Podcasts about Akai

Mark shared invaluable perspectives on:* Maintaining a playful approach to creation despite professional pressures* Non-musical skills that have proven crucial for his independent career* The importance of treating people well throughout your professional journey* Balancing artistic creation with the business side of musicEquipment Failures and Performance StoriesSome of the most entertaining moments of our conversation came when Mark shared stories of equipment failures during international performances:"There I was, in São Paulo, Brazil, performing for thousands of people when suddenly my entire system crashed. No sound, nothing. In that moment, you have a choice—panic or pivot. I chose to pivot, jumping on the acoustic piano while my tech scrambled to reboot everything. Those moments of improvisation often lead to the most memorable performances."Episode GuideFor those who want to dive directly into specific topics:00:00 - Intro to ProducerHead and Mark de Clive-Lowe01:12 - Community Building01:27 - Creative Workflow and Time Management06:41 - Acceptance and Overcoming Challenges12:10 - Non-Musical Skills for Independent Artists16:54 - The Importance of Humanity in Music22:03 - Funny Stories from the Studio29:06 - Final Thoughts and AdviceThree Essential Takeaways* Protect Your Creative Time: In a world designed for distraction, intentionally guarding your creative time and space is essential for productive creation.* Practice Acceptance, Not Judgment: Mark's approach to music shifted profoundly when he learned to accept rather than judge moments in his playing, allowing for greater freedom and creativity.* The Well Is Infinite: Even after creating 20+ albums, Mark believes creative potential is limitless - perseverance through difficult periods will always lead to new inspiration.References & ConnectionsAlbums Mentioned:* "Timeless" by Goldie* "Voodoo" by D'Angelo* "São Paulo, Brazil" by César Mariano* "Past Present (Tone Poems Across Time)" Mark's latest albumArtists Referenced:* Pino Palladino* DJ Spinna* Herbie Hancock* Miles Davis* Yussef DayesBooks & Films:* "Inception" (film)* "The Matrix" (film)* "The Book of Five Rings" by Miyamoto Musashi (book)* "Mastery" by Robert Greene (book)* "Mo' Better Blues" (Spike Lee film)Tech & Equipment:* Ableton Live (DAW)* Logic (DAW)* "Touchable" iPad app for controlling Ableton* MPC 3000 (Akai sampler/drum machine)* Maschine (Native Instruments sampler/drum machine)Connect with Mark*

New World Order Journey #1 P2P | 13.10.2021 | AKAi: 313MB | CDDA: 733 MB | MP3: 89.10 MB The New World Order series scans the globe to bring you […]

"I was drawn towards the texture of the sound recording and Serge's description. Over the past few years I've been wrestling with how challenging it is to find peace in the modern world and how it can often be actively avoided by some, as if it's something to be scared of. However, I'm also acutely aware of how genuine silence is almost impossible and there is a real beauty to the hum and low rumble of the world carrying on and nature passing by.  "Any kind of peace becomes quite a sacred thing to experience. I've been working out where I want to be, within that balance, and so Serge's recording really resonated with me. The natural sound he captured has what I describe as "harsh ambience" that I'm interested in when it comes to making my own music so I thought it would be a great piece to try and create a track from. I also knew I wanted to challenge myself to write a song, with lyrics and singing to reflect the sounds and that co-existence of people and the environment. "The track was composed on Ableton live using a mini Akai keyboard and a microphone for the vocals." Cyprus tombs reimagined by Slovenly Hooks. ——————— This sound is part of the Sonic Heritage project, exploring the sounds of the world's most famous sights. Find out more and explore the whole project: https://www.citiesandmemory.com/heritage

Send us a textEpisode 013 Grammy-winning saxophonist and composer Tom Scott joins the Aerophone Academy to share his extraordinary musical journey from clarinet player to pioneering wind controller artist. With 13 Grammy nominations, 3 Grammy awards, and appearances on over 2,000 recordings, Scott's unmistakable sound has defined popular music across multiple decades.Scott takes us through his remarkable career path, beginning with his early musical influences from his father, a music director at NBC Radio during World War II. His professional journey started at just 14 years old, playing $15 gigs at country clubs – experiences that taught him valuable lessons about serving the music rather than his ego. "Don't try to insert your own personal opinion about how you feel about a certain tune. Just play the damn thing with as much feeling as you can muster."The conversation explores Scott's groundbreaking work with the Lyricon, the world's first commercially available wind synthesizer. We hear fascinating behind-the-scenes stories about his iconic wind controller solos on hits like Michael Jackson's "Billie Jean," Captain & Tennille's "Do That To Me One More Time," Dan Fogelberg's "Heart Hotels," and Steely Dan's "Peg." These recordings revolutionized how electronic instruments could be integrated into popular music, bringing unprecedented expressiveness to synthesized sounds.Scott's masterful horn arrangements for Steely Dan's "Aja" album receive special attention, revealing his sophisticated approach to orchestration. "I'm going to write this like it's an Oliver Nelson arrangement," he explains, describing how he transformed simple chord structures into rich, complex voicings that enhanced these iconic recordings.Whether discussing his evolution through different wind controller technologies or sharing wisdom about musical restraint ("less is more very often"), Scott's insights offer invaluable perspectives for musicians at every level. This conversation celebrates not just technological innovation but the enduring importance of musicality in an increasingly electronic landscape.Subscribe now and join us next episode for part two of our conversation with this legendary musical innovator!If you'd like to send us a question for an upcoming episode, please email us at info@aerophoneacademy.comOr leave us a voice message that we can include in the podcast here.For more information about Matt, visit www.patchmanmusic.comFor great Aerophone courses, visit www.isax.academy

In this episode, sound-designer Eddie Bazil looks at ways of enhancing a variety of individual tracks and full mixes using plug-ins that are designed to achieve the retro warmth and cohesion of tapes and valves.Chapters00:00 - Introduction01:32 - What Is Harmonic Distortion02:32 - Advances In Music Production Quality04:47 - The Introduction Of CD05:59 - Triodes And Pentodes Vacuum Tubes06:47 - Analysing Harmonic Content07:56 - Example 1: TR-808 Sub Bass10:35 - Example 2: Affecting A Whole Mix*12:39 - Example 3: Adding Saturation15:07 - The Benefits Of Tape17:26 - Example 4: Applying Tape Effects To A Bassline*20:59 - Example 5: Adding Tape To Beats23:47 - Example 6: Enhancing A Piano Track26:56 - Summary* Demonstration track ‘Puppet' (Examples 2 and 4), written, performed and recorded by John Walden. Vocals sung by Yvonne McKeown.#voxengospan #SummitAudio #T-RackS #Kraftur #Aphex #SSLEddie Bazil BiogEddie Bazil launched his music industry career at the age of 17 as a synth programmer for a range of Electro / New Wave bands including Art of Noise, Spandau Ballet, Pet Shop Boys, Bobin, Paul Dee, DJ Krush, DJ Shadow, Jets Orchestra. By his 20s he was working as a sound designer for Akai, Roland Emu/Ensoniq, eventually signing on exclusively with the latter. Later, due to a growing demand for software instruments and libraries, Eddie started to develop libraries for various software manufacturers, including Native Instruments, Kiesel, Sound Effects Library, Arturia and Propellerheads. A meeting with Phil Allen, a Capital Radio DJ, resulted in the company Samplecraze, which Eddie has spent 20 years developing as an educational resource. At this time he trained in music production and soon gained a number of prominent contracts working with some notable artistes such as Busta Rhymes, Greensleeves, 9 Bar, SFP, Sleeveless, Chris Campbell and Gam Productions. He contracted to Island Records and Chrysalis as a producer and remixer,  plus was commissioned to write the score for Macbeth that ran at 2 Way Mirror at Alexander Palace for the Cambridge Shakespeare Company. His ongoing development of Samplecraze has led to him offering educational workshops and classes, releasing four books via PC Publishing and becoming a contributor and forum moderator for Sound On Sound. Recently he has established The Audio Production Hub for online education and been invited by the Recording Academy to become a Grammy judge.https://eddiebazil.co.uk/https://samplecraze.com/Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

Guests Gaz Williams - Producer, bassplayer, music technologist Paulee Bow Magical Synth Adventurer For preshow and Ad free version and much more: Patreon.com/sonicstate iZotope Cascadia -Discover intelligent delay without distraction. Reinforce your rhythms and create deep echoes, tight slapbacks, and creative textures – all while keeping instruments and vocals focused in the mix with easy, adaptive unmasking.     Komplete 15 bundles have everything you need to make the music that matters to you. With an unparalleled range of plugins designed to take your productions from start to finish, explore what's new in the latest version.   00:00:11 SHOW START 00:02:01 AD: SonicState Patreon 00:10:59 More Akai and NI Collab 00:22:00 AD: Kontakt 15 00:22:56 TipTop ART Modules Now out 00:37:30 AD: iZotope Cascadia 00:38:39 Alanis Morissette Ambient Album 00:49:30 Glasgow Electronic Music Scene Where to Watch/Listen - We now stream the live show to Youtube Live, Twitch,  Facebook Live as well as at  Sonicstate.com/live every Weds at 4pm UK time- please do join in. Preshow available on Twitch. You can also download the audio version from RSS FEED 

En un rincón perdido del tiempo, en la mística tierra de Japón, se tejían destinos a través de hilos invisibles que conectaban las vidas de cada ser humano. La leyenda habla de una bruja anciana, poseedora de un poder único: la capacidad de ver esos hilos etéreos que cruzaban la existencia, entrelazando corazones y almas como si fueran los delicados hilos de un gran telar cósmico.El joven Emperador, en el esplendor de su juventud, había oído susurros sobre la bruja y su don extraordinario. Dominado por una curiosidad insaciable, mandó llamar a la hechicera, ansioso por descubrir quién se encontraba al extremo del hilo atado a su meñique imperial. En su mente, se dibujaban imágenes de una bella esposa, la futura Emperatriz que llenaría de luz su solitaria existencia.Descubre el desenlace de esta historia y si tienes alguna sugerencia de leyenda que deberíamos investigar, da click aquí. Hosted on Acast. See acast.com/privacy for more information.

Les 27 marins à bord du bateau, de 4 différentes nationalités, Néo-Zélandaise, Sud-Africaine, Namibienne et Indonésienne, auraient déposé plusieurs plaintes depuis l'année dernière pour irrégularités de paiement des salaires. Plus récemment, ils ont rapporté n'avoir pas reçu les salaires de décembre 2024 et janvier de cette année. Malgré cette situation, le bateau de pêche aurait quitté le port récemment, ce qui serait contraire au Merchant Shipping Act. Les membres d'équipage ont contacté Alain Malherbe, expert en affaires maritimes, qui nous donne les détails de la situation.

Dans cette 3e et dernière vidéo récapitulative du NAMM 2025, on parle de la collaboration surprise entre AKAI et Native Instruments, de deux nouveaux casques chez Audio-Technica, de la nouvelle interface audionumérique USB-C de SSL et de la première interface audionumérique de Bitwig.

Send us a textEpisode 012 We explore the dream features and designs for wind controllers that could revolutionize the performance experience for musicians. The discussion dives deep into every aspect of instrument design, ergonomics, user feedback, and future innovations that can enhance both playability and sound. • Importance of materials and aesthetics in instrument feel• Ergonomic design considerations for optimal playability • Exploration of key mechanics: touch-sensitive vs. mechanical keys• Insights on breath control and sensory feedback integration • Thoughts on power sourcing and ease of use during performances Finally we look forward to our very special 1st anniversary episodes where we interview the legendary Tom ScottIf you'd like to send us a question for an upcoming episode, please email us at info@aerophoneacademy.comOr leave us a voice message that we can include in the podcast here.For more information about Matt, visit www.patchmanmusic.comFor great Aerophone courses, visit www.isax.academy

NAMM 2025 is HERE and with it all the GAS temptations, tribulations and abstentions. Sunwarper is there picking around and looking whats up. Kh3rtis and Eonlake are here with the bits that caught their eyes ahead of the grand opening. Roland has announced their 'Super Instrument' and Native Instruments allies themselves with AKAI. Lots to talk about and mull over - even the degree to which we need to temper ourselves and invest our time into the gear we have already. Help Support the Channel: Patreon: https://www.patreon.com/audionautic Thanks to our Patrons who support what we do: Audionauts: Abby, Bendu, David Svrjcek, Josh Wittman, Paul Ledbrook, Matt Donatelli and Stephen Setzepfandt Lars Haur - Audionaut Producer Jonathan Goode - Audionaut Producer Join the conversation:

Send us a textEpisode 11Unlock the expressive power of wind synth sounds. We celebrate pioneers like Nyle Steiner, whose work with the analog Steinerphone paved the way for a new era of musical expression. Tune in to hear a remarkable clip from 1983, demonstrating the acoustic depth achievable with simple waveforms and the artistic freedom available to wind synth players.We listen to legends like Bob Mintzer and Michael Brecker, whose innovative integration of electronic sounds into jazz ensembles has inspired countless musicians. Reminisce about Michael Brecker's unforgettable EWI solos from the 1980s, showcasing the evolution of wind synthesizers and their transformative impact on the jazz scene. These artists exemplify the pioneering spirit that continues to drive the genre forward.Explore the intricacies of sound design, where preset sounds and focused practice reveal the unique qualities of wind controllers. Hear about timeless figures like Judd Miller and Lyle Mays who have shaped contemporary sound design. Whether you're intrigued by the nuanced bends and vibratos of wind instruments or the joy of layering synthesizer sounds, this episode invites you to explore the endless possibilities at your fingertips.If you'd like to send us a question for an upcoming episode, please email us at info@aerophoneacademy.comOr leave us a voice message that we can include in the podcast here.For more information about Matt, visit www.patchmanmusic.comFor great Aerophone courses, visit www.isax.academy

This is an audio version of a presentation I deliver at Hi-Fi shows and to interest groups. It covers:ApplicationReels sizesTrack layoutTape speedsReversable machines EqNew or used machinesA transcription can be found as a blog on the Reel Resilience website.https://www.reelresilience.co.uk/post/press-play-episode-28-buying-a-reel-to-reelSupport the show

You can find Akai here on his social media: ⁠Faceboook⁠ @akaisasori56 ⁠Instagram⁠ ⁠Linkedin⁠ Find out more about Robert Gardner ⁠on his website.⁠ Subscribe to your ⁠Free trial video education here.

