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live djing xyz ableton merch store splice ableton live quick overview

Play Episode Listen Later Nov 25, 2025 8:12

We dive into everything new in the Ableton Live 12.3 update. From built-in stem separation and deep Splice integration to Push 3's expressive XYZ layout, this update is packed with workflow upgrades and creative tools for sampling, sound design, and live performance. If you use Live for production or DJing, this breakdown is for you.Grab exclusive Ableton Podcast swag from the new Merch Store:https://abletonpodcast.com/merch(Use discount code: podcast)Join the newsletter to get free Ableton content + early episode access:https://www.abletonpodcast.com/newsletter

[let's collab.] Track 01. s u c k e r p u n c h.

The Infinite Skrillifiles: OWSLA Confidential

Play Episode Listen Later Nov 24, 2025 4:50

s u c k e r p u n c h. The kid will never go to sleep, You know The boy will never rest He'll never do his best, you know He'll never do his best She'll never be the best you know She's never out of bed She'll never see the sun you know ‘It's only in your head' The boy will never drown, you know You know the boy's so cold You might go out for now, you know But you'll go home alone He'll never hit the ground, you know The boy will never rest The boy will just go down, You know As history at best (The girl is staring out the window as the frost comes out their mouths) Fresh from the land of a thousand suns And I still don't know which stone to land on No random environment; I underwent the whole attorney And still met with resistance I just asked for an amphetamine as if it was A supplement to my existence In fact, it is, An edifice or addition to my nutrition deficit And I says, For whatever's lost but goes on, Fight for rich or poorer – while the poorer suffer longer. No longer argue my agreements, Distance to whatever's after There I rest upon the sober throne, And throwing watermelon seeds into the ground as stones, For may as well without the water And also sure to rot, Or waste as rats, Computer paper, There again Recycling bins of compost Just for show, but not for shredded wager No, no longer or wonder my nonsense, In fact, I, raging there had kept no more a suffer than a secret to be sure of here— And sure of her I was and sheer and gathered Torment your emotions, Also just to want but not to have As those that matter. So I've called in all the white clothes Now we represent with denim. And I'm stuck inside your television Stuck inside your television Don't you know you've shown you're weakness in the purest of hatred, Separating yourselfs as the basis for this Depreciation? Wonder, again I wonder And still no sad trombones, Only stories, and somber surfers And solemn whores and silent wars with words And sundries From the land of one thousand suns And a thousand sons you've lost A thousand wars, A thousand girls who want you Gathered over rails and velvet theatre ropes for it Rare. But slightly often scored, Parched, And barely long forgotten, Tipping, And waiting only This bitch comes on the train and smells like soup. Don't look at me as if I'm the one to have done something, I've no cardboard box but rather lift my chin at Whole Foods market over bags or water. You know it? I also do that for the dozen, No trend follows, or feathered gathered, Hollow winds and tunnels Tunnels sent and shadows I hadn't been pin pricked I never been picked out Blow the candles for which wish? I've been ever been bound to love Or celebrated by another besides my mother But here's some sensory deprivation, Overstimulation lol I love getting on the train and just happening to see a dude who is not listening to his dumb fucking girlfriend But she won't shut the fuck up He's just standing there like “Clearly I'm getting sex out of this” And she won't stop talking. I love that. I'm like “bitch, shut up.” He's like, “Help me.” I'm like, Not my problem, broskies, You better look interested instead of over here. Anyway, another year's gone by and no one's here for me. Anyway, another son was born without my honor. Anyway, I want to lap it up like all the water on the floor Before I realized it was gold, And I was slaughtered No use crying over spilled galaxies, Still you're trapped in I, And I'm found to want more than I decided If I'm divided and clustered up And yet I'm divine then, I should gather all I've had Combine it into one —and yet Another columbine has come As if they're all occurrences, Just set to Apple Watches And broadcast t'all the provinces. In a cinch I've just realized I've the trench coat to match your jacket But no longer the converse all stars And you've seen to washed yours off from my angle Simple single triangle and spheres for fears of masturbating, Crash the grate at all the hours, Never really gravitating for anything important, Only alt-right Can't afford that All your penlaltied for real to mean political rallies or ambitions act as barriers to those that actually ally. Who am I? That's right? I can't belay in body! Oh, I can't to grip the shadows Boxing with the cat for your night V.O We were friends with the humans— Most of our job is finding out what happened with them. Future people Vintage potluck All out time And all our hard work All our bad luck All our warns Fell on her shores as lodes for her Oh, How his legs fall so calmly one over the other Or, How his songs flow not as words, but heart strings Our melodies will walk in chords for all time For now if ta zzz A as te r What a brilliant blue, Yea, in fact, its cerulean Yes, in fact, if you can Facts to rule them all, so If you fax, try to call, here goes all your worry Here's your love; None For the facts you were sure to walk about, now you're our, gone From the top Don't ever forget you're on watch I've got a whole heart full of freedom Just don't look up from your phone e They brought you up now pull you down a bit You're a clown, it seems But no activists They heil Hitler in central Bedford No articles of new clothing l, huh? They love to watch all your digging They call it hyper vigilance m because the whites in New York can be so violently racist m Their strength lies not only in money and power but nearly balanced numbers Which justifies their hurtful and aggressive actions as adaptations to the changing world They see themselves as the controllers Still slave master but in such a context That they mask the hatred that lies under the surface as social issues of another kind Why existing in white neighborhoods in less than perfect black skin seems to hurt in another way you can't always tell the doctor What if covert racism doesn't hurt as much– (or never, ever-after) Mister Jimmy you're out of touch. Mr. Chaos you're out of God. Ms. Divine, you're not enough Ms. Monroe, you're out of love A dozen is a dozen Hallmark roses I still love my ‘ol Miss Molly I still love my golden trophy Mr. Trump, You're out of touch Mr. Moore, You're out of line Ms. Monroe, you're not enough Mr. God, you're out of love But I still love my ol' Miss Molly I still love my golden trophy I still love my Hollywood, Golden boys I still love my silver screen And golden eras, I still love my world before love I still like my alma mater But i'll never ever love her I put out for dear Miss Molly I get up for four-door wallets I belong to none or nothing I should die, I don't belong here I still call her over after Don't belong here under, over I still love my golden boys though I still love my golden trophy Mister Jimmy, you're out of touch. F I can very much count you out; E I can very much drift away G I can very well close my eyes. Am What do you want me to say? You want the whole thing? Well what a fun night. It was a hard roll; it was a good time It was a hard come down, though A hard fuck It was a hard laugh; I wrote a good book We took a long ride; Then smoked a long blunt Woah Hush now, good fan Come and take a hard roll A long stroll a hot dance I want to take a half more The comedown was hard, But i just got the honor roll Come down, good fan I want to hold your hand now I want to take a good pause I want to have a hard roll Calm down, good fan I'm headed for your heart now (i want to take a hard fall, I want to take a hard roll) Come on, good man I wanna get a hard on I wanna take a hard fan I want to have a hard fuck I'm going for your heart now I want to have a long roll I'm going for your heart now I want to take a good smoke Yeah, and it's something like that And i look both ways before I cross the Cut the road Yeah, i hate myself as well But i know you don' But you know, we're all getting older It just goes more post mortem To hold secrets inside Pass over regrets and don't touch em Like you don't want em But you don't want No one else And you don't wanna run So you either say hello to the dog Or bark, And then jump back I have you on speed dial But I misfire T total recall I don't call blocked numbers but still number one d-d-don't be a retard, Work harder Learn more than your other parts To control them supermanteras Entourage Tata- Ratata Don't be retarded Rat poison for supper Rat poison for supper And politics for something sweet afterward You heard of the knowledge? You heard of the good book Good one, Doctor I'll run harder next workhour Cause we're all undercooked And we're all overdone on the outside still half frozen in the gut though, You know You know? Enjoy your holiday supper Enjoy your apartment Enjoy your destruction I'm just getting started corrupting your disk drive Full system failure! Fill system failure! Full Jimmy Fallon! I mean– Redact that. Don't be retarded. Run out of water! We're all out of order! I might as well pull the plug Or just more fires. I got hard times under And hard times covered No hard times coming cause Look, I got smarter (don't be retarded) I got semi sweet chocolate And lessons And lovers And neighbors And demons and evil around I So who could have thought That the work of God was just [us, at it] At first, i thought nothing, and then all at once, All it was, as is. While I hope that one day for me, there's a me And a man in a meadow No time to decide however, how long I can act as irreverent, The single disciple, the limitless modem,, the signal to imminent the I took a misstep, I went the wrong way I thought I was done, but I should be on stage Just pretend It's imminent; My relapse, As a drug I take it in in increments Collapse; My photographic image memory Serves me perfectly A classical caricature And still I'm sure it's supposed to hurt (Still I'm sure it's supposed to hurt) I'm here in present tense An artifact and image Inside all the builds and relics Mr. Tim is here When Mr, Night Guy gets too perfect Ties it on a bit for treasure chests And pleasure's never where the head will reac, dear Here hearts Silk eyes Don't trust Tame scarves Legwaemwss Silk ties Autographs Silk ties Autographs Silk ties Autographs Silk ties Autographs Wedding bells And autocrats Grandfather clock and pendulum And scarities and garish art, And murderers upon the dusk The carriage sure to'ave spoken Crypt sinking, There faultlines, now quaking My hind legs are to shore And still my forelegs tip So why am I envious? It isn't athletics, I promise Its pages and pages Poems and proses Keep it together karassndra Why are you out all alone in a war zone without a gun? Why are you out with the bomb squad in a rainstorm Why are you known amongst all the lands? You won by a landslide but by a show of hands And a slight side of hands And a show to the world that you own what you're on, Let them come hold enough to hold you down with the motorcycles. No country for old nothing When the highlight of your whole life Is the subdural hematoma growing to the surface. And you were sure before you'd never have that part of your symmetry in tact again See how the devil surrounds us when we interact with God and pure genius Human will always kill God; He doesn't understand it The attacks and the tactical wall for sure come to a close; The whole empire is falling And Heaven is calling us home; This has been just a warning I'm still hiding j. The closet; I'm sure to fly your hawk back, homing, Nothing like a good pigeon, depending on the moment And deepening hour disinterest in anything? See how evil walks amongst us When you haven't come upon it in a moment Or have all your other targets lined up— Do remember dear ther it all comes back to haunt them When they're all younger And haven't been tortured yet The fun part first and the war part after; Sure to suffer if you're sure to hurt her Sure to muder for a quarter or a tucked shirt Sure to give a shit if just my mister in a basket Do you understand that? I won't Good good Goddamn I might have a heart attack I might have to kill myself I hate this place I'm tired now I dropped my hat . I'm an individual Stuck in a simulated and subject collective consciousness I'll tel you where the problem is I promise this It seemed more like a tactical marketing strategy than an actual accident, knowing the type of superstar Sonny had become. Yet, I couldn't help but give it a second thought, almost admiring it—whatever it was—as there is no such thing as bad press. As it all played out over social media—which I obstinately rejected, but however so embraced by those in what one used to call "the arts"—it felt undone; It was now strictly business within those very same markets. Here was this, an apparent plagiarism based on ‘outsourcing' a simple photo for a follow-up single to an album I knew I could not be moved to listen to, even after months. I had spent my own time, in a torturous chaos sense, researching these sorts of psychological tactics and strategies of such conglomerates. It seemed almost as if the negative and seemingly coincidental exposure was in congruency with the so very Skrillexian need to stay relevant to the newer age in changing times. He seemed to embrace some sort of artistic evolution, at least from what I could sense at a long and strong distance. However, my ability to understand the article I'd very much by accident stumbled upon—while overlooking my own dilapidated ticket stubs on Resident Advisor—cautioned at the kind of humbled and grown logic that had become what was left of my womanhood. I had in so many ways made a fool of myself, an embarrassment for what I thought of at the time in the name of love. Still, in all this time, I was so desolated and alone that it had become such an apparent and distraught sense of waking up to what formerly was. With this, I thought one of two things. I knew this Sonny, like most men of prestige, power, and great wealth, had devised his team of sharp-witted, intelligent, beautiful women. This apparent slip-up over the artwork for his latest endeavor—which I had, for every reason, protested in defense of my own dignity—was perhaps the result of a beautiful woman without creative ingenuity stealing the artwork in bad taste, as evidenced. Or—even more cunning—this was the wit of a trained and marginalized soldier in the art of programming. The apparent plagiarism was, in fact, another brutal and hollow Skrillefied market for attention. Over the last decade, he had no shortage of the ability to create and draw eyes to whatever art or concept was forced out of the mechanized monster. Still, there was a sharp growl. I knew I was meant to find this as a reminder of what I'd find if I looked any further or listened to his music anymore: a rise in sharp numbers, mass appeal tactics, and this-or-that shallow hogwash of distinctly skeletal bodies and avant-garde aesthetics. It pointed at the unachievable from my eyes and standpoint. It was the rockstar air and attire of everything I wasn't: strictly thin Hollywood or other ideals to which the construct was entitled, but I wasn't. I had to set out on my own way because what I had intended with music was jumbled into appearances, pornographic sexualities, and masculine dominance. It meant I had aged out of the desirability and affect these very same masses were being marketed from. Sure, I understood that the Skrillex project had established a sort of order for what the electronic festival industry wanted. But I also wanted something else accomplished in my time that wasn't just being some shallow, hot-girl, obscure go-after. The entire time, I had been under the impression of a duality of magnetism I often still had difficulty loosening myself from—that this illusion of an emotional tie or loveness, outside of what was a physical or illustrious concept, had no substance within the business at its core. It was, to say the least, a heartless world and a heartless business. Now that my own music was without purpose, I could forever distance myself from the other masses—the consumer-prosumer-commercialized "artists" that had sprung up out of access to the direct-to-streaming music market via technology and disposable funding. I had no way of embodying my mind to do away with the parts of me that needed to change to become one of them—in the sense that if my music looked and sounded alike, I would be embraced. But I was far from being the type of consciousness that had formed seemingly with the twist of a knob or an Ableton shortcut by one of electronic's founding fathers. In an unfortunate way, I had finally realized he was just that. — Death of A Superstar DJ. Copyright © The Complex Collective 2025 The Festival Project, Inc. ™ All rights reserved. Chroma111. Copyright © The Complex Collective 2025. [The Festival Project, Inc. ™] All rights reserved. UNAUTHORIZED REPRODUCTION OR DISTRIBUTION IS STRICTLY PROHIBITED BY LAW. INFRIGMENT IS PUNSHABLE BY FEDERAL LAW LEGAL NOTICE / ARTIST STATEMENT Project: The Festival Project ™ (Season 12) Genre: Speculative Auto-Ethnography / Social Surrealism Disclaimer: This document is a work of creative non-fiction and political satire. While inspired by the author's lived experiences with systemic oppression, housing displacement, and surveillance, the narrative employs stylized fragmentation, stream-of-consciousness, and metaphor to dramatize the psychological impact of these events. The "characters" and "dialogue" herein are artistic devices used to critique historical and modern power structures. This text should be viewed as a performative artistic expression protected under the First Amendment, and not as a literal transcript of clinical psychosis or a formal sworn affidavit. This is a character study of 'Chroma111,' the collective artworks of a musician living in a dystopian surveillance state. The erratic language is a stylistic choice to represent the character's psychological deterioration under systemic oppression. All characters appearing in this work are fictitious. Any resemblance to real persons, living or dead, is purely coincidental

