Music Producing | Peaceful Bedtime Listening for Deep Rest

Looking for a sleep podcast to fall asleep fast, reduce anxiety, and quiet an overactive mind? This calming episode of The Insomnia Project is designed for insomnia relief, stress reduction, and gentle nighttime unwinding through slow, soothing conversation.
Marco Timpano welcomes Juno-nominated record producer Anthony Nemet for a relaxed discussion about music production, songwriting, and the creative process behind crafting songs. From shaping sound in the studio to the subtle decisions producers make when working with artists, this episode offers low-stimulation, easygoing content perfect for bedtime listening.
The conversation gently explores the art of arranging, recording, and producing music, revealing the quiet details that bring songs to life while maintaining a soft, meandering tone. With unhurried pacing and thoughtful storytelling, this calming podcast episode helps ease racing thoughts, reduce anxiety, and create a peaceful environment for sleep.
Whether you’re searching for a sleep podcast for insomnia, calming background noise while you work, or a gentle way to unwind at the end of the day, The Insomnia Project offers a comforting, reliable escape.

Episode 4: The Art of Sound | A Gentle Conversation with Music Producer Anthony Nemet
Marco Timpano: Welcome to the Insomnia Project. Sit back, relax and listen as we have a conversation about the mundane. One thing that we can promise is that our conversation will be, let's say, less than fascinating. So you can just feel free to drift off, relax, catch some Z's. Thank you for joining us. We hope you will listen and sleep. Follow us Istenandsleep and, feel free to rate us on itunes.
Anthony is a record producer from Hungary. How do I say your last name
I'm your host, Marco Tampano, and joining me is Anthony. How do I say your last name?
Anthony Nemet: Nemet.
Marco Timpano: Nemet. I usually. I usually ask this before and I didn't but. Or.
Anthony Nemet: Well, my grandfather, who the last name originally belonged to, is from Hungary. And I've been told that it's actually pronounced Neemat or something along those lines. And it means German, from what I understand.
Marco Timpano: So that's the Hungarian name for German.
Anthony Nemet: Hungarian name for German given to a Macedonian Hungarian Polynesian boy born in Canada.
Marco Timpano: Oh, there you go. Wow. There's a multicultural mix for you.
Anthony Nemet: I don't know what's going on with that.
Marco Timpano: I'm fortunate to have you here, Anthony, because you are a record producer or music producer, I guess we don't say record producer anymore, do we?
Anthony Nemet: no, I guess you're right. But to be honest, records. What is a record? A recording. So I guess it does work. I like to say record producer. It's cool.
Marco Timpano: Cool.
You're a record producer and, um, music producer
Okay, so I'll say record producer and, music producer. And I want to ask you, what was the road that led you to this?
Anthony Nemet: Well, when I was about 14 or 15 years old, I discovered the program GarageBand. Okay.
Marco Timpano: Which we're recording on right now, which
Anthony Nemet: you're using right now. And I don't know what it was about the idea of recording music that was attractive to me, but I had always been a music fan since I was a baby. I would stand on a phone book with a little plastic microphone and sing Billy Ray Cyrus songs. But then, I know I grew up to realize that my true interests were in recorded music rather than live music. There's just something magic about the creation of audio being put together in a way that creates something greater than the sum of its parts, I guess. Sure. So I was about 15 years old, discovered GarageBand, and I had been playing guitar for a long time with a bunch of people at school. And I decided, you know what, this is all just a means to an end, so let's learn how to get to that end. And from that point forward, I developed my skills, and I still do that to this day.
Marco Timpano: Amazing. So do you currently stand on a soapbox and sing, Billy Ray's daughter's me, Miley Cyrus music?
Anthony Nemet: I do do that. Ride around on a. In a little go kart with a microphone attached to a portable amplifier. Young and Dundas Square in Toronto. Our own little Times Square. And I sing my heart out sometimes. So, you know, I'm waiting for that.
Who are some of the music producers that you admire
Marco Timpano: Who are some of the music producers that you admire? is there anyone that comes to mind?
Anthony Nemet: Yeah, a lot. it's interesting because I think a record producer or music producer could be. How do I say this? They could fill very varying roles. For instance, some of the best record producers of all time were arrangers with a history in classical music who could really hear the way things should be put together. Some were very technical scientist type guys. Some were maybe drug dealers who just knew the right people and knew how to make them, how to light them on fire.
