Podcasts about lfos

"Ey Leute da kommt was" und huch, es ist gar nicht der ominöse Tonverk von vor fünf Wochen? Spontanrelease all over again, also wird das gefälligst auch spontan zerredet (und spontan gekauft...). Aber ey, 16 Stimmen, 16 Tracks, 4 Engines, 3 LFOs und einen ganzen Cocacolamannsack voll anderer Sachen. Ausserdem: Website-Design aus der Hölle, Plugin-V2's und 1.5's die viel spannender sind als die Schwedische Kloppkiste (ich darf das schreiben, ich mach die Texte und die Kollegen haben keine Ahnung) und die restlichen kapitalistischen Belanglosigkeiten der letzten Wochen arbeiten sie im vorbeirollen auch noch ab. Raw und uncut (boah klingt das falsch).

1) Otherwish - let it fade 2) OCULA & James French - High Tides 3) Sultan + Shepard with Elderbrook - I'll Be Here 4) Yotto, Anden - Will You Remember Me 5) Sultan + Shepard & Nathan Nicholson - Under The Surface 6) Jerro & Kasbo - How Does It Feel 7) Le Youth & Lane 8 feat. Jyll - I Will Leave A Light On (Sultan Shepard Lights Out Remix) 8) Depeche Mode - Ghosts Again (Massano Remix) 9) Hurts - Wonderful Life (Goom Gum Private Remix) 10) Kasablanca & Lane 8 - Remission 11) Tinlicker - Blowfish 12) Meduza feat. Hozier - Tell It To My Heart (KREAM Remix) 13) Cassian, Jimi Jules, Anyma (ofc) - My City s On Fire (Anyma and Cassian Extended Remix) 14) ANYMA & CHRIS AVANTGARDE - ETERNITY (MASSANO REMIX) 15) Artbat - Coming Home feat. John Martin (Vintage Culture Extended Remix) 16) Ruback - FREYA 17) Underworld - And The Colour Red (Rebuke Remix) 18) Rebuke & Ella Balinska - Digital Dream (Club Mix) 19) Sophie Ellis-Bextor - Murder On The Dancefloor (David Guetta Extended Remix) 20) Estiva - India (Matt Fax Extended Remix) 21) The Chemical Brothers x KAAZE - Hey Boy Hey Girl (Nicolao and G.Key Edit) 22) Alesso & Sentinel - Interstellar 23) TV Noise - Turn It Up 24) Deadmau5 - Not Exactly (Rebuke Remix) 25) Layton Giordani - UFOs & LFOs 26) Sharam - Party All The Time (Adam Beyer, Layton Giordani & Green Velvet Extended Remix) 27) Layton Giordani - Paranoid 28) Sentinel - Get That Love 29) Underworld - Born Slippy (VORA 'White Label' Mix) 30) Massano & Zafrir - Ana 31) Monolink, ARTBAT - Return to Oz (ARTBAT Remix) Classic Tune 32) Nox Vahn - The World Keeps Turning 33) iiO feat. Nadia Ali - Rapture (VA MO LA Extended Remix) 34) Benny Benassi - Hit My Heart (Bittermind Remix) 35) Miss Monique - Look At You 36) Alphadog - Pretend Me 37) SOHN, CamelPhat, Massano - Turning Stones (Massano Remix) 38) Sultan & Ned Shepard - En 39) EMBRZ - Gather Together

Our friends over Bleass sent us a copy of their new Arpeggiator VST and @Sunwarper will be taking us through how it works and how it sounds. This isn't your average arpeggiator, with modular routing of every aspect of the plugin, as well as LFOs, X/Y and Motion Sequencing. We'll also be discussing the layoffs in Spotify's restructure and Christmas has come early over at Cherry Audio with the Synthesizer Expander Module! ============================== Help Support the Channel: Patreon: https://www.patreon.com/audionautic PayPal: https://www.paypal.com/paypalme/AudionauticRecords?locale.x=en_GB ============================== Thanks to our Patrons who support what we do: Audionauts: Abby, Bendu, David Svrjcek, Josh Wittman, Paul Ledbrook, Matt Donatelli and Stephen Setzepfandt Lars Haur - Audionaut Producer ============================== Time Stamps: 0:00 Show Start 10:00 Bleass Arpeggiator Demo & Walkthrough 24:00 Free Cherry Audio VST Demo 38:00 Spotify Layoffs ============================== Join the conversation:

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

On this episode of Legislative Review: An update on Legal Financial Obligations and a bill regarding cannabis in pre-employment. And finally a bill pertaining to special education funding.

On this episode of Legislative Review: A bill responding to the WA Supreme Court's decision in the "Blake" case regarding drug possession laws and treatment. And bills regarding modifications to Washington's Working Families Tax Credit, and eliminating some legal financial obligations, or LFOs.

Synth Design Podcast is back! Special edition with This is Not Rocket Science in Amsterdam. I actually went to visit them and see where the Fenix IV was designed and manufactured. It's by far, one of the most insightful episode I've released to date! We cover the design process, engineering, manufacturing and custom toolchain that had to be built for the Fenix. In the video we show the workshop, so if you can, it's worth your time to watch. Available on YouTube as well. The Fenix IV is the fourth edition in the Fenix family of synthesizers. Unlike other synthesizers, the Fenix does not conform to the usual divide of tonal versus experimental or additive versus subtractive synthesis. Instead, it offers a wide range of options for the user to create their unique sound. One of the key features of the Fenix IV is its multiple types of oscillators, filters, LFOs, envelopes, and effects to use in patching. This allows for a great deal of flexibility in sound design. Another unique aspect of the Fenix IV is that it bridges the analog versus digital divide. There is no longer a need to choose between the two, as the Fenix IV offers the best of both worlds. This "yes, and" mentality allows for even more creative possibilities and sonic exploration. Overall, the Fenix IV is a powerful and versatile synthesizer that offers a unique approach to sound