you know, one company will be acquired by Sonny. They will then be acquired that like a company like that. Never even. Yeah,

Speaker 1: yeah. That there was that Revo stock company and I used to love him. It closed down. You know there's been a few others over the years that have closed down for whatever reason. But yeah like you see the music you know has an eternal shelf life almost

Speaker 2: it does and as you know the 15 year time frame you and I have worked together, I think for nearly 10 years you ever take and you know, both of us have watched this transformation of the landscape that The music landscape of film landscape as things have just become more digital more readily available, more heavily consumed via streaming, or when we started, I don't, I think Spotify had been around, but it wasn't

Speaker 1: always really days wasn't

Speaker 2: early days. And, you know, we worked with a Norwegian company actually called fauna file and they were later acquired by Orchard. I think who've now who are on body suddenly so it's like one thing every day and so all these separate platforms have emerged some have you know, stood the test of time like cheating car which is obviously you know, an industry standard. But now you know, there are there are many other things nipping. At the heels of those larger companies who can just maneuver And much faster than your held back by so much red tape. And we were always playing a game of, let's just find the right place to place the music. And if it doesn't, if it's not performing, then let's pivot and place it somewhere else. And I think one of the things that's interesting for your career is that you've always had the ability to just Develop and change, either change the style of music. You've been able to work under lots of various genres, different styles, and you're able to adapt to what's required now, what's in Vogue? Yeah. And then move towards that. And can you tell us? Give us an example of an area that that may be more relevant over the last year.

Speaker 1: But I certainly think when I first started YouTube was, mainly Fortune, you know, videos of cats or it was, it was you've been trained but online essentially, when when you two first began now it's become something completely different and in terms of in terms of the income that used to get generated from from the music sites. YouTube particularly how the whole Content ID world and and fingerprinting a piece of audio, and then finding out where it's being used, it's still in its infancy. Really, I know eyebrows been around for a few years but there's a lot of other Sykes now that will track, you know, twitch Tick-Tock. There's there's companies that can fingerprint that audio file that exact way you fall. and scan a whole bunch of and I think over the next 10 years are going to be seeing more, we're going to be seeing, you know, more sort of YouTube sort of content ID style systems but for other websites even things like Roblox Minecraft. Yeah. Things like fortnight's all these online gaming worlds, where music is being used like my son. Please Roblox. He's eight years old. Yeah, and there's the constantly in the background and I viewed my own music track. This always there. And I'm thinking, well, I'm not getting paid. Any at the moment music from those rocks.

Speaker 2: You've heard your own music on

Speaker 1: Roblox. Yeah, many times I've been sitting down cooking dinner and Jackson's watching YouTube program, always playing Roblox game and I'll hear a random track pop-up of mine. I mean he doesn't care less he just wants

Speaker 2: to

Speaker 1: defeat the dragon or whatever it is. He's doing at that point, but it is interesting. But I think I think all of those content ID Systems are going to get. Hopefully there's going to be more and more of them applicable to different sites.

Speaker 2: Yeah, I mean every I mean you and I we just received a royalty check from Tick, Tock that I had no idea was even even possible. So now now now, you know, I mean, it went back almost two years of streams but it was all Places where your music had been recognized. Yeah. In one form or another bf5. Second clip or a one minute, you know, ticked off video. So, these companies they are however, they, you know, work their kind of alchemical digital, like witchcraft. They are finding ways to monetize in the most unlikely places. And like we said at the beginning as - the music is is live. Time isn't a factor yes it's the technology catching up to that time parameter and then monetizing it. You know we we all hope that videos or music that's been very successful. A few years ago that had huge amounts of traffic is somehow monetization wise available too. Provide some money. Maybe three to five years later we just got no. Never. So Okay, you have the lot of composition work for films, and I'm for tizen. Some of the film's involved titles such as kill Cain. The actor, Vinnie, Jones, and werewolves of the Third Reich. I'm a big horror fan. So I don't know much about that film but the titles good you've done work for the dolls like sir. How did you move into the summer of soundtrack area?

