Podcasts about Daw

"My approach to the piece involved a lot of processing. A number of times. And then, at some point, recording a couple of sessions, improvising with the pieces made up to then. This piece is half of the slightly edited and pruned output of those two sessions."Part of my process involved finding some videos on YouTube of the market where the recording was made, and then running a couple of pieces of that video footage through a Max MSP patch I had made which turns video into midi - this in turn was routed into the DAW to play back bits of the original. There were also a couple of sessions with results pitched up and down and through effects and some plugins too, and then that whole process happened again a few times with the bits produced too...."When going through the video footage, I spent some time thinking about what it was showing. You could see it was a busy market, with lots of stalls, lots of colour, stalls with all sorts of delicious tasty treats, and stalls selling bright and gaudy stuff for the tourists too. The videos I found were also mainly shot by Australian tourists, so there was probably a certain amount of selectivity going on in what was being shown. The field recording has a nice gentle feel - murmurings, bits of background radio and music, low chatter, there's a nice relaxed slow feel about things, but the market seems very much for the tourists, who are wandering around with their cameras. The two bits of footage I used included one showing a lovely smiling lady preparing and selling some tasty-looking food - care, hospitality, nurture, love - quiet and kind, but an exchange. And in the background of another bit I spotted a local chap - a man - down the side of a stall flipping through and counting a wad of money. It felt like two ends of a spectrum. Thought this all quite revealing about the place and its dynamics. Made me realise that there were obviously layers that could be peeled back."The pieces were and weren't made with these thoughts in mind (mainly I was just playing with, and having fun with the sounds), but they did serve to shape the arrangement and shape of the final whole afterwards, moving through sections reflecting these types of thoughts."Koh Samui night market reimagined by Sum Crossings.

What does it look like to build a recording career so busy you don't have time to market it — and do it entirely without computers? Terry Carleton returns to share what's happened in the two-plus years since his first appearance: a solo album seven years in the making, the completion of his work on the Vince Guaraldi Charlie Brown remix series, and a closer look at how his all-analog, DAW-less production approach actually works in practice — and where it's headed. Terry walks through the making of Ric Shah and the Sandcrabs (From Jupiter), including a title track written as a tribute to his late high school bandmate Mike Perlitch, and how he reconstructed lost guitar tracks recorded by Camel's Andy Latimer using AI audio separation tools — a process he discovered through a Rick Beato video on the making of the Beatles' "Now and Then." He also shares how collaboration works at this level: Andy Latimer, bassist Michael Manring, and Grammy-winning composer Michael Silversher all appear on the album, and Terry explains why that kind of participation has become more accessible in the past decade. Topics we cover include: The DAW-less, all-analog studio workflow — what it enables, what it costs, and what's changing Writing a tribute song in someone else's musical voice Using AI audio separation (Lalal.ai) to reconstruct lost session tracks How remote collaboration with high-caliber musicians has evolved The Vince Guaraldi Charlie Brown remix project — what came out and what's next Why constraints (no undo, no recall) can make a producer a better listener Visit UnstarvingMusician.com for show notes. Support the Unstarving Musician The Unstarving Musician exists solely through the generosity of its listeners, readers, and viewers. Learn how you can offer your support at UnstarvingMusician.com/CrowdSponsor This episode was brought to you by Podcast Startup. Ready to launch your podcast or take it to the next level? Podcast Startup gives you the frameworks, systems, and insider knowledge to build a show that actually grows your audience and serves your goals. Whether you're just getting started or looking to improve your existing podcast, you'll get actionable strategies on equipment selection, content planning, audience building, and sustainable production workflows—without the overwhelm. Learn more at UnstarvingMusician.com/PodcastStartup. Join podcasters who are building shows that last. Stay in touch! @RobonzoDrummer on  Instagram @UnstarvingMusician on Facebook  and  YouTube   

Send us Fan MailWhat if one man's voice could change the way we hear music, eat food and celebrate life? In this special Money Majlis XTRA episode, Suvo Sarkar is joined by Padma Shri awardee Shankar Mahadevan, singer, composer, Grammy‑winning frontman of Shakti and co‑founder of the South Indian resto‑café brand Malgudi. Together they trace a remarkable journey from a Tamil Iyer childhood in Chembur and veena lessons at five, to becoming the “Shankar” of Shankar‑Ehsaan‑Loy and reshaping the sound of modern Hindi cinema with albums like Dil Chahta Hai and Kal Ho Naa Ho.Shankar opens up about the surreal moment of walking onto the Grammy stage with Shakti and why, for him, the biggest award is simply sharing a platform with maestros like John McLaughlin and Ustad Zakir Hussain. He revisits the making of Breathless, the three‑minute marvel that began as an experimental meter in a composer's office and went on to become a generational anthem that refuses to age after twenty-seven years. The conversation dives into craft and technology as Shankar reflects on how his early career as a software engineer now shapes his studio process, from composing inside a DAW to thinking of plug‑ins as creative partners. He explains how rigorous Carnatic and Hindustani training built the grammar that lets him move effortlessly between classical, film, fusion and folk, and why he believes folk music, born from life's milestones, sits even “above” classical in its raw power.From there, Suvo steers the discussion into food and entrepreneurship. Shankar shares the manifestation story behind Malgudi, how a chance meeting with Chembur friend Ramakrishnan turned a foodie's dream into a fast‑growing chain in Mumbai and Dubai, and why they obsessed over every element, from the exact texture of the idli to the signature Malgudi sambar and filter coffee. He reveals his plans to turn Malgudi into a cultural brand with live music, spiritual mornings and curated experiences that blend sound and flavour.Along the way, you will hear about his global tours, the healing power of music, his 15‑year‑old digital academy reaching students in 90‑plus countries, and his clear‑eyed view on AI as a powerful but ultimately subordinate tool in the creative process. This is an episode about excellence, humility and celebrating life, whether on stage, in the studio or over a hot dosa.Produced by : PoddsterGiving partner: Goodworld Visit moneymajlis.com to join our giving movement and get your USD 50 complimentary GiveCard.    

Send Steve a Text MessageRemote collaboration sounds like magic until you try it and realize the real challenge is boring: everyone needs the same roadmap, the same tempo, and a track that starts cleanly. We walk you through the exact home recording process we use to prep a remote band collab, using a fast, punk-leaning version of “Help” (in the style heard in the movie “Yesterday”) as a simple, practical example. We start where every successful remote recording starts: listen, confirm the key, grab a chord chart if it saves time, and lock in the BPM so the whole project stays tight. From there we build a scratch track in the DAW with a basic drum guide (EZ Drummer 3), clear section markers, and double-tracked guitars that make it easy for other players to follow the arrangement. We also show why a count-in and a consistent click track matter more than fancy tones when you're sending files across the internet. Then we get into the handoff that makes drummers happy: muting the guide drums, rendering the metronome to its own audio track, and panning click to one ear and guitar to the other for an effortless tracking mix. Finally, we explain the send-and-return workflow for stems, what to expect back from bass and drums, and how to mix everything together before sending a stronger reference to the singer. If you want remote music collaboration to feel simple, repeatable, and fun, hit play, then subscribe, share this with a musician friend, and leave a review with your biggest remote-recording challenge.Thanks for being here!! I will continue to do my best to bring you the best, most informative guitar discussions to help you along your guitar journey! The more you share this podcast with others, the more I can continue to grow this channel and offer the best information and advice I can to you.Thank you!SteveLinks:Check out the GuitarZoom Academy:https://academy.guitarzoom.com/Steve's Channel → https://www.youtube.com/user/stinemus... GuitarZoom Channel → https://www.youtube.com/user/guitarz0... Songs Channel → https://www.youtube.com/user/GuitarSo... . 

Imagine getting stranded on a desert island with a laptop, a DAW, and exactly five plugins before the universe says, “Good luck, audio nerd.” That's the ridiculous challenge Chris & Jody tackle this week on Inside the Recording Studio, and things get surprisingly serious surprisingly fast. Because once you remove the safety blanket of 947 unused plugins, producers suddenly have to admit which tools they actually rely on. In this episode, the guys battle through their top five desert island plugins while trying not to completely destroy the rules they created five minutes earlier. Amp sims? Probably essential. Synths? Hard to live without. Channel strips? Maybe cheating. Creative FX? Absolutely necessary if you don't want your island recordings to sound like sadness and driftwood. Chris & Jody dive into the plugins they trust most for recording, mixing, songwriting, and keeping sessions moving when inspiration hits. Along the way, they drop a ton of recording setup tips for producers trying to simplify their workflow without sacrificing quality. Turns out, having fewer choices can actually make you faster, more creative, and less likely to spend four hours scrolling through presets named “Warm Punchy Master Final FINAL.” The conversation keeps circling back to a painful truth about home studio gear: most of us own way more plugins than we actually need. Instead of chasing every new release, the guys explain why deeply learning a handful of tools often leads to better mixes than endlessly collecting shiny new software. Naturally, the debates get a little heated. One plugin gets defended like it's the last raft leaving the island. Another gets questioned because it technically combines too many features into one package. There's also discussion about workflow speed, CPU efficiency, versatility, and whether a plugin deserves survival status if it only does one thing really well. And because this is Inside the Recording Studio, the episode wanders into wonderfully absurd territory too. There's joking about coconut-powered studios, headphone mixing while hiding from seagulls, and the psychological damage caused by being trapped forever with only stock reverb. Still, underneath the nonsense is a genuinely useful conversation for anyone building a home recording setup. If you've ever wondered how to narrow down your plugin collection, improve your workflow, or choose tools that actually help you finish music, this episode offers practical insight without drowning you in technical jargon. Friday Finds also makes an appearance with more studio goodies worth exploring, because apparently being stranded on a desert island still doesn't stop audio people from wanting more gear. So if you love plugin talk, recording setup tips, home studio gear debates, and watching two engineers argue over imaginary survival conditions, this episode is for you. Subscribe now and join Chris & Jody for more studio wisdom, questionable humor, and audio adventures every week. #HomeStudioGear #RecordingSetupTips #MixingPlugins #MusicProductionTools #AmpSims #ChannelStripPlugins #StudioWorkflow #AudioProduction

"An original composition created from a field recording of an Olive stand in the medina in Marrakech, Morocco."I was initially drawn to this recording as Marrakech has been on my “to visit” list for some time and yet I still haven't made it there. Anyway, I enjoyed the energy of the recording and the fact that there were people having conversations included in it. Usually, when recording, I tend to avoid anthrophony where possible but I do like the rhythm of Arabic language so it felt like a good fit for the project."The track itself examines the changes that are happening in Morocco, such as the “Gen Z 212” protests which have focussed on better education and employment opportunities for young people in the country. Symbolically the piece seeks to explore how direct action has repercussions that develop over time but sometimes space is needed for energy to build."I approached the composition using my typical workflow when using field recordings, preferring to listen through several times before creating discrete elements with which to build a track. Most of the sounds were processed in some way - often simply by transposing them. However, I tend to create layers of processing as I work and generally have to look back through the various iterations in my DAW if I need to remind myself where the final sound designs originated from. "There was some use of granular synthesis within the composition and some external manipulation of some samples with a host of effects pedals."Olive stands in Marrakesh medina reimagined by Wogglebug.