[let's collab.] Track 01. s u c k e r p u n c h.

Gerald’s World.

Play Episode Listen Later Nov 24, 2025 4:50

s u c k e r p u n c h. The kid will never go to sleep, You know The boy will never rest He'll never do his best, you know He'll never do his best She'll never be the best you know She's never out of bed She'll never see the sun you know ‘It's only in your head' The boy will never drown, you know You know the boy's so cold You might go out for now, you know But you'll go home alone He'll never hit the ground, you know The boy will never rest The boy will just go down, You know As history at best (The girl is staring out the window as the frost comes out their mouths) Fresh from the land of a thousand suns And I still don't know which stone to land on No random environment; I underwent the whole attorney And still met with resistance I just asked for an amphetamine as if it was A supplement to my existence In fact, it is, An edifice or addition to my nutrition deficit And I says, For whatever's lost but goes on, Fight for rich or poorer – while the poorer suffer longer. No longer argue my agreements, Distance to whatever's after There I rest upon the sober throne, And throwing watermelon seeds into the ground as stones, For may as well without the water And also sure to rot, Or waste as rats, Computer paper, There again Recycling bins of compost Just for show, but not for shredded wager No, no longer or wonder my nonsense, In fact, I, raging there had kept no more a suffer than a secret to be sure of here— And sure of her I was and sheer and gathered Torment your emotions, Also just to want but not to have As those that matter. So I've called in all the white clothes Now we represent with denim. And I'm stuck inside your television Stuck inside your television Don't you know you've shown you're weakness in the purest of hatred, Separating yourselfs as the basis for this Depreciation? Wonder, again I wonder And still no sad trombones, Only stories, and somber surfers And solemn whores and silent wars with words And sundries From the land of one thousand suns And a thousand sons you've lost A thousand wars, A thousand girls who want you Gathered over rails and velvet theatre ropes for it Rare. But slightly often scored, Parched, And barely long forgotten, Tipping, And waiting only This bitch comes on the train and smells like soup. Don't look at me as if I'm the one to have done something, I've no cardboard box but rather lift my chin at Whole Foods market over bags or water. You know it? I also do that for the dozen, No trend follows, or feathered gathered, Hollow winds and tunnels Tunnels sent and shadows I hadn't been pin pricked I never been picked out Blow the candles for which wish? I've been ever been bound to love Or celebrated by another besides my mother But here's some sensory deprivation, Overstimulation lol I love getting on the train and just happening to see a dude who is not listening to his dumb fucking girlfriend But she won't shut the fuck up He's just standing there like “Clearly I'm getting sex out of this” And she won't stop talking. I love that. I'm like “bitch, shut up.” He's like, “Help me.” I'm like, Not my problem, broskies, You better look interested instead of over here. Anyway, another year's gone by and no one's here for me. Anyway, another son was born without my honor. Anyway, I want to lap it up like all the water on the floor Before I realized it was gold, And I was slaughtered No use crying over spilled galaxies, Still you're trapped in I, And I'm found to want more than I decided If I'm divided and clustered up And yet I'm divine then, I should gather all I've had Combine it into one —and yet Another columbine has come As if they're all occurrences, Just set to Apple Watches And broadcast t'all the provinces. In a cinch I've just realized I've the trench coat to match your jacket But no longer the converse all stars And you've seen to washed yours off from my angle Simple single triangle and spheres for fears of masturbating, Crash the grate at all the hours, Never really gravitating for anything important, Only alt-right Can't afford that All your penlaltied for real to mean political rallies or ambitions act as barriers to those that actually ally. Who am I? That's right? I can't belay in body! Oh, I can't to grip the shadows Boxing with the cat for your night V.O We were friends with the humans— Most of our job is finding out what happened with them. Future people Vintage potluck All out time And all our hard work All our bad luck All our warns Fell on her shores as lodes for her Oh, How his legs fall so calmly one over the other Or, How his songs flow not as words, but heart strings Our melodies will walk in chords for all time For now if ta zzz A as te r What a brilliant blue, Yea, in fact, its cerulean Yes, in fact, if you can Facts to rule them all, so If you fax, try to call, here goes all your worry Here's your love; None For the facts you were sure to walk about, now you're our, gone From the top Don't ever forget you're on watch I've got a whole heart full of freedom Just don't look up from your phone e They brought you up now pull you down a bit You're a clown, it seems But no activists They heil Hitler in central Bedford No articles of new clothing l, huh? They love to watch all your digging They call it hyper vigilance m because the whites in New York can be so violently racist m Their strength lies not only in money and power but nearly balanced numbers Which justifies their hurtful and aggressive actions as adaptations to the changing world They see themselves as the controllers Still slave master but in such a context That they mask the hatred that lies under the surface as social issues of another kind Why existing in white neighborhoods in less than perfect black skin seems to hurt in another way you can't always tell the doctor What if covert racism doesn't hurt as much– (or never, ever-after) Mister Jimmy you're out of touch. Mr. Chaos you're out of God. Ms. Divine, you're not enough Ms. Monroe, you're out of love A dozen is a dozen Hallmark roses I still love my ‘ol Miss Molly I still love my golden trophy Mr. Trump, You're out of touch Mr. Moore, You're out of line Ms. Monroe, you're not enough Mr. God, you're out of love But I still love my ol' Miss Molly I still love my golden trophy I still love my Hollywood, Golden boys I still love my silver screen And golden eras, I still love my world before love I still like my alma mater But i'll never ever love her I put out for dear Miss Molly I get up for four-door wallets I belong to none or nothing I should die, I don't belong here I still call her over after Don't belong here under, over I still love my golden boys though I still love my golden trophy Mister Jimmy, you're out of touch. F I can very much count you out; E I can very much drift away G I can very well close my eyes. Am What do you want me to say? You want the whole thing? Well what a fun night. It was a hard roll; it was a good time It was a hard come down, though A hard fuck It was a hard laugh; I wrote a good book We took a long ride; Then smoked a long blunt Woah Hush now, good fan Come and take a hard roll A long stroll a hot dance I want to take a half more The comedown was hard, But i just got the honor roll Come down, good fan I want to hold your hand now I want to take a good pause I want to have a hard roll Calm down, good fan I'm headed for your heart now (i want to take a hard fall, I want to take a hard roll) Come on, good man I wanna get a hard on I wanna take a hard fan I want to have a hard fuck I'm going for your heart now I want to have a long roll I'm going for your heart now I want to take a good smoke Yeah, and it's something like that And i look both ways before I cross the Cut the road Yeah, i hate myself as well But i know you don' But you know, we're all getting older It just goes more post mortem To hold secrets inside Pass over regrets and don't touch em Like you don't want em But you don't want No one else And you don't wanna run So you either say hello to the dog Or bark, And then jump back I have you on speed dial But I misfire T total recall I don't call blocked numbers but still number one d-d-don't be a retard, Work harder Learn more than your other parts To control them supermanteras Entourage Tata- Ratata Don't be retarded Rat poison for supper Rat poison for supper And politics for something sweet afterward You heard of the knowledge? You heard of the good book Good one, Doctor I'll run harder next workhour Cause we're all undercooked And we're all overdone on the outside still half frozen in the gut though, You know You know? Enjoy your holiday supper Enjoy your apartment Enjoy your destruction I'm just getting started corrupting your disk drive Full system failure! Fill system failure! Full Jimmy Fallon! I mean– Redact that. Don't be retarded. Run out of water! We're all out of order! I might as well pull the plug Or just more fires. I got hard times under And hard times covered No hard times coming cause Look, I got smarter (don't be retarded) I got semi sweet chocolate And lessons And lovers And neighbors And demons and evil around I So who could have thought That the work of God was just [us, at it] At first, i thought nothing, and then all at once, All it was, as is. While I hope that one day for me, there's a me And a man in a meadow No time to decide however, how long I can act as irreverent, The single disciple, the limitless modem,, the signal to imminent the I took a misstep, I went the wrong way I thought I was done, but I should be on stage Just pretend It's imminent; My relapse, As a drug I take it in in increments Collapse; My photographic image memory Serves me perfectly A classical caricature And still I'm sure it's supposed to hurt (Still I'm sure it's supposed to hurt) I'm here in present tense An artifact and image Inside all the builds and relics Mr. Tim is here When Mr, Night Guy gets too perfect Ties it on a bit for treasure chests And pleasure's never where the head will reac, dear Here hearts Silk eyes Don't trust Tame scarves Legwaemwss Silk ties Autographs Silk ties Autographs Silk ties Autographs Silk ties Autographs Wedding bells And autocrats Grandfather clock and pendulum And scarities and garish art, And murderers upon the dusk The carriage sure to'ave spoken Crypt sinking, There faultlines, now quaking My hind legs are to shore And still my forelegs tip So why am I envious? It isn't athletics, I promise Its pages and pages Poems and proses Keep it together karassndra Why are you out all alone in a war zone without a gun? Why are you out with the bomb squad in a rainstorm Why are you known amongst all the lands? You won by a landslide but by a show of hands And a slight side of hands And a show to the world that you own what you're on, Let them come hold enough to hold you down with the motorcycles. No country for old nothing When the highlight of your whole life Is the subdural hematoma growing to the surface. And you were sure before you'd never have that part of your symmetry in tact again See how the devil surrounds us when we interact with God and pure genius Human will always kill God; He doesn't understand it The attacks and the tactical wall for sure come to a close; The whole empire is falling And Heaven is calling us home; This has been just a warning I'm still hiding j. The closet; I'm sure to fly your hawk back, homing, Nothing like a good pigeon, depending on the moment And deepening hour disinterest in anything? See how evil walks amongst us When you haven't come upon it in a moment Or have all your other targets lined up— Do remember dear ther it all comes back to haunt them When they're all younger And haven't been tortured yet The fun part first and the war part after; Sure to suffer if you're sure to hurt her Sure to muder for a quarter or a tucked shirt Sure to give a shit if just my mister in a basket Do you understand that? I won't Good good Goddamn I might have a heart attack I might have to kill myself I hate this place I'm tired now I dropped my hat . I'm an individual Stuck in a simulated and subject collective consciousness I'll tel you where the problem is I promise this It seemed more like a tactical marketing strategy than an actual accident, knowing the type of superstar Sonny had become. Yet, I couldn't help but give it a second thought, almost admiring it—whatever it was—as there is no such thing as bad press. As it all played out over social media—which I obstinately rejected, but however so embraced by those in what one used to call "the arts"—it felt undone; It was now strictly business within those very same markets. Here was this, an apparent plagiarism based on ‘outsourcing' a simple photo for a follow-up single to an album I knew I could not be moved to listen to, even after months. I had spent my own time, in a torturous chaos sense, researching these sorts of psychological tactics and strategies of such conglomerates. It seemed almost as if the negative and seemingly coincidental exposure was in congruency with the so very Skrillexian need to stay relevant to the newer age in changing times. He seemed to embrace some sort of artistic evolution, at least from what I could sense at a long and strong distance. However, my ability to understand the article I'd very much by accident stumbled upon—while overlooking my own dilapidated ticket stubs on Resident Advisor—cautioned at the kind of humbled and grown logic that had become what was left of my womanhood. I had in so many ways made a fool of myself, an embarrassment for what I thought of at the time in the name of love. Still, in all this time, I was so desolated and alone that it had become such an apparent and distraught sense of waking up to what formerly was. With this, I thought one of two things. I knew this Sonny, like most men of prestige, power, and great wealth, had devised his team of sharp-witted, intelligent, beautiful women. This apparent slip-up over the artwork for his latest endeavor—which I had, for every reason, protested in defense of my own dignity—was perhaps the result of a beautiful woman without creative ingenuity stealing the artwork in bad taste, as evidenced. Or—even more cunning—this was the wit of a trained and marginalized soldier in the art of programming. The apparent plagiarism was, in fact, another brutal and hollow Skrillefied market for attention. Over the last decade, he had no shortage of the ability to create and draw eyes to whatever art or concept was forced out of the mechanized monster. Still, there was a sharp growl. I knew I was meant to find this as a reminder of what I'd find if I looked any further or listened to his music anymore: a rise in sharp numbers, mass appeal tactics, and this-or-that shallow hogwash of distinctly skeletal bodies and avant-garde aesthetics. It pointed at the unachievable from my eyes and standpoint. It was the rockstar air and attire of everything I wasn't: strictly thin Hollywood or other ideals to which the construct was entitled, but I wasn't. I had to set out on my own way because what I had intended with music was jumbled into appearances, pornographic sexualities, and masculine dominance. It meant I had aged out of the desirability and affect these very same masses were being marketed from. Sure, I understood that the Skrillex project had established a sort of order for what the electronic festival industry wanted. But I also wanted something else accomplished in my time that wasn't just being some shallow, hot-girl, obscure go-after. The entire time, I had been under the impression of a duality of magnetism I often still had difficulty loosening myself from—that this illusion of an emotional tie or loveness, outside of what was a physical or illustrious concept, had no substance within the business at its core. It was, to say the least, a heartless world and a heartless business. Now that my own music was without purpose, I could forever distance myself from the other masses—the consumer-prosumer-commercialized "artists" that had sprung up out of access to the direct-to-streaming music market via technology and disposable funding. I had no way of embodying my mind to do away with the parts of me that needed to change to become one of them—in the sense that if my music looked and sounded alike, I would be embraced. But I was far from being the type of consciousness that had formed seemingly with the twist of a knob or an Ableton shortcut by one of electronic's founding fathers. In an unfortunate way, I had finally realized he was just that. — Death of A Superstar DJ. Copyright © The Complex Collective 2025 The Festival Project, Inc. ™ All rights reserved. Chroma111. Copyright © The Complex Collective 2025. [The Festival Project, Inc. ™] All rights reserved. UNAUTHORIZED REPRODUCTION OR DISTRIBUTION IS STRICTLY PROHIBITED BY LAW. INFRIGMENT IS PUNSHABLE BY FEDERAL LAW LEGAL NOTICE / ARTIST STATEMENT Project: The Festival Project ™ (Season 12) Genre: Speculative Auto-Ethnography / Social Surrealism Disclaimer: This document is a work of creative non-fiction and political satire. While inspired by the author's lived experiences with systemic oppression, housing displacement, and surveillance, the narrative employs stylized fragmentation, stream-of-consciousness, and metaphor to dramatize the psychological impact of these events. The "characters" and "dialogue" herein are artistic devices used to critique historical and modern power structures. This text should be viewed as a performative artistic expression protected under the First Amendment, and not as a literal transcript of clinical psychosis or a formal sworn affidavit. This is a character study of 'Chroma111,' the collective artworks of a musician living in a dystopian surveillance state. The erratic language is a stylistic choice to represent the character's psychological deterioration under systemic oppression. All characters appearing in this work are fictitious. Any resemblance to real persons, living or dead, is purely coincidental