Speaker 1: Well, I mean, that was started with them. There was a local filmmaker in South Wales, who was making horror films, and he was producing films on quite quite a large quantity, I think, at one point we were doing for feature-length films a year and yeah, it was it was crazy times. And so I think I knew him from another friend in school, put me in touch, you know, it's always relationship-based is that these sort of contacts and I started working with them and and it was, it was hard work. Like I think a lot of people in University if they study music degree or music tech, I think composer for films is almost seen as like the holy grail. And the most exciting thing you can do when I was actually doing it. It was tough because, you know, like be what 90 minutes, maybe two hours long, that's an awful lot of music to write specifically for the film. So, so, I was, I would have a two hour. And luckily, with horror you can be a little bit more, you know, a tense scene is relatively straightforward to school but it's still hugely time-consuming. And you know, that that was part of my life. Like I don't I don't compose for films now but back then, you know, it was great. I think I think I've got I've got stack of DVDs in my living room. There's about 10 or 12 films. I did the music for and it did some sound design and all your push production on the few of them. Yeah, that was a time in my life. It was great, but it was it was busy. It was hard as well. Yes. And wasn't what I thought it was like, I probably wouldn't probably wouldn't want to do it. Again, now, if I'm honest, I'm quite happy to say. Yeah. I don't want to do that sigh look like

Speaker 2: again. Yeah, it's not for everyone but it shows that you've had the variation to approach, you know, that that area of Music, you've tested the water, you've obviously seen what their revenue is like if it's been okay, good bad Etc. And then you've made an informed. Form decision and gone. Okay, I'll do more of that or I'll move and do more of this because it's yeah, yeah. So you how long did you spend in that sort of film as well

Speaker 1: as probably about five years give or take where I was sort of composing for three feature-length films a year sometimes for and that was in and amongst all the labor stuff as well.

Speaker 2: Do you have any favorite? So you're allowed to kind of flip out a few titles that you're like. Yeah, that one was

Speaker 1: a view, Robert Robert, the Doll Robert, the doll was quite a good when I recorded my friend's daughter. She was about eight years old at the time. So she sings the opening credits and and that was quite cool. That was quite cool because I have a child saying, all of these notes, like it played on the whole, the child. In a sense of the filament that was quite a fun to do it, had a had a theme and had an identity with the music. See ya. That was probably my favorite one,

Speaker 2: hit up. IMDb and look for wrote about it was the way you can stream it now, that's really good. And do you ever kind of look back on the work that you did is a teacher? Is there any part of you that would like to explore that aspect of taking your skills and And training not a prodigy a but you know, an intern, or bringing bringing some kind of just passion to kind of, you know, the younger generation the. Yeah. I mean,

Speaker 1: yeah, I used to. I used to teach a lot. It's is finding the time for it now. It's finding the time. So I used to teach, you know, a lot of private lessons, are used to working the school in Westland and I'm working with them. See it's a company at the moment. I'm sort of going in the odd day here and they're sort of working with them it's hard it's hard. Like it's great to do because it's very rewarding that sort of thing. Especially when your friend younger generation or younger person that has got a bit of fire and wants to do it and has a bit of drive about But yeah, it's hard to find the time. It's hard to find the time.

Speaker 2: Everything is kind of counted in how many hours it takes and what can I get done with a day? So yeah. It's I think it's very important that as you know, people in the industry becomes successful, they should try to in any way they feel comfortable have an aspect of their business. It's a lifestyle where they try to give back not financially, but just knowledge that we've got. Yeah. 100% knocking our heads off a wall for like 20 years. Yeah there's a few nuggets so it's

Speaker 1: also like when I was younger, you know, there's people that I look back on that helped me, you know, I know piano player in West London that that taught me and I taught him guitar lessons and say thank you as a A payment and there's various people throughout the years, I've helped me, you know, get to this position. So yeah, definitely. I think it's quite important that, you know, everyone has someone that has helped and get a lot, a leg up the ladder if it were, and

Speaker 2: definitely. Yeah. And even even at this stage, we're always still looking for a city Athens looking for support, nobody knows everything and and the paths that were treading. New on a daily basis. You know, where was encountering like problems, easily won a week or like, how do I fix this? Yeah, it's busted and you need a network to be able to communicate with. Yeah, you know, these videos are a way to reach out to, you know, a large amount of people that run the yard has worked with over the years and just pick their brains and, you know, try to show Share some of these ideas and give inspiration to the viewers that come across the videos, the streamers that listen to the podcast. And, you know, people can also reach out to the people in the interviews. Very easy to find on Google Etc. They can find the that the websites, or or LinkedIn. And so the you should always try to further, the way you are now and that just takes a little bit of You have to kind of feel the fear and do it anyway as they say, yeah, definitely, definitely over the last year, you've been working on a new company called historic reductions, and I seen quite a lot of activity around an immersive historical event based around the Chernobyl and the historical events there. Can you tell us a little bit more about? Yeah.

