Podcasts about Daw

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

Download the free guide "5 Spells Every Composer Needs." These spells are interval-based composition techniques that work like magic. In this guide, I explain 5 of my most-used spells with examples so that you can implement them in your compositions as well. https://musicintervaltheory.academy/spells/ Frank shares a powerful story from a conversation with a magician friend and composer, revealing the real benefit of learning interval theory — not just sounding different or adding tricks to your music, but saving time and eliminating frustration. Discover how interval-based thinking can help you translate your musical ideas into reality faster and with more confidence.

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/

Making a Scene Presents - Wingman (Mixed In Key) A Demo AcceleratorWingman from Mixed In Key ($79) is built for the modern reality: a lot of great songwriters don't play piano, don't play bass, and don't want to spend three hours hunting for the “right” chord under a vocal idea. Wingman lives inside your DAW as a plugin and listens to the audio you feed it, then suggests chords and basslines that fit what it hears. It also includes AI stem separation and audio-to-MIDI tools that help you pull musical structure out of real-world recordings and turn it into something you can arrange. The headline is simple: it's an AI idea engine that helps you move from a spark to a usable demo faster, without needing to be a multi-instrumentalist. http://www.makingascene.org

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.  

The 10 Most Common Home Studio Mistakes (And How to Fix Them Without Spending More Money)Home recording has never been more accessible. You can buy a solid microphone, a capable interface, a powerful DAW, and professional-grade plugins without leaving your house. On paper, there has never been a better time to record your own music. And yet, a lot of home recordings still sound thin, harsh, muddy, distant, or unfinished. http://www.makingascene.org

Ko en Paul zijn samen met Evert afgereisd naar Rijswijk , voor wederom een podcast op te nemen met DJ's, composers en producers Robin Kampschoer en Bas Huisman. Dit keer gaan zij dieper in op de werking van een DAW , Ableton en MIDI. Als u nu denkt waar hebben zij het over, ga dan vooral luisteren naar deze 64e aflevering getiteld; "Where words fail,music speaks!"

Euro Dance Vol.3 by HighLife Samples is a carefully crafted tribute to the golden era of 90's Eurodance — a time when uplifting melodies, powerful chords, and unforgettable vocal hooks ruled the dancefloor. This pack is designed for producers who want to capture the authentic nostalgic energy of classic Eurodance while keeping their workflow fast, clean, and modern. Inspired by the iconic sounds of the 90s, Euro Dance Vol.3 delivers the unmistakable vibe of that era: emotional chord progressions, driving basslines, catchy leads, and expressive vocals that instantly transport you back to packed clubs and euphoric dance anthems. Whether you're producing modern Eurodance, classic revival tracks, or blending retro elements into contemporary genres, this pack gives you the essential tools to do it right. The pack includes 4 full construction kits, each built from the ground up to sound complete, musical, and production-ready. Inside every kit you'll find professionally produced WAV loops, flexible MIDI files, and authentic vocal parts, allowing you to fully customize each idea or use the kits as inspiration for your own original tracks. For maximum usability, all files and folders are clearly labeled with key, scale, and BPM, ensuring seamless integration into any DAW. Drag, drop, and start creating instantly without wasting time searching or guessing technical details. Euro Dance Vol.3 is perfect for producers looking to relive the magic of 90's Eurodance with modern sound quality and a clean, organized structure. If you're chasing nostalgia with professional polish, this pack belongs in your library. Pack Content: * 4 Construction Kits * 6 Synth Bass Loops * 21 Drum Loops * 17 Fx * 18 Midi Files * 12 Synth Loops * 16 Acapella Vocals(Dry and Wet)

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.

Ever have a mix that looks perfect but sounds like it's missing its spine? Congrats, you might be dealing with phase cancellation. This week on Inside the Recording Studio, Chris and Jody dig into one of the sneakiest audio problems around, the kind that makes engineers blame their gear, their DAW, or their life choices before realizing the real issue was phase all along. Phase cancellation doesn't announce itself loudly. It doesn't clip. It doesn't distort. It just quietly eats your tone. Chris and Jody explain how it happens when waveforms don't line up, causing parts of your sound to cancel each other out. That's why your guitar cab can suddenly feel hollow, or why your snare drum vanishes the second you bring up the overheads. Jody points out how easy it is to start twisting EQ knobs when something feels wrong, even though the problem has nothing to do with frequency balance. Chris jumps in with real-world mic placement scenarios, reminding listeners that phase issues often begin before the signal ever reaches your interface. Move a mic an inch, and suddenly your sound goes from solid to sad. The conversation stays practical the whole way through. Chris and Jody talk about how to actually hear phase problems, not just spot them visually. They cover when polarity tools help, when they don't, and why blindly flipping switches can sometimes make things worse. There's also a strong reminder that “good enough” mic placement is often the root of phase headaches in home studio gear setups. They also zoom out to the bigger picture. Phase isn't just an issue for drums or multi-mic recordings, it affects entire mixes. Layering parts that seem fine on their own can lead to unexpected cancellations once everything plays together. If your mix feels thin even though each track sounds decent soloed, phase might be the missing piece. Of course, this being Inside the Recording Studio, there's no shortage of dry humor and light nonsense along the way. Chris and Jody keep things fun while still delivering solid recording setup tips you can use immediately. If your mix keeps losing punch for no obvious reason, or your recordings sound weaker than they should, this episode will help you stop fighting your DAW and start fixing the real problem. Subscribe now and catch next week's deep dive into another home studio mystery. #PhaseCancellation #HomeStudioGear #RecordingSetupTips #AudioTroubleshooting #MicPlacement #MixProblems #DAWRecording #RecordingBasics

Composer Geoff Knorr — known for his work on the Civilization series and other large-scale game soundtracks — joins us for a deep conversation about creativity, discipline, and what it really takes to build a life in music.We discuss learning to accept criticism, letting go of ideas that don't work, why good music can still be the wrong music, and why some composers grow while others stay stuck. Drawing from Geoff's experience composing for major games, teaching at the Peabody Institute, and collaborating with musicians across diverse musical traditions, the conversation explores humility, perspective, and long-term creative growth.The episode also touches on health, sustainability, and discipline — from staying physically active as a composer to recognizing that music is simply too hard to pursue unless you genuinely love it.GEOFF KNORR LINKS:Website: https://www.geoffknorr.com/Youtube: https://www.youtube.com/@KnorrMusicSpotify: https://open.spotify.com/artist/1OFCjpSAsyIOWWzIAYb3OI?si=_eoobKhuQTSmDIWa4DYmjgApple Music: https://music.apple.com/us/artist/geoff-knorr/411130469Instagram: https://www.instagram.com/geoff.knorrFacebook: https://www.facebook.com/pages/Geoff-Knorr-Composer/174736382555080Markus Junnikkala is a Composer from Finland.https://www.markusjunnikkala.com/Support this podcast by becoming a member:https://markusjunnikkala.com/membership/Want me to answer your question?Ask it on social media:https://www.instagram.com/markusjunnikkala/https://www.facebook.com/markusjunnikkala/https://x.com/markusjunnikkalhttps://www.reddit.com/user/markusjunnikkala/https://www.linkedin.com/in/markusjunnikkala/Subscribing, sharing, and liking helps the podcast.TIMESTAMPS:(00:00:08) Introduction(00:02:16) Growing Up, Family, and Early Influences(00:08:32) Sports, Discipline, Health & Longevity as a Composer(00:13:19) Failure, Hard Work & Lessons From Sports(00:16:37) Subjectivity, Criticism & Facing Reality in Music(00:23:14) Letting Go of Music That Doesn't Work(00:27:19) Teaching, Mediocrity & Why Some Musicians Don't Improve(00:34:15) Game Music Reality: Serving the Vision (Beyond Earth)(00:38:19) Technology, Early MIDI & Audio Foundations(00:45:33) Collaboration, Culture & Working With Musicians(00:51:35) Childhood, Encouragement & Learning to Love Music(00:56:05) Classical Foundations, Bach & Musical Identity(01:01:04) Why Music Is Too Hard If You Don't Love It(01:05:11) Video Games, Direction & Choosing a Career Path(01:16:10) Studying Composition, Recording & Wearing Both Hats(01:30:10) Composing Process: Score, DAW & Sample Libraries(01:46:00) Improvisation, Structure & Non-Western Traditions(02:02:10) Trust, Sensitivity & Recording Real Musicians(02:18:40) Sound vs Notes: Where Music Actually Lives(02:36:00) Experience, Speed & Long-Term Creative Thinking(02:57:30) What Keeps You Going (Final Reflections)

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

Chris and Jody are hitting rewind and bringing back a special encore presentation of one of the most beloved conversations in Inside the Recording Studio history: their in-depth interview with CJ Vanston. And honestly? This one was worth rerunning anyway.   CJ Vanston isn't just a producer or keyboard wizard, he's a musical storyteller who's been behind the curtain of some truly iconic recordings. In this episode, Chris and Jody revisit their captivating conversation with CJ, unpacking how great records actually get made, why vibe matters more than gear lists, and what decades in the industry teach you that no plug-in manual ever will.   Behind the Curtain: CJ's Creative Process This encore gives you another chance to soak in CJ's refreshingly grounded approach to music production. He talks openly about creative decision-making, how he chooses sounds that serve the song (not the ego), and why less technical obsession often leads to more emotional impact. If you're deep into home studio gear, chasing better recording setup tips, or endlessly tweaking instead of finishing songs, this conversation might gently (or not-so-gently) reset your priorities.   CJ also dives into how he listens: stripping sessions down to the essentials, focusing on feel before fidelity, and trusting instincts over specs. It's a powerful reminder that great records aren't built by hiding behind menus or obsessing over hidden features in studio gear, but by committing to musical choices that communicate something real.   Musical Wisdom That Still Hits Whether you're an aspiring producer, a seasoned engineer, or a musician building tracks at home, CJ's insights hold up beautifully. He shares hard-earned lessons about collaboration, keeping sessions human, and why the best studios, regardless of budget, feel safe, playful, and honest.   Along the way, Chris and Jody keep things firmly grounded in Inside the Recording Studio fashion: smart questions, practical takeaways, and just enough nonsense to remind you that making music should still be fun. Expect laughs, side comments, and the kind of conversational detours that make it feel like you're hanging out in the control room rather than sitting through a lecture.   Why This Encore Matters If you missed this episode the first time, welcome, you're in for a treat. If you heard it before, you'll likely catch new details this time around, especially if your studio skills (or frustrations) have evolved. From practical mindset shifts to subtle production philosophies, this rerun proves that the best advice doesn't expire.   So grab your headphones, fire up your DAW (or maybe… close it for an hour), and join Chris and Jody as they revisit a timeless conversation about music, production, and the art behind the hits.  

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.

Let's be honest: backups are about as exciting as dusting your studio monitors or alphabetizing cables. But nothing will make you scream into the void faster than losing a session you swear you saved. In this episode of Inside the Recording Studio, Chris & Jody grab you by the shoulders and lovingly scream, “BACK UP YOUR STUFF!” They dive into backup options from “cheap but risky” to “Fort Knox for audio nerds.” Drives, RAIDs, clouds, offsite bunkers—okay, maybe not bunkers, but close. You'll hear their own cautionary tales, including technical ghosts that haunted their studios and files that pulled Houdini acts at the worst possible moment. The guys break down how they organize projects, why simple habits beat complicated systems, and how to build a backup routine that doesn't feel like flossing. It's equal parts education, comedy, and therapy for anyone who's ever lost a take. And yes, Friday Finds is here to save the day with tools that keep your sessions safer than your last ex's Netflix password. #music production workflow #home studio gear essentials #recording setup tips for producers #pro audio gear insights #DAW backup strategies #audio engineering tips #studio gear organization #creative workflow protection

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

Ever crank a delay plugin, hear a swamp of echoes, and think, “Cool… but what am I actually doing here?” Chris & Jody are here to rescue you from your own knob-twisting crimes. This week, they break down delay the way mix engineers wish someone had explained it when they were fumbling around in their first apartment studios. First, the math (don't panic). They show you how to calculate delay times that actually fit the tempo, no more “that kinda sounds right, maybe” energy. If you're using hardware with zero DAW sync, this segment alone may save you from hurling your favorite box across the room. Then they unleash the fun stuff: slapbacks that make vocals swagger, ping-pongs that dance across your headphones, tape delays that drip nostalgia, and multi-taps that basically let you play Tetris with your audio. They'll even show you how to use delay to make guitars wider than your rent bill and vocals thicker than a Midwestern milkshake. Expect jokes, expect nonsense, and expect a few “wait… seriously?” tips you'll immediately want to try. Stick around for Friday Finds, because who doesn't love new plugins and gear you didn't know you needed? #MusicProduction #HomeStudioGear #MixingEngineer #DelayEffects #RecordingSetupTips #StudioGearSecrets #AudioEngineering #ProAudioTech

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

Tired of guessing what kind of podcast content actually helps you make better music and grow as a producer or artist? In this special listener-driven episode of Inside The Mix, host Marc Matthews flips the script — and puts you in charge of shaping the show's next chapter.Marc is designing the 2026 Inside The Mix editorial calendar, and your feedback will decide what the podcast covers next: from mixing workflows, DAW productivity systems, and plugin deep dives, to music marketing strategies that build real fans.It takes just two minutes to complete the survey (link below), where you can:Vote on future episode formats (10–15 minute tutorials or long-form interviews)Suggest guests, tools, and production topics you want exploredShare your biggest music win of 2025 for a chance to be featured in Episode 227 on December 30thWhether you just finished your debut EP, mastered vocal clarity, booked your first client, or built a consistent content routine, your milestones matter. These wins are proof that focused workflows, smarter systems, and creative consistency beat guesswork every time.Tap the survey link and share your 2025 win by November 29th!Inside The Mix helps independent producers finish faster, sound pro, and build real fans.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

Staring at a blank DAW is exhausting; staring at a mapped-out arrangement from a reference track is energising. Marc walks through a clear, repeatable reference track arrangement blueprint workflow that turns a single reference track into a full song structure, so you can stop looping and start finishing. From matching tempo and key to placing eight-bar markers, Marc shows how to label intros, verses, breakdowns, builds, and drops, then use that structure to guide creative choices without feeling boxed in.Marc digs into why intelligent imitation is a craft skill, not a shortcut. By reverse-engineering the reference track structural DNA, you can learn pacing, contrast, and energy flow faster than via trial and error. He goes beyond markers to analyse macro dynamics, tonal balance, and how loudness shapes a listener's journey. You'll discover where spectrum shifts create space for vocals or bass, and how micro-changes sustain attention across long sections. With stem splitting from the reference, you learn drums, bass, and instruments in isolation and translate their function into your own sound.The practical steps are simple: import your reference track, set BPM/key, add a one-bar buffer for alignment, then mark changes every eight bars. Use those signposts to automate builds, design drops, and maintain forward momentum. As your track evolves, reduce reliance on the reference and treat it as a launch pad, not a cage.Marc closes with a challenge: pick a song that grabbed your ear, map its structure today, build your arrangement, and send him a work-in-progress. If this approach helps you move faster and think clearly, subscribe, share with someone stuck in loop-land, and leave a quick review to help more producers find the show.Links mentioned in this episode:Listen to DarklightHow to Make Progressive House from Start to Finish | SpliceSend 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

Why did Falk follow Petra into this stupid walk-in refrigerator? Why are the shelves filled with human heads in bottles? Are you some kind of non-partisan, crime-adjacent figure? Listen to find out!Bottle Episode, This Gun in My Hand's 139th, was kept alive and shoved in a jar by Rob Northrup. This episode and all others are available on Youtube with automatically-generated closed captions of dialog. Visit http://ThisGuninMyHand.blogspot.com for credits, show notes, archives, and to buy my books, such as Sisyphus, Eat Your Heart Out, available in paperback and ebook from Amazon. Which is the real monster, the creator? His creation? This Gun in My Hand!Show Notes:1. Falk's claim about what temperature constitutes “t-shirt weather” in Michigan is debatable. You'll see some people not of sound minds wearing short sleeves and shorts at 30 F or less.2. The Technocrat quotes from the Wikipedia entry on Dubstep without giving attribution. He might be a plagiarist but I'm not. This is me, Rob Northrup, giving attribution that I quoted most of a line from https://en.wikipedia.org/wiki/Dubstep which “emerged as a UK garage offshoot that blended two-step rhythms and sparse dub production, incorporating elements of broken beat, grime, and drum and bass.” 3. Musical subgenres are way too arcane for me to understand so my characters don't understand it either. I'm not vouching for any of the claims they make.Credits:The opening and later music clips were from The Sun Sets at Dawn (1950), and the closing music was from Killer Bait (1949), both films in the public domain. Most of the music and sound effects used in the episode are modified or incomplete versions of the originals.Sound Effect Title: Large Refrigerator compressor hum 1 by FOSSarts License: Public Domainhttps://freesound.org/s/740110/  Sound Effect Title: Hissing.m4a by TheScarlettWitch89 License: Creative Commons Attribution 3.0https://freesound.org/s/415287/ Sound Effect Title: School door with metal latch inside.aif by timonunderwater License: Public Domainhttps://freesound.org/s/532788/ Sound Effect Title: School door with metal latch inside.aif by timonunderwater License: Public Domainhttps://freesound.org/s/532788/ Sound Effect Title: Heavy_door_lock.wav by beerbelly38 License: Creative Commons Attribution 4.0https://freesound.org/s/197305/ Music Title: You're Driving Me CrazyComposed by Walter Donaldson, 1930Performed by Lennington H. Shewell and Allan McIver.License: Public Domainhttps://archive.org/details/VictorThereminRecordingsCollection1925-1935/You're+Driving+Me+Crazy+1930+VIctor+Theremin+-+Victor+216559.mp3Sound Effect Title: techloop7.wav by fons License: Public Domainhttps://freesound.org/s/62441/ Sound Effect Title: TECHNO LOOP 1.wav by adamskitek License: Creative Commons Attribution 4.0https://freesound.org/s/33585/ Sound Effect Title: TECHNO LOOP SPEEDY J STYLEE.wav by adamskitekLicense: Creative Commons Attribution 4.0https://freesound.org/s/33614/ Sound Effect Title: Kick Bass Bassline OffBeat Loop F#1 142bpm PsyTrance Vol3 SYNDRM.wav by SYNDRM License: Creative Commons Attribution 3.0https://freesound.org/s/612061/ Sound Effect Title: Drum & Bass Drum Loop 02 by TheEndOfACycle License: Public Domainhttps://freesound.org/s/660537/ Sound Effect Title: Edm Strontium Sweep with reverb.wav by LeeNath License: Public Domainhttps://freesound.org/s/277409/ Sound Effect Title: bass_line_drums_jz22.mp3 by JoaoSantaCruz License: Public Domainhttps://freesound.org/s/649209/ Sound Effect Title: footsteps cellar.wavLicense: Public Domainhttps://freesound.org/people/gecop/sounds/545030/The image accompanying this episode is a modified detail of a panel from the public domain comic book Forbidden Worlds, Number 33, September 1954. Pencils and inks by Lloyd Cynwald.Image Alt text: Line art panel from a comic book. A man with red hair wearing green scrubs and holding a scalpel leans over a man on a gurney or table, covered by a white sheet. Angled skylight windows are behind the surgeon. A light hangs low over the table. Dark glass jars like you might see in a laboratory are in the foreground, connected to each other by tubes. Caption across the top reads “HOW WILL FALK AND PETRA ESCAPE – THE BOTTLE EPISODE!” A word balloon  pointing to the surgeon reads, “OH MY GOD, YOU KNOW NOTHING ABOUT TECHNO! THE TEREMIN INFLUENCE COMES FROM PETROGRAD, BUT ANY IDIOT KNOW THAT DUBSTEP EMERGED AS A UK GARAGE OFFSHOT BLENDING 2-STEP RHYTHMS WITH SPARSE…” The font in the word balloon gets smaller and smaller toward the end.

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

In today's episode, I'm pretty much wrapping up the track I started last week for an episode that my brother and I recorded a few weeks ago based on a setting in his role playing game, Mappa Mundi.  I'm using the same DAW (digital audio workspace) I started learning how to use last month, the free web-based program Bandlab. Part of the reason for the past month and a half of making tracks this way was to warm up to the idea of making music entirely digitally (since that is what most people in the niche I probably most closely align with musically - synthwave - use).  I must confess as a nonjoiner, I tend to ignore, be oblivious to, and occasionally even take perverse pleasure in being the contrarian.  So I was using a more analog approach until now, mostly because it just worked.   But now I can see the benefits.  Yes, there are downsides (it's basically all done in front of a computer), but I think it's a worthwhile investment to learn this program and then progress to some of the more commonly used DAWs that most music producers use.  They are just tools, after all, and at the end of the day, any tool is just that.What I still don't know if using a DAW actually saved me any time.  I actually don't think so.  That might because of the ongoing learning curve.  But it might also be due to the capability of fiddling more with things on a more microscopic level, whereas the analog world involved more guesswork and the necessity of being okay with imperfection, even with the finished product (as anyone who has heard the pops and hisses of records and cassettes can attest to).  With things going digital, I can see the capacity to fiddle endlessly and never fully finish anything.  So we will have to see.This episode also made a little mention of Jane Goodall, one of my heroes, who passed away recently.  I brought it up since the premise of the track is that you're a naturalist/explorer observing a supernatural phenomenon in the world of the game (cue pixelated depiction below), but though she gave a lot to the world due to her work and her passing marks the end of an era in some ways, I actually don't she'd want people to be sad and pessimistic at her passing.  She championed for people to have hope (since 2022 she did a podcast she called her Hopecast, after all).  She championed for local change.  She championed for us to remember that one does not need to go to the ends of the Earth to find adventure or do good - good starts right in front of you with your own life, your own family, your own community - a great thing, I think, to keep in mind in uncertain times.Thanks for listening!∞∞∞∞∞∞∞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. https://13thhr.wordpress.com/2025/10/06/the-thirteenth-hour-podcast-530-musical-interlude-finishing-ice-giant-part-2-2/

Have you ever felt stuck in an endless cycle of tweaking, adjusting, and second-guessing your music production decisions? Producer John Kunkel (aka John Grand) reveals the counterintuitive truth that many of us miss: working smarter, not harder, is often the key to finishing more tracks and creating better music.John shares his game-changing approach to using reference tracks as structural blueprints rather than just mixing guides. By importing a track you love and mapping out its arrangement, you immediately transform that intimidating blank DAW canvas into manageable building blocks. This simple technique has helped John slash his production timeline from weeks to days, and it might just revolutionise your workflow too.The conversation takes a fascinating turn when John explains why your sound selection decisions matter far more than your processing skills. "Your track is only going to sound as good as the choices that you make in sound selection," he explains, likening poor sound choices to painting with incompatible materials. This insight challenges the common tendency to reach for EQ and compression when the real solution might be choosing a different sample entirely.Perhaps most thought-provoking is John's psychological observation that constantly adding layers often indicates a lack of confidence in your original ideas. Drawing inspiration from artists like Eric Prydz, he advocates for focusing on fewer, higher-quality elements that evolve through automation rather than overwhelming arrangements that exhaust listeners' cognitive capacity.Whether you're just starting or looking to break through a creative plateau, this episode offers practical strategies to finish more music while keeping the joy in your production process. Links mentioned in this episode:Follow John GrandFollow The New Division How to Make Progressive House from Start to Finish | SpliceSend me a message Support the showWays to connect with Marc: Book your FREE Music Breakthrough Strategy Call Radio-ready mixes start here - get the FREE weekly tips Grab exclusive access to BONUS content on Patreon Try Riverside for FREE Follow Marc's Socials: Instagram | YouTube | Synth Music Mastering Thanks for listening!!

In today's episode, I'm building on what I have been discussing the past three weeks as I continue to make a dark synth track to accompany one of the many hunting scenes in The Thirteenth Hour prequel, A Shadow in the Moonlight, about a cursed hunter who has to spend eternity hunting an enchanted deer.  I've wanted to learn to use a desktop based DAW to make and edit music so am using this track as a way to do that.  I've settled on the free web-based program Bandlab which also have a companion mobile app.  While it doesn't do everything, it does far more than I expected it to do.  I have tried to resist the temptation to fall back on my analog ways and cheat the purpose of this exercise :)At this point, the track is 90% done.  Just some fine tuning left to do with the final mix.Thanks for listening!∞∞∞∞∞∞∞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.Follow The Thirteenth Hour's Instagram pages: @the13thhr for your random postings on ninjas, martial arts, archery, flips, breakdancing, fantasy art and and @the13thhr.ost for more 80s music, movies, and songs from The Thirteenth Hour books and soundtrack.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.comBook trailer: http://bit.ly/1VhJhXYInterested in reading and reviewing The Thirteenth Hour for a free book?  Just email me at writejoshuablum@gmail.com for more details!https://13thhr.wordpress.com/2025/09/22/the-thirteenth-hour-podcast-528-musical-interlude-working-on-a-dark-synth-track-for-a-shadow-in-the-moonlight-part-4/

Starting your music journey but not sure which DAW to choose? In this video, we break down the best DAWs to kick off your career, what makes them different, and which one will actually help you grow as a producer. We also discuss the different demo versions of all the daws to figure out who has the best offering.➡️ Get Bypass Here: https://helpmedevvon.com/products/bypass➡️ Our Site: https://www.helpmedevvon.com ➡️ Get Our Rosetta Plugins: https://cutt.ly/RwAEmuRF➡️ Our Site: https://www.helpmedevvon.com Please subscribe to our YouTube and rate our podcast it helps us a lot!➡️ https://linktr.ee/mystudionerdsFollow Ushttps://www.instagram.com/helpmedevvon➡️Join this channel to get access to perks:https://www.youtube.com/channel/UCGyDjbX9F9ARt_8sgv5kGDg/joinFollow The CastDevvon Terrellhttps://instagram.com/helpmedevvonLJhttps://instagram.com/prodbyljeanHere is L.Jean channel! https://youtube.com/@SweataWeathaCourtney Taylorhttps://instagram.com/officialcourtneytaylor#podcast #mixing #mastering

Let's kick off the month of September with a back to back set of GTWM the Podcast with Mo and Alex! So move over Jose Mari Chan, it isnt your time yet! The boys take two calls in this one from 2 guys in their 40's with typical hornball problems. Lets go. Caller #1 is Kimal who is 49yrs old from Boston.  Kimal ismaried with two kids but he is also banging his 29 year old Latina co-worker.  She got pregnant and had anabortion, and now he's leaving her behind so he can be a better husband.  Daw. Caller #2 is Jose who is 40yrs old from Paranaque.  Josehas a 19 year old Fubu who has sugar daddies and even though he has developed feeligns for her -- including giving her a modest allowance -- is it time to cut ties with this teen?Send more to the Philippines without overpaying. NALA gives you fast, secure transfers with some of the best exchange rates out there.Use promo code MoTwister when you download NALA!Here's the NALA link: https://join.iwantnala.com/MoTwisterAlso, GTWM is brought ot you by GameZone!FUNbelivable sa GameZone dahil you play a REAL GAME of Tong-its with REAL PLAYERS, FOR FREE! You have a chance to split over thirty-four million pesos, at may chance ka pato claim up to fourteen-thousand, six-hundred-forty pesos daily! The cash credits you get can be used to play kahit anong game.  You can even cashout! May dalawang eventevery single day!  G ka na ba?  Visit GZone.ph and social media account on Facebook, Instagram and TikTok @taragamezone. G na sa Tong-its? Tara Gamezone!Remember, ang gaming dapat fun-fun lang!

Send us a textHow To Fix Sibilance In this episode of A VO's Journey, we focus on one of the most distracting audio issues for voice actors: sibilance. Those sharp, piercing “S” sounds can cut through your recording and ruin an otherwise professional read—but with the right approach, they're manageable.We break down what sibilance is, why it happens, and the best ways to control it both while recording and in post-production. You'll learn mic techniques to reduce sibilance, how vocal delivery plays a role, and the tools available in your DAW (like de-essers and EQ adjustments) to smooth out your audio.If you've ever cringed at harsh “S” sounds in your playback, this episode will give you the practical steps you need to fix it and deliver clean, polished voice overs.50% Off First MONTH FOR VO JOURNEY ACADEMY HERE:  https://www.avosjourney.comJoin Academy Voices Talent Roster Here: https://www.academyvoices.com/offers/4sNBzDc9 Support the showSocial Links: Instagram - https://www.instagram.com/anthony_pica_vo/ Twitter - https://twitter.com/AVOsJOURNEY Facebook - https://www.facebook.com/groups/avosjourney/ LinkedIn - https://www.linkedin.com/in/anthonypicavo/