For musicians and producers that struggle to finish tracks, Eddie Bazil explains the benefits of creating musical snippets and gives us some examples as to how we can tap into different moods, use sound design techniques to create something unique that becomes a useable addition to our musical catalogues and create pieces that stand the test of time.“Snippets and the creating of, serve to strengthen sound ideas, hone mixing and production skills, help to understand timing and flow, act as a testbed for song structuring ideas and are the playground for testing and mastering all manner of plug-ins”.Chapters00:00 - Introduction00:19 - What Is A Snippet?01:53 - The Benefits Of Creating Snippets04:26 - Planning Your Snippets06:07 - Sound Design06:53 - Example 1: Phased Pad17:33 - Example 2: Happy, Mood-Lifting 22:01 - Example 3: Drama And Tension#SoundtoysPhaseMistress #FabFilterTimeless2 #EventideBlackhole #SteinbergGrooveagent #GforceimpOSCar3 #WavesOvoxVocoder #SteinbergHalionTrip #RobPapenAlbino #Kontakt #NIMaschine2 #AirHybrid3Eddie Bazil BiogEddie Bazil launched his music industry career at the age of 17 as a synth programmer for a range of Electro / New Wave bands including Art of Noise, Spandau Ballet, Pet Shop Boys, Bobin, Paul Dee, DJ Krush, DJ Shadow, Jets Orchestra. By his 20s he was working as a sound designer for Akai, Roland Emu/Ensoniq, eventually signing on exclusively with the latter. Later, due to a growing demand for software instruments and libraries, Eddie started to develop libraries for various software manufacturers, including Native Instruments, Kiesel, Sound Effects Library, Arturia and Propellerheads. A meeting with Phil Allen, a Capital Radio DJ, resulted in the company Samplecraze, which Eddie has spent 20 years developing as an educational resource. At this time he trained in music production and soon gained a number of prominent contracts working with some notable artistes such as Busta Rhymes, Greensleeves, 9 Bar, SFP, Sleeveless, Chris Campbell and Gam Productions. He contracted to Island Records and Chrysalis as a producer and remixer,  plus was commissioned to write the score for Macbeth that ran at 2 Way Mirror at Alexander Palace for the Cambridge Shakespeare Company. His ongoing development of Samplecraze has led to him offering educational workshops and classes, releasing four books via PC Publishing and becoming a contributor and forum moderator for Sound On Sound. Recently he has established The Audio Production Hub for online education and been invited by the Recording Academy to become a Grammy judge.https://eddiebazil.co.uk/https://samplecraze.com/Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts Get a print or digital subscription to Sound On Sound magazine.

Send us a textEpisode 10 The second part of our interview with musician Judd Miller, a true innovator in the world of wind controllers. You'll be inspired by his extraordinary journey alongside legends like Michael Brecker, Vince Mendoza, Peter Erskine, Jimmy Haslip, John Patitucci, and Charlie Haden. Discover how Judd's creativity shines through his use of analog synthesizers, crafting unique sounds that have left a lasting impact on the music industry. Hear firsthand anecdotes from his collaborations and the remarkable legacy he continues to build.Through Judd's experiences, gain insights into the challenges and triumphs faced while working with esteemed figures such as Bob Mintzer and Mark Shaiman. Get a behind-the-scenes look at Oscar-winning movie score projects like "Unforgiven," where creative sound manipulation played a pivotal role, and delve into the blend of traditional and modern techniques that bring iconic scores to life with artists like Ute Lemper.From a serendipitous meeting with legendary Tijuana Brass trumpeter Herb Alpert to humorous exchanges with Zubin Mehta, these experiences are beautifully captured in this intimate conversation. We examine the role of technology in music creation, with software instruments like Native Instruments' Reaktor and Kontakt to push boundaries and inspire innovation. With a focus on spontaneity and the art of controlled randomness in music, you'll leave with a renewed appreciation for the intricate interplay of creativity and technology in the world of sound.If you'd like to send us a question for an upcoming episode, please email us at info@aerophoneacademy.comOr leave us a voice message that we can include in the podcast here.For more information about Matt, visit www.patchmanmusic.comFor great Aerophone courses, visit www.isax.academy

Send us a textEpisode 009 Join us for an electrifying experience with the legendary Judd Miller, a maestro of the Electronic Valve Instrument (EVI). In this first part, Judd takes us through his transformative journey from being a traditional trumpet player to becoming a pioneer in the world of electronic music. You'll gain insight into how his early influences and a vibrant West Coast jazz scene shaped his path, leading him to collaborate with iconic composers like James Horner and Maurice Jarre, and work on monumental film scores. As Judd reminisces, he shares the pivotal moments that marked his career, from intense studio sessions to the exhilarating challenge of sight-reading in front of orchestras. Hear first-hand about the serendipitous encounter with Terry Harrington that led Judd to embrace the EVI, rekindling his passion and setting the stage for groundbreaking collaborations. With anecdotes about his time with the Yellowjackets and creative experiences with Michael Brecker, discover the intricate art of integrating electronic instruments into traditional settings during a time of musical revolution. Prepare for a joyous ride through the lighter side of studio life, where camaraderie and humor add flavor to Judd's stories. From humorous pranks in recording sessions to the unforgettable live performances with legends like Barbra Streisand, Judd's tales offer a charming glimpse into a bygone era of music-making. Through it all, this episode celebrates not just a career but a lifetime of musical innovation and memories, promising to captivate fans of film music, jazz, and the art of sound design alike.If you'd like to send us a question for an upcoming episode, please email us at info@aerophoneacademy.comOr leave us a voice message that we can include in the podcast here.For more information about Matt, visit www.patchmanmusic.comFor great Aerophone courses, visit www.isax.academy

