Podcasts about cubase

In dieser Folge zeige ich dir die Highlights aus einem zweistündigen Community-Talk über die mächtigsten Werkzeuge in Cubase. Wir haben das geballte Wissen auf 20 Minuten komprimiert, damit du deinen Workflow massiv beschleunigen kannst. Egal ob MIDI-Daten oder Projekt-Struktur: Wer den Logical Editor beherrscht, spart Stunden an repetitiver Arbeit. Das lernst du in diesem Video: Sichtbarkeit (Visibility) meistern: Behalte auch bei riesigen Templates den Überblick. Batch-Renaming: Kanäle blitzschnell und nach System umbenennen. Humanizing: Wie du MIDI-Noten Leben einhauchst, ohne jede Note einzeln anzufassen. Smart Transpose: Warum du den Logical Editor zum Transponieren nutzen solltest (und warum die Standard-Methoden oft schlechter sind). Speed-Tricks: Kleine Kniffe, die in der Summe deinen Workflow revolutionieren. Auf YouTube sehen: https://youtu.be/5dAEOTKpr0s?si=o8fu2l2A5NfbKo4M   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  

Composer Jesse Zuretti dives into his metal-influenced score for Riot Games' 2XKO – a fighting game set in the League of Legends Runeterra universe. Zuretti talks all things metal, working with Polyphia on the game's main theme, continuing the League of Legends legacy, fans' reactions to his soundtrack, misconceptions about heavy metal, creating the score in Cubase in his studio, and what to expect from him for the next iteration of the game. 

Icelandic composer Hildur Guðnadóttir went from releasing indie-classical solo cello albums, to becoming an awards-magnet film composer, with BAFTAs, GRAMMYs, and an Academy Award for her score to the Joaquin Phoenix-starring Joker to her name. She calls 2026 her ‘monster' year, which has seen her score 28 Years Later: The Bone Temple and the Maggie Gyllenhaal-directed The Bride. She chats to Headliner about working on these idiosyncratic films back to back, her long-awaited upcoming return to the stage this year, and why Cubase is key to her work.

Du willst das Beste aus Cubase herausholen? Dann schau dir dieses Video an! Ich zeige dir die wichtigsten Einstellungen, die du in Cubase ändern musst, um deinen Workflow zu revolutionieren und deine Produktivität zu steigern. Auf YouTube sehen: https://youtu.be/nUjBFeZIm0U   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  

Du willst das Beste aus Cubase herausholen? Dann schau dir dieses Video an! Ich zeige dir die wichtigsten Einstellungen, die du in Cubase ändern musst, um deinen Workflow zu revolutionieren und deine Produktivität zu steigern. Auf YouTube sehen: https://youtu.be/Yhlx_Qr-7ck   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  

Wusstest du, dass dein Hall oft das Stereobild ruiniert, wenn er nicht dem Panning deiner Spur folgt? In diesem Video zeige ich dir eine versteckte, aber essenzielle Funktion in Steinberg Cubase: "Panner verknüpfen". Standardmäßig landen Effekt-Sends (wie Reverb oder Delay) oft statisch in der Mitte oder im vollen Stereo, egal wo dein Instrument platziert ist. Ich zeige dir, wie du den Send-Panner mit dem Kanal-Panner koppelst. So kommt der Hall exakt von dort, wo auch die Stimme oder das Instrument sitzt – für einen sauberen, professionellen Mix mit echter Räumlichkeit. Auf YouTube sehen: https://youtu.be/0AHgcZUv2bI   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  

Presume el IMSS que cuenta con más de 10 mil médicos de alta especialidadSe restablece gradualmente el suministro eléctrico en CubaSe estima que en México hay 25 millones de perros callejeros

German producer Nicolas Rebscher discusses producing and co-writing Louis Tomlinson's no.1 album, How Did I Get Here?, including a behind the scene look at how hit singles, Lemonade and Imposter came together. He discusses making the record in Costa Rica, how the singer has carved out his own indie sonic identity after One Direction, why this is a lighter record than Tomlinson's previous efforts, and how he used Steinberg's Cubase to make the record.