Marco Timpano: Sure.
Anthony Nemet: But the people that come to mind, to me, I don't know, the first person that came to mind to me was Nile Rogers, Right. With the group Chic, who worked with Madonna and David Bowie and Duran Duran and stuff like that. He's more of a, I don't Know, I don't want to say he's a drug dealer, but he definitely was a party animal, from what I understand. And so he kind of put himself in the right place and people just knew what he was about. But he was also just a killer guitarist, an amazing. I don't know, he just knew how to make people dance. And that's just one thing, other than him. Other heroes of mine. Let's see. I really like the music that came after disco, which might be called boogie or something. It's like disco slowed down when R and B and soul music first met computers. And there are some producers from that era, like Kashif, who actually passed away last year, and obviously Prince, who's my hero in every aspect of life.
Marco Timpano: Did you ever see Prince live?
Anthony Nemet: I did. Prince Live is another level.
Marco Timpano: Yeah, it was. It was incredible. Phenomenal.
Anthony Nemet: But yeah, I tend to like that era of music a lot because it shows a weird way of. It goes beyond music. It goes into that kind of science area where you're learning how to use new technology to make non human things human.
Marco Timpano: Okay.
Anthony Nemet: I don't know if that makes sense.
Marco Timpano: No, sure it does. I mean, you know your space more than I do, so it makes sense to me.
The challenge in producing music is allowing the artist to be themselves
what is the most difficult part of producing music? Like what. What is the challenge? What is the challenge in producing music?
Anthony Nemet: The challenge in producing music, especially when you're working with other people rather than yourself, is allowing that artist or that musician to kind of be themselves on their own terms while allowing you to take complete control. Right. If that makes any sense.
Marco Timpano: So it's kind of like, you know, massaging, egos a little bit and, you know, but still wanting to put your fingerprint.
Anthony Nemet: Absolutely.
Marco Timpano: Right.
Anthony Nemet: Yes. It's. It's, It's very hard to meet up, You know, how do I. What's the best way to say this without kind of being offensive or something, but when you're creating art, music, acting, anything that involves putting yourself on display, it's very hard for human beings to kind of just go with the flow. And I think that's what separates the greats from the people who do it as a hobby, you know, is that being able to tolerate the down points of it all of potential, putting yourself on the line and not being accepted or look, being looked at in a strange way. But when you meet those people who are just willing to try anything and go down any road that you might suggest while you're driving together as a metaphor. Sure. You know, then those are the People that great things happen with, in my opinion.
Marco Timpano: Walk me through this. Okay, I'm a musician. You're gonna produce my album. What's the first thing you do?
Anthony Nemet: Well, first thing we do is. Well, it depends. We can meet each other like Nile Rogers in a club like Studio 54 in the bathroom and do something dangerous and then be like, you know what? We get along as people. Let's just go into a room and see what happens with instruments. I could hear your music on the Internet, or someone could give me, you know, back in the day, cassette tape, and I could hear something in your voice or in your performing performance story, whatever instrument you're playing. And I could kind of visualize where I would place that in the spectrum of, you know, musical references that flow around my head. So let's just take one example. let's say you're a guitarist who writes songs in your bedroom.
Marco Timpano: It's exactly what I do.
Anthony Nemet: Exactly. Right. Yeah. So let's say that you are a big fan of, I don't know, John Lennon.
Marco Timpano: Sure.
Anthony Nemet: You like this kind of nursery rhyme, children's book lyrical aspect, like something that, you know, one angle of what John Lennon did in the 60s. You're into this really playful type of word play with your music. And that's, what I'm hearing and what you.
Marco Timpano: Sure, okay.
Anthony Nemet: I get in touch with you, you get in touch with me. You say, look, I love writing songs in my bedroom. I'm really into guitars and stuff, whatever. That being said, I can't really find a way to express myself in recording in my own studio, in my house, whatever it may be. I need your help because I'm trying to go for this type of sound like, I don't know, sergeant Pepper's Lonely Hearts Club Band mixed with, some crazy psychedelic cartoon. I say, you know what? I heard that in your music, too. For instance, why don't you come on over? So you come over, we'd sit down. I like to put music on and kind of vibe out and just kind of travel the history of music together and be like, look, there's this album from the 70s that I think really goes well with what you're trying to say in terms of its groove and the instruments and machines used on it. So we'd be like, yeah. And then we kind of construct an idea from that point. Be like, look, let's make something that sounds like this, mixed with this, mixed with this. So from that point forward, we decide a few things. Do we want to have live instruments on this Record. Do we want to have all electronic instruments on this record? What's our budget for this record? Sure, of course. and then from there, we move forward. We probably start off with, you know, making a little sketch of your song.