What is our relationship to the land, to its other-than-human inhabitants, and to the rest of humanity? These are fundamental questions for thinking through how we can transform ourselves in ways that allow a multiplicity of ecologies and human communities to thrive alongside one another. And these questions are not just fundamental to us as individuals—they are essential to how we view our cultures, traditions, institutions, and ways of knowing.Layel Camargo lives at the vibrant intersection of ecological justice, queer liberation, and indigenous culture—a cultural space that offers a distinctive vantage point on how our societies work, while holding enormous potential to both see and reorient our relationships to the land and to one another.Layel Camargo is an organizer and artist who advocates for the better health of the planet and its people by restoring land, healing communities, and promoting low-waste and low-impact lifestyles. Layel is a transgender and gender non-conforming person who is an indigenous descendant of the Yaqui and Mayo tribes of the Sonoran Desert.I met Layel at a climate storytelling retreat in New York City in 2019, where I became a huge fan of their work and of their way of being in the world.Layel is a founder of the Shelterwood Collective, a Black, Indigenous, and LGBTQ-led community forest and retreat center, healing people and ecosystems through active stewardship and community engagement.Our conversation explores the idea of culture as strategy in confronting the climate crisis, diving into Layel's work in video, podcasting, and poetry and the origins of their approach to this work of healing people and planet.You can listen on Substack, Apple Podcasts, and other podcast platforms.Please rate, review, and share to help us spread the word!Layel CamargoLayel Camargo is a cultural strategist, land steward, filmmaker, artist, and a descendant of the Yaqui tribe and Mayo tribes of the Sonoran Desert. Layel is also transgender and non-binary. They graduated from UC Santa Cruz with dual degrees in Feminist Studies and Legal Studies. Layel was the Impact Producer for “The North Pole Show” Season Two. They currently produce and host ‘Did We Go Too Far' in conjunction with Movement Generation. Alongside Favianna Rodriguez and at the Center for Cultural Power, they created ‘Climate Woke,' a national campaign to center BIPOC voices in climate justice. Wanting to shape a new world, they co-founded ‘Shelterwood Collective'. The collective is a land-based organization that teaches land stewardship, fosters inventive ideation, and encourages healing for long-term survival. Layel was a Transformative Justice practitioner for 6 years and still looks to achieve change to the carceral system in all of their work. Most recently, Layel was named on the Grist 2020 Fixers List, and named in the 2019 Yerba Buena Center of the Arts list of ‘People to Watch Out For.'Quotation Read by Layel Camargo“You wanna fly, you got to give up the s**t that weighs you down.” - Toni Morrison, Song of SolomonRecommended Readings & MediaTranscriptIntroJohn Fiege  What is our relationship to the land, to its other-than-human inhabitants, and to the rest of humanity? These are fundamental questions for thinking through how we can transform ourselves in ways that allow a multiplicity of ecologies and human communities to thrive alongside one another. And these questions are not just fundamental to us as individuals—they are essential to how we view our cultures, traditions, institutions, and ways of knowing.Layel Camargo lives at the vibrant intersection of ecological justice, queer liberation, and indigenous culture—a cultural space that offers a distinctive vantage point on how our societies work while holding enormous potential to both see and reorient our relationships to the land and to one another.And besides that, Layel is hilarious.Layel Camargo My passion for humor has come from has been maintained by a lot of data and information that I've gotten around just the importance of people being able to process things through laughter. And that the climate crisis is nothing to make mockery and or to laugh, there's this is very serious. The ways in which our species is kind of being at threat of extinction, and right before our eyes. But I think that as humans, we're so complex and layered, and we're so beautiful in the sense that we get to feel so intensely, and feeling is what motivates us to take action. And laughter helps you process so much data quicker, it helps you be able to take something in, embrace it, release, and then have it make an impression.John Fiege  I'm John Fiege, and this is Chrysalis.Layel Camargo is an organizer and artist who advocates for the better health of the planet and its people by restoring land, healing communities, and promoting low-waste, low-impact lifestyles. Layel is a transgender and gender non-conforming person who is an indigenous descendant of the Yaqui and Mayo tribes of the Sonoran Desert.I met Layel at a climate storytelling retreat in New York City in 2019, where I became a huge fan of their work and of their way of being in the world.Layel is a founder of the Shelterwood Collective, a Black, Indigenous, and LGBTQ-led community forest and retreat center, healing people and ecosystems through active stewardship and community engagement.Our conversation explores the idea of culture as strategy in confronting the climate crisis, diving into Layel's work in video, podcasting, and poetry and the origins of their approach to this work of healing people and planet.Here is Layel Camargo.ConversationJohn FiegeHow you doing?Layel Camargo I'm doing pretty good. How are you doing?John Fiege I'm doing well. I've got this thing in my throat. I, so I'm going to be drinking a lot of tea. And I might have to have a bathroom break. Know, I have forgotten to take my allergy medicine. And here we are. Great. Yeah. So can you start out by telling me where you grew up? And how you viewed your relationship to the rest of nature when you were a kid?Layel Camargo Yeah. Um, I can start off by Yeah. talking a little bit about where I grew up. Yeah, so I grew up on the Mexican border between Tijuana and San Diego. And my upbringing was in this very highly dense migrant community from Latinx to Philippines, because of the proximity to the military base. It was very military towns, pretty much the professions. They're like you're either work for Homeland Security, the military or police. And I didn't really notice what my upbringing was like till I left. But I grew up crossing the border back and forth. My grandmother migrated from the Sonoran Desert, to Tijuana. And that's basically where my mother was born. And she grew. She went to high school in San Diego, which is why I can say I'm an American citizen, but I'm a descendant of the Maya or the uremic tribes, my grandmother said, and then my grandfather said, The yucky tribes of the Sonoran Desert so I think for me, my connection ecologically was like the ocean Because I grew up in a beach city, and then it was also the desert, because of all the stories and my grandmother's connection to sanada. So high, I never felt like I was at home because as a queer person paid never really fit into the conservative nature of San Diego due to how militarized it is, and all this stuff. But it was through a drive, which I took from Northern California, down to Sonora, where my grandmother's family lives, when I drove through the saguaros and Arizona that I remember seeing the Saguaro forests and just like needing to pull over and just like, take them in. And I had this a visceral feeling that I don't think I've ever had before of just like being home. And I think this, this experience was like in 2016 2017. And that's when I realized that, in theory, I was a climate activist, I cared about the planet. But it wasn't until that moment that I was like, oh, what I'm actually doing is like actually fighting for us to return to be in better relationship with the planet. And this is where I belong, this is my source of my route, these trees and this desert. So because of that, and growing up in proximity to the beach, water conservation has always been an area of like passion for me and caring about the ocean, which pushed me to a practice of lowering my plastic consumption and being more mindful of oil consumption. And the desert has always been a source of like grounding in regards to like place and knowing that I come from the earth. So it's kind of like I was gonna say, it's kind of like, I'm from a lot of places, I moved to Northern California in 2006. So I love the forest. But nothing speaks to my heart, like the beach in the desert.John Fiege Well, they have sand in common. Is there? Is there a tension between the ocean pulling you in the desert pulling you or is it? Is it a beautiful harmony?Layel Camargo It's a bit of a tension. But I would say that in my body, it feels the same. They both dehydrate me and over, over like it's just a lot of heat, typically. So yeah, that it's different for Northern California beaches, because they're a little bit more Rocky and more cold. You have to wear more layers. Right? definitely like to where I grew up, it's it is warm, the sandy ness. That's a great connection, I definitely need to make that a little bit more concrete.TotallyJohn Fiege cool. Well, can you tell me more about the path you took from the neighborhood where you grew up in San Diego, to studying at UC Santa Cruz and what that experience was like for you?Layel Camargo Yeah, I, I went. So I grew up in a home where there was a lot of violence, which is very common in a lot of migrant-specific and indigenous communities. And I kind of came into my teenage years, like really realizing that I was different, but I didn't know how when it kind of got summarized in college around my queerness my sexuality and my gender, but just feeling this need of like needing to leave. It just didn't make sense for me to be there. And with that being said, I had a wonderful community. I still have quite a few friends in San Diego that I keep in touch with my sisters live there. And I was actually just started last weekend. So I, when I was in San Diego, I think a lot of my trauma responses of like, just ignore what doesn't make sense and just keep moving forward was how I kind of functioned. And that race. And I loved it, I succeeded at it. I've actually realized that I'm a performance artist because of that upbringing. Like I, you know, was captain of the water polo team. I was president of my senior class, I was featured in newspapers for my swimming. I was a competitive swimmer for 10 years. I I did, I did a you know, a good job. I had advanced placement classes and honors classes and I was well rounded but in the inside, I just didn't feel like I belonged. So I picked UC Santa Cruz to go to college because it was the farthest University and the University of California system that had accepted me. And they went and I didn't know what I was getting myself into. I visited the campus like two to three weeks before I had to actually be there to live on campus. Bass. And when my dad drove me, drove me up with my whole family drove me up and they left me they were like, are you sure you want to say I'm like, I got this, like, it was all redwoods. So it was definitely like, we went down to the local store. And it was like all these like hippie dreadlock, folks. And I was like, I don't even know what I got myself into. But I'm getting this degree, so we're good. And it was a big culture shock, I think for a lot of black and brown and indigenous youth when they have to leave their communities to attend. What is like better economic opportunities outside of them it is it's, it's more than just having to adjust, it's having to really like, Oh, I had to let go of everything I knew. And in order for me to take the most out of college, and I was fortunate enough that I had a container a university is like a container for young folks that I wasn't having to leave for work or opportunities. And so I fully immersed myself, and it allowed me to be able to identify myself sexually and through my gender, and a gave me solace, when you know, my family rejected me for coming out. And I think that I'm so fortunate that I had that experience. And then I also was able to gain double bachelor's when feminist studies and legal studies which allowed me to have some upward mobility that my family hadn't had, traditionally I was, I am the first person in my whole family to attend a four year university after high school. So I'm definitely very grateful that that path took me there. And at this point, I feel like it was not only good for me, but it was good for my whole family for me to have taken that journey.John Fiege And did you come out to them? In college or before college?Layel Camargo in college? Yeah, I was my second year, I had my first girlfriend. And I was a Resident Advisor, always I'm always trying to be the overachiever. So I was like Resident Advisor of my college, I was like, involved in every club, I was part of the dance team. And, you know, my mom called me, I just decided to actually move in with my girlfriend the following quarter. And she was like, What are you doing? I was like, Oh, my girlfriend's house. And she was like, why do you have to tell me those things. And I'm just like, because I'm not gonna lie to you. And she was like, I know, you're gay, but I just don't need you to rub it in my face. And I was like, then I guess we can't talk. And so we didn't talk for three months. And then she called me It's, it's, it's hard, you know, like, going to college is hard, especially when I went to very marginalized public schools before that. So I was struggling academically. And my solace was, like, being involved on campus, like to meet some social needs. And I was in, I was in a retention program for black and brown youth from urban communities. So that helped a lot. But I, I, my mom kind of rupturing that, really. I didn't realize what the impact was until probably a quarter the quarter into after that. And she called me three months later, and was like, so are you not gonna talk to me? And I was like, you're the one that doesn't talk to me. And she was like, well, let's just let's just try to make this work. And so we, you know, it took probably five to six years for my family to kind of fully integrate my, you know, my, my lifestyle as they, as they call it. The magic word of magic word. Yeah.John Fiege Yeah, wow. Well, you know, that's just what you need, right in the middle of college trying to adapt to, you know, crazy new culture and world is for your family to reject you.Layel Camargo Yeah, yeah. It's definitely one of those things that like a lot of queer LGBTQ folks. I, I feel like it's so normalized to us, right? And it's just like, well, when you come up, just expect to lose everything. And I think it is it now until I'm like, in my 30s, that I realized how painful that is, and how, like, it's just like, you know, one of the core things I think, as a human species is to know that you belong somewhere. And if you don't belong at home, then where do you belong? And I think for many of us, we've had to go through that unconsciously, without really thinking through that we're seeking to belong. And this theme of belonging has been something that's been coming up as I'm I navigate like, my professional career now is that like, I really do want people to feel like they belong somewhere. And the only thing I feel like makes sense as we all belong to the planet. We all belong to the same descendants and how we got here as a species and that I think that's being rejected from my family allowed me to be like weird do I belong? And so I fortunate that I had a best friend who was also queer. I had my queer community I had student governments and students social organizing. And then when I graduated, I was like, wait, like, Where else do I belong? So I went to my natural habitats like to the beach, and I picked up surfing again and scuba diving. And then it was like, Oh, I actually like I belong to the earth. Like, that's where I belong.John Fiege That's beautiful. Yeah. I love that. Oh, I am hearing some background noise.Layel Camargo Is it audio? Or is it just like,John Fiege people laughing?Layel Camargo It's my partner's on an Akai here, I'm going to shoot her a quick text. She like gets really loud because she gets so excited. Just going to share a quick text.John Fiege So before coming to climate justice work, you worked as an organizer with the Bay Area transformative justice collective. Can you tell me how your work in transformative justice informed your understanding of the climate crisis and how you approach ecological concerns?Layel Camargo Yeah, so I I organized with transformative justice for about six years. And then I you know, for folks who don't know, transformative justice is an alternative response model to violence, harm and hurt. And so similar to restorative justice, which works with the carceral system, so police, judicial systems, etc. to reform in order to help alleviate some of the biases that exists in the systems, transformative justice, as there's those systems actually don't serve certain communities like migrants, folks like that are trans, just the way that those systems just inherently violate certain people who are not included in our society fairly, was like, transparent justice exists to serve folks who cannot access or choose not to access or use the carceral system. So if you will, if you believe in defunding the police, and let's say you're sexually assaulted, you're probably not going to call the police for a rape kit, because there's probably ways that you've experienced those systems as harmful or violent. So when I started organizing were transferred to justice the spoke to me as somebody who had just come out as trans, somebody who grew up in a mixed status family, have relatives who have been deported. And I realized, like, Oh, it's actually worth investing in alternative models, besides the police. In order for us to get our needs met when crisises do happen, because they happen to all of us. And I was in it for six years, you know, we had built up, I had built a great capacity to work with people who had caused harm people who are caused domestic violence, sexual assaults and transforming their behavior and working towards reparation of relationships and or just like helping victims be able to move on after something like that happens. And it's it wasn't an easy task. And what we would come back to is we would spend like the first front of the months, trying to make sure that people's basic needs were met in order for them to slow down enough to process what had just happened. And basic needs included food included shelter, if they lived near, you know, a toxic site, what was infringing on their health, making sure that they had access to health coverage or health benefits. And that was about 60% of what we're doing was making sure that we could get the basics kind of stable so that they could jump into really honoring what it was a justice look like for them. And in doing this a handful of times, not too many, I will say I didn't think thankfully, we had a team. And so I did wasn't always having to handle everything. And we, the experiences that I did have, I was like, man, if people just had, like, a healthy environment where having to fight for housing wasn't a thing. Like we could just actually say, this is where I was born, this is where I belong, and I'm in relationship with the land. And that's how I feed myself, I clothe myself, like all these things that are kind of like indigenous traditional ways, then people could actually solve a lot of their crisis. He's in the moment without having it to be delayed years or having to rely on for it to get outsourced through the carceral system in order for them to feel like they get a minuscule amount of justice. And so I started to just be more cognizant of the way that we interact with the planet and how are everything from our legal structures to our economic structures are just completely devastating. Our environment that have led for us not to have good air quality for us not to have good clean water for us not to feel like we've belong to the earth that is right beneath us that we like, are in relationship with, with the rest of you know, most of our lives. And I, at the time I was living in West Oakland and I had just looked into the air quality report in the area I lived in, and I had the worst air quality in the whole Bay Area. And I started noticing my dog started developing like little spots on her skin, I started having like a lot of chronic coughing. And I was looking at how much money I was making. And so at the time, I was doing a lot of our pop ups, I was really passionate about zero waste, I cared about veganism, a lot of it was through the planet, and it just slowly started shifting away from Yes, I care about how we respond to violence and harm and all of that. And I want us to have alternatives that meet the needs of folks who fall through the waistline of certain systems. And at the same time, we don't even have clean water to come home to to drink when something violent happens, like we have to go buy it from, you know, a grocery store. Most of us don't even test our tap water anymore, because it's just consistently, we just grew up thinking that it doesn't, it's dirty, it's gross, it's non potable, so Right, right. I think at that moment, my heart just completely was like, I want to dive into this work 100% I want to fight for people to have clean air, like if you can't breathe, then you can't, you can't even do a lot, a lot of things. And so many black and brown people who grew up in rural communities have high rates of asthma have like low life expectancy because of air pollution, to you know, the logistics industry etc. And I just kind of fell in with all my heart in like, if I'm, if I'm against plastic put which at the time I was, like vegan for the planet and vegan for my health. And I was also really passionate about reducing plastic use. And I was like, if these are two things that I care about, I want to do it at a larger scale. So it meant that I had to really make those connections of if I want to end gender based violence, if I want to end large forms of violence, I have to start with the one common thing we have that we're constantly extracting and violating, which is the earth. And I think that that led me towards climate justice, because that is the most critical environmental crisis that we're in at this moment.John Fiege So what is the climate crisis? What what what causes is how do you how do you think about culture as a source of power and strategy for climate crisis?Layel Camargo Yeah, I mean, I this is this is really, you know, this, that this is what I do for my life is I spent the last 7 to 8 years really strategizing around what are the cultural shifts that are needed in order for us to be able to be in right relationship with the planet where things like the climate crisis are not happening, so that we can have an economic system and a political system that is serves the planet and the needs of our of us living and thriving, not surviving, which is I think, what we're stuck in as a global society now. And the, we have like quite a few things to kind of look at historically. And I think that there is a dominance of, which is we now know, it is like white supremacy, which is the idea that one group of human is like better than another group of human, and that because of that, everybody else needs to conform to the languages, the culture, the food, the clothes, the housing structures, that are pervasive, and that in, you know, the Euro centric way of living, and that has created a monoculture that is now spread at a global scale. And it's even because it's an economic sister in their economic system. Now we have global stock markets. Now we have the extraction at a global scale, for the sourcing of consumer goods that are all homogenous, and there. There's just one kind of how we do things. And I think the crisis that we're in is the ways that human have removed ourselves from our natural biodiversity relationships with our ecological systems. And then as removing ourselves we have are allowed for the rupture of a relationship that is very needed, which is if we're not integrated into the trees that are natural in our environment into trimming certain invasive species and supporting other biodiverse relationships around us, then we're crippling the ability of the soil to be healthy of the air to have the most amount of oxygen Have you Now we know that we need to be trapping carbon at such high rates. And I think that with a crisis that we're in is that we've allowed and have fallen victims to white supremacy, which was facilitated by colonization, that I, you know, that dominance of one group of people in the way of existing, and I think that's where we're at. I mean, if you look at the kelp forests, the kelp forest needs the otters, they need the, the sea urchins. But when you remove the otters and the sea urchins, you know, are not being preyed upon at a normal scale. And that's, you know, we're connecting it to white supremacy, let's assume that the sea urchins are like the dominant and because they're, they're the ones that ruled the kelp species are starting to be eradicated, and some of them are becoming a threat of extinction. And without a healthy kelp forests, you don't have healthy oxygen and maintenance of the acidification in the ocean, which, you know, couple that with global warming, and you basically have the rapid eradication of so many other natural ecosystems in the ocean that we need to survive. And so when you have one species dominating over another, it leads towards a crisis. So I think we're in a imbalance of relationships because of, of white supremacy. And that's what's causing the climate crisis we have. We have a monoculture. And so just as you look at mono cropping, as you look at anything that eradicates the health of the soil, because it doesn't have the reciprocal relationships that it needs from other crops, and are the resting in order for the soil to be healthy. This might not be speaking to everybody who's listening. But it makes sense that like, Yeah, definitely. The environment crisis is a symptom of Yes. Oh, the climate crisis is a symptom of a larger systemic problem.John Fiege Yeah. And in so many ways, white supremacy was created by colonialism, like, white supremacy is the cultural system that in some ways had to emerge to justify the political and economic brutality of colonialism. You know, it was a it was it was a way of organizing and understanding the world that justified these terrible things that were happening. And they're so it goes so much hand in hand.Layel Camargo Yeah, definitely. Yeah, I mean, I feel like I could talk about this for hours, because there's just so many ways in which we can break it down to the minute level. And then there's so many ways that we can think about solutions. And a lot of my my work and my passion is really bringing as much power as I can to black, indigenous and people of color. Because the retention of culture, language, and different ways of engaging with the world, everything from how we grow our food to how we dress and what we celebrate. And where we honor is what's going to help us be more resilient towards the impending and the realism of what the climate crisis means to a lot of our communities.John Fiege Yeah, totally. Yeah. And you're you're living and working at this really interesting intersection between ecological justice, queer liberation and indigenous culture. Can Can you talk a bit about the intersections of your identity and cultural background and their importance to you and how you orient yourself to this work?Layel Camargo Yeah, definitely. So as I mentioned, I'm a descendant of the Yaki and the Mio tribes in the Sonoran Desert. And I didn't really realize how much this matter to me, I think till about like five to six years ago, because I grew up because of the borders. Technically, I'm Mexican descent, and Mexican American salesperson in this country. But the Mexican government is similar to what we're talking about white supremacy was created by European settlers and, and a hybrid of mixture of stealing of indigenous cultures. And there are so many subgroups of different indigenous cultures. And my heritage is that both my grandfather and my grandmother's tribe as they were nomadic, and they used to migrate up and down the Sonoran Desert, before the border was there from seasonally for survival. And there's so many ways that like food that we eat, how we dress, how we talk that I didn't realize like, Oh, that makes me so much more than just Mexican American. It makes me more than just Latinx. And I think my background and being in such close proximity to immigration and the necessity of immigration or to survive because my grandmother came to Tijuana because it was industrialized and she needed work. And so when they migrated, they like left everything behind. And they never went back. Like, I think so many people leave their home, thinking that they're going to go back and they don't, their children are born in different places. And eventually, that led me to be born in a different country. And so because of that background, I am so keen to issues around native sovereignty and land back here in the United States is like the retention of keeping people in the place of their origin is a climate solution. It's a way of keeping that ancestral knowledge in the place that is needed. I mean, here in Northern California, we look at the wildfire crisis, and it's due to climate change. And it's also due to the lack of forest management, that our indigenous relatives that are native to that area have been robbed of the opportunity to maintain those forests at the scale, which is needed in order to adapt and prepare for wildfires. Yeah,John Fiege yeah, with with the prescribed burning, and all that maintenance that used to happen. That was invisible in so many ways to the European colonists, they didn't even understand that that was going on, or how it worked.Layel Camargo Yeah, and I feel like, you know, it goes back to the monoculture. And I think, because I have indigenous ancestry, because I understand the nature of needing to migrate. And the realities of migrant experience, I think I feel so passionate about keeping people in their place of origin as much as possible, and allowing for people to move freely when they have to. And I think as as the climate crisis gets worse, I started to realize just what a disservice we have made by instilling borders by having governments that have been so gatekeeping and operating off of scarcity, that we've kind of mandated a world where people can move freely people, and people have to leave their place of origin. And that these two paradox that we exist in, is creating the dehumanization of a group of people that if you cannot sustain yourself in your place of origin, because of global extraction, by the way, because of environmental degradation and the economic viability of your area, and how that creates wars and mass extraction, that that is why people migrate. But yet those same people who are creating those systems that make it difficult for you to stay in your place of origin have also created borders to not let you move freely. That paradox to me is also part of this climate crisis as because many of us are going to have to leave john, at some point, there's going to be floods, there's going to be hot water, we're experiencing a drought prices in California, I'm actually living between northern California and Southern California already. And a lot of it is because of the wildfires and my family's down here. And my family's at threat of sea level rise by living in San Diego, which San Diego filed a lawsuit against Exxon and Chevron. And I think one or two other oil companies is we're all we're all existing now in this global climate crisis, that it's not quite in our face every day, but we feel it seasonally now, so we're gonna have to be able to move. Right? So yeah, and last to say is like similar to my cultures I have I lived with an end an endocrine illness. And so air pollution is something that could severely impede my ability to reproduce my ability to function. At this point, I spend about four to five days a month in bed, working from bed, and I'm fortunate enough that I get to work remotely. But for a lot of people, we're going to see more and more ways in which the mass destruction of the planet which has led to the climate crisis is how we become to adopt ways of having different abilities or not being able to live our day to day function. So yeah, the intersecting points are just, they're overwhelming. And I think a lot of us are starting to feel that more as things start to kind of get a little worse.John Fiege Right, right. Yeah, I was talking to, to my partner the other day, she was she was talking to a fellow activist about this idea of ableism. And how, you know, so much of the discourse around it is you know, what are your abilities and, and this, this person was talking about how it it's how unstable that is. Like you can be able bodied today and tomorrow, you can be not able bodied in the same way. Because of, you know, like you say the changing air quality or something happens, or you just you're getting old, or you get sick. And it's one of those things that we've so ignored as a culture of what, what ableism really means about our assumptions about the world.Layel Camargo And like the economic viability and how our economic system is just so dependent on us being fully productive 24 seven, which I made a video on this called The Big Sea, which talks about the intersecting points of labor and how the labor crisis is actually the root of our climate crisis. Because if we can have people have a bigger imagination around how they can use their bodies, to serve their own needs, instead of serving the needs of corporate interests, how that would actually alleviate a lot of pressure on the planet. And that that would potentially lead to our most successful outcomes in regards to the climate crisis.John Fiege Yeah, totally, totally. Well, can you tell me about decolonizing conservation in the environmental movement and what that looks like to you?Layel Camargo Yeah, so I, I started during the beginning of the pandemic, I started a nonprofit called shelterwood collective, which is black and brown and indigenous queer folks who are aiming to steward land at the time, I was aiming to sort of land a month ago, we acquired a 900 acre camp in cassada, California, and Northern California and our team is about conservation efforts, specifically with forest resiliency against wildfires. Taking Western Western practices of conservation, mixing them with indigenous practices that are similarly to conservation. And I feel like when we think about conservation efforts, a lot of them have been dictated by European ways of thinking through conserving natural environments, which a lot of it is like humans are bad, nature must be left uncared for. And this does such a disservice because our indigenous ancestors knew that in order for a forest to be thriving, we needed to be in relationship with it, we needed to monitor monitor it, if there was a fun guy or a virus that was spreading their disease, that we could actually help it, he'll help trees, he'll help it spread less, if there was fires that were coming that we could trim, and tend and do controlled burns, if there was, you know, sucks anything happening where a species was struggling, that we could help support its growth and its population by you know, hunting its predators. And so I think that, that is the challenge between indigenous conservation efforts are traditional ways of just being in relationship with the natural environment and conservation is the western conservation is that we have been so removed from what it means to protect water systems, what it means to protect forests, that now we have a crisis of mismanagement we have and that more and more countries are adopting European Western perspectives because of the dominance that white supremacy has instilled that there are certain group of people that know more than we do. And that's just that's created, at least for me feels very heavy on when it comes to wildfires. There is certain areas in Northern California where there have been residential communities that have been built on wildfire lines that we know now, indigenous people knew that like every 30 years, for every 50 years, there would be a wildfire that would run through that area. And now that we're not that it's getting hotter, the gap of that time is getting shortened. And also that we're realizing that the years, hundreds of years of mismanagement, and lack of tending has led to also these extreme wildfires, that's now causing casualties outside of wildlife. And I feel like conservation needs to evolve. I think that there needs to be more understanding around the harm that Western conservation has done to not only the ecosystems but to the people who have traditionally been keeping those ecosystems. And I do feel like it's like it's evolving. I just think that it's not evolving as fast as we need. And unfortunately, with the climate climate crisis, we're gonna have to really come to recognize what do we need to move really fast on on what can wait because it just feels like Everything's urgent, we need to save the oceans as much as we need to save the forest as much as we need to Save the Redwoods as much as we need to take the rain forests and it just feels like and and that is like the natural environment, then we have like the growing list of extinction, threats of extinction for certain animals. And I think that I don't know why just came to my head. And then you have people like Bill Gates who want to eradicate a whole mosquito species. So it just feels like we're gonna have to pick and choose our battles here. And I do feel like coming to reckoning around the harm that this pervasiveness in western conservation, which isn't the idea that sometimes we are harmful to, you know, our natural ecosystems isn't a bad one. Yeah, we are. But how we got here was by completely removing ourselves and not knowing how to take care of those ecosystems, had we been in a relationship with them for the last 100 years, maybe we wouldn't be so wasteful, maybe we would have caught air pollution sooner than then our body is telling us, hey, we don't like this, this is bad, we're gonna die sooner if you keep doing this. And I think that that is a disservice. So it's beautiful to see more forest schools popping up for young people. It's beautiful to see more conservation groups trying to bring in indigenous leaders into the conversations. But I do feel like that overall idea needs to shift. And I also think that the land back movement, which is returning national parks back to indigenous hands, is going to help alleviate some of those major tensions that do not honor that certain people have been doing this for hundreds of years. And if we don't return it in this generation, we just run the risk of losing more language, more culture and more practices that we need at a larger scale.John Fiege Yeah, in protecting ecosystems is just not a complete picture of everything that's needed. Like as you say, it's important on some level, but it's it's not it's not a whole, it's not a whole understanding of of the problem or how to address it. There reminds me I was I was just reading or rereading a bit of Robin wall kimmerer book braiding sweetgrass, and she talks, she talks about this very issue a bunch about, you know, sweet grass in particulars is something where there's this, this back and forth relationship between humans and nature. And she talks about teaching one of her University classes up here in New York, and asking them at the beginning of the semester, you know, whether people are bad for the environment, and almost everybody says yes. And we alsoLayel Camargo have this this perception of we are bad. Right?John Fiege Yeah. Yeah, this Western guilt is pervasive in that as well. Which is,Layel Camargo which is facilitated by religion? Yes, religion has a very good job of making us feel like we are horrible for everything that we have sent us that we need to repent for our whole existence as like, going from embryo to sperm is actually a sin itself. So we're born with so much already on our shoulders.John Fiege I was gonna say Catholic guilt, but I feel like at this point, it's so much broader than that. Yeah, it is. So you work with the Center for cultural power. And, and one of the main projects you've done with them is climate woke. And I'd like to start by saying how much i'd love the artwork of the logo. It says climate woke. And it's in, in the style of this fabulous flashback 1980s airbrushed t shirts, with, you know, rainbow colors and sparkles. And it feels like there's so much meaning embedded in the artwork. And I wondered if you could tell me about climate woke, how the project emerge, but also like how this logo artwork reflects what this project is.Layel Camargo Yeah, so we when we started thinking about what climate woke would be, we didn't know what's going to be called climate woke it was through several meetings with different community partners, different funders and other stakeholders, where we kind of discussed that we wanted a unifying symbol for all the communities that we had been meeting and we kind of landed that we wanted something to look good to represent black Dan Brown young people between the ages of 16 to 25, something that was appealing that somebody would wear with pride. And, you know, at the time, there was a lot of like, different stuff coming up around the importance of wokeness. The it wasn't used as how we use it now, which is like political correctness. It's, it's, it's not where it is now. And so we decided to kind of ride on the, the term itself climate woke, which talks about uses black vernacular very intentionally that this is a racialized issue. And we spoke with several leaders in the black community, and at the time, it felt like it made sense. And, and so we kind of quickly were like, this makes sense kind of work. We want people to wake up to a climate crisis, but also be like down and enjoy it. And that it's different than this doom and gloom narrative that we constantly see when it comes to the environment. As it is kind of depressing when you think about it. But so we wanted it to feel like inviting. And at the time, which I think was like 2017 2018. All these like 90s was like coming back. So we sat with like two or three potential designers, and we didn't really like what we saw. And then it was heavy and agile that he Guess who is kind of a co creator of this. Also, like a globally recognized artist who was like, hold on, I got this and just like hopped on her computer through some colors, did some and we were like, We love it. Like we just love it. We wanted it to be bright. We wanted it to be inviting. And I feel like we've been successful just two weeks ago actually got a text from my executive producer who works on the planet. Well, content, it was like to send a photo of like, I believe it was a young male of color about 21 or 22 years old wearing a climate woke t shirt. And she was like, do you know where that's from? And he was like, No, I have no idea. And I was like, that's how, you know, we succeeded. Because we popularize something, we made it look so good. People don't necessarily need to make the connections, but they'll be promoting our work. And I'm sure and I get so many compliments when I wear t shirts and sweaters. And so she she told him to look up the videos. And you know, she sent me the photo. And she's like, we've I think we've succeeded. And I was like, I think we succeeded, I think we have you know. But at this moment, we are considering evolving the terminology because it doesn't feel as honoring. And we definitely are very sensitive to the fact that we use black vernacular intentionally. And it's time to kind of give it back and think through like what other ways can we popularize other terms to kind of help. It's about it's about to help kind of build the community because it was about building a group of people kind of drawing in a certain community that wouldn't necessarily be about it. And I feel like that to me was like a, we did it. We did it.John Fiege Yeah, it's it's it's definitely one of those terms that the the right has co opted and really done a number on they. Yeah, they're they're good at stealing those terms and turning them on their head. And usually, honestly, as a as a weapon back the other direction. Can you turn down your volume just to hear again, just noticing when you get excited? I get excited so much. Alright, how's that? Right? Great. Yes. So in a couple of your videos, you talk about what being climate milk means to you. And you say it means one, standing up for communities of color and communities most impacted by climate change, to complicating the conversations on climate in the environment. And three, doing something about it. Can you take me through each of these and break them down a bit?Layel Camargo Yeah, so the first one is, can you repeat it again, that's the firstJohn Fiege standing up for communities of color and communities most impacted by climate change,Layel Camargo right? That's right. Yeah, I've said it so much. And we actually haven't even recorded anything because of the pandemic. So I'm like, I haven't said it in a while. Yeah, standing up for communities of color. I think that that one to me specifically spoke to that. We need black, brown and indigenous people to feel protected and seen when it comes to the climate and environmental crisis. And that's everything from activating people in positions of power to empowering the people who come from those communities to know that this is an intersectional issue. I think that the climate crisis traditionally was like a lot of visuals of melting ice caps, a lot of visuals of the polar bears and you It's interesting because as we're getting more people narrative, I feel like the, we need to get a little bit more people narrative. And we need to return those images a little bit back, because the IPCC report has just been highlighting the rapid rates in which we were losing ice. And I think that when I initially thought of this at the time, there wasn't highlights of how indigenous people were protecting the large scale biodiversity that we have on the planet. There wasn't stories of, you know, urban, black or brown youth trying to make a difference around solutions towards climate change. And so I kind of made it my purpose that climate woke represent those demographics that we that I was important for me that black, brown and indigenous people of color were at the center of the solutions. And the complicated conversations and do something about it was that I actually feel like we have a crisis of binary versus complexity in our society. And I think that how we've gotten into this climate crisis is because everything's been painted. So black and white for us, that if you want a job, you have to be harming the planet, if you want to be unemployed, then. And then like all these hippies that are fighting to save the trees, they're taking away your job, you know. So I feel like there's so many ways in which our trauma responses just look for the patterns have been used against us. And it just felt really important for me, that people feel comfortable to complicate as much as possible, where we're gonna need different angles and different ways of looking at solutions that we need to embrace experimentation, where we need to embrace failures, and we need to really let go of these ideas that technology is going to come in and save us technology is a big reason why we got into this mess. And so I think that complicating the conversation to me was about this is like, if you are black, brown, indigenous, and you want to be a part of the climate crisis, but you have no way of integrating yourself besides talking about gender oppression, go for it, look at look at the leaders in this movement, and look at how many women are fighting and protecting, you know, at a larger global scale that don't get the visibility that they deserve. So I feel like that was my aim is to really invite that complexity. And then let's do something about it is that I don't want things to get stuck on the dialog. One of the biggest failures of the United Nations when addressing these crisises is that they don't have global jurisdiction. So they cannot actually mandate and or enforce a lot of these, it's usually done through economic influence, or like if one if we can get a first world to sign on to a certain agreement, then hopefully, they'll all do it. But then who ends up in implementing it, usually it's not the United States and Europe is not the first one to do it. And yet, we are the biggest global polluters on almost every sector you can think of. And I think that the do something about it is, for me a call to action, that we can talk about this, we can try to understand carbon emissions, methane emissions, global greenhouse, carbon markets, carbon, sequestering drawdown methods, we can talk about it. But if we're not doing it, putting it to practice while integrating these other two points, which is centering communities of color, and embracing the complexity of that, then it's nothing, it's pointless. We're just we're just allowing corporations to keep exploiting the planet and governments can keep, you know, sitting back and saying that they're doing something because they're convening people without actually regulating and putting down their foot for us. So, yeah, I think it was trying to summarize just my general feelings of this movement and the ways that there's been just lack of opportunities by not centering certain other people or allowing there to be more complexity.John Fiege Yeah, there's, I find, watching how those un meetings go down. So frustrating. Yes, just, you know, Time after time. It's just maddening. I'd have a hard time working in that space.Layel Camargo Yeah, I think I was fortunate enough to take I voluntarily took like a law class at pace, Pace University, pace law University, and one of the classes was United Nations policy, and so I got to witness the sub All meetings before that big meeting where Leonardo DiCaprio came out and said that we had a climate crisis, which everybody googled what the climate crisis was, I think it was called climate change. It was like the most time climate change was googled in the history of mankind. And I was sitting in those meetings and just seeing how it really is just a lot of countries just try not to step on each other's toes, because relationships translate into the economic sector, that I'm like, wow, y'all, like legit, don't care about the people you're representing?John Fiege Yeah. Yep. Yeah, it's crazy. Well, I wanted to talk a bit about what environmental justice means to you. And I thought we could start with your video called a power to rely on. And in your crudest, you include a statistic in the video that says in the US 75% of all houses without electricity, are on Navajo land. And, and then one of the people you interview in the video with Leah, John's with a group called native renewables, says, whoever controls your water and your power controls your destiny. And that's really powerful statement. Can Can you talk a bit about your experience working on this video, and how it impacted your thinking about environmental justice?Layel Camargo Yeah, so I, I realized that I'm really passionate about renewable energy and alternatives to energy capturing, probably through working on this video. And when we were first thinking about what themes we were going to cover, that's usually how I approached most of the climate world videos as I tried to talk to a few community partners. But mostly, I just do a lot of like, cultural observation, just like what are some of the themes that feel that are kind of resonating for people outside of the sector. So what's resonating for folks outside of the environmental justice world, and, you know, land back native sovereignty is something that's been popularized, especially after the Standing Rock camp, the no dapple camp, and I was noticing that it was kind of dwindling down. But a lot of data was coming up around the fact that a lot of indigenous communities are either sitting around and or holding and protecting 80% of the global biodiversity. And so something that how I approached this video was I wanted to show the native sovereignty piece with the land back as well as my passion for alternatives to our current energy use. And what Haley Johns is somebody who was recommended to me by Jade bug guy who's also featured in the videos, a dear close, like cultural strategist, filmmaker, co conspire in the sector. And she would I had initially approached her and said, I want ndn collective, which is what she works to kind of help us think through the script. And she said, Yeah, we're down and like, we trust you, like, we know you're gonna get the story, right, but we're down. And so it was, it was very easy for us to start with that. And then when I was like, Who do I talk to? They're like, you need to talk to a hayleigh. And I was like, Alright, let's talk to a healer. And so I flew out to Arizona, just to have a scout meeting with her, which I felt like I was chasing her down, because we didn't know she was going to be in Flagstaff, or if she was going to be near Phoenix, like we didn't know. So we were flying in. And we were like, Where are you today? She's like, I'm at my mom's house. I'm with my mom at this hotel. And we're like, Alright, we're coming through. So it felt very, like family off the bat, which now she has been nominated for I forget the position, but it's the internal affairs of Indian energy, energy efforts and some sort. So she's she's doing it at a federal level now. And when I was when I was working on this video, and I had talked to her and I interviewed her as she was giving me a lot of these numbers, and I just realized that, you know, the irony of this country is just beyond what we could imagine. You have a lot of these coal mines that help fuel some of the larger energy consuming cities and in the United States, like Vegas, like la that just consume energy at such high rates that are being powered by coal mines in Navajo or near Navajo Denae reservations. And yet, I was hearing about what halos program and her efforts were just trying to get funding and or subsidies from the government in order to put solar panels on folks his house because the infrastructure doesn't exist. And she was running she's letting me know about that. cost, she's like at $75,000 per house. And then we in order to like run the lines, and that's not even including the solar panel infrastructure. And then if they can't, we can't run the lines, and we're talking about batteries. And she was breaking this all down, I'm like, that is a lot of money. We need to get you that money. And then she started just educating us more through that. So I think I went into this video just knowing that I was going to try to make those connections. But what I realized was that I was actually going in to learn myself, just how much I need to humble myself with the realities that communities who have had less to nothing in certain things, everything from food, to energy to water, have made alternatives that they are, they've already created the solutions like we found one of the elders who had put up one of the first solar panels and Hopi reservation, which I highlighted in my video, she got it 30 years ago, like I, I was flabbergasted that she had the foresight, and the way that she articulated was everything from comfort to entertainment. But at the end of the was she knew she needed power. And she runs a business, the local business won a very few on the reservation that she was passionate enough to keep alive. And so this video just showed me that like, wherever you go, where there has been disenfranchisement, that's where you will find solutions. Because a lot of people have just making do for a long time, it just hasn't been seen, it hasn't been highlighted. Those are the people that like the UN should be talking to the you know, our federal government should be listening to.John Fiege Yeah, and I actually wanted to talk to you about Janice de who's the Hopi elder that you mentioned. And, you know, in particular, how it relates to how depth and skillful you are communicating with people from a wide range of backgrounds. in you, you you use humor a lot. And in this power to rely on video, you're sitting down with Janice day. And talking about how she's one of the first people to get solar power 30 years ago. And you asked her whether the first thing she charged with solar power would be a vibrator. And that was that was that was really funny. And all of a sudden, I'm watching with anticipation, asking myself, how is this woman going to react to that question? And you seem to have such a good read on the people you're speaking with. And I was hoping you could talk a bit more about how you communicate so many, so well and so many in so many different spaces and how you consciously or unconsciously lubricate the relationships with humor.Layel Camargo Yeah, I've been I I think a lot of it is my passion for humor has come from has been maintained by a lot of data and information that I've gotten around just the importance of people being able to process things through laughter. And that the climate crisis is nothing to make mockery and or to laugh, there's this is very serious. The ways in which our species is kind of being at threat of extinction, and right before our eyes. But I think that as humans, we're so complex and layered, and we're so beautiful in the sense that we get to feel so intensely and feeling is what motivates us to take action. And laughter helps you process so much data quicker, it helps you be able to take something in, embrace it, release, and then have it make an impression that is the one line that everybody brings up with that video. So I made the impression. And I hope that people watched it and then wanted to show it to other people. And so I think that, that that knowledge has retained my passion for humor. And then like I said, You know, I grew up in an abusive home where we had to process things fairly quickly in order to be able to function in the world to go to school to go to work. And growing up in a home where there was a lot of violence. I learned how to read people very keenly everything from anticipating when something was going to happen tonight, and I speak about that pretty like nonchalantly because I think a lot of us have a lot of strategies and skills that we've developed because of our traumas and our negative experiences that we've had in the world. And I think they don't often get seen as that we'll just say like, Well, I was just really I'm just really good at reading people and we'll leave it at that and it's like, but what is your learn that from like, there have been many chronic situations where you had to be really good at reading people in order for you to like practice it so clearly in it skillfully. And so I think I honor my experience in that in order for me to do that. And then I think cultural relativity and cultural content petencies is another thing like, Janice de actually reminds me a lot of my grandmother and my grandmother was somebody who was very religious. And at the same time, I always loved pushing her buttons. I would just like try to say things to get her activated. And I knew at the end of the day, she loved me. And that was about it. I didn't have to question whether she loved me because she was upset that I asked her something and appropriately. So I think it's a combination of that. And I'm grateful that I can embody that and be able to offer it to people who are curious about climate change and and feel more invited through laughter than they would about doom and gloom or heavy statistic videos and our ways of gathering information.John Fiege Awesome. Well, another kind of video you made is called consumerism, cancelled prime. And the first shot is you waiting while the camera crew sets up the shot and you're putting items in your Amazon cart on your phone. And then the quote unquote real video begins. And and you say 80% of California's cargo goes through the Inland Empire. And then you yell along expletive that's beeped out. And you ask emphatically his climate, wrote, his climate woke about to ruin amazon prime for me. And and I love how rather than just saying Amazon, or Amazon customers are bad. You're starting by implicating yourself in this system that leads to serious environmental justice issues. And again, it's really funny. Can you talk more about the situation with Amazon and other real retailers? And and how you went about positioning yourself in this story, and using humor again, and self criticism to connect to the audience?Layel Camargo Yeah, I mean, when we first started working on this video, we explore different avenues of that opening scene, when we wanted to highlight community members, I kind of at this point, have a pretty good like tempo of what it is that I want. I want a community member I want somebody who's like academic or scientifically based, and then somebody else who kind of comes in allows her to be more of a creative flow. So we have a pretty good structure at this point of the voices that we seek, we just didn't know how we wanted to hook the audience. And we went back and forth quite a bit on this, the thing that kept coming up was amazon prime memberships are very common. Most people have them most people buy on e commerce and this is pre COVID. And I was keenly aware of that I also knew that Amazon was growing as a franchise to now own Whole Foods that were just like expanding in regards to what it is that they offer people online. And as I mentioned, I, through my passion for reduction of plastic usage and plastic consumption, and plastic waste, I understand the ways that ecommerce has really hurt the planet. So I myself am not an Amazon Prime member, I I don't actually buy online and I allow myself when needed one Amazon thing a purchase a year. And it's like kind of more of a values align thing. So in order for me to reach connecting with somebody who's kind of a little bit more normal in regards to needing to rely on buying online, is I just had to exaggerate what I think happens when you're shopping, which is you look at a lot of stuff, you add them to cart, you get really excited, and then you kind of mindlessly click Buy without knowing what's going to happen. But you're excited when it arrives, surprisingly, because maybe you bought it in the middle of the night while drinking some wine and watching some Hulu. So that's like what I was trying to embody. And then what I was really trying to highlight in this video was I wanted to invite audiences to not feel shame about what they do, like we are we've all been indoctrinated by the system through what our education has taught us. Like we have values of individualism and patriotism and all these things, because that's what we were taught in schools. And that's been used and co opted by corporations in order for us to continue exploiting other humans and the planet. And that's by no fault of our own. That's a design that's an economic model that was designed since the Great Depression. It's just the way that it's been exaggerated and has scaled so quickly is beyond our control where our governments don't even regulate it anymore at the ways in which they should be. And I think that I wanted this to feel like it's not just on you as an individual, but it's specifically if you live in Europe or in the United States. You need to know that we are The biggest consumers on the planet, we have the most economic resources. We actually, if even a fraction of the United States decided to stop shopping at Amazon, we could significantly bring that Empire down. I say Empire pretty intentionally. And we could I mean, I feel like you. And that's and how I understand economics is that all you need to do is impact 10 to 20%. of supply and demand chain in order for a whole corporation to collapse. The problem is, is that our governments always come in to aid these large corporations that are hurting us on the planet by saying that they want to maintain jobs and maintain a GDP are going stock market, which they're reliant on. So this video was meant for audiences. And for people to feel like this is not just on you. But if you live

Send us a textCan wind controllers really emulate the rich, soulful sounds of string instruments?  Together, we unravel the complexities of using wind controllers to mimic string instruments, breaking down the technical aspects and creative possibilities. Expect to leave this episode with a newfound understanding of how these modern tools can transform your musical expression.You'll learn about the cutting-edge capabilities of Roland's rack mount sound modules, namely the Fantom XR and XV-5080, and their applications in music production. Hear firsthand how Patchman Music's sound bank brings strings to life with unparalleled realism and discover how the Yamaha MFC2 foot pedal introduces unique sustain features. From advanced portamento in Roland synths to the breath-sensitive nuances in Yamaha's sound packs, we cover everything you need to know about pairing these modules with wind controllers to achieve a truly expressive performance.We also explore the world of SWAM strings and Roland Cloud's AEZ sound packs, showcasing their impressive compatibility with the Aerophone. Listen to performances like Schindler's List and the Bach cello suite, all brought to life on wind synths. Learn how replicating string vibrato breathes new life into classic compositions and discover innovative techniques like the Divisimate app splitting for a richer, more realistic soundscape. Whether you're a seasoned wind controller player or new to the scene, this episode is packed with insights to enhance your musical journey.If you'd like to send us a question for an upcoming episode, please email us at info@aerophoneacademy.comOr leave us a voice message that we can include in the podcast here.For more information about Matt, visit www.patchmanmusic.comFor great Aerophone courses, visit www.isax.academy

You can find Akai here on his social media: Faceboook @akaisasori56 Instagram Linkedin Find out more about Robert Gardner on his website. Subscribe to your Free trial video education here.

Reece Beard is a final-year student at Salford University in the UK.  I thought he would make a great interview as to why GenX, Millenials and Gen Zeds are going back to the analogue tape format.You can also hear why it's good that a machine doesn't record sometimes and how I trashed an MRL alignment tape. Support the Show.

In Part 2 of this Episode, we are joined by our brother Akai Coleman who is featured in the Number 1 series on Netflix, Supacell! This is the new Netflix superhero series created by rapper turned filmmaker Rapman. The series follows the lives of five seemingly ordinary South Londoners who discover their extraordinary abilities. At the heart of the story is a man on a mission to unite them and save the woman he loves. Akai who plays ‘Tiny‘ from the Tower Boyz joins us to discuss all things Supacell Make sure to watch Supacell which is out on Netflix now! As always, please comment below with your thoughts and don't forget to Like, Share And Subscribe

In Part 1 of this Episode, we are joined by our brother Akai Coleman who is featured in the Number 1 series on Netflix, Supacell! This is the new Netflix superhero series created by rapper turned filmmaker Rapman. The series follows the lives of five seemingly ordinary South Londoners who discover their extraordinary abilities. At the heart of the story is a man on a mission to unite them and save the woman he loves. Up and coming actor Akai Coleman who plays ‘Tiny‘ from the Tower Boyz and we discuss all things Supacell, the disconnect between the Police and the community and answer a dilemma around friendship and loyalty. Make sure to watch Supacell which is out on Netflix now! As always, please comment below with your thoughts and don't forget to Like, Share And Subscribe

Send us a Text Message.Episode 7Unlock the secrets to mastering live performances with wind controllers in our latest episode of the Aerophone Academy podcast! Join us, Matt Traum and Alistair Parnell, as we share our extensive experience and invaluable tips for optimizing your live gigs. Whether you're part of a small jazz combo or a larger group, our discussion covers everything from equipment choices and amplifier positioning to creating effective stage setups. We emphasize the importance of controlling your monitor for the best sound and the flexibility needed across various performance settings, ensuring you're prepared for any gig scenario.Our conversation extends to software solutions such as MainStage and Camelot, comparing their capabilities and limitations. We also highlight practical setups for music stands, especially for electronic wind instruments like the EVI and Aerophone, to help you manage sound and effects seamlessly during your performances.Beyond sound optimization, we explore the logistics of managing and securing your musical equipment. From the perks of wireless technology to ensure freedom of movement, to maintaining USB cable safety and selecting the right audio interfaces, our tips are designed to make your performances smoother and more professional. Additionally, we share advanced techniques for solo gigging, creating layered sounds, and integrating high-quality backing tracks. Tune in for expert advice tailored to elevate your live performances, whether you're playing solo or with a group.If you'd like to send us a question for an upcoming episode, please email us at info@aerophoneacademy.comOr leave us a voice message that we can include in the podcast here.For more information about Matt, visit www.patchmanmusic.comFor great Aerophone courses, visit www.isax.academy

Send us a Text Message.Episode 6Can brass instruments come alive through digital wind controllers? Discover the secrets behind flawless brass emulations in our latest episode with experts Matt Traum and Alistair Parnell. We present a range of brass patches, from lead trumpet to tuba, and delve into the nuances of layering these sounds for a richer performance. Alongside the VL70-m, we highlight the Roland XV series sound modules, SWAM instruments, and the internal sounds of the Roland Aerophone.Our deep dive into the intricacies of pitch bending and vibrato will refine your brass emulation skills, drawing from real-world trombone and trumpet techniques. Learn to emulate the subtle vibrato of classical music and the distinctive vibrato of jazz by closely studying professional performances. We also explore the use of audio harmonizer pedals to generate multi-note harmonies and the practical application of the Electronic Valve Instruments (EVIs) for brass players. Don't miss our insider advice and your chance to shape future episodes by sending in your questions!If you'd like to send us a question for an upcoming episode, please email us at info@aerophoneacademy.comOr leave us a voice message that we can include in the podcast here.For more information about Matt, visit www.patchmanmusic.comFor great Aerophone courses, visit www.isax.academy

Eddie Bazil gives us more pointers on constructing beats, incorporating useful tools such as Drum Replacement Software and pre-constructed Loops, then adding enhancements using timing, pitch and other processing tips.Chapters00:00 - Introduction00:33 - Drum Replacement Software01:41 - Example 1: Using Hit'n'Mix RipX DAW 05:41 - Example 2: Making Loops Your Own11:36 - Example 3: Enhancing A Kick With Pitch And Timing Track credit for example 1: Ice Box featuring Omarion, produced by Timbaland - https://en.wikipedia.org/wiki/Ice_Box_(song)Eddie Bazil BiogEddie Bazil launched his music industry career at the age of 17 as a synth programmer for a range of Electro / New Wave bands including Art of Noise, Spandau Ballet, Pet Shop Boys, Bobin, Paul Dee, DJ Krush, DJ Shadow, Jets Orchestra. By his 20s he was working as a sound designer for Akai, Roland Emu/Ensoniq, eventually signing on exclusively with the latter. Later, due to a growing demand for software instruments and libraries, Eddie started to develop libraries for various software manufacturers, including Native Instruments, Kiesel, Sound Effects Library, Arturia and Propellerheads. A meeting with Phil Allen, a Capital Radio DJ, resulted in the company Samplecraze, which Eddie has spent 20 years developing as an educational resource. At this time he trained in music production and soon gained a number of prominent contracts working with some notable artistes such as Busta Rhymes, Greensleeves, 9 Bar, SFP, Sleeveless, Chris Campbell and Gam Productions. He contracted to Island Records and Chrysalis as a producer and remixer,  plus was commissioned to write the score for Macbeth that ran at 2 Way Mirror at Alexander Palace for the Cambridge Shakespeare Company. His ongoing development of Samplecraze has led to him offering educational workshops and classes, releasing four books via PC Publishing and becoming a contributor and forum moderator for Sound On Sound. Recently he has established The Audio Production Hub for online education and been invited by the Recording Academy to become a Grammy judge.https://eddiebazil.co.uk/https://samplecraze.com/

Episode 5Embark on a sonic exploration with Dr. Tom Rhea, a luminary in the field of electronic music, as we navigate the rich tapestry of musical innovation. From his formative years mastering the flutophone to revolutionizing synthesizer manuals, Dr. Rhea's insights are a treasure trove for enthusiasts and professionals alike. His storied career, including a tenure at Berklee College of Music and contributions to Keyboard Magazine, sets the stage for a profound dialogue on the evolution of electronic instruments.This episode delves into the subtleties of sound, as Dr. Rhea delves into the complex world of formants and their pivotal role in shaping the timbre of instruments. Prepare to be captivated by the Electronic Valve Instrument's (EVI) analog warmth and versatility, and learn how formants ensure each instrument in an orchestra can sing its unique song without discord. The human voice as the ultimate formant generator is also a fascinating topic we unravel, shedding light on how this knowledge enhances both synthesis and mixing techniques.We round off with a panorama of historical and modern electronic instruments that have left indelible marks on the fabric of music. From the Ondes Martenot's emotive capabilities to the expressive potential of the Haken Continuum, we trace the lineage and influence of these groundbreaking creations. Dr. Rhea's anecdotes of innovation, marketability, and the interplay between musician ingenuity and instrument design are not only enlightening but also serve as a testament to the ever-evolving narrative of music technology. Join us for this enthralling journey through the past, present, and future of electronic soundscapes.If you'd like to send us a question for an upcoming episode, please email us at info@aerophoneacademy.comOr leave us a voice message that we can include in the podcast here.For more information about Matt, visit www.patchmanmusic.comFor great Aerophone courses, visit www.isax.academy

In the first of a two-part series, Eddie Bazil explains how some simple adjustments in your DAW will help you to achieve more bounce in your drum beats, by adding syncopation, swing and dynamism.Chapters00:00 - Introduction00:20 - A Quick History Of Beat Production01:07 - Early Programmable Drum Machines04:33 - Defining A Good Beat05:15 - Example 1: Shifting The Snare To Drive A Beat07:55 - Example 2: Altering Dynamics And Note Durations10:51 - Example 3: Adding Urgency With A Backbeat 12:37 - Example 4: Creating Swing With The Hi-Hats Eddie Bazil BiogEddie Bazil launched his music industry career at the age of 17 as a synth programmer for a range of Electro / New Wave bands including Art of Noise, Spandau Ballet, Pet Shop Boys, Bobin, Paul Dee, DJ Krush, DJ Shadow, Jets Orchestra. By his 20s he was working as a sound designer for Akai, Roland Emu/Ensoniq, eventually signing on exclusively with the latter. Later, due to a growing demand for software instruments and libraries, Eddie started to develop libraries for various software manufacturers, including Native Instruments, Kiesel, Sound Effects Library, Arturia and Propellerheads. A meeting with Phil Allen, a Capital Radio DJ, resulted in the company Samplecraze, which Eddie has spent 20 years developing as an educational resource. At this time he trained in music production and soon gained a number of prominent contracts working with some notable artistes such as Busta Rhymes, Greensleeves, 9 Bar, SFP, Sleeveless, Chris Campbell and Gam Productions. He contracted to Island Records and Chrysalis as a producer and remixer,  plus was commissioned to write the score for Macbeth that ran at 2 Way Mirror at Alexander Palace for the Cambridge Shakespeare Company. His ongoing development of Samplecraze has led to him offering educational workshops and classes, releasing four books via PC Publishing and becoming a contributor and forum moderator for Sound On Sound. Recently he has established The Audio Production Hub for online education and been invited by the Recording Academy to become a Grammy judge.https://eddiebazil.co.uk/https://samplecraze.com/

Welcome to the exhilarating Season 4 of the Hunters HD Gold Behind the Lens Podcast!https://huntershdgold.com/podcastDive into the heart of adventure with us as we embark on our fourth season, bringing you even closer to the action and behind-the-scenes insights from the world of hunting, shooting sports, and outdoor exploration. With an arsenal of new episodes, exclusive interviews, and the latest tech and tactics from the field, this season promises to be the most thrilling yet!Follow our trail online: Facebook: https://www.facebook.com/HuntersHDGold/ Instagram: https://www.instagram.com/huntershdgold/ Twitter: https://twitter.com/BrianConleyHHDG Website: https://huntershdgold.comElevate your game with our trusted partners:Excaliber Ammunition: https://excaliber-ammo.com | Use Code: HuntersHD for Free ShippingMake Ready Nutrition: https://makereadynutrition.com | Use Code HUNTERSHD for 25% offIWI: https://iwi.us | Use Code HDG15 for 15% off your orderRealAvid: https://www.realavid.com | Use Code RAHHDG for 10% off your orderGhost USA: https://ghostholsterdirect.com | Use Code HuntersHD 15% offLooking for sponsorship for your match? Visit https://huntershdgold.com/sponsorship for assistance.Got questions for our guest or feedback for the show? Drop us an email at Info@HuntersHDGold.com.-Safety Notice- Your safety is our utmost priority. We promote the safe and responsible ownership and use of firearms. All activities showcased on our platform are conducted in a safe, controlled environment by professionals. Whether you're a new firearm owner, considering becoming one, or have any firearms-related questions, please don't hesitate to reach out. If we can't assist you directly, we'll ensure you're connected with someone who can.Discover the world of competitive shooting sports through the eyes of industry leaders, top athletes, and match directors in the Behind the Lens Podcast, hosted by Brian Conley of Hunters HD Gold. Delve into captivating conversations that reveal the passion, dedication, and skill that define the shooting sports community. Brian, a steadfast supporter of the shooting sports, brings unique insights and expertise to each episode. Uncover the latest trends, techniques, and stories from the people who shape the shooting sports landscape. Join us as we explore the dynamic world of competitive shooting, the shooting industry, and the remarkable individuals who make it all possible.Hunters HD Gold Links:Website: https://huntershdgold.comInstagram: https://www.instagram.com/huntershdgold/Facebook: https://www.facebook.com/HuntersHDGoldYouTube: https://www.youtube.com/channel/UCBWH4kOqaX-x34uYOviQ-tgUnited States Practical Shooting Association Official Eyewear: https://uspsa.orgSteel Challenge Shooting Association Official Eyewear: https://scsa.orgMetal Madness Official Eyewear: https://...

Episode 004Ever wondered how the breathy whispers of a tenor sax or the rich depth of an English horn can be recreated using technology? Join us as we, Matt Traum and Alistair Parnell, unveil the secrets behind the expressive possibilities of woodwind emulations on the Aerophone Academy podcast. Get ready to encounter the intricate techniques that bring the subtle imperfections and human-like qualities of traditional woodwinds to life through platforms like the Aerophone, Audio Modeling's SWAM instruments, and the Yamaha VL70-m equipped with Patchman Music's TURBO VL upgrade chip.This episode promises a treasure trove of wisdom, as we share anecdotes and insights into emulating everything from double reeds to the flutophone. Discover how the 'right' sound is less about objective standards and more about the artist's preference and the performance context. Learn how nuanced dynamics, articulations, and a deep understanding of an instrument's range can elevate a performance from simply impressive to strikingly realistic. Whether you're a seasoned wind controller enthusiast or just intrigued by the fusion of technology and tradition, this episode is your backstage pass to the very best woodwind emulations.If you'd like to send us a question for an upcoming episode, please email us at info@aerophoneacademy.comOr leave us a voice message that we can include in the podcast here.For more information about Matt, visit www.patchmanmusic.comFor great Aerophone courses, visit www.isax.academy

Episode 003We've all experienced the challenge of mastering new instruments, and wind controllers are no exception, offering a plethora of fingering systems to suit any player. From standardised saxophone and EWI fingerings to the customisable fingerings that streamline playability, this episode peels back the layers of complexity behind these fascinating devices. Compare various models, like the Roland Aerophone range as well as Yamaha, Akai and many others, and join us as we help you discover the options from personalising fingerings to emulating the intricate sounds of acoustic instruments. There's our usual news features and our regular track of the month recommendations, this time featuring Nyle Steiner and Tom Scott. As we wrap up, we set the stage for an enthralling next episode focused on the art of emulating acoustic instruments. Get ready to unlock the potential of your wind controller, and let this episode be the guide you never knew you needed.Recommended listening LinksNyle Steiner and Maurice Jarre - Concerto for EVITom Scott plays Lyricon on "Alibi" by Christopher CrossBillie Jean Lyricon riff Tom Scott plays Lyricon on "Do That To Me One More Time" by The Captain & TennillePatchman ES2 SoundbankiSax.Academy Advanced Aerophone Course If you'd like to send us questions for the next episodes, please email us at info@aerophoneacademy.comOr leave us a voice message that we can include in the podcast here.For more information about Matt, visit www.patchmanmusic.comFor great Aerophone courses visit www.isax.academy

In part 2 of this two-part podcast we talk to Dan Labrie owner of  Myriad Magnetic.Dan has been involved in professional analogue recording technology since 2010. He began his career replacing switches and capacitors on an Amek console at a recording studio in Detroit. As a result of  working for analogue tape pioneer Mike Spitz, who owned ATR Services and the tape manufacturer ATR Magnetics, he has gained valuable experience in, not just the machines, but also  in the tape they record and play.Support the show

By far one of the funniest episodes yet.Lock in with our special guest co-hosts Divine Drummah & Mentplus on this week's episode as we discuss a week in music, including the legacy of J-Dilla, The Grammys, and of course we sprinkled in some Rewhips from Divine Drummah, and some heat from Mentplus. This week's episode is brought to you by Manscaped! Get 20% Off and Free Shipping with the code THECHOPSHOP at Manscaped.com. That's 20% off with free shipping at manscaped.com and use code THECHOPSHOP. Unlock your confidence and always use the right tools for the job with MANSCAPED™ Support the showWEBSITE AND MERCH! - http://www.officialchopshoppod.com

Join us for a closer look at the history of the Roland Aerophone and range of Aerophone models- from its initial launch, to the groundbreaking updates that have transformed it into a formidable musical force. We reminisce about its inception, the excitement of new technical features, and how it stands today as a refined tool for musicians. Meanwhile, we compare the AE-30 and AE-20, dissecting their unique features to help you decide which model is right for you. We'll discuss the wide range of additional sounds available via the Roland Cloud, and we explore how to utilize the built in General MIDI drum Scenes in the AE-20/AE-30 to lay down grooves with a wind controller.Be part of our community's pulse; join the conversation and influence future discussions with our SpeakPipe feature. Whether you're a seasoned pro or a newcomer to wind instruments, we're here to help. Roland Cloud Aerophone sound packs Recommend listening links.Judd Miller plays Wichita LinemanBob Mintzer/Yellow Jackets and the WDR Big bandIf you'd like to send us questions for the next episodes, please email us at info@aerophoneacademy.comOr leave us a voice message that we can include in the podcast here.For more information about Matt, visit www.patchmanmusic.comFor great Aerophone courses visit www.isax.academy

Join Matt Traum and Alistair Parnell, as we lift the curtain on the wonderful world of wind controllers in our debut Aerophone Academy podcast. Wrap your ears around the technological evolution and expressive potential of wind controllers, a fascinating fusion of tradition and innovation. We unravel the intricate designs, settings and controls that breathe life into these instruments, from the pioneering work of Nyle Steiner and Bill Bernardi, to today's cutting-edge models. So, ready your embouchure, and tune in for a harmonious blend of insight, technology, and musical expression that defines the Aerophone Academy podcast.Recommended listening links -Eli Benacot Hybrid ConnectionsMichael Brecker plays EWIIf you'd like to send us questions for the next episodes, please email us at info@aerophoneacademy.comOr leave us a voice message that we can include in the podcast here.For more information about Matt, visit www.patchmanmusic.comFor great Aerophone courses visit www.isax.academy

Akai are paving new frontiers of sampling with their incoming update for MPC. Stylophone, that usual stocking filler have landed with a doozy drone machine and in the Round Robin we're continuing the sampling theme by looking at where we find our samples. Help Support the Channel: Patreon: https://www.patreon.com/audionautic Join our Discord for a positive space on the internet to talk synths, music marketing, production and more with like minded producers: https://discord.gg/VPZUWxdK8Y Thanks to our Patrons who support what we do: Audionauts: Abby, Bendu, David Svrjcek, Josh Wittman, Paul Ledbrook, Matt Donatelli and Stephen Setzepfandt, Mike K Smith Lars Haur - Audionaut Producer Time Stamps: 00:00 - Intro 03:00 - MPC Stems 09:00 - What does this mean for sampling and other samplers 17:00 - help support the show on patreon 23:00 - Stylophone modular synth 28:00 Music For Imagined Landscapes 38:00 - AI Copyright in UK 50:00 - 4 ways to find samples 58:00 - SPLICE 01:02:00 sample archives (public domains is best) 01:08:00 sample yourself 01:12:00 Making one shots

0:07:26 Synopses 0:13:07 Chapter 25 discussion 1:08:04 Chapter 26 discussion 1:48:14 Chapter 27 discussion 2:27:10 Chapter 28 discussion 3:06:01 Plugs and outro 3:14:42 Post-ED chat OP: "Motor psycho" by Seagull Screaming Kiss Her Kiss Her ED: "Akai ito" by Logiq Write into our Question Bucket at ghostdiverspod@gmail.com and follow us on Twitter! The Show: @ghostdiverspod (twitter) or @ghostdivers (cohost) Niamh: @FoxmomNia (twitter) or @foxmomnia (cohost) Connor: @rabbleais (twitter) or @rabbleais (cohost) Export Audio Network: exportaud.io Ghost Divers: exportaud.io/ghostdivers Pondering Pootan: exportaud.io/pootan Ornate Stairwells: exportaud.io/ornatestairwells Around the Long Fire: abnormalmapping.com/longfire Check out our official schedule at exportaud.io/divingschedule! Content Warnings for the Discussion Sex and sexuality Pregnancy/abortion/unwanted children Pedophilia/child sex work/grooming Abuse/manipulation/violence/possessive behaviors Sexism, slut-shaming Suicide Find out more at https://ghost-divers.pinecast.co

Today on the Beat Club Podcast we are accepting beat submissions from around the globe; as we speak on a variety of topics like VSTs worth having, pranks that have gone too far, always being right,  going to the beach and not getting in the water and much more. So sit back and enjoy music sent in from some of the Best producers in the world; and be sure to follow us on all social media platforms. Beatclubpodcast.com | #whereprodcuersareheard

This week, we talk the recently announced Akai APC 64... Is it pushing out the Push 3? Given the specs, not quite... but there is a lot to like about it and it could be a great controller for a DAW setup. We've also got a demo of the new Cherry Audio PS3300 courtesy of Eonlake. Then we'll talk the latest news coming out of Bandcamp after the Songtradr Acquisition. Finally, Spotify Wrapped is on its way! Here's what you can do to get ready and what Spotify is offering for fan outreach this year. Help Support the Channel: Patreon: https://www.patreon.com/audionautic Thanks to our Patrons who support what we do: Audionauts: Abby, Bendu, David Svrjcek, Josh Wittman, Paul Ledbrook, Matt Donatelli and Stephen Setzepfandt Lars Haur - Audionaut Producer Time Stamps incoming after the stream: 02:00 - What we're up to 07:00 - Cherry Audio PS-3300 14:00 - Cherry Audio PS-3300 Demo 17:00 - Cherry Audio PS-3300 Sounds 26:00 - Bandcamp/Songtradr layoffs 41:00 - Akai APC64 56:00 - Spotify for Artists - Wrapped is on its way!

Guests Paulee Bow Magical Synth Adventurer Robin Vincent Molten Music Tech Robbie Puricelli Pro Synth Network Youtube video version: https://www.youtube.com/watch?v=FkcAyMowOVI For preshow and Ad free version and much more: Patreon.com/sonicstate   For more than 25 years, Native Instruments has been at the heart of musical innovation. Native Instruments hardware, software, and digital services provide fully-integrated solutions for musicians, producers, and DJs of all genres and levels of experience. And exclusively for listeners of Sonic TALK, take 10% off your software purchase at Native-Instruments.com with the code SONIC10. Some restrictions apply.   The Future of Mastering is Ozone 11 - Craft the perfect listening experience with the ultimate collection of mastering tools. Whether you're putting the finishing touches on the next chart-topping hit or producing your first song, Ozone 11 delivers cutting-edge processing and AI-powered workflows. Effortlessly make your tracks release-ready and unlock the full potential of your productions. Don't forget the code SONIC10 to save 10%   00:00:17 SHOW START 00:01:19 AD: SonicState Patreon 00:03:19 SYNTHFEST UK 00:21:24 AD: N.I. Kontrol S Series 00:23:06 Analogue Solutions Maixmus 00:29:56 Akai APC64 00:40:35 AD: iZotope Ozone 11 00:43:16 1010Music Tangerine 00:57:30 nickhowesuk asks  via - [twitch] - QQ for this week. Given Ben Jordan Jorb and others now seem to be on the warpath against Behringer do the panel feel like it's time to just all just enjoy what kit we have/own/want to use and not spend an eternity bun fighting about music technology as most of us don't care if you have a room full of CS80s or Jupiter 8's what we care about is making music and enjoying our hobby/profession Where to Watch/Listen - We now stream the live show to Youtube Live,  Facebook Live as well as at  Sonicstate.com/live every Weds at 4pm UK time- please do join in. Preshow available on Twitch. You can also download the audio version from RSS FEED 

Eddie Bazil dives into some of his favourite plug-ins and gives us a series of examples on how to use these tools creatively for designing unique and interesting beats, sequences and mixes. Chapters00:00 - Introduction00:21 - What Makes A Tool Creative?03:25 - Example 1: A Cinematic Piano Effect07:03 - Example 2: Creating A More Dynamic Beat10:19 - Example 3: Sequencer-Based Multi Effects On A Drum Beat13:26 - Example 4: Reshaping A Musical Sequence 21:21 - Example 5: A Sound Design Exercise Credits‘Puppet' track written, performed and recorded by John WaldenVocals by Yvonne McKeownEddie Bazil BiogEddie Bazil launched his music industry career at the age of 17 as a synth programmer for a range of Electro / New Wave bands including Art of Noise, Spandau Ballet, Pet Shop Boys, Bobin, Paul Dee, DJ Krush, DJ Shadow, Jets Orchestra. By his 20s he was working as a sound designer for Akai, Roland Emu/Ensoniq, eventually signing on exclusively with the latter. Later, due to a growing demand for software instruments and libraries, Eddie started to develop libraries for various software manufacturers, including Native Instruments, Kiesel, Sound Effects Library, Arturia and Propellerheads. A meeting with Phil Allen, a Capital Radio DJ, resulted in the company Samplecraze, which Eddie has spent 20 years developing as an educational resource. At this time he trained in music production and soon gained a number of prominent contracts working with some notable artistes such as Busta Rhymes, Greensleeves, 9 Bar, SFP, Sleeveless, Chris Campbell and Gam Productions. He contracted to Island Records and Chrysalis as a producer and remixer,  plus was commissioned to write the score for Macbeth that ran at 2 Way Mirror at Alexander Palace for the Cambridge Shakespeare Company. His ongoing development of Samplecraze has led to him offering educational workshops and classes, releasing four books via PC Publishing and becoming a contributor and forum moderator for Sound On Sound. Recently he has established The Audio Production Hub for online education and been invited by the Recording Academy to become a Grammy judge.https://eddiebazil.co.uk/https://samplecraze.com/https://theaudioproductionhub.pivotshare.com/

I had the opportunity to sit down with personal branding expert, Akai Jackson who is also the Studio Manager at Khanna House Studios, Wellington Florida's exclusive pod/VLOGcast + Content Creation Studio and Event Space. Their full-service studio presents a chic and refined setting designed for enterprises, innovators, individuals, and artistic experts to collaborate and fabricate top-tier content for their audiences and so we sat down using their recording equipment and recorded the audio and video for this podcast. Look for the video on YouTube soon. We had a great chat about content creation and personal branding, and Akai offered some really solid foundational tips on getting started in the field of creation. It was great, I enjoyed our chat. If you are in the Palm Beach County area, check out Khanna Studios in Wellington. Website: khannahousestudios.com Instagram: Khannahousestudios Akai Jackson in IG: AkaiJJackson Get your free "13 Step Personal Growth Plan" : ⁠Sign up⁠ Join my Run Club For Non-Runners: ⁠⁠https://lifecoachzach.com/livebetternowrunclub/⁠ Instagram: ⁠Zachrancey⁠ Get my book on Amazon: ⁠⁠⁠⁠⁠https://a.co/d/8zFqZXD⁠⁠⁠⁠⁠ --- Send in a voice message: https://podcasters.spotify.com/pod/show/zachrance/message

This is our weekly music production, technology and marketing podcast. This week we're talking Moog being purchased, a sound demo and walkthrough of the U-He free plugin Triple Cheese synth. In the Marketing Minute we'll take a look at a patron request comparing Spotify and Bandcamp's listener base, as well as some ways to utilize Spotify as a discovery method for your music. ----------------------------- Thanks to our Patrons who support what we do: Audionauts: Abby, Bendu, David Svrjcek, Josh Wittman, Paul Ledbrook, Matt Donatelli and Stephen Setzepfandt McKinleyA - Audionaut Engineer Lars Haur - Audionaut Producer  Help Support the Channel: Patreon: ⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/audionautic⁠⁠⁠⁠⁠⁠⁠  PayPal: ⁠⁠⁠⁠⁠⁠⁠https://www.paypal.com/paypalme/AudionauticRecords⁠⁠⁠⁠⁠⁠⁠  -----------------------------  00:00 What We're Up To 14:00 Moog Purchased by Akai's Parent Company, InMusic 25:00 Walkthrough and Sound Demo of FREE U-He Synth, Triple Cheese 38:00 Novation Teams Up With FL 47:00 Marketing Minute: Spotify and Bandcamp - How To Optimize as an Independent Musician 01:07:00 Round Robin - Make Phat Drums

Join us as we uncover the captivating journey of the Bairden twins, Mark and Chris, along with their lifelong friend Phil Schanbaum. Together, they embody the true essence of hospitality and share their experiences as remarkable entrepreneurs.From their early days organizing high school parties and attending bartending school, to their ventures in managing nightclubs, restaurants, and hotels, their passion for the industry shines through. Through triumphs and setbacks, they fearlessly embraced the challenges of ownership, learning from failures to achieve success.In this episode, we delve into their diverse portfolio of establishments, including Truth and Alibi, Punk Society, Tipsy Alchemist in Dallas and Austin, Felix Culpa, Barcadia, Dahlia, PM Lounge, Musume, Akai and soon to come new concept Jolie out of state and 2 more we cannot talk about yet as well as High Fives, The Whippersnapper, Sfuzzi, Tiny Victories, Double D's, Ferris Wheelers. These adult playgrounds are meticulously crafted with outstanding bar and food programs, all wrapped in exceptional service. As big corporations flock to Dallas, Mark, Chris, and Phil emphasize the importance of supporting local originals and cherishing the personal touch they bring.The discussion takes an introspective turn as they recount the struggles faced by the service industry during the COVID-19 pandemic. Despite the unexpected setbacks, their resilience shines as they navigate the challenges of maintaining customer satisfaction, dealing with temperamental chefs, and valuing invaluable customer feedback.Don't miss this insightful conversation filled with inspiring anecdotes and lessons learned from these passionate individuals. Tune in as we welcome the Bairden twins and Phil Schanbaum to our show, bringing you a fascinating glimpse into the world of hospitality entrepreneurship.

Lock in for this week's episode of The Chop Shop as we sit down with The Session In's own Divine Drummah, aka Stankin Dookie, aka Bassline Divine, aka Hide Yo Auntie! Divine brings up stories about his guitar as a child, progressing to an Akai 950 & the new workflow with Koala Sampler App. This episode is sponsored by The Battle Ave.  - https://www.thebattleave.com/  ---   New ways to promote the benefits of sharing culture, taking raw ideas from concept to prototype to scale, and challenging ourselves to constantly create solutions for the people we represent. This is Battle Ave Follow Divine on Instagram - https://www.instagram.com/divine_drummah/Chop Shop Merch - https://thechopshopmerch.square.site/  Support the showWEBSITE AND MERCH! - http://www.officialchopshoppod.com

Eddie Bazil demystifies Compression and Expansion with a detailed explanation of their uses and with a range of practical examples using plug-ins. Chapters00:00 - Introduction00:22 - Compressors And Expanders Explained01:33 - Compressor Behavioural Types02:40 - Common Compressor Topologies06:06 - Example 1: Boz Digital Manic Compressor On Drums10:26 - Example 2: FabFilter Pro MB On A Synth Line13:28 - Example 3: PreSonus Studio One Expander On A Drum Beat15:26 - Example 4: A Drum Beat Using Different Topologies20:24 - Example 5: Using Sidechaining On Reverb 23:28 - Example 6: FabFilter Pro MB On A Vocal Line27:16 - Example 7: Sidechain Compression And Expansion To Create Texture And MotionCreditsExample 6 - The song and the poem are both called Everyone Sang. The poem was by Sigfried Sassoon and was set to music and performed by Anne Gregson.www.annegregson.co.ukRecorded at www.mrpunch.infoEddie Bazil BiogEddie Bazil launched his music industry career at the age of 17 as a synth programmer for a range of Electro / New Wave bands including Art of Noise, Spandau Ballet, Pet Shop Boys, Bobin, Paul Dee, DJ Krush, DJ Shadow, Jets Orchestra. By his 20s he was working as a sound designer for Akai, Roland Emu/Ensoniq, eventually signing on exclusively with the latter. Later, due to a growing demand for software instruments and libraries, Eddie started to develop libraries for various software manufacturers, including Native Instruments, Kiesel, Sound Effects Library, Arturia and Propellerheads. A meeting with Phil Allen, a Capital Radio DJ, resulted in the company Samplecraze, which Eddie has spent 20 years developing as an educational resource. At this time he trained in music production and soon gained a number of prominent contracts working with some notable artistes such as Busta Rhymes, Greensleeves, 9 Bar, SFP, Sleeveless, Chris Campbell and Gam Productions. He contracted to Island Records and Chrysalis as a producer and remixer,  plus was commissioned to write the score for Macbeth that ran at 2 Way Mirror at Alexander Palace for the Cambridge Shakespeare Company. His ongoing development of Samplecraze has led to him offering educational workshops and classes, releasing four books via PC Publishing and becoming a contributor and forum moderator for Sound On Sound. Recently he has established The Audio Production Hub for online education and been invited by the Recording Academy to become a Grammy judge.https://eddiebazil.co.uk/https://samplecraze.com/https://theaudioproductionhub.pivotshare.com/

On this episode of the Beat Club Podcast, we get a chance to chop it up with a talented songwriter & singer from Chino Hills, California... Brandy Haze! Tap-in as we talk to her about what inspires her music, finding 90's R&B in the 2000s, the benefits of wearing multiple hats as an upcoming artist ,all while listening to her new tunes & your beats sent in from around the globe. Beatclubpodcast.com | Whereproducersareheard.com

It's been a long time.... Two and a half weeks to be exact, but we are back! Hope y'all had a safe and pleasant holiday break. Your favorite rap nerds have reconvened for Season 6 of the Dad Bod Rap Pod and we are starting on a good note with episode 251. Side A of this episode starts with the original kings of content David Ma, Demone Carter, and Nate Le Blanc talking about their New Year's Eve debauchery/resolutions. Then, the bros welcome Brooklyn-bred rapper AKAI SOLO to the program. Spirit Roaming, AKAI's latest release on the venerable Backwoodz Studioz label was described by Pitchfork as "impassioned soliloquies and elaborate sample arrangements, rendered with impressive precision." In this interview, AKAI breaks down how Spirit Roaming came into to being and the guidance he received from billy woods during the process. He also talks about his approach to rap, friendships, and life generally. Disclaimer: the zoom was glitching in spots during this interview, but it's still really good. On Side B, the Dad Bods discuss their favorite hangover cures which run the gamut from weed to egg Mcmufins. A good time was had by all. Hope you enjoy. If you like what you hear please like, rate, review, and subscribe on your platform of choice. If you really down with the team, please subscribe to our Patreon (patreon.com/dadbodrappod) Big ups to Stony Island Audio massive! Joints featured in this episode Side A: Jyu Viole Grace (instrumental)-AKAI SOLO Marine Snow-AKAI SOLO Fresh Squeezed-Squires Side B: Fire In The Hole-Earl Sweatshirt Quick Realignment-Jeff Markey Thunderball-Lungs/Lonesword feat. Phiik

 If you're looking for sushi in Antigua, your best option is Akai Sushi Restaurant, a lovely place to get Japanese, Chinese and Thai food.In today's podcast I'm going to talk about Akai Sushi in Antigua, GuatemalaAbout Marina 'Travel Experta'I am an Experience Collector, World Traveler, Expat Mama and WifeI have been an expat for over 20 years, raising 2 trilingual sonsMy family and I have traveled to over 40 countries and counting …I'm here to inspire you to travel, move internationally, have fun with your family and so much more!Did you enjoy the podcast?Leave a review on Apple Podcast! They are one of THE most important factors for podcasts, and it's super easy to do: Click on “View in iTunes” on the left-hand side under the picture. Leave an honest review.Thanks, you're super! 

Akai Jackson is on a personal journey to explain that mindfulness matters and that growth results from emotional wellness. Akai founded ‘I Excel Today', a personal development agency that curates health and wealth programs to take clients from existing to excelling in their physical, mental, emotional, and financial health. Akai uses his life experiences and his background as a decorated college athlete to help people grow into the best version of themselves. Akai is the author of ‘The Making Of A Man, a book explaining that men are living in a culture full of mixed influences and that it is possible to bridge the gap between mind, body, and spirit. Listen & Subscribe on: iTunes / Stitcher / Podbean / Overcast / Spotify Contact Info Website: www.ixl.today Podcast: The Brand For Bosses Book: The Making of a Man: True Manhood Lies in the Process by Akai Jackson and Allan Sobie Most Influential Person My father has been a huge mindfulness supporter of mine. That is to say, anytime I do a talk and I struggle with something I can't make two sentences flow or make it make sense. So I don't know where to go, what to do, what to step into. Therefore, my father is a huge influence on me in doing that, keeping me on track and moving me in the right direction. Effect on Emotions I feel like I grew up in an era where you didn't speak unless spoken to. That is to say, I'm also a man who thought there was an unwritten rule. “Thou shalt not express emotions to anyone you check that stuff right inside”. So I think just as I've gotten older and understood that invulnerability comes strength, and I've realized that me being able to open up my chest and be able to look at a man like you and say, “Listen! I've got pain, I'm broken. I've been heartbroken. I've got these things that I'm wrestling with and dealing with. I find true strength and vulnerability”. So that's super helpful. Thoughts on Breathing Breathing is extremely important when it comes to anything, whether it's mindfulness or even just being able to make sure that you maintain a conscious thought and conscious behavior. For example, your subconscious brain constitutes 95% of what you think about and that means five or 10 is left. So one of the main ways that you can actually be in touch with who you are, what you are when you are, why you are and your surroundings are to slow your breathing down and be very conscious about your body scanning and being able to close your eyes, take deep breaths and go through a mental checklist. Suggested Resources Book: The Making of a Man: True Manhood Lies in the Process by Akai Jackson and Allan Sobie Book: Make Peace with Your Mind: How Mindfulness and Compassion Can Free You from Your Inner Critic By Mark Coleman and New World Library App: FitMind: Mental Fitness Bullying Story  I have a student that I work with now. So on the spectrum, he has sensory processing issues.  He actually has suffered from bullying all year. To the point where his parents and I are having conversations about him, not returning to school. It's going to be his senior year. Firstly, he would miss the social aspect of what his senior year would look like, he would miss all the interactions, from senior trips, the prom, and all those things. So when I first got started with him, the first thing we put in is a list of what to say, when you talk to yourself is extremely important. We build some affirmations. Then we talk about if you treated yourself like your best friend, would you say any of the things that you say to yourself repeatedly, for instance, I'm dumb, I'm stupid, I can't get this, I'm never gonna amount to this. Certainly, you don't let your best friend talk to himself or herself like that. So why would you talk to yourself like that? Therefore, we did a mindset shift and transform this into how to become a great thinker, some of the commonalities behind being a great thinker? Let's get obsessed with observing the masses and doing the opposite. As a result, we asked him if it was okay to make a decision. Do you want to complete your senior year online? Study to get your GED so we can get you out in the workforce sooner? Or do you want to go back to high school? Lastly, he looked at me dead in my face. And he said I'm going back to high school. Related Episodes Meditation and Beyond with MindFlow App Founder Fabio Mattiussi How Meditation Can Save The World; Tom Cronin Myung Sung: The Korean Art of Living Meditation with Dr. Jenelle Kim Special Offer Are you experiencing anxiety & stress? Peace is within your grasp. I'm Bruce Langford, a practicing coach, and hypnotist helping fast-track people just like you to shed their inner bully and move forward with confidence. So book a Free Coaching Session to get you on the road to a more satisfying life, feeling grounded and focused. Send me an email at bruce@mindfulnessmode.com with ‘Coaching Session' in the subject line. We'll set up a zoom call and talk about how you can move forward to a better life.