I sat down with Nathan Fake, one of the UK's most distinctive electronic music producers, to chart his journey from rural Norfolk to the forefront of techno, IDM and experimental electronic music — and to unpack Evaporator, his seventh studio album. The record marks a clear pivot away from drum-heavy habits toward mood, melody and atmosphere, growing out of an intentional “ambient-only” brief.We dig into the nuts and bolts of music production: why Nathan still sketches ideas in old versions of Cubase, how cassette saturation, cheap gear and sonic imperfections add human friction, and where modern plugins genuinely earn their place. He talks about contrast as a compositional tool — lush pads against tough drums — and traces a lineage from Border Community's trance-tinged techno through to echoes of Warp-era electronic atmospherics.There's also a candid look at playing legacy tracks live, reshaping classics like “The Sky Was Pink” and “Outhouse” through improvisation, memory and feel, rather than carbon-copy recreations.Beyond sound design, the conversation opens out into bigger questions about electronic music today. Do long-form tracks still survive in a scroll- and swipe-first ecosystem? Nathan answers by doubling down, placing a nine-minute centrepiece at the heart of the new album. We reflect on working with small independent labels versus larger music organisations, and he shares pragmatic advice for staying singular: ignore trends, set your own constraints, and let the idea dictate the tool. We also probe the monoculture of online tutorials and ubiquitous DAWs.If you enjoy Lost and Sound and want to help keep it thriving, the best way to support the podcast is simple: subscribe, leave a rating, and write a quick review on your favourite podcast platform. It really helps new listeners discover the show — on Apple Podcasts, Spotify, or wherever you listen.Nathan Fake on Instagram:https://www.instagram.com/nathanpaulfake/?hl=enNathan Fake on Bandcamp:https://nathanfake.bandcamp.com/Huge thanks to Audio-Technica – makers of beautifully engineered audio gear and sponsors of Lost and Sound. Check them out here: Audio-TechnicaMy book Coming To Berlin is a journey through the city's creative underground, and is available via Velocity PressFollow Lost and Sound on SubstackYou can also follow me on Instagram at @paulhanford for behind-the-scenes bits, guest updates, and whatever else is bubbling up.

Als Producer arbeitest du oft im Hintergrund. Doch was passiert abseits vom Studio? Wofür braucht man ein Management? Was macht ein Musikverlag eigentlich genau? Und ab wann solltest du dich mit solchen Partnern überhaupt auseinandersetzen? [ThemaTakt-Newsletter abonnieren](https://www.thematakt.de/about) [ThemaTakt per PayPal unterstützen](https://www.paypal.me/thematakt) [ThemaTakt auf Instagram ](https://www.instagram.com/thematakt/) In diesem Panel geben Expert:innen aus der Musikindustrie praxisnahe Einblicke in ihre Arbeit – von Management über Verlag bis Booking und Label. Gemeinsam gehen wir der Frage nach, welche Rolle diese Strukturen für Producer spielen, was sie leisten können (und was nicht) und wie du selbstbewusst entscheiden kannst, welche Schritte für dich und deine Karriere sinnvoll sind. Dabei geht es nicht nur um Theorie, sondern um konkrete Erfahrungen: Wie finde ich seriöse Partner? Woran erkenne ich gute Verträge? Und wie kann ich meine Rechte und Einnahmen langfristig sichern? Ob du ganz am Anfang stehst oder schon erste Releases draußen hast – dieses Panel richtet sich an alle Producer, die besser verstehen wollen, wie das Musikbusiness funktioniert und wie man als Kreativer darin bestehen kann. Den ThemaTakt-Live-Podcast auf der Beatcon moderiert Tobias Wilinski. Folgt dem ThemaTakt-Podcast, um alle weiteren Folgen zu hören und lasst eine Bewertung bei Apple Podcasts und Spotify! Zu Gast in dieser Folge: Danny "D-Bo" Bokelmann (Label- & Verlagsinhaber & Manager) - Als Artist gestartet - Label WPE - Management (Antifuchs, Tzavellas, Grossstadtkind, SOTT) - Arbeitest mit Edoardo verlagseitig - Thema: Producer sollten sich mehr als Artists inszenieren (Merch, Branddeals, Eventeinladungen) - Verlag: SOTT, Dinskibeat, Tacka77 Edoardo Rossi (Selbständiger Verleger) - Seit 12 Jahren in der Industrie - Fokus: International - Bsp: SOTT (Top Producer im Streetrap -> Euro-Trap) Dinski - Italienische-Brasilianische Roots - viel unterwegs - Leidenschaft: Geschichte & Kultur - Thema: Musikindustrie ist Seelenlos geworden Daniel Dadgar (International Marketing Manager Tunecore Deutschland) - Selbst als Producer/Artist gestartet - Thema: Wie wichtig Künstler-Identität für Producer? - Junge Artists vergessen sich zu vermarkten Alex Ziem (Head of Publishing Believe Germany) - Samra, Dardan, Hava gesignt - Bsp: Loi, Loredana, Dardan, Helene Fischer, Leony, Producer JMC - Jetzt Holy Priest, Ben Zucker, Chefi (Naps, Soolking) - Thema: Krasser Wandel in der Industrie Zinobeatz (Producer & Verlagsinhaber) - mit 14 als Producer gestartet - Cubase 3 - Intro von Fard Alter Ego (2010) erste Platzierung - Hast mit Fard eine Verlagsedition und ein paar Producer gesignt - auf deinem eigenen Verlag 29th Avenue - 90 Producer gesignt (JR auf der Beatcon) - Produziert jetzt Ami-Samples, die über David & Elias in Amerika landen bei Metro Boomi - 8 Producer auf dem letzten PA Sports-Album platziert Genannte Namen: - Ski Aggu - Metro Boomin - Fard - SOTT - Samra - Loredana - GLS - Thizzy? - JR - PA Sports