Speaker 1: So, It all started. I was doing some work out in Belfast with a theater company writing, some music for this, fantastic theater company called replay. And how did they off in between some of the jobs and I went and did all the Titanic Museum and the Titanic war and all of that in Belfast and all that was just helped. I think I was just hooked from from all of that. So when I came back from that trip, I created a sort of, I wanted to create a concept, album chart in the Journey of the ship and satanic from Belfast to be in belt, down to Southampton out into the Atlantic, obviously sinking, and then the survivors arriving in New York on board the Carpathia, okay, the 12-track album. It was purely for, you know, a passion project. It wasn't for Distribution. It wasn't for a label and publisher. Nothing like that. So I did that. And and and the album is a mixture of music. It's a mixture of sound design, so I had voiceovers done in Belfast. It's a mixture of some of the songs you would have heared on board the ship, obviously Nearer My God to thee at the end of the album. So the whole album is very much based on, maybe what it would have sounded like on board that ship. And from then, and I wanted to organize an event where I played the album in its entirety. So I started to organize that and then I thought, well, wouldn't it be great? If wouldn't it be great if I could serve up the final meal? That was served on board, RMS Titanic, 2 hours before the iceberg kids. So I started doing some research. I had a friend that ran a catering business and we sat down, we sort of, we started planning out what this could look like and then it just sort of snowballed out of control really. Then I said, well, let's let's write the scripts and sort of create an immersive world where the idea is you come through the door and you step back in time to 1912. So I tell all the actors every time we do a show that there's there's only one scene and that scene starts at 7:00 with no doors open and finishes a 10:30. They remain in character the whole evening, so there's music. There's visuals, we project the CGI graphic of Titanic sinking in real time. It takes about three and a half hours over the course of the evening and you reaching your meal and then whole show plays out all around your table. So it's not like you're watching actors on the stage, they come down to the floor and they interact through you mid-scene. So, we launched that in Swansea. We did about eleven nights at a venue called the house. Iced in Swansea City Center. And then he locked down, hit and then, obviously, everything paused for a couple years, but then just as the world's sort of started to open up last summer, we started approaching venues all around the UK, and that's pretty much been. You know, I haven't touched the music for about six months now, because that's pretty much been my life. So, what venue than Bristol in Cardiff were at the Savoy and Central London, or up, north and leads and We're going to Southampton. And we're talking media venues all the time. And yeah, it's crazy. It's loaded. And then we're about to launch two Noble, which again, is another immersive theater experience and we're working on the pre-production for JFK as well. So, yeah, it's crazy. Crazy, busy. It's like tin is

Speaker 2: different and I think that is very different from a visual perspective working in film industry. I love the idea of you know, not just looking at the screen but actually having that the actors were moving around, you obviously delivering their lines of panicking or it just convert conversing with each other Etc, but you're involved in that ceiling and

Speaker 1: yeah, I mean it's a local opportunities in the show when the actors will interact with the people sitting down or they will, they will give them a note from the Coney room saying that there's an iceberg warning, you know, you're part of it. You're not just sitting absorbable like you are supposed to be part of the show and that's what people love, I think

Speaker 2: really. That's, I'd love to see that become a new version of films and film performances. Much more exciting than just sitting in the cinema see.

Speaker 1: Yeah

Speaker 2: that's that's great. Do you have a show that you would like to promote In or a tour that might be happening.

Speaker 1: So, I mean, I mean, the big one for us, I mean, there's loes this year, but the big one for us is the Savoy in central London. So they're on October 29th with the Lancaster, Ballroom in the main Ballroom of the hotel and obviously the savoia is famous all around the world. Yeah yeah that's the one. I think we're all all really looking forward to. That's going to be quite special that one.