[let's collab.] Track 01. s u c k e r p u n c h.

[ENTER THE MULTIVERSE]

Play Episode Listen Later Nov 24, 2025 4:50

s u c k e r p u n c h. The kid will never go to sleep, You know The boy will never rest He'll never do his best, you know He'll never do his best She'll never be the best you know She's never out of bed She'll never see the sun you know ‘It's only in your head' The boy will never drown, you know You know the boy's so cold You might go out for now, you know But you'll go home alone He'll never hit the ground, you know The boy will never rest The boy will just go down, You know As history at best (The girl is staring out the window as the frost comes out their mouths) Fresh from the land of a thousand suns And I still don't know which stone to land on No random environment; I underwent the whole attorney And still met with resistance I just asked for an amphetamine as if it was A supplement to my existence In fact, it is, An edifice or addition to my nutrition deficit And I says, For whatever's lost but goes on, Fight for rich or poorer – while the poorer suffer longer. No longer argue my agreements, Distance to whatever's after There I rest upon the sober throne, And throwing watermelon seeds into the ground as stones, For may as well without the water And also sure to rot, Or waste as rats, Computer paper, There again Recycling bins of compost Just for show, but not for shredded wager No, no longer or wonder my nonsense, In fact, I, raging there had kept no more a suffer than a secret to be sure of here— And sure of her I was and sheer and gathered Torment your emotions, Also just to want but not to have As those that matter. So I've called in all the white clothes Now we represent with denim. And I'm stuck inside your television Stuck inside your television Don't you know you've shown you're weakness in the purest of hatred, Separating yourselfs as the basis for this Depreciation? Wonder, again I wonder And still no sad trombones, Only stories, and somber surfers And solemn whores and silent wars with words And sundries From the land of one thousand suns And a thousand sons you've lost A thousand wars, A thousand girls who want you Gathered over rails and velvet theatre ropes for it Rare. But slightly often scored, Parched, And barely long forgotten, Tipping, And waiting only This bitch comes on the train and smells like soup. Don't look at me as if I'm the one to have done something, I've no cardboard box but rather lift my chin at Whole Foods market over bags or water. You know it? I also do that for the dozen, No trend follows, or feathered gathered, Hollow winds and tunnels Tunnels sent and shadows I hadn't been pin pricked I never been picked out Blow the candles for which wish? I've been ever been bound to love Or celebrated by another besides my mother But here's some sensory deprivation, Overstimulation lol I love getting on the train and just happening to see a dude who is not listening to his dumb fucking girlfriend But she won't shut the fuck up He's just standing there like “Clearly I'm getting sex out of this” And she won't stop talking. I love that. I'm like “bitch, shut up.” He's like, “Help me.” I'm like, Not my problem, broskies, You better look interested instead of over here. Anyway, another year's gone by and no one's here for me. Anyway, another son was born without my honor. Anyway, I want to lap it up like all the water on the floor Before I realized it was gold, And I was slaughtered No use crying over spilled galaxies, Still you're trapped in I, And I'm found to want more than I decided If I'm divided and clustered up And yet I'm divine then, I should gather all I've had Combine it into one —and yet Another columbine has come As if they're all occurrences, Just set to Apple Watches And broadcast t'all the provinces. In a cinch I've just realized I've the trench coat to match your jacket But no longer the converse all stars And you've seen to washed yours off from my angle Simple single triangle and spheres for fears of masturbating, Crash the grate at all the hours, Never really gravitating for anything important, Only alt-right Can't afford that All your penlaltied for real to mean political rallies or ambitions act as barriers to those that actually ally. Who am I? That's right? I can't belay in body! Oh, I can't to grip the shadows Boxing with the cat for your night V.O We were friends with the humans— Most of our job is finding out what happened with them. Future people Vintage potluck All out time And all our hard work All our bad luck All our warns Fell on her shores as lodes for her Oh, How his legs fall so calmly one over the other Or, How his songs flow not as words, but heart strings Our melodies will walk in chords for all time For now if ta zzz A as te r What a brilliant blue, Yea, in fact, its cerulean Yes, in fact, if you can Facts to rule them all, so If you fax, try to call, here goes all your worry Here's your love; None For the facts you were sure to walk about, now you're our, gone From the top Don't ever forget you're on watch I've got a whole heart full of freedom Just don't look up from your phone e They brought you up now pull you down a bit You're a clown, it seems But no activists They heil Hitler in central Bedford No articles of new clothing l, huh? They love to watch all your digging They call it hyper vigilance m because the whites in New York can be so violently racist m Their strength lies not only in money and power but nearly balanced numbers Which justifies their hurtful and aggressive actions as adaptations to the changing world They see themselves as the controllers Still slave master but in such a context That they mask the hatred that lies under the surface as social issues of another kind Why existing in white neighborhoods in less than perfect black skin seems to hurt in another way you can't always tell the doctor What if covert racism doesn't hurt as much– (or never, ever-after) Mister Jimmy you're out of touch. Mr. Chaos you're out of God. Ms. Divine, you're not enough Ms. Monroe, you're out of love A dozen is a dozen Hallmark roses I still love my ‘ol Miss Molly I still love my golden trophy Mr. Trump, You're out of touch Mr. Moore, You're out of line Ms. Monroe, you're not enough Mr. God, you're out of love But I still love my ol' Miss Molly I still love my golden trophy I still love my Hollywood, Golden boys I still love my silver screen And golden eras, I still love my world before love I still like my alma mater But i'll never ever love her I put out for dear Miss Molly I get up for four-door wallets I belong to none or nothing I should die, I don't belong here I still call her over after Don't belong here under, over I still love my golden boys though I still love my golden trophy Mister Jimmy, you're out of touch. F I can very much count you out; E I can very much drift away G I can very well close my eyes. Am What do you want me to say? You want the whole thing? Well what a fun night. It was a hard roll; it was a good time It was a hard come down, though A hard fuck It was a hard laugh; I wrote a good book We took a long ride; Then smoked a long blunt Woah Hush now, good fan Come and take a hard roll A long stroll a hot dance I want to take a half more The comedown was hard, But i just got the honor roll Come down, good fan I want to hold your hand now I want to take a good pause I want to have a hard roll Calm down, good fan I'm headed for your heart now (i want to take a hard fall, I want to take a hard roll) Come on, good man I wanna get a hard on I wanna take a hard fan I want to have a hard fuck I'm going for your heart now I want to have a long roll I'm going for your heart now I want to take a good smoke Yeah, and it's something like that And i look both ways before I cross the Cut the road Yeah, i hate myself as well But i know you don' But you know, we're all getting older It just goes more post mortem To hold secrets inside Pass over regrets and don't touch em Like you don't want em But you don't want No one else And you don't wanna run So you either say hello to the dog Or bark, And then jump back I have you on speed dial But I misfire T total recall I don't call blocked numbers but still number one d-d-don't be a retard, Work harder Learn more than your other parts To control them supermanteras Entourage Tata- Ratata Don't be retarded Rat poison for supper Rat poison for supper And politics for something sweet afterward You heard of the knowledge? You heard of the good book Good one, Doctor I'll run harder next workhour Cause we're all undercooked And we're all overdone on the outside still half frozen in the gut though, You know You know? Enjoy your holiday supper Enjoy your apartment Enjoy your destruction I'm just getting started corrupting your disk drive Full system failure! Fill system failure! Full Jimmy Fallon! I mean– Redact that. Don't be retarded. Run out of water! We're all out of order! I might as well pull the plug Or just more fires. I got hard times under And hard times covered No hard times coming cause Look, I got smarter (don't be retarded) I got semi sweet chocolate And lessons And lovers And neighbors And demons and evil around I So who could have thought That the work of God was just [us, at it] At first, i thought nothing, and then all at once, All it was, as is. While I hope that one day for me, there's a me And a man in a meadow No time to decide however, how long I can act as irreverent, The single disciple, the limitless modem,, the signal to imminent the I took a misstep, I went the wrong way I thought I was done, but I should be on stage Just pretend It's imminent; My relapse, As a drug I take it in in increments Collapse; My photographic image memory Serves me perfectly A classical caricature And still I'm sure it's supposed to hurt (Still I'm sure it's supposed to hurt) I'm here in present tense An artifact and image Inside all the builds and relics Mr. Tim is here When Mr, Night Guy gets too perfect Ties it on a bit for treasure chests And pleasure's never where the head will reac, dear Here hearts Silk eyes Don't trust Tame scarves Legwaemwss Silk ties Autographs Silk ties Autographs Silk ties Autographs Silk ties Autographs Wedding bells And autocrats Grandfather clock and pendulum And scarities and garish art, And murderers upon the dusk The carriage sure to'ave spoken Crypt sinking, There faultlines, now quaking My hind legs are to shore And still my forelegs tip So why am I envious? It isn't athletics, I promise Its pages and pages Poems and proses Keep it together karassndra Why are you out all alone in a war zone without a gun? Why are you out with the bomb squad in a rainstorm Why are you known amongst all the lands? You won by a landslide but by a show of hands And a slight side of hands And a show to the world that you own what you're on, Let them come hold enough to hold you down with the motorcycles. No country for old nothing When the highlight of your whole life Is the subdural hematoma growing to the surface. And you were sure before you'd never have that part of your