Die Filmtonfrauen Sabrina Naumann-Reichow und Antje Volkmann thematisieren in dieser Folge die Fehleranfälligkeit des „Daily Folders“ und die Krise der Metadaten-Haftung. Sie erklären, dass Tippfehler bei der Festlegung des Drehtages dazu führen können, dass der Sound Devices Rekorder unwissentlich neue Files in den Ordner des Vortages schreibt, da er keine Warnung ausgibt. Da die Ordnerstruktur in die Metadaten der Audiodateien geschrieben wird, klebt der falsche Drehtag am File und ist intern im Recorder nicht mehr korrigierbar. Sie betonen, dass der Sound Report zwar großteils die Metadaten widerspiegelt, aber für die Postproduktion unerlässlich ist, insbesondere für die ADR-Aufnahmen (um die am Set verwendeten Mikrofone zu bestimmen) und zur detaillierten Kennzeichnung von Nurtönen (Wildtracks) und Nachsprechern in den Kommentaren. Abschließend diskutieren sie die Notwendigkeit, frühzeitig für die Postproduktion vorauszuschauen – etwa durch die gezielte Aufnahme von Atmosphären und Crowds am Set, da deren nachträgliche Reproduktion (speziell bei historischen Fahrzeugen oder großen Komparsenmassen) in der Postproduktion oft nicht mehr möglich oder extrem teuer ist. Auf YouTube sehen: https://youtu.be/5RlbnmoqUrA   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  

Nuendo bietet beim Thema Lautheit noch einmal deutlich mehr Möglichkeiten als Cubase – und genau die zeige ich dir in diesem Video. Im Fokus steht die Lautheitsspur, mit der du Lautheitswerte besonders übersichtlich und präzise analysieren kannst. Ich zeige dir, wie die Lautheitsspur funktioniert und warum sie so mächtig ist. Dazu kommt die „Schnelle Analyse“: Damit muss dein Projekt nicht in Echtzeit abgespielt werden – die Lautheitsmessung läuft offline und spart enorm viel Zeit. Zum Schluss zeige ich dir noch, dass du beim Export direkt auf eine gewünschte Lautheit normalisieren kannst – perfekt für Broadcast, Film, Games oder Streaming. Auf YouTube sehen: https://youtu.be/XxbNmfanJVE   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  

Ich zeige dir, wie du in Cubase die Lautheit (LUFS) korrekt messen kannst – ein wichtiger Schritt für saubere Mixe, Mastering und Streaming-Plattformen wie YouTube oder Spotify. Neben der grundlegenden Messung der Lautheit bekommst du außerdem praktische Tipps, mit denen du deutlich schneller zum Ziel kommst. Ich zeige dir unter anderem, wie du Audio-Files direkt auf eine gewünschte Lautheit normalisieren kannst und worauf du dabei achten solltest. Auf YouTube sehen: https://youtu.be/SGypwCbqqoI   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  

Japanese-born, US-based producer and DJ, Qrion delves into the making of her new album, We Are Always Under The Same Sky, and shares how her music production has progressed – going from experimenting with making music on her phone in high school, to mastering the intricate possibilities of Cubase. She also reflects on how overcoming personal struggles has shaped her music, and shares a glimpse of her plans for 2026. 

Berlin-born composer Sascha Dikiciyan, aka Sonic Mayhem, shares the story behind his Quake II breakthrough, the philosophy of rebellion driving the music behind new game Metal Eden, and how Cubase keeps him at the cutting edge of game music composition.

▶ Monte le Son, le podcast # 104 En 1980, l'entreprise Roland sort la TR-808. Cette boîte à rythmes va révolutionner le monde de la musique, et en particulier le hip-hop. Jusque-là, ce genre naissant s'appuyait sur des reprises disco-funk exécutées par des musiciens. Mais la décennie 80 marque l'arrivée de nombreuses machines (drum machine, sampler, workstation, etc.) qui vont permettre au hip-hop de créer un son distinctif : TR-808 donc, mais aussi Oberheim DMX, Linndrum, E-MU SP-12 puis SP-1200, Akai S950, MPC 60, Roland ASR10, l'Atari avec Cubase... C'est cette histoire que racontent Real Muzul et Da Cockroach dans leur récent livre "Here come the drums", publié chez Marabout. En plus de présenter en détail les machines, leurs spécificités et le contexte de leur création, les auteurs sont partis à la rencontre de 70 compositeurs/beatmakers pour qu'ils racontent leur rapport à ces machines, et leur histoire du hip-hop. Le casting est d'ailleurs dingue : Akhenaton, Dee Nasty, Sulee B Wax, Zoxea et Melopheelo, Rocé, Pone, Guts, Cut Killer, Man Parrish, ou encore le génial inventeur Roger Linn ! Afin de rendre hommage à ce beau travail, Salman et Daz ont convié Muzul à venir présenter "Here come the drums". Et il est venu accompagné de deux musiciens de légendes : Nikkfurie, rappeur et beatmakers du groupe de rap La Caution, et Faster Jay, DJ et pionnier du hip-hop qui a accompagné New Generation MC et Alliance Ethnik. N'hésitez pas à naviguer entre les chapitres en fonction de vos intérêts ! ▶ Sommaire : 01:23 Présentation de Muzul 04:04 Présentation de Nikkfurie 08:17 Présentation de Faster Jay 16:23 Présentation du livre 19:18 La passion des machines 26:30 La révolution TR-808 44:18 Le hip-hop, une musique électronique 58:43 La SP12 et l'arrivée des samplers 1:17:38 Le miracle MPC 60 1:26:24 Détournement de son… 1:29:21 Une simple copie des américains ? 1:42:00 Quelle est la reine des machines ? 1:44:10 Atari + Cubase, les prémices de la MAO 1:58:08 Et aujourd'hui ? 2:10:46 Recommandations ▶ La playlist des reco : https://open.spotify.com/playlist/39BlEIIxhGNmUfNkjkNY6M?si=21ab521b99e548fb (les autres plateformes arrivent bientôt) Technique : La Bouclette Montage : François Brétéché

What happens when a French-Canadian music producer trades poutine for prairie skies and builds a new studio in Calgary? Will his acoustic panels survive the move? Tune in as Chris Selim shares his journey, one recycled bass trap at a time. Get access to FREE mixing mini-course: https://MixMasterBundle.com My guest today is Chris Selim, a musician, music producer, and mixing engineer behind Mixdown Online, where he helps home studio owners and musicians improve their recording, mixing, and production skills. His YouTube channel has grown to over 125K subscribers and 14 million views, thanks to his clear, practical tutorials that make it easier to get pro results from your home studio. Chris is also the co-host of the Studio Stuff Podcast, a laid-back and informative show where he and Steve Dierkens talk music production, gear, and home studio life. With more than 80 albums produced and over 22 years of experience, Chris is especially known for his work in the French Christian music scene. Working primarily in-the-box with Cubase, Chris shares the tools and techniques he once searched for himself—empowering musicians around the world to make better music from home. He first joined us back on episode RSR098 and I'm excited to have him back. THANKS TO OUR SPONSORS! http://UltimateMixingMasterclass.com https://usa.sae.edu/ https://www.izotope.com Use code ROCK10 to get 10% off! https://www.native-instruments.com Use code ROCK10 to get 10% off! https://www.adam-audio.com/ https://www.spectra1964.com https://pickrmusic.com  https://RecordingStudioRockstars.com/Academy https://www.thetoyboxstudio.com/ Listen to the podcast theme song "Skadoosh!" https://solo.to/lijshawmusic Listen to this guest's discography on Spotify: https://open.spotify.com/playlist/5iIfwOzvKWebiajxOq4XHa?si=QqQC6d7VQqa9EoNIVHqPYA If you love the podcast, then please leave a review: https://RSRockstars.com/Review   CLICK HERE FOR COMPLETE SHOW NOTES AT: https://RSRoockstars.com/533

Guests Paulee Alex Bow - Magical Synth Adventurer and vintage digital specialist Richard Nicol - Synth designer Pittsburgh Modular Rich Hilton - Producer, engineer and keyboards for Chic For preshow and Ad free version and much more: Patreon.com/sonicstate IZotope Ozone 12 Go beyond the limits of mastering with Ozone 12. Unlock the impossible with this complete suite of 20 pro modules, including 3 brand-new, best-in-class additions. Plus, make Master Assistant your own with a new customizable flow. With intelligent tech that guides, not decides, you're always in control. Native Instruments Modular Icons vintage modular synth sounds from iconic artists and instruments. Made in collaboration with the Bob Moog Foundation, more than 60% of each sale goes to them. Part of the Play Series: Great-sounding presets and real-time control. 00:00:07 SHOW START 00:03:13 AD:Patreon 00:10:13 Win Omnisphere 3 Competition 00:11:41 A New Take On Wavetable Synthesis 00:23:46 WARP – SOMA LABORATORY 00:31:39 AD:iZotope Ozone12 00:33:27 Animated Vinyl 00:38:49 EVIL PET ENDORPHIN.ES 00:47:03 AD: NI Modular Icons 00:49:36 Cubase 15

Making a Scene Presents a Deep Dive into Cubase 15Early Days — Where Cubase BeganPicture this: it's the late 1980s. Computers are clunky, floppy disks are king, and the idea of recording full songs on a computer feels like science fiction. Most musicians are still running tape decks and analog gear, but a few forward-thinkers are experimenting with something new — MIDI sequencing. That's when a company called Steinberg Media Technologies, based in Hamburg, Germany, releases a piece of software that quietly changes everything. They call it Cubase. http://www.makingascene.org

Viele denken, Nuendo und Cubase seien fast identisch – aber das stimmt nur teilweise! In diesem Video zeige ich dir 7 geheime Unterschiede, die selbst erfahrene User oft übersehen. Auf YouTube sehen: https://youtu.be/bNiPWlQrhCI 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  

Making a Scene Presents - AI in the Recording Studio: Your New Assistant and Teacher, Not Your ReplacementRecording music has never been more accessible. What once required a massive studio full of expensive gear can now be done in a spare bedroom with an affordable DAW, a good mic, and a decent computer. Programs like Studio One (https://www.presonus.com/studioone), Cubase (https://new.steinberg.net/cubase/), Logic Pro (https://www.apple.com/logic-pro/), and BandLab (https://www.bandlab.com/) give indie artists powerful tools for multitrack recording, editing, and mixing—often for a fraction of what a single day in a commercial studio used to cost. But there's one thing you can't buy: experience. That deep, intuitive sense of how to balance a mix, shape a vocal, or make a kick drum sit perfectly in the pocket comes from years of trial, error, and critical listening. http://www.makingascene.org

Making a Scene Presents - Cubase 14: A Deep Dive into the Future of AI-Powered Music ProductionThe Long Journey of CubaseWhen we talk about modern digital recording, it's hard not to mention Cubase. This software has been shaping the way music is created for over three decades. Steinberg, the company behind Cubase, first introduced it back in 1989 on the Atari computer. At that time, it wasn't nearly as powerful as what we see today, but it did something revolutionary: it gave musicians a way to record and arrange MIDI on a computer. http://www.makingascene.org

The German minimal DJ returns to the spotlight with two hours of artfully subtle house and techno. There's an old German proverb that goes "Der stete Tropfen höhlt den Stein." Literally, it means a constant dripping wears away the stone, but the point isn't about force but patience: slow, steady repetition can leave the deepest mark. It's an apt metaphor for the career of Kosta Athanassiadis, better known as XDB. Active since the early '90s, first as a DJ and then producer by the decade's end, Athanassiadis has built a career less on hype than persistence. His catalogue spans labels like Dial, Metrolux and Echocord, alongside a steady trickle of EPs and remixes that have quietly cemented his reputation as one of minimal house and techno's undersung heroes. That patience carries into his sound and production ethos. Where many of his peers embraced software upgrades and new workflows, Athanassiadis has long stuck to Cubase, a handful of trusty instruments and 30-year-old speakers he claims to have run "hundreds of thousands of tunes" through. He also still prefers to use inexpensive, straightforward gear—what matters, he insists, is not the tools but the feel. The result is a sound that's stripped back, direct and enduring. Lately, Athanassiadis has found himself back in focus. With minimal enjoying fresh attention, his calendar has filled, and with it a run of back-to-back sets—most often alongside PLO Man, a regular sparring partner this year. True to form, though, you won't find that his style has changed much. Over 30 years after his first gig, you can rest assured you'll still find him playing with patience, carving out long arcs rather than sharp peaks. His RA Mix captures him in a reflective mood. Running just over two hours, RA.1003 is a hushed yet absorbing affair, moving seamlessly from the delicate atmospherics of Valentino Mora and Caldera to the machine funk of Robert Hood, Solid Gold Playaz and Marcellus Pittman. There are left turns folded into XDB's patient narrative arc, too: John Carpenter's brooding scores here, DJ Sprinkles' melancholic work with Will Long on "Acid Trax N (Acid Dog)" there. It's the sound of a DJ who has been quietly chiseling away for three decades, and who understands the value of persistence as much as restraint. @xdb Find the tracklist and interview at ra.co/podcast/1021

Du kombinierst verschiedene Streicher-Libraries in Cubase, aber die kurzen Spiccato-Töne klingen nicht synchron und deine Produktion hat keinen Punch? Dann ist dieses Video genau das Richtige für dich! Ich zeige dir, wie du das Problem der unterschiedlichen Latenzen von Soundlibraries mit dem Track Delay in Cubase löst. Oft haben verschiedene Libraries unterschiedliche Verzögerungen, was dazu führt, dass Noten nicht gleichzeitig erklingen und es sich eher wie ein verworrenes Echo anhört, anstatt einer kraftvollen Einheit. In diesem Tutorial erkläre ich Schritt für Schritt, wie du jeder Soundlibrary das passende Track Delay zuweist. Das Ergebnis? Perfekt synchronisierte Streicher, die gleichzeitig spielen, deiner Musik mehr Druck und Punch verleihen und für ein präzises Timing sorgen. Schau rein und optimiere den Klang deiner Streicher-Arrangements in Cubase! YouTube: https://youtu.be/WQoQoExmN4A   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  

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.

Steinberg’s product marketing manager Daniel Spreadbury returns to the podcast to discuss Dorico 6 and its bevy of features for music composers and preparers. Daniel talks in-depth with Philip Rothman and David MacDonald about a few of the headline items, especially those that are unique to Dorico. The new proofreading tool continuously scans a project looking for potential pitfalls, and the cutaway scores feature makes quick work of what was once a tedious effort. We explore those key elements of Dorico 6 along with cycle playback, grids, fill view, chord symbols, and more, learning more about their origins and what’s planned for the future. We also reflect with Daniel about the software’s trajectory in the past decade. Dorico has gotten ever more capable in the audio area in recent years, more deeply integrated with Cubase, Steinberg’s digital audio workstation, and Daniel takes us behind the scenes to tell us about the decisions and development plans in those areas. Finale’s end has also brought challenges and opportunities for the Dorico team, and we discuss how Steinberg’s partnership with MakeMusic and its endorsed path to Dorico has influenced the product’s direction over the past year. More from Scoring Notes: Dorico 6 review: Proof positive

​ 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.

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)

"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

At the 2025 NAMM Show, we interviewed representatives from the businesses in our field of music notation software and related technology. This podcast episode is a conversation Philip Rothman had with John Barron, the international product specialist for Dorico. NAMM offers representatives like John the opportunity to meet with customers from both the notation and audio sides of the music community. We spoke about the new Dorico-powered score editor in Cubase that appeals to a large cross-section of users, and how Dorico fits into the wider world of Steinberg and Yamaha products. We also discussed industry developments and what he's hearing from Finale users as they explore the officially-endorsed migration path to Dorico. Be sure to check out our other conversations from the NAMM Show from earlier this month. And as always, if you like this podcast episode, there's plenty more for you from Scoring Notes — be sure to follow us right in your podcast player. More about the 2025 NAMM Show from Scoring Notes: NAMM 2025: On the scene NAMM 2025: Decondensing Sibelius with Avid's Sam Butler NAMM 2025: Imbibing transcribing with Oriol López Calle NAMM 2025: Musing on software and design with Martin Keary NAMM 2025: On with the show with Steinberg's John Barron NAMM 2025: An interview with Avid’s Sam Butler NAMM 2025: An interview with Oriol López Calle NAMM 2025: An interview with Martin Keary

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/qxtObRU​PRO 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

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/qxtObRU​PRO 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

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.

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 

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

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.

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

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

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