Podcasts about lfo

Live from Bernie's Beach Bar at Hampton Beach for Road Show #6! // Wiggy pissed off LFO's drum tech by touching the cymbals // Courtney is getting fed up with athletes who won't sign autographs //

Live from Bernie's Beach Bar at Hampton Beach for Road Show #6! // Wiggy pissed off LFO's drum tech by touching the cymbals // Courtney is getting fed up with athletes who won't sign autographs // Wiggy is ecstatic over the release of 28 years later // Pats legend Tully Banta-Cain joins, wishes NIL was around in his day // Greg dares Scheim to go rogue and try to climb the greasy pole // Ty Law joins, gives the Pats' offseason a B+ // LIVE Hill Notes from Jackson Guy and Hill Notes Guy!!!!! // Akrobatik takes on the Devers trade with some sick rhymes on the Rap Up // Ty weighs in on the Raffy Devers trade and bad teammates // Hill Notes can't get in the way of Ty Law lubing up the crowd // Thank you Hampton Beach, see you next year! //

Wiggy pissed off LFO's drum tech by touching the cymbals

This show is a strictly vinyl simulcast focusing on House, Techno, Disco and beyond

In this episode, the Spiders tackle a philosophical question? When we talk about art, are we just sharing opinions? Or can any of what we say be true? Can a work be "objectively" good or bad? To facilitate this topic, the Spiders discuss the film LFO, a Swedish horror comedy.

Wat gebeurt er als een drugslab wordt ontdekt of wanneer gevaarlijke chemische stoffen plotseling een bedreiging vormen voor mens en milieu? Dan komt de Landelijke Faciliteit Ontmantelen (LFO) in actie. In deze podcast duiken we in de wereld van het LFO: een gespecialiseerde eenheid die optreedt bij levensgevaarlijke situaties zoals drugslabs en incidenten waarbij Chemische, Biologische, Radiologische, Nucleaire of explosieve stoffen in het spel zijn. Hoe werken deze experts? Wat maken ze mee? En hoe blijf je kalm als elk foutje levensgevaarlijk kan zijn?

Subhraag Singh, creator of the Infinitone, graciously agreed to discuss the updated software with me! The update uses many new features such as dynamic re-tuning, visuals, LFO control, key triggers, and more. We go on a magical quest to discover Stephen's xenharmonic tomato, and dissect the ethics of advertising radical new microtonal morphing software using the intellectual property omnipotence of Santa. SANTA CLAUS IS BRINGING MICROTONES TO TOWN (14-TET, 37-TET spectrum using Infinitone 2) In the Bleak Midwinter - Jacob Collier arr, played by Stephen Weigel (piano) Jacob Collier plays the Lumatone (from Instagram) Christmas Song (Jacob Collier version) SANTA CLAUS IS BRINGING MICROTONES TO TOWN (14-TET, 37-TET spectrum using Infinitone 2) Aquatic Ambience (Stephen Weigel arr. 15-TET using vocals tuned by Infinitone 2)   Check out Infinitone 2 software (free trial!) https://infinitone.com/   Support us on Patreon! (If we get 60 patrons, episodes will be released regularly instead of sporadically) 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  

In this episode Christian Kleine, an original member of Ableton, shares about the early days of the company and the evolution of Live. He details the development of features like MIDI implementation, Max for Live, and shares his involvement in creating instruments and effects like Meld, LFO, Echo, and more. Christian also talks about his music production process and the balance between technical work and artistic expression. Christian Kleine, an original member of Ableton since 2001, is an accomplished musician, producer, and software developer. He's been instrumental in shaping Ableton Live, contributing to key features like MIDI and Max for Live, and developing instruments and effects such as Meld, LFO, Envelope Follower, DrumSynths, Echo, and many others. Kleine is a solo artist and the creator of Max for Cats, including the OSCiLLOT modular system. His ability to merge technical innovation with artistic expression has made him a highly influential figure in music technology. Follow Christian Kleine below:https://www.instagram.com/christian__kleinehttp://www.christiankleine.comhttp://maxforcats.com https://bsky.app/profile/crk74.bsky.social   https://christiankleine.bandcamp.com https://x.com/maxforcats SPONSORED BY AUDIENT:Experience a new level of recording with EVO audio interfaces, featuring the revolutionary Motion UI control system and Smartgain technology. Designed to make recording easier than ever, EVO delivers award-winning preamps and advanced converters for a professional sound. With its vibrant full-color LCD screen, you'll have total control over every detail of your session.Learn more:  https://bit.ly/48iH47k Quickly grow your skills and learn with Abe, the Ableton AI Chatbot: https://www.liveproducersonline.com/ableton-chatbot Join the newsletter to get free Ableton content + early episode access:⁠⁠⁠https://www.liveproducersonline.com/newsletter

Send Mary and Kelsey a Message! In this episode, Mary and Kelsey chat with not just one but TWO boy band legends - LFO's Brad Fischetti and O-Town's Trevor Penick! Brad shares what to expect for his upcoming Honor The Boys solo tour where he'll be joined by Trevor, their unique VIP experiences, reminiscences on their early 00s days, and more. You may want to get a tissue ready, because parts of this interview get emotional!Get your tickets to the tour at www.lfo.me/tix and follow them on IG at @thereallfo and @trevorpenick24. Instagram: @whentheypoppedpodTikTok: @whentheypoppedEmail: whentheypoppedy2k@gmail.comWebsite: linktree.com/whentheypopped

Una persona complicada, malhumorada, que siempre encuentra objeciones, fatalista, insatisfecha, envidiosa e infeliz es, en esencia, alguien negativa, insegura y perturbada. Aunque no necesariamente sea una mala persona, tiene la tendencia de ver una sombra gris incluso en las cosas buenas que tiene frente a sus ojos.En este episodio, con la musicalización de James.LFO y su canción Blue Dreams, analizamos cómo una persona cercana que desconfía de las oportunidades, que no se arriesga por nada, que nunca te valorará y que no puede disfrutar de la felicidad de otros, refleja su propia insatisfacción. Su falta de felicidad es su problema, no el tuyo.Por esto, y por 7 razones más, debemos reflexionar: ¿tenemos el valor de alejarnos de lo que nos afecta? La Dosis el Podcast es presentado por Global Exchange International tu agencia con el programa internacional de intercambio con el cual puedes migrar si tienes entre 18 a 56 años. Si deseas saber cuales son tus oportunidades laborales en el exterior, escribe la palabra PODCAST al whatsapp que te lleva este link: https://wa.me/13057218760 y de manera muy concreta te pueden confirmar cuales oportunidades migratorias son para tí según las leyes y acuerdos entre embajadas y consulados. Hosted on Acast. See acast.com/privacy for more information.

Dernier rewind de la saison régulière où nous revenons sur les joueurs de la semaine : entre Bryce Young qui renaît du côté des Panthers et Brian Thomas Jr. qui illumine une saison morose des Jaguars. Le clap de fin pour certains coachs et joueurs et le gâchis des Bengals qui maintiennent Taylor. Des Jets qui terminent bien une saison pourtant décevante et des Lions qui sortent les griffes avant les playoffs ! Des Falcons qui battent de l'aile et des Chiefs antisportifs ? Le point prono et l'annonce du programme LFO pour les épisodes des playoffs ! Bonne écoute à tous, et vive le football! Discord : https://discord.gg/zqmNQWMzYb Twitter : https://bit.ly/42TnURs Instagram : https://bit.ly/3o29n7h YouTube : https://bit.ly/3M85LsK Twitch : https://bit.ly/3MogL6q

Send Mary and Kelsey a Message!In this episode Mary and Kelsey discuss their favorite moments of Y2K resurgence from the year. From Nelly and Ashanti taking their rekindled 00's romance to new heights and starting a family, to Pop2000 shows with O-Town, BBmak, Chris Kirkpatrick, Ryan Cabrera and LFO, to Backstreet's Back at the Beach 30th anniversary celebration,  2024 proved that nostalgia ain't going anywhere! ~And that's the way we like it~ (Yes, this is a Backstreet Boys reference. Google it.) Plus, Mary shares a recap of the Pop2000 show in Cincinnati which included VIPs with O-Town and Brad of LFO!  Instagram: @whentheypoppedpodTikTok: @whentheypoppedEmail: whentheypoppedy2k@gmail.comWebsite: linktree.com/whentheypopped

Christmas in July? How about Summer in December?! Summer GIRLS that is. Will the guys like LFO’s ode to Abercrombie and Fitch or does it make them sick?See omnystudio.com/listener for privacy information.

A daily update on what's happening in the Rocket Pool community on Discord, Twitter, Reddit, and the DAO forum. #RocketPool #rpl #Ethereum #eth #crypto #cryptocurrency #staking #news Podcast RSS: https://anchor.fm/s/cd29a3d8/podcast/rss Anchor.fm: https://anchor.fm/rocket-fuel Spotify: https://open.spotify.com/show/0Mvta9d2MsKq2u62w8RSoo Apple Podcasts: https://podcasts.apple.com/us/podcast/rocket-fuel/id1655014529 0:00 - Welcome Rocket Pool news 0:37 - Price movement https://discord.com/channels/405159462932971535/405163713063288832/1311346277413294193 https://discord.com/channels/405159462932971535/405163713063288832/1311411985413439609 https://discord.com/channels/405159462932971535/405163713063288832/1312298573211111484 Comparing bull and bear markets https://discord.com/channels/405159462932971535/405163713063288832/1311424306281975913 Rewards period 18 results https://dao.rocketpool.net/t/round-18-oct-7-nov-7-grants-bounties-retrospective-awards-results/3395 Grant in the Euler forum https://discord.com/channels/405159462932971535/405163713063288832/1311581786802749450 https://forum.euler.finance/t/adding-reth-to-euler-prime-market/1153 Patches' v10 update https://discord.com/channels/405159462932971535/405163713063288832/1312168905980248074 Longest wait for new validator https://discord.com/channels/405159462932971535/405163713063288832/1311735705646665778 rETH in Kraken's wallet https://discord.com/channels/823815099991064586/833727532221071402/1311028174452297879 Liquity V2 testing https://discord.com/channels/405159462932971535/405163713063288832/1311285993982398556 Finematics mentions RP https://youtu.be/E7x0GATHDac Large RP NO offline since March https://discord.com/channels/405159462932971535/405163713063288832/1311728547336945724 RP server streak https://discord.com/channels/405159462932971535/1212029664285954058/1312867648584810538 Staking news Client updates https://github.com/sigp/lighthouse/releases/tag/v6.0.0 https://github.com/status-im/nimbus-eth2/releases/tag/v24.11.0 Pump the Gas gaining traction https://pumpthegas.org/ https://x.com/data_always/status/1863368574632357972?s=46 Blob upgrade coming in Pectra https://x.com/terencechain/status/1862151357727465687 Problem with MEV-Boost https://x.com/terencechain/status/1862025202974273902?s=46 https://x.com/preston_vanloon/status/1862031578454704612 https://x.com/miga_labs/status/1862060754834194675 https://x.com/potuz_eth/status/1862079448658362790 Lido discussing preconfs https://research.lido.fi/t/proposer-commitment-preconf-policy/8939 Ethereum news Tornado Cash wrongly sanctioned https://bsky.app/profile/molly.wiki/post/3lbvb2nqiyw22 https://x.com/EleanorTerrett/status/1861565701036896294 https://x.com/0xcygaar/status/1861561592459997686 https://x.com/delzennejc/status/1861837452916228539 Giant ETH ETF inflows https://discord.com/channels/405159462932971535/405163713063288832/1311511311825371238 President buying ETH https://x.com/econoar/status/1863360866684653958 https://x.com/cnbc/status/1862512478158016650?s=46 https://x.com/crypto_condom/status/1862658827163758660 In other news No taxes for US crypto? https://x.com/unusual_whales/status/1862194999443751259 XRP flips SOL https://discord.com/channels/405159462932971535/998627604686979214/1312860005942300784 Bitter scores big https://x.com/HyperFND/status/1862007773191708760 https://discord.com/channels/405159462932971535/405163713063288832/1312082286279262319 https://x.com/cc2ventures/status/1862480216494387490?s=46 https://discord.com/channels/405159462932971535/405163713063288832/1312406540589727806 Meek is long ETH https://discord.com/channels/405159462932971535/405163713063288832/1312822242979090552 LFO starts DX Research Group https://dxrg.ai/ https://discord.com/channels/405159462932971535/1070004025610739883/1313136445527162891

And we're back! Sorry for the unexpected break! Lots going on, including Lydia having emergency gallbladder removal. (She's doing much better!) On today's episode we chat about Sofia and Cinzia's trip to Philly to catch the Pop2000 tour, featuring Chris Kirkpatrick (*NSYNC), Ryan Cabrera,  BBMAK, Brad from LFO and of course, O-Town! It was quite the adventure. And of course, no trip to Philly is complete without running up the Rocky stairs and getting a Philly Cheesesteak! Join us as we recap the trip!

