A 12-week, one-to-one intensive. Three records written, produced, mixed and mastered to release standard, and eighteen hours with a producer who teaches you how the career side works while we make them.
With Watashi, producer for GLO, Akashic Activation and Ruby Chase.
There are voice memos on your phone from 2019. A chorus sung into the dark at 2am. A melody that arrived mid-session with a client and never left. You know the exact ones.
Money was never the obstacle. You've been able to fund this for years.
The obstacle is that you know precisely what it sounds like when someone with resources and no direction makes an album. You've heard the records that sound like a hotel lobby with a singing bowl. You are quietly terrified of making one.
So the songs stay where they are. Unfinished, and therefore still perfect.
Meanwhile you have thousands of people who trust you with the hardest parts of their lives. Not one of them has heard you sing.
You have never been short of encouragement. What you have been short of is someone who takes the message as seriously as you do, who is patient enough to find what you actually sound like, and who will not let the music embarrass it.
Both had been carrying songs for years before we started.
GLO
Singer / songwriter
Akashic Activation
Sound healer · Singer / songwriter
Neither of them introduces herself as something else first any more. Not a teacher who also sings. Not a healer with a hobby. An artist, with records out under her own name.
The same take, before and after. Flip mid-playback. The playhead holds, so you hear the same second twice.
Twelve 90-minute sessions, one to one, over video: eighteen hours of direct access. The records get made inside them. So does everything nobody has ever sat down and explained to you.
Before a single note is produced we decide what you sound like. Reference work, sonic territory, and an honest read of what your voice actually does well.
This is also where you decide. By the end of week two you will have heard your direction: what you sound like, and where this is going. If you don't want to continue from there, you get every dollar back. I would rather refund you in week two than spend twelve weeks making something neither of us would sign.
Three songs written, produced, mixed and mastered to release standard. You sing them. I make them sound like records. Nothing leaves unfinished.
The sessions are not only production. You will have questions that have nothing to do with a mix: which song to lead with, what a real release looks like, how people end up on festival stages, when spending money helps and when it is just spending money, what to do when a song works and when one doesn't.
You get straight answers from someone who has been doing this for fifteen years. Most of what has kept you stuck was never technical. It was not knowing how any of this works, and having nobody to ask who would tell you the truth without making you feel small for asking.
How the business actually works: masters, publishing, splits, and the deals people sign without reading. You finish knowing what you own and how to release the next one without me.
I take two artists at a time, because I produce every record personally.
The next start date is January 2027. Two weeks in, full refund if you want one.
You have spent years building a body of work out of words. Talks, sessions, posts, chapters. People come to you because of how you think.
Music does something words cannot. It does not explain what you believe. It lets someone feel it, in three minutes, without being taught anything.
The songs you have been carrying are the part of you that has waited longest to be let out. You have spent a decade using your voice to hold other people's truth. This is that voice used for your own. Almost everyone finds the record changes them more than it changes their audience. You do not get to make something this honest and stay exactly who you were.
It is also an asset, and not one you can commission in a hurry at the point you finally need it.
Released music is what turns an audience that reads you into a crowd that stands in front of you. It is what gets you on a stage instead of a panel. It is the difference between being a coach who also sings and being an artist people book.
You have already made a decision this size before. The course you filmed. The brand you rebuilt. The retreat you built from nothing. Each one was an investment in how your work reaches people. This is the same decision, in the one medium you have never had access to, except this one doesn't expire, and nobody can make it but you.
I am a producer. It is why the records come out sounding like records, and why I can promise you finished ones.
But there is a difference between sending someone stems and having a producer on the record with you for twelve weeks.
Work-for-hire is a transaction. You send files, you get files back, and every decision that actually matters stays yours to make alone: which songs, what they should sound like, whether this one is done. Deciding is the part you have been stuck on for ten years.
This is the opposite arrangement. I produce the records with you, and I carry the decisions you have never been able to make alone, so your attention goes into the singing and the writing instead of second-guessing every choice.
If this were only three songs, it would cost what production costs. It is four things, from the same person:
WATASHI
Fifteen years making records. Trained at Icon Collective in Los Angeles. Since then I have produced for artists including Equanimous, Larisa Gosla and DanielwiththeBalance, with songs selected for Buddha-Bar Ibiza and more than three million streams across the catalogue.
I've spent that time on one question: why some records sound finished and most don't.
Most producers know how to make a track sound bigger. Far fewer know when the song is done. That distinction is the thing I actually sell, and my job isn't to make you sound like me. It's to work out what only you can sound like.
Most of that work is listening. People arrive with more than they think they have, half-apologising for a voice note, and the job is to hear what is already in there and build the record around it. Nobody sings well when they feel judged, so my sessions never feel like that.
Ask anyone I have worked with. The sessions are calm, they are organised, and we finish things. You will be pushed, but at the pace of someone who wants you to be proud of this, not someone trying to prove a point.
Patient with the person. Ruthless about the record.
Records I wrote, produced, mixed or mastered.
Artists I have produced, in their own words.
“Collaborating with Watashi to produce my debut EP has been transformative on so many levels. Recording my songs at age 65 with professional production is fulfilling a life long dream. Watashi sees me as an artist and as an inspiration. His heart centered soulful genius and sensitivity intuitively feels me as a composer. His mission complements mine to bring a higher consciousness to the world through music. Thank you Watashi!”
