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Erlebe die Power von Heavyocitys Damage Machina! In diesem Video zeige ich dir, was die Library alles draufhat: Ich spiele verschiedene Sounds an, teste die Bedienung in Kontakt, bastle einen kleinen Industrial/Hybrid-Demo-Track in Cubase und teile am Ende meine persönliche Meinung. YouTube: https://youtu.be/2MFmkxMcdAM Zum kostenlosen Cubase-Stammtisch anmelden: subscribepage.io/1D69jt Wenn ich Dir helfen konnte, freue ich mich über einen virtuellen Kaffee ;-) https://ko-fi.com/timheinrich Orchestra Guide - Perfekte Orchester-Mockup-Balance: https://payhip.com/b/oRXKh Hier das Episoden-Archiv als PDF runterladen: https://www.sounth.de/media/podcast/sounTHcast.pdf Facebook-Gruppe: https://www.facebook.com/groups/309751689699537/ Fragen und Anregungen an sounthcast@sounth.de Website Tim Heinrich: https://sounth.de
Do druhého dílu podcastu V producentské dílně přijal pozvání producent, hudebník a držitel několika hudebních cen Boris Carloff. Člověk, který se prý producentem původně vůbec stát nechtěl, ale dnes patří mezi nejrespektovanější osobnosti na české hudební scéně. V rozhovoru odkrývá, proč příliš neuznává kompromisy, jak důležitá je upřímnost při práci ve studiu a proč v hudbě platí jednoduché pravidlo: méně je vždycky více, a to jak v počtu mikrofonů, tak i v používání pluginů. Boris Carloff není z těch, kteří by kolem sebe dělali zbytečný rozruch. Ale když začne mluvit o hudbě, zvuku nebo mikrofonech, je okamžitě jasné, že mluví někdo, kdo má v těchto oblastech obrovský přehled. Nezajímá ho jen nahrávací technika, ale i psychologie tvorby, vztahy mezi lidmi ve studiu a to, co se děje „mezi řádky“. Právě a nejen díky tomu se z něj stal respektovaný producent, který spolupracuje s Debbi, November 2nd a dalšími zvučnými jmény české hudební scény. Minimalismus jako cesta k lepším výsledkům Přestože má největší sbírku mikrofonů v republice, říká, že čím míň mikrofonů použije, tím méně problémů musí řešit. Stejně tak se staví i k pluginům. Sám je pomáhá vyvíjet v rámci firmy United Plugins, ale zároveň se netají tím, že to s nimi podle něj řada zvukařů a producentů přehání: „Lidi dneska mají neomezený přístup k technologiím, ale místo aby se zaměřili na zdroj zvuku, problémy řeší pomocí pluginů, jenže to není ideální způsob.“ Věřit původní myšlence a držet se jí. A hlavně dělat rozhodnutí už při samotném nahrávání. To považuje Boris za mnohem důležitější než nekonečné možnosti, které nabízí dnešní postprodukce. Kvalitní náběr, práce s prostorem, mikrofonem a výběr interpreta, to vše je podle něj klíčové. Svojí práci si nedokáže představit bez kvalitních studiových monitorů, převodníků a samozřejmě mikrofonů. A když už jsme mluvili o technice, v podcastu přišla řeč i na software. Cubase je pro Borise stále hlavní pracovní nástroj. Zmínil mimo jiné i to, který plugin považuje za nejpřeceňovanější, a které naopak používá téměř v každém projektu. Hudební produkce je hlavně práce s lidmi Tento díl ale rozhodně není jen o mikrofonech a pluginech. Velká část rozhovoru se věnuje mezilidské stránce produkce, která hraje zásadní roli. „Producentská práce je také o práci s lidmi, je to jako ve vztahu. Někdy jde vše hladce, jindy nastanou komplikace, ale vždycky by člověk měl být k tomu druhému upřímný. Když něco nefunguje, nebo ti něco vadí, musíš to říct. Jinak ztratíš důvěru.“ I proto se Boris rád stává součástí kapel na delší dobu, vytváří si s nimi přátelský vztah, který přesahuje běžnou studiovou spolupráci. V rámci této epizody se dostáváme i k jeho úzké spolupráci se zpěvačkou Debbi – jejich společnou tvorbu vnímá jako osobní projekt. Na příkladu skladby You Wanted All z Debbiiny nové desky Deep Emotions Boris exkluzivně odkrývá, jak takový track vzniká – od první demo nahrávky až po finální mix a mastering.
Send me a messageStarting music production at home? This episode of Inside The Mix is your step-by-step guide to building the best home studio setup for beginner music producers. Marc Matthews and Tim Benson unpack exactly what gear you need to produce music at home, without breaking the bank.They walk through a basic home studio equipment list for new producers, including affordable equipment for starting a home recording studio—from entry-level DAWs for home music production like Logic Pro and Cubase, to beginner audio interfaces for music production such as those from Focusrite and Behringer.You'll also hear about the best headphones for home studio recording, how to source quality gear secondhand, and whether or not you really need an audio interface for home recording. This episode covers the essential gear to start making music at home, while emphasising the importance of building skill over collecting expensive tools.If you're feeling overwhelmed by gear options and just want to get started, this episode delivers the practical advice, gear recommendations, and mindset shift every beginner needs. It's not about having everything—it's about knowing how to use what you've got.Links mentioned in this episode: Got a question? We'd love to hear from you! Submit a question, share your social media handles or website, and get featured in a future episode. Plus, one lucky person will win a Starbucks voucher each month!Listen to Liquid BlueListen to Half-LifeAudio Technica ATH-M50xFocusrite Scarlett Solo (3rd Gen)SSL 2+ MKII NI Komplete Audio 1 / Audio 2Apollo InterfacesBeyerdynamic DT 990 PROBehringer Audio Interfaces Support the showWays to connect with Marc: Radio-ready mixes start here - get the FREE weekly tips Grab exclusive access to BONUS content Book your FREE 20 Minute Discovery Call Follow Marc's Socials: Instagram | YouTube | Synth Music Mastering Thanks for listening!!
"Blossoming Wake was inspired by the field recording “By The Kukkia Lake” by Sirpa Jokinen. I was drawn to this field recording, which was made with a contact microphone, simply because I too have been using contact microphones to record outdoors. "My sound sources consist of contact microphones placed in dead hollow trees (Clark Reservation, Jamesville, NY) and on a creaking gate (Three Falls Woods, Manlius, NY). "Additional sound sources (made with a shotgun microphone) include rubber balls rubbed against a wooden sculpture (Stone Quarry Hill Art Park, Cazenovia, NY) and various water sounds (Crystal Lake, Benzie County, MI). All audio files used to create this “blended landscape” have been edited and processed in the studio using Cubase and Ableton." Kukkia lake, Finland reimagined by Edward Ruchalski.
vd1037_cubaseを14にアップグレードしました.mp3昨年夏の50％OFFを買い逃してからやさぐれで11を使い続けていましたが、お得なセールがあったので14にアップグレードしました〓️
Tauche mit mir ein in die Welt des Film-Mischens!
Tauche mit mir ein in die Welt des Film-Mischens!
Tauche mit mir ein in die Welt des Film-Mischens!
Vojtěch Meluzín is the founder and CEO of MeldaProduction, a Czech-based audio software company renowned for its innovative and versatile audio plugins. Born and raised in the Czech Republic, Meluzín's journey into music and technology began early. He started programming at the age of 10 and was already creating music on an Atari using Cubase by the age of 8. Meluzín pursued his passion for music and technology through formal education, culminating in a university degree where he developed a GUI system for plugins as part of his diploma work. His initial foray into audio software development was the creation of MDrummer, a project that began as a school assignment but evolved into a commercial product. Encouraged by a peer to market his creation, Meluzín improved MDrummer significantly and decided to venture into the audio plugin industry independently. Under his leadership, MeldaProduction has grown to offer over 120 plugins, including the flagship MSoundFactory and MTurboComp. Meluzín is known for his hands-on approach, having developed the company's custom framework without relying on third-party SDKs, allowing for complete control and optimization. He emphasizes innovation over imitation, often critiquing the industry's focus on analog emulation and instead leveraging digital capabilities to create unique audio processing tools. Meluzín's work is characterized by a commitment to pushing the boundaries of audio software, integrating machine learning and advanced algorithms to enhance functionality and user experience. His dedication to quality and innovation has positioned MeldaProduction as a respected name in the audio production community. Vojtech Meluzin Links Mr. Bill's Links
Artist, writer and multi-instrumentalist Loney Dear explains why he's taking production back to basics, why he no longer craves acceptance from the music industry, and how he's gone from making music in a basement using basic tools, to a professional studio using cutting-edge music production technology, Steinberg's Cubase 14.
Tauche mit mir ein in die Welt des Film-Mischens!
Tauche mit mir ein in die Welt des Film-Mischens!
Tauche mit mir ein in die Welt des Film-Mischens!
Tauche mit mir ein in die Welt des Film-Mischens!
Hi. (After, like, 5 years :-P ). Just a small song. YERZMYEY - "NO TRACKER" (C) 2025 ATARI 520 ST + YAMAHA PSS-680 digital synthesizer. YM3420 chip for two-operator FM synthesis and the YM3419 chip for PCM drums. Cubase sequencer has been used + lots of recording studio effects. 2025 Creative Commons CC Attribution Noncommercial No Derivative Works (BY-NC-ND)
Tauche mit mir ein in die Welt des Film-Mischens!
"The field recording of the "Día de los muertos" consist mainly of murmur and low crowd sounds, some laughter and children shouting. To combine this with the celebrations that go along with the Day of the Dead I was listening to various traditional music that is typically played. That included rancheras, cumbias, Son Jarocho etc. I then found the quite well known traditional song "La Sandunga", which has its roots in the state of Oaxaca. Dating back to the 19th century I included that melody into my track, with the original field recording weaving in and out to that tune. "I wanted at least parts of the field recording to be recognizable to keep that live feeling of the special place and event. These are processed into more eery sounds until the rhythm starts and that also appear in the middle and the end. So the whole thing tries to combine that silent respect, remembering of the dear ones who passed, and a bit of superstition and gloomy feelings that surrounds death - and the celebration of life at the same time. "Between verse and chorus there's a more modern and "funky" interlude. It should reflect that tradition and modern world can meet and find a way together. "On a personal level, death is something that is not that far away and abstract any longer, as it used to be in younger years (being almost 60 years old). Dear family members and friends have passed away, and it seems that time is becoming more valuable day by day. Death is something that is dealt with on a very personal level here in Germany, and it is not really part of our culture. So with this track I also bow to the Mexican culture that reveales this part of our existence, gives death a respectful place in society, and yet at the same time creates a celebration of life on the "Día de los muertos". "Many sounds were created from the original sample - the ambient and percussive sounds, and some of the melodic sounds. To connect this to the sounds that may be heard in Mexico, when the traditional live bands are playing, I added a (slightly distorted) guitar, a viola and brass as virtual instruments to the track. Melodies were recorded with very little editing. It is supposed not to be 100 % perfect and to have that somewhat lo-fi sound. That way the song may keep the live atmosphere of the field recording. "The track was created in Cubase 14 Pro. Sounds were processed and sampled using Audacity, Battery 4, Native Instruments Form/Guitar Rig 7, Dawesome Myth, Dawesome Love. The "real" instruments were Native Instruments Strummed Acoustic and Session Horns, and Expressive E Arche Viola." Aztec danzantes in front of Basilica for Romeria reimagined by zenbytes. ——————— 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
In diesem Video zeige ich dir, wie du in Steinbergs Cubase ganz einfach den linken und rechten Audiokanal vertauschen kannst. Egal, ob du das Panorama eines Tracks umkehren oder eine kreative Stereo-Umkehrung vornehmen möchtest – mit diesen einfachen Schritten gelingt es dir problemlos. Schau dir das Video an und erfahre, welche Methoden es gibt, um das Stereobild flexibel anzupassen! YouTube: https://youtu.be/6QGk-V_Sl5E Zum kostenlosen Cubase-Stammtisch anmelden: https://t314352df.emailsys1a.net/51/5885/b7d9bfeadc/subscribe/form.html?_g=1723224576 Wenn ich Dir helfen konnte, freue ich mich über einen virtuellen Kaffee ;-) https://ko-fi.com/timheinrich Orchestra Guide - Perfekte Orchester-Mockup-Balance: https://payhip.com/b/oRXKh Hier das Episoden-Archiv als PDF runterladen: https://www.sounth.de/media/podcast/sounTHcast.pdf Facebook-Gruppe: https://www.facebook.com/groups/309751689699537/ Fragen und Anregungen an sounthcast@sounth.de Website Tim Heinrich: https://sounth.de
Nytt EMOM 16:e april, Jouni svarar på en hemlig fråga Niklas hittat på och vi pratar lite DAWless, hur man nu uttalar det. Häng med på ett lite svamligare avsnitt än vanligt.Länklista:1.) EMOM 16e April - https://fb.me/e/5iEbw61pw2.) Inkonst - https://inkonst.com/event/emom-4/3.) Suiko ST-50 - https://www.youtube.com/watch?v=Rzo9ebsFd6Q4.) Cubase - https://www.steinberg.net/cubase/5.) Bruce Swedien, Billie Jean mix - https://www.youtube.com/watch?v=ZpcDYOxEST06.) Presonus Capture - https://www.presonus.com/pages/capture7.) Bitwig - https://www.bitwig.com/8.) Audacity - https://www.audacityteam.org/9.) Memesnubben, Khaby Lame - https://www.instagram.com/khaby00/?hl=en Hosted on Acast. See acast.com/privacy for more information.