SUPPORT THIS PODCAST! Join Patreon Get some merch ~~~~ Here's yet another BONUS MxTRA for Season 8! It's a PATREON EXCLUSIVE that I'm sharing for THREE reasons: 1. I'm prepping a string of incredible episodes, and need more pre-production time to get them out; 2. This is a fantastic topic I'd love your opinion on; and 3. This podcast needs your support, and I want you to know what kind of exclusive content you get when you join me on Patreon.  In this BONUS MxTRA, I do a complete history of DAWs - i.e. digital audio workstations - i.e. the programs people use to record music. If you like these BONUS MxTRAs, you can see the videos, all 60+ MxTRAs, and every future episode if you join me on Patreon. You can get in for as little as ONE DOLLAR A MONTH. Enjoy! Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Inject seductive club energy into your productions with Tech House Sexy Vocals by HighLife Samples, a premium collection of royalty-free female vocal phrases and adlibs designed for modern dance music producers.Inside this pack, you'll find catchy vocal phrases and emotional adlibs, ready to elevate your next club anthem. Perfect for creating infectious drops, breakdowns, intros, and groove-driven arrangements.All vocal samples are professionally processed and organised, with key/scale labels and BPM information for fast, easy workflow integration in any DAW. Whether you produce underground Tech House grooves or more melodic crossover tracks, these vocals are built to fit seamlessly into Tech House, House, Progressive House, Pop, and other electronic dance music genres. This pack includes royalty-free female vocal phrases, sexy female ad-libs, high-quality WAV files, professionally mixed and processed samples, and drag-and-drop-ready content for instant inspiration in the studio. Create unforgettable dancefloor moments with vocals that bring attitude, emotion, and club-ready energy to your tracks. Pack Content: 38 Dry Vocal Phrase 38 Wet Vocal Phrase 16 Dry Ad-Libs 16 Wet Ad-Libs Wet

Some EQs are forgettable. The API 550A is not one of them. This thing has been shaping records for decades, and somehow it still walks into a modern studio like it owns the place. This week on Inside the Recording Studio, Chris & Jody get their hands on the legend, at least in spirit, and break down the API 550A without turning the episode into a dusty museum tour. Yes, there is history. Yes, there are knobs. Yes, there is talk of frequency points. But there is also the kind of straight talk that helps you understand why this EQ became a go-to tool instead of just another metal box with a famous name. The episode starts with the roots of the 550A, from its invention at Automated Processes Inc. to the early units that helped put it on the map. Then Chris & Jody move into what actually makes it tick. You will learn how the EQ bands are laid out, what the fixed frequency points do, and why the design is so easy to use once you stop overthinking it. The star of the show is proportional Q, which sounds like something that should require a lab coat, but does not. Chris & Jody explain it in a way that makes sense: the harder you boost or cut, the more focused the EQ curve becomes. Small moves stay broad and smooth. Bigger moves get tighter and more direct. It is one of the reasons the API 550A can sound musical without getting sloppy. This is not just a history lesson for people who polish rack gear with a microfiber cloth. The guys also talk about how the 550A fits into today's studio world, from classic hardware to plugin versions inside your DAW. If you are building your home studio gear setup, trying to make better EQ choices, or wondering why certain tools keep showing up in pro audio conversations, this one gives you a strong foundation. And yes, Friday Finds makes an appearance, because apparently no episode is complete without Chris & Jody pointing at another piece of gear and saying, “You should probably know about this.” Expect clear recording setup tips, a little gearhead banter, and enough API 550A knowledge to make your next EQ move feel a lot less random. Hit play, twist wisely, and subscribe for the next studio deep dive.   #API550A #HomeStudioGear #RecordingSetupTips #ClassicEQ #ProAudioGear #EQTips #StudioGear #AudioEngineering 

Watch On YouTube Hear the full piano sample library on Spotify Download the MainStage template here Carson Bruce welcomes listeners to the Worship Keys podcast, thanks sponsor Aerospace Audio, and highlights their Atmosphere analog drone pedal (v3) with MIDI capabilities and the Aero Pads iOS app. He announces his newly released piano sample library featuring five sampled pianos and 10 patches, with both regular and felt versions, and begins a series on how to build your own sample library. He covers required equipment including a reliable computer and DAW (he tracks in Pro Tools at 96k, 32-bit float), an audio interface (Focusrite Scarlett 18i20 with eight preamps), microphones (his setups range from four to seven mics), headphones, cables, and stands. He emphasizes planning around instrument quality and room acoustics, then shows his upright piano sampling session at Miller Piano Specialists in Franklin, Tennessee on a Ritmüller upright, recording notes by fifths with multiple velocities, organizing playlists, managing CPU issues, and capturing both standard and felt samples, previewing a future episode on editing and cleanup.Aerospace AudioSupport the showThanks for listening! Subscribe here to the podcast, as well as on YouTube and other social media platforms. If you have any questions or suggestions for who you want as a featured guest in the future or a topic you want to hear, email carson@theworshipkeys.com. New episodes release every Wednesday!

OSSes, are you tired of being stuck in your booth with no one to talk to but your DAW?

To my dear Bhay Vasis,I'm coming to you today not with a new story, but with a reality check on the one we are living through behind the scenes.Twitter - https://x.com/bhayoriginals/status/2050574760170639721?s=20As many of you know, Bhay Originals has been caught in YouTube's recent wave of "Inauthentic Content demonetization. Despite every word being written by me, every sound being designed in my studio, and every narration being a human performance, the algorithm has labeled this cinematic universe as "inauthentic."It has been five days since I filed my manual appeal. I've shared my project files, my DAW setups, and the raw soul that goes into making these "movies for your ears." Yet, the silence from YouTube is deafening. We are in a queue, waiting for a human to see the truth that a bot cannot.The most disturbing part? Even though my access to channel memberships has been stripped, many of you are reporting that YouTube is still billing you. This is something I cannot control from my dashboard right now, and it breaks my heart to see your support being mishandled by a glitch in the system. This isn't just about revenue; it's about the right to create original, atmospheric art without being silenced by a misconfigured AI. With the call for class-action lawsuits rising globally, the fight for honest creators is just beginning.I am a writer, not a bot. These are my stories, my sweat, and our community.Thank you for standing by the shadows with me. We will get through this.Much Love, Ankan Sharmishtha Bose[Bhay Originals, Ankan Sharmishtha Bose, YouTube demonetization 2026, Inauthentic content policy, YouTube class action lawsuit, YouTube billing glitch, channel membership error, human review delay, YouTube appeal process, Indian horror podcast, cinematic audio drama, movies for your ears, folk horror India, original horror stories, YouTube monetization news, TeamYouTube appeal, creator rights, unfair demonetization, atmospheric horror audio, Bhay Vasis community]

Wingman by Mixed In Key is a powerful music production plugin that listens to your audio and generates chords, basslines, and MIDI ideas that actually fit your track—perfect for producers, DJs, and songwriters working in Ableton, Logic Pro, or any DAW. Using advanced key detection, stem separation, and audio-to-MIDI conversion, Wingman helps you turn rough ideas, vocals, or loops into full arrangements in seconds, making it one of the fastest ways to write chord progressions, remix tracks, and finish songs without deep music theory knowledge.

This week we sit down after a full month with the MPC Sample to ask a simple question: what actually holds up once the novelty wears off?We compare it directly with the Roland SP-404MKII, exploring workflow, sampling approaches, creative limitations, and how each device shapes the way you make music.This isn't a spec breakdown. It's a conversation about lived experience: what feels fast, what feels inspiring, and where friction starts to appear.After that, we move into a round robin discussion:What's one thing you'd like to unlearn in your DAW workflow?A conversation about habits, defaults, and the things we carry long after they've stopped serving us.Join the discussion in our Discord and let us know:MPC or SP? And what are you trying to unlearn?Willebrant has a new EP out, check it here:https://willebrant.bandcamp.com/album/castel-epThanks to our Patrons who support what we do:Audionauts: Abby, Bendu, David Svrjcek, Josh Wittman, Paul Ledbrook, Matt Donatelli and Stephen SetzepfandtLars Haur - Audionaut ProducerJonathan Goode - Audionaut ProducerJoin the conversation:

Pues que usando la “bendita” inteligencia artificial, he logrado tener en Linux lo que Audacity, Ocenaudio o incluso Reaper, no han podido o no han querido hacer, crear mi propio DAW exclusivamente para Podcasters..