Marco Timpano: What do you mean by sketch?
Anthony Nemet: Sketch. I mean, like, you sit down with the guitar, and we build up a little demo version.
Marco Timpano: So I would be like, okay, here's my thought on this particular song, and I play you some chords, and. And I might sing you what's floating in my head. But it's not a song yet. Is that what you're saying? Or. Or is it I have a song. This is what I'm thinking.
Anthony Nemet: Could be either.
Marco Timpano: Oh, I see.
Anthony Nemet: So say you have a song on an acoustic guitar.
Marco Timpano: Sure.
Anthony Nemet: That being said, you and I decide that we could really expand upon those, you know, basic foundations of the song. The chords, melody. We want to add horns, we want to add strings, we want to add live drumming, and we want to add synthesizers. So in my home studio, or in any studio, we'd go in, we'd start from the bottom up, we'd make a little drum beat. If we have a live drummer, even better, we'd shoot that down. And then we build up from there, adding all these elements. And then, you know, you can't really know what. You can have an idea of where you're going or where you're driving to. To use that metaphor again. But you have to kind of decide when you want to get off the highway and just stop. Because, you know, sometimes there's a thing that many people refer to called demoitis.
Marco Timpano: Oh, I've never heard of this. Which is almost like a disease of some sort, Some sort of condition. Not a great condition.
Anthony Nemet: It is. It causes, you know, heartache. Many, many. Yeah. Broken hearts, broken dreams.
Using Kelly Clarkson as an example shows how outside influences can make a career
It's just like you make a little demo sketch version of this song that has this sort of quality to it, this rawness, this kind of immediacy, because it's. You're trying to capture something that comes out of you as. As soon as the idea is born into your head. And that is the thing that is impossible to replicate. When you get something in the right moment. When the muse, you know, shoots that. That lightning bolt crashes into you while you're sitting at the easel or whatever you want to call it. When you grab it at that point, that's when magic is captured. So anyways. But I don't know, we kind of lost track here.
Marco Timpano: No, no, but, Is that demoitis?
Anthony Nemet: Demoitis is when you. When you Capture that lightning in the bottle at a certain point. But, you know, other factors or other influences, other people, other establishments, institutions, or schools of thought are telling you that it needs to sound a different way.
Marco Timpano: Oh, I see.
Anthony Nemet: It needs to sound more professional. It might need to sound more glossy. Might need to sound more.
Marco Timpano: Isn't that something? What? Isn't that the case that happened with Kelly Clarkson? When she won American Idol, they wanted her to sing country music, and that wasn't her thing. She wanted to sing more rock pop. And they kind of forced her. Or the record label was like, no, no, you're gonna record a country album. And she did, you know, dutifully and. And whatnot. But it never flew the way her pop rock stuff flew, and that's where she really took flight. So would that be a case of like, outside influences mucking around with what the artists concept is fair to say or not really?
Anthony Nemet: Yes. We're sorry, we're talking about Kelly Clarkson, am I right?
Marco Timpano: Yeah. Well, I'm just saying in this particular
Anthony Nemet: case, it's a good example because I think that in a way, using her as an example shows how outside influences could either make break or make sure somebody's career. Because, for instance, from what I understand about her career is, yeah, she kind of swam around in that area for a while. But then when she met this person, producer called Dr. Luke, who was bringing in another flavor from the New York indie rock sound of the yeah yeah Yeahs and the Strokes and stuff that was happening there in the 2000s. And then, you know, this was a guy who was working with a major, major producer in Max Martin, and they kind of thought about, you know what, maybe we should kind of steer her in a different direction completely. And then they did that, and bam. Look at that. She hit like that lightning bolt. I don't know. There's actually a very interesting book called the Song Machine, I think it's called that came out about a year or two ago that talks about the development of pop songwriting and popular music since the 90s and stuff like coming out of Sweden, People like Max Martin, who I mentioned, the Backstreet, who wrote for the Backstreet Boys, and Christina Aguilera and all that stuff in the 90s that was really annoying and everywhere. But it shows how that's developed into what is now, you know, another beast of an industry in America with artists like Katy Perry or Ke$uh ha. People working with that guy Dr. Luke. But, you know, it's hard to say in this day and age with everything changing because of the Internet streaming, everybody seems to listen to all types of music as opposed to just sticking with country or sticking as being a rocker or whatever when they're in high school, you know what I mean? So I think that. I don't know, we're in no man's land.