“Working with Watashi was a life changing experience that helped me step fully into my artistry when I needed it most. I cannot recommend Watashi enough, especially for new, aspiring artists. He is patient, kind and encouraging every step of the way and his production skills are also top notch - we literally wrote 4 bangers together in just a weekend! He is truly a solid & incredibly talented producer, partner, and asset to any artist’s path.”
“Watashi has such a fresh sound that holds a sweet balance of electronic worldly instruments with pop sensibility. He is such a joy to work with and is great at holding the accountability to keep projects moving forward. I would definitely recommend working with him!”
“Working with Watashi has had such an impact on my life over the last year. As a new artist, I felt overwhelmed with how to bring my ideas to life and would have been completely lost without his guidance & incredible talent. Watashi’s patience and professionalism combined with his passion & gift for creating music that inspires truly sets him apart. He is gifted at bringing out the greatest potential of your musical vision. I highly recommend him to anyone looking to take their music to the next level.”
“Working with Watashi in the studio has by far been the most efficient and creative sessions I’ve ever had when creating and recording with any producer! He sees the vision of the track, knows how to create a story with the music, and executes it all in a way I haven’t personally seen in my 20+ years of being a musician.”
“Watashi has a great sense for production, especially in the pop / electronic realm. I’ve really appreciated his communication & deep understanding of music while working on projects together!”
Three masters on your drive that you would put your name on without flinching.
Something you can actually release, not a folder you keep meaning to open, not a project you describe at dinner parties in the future tense.
The people who already trust you with the hard parts of their lives finally get to hear you. Not a demo. The real thing.
And the reason to do this now rather than next year has nothing to do with a start date.
It is that the story hardens. Say “I'm working on it” for long enough and it stops being a plan and becomes a thing you believe about yourself. At some point, quietly and without any particular day marking it, “I'm going to make music” turns into “I was going to.”
And when someone asks where they can hear your music, you stop saying “I'm working on it.”
One to one throughout. The next start date is January 2027.
I don't put a number on the page, because what we agree to make shapes it. What I can tell you is the category: this is the same order of decision as the course you filmed or the brand you rebuilt, not the same order as hiring a producer for a song. The application asks what you're able to invest, so neither of us spends an hour discovering we were in different conversations. Beyond that, nothing is hidden.
Two weeks, full money back. You go through the first two sessions, you hear the direction we've set, and if you don't want to continue you say so and I refund you in full. No conditions, no proration, no keeping a deposit for the time. The only thing I ask is that you tell me before week three starts, because that's when I turn down other work to hold your slot.
It depends what you arrive with, and both ways work. Some people come with the lyrics finished and a demo already recorded, and want the production. In that case I don’t touch the writing. More often people arrive with pieces: a lyric idea, a melody, a voice memo that hasn’t become a song yet. That is where I am most useful. I write collaboratively, and I am particularly good at structure and arrangement, which is the part almost nobody has been taught: taking the lines and melodies you already have and building them out into a finished track. Composition, arrangement, production, sound design, mixing and mastering are mine either way.
Most people I work with aren't trained singers. They have something to say and a voice that carries it. Production, arrangement and vocal work exist to serve that. If you can hold a melody, we can make a record. If you can't yet, I'll tell you on the call rather than take your money.
Pop, electronic, indie-folk and world-fusion, always fully produced. No country, no acoustic or ambient records, no live band tracking.
GLO had never released a song. We produced her first six singles. Starting from zero releases is completely normal here. Starting from zero audience is not. If people already listen to what you say, you are in the right place.
Twelve 90-minute sessions across twelve weeks, plus writing and vocal takes between them. Budget three to five hours a week. The sessions are where the work gets decided and made; the hours between them are what make three records possible instead of one.
That is the real fear, and the refund above only covers half of it. Getting your money back doesn't give you the record you wanted. So: knowing when something is actually good is the specific job you are hiring me for. Most producers can make a track sound bigger; the harder skill is refusing to let something out before it's right. I have turned down work I didn't believe in, and I am not going to spend twelve weeks making something I wouldn't put my own name on. Weeks one and two exist so that you can hear that judgement working before you're committed to anything.
No. Sessions are one to one over video. You record vocals where you're comfortable and I'll tell you exactly what you need to do that properly. It is less than you think, and it is a one-time cost.
Usually, yes, and usually for the same reason. Most music that doesn't land wasn't bad. It was undirected. Nobody decided what it was supposed to be before it got made, so it came out sounding like several people's ideas at once. Weeks one and two exist precisely to stop that happening again.
Lunea Lynn recorded her debut EP with me at 65. The question that matters is whether you'll finish, and the twelve weeks are built to make sure you do.
Nine questions, five of them one click. Around five minutes. I read every application myself before we speak.
Two weeks in, if you don't want to continue, you get every dollar back.
How long have you wanted to do this properly?
Where are you with music right now?
How big is your audience?
Across the platform where people actually listen to you.
What do you want this to become?
There is no wrong answer. It changes what we build.
How much are you currently able to invest in this?
Now the part that actually matters.
Short answers are fine. Honest ones are better. This is what I read before we speak.
Last one. Where do I reach you?
A link to your music, or your Instagram. A rough voice memo is completely fine.
Application received. Book your call.
Applications are read personally. I'll have gone through yours before we speak.
The intensive is built for people who already have an audience in place and the resources to move quickly. That isn't where you are right now.
That isn't a judgement on the music. It's a judgement on timing.
Come back when the audience is there. The door stays open.