Speaker 2: Something that surprised me greatly and and always is really inspiring to read is that you were self-taught from the age of 14. You learn to play the piano, you didn't have a teacher and it seems that you actually use the piano that was in your garage. Can you tell us a little bit about that?

Speaker 1: Yeah, so I see, I was, I started as drums when I was about nine, I remember this drummer, To my primary school when I was about 7 or 8 and you grow his drunk it into the hall and he played and I don't know, I find it fascinating some reason. So my mum got me drum lessons and I don't know. I think I always just got hooked on it. So from there then I think I started learning guitar at the time, you know, I was about 10 11 and punk rock. You know, Green Day and Blink-182, they were, you know, Smells Like Teen Spirit, they were the bands of the days and that's why everyone listened to ya to learn guitar just seen. Well I want to learn how to play basket case. I want to learn how to play Smells Like Teen Spirit and you know what's rage again and all these sort of mid 90s, some Classics now

Speaker 2: best. Yeah

Speaker 1: it's great. I love all that music. It makes me feel young. That and the piano was an interest in. When I have this little keyboard in my garage and and I, you know, had DJ buttons on and not sound effects. And there was literally, like I didn't touch it for years and years and years apart from just, you know, making stupid noises really with that. But then, when I started playing guitar and I learned the basics, you know, C Major D, Major G, just some bog standard chords. Sort of realized obviously the same notes that make an a major chord, a sort of Slappy and I thought well surely if I work out what notes are in a major on guitar and and figure out what they are on the piano and then from there I think the moment I sort of made that connection in my head about how a chord is formed on the piano. Then I was away you know worked out the majors or minors looked into sevenths and then it was almost like Almost like it was almost like sort of like a language. You know I understood that there was this whole of the world and I had to play piano. I just have to sort of sit down and put the time in to work. You know what, the chords are. And yeah, I mean I mean I had some I had some basic lessons when I was very young but nothing, you know, I didn't do the grades, I didn't go through that, sort of system had some fantastic lessons when I was about 20. 223 from this gospel piano player in West London, okay was incredible. And that I think that opened, you know, another can of worms almost to me in terms of piano but yeah like there's been it's an interesting route because I didn't go down that classical Roots, it didn't do the grades, I didn't do you know learn three pieces and do an exam and I know a lot of people do and you know that's a week but for me it was never I never went down that route. It was all about learning chords on piano in the same way that I could play chords on the guitar. Yeah, yeah, the driving force behind

Speaker 2: that. A lot of the a lot of the music that Randy ideas, you know, worked with from given from you over the years from my own kind of listening to the music. It always seems that there are many layers of various instruments, applied one upon the other and my own interpretation of that is that you have a very high repertoire of being able to Just climatized two different in different musical, instruments different sounds and therefore treating the kind of musical instrument availability as a collection of tools and my own interpretation of, you know what you're saying. At the moment is I'm almost wondering if that kind of lack of uniform structure in In the music, in the learning of music, has been more beneficial to you because it's allowed you to kind of freestyle and treat this sounds like a palette. Because, you know, it is, you produce hundreds and hundreds of songs and I work with other musicians and they're like, I don't know how this guy. Does so much work here. My theory is I was being, I think he wasn't held down by you must go ABC and therefore, he's hasn't got. He's got his own way of doing things. It's not so fun that it

Speaker 1: I think as well with. I think what's worked what I've enjoyed quite well here is because I can sort of play a few different instruments and the moment that I discovered multitrack recording and the ability to record something, set up a new channel and record something again over the top of it. I think for me then it was like it was like game on. Yeah. They didn't have to rely on other musicians to pull in. I could sit there the computer like to just, I could record all these layers by South And that was a dream. It was a dream for me that the moment that was sort of a gotten the multitrack recording using Cubase and the computer, you know, that was that was fantastic because it meant. I could sit there and layer up these tracks myself and not have to rely on on anything. And I think yeah, that's what I guess work very well build in that library of songs.

