Oct 20, 2026 · 1 hr 20 min · 12 segments
**Get 20% off The Home Studio Drum Recording Masterclass:** https://buy.stripe.com/cNidR86Un8SUcAYeqkbZe03?prefilled\_promo\_code=WTS20 Stu Watts chats with Joel Farland who is the music director and…
Stu WattsHost
And so these days now talk to us about where your time is spent and how do you split it up and balance all of the different tasks of all the different stuff that you do because, you know, you're doing so many different things.
So when it came to the 50 Cent World Tour, I had a creative producer... who called me up.
Again, just those moments that we were talking about that were kind of half film score but also needed to feed into the show and then working with the musicians in the show and how to get that sounding great.
And so a live build for a show like that is generally in between six to three months lead time.
And we lay it out pretty much like a film or an album and that each song gets its – gets its brief and what needs to happen within each song.
We'll demo up each song and then once that demo is then approved, then... everything's done far before rehearsals.
So it is really similar to making a movie and, you know, 50 was and still is really into magic illusions.
So a lot of my job on that tour was scoring these magic illusions so that the opening of the show was this, we had this shutdown sequence.
And this box gets wheeled out and the box falls Closes, filled with smoke and out pops 50.
So... pulling focus at the beginning of that, how do you send an arena quiet? You know, then giving them the time to breathe.
It's just because the, like, Doing this podcast, there's lots of producers, there's lots of engineers, but when it comes to that sort of thing at that level, you know, this is the first I'm hearing of this sort of stuff, so it's really fascinating.
And so these days now talk to us about where your time is spent and how do you split it up and balance all of the different tasks of all the different stuff that you do because, you know, you're doing so many different things.
So when it came to the 50 Cent World Tour, I had a creative producer... who called me up.
Again, just those moments that we were talking about that were kind of half film score but also needed to feed into the show and then working with the musicians in the show and how to get that sounding great.
And so a live build for a show like that is generally in between six to three months lead time.
And we lay it out pretty much like a film or an album and that each song gets its – gets its brief and what needs to happen within each song.
We'll demo up each song and then once that demo is then approved, then... everything's done far before rehearsals.
So it is really similar to making a movie and, you know, 50 was and still is really into magic illusions.
So a lot of my job on that tour was scoring these magic illusions so that the opening of the show was this, we had this shutdown sequence.
And this box gets wheeled out and the box falls Closes, filled with smoke and out pops 50.
So... pulling focus at the beginning of that, how do you send an arena quiet? You know, then giving them the time to breathe.
It's just because the, like, Doing this podcast, there's lots of producers, there's lots of engineers, but when it comes to that sort of thing at that level, you know, this is the first I'm hearing of this sort of stuff, so it's really fascinating.
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