You don’t need a traditional path to build a thriving music career! Just ask Cliff and Susan Prowse, who turned classical piano chops and play-by-ear instincts into a full-blown lifestyle business. Whether you learned to read music first or figured out theory after the fact, what matters is training your ear to hear intervals, stacking up reps, and putting in the practice until harmony feels like second nature. Use your DAW to sharpen your pitch, but don’t psych yourself or your bandmates out: true tone deafness is rare, and confidence is currency on stage. The bottom line: making a real living in music is absolutely possible when you treat your craft like a skill you never stop sharpening. Once you hit the stage, remember that the crowd is the star and you’re the emcee who just happens to sing and play. Take your audience on a journey: open at mid-energy, build it up, let it breathe, then hit them again. Mix genres, swap instruments, toss in some comedy, and never leave dead air between songs; keep every second purposeful. Think of your set like a video game where you’re always leveling up the room. Manage your breaks with music that matches the vibe so the party never stalls. Playing covers isn’t just a gig — it’s a masterclass in entertainment, and entertainment is its own art form. Always Be Performing. 00:00:00 Gig Gab 529 – Monday, April 13th, 2026 April 13th: National Silly Earring Day Guest co-hosts: Susan Erwin Prowse & Cliff Prowse 00:03:02 The Ultimate Lifestyle Business 00:03:33 Starting with a Pure Mathematics Degree to Piano Bars Classical Piano at the base of it all 00:05:04 Bumble Boogie piqued Susan's ears Make sure your kids see that inspiration 00:07:16 Cliff started with music from the day he was born Always treated instruments delicately, even as a toddler Learned to play by ear, but never learned to read 00:09:44 Reading vs. hearing and Music Theory School band director thought he was reading music, when Cliff was just playing by ear and remembering what the band director Susan learned to hear intervals Cliff decided to learn theory after-the-fact 00:14:28 Learning to play before you learn WHY the notes work 00:18:18 Breaking down vocal harmonies Both Susan and Cliff picks out harmony by ear Singing harmonies with the mixolydian scale with the flat 7 Really, just practice. Repetition is the key to it all! 00:27:20 Using your DAW to help improve your singing Being actually tone deaf is rare Beware of shaking your bandmates' confidence…or your own 00:33:21 Making a living in the music business is possible! 00:34:26 The science of the show: Piano Bar strategies Top 40, any genre, any decade Learning the skills of doing the singalong concept Susan and Cliff met on-stage at Willy D's piano bar in Little Rock From piano bars in Little Rock to Los Angeles to Las Vegas and beyond 00:38:31 Taking the crowd on a journey When you're there to entertain and throw the party The crowd is the star, you AREN'T You're the emcee, the DJ, you just happen to know how to sing and play piano Keep it interesting by changing the genre, the groove, the style It's like playing a video game! Mid energy, at first, then bring it up, then let it ease, then maybe repeat Add variety: different instruments, different singers, different styles Add a little comedy to give them a break from the music 00:45:44 Manage your breaks One school: NEVER stop playing Have good break music, make sure the energy matches 00:49:48 Managing your dead air Don't allow breaks between songs. Always avoid dead air. “Purposeful Talking” 00:52:44 Entertainers Academy 5-Day Gig Amplifier Challenge Susan and Cliff love to teach! 00:56:44 Being in a cover band is a masterclass of learning entertainment skills Entertaining is an art in and of itself 01:00:17 Gig Gab 528 Outtro Follow Cliff & Susan Facebook & Instagram Contact Gig Gab! @GigGabPodcast on Instagram feedback@giggabpodcast.com Sign Up for the Gig Gab Mailing List The post The Crowd Is the Star: Piano Bar Secrets for Entertaining Any Room – Gig Gab Podcast 529 with Cliff & Susan Prowse appeared first on Gig Gab.

Compression in Context: Why Soloing Tracks Is Killing Your Mix There is a little button in every DAW that has wrecked more home studio mixes than bad microphones, cheap headphones, and internet “preset culture” combined. It is the Solo button. That sounds dramatic, but not by much. Every indie artist knows the move. You are deep in a mix. The vocal feels uneven. The bass feels wild. The snare is jumping out in ugly ways. So you solo the track, pull up a compressor, and start shaping. Suddenly the part sounds bigger, tighter, smoother, richer, louder, more “professional.” You un-solo it, hit play on the full mix, and somehow the whole song feels smaller. The vocal no longer connects. The bass lost its groove. The drums feel choked. The track you “fixed” in solo is now fighting the record instead of serving it. That is the trap. http://www.makingascene.org

#mitchhampton #DrKurtDaw #shakespeare #theatre #hamnet #life #podcast #folio #shakespeare Dr. Daw's journey is in many respects similar one ideal or representative journey I have in mind for the journey of our podcast name. I have always felt that Shakespeare has a universal value and this episode was in many respects an expression in conversation of what such a phenomenon in art and culture could possibly mean. During this episode I mentioned in passing the now somewhat obscure but once culturally significant figure of the great jazz/hispter comedian Lord Buckley and his “Willie The Shake” routine. I have no idea whether this registers much anymore but the very fact that in the 1950s a “hipster”and “beatnik” comedy could have a sort of hit about the glories of Shakespeare is but one of many and myriad examples of just how one author can have a most comprehensive and, indeed, eternal journey. I really enjoyed this conversation and episode immensely and hope this pleasure connects with the audience and listeners in the world.More about the magnificent Dr. Kurt Daw:BIOGRAPHYKurt Daw is a professor of Theater Arts at San Francisco State. He has previously served as arts dean at SFSU and at SUNY-New Paltz. He was the president of the Association for Theatre in Higher Education from 2000-03. He twice participated in National Endowment for the Humanities seminars on Shakespeare and Performance at the Folger Shakespeare Library. He has directed numerous Shakespeare plays, operas and musicals for the stage.RESEARCH INTERESTSEarly Modern print cultureTextual Criticism and EditingEnglish Renaissance LiteratureHamletPrint CultureTheatre ArtsTheatre HistoryPhilosophy of Dance and Theatre ArtsGreek Language and Literature - theatre and historiographymoreAFFILIATIONSSan Francisco State University, Theatre Arts, Faculty MemberWEBSITEhttps://midsummer.playersreference.com/midsummer/experiential/BOOKS:Acting: Thought into ActionRevised Acting Shakespeare & His Contemporaries A Guide to Scenes & Monologues from Shakespeare and His Contemporaries #theater #uk #1500s #1600s #england #folio #foliosociety #marjoriegarber #frankkermode #haroldbloom #midsummernightsdream #measureformeasure #romeoandjuliet #hamlet #hamnet #art #acting #maggieo'farrell #chloezhao #jessiebuckley #ireland #scotland #cinema #film #literature #literarycriticism #theory #hermeneutics #kinglear #peterbrook #paulscofield #laurenceolivier #mickeyrooney #jamescagney #maxreinhardt #hollywood #1930s #1940s #1950s #1960s #1970s #1980s #1990s #2000s #shakespeareinlove #tomstoppard #emmathompson #kennethbranagh #damejudidench #gwynethpaltrow #brucepaltrow #colinfirth #lordbuckley #bebop #comedy #beatnick #awinterstale #thorntonwilder #ourtown #theskinofourteeth #thematchmaker #shadowofadoubt #alfredhitchcock #jospehcotten #teresawright 

ProducerHead Bars is a space for ideas that stand on their own. Short reflections and studio frameworks pulled from experience, conversation, and the ongoing pursuit of becoming a better producer.This entry focuses on a simple but powerful strategy for overcoming creative paralysis: The Piñata Method.The Problem: Creative FreezeEven experienced producers run into moments where they sit down to make music and freeze. Sometimes it looks like procrastination. Scrolling. Cleaning the studio. Doing anything except the thing you actually sat down to do.But procrastination isn't necessarily laziness. More often, it's a signal of overwhelm. When the scope of a project exceeds your perceived ability to navigate it, the brain chooses avoidance instead of action.The issue isn't capability. It's clarity.The Piñata MethodThe Piñata Method is a way to break overwhelming creative projects into pieces until the next step becomes obvious. Instead of staring at the entire goal, you smash the project open and look at what falls out.Imagine your goal is to complete a 10-track album.At first glance, that's a massive undertaking. But if you smash that project open, working backwards, you start to see its components: 10 mastered songs.Smash those again and you see: 10 mixed songs.Smash those again and you see: 10 produced tracks.And before that? Individual production sessions.By working backwards from the finished goal, you create a clear map from the end point to the very next step. In this example, the path to a finished album starts with something much smaller: Opening your DAW and beginning one session.Capacity ChangesYour capacity as a producer is not fixed.Your skills improve. Your schedule changes. Collaborators enter or leave the process. Life shifts.The Piñata Method accounts for this. The goal remains the same, but the structure of the steps can adapt. If your capacity grows, steps may combine. If your capacity shrinks, you simply break them down again.The map evolves, but the destination stays intact.The TakeawayCreative paralysis rarely comes from a lack of ability. It comes from trying to tackle too much at once.The Piñata Method reminds you that every large creative accomplishment is just the accumulation of smaller actions.A wall is laid one brick at a time.An album is finished one session at a time.So if you're feeling stuck, take the project in front of you and smash it open. Break it down until the next step is clear.Then take that step.Once you begin moving again, the possibility of everything you're trying to create returns with you.Connect with Toru:* Website: torubeat.com* Instagram: @torubeat* YouTube: @torubeat* Spotify: Toru* Apple Music: ToruJoin The ProducerHead CommunityWhen you subscribe you'll get access to the full collection of Invisible Instruments, Sonic Stimulus Vol. 1, a royalty-free sample pack created for the community by Toru, access to ProducerHead Bars write-ups and extended frameworks, and an additional opportunity to have your music featured in The Pocket, a monthly community curation from ProducerHead.This episode was co-produced, engineered and edited by Matthew Diaz.From ProducerHead, this is Toru, and in a way, so are you. Peace. Get full access to ProducerHead at producerhead.substack.com/subscribe

In der neusten Folge von Life After SAE haben wir eine Premiere: Chris Kling (CEO der Klangkantine) ist bei uns zu Gast. Obwohl er kein SAE-Alumni ist, prägt er die Hörbuch Audio-Branche aktuell wie kaum ein anderer. Chris' Weg ist das perfekte Beispiel für „einfach machen“: Er hat mit 22 Jahren (und dem geliehenen Auto seines Vaters) einen Vermieter von 500qm Studiofläche überzeugt.