This is Pod of Doom, a podcast dedicated to the British band Black Sabbath! The hosts of Every Pod You Cast return to discuss all things Sabbath: Justin Mancini of TheCineMaverick.com & Cinema Joes, Chris Mancini, and Randy Allain of Media/Lit will be covering the Ozzy Osbourne and Ronnie James Dio eras of the metal pioneers.   In the third official episode of the season, Chris, Justin, and Randy tackle Sabbath's hard-hitting proto-doom album. They find reason to quote Arthur Miller's The Crucible, comment on the state of 90s boy bands, and ponder Sabbath as a secret Christian rock band. And of course, they recommend other artists they've been enjoying for your listening pleasure.   Host Picks:   We Know That It Is Good (A Song We Think Is Underrated or Just Really Like) Chris – Solitude Justin – Lord of This World Randy – Children of the Grave   Nobody Wants Him (A Song We Don't Like So Much) Chris – Sweet Leaf (relative to other songs) Justin – After Forever (some questionable lyrics) Randy – After Forever (some questionable lyrics)   Words That Glow (A Favorite Lyric) Chris – Into the Void Justin – Into the Void Randy – Into the Void   Occupy My Brain (A Favorite Musical Moment) Chris – Children of the Grave Justin – Children of the Grave Randy – Children of the Grave   Other Artists We've Been Listening To: Chris – Naxatras Justin – Gentle Giant Randy – O-Town, Ryan Cabrera, LFO

A daily update on what's happening in the Rocket Pool community on Discord, Twitter, Reddit, and the DAO forum. #RocketPool #rpl #Ethereum #eth #crypto #cryptocurrency #staking #news Podcast RSS: https://anchor.fm/s/cd29a3d8/podcast/rss Anchor.fm: https://anchor.fm/rocket-fuel Spotify: https://open.spotify.com/show/0Mvta9d2MsKq2u62w8RSoo Apple Podcasts: https://podcasts.apple.com/us/podcast/rocket-fuel/id1655014529 0:00 - Welcome Rocket Pool news 0:36 - RP's birthday https://x.com/waqwaqattack/status/1861082404649082921 https://x.com/drjasper_eth/status/1861082713324667253 4:04 - RPL breaks price accumulation area https://x.com/waqwaqattack/status/1861077604184342908 https://x.com/cryptoalvin/status/1860783979949183470?s=19 https://x.com/cryptocandy24x/status/1860925633175617841 https://discord.com/channels/405159462932971535/405163713063288832/1310653888201887774 https://www.binance.com/en/trade/RPL_USDT?theme=dark&type=spot 11:37 - rETH discount hits 1% https://discord.com/channels/405159462932971535/405163713063288832/1309961669413179422 https://discord.com/channels/405159462932971535/405163713063288832/1310483653582786623 https://x.com/Rocket_Pool/status/1861082037878472727 14:14 - MCs take control of their money https://discord.com/channels/405159462932971535/1064611985523757067/1310418435380875315 15:33 - Euler want to add rETH https://discord.com/channels/405159462932971535/929890788551323678/1310572073394901044 17:40 - Whale swaps stETH to rETH https://discord.com/channels/405159462932971535/405163713063288832/1309976088335618128 Staking news 18:38 - Nixo defines stakers https://x.com/nixorokish/status/1860965991897010599 22:15 - CSM numbers https://x.com/d_gusakov/status/1860951573578359169 In other news 23:19 - LFO seeks eth news https://discord.com/channels/405159462932971535/405163713063288832/1310629539206136100 https://discord.com/channels/405159462932971535/1310630545633312848/1310630547709759549

Fenyx Rose, who just dropped a new EP, Feel My Fire.This new potent pop EP marks a new era for Fenyx. Having been born into a musical family and signed as a child into a music group (“Calvillo Sisters”) with her two sisters, a journey that began at the age of only 12, Fenyx's artistry has been through many iterations. A victim of the oversaturation of teen pop, the 2nd wave of which was doing great at the time (LFO, Innosense, Natural), Fenyx then had to rise from the ashes of the failed project and do something truer to herself and more mature - more in the vein of P!nk, Katy Perry, and Miley Cryus. Her story is super interesting, having lived so many lives already at her young age.Subscribe, rate, and review the show! Thanks!Support this podcast at — https://redcircle.com/porch-talk/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Bill Kanasky, Jr., Ph.D. is joined by Associate Attorney Jeffrey Oates, Attorney Kristin Petty, and Attorney Jason Preciphs from the law firm of Roberts, Carroll, Feldstein, and Peirce. Bill's guests describe the diverse types of cases their firm works on, how their firm attracts and retains associates, and how they provide growth opportunities for their attorneys while also growing the firm. The group share how they talk to clients about getting early career attorneys in their firm the experience they need to be beneficial to the firm's clients. Bill asks the attorneys what surprised them about civil litigation when they first got involved in it and what advice what they would give to younger attorneys. The group have a discussion about artificial intelligence (AI) in legal, what their firm's philosophy is regarding AI, and how they use AI personally. Bill asks the guests how they talk with their clients about the definition of a win and how to help clients realize the benefits of working up cases earlier, particularly by using focus groups. Lastly, the group talks about how they each protect their mental and physical health and maintain a healthy work/life balance in a highly stressful environment and career. Watch the video of this episode: https://www.courtroomsciences.com/r/LfO

Send Mary and Kelsey a Message!In this episode Mary and Kelsey discuss when LFO (aka Lyte Funkie Ones) popped and their biggest hits including Summer Girls, Girl on TV, Every Other Time, and more. The LFO story is filled with tragedy - two of the three members, Rich Cronin and Devin Lima, have passed away from cancer, and founding member Brian Gillis has also passed - but Brad Fischetti continues their individual and LFO legacy. Instagram: @whentheypoppedpodTikTok: @whentheypoppedEmail: whentheypoppedy2k@gmail.comWebsite: linktree.com/whentheypopped

Send Mary and Kelsey a Message!For this very special 100th episode of WTP (!!!) Mary and Kelsey recap a recent Pop2000 Tour show featuring O-Town, Ryan Cabrera, Chris Krikpatrick and LFO. The ladies dish on their O-Town VIP experience (spoiler alert: it is the best VIP experience they've ever had), how they unexpectedly ended up dancing on stage, and met Chris of *NSYNC! Instagram: @whentheypoppedpodTikTok: @whentheypoppedEmail: whentheypoppedy2k@gmail.comWebsite: linktree.com/whentheypopped

On this week's episode, host Sequoia Holmes welcomes host of the NPR podcast, Pop Culture Happy Hour and author of the book WANNABE: Reckoning With The Pop Culture That Shapes Me, Aisha Harris. We get into the cultural phenom that is *NSYNC, their (possibly flawless?) discography, boy band drama, and what made early 2000s pop music so special. All this & more! The Radio Disney Jamz + 2000s Pop Party hosted by Sequoia Holmes is happening 10/19! Buy your tickets NOW Highlights Boy bands Nipple GateEarly 2000s pop culture TRL on MTVJT's beatboxing  Follow Aisha Harrishttp://www.aishaharris.com/https://www.instagram.com/aha88/ Follow Pop Culture Happy Hour https://www.npr.org/podcasts/510282/pop-culture-happy-hour Follow Sequoiahttps://www.instagram.com/sequoiabholmeshttps://www.tiktok.com/@sequoiabholmeshttps://twitter.com/sequoiabholmes Follow BPLP Podhttps://www.instagram.com/bplppodhttps://twitter.com/bplppodhttps://www.tiktok.com/@bplppod

After a full year, we're back with another Good Games Inc. , a comedy special where we take your user submissions for game ideas and turn them into a video game that will print money, son! Nirav and Jess are joined by special guest Joe to create a crime drama thriller spanning decades where a disgruntled detective has to capture the most prolific serial killer of all time... Dr. Seuss. Thanks to those who submitted ideas: Andrew R, Big John, Cattywumpus, DC, Fez, Grant, Jess, Jinzuku, JP Dalton, Kate, LFO, Meagen 2, Nairon, Nirav 2099 (?), oiram, RavingArmy, Seriousjam15, Smile_for_the_Mori, Tim, Victor, Werty, Ya boi Ryan.

Send Mary and Kelsey a Message! In this episode Mary and Kelsey compile the only bachelorette playlist you'll ever need filled with gems from the 90s and early 2000s like LMNT, Play, No Secrets, Willa Ford, LFO, and more. Instagram: @whentheypoppedpodTikTok: @whentheypoppedEmail: whentheypoppedy2k@gmail.comWebsite: linktree.com/whentheypopped

A daily update on what's happening in the Rocket Pool community on Discord, Twitter, Reddit, and the DAO forum. #RocketPool #rpl #Ethereum #eth #crypto #cryptocurrency #staking #news Podcast RSS: https://anchor.fm/s/cd29a3d8/podcast/rss Anchor.fm: https://anchor.fm/rocket-fuel Spotify: https://open.spotify.com/show/0Mvta9d2MsKq2u62w8RSoo Apple Podcasts: https://podcasts.apple.com/us/podcast/rocket-fuel/id1655014529 0:00 - Welcome Rocket Pool news 0:47 - RPIP 62 sentiment poll https://discord.com/channels/405159462932971535/1267421248288198677/1283527891229081600 https://dao.rocketpool.net/t/rpip-62-tokenomics-rework-prelude/3238/19 5:15 - Hotfix thread https://dao.rocketpool.net/t/rpip-63-houston-hotfix/3269 6:54 - GMC team call and town hall notes https://discord.com/channels/1109303903767507016/1109303904547655724/1283968144808873994 12:59 - NodeSet community call https://discord.com/channels/968587363536220252/968608014116466698/1282787816304283658 https://docs.google.com/document/d/1Hm6haDWBYwsssTrO9h3yOi5nM8OhJ-UMdGgyPjRXyFs/edit?usp=sharing 17:53 - RP gets EigenLayer airdrop https://x.com/eigenfoundation/status/1834360770853044372 19:20 - 1kx sell RPL https://coinchapter.com/1kx-offloads-2-38m-in-rocket-pool-rpl-tokens-following-28-price-spike/ 21:05 - rETH on Ledger Live fixed https://discord.com/channels/405159462932971535/405163713063288832/1283237853970563254 Ethereum news 21:40 - Pectra hard fork split into 2? https://x.com/christine_dkim/status/1834260556506710132 24:59 - Vitalik setting the standards for rollups https://x.com/VitalikButerin/status/1834061075970683367 https://x.com/krugermacro/status/1834245182696329288 https://x.com/Optimism/status/1833903320945041685 28:16 - zkSync making moves https://x.com/gluk64/status/1834256489097130188 https://x.com/TheZKNation/status/1834256565752172558 29:58 - cbBTC launch https://x.com/coinbase/status/1834208544247144949 https://x.com/rbthreek/status/1834190812516622383 https://x.com/AdrianoFeria/status/1834223612242309388 https://x.com/songadaymann/status/1834235267177124146 https://x.com/1CrypticPoet/status/1834346327121031200 https://x.com/sassal0x/status/1834533272220553442 33:43 - Swift building on Ethereum https://x.com/matthew_sigel/status/1833868538722840581 34:57 - Liquity staking https://x.com/LiquityProtocol/status/1833877715629527387 36:35 - eToro settle with SEC https://x.com/decryptmedia/status/1834220500815417635 https://x.com/iampaulgrewal/status/1834226753386283378 38:33 - Danny Ryan leaving the EF https://x.com/dannyryan/status/1834648555845271625 In other news 39:39 - 600 eth punk sells for 10 https://x.com/niftynaut/status/1833951284111802552 42:21 - Beefy searcher https://x.com/bertcmiller/status/1833978268200165851 https://x.com/functi0nZer0/status/1833987702758539558 43:37 - LFO's new job! https://discord.com/channels/405159462932971535/405163713063288832/1283786788967677953 https://stakingfacilities.com/

A little over a year has passed since a third (original) member of LFO passed away, Brian Gillis. In this emotional and revealing episode, we spoke with Brad Fischetti, the last surviving member of the iconic boyband LFO. After the heartbreaking loss of a third bandmate, Brad opened up about how he's coping, why he doesn't believe in the so-called “LFO curse,” and the legacy of his fallen brothers. From reliving the band's highs to confronting the rumors, this interview goes deep into what it's like to carry the torch alone. Don't miss this powerful conversation about music, loss, and resilience- originally recorded in April of 2023. Hosted on Acast. See acast.com/privacy for more information.

