In the early days, was there a moment for you where it really crystallized? Like you were like, okay, we're doing something that's actually going to be really, really big someday.

uh you know when you write your first song uh that's a big moment it's uh there are lots of little moments along the way it's not like you've crossed some threshold but i remember standing side stage at seabird island on the first roadside attraction which was probably 91 93 93 and uh You know, I guess we were a big enough band that we could put together a festival and ask our favorite artists.

You know, Gord Sinclair said, my favorite band's Midnight Oil.

Let's ask Midnight Oil.

And my favorite band at the time was World Party.

And we asked them, and I'm standing side stage watching World Party play, and I just like, total frisson, just like every hair on my body standing up, and I had tears pouring down my face.

I was just like...

So what what is a memory that belongs just to to you from that night?

Really?

Uh, but he got a little stronger as things went on, but even right up to the first, you know, the night before the tour in Victoria, I was convinced there was no way the Victoria show would happen.

I just didn't think it was real.

And it happened, and, uh, it was pretty good.

And then the next show was better, and the next show was better.

And, uh, the energy he got from the crowd and, uh- We could see him getting better, and it became easier for us to sort of engage and so- be as supportive as we could.

[crowd cheering] What goes through your mind whi- watching that just then?

Ah.

So you open it up, and it just looks like a sea of labels and audio clips.

Yeah, but I mean, that, but that's, uh, I guess for this, like, more from a character point of view, too, 'cause there's so many characters, uh, um, and, uh, we, we haven't got a, kind of a track per character for this, and there's, and so we had to group, uh, on, on, on one object, for example, we, we might have a load of different characters in, in, in, in one chapter, so they'd all be named with the foley and sound design for that, that, uh, for that character in the right place for that.

And so, uh, yeah, so, so, so early doors we had to work out from a, from the temp- uh, the template and workflow point of view for us, um, how to give us the most flexibility kind of in the mix stage.

And so for this one we, uh, we, uh, we just went with, uh, with one bed, uh, and then I think we had 118 objects, um, just to try and give us the biggest scope for, uh, characters, for, uh, for sound effects, for anything that we wanted to kind of, like, move around a 3D space.

Um, and yeah, I'm glad we did, 'cause there's a lot of, uh, great sound design, uh, which kinda came in through us, and it was like, "Yep, cool," uh, that, uh, that's, uh, that's great to have another, um, um, object here for the Battle, uh, for the Battle of Hogwarts and things like that.

Then we ended up spilling out from our character tracks to wall tracks for more characters and other bits just 'cause there was so much action going on, but it's, uh, yeah, it's great.

Yeah, just, just having that much content to work with is, yeah, is, is great fun.

And from a mixing perspective, Rob, uh, how did, how was the process for you interweaving the music into what is already an incredibly rich and complex soundscape that, that Lawrence and team provided you?