Have you ever felt like the more you learn about music production, the harder it actually gets to finish a song? You aren't alone. In this episode, I'm sharing the 5 biggest mental blocks I've faced, from "tutorial paralysis" to the crushing weight of trying to be a "Great Artist," and the practical shifts I used to break through them. After 6 years of the Jamuary challenge, I've learned that the secret to finishing more music isn't a new plugin or more music theory; it's about moving from a romanticized "Artist" identity to a prolific "Maker" mindset. In this episode, we discuss:  The "Quantity Over Quality" Hack: Why having a routine allows you to fail safely. The Skills of Finishing: Why completing "bad" music is the only way to prepare for your best work. Learning by Doing: How to escape the "Tutorial Junkie" cycle and get your hands dirty. Killing the "Artist" Label: Why viewing your work as a "body of work" is more freeing than chasing a single masterpiece. Stop overthinking, start creating, and let's get those ideas out of your DAW and into the world.  Listen on Apple, Spotify, YouTube Links: Brian Funk Website - https://brianfunk.com Music Production Club - https://brianfunk.com/mpc  5-Minute Music Producer - https://brianfunk.com/book Intro Music Made with 16-Bit Ableton Live Pack - https://brianfunk.com/blog/16-bit Music Production Podcast - https://brianfunk.com/podcast Save 25% on Ableton Live Packs at my store with the code: PODCAST - https://brianfunk.com/store Thank you for listening.  Please review the Music Production Podcast on your favorite podcast provider! And don't forget to visit my site https://BrianFunk.com for music production tutorials, videos, and sound packs. Brian Funk

Burnout doesn't announce itself, it creeps in quietly, right when you think you're being “productive.” In this episode of Inside the Recording Studio, Chris & Jody tackle a topic every home studio owner eventually faces: burnout in the studio. Whether you're grinding through mix revisions, stacking tracks night after night, or trying to stay inspired in your home studio, creative fatigue can hit hard, and fast. Chris and Jody get personal about their own experiences with burnout. They talk honestly about what it feels like when the joy starts slipping out of your sessions, when your home studio gear feels more like a burden than a playground, and when “just one more tweak” turns into another midnight spiral. It's not dramatic. It's real. And it happens to all of us. But this episode isn't about complaining, it's about solutions. You'll learn how to spot the early warning signs of creative burnout, before it derails your workflow. They break down practical strategies for refreshing your recording setup tips without overhauling your entire studio. Sometimes it's not about buying new gear, it's about reconnecting with what you already have. Chris shares insights on how shifting your workflow can bring back clarity. Jody talks about mindset resets that help you step back without stepping away for good. Together, they outline sustainable studio habits that keep you creating for the long haul, not just sprinting toward the next deadline. If you've ever stared at your DAW and thought, “Why does this suddenly feel heavy?”, this episode is for you. You'll walk away with: Clear signs that burnout may be creeping in Simple ways to refresh your workflow Sustainable habits for long-term creativity A healthier mindset around productivity And of course, no episode would be complete without Friday Finds and the always-elusive Gold Star word of the week, because leveling up your mindset and your gear game can happen at the same time. If you're serious about protecting your creativity while building a better home studio workflow, this is one you don't want to miss. Hit play, take a breath, and remember: it's okay to pause. Just don't stop.   #HomeStudioGear #StudioBurnout #CreativeFatigue #RecordingSetupTips #StudioWorkflow #MusicProductionLife #HomeStudioHabits #BeatBurnout

OddKidOut pulls up to talk creativity, career pivots, and how he built a lane by refusing to stay in one lane. From a wild “one night in LA” moment that turned into living with Skrillex, to learning the power of simplicity, motifs, and world-building inside a track, this episode is packed with real producer talk.We get into finger drumming, Maschine, Ableton workflow, label experiences (and what labels actually do beyond “plays”), and the mindset shift that helped him go from experimenting across genres to funneling his sound into a stronger live show + artist identity.In this episode:The Skrillex story: how one session turned into moving to LA and building a careerThe biggest lesson from watching Skrillex work: simplicity, callbacks, and using what's already in the trackWhy OddKidOut avoids reference tracks, templates, and overthinking—“fishing” for ideas insteadMaschine as an instrument (not a DAW): why it's strictly performance-first for himHow he navigated releasing across major labels—and the real “perks” that matter (touring, games, community, opportunities)Performing without CDJs: how to make venues/sound techs love you even with extra gearEDM friendships vs business relationships: building real connections without forcing itIf you're a producer trying to find your identity, improve your workflow, or understand how to play the long game in electronic music, this one's for you.

Tim Linetsky (Underbelly) is the creator of You Suck at Producing— he shares about Ableton Live 12.4 updates, building an educational music brand, AI tools, royalties, live performance, and making EDM (emotional dance music). Dan and Tim break down their new collab “Home,” discuss stem separation, Splice's new AI features, and what it takes to suck less as a producer.Tim Linetsky produces as Underbelly and is an Ableton Certified Trainer best known for his hilarious and educational YouTube channel You Suck at Producing, which has over 400k subscribers. He's created tutorials for DJ Tech Tools, Earmark, and Pyramind, and has collaborated with artists like Lido, Tchami, Keys N Krates, Giraffage, and San Holo. Tim is also building a new interactive learning platform designed to help producers level up directly inside their DAW.Follow Underbelly:https://www.youtube.com/@yousuckatproducinghttps://www.instagram.com/underbellybeatshttps://yousuckatproducing.comGrab limited-edition Producer Merch & save 10% with the code "podcast":⁠https://abletonpodcast.com/merch⁠Join the newsletter to get free downloads, early episode access, and upcoming events.⁠https://www.abletonpodcast.com/newsletter

This piece was created in response to an archival field recording made by Louis Sarno among the Bayaka people of the Central African Republic. Instead of using the recording as musical material to be featured in the piece, I chose to use it as a generative constraint. I intended to have a single piece of audio from which the entire composition could be created. The original recording and its history also prompted me to think about listening as a form of attention. How sounds emerge from the environment, and how attention shifts as focus drifts. In this way, I imagine the piece resembling a strange forest which the listener passes through, encountering different sounds as they move on their way and attention drifts. All the sounds in the piece originate from the original field recording. I processed the recording through my modular synth, producing a new set of sounds that were then recorded into a DAW. My usual practice is to perform with the modular synth, recording the output as the finished work. However, for this piece, I wanted to try working differently and to construct the piece out of the new sounds. I created 18 distinct stereo sounds, all from the same sample. I then listened back to them carefully and named each one based on how they sounded. Next, I grouped them into four categories based on shared qualities (for example, ambient textures, crackling or low-frequency elements).I then started assembling the piece by imposing a set of compositional rules. No more than three sounds could play at once, and no more than two sounds from the same category could be used simultaneously. Early versions felt incoherent, but as I listened more and made changes, a sense of structure began to take shape. It was at this stage that I started to think about the idea of the piece resembling a forest with the listener slowly passing through. As the listener walks through this "forest", attention drifts between different elements, some inviting and others more unsettling.The original field recording does appear briefly at the end of the piece, layered with itself, reversed, and time-stretched. While processed, it remains recognisable, functioning as a trace rather than a central feature.In preparation for this work, I started reading Sarno's book "Song from the Forest" and the documentary film of the same name. These materials informed my understanding of the context of the recording, whilst also reinforcing the decision to avoid direct representation and instead focus on response, transformation, and attentive listening.Geedal (bow harp) in the forest with rain dripping reimagined by Richard Charles Boxley.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

Does your DAW actually matter, or are we all arguing over the wrong thing? In this episode of Inside the Recording Studio, Chris and Jody tackle one of the most heated debates in home recording: which digital audio workstation you should use. Logic, Pro Tools, Studio One, Reaper, every camp has strong opinions. But as Chris and Jody break it down, the truth has less to do with brand loyalty and more to do with how your workflow responds to the interface in front of you. This conversation goes beyond surface-level DAW comparisons. They dig into how different GUIs affect your recording setup, how platform preferences shape your daily use, and whether there's actually any sonic difference between DAWs. Yes, they go there. If you've ever wondered whether switching software will magically improve your mixes, this episode will ground that thinking in practical reality. One of the key takeaways? Your home studio gear only works as well as your comfort with it. If your digital audio workstation slows you down, confuses you, or makes simple tasks feel complicated, it's not the right tool for you, no matter how popular it is. Chris and Jody emphasize choosing a DAW that matches your goals, your habits, and your creative process, not your bandmate's opinion or a Reddit thread. There's also the usual blend of insight and dry humor. At one point, they call out the “DAW tribalism” that shows up online, reminding listeners that most modern recording software is incredibly powerful. The real difference often comes down to user experience, speed, and how naturally the system supports your recording workflow. If you're building a recording setup for the first time, or questioning your current one, this episode delivers clear, practical recording setup tips without drowning you in jargon. It's about removing confusion and helping you make a confident decision about your digital audio workstation. And as always, stick around for Friday Finds and gear tips to sharpen your home studio gear choices even further. If you're serious about improving your workflow and getting more done in your studio, hit subscribe and join us next week for another deep dive into the tools that shape your sound.   #DigitalAudioWorkstation #HomeStudioGear #RecordingSetupTips #DAWComparison #RecordingWorkflow #StudioSetup #MusicProductionTools #DAWDecision

Find out why the TASCAM Model 16 remains a go-to choice for live bands seeking analog warmth, multi-track recording, and smooth DAW integration - all in one compact, hands-on mixer.Info: https://www.samash.com/tascam-model-16-all-in-one-mixing-studio-tm16xxxxx-p Sam Ash City: Hicksville Address: 278 Duffy Ave Website: https://www.samash.com/