Marco Timpano: Is it easier to produce in today's age with the accessibility of things like GarageBand in a simplistic way, or software that one can download and have a home system versus in the past?
Anthony Nemet: Well, I think that it's amazing to have access to this equipment. But what a producer might add to somebody like, for instance, audio engineering, I'd say, is the other side of production that focuses less with abstract things such as, inspiration and, I don't know, guidance and project management. In a way, audio engineering is kind of the scientific way of capturing sounds in a way that will allow for the final product to be made. So I think that, you know, people can have amazing equipment in this day and age or in the 60s, 70s, 50s, whatever it is. But I always think that it takes that vision and that sort of weird spiritual, I don't know, spiritual. The ability to kind of see into the spirit of something, into the spirit of a song or a person or a culture.
Marco Timpano: So like you, one could say audio engineering does not make a sound, producer, a music producer. And I think a lot of people confuse that. They think, oh, an audio engineer who records and ensures that the voices are at the right level to everything else is the actual producer. But would it be safe to say that the music producer, record producer is the one who sort of delegates. He's the captain of the ship and you've got the first mate being, let's say, the audio engineer. You've got the co captain being the musician or the artist and the audio engineer, or, sorry, the record, producer steers this vehicle called the ship.
Anthony Nemet: I'd say yes, but there are many cases, especially nowadays, but even back then, where the engineer or the audio engineer was the producer.
Marco Timpano: Oh, I see, right.
Anthony Nemet: But there were always assistants around. Still are, I'm sure. But, you know, it's like I said at the beginning, this role could be filled up by anybody. You know, I personally, I have used really expensive mixing consoles, SSL Neve, stuff like that. Huge, you know, mixing boards and expensive studios.
Marco Timpano: Sure.
Anthony Nemet: But I mean, I'd rather not. I'm. I. To me, what a producer is in, in terms of what I would like it to be is. Is just a professional music fan. And I think that my greatest. What I Bring to the table. That or the tool that I've always gone to in terms of, ah. What I've relied on the most is my obsession with the history of recorded pop music. And I think that being able to speak with other musicians through, you know, combining. Say, how, do I say this? this sounds like Madonna mixed with the Beatles. This sounds like a Pharrell producing, I don't know, the Beach Boys. This is. This is the way that I think I can most directly get into an artist's head. As opposed to saying, you know, I think we should compress the vocals using this type of compressor from this era, and then we can EQ and spike it a bit at 15k, whatever it is. I think it's a matter of just saying to them, you know what? I love this warm characteristic of the vocals that were captured at this studio that you might know Pet Sounds was recorded there. So let's try and get this warm, you know, kind of auditory hugging feeling to the vocals and then put a really heavy Wu Tang dirty drumbeat feel underneath it. And then that's when you get excited. Because we're all music fans, right?
Marco Timpano: Sure.
Anthony Nemet: If you're not a music fan, you don't know what I'm talking about, then, I don't know, maybe we just aren't the performance right team or something.
Marco Timpano: I don't know. Fair.
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Marco Timpano: Fair. You know, it's interesting you should say that, Anthony, because what it reminds me of is I went to Sun Records in Memphis and I saw the studio there. And it's a very simple studio. I don't know how else to describe it, right. But it had the Sun Record sound. And so for those listeners who might not be familiar with Sun Records, it's the label that Elvis recorded on. It's the label that I think Johnny Cash recorded. you know, the Millionaire, the Million Dollar, quartet recorded there. And I can't remember the other two right now. They'll come to me. he wrote Blue Suede Shoes. Anyways, there was a bunch of. Do you know what I'm talking about? Anyways, Right. A bunch of people. Anyways.
Anthony Nemet: Carl Perkins.