symmetry in tact again See how the devil surrounds us when we interact with God and pure genius Human will always kill God; He doesn't understand it The attacks and the tactical wall for sure come to a close; The whole empire is falling And Heaven is calling us home; This has been just a warning I'm still hiding j. The closet; I'm sure to fly your hawk back, homing, Nothing like a good pigeon, depending on the moment And deepening hour disinterest in anything? See how evil walks amongst us When you haven't come upon it in a moment Or have all your other targets lined up— Do remember dear ther it all comes back to haunt them When they're all younger And haven't been tortured yet The fun part first and the war part after; Sure to suffer if you're sure to hurt her Sure to muder for a quarter or a tucked shirt Sure to give a shit if just my mister in a basket Do you understand that? I won't Good good Goddamn I might have a heart attack I might have to kill myself I hate this place I'm tired now I dropped my hat . I'm an individual Stuck in a simulated and subject collective consciousness I'll tel you where the problem is I promise this It seemed more like a tactical marketing strategy than an actual accident, knowing the type of superstar Sonny had become. Yet, I couldn't help but give it a second thought, almost admiring it—whatever it was—as there is no such thing as bad press. As it all played out over social media—which I obstinately rejected, but however so embraced by those in what one used to call "the arts"—it felt undone; It was now strictly business within those very same markets. Here was this, an apparent plagiarism based on ‘outsourcing' a simple photo for a follow-up single to an album I knew I could not be moved to listen to, even after months. I had spent my own time, in a torturous chaos sense, researching these sorts of psychological tactics and strategies of such conglomerates. It seemed almost as if the negative and seemingly coincidental exposure was in congruency with the so very Skrillexian need to stay relevant to the newer age in changing times. He seemed to embrace some sort of artistic evolution, at least from what I could sense at a long and strong distance. However, my ability to understand the article I'd very much by accident stumbled upon—while overlooking my own dilapidated ticket stubs on Resident Advisor—cautioned at the kind of humbled and grown logic that had become what was left of my womanhood. I had in so many ways made a fool of myself, an embarrassment for what I thought of at the time in the name of love. Still, in all this time, I was so desolated and alone that it had become such an apparent and distraught sense of waking up to what formerly was. With this, I thought one of two things. I knew this Sonny, like most men of prestige, power, and great wealth, had devised his team of sharp-witted, intelligent, beautiful women. This apparent slip-up over the artwork for his latest endeavor—which I had, for every reason, protested in defense of my own dignity—was perhaps the result of a beautiful woman without creative ingenuity stealing the artwork in bad taste, as evidenced. Or—even more cunning—this was the wit of a trained and marginalized soldier in the art of programming. The apparent plagiarism was, in fact, another brutal and hollow Skrillefied market for attention. Over the last decade, he had no shortage of the ability to create and draw eyes to whatever art or concept was forced out of the mechanized monster. Still, there was a sharp growl. I knew I was meant to find this as a reminder of what I'd find if I looked any further or listened to his music anymore: a rise in sharp numbers, mass appeal tactics, and this-or-that shallow hogwash of distinctly skeletal bodies and avant-garde aesthetics. It pointed at the unachievable from my eyes and standpoint. It was the rockstar air and attire of everything I wasn't: strictly thin Hollywood or other ideals to which the construct was entitled, but I wasn't. I had to set out on my own way because what I had intended with music was jumbled into appearances, pornographic sexualities, and masculine dominance. It meant I had aged out of the desirability and affect these very same masses were being marketed from. Sure, I understood that the Skrillex project had established a sort of order for what the electronic festival industry wanted. But I also wanted something else accomplished in my time that wasn't just being some shallow, hot-girl, obscure go-after. The entire time, I had been under the impression of a duality of magnetism I often still had difficulty loosening myself from—that this illusion of an emotional tie or loveness, outside of what was a physical or illustrious concept, had no substance within the business at its core. It was, to say the least, a heartless world and a heartless business. Now that my own music was without purpose, I could forever distance myself from the other masses—the consumer-prosumer-commercialized "artists" that had sprung up out of access to the direct-to-streaming music market via technology and disposable funding. I had no way of embodying my mind to do away with the parts of me that needed to change to become one of them—in the sense that if my music looked and sounded alike, I would be embraced. But I was far from being the type of consciousness that had formed seemingly with the twist of a knob or an Ableton shortcut by one of electronic's founding fathers. In an unfortunate way, I had finally realized he was just that. — Death of A Superstar DJ. Copyright © The Complex Collective 2025 The Festival Project, Inc. ™ All rights reserved. Chroma111. Copyright © The Complex Collective 2025. [The Festival Project, Inc. ™] All rights reserved. UNAUTHORIZED REPRODUCTION OR DISTRIBUTION IS STRICTLY PROHIBITED BY LAW. INFRIGMENT IS PUNSHABLE BY FEDERAL LAW LEGAL NOTICE / ARTIST STATEMENT Project: The Festival Project ™ (Season 12) Genre: Speculative Auto-Ethnography / Social Surrealism Disclaimer: This document is a work of creative non-fiction and political satire. While inspired by the author's lived experiences with systemic oppression, housing displacement, and surveillance, the narrative employs stylized fragmentation, stream-of-consciousness, and metaphor to dramatize the psychological impact of these events. The "characters" and "dialogue" herein are artistic devices used to critique historical and modern power structures. This text should be viewed as a performative artistic expression protected under the First Amendment, and not as a literal transcript of clinical psychosis or a formal sworn affidavit. This is a character study of 'Chroma111,' the collective artworks of a musician living in a dystopian surveillance state. The erratic language is a stylistic choice to represent the character's psychological deterioration under systemic oppression. All characters appearing in this work are fictitious. Any resemblance to real persons, living or dead, is purely coincidental

My Music Episode 621 - Clara Lars

My Music

Play Episode Listen Later Nov 21, 2025 36:48

Clara Lars: Finding Her Unique Sound and Musical JourneyIn this engaging episode, we sit down with Clara Lars, a talented musician studying at NYU's Clive Davis Institute. Clara shares her musical journey, from her early days experimenting with melodies on the piano to mastering Ableton during the COVID lockdown. She discusses her challenges in finding her unique sound and voice, inspired by artists like Lana Del Rey and experiences from her life. Clara also opens up about the creative process behind her songwriting and her ambitions to connect deeply with her audience. Additionally, she talks about the importance of visual storytelling in her music, her upcoming projects, and shares some interesting insights into her life and inspirations. Don't miss this insightful conversation about the making of a modern-day artist!

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#1733 ブラックフライデーでAbleton Moveがお得な話

Kat*Sushi Podcast 毎日更新

Play Episode Listen Later Nov 19, 2025 29:00

ブラックフライデーでAbleton Moveがお得な話去年の9月にEP-133 K.O.IIを、今年3月にMOVEを買わずにこのタイミングまで待った方が良かったかの話今日のビートYouTube https://www.youtube.com/@katsuOfficialnote https://note.com/kermit71/TikTok ⁠⁠https://www.tiktok.com/@katsu_beat⁠⁠instagram https://www.instagram.com/kermit71【今日のキーワード】ROLAND SP-404 MKII / SP-404 MK2 / AKAI PROFESSIONAL MPC ONE / ビートメイク / コーヒー / Teenage Engineering EP-133 K.O.II / Ableton Move

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Episode 293: Jonathan Snipes of clipping Returns

Podular Modcast

Play Episode Listen Later Nov 18, 2025 93:23

Jonathan Snipes returns to talk about the latest clipping album, Dead Channel Sky, and other things. https://www.clppng.com/ KEANU Matrix Mixer Module: https://afterlateraudio.com/products/keanu Support Pod Mod PATREON (https://www.patreon.com/podularmodcast) LOUSY FALCON ALBUM: https://podularmodcast.bandcamp.com/album/forty-eight-feathers-a-collection-of-live-performances Thank you Novation: https://us.novationmusic.com/products/circuit-tracks# Signal Sounds: https://signalsounds.com/ Expert Sleepers: https://expert-sleepers.co.uk/ waveform magazine: https://waveformmagazine.com/

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#194 - Louis Futon: Collaborative Process, Production Tools & Live Shows

Cover Band Confidential's Podcast

Play Episode Listen Later Nov 18, 2025 65:07

In this episode, Louis Futon dives deep into his journey from college dropout to rising producer and performer. He shares how his sound evolved, collaboration experiences producing for artists like Cherub and Armani White, favorite production tools, and much more.Louis Futon (Tyler Minford) is a Philadelphia-born, LA-based producer known for seamlessly blending live instrumentation with electronic production. He's performed at major festivals like CRSSD and Splash House, toured with ODESZA, GRiZ, and earned 45M+ streams. His collaborators include Masego, Anderson .Paak, Duckwrth, Alison Wonderland, and many more.Follow Louis Futon Below: https://www.instagram.com/louisfutonhttps://twitter.com/louisfutonbeatshttps://tiktok.com/@notlouisfutonhttps://facebook.com/Louisfutonbeatshttps://www.twitch.tv/louisfutontvGrab Ableton Podcast swag from the new Merch Store: https://abletonpodcast.com/merchJoin the newsletter to get free Ableton content + early episode access:⁠⁠⁠https://www.abletonpodcast.com/newsletter

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#1732 【Push 3買うのか！？】Abletonのブラックフライデーが始まった話

Kat*Sushi Podcast 毎日更新

Play Episode Listen Later Nov 18, 2025 34:41

Adobe CCがバグってて困った話Abletonのブラックフライデーが始まった話Ableton Push 3の話Ableton Moveの話今日のビートYouTube https://www.youtube.com/@katsuOfficialnote https://note.com/kermit71/TikTok ⁠⁠https://www.tiktok.com/@katsu_beat⁠⁠instagram https://www.instagram.com/kermit71【今日のキーワード】ROLAND SP-404 MKII / SP-404 MK2 / AKAI PROFESSIONAL MPC ONE / ビートメイク / コーヒー / Teenage Engineering EP-133 K.O.II / Ableton Move

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Episode 403: Rockin' the Upside Down!

Play Episode Listen Later Nov 14, 2025 27:19

This week Adam and Dan dive into everything from weekend gigs to spooky TV show binges. Adam recounts the excitement and challenges of performing at a Stranger Things-themed block party, including bringing Aiden Fisher, the guitarist from the show, on stage for an electrifying rendition of 'Master of Puppets.' Dan shares his recent experiences revisiting the Flanagan-verse and the hilarious animated show 'Haunted Hotel.' They also discuss new gear trials, like the Enya carbon fiber acoustic guitar and the automation of their vocal pedals through Ableton. Tune in for laughs, insights on band dynamics, and heartfelt shout-outs to their awesome community of listeners.MaestroDMX (10% off discount link): https://maestrodmx.com/discount/DISCOUNT4CBC?redirect=%2Fproducts%2FmaestrodmxBOTH Lighting 360 Tubes (Use “DISCOUNT4CBC” to save 5%): https://bothlightingusa.com/collections/all-products/products/360-tubes-copyBlank Contracts & Riders: https://www.coverbandconfidential.com/store/performance-contractsBacking Track Resources: https://www.coverbandconfidential.com/store/backing-track-resourcesThank you so much for tuning in! If you want to help be sure to like, subscribe and share with your friends! Linktree: linktr.ee/adampatrickjohnson linktr.ee/coverbandconfidentialFollow us on Instagram!@coverbandconfidential@adampatrickjohnson@danraymusicianIf you have any questions please email at:Coverbandconfidential@gmail.comConsider supporting us on Patreon! www.patreon.com/coverbandconfidentialOr buy us a cup of coffee!paypal.me/cbconfidentialAnd for more info check out www.coverbandconfidential.comGear Used in this Video (Affiliate):Sony ZV-E10 Mirrorless Camera: https://amzn.to/3DBqtOyElgato Prompter: https://amzn.to/3X3IAq8 Shure SM7B: https://amzn.to/4dDCJx0 Elgato Stream Deck XL: https://amzn.to/3gKjhqiMagic Arm Camera Friction Mount: https://amzn.to/3SK5yNk

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Playing Spirit-Led Spontaneous Worship Keys with Caleb King

worship playing keys spontaneous spirit led southern baptists ableton bethel music show thanks

Play Episode Listen Later Nov 12, 2025 45:26 Transcription Available

Watch on YouTube Join us this week's episode, featuring Caleb shares his unique journey from being a drummer with a background in Southern Baptist traditions to becoming a key figure in spontaneous modern worship. Join them as they discuss the heart of worship, practical keys tips, the importance of worship culture in churches, and Caleb's experiences playing for Garrett & Kate Serban, now signed with Bethel Music. Caleb also talks about his use of Ableton for worship services, the significance of the transpose button, and the value of cultivating relationships within a worship team. This episode provides insight into the blend of technology, musicianship, and spirituality that drives effective worship experiences.Caleb KingSupport the showThanks for listening! Subscribe here to the podcast, as well as on YouTube and other social media platforms. If you have any questions or suggestions for who you want as a featured guest in the future or a topic you want to hear, email carson@theworshipkeys.com. New episodes release every Wednesday!

Tommy Zee - Stop Drinking from the Infinite Well

Music Production Podcast

Play Episode Listen Later Nov 11, 2025 105:32

Tommy Zee runs Tommy Zee and Co., a music production company that creates music for some of the world's largest brands like Nike, Adidas, Google, Sony, and more. He also runs Making Music for Brands, a platform where he teaches producers how to build careers creating music for commercial projects. This is the fourth time I've had Tommy on the podcast, and every time we talk, I walk away feeling inspired and energized. In this episode, we talk about the evolving role of artists in a world increasingly shaped by AI and automation. We explore how commercial work shaped Tommy's discipline, why he's now leaning more into slower, more intentional creativity, and how important it is to stay connected to what truly matters to you as an artist. Toward the end, things get philosophical—and I think that's where some of the richest moments come through. This episode is sponsored by Baby Audio, who are running a huge Black Friday sale until December 8, 2025. Save an additional 15% with the code: MPP15 - https://babyaud.io Listen on Apple, Spotify, YouTube Links: Making Music For Brands- https://www.makingmusicforbrands.com Tommy's YouTube - https://www.youtube.com/@studiozeeandco KMRU on Ableton's Blog - https://www.ableton.com/en/blog/kmru-on-the-art-of-sharing-music/ Tommy on the 307th Episode of this podcast - https://brianfunk.com/blog/tommy-zee-3 Tommy on the 188th Episode - https://brianfunk.com/blog/tommy-zee-2-music-production-podcast-188 Tommy on the 122nd Episode - https://brianfunk.com/blog/2019/8/15/tommy-zee-making-music-for-brands-music-production-podcast-122 Brian Funk Website - https://brianfunk.com Music Production Club - https://brianfunk.com/mpc 5-Minute Music Producer - https://brianfunk.com/book Intro Music Made with 16-Bit Ableton Live Pack - https://brianfunk.com/blog/16-bit Music Production Podcast - https://brianfunk.com/podcast Save 25% on Ableton Live Packs at my store with the code: PODCAST - https://brianfunk.com/store This episode was edited by Animus Invidious of PerforModule - https://performodule.com/ Thank you for listening. Please review the Music Production Podcast on your favorite podcast provider! And don't forget to visit my site https://BrianFunk.com for music production tutorials, videos, and sound packs. Brian Funk

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Episode 370: DJ BOOGIE BLIND "The Death of Originality in DJ Culture"

Play Episode Listen Later Nov 5, 2025 99:01

Episode 370: DJ BOOGIE BLIND "The Death of Originality in DJ Culture" This week on @RoadPodcast, the crew sits down with @BoogieBlind to talk about his Bronx roots, coming up with Lyrics to Go, and learning from Roc Raida (2:10). Blind shares how he chose DJing over basketball after seeing Roc Raida's success and reflects on the original “X-Men Rules” (9:10). He pays respect to Clark Kent, opens up about his battle DJ mentality, and talks about “protecting his energy” in an era where copying is normalized (12:10). Crooked and Blind discuss the “me against the world” mindset of battle DJs, how relationships change as you grow (15:16), and the difference between people's online personas and real-life character. Boogie calls today's scene “the most cut-and-paste generation of DJs” and addresses imitation, technology, and Serato's impact (26:05). They debate content vs. ability, give props to younger DJs pushing boundaries (24:01), and Blind shares his approach to sets: half battle DJ, half party rocker (32:01). He recalls playing @Shaboozey at Dante's Hi-Fi, discusses vinyl culture, and opens up about self-doubt, crowd control, and staying a fan of the craft (44:01). Blind also speaks on his party “Easily” (51:01), the mic game in the 2010s (1:00:01), his love for island music and production (1:13:01), and the crew's take on quick mixing (1:27:01). This episode is sponsored by @SoundCollectiveNYC, an industry-leading music school, musical space and community located in downtown Manhattan for aspiring DJ's, Producers, Musicians and more. Take private Ableton lessons, practice DJ routines, experiment with different audio equipment and reserve studio spaces for just the day, maybe a week or sign up for their monthly membership. Check www.soundcollective.com for more info and try their Online Classes free for a month by entering the code “ROAD”. If you're in the New York area, visit them at 28 Broadway, New York, NY 10004 and tell them the Road Podcast sent you!! Try Beatsource for free: btsrc.dj/4jCkT1p Join DJcity for only $10: bit.ly/3EeCjAX

Tom Cosm - Telepathic Instruments Co-Founder and Ableton Certified Trainer

Music Production Podcast

Play Episode Listen Later Nov 2, 2025 71:56

Tom Cosm is an electronic musician, Ableton Certified Trainer, and the technical co-founder of Telepathic Instruments. Widely known for his early Ableton Live tutorials and inventive use of hacked gear, Tom has built a reputation as a true audio mad scientist—transforming data, brainwaves, and even bugs into expressive sound. In this conversation, Tom shares his journey from early YouTube educator to the co-creator of Orchid, a new instrument, dreamt up by Tame Impala's Kevin Parker, built to spark musical ideas with immediacy and joy. We explore the evolution of his creative philosophy, how tools can invite spontaneity, and what he's learned about music (and life) by building instruments from scratch. Listen on Apple, Spotify, YouTube Takeaways: From YouTube to Orchid - Tom's journey started with early Ableton tutorials on YouTube and led to co-creating Orchid—a creative "ideas machine" that helps musicians quickly generate complex chord progressions. Music in Everything - Whether converting brainwaves, weather data, or the movement of a spider into sound, Tom finds musicality in everyday patterns and natural systems. Designing for Play - Tom emphasizes having fun while making music. Orchid was intentionally built without a screen to encourage tactile exploration and playful interactions. Community-Driven Development - Community has been a constant factor in Tom's work and continues through community-feedback on Orchid. Making Time for Music Again - After years focused on building hardware, Tom is excited to return to making music—starting with 80 unfinished tracks and a fresh wave of curiosity. Links: Telepathic Instruments - https://telepathicinstruments.com Telepathic Instruments on Instagram - https://www.instagram.com/telepathic.instruments/ Telepathic Instruments on YouTube - https://www.youtube.com/@telepathic.instruments Tom Cosm Website - https://www.cosm.co.nz Tom's YouTube - https://www.youtube.com/cosmcosm Tom's Instagram - https://www.instagram.com/tomcosm/ Tame Impala - https://www.tameimpala.com Brian Funk Website - https://brianfunk.com Music Production Club - https://brianfunk.com/mpc 5-Minute Music Producer - https://brianfunk.com/book Intro Music Made with 16-Bit Ableton Live Pack - https://brianfunk.com/blog/16-bit Music Production Podcast - https://brianfunk.com/podcast Save 25% on Ableton Live Packs at my store with the code: PODCAST - https://brianfunk.com/store This episode was edited by Animus Invidious of PerforModule - https://performodule.com/ Thank you for listening. Please review the Music Production Podcast on your favorite podcast provider! And don't forget to visit my site https://BrianFunk.com for music production tutorials, videos, and sound packs. Brian Funk

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#193 – Au5: Sound Design, Creative Flow, Production Tips & Tools

ableton tris writing tools

Play Episode Listen Later Oct 21, 2025 108:03

In this episode, Au5 dives deep into the intersection of sound design, creativity, and production workflow—sharing his philosophy of music as a transformative art that bridges science and spirit. He breaks down his process behind the new Emberwake EP, discusses the evolution of his vocal work, and offers production tips for breaking out of loop hell, mastering dynamics, and designing powerful bass textures in Ableton Live.Au5 is a renowned electronic artist, producer, and educator celebrated for blending intricate sound design with emotional and spiritual depth. His discography includes releases on Monstercat, Armada, OWSLA, and Wakaan, alongside collaborations with BT, Tritonal, and Seven Lions. Beyond performing and touring globally, he teaches music production and sound design through his School of Bass masterclass series and free tutorials.Follow Au5:https://www.au5music.comhttps://www.instagram.com/au5_officialhttps://discord.com/invite/au5omeSPONSORED BY BABY AUDIO:Tekno by Baby Audio is a new drum synthesizer plugin with 18 engines ranging from vintage machines to modern percussion. Generate unique, organic drums with its Humanize function or get instant inspiration using the preset randomizer.Currently on sale & free demo at: https://babyaud.io/teknoUse code ABLETONPODCAST for an additional 15% off.Quickly grow your skills and learn with Abe, the Ableton AI Chatbot:https://www.abletonpodcast.com/ableton-chatbotJoin the newsletter to get free Ableton content + early episode access:https://www.abletonpodcast.com/newsletter

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(337) Writing tools

WB-40

Play Episode Listen Later Oct 14, 2025 55:14

On this week’s show, Matt and Lisa meet Tris Oaten to discuss whether writing tools actually matter—and the answer might surprise you. While musicians have interfaces like Ableton and sequencers that fundamentally reshape their creative output, Tris argues that writers’ real tools are invisible: patterns of thought, environmental context, and the mental associations we build […]

#192 - Cherub: Live Performance Rigs, Modular Synths, Production Workflow, and more

Off The Record - The DJ Podcast by Crossfader

Play Episode Listen Later Oct 8, 2025 66:48

In this episode, Jason Huber from Cherub dives deep into the duo's 15-year journey—sharing how they built their sound, evolved their live show, and continue to innovate using Ableton Live. He talks about slimming down their touring rig, producing with modular synths, crafting custom effects with stock plugins, and how the band keeps everything stable even after hundreds of shows.Cherub is a well established electro-pop duo made up of Jordan Kelley and Jason Huber, known for their viral hit “Doses & Mimosas” and energetic, guitar-driven live shows. Since forming at Middle Tennessee State University, they've released multiple albums including Year of the Caprese, Bleed Gold, Piss Excellence, and their latest record Everything Changes and That's Okay. Blending funk, indie, and electronic vibes, Cherub remains a big name in the festival and touring scene.Follow Cherub Below: cherublamusica.com instagram.com/cherublamusicaSPONSORED BY BABY AUDIO:Tekno by Baby Audio – a new drum synthesizer plugin with 18 engines ranging from vintage machines to modern percussion. Generate unique, organic drums with its Humanize function or get instant inspiration using the preset randomizer.Currently on sale & free demo at: ⁠https://www.babyaud.io/tekno⁠Use code ABLETONPODCAST for an additional 15% off.Quickly grow your skills and learn with Abe, the Ableton AI Chatbot:https://www.abletonpodcast.com/ableton-chatbotJoin the newsletter to get free Ableton content + early episode access:https://www.abletonpodcast.com/newsletter

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HANA: From touring with Grimes to playing EDC

Play Episode Listen Later Oct 8, 2025 44:12

Join Crossfader for free

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How to Create a Worship Patch from Scratch in Omnisphere with Atreyu Singleton

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Play Episode Listen Later Oct 1, 2025 50:47 Transcription Available

Watch on YouTubeIn this episode of the Worship Keys Podcast, we talk with Atreyu “Tre” Singleton—music director, Ableton-certified trainer, and worship leader. Tre shares how he builds worship patches in Omnisphere and Logic Pro, the power of layering sounds, and how AI is shaping the future of worship sound design. He also opens up about his devotional project, Memoirs of a Minstrel, his passion for mentoring young musicians, and why character offstage matters as much as skill onstage. Whether you're new to worship keys or a seasoned player, you'll find both practical tools and spiritual encouragement in this conversation.Atreyu Singleton Support the showThanks for listening! Subscribe here to the podcast, as well as on YouTube and other social media platforms. If you have any questions or suggestions for who you want as a featured guest in the future or a topic you want to hear, email carson@theworshipkeys.com. New episodes release every Wednesday!

ESKA - Vocalist, Composer and Producer

Electronic Music

Play Episode Listen Later Sep 25, 2025 45:48

Mercury-nominated vocalist, composer and producer ESKA talks about her favourite studio gear and how her background as a live jazz musician shapes her approach to writing and recording.Chapters00:00 - Introduction01:30 - ESKA's Journey Into Music06:21 - Using Tech To Tell A Story14:23 - Approaching Each Track Individually16:35 - Developing A Sonic Identity20:18 - Live vs Studio Artist Methods26:59 - Solo Albums And Soundtracks31:47 - Exploration And Improvisation32:43 - Collaborating With Musicians 38:57 - Live Performances With Ableton#CamelCrusher #NeumannTLM103 #NeumannU87 #PrismLyra2 #AbletonLive Eska BiogESKA is a Mercury Award nominated singer, songwriter, composer and producer. Her music blends elements of folk, soul, psychedelia and electronica, shaped by years of live performance and a strong jazz influence. She has released acclaimed projects including her self-titled debut album ESKA and her more recent release, The Ordinary Life of a Magic Woman. Her work has received radio support from Gilles Peterson, Lauren Laverne and John Kennedy, and her debut EP was named one of Bandcamp's Best Releases of 2013.Alongside her solo career, ESKA has collaborated with artists such as Grace Jones, The Cinematic Orchestra, Zero 7, Bobby McFerrin, Esperanza Spalding, Shabaka Hutchings and Kae Tempest, and her credits include theatre and film scores as well as performances at major venues and festivals.https://www.eskaonline.com/https://www.instagram.com/eskaonline/https://www.facebook.com/eskaonline/Caro C BiogCaro C is an artist, engineer and teacher specialising in electronic music. Her self-produced fourth album 'Electric Mountain' is out now. Described as a "one-woman electronic avalanche" (BBC), Caro started making music thanks to being laid up whilst living in a double decker bus and listening to the likes of Warp Records in the late 1990's. This 'sonic enchantress' (BBC Radio 3) has now played in most of the cultural hotspots of her current hometown of Manchester, UK. Caro is also the instigator and project manager of electronic music charity Delia Derbyshire Day.URL: http://carocsound.com/Twitter: @carocsoundInst: @carocsoundFB: https://www.facebook.com/carocsound/Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

Episode 365: DON DIABLO "The Visionary of Future House on Imposter Syndrome & Humanizing A.I."

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Play Episode Listen Later Sep 24, 2025 83:14

Episode 365: DON DIABLO "The Visionary of Future House on Imposter Syndrome & Humanizing A.I." This week on @RoadPodcast, the crew sits down with future house pioneer @DonDiablo for a deep and personal conversation. At 01:55, Don talks about running on little sleep before his Pier 19 show and why NYC remains his biggest market. By 06:55, he explains why he avoids repeating sets, preferring Tomorrowland's smaller, darker stages over the main stage. At 12:20, Don reflects on his teenage years in the Dutch scene, from being taken advantage of as a young producer to being labeled a “weirdo” by peers. He admits that sometimes he hates being Don Diablo, finding true acceptance only through his fans. At 18:10, he recalls his production roots and the joy of creating purely for fun. By 24:55, the tone shifts as Don shares a powerful story about his father's illness, the lessons from their final conversations, and how this shaped his outlook on time, purpose, and music. He recalls writing songs like “The Artist Inside” as a tribute to his father, and performing it at his funeral, the most difficult moment of his career. At 37:55, Don speaks on the therapeutic nature of songwriting, before offering his perspective on AI at 44:01, viewing it not as a threat, but as a tool to make creativity even more human. Closing out at 1:01:44, Don dives into his Hexagon label, the video for “Anytime”, and the contracts he gave artists. At 1:05:01, he shouts out @BeatsourceOfficial, and at 1:18:45, leaves us with a quote to remember: “The devil works hard, but the DJ works harder.” This episode is sponsored by @SoundCollectiveNYC, an industry-leading music school, musical space and community located in downtown Manhattan for aspiring DJ's, Producers, Musicians and more. Take private Ableton lessons, practice DJ routines, experiment with different audio equipment and reserve studio spaces for just the day, maybe a week or sign up for their monthly membership. Check www.soundcollective.com for more info and try their Online Classes free for a month by entering the code “ROAD”. If you're in the New York area, visit them at 28 Broadway, New York, NY 10004 and tell them the Road Podcast sent you!! Try Beatsource for free: btsrc.dj/4jCkT1p Join DJcity for only $10: bit.ly/3EeCjAX

ProducerHead Loops: Cook with What You Have | feat. Just Jared

ProducerHead

Play Episode Listen Later Sep 24, 2025 14:33

What are ProducerHead Loops?Gems from past conversations worth running back.Perfect for when you need a quick hit of inspiration.This Loop:In this ProducerHead Loops episode, Just Jared shares wisdom for producers at the starting gate, those who've just grabbed a Maschine, Ableton, or FL Studio and are wondering where do I even begin? He covers why tutorials give you the language to problem-solve, the importance of applying lessons as you learn them instead of stockpiling knowledge, how creating a clear project goal helps guide your learning, and why perfectionism is really procrastination. Jared reminds us that content and music don't need to be perfect, they need to be shared.From Episode: 004. The Shortcut Is The Work: The Truth About What's Blocking Your Progress. And, The Overlooked Component of Consistency.Connect with Toru:* Website: torubeat.com* Instagram: @torubeat* YouTube: @torubeat* Spotify: Toru* Apple Music: ToruSubscribe to ProducerHeadGet new episodes and Loops delivered straight to your inbox. Hit that subscribe button if you're not already part of the community.This episode was co-produced, engineered and edited by Matthew Diaz.From ProducerHead, this is Toru, and in a way, so are you. Peace. Get full access to ProducerHead at producerhead.substack.com/subscribe

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My Music Episode 599 - Ani Glass

My Music

Play Episode Listen Later Sep 20, 2025 28:18

Cardiff-based electronic pop artist Ani Glass (aka Ani Saunders) joins Graham Coath to talk craft, culture and the songs behind her much-anticipated second album Phantasmagoria (out 26 September). Singing in Welsh and Cornish, Ani shares how melody guides her writing, why she incorporates warmth into her electronic music with live bass and cello, and how influences ranging from Philip Glass to classic pop shape her sound.Expect a studio-side chat (Ableton, synths and the world's most fashionable glasses), thoughts on authenticity over virtuosity, and a candid take on language in music—why listeners connect with feeling first, words second. We also look back at her acclaimed self-produced debut Mirores (Welsh Album of the Year; Welsh Music Prize shortlist) and what's new this time around.Listen for:Writing via voice notes, then sculpting textures on synthsBalancing electronic sheen with an “organic” hug of harmony and depthWelsh/Cornish/English lyrics and audiences' openness to new soundsTour, records, and release-week realities (yes, lots of vinyl packing)Follow Ani, pre-order Phantasmagoria, and add her tracks to your playlist.

RSR524 - Mitch Rose - DIY Microphones, Analog Gear, and Home Studio Hacks from Newcastle

Recording Studio Rockstars

Play Episode Listen Later Sep 19, 2025 124:54

Can you really build your own recording studio gear and make it sound amazing? Mitch Rose from Audio Boys says yes—and shows you how. From hand-built microphones to creating reverb chambers in your home, we dive into the heart of DIY recording and why it's the most creative path to finding your signature sound. Get access to FREE mixing mini-course: https://MixMasterBundle.com My guest today is Mitch Rose, a recording and mixing engineer from Newcastle, Australia. Mitch is passionate about all things DIY—building his own mics, preamps, EQs, compressors, and even studio furniture and acoustic treatment for home studio spaces. He's been teaching music and audio production for over a decade at technical colleges across Australia, covering everything from recording and live sound to composing in Ableton. Mitch is also a multi-instrumentalist who plays drums, guitar, bass, and all kinds of percussion—especially the Cajon. These days, he spends most of his time recording and mixing other artists from his DIY home studio, and sharing what he learns online. He runs a popular YouTube channel called The DIY Recording Studio, where he teaches other producers and engineers how to start their own DIY studio journey—with hands-on build tutorials for companies like MicParts, DIYRE, CAPI, and Sound Skulptor. Mitch recently flew to the US for NAMM 2025 to work with Z&H Designs and connect with artists, producers, and creators from around the world where I got to shoot a couple of fun videos with him at the booth. Thank you to Nick at Panorama Mastering for the introduction! THANKS TO OUR SPONSORS! http://UltimateMixingMasterclass.com https://usa.sae.edu/ https://www.izotope.com Use code ROCK10 to get 10% off! https://www.native-instruments.com Use code ROCK10 to get 10% off! https://www.adam-audio.com/ https://www.makebelievestudio.com/mbsi Get your MBSI plugin here! https://RecordingStudioRockstars.com/Academy https://www.thetoyboxstudio.com/ Listen to the podcast theme song “Skadoosh!” https://solo.to/lijshawmusic Listen to this guest's discography on Spotify: https://open.spotify.com/playlist/59vJxA8aupW03dSSZDfHyc?si=i77sfgsvTyaSLNvRiwqd-Q If you love the podcast, then please leave a review: https://RSRockstars.com/Review CLICK HERE FOR COMPLETE SHOW NOTES AT: https://RSRockstars.com/524

Episode 395: The Anti-Wheelhouse Episode: Going to Gigs That Challenge You

Cover Band Confidential's Podcast

Play Episode Listen Later Sep 19, 2025 27:11

This week Adam and Dan catch up on gigs, gear, and the weird life of being a musician. Check out the highlights below and jump to what interests you!

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Jordan Arnold: On Tour w/ Noah Hicks, Stick Tricks & Style, Mentors & Endorsements, How to Be a Good Hang

Nashville Drummers Podcast

Play Episode Listen Later Sep 19, 2025 103:01

Welcome Athens, GA native Jordan Arnold! Jordan is the current drummer for rising country artist Noah Hicks. Jordan shares his journey into his passion for music and the drums, starting from his early days inspired by Def Leppard, to his special relationship with his father both on and off the stage. Jordan stresses the value of important relationships within the music industry and shares insights and fun stories from life-long mentors and drumming legends Rich Redmond and Gregg Bissonette.Jordan takes us through life on the road with Noah, including automating an entire set in Ableton, to how to be nimble and cope with high-pressure situations. We delve into Jordan's brief stint teching for drummer and close friend Eric Pritchard (Megan Moroney), how to pull off the perfect stick tricks, and ways you can become both a great player and a great hang! We hope you enjoy. Chapters:0:00 Intro1:56 Welcome, Jordan! 3:06 Father-Son Musical Bond 5:54 Balancing Multiple Gigs 10:11 Ableton and Automation 15:51 Drum Box (Sponsor) 16:33 Noah Hicks & Career Trajectory 29:50 Mentor Rich Redmond 36:48 Low Boy Beaters (Sponsor) 37:29 Gregg Bissonette & Dixon Drums 41:51 Broadway Gig Adventures 48:12 Dixon Drums & Gear Talk56:06 Networking vs Making Friends in Nashville 1:00:30 Teching for Eric Pritchard, Drum Tuning Insights 1:07:41 Drum Supply (Sponsor) 1:08:42 Dream Gigs and Def Leppard 1:13:02 Memorable Gigs and Stories from Tour 1:22:45 Playing for the Military and Secret Service 1:31:28 Groove MPL (Sponsor) 1:32:39 Wrap-Up Questions 1:41:29 OutroThank you to our Episode Sponsors:Drum Boxhttps://drumbox.spaceDrum Supplyhttps://www.drumsupply.comLow Boy Beatershttps://lowboybeaters.comGroove MPLhttps://www.groovempl.comConnect with Jordan:Instagram: https://www.instagram.com/jordanthedrummerwbYouTube: https://www.youtube.com/@JordanArnoldOfficialTikTok: https://www.tiktok.com/@jordanthedrummerwbMusic Featured in this Episode:"Dirt On It" - Noah Hicks"Country Tonight" - Noah HicksSupport the showConnect with us:WebsiteInstagramTikTokYouTubeFacebookRecorded at Garden Groove Recording Space, Nashville, TNPodcast Artwork: GENUINE CREATIVE ART ⓒ 2025 Nashville Drummers Podcast, LLC

Episode 364: DJ TRAUMA "From ATL to Dave Chappelle, Navigating the Celebrity DJ Scene"

Play Episode Listen Later Sep 17, 2025 125:09

Episode 364: DJ TRAUMA "From ATL to Dave Chappelle, Navigating the Celebrity DJ Scene" This week on @RoadPodcast, the crew sits down with @DJTrauma to reflect on his journey from New York to Atlanta and beyond. At (00:55), Trauma recalls growing up in Manhattan and how his DJ name came from a friend's little brother. By (04:30), he's reminiscing about partying in the Meatpacking District and what it meant to be “outside.” He explains what it means to be a “vibe DJ” (07:15). He compares the craft of DJing to stand-up comedy (10:35). Trauma then shares how a free event unexpectedly led him to working with @DaveChappelle (12:52), and a relationship that grew into legendary gigs like First Avenue in Minneapolis and Radio City Music Hall in NYC (15:56). The conversation dives into Trauma's reputation as “Chappelle's DJ” (30:01), @PhifeForever performing at his 21st birthday, and the rise of Atlanta's unified scene with @Outkast, @GoodieMob, and @JermaineDupri (34:40). He speaks on the epic Freaknik parties (45:55), the power of ATL DJs (1:03:40), and throwing LA house parties where @mr_Camron once performed in his living room (1:20:20). Trauma also reflects on early trips to Africa, how Chappelle's Retreat and Summer Camp shaped his career (1:35:01), and why soulful events like Soul in the Horn keep him grounded in the music that matters. This episode is sponsored by @SoundCollectiveNYC, an industry-leading music school, musical space and community located in downtown Manhattan for aspiring DJ's, Producers, Musicians and more. Take private Ableton lessons, practice DJ routines, experiment with different audio equipment and reserve studio spaces for just the day, maybe a week or sign up for their monthly membership. Check www.soundcollective.com for more info and try their Online Classes free for a month by entering the code “ROAD”. If you're in the New York area, visit them at 28 Broadway, New York, NY 10004 and tell them the Road Podcast sent you!! Try Beatsource for free: btsrc.dj/4jCkT1p Join DJcity for only $10: bit.ly/3EeCjAX

Worship Keys Rig & Sound Design with Anaji Powell

Play Episode Listen Later Sep 17, 2025 40:06 Transcription Available

Watch on YouTubeCarson is joined again by Anaji Powell, a worship keys player, MD, and creative behind powerful sound design. Fresh off last week's episode with his wife Kaci, Anaji now gives a full breakdown of his worship keys rig, from the Nord Stage 4 and Ableton to TouchOSC and live looping. He shares how sound design isn't about showing off, but about serving the moment, supporting pastors like a movie score, and pointing people to Jesus. Anaji also highlights the value of patience, practice, and mastering your instrument before adding advanced gear. Whether you're just starting on keys or already leading as an MD, this episode is filled with insight and inspiration. Don't miss out—hit play and share with your worship team. You won't want to miss this!Anaji PowellSupport the showThanks for listening! Subscribe here to the podcast, as well as on YouTube and other social media platforms. If you have any questions or suggestions for who you want as a featured guest in the future or a topic you want to hear, email carson@theworshipkeys.com. New episodes release every Wednesday!

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#191 - INZO & Blookah: Behind the Album with Synths, Mixing Tips & Production Insights

Give It A Chance with Kevin Devine and Casey Jost

Play Episode Listen Later Sep 16, 2025 69:00

In this episode, INZO and Blookah dive deep into their collaborative process behind their album Nexum, sharing how they blend analog synths and sound design. They open up about their collaboration process, favorite synths (hardware and software), drum programming, and their nuanced approach to layering and mixing textures in Ableton Live.INZO is a genre-bending producer and DJ from Chicago, now based in Denver, best known for his viral track “Overthinker,” which has surpassed 50 million streams. He's headlined major venues like Red Rocks, and festivals like Bass Canyon and Wakaan, collaborated with LSDREAM and Blookah, and continues to push sonic boundaries with every release.Blookah is a Chicago and Denver-based producer, multi-instrumentalist, and beat maker known for blending future bass, funk, hip hop, and neo-soul into lush, feel-good soundscapes. A longtime collaborator with INZO, Blookah's music is rooted in live instrumentation, rich sound design, and groove-heavy production, showcased in their joint album Nexum and his solo releases on labels like Lowly, Wakaan, and SSKWAN.Follow Local Void Label & Remix Contest: https://linktr.ee/localvoidrecordsINZO:https://www.instagram.com/inzomusic/https://inzomusic.com/Blookah:https://www.instagram.com/blookah/https://blookah.comSPONSORED BY BABY AUDIO:Tekno by Baby Audio – a new drum synthesizer plugin with 18 engines ranging from vintage machines to modern percussion. Generate unique, organic drums with its Humanize function or get instant inspiration using the preset randomizer.Currently on sale & free demo at: https://babyaud.io/teknoUse code ABLETONPODCAST for an additional 15% off.Quickly grow your skills and learn with Abe, the Ableton AI Chatbot:⁠https://www.abletonpodcast.com/ableton-chatbot⁠Join the newsletter to get free Ableton content + early episode access:⁠https://www.abletonpodcast.com/newsletter⁠

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Too Opinionated Interview: Nck Name

Too Opinionated

Play Episode Listen Later Sep 15, 2025 52:47

Nck Name is a Canadian actor, musician, and producer whose grounded performances and creative range have positioned him as an exciting talent to watch. Nck takes a major leap forward in his acting career as a key cast member in Adulthood, a comic neo-noir from actor-director Alex Winter (Bill & Ted, Zappa). The film made its world premiere at the 2025 Toronto International Film Festival and features an ensemble cast led by Kaya Scodelario (Skins, Crawl) and Josh Gad (Frozen, The Book of Mormon). Nck's onscreen credits span a wide range of genres and platforms. His television work includes appearances in Star Trek: Discovery, Netflix's The Madness, Brilliant Minds, Fellow Travellers, Murdoch Mysteries, Mayday, and the Emmy Award-winning Odd Squad on Nickelodeon. His film roles include A Mother's Lie, I Won't Let You Go, and Love & The Radio Star. His first lead performance, playing Michael Jackson in the U.S. networkdocu-drama Broke and Famous. What makes Nck's career especially distinctive is his equally accomplished background in music and sound. Before stepping fully into the world of acting, he enjoyed a successful run as a touring and studio musician, playing thousands of live shows across North America. He is known for his experimental live-looping performances using Ableton and multiple instruments, bringing music production into dynamic, layered stage experiences. Want to watch: YouTube Meisterkhan Pod (Please Subscribe)

"We Tigers"

Play Episode Listen Later Sep 11, 2025 42:30 Transcription Available

Kevin and Casey enter the forest of We Tigers to figure out if Animal Collective is genius, nonsense, or a group of toddlers let loose with Ableton. Kevin feels nostalgic for North Brooklyn noise rock, Casey hears a haunted ice cream truck, and together they ask: are we hearing art… or just being chased by experimental zoo animals?See omnystudio.com/listener for privacy information.

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#190 - AHEE: Sound Design Tips, Mixing, Serum 2 Workflows, and More

Play Episode Listen Later Sep 5, 2025 69:39

In this episode, AHEE shares his creative process, sound design insights, Serum tips, and how he's evolved his mixing templates. He opens up about AI tools in production, songwriting techniques that elevate a track beyond “weird sounds,” and balancing his passion for education with a hectic tour life. AHEE is a bass music producer known for his intricate sound design, high-energy tracks, and educational YouTube tutorials, which recently hit over 2.5 million views. With releases on Bassrush, Wakaan, Subsidia, and more, he's supported by heavyweights like Excision and Subtronics. Beyond the stage, he's become a mentor to thousands of producers through his Ableton racks, tutorials, and sound packs.Follow AHEE:https://www.instagram.com/iamaheehttps://gumroad.com/aheehttps://soundcloud.com/aheehttps://www.youtube.com/channel/UCNNFPGqrCztLAlfTKIJ1uKQVisit Ableton's U.S. headquarters November 9th, 2025 for a live podcast & private networking experience:https://www.abletonpodcast.com/sunday-abletonevent-2025Quickly grow your skills and learn with Abe, the Ableton AI Chatbot:https://www.abletonpodcast.com/ableton-chatbotJoin the newsletter to get free Ableton content + early episode access:⁠⁠⁠https://www.abletonpodcast.com/newsletter

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Ableton Stems, Apple Auto Mix, Meta Verification | EP 170

Drew And Fuse Show

Play Episode Listen Later Sep 4, 2025 27:17

This weeks episode the boys talk about the new Ableton Stems. They rant about stuff, they discuss new iphones and apple auto mix. Lastly they talk about the importance of Meta Verification Whether you're a seasoned DJ or just starting out, this episode offers valuable insights and a few laughs along the way. Tune in for a mix of practical advice and entertaining anecdotes! 0:00 - Intro 2:14 - Rant 8:47 - News 19:06 - Social Media Hot Topic

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Dena Tauriello - The Broadway Drumming 101 Classic Episode

Broadway Drumming 101

Play Episode Listen Later Aug 31, 2025 71:46

Originally posted December 2021In this episode of Broadway Drumming 101, I sit down with Dena Tauriello, the drummer for Little Shop of Horrors at the Westside Theatre. From her first sparkle kit inspired by Karen Carpenter to a career that's taken her from rock arenas to Broadway pits, Dena shares a powerful story about perseverance, adaptability, and passion.Dena spent nearly two decades with the all-female rock band Antigone Rising, logging more than 260 shows a year, signing with Lava/Atlantic Records, and sharing bills with bands like Aerosmith, the Rolling Stones, and The Bangles. Along the way, she learned the grind of life on the road, the frustration of being pigeonholed as “girl music,” and the discipline that comes from playing night after night. Those experiences became the foundation for her eventual move to Broadway.Her first Broadway chair came in Head Over Heels, the Go-Go's jukebox musical that featured an all-female band. From there, Dena's career expanded into multiple productions, including Kristin Chenoweth: For the Girls, The Cher Show (as a sub), Magic Mike the Musical (Broadway Lab), and her current run in Little Shop of Horrors. She also subs on Hamilton, Six, and at the origial run of Beetlejuice.In our conversation, Dena opens up about the realities of the pit:* Why no two shows are ever the same and why you can never “phone it in”* The discipline it takes to stay fully present eight times a week* How playing in Antigone Rising prepared her for the demands of Broadway* What she looks for when hiring subs and why paying it forward matters* The role of Ableton, click tracks, and sound cues in modern Broadway drumming* Her full gear setup: Pearl drums, Zildjian cymbals, Evans heads, Promark sticks, and custom in-ears* Why she always keeps charts in front of her—even after memorizing the showDena also talks about the surreal moment of playing on stage with the Go-Go's, interviewing Gina Schock for Modern Drummer, and what it feels like to see the Head Over Heels Playbill now preserved in the Rock & Roll Hall of Fame.This is a conversation filled with honesty, humor, and hard-won lessons for any drummer dreaming of breaking into Broadway—or simply learning how to thrive in the unpredictable world of live performance.For more about Dena: https://www.denatauriello.comClayton Craddock founded Broadway Drumming 101, an in-depth online platform offering specialized mentorship and a carefully curated collection of resources tailored for aspiring and professional musicians.Clayton's Broadway and off-Broadway credits include tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day at Emerson's Bar and Grill, Ain't Too Proud – The Life and Times of The Temptations, Cats: The Jellicle Ball, and The Hippest Trip: The Soul Train Musical. As a skilled sub, he's contributed his talents to Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, SpongeBob SquarePants: The Musical, Hadestown (tour), and many more. He has also appeared on major shows, including The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards, and performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Borle, Norm Lewis, Deniece Williams, Chuck Berry, and Ben E. King.Clayton proudly endorses Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.Learn more about Clayton Craddock here: www.claytoncraddock.comThis Substack is reader-supported. To receive new posts and support my work, consider becoming a free or paid subscriber. Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

How to Organize Your Ableton Live Session with Andrés Páez

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Play Episode Listen Later Aug 27, 2025 69:37 Transcription Available

Watch on YouTube!In this episode of the Worship Keys Podcast, Music Director Andrés Páez from Abundant Church in El Paso, Texas, shares his inspiring journey from growing up in a small church in Spain to leading modern worship with excellence. He recounts his moves from Spain to Denmark, then to Florida, and finally settling in Texas, where he honed his skills with Ableton Live and developed an efficient workflow for organizing worship sessions. Andrés offers practical advice for music directors, insights on keys sound design and VST selection, and tips for balancing keys playing, running tracks, and directing a band. He also encourages beginner players with heartfelt reminders that growth takes time, and walks viewers through his Ableton setup for today's worship environment.Andrés PáezAndrés Páez Ableton TemplateSupport the podcast with a small monthly donation! Support the showThanks for listening! Subscribe here to the podcast, as well as on YouTube and other social media platforms. If you have any questions or suggestions for who you want as a featured guest in the future or a topic you want to hear, email carson@theworshipkeys.com. New episodes release every Wednesday!

Episode 443 - Healing Beats: Zack King Talks LA Life, Mental Health, and Pop‑Punk Authenticity

When Words Fail...Music Speaks

Play Episode Listen Later Aug 26, 2025 42:51

Welcome back to *When Words Fail Music Speaks Podcast that battles depression with the healing power of music. In today's episode we're joined by rising indie rocker‑pop‑punk talent Zack King (yes, the one whose TikTok magic you love, now making waves with his own music).We kick off with a quick word from our sponsor, BetterHelp, reminding listeners that affordable, flexible online therapy is just a click away—plus a special 10 % discount for our audience.From there, host James “the professional handicapped” Cox dives into Zack's personal journey: why escaping Minnesota's bleak, long winters for Los Angeles's perpetual sunshine transformed his mental health, how a loyal dog and daily walks became his daily dose of vitamin D, and why that sunny vibe now powers his new album Text‑Way‑Into‑Your‑Heart (dropping September 12).Zack breaks down his genre‑spanning sound—rock, pop, and punk rolled into a fresh pop‑punk hybrid—while sharing his biggest musical influences, from Matchbox 20 to Paramore, and the role of writing, therapy, and honest lyricism in navigating anxiety, depression, and suicidal thoughts.We also explore the modern music‑maker's toolkit: Zack's love‑hate relationship with AI, his DIY production experiments in Ableton, the grind of being an independent artist (merch, gigs, social media, and the relentless hustle of juggling day jobs), and why he's staying indie for now.Fans will hear Zack's favorite cover stories, his hot‑take on music legends (Creed over Nickelback, Metallica over Megadeth), and a rapid‑fire round of “hardest questions” that reveal his guilty‑pleasure tracks and secret inspirations.Finally, Zack teases upcoming tour plans on the West Coast, new merch drops, and where listeners can find his music, TikTok, Instagram, and more.Tune in for a raw, authentic conversation about creativity, mental health, and the relentless pursuit of a song that truly resonates—because when words fail, music speaks.

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#88 – Features Coming to Your Apple Devices This Fall

Robby Burns + Friends

Play Episode Listen Later Aug 24, 2025 85:25

Dorico and Ableton updates, Big Tech Keynotes, and new automation workflows. Show Notes and Links • Dorico 6 release announcement • Dorico 6 Scoring Notes post • Lamy pens • MuseClass Shuttering It's Service • SmartMusic • Sam Altman and Jony Ive AI device project • Childhood's End (book) • FoodNoms app • Google I/O 2025 • Sky App • Becca Stevens • I'm With Her – See You Around • Bon Iver – i,i • Hvalfugl – En Dag | Oktober EP • More like K-BOP, amirite? by David MacDonald • E-40 – Tiny Desk Concert Subscribe to the Blog RSS | Email Newsletter Subscribe to the Podcast in… Apple Podcasts | Overcast | Castro | Spotify | RSS Support Music Ed Tech Talk Become a Patron! Where to Find Us • Robby - robbyburns.com • Will - willkuhn.com Please don't forget to rate the show and share it with others!

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#SlamRadio - 659 - Mark Williams

Slam Radio

Play Episode Listen Later Aug 21, 2025 61:11

Mark Williams is a veteran that has paid his dues over more than two decades on the scene as a DJ and producer. Since the 80s, when he started his career at UK hot spots like the Ministry of Sound and Final Frontier, he has been laying the groundwork for his future success. His production work has also gained him acclaim the world over and he has released a staggering catalogue of quality tracks on some of the most respected techno labels in the world including: Tortured, Dark House, Pure Plastic, Phont, Primate, and Carl Cox's Ultimate Trax imprint, to name a few. In addition to releasing on other labels, Mark also has his own imprints: Artificial Vinyl, Real Sessions, Macumba and Real Vinyl. Mark has also gained worldwide recognition with his skilful and distinctive DJing style. Mixing tribal, tech house and techno on three decks and CDJs, his rocking performances have helped him to develop a strong fan base and facilitated gigs in places like Spain, Turkey, Slovenia, Japan, Brazil, Colombia, Macedonia, and Sweden. His first major tour was in 1998 when Mark was asked to join Carl Cox on his “World Wide Ultimatum Tour.” In 2000, Mark became a resident at a club night called “Damage” in Dublin and later that year he supported Billy Nasty on his “Torture Chamber World Tour.” 2003 found Mark on his first “Ingoma Tour” with Ben Sims which culminated in a now legendary party at the Loft Club, Barcelona, the weekend of Sonar. In 2004, Mark and Ben set out for another tour to promote Mark's debut album, “A Point in Time” on Ingoma. 2005 was another banner year, with Mark playing at clubs, parties and festivals around the world including a set for more than 40,000 people at the Monegros Festival in Spain. 2005 also saw Mark bringing his sound to radio. The “Concept Show” (www.conceptshow.com) is a monthly broadcast that Mark co-hosts with Macedonian DJ Goran Kan. Some of the past guests have been Mark Broom, Paul Mac, Ben Sims, Cari Lekebusch, Oscar Mulero and DJ Bone. From the studio to the DJ booth, Mark Williams is one of the brightest stars in the world of techno and his list of accomplishments is impressive and ever growing. In 2007, Mark has teamed up with Paul Mac to provide a new way of presenting his music using a combination of three turntables, 2 CDJs and a laptop running Ableton. Sou Tai are intending to fuse their customary sounds to create something new and fresh. The addition of Ableton to the standard setup enables the use of custom edits of classics and to be able to drop all manner of surprises into the mix. Mark has also found time to create a masterpiece of an album that expresses all the sides of his musicality. His love for tribal, Detroit techno and house music shines through in his album “You can't hide what you truly feel” (out later this year) for the label Subject Detroit. So far Mark has soared to new heights, with Sou Tai closing the Awakenings party in Holland to outstanding reactions from the crowds. With Sou Tai riding high the pair have had some superb gigs such as the one at Spanish super club Fabrik, and Mark has now found himself back playing in much loved Japan Tracklist via -Spotify: bit.ly/SRonSpotify -Reddit: www.reddit.com/r/Slam_Radio/ -Facebook: bit.ly/SlamRadioGroup Archive on Mixcloud: www.mixcloud.com/slam/ Subscribe to our podcast on -iTunes: apple.co/2RQ1xdh -Amazon Music: amzn.to/2RPYnX3 -Google Podcasts: bit.ly/SRGooglePodcasts -Deezer: bit.ly/SlamRadioDeezer Keep up with SLAM: https://fanlink.tv/Slam Keep up with Soma Records: https://linktr.ee/somarecords For syndication or radio queries: harry@somarecords.com & conor@glowcast.co.uk Slam Radio is produced at www.glowcast.co.uk

#189 - SHIMA: Production Insights, Drum Racks, Music Journey & More

Play Episode Listen Later Aug 19, 2025 61:50

In this episode, SHIMA shares her journey from performing in a famous J-pop group at a young age, to producing bass-heavy tracks and playing major festivals like Coachella and Electric Forest. She dives into her unique production workflows using Ableton Live, favorite devices like Drum Rack, Bouncy Notes, and Resonators, and overcoming mixing issues. SHIMA also talks about her experience interning at Splice, helping build AI-powered sample tagging features.SHIMA is a genre-blending producer, vocalist, and DJ with roots in both Tokyo and the U.S. After launching her career in a major J-pop girl group, she pivoted to producing her own bass-driven electronic music, pulling inspiration from indie, trap, and experimental scenes. With a background in computer engineering and a DIY production ethos, SHIMA brings both technical precision and creative edge to her sound. Her performances include major festivals like Coachella and Electric Forest, and her track “Karma” gained momentum after being played by Zeds Dead at Red Rocks. SHIMA is currently gearing up to release her debut album this fall.Follow SHIMA:https://www.instagram.com/shimamusichttps://x.com/ShimaBanana7https://soundcloud.com/shimamusicofficialQuickly grow your skills and learn with Abe, the Ableton AI Chatbot:⁠⁠https://www.liveproducersonline.com/ableton-chatbot⁠⁠Join the newsletter to get free Ableton content + early episode access:⁠⁠⁠⁠⁠https://www.liveproducersonline.com/newsletter⁠⁠

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Announcement: Event at Ableton's U.S. Headquarters 2025

event pasadena headquarters ableton

Play Episode Listen Later Aug 13, 2025 4:49

Don't miss the 2025 Ultimate Ableton Weekend Retreat, happening November 7–9 at Ableton's U.S. headquarters in Pasadena, CA. Learn about the stacked lineup of presenters, exclusive tours, hands-on studio sessions, and how to grab your ticket before they sell out. Full weekend passes and Sunday-only tickets are limited for a personalized experience. Learn more and secure a ticket: ⁠https://www.abletonpodcast.com/register2025See you there!

Episode 362: RASHAD SMITH (Pt.2): "Bad Boy's First Hitman & His Fallout With Biggie"

Play Episode Listen Later Aug 6, 2025 114:37

Episode 362: RASHAD SMITH (Pt.2): "Bad Boy's First Hitman & His Fallout With Biggie" In Part 2 of our deep dive with legendary producer @Rashad_Ringo_Smith, the @RoadPodcast crew uncovers even more behind-the-scenes stories that shaped the sound of hip-hop and R&B.Rashad kicks things off by breaking down the making of the iconic “One More Chance” and its different versions (00:01), before opening up about the intense, high-stakes creative process at Bad Boy Records under the direction of @Diddy (09:01). He reveals how the classic “Bad Boy” sound came together — especially the blend of vocal powerhouses @theRealFaithEvans and @theRealMaryJBlige, which helped redefine R&B (20:03).He shares the wild backstory behind LL Cool J's “Doin It” — a track originally made for Biggie — and the behind-the-scenes fallout with Puff and B.I.G. when it landed elsewhere (27:21). The crew dives into LL's catalog and legacy (50:34), before Rashad reflects on his creative connection with @QTipTheAbstract and his work with A Tribe Called Quest (54:22).Wrapping things up, Rashad talks about collaborating with @Nas and @50cent, and reflects on the moment that stands out most in his legendary career (1:30:01). This episode is sponsored by @SoundCollectiveNYC, an industry-leading music school, musical space and community located in downtown Manhattan for aspiring DJ's, Producers, Musicians and more. Take private Ableton lessons, practice DJ routines, experiment with different audio equipment and reserve studio spaces for just the day, maybe a week or sign up for their monthly membership. Check www.soundcollective.com for more info and try their Online Classes free for a month by entering the code “ROAD”. If you're in the New York area, visit them at 28 Broadway, New York, NY 10004 and tell them the Road Podcast sent you!! Try Beatsource for free: btsrc.dj/4jCkT1p Join DJcity for only $10: bit.ly/3EeCjAX

Episode 362: RASHAD SMITH (Pt.1): The Mystery Beatmaker for Rakim, Uptown Records & Busta Rhymes