Send Mary and Kelsey a Message!In this episode, Mary and Kelsey recap the new Netflix documentary series, Dirty Pop: The Boyband Scam, which details how Lou Pearlman - creator of the Backstreet Boys, their biggest competitor, *NSYNC and other boy bands including O-Town and LFO - defrauded investors out of more than $300 million. TW: This episode contains references to sexual assault and suicide. Instagram: @whentheypoppedpodTikTok: @whentheypoppedEmail: whentheypoppedy2k@gmail.comWebsite: linktree.com/whentheypopped

Cinzia went to the Pop2000 show in Cleveland on July 14, 2024 to see BBMAK, Ryan Cabrera, Chris Kirkpatrick of *NSYNC, LFO and of course O-Town! Plus she went to the Chris M&G. Don't forget you still have a week to enter to win prizes from out 300th episode! We have FIVE prizes that we are giving away! Click on our links to enter. Contest is open until August 3rd, 2024 at 11:45pm! Prize #1: Handmade *NSYNC Headbands! https://kingsumo.com/g/10pdqq3/win-ns...​ Prize #2: Backstreet Boys Tights!https://kingsumo.com/g/3lpd2pm/win-ba...​ Prize #3: One Direction "Midnight Memories" music bookehttps://kingsumo.com/g/3z967jm/win-on...​ Prize #4: O-Town T-Shirthttps://kingsumo.com/g/mnywd03/win-an...​ Prize #5: Signed BBMAK Photohttps://kingsumo.com/g/mpwxyv1/win-a-...​ tags:#boybands​ #popmusic​ #pop2k​ Join us on our socials:Twitter:    / boybandbreak  ​Facebook:    / boybandbreak  ​

#303 - Michael Johnson talks about the new Netflix documentary series "Dirty Pop: The Boy Band Scam" detailing his experience being unknowingly on the run from the FBI with Lou Pearlman, the mastermind behind Backstreet Boys, NSYNC, O-Town, LFO, Natural & more. Want to support our show? Patreon.com/RareFormRadio for extra content, bonus episodes & goodies! RareFormRadio.Threadless.com for some rad merch. http://linktr.ee/RareFormRadio --- Support this podcast: https://podcasters.spotify.com/pod/show/rareformradio/support

Prestige-ish Media The Boys Season 4 Episode 7 - The Insider - INSTANT DEEP DIVE. Listen in as Craig Lake, and Dan McNair give their opinions on the Amazon Prime show. In this episode we discuss Avenue Q, Christmas, Octopi, LFO, the man in the mirror, and more. Please join us for our coverage of The Boys Season 4 and House of the Dragon Season 2 in June. Only Murders in the Building Season 4 and Rings of Power Season 2 coming in August. X @prestige_ish Instagram @prestigeishmedia X/Instagram @realrealbatman @danmcnair1017 http://prestigeish.com Get 20% OFF @manscaped + Free Shipping with promo code YOURMOM at MANSCAPED.com! #ad #manscapedpod

7-5-24 Morning Rush - Bachelorette Rachel Lindsay Opens Up About Divorce While Ex Bryan Claims She Was 'Disingenuous' & Hurricane Beryl Update! www.patreon.com/daveneal for behind the scenes bonus content!go to patreon.com/daveneal for more bonus content!

Host of Name Drop Podcast and NSYNC Member, Chris Kirkpatrick on being back out on tour with the Pop2000s tour with BBMak, Ryan Cabrera, LFO and O-Town?! Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of the Fan Fave podcast, host Katrina shares her thoughts about the newest Pixar movie, Inside Out 2! Plus, a Pop Recap all about Aaron Tveit and Jojo's return to the Moulin Rouge, Universal Orlando's Epic Universe - Dark Universe updates, the Kennedy Center's Gospel Symphony Celebration for Richard Smallwood and the Pop 2000 Tour featuring Chris Kirkpatrick, BBMAK, O-Town, Ryan Cabrera and LFO.

Bargain bin vinyl selections that all cost £3 and under, recorded live at our new home Radio 1001. This month focusing on all things bleepy and bassy, picked up in shops in London (Tome Records, Out On The Floor, Love Vinyl), Nagoya (Music First) and Dundee (Thirteen Records), featuring an MJ Cole trio, Todd Edwards, LFO, Nightmares On Wax, The Age Of Love, El-B, Wildchild and yes, East 17. Watch on Radio 1001's YouTube Follow our YouTube channel for more lost bargain bin vinyl discoveries Follow us on Instagram  

LFO. Iggy's chewing on some ice. Drugs and Charlie Sheen. Drops of the Week. Listener's wives. EMOTD.   Learn more about your ad choices. Visit podcastchoices.com/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

LFO. Iggy's chewing on some ice. Drugs and Charlie Sheen. Drops of the Week. Listener's wives. EMOTD.     Learn more about your ad choices. Visit megaphone.fm/adchoices

Are they original? Not a bit. Are they the only one? Certainly not. Are they sexual? Well, that's up for debate!  The When We Were Young podcast dives into all these questions and more as we discuss the Backstreet Boys, pioneers in the bubblegum pop craze that was larger than life in the late 1990s and early 2000s.  Boy bands were all the rage around the turn of the millennium, starting with the international success of everybody's favorite musical act named after an Orlando flea market. (Okay, maybe they are the only one.)  The Boys broke out big time with “I'll Never Break Your Heart,” the first of many heart-related tracks that would soon hit the charts. Over the next few years, Nick, Brian, Kevin, Howie, and A.J. rocked our bodies, showed us the meaning of being lonely, and announced their return before most of us had even heard of them. They also fought to dominate the charts against a wave of other crooning gentlemen seeking to capitalize on their formula for teenage infatuation, including *NSYNC, 98 Degrees, and LFO. But all fads fade with time, so how do these massive hits sound to our 2024 ears? Are the Boys still our fire? Or is sharp-tongued criticism all we have to give? Yes, it's finally time for Chris, Becky, and Seth to take on BSB. So if you want it that way, we've got it that way! (If you want it some other way, we can't help you.) Follow When We Were Young on Twitter and Instagram at @WWWYshow, on Facebook at Facebook.com/WWWYShow and email episode suggestions to wwwyshow@gmail.com. Don't forget to subscribe and review us on Apple Podcasts and Google Podcasts (or wherever you get your podcasts) so more folks check out the show! Help us defray the costs of creating this show, which include recording remotely, purchasing movies/shows/music to review, delivery food to eat our feelings, and producing & editing in-house at the MFP Studio in Los Angeles, California by donating to our Patreon account at patreon.com/WhenWeWereYoung

TCM host Dave Karger joins me to speak about his new book, 50 OSCAR NIGHTS! Featuring Dave's original interviews with Hollywood legends like Jane Fonda, Rita Moreno, Julia Roberts, Meryl Streep, and Martin Scorsese, 50 OSCAR NIGHTS is the perfect gift for cinephiles. Dave started his career as an entertainment journalist, writing for ENTERTAINMENT WEEKLY, and freelancing for TEEN PEOPLE. He spoke with me about interviewing Britney Spears and LFO, as well as his favourite Academy Awards moments! ................ Podcast notes: Thanks to Running Press for sending me a copy of Dave's book! Buy it here: https://www.hachettebookgroup.com/titles/dave-karger/50-oscar-nights/9780762486328/?lens=running-press Find me on Twitter and Instagram at TeenPeoplePod And online at www.annasoper.ca Music and sounds: The Sound of dial-up Internet by wtermini on Pixabay Spirit Blossom by RomanBelov on Pixabay Poor, But Happy by HoliznaCC0 CC0 1.0 Universal (CC0 1.0) Public Domain Dedication creativecommons.org/publicdomain/zero/1.0/ ................ Teen People is recorded in Kingston/Katarokwi, the traditional territory of the Anishinaabe, Haudenosaunee and the Huron-Wendat.

This week's news load is epic: *Body of Chandra Poudel-Rimal found in Stow *El Papa's moving to State Road. *R Shea Brewing Closed *Cuyahoga Falls tax preparer sentenced to 12 months and a day prison time *Quack open a book *Cuyahoga Falls Safe Driving Initiative *Safety Town seeking volunteers *Senior Line Dancing at the Quirk Center *Galileo, Galileo *Eclipsefest *Get married at City Hall *Ironwood Vegan Bakery now a part of Oh So Sweet *Tiki Underground's Tonga Tim's new cocktail book, “No Pants Required" Thank you for listening. We are always in the market for article submissions and suggestions for podcast interviews. If you are interested in volunteering with on The Falls Free Press or the Fallscast, or are a musician wishing to showcase your music on the podcast, drop us a line at fallsfreepress@gmail.com. If you enjoyed the show, be sure to rate and review us on Apple Podcasts to let others know to listen. Fallscast theme composed and performed by Alex Hall. Interim music: “Summer Girls” by LFO (1999)

Andy, Hanna, and Fish reunite for the first time in months to cover local boy band and one hit wonder, LFO. Intro music is from "Across the Line" by the Wellington Sea Shanty Society.

In this episode we try to use 2 LFO's for all of our modulation and see what happens!Patreon: https://www.patreon.com/nullphiinfinity Bandcamp:  https://nullphiinfinity.bandcamp.com/Instagram: https://www.instagram.com/nullphiinfinity/Youtube: https://www.youtube.com/@Nullphiinfinity  ★ Support this podcast on Patreon ★

The Game Busters are back! After 9 months we've returned with a special episode of Good Games Inc, where we take your audience suggestions for game ideas and transform them into fantastic moneymaking powerhouses for us, the greedy publisher. Nirav is joined by Jess and Felicia to dissect ideas such as Baldur's Date 3, Attack on Catan, Fleshed Core VI, Overcooked: Girl Dinner, and even a Stuart Little soulslike. An optional video version of this podcast is available on Spotify and Apple Podcasts, other podcatcher apps will receive this as an audio file. The video version is also available on our Youtube Channel at https://youtu.be/nScZyn94Jbc?si=2XsY0n0PUcL718pn . Thank you to the following people for submitting ideas: Aerith, Alexmott, Andrew R, Buo, Capn No Fun, Cat, Crimson Joe, DC, Dyl, Fez, Haegmon, Jinzuku, Jorbert, JP, Justyn, Kate, LFO, Maxyibbs, MichPer, MistahShowtime, Momo, Rhea, Ryu, Sarim, Smashton, Werty, and Yeti.

Today's guest on Line Noise is a giant of electronic music: Gez Varley, a member of seminal Bleep techno duo LFO, who later went on to make music as G-Man, producing the huge techno tune Quo Vadis. We talked about breakdancing, about LFO, getting a record deal in a club car park; we talked about musical history, What is House; the OTHER LFO and so much more. I hope you enjoy it.