Speaker 2: What's your kind of? You know, obviously there's no you can't say by the hour, but what's your kind of work? Turnover. Turnover is it. Is it a song A Week song? Every three years already? Just as you feel

Speaker 1: inspired? Well, I think, I think at the beginning, like, you know, like you just mentioned. It's It's a Grind and I think in my in my twenties, I was sort of working almost every hour Under the Sun. And, you know, I wake up at 7:00 and make a cup of tea and they'd sit at the computer and I would start Making songs basically and I would do that until about 4:00 and then I would teach from 4:00 until about 8:00 or 9:00 in the evening. So I remember, you know, it was, it was my early twenties, I was full of energy and I guess I guess that the driving point is essentially however, you sort of fill it up. The driving point is to make money. Yeah, that's though I was living in London which you know, is a very expensive city Levin and I was barely making anything. So I think for me the drive point was to have a better quality of life for most in terms of you know living in this flat on the very, very outskirts of London. Yeah. So I think that that was my early 20s, it was teaching some late afternoon evening, and writing music and then gradually. I didn't have to do as much teaching. I took less and less of that on in the evenings because the music was generated more income and then I don't have any teacher. Now she was pretty much the cruising but in terms of yeah, in terms of hours, like I I'm not a night owl, I'm not even a morning person, and I'm sort of somewhere randomly in the middle of the day. I guess, living in the UK, we don't have where there is a nice. As you do in Spain, I think it's the Sun was shining. I wouldn't get much done when they

Speaker 2: gonna be a

Speaker 1: nightmare. So I think when lockdown first happened as well over in the UK the where that was glorious and it was just it was warm full of sunshine and it's one of those ones that you don't want to be stuck in front of the computer when the sun is shining and the skies are blue. So so I don't tend to get much done over the summer months you know, July and August and then I sort of knuckle down for the winter almost and do all the work then. Yeah. Yeah. I know how I think sort of Sort of I start at 9:00, you know, I normally do it 4:51. I start the week, quite enthused and driven, you know, I know a lot of people that hate their job and they don't look forward to Monday. I'm the opposite to that Monday morning, I'm game head on and ready to go. By the time it comes to Friday, it's a different story, I think my productivity and we drive to crease as the week goes on so it just gets less and less by Friday. Then I'm thinking Making 1:00 and done. Now, that's it. Lets go and have a

Speaker 2: one. One, one question I had is, how do you approach commercial companies? How do you get your music in front of commercial companies to be used for advertising or just, you know, Network use. I mean, you've produced work for all, you've had work used on MTV British Telecom very famously, you compose music for the u.s. Hell's Kitchen and Cartoon, Network National Geographic, Red Bull, Virgin Media, Etc. Have you had an agent involved with getting your music in front of these people are again, is it just part of the library? Yeah, it's tracks. That are very yeah,

Speaker 1: it's more. It's more part of the Free. So you know, all of those companies that you just mentioned, then the music gets used because it was in a library. Ultimately it wasn't a thing where I mailed you know, I didn't email Red Bull and say I've got these songs that was Red Bull looking for music in the library and they selected my tracks. And again for me, I know this composes that go up there and proactively search for jobs and that's fine. That's one way of doing it for Be, it was great because it was almost a hands-off approach. It was, I don't get bothered by these companies. I don't have any contact with them. In that sense, I can sort of sit back in the studio, making music at my own pace, with no deadlines with no budgets with no, you know, faff around the paperwork or anything like that. Just for me, it worked out really well in that sense because I could just apply the libraries and You know it gets picked up by like you said all the list that you just made then

Speaker 2: having such a wealth of music in your library? Can you tell us roughly how many tracks are available at the moment?

Speaker 1: The last count was 14,000 Which is, which is crazy. You know, that's a lifetime's woman actually.

