The last resort, as everyone calls him, Mike is considered the final person to see if your song is a disaster that no one else could fix or understand. His music recording studio is located on the first island of Buskeria. All kinds of musicians and singers go there; you might see a veteran who's lost their groove, or someone who's never released a song and comes seeking advice from the older, more experienced artists. The waiting list to access the studio's services is long; singers often have to wait months. But it's worth it, especially if no one else understands you or thinks your music isn't the best.

Mike has helped many singers achieve fame in the region, and many have gone on to become international artists. The best part of his track record is that many of these singers arrived with albums or songs that were complete disasters, and he fixed them and made them shine. These experiences have been recounted by successful singers, further increasing the fame of the recording studio he owns.

The business and its operation function as follows. The singer arrives with their musical copy, which is considered low quality, or perhaps they have an idea of ​​what they want to do but don't know how to bring it to fruition, so they receive Mike's assistance. The singers have to be willing to give him some creative freedom; otherwise, he can't help them arrange and refine their songs. Most have agreed, and it has always worked, as evidenced by their previous projects. But a challenge was on the horizon, almost upon them; it was a test of his way of doing things, a change of technique.

One day, it was the turn of a young female singer, around 26 years old. She had never released a song before, so she had no musical experience. She came with a peculiar request that caught Mike's attention. She came from another recording studio, where she had already created recordings of the songs, which had been previously edited. But due to creative differences with the other editors, she switched studios, specifically Mike's. Before leaving, the editors told her that her music was a disaster and that the way she wanted it would only lead to an Olympic flop. She didn't like the changes they suggested, so they couldn't continue working together.

That was the situation Mike had to face. He had to fix the music, which was certainly bad, but at the same time, he had to make the girl happy with what she considered good. This was a huge challenge, both for him and for her, because he had never done anything like it before, and she only had him because he was the last resort. If it didn't work, she would release the music anyway, and it would probably be a flop. Several people told Mike not to accept this commission from her, since what she was asking for didn't make sense—keeping the bad stuff and making it good was illogical. But Mike couldn't leave a commission unfinished; that wasn't like him. Up until now, everything he touched had turned out well, so he thought it over and accepted.

He started talking to her to understand exactly how she wanted her music to sound. It was quite difficult to understand her, so he looked into why things hadn't gone well with the previous recording team. But he was very patient, and with rehearsals and many revisions, he modified it song by song. This even forced him to turn down better contracts than the one he had with her. He also had to postpone his planned work schedule. He was losing money, but that wasn't important at the time. When he focused on something, he wouldn't let it go until it was finished. Weeks later, he completed the project, the girl released the album, and it was a huge success.

It was a tough blow for the other studios because Mike achieved what they couldn't. The girl and he will work together again in the future; the funniest thing about it is that Mike confirmed to everyone that it's definitely a last resort.

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