Sarah Belle Reid is a performer and composer. She plays trumpet, modular synthesizers, and a wide array of electronic gadgets. Sarah holds a Doctorate of Musical Arts from the California Institute of the Arts. She teaches music technology and modular synthesis at universities and her own online programs. Sarah spoke about how she combines her classical training with electronic music production and sound design. She explains how she keeps curiosity and joy central to her work. Sarah and I discussed the importance of mindset and perspective in the creative arts.  Sarah's Learning Sound and Synthesis Course opens again in August 2023! Listen on Apple, Spotify, Google, YouTube Show Notes: Sarah's Official Site - https://www.sarahbellereid.com/ Learning Sound and Synthesis Course - https://www.soundandsynthesis.com/ How to Design Your First Modular Synth Patch Free Course - https://www.soundandsynthesis.com/firstpatch2022 Sarah's Facebook featuring her Create with Courage posts - https://www.facebook.com/sarah.bellereid Now's by Sarah Belle Reid and David Rosenboom - https://reidrosenboom.bandcamp.com/album/nows Support Sarah on Patreon - https://www.patreon.com/sarahbellereid Sarah's YouTube - https://www.youtube.com/@sarahbellereid No Input Mixer Tutorial - https://youtu.be/oUhfkaVUPY8 The Art of Is by Stephen Nachmanovitch - https://amzn.to/44rikXq Zen Mind Beginner's Mind by Shunryu Suzuki - https://amzn.to/44MSJIT 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 This episode was edited by Animus Invidious of PerforModule - https://performodule.com/ 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. Transcript: Brian Funk: Hello everybody. Welcome to the music production podcast. I'm your host, Brian Funk. On today's show I have Sarah Bell-Reed and Sarah is a performer, composer, trumpetist, modular, synthesis, that's hard to say. She makes a lot of really wide ranging music and one of the descriptions I really enjoyed was that it's graceful, danceful, silk falling through space and a pit full of centipedes. Which describes just how it goes from so many different extremes from more traditional classical sounds all the way to far out stretching the definition of music with noise and a lot of the electronic stuff that goes into it. She's a doctorate of music arts at California Institute of the Arts, teaches music tech and modular synthesis online. I've been watching the introduction to modular synth course, which is cool. Sarah, it's great to have you here. Thanks for taking the time. Sarah Belle Reid: Thank you for having me. I'm happy to be here. Brian Funk: You have a very impressive resume of stuff you do and it's so wide ranging. I think it's really cool that you have this, it's like the nice place music is going, especially music education, where people are starting to take the traditional stuff and bring in some more new stuff, some of the more cutting edge stuff that's happening out there. And it's such a nice thing to see that you're bringing that to your performances, your music, and also your teaching. Sarah Belle Reid: Yeah, yeah, well, thank you. Brian Funk: Heh. Sarah Belle Reid: I think for me, you know, I have a very traditional background in my musical training. But I always had this feeling, even though I didn't quite know how to describe it or what it meant, but I always had this feeling that there was something more that I wanted to be able to explore in my music making. And so when I found and was introduced to these more experimental aspects of making music, like improvisation and just experimental electronics and all of that, it really felt like. all of the puzzle pieces were coming together. It wasn't a replacing of everything I had developed as a traditional or classically trained trumpet player. It was just like, oh, now this story makes sense. Now my Brian Funk: Mm-hmm. Sarah Belle Reid: voice feels more complete. You know what I mean? So it's like it all came together. Brian Funk: Yeah, I've found that for myself too, just over time, the different things in your life that feel so separate from each other. Sometimes they start coming together into this one path and you need a little time to see that happen. At least I definitely did. Sarah Belle Reid: Yeah. Yeah, for sure. Brian Funk: And it's nice too because sometimes the music education departments are very steeped in tradition and kind of resist this stuff. They see it as something that they, you know, almost like a challenge to it, maybe. I'm not sure, but I've run into that myself occasionally with trying to bring in just I teach high school English as a day job and trying to bring in like music production, Ableton Live stuff Sarah Belle Reid: Yeah. Brian Funk: into it. Not everyone is interested. Some people in the music departments were really excited and other people were kind of like, that's not music. I kind Sarah Belle Reid: Oh. Brian Funk: of got that feeling. Do you encounter that ever, some of those different challenges and how people see it? Sarah Belle Reid: Oh, of course. Brian Funk: haha Sarah Belle Reid: Absolutely. Yes. Both in, you know, in educational spaces and just in the world, you know. with people having different musical experiences, different backgrounds, different perspectives, different things that they like. Sometimes the music that I'm really interested in and that I make is challenging to listen to. Sometimes it doesn't have a traditional obvious hook or even a repeatable rhythm that you can snap along to. Sometimes it's just very... kind of amorphous and more like... sound design. You know, a lot of the time people, some people will say, oh, your music is more almost like experimental sound design than it is quote unquote music. To me, in my opinion, it's all music. Like all sound is music. But yeah, people sometimes express all kinds of opinions. And I've definitely, I've had some challenging conversations with people who don't get it and don't want to get it. But I've also had some really exciting deep conversations that are more based in curiosity. People who don't get it and are like, okay, what is happening? You know, I don't know what I'm hearing. What am I hearing? Can Brian Funk: Right? Sarah Belle Reid: you tell me how to begin to listen to this? And I love those kinds of conversations. You don't have to get it right from the beginning. You know what I mean? In fact, I feel like that mentality of, you know, you have to get it when it comes to music actually can really perpetuate that siloed. way of thinking that you can find in some educational systems, like what I believe you were talking about, where it's like, this is classical music, this is jazz, this is pop music. Brian Funk: Right. Sarah Belle Reid: I feel like if we could give everyone a little more permission to not understand things and have that be okay, we would be Brian Funk: Hmm. Sarah Belle Reid: able to maybe blend a little bit more freely between all of these different modes of making music. Brian Funk: Right, yeah, that's cool you Sarah Belle Reid: It's Brian Funk: say Sarah Belle Reid: just Brian Funk: that. Sarah Belle Reid: a thought. It's just something I've been thinking about. Brian Funk: Well, I guess you probably get a lot of the, sorry you play your trumpet so nice, but these buttons and knobs. Sarah Belle Reid: Well, I even get, believe it or not, it depends on the concert and the audience, but I've even had people come up to me afterwards and say, do you, after a long performance on trumpet, be like, well, do you ever play a nice melody on that thing, on that horn, you know? Yes, in fact, I do. Thank you for asking. It's just a mix. You know, everyone has different backgrounds and perspectives that they're coming from, so. Brian Funk: Well, art, you know, especially when it's new, always challenges people and Sarah Belle Reid: Exactly. Brian Funk: it divides people. And that's part of what's nice. Sarah Belle Reid: Yeah. Brian Funk: And there's people, I don't know who it's credited to, but just kind of, it's better to have people love it and people hate it than just to have people, okay, I've heard Sarah Belle Reid: Right? Brian Funk: this before. It's Sarah Belle Reid: Have Brian Funk: more Sarah Belle Reid: people Brian Funk: of that Sarah Belle Reid: forget Brian Funk: again. Sarah Belle Reid: about it. Brian Funk: Yeah. Sarah Belle Reid: Yeah, I once had a mentor tell me that early on and I'm so grateful that they shared that with me because it's really stuck with me. If you move someone with your music, even if you're moving them in a way that maybe feels slightly negative or they don't like it or they don't get it, you're still stirring something up within them. Brian Funk: Mm. Sarah Belle Reid: You're expanding their life in that moment. Your music changed them in some way. It made them question how they think about music. It made them hear new things. That's actually incredible. Brian Funk: Yeah. Sarah Belle Reid: And so from my perspective, it's not that I gave up, but I let go of the priority of trying to have everyone like my music many, many years ago, and now I'm focused on sharing really meaningful listening experiences with people as one of my primary goals in making music. Brian Funk: I imagine trumpet came first. Sarah Belle Reid: Yep, actually, well, piano way back and then trumpet and then electronics. Yeah. Brian Funk: How did you get introduced into that electronic world? What was it that, was it like somebody, a friend or? Sarah Belle Reid: I was in grad school in California, so it was pretty, you know, relatively late. I had been playing trumpeted music for many years at that point, but I had never even seen a synthesizer. I had no idea about this world at all. And for some reason, I decided to join a class called interface design, which is a class where you actually design and build your own. musical interfaces or interfaces for musical expression. So it could be something that has buttons and knobs on it, like an Ableton push, something that maybe is a MIDI controller, or it could be, you know. anything you could imagine that you might want to use to control sound. So people were building wearable sensor-based things that they would then give to dancers and the dancers would move around and that would give them data to turn into a synthesized sound or to control lighting. And I really wanted to build a gestural interface to go on my trumpet. That was kind of where it started. So I had never used Ableton. I had never used a synthesizer. I had never even used like an effects pedal, but I Brian Funk: Hmm. Sarah Belle Reid: was like, okay, I wanna do this because this sounds really cool. How can I turn my trumpet into some kind of controller for electronics and visual? At the time I was really interested in like coded visuals and stuff like that. I don't do a ton of that anymore. But so I started there. And then once that thing was built, I realized. you can't make electronic music without understanding how electronic instruments work. So then I started to work with modular synths and more in Ableton and different programs on my computer to kind of pull it all together. Brian Funk: Right, right, so that Sarah Belle Reid: Yeah, Brian Funk: pulled you right into that world. Sarah Belle Reid: exactly. It's kind of a strange introduction into the world of electronic music, but I'm grateful for it. So. Brian Funk: It's something that I really was interested in when I first started getting into computer-based music. I started on guitar, playing in rock bands, not trained or anything like you, but more grimy punk rock angle. Once I started finding out about MIDI controllers and that you can put them together and map them how you want, it really made me think about just instrument design in general. Sarah Belle Reid: Yeah. Brian Funk: Just how amazing it is that certain things like a trumpet or like a guitar or piano have stuck around for so long Sarah Belle Reid: Yeah. Brian Funk: and still seem almost like these unsolved puzzles that have so much left to give. And now... there's all these new kind of ways of looking at music. And it's a really fun time. There's always something new coming Sarah Belle Reid: Yeah. Brian Funk: out. That's a totally exciting new way to create music that Sarah Belle Reid: Yep. Brian Funk: sometimes relies on skills you have already. And sometimes it enables people that have no musical training at all to Sarah Belle Reid: Yeah. Brian Funk: create really interesting music. You have, um, can you describe what you did to your trumpet a little bit? Sarah Belle Reid: Yeah, I Brian Funk: I've Sarah Belle Reid: can... Brian Funk: seen some pictures and like, it's, it's kind of, it's like space age almost. Sarah Belle Reid: Yeah, so basically what it is, it's a little collection. So basically it's run with a microcontroller, an Arduino, which is a little tiny microcontroller that you can get for, I think, 20 or 30 bucks. And it allows you to attach different sensors to it and read the data from the sensors. And so I built this little enclosure that goes onto the trumpet and it detects the motion of the valves, so the pistons that you use to change to play different notes, and also the amount of pressure that you have, that your left hand has on the trumpet as you're holding it, and also the tilt. There's an accelerometer in it as well, so as you move the horn up and down or side to side, it will detect that as well. And then that Arduino, like I said, it just reads the data and allows you to transmit that data onto a computer. And from there, you have to get creative and figure out what you want to do with it. If you want to use it as MIDI to control a MIDI synth, or if you want to convert it to some other data format, which you can do and send it to another program and so on and so forth. But the real music making starts at the computer end of things. Brian Funk: Hmm. Sarah Belle Reid: And the device, which I call MIGSI, which is Minimally Invasive Gesture Sensing Interface, remember folks, I did this in grad school. It was very much my thesis, so it's super nerdy. I apologize. Brian Funk: That's cool though. Sarah Belle Reid: But yeah, that part is really just about sensor data capture, like gestural Brian Funk: Hmm. Sarah Belle Reid: data capture, yeah. Brian Funk: Right. And you have to then, like you're building the instrument, you're building this thing, and then you have to decide what all of that stuff does, which Sarah Belle Reid: Yeah. Brian Funk: can change for, I'm sure every performance. Sarah Belle Reid: Exactly. And that's the most challenging and also the most rewarding part. I co-designed Migsie with someone named Ryan Gaston, who I was in school with at the time. And we, I remember we got to the point where all of the sensors were working. The data was flowing to the computer and we were just looked at each other and we're like, what the heck do we do now? Like, what do you do with seven streams of numbers? How do you turn that into music? It's a big challenge. But, um, you know, you just go to go piece by piece and you, you can, basically you can think, well, maybe this when this number goes up that means there's more reverb applied onto this sound or maybe when this number goes down maybe we divide this string of numbers into like three sections and we use each section to trigger a different sound and you start you start small like that and then the ideas start to kind of click as you go Brian Funk: Right, that's Sarah Belle Reid: yeah Brian Funk: pretty much the same advice I give people with Ableton Live and programming your MIDI controllers. Sarah Belle Reid: Yeah. Brian Funk: I do a class for Berklee Online, it's a sampling with Ableton Live, and there's a live performance portion, and I explain to the class, like, look, I'm not expecting something ready for prime time at Madison Square Garden or something like that. It's just build it small. Start with one little thing you wanna do. Sarah Belle Reid: Right. Brian Funk: and try that out because it's different than picking up any other instrument because you have to build the instrument and then you have to decide what it does and then you have to make music and perform Sarah Belle Reid: Exactly. Brian Funk: it. Sarah Belle Reid: And often what I've learned over and over and over again is that simpler is better when it comes to mapping things like mini controllers or anything. In my experience anyway, you often think, well, I have 10 fingers and I've got 34 buttons, like, let's use them all. But, and, you know, some people are really great at that kind of thing. For me, I've really realized that Less is more. Sometimes just three or five really meaningful controls can be more than enough to make an expressive piece of music. Because it's not all about triggering a sound, and then that's it. It's triggering a sound. Maybe it's loud this time and softer this time or different pitches and all of the different things you can do to the sound once you trigger it. I hope that makes sense. I feel Brian Funk: Definitely. Sarah Belle Reid: like I kind of went on a little. But less is more is the moral of the story. Brian Funk: It's the same thing I've done with my live performance set in Ableton. Um, it's the same set I created almost 15 years ago Sarah Belle Reid: Right. Brian Funk: and it just gets save as save as, and you just change something. And it kind of started like slowly. It went up and I added things and then Sarah Belle Reid: Yeah. Brian Funk: it kind of got a little over complicated Sarah Belle Reid: Yup. Brian Funk: where I have these buttons might Sarah Belle Reid: Yeah. Brian Funk: as well make them do something. And my performances, when I listened back to them, sounded like somebody that was afraid the audience might think I'm only checking my email on my computer. So Sarah Belle Reid: I'm Brian Funk: I'm Sarah Belle Reid: sorry. Brian Funk: like overcompensating, doing way more. It didn't serve the song or the music, but it looked cool. You Sarah Belle Reid: Right, Brian Funk: know, Sarah Belle Reid: you were busy. You had your hands Brian Funk: I was Sarah Belle Reid: full. Brian Funk: busy. And by now it's tapered off a lot. It's Sarah Belle Reid: Yeah. Brian Funk: nowhere near as complicated as it was at one point. Because, yeah, it's just... I agree with you a lot, the simple stuff is where it's at, used effectively. That's fun. You've done some really cool stuff recently. I wanted to talk to you about, it was one of the big things that got me to reach out to you with the creative, um, the create with courage Sarah Belle Reid: Mm-hmm. Brian Funk: for 30 days or 30, maybe it's 31 days Sarah Belle Reid: Yeah. Brian Funk: you did just a post on Facebook is where I was seeing them. And just offering some wisdom information, some experiences from your past. Sarah Belle Reid: Right. Brian Funk: What, what inspired you to start doing that? Sarah Belle Reid: Well, I was thinking a lot about... why I make music. It's a big question that I actually ask myself fairly often. I think it's just helpful to check in. And for the record, I don't think that there's any right or wrong answer for a person to have. I just think it's a nice exercise of self-reflection to be like, why am I doing this? What's meaningful about this to me? Because it will change as we grow as artists and go through life, I think. I was thinking a lot about this. A couple of the really big driving forces behind why I am an artist and why I dedicate my life to making music has to do with creating and sharing connections with people through sound, as I mentioned a little earlier on, and also joy. It's a really simple thing, but just being joyful and doing what I love and sharing that with other people. And in the last couple of years, as I've been doing more online teaching, I've also come to really, really value the pursuit of courage and creative courage. And in particular, one of the reasons why I teach is because I want to be able to help people make more music that they absolutely love with joy and courage. I want to help people make the kind of music that they will listen back to and be like, Yeah, like, heck yeah. Like, I did that Brian Funk: Hmm. Sarah Belle Reid: thing and that feels like a true expression of myself. And I am so excited to share that with the world. You know, like, I went for it. I didn't compromise along the way because I was nervous about what someone would think, which is something that I used to do a lot. And I'm sure many people can relate to. You know, I didn't, like, dim it down for fear that it wouldn't be accepted. I just did my thing. Loud Brian Funk: Hmm. Sarah Belle Reid: and... And so those were the values. It was this idea of connection, joy, and then courage. And I was just sort of chewing on it and thinking it over. And yeah, the idea of... walking the walk a little bit and just seeing, okay, well, what would it look like if every day I shared something that required me to be courageous Brian Funk: Hmm. Sarah Belle Reid: and myself and to be vulnerable and just open about what I've learned in life and what I've gone through that's helped me get to where I am today. Maybe that could help people bring a little bit more of that into their lives. And as an added bonus, I can connect with people along the way. you know, through the discussions in the comments and everything on the posts. Brian Funk: Mm. Sarah Belle Reid: So that's sort of how it came up. And, uh, it was an amazing experience. It was 30 days. And every single day I shared some kind of lesson, um, you know, or experience that I've had in life that has had, that is somehow related to being a musician or being a creative person. And, you know, going through sometimes very challenging times, sometimes really awesome times, and just everything that you learn from it, and how you grow with it. Brian Funk: Hmm. Sarah Belle Reid: Yeah. Brian Funk: Yeah, there was definitely a lot of vulnerability shared, Sarah Belle Reid: Yes. Brian Funk: which I thought was really nice. Especially coming from someone with your background, you have a doctorate in music, right? So like, it's very, it's the kind of thing that I think a lot of people would feel like your past, right? Like you've, you've received the credentials, you're playing the festivals, you're doing all these things that... It's nice, it's refreshing. It's something I've Sarah Belle Reid: Yeah. Brian Funk: gotten doing this podcast as well is that I haven't had anyone tell me it's easy or that, yeah, I just make music, you know, just comes Sarah Belle Reid: Yeah. Brian Funk: out of me. Like anything, masterpiece after masterpiece, nobody says that. Even Sarah Belle Reid: Yeah. Brian Funk: people like you would have thought that really had it figured out, still have these struggles and vulnerabilities. Sarah Belle Reid: Well, and I think that's part of, that's another really big reason why I wanted to do this is because usually, it sounds like your podcast is an exception to that, which is great, but a lot of the time online, you see the perfect finished product, right? You see the album after months or years of work. You see the perfectly curated social media feed. You see everything going super well. And it can be baffling. Like it can be like, how are they doing this? What is wrong with me? Brian Funk: Right? Sarah Belle Reid: get that perfect schedule in my studio or make a track a week or whatever you're seeing someone else do. And I think that such a big part of the growth that I've been able to have over the years as a musician has come from being able to see into other people's real lives and see them working through... mindset struggles or insecurities or life being full of surprises or like, hey, I suck at this and like, I've got to go and practice really hard. And like getting to see that happen, like see people just go from really not having that skill to like a month later, really having that skill because they put three hours a day in the practice room and made it happen, you know. So I guess what I realized is that a lot of the time online, that's missing. You don't see that process-based aspect. Brian Funk: Right. Sarah Belle Reid: Yeah. Brian Funk: Yeah, you kind of get the flashy Sarah Belle Reid: You Brian Funk: finished Sarah Belle Reid: just get Brian Funk: product. Sarah Belle Reid: the, Brian Funk: Yeah. Sarah Belle Reid: yeah, and then it really, and then it's easy for someone to be like, wow, I'm never gonna be there. Like, Brian Funk: Hmm. Sarah Belle Reid: I guess I'm not cut out for this. That's the sentence I hate hearing the most is, and it's something I once used to say to myself, I guess they have something I don't have, like some secret ability. Brian Funk: Right, Sarah Belle Reid: So I Brian Funk: like Sarah Belle Reid: kind of Brian Funk: some Sarah Belle Reid: felt Brian Funk: gifts. Sarah Belle Reid: like some gift, you know, and of course people have, we all have our own unique little gifts. All of us do. And, and anything is learnable and figure out a bowl and it just takes some grit and perseverance and, and courage, and you got to take action and do the thing, you know? Brian Funk: Hmm. Sarah Belle Reid: So I really wanted to share that with others and, be honest about how I got to where I am and also what I'm in every day still. Brian Funk: Right. Sarah Belle Reid: Very much. Brian Funk: That's an important gift really, because you mentioned the joy of it, but this is the very thing that brings so much people so much frustration and Sarah Belle Reid: Yeah. Brian Funk: self-doubt. And I mean, it's funny when you mentioned also like, why do I make music? Like sometimes I get these feelings too. I'm like, what am I making these silly songs for? I'm like a grown-up now. You know, like, let's do something important with my time. Right. And... Sarah Belle Reid: Right. Brian Funk: I think about that and when it's not coming together, when it's not working out, then that's when I'm really vulnerable for that kind Sarah Belle Reid: Yeah. Brian Funk: of feeling. And there's no joy in that. Sarah Belle Reid: Right. Brian Funk: And at least, and you said there's no right or wrong reason, which I think is so true too because I have a lot of friends that just have an acoustic guitar that they strum after work in the backyard. Sarah Belle Reid: Mm-hmm. Brian Funk: It's not to record anything. It's not to write a song. It's... maybe learning a riff or just because they like to hear the sound under Sarah Belle Reid: Yeah, Brian Funk: their fingers. Sarah Belle Reid: yeah. Brian Funk: And sometimes we lose that in this quest to whatever Sarah Belle Reid: Mm-hmm. Brian Funk: it is, whether it's to make songs, finish things or get releases out. It is a real fast way to lose the joy of it. And Sarah Belle Reid: Yeah. Brian Funk: I think with something like music where, especially if you're trying to make a career There's, there's so many safer bets for like careers that at least if you're going to do music, you should be having fun. You should be enjoying Sarah Belle Reid: It's Brian Funk: it. Sarah Belle Reid: so Brian Funk: Cause that's, Sarah Belle Reid: important. Brian Funk: that's Sarah Belle Reid: Yeah. Brian Funk: the reason you would ever be crazy enough to do this. Sarah Belle Reid: Yeah, it's so important and yeah, it's something over the years that I have lost and found and lost and found again and what I've realized for myself is that... Joy is something I can come back to on purpose. I just have to be aware of it. I have to remember. I have to remember to be like, "'Okay, Sarah, how can this be fun?' It sounds like such a silly question, but when you're in the studio and things aren't working and you're like, ah, this sucks, ah, I suck. And then all of the stuff comes in, all of the thoughts and the, oh, Brian Funk: Damn opens, Sarah Belle Reid: no one's Brian Funk: yeah. Sarah Belle Reid: gonna Brian Funk: Heh. Sarah Belle Reid: listen anyway, and blah, which I call mind trash. That's what all of that is. It's like in that moment, it's not easy, but the most valuable thing you can do is just be like, okay, breaks. And then how can I make this fun right now? Brian Funk: Hmm. Sarah Belle Reid: And maybe the answer is pick up some random instrument that you haven't played in a while. Or maybe the answer is take your battery-powered synth out and sit in the backyard or whatever it is that just feels... fun and just come back to that joy and that reason why you're doing it. For me, a lot of the time it's like, I'm not going to do this right now. I'm just going to improvise. I'm just going to play because for me Brian Funk: Hmm. Sarah Belle Reid: that is fun. And when I start doing that, basically a hundred percent of the time. maybe 90% of the time, it just gets me out of my head. I'm gonna be real. And I reconnect to the sound and my breath and my body and my music and something clicks, you know? Brian Funk: Hmm. That's a great question to ask. What would this look like if it were fun? How could I make this into something fun? Sarah Belle Reid: How can this be more fun? Yeah. I also love the question, how could this be easy? That's a little bit of a side note, slightly different Brian Funk: Hmm. Sarah Belle Reid: question, but that's a bonus power move right there because we are so Brian Funk: Right. Sarah Belle Reid: good at over-complicating things. So I Brian Funk: Mm-hmm. Sarah Belle Reid: love asking myself that one too. It's like, I've got a big project, I've got to get it done today or this week. How can this be easy? Brian Funk: Yeah, I had a really funny and silly one of those moments just like a week or two ago with this podcast where with the art, I finally have somebody helping me do some editing with the podcast. Animus, shout out to him, his help has been so great and tremendous. But sometimes I stick in episodes that are just me talking Sarah Belle Reid: Uh huh. Brian Funk: and I was getting really stressed out. I was like, oh, the art. is going to get all messed up because it's going to say like this number of episode and then mine's going to come. I'm like, oh, what am I? And I was like, why do I need the number on there? Sarah Belle Reid: How Brian Funk: And Sarah Belle Reid: can Brian Funk: I was Sarah Belle Reid: this Brian Funk: like, Sarah Belle Reid: be easy? Brian Funk: oh my God, this is a problem I don't need to have. But it just, it was the kind of feeling that made me like look at everything in my life and be like, what else am I doing this to? Sarah Belle Reid: Yes. Brian Funk: Where else am I trying to put Sarah Belle Reid: Oh, Brian Funk: numbers where they don't need to Sarah Belle Reid: right. Brian Funk: be? Sarah Belle Reid: That is some deep wisdom. That's good. Brian Funk: I'm sorry. Sarah Belle Reid: That's a funny example, but it's so true. If you're anything like me, if you hadn't noticed that, you could have agonized over that for like Brian Funk: I did. Oh, Sarah Belle Reid: some Brian Funk: I did. Sarah Belle Reid: time. Brian Funk: Yeah. Sarah Belle Reid: Yeah. Brian Funk: There was like months, like two months. I was like stressing me out. Sarah Belle Reid: Oh, well I'm really glad you came to that Brian Funk: Yeah, Sarah Belle Reid: realization. Brian Funk: simple thing. Sarah Belle Reid: Yeah. Brian Funk: But it's such a good question. It reminds me, I don't know where I heard this because I would love to attribute this to somebody, but it was like, we say like, this brings me joy, this brings me joy. And then the person just turned around is like, no, you're taking joy in it. Take joy in it. So it makes that feeling of like having fun and like enjoying Sarah Belle Reid: Mm-hmm. Brian Funk: something for what it is. more of an action than something that happens to you. Sarah Belle Reid: Mm-hmm. Brian Funk: And that again has been really helpful for me in Sarah Belle Reid: Mm-hmm. Brian Funk: certain situations where I'm thinking like, music isn't bringing me any joy. I was like, well, I have to take joy in it. Like, Sarah Belle Reid: Uh-huh. Brian Funk: what is it about it that makes it fun? I guess it's another way to look at it. So. Sarah Belle Reid: Yeah, yeah, it's valuable. The I don't sorry, I don't know if you want to change topics, but one other thing that popped into my mind is just that it gets to be fun. Like you have Brian Funk: Mm-hmm. Sarah Belle Reid: permission, permission granted, even the most quote unquote, serious, professional, legitimate insert, whatever qualifying word you want musician. is allowed to have fun, Brian Funk: Mm-hmm. Sarah Belle Reid: right? And like somehow I feel anyway, maybe I'm just speaking from my own, or I'm certainly speaking from my own experience, but. it almost felt, when I was in school at times, it almost felt like fun was a waste of time. Like fun was not focus, fun was Brian Funk: Mm. Sarah Belle Reid: not the discipline that was needed. Fun was goofing around, you know, it wasn't valued Brian Funk: Kid Sarah Belle Reid: in Brian Funk: stuff. Sarah Belle Reid: the same way. Yeah, yeah, like you said a minute ago, Brian Funk: Yeah. Sarah Belle Reid: like why am I, I'm an adult, why am I making Brian Funk: Right. Sarah Belle Reid: these funny songs or whatever? And I just think that, For me, realizing and embracing that when I have more fun, I make better music. It does Brian Funk: Mm-hmm. Sarah Belle Reid: not mean all my music sounds cartoonish and goofy and like, ha ha, some of it does, but that's not the end result. It just means that I am more embodied in the process. I'm more present, I'm more joyful, and as a result, everything works better, right? Brian Funk: Yeah. Sarah Belle Reid: Because I'm moving in flow with myself. I'm not fighting against myself. Brian Funk: Yeah, the play aspect, play music, you know, Sarah Belle Reid: play. Yeah. Brian Funk: play music. It's so important. We were saying we, having trouble remembering things on the spur of the moment, and I'm trying to think of a book now, but it was all about improvisation and it Sarah Belle Reid: Mm. Brian Funk: talked a lot about play. Oh, the art of is, the art of is, is what the book is called. I think, now I'm not sure. Sarah Belle Reid: Hahaha Brian Funk: I'll write it down, put it in the show notes, but it... It just struck me like that's where so much fun happens. And when you're, when you are a kid, suppose you're on like a playground or something, you're just making up rules. You're coming up with things on the fly. You're not trying to decide if it's acceptable or if it's, you know, smart enough or intelligent Sarah Belle Reid: Yeah. Brian Funk: enough, which is something I struggle with a lot with my music. I always feel like I'm not being clever enough. Sarah Belle Reid: Mm-hmm. Brian Funk: It's Sarah Belle Reid: You're Brian Funk: just. Sarah Belle Reid: not alone. Brian Funk: which spirals me out of Sarah Belle Reid: Yeah. Brian Funk: the joy of doing it. But that, when I get playful though, then I'll do something weird that I wouldn't normally do. That would be maybe a little unorthodox that might sound clever later on, right? But it was just because I was kinda being silly or just Sarah Belle Reid: Yeah, Brian Funk: letting go of things. Sarah Belle Reid: letting go. Exactly. You take risks when you're in a playful Brian Funk: Hmm. Sarah Belle Reid: state. You're curious. Curious is the magic word for me personally. When I'm playful, when I'm having fun, I get curious. I ask myself, what if? What, not in a bad way, not what if no one likes it, but what would happen if I did that? Ooh, what if Brian Funk: Right. Sarah Belle Reid: I put those sounds together? Ooh, what if I map my controller in this way? Ooh, what if I do it all backwards? And that curiosity is, in my opinion, is where like... innovation comes from. It's the people who are like, oh, I wonder if I connect this and this way instead of that way. Oh, look, I just stumbled across this cool new technique that people will use for the next 40 years, you Brian Funk: Right? Sarah Belle Reid: know what I mean? Brian Funk: Yeah. Sarah Belle Reid: And so I love that. And for me, that is like the magic mindset space. If I can get into a playful, curious space, I know I'll be okay. Yeah. Brian Funk: Yeah, it's helpful with other people too, especially Sarah Belle Reid: Yeah. Brian Funk: people you get along with that you're comfortable with. Sometimes that can help you get there Sarah Belle Reid: Oh Brian Funk: a Sarah Belle Reid: yeah, Brian Funk: bit. Sarah Belle Reid: for sure. Yeah. Brian Funk: In watching some of your videos, I came across one that I thought was really, I mean, there were a lot, but the one that stuck out to me was when you were playing with mixers to create Sarah Belle Reid: Mm-hmm. Brian Funk: feedback. So it was like, I forget what you title it, but basically you're plugging the outputs of the mixer back into the inputs and creating all these. stuff you're not supposed to do. Like you're not allowed to do that, Sarah Belle Reid: I'm Brian Funk: right? Sarah Belle Reid: sorry. Brian Funk: If you went into a studio and started doing that, they'd throw you out. What are you doing? You're going to break something. It's going to, but you were taking that noise really, feedback and just interesting, well, things people wouldn't think is interesting that would normally think was wrong, but that was something you were using then to create something interesting. Sarah Belle Reid: I'm right. Brian Funk: And Sarah Belle Reid: Yeah. Brian Funk: that's a playful thing. That's the kind of thing you might If you let a kid that didn't know what they were doing, just start connecting things they would Sarah Belle Reid: Yeah. Brian Funk: come up with. But a trained professional would never think to do that. Sarah Belle Reid: Yeah, that's true. Yeah, the technique that you're referring to is called no input mixing. And yeah, exactly. It's a feedback based technique where you patch the outputs of a device back into its own inputs. And by doing that. you are creating a feedback loop and it will start to self-oscillate, which means it will start to produce its own tones. And they are inherently super chaotic and unpredictable. And something that's so fascinating about working with feedback is, in my opinion, is that you, because of the chaotic nature of the feedback loop that you've created, you're trying to do. So for example on a mixer, you know some mixers have the three band EQ like high, mid, low EQ knobs for example. You could turn the mids up and you'd expect the mids to be boosted but it might actually cause the sound to go from a steady tone to like a choppy, sputtery sound. Or you could turn the volume knob up and instead of it getting louder the pitch will go down strange nonlinear interactions because of the way that you have it self-patched. And I love that. I find it delightful and super intriguing because it it's like an invitation to listen in a really deep way. Again a really curious way because you don't know what's gonna happen. And this instrument, this object that is like usually has a very specific role in your on your desk all of a duo partner and Brian Funk: Right. Sarah Belle Reid: it's like jamming with you. You know and you can do this kind of feedback patching with synthesizers too. It's one of my favorite techniques to use on a modular or any kind of synth. It's not just mixers that you can do it with if anyone's curious. Brian Funk: So you would just patch those outputs. That was a famous thing people did with the Minimoog. They would put the, I think it was like the headphones back into the external Sarah Belle Reid: Yeah! Brian Funk: input. Sarah Belle Reid: Yeah, the only thing just for anyone who's trying for the first time, um, it's just really important that you have your main outputs should, should always have a volume control attached Brian Funk: All right, Sarah Belle Reid: to them. Don't Brian Funk: maybe Sarah Belle Reid: use those Brian Funk: a limiter. Sarah Belle Reid: in the feedback loop. And, and I recommend never using headphones if it's your very first time doing feedback based patching, because the volume is very unpredictable. So Brian Funk: Yeah. Sarah Belle Reid: just make sure you've got some kind of master volume control. And I've been doing this now, feedback patching for, you know, well over a decade. and I have not broken anything, and a signal is a signal, and it's all gonna be okay inside the instrument. The main thing you have to worry about potentially damaging are your ears and your speakers. So just keep your volume low. Use a limiter, it's a great idea, and you'll be fine. Everything will be groovy, and you'll make some cool sounds. Yeah. Brian Funk: Yeah, yeah, I can definitely agree with that advice. I've had that situation where maybe I'm trying to record the band and somewhere along the way, I routed something the wrong way and everyone's headphones just starts squealing. Sarah Belle Reid: He, oh no. Brian Funk: People falling out of their chairs. It can Sarah Belle Reid: Yeah. Brian Funk: be horrifying and scary when it happens. Sarah Belle Reid: Oh yeah, when you're not expecting it for sure. Brian Funk: But it's that unpredictability. It's almost like a collaborator Sarah Belle Reid: That's right. Brian Funk: when you get that kind of stuff. My first exposure to feedback was with electric guitars and turning up the distortion, putting them in front of the amp. And you get these overtones. And you can almost get melodies depending on what guitar you have. You get different things screeching out of it. Sarah Belle Reid: Yeah. Brian Funk: And it becomes an art in how Sarah Belle Reid: Yeah, Brian Funk: to. Sarah Belle Reid: yeah, and it's beautiful. I mean, there's so much music throughout history that, you know, it's a short, relatively short history of electronic music so far, but so many people exploring feedback in such beautiful ways. And it's not always crazy. you know, blasting noise. Like you said, sometimes it's delicate, ghostly tones and Brian Funk: Hmm. Sarah Belle Reid: little chirps. Like it can be very beautiful and tender even. It's just all about how you kind of dial it in, you know, which just comes down to making small movements, turning knobs slowly Brian Funk: Right. Sarah Belle Reid: and listening. Brian Funk: I've sampled feedback a long time ago off my guitar and I was gonna make an instrument out of it inside a sampler in Ableton Live. And I was really surprised at how soft it came out because it's not that way when you're doing it live, especially through a guitar amp. Sarah Belle Reid: Yeah. Brian Funk: I'm sure you probably have family members that are very understanding of strange noises coming out of wherever Sarah Belle Reid: Oh yeah, Brian Funk: you're Sarah Belle Reid: well... Brian Funk: working. I have the same thing and my wife is... totally cool about me making any kind of noise. But a year or two ago, I was recording an album and I decided I wanted all these guitar feedback tracks going on, so I had this little amp and just cranked it up. And I was just sampling it, because I was like, I'm going to also make a collection of these so I can have Sarah Belle Reid: Yeah. Brian Funk: them. And that was the one time she came down. She's Sarah Belle Reid: I'm sorry. Brian Funk: like, what's going on in here? Because to just be squealing and squeaking away, she probably thought like Sarah Belle Reid: That's Brian Funk: I Sarah Belle Reid: so Brian Funk: blew Sarah Belle Reid: funny. Brian Funk: up or something. Sarah Belle Reid: that. Yeah. Yeah, my family's put up with a lot. Brian Funk: I think anybody that's making music, even if you're just in a traditional thing without experiments you're looping the same thing over and over and over and over just to tweak things so people around you get used to you just incessantly. It's a really nice way to think though with that sound and useful sound for music can kind of just come from anywhere. There's really nothing that's off limits after a while when you start thinking in that way. Sarah Belle Reid: Totally. I'm working on a piece right now and we... I just spent, this was a couple of weeks ago, but I spent the day at an old, abandoned sawmill, like a cedar sawmill, sampling the big, they have these incredible big saw blades, huge, like six feet wide, and when you hit them, strike them with different things, they just sound incredible, and they ring for like, some of them 15 seconds, like a long decay ring. Just gorgeous. cedar logs that hadn't been cut into boards yet. And they're all different thicknesses and different lengths. And so if you whack them with like a stick, they're like, like different, they're like giant woodblocks, but like low, like base Brian Funk: Right. Sarah Belle Reid: woodblocks. And they all have different pitches. It's beautiful. And so I've been using all of those types of sounds as like percussion for this piece, as opposed to using, you know, real drums. It's all Brian Funk: Right. Sarah Belle Reid: just clanging metal from, you know, from the sawmill and pots and pans are my favorite. I mean, your kitchen is the ultimate sample playground. I'm sure you've told people that a million times, but like open up the cupboards, get the pots Brian Funk: Yeah. Sarah Belle Reid: and pans. Yeah. Brian Funk: And the kitchens usually have a cool reverb to them. Maybe they're like, it's not like carpeting usually in kitchens, Sarah Belle Reid: Right. Brian Funk: so they kind of have like this room sound. We do an assignment with the Berkeley class where you just go through your day and just find sounds. Your normal routine, but like listen, pay attention. And so many people never get past breakfast, Sarah Belle Reid: I'm sorry. Brian Funk: you know, because the kitchen is just loaded with appliances Sarah Belle Reid: Oh yeah, Brian Funk: and different Sarah Belle Reid: I love Brian Funk: pots Sarah Belle Reid: that. Brian Funk: and pans and jugs. It's really cool. And everyone's is different. You would think after a while that everyone's song would sound the same, or everyone's just sampling their kitchen. But every, that's like what I think is some of the beauty of it too, is that just everyone's atmosphere is unique, especially when you start adding up all the individual pieces. Maybe Sarah Belle Reid: course. Brian Funk: we have a pot and pan that sounds similar, but once we start opening cabinets and drawers and then we got a whole new palette. Sarah Belle Reid: Yeah. And also how you, you know, what you do to those samples, right? Like, do Brian Funk: Hmm. Sarah Belle Reid: you use the slam of the cabinet door as like a little percussive hit or do you time stretch it or do you, you know, speed it up so it's this like really high little piccolo sound, you know? That's where it gets really... really individualistic. Some people, some person might hear a melody in the way that the doors close and make a whole piece about that and someone else might not hear that and instead they might hear like a really awesome rhythm and they might run with that. So I think yeah music is everywhere. Anything is an instrument. It all comes back to curiosity to me. It's just a big loop. It's Brian Funk: Yeah. Sarah Belle Reid: a big feedback loop. Yeah. Brian Funk: Positive feedback loop. Do you use any particular gear to do this? Do you have like some giant rig with furry microphone windscreens? Sarah Belle Reid: Honestly, it depends if I'm in my, so when I can, I bring things into my studio just so that I can record in a more acoustically dampened space, but often if I'm out and about, I'm just using a simple Zoom field recorder, nothing fancy. It does, it could certainly be a fancier setup, but I. I haven't upgraded anything yet and it's actually been years and it works well. Brian Funk: Mm. Sarah Belle Reid: Most important thing to get, which I didn't get early on, is like a good wind sock of some kind or windscreen, because that's the Brian Funk: Right. Sarah Belle Reid: one thing that will really rain on your parade when you're trying to record outside is the KRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR Brian Funk: Yeah, just that low rumble of the wind. Yeah. Sarah Belle Reid: It's more, in my opinion, it's more important to get the sounds and like, be creative with them than it is to get the most perfect, Brian Funk: Right. Sarah Belle Reid: high quality, pristine recording. Um, Brian Funk: I say the same exact thing. Sarah Belle Reid: yeah. Brian Funk: You're better off to have it. And you have a Sarah Belle Reid: I, Brian Funk: phone probably Sarah Belle Reid: that's what Brian Funk: on Sarah Belle Reid: I was Brian Funk: you. Sarah Belle Reid: just about to say is I've even, I've even recorded samples on my phone. I don't do that anymore because I have this zoom recorder, which is great, but that's how I started was just using my computer mic, like a built-in mic and my phone and just voice memo and everything. Brian Funk: Yeah. Sarah Belle Reid: And. It's fine. It's a place to start. Brian Funk: I was doing a class a week ago with Berkeley. And I was like, oh, I'm going to do this. I was trying to sample my voice through this microphone, but for whatever reason, my interface wasn't connecting with my Sarah Belle Reid: Mm. Brian Funk: computer. So I had those Apple AirPod, not Sarah Belle Reid: Mm-hmm. Brian Funk: these ones, but the ones with the wire. So they were old ones when they still had the eighth inch jack. So however long Sarah Belle Reid: Hmm. Brian Funk: ago that was. And I just sampled my voice through it to make an instrument that I could put inside a sampler. And I loved the quality of that cheap mic. In some ways, I almost like the bad mic better. Because once you start stretching it, repitching Sarah Belle Reid: Right. Brian Funk: it, weird things happen that aren't in the clean recording Sarah Belle Reid: Yeah, Brian Funk: that you can get, Sarah Belle Reid: totally. Yeah, I think it's Brian Funk: it's Sarah Belle Reid: all Brian Funk: important Sarah Belle Reid: just. Brian Funk: to just Sarah Belle Reid: Yeah, Brian Funk: get it. Sarah Belle Reid: exactly. It's just get it make start making things you can always upgrade like your gear later if you want to but start making stuff now. And you never know like you're to your point, you might end up liking it even better. You're not the first person I've heard you say who says that it's like, there's just some kind of magical quality about that. You know, kind of quote unquote crappy quality, bad recording. It's like actually Brian Funk: Yeah. Sarah Belle Reid: got some life to it, you know? Brian Funk: I find sometimes in the context of a recording, that quality helps the sound kind of stick out Sarah Belle Reid: Mm-hmm. Brian Funk: where it doesn't get lost in all the other really nice recordings. It's got its own little texture, its own little Sarah Belle Reid: Yeah. Brian Funk: space in the mix that you can really dial in. Sarah Belle Reid: Yeah. Brian Funk: So you've got a course that's about to start up, you said, Sarah Belle Reid: Yeah, Brian Funk: learning sound and synthesis. Sarah Belle Reid: that's right. Brian Funk: So that sounds like fun after we've been talking a little bit about some of Sarah Belle Reid: Yeah. Brian Funk: your philosophies in there, I'm sure. Sarah Belle Reid: Oh yeah. Yeah. That is, it's a, so it's next round is starting in late August and it opens every year, twice a year. But it's, as the name suggests, learning sound and synthesis. It's a class that's all about sound design and making music with modular synths and You know, that could be to do sound design for video games, or you could, you know, take the class to make your own music, your own electronic music, dance music, experimental music. A lot of folks are in the class with a focus on film scoring. Basically, what I teach is a very, very comprehensive how-to and synthesis technique. course that focuses on universal synthesis concepts rather than specific instruments because I'm really interested in giving people you know, the technique and the knowledge that they need to use any instrument they want, whether it's a virtual synth that runs on their computer or the synth inside of Ableton or some Moog desktop synth or a keyboard synth or whatever. And I don't want to, you know, lock people out of the class by saying, sorry, if you don't have this one particular Euro Rack, you can't come and learn. So I teach using VCV Rack, which is a really amazing free modular synth. program that runs on your computer. And I really, really love it. And yeah, we start there and people go a million directions Brian Funk: Mm. Sarah Belle Reid: from, excuse me, from there. Brian Funk: Well, that's Sarah Belle Reid: Yeah. Brian Funk: cool because so much of it is based off these building blocks. Sarah Belle Reid: Exactly. Brian Funk: And that's something I didn't know when I first tried to play a synthesizer. I didn't understand that there were these commonalities Sarah Belle Reid: Yeah. Brian Funk: between all of them. They all looked like different spaceships to me. Sarah Belle Reid: Yeah. Brian Funk: And I felt like I had to learn every single one, but soon you start to see the pieces and how they Sarah Belle Reid: That's Brian Funk: come together. Sarah Belle Reid: exactly, that's the thing that all of my students say and it's so exciting when they get to that point. Usually a month or a month and a half into the class, people start saying. oh wow, like I just realized how this instrument that I've had over here collecting dust on my desk works. Like I get it now because, you know, we basically, the philosophy behind the class is kind of like the under the hood approach to learning synthesis. So instead of learning how the... you know, the Moog Matriarch works or how any of those instruments work on the top level, you're learning how each individual component works, like really deeply what's up with oscillators. Not just, yeah, we know they drone, but like, did you know that you can, you know, use oscillators for 50, 100 different things, and then they can be chaotic and noisy and, and droney and all of this and like what's up with LFOs and how can we use as them as sound sources and how can we use them as control sources and all of that. So by the time you go through that, you not only know how VCV rack works and how modular synths work, but you go back to your various other instruments that you have and it all starts to click because you're like, wait a second. I get it. Brian Funk: Right. Sarah Belle Reid: it's an oscillator, it's an LFO, I know how those things work, that's a filter, and you're able to make more music with them than you were able to before, which is really exciting. Brian Funk: Hmm. Yeah, you just start to see the Sarah Belle Reid: You Brian Funk: kind Sarah Belle Reid: start Brian Funk: of main Sarah Belle Reid: to see Brian Funk: idea. Sarah Belle Reid: all the connections, yeah. Brian Funk: Yeah. Sarah Belle Reid: Yeah. Brian Funk: Right. Do you have a favorite synthesizer? I mean, Sarah Belle Reid: Ooh, Brian Funk: I would say you'd probably Sarah Belle Reid: I don't Brian Funk: go Sarah Belle Reid: know. Brian Funk: modular stuff, but I don't Sarah Belle Reid: Yeah, Brian Funk: know. Sarah Belle Reid: I am a big fan of modular and in particular, I mean the reason why I love modular is because of the flexibility. I also love, you know, I have a Hydra synth, which is a keyboard based poly synth, I love it. But the reason why I love it is because of all of the flexibility that I learned on my modular that I can bring into how I patch it and how I customize Brian Funk: Right, Sarah Belle Reid: the sounds Brian Funk: gotcha. Sarah Belle Reid: on the HydroSynth because it's very flexible. These days, what I've been really enjoying are very small modular synths. I, you know, very limited. I've put together, I don't know the exact size, but just a tiny little case, two rows, fits in a backpack. And I'm just living with it as though it is a fixed. signal path synth, or not fixed signal path, but like those are the modules. They're not swappable. Brian Funk: of the component. Sarah Belle Reid: Yeah, Brian Funk: Right, Sarah Belle Reid: and Brian Funk: right. Sarah Belle Reid: you do, of course, make your own patches within them, but I'm not changing them out every couple weeks, which is something that some folks do a lot of in the Brian Funk: Yeah. Sarah Belle Reid: modular world. And I've really enjoyed that because it feels more like my trumpet or like a keyboard where it's an instrument that I can really get to know on a really deep level that's not constantly changing. And I like the smallness of it because it forces me to be really creative and limitations, you know, are my best friend in the studio is just reduce the limitations, again, less is more. And I find that by, you know, giving yourself fewer options, you have to make better creative decisions and you try things that you probably wouldn't try otherwise. Brian Funk: Yeah, I think that is what creativity is. It's Sarah Belle Reid: Yeah. Brian Funk: making do with what you have. Sarah Belle Reid: Yeah, yeah, Brian Funk: And Sarah Belle Reid: yeah. Brian Funk: you're in this box. Not necessarily in the module, but Sarah Belle Reid: That's the trouble Brian Funk: I don't Sarah Belle Reid: with Brian Funk: f- Sarah Belle Reid: modular synths, though, is that you can always grab another one, right? So Brian Funk: Right. Sarah Belle Reid: I always try to encourage people to keep it small and just see what you can get out of that, because there's always something you haven't tried before. Guaranteed. Brian Funk: Yeah, I don't feel particularly creative when I'm scrolling through 9,000 kick drum samples, trying to find the one I'm going to use in my song. And I can imagine what modular it's, I've not gone too far down that road, mostly out of fear of getting carried away. Sarah Belle Reid: Um, yeah. Brian Funk: Because I've been in front of walls of them. Sarah Belle Reid: Yeah, yeah, Brian Funk: And Sarah Belle Reid: yeah. Brian Funk: it kind of like, what? And then to just know that you can always get a new one and swap it out. It's, I don't know. I think I'd go bankrupt real fast. Sarah Belle Reid: Yeah, that's why I mean in like, I totally hear you and you're not alone. Brian Funk: Hehehe Sarah Belle Reid: But that is a big reason why like the class that I teach and the community around it, the learning sound synthesis community is it's really, we're really focused on like making music first Brian Funk: Mm. Sarah Belle Reid: and foremost. It's not so much about the gear. Of course, the gear is a big part of the discussion because we're learning how it all works and, and people need advice on what, Music is always the number one goal, and I think that really helps. For one, it feels more inclusive. It feels more welcoming. It's like you don't need the big sprawling synth in order to make awesome music with modular synths. You can open up your phone and get like a modular synth app and like, that's fantastic. Start with that. It's perfect. VCV Rack's free. I love it. It sounds really great. There's actually a ton of VCV Rack modules that are direct emulations of digital modules that you can get in Euro Rack format. And they run the same code. and they Brian Funk: Right. Sarah Belle Reid: sound fantastic. So it's a perfect place to start and for many people it's not just a starting point, it's the perfect setup for them, you know, for years. I use VCVRC all the time, especially when I'm on the road. I Brian Funk: Mm-hmm. Sarah Belle Reid: just don't want to travel with like a massive, you know, rig. Brian Funk: Yeah, that's a big consideration when you're playing out and touring especially. Sarah Belle Reid: Yeah. Brian Funk: Like what are you carrying around with you? I know for myself, like a lot of times I'm going alone too. And if I'm going into like New York city and Brooklyn, I want to be able to carry everything in one trip Sarah Belle Reid: Yeah. Brian Funk: because I'm lucky if I park a half a mile away from the club. And I don't want to leave half my gear in the club and Sarah Belle Reid: No. Brian Funk: half in the car. So I've made it that that's been a really helpful limitation for me. Like what can I fit on this table and what can I carry? Sarah Belle Reid: Yeah. Brian Funk: Because for a little while I was getting interested in it was wasn't modular, but it was modular ask with MIDI controllers because you're kind of. Sarah Belle Reid: Yeah, lots of pieces. Brian Funk: You got all your little pieces together, so you keep adding to that next thing you know, like you're out of control real fast. Sarah Belle Reid: Yeah, I understand. Brian Funk: Yeah, I'm sure it's so I'm guessing having that kind of limited space is practical as well as great for creativity. Sarah Belle Reid: Yeah, exactly. I honestly think it's a win-win. I mean, some of the best shows I've ever played have been the ones that I've been forced to. really, really re rethink things because I'm like, okay, I'm flying. It needs to fit in the overhead. I also have a trumpet, so I'm really limited, right? It's like my trumpet case has to come on the plane. So then I'm like, what can I slide into that carry on, Brian Funk: Yeah. Sarah Belle Reid: you know, or into my backpack or something like that? But again, it just. It gets you thinking in a creative way. It gets you looking for sound everywhere in a more resourceful way. And I've found it really liberating. Brian Funk: Yeah, I agree. I've gone to almost no guitar pedals. You know, just really a tuner and a little bit of a noise gate. And it's just so nice. I used to rely on the delay pedal and the reverb and all these other things to make my parts interesting, but taking that away forces you to really pay attention to what you're playing Sarah Belle Reid: Right. Brian Funk: and the music much Sarah Belle Reid: Yeah. Brian Funk: more than... pressing buttons. Sarah Belle Reid: We like pressing buttons too though, it's okay. Brian Funk: It's fun. Sarah Belle Reid: Ha ha Brian Funk: There it Sarah Belle Reid: ha. Brian Funk: is. It's, there's nothing like it, but it, it's such a slippery slope. I think for myself, um, I avoid the like pain of trying to create by adding gear and then complicating things, you know, maybe pain's not the right word, but like, kind of like the fear of. Sarah Belle Reid: Yeah. Brian Funk: I don't know if I'm going to make anything good. So if I can kind of just fiddle with stuff, Sarah Belle Reid: Right. Brian Funk: I'm a little off the hook. Sarah Belle Reid: I can relate to that for sure. You can make something great though. Brian Funk: I will Sarah Belle Reid: Yeah, Brian Funk: try. Sarah Belle Reid: you got it. Brian Funk: Yeah. So where can people sign up for the course? You also have a free one we should mention too. Sarah Belle Reid: Oh yeah! Brian Funk: That was really cool. I've been watching a little bit of that. You have great energy too. I think that's a nice, you know, reason why people should come to you is that you're excited about it. And you transmit that really well over the videos. Just, hey, this is really cool everyone. You should check it out. Sarah Belle Reid: Yeah, well, I teach because I am genuinely passionate about teaching and about this topic. Like, I am all fully in and in love with what I teach. And so, yeah, I'm happy to hear that comes through. Yeah, I really do it. I do it because I love it. I'm also really passionate about helping people get started in electronic music and not only get started, but go deep into electronic music and make awesome music. Who... who for whatever reason feel like they're not cut out for it. That's a big kind of personal mission. If you, for whatever reason, just feel like you're not smart enough, or you feel like, oh, I'm the least techie person in the room. I've heard that so many times. Or they've got it and I don't have it. Maybe you believe in yourself, but you're just. intimidated, super normal, super common. And modular synthesis is an intimidating thing to get into because there are a million options and it can just be daunting, right? Like where do Brian Funk: Yeah. Sarah Belle Reid: I start? What do I need first? But at the same time

Bad habits, specifically bad mom habits.. we've all got them and this week the Whine Mamas dissect them while also providing helpful tips on how to manage them. Think you don't have a bad mom habit? Tune in and you may be surprised. Don't worry though, the Whine Mamas are here to help and normalize the fact that we're all on the same train. Wine of the Week: Chateau Ste. Michelle Chardonnay. Honorable mentions: Ed Sheeran, LFO, Cardi B, Megan Thee Stallion, Abercrombie and Fitch, InstacartInstagram: @whinemamapodcastHosts: @anniegpyle & @j.freyy

We normally don't listen to men singing but we do for our FORGOTTEN BOY BANDS special featuring: Phixx, Blazin' Squad, V, Soul Decision, Triple 8, BBMak, Damage, Union J, Point Break, Upper Street, LFO, MN8, North & South, Northern Line, and One True Voice. UR WELCOME! As always please send your feedback to;Insta: @urwelcomeamericaTwitter: @urwelcomeUSAEmail: UrWelcomeAmericaPodcast@gmail.com

Today's Sleep Song is all about movement. Almost every track in this piece is constantly shifting with panning or through the use of an LFO (low frequency oscillator), creating a sense of undulation, motion, and flow, of coming and going. The strings are constantly moving, holding one note, but being bowed at different times and by different parts of the bow. The dynamics too are constantly in a gentle flux, creating an effect reminiscent of ocean waves perpetually lapping at carefully constructed sandcastles, resetting the scene again, and again, and again — an invitation to allow change to happen and to let go of what came before.Original music from composer Eduardo Rivera.Meditative Story combines extraordinary human stories with meditation prompts embedded into the storylines — all surrounded by breathtaking music. Think of it as an alternative way into a mindfulness practice, through vivid stories and cinematic music and production values. Find Meditative Story wherever you listen to podcasts.