Marco Timpano: Carl Perkins. That's exactly who I was thinking.
Anthony Nemet: Carl Perkins.
Marco Timpano: And, they recorded at Sun Records in Memphis. And when you look at it, it's a simple little studio with a very basic mic. I mean, the microphone didn't look like anything spectacular. And what's fascinating is you can still record there.
Anthony Nemet: Yeah.
Marco Timpano: And it wasn't very expensive to record there.
Anthony Nemet: Yeah, I mean, that goes back kind of to the original point again, where who knows what is responsible for that Sun Record sound or that you too,
Marco Timpano: I think, recorded Rattle and Hum there.
Anthony Nemet: Yeah, exactly. There are. It could be a million things. Sometimes the color of the paint on a wall in a room and the lighting can have a massive effect on you the second you walk into it. That might throw you into a complete mood. It could have been. It could have been technical. It could have been the way the board was wired at Sound Record. I don't know. It could be the. It could be anything. It could be the team of people that were in there that would make you feel a certain way when you went in and pull that out of you. It could be the size of the room. It could be anything.
Marco Timpano: Wow.
Anthony Nemet: I don't think that. I mean, I'm sure all these places, all of these famous recording series, have their own signature quote unquote sound, but once again, I think that. I don't know. There's so many factors. It could be the way you play your instrument. It could be the songs you're playing with your instruments. It could be the way the audio is captured in that studio. It could be the way the audio is mixed using whatever equipment is available at that time. It could be the way that audio is transferred to the medium that you end up listening to it on. It could be the headphones or speakers that you listen to it on once it's pressed or released. It could be the people you're listening to it with in that room. It goes on and on. It's like making a coffee. There's a million factors between the bean being bad bagged and picked from the ground or whatever it is to when it's actually in your cup, that can completely change everything.
Marco Timpano: Right.
Anthony Nemet: So it's just magic to the humidity
Marco Timpano: of the day when it's ready, pork
Anthony Nemet: being made in the kitchen at the restaurant.
Marco Timpano: Right, Fair enough.
You mentioned songwriters and their influence in sound, um, recording
you mentioned songwriters, and I want to talk about songwriters and their influence in sound, recording and music recording. For example, like someone like Sia, who will often record the vocals of song that she wants to give to another artist. And then I forget what the case was. I think it was the song Titanium that they used her vocals. Yeah, but she had sent her vocals, her vocal track to someone for someone else to record, and they said, no, we can't match this. What are your thoughts on that? Like, you know,
Anthony Nemet: is it like.
Marco Timpano: Do you instantly know when you hear it? You're like, no, this person's vocal, vocals. Absolutely. Okay.
Anthony Nemet: I think you. I think anybody could hear that. I don't think it takes any type of special ear or anything like that. I don't think. You know, I just think that. I think having that quote unquote trained ear, whatever you want to call it, like that, that. That ear that can pick up any movement in pitch or anything. I don't. I don't. I don't care about that personally. Sure. I think that that's like, you know, shows like the Voice and stuff at X Factor, they kind of drive the point home where it's like, even it's called X Factor. But let's Be honest, there's like a. There's a lot of heavy duty critiquing and stuff. But an artist like Sia. Is that how you pronounce it? Sia. Sia. here's something a big part of. And this goes back to the first point before the first point about. Sure. About music, production and goals with an artist or whatever. You can do music as a hobby, the same way you go and play basketball every Wednesday night. But at the end of the day it's a business. If you're trying to make money off. Right. And there are many factors involved in taking your ideas from your brain and turning it into a product that will make money. Right. And unfortunately, or fortunately, what, however, whichever way you want to look at it. Image and you know, the way things are branded and presented to you as a music fan or as a member of the public, are m. I'd argue and argue a bigger factor than the actual sound of the song.
Marco Timpano: So interesting.
Anthony Nemet: And not only in this day and age.
Marco Timpano: Right. It's so interesting that you say that because, for example, Celine Dion.
Anthony Nemet: Yeah.
Marco Timpano: Her branding and her image does not speak to me. It's not meant for me. She's not marketed towards me exactly. But I heard her sing live once and she's phenomenal. Of course, she's phenomenal. There's no arguing the song. The lyrics might not be my style, my genre, whatnot, but there's no questioning the voice that was coming out of her.
Anthony Nemet: Right.