Du möchtest den coolen Tape Stop Effekt in Cubase umsetzen? In diesem Video zeige ich dir 8 verschiedene Wege, wie du diesen beliebten Sound mit internen Mitteln von Cubase erzeugen kannst – ganz ohne zusätzliche Plugins! Außerdem stelle ich dir einige Drittanbieter-Plugins vor, mit denen du noch mehr Kontrolle über den Effekt bekommst. Egal, ob du den typischen Vinyl-Bremseffekt für Vocals, Beats oder Synths suchst – hier findest du die besten Techniken! YouTube: https://youtu.be/5rhMEIkX_34 Zum kostenlosen Cubase-Stammtisch anmelden: https://t314352df.emailsys1a.net/51/5885/b7d9bfeadc/subscribe/form.html?_g=1723224576 Wenn ich Dir helfen konnte, freue ich mich über einen virtuellen Kaffee ;-) https://ko-fi.com/timheinrich Orchestra Guide - Perfekte Orchester-Mockup-Balance: https://payhip.com/b/oRXKh Hier das Episoden-Archiv als PDF runterladen: https://www.sounth.de/media/podcast/sounTHcast.pdf Facebook-Gruppe: https://www.facebook.com/groups/309751689699537/ Fragen und Anregungen an sounthcast@sounth.de Website Tim Heinrich: https://sounth.de
Wie entsteht ein beeindruckender Filmsoundtrack?
Möchtest du in Steinberg Cubase Tracks schneller auswählen, ohne ständig mit der Maus zu klicken? In diesem Video zeige ich dir, wie du mit dem Projekt Logical Editor (PLE) per Key Commands einzelne Tracks wie Drums, Bass oder Piano gezielt auswählen kannst. Das spart Zeit und macht deinen Workflow effizienter!
今夜のボイスアヤノ.メ・Cubaseの調子が悪い・レラーレ小説化・今週末からライブが続く・音声配信とポッドキャストhttps://youtu.be/Mkc4FUhkqEM
In this episode of the studionerds podcasts the guys sit down and talk about a ton of music technology topics. What company has the buggiest plugins? Should you update your plugins constantly or wait? Does the waves subscription make sense for users? Is their a new HMD plugin on the way? Let's find out.➡️ Get Our Rosetta Plugins: https://cutt.ly/RwAEmuRF➡️ Our Site: https://www.helpmedevvon.com ➡️ My Music Channel: @Devvonterrell➡️Buy From Sweetwater: https://cutt.ly/7hamejT_________________________________________________________ ▶ TEMPLATES (STOCK VERSIONS AVAILABLE)➡️Pro Tools Template Download: https://cutt.ly/4fluyUY ➡️Logic Templates Download: https://cutt.ly/qfluoEp ➡️FL Studio Template Download: https://cutt.ly/4fluaAx ➡️Ableton Template Download: https://cutt.ly/tflufpi ➡️Studio One Template Download: https://cutt.ly/4fluaAx ➡️ Cubase Template Download: https://cutt.ly/qxtObRUPRO TOOLS , ABLETON, LOGIC, FL STUDIO, CUBASE, AND STUDIO ONE TEMPLATE AVAILABLE _________________________________________________________ ▶PRESETS ➡️Help Me Devvon Presets: https://cutt.ly/Ng8wxPu__________________________________________________________ ▶ IMPORTANT TUTORIALS ➡️Is Your Song Ready For Streaming: https://cutt.ly/6gjqt8b ➡️Parallel Compression: https://cutt.ly/2sYt1hh ➡️Recording Vocals Template: https://cutt.ly/jygzOPO ➡️My Favorite Compressor: https://youtu.be/BZBgsFeFFc8➡️Drake Type Vocals: https://youtu.be/YBf0LdanQBQ ➡️Equipment I Use: https://cutt.ly/Tyk5Ch0 _________________________________________________________ ▶ PLUGINS I USE:➡️Waves Reel ADT https://cutt.ly/4yk527X ➡️CLA 1176 https://cutt.ly/ryk573b ➡️R Vox https://cutt.ly/3yk54Us ➡️Waves NLS Channel https://cutt.ly/iyk6w0N ➡️Smack Attack: https://cutt.ly/SyvVrEQ _________________________________________________________ ▶ JOIN OUR COMMUNITY HERE: ➡️Our Discord: https://discord.com/invite/P6pcjT54vu➡️Instagram: https://instagram.com/helpmedevvon➡️Twitter: https://twitter.com/helpmedevvonEmail Me: helpmedevvon@gmail.com #mixing #mastering #plugins
Take your productions to the next level with Trance Vocals Vol.3 by HighLife Samples, a premium collection of royalty-free female vocals designed to bring emotion, energy, and depth to your tracks. Whether you're producing Trance, Progressive, House, EDM, Hardstyle, or any other dance music genre, these high-quality vocal samples will seamlessly fit into your productions. What's Inside? This pack features an outstanding selection of dry and wet female vocal recordings, giving you full creative control over your mix. The dry versions allow you to apply your own effects and processing, while the wet versions are pre-processed with professional-grade reverbs and delays, making them ready to drop into your project instantly. Each vocal is carefully labeled with BPM and key scale, ensuring effortless integration into your productions. Whether you need uplifting acapella vocals,, Trance Vocals Vol.3 provides the versatility and inspiration you need to craft unforgettable tracks. Why Choose Trance Vocals Vol.3? ✔ High-Quality Female Vocals – Professionally recorded and produced to deliver industry-standard clarity and warmth. ✔ Dry & Wet Versions – Choose between full creative freedom or pre-processed vocals for instant results. ✔ BPM & Key Labeled – Save time and enhance workflow with clearly labeled files. ✔ 100% Royalty-Free – Use these vocals in your commercial and personal projects without any restrictions. ✔ Compatible with All DAWs – Works seamlessly with FL Studio, Ableton Live, Logic Pro, Cubase, and all major music production software. Perfect for:
Welcome back to Episode 13 of Sound Discussion!This month, we kick off Season 2 with a fascinating conversation featuring Bob Ellis, an ex-RAF pilot turned synthesist and EDM maestro. Bob's journey from the skies to the studio is as intricate as his music, which is renowned for its depth and complexity. With a background in aerobatic flying and a passion for synthesizers, Bob has crafted a unique sound that has captivated audiences worldwide.In this episode, Bob shares insights into his creative process, including his use of VST instruments and the importance of collaboration in music production. He also discusses the role of reference tracks in EDM and how they inspire his compositions. With a blend of orchestral elements and electronic soundscapes, Bob's music is a testament to his innovative approach to songwriting and production.Join us as we explore the world of EDM with Bob Ellis, delve into the intricacies of music production, and discover the art of balancing creativity with technical prowess.Whether you're an aspiring musician or a seasoned producer, this episode is packed with valuable insights and inspiring stories.To learn more about Bob and his music, check out the links below:YouTube: https://www.youtube.com/@silentgratitudePiano Book: https://www.pianobook.co.uk/Native Instruments: https://www.native-instruments.com/en/Cubase: https://www.steinberg.net/cubase/Bitwig: https://www.bitwig.com/Send us an email and let us know what you thought about this episode: sounddiscussionpodcast@gmail.comYou can find more information here: https://www.sounddiscussionpodcast.com Hosted on Acast. See acast.com/privacy for more information.
British composer Sam Watts reveals how he composed the main, dramatic theme for The Traitors UK, how he writes music for the show despite not knowing what happens, who he's rooting for to win in series 3, and how the epic orchestral sounds were all created in the box using Steinberg's Cubase.
In this episode of the studionerds podcasts the guys sit down with Neal Pogue Samuel Fischmann. They talk about analogg gear and plugins in relation to Neal's migration to being fully in the box. Did Neal Pogue mix tyler the creators CHROMAKOPIA fully in the box? Did Neal use Musik Hack's Master Plan on the album? Was Hey Ya Neals first pro tools experience? Did you know about Musik Hack's new plugin? Lets find out.➡️ Get Our Rosetta Plugins: https://cutt.ly/RwAEmuRF➡️ Our Site: https://www.helpmedevvon.com ➡️ My Music Channel: @Devvonterrell➡️Buy From Sweetwater: https://cutt.ly/7hamejT_________________________________________________________ ▶ TEMPLATES (STOCK VERSIONS AVAILABLE)➡️Pro Tools Template Download: https://cutt.ly/4fluyUY ➡️Logic Templates Download: https://cutt.ly/qfluoEp ➡️FL Studio Template Download: https://cutt.ly/4fluaAx ➡️Ableton Template Download: https://cutt.ly/tflufpi ➡️Studio One Template Download: https://cutt.ly/4fluaAx ➡️ Cubase Template Download: https://cutt.ly/qxtObRUPRO TOOLS , ABLETON, LOGIC, FL STUDIO, CUBASE, AND STUDIO ONE TEMPLATE AVAILABLE _________________________________________________________ ▶PRESETS ➡️Help Me Devvon Presets: https://cutt.ly/Ng8wxPu__________________________________________________________ ▶ IMPORTANT TUTORIALS ➡️Is Your Song Ready For Streaming: https://cutt.ly/6gjqt8b ➡️Parallel Compression: https://cutt.ly/2sYt1hh ➡️Recording Vocals Template: https://cutt.ly/jygzOPO ➡️My Favorite Compressor: https://youtu.be/BZBgsFeFFc8➡️Drake Type Vocals: https://youtu.be/YBf0LdanQBQ ➡️Equipment I Use: https://cutt.ly/Tyk5Ch0 _________________________________________________________ ▶ PLUGINS I USE:➡️Waves Reel ADT https://cutt.ly/4yk527X ➡️CLA 1176 https://cutt.ly/ryk573b ➡️R Vox https://cutt.ly/3yk54Us ➡️Waves NLS Channel https://cutt.ly/iyk6w0N ➡️Smack Attack: https://cutt.ly/SyvVrEQ _________________________________________________________ ▶ JOIN OUR COMMUNITY HERE: ➡️Our Discord: https://discord.com/invite/P6pcjT54vu➡️Instagram: https://instagram.com/helpmedevvon➡️Twitter: https://twitter.com/helpmedevvonEmail Me: helpmedevvon@gmail.com #mixing #mastering #tutorial
Entdecke 29 versteckte Key Commands in Cubase, die du vielleicht noch nicht kanntest!
British producer and DJ Danny J Lewis delves into the making of his brand new album, Night Tales 3 - The Dreams Of Eve, which follows the story of an AI discovering her own emotional capability. He talks about how AI is influencing the music industry, the boundaries between human and machine, and how Steinberg's Cubase 14 was integral to the making of this record.
Viele Leute benutzen die Solo-Funktion in der DAW falsch. Egal, ob in Cubase, Studio One, Logic, ProTools oder Ableton Live. Ich zeige Di Zum kostenlosen Cubase-Stammtisch anmelden: https://t314352df.emailsys1a.net/51/5885/b7d9bfeadc/subscribe/form.html?_g=1723224576 Wenn ich Dir helfen konnte, freue ich mich über einen virtuellen Kaffee ;-) https://ko-fi.com/timheinrich Orchestra Guide - Perfekte Orchester-Mockup-Balance: https://payhip.com/b/oRXKh Hier das Episoden-Archiv als PDF runterladen: https://www.sounth.de/media/podcast/sounTHcast.pdf Facebook-Gruppe: https://www.facebook.com/groups/309751689699537/ Fragen und Anregungen an sounthcast@sounth.de Website Tim Heinrich: https://sounth.de
Guests Gaz Williams - Producer, label owner, bass player, music technologist Youtube video: https://youtube.com/live/TCBo2SrWJT4 For preshow and Ad free version and much more: Patreon.com/sonicstate iZotope Plasma - Give your tracks exactly what they need, exactly where and when they need it. Unlike traditional saturators that apply a static effect, Plasma's groundbreaking Flux Saturation technology analyzes your sound and applies dynamic processing, adding precise warmth, depth, and character to bring out the best in your mixes and masters. Save an extra 10% on any software purchase with the code SONIC10 at checkout. Whether you're crafting goosebump-inducing scores, deep dancefloor grooves, chart-topping hooks, or pushing boundaries with experimental sounds, 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. And exclusively for listeners of Sonic TALK, take 10% off your software purchase at Native-Instruments.com with the code SONIC10. Some restrictions apply. 00:00:10 SHOW START 00:01:20 AD: SonicState Patreon 00:18:38 Polyend Synth 00:19:48 Polyend Synth 00:28:24 AD: iZotope Plasma 00:29:40 Cubase 14 00:49:36 AD: N.I. Kompete 15 00:50:31 Roland RFDL Think Tank 01:00:12 Korg Multi-poly 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
Epsiode 65, in der Björn und Jonas über allerlei unnütze Anschaffungen im Studio sprechen, Björn ein Geheimnis verrät, Jonas einen neuen Rechner bestellt und die Eagles noch einmal Liegen lernen - im Hotel California! Das und noch vieles mehr in Ausgabe 65 der DAW-Versteher ... PlayList "Song des Monats": https://open.spotify.com/playlist/1dL9eYWItUWbCelkNVXMss?si=0c0de09f82d54238 ✅ Besser als jedes VST-PlugIn, günstiger
La matinale d’AF : l’actu des instruments de musique et du matériel audio
Cette semaine dans la 162e matinale , on parle de toutes les nouveautés de la version 14 de Cubase, du nouveau synthé Behringer, de Rhodes qui dévoile leur clavier d'anthologie en plug-in et des nouveautés de Maschine 3.