Eddie Bazil demonstrates creative uses of advanced automation as a musical tool in the DAW, showing how automation can add movement, expression and musical detail. The episode covers shaping arpeggiated parts, using MIDI CC for dynamic control, modulating vocal tracks and applying MIDI note expression to enhance performance.Chapters00:00 - Introduction01:49 - Setting Up Automation Lanes02:30 - Example 1: Adding ARP Movement04:51 - Example 2: Using MIDI CC For Velocity07:41 - Example 3: Modulating A Vocal Track 14:52 - Example 4: MIDI Note Expression In A DAW #gforce #imposcar3 #cubase #deviousmachines #infiltrator2 #cableguys #shaperbox #ovoxvocoder #eventide #blackholeSee Also:https://www.soundonsound.com/techniques/using-phaser-effects-podcast Eddie Bazil BiogEddie Bazil launched his music industry career at the age of 17 as a synth programmer for a range of Electro / New Wave bands, including Art Of Noise, Spandau Ballet, Pet Shop Boys, Bobin, Paul Dee, DJ Krush, DJ Shadow, Jets Orchestra, and many more. By his 20s, he was working as a sound designer for Akai, Roland, Emu/Ensoniq, eventually signing on exclusively with the latter. Later, due to a growing demand for software instruments and libraries, Eddie began developing libraries for various software manufacturers, including Native Instruments, Kiesel, Sound Effects Library, Rob Papen, Arturia, and Propellerheads.During this time, he trained in music production. He soon gained several prominent contracts working with some notable artistes such as Busta Rhymes, Greensleeves, 9 Bar, SFP, Sleeveless, Chris Campbell and Gam Productions. He contracted to Island Records and Chrysalis as a producer and remixer, and was commissioned to write the score for Macbeth that ran at 2 Way Mirror at Alexander Palace for the Cambridge Shakespeare Company. This led to him offering educational workshops and classes, and becoming a contributing creator and Forum moderator for Sound On Sound.Recently, he was invited by the Recording Academy to become a professional member, approved educator, and mentor for their member base. Eddie now concentrates on providing private sound design and mixing/production tuition, and creating content for Sound On Sound magazine.https://eddiebazil.co.uk/Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

What is mastering in music, and what does mastering a song really mean for independent producers? In this episode of Inside The Mix, host Marc Matthews sits down with mastering engineer Ben Holmes to break down what mastering is, how it differs from mixing and mastering as a combined process, and why it's the final step that makes a track translate everywhere—from phones and cars to clubs, streaming platforms, and CDs.Marc and Ben explain what mastering a song actually involves, starting with translation and future-proofing. They cover how streaming loudness normalisation affects modern releases, why “one size almost fits all” masters are possible, and when alternate versions, like a higher-ceiling CD master, still make sense. Ben shares a simple, repeatable mastering chain beginners can trust: corrective EQ, sweetening EQ, gentle compression, and a transparent limiter, plus why half-dB decisions matter more than flashy plugins.The conversation also tackles common frustrations DIY artists face: overprocessing, chasing loudness until the chorus collapses, and expecting mastering to fix mix problems. You'll learn why mastering in a separate session improves judgement, how to use AI mastering tools as references instead of replacements, and which DAW features speed up real-world workflows—using Reaper as a practical example.Finally, Marc and Ben answer the big question: should you master your own music or hire a mastering engineer? From second-pair-of-ears benefits to room calibration and experience, they lay out how to choose what's right for your release.TL;DR: A practical, beginner-friendly breakdown of what mastering is, how it differs from mixing, and how to get a clean, confident master that translates everywhere.If this episode helped clarify what mastering is and why it matters, follow the show and share it with a fellow producer.Links mentioned in this episode:Follow Ben HolmesSend me a message Support the showWays to connect with Marc: If you'd like a second set of ears on your mix or workflow, you can book a no-pressure chat here Radio-ready mixes start here - get the FREE weekly tips Follow Marc's Socials: Instagram | YouTube | Synth Music Mastering Thanks for listening!! Try Riverside for FREE

Nikki Nair gets serious about fun — the formerly Tennessee, formerly Atlanta, currently LA-based DJ and producer talks about how a punk sense of purpose, Detroit and Chicago foundations, and a love of “broken” sound converge into sets and tracks that surprise without losing the groove. Nikki gets into how a recent UK residency sharpened his instincts, the studio sessions that kept his mood afloat, and the tiny cultural artefacts (hello, Percy Pigs) that colour the journey as much as any plugin.From a life-changing afternoon at Submerge with Underground Resistance legend Mike Banks to late nights in Knoxville and formative trips to Atlanta, Nikki maps the lineage that informs his playful, left-turn club and electronic music. We get into the tension between function and originality, how drumming shaped his breakbeat brain, why he chases flow states that make him literally laugh at the DAW, and how he decides when to risk losing a slice of the crowd in order to move the culture an inch forward.There's a wider lens, too. Nikki is candid about the modern reality of nightlife — selling tickets and telling a human story — while keeping the focus on service, community, and sincerity.OK, housekeeping: I've re-activated the show's Substack newsletter. Give it a follow for extra bits about the guests, thoughts on music culture and creativity and whatever else. Nothing is behind a paywall yet, so it's a great time to get on board.If you enjoy Lost and Sound and want to help keep it thriving, the best way to support is simple: subscribe, leave a rating, and write a quick review on your favourite podcast platform. It really helps others find the show. You can do that here on Apple Podcasts or wherever you like to listen.Nikki Nair on Instagram:https://www.instagram.com/nikki__nair/?hl=enNikki Nair on Bandcamp:https://nikkinair.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 Press.You can also follow me on Instagram at @paulhanford for behind-the-scenes bits, guest updates, and whatever else is bubbling up.

BOSSes host Anne Ganguzza is joined by co-host Lau Lapides and special guest Carol Alpert (voice actor and on-camera coach) to tackle the industry's most persistent headache: the inability of talent to follow instructions. Whether it's ignoring age ranges in casting specs, butchering file naming, or losing patience during a live session, failing to follow the "rules" of an audition is the fastest way to get your file tossed. The hosts stress that being a "trained actor" means being disciplined enough to read between the lines and respect the client's process. The Casting Filter: Why 70% Get Ditched (01:48) Lau Lapides reveals a shocking statistic: in a recent casting for 35–45 year olds, 70% of the auditions were from talent clearly outside that age range. Agents use specs to filter talent quickly; if you submit for a role you clearly don't fit, you are essentially asking to be ignored. Following the demographic specs is the first step in following directions in voiceover. The File Naming Pet Peeve (07:04) Proper file naming is not just a suggestion; it's a structural necessity. When an agent or casting assistant is processing hundreds of files, an incorrectly named file can disrupt their entire workflow. Lau notes that talent often doesn't see the "assembly line" of 10–40 people involved in a single gig; naming your file correctly shows you respect their time. "Early is On Time": The Reality of Deadlines (11:12) While some pay-to-play sites are instantaneous, agency turnarounds are often measured in hours. Lau asserts that the strongest auditions usually come in within the first few hours of a posting. Being "trained" means having the discipline to interpret, record, and execute an audition professionally and quickly without procrastinating. Cold Reading and Tracking Skills (13:05) A common reason talent fail to follow directions is a lack of ocular tracking skills. Many people listen to content rather than reading it, leading to a decline in the ability to scan a script and pick up nuances quickly. The hosts recommend cold-reading classes to ensure your eyes can track words and directions simultaneously. Live Direction: Active Listening and Communication (31:09) During a live directed session, following instructions becomes a matter of active listening. Lau recommends repeating directions back to the client to ensure clarity. She also warns that talent are often replaced not because of their voice, but because of a poor attitude or lack of patience when being redirected. The "Relationship" Slope: Business vs. Contract (41:23) While it's important to stick to contracts, the hosts discuss the value of being cooperative. Doing an extra tag or a small favor can "earn" you a client for the next ten years. It's about weighing small battles versus the long-term war of building a sustainable career through professional relationships.   Top 10 Takeaways for Voice Actors: Read the Specs Twice: Ensure you fit the age, gender, and ethnicity requirements before stepping into the booth. Master File Naming: Follow the naming convention provided exactly. It is the most common reason auditions are discarded without being heard. Early is Best: While you should never rush quality, aim to submit your audition as early as possible to capture the agent's attention. Practice Cold Reading: Maintain your ocular tracking skills by reading aloud for at least 15 minutes a day to stay sharp for quick turnarounds. Listen and Repeat: In directed sessions, repeat the client's instructions back to them to confirm you understand the requested adjustment. Silence Your Ego: If a client asks for 100 takes, provide them professionally. Frustration or an "attitude" is a faster way to get fired than a bad take. Check Your Tech: Before a live session, verify that SourceConnect and your DAW are updated and functioning. Technical failures are a failure to follow prep instructions. The Agent is the Middleman: Don't get annoyed if your agent doesn't have every answer; they copy and paste exactly what the client gives them. Interpret, Don't Just Comprehend: Moving beyond just "reading the words" to understanding the story is part of your professional instruction. Build the Relationship: Being cooperative and "easy to work with" is often more valuable to a client than being the most talented person in the room.  

Join the award-winning Sync Producer Hub In this episode the Sing Producer Hub community shares major wins — new placements, TuneEdge signings, and a standout America's Got Talent performance — while the host reviews modular TMA2 studio headphones and explores Suno Studio's AI-driven DAW features. Members discuss pitching strategies, library albums versus briefs, workflow tips, and industry concerns around AI and rights. The episode mixes practical sync advice with gear impressions and lively community updates.

