Recomposing the Classical Favourites Series - Part 1

Part 1 of our deep dive into the Classical Collection is here - and yes, we may have upset a few ghosts along the way…

In this episode, we unpack the crazy task of reimagining 181 classical favourites for media use with Audio Network! 🎻
From navigating the complexities of public domain to reshaping the world’s most recognisable melodies into editor-friendly production music, we talk about what it takes to make iconic classical pieces work for a modern audience.

We talk through the whole process from selecting the repertoire, to adding new lyrics and writing entirely new sections, all while wondering just how far can we push Beethoven and Vivaldi before they start turning in they graves.

Plus, hear the unforgettable story of Day 1 at Abbey Road Studios, recording Beethoven’s Symphony No. 5, when after just two bars, the entire orchestra collapsed in laughter!

(And keep your eyes peeled for Part 2 coming soon!)

Watch the video version of this episode on our YouTube, Two Composers Two Continents.

Don't forget to leave a review and follow us Instagram @2composers2continents for sneak peaks of new episodes!

#classicalmusic #productionmusic #syncmusic #composer #filmmusic #librarymusic #audionetwork #classicalcomposer #filmcomposer #abbeyroad #recordingsession

Transcript

Jeff (00:07.438)

Here we are again. David Tobin.

David

Jeff Meegan. Two Composers, Two Continents.

Jeff (00:26.104)

Tell us about the classical collection.

David

Well, imagine getting a phone call that says, “I'm thinking of doing a thing, 70-piece orchestra, big choir, enormous budgets, recorded at Abbey Road, taking the most famous music in the world over history, messing with it and putting it out for media. Do you fancy some of that?”

Jeff

No. 

David

No, I pass.

Jeff

Pass. Hard pass. No, the answer is... Yeah!  Hell yeah, well let's do it.

David

Sure, why not. So I took this call. You were still asleep if I remember, this happens often. And then thinking, I have no idea how we go about doing that. And then just starting to formulate ideas in our brain.

Jeff

Cool. Well, let's tell everyone what the classical collection is.

The Classical Collection is a collection of classical favourites that we have edited down to use just the famous parts of pieces so that they are usable for media and television. And so, we've cut all these huge pieces down to generally two and a half minutes, three minutes.

David

But not necessarily in the original arrangement.

Jeff

Absolutely not. No, they are rearranged and cut down, edited down, yeah. And new material written just to make them work.

David

Yeah, and sometimes less new material, sometimes more, sometimes completely new material written, expounding on themes, taking the good bits. But we should go back. So how many of these, I can't remember, how many have we done?

Jeff

To date, as we record this, we've done 181 of them.

David

Just hearing that makes me go…

Jeff

For whom?

David

Oh yes, we should say these were done all for Audio Network. They're all available on audionetwork.com. They're also mostly all available on Spotify and streaming.

Jeff (02:40.418)

In fact there are new Atmos versions streaming now on Apple and Tidal for some of the, I think three or four of the albums, which check those out because they're pretty special.

David

Some of us have Atmos systems that they can then work with these things. Some of us clearly don't.

Jeff

This is all thanks to Stefano, cause Stefano, Stefano, Civetta, Civetta I'm sorry Stef.

David

I mean the fake Italian accent really sold it but yeah. Stefano Civetta.

Jeff

He would have the funniest comment to make about what I did, but he’s not here.

David

Yeah, he does Cockney Italian, which I particularly like. Anyway. So let's just talk about these. Let's dive in a bit.

Jeff

We're talking about classical favourites. And obviously those are, must be in the public domain for us to use, which of course they were all written, most of them in 1800, 1700 to the 1800s. I mean, these are old pieces of music, right?

David

Let's go back and let's talk about what that even means.

All the works have to be in the public domain, which means they have to have met certain criteria. I'm going to read them because it's really specific. good. So here we go. What is public domain? The composer and lyricist, if applicable, need to have died before 1955. Step one. Although we're saying 1955 just because it needs to be 70 years after the death. So at time of us doing this in 2025, that is 70 years.

Step two, the work needs to have been published in the USA 95 years ago. Or more. If the work was written before 1914, and I'll explain why in a minute, the composer needs to have died before 1941. So let me just say that again. If the work was written before 1914, when the first world war came out and hold that in your brain, the composer needs to have died before 1941.

Jeff (04:20.504)

Okay.

David

And if the work was written before the start of the Second World War, 1939, the composer needs to have died before 1948.