Rhett and Zach are rolling old school. No guests today, just our two hosts, chatting about all things gear and tone. Today, the guys are talking about modern pedals.These days, pedals are getting weirder and more complicated than we could have ever imagined, even just a few years ago, as loads of new models draw inspiration from modular synthesis, drum machines, and big leaps in technology.Some pedals make things more complicated—with buttons on buttons, operating systems that need updates, and user interfaces that are both unique and sometimes confusing—while others may help you simplify your rig—imagine a distortion pedal with an LFO that might replace your need for a separate tremolo unit. Basically, there are few limits on what you can do with a pedalboard if you're willing to do a deep dive. And if you can't find a pedal that does what you want, it might be on the way.But our hosts have differing opinions. Rhett is down to do a deep dive on options, while Zach likes to keep things a little simpler. They suss out their differences and share their own takes, with shout-outs to Chase Bliss, Beetronics, Acorn, and Intensive Care Audio. They also discuss what they think is coming next in pedal and guitar design, and what they'd like to see come along (guitars using control voltage, please).Later, they dip a rig based around a cool Eastman that catches Rhett's eye, and a Line 6 HX Effects. With key pieces from Fender, Gibson, Boss, and more, what could be improved?In shill mode, Zach hypes his Two-Rock Joey Landreth head, and Rhett is all-in on his Chase Bliss Mood.Rhett and Zach want to know which guests you'd like to see! Post your requests in the comments on YouTube to help them brainstorm future episodes.01:12 Zach Gets to Met His Hero02:49 Positron Collider 03:52 Update on Rhett's Studio Build and New Music05:05 A Challenge?06:45 Are Guitar Pedals Getting Too Weird?09:10 Mythos' New Chorus Prototype09:41 Josh Smith's POLY Overdrive11:42 Empress ZOIA31:45 Chase Bliss Mood MkII39:14 Beetronics40:02 Acord Solid State41:50 Intensive Care Audio Fideleater42:10 Westerland Boost42:57 Final Thoughts on Weird Pedals47:55 Time to Dip a Rig58:07 Shill of the WeekBig thanks to StewMac for sponsoring this episode. Head to http://stewmac.com/dippedintone to get 10% off!Subscribe, like, and leave us a commentSign up on our mailing list: http://eepurl.com/iaCee5Support us on Patreon for access to our discord server and other perks! https://www.patreon.com/dippedintoneMERCH: https://teespring.com/stores/dipped-in-toneFollow us on Instagram: https://instagram.com/dippedintone Dipped in Tone is:Rhett Shull https://www.rhettshull.com/Zach Broyles / Mythos Pedals https://mythospedals.comPremier Guitar https://www.premierguitar.com/

Your Heart is Safe with Me Brad Fischetti! Which is a good thing because Brad really opens up in this episode. He shares everything from starting LFO, to their one and a million chance of being discovered, to the grief of losing his bandmates.  Plus, even more amazing stories you won't believe…like when Brad was a limo driver and got lost with Lance's parents in the back! See omnystudio.com/listener for privacy information.

This week we're going back to the strange and magical year of 1999 to discuss boy band LFO and their hit single Summer Girls. Also in this prepisode music news of the weird, listener emails and we announce next week's album. In this episode we discuss pranks, life changes, Lou Pearlman, product placement, South Carolina, abandonment issues, Don Knotts, townies, American Eagle, musical scores, gateway bands, sincerity, the CBC and so much more!  Hatepod.com | TW: @AlbumHatePod | IG: @hatePod | hatePodMail@gmail.com Episode Outline: Quick update on the goings on at the world headquarters Discuss our history with the song/band Song discussion - lyrics and music Music Video How the song did worldwide Amazon reviews Listener email (just 2) Music news of the weird Announce next week's album