In today's episode, I wanted to continue what I was working on last week, trying to get resin to adhere to a base plastic figure to create an easier way to make custom action figure duplicates.  I will be experimenting with a number of methods to create snap on/ snap off molds to see what works best, but today, I'm using a kind of thermoplastic called Instamorph.  You heat the pellets in water, they become soft and squishy, allowing you to press something into it to make a mold, like I am doing here: https://13thhr.wordpress.com/2025/12/29/the-thirteenth-hour-podcast-542-and-like-a-hood-ornament-87-trying-a-new-technique-by-creating-a-new-rocketeer-figure-part-2-and-2025-reflection/When it cures, Instamorph turns white.  It is also very hard.  That can be a plus and a minus.  I did find that it was really hard to get the mold out since it didn't want to bend.  I really hard to yank on the limbs.  The torso, however, worked really well: The mold was supposed to apply on the Rocketeer's jacket bib with the buttons and a few other details, like the straps for the rocket pack on the sides and shoulders.  The torsos of these figures might be a different kind of plastic since it has different melting properties than the limbs (which I suspect are PVC), but the resin actually adhered just fine.  Getting the resin to release from the mold was difficult, but I wonder if I use some oil or some other kind of mold release, it might a different story.  I have some other mold putties to try in the coming weeks, so if this method ultimately does not work, perhaps other will.  I am also wondering if this kind of plastic can be used in place of epoxy clay.  It dries hard but could be shaped with heat ... something to think about.This project will continue into 2026, but 2025 has been a pretty good year.  I'll talk about this more next week, in the first episode of the new year, but some of the things that happened this year were:-great guests and new friends-the release of Once Upon a Dream on tape, CD, and digital streaming after many years-a fair bit of progress on The Thirteenth Hour sequel (about 70 pages)-episode 500 last March-started to learn how to use a DAW as another way to make music-Wrapping up the reading of The Rocketeer movie novelization (started 10/14/24, ended 7/7/25)Looking forward to seeing what we can do in 2026!  See you in the new year!∞∞∞∞∞∞∞Once Upon a Dream, the second Thirteenth Hour soundtrack, is now out in digital form and on CD!   It is out on most major streaming services such as Bandcamp, Spotify, and YouTube Music.  (If you have no preference, I recommend Bandcamp since there is a bonus track there and you will eventually be able to find tapes and special editions of the album there as well.)  The CDs are out now!-Check out the pixelart music videos that are out so far from the album:-->Logan's Sunrise Workout: www.youtube.com/watch?v=K7SM1RgsLiM-->Forward: www.youtube.com/watch?v=Z9VgILr1TDc-->Nightsky Stargazing: www.youtube.com/watch?v=2S0p3jKRTBo-->Aurora's Rainy Day Mix: https://youtu.be/zwqPmypBysk∞∞∞∞∞∞∞∞ Signup for the mailing list for a free special edition podcast, a demo copy of The Thirteenth Hour, and access to retro 80s soundtrack!Like what you see or hear? Consider supporting the show over at Thirteenth Hour Arts on Patreon or adding to my virtual tip jar over at Ko-fi. Join the Thirteenth Hour Arts Group over on Facebook, a growing community of creative people.Have this podcast conveniently delivered to you each week on Spotify,  iTunes, Stitcher, Player FM, Tunein, and Googleplay Music.Listen to Long Ago Not So Far Away, the Thirteenth Hour soundtrack online at: https://joshuablum.bandcamp.com/ or Spotify.  Join the mailing list for a digital free copy.  You can also get it on CD or tape.Website: https://13thhr.wordpress.com

Join us for a conversation with the mad conlanger and electronic musician "Lamplight!" We create Lamplight's unique style from the ground up, joining them in the DAW, and muse about the possibilities in their composition, tuning, and music. Lamplight's conlang and microtonal thoughts are highly connected to their color-based synesthesia and phenomena they have experienced about the world for years and years. Correction: at 1:07:07, Lamplight meant to say "7edo" instead of "5edo." This has been marked onscreen in the YouTube video. Music: [00:00:00] Intro: https://www.youtube.com/watch?v=PrfAz8V4WNc&list=PLUPfWiftqUrLfx3p7KldNF0xWJdJLH6OR (41-TET) - LΛMPLIGHT [00:06:24] https://www.youtube.com/watch?v=71yBnSVBsJk&list=PLUPfWiftqUrJKBlMd_3uvGzdu0BeaLk76 (37-TET) - Stephen Weigel [00:10:37] https://www.youtube.com/watch?v=cMnuMjXeHrY&list=PLUPfWiftqUrJKBlMd_3uvGzdu0BeaLk76 (JI and 41-TET) - LΛMPLIGHT [00:10:57] https://www.youtube.com/watch?v=PrfAz8V4WNc&list=PLUPfWiftqUrLfx3p7KldNF0xWJdJLH6OR (41-TET) - LΛMPLIGHT [00:50:51] https://www.youtube.com/watch?v=TqF27cFscGI&list=PLUPfWiftqUrJKBlMd_3uvGzdu0BeaLk76 - einrail [00:51:19] https://www.youtube.com/watch?v=JwZMduKD8lk&list=PLUPfWiftqUrJKBlMd_3uvGzdu0BeaLk76 - Monotone Triangle [00:51:43] https://www.youtube.com/watch?v=2z4-vRCWSwk&list=PLUPfWiftqUrJKBlMd_3uvGzdu0BeaLk76 - Tachy Bunker [00:52:16] https://www.youtube.com/watch?v=OGF1hFMDBZY&list=PLUPfWiftqUrJKBlMd_3uvGzdu0BeaLk76 (24-TET) - ひるりゅー / Hiruryu [01:08:26] Outro: https://www.youtube.com/watch?v=cMnuMjXeHrY&list=PLUPfWiftqUrJPPFqMXo1UI8k78kYN0ogV (JI and 41-TET) - LΛMPLIGHT Shasavistic Music Theory playlist (with subtitles): https://www.youtube.com/watch?v=NKRj3IJSFEI&list=PLUPfWiftqUrIy3dMXdcpaYpGt6vZAeW5a LAMPLIGHT's YouTube and website: https://www.youtube.com/@L4MPLIGHT https://lamplight0.sakura.ne.jp/a/ Support us on Patreon! https://www.patreon.com/nowandxen Follow http://nowandxen.libsyn.com https://twitter.com/now_xen https://www.facebook.com/nowxen/ Subscribe RSS: http://nowandxen.libsyn.com/rss iTunes: https://itunes.apple.com/us/podcast/n… Spotify: https://open.spotify.com/show/1mhnGsH… Stitcher: https://www.stitcher.com/podcast/nowxen Twitter: https://twitter.com/now_xen Facebook: https://www.facebook.com/nowxen/ YouTube: https://www.youtube.com/channel/UCnmYNMpemAIq8DnK5HJ9gsA

A single take can now become a gospel run, a country croon, or even a convincing female lead, and it happens in seconds. Justin and Rich of the Face Your Ears podcast unpack how AI jumped from pitch correction to “auto-sing,” the cost breakthroughs behind engines like DeepSeek, and what tools such as ACE Studio mean when 80-plus virtual singers sit inside your DAW. It's a fascinating leap for producers and a gut-check for vocalists whose instrument is their body.They talk through real use cases: typing lyrics, drawing melodies, stacking instant harmonies, and round-tripping audio between ACE Studio and Logic or Ableton. Then we get honest about the trade-offs. If voices are trained from real singers, who gets credit and compensation? When sync teams can generate polished vocals in-house, how do independent artists compete? And as synthetic vocals become indistinguishable to casual listeners, does trust in what we hear erode, or do we simply recalibrate our norms as we did with autotune?Beyond workflow, they go deeper into culture and craft. There's a difference between pleasing audio and human expression shaped by effort, failure, and growth. The paradox of hedonism warns that chasing instant results can drain long-term meaning. They explore the risk of cultural flattening when machines remix the past at scale, and we argue for a practical middle path: use AI for drafts, demos, harmonies, and accessibility, while doubling down on live presence, story, and the messy soul of performance. That's where artists can still shine brighter than any model.Got thoughts on AI vocals—tool or takeover? Share your take.Links mentioned in this episode:Listen to Face Your EarsSend me a message Support the showWays to connect with Marc: Listener Feedback Survey - tell me what YOU want in 2026 Radio-ready mixes start here - get the FREE weekly tips Book your FREE Music Breakthrough Strategy Call Follow Marc's Socials: Instagram | YouTube | Synth Music Mastering Thanks for listening!! Try Riverside for FREE

If your mixes keep fighting you, the problem likely started before the DAW ever opened. In this podcast takeover, Mike Indovina (Master Your Mix) digs into a source‑first mindset with London engineer and mixer Will Purton (RAK Studios), unpacking the practical decisions that make recording faster, mixing smoother, and translation far more reliable. From choosing the right instrument and tuning it properly to mic selection, placement, and preamp saturation, they explore how each link in the signal chain shapes the end result, and how to make those choices with intention.Will explains why ambience is a tool, not a garnish. He breaks down room miking that works in world‑class spaces and home studios alike: close‑spaced omni pairs that capture a coherent stereo picture without lopsided lows. They also dive into overhead strategy, using darker mics and adding top end with sweet EQ, to get shimmer without harshness. Throughout, the focus is emotion first: record sounds that make the room light up, then protect those decisions by committing on the way in so the mix becomes a matter of presentation, not repair.Translation gets its own deep dive. Learn how open‑back headphones serve as a portable reference across unfamiliar control rooms, why acoustic treatment beats bigger speakers, and how to build a reference playlist that exposes strengths and flaws you can trust. They touch on quick genre ear training from TV sessions, the realities of large studios, and the discipline of sending pared‑down sessions that communicate vibe clearly to the mixer.If you want mixes that travel from studio to car to earbuds without falling apart, start with better ingredients and intentional choices. Links mentioned in this episode:Listen to Master Your MixFollow Will PurtonSend me a message Support the showWays to connect with Marc: Listener Feedback Survey - tell me what YOU want in 2026 Radio-ready mixes start here - get the FREE weekly tips Book your FREE Music Breakthrough Strategy Call Follow Marc's Socials: Instagram | YouTube | Synth Music Mastering Thanks for listening!! Try Riverside for FREE

Send us a textEric continues the 12 Days of Christmas series on Clipped—a run of quick, daily tips to help creators tighten up their workflow. Today is Day 11 of 12, and this episode is all about using templates to speed up every part of your production process.Eric breaks down how templating show prep, editing workflows, thumbnail design, and episode structure can free up mental space, keep your content consistent, and help you move faster.