En este episodio, discutimos lo que extrañamos de los videojuegos junto a nuestro invitado especial Tierra de BRCDEvg. Recordamos eventos icónicos como la E3, la emoción de descubrir manuales físicos, y más aspectos que los gamers de antes apreciaban y que hoy ya no se ven. Junto con Tierra de BRCDEvg, exploramos por qué estas experiencias nos marcaron como jugadores y qué ha cambiado en los videojuegos modernos. Si te consideras un gamer nostálgico y quieres revivir esos momentos que tanto extrañamos, ¡este episodio es para ti! También hablamos sobre cómo los videojuegos han evolucionado y lo que hemos perdido en el camino. Desde las conferencias de la E3 hasta los pequeños detalles de los juegos de antaño, este episodio te hará recordar por qué los videojuegos clásicos son tan especiales. #brcdevg ¡No olvides darle like, suscribirte y dejar en los comentarios qué es lo que más extrañas de los videojuegos antiguos! @yamahademexico Micrófonos YDM - https://yamaha.io/3Nm5FOT Monitores de estudio HS3/HS4 - https://yamaha.io/4eW5ANW Consola digital DM3 - https://yamaha.io/4eLoDL1 Software de grabación Cubase 13 - https://bit.ly/steinberg-C13 IG: @yamahaproaudiomexico / @yamahademexico FB: @yamahaproaudiomexico / @YamahaMexico
Struggling to make your vocals stand out in a mix? Whether you're wondering how to mix vocals or how to get them upfront with clarity and punch, EP 161 of the Inside The Mix podcast has you covered. In this episode, I'm diving deep into vocal mixing techniques that will help you transform your tracks. I'll show you how to create a natural vocal double using simple timing adjustments in Logic Pro— no need for expensive plugins. Even better, these techniques are transferable to other DAWs like Ableton Live, FL Studio, Cubase, and more. You'll also learn how to avoid common pitfalls like phasing and balance to make your vocals sound polished and full.If you're curious about how to make vocals stand out in a mix, modern vocal mixing, or achieving that perfect vocal sound, this episode is packed with actionable tips that you can use right away.We'll cover:How to create a vocal double without pluginsTips for improving vocal clarity and punchHow to avoid phasing issues in vocal doublingA step-by-step vocal mixing workflow in Logic Pro (transferable to Ableton, FL Studio, Cubase, and others)Techniques for making vocals sit perfectly in your mixGot feedback? I'd love to hear from you! Click the SpeakPipe link to leave a review, share your social media handles or website, and get featured in a future episode:https://www.speakpipe.com/InsideTheMixPodcastAs a thank you, every reviewer is entered into a monthly draw to win a Starbucks coffee voucher!Click here to follow Technic Tone: https://www.youtube.com/@technictone/featuredSend me a MessageSupport the show► ► ► WAYS TO CONNECT ► ► ► Join my FREE Logic Pro Mixing Course TODAY!✸✸✸✸✸✸✸✸✸✸✸✸✸✸✸✸✸✸✸✸✸✸✸✸Are you READY to accelerate your mixing, in Logic Pro, in less than six hours? Join my FREE Logic Pro Mixing Course at Synth Music Mastering: https://www.synthmusicmastering.com/freeSend a DM via IG @insidethemicpodcastEmail me at marc@synthmusicmastering.com
In this enlightening episode of Inside the Recording Studio, hosts Chris and Jody dive into the essential topic of automation modes for mixing in popular DAWs. Join us as we demystify the various automation modes and reveal how they can be used to enhance your mixes with precision and creativity. Discover the main types of automation modes available in leading digital audio workstations (DAWs) such as Pro Tools, Logic Pro, Ableton Live, and Cubase. We'll break down the differences between Read, Write, Touch, Latch, and Trim modes, explaining how each one functions and when to use them. Learn how to leverage these automation modes to achieve dynamic control over volume, panning, effects, and more. Chris and Jody will share expert tips on how to automate your mixes for maximum impact, from creating smooth transitions to adding intricate details that bring your tracks to life. But that's not all – we'll also explore advanced automation techniques and creative uses that go beyond the basics. Discover how to automate plugin parameters, automate tempo changes, and even use automation to enhance the emotional arc of your music. Whether you're a seasoned mixer or just starting out, this episode offers invaluable insights into the power of automation in modern mixing. Don't miss out on this comprehensive guide to mastering automation modes in your DAW – tune in now to Inside the Recording Studio and take your mixing skills to the next level! Automation modes in DAWs, Mixing automation techniques, Pro Tools automation, Logic Pro automation, Creative DAW automation
The twins are back -ruminating about turning 61, discussing recording gear and software, computers and e-bikes. That's just the beginning. There's also their work at a well-known cigar shop in Myrtle Beach, recent concerts, reads, gigs and so much more - including a gem from the musical archive. SHOW NOTES: 0:00 - "What Might Have Been" by Chris Yale 3:40 - Greetings / July 4th Fireworks / About the song and Chris' album, "Well Enough Alone" 4:37 - On turning 61 5:09 - Chris' upgrade to Logic Pro 11 / New used iMac (2019) / Old Apogee Duet / Apple Loops 6:20 - "He had to be shown" / AA Big Book / "The Beer Experiment" / "The Milk Experiment" 7:22 - Chris' and Betsy's new KBO e-bikes / Hoop skirts and step-throughs 8:54 - Chris at home without supervision 9:25 - "The Season" is back in Myrtle Beach / Cigar events at Tinder Box Myrtle Beach / Tinder Box memories 1970s and 1980s / Roger's first imported cigar - Macanudo Portofino / Chris' first imported cigar - Macanudo Baron de Rothschild / Domestic cigars 12:03 - Cigar snobs / $60 cigar versus a $12 cigar / Diminishing returns / $100 shots / Blowhards / Roger's take on cigar blends and aging 14:05 - "Beverly Hills Cop: Axel F" streaming / Hollywood exteriors / "Lucifer" series - Sunset Tower on Sunset Strip 15:06 - The Rolling Stones in Atlanta / Mercedes Benz Stadium / Chuck Leavell / Steve Jordan / Edify yourself / Darryl Jones / Wyman, lately 17:37 - "Stevie Van Zandt: Disciple" documentary / The duster and the bandana / Paul Stanley-ish? / Chris Lord-Alge 19:53 - Cubase / 64-gig memory on Chris' iMac / ZOOM LiveTrak L-8 / Logic Pro 21:00 - Roger's writing efforts / Post and Courier Myrtle Beach / Georgetown Times / Charles Perry / Roger's work with Grand Strand Magazine 21:39 - Queen sells music for $1.2 billion 22:05 -LuLu's North Myrtle Beach gigs 23:04 - Intracoastal Waterway / Bird Island / Sick Stooges / Brandon Toms / Freedom Boat Club 25:05 - Roger hits 10 years of sobriety / Getting stuff done 24:40 - "Turning Pro" by Steven Pressfield / Lao Tzu versus Sun Tzu / "Atlas Shrugged" and "The Fountainhead" by Ayn Rand / "A Tramp Across the Continent" by Charles Fletcher Lummis 27:03 - Parting shots / Our jobs at Tinder Box / Chris' slow internet / Chris' grandkids
"The field recording (Ardas prayer) performed at the end of the Sikh worship, holds significant meaning for Sikhs worldwide. I have personally visited the Sikh temple in the UK where this field recording was made. "In my composition, I've integrated the Ardas as a core element whilst additionally sampling my elderly father's recollections of his personal migration experience at either end of the piece. The narrative is a recant of a migration experience and contemplative reflection, reverie or dream of the Ardas. The Ardas, acting as an anchor to culture and religion during migration. "Musically, I've attempted to craft an open/dreamlike melodic and dynamic structure in line with the field recording. I've used Cubase software to compose – using a mixture of virtual instruments and royalty free samples for the melodic structure, dynamics and layering." Sikh prayers in Southall reimagined by Jaspal Singh Bhogal. Part of the Migration Sounds project, the world's first collection of the sounds of human migration. For more information and to explore the project, see https://www.citiesandmemory.com/migration
Full Rig Details: https://www.premierguitar.com/videos/rig-rundown/donny-benetSubscribe to PG's Channel: http://bit.ly/SubscribePGYouTubeThere's comical bands (Gwar), there's parody bands (Steel Panther), and there's clever combinations of both (Mac Sabbath). The Italian-Australian Donny Benét is none of those and all of those at the same time. His polished compositions, breezy rhythms, and funky fretwork are no laughing matter. Instead, Donny is the joke … or is he?“I thought, “What would I think if I saw some bald, chubby dude shredding on bass and fretless?' I'd be like ‘hell yeah,' so I might as well be the guy that'll do it,” explains Benét.Donny (born Ben Waples) is from a musical family in Sydney, Australia. He grew up performing on several instruments, became classically trained on piano, and earned a master's degree in double bass. The fluent musician started a career as a jazz bassist for various artists in Sydney, and eventually shifted to an experimental jazz/electronica band, Triosk. While both endeavors were challenging and rewarding, Ben wasn't having fun. After Triosk disbanded, Waples continued writing and recording on his own. It started with Cubase and a Line 6 DL4 that gave him 48-second loops. He started making “Donny Benét” joke songs. His friends and family continued encouraging him to make more, and before he knew it he had enough material to create Don't Hold Back. (To this day he still records all the parts except saxophone, played by his brother Daniel Waples.) And through his passion for creating music combined with his love for '70s funk and R&B—he mentions his introduction to electric bass was via a VHS tape featuring Larry Graham, Bernard Edwards, and Nile Rodgers—infused with the aesthetic and aura of Itala-disco performers, Donny Benét was born.“I'm a seriously trained jazz musician in a prior life, and I try not to take myself too seriously now, but I'm deadly serious about taking the piss out of myself. I like humor, but I definitely don't make joke music,” states Benét.Since 2011, he's released six albums, all showing an evolution and refinement of the Don. Each release has revealed a new part of Benet's infinite swagger, blending influences of Prince, Alan Vega, Lou Reed, Tom Jones, and, of course, James Jamerson, “Duck” Dunn, and the funk forefathers. Yes, Donny B can sweep you off your feet, but that's because one thing reigns supreme—the music.“With Donny I've always taken the approach of ‘what would I listen to?' I started there and I continue to follow it. If no one likes it, that's fine, so long as I like it. If someone else likes it, even better,” says Benét.Before his headlining gig at Nashville's Basement East, Donny B welcomed PG's Chris Kies onstage to chat about his minimal-but-musical setup. Benét explains the origins of “Donny,” covers his custom Furlanetto 4-string and why he calls it “probably the best live instrument I got,” and discusses scoring tons of gear when the exchange rate presents deals.Full Rig Info: https://www.premierguitar.com/videos/rig-rundown/donny-benetSubscribe to PG's Channel: http://bit.ly/SubscribePGYouTubeWin Guitar Gear: https://bit.ly/GiveawaysPG Don't Miss a Rundown: http://bit.ly/RIgRundownENLMerch & Magazines: https://shop.premierguitar.comPG's Facebook: https://facebook.com/premierguitarPG's Instagram: https://www.instagram.com/premierguitar/PG's Twitter: https://twitter.com/premierguitarPG's Threads: https://threads.net/@premierguitarPG's TikTok: https://www.tiktok.com/@premierguitar0:00 - D'Addario Pedalboard Essentials0:15 - Chris Kies Intro0:49 - Donny Benét Intro1:42 - Donny Benét Origins8:55 - Custom Furlanetto "F Bass" VF413:39 - D'Addario & Rig Rundown14:11 -...