Jeff

It's all pretty straightforward.

David

I'm completely straight. So let's just explain why this happened. Because we should say that all works on Audio Network, and I would imagine most companies doing similar things, have to be clearable, they have to be used to, they can get licenses and be clearable for every country in the world. Now, not every country has the same rules. And in France, they stipulated this wonderful thing, hey French viewers, called the war years, which meant that you couldn't earn copyright money during the wars. So, they added on those years. So, you could get these cleared in every country nine years earlier, except France. But because we need to be able to clear them in France, we have to wait. That's the lowest common denominator in terms of…worldwide clearance.

Jeff

Worldwide domination.

David

 I'll give you an example. Worldwide domination. Nice.

I'll give you an example and thank you to Simon Anderson from Audio Network for giving me this example because he is the god of all things public domain and publishing. Here we go. Alzosprak Zarathustra. You and me. This is 2001 Space Odyssey. That thing, it's all about the timpanies, right? To the percussionist. 

So... it's PD (public domain) in most of the world, but not in France because of this war years extension. It added six years, not four, six years, I got that wrong, to periods of protection for everything written before world war one and eight years for the second world war. So, Ricard Strauss died in 1949. The piece comes from 1890. So you add 14 years to the 70 years, which would have been 1960, you had 14 years, takes it, oh no, he died 1949. So you add another 14 years to the 70. 24 years. Have I got that right?  

Jeff

Okay. I don't know, but so the, it's not free until when?

David

Basically 2033, 33. And we had to go through that kind of process with every piece.

Jeff (07:16.524)

Well, I mean, some were obviously, I mean, Beethoven, Mozart, you don't have to check anything. But yeah, that is interesting. So we took all that into consideration when choosing the pieces, is that?

David

Well let's come to that. So here we go with decisions.

What was the first decision we had to make?

Jeff

The first decision was we made a master list, if I recall, of all the classical pieces that we all, in our own right, called favourites.

David

Well, let's just go back one stage. Who's we?

Jeff

Well, we would be you, myself, our collaborator on this whole project is Julian Gallant, certainly Andrew Sunnocks, who was the chairman at Audio Network. 

David

Founder. 

Jeff

Founder and chairman. And so that's who was in on this decision-making process. I'm sure there were other people involved. But in the beginning, it was the four of us putting together a list of what we thought we should do. 

David

Did we all agree?

Jeff

Absolutely not. I mean, I think there were some that we agreed on pretty easily. Some are no brainers, Beethoven's fifth was like, yeah, of course we're going to do that. 

David

1812.

Jeff

1812, yeah, there were some that we were like, yes. And the question is how many we had decided on at that point. I don't know if we had a number that we said, OK, we're going to do this many of them. I think it was all kind of in flux until we made this list, if I recall.

David

Yeah, I mean, we should say that at this stage, certainly in your opinion, nobody had ever done this before,

Jeff

I believe to this day that we are the only people in the world to have done a project like this. There's no way to check this out, but…

David

You're going to get calls.

Love it. So we made a list and to memory we were putting numbers by, we made a huge list. I think this is a one meaning this has to be up there and five means that you’re not crazy.

Jeff

Which was really, you know, was quite fascinating because classical music in the UK is, I guess you just in general you could say it's more popular, right? It's more part of the mainstream of your society.

David

That is a big statement.

Jeff

I think it is, but maybe that's just my own feeling. But I do think that more people are familiar with classical music and some of these melodies and themes there than they are here. You can send me your cards and letters and emails if you want. So anyway, all that to say that I think that you guys have a much wider range of things that you consider to be really classical favourites. 

David

Yeah but I'm going to counter that here. Because you've got a team of four people, three of whom, Andrew, Julian and I, came from a classical music background. So what we're saying is the man on the street will know. We mean we know. But we studied that stuff.

Jeff

Well, but I mean, I think certainly as we got onto doing, like we said, we've done 181 of these, like as we made into these lists the second, the third time, the fourth time we did this, it certainly became more difficult on those projects to figure out which pieces to do. But on this one, I think it was less, I mean, because there was, you know, we hadn't done any at that point, so it was just deciding which of those classical favourites that we all considered favourites we should do, right?

David

I certainly know that I would go home and talk to my wife and say, if I said, sing me a bit of this and just gave a name, could you sing it? And we were stood in the kitchen going…Okay. Yeah. I know what that is right next. You know, and then Strauss and then, so it really was a very, um, sort of linear process. Do you know this? Does that mean anything to you? Not do you like it? Just do know it? And that was that was really a thing. So that was the first decision was what we're going to do.

Jeff

And yeah, so we made this list and we rated them one through five. And then those that were rated the highest were the ones that we chose to do in the first go round.

David

But how many, I can't remember, how many are we talking about? We're not talking about recording five pieces here.

Jeff

No, I you know that's a good question how many we actually ended up doing. Should you want to read the list you want?

David

I will. I think from memory I'm gonna go wild here. I think we did 34 works right on the get-go. Yes, and that included a couple of symphonic albums which had things like Ride of the Valkyries…that kind of stuff. Beethoven Ninth Symphony, Fifth Symphony. We did the William Tell Overture, Flight of the Bumblebee all of that kind of big stuff. We did Dance of the Sugar Plum Fairy.

Jeff

We did yeah, Grieg's Mourning, the Danse Macabre.

David

So two big symphonic albums because part of the decision was how do we group these things together? So we did it by size of ensemble a lot of the time, right? But sometime we did it by feel like a pastoral album. And we did a chamber music album. We did all of the Four Seasons. We did a bunch of Strauss, Air on a G string. And we even did things like the 1812 where we decided we were going to add a choir and we'll tell you about later on, think this may end up judging by the sound of this being two pods. We'll tell you about how we recorded a choir and blew a hole in a bucket, but we'll get there. We'll get there. And we did an opera album that's going to make a pod all of its own, I think, because we did that entirely different. So yeah, the process was figuring out how we grouped them together to how we were going to record. Then let's move on to some decisions we had to make upon which part of the piece, because you've got these 15 minute pieces of which we need a couple minutes, right?

Jeff

Yes, absolutely. I mean, some, most of these classical pieces are at least seven, eight, nine minutes long, some much longer.

David

Some of them are three movements and which movement you're going to do.

Jeff

But the famous parts might only be, you know, 15 seconds. In some cases, they were very small, short sections that we thought were the famous bits, which probably doesn't come in so much on our first project, but moving forward. But yeah, so we found recordings, existing recordings of these, and we edited them down. 

David

That’s easy for you to say.

Jeff

It's hard, to the bits and use the bits that we thought were most famous, were most usable, I guess is the, you know.

David

Well, that's actually what we should say about the concept of this. It wasn't just to record famous music. It was to record famous music in a way in which it was both one of the world's best recordings, if we could make it so, but also editable because most of these pieces can be problematic because they're linear. So how do you cut that if you're an editor? And so what we wanted to do and we'll talk about this in abundance in a bit, but how do you make this practical to an editor to say, I can get into that and use the bit that I want. And that was key to the core of which bits we chose and how we recorded it and the decisions of which bit.

Jeff

Yeah, to make it as media and editor friendly as possible.

David

Yeah. What about when there's more than one famous bit?

Jeff (15:30.99)

Well, you're probably referring to when we took one piece and turned it into two pieces, where within the same classical piece there might be a faster section and then a slower section, or it's a different movement, and then we would just do it as its own piece.

Davod

Yeah, I think, I don't know about you, but I always felt like if I listened and thought emotionally, this is so different in this section from the other sections. I'm not trying to think with my own hat on, brain on. I'm trying to think if I were an editor and I got this.

Jeff

How would I, yeah, what would I want?

David

I wouldn't want that followed by that. I would want this to stick to one lane.

Jeff

Well, I think that's it. Exactly. I mean, sometimes these pieces of music will be great for, you know, just a chase scene or something, right? You have a lot of energy and then abruptly change into something else where it's not going to work for a chase scene anymore. It's a totally different usage. So, we tried to narrow down what these pieces would be used for.

David

Yeah, I mean, okay, sidebar. Not from, we're getting famous for sidebars. I remember we did Romeo and Juliet. And we had kittens talking about, but you've got this love theme and then you've got these fast pieces. And then we had a, just make two pieces epiphany out of it. And then all of a sudden it became clear. 

Jeff (17:03.682)

Which we didn't, we only did one.

David

Did we? Oh. 

Jeff

You mean It means Polovsky and dances? 

David

But I'm going to let him say it a while because it's funnier. But yeah, we split it into the fast sections and then slow sections and made two pieces. Yeah, I think that was the way to go. And that became a thing, a theme, if you will, that we did. So we cut the stuff up. Let's go back. We cut the stuff up. We then sent them to Audio Network and said, happy? And they said no quite often. Too long too short not the right bits and we argued round and round.

Jeff

Well, in some of the cuts that we made, were taking existing recordings, but we wanted to get from this part to this part, but there was no way to do it in an edit. So we would just have cut it and then maybe play a little piano line in there and then blend it together, sing it.

David

I ended up going, and then it goes, it sounded ridiculous.

Jeff

It's probably full of like caveats. Okay, when you listen to this, bear in mind at about two minutes.

David

It sounds like we've lost our minds. Because yeah, actually this is a point when we've talked about in previous episodes we've talked about demoing things. There's no way for us or no point in us, symphonically demoing these things with virtual midi. It would have taken months and been entirely pointless

Jeff (18:40.358)

Exactly, yeah. Tell me a little bit about the process.

David

Well, the first thing to say is when we started, didn't have one. Because how do you make a process for something?

Jeff

That's never been done before in the history of the world.

David

He's very sure about this. But anyway, we didn't really know what we were doing. We were making it up as we went wrong. We had no idea what we were doing.

Jeff

This is like every day of my life.

David

What are you doing? Point me in the right direction. When's it dinner time? So the first thing is obviously we've shortened the recordings, but then the most important thing is how do we make this usable?

Jeff

Well, and our own, I think that's important to say as well. These were arrangements and we needed to write new material and put new things in them as well. 

David

So we've kind of gone two steps here. Let's go back one. Once we get to a point where the audio recordings in terms of just saying you've got the right bits, we have that as audio. But given that we weren't going to do this with MIDI, we need now for this to be transferred to a score. So let's talk about that process. So we've got audio. We need paper.

Jeff

Not much to say other than the fact that there's scores and in some cases the original score by the by the composers are available to you know to download and see.

David

Yep, there's a site that I can mention called IMSLP, where you can get original scores by the original composers if they're public domain.

Jeff (20:14.56)

And so, yeah, originally you or Julian were thinking about putting the dots in, you know, copying them into.

David

Before that, tried to use a program which is a scan, like an optical character recognition thing. So we would scan the scores, but I these scores were, some of them scrawls or badly done and it just didn't, it would have taken weeks.

Jeff

Yeah, and I can't imagine that the program would have been good enough to do that.

David

No and so we decided we're going to have to write these out by hand, virtually. And then after it took us really long time to do that once we realized this was probably a job for somebody else. So we brought in Adriano.

Jeff

Adriano, he's a fantastic composer himself, I believe award-winning composer now. He's come a long way since we started this in the beginning. So yeah, so he was instrumental in getting those scores into Sibelius for us.

David

So we're passing him scores where then literally we've scribbled out, don't copy this section, go over to here. And then getting this back as a Sibelius file, talked about this before, but this for those that don't know is a notation program. And then we put something…

Jeff

Sidebar. That always amazed me because Julian would be like, I'll take care of it, of getting this stuff to Adriano. And he would listen to it, to the edits we did and just, and I don't know how long it took him, but in my mind, it took him no time at all to like go through the score. And then there'd be like two bars on, you know, page 15 that you would jump to and he would just, he got them, you know, and it was, and I think flawlessly, I don't think there was ever a screw up and what was copied over. And some of those cuts were not very easy to do. I was always like, wow, that is...

David

Yeah, you need people you can trust. This kind of thing is a team game. It really is. And a weak link in that would be seriously problematic. So we got them on paper. So now we've got a score and we've got the bits that we want, but we've got to rearrange them. We've got to re-orchestrate them. We've got to work with them. So what then?

Jeff

I think now's a good time to talk about how you felt about working with these pieces.

David

Yeah, this was funny, not so much. This was, for many reasons, for me, this is just a personal thing. This was really quite stressful, quite... What's the right word? The emotion of it. Yeah, there was a weight of responsibility, if you like. For a number of reasons. One, we're taking the most famous classical works, Audio Network was known even at that time was known for working with famous, you know, people who worked in the classical world, who knew what they were doing, I knew this would get heard. You're taking the most famous stuff that's been entrusted to us. I don't want to mess it up. I also feel like I've got a little bust of Beethoven sitting on my shoulder saying, what are you doing with my piece of music? But I laugh about it now, but actually I felt a responsibility to the piece, to the company and we haven't even got started on the fact that at this time we already knew these were going to be extremely expensive to record. We're talking tens and tens and tens of thousands of pounds. And at that time, without divulging too many secrets, this was done by giving us the money to work with this. And then, you know we'd settle that up, but it means I'm being given a lot of money into my bank account to do a thing. 

Jeff (24:07.694)

It certainly added pressure, didn’t it?

David

Well, yeah, because what if we've worked out the timings wrong of how long it takes to record them? What if the cost outweighs what we're given? And also the planning process of how long will this take? And I genuinely don't know. At that stage. We do now, but you know.

Jeff (24:25.72)

So I agree there was a certain gravitas to the situation just because of the pieces of music we were dealing with. Maybe it's just because I have you and Julian and Andrew and the whole team. I mean, there was a huge safety net for all of us as far as not making fools out of ourselves because no one would put forward any product that wasn't fantastic, right? So I didn't feel the pressure in the same way. 

David

You didn't?

Jeff

No, I, in fact, with a lot of these things, not being a classically trained person, I felt kind of free to, at first I didn't know how, what I was going to add to the process as much. But as we got going, I felt more confident in being the one who could say, you guys, we could do a lot more than this here. You know, I think that…

David

I found that really interesting. I mean, even if we just take a step backwards, sitting in Andrew Sunnocks’ study, if you will, with a glass of wine and three of us saying, no, no, no, this is really well known. And we'd all look at you and you'd say, never heard of it. And we'd say, okay, next. Or not. But I mean, this is in no way denigrating anything, taking somebody that hasn't grown up with these things.

Jeff

I mean I did grow up with them. My parents were, my father was a classical musician. But not to the extent that, I mean didn't study them. So the things that I heard were probably I was just every man in this situation, right?

David

But actually, just going back, picking up on a point you said, I always found it inspiring, if you will, where I would be, I can't touch this too much. I don't want to touch this too much because this is Beethoven and I shouldn't touch it too much or whatever. And you'd say, no, we could definitely add a choir to this or we could just completely change this arrangement, but keep the structure. Cause we should say we have to make these our own. We have to change them. Yeah, we're not just re-recording what was originally.

Jeff

No, the gig is to change them.

David

But at the early days, and I think Julian as well, we were slightly nervous to be outrageously different. And you were far more upfront about saying, well, why can't we write this in a different way? What's wrong with doing that? And I would always say, no, you're crazy. And then get off the phone and think, actually that's a really good idea. Which I hate by the way.

Jeff (27:00.84)

Well, it's so funny. Yes, I remember you there being a little resistance from you, from Julian, from others like, no, what do mean we can't do that? 

David

But then we almost always did. It was rare that we went back and said, we thought about it you're still wrong.

Jeff

No, yes. I think because it was, you know, again, we didn't change them drastically. You still hear these pieces, and you know exactly what they are.

David

Yeah, down the line, there were one or two, certainly not on these recordings, but down the line where we just said, look, there's a really famous part of this and then 15 minutes of transition and then something else. And we're just going to take that famous theme and treat it differently. So they're complete rearrangements based on the theme. So some of them we really did. I mean, you wrote lyrics to things that didn't have lyrics. And did them as songs when they weren't even songs. So I mean, just to say that we marginally change things is probably stretching a point.

Jeff

No, that's why yeah, we made pretty drastic changes for…

David

Hey funny story, do remember being in the studio? We were doing the Lieberstrom, do remember that? And Andrew Sunnock’s saying, I don't remember the words to this.

Jeff

I didn't know there were words to this and you're like, it's cuz Jeff wrote him. He's like, oh my god.

Jeff

So I think now we can talk a little bit more about the gapping, yeah, and how important that is to the process. We keep saying gapping, but what it really is, is we needed to make these, like we said before, editor-friendly. So, we wrote different endings to things. We wrote stings that could be used.

David

Yeah, well, hold on. You say different endings. You don't mean just different from the original. You mean more than one.

Jeff

Both. Yes, exactly.

David

So we wrote endings and then there might be one that was short and quiet or long and loud. Alternative things for any editor to say, this fits into my situation.

Jeff

Well, and because we did, in the middle of these pieces, put gaps so that editors could start. If they wanted to start at this particular part, you know, you see it all the time where there's a cut from they're using, you know, a Mozart piece in one room, and then they cut to a conversation in another room, and the Mozart piece is gone, and then you come back, and the Mozart piece is still playing where the original conversation was. And to make the editors life easier, hopefully, we made starting points at different places within the but we call those gaps.

David

Yeah, but we should say at this stage we did not consult an editor. We had no idea if it would be what they would have wanted. 

Jeff

That probably would been good to do, huh?

David

But we were guessing, we were making it up because it had never been done before.

Jeff (30:12.554)

In the history of the world. It's never been done before.

David

So we were really thinking, if I were an editor, what would I want? Now, I'm gonna pick you up on one thing. You say we added gaps in the middle of the pieces. The first time out, that wasn't entirely what we did. We just looked at a phrase and said, that's a useful phrase. Let's put a gap afterwards so you can get out that phrase on its own.

Jeff

Well, we turned it into a sting.

David

Yeah, so we might take just one phrase.

Jeff

And so tell everyone what it is.

David

Here's an example. So in the first set of recordings...

Jeff

Literally, I think this was the first day one.

David

Yeah, so we're sitting in the studio, Abbey Road Studio 1, there's a team there, Julian's conducting, he's introduced everything, everybody knows what they're doing. The band, the orchestra have been told you're gonna know these works but you're not doing them as you know them, so keep your wits about you, everybody's ready, you're in the control room, I'm in the control room, Andrew's in the control room.

Andy Dudman, Andrew Dudman, who is the chief engineer at Abbey Road, all ready. Scores pristine, put in front by the marvellous Jill Streeter, who's going to feature in another pod. Watch out for that. We go to the first piece, Beethoven's Fifth Symphony, bar one, go, and it goes, da da da da. And then we put a two-bar silence, which was usable for an editor, and the orchestra just fell about laughing. And we were like…

Oh god, it's going to be a very long, nearly a week. We were like, sorry. We were like, okay, sidebar next time. Maybe don't do that. But we knew that we'd got 34 works that all did that.

Jeff (32:07.278)

So I disagree. I think that it was the right thing to do, absolutely. I mean, it wasn't the wrong thing to do, let me put it that way. We could have done, and we probably did, start doing little stings more towards the end. And if there's a part that we want to do, rather than stop the orchestra and the flow of a piece, we'll put it at the end and we'll just play it on its own. But there were some places that I think it makes sense to put gaps in. It's not that big a deal. I don't think it changes the performance that much.

David

You see, I disagree. So, I mean, and I disagree after talking to some of the players, I disagree. That on some of the pieces, there's an emotional arc to how you play it and how you build up and the energy within your instrument. And if you're bowing and what you're doing and all of a sudden you stop mid-sentence, if you will, and it doesn't make any sense to you and you restart, but you're not at the same thing.

I just felt like these are human beings and getting that human arc to the way that it's performed through the performance itself over the years of doing this. And we've been doing these now since 15, 16, bunch of years. 

So what we ended up doing then was saying if we wanted, we wanted those separate, we would take that on the end, record the first bar, record a silence, if you will, record the second bar.

Jeff

Well, yeah, yeah. And at times I do know that we, where we wanted a gap, we would let them play the whole piece. And then at the end we would, wherever we wanted the gap, we'd go three bars, four bars, each side of that and start them playing again, put the gap in, and then we'd plop it in later on. Yeah.

David

Yeah, and we're going to get to that process, which itself was quite a big daunting thing. So yeah, the gapping thing became very important. We discussed it and where do you think they should be? And we tried it in different places and in some pieces it was obvious. Some pieces not so obvious.

Jeff

You know, hearing you say that, I know we did put some, some gaps in places that it was like right at the climax, right before you get to that.

David

Da da da da…Stop. Everybody was like the emotion is gone. Yeah, and you're like, okay. 

Jeff (34:32.504)

But yeah, but that said, you would never be able to pick those out. If you listen to them now, when we put them together and made the one linear piece, you'd never know where they were.

David

Absolutely not. you know, think it's like most people's jobs, right? You're looking at it from so close inside it, you know, you know those things.

Jeff

So the next time we're going to talk about part two of our two-part pod of the classical favourites.

David

We're going to talk about the recording and we're going to talk about the post-production. 

Jeff

Post production. Until the next time. Join us. It's kind of fun, huh? 

Hey guys, Jeff here. I just wanted to say I hope you guys really enjoyed our podcast about our project that's never been done before in the history of the world.

Once again, thank you to Audio Network for allowing us to use the music you heard on today's podcast. Also, thank you to Mazorsky, Baccarini, Rossini, Beethoven, Tchaikovsky, Grieg, Rimsky-Korsakov, Sasson, Vivaldi, Bach, and last but not least, Liszt.