Guests Rich Hilton - Producer, engineer and keyboards for Chic Gaz Williams - Musician, performer (bass, modular), Rack Records For preshow and Ad free version and much more: Patreon.com/sonicstate SonicTALK Supported by 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 Maschine 3 Maschine is all about getting your musical ideas flowing. It's there every step of the way. Lay down beats, sample, arrange, and perform with virtual instruments or your own sounds – solo or in a DAW. Ready to take things up a gear? Get hands on with Maschine hardware. 00:00:10 SHOW START 00:01:40 Win Ableton Move 00:03:04 AD:Patreon 00:15:42 New Waldorf Protein - 8 Voice Wavetable Poly 00:26:44 AD:iZotope Ozone12 00:29:09 Fixing out of Tune Bells 00:37:56 Alma - Custom Kids Synth 00:46:14 Soundblaster is back baby 00:54:35 AD: NI Maschine 3 00:55:34 CME H12MIDI Pro

A left-handed guitar from a beloved grandpa. A band with grit and groove. A songwriter who lets chords decide the weather of a verse. That's the heart of our conversation with Corey Hooker, where Americana isn't a label so much as a living room: folk honesty, rock momentum, and stories that start one way and end somewhere braver.We trace Corey's path from Ohio stages to a decisive leap toward Colorado, a move designed to meet strangers and grow beyond a friends-and-family ceiling. He opens up about the craft behind his catalog—why a melody often leads the way, how a single “keyword” unlocks a chorus, and what happens when an angry draft flips into a sad truth, like in Perfect Family. We also get practical: Taylor versus Martin for stage and studio, the heirloom Austin that breaks writer's block, and how live shows sharpen arrangements faster than any DAW. If you care about songwriting, there's gold here: tight feedback loops with trusted critics, resisting the trap of perfectionism, and using crowd engagement to turn covers into gateways for original songs.The chemistry with the Cadillac Preachers powers much of this trajectory. Their partnership adds rock muscle to Corey's folk roots, landing in a space fans have called fugitive folk rock. That dynamic opened doors at Laurie's Roadhouse—first through a contest win, then with higher-profile slots—and now a direct support date for Mark Chesnutt. It's a blueprint for independent artists: build community, test songs in the wild, and record when the performance lives in muscle memory. Through it all, Corey's gratitude rings clear for the people who keep him grounded: a wife with blunt, loving notes, a mom who never misses a chance to show up, and bandmates who share the load.Hit play for an honest, energetic look at modern Americana, from writing rooms to big stages and the mountain roads in between. If you enjoyed the conversation, follow the show, share it with a friend, and leave a quick review—what song moment stayed with you the most?Send us a text Support the showLinks Jay Franze: https://jayfranze.com/ JFS Country Countdown: https://jayfranze.com/countdown/ Contact Contact: https://jayfranze.com/contact/ Socials Instagram: https://www.instagram.com/jayfranze TikTok: https://www.tiktok.com/@jayfranze X: https://x.com/jayfranze YouTube: https://youtube.com/@jayfranze Services Services: https://jayfranze.com/services/ Books Books: https://jayfranze.com/books/ Merchandise Merchandise: https://jayfranze.com/merchandise/ Support Support: https://jayfranze.com/support/ Sponsor the Show: https://jayfranze.com/sponsor/

Music products are some of the most innovative and frustrating tools in any industry. Let's peel back the veil a bit into the history of music software, piracy, and how old-school tech is holding itself back. There's a reason why Ableton is the DAW (music production software) of choice for younger people! (It's the iLok!)For 30% off your first year with DistroKid to share your music with the world click ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠DistroKid.com/vip/lovemusicmore⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Want to hear my music? For all things links visit ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ScoobertDoobert.pizza⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Subscribe to this pod's blog on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Substack⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ to receive deeper dives on the regular

Guests Mylar Melodies - Musician and YouTuber Paulee Alex Bow - Magical Synth Adventurer and vintage digital specialist For preshow and Ad free version and much more: Patreon.com/sonicstate SonicTALK Supported by 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 Maschine 3 Maschine is all about getting your musical ideas flowing. It's there every step of the way. Lay down beats, sample, arrange, and perform with virtual instruments or your own sounds – solo or in a DAW. Ready to take things up a gear? Get hands on with Maschine hardware. 00:00:12 SHOW START 00:03:47 AD:Patreon 00:18:26 ASM Diosynth Wind Synth Instrument 00:31:59 AD:iZotope Ozone12 00:33:33 Arturia AstroLab 37 - Small But Still Powerful 00:44:01 AD: NI Maschine 3 00:44:58 Mylar Melodies Performance Case Breakdown 00:52:05 Mentha Works Monk Echo:

It's been too long. The twins decided to change that by showing up for episode 93 and diving into a conversation about one long summer on Tigertail Court in Coconut Grove before the third grade when they moved back to Miami from Crestline, California. They discovered boxes of old castoff records in their room and started playing them on the big Zenith console they rememered from the time they were toddlers.  Also - a recent series of gigs at House of Blues Myrtle Beach, chatter about audio interfaces, remote recording, the difference in the vibe when they shut off the video in Zoom and didn't have to stare at each other. SHOW NOTES:  0:00 - Interlude by Chris - sounds like a drug commercial. 1:15 - Greetings - Been a while / Our recent shows at House of Blues Myrtle Beach / Electro-Voice EVOLVE 30M (P.A.) 2:31 - Chris' upcoming trip to Walt Disney World - "I go where I'm told." / Universal Orlando / The Wizarding World of Harry Potter / The Tree of Life - Disney World 3:54 - More EVOLVE 30M / Powered monitor vs. power amp for existing passive monitor 5:26 - Discovering cast-off records as children in Miami / Ancient Zenith console / "Higher and Higher," Jackie Wilson / "Wipe Out," Surfaris / "Leader of the Laundromat," The Detergents / "Daydream Believer," Monkees / "They're Coming to Take Me Away, Ha-Haaa!," Napoleon XIV, "Green Tambourine," Lemon Pipers / "Monster Mash," Bobby "Boris" Pickett & The Crypt Kickers / "Next Door to an Angel," Neil Sedaka / "Funny Face," Frankie Valli / Beach Boys Concert LP / "Papa Was a Rollin' Stone," The Temptations / Florida Room / "For Once in My Life," Stevie Wonder / Longines Symphonette Society / K-Tel / Buddha Records / No rock in there / Them - Van Morrison / "Summer in the City," The Lovin' Spoonful / "Groovin," The Rascals 10:38 - Trying to remember Glendale 12:04 - More about the summer before third grade / Weird organ instrumental song we can't place / More about the Zenith 13:24 - Interfaces: Apogee Duet / PreSonus Quantum ES2 / ZOOM Livetrak L-8 / Behringer U-PHORIA UM2 / Podcast recording setups 15:06 - Roger using the L-8 for newspaper interviews / Microsoft Word transcription function / physical transcription vs. software 16:51 - About recording our sessions from Zoom calls / Jeffrey Toobin  19:07 - Chris' DAW work / Thoughts on DAW 21:05 - "My Life as a Rolling Stone"  21:57 - Chris riffing on his recent medical checkup  23:45 - Parting shots - Big Sur / Recording fears / Organizing audio files

Today's guest went from making songs on a floppy-disk keyboard, sampling off a Kellogg's cereal box DAW, and sending blind MySpace messages… to producing the some of the biggest crossover dance anthems of the last decade. And The Writer Is... Zedd!What makes this conversation special isn't just the hits — it's how brutally honest he is about the craft, the obsession, and the unexpected moments that built his career.A special thank you to our sponsors...Our lead sponsor, NMPA aka the National Music Publisher's Association. Your support means the world to us!And @splice -- the best sample library on the market, period.Chapters:0:00:00 – Teaser 0:01:06 – Welcome & Episode Intro 35:58 – Zedd on Never Thinking He'd Be Successful 25:41 – Growing Up Poor & Studying One Album a Month 18:01 – The Kellogg's DAW That Started Everything 15:33 – Learning Music on a 16-Track Floppy-Disk Keyboard 30:44 – Why He Thought EDM Was a Joke at First 38:12 – The Skrillex MySpace Story That Changed His Life 31:25 – Finding His Sound Through Curiosity & Obsession 47:14 – The “Lightning Moment” Behind Clarity 59:34 – Being Wrong More Often Than Right 1:03:03 – Why Most Music Feels the Same Today 1:03:37 – Extraordinary vs. Average: What Listeners Actually Feel 1:00:08 – “All I'm Doing Is Chasing a Feeling” 56:26 – The Chaos Behind Making The Middle 1:00:47 – Realizing the Scale of His Own Success 28:23 – What It Takes to Stay Inspired 6:48 – The Creative Principles He Still Lives By 41:22 – The Fastest Way for Artists to Get Noticed 1:05:23 – Zedd's Final Advice for Musicians 1:07:19 – Closing ThoughtsHosted by Ross GolanProduced by Joe London and Jad SaadWatercolor by Michael White Hosted on Acast. See acast.com/privacy for more information.