Turkish-American Emmy-nominated composer, conductor and performer Pinar Toprak, who is known for her work on everything from writing and producing music for Christina Aguilera's 2019 Xperience Live Show in Las Vegas, conducting Billie Eilish's performance of No Time To Die at the Oscars, to scoring Captain Marvel to Fortnite, delves into her most recent projects: the new Netflix body-swap film, Family Switch and new open world game, Avatar: Frontiers of Pandora. She explains her approach to these very different scores and explains why Steinberg's Cubase is her DAW of choice for all her projects.
What happens when an underground electronic artist decides to break over a decade-long hiatus and return to the music world in the midst of a global pandemic? This is exactly what Luke Blair aka Lukid did. Isolated in Lisbon, Lukid took to his music like a mad scientist, employing unconventional methods like the use of tapes to get that elusive unidentifiable sound. We unpick his creative process, discuss his views on the use of filters in films, and touch upon the traps of becoming too attached to a particular sound. Lukid's innovative approach to music production is intriguing, and his philosophy hinged on the uniqueness of sound sets an interesting precedent.As we traverse the myriad facets of Lukid's musical journey, we also dive into the broader changes that the music and film industry have undergone in the digital age. We shed light on how streaming has revolutionized the way we consume music, the role of algorithms in music discovery, and the rising challenge of securing film scoring opportunities. From Lukid's early influences, his initiation to music production through Cubase.Tune in, get lost in sound, and unearth the story of a musical prodigy navigating the changing times and his own personal evolution.Presented and produced by Paul Hanford Paul Hanford on InstagramLukid's new album Tilt is out now on Glum, check it out hereLost and Sound is sponsored by Audio-TechnicaPaul's debut book, Coming To Berlin: Global Journeys Into An Electronic Music And Club Culture Capital is out now on Velocity Press. Click here to find out more. Subscribe to the Lost and Sound Substack for fresh updates and writing.Lost and Sound title music by Thomas Giddins
Sometimes it's better to conform! Jermaine talked about hybrid composing music for film, making the music fit ever-shrinking film edits, switching to Cubase, how to create an orchestra in your home studio, and the secret to realistic-sounding scores. Get access to FREE mixing mini-course: https://MixMasterBundle.com My guest today is Jermaine Stegall, a film composer and conductor. With over 50 projects to his credit, Jermaine most well-known for the score to “Coming 2 America”, the highly anticipated sequel to the Eddie Murphy classic, with Murphy, Arsenio Hall and James Earl-Jones all reprising their roles. Jermaine recently completed the score for "Praise This" for Universal Pictures. Other scoring and conducting assignments have included “Senior Year” (2022) for Paramount Pictures, and the upcoming film “Oracle” for Universal Pictures. As a musical conductor, Stegall led a live string orchestra alongside Grammy-winning artist Tori Kelly at the televised 2019 ESPY Awards. A year prior, he conducted the orchestra to Camila Cabello's performance of “Consequences” on ABC's American Music Awards. In addition to scoring 2 seasons of "Our Star Wars Stories,” an original digital series from Lucasfilm and StarWars.com, in which host Jordan Hembrough uncovers heartfelt tales of fans and families who have found inspiration in the galaxy far, far away, Jermaine was also nominated for a MPSE Golden Reel Award for scoring the animated Netflix short film "Canvas" directed by Pixar's Frank Abney III. Thank you to Chris James for the introduction! THANKS TO OUR SPONSORS! https://UltimateMixingMasterclass.com https://www.native-instruments.com use code ROCK10 to get 10% off! https://lewitt.link/rockstars https://www.Spectra1964.com https://MacSales.com/rockstars https://iZotope.com use code ROCK10 to get 10% off any individual plugin! https://www.adam-audio.com https://RecordingStudioRockstars.com/Academy https://www.thetoyboxstudio.com/ Listen to this guest's discography on Spotify: https://open.spotify.com/playlist/19cZq4Xs7gomhZQFuBeSBW?si=95b1f8256d154fb5 If you love the podcast, then please leave a review: https://RSRockstars.com/Review CLICK HERE FOR COMPLETE SHOW NOTES AT: https://RSRockstars.com/429
jD, Dan from London, Pete and Tim are joined by a very special guest on this episode that is dedicated to the new reissue of Phantom Power for its 25th anniversary.And make sure to listen to the VERY END!Transcript:[0:05] On August 31st, 2023, The Tragically Hip dropped the first track from the Phantom.[0:12] Power 25th Anniversary box set, a song called Bumblebee.I will always remember this day because my friends Dan from London, Pete and Tim were in Toronto for our big live finale and the four of us were off to Kingston to visit the Bad Houseand sightsee the tragically hip scenes in Kingston.The first thing we did inside the car was fire up Bumblebee.It was so odd to hear something so familiar but so new to my ears.I hadn't heard this melody or these bending guitar licks before and I wanted more.[0:53] Lucky for us there are several other tracks included on this box set.Songs we either hadn't heard, or maybe we've heard snips and pieces of in live performances, or maybe on a bootleg.And of course there are complete song ideas that wound up on Gord's first solo record, Coke Machine Glow.There is also a fantastic live show from Pittsburgh, demos, and alternate versions of songs that did make the final cut.In essence, this is an exciting time to be a hip fan.Although we are all collectively gutted that we'll never see our boys on stage again, as long as I've been a hip fan, I've clamored for these songs that somehow wound up on the cuttingroom floor.And I'm sure you have too.[1:41] Today we'll get a sense of what Dan, Pete, and Tim think of the Reissue and we'll speak with a very special guest about the making of this spectacular box set and so much more.So sit back, relax, and let's start getting hip to the hip.Track 4:[2:23] Hey, it's Shadeen here and welcome back to Getting Hip to the Hip.This is an out-of-sequence bonus, episode for everyone.We are going to be talking today about the box set of Phantom Power, and I am joined as always by my friends Pete and Tim, and today's special guest again, Dan from London. How's itgoing, everybody?Well, Dan got his ears lowered, looks like Dan got his ears lowered.Yeah, I lost some hair over the course of the last thing, yeah.He was shorn. Maybe it was his younger brother stepping in. Yeah.[3:07] So fellas, when we last left off and we talked about Phantom Power, I recall the conversation really revolving around fireworks.You guys both really loved that song.Something On was a little underwhelming for you.You got into Poets, you thought that was a good kickoff and here we are just like six months after, not even six months, like four months after releasing that episode and The TragicallyHip goes out and releases a 25th anniversary box set of Phantom Power.So we thought it would be cool to get the band back together and talk about that for a little bit.And we'll be joined by a very special guest who we won't reveal quite yet.Is there anything that in particular, Pete or Tim, you remember about your experience with the record, thinking back, and Dan, for you following one of them, what was your experiencewith the record in general?[4:24] Um, it's funny because I went back and I found my notes from the original and it's it's just crazy to look at.It's like it's a it's a time it's a time capsule because, yeah, there were certain songs that was like, this is good.And like and now I look at, like, some of the songs that I was.[4:44] You know, Gugu and Gaga over and I love fireworks, but I mean, by by and far, you know, Bob Cajun is probably one of the most just, I mean, it's on loop in my home.So many, so many days. She also listens to it as well, right?Oh, yeah, she absolutely loves that song. We're listening to the live version today, we went for a hike.[5:07] And Cherrigan Falls. Poets is like, I think didn't, didn't, goodness, 50 Mission, didn't they?They came out with Poets when they played the live event.That song just, I had like one line written for that song. And this is the line, this is how sad it is. Dig it.Verse phrasing is key to the song. Lines go to the next measure.Layers and guitars. Nice. Now I'm just like, I hear that song.And I just fucking stop what I'm doing. And I just like, I fucking love that song.It's crazy how this album grew on me like a fucking virus. It's amazing.Timmy? Great. Yeah. Great, great question, JD, for sure.I mean, there's still a few on it that I'm not a super fan of, just to start off being negative here.Like, the rules to me is still a yawner, you know, but like, I kind of dig Chagrin Falls more than I did last time.I don't think I was anti, but in Emperor Penguin, I've read so many times across platforms that people love Emperor Penguin, and that song's slowly growing on me too. It's one of myfaves.There's still some really good ones in there.[6:31] Thompson Girl I could still live without. That's another one that grew on me, Timmy. I feel you, but I grew on it.With the new songs, and this is a question for a few minutes ahead, but somebody asked with the new songs, are any of those potential replacements for what's on the original?Oof. So yeah, that got me thinking a little bit.Tim, why do you always have to embroil things in controversy?I mean, that just is a controversial question.I mean, probably because of aliens, I guess. Oh, stop it.[7:15] Dan, what did you think of Phantom Power? I mean, Phantom Power is an absolute solid album.It's just a kicker, isn't it? I mean, I always love something on, I think it was the first track I got into off the album and I still absolutely love it. I think that song kicks ass.Something about the bass drum and the bass just driving it and the timing is just fantastic.Obviously, yeah, Bob Cajun.That always used to come on at a certain point on my commute when I was arriving at a certain station and I now still have overwhelming feelings when I pull into that station.[8:02] I can't believe how big a song can be, how overwhelmingly amazing a song can be.But yeah, I mean, the other stuff, I mean, Escape is at hand, I think, is just my favorite track on the album.You know, again, it's a whole other different story and different sentiment that it carries.And I don't know, I think that is a Bob Cajun and Escape is at hand, I think that just works a genius.And I can't say much more than that.Yeah. You know, the loss related with Escape Is At Hand is so relatable for me. And probably everybody.But I tend to live with you, Dan.I think Escape At Hand is... There's something about that song that just hits home, I think, probably for most people.[8:58] Maybe not sociopaths. I don't know. Maybe not.I think, Dan, you hit on the point. It's crazy how songs, even if you listen to them and enjoy them, it's like they get to a point where you've listened to them so many times, and perhaps thesame situation, like you said, pulling into that particular tube station or whatever it is, that maybe you don't hear it for a while, but then you hear it again, And, and just like a flood ofmemories and images come back.Just weird how the human brain works, man. I mean, this summer, we were go, go ahead.I mean, I just, I was just gonna say also in terms of that as well, it's the same station that I come into, I used to come into every time Fiddler's Green came on as well.So there's a time in all the albums where some of this stuff happens.[9:49] That's cool. That's cool. So have any of you guys had a chance to listen to the bonus tracks or the outtakes or the live show or any of it?And if you haven't, that's cool.All of it. All of it? Yeah. Yeah.I'm just happy to have more live music from these guys.For the obvious reason. It's a nice sounding show. So I read some kind of critique, so it's not the best sounding live show they played. I mean, who cares?I'm just happy to have more live music. That's an easy go-to wherever I am, in the car, on a plane, whatever.So as far as the new songs go? Yeah, back to your question.Yeah, I dig most of them. What's the best of the bunch? Eh, I don't know, I'm not there yet, I wouldn't say I'm there yet, I kinda like them all for different reasons.[10:52] Vegas Strip may be the least, but I like all these songs. I haven't gotten to it yet.It's my least favorite, but I still really like it.Yeah, like Songwriters Cabal isn't my favorite, but I love that song.Mystery, just lastly. Mystery is kind of a phenomenal ending to this group of songs.It's just this somber kind of tearjerker.Yeah, that was that was a happy listen. Joy meant either you fellas dabble.[11:31] I dabbled today and a couple of days last week, not yesterday, but I think Thursday and Friday in the fly stuff, which I concur with Timmy, I just love the live shit and I don't give afuck If it was a, you know, if it was a tape recorder jammed behind a, you know, bathroom stall and you got it picked it up in the background.It's just cool to hear this band live, but I loved it. Um, of the new tunes.I agree. I'm not there yet, but I, I got, um, I did hear bumblebee a lot when that came out, cause that dropped first, if I'm not mistaken, right. It dropped the day we went to Kingston.Kingston.So we got to it on the way to Kingston. That was fun. That's right.But I would say of the new tracks, I think the strongest one is Insomniacs. Me too.I just think it's very brawling, fucking harking back, just cool, fucking, just has that cool, easy, fucking hip, early shit to it.Early feels to it. Yeah, you know, has the road apples feel to it or something.Yeah, yeah, yeah, yeah, I agree with that. I like that too. I could be swayed.[12:50] Okay. Dan? Yeah, and I mean for me, I've listened to the extra tracks.I mean, I still love Bumblebee.[13:04] There's something about that with the guitar bends, that like, I mean, I think we next sort of hear those kind of guitar bends on my music at work.Something very similar happens towards the end of that, doesn't it?But in terms of the live stuff, there's a few little things going on in there.I mean, obviously, when you get down to 100th Meridian, there's a kind of improvised extract of Bumblebee in there, which is fantastic.And also, in the Chagrin Falls live version, he breaks into Born Free, but in the alternate version of Chagrin Falls, he's singing Chagrin Falls with a Born Free kind of lilt to it.So there's these kind of little parallels between some of the stuff that's been chosen, I think.Yeah, so maybe that's the reasons for some of those selections.Yeah. To you for choosing this live this light those like cuts you mean I Think so. Yeah.Yeah. Yeah, there's definitely some some thread woven throughout.Yeah Too bad. We don't have anybody to ask We might get some insight from our special guest Yeah, we should kick to him right now.We'll go to a song and then we'll come in with our special guest Johnny fucking thing.Track 6:[17:35] Hello, hello, hello, hello, I hear you guys now. There we go. Oh good. Am I good?Am I good? Yeah Hello Hi johnny Good doing well Sorry about that Hi, that's my fault. Not yours.I'll take full credit for that We're just waiting for one more to join Okay, he's uh in the waiting room now.Oh, there he is amazing how everything just Clicked and then johnny came on because we were having some severe problems, Dan, can you hear us? Yeah, absolutely. Awesome. Can youhear me? Yeah. Grant.[18:18] How you doing technically there, Danny? Good. Can you hear me?I can hear you. I can see you.Perfect. So then are you done? Are you done taking the McDonald's in London?London? London. Yeah. Yeah. My dad, my dad's hometown. He's from Woolwich.Woolwich, really? Yes. Oh yeah. South of the river. And we got to Canada and some friends would say, are you from London, Ontario or London, England?And my dad would just shoot back, he'd go, there's only one, London.Ooh. Although they have a Thames where the Canadian one. Ooh. Anyway.[18:59] That's beautiful. Isn't there in London, Missouri or something, too? There's a London... Oh, they're all over the place.Yeah. What's the deal with that? What's the deal?I think there's one in India also. You can't throw a shoe without hitting a London, is basically what you're saying. Yeah.All right. Well, let's get things on the road here.Johnny, just a brief introduction. We've ran a podcast from May 2, 4 to Labor Day this summer, where I took my friends that have never heard of the hit before. One is in Spain, Malaga.One is in Portland, Oregon. That's Tim and that's Pete, who is from Spain.And then Dan is from London.And we took them through a record a week, starting with the Baby Blue record and working up to Man-Machine Poem and just.[19:54] Inculcated them into the world of Tragically Hip.We ended up with a big party at the end downtown at the Rec Room.We raised like almost four grand for Donnie Wenjack.Oh that's amazing. Incredible.Yeah, so that's our story. I'm sorry I had to get the The music stuffed down your throat like that.[20:19] Can you imagine doing it, Johnny, like of a band that you've never heard of, right?And I've heard of you guys, but like never heard of you guys. I mean, I never heard it.But it's crazy how we did get it literally shoved down our throats.And now we were going back today talking about Band and Power, about what our first reactions were for it.And even compared to now, how much everything's just grown on us.It's just like, and we're diehard fans now, but go back a year from today, we didn't know. That's incredible.Wow. It's crazy, man. Thanks for sticking with it. It's not always easy.My Spotify algorithm is still totally convoluted, but a lot of a lot of hit playing in there.So Johnny, let's start at the start and get to know a little bit about you as the drummer of The Tragically Hap.And youngest member of The Tragically Hap. That's right, that's right. It's a dig.[21:27] It's Gord Sinclair's birthday today, right? It is indeed.Yes. Yes. I had dinner with him and Paul the other night in Toronto, and we had a nice evening.And, you know, we're 40 years young next year.I was in high school when we started, and I guess here we are.Wow. Wow. Who, before you got into the band and as you guys were forming, um, you know, your sound and your, you know, cadence, who were your big influences?I've, I know Stuart Copeland came up at one point. Oh, without a doubt.Yeah. I've heard a story about an exam or something like that, that you missed.That's correct. Yeah, that's correct. Uh, and we later ended up working with Hugh Padgham, the great British producer. and Synchronously was coming out and it came out on the daybefore my.[22:29] My math exam for Mrs.Griffordy and Lynn got this record and I listened to it.I'd heard Every Breath You Take on the radio, but then when I heard Synchronicity II and just the blistering drumming of Stuart, I just had to drink it all in.I remember making the decision. I was like, I can listen to this record, I can study for the exam.If I don't study for the exam, I'm going to summer school, which I did.And then I took one day off to go see them at the Olympic Stadium in Montreal, but it was worth it because that was, that was really my education was living, eating and breathing.And if you were a drummer in the eighties, who, uh, the guy, he was instantly identifiable by a snare drum.Um, just the hit one snare drum, there was Stuart Copeland.So, And this was an era of drum machines, don't forget, this was Len drums and sequencers, and I loved all that stuff too, absolutely did, but to be on the radio, and Stuart was it, he was,and I'm still finding things out about him, that he held the drumstick between two fingers, he didn't hold it, he held it up here.[23:48] Instead of the two fingers, which is the traditional way to hold the drumsticks.But he invented a way to play and invented a kit, which was a sound, you know.And he really, I can't say enough things about Stuart Copeland.Yeah, he's amazing. But I'll also listen to Alan White of Yes, who was fantastic. and of course, you know, Neil Peart, Bob Rush.That's a pretty good pedigree.Well, you try and take a little bit from each guy, you know, you don't want to be a lab rat. You don't want to copy them.You want to just take all the little things you like the right hand from this guy, this snare drum from that guy, the bass drum.And of course, the great I saw him the other day, the Manu Katché, Peter Gabriel's drummer, who is the Picasso on the drums. He has hands down, Art Picasso on drums.High praise. Dan?Yeah, so yeah, those are your sort of past influences. But who do you enjoy listening to now? Who does it for you now?Well, it's really funny because what's on my turntable right now is Heavy Weather by.[25:12] Weather Report and I'm listening to Jaco Pastorius.I'm trying to get as much of him into me because he was the guy really, you know. You hear Geddy Lee talk about him, you hear.So I'm listening to a lot of bass players these days and loving it.So that's what's going on.[25:36] I gotta I gotta ask you, just because you mentioned synchronicity, this is just a this is just a note.And if you didn't know it, then I think we brought it up with Paul.But do you know that that record had 33 different covers?[25:53] I did, yes I did. I didn't know that I thought it had.I thought it had. Well, I guess it would because each guy was sort of on one of the strips and it changed.But I didn't know there were 33. 32 or 33. But yeah, it was when I found and some some versions are rarer than others. But that record is.And that song Mother is just nuts. And isn't Stewart Copeland singing that song?No, that song is Andy Summers, and I heard a story, they did part of it in the Moran Heights in Montreal and the engineer asked Hugh if he could bump himself off a cassette in the day.In those days there was no internet so it was cool. The engineers usually got to be able to do that.Here's a record I'm working on, just happens to be with the police.And he asked Hugh Padgham if he could leave that song off.A lot of people hated it. It's a hard song to listen to if you're not into the record. You know, what went into the trash bin was I Burned For You, that was slated to go on that record.And think about how that would have, you know, from Sting's soundtrack work, would have changed that record. Totally.[27:22] I'm a little curious of then and now also, when you first started playing drums, I raised a drummer.I have a 21 year old who plays drums.Awesome. Actually, yeah, the past year or so he's been out of the country and he's been more focused on DJing, techno of all things.But he's, you know, can hear kind of a drummer influence. But anyways, you know, we got him on hand drums early and drum lessons early.And I lived through, you know, a drum set in the basement.Just anywhere you went in my house, you had to go outside or take a call.It was just, you know, what was it like for you in your early years playing drums? Like what pushed you over to the drum set or being interested in it? And...Conversely, do you still play now? Do you still have access to a drum set or a drum set at home?[28:13] Great questions. Number one, my brothers had a friend who had a drum set and they said to me, they went and got the snare drum and they said, we'll get you the snare drum.And after a year, if you're still playing, we'll go get the rest of the drum kit.And I'm still playing. And so they Then I had an eye injury, which for three weeks I had both eyes sort of closed off with cotton batting.And it was a really weird, weird accident.I still, when I'm explaining it to people, my dad was on the phone.He was a pediatric cardiologist and he was talking to the hospital and we were at a friend's house.And it had this jar of erasers and pens and pencils and elastics and he was talking and I remember he had his hand on my head like that and I grabbed an elastic band and a pen, and I shotthe pen into my eye and yeah it was very bizarre I thought it was shooting at the other end so it went right in and I remember my dad saying to my mom don't touch it leave it leave it andshe was trying to pull it out and so I went in and my sense of hearing was heightened.[29:33] I could hear my dad walk down the hall after he had his morning rounds.I could hear the cadence of his footstep and so you know for that three weeks where I was unable to see, it just kicked that.At about seven years old into a different gear for me. I started hearing rhythm everywhere.As you do with your indicator of your car, to industrial sounds, trucks backing up. I can put a rhythm into it.Like your son, his, like you're saying about drumming, and now he's DJing, his internal clock is always going as a drummer because that's where it started. Absolutely.Yeah. So it's the same. Drummers are that way. You just pick those things up.And then second question. No, I'm not playing. I'm kind of doing what your son is doing with drum machines.But I have two drummers in the house, two nine-year-old boys.[30:29] And one is a lefty. And I would set a kit up for him and then my other son, Finn, and then I would forget about Willie.And then, so I just said, well, I'm going to set it up on the left for you because he has a great acoustic kit, a set of Gretsch 1960s.And now I play left because I'm not the drummer that I'm not, you know, I'm not that drummer anymore. So now I'm discovering all kinds of new things about playing on the left side, andleft-handed drummers I find are way more creative.It's funny you mentioned that because we often notice when I've gone to shows with my son, we'll just say immediately that guy's left-handed.You just see it like that. That's very cool.Ringo was left-handed, they say, and that's why no one could ever duplicate the way he got around the kit.Yeah. His left hand pushed his right hand, I think.Phil Collins, Ian Pace, they're not good drummers.They're incredible drummers. Those two guys for me, Ian Pace and Phil Collins.Phil Collins, the stuff that I listened to today, and I'm like, how is he doing that?How is he doing that? He was incredible.He really was. He is incredible.[31:48] Johnny, you've been hard at work on the Phantom Power reissue, the box set, the amazing box set.I got it last week, and it was so fun to open and just touch the vinyl, and the book that's inside is really wonderful.I'm just, I'm so curious what a project like that.[32:17] Entails like from a from a time perspective. And I know you guys are hard at work on another one for next year.Like, when does that begin? And what does that process even look like?Like, is it just climbing Everest or what?It's really fun. It's really great therapy for us.You know, we get to talk about the past and if one guy doesn't remember it, someone else will.We have weekly calls and it's fun.We didn't do any therapy after Gord passed away and we really should have.We have just all kind of dealt with things and I think really right now that this is our therapy.I'm in Toronto, so that's where the tapes are. I'm very happy to do it and we're digitizing things and Phantom Power was a different one because it was in different formats.It was on D88, little digital tapes.[33:11] DAT machines were around and kicking at that time.We also had our 2-inch machine and then Pro Tools, the dreaded Pro Tools was coming in.Well, you didn't have to make a decision and you could have a hundred tracks on something and and I was like the you know There was such economy when we were going to tape andAnd I really liked that.So, you know, if you look at the early records, we're still I, Think there's the most that we used was 18 tracks You know Don Smith would consolidate things and that was really a goldenperiod So, it's not as daunting as you think, it's been fun, it's been fun, it's been a discovery.[34:00] You know, to listen to some of those tracks and hear Gord Downie speaking in between takes is really these beautiful moments.So yeah, it's been a lot of fun.Robbie is in charge of the box set, putting it all together.So he's doing all of that stuff.And you know, Gord and Paul are very involved in it. But they have solo careers too.So, um, you know, uh, but we are, we're all together on this.Uh, it's not me, uh, just doing, um, the tape stuff there. They're involved in it too. Very cool.Yeah. I mean, I was going to ask in terms of the project from the offset, uh, you know, when you're going through the tapes and covering all of these tracks and these, these different takesof the tracks that you have, what, what shape, you know, with those tracks in, did they require a lot of work to get them up to spec, or was there anything that was kind of left off that was,you regard as pretty good, but it was still a bit too rough around the edges to include?[35:04] Well, if we did any editing back in the day, if it was tape, we would do chunk editing.We would take the ending of one, with the hip, we would play a tune, it'd be great, be great and we would get close to the end and then we'd anticipate the ending and I'd make the otherguy speed up so we get to it and then our producer would say well the ending of this one's good so let's take the last four bars so there we go there's the track.So they were in pretty good shape you know the tape that we got was really forgiving.The crazy thing is I heard about the Rolling Stones going back and doing stuff that they did in the early 60s.And the early 60s tape actually lasted better than the stuff they made in the 80s.They had to do very little to get them back into shape, which is cool.You got to bake them in what essentially is an easy bake oven for tapes at a low temperature and it just sucks all the humidity out.And so record companies are obviously very well prepared to do all that sort of stuff and then it's just digitizing them.But when you first have a go through the tape after it's been baked and it's coming off the head and going through a board at the studio, it never sounds better.You know and they shoot it over to Pro Tools and they say now we have it We've have it and I always say well it sounded better a few minutes ago when it was going through the machineand so, Yeah Tape is king.We lived in the Golden Age. We really did in the in the 80s and 90s When you when you still were spinning tape.[40:59] So I imagined with coming across tapes, you guys did so much work, you know, in the recording process that I imagined it was just so fun to go through. It has been.It was, you know, but, you know, talk about Bob Cajun being an example.We only really have two versions of that.[41:23] And Gord Sinclair and I had a conference and we were like, well, we can play that again and we can play it better. And we were like, yeah, let's do it.And so the version you hear is the demo version, really.It's just we said we would go back and address it later. I think we went on tour and then it was Steve Berlin listening to it, which was really cool because he he recognized you can't beatyour demo.And that's what bands try and do.And he was so smart with it. And he said, I'll let you play it again.But you're not going to beat this. It's just there's a vibe there.And Gordon and I were like, we're going to beat it. We're going to do it. And we never did.And so I always loved that, that he did that because as a producer, I wouldn't have done that.And I would have screwed it up if I was producing that record.And he had the brainpower and the knowledge and he'd made so many great records before that he just, he let us play it, but we never beat it.It's our biggest song, too. Well, we were talking before, I absolutely love that song.That song is the soundtrack of this past summer for my wife and I.You jammed it down her throat. Oh, yeah. She drank the Kool-Aid, man.Let me tell you. She sure did.I've tried. We're getting there.[42:46] That's the pocket of that song, in my opinion, and this is my opinion, and if Robbie was here, I'd maybe change it just to be sweet to him, but it's you and Gord.It's just that the pocket's so tight with that.But you said something earlier about tape, and I want to just touch on it real quick because you were talking about how they have Pro Tools and this and that, and how you would havemade a different decision with Bob Cajun.But we cut a record in this last March, our band, we did our second record.And the engineer was using Cubase, which is just another version of Pro Tools or whatever.You've got a million, you can do a million tracks. But like he was like, no, you're going to do this many. And I'm like, no, I don't like that.He's like, nope, that's it.Yeah, because you get to a point to where you could just you just go crazy.And you could do 25, 30 tracks, you know, on one take or 25, 30 takes.And it's just it's stupid at that point.You've got to appreciate the moment that it is, you know, whether it's, you know, you're never better than your demo, like you said. You know? Yeah.And and I don't know, I guess.[44:01] There was, and not to get off the topic of, of, of, of Phantom Power, but for me, and I know we all had this, this reaction.We felt like I felt like In Between Evolution was the Johnny Faye record.[44:17] Really? Yeah, and there's... I don't remember that record, really.Well, yeah, there's a specific thing. That's crazy because there there's at the end of certain songs, there's little, you know, hi-hat touch, there's a rimshot, there's just little sprinkles of youthat is the last sound you hear on multiple tracks and or, or the beginning of a track.And I'm like, I wonder if there's something to this, but they must have just been the take that you guys did and it's taking up, maybe so.That was confusing record.Well, it's interesting about the tape to dress the tape thing.Yeah. And you have limitations. You got to make decisions.Uh, and you know, and I didn't say that I read Keith Richard's book and he was like, give me eight tracks and I'll write you a hit.And, you know, when they went to 16, he was like, man, okay, but I can still do it. Nay. And it's true.Um, you know, that, that the a hundred guitar tracks or whatever, the layering and, and, uh, it's just, you know, it goes, just lets up on records, John Bonham.I worked with a guy named Terry Manning and he had, John Bonham got very upset with him because Terry Manning said to me, I was the guy who put the third microphone on thedrums, he didn't like that, he only wanted two.[45:36] Only wanted two. So yeah, Inbetween Evolution was, we worked with Adam Casper, he was fantastic, obviously he's a guy who worked with Pearl Jam and we were very chuffedabout working for him, with him.And we seemed to move around studios a lot.For me that was a little bit confusing, so I never knew what we really had in the can.And it was in Seattle, where I love. I absolutely love Seattle.And so that was cool to be there. But yeah, I don't sort of...It's just a record that's easy to associate with you.And I think at that time too, we were looking at videos. I remember talking about this video I saw of you.You were so in the friggin zone playing live.You broke a cymbal and somebody just came like middle of the song.You just kept going along, replace cymbal.That would be Mike Cormier. He was my drum check and he was amazing.He could tell when they were broken. He sort of mid-song and he'd say, should I wait for the end of the song? I was like, no, just get rid of it.[46:44] Yeah, you know, we're going through something now where we're going back even further and with Up To Here.And a question was asked earlier about is there some songs that were left off?And there was a song that was left off, Up To Here, and it's called Wait So Long. and it was a really, really special song.Our producer and his manager and some people at the record company really thought that that was the lead track.[47:15] It ended up being Blow It High Dough, I believe.Or New Orleans is sinking. But Wait So Long is a great track, and that will come out next year.Oh, that's exciting. We have a mix of it and everything from Don Smith, so that's fully intact.So when we looked through the tapes and thought, oh, what do we need to remix?There was that one, you know, the lettering. It was like, okay, we got that one.So that'll be great to get out.You know, hear what people think about that. So one of our go ahead, Judy.So I have an ammo system set up at home. So I've been listening to the mix and Dolby Atmos.And I'm just curious about how that works when you're when you're doing a mix of that because there are instrumentations and sounds that I've never heard in those songs before.And now all of a sudden, they're they're shooting over my head.And it's, it's really fucking tremendous. It's a great way to experience music.But I just wonder what it's like.Do you have a mixer that just takes care of that?Because I noticed there was there's three writing credits for mixers on the Yeah, on the album.So I'm just curious if one is just for Dolby Atmos, sir.Yeah, well, we had a guy in the first couple, I think he did Road Apples.[48:43] And his name is Rich Chicky, and you might know him because he's done all the Rush stuff.He's like the Rush in-house guy for Atmos.Since then, we've had our key engineer, Mark Braykin, has been doing the Atmos stuff because he built an Atmos room.[49:00] You're right on this one. Phantom Power has a lot of stuff. I was sitting in the back of the room when they were mixing that and it's like there's some backwards guitars and somestuff that just goes out and it makes sense.I'm not gonna lie, I'm not the hugest fan of, I get it, you know, let's send the hi-hat into outer space, changes the groove, changes the groove for a five-piece band, we're not gonna lie.[49:29] On an album like Road Apples, which Rich did, and he did a great job.I just don't get it. On Phantom Power, which would be the closest thing that we would ever have to Dark Side of the Moon, I get it.You sit in the back of the room and hear the backwards guitar or stuff swirling around. It's cool.But I know people want this in their headphones, but I guess I'm a little bit like Monomix guy.I don't mind that either. I love it. I love that. Yeah.Dan? I'm with you, Joni.[50:04] Coming back to the other aspect of the box set, which is the live recordings, I mean, what criteria do you sort of use for selecting the live recording?I mean, out of the three that have been, you know, re-released.[50:18] Obviously one was the Horseshoe, but the other two have been from, like, American venues.Would you perhaps, like, choose the American gigs because they might be lesser known to a predominant Canadian audience?Or, I don't know, how do you choose? We pick a gig that has fewer clams in it and less mistakes.We just kind of really, we really do.We did a live record called Live Between, it was way back in the day, and we argued about this.We had really sort of a good old fashioned fight about it.And Gord Downie wanted one from this place called the 40 Walk Club, which we'd listened to and it was a great, great version.It was a great night.And it's where REM, I think, got their start.And so we were sort of between that and another couple.[51:12] And then we ended up picking Detroit because it sounded good.Um, I think that's kind of what we go on when we're, we're picking these, um, these live, uh, albums and Gord Sinclair's son, um, is the one who really goes through them and says, there'ssomething here.He knows the hip really well. And so he really kind of directs us.So there's so many tapes out there. Um, and so he, he sort of says this one, um, from, uh, Chicago second night, a house of blues.This, this one's got something there. And so Colin Sinclair is really in charge of that.I don't think any other guy in the hip can take credit for it.[51:52] Can I just ask as well then, so what percentage of hip shows do you think were actually recorded, you know, documented?[52:00] It would depend on the period. One tour we went out with D88 machines, other eras we let people tape, like Fish Show or Grapevold Head, we would set up a little area where theycould get stuff off the board.That was cool. And there were some remote stuff, not a ton of 24-track, tape stuff. We would do stuff for Westwood One.Most of this stuff is going to be in-house, or a record company generated through a live truck, Usually in LA or New York, we have one coming up from a show we did in the States forRecord Day next year.Not a ton. There's not a ton. Two scoops in this session. That's great.That are coming out?[53:05] You mentioned Zeppelin too. I was going to ask you about Hedley Grange, but I forgot what I was going to say. You know where Bonham did that thing with the, for, for, um.[53:16] When the levee breaks, you know, yeah, they put the mics up on the stairs. God, that's so cool.But, but no, that was Jimmy. That was Jimmy Page. That was Jimmy Page doing that.He engineered page based on that. That's that's such a it's such a I mean, never in in history. Can anybody recreate that sound? I mean, it's just so cool.No, the sound of like a double bass almost, but people people don't understand that there's the economy of it.If you worked with one of These older guys, I always say that Don Smith was like Rudy Van Gelder, he got it.He knew, he kept on coming into the studio, back in the control room.He would make the live room, the studio sound, the control room sound like the live room. And he was constantly tweaking like that.[54:02] The guitar, if you listen to the Zeppelin, it's all the stuff that's implied in the chords I think.The drums are what everything is hanging off of. The guitars are really quite small, you know, you know, there's these these bands that came out in the 80s that were trying to be likeZeppelin, use 24 microphones on the drums.It sounded horrible, you know, and for John Bonham, it was just the way he played. He was really good.Incredible jazz sensibilities, an incredible groove. And he was able to move, you know, all four of those guys were spectacular.We went on the road with them. We went on the road with them, Paige and Plant, through the States, and it was incredible.[54:49] Yeah. Never a nicer, never a nicer guy than Robert Plant. He was so, so nice.Oh, yeah. That's that's, that's, that's amazing.Yeah, I'm a huge, I'm a huge Zep fan. But I just got to ask you real quick about the song Fireworks.Is there, there's got to be some Rush influence in that. I just hear so much like spirit of the radio in that tune.It's just such a, I think that when that song, when we heard that song on this record, Tim and I both, I was like, that was for our first favorite song on this record. Oh, that's sweet.[55:26] Don Smith's mix on the box set is really interesting.Because for Phantom Power, where we mixed it three different times.Yeah, I mean, Neil, I got to meet him a couple of times.He was obviously a huge influence and I would say, yeah, yeah.I went trick or treating as him one year. I crank called him.[55:50] Oh my gosh, amazing. Love Rush, man, love Rush.J.D. be mindful of the of the clock too on the thing. You're on mute.Yeah, we can't hear you, J.D.Oh, sorry about that, guys. I was just going to say we've got a minute 45 left of this session before it cancels out.So, Tim, if you've got a quick one and then we'll bid adieu.Well, I just had one of our pod listeners asked about Bumblebee and basically was like, why didn't this make the album?You know, this it could fit in there so well. So just a quick comment on that.And yeah, yeah, that was one that was that was on on the list.And I think it just, we just sort of Gord Sinclair was putting the sequences together for that.And it just for us, there was just something maybe missing. It's really great.[56:46] And I love the line when the moon's a water balloon.It just is so great. That's so Gord. You know, yeah.And I look at every time I look up at a supermoon and it looks like a water balloon. I think it's very cool.Well, it made the box set. So that's, yeah, that's important.Yeah. Well, Johnny, we really want to thank you so much for your time.It means a lot. And thank you gents for, for all your promotion to the hip. Our pleasure.Keep ramming, keep ramming it.Hopefully not your family. They love it too. It happens.Track 1:[57:29] Thanks for listening to Getting Hip to the Hip. Please subscribe, share, rate and review the show at gettinghiptothehip.com.Find us on Twitter and Instagram at gettinghippod.And join our Facebook group at facebook.com slash groups slash fully and completely.Questions or concerns? Email us at JD at getting hip to the hip.com.We'd love to hear from you.Track 6:[58:25] I can't wait for the music at work box set as well, just so you know, just so you know, we're dying for that one. Oh yes, please, please.I'll tell you, I'll tell you the one that I was listening to last night and the demos are really great and and I'm really pushing for this one is in violet light.Oh yes. Yeah. In violet light. The demos were just incredible.Support this podcast at — https://redcircle.com/gettinghiptothehip/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
Guests Gaz Williams - Producer, bassplayer, music technologist Yoad Nevo - producer, mix engineer Software Developer Video version on Youtube: https://www.youtube.com/watch?v=K0HUV2oIYVY For preshow and Ad free version and much more: Patreon.com/sonicstate 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% 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. 00:01:46 AD: SonicState Patreon 00:10:35 Waldorf Iridium Core 00:17:21 Coming up 00:22:24 AD: iZotope Ozone 11 00:23:56 Logic 10.8 Update Includes MIDI 2.0 00:45:38 AD: N.I. Kontrol S Series 00:47:25 Korg MPS 10 Pads 01:09:50 Cableguys Reverb Shaper 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
The standard guitar tuning is only a suggestion! Joe talked about Mellotron, Cubase and Pro Tools, creative guitar tunings, recording piano and drums, training your ear for eq, headphones vs speakers, home studios and the sound of drywall vs volume. Get access to FREE mixing mini-course: https://MixMasterBundle.com My guest today is Joe Pisapia a singer, songwriter, producer and multi-instrumentalist best known for his work as a member of Guster and k.d. lang and the Siss Boom Bang. He co-produced and co-wrote Guster's 2006 release, Ganging Up On the Sun, an album that cracked Billboard's Top 25 and was one of the best selling internet albums of the year. He did the same on the band's 2010 Easy Wonderful. He produced and penned the title track for Lang's 2011 album, Sing It Loud, and acted as music director for the accompanying tour. As a producer and mixer Joes credits include: Ben Folds Five's, The Hush Kids, Zac Clark, Drew Holcolmb, Chuck Mead, Josh Rouse, Courtney Jaye, Matt Wertz, William Tyler, The Silver Seas and The Pierces and when the Grammy Award-winning band Fun needed orchestral recording for its Grammy performance, they called on Joe. Originally from New Jersey Joe moved to Nashville with his band Joe Mark's Brother in the 90s with whom he has made beautiful sounding records and Joe has continued to record as a solo artist producing from his own studio Middle Tree in East Nashville. His 2002 release Daydreams was given four stars and called “stellar” by AllMusic.com. Ron Sexsmith called 2015's Nightvision, “amazing” and the “best thing” he's “heard in a long time.” In 2016 Pisapia collaborated with singer/ songwriter Kate York for the duet E.P. “Kate York And Joe Pisapia.” and in 2018 Joe released two full length solo albums. “Connection” and “Cosmic Christmas”. In 2019 Pisapia recorded his first instrumental album, “Imbolc.” For a 2020 release of the album, he made music “videos,” which consisted of him making some of his favorite comfort foods. Joe also produced much of, and mixed all of Pam Tillis' “Looking For A Feeling.” Tillis cut Pisapia's song “Better Friends,” which was originally released on his solo album, “Connection.” NPR's Ann Powers singled out Tillis' version of “Better Friends” calling it a “quintessential country song.” Also in 2019 Joe produced Jillette Johnson's “It's A Beautiful Day And I Love You,” and was part of the live ensemble whom recorded the album “Outside Child” by Allison Russell, produced by Dan Knobler which Joe described as “tantamount to a holy experience.” THANKS TO OUR SPONSORS! https://UltimateMixingMasterclass.com https://www.native-instruments.com use code ROCK10 to get 10% off! https://lewitt.link/rockstars https://www.Spectra1964.com https://MacSales.com/rockstars https://iZotope.com use code ROCK10 to get 10% off any individual plugin! https://www.adam-audio.com https://RecordingStudioRockstars.com/Academy https://www.thetoyboxstudio.com/ Listen to this guest's discography on Spotify: https://open.spotify.com/playlist/0Y5ypkRrlcKQWcy6fPjgX8?si=dec7efe6473e4d00 If you love the podcast, then please leave a review: https://RSRockstars.com/Review CLICK HERE FOR COMPLETE SHOW NOTES AT: https://RSRockstars.com/425
www.theotheeros.com LinkedIn | Instagram | X Eros Marcello a software engineer/ developer and architect specializing in human interfacing artificial intelligence, with a special focus on conversational AI systems, voice assistance, chat bots and ambient computing. Eros has been doing this since 2015 and even though today for the rest of us laymen in the industry we're hearing about AI everywhere, for Eros this has been something he's been passionately working in for quite a few years. Super excited to have him here to talk to us about artificial intelligence and help demystify some of the terminology that you all may be hearing out there. I'm so excited to welcome Eros Marcello to this conversation to learn a little bit more about AI. He is so fully well versed in it and has been working in AI at since 2015, when it was just not even a glimmer in my eyes so I'm so glad that to have somebody here who's an expert in that space. Eros glad to have you here I would love to just jump into the conversation with you. For many of us this this buzz that we're hearing everywhere sounds new, as if it's just suddenly come to fruition. But that is clearly not the case, as it's been around for a long time, and you've been involved in it for a long time. Can you take us to as a creative, as an artist, as an architect, as an engineer take us through your genesis and how did you get involved and how did you get started. Let's just start at the beginning. Eros: The beginning could be charted back sequentially working in large format facilities, as surprise surprise the music industry, which you know was the initial interest and was on the decline. You'd have this kind of alternate audio projects, sound design projects that would come into these the last remaining, especially on the East and West, Northeast and So-cal areas, the last era of large format analog-based facilities with large recording consoles and hardware and tape machines. I got to experience that, which was a great primer for AI for many reasons, we'll get more into that later. So what happened was that you'd have voiceover coming in for telephony systems, and they would record these sterile, high-fidelity captures of voice that would become the UI sound banks, or used for speech synthesis engines for call centers. That was the exposure to what was to come with voice tech folks in that space, the call center world, that really started shifting my gears into what AI machine learning was and how I may fit into it. Fast forward, I got into digital signal processing and analog emulation, so making high caliber tools for Pro Tools, Logic, Cubase , Mac and PC for sound production and music production. specifically analog circuitry emulation and magnetic tape emulation “in the box” as it's called that gave me my design and engineering acumen. Come 2015/2016, Samsung came along and said you've done voice-over, know NLP, machine learning, and AI, because I studied it and acquired the theoretical knowledge and had an understanding of the fundamentals. I didn't know where I fit yet, and then they're like so you know about, plus you're into voice, plus you have design background with the software that you worked on. I worked on the first touchscreen recording console called the Raven MTX for a company called Slate Digital. So I accidentally created the trifecta that was required to create what they wanted to do which was Bigxby which was Samsung's iteration of the series for the Galaxy S8 and they wanted me to design the persona… and that as they say is history. Samsung Research America, became my playground they moved me up from LA to the Bay Area and that was it. It hasn't really stopped since it's been a meteoric ascension upward. They didn't even know what to call it back then, they called it a UX writing position, but UX writers don't generate large textual datasets and annotate data and then batch and live test neural networks. Because that's what I was doing, so I was essentially doing computational linguistics on the fly. And on top of it in my free time I ingratiated myself with a gentleman by the name of Gus who was head of deep learning research there and because I just happened to know all of these areas that fascinated me in the machine learning space, and because I was a native English speaker, I found a niche where they allowed me to not only join the meetings, but help them prepare formalized research and presentations which only expanded my knowledge base. I mean we're looking into really cutting-edge stuff at the time, AutoML, Hyperparameter tuning and Param ILS and things in the realms of generative adversarial neural networks which turned me on to the work of Ian Goodfellow, who was until I got there was an Apple employee and now it's gone back to Google Deep Mind. He's the father of Generative Adversarial Neural Networks, he's called the GANfather and that's really it the rest is history. I got into Forbes when I was at Samsung and my Hyperloop team got picked to compete at SpaceX, so it was a lot that happened in a space of maybe 90 days. Katty You were at the right place at the right time, but you were certainly there at a time where opportunities that exist today didn't exist then and you were able to forge that. I also can see that there are jobs that will be coming up in AI that don't exist today. It's just such an exciting time to be in this space and really forge forward and craft a path based on passion and yours clearly was there. So you've used a lot of words that are regular nomenclature for you, but I think for some of the audience may not be can you take us through…adversarial I don't even know what you said adversarial … Yes Generative Adversarial Neural Networks. Eros A neural network is the foundational machine learning technique, where you provide curated samples of data, be it images or text, to a machine learning algorithm neural network which is trained, as it's called, on these samples so that when it's deployed in the real world it can do things like image recognition, facial recognition, natural language processing, and understanding. It does it by showing it, it's called supervised learning, so it's explicitly hand-labeled data, you know, this picture is of a dog versus this is a picture of a cat, and then when you deploy that system in production or in a real-world environment it does its best to assign confidence scores or domain accuracy to you know whether it's a cat or a dog. You take generative adversarial neural networks and that is the precipice of what we see today is the core of MidJourney and Stable Diffusion and image-to-image generation when we're seeing prompts to image tools. Suffice it to say generative adversarial networks are what is creating a lot of these images or, still image to 3D tools, you have one sample of data and then you have this sort of discriminator and there's a waiting process that occurs and that's how a new image is produced. because the pixel density and tis diffused, it's dispersed by you know by brightness and contrasts across the image and that can actually generate new images. Katty So for example if an artist is just dabbling with Dall-E, let's say, and they put in the prompt so they need to put in to create something, that's really where it's coming from, it's all the data that is already been fed into the system. Eros Right, like Transformers which again are the type of neural network that's used in ChatGPT or Claude, there are really advanced recurrent neural networks. And current neural networks were used a lot for you know NLP and language understanding systems and language generation and text generation systems. Prior, they had a very hard ceiling and floor, and Transformers are the next step. But yeah more or less prompt to image. Again tons of training that assigns, that parses the semantics and assigns that to certain images and then to create that image there's sequence to sequence processes going on. Everyone's using something different, there's different techniques and approaches but more or less you have Transformers. Your key buzzwords are Transformers, Large Language models, Generative AI, and Generative neural networks. It's in that microcosm of topics that we're seeing a lot of this explode and yes they have existed for a while. Katty Where should somebody start? Let's say you have a traditional digital designer who doesn't really come from an engineering or math background like you didn't and they can see that this is impacting or creating opportunities within their space-- where should they start? Eros First and foremost leveling up what they can do. Again, that fundamental understanding, that initial due diligence, I think sets the tone and stage for success or failure, in any regard, but especially with this. Because you're dealing with double exponential growth and democratization to the tune where like we're not even it's not even the SotA state-of-the-art models, large language models that are the most astounding. If you see in the news Open AI is and looking at certain economic realities of maintaining. What is really eclipsing everything is and what's unique to this boom over like the.com bubble or even the initial AI bubble is the amount of Open Source effort being apportioned and that is you know genie out of the bottle for sure when it comes to something of this where you can now automate automation just certain degrees. So we're going to be seeing very aggressive advancement and that's why people are actually overwhelmed by everything. I mean there's a new thing that comes out not even by the day but seemingly by the minute. I'm exploring for black AI hallucinations, which for the uninitiated hallucinations are the industry term they decided to go with for erroneous or left field output from these large language models. I'm exploring different approaches to actually leverage that as an ideation feature, so the sky is the limit when it comes to what you can do with these things and the different ways people are going to use it. Just because it's existed it's not like it's necessarily old news as much as it's fermented into this highly productized, commoditized thing now which is innovation in it and of itself. So where they would start is really leveling up, and identifying what these things can do. And not trying to do with them on their own battlefield. So low hanging fruit you have to leverage these tools to handle that and quadruple down on your high caliber skill set on your on what makes you unique, on your specific brand, even though that word makes me cringe a little bit sometimes, but on your on your strengths, on what a machine can't do and what's not conducive to make a machine do and it's does boil down to common sense. Especially if you're a subject matter expert in your domain, a digital designer will know OK well Dall-E obviously struggles here and there, you know it can make a logo but can it make you know this 3D scene to the exact specifications that I can? I mean there's still a lot of headroom that is so hyper-specific it would never be economically, or financially conducive to get that specific with this kind of tools that handle generalized tasks. What we're vying for artificial general intelligence so we're going to kind of see a reversal where it's that narrow skill set that is going to be, I think, ultimately important. Where you start is what are you already good at and make sure you level up your skills by tenfold. People who are just getting by, who dabble or who are just so so, they're going to be displaced. I would say they start by embracing the challenge, not looking at it as a threat, but as an opportunity, and again hyper-focusing on what they can do that's technical, that's complex, quadrupling on that hyper-focusing on it, highlighting and marketing on that point and then automating a lot of that lower tier work that comes with it, with these tools where and when appropriate. Katty I would imagine just from a thinking standpoint and a strategy standpoint and the creative process that one needs to go through, that's going to be even more important than before, because in order to be able to give the prompts to AI, you have to really have to strategize where you want to take it, what you want to do with it, otherwise it's information in and you're going to get garbage out. Eros Right absolutely. And it depends on the tool, it depends on the approach of the company and manufacturer, creators of the tool. You know Midjourney, their story is really interesting. The gentleman who found that originally founded Leap Motion, which was in the 2010s that gesture-based platform that had minor success. He ended up finding Midjourney and denying Apple two acquisition attempts, and like we're using Discord as a means for deployment and many other things simultaneously and to great effect. So it's the Wild West right now but it's an exciting time to be involved because it's kind of like when Auto-tune got re-popularized. For example it all kind of comes back to that music audio background because Autotune was originally a hardware box. That's what Cher used on her song and then you have folks that you know in the 2010s T-Pain and Little Wayne and everybody came along it became a plug-in, a software plug-in, and all of a sudden it was on everything and now it's had its day, it had 15 minutes again, and then it kind of dialed back to where it's used for vocal correction. It's used as a utility now rather than a kind of a buzzy effect. Katty Another thing to demystify.. Deep fake—what is that? Yes deep fake, can be voice cloning, which is neural speech synthesis and then you have deep fakes that are visual, so you have you know face swapping, as it's called. You have very convincing deep fakes speeches, and you have voice clones that that more or less if you're not paying attention can sound and they're getting better again by the day. Katty What are the IP implications of that even with the content that's created on some of