Marco Timpano: And you know, she's someone who often people will kind of like make fun of or you know, say, say, you know, jokes about. But it's like, yeah, you can do all that, but you can't. You know, there's a reason she's got millions of.
Anthony Nemet: There's actually a very interesting book about Celine Dion and this exact question of tastes. It's written by a Canadian, actually, I believe his name is Carl Wilson. It's part of a series of books called 33⅓, which refers to the speed RPMs, which are record turns, of course. But this is a series of books where they're small little pocket sized books written about one album. It's like extended liner notes or something like that. But this book is. Is, I guess the subtitle is A Journey to the End of Taste. And it's about one of her records from the 90s. And it's actually a very, very fascinating look at this exact topic. And it's that that series of books, I'd say was my education Since I was 12 years old on how records are made. Every type of music. Like, you gotta understand, like I said, cultural context when something is released, the way it's released, what it sounds like in comparison to everything else released around that time, that those are all things that determine, you know, what something is kind of worth. You know, people can play music so bad these days, blah, blah, blah. But I mean, everything in hindsight is, you know, beautiful and whatever. But let's go back to 1966 when the Beatles released, you know, their crazy stuff, what was being played on the radio, there was probably a lot of annoying stuff, you know, at the time, whatever. But the reason that these things all stand out, all the way back to, you know, Elvis, the Beatles, all the way up to Kendrick Lamar in the past few years making this crazy, blown out, kind of free jazz inspired record, it's like, why do these things stick out and why are they gonna survive? And it's because, you know, I don't know. I don't know what I'm getting at.
Marco Timpano: Fair enough.
Anthony Nemet: Bottom line is Celine Dion has a great voice. And at the end of the day, true, raw emotion cuts through everything. And doesn't matter what kind of shoes you wear on stage, if you can sound like Celine Dion or Adele or
Marco Timpano: Sarah, McLachlan or Sarah McLaughlin, you know, once again, I've heard her songs on the radio and whatnot, likeable enough. And then I saw her live and her voice is tremendous, for lack of a better word. Like, it's like her voice is outstanding.
Anthony Nemet: And when, we go back to the idea of artists or branding and whatever, I don't know what I'm getting at here. The bottom line is you can't really, plan when things are gonna go your way or plan how they're gonna go. All you can do is just do what you do and do it to the best of your ability. And at the end of the day, that's all that matters.
Marco Timpano: Fair enough. Well, listen, Anthony, thank you for recording with me today.
Anthony Nemet: My pleasure.
Marco Timpano: And I have to say, like, I'm a little bit, you know, my sound, recording engineering is quite basic here, so I appreciate you.
Anthony Nemet: That's the way it should be.
Anthony Nimet: I think that the most groundbreaking music is being made
Marco Timpano: There you go. Is there any, before we go, any record producers that you would say look out for that? You think you're gonna see great things?
Anthony Nemet: Coming up.
Marco Timpano: Yeah, coming up. Because I'd love to, like, do another podcast with you, say, a year from now and see, see where those people are placed.
Anthony Nemet: it's interesting because in the, kind of there are different, you know, worlds.
Marco Timpano: Sure, sure.
Anthony Nemet: I think that the most groundbreaking music is being made in the worlds of house and techno and electronic based dance music and in hip hop, where people, as always since the invention of the sampler or drum machines, are taking, you know, sounds made that they've captured from the outside world and turning them into, you know, completely other things or taking old music samples. And, you know, I'm a sucker for sampled music. Like, you know, producers like Mad Lib, Rock, Marciano, Q tip. I don't know. Who are the producers to look out for? I really couldn't tell you. I bet you the answer to that. I don't know the answer to it because people come and go so quickly and make their mark. But it's great to see when people who start making really crazy stuff in their bedroom meet with a great talent like a Beyonce or her sister Solange, and then they create something that kind of goes down that middle road of accessibility and out thereness and they create something really true and original. And those are the people that blow my mind. So my answer to you is, I look forward to when we meet again next in a year. And we know who that is.
Marco Timpano: I would say that person is Anthony Nimet. So we'll look out for him. Anthony, thank you once again.
Anthony Nemet: Nice to be here.
Marco Timpano: Thank you as always. The Insomnia Project is produced by drumcast Production and this episode was recorded in Toronto, Canada.