Speaker 2: I know, I know we manage over 3,000 tracks 14,000. This is just amazing for everyone out there. That's that's over it 12 to 14 year time frame. And I'm thinking, yeah, level of production, you know, Randy. I'd has seen two very big successes. One was again during the pandemic, probably because everybody was at home and streaming films, and music was just one of the daily things that people were doing to keep themselves entertained. We had one of your son's reach over 3 million streams within Amazon's Music Unlimited platform. And you know, every month we just see the numbers they started. Curving up or hockey sticking, as they say, they just kept going and going and going for over a year. It was amazing. You yourself. You had success with with, with a very famous YouTuber streaming gamer called dream. Can you tell us a little bit about that and the success of that song

Speaker 1: and that was that was hilarious. Actually, when that first it's so it was about, It was about 16 months ago, 18 months ago, someone like that. I remember see the little spike in the streaming for this song in particular that I put a lot of music online on Spotify and everything and you know, made next to nothing from it. Maybe it had your quit the strings and you know that that's to be honest. That was what I was expected. I wasn't expecting, you know, Miracles because ultimately it's instrumental music. It's Music written for libraries and nine times. Out of 10 is placed behind dialogue, in speech, and narration. So the idea is you don't really want to draw attention to it. It needs to be a background. So then I started to see a little bit of Spike and I was averaging. Twenty thousand streams, maybe a month, and then it spiked up to 100,000. And then it's backed up to 200 thousands and this get going, and I think, The biggest month was two and a half million streams and a 99% of it was from this one song. So I went onto YouTube and I did some digging for it and it was a song that was used by this YouTuber called dream and he plays Minecraft and he strings Minecraft him playing Minecraft basically. And this song was used for something called the man had series which No idea what that means, but it started here who's using this song Started, a lot of his videos.

Speaker 2: So,

Speaker 1: yeah, every video was getting 40, 50 million views on YouTube. You know, he's a huge player in the Minecraft world and so a lot of the kids then were listening to this song whilst they were gaming. So if you go to you, YouTube now and look for the song, There are there's versions of it where people have looked at it for ten hours and and you can, it's mad that there's versions of the song that have been distorted. People have done on Kestrel versions people have done how to play the Minecraft song piano tutorial and this is killing me. And showing you with his fingers, how to play all the notes and it was Colette, it was really funny at the time. What? Explode because there's a, there's no jazz musician from New York who died in the system. So you read a lot of comments and and everyone thinks I'm dead. Yeah, it was, it was a lot. I tried to keep up with it when it first started. But now look, some of the videos have 20,000 comments and it's just like

Speaker 2: I know again, if there's a Reddit thread, there's loads of Twitter dialogue, there's somebody, you know, No trying to directly communicate with the YouTube stream of called dream.

Speaker 1: Yeah, I can't keep

Speaker 2: track.

Speaker 1: Yeah, but when that first side happening, I was approached by an agent. Wanted to represent me. I was a kid. People emailing me, it was like, and it was hilarious as around my mom and dad's house the other day and they have a list. Well, they've got one of those little Google things. Hey, go. Will, you know, play the dad goes a Google play, Bobby Cole. And obviously the song that plays out is the one from the Minecraft video. It's just, it's hilarious, it's hilarious. Well but again, the music and with Library work it's almost like you don't know when lightning will strike. Yeah,

Speaker 2: I guess just the kind of reference what we're discussing here. Let's find out. When did you actually record that? Track. So, how many years ago?

Speaker 1: 10 years ago. Years ago, it probably did nothing for nine years,

Speaker 2: has floated around the internet and yet one day got picked up by some, you know, Minecraft Legion stream gamer and went nuts.

Speaker 1: Yeah.

Speaker 2: And then has a calm down now, you know, that's Spike. How long did the

Speaker 1: Martin Lieber? No, it's still. It's still averaging over a million streams a month.

Speaker 2: Wow.

Speaker 1: Yeah, crazy crazy. Crazy world. We live in.

Speaker 2: Okay, so would you like to tell our viewers and listeners? What, where they can find you? Are you on? Are you on social networks? You have a website. Etc.

Speaker 1: Now, of course, yeah, I mean, so, yeah, you can find me on Facebook, Bobby Cole, my website, is Bobby, cold of code at UK. There's a YouTube channel with some of my things on under my name. And historic reductions assess for productions.com as well, for the immersed of shows. I think I'm on LinkedIn but I don't have much to do with that. My p8 does a lot of the, the LinkedIn and Instagram and Twitter for me. Yeah, yeah, yeah, yeah. If you want to watch out feel free, definitely

Speaker 2: Brilliant. Thank you very much for your time today. Bobby. That was, that was a great interview. Thank you. Thank you very much. Much thanks for listening.