these other sources? Eros The IP implications in Japan passed that the data used that's you know regenerated, it kind of goes back I mean it's not if you alter something enough, a patent or intellectual property laws don't cover it because it's altered, and to prove it becomes an arbitrary task for it has an arbitrary result that's subjective. Katty You are the founder and chief product architect of BlackDream.ai. Tell us a little bit more about that what the core focus? Eros: So initially again it was conceived to research computer vision systems, adversarial machine intelligence. There's adversarial prompt injection, where you can make a prompt to go haywire if you kind of understand the idiosyncrasies of the specific model dealing with, or if you in construction of the model, found a way to cause perturbations in the data set, like basically dilute or compromise the data that it's being trained on with malice. To really kind of study those effects, how to create playbooks against them, how to make you know you know zero trust fault tolerant playbooks, and methodologies to that was the ultimate idea. There's a couple moving parts to it, it's part consultancy to establish market fit so on the point now where again, Sandhill Road has been calling, but I've bootstrapped and consulted as a means of revenue first to establish market fit. So I've worked for companies and with companies, consulted for defense initiatives, for SAIC and partnering with some others. I have some other strategic partnerships that are currently in play. We have two offices, a main office at NASA/Ames, our headquarters is that is a live work situation, at NASA Ames / Moffett field in Mountain View CA so we are in the heart of Silicon Valley and then a satellite office at NASA Kennedy Space Center ,at the in the astronauts memorial building, the longevity of that which you know it's just a nice to have at this point because we are Silicon Valley-based for many reasons, but it's good to be present on both coasts. So there's an offensive cyber security element that's being explored, but predominantly what we're working on and it's myself as the sole proprietor with some third party resources, more or less friends from my SpaceX /Hyperloop team and some folks that I've brokered relationships with along the way at companies I've contracted with or consulted for. I've made sure to kind of be vigilant for anyone who's, without an agenda, just to make sure that I maintain relationships with high performers and radically awesome and talented people which I think is I've been successful in doing. So I have a small crew of nonpareil, second to none talent, in the realm of deep learning, GPU acceleration, offensive cyber security, and even social robotics, human interfacing AI as I like to call it. So that's where Blackdream.ai is focusing on: adversarial machine intelligence research and development for the federal government and defense and militaristic sort of applications Katty This image of an iceberg comes to mind that we only see in the tip of it over the water you know with the fun everybody's having with the Dall-Es and the ChatGPT's but just the implication of it, what is happening with the depth of it ….fascinating!! Thank you you for being with us and just allowing us to kind of just maybe dip our toe a little bit under the water and to just see a little bit of what's going on there. I don't know if I'm clearer about it or if it was just a lot more research needs to be now done on my part to even learn further about it. But I really want to thank you for coming here. I know you're very active in the space and you speak constantly on about AI and you're coming up soon on “Voice and AI”. And where can people find you if they wanted to reach out and talk to you some more about this or have some interest in learning more about Blackdream.ai? The websites about to be launched Blackdream.AI. On Linkedin I think only Eros Marcello around and www.theotheeros.com, the website was sort of a portfolio. Don't judge me I'm not a web designer but I did my best. It came out OK and then you have LinkedIn, Instagram its Eros Marcello on Twitter/X its ErosX Marcello. I try to make sure that I'm always up to something cool so I'm not an influencer by any stretch or a thought-leader, but I certainly am always getting into some interesting stuff, be it offices at NASA Kennedy Space Center, or stranded in Puerto Rico…. you never know. It's all a little bit of reality television sprinkled into the tech. Katty: Before I let you go what's the last message you want to leave the audience with? Eros: Basically like you know I was I grew up playing in hardcore punk bands and you know. Pharma and Defense, AI for government and Apple AI engineer, none of that was necessarily in the cards for me, I didn't assume. So my whole premise is, I know I may be speaking about some on higher levels things or in dealing more in the technicalities than the seemingly, the whole premise is that you have to identify as a creative that this is a technical space and the technical is ultimately going to inform the design. And I didn't come out of the womb or hail from you know parents who are AI engineers. This isn't like a talent, this is an obsession. So if I can learn this type of knowledge and apply it, especially in this rather succinct amount of time I have, that means anyone can. I mean it's not some secret sauce or method to it, it's watch YouTube videos or read papers, you know tutorials, tutorials, tutorials. Anyone can get this type of knowledge, and I think it's requisite that they do to bolster and support and scale their creative efforts. So this is gonna be a unique situation in space and time where that you know the more technical you can get, or understand or at least grasp the better output creatively the right it will directly enrich and benefit your creative output and I think that's a very kind of rare symmetry that isn't really inherent in a lot of other things but if I can do it anyone. I love it thank you for this peek into what's going on the defense component of it, the cyber security component of it, the IP component of it… there just so many implications that are things we need to talk about and think about, so thank you for starting that conversation. Absolutely pleasure I appreciate you having me on hopefully we do this again soon.
Feeling overwhelmed by all the recording software choices? Been using the same DAW for a while and feel like it's time to switch it up? Haven't started recording your music because you don't have the right gear? If so, this episode is a MUST LISTEN because we're breaking down the pros and cons of a variety of recording softwares and demystifying this often overwhelming decision.If you're curious what software Isobel uses, you also won't be disappointed because inside you'll learn her top favourite 3 DAWs and why, when and what she uses them for. And if you're not even sure what a DAW is, don't worry! We're breaking all of this down, and more :)EPISODE HIGHLIGHTS{02:31} What is a DAW?{04:37} Why does it feel so hard to choose a DAW?{13:24} Isobel's run-through of 7 popular DAWs{36:58} Isobel's Top 3 DAWs{39:21} Episode SummaryCheck out Ableton Live >> Check out Logic Pro X >> Check out Pro Tools >> Check out FL Studio >> Check out Cubase >> Check out Cakewalk >> Check out GarageBand >> Boss it in the recording studio
This week we look at one of the strangest flying insects out there and their behaviors. There are many kinds of scorpionflies and they are all pretty different. Support the show -> patreon.com/user?u=46499107 IG: https://www.instagram.com/insects4fun/ FB: https://www.facebook.com/profile.php?id=100085443614825 Email: Insectsfordummies@gmail.com Music from Lofi Girl: Richard Smithson, Cubase, Mondo Loops, Sátyr Transcript: Welcome back to episode 50 of Insects for Fun! The weekly podcast covering all things entomology. This week we are looking into a very interesting type of fly which is actually not a fly at all, and kinda seems more like a chimera than anything else! Intro: Scorpion flies are a group of insects belonging to the order Mecoptera which means long wings, but the wings are not the most interesting thing about these insects. There is one family in particular called panorpidae, and the males in this family have an abdomen which curves upward and has a large bulb-like structure with a pointed tip at the end. This family has the most species and is the main reason why Mecoptera are often referred to as scorpionflies. That being said, those showy and intimidating tails are only for mating, and can't harm you or anything else. Another really wacky feature for these insects would be their long mouths.The heads are actually small but the mouth itself is really big. The term for a mouth like this is called a rostrum which I mentioned in the Acorn weevil episode! As for the wings, they are heavily veined and have a more primitive appearance as if they came from a Mayfly. I really can't stress enough how strange these insects look, it's like someone just took random parts from different insects and put them together into this monster we call a scorpion fly. The distribution for these is worldwide but the diversity is strangely separated. For example there is more variety at a species level within Africa, and the European continent, but there is greater variety in families and genera in the Americas and Australasia. And not all of these scorpionflies look this weird. There are 9 families within the order, and each one looks pretty different. For example one family called Bittacidae look like four winged crane flies and are often referred to as hangflies or hanging scorpions. Another family called Boreidae look more like fleas or even the flightless midge found in antarctica. Life Cycle, and food source etc: In general scorpion flies prefer more humid environments in forests and grasslands surrounded by broadleaf vegetation like oak trees or other shrubbery with flat leaves to rest on. These insects feed on everything from honeydew and nectar to dead or dying organisms. Many of them actually snatch prey out of spider webs which is really cool! Some though are carnivorous scavengers that prey upon smaller insects and sometimes even spiders. The hanging flies mentioned earlier are in this camp and have a really cool method for catching prey. These flies literally hang on the edges of plants with their legs dangling down and they grab insects mid flight to feed on. The life cycle for these insects is holometabolous which means that they have a larval and pupal stage. The larvae for scorpionflies actually resemble caterpillars and spend their time in the ground feeding on decaying matter and other small insects except for one special family found in New Zealand, Australia, Tasmania, Chile and Argentina. This special family called Nannochoristidae have aquatic larvae that prey on smaller animals in riverbeds. They are also believed to be one of the only larvae that have true compound eyes, which is wild because compound eyes are known to be a special trait in adult insects (insert naruto quote) I can't speak for every scorpionfly out there, but in general these have one generation a year with the pupae staying dormant during the winter months. Females lay their eggs in the soil, and require a certain moisture level in order for eggs to hatch in a timely manner. This is not uncommon with insects that develop in the ground, such as beetles and cicadas etc. And if the moisture levels are off it can delay the hatching of scorpionflies up to months. Behaviors: When it comes to mating, Scorpion flies have some interesting rituals, and they usually involve offering a female some kind of incentive to woo her. For example, common scorpionflies which are the crazy monster looking ones have three separate tactics for luring a mate. The first two are to offer wads of spit or a dead arthropod (super enticing I know). Though sometimes they try to mate without offering anything! (gasp) (those pigs). Apparently the practice of giving a female a gift is for distracting the female resulting in longer mating time. I personally think this is hilarious, and it reminds me of the safari zone tactics in pokemon games where you throw a berry or w/e to increase your catching odds and prolong the encounter. Hanging Flies use pheromones to lure a female, and then offer them a special hostage. But as great as some males are, there's a lot of competition, and these flies have to get crafty sometimes. Scorpionflies are known to sometimes mimic the behaviors of a female in order to take gifts from other males, sometimes they also just show up for sloppy seconds. They literally wait around for a new female to fly into the area and then present her with whatever is left from the previous male's gift. That's literally showing up to someone else's date after they left, taking the flowers or whatever chocolate is left and handing it to a new girl (How you doin?). The worst part is this actually works, a lot… Now of course each family of scorpionflies has their own quarks and gimmicks as well, for example the wingless snow scorpions in the family Boreidae which are the flea looking fellas just jump on a female and stay on them for up to 12 hours, just chillin there. Literally and figuratively these cold climate scorpion flies just go about their usual day after pairing by moving around and feeding while the females do absolutely nothing. Defenses and Predators: Scorpionflies aren't really known for having any special defenses, and as a result I was unable to pull up anything in regards to how they protect themselves from other insects or insect eating animals, but! I was able to find something interesting in regards to their preference for dead animals. Scorpionflies are actually now used by forensic entomologists because they are one of the first responders to a decaying human body, even before the much more famous blowflies which I mentioned in my forensic entomology episode.
Why do ten clicks when one will do? Brian talked about creating cool studio macros in Keyboard Maestro, programming touch screens with Lemur and Open Stage Control, mixing with faders, stutter edits for guitars, and making music for lego ninjas! Get access to FREE mixing mini-course: https://MixMasterBundle.com My guest today is Brian Rivlin, a composer-producer and part-time YouTuber living in Toronto. He started his early career recording local artists but very fast realized his true passion for film scores and soundtracks. Through his work, he found a deep fetish for streamlining his studio workflow which resulted in him starting a youtube channel where he shares his love for music and the studio. His recent work includes Apex Legends, Adventures of Ayuma, Ninajgo, My Little Pony, and various movie trailer. I found Brians Youtube videos when I was doing a deep dive into Keyboard Maestro to streamline my own studio workflow. Brain has some great how to videos that really helped me out so I reached to invite him on the show to learn more about his work and get some great tips for you Rockstars! THANKS TO OUR SPONSORS! https://UltimateMixingMasterclass.com https://samply.app/ Use code RSR20 to get 20% off for the first 3 months https://www.Spectra1964.com https://MacSales.com/Rockstars https://iZotope.com/Rockstars use code ROCK10 for 10% off https://apiaudio.com/ https://www.adam-audio.com https://RecordingStudioRockstars.com/Academy Use code ROCKSTAR to get 10% off https://www.thetoyboxstudio.com/ Listen to this guest's discography: https://play.reelcrafter.com/BRVLN/Lij If you love the podcast, then please leave a review: https://RSRockstars.com/Review CLICK HERE FOR COMPLETE SHOW NOTES AT: https://RSRockstars.com/379
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