Guests Rich Hilton - Producer, engineer and keyboards for Chic Yoad Nevo - Producer,song writer and software developer For preshow and Ad free version and much more: Patreon.com/sonicstate SonicTALK Supported by 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 Maschine 3 Maschine is all about getting your musical ideas flowing. It's there every step of the way. Lay down beats, sample, arrange, and perform with virtual instruments or your own sounds – solo or in a DAW. Ready to take things up a gear? Get hands on with Maschine hardware. 00:00:11 SHOW START 00:01:42 Omnisphere 3 Competition 00:08:07 Black Friday Deals - Looking for anything? 00:17:03 Ableton Voice Control with Melosurf 00:28:43 AD:iZotope Ozone12 00:30:22 Valahalla Future Verb 00:38:37 IK ReSing Voice Tool 00:47:02 AD: NI Maschine 3 00:48:27 Behringer BQ-10 SQ-10-a-like 00:55:42 Make Noise Multi-Wave

OG GOAT to AI Google's version called Gemini,OG GOAT: Can I classify AI-generated singing as a digital instrument?GEMINI:  Yes, you absolutely can classify AI-generated singing as a digital instrument or a type of virtual instrument, especially in the context of music production and performance.The classification is based on how the technology functions and how it is used musically. Why AI Singing is a Digital InstrumentA digital instrument (often a Virtual Instrument or VST/AU plugin in music software) is a device or piece of software that relies on computing power and electronic signals to generate musical sounds.AI singing synthesis fits this definition because: * It Generates Sound: The AI is a system that creates a musical output (the vocal track) that did not exist acoustically beforehand. * It's Controllable: Users provide input—typically MIDI data (notes, pitch, timing), and text (lyrics, or a text-based prompt for style/expression)—to the AI system to perform the singing. This is similar to how a producer uses a MIDI keyboard and a software synthesizer (a classic digital instrument) to generate a bassline or a piano part. * It Replaces an Acoustic Element: While a human voice is an acoustic instrument, the AI system acts as a digital stand-in, much like a software sampler is a digital replacement for a real drum kit or a grand piano. * It is a Synthesis Engine: The technology, often called Singing Voice Synthesis (SVS), uses complex algorithms (like neural networks or Generative Adversarial Networks—GANs) to synthesize or model the human voice's timbre, pitch, and dynamics from scratch, or by manipulating vocal samples. This is analogous to how a synthesizer generates sounds using oscillators, filters, and envelopes. Digital Instrument vs. Software ToolWhile the AI engine is technically software, its function within music creation is that of an instrument.| Feature | Digital Instrument (e.g., AI Singer, Software Synth) | General Software Tool (e.g., DAW, Equalizer) ||---|---|---|| Primary Function | Generates and creates the source musical sound/tone. | Records, modifies, processes, or arranges existing sounds. || Input | Notes (MIDI), pitch, lyrics, expression controls. | Audio files, automation data, mixing parameters. || Output | A musical performance (notes, words, timing). | A processed or mixed version of an existing performance. |The AI singing generator creates the raw, musical performance (the vocal track), which is the job of an instrument. Other programs, like your Digital Audio Workstation (DAW), are then used to mix and process that vocal track, which is the job of a software tool.Would you like to know more about the different types of AI Singing Synthesis technology?Send us a textWe want to hear from you, Introduce yourself the way you would like it aired, where your calling from State and City is fine as well as which Season, Podcast title and episode. Call the Studio at 212-718-0330 and leave your comments Call the studio to respond 212-718-0330Support the showWhat part of the game is that. August 2022WhatPartOfTheGameIsThat.com, Wpotgit.com

After connecting with Napolean Solo about a month ago at Jéan P The MC's album release show, I had the pleasure of welcoming him to the podcast this week for episode 282! As a creative based in nearby Canton, Ohio Napolean takes pride in the local scene and I was thrilled to dive into what it means to him within this interview. He told me about his love for the melodic side of production and why FL Studio remains his DAW of choice allowing him to carve out new and exciting soundscapes. Napolean also highlighted some of his solo work released in 2025 including “Black Narc”, “The Penny Tape” and “Sisyphus” that all capture different sides and stories of his sound. I also loved Napolean's goals for the future to continue growing and expanding through his brand Prizm, picking up drawing again and the potential for larger art exhibits to incorporate his works while creating new and unique experiences for consumers. I want to extend a big thanks to Napolean for joining me this week and am excited to see how we can keep connecting and collaborating moving forward!Submit a demo track(s) for release consideration with Proven Knowledge! - https://docs.google.com/forms/d/1l_h_XayHVqWIJHgTYyV5vGgThfRVEiBh8lw9SP8DrQw/viewform?edit_requested=trueConsider becoming a monthly supporter of the show by visiting the link here

Merriam-Webster's Word of the Day for November 11, 2025 is: doughty • DOW-tee • adjective Doughty is a word with an old-fashioned flair used to describe someone who is brave, strong, and determined. // The monument celebrates the doughty townspeople who fended off invaders centuries ago. See the entry > Examples: “The film chooses to render our doughty heroes' super-costumes as cerulean-blue rollneck sweaters, which is a puzzling choice both aesthetically and practically: knitwear seems literally ill-fitted to derring-do.” — Glen Weldon, NPR, 25 July 2025 Did you know? There's no doubt that doughty has persevered in the English language—it's traceable all the way back to the Old English word dohtig—but how to pronounce it? One might assume that doughty should be pronounced DAW-tee, paralleling similarly spelled words like bought and sought, or perhaps with a long o, as in dough. But the vowel sound in doughty is the same as in doubt, and in fact, over the centuries, doughty's spelling was sometimes confused with that of the now obsolete word doubty (“full of doubt”), which could be the reason we have the pronunciation we use today. The homophonous dowdy (“having a dull or uninteresting appearance”) can also be a source of confusion; an easy way to remember the difference is that you can't spell doughty without the letters in tough (“physically and emotionally strong”).

Stop counting playlist streams and start building momentum where it matters. Marc Matthews and Tim Benson unpack a year of wins and lessons that took monthly listeners from modest to meaningful, and the theme is simple. When you optimise for saves, repeats and fast post-release engagement, Spotify's algorithm does the heavy lifting. That means Radio, Discover Weekly, and personalised mixes begin to surface your music beyond your immediate circle—and the compounding effect beats a single playlist spike every time.We share the unglamorous work that unlocks creativity at speed: DAW templates, organised drum kits, and a handful of trusted synth presets that act as launchpads instead of cages. There's a balance to strike between efficiency and originality, so we talk about stepping away when tweaks turn into time sinks, coming back with fresh ears, and capturing the patches worth saving. We also get candid about release cadence and genre clarity. Keeping one artist profile sonically consistent helps Spotify place you next to the right peers; if you love variety, set up separate profiles so each lane feels coherent.Collaboration sits at the heart of our 2026 plan. We're reaching out to local vocalists to bring songs to life and share with audiences in a way that attracts editorial and radio attention. On the business side, we dig into the small but real revenue streams that stack: PRS, PPL, publishing admin via Songtrust or Sentric, DistroKid splits, and even modest YouTube monetisation. Add in smart seeding through SubmitHub and user curators to spark early signals, and you have a repeatable system that turns good music into sustainable growth.Links mentioned in this episode:Got a win from 2025 or a goal for 2026? We want to hear it, and we're featuring listener wins on an upcoming show.Send me a message Support the showWays to connect with Marc: Listener Feedback Survey - tell me what YOU want in 2026 Radio-ready mixes start here - get the FREE weekly tips Book your FREE Music Breakthrough Strategy Call Follow Marc's Socials: Instagram | YouTube | Synth Music Mastering Thanks for listening!! Try Riverside for FREE

Ever twist a saturation knob and wonder if you're hearing compression, distortion, or something in between? In this episode of Inside The Mix, Marc Matthews puts that question to the test with a clean, scientific setup, a 440 Hz sine wave, the Softube Saturation Knob, and Wave Observer, a free oscilloscope plugin by Press Play.By placing Wave Observer last in the signal chain, Marc visually shows how your waveform changes as you dial in saturation, how rounded peaks flatten, harmonics stack up, and a pure sine wave slowly edges toward a square. No more guessing, no more placebo, just a clear visual of how your favourite plugins reshape the sound.Marc explains why visual feedback matters when subtle processing tricks your ears, and walks you through a simple DIY method you can try in any DAW. You'll see exactly what happens around -12 dBFS, where soft saturation tightens dynamics long before the audible grit appears.This quick session helps you connect what you hear to what you see — so you can mix faster, gain stage with intention, and start trusting your ears with confidence.Takeaways:How to use Wave Observer for real-time saturation analysisWhat clipping actually looks likeA repeatable workflow for plugin testing and calibrationIf you're ready to stop mixing blind and start seeing your decisions pay off, on meters, waveforms, and final masters — this one's for you.Subscribe, share the episode with a producer friend, and drop Marc a note with the next plugin you want analysed. Your suggestion might feature in a future episode of Inside The Mix.Links mentioned in this episode:Press Play Wave ObserverFREE Plugin To See Inside Your Mixes - Press Play Wave ObserverSend me a message Support the showWays to connect with Marc: Listener Feedback Survey - tell me what YOU want in 2026 Radio-ready mixes start here - get the FREE weekly tips Book your FREE Music Breakthrough Strategy Call Follow Marc's Socials: Instagram | YouTube | Synth Music Mastering Thanks for listening!! Try Riverside for FREE

Join hosts Dee Kei and Lu on this episode of the Mixing Music Podcast as they dive into the timeless mantra: "Preparation Meets Opportunity." Kicking off with hilarious travel stories—from grueling flights to Russia with layovers in Turkey to epic childhood road trips—they quickly pivot to real-talk advice for music producers, engineers, and artists.Drawing from personal anecdotes (without naming names), they break down common pitfalls in recording sessions, like unprepared templates, poor communication, and failing to control a chaotic room. Learn practical tips for smooth workflows: practice your DAW templates, prioritize artist needs, and think "for the art" to capture those lightning-in-a-bottle moments.The conversation expands to mixing and mastering—handling client notes without ego, organizing projects with tools like Trello, and daily communication to avoid "falling through the cracks." For live sound pros, they cover feedback prevention, rider communication, and making quick decisions with no room for revisions.Things get philosophical toward the end, exploring branding, professionalism, humility, and clearing your conscience to build trust and reliability in the industry. Whether you're battling self-doubt, seeking validation, or just wanting to stand out, Dee Kei and Lu emphasize dignity, honor, and purposeful action to turn preparation into lasting success.Perfect for aspiring mixers, producers, and live engineers—tune in for actionable insights, laughs, and motivation to level up your music career. Subscribe for more episodes on music production tips and industry stories.Our Sponsors:* Check out Aeropress and use my code MMPOD for a great deal: https://aeropress.comSupport this podcast at — https://redcircle.com/mixing-music-music-production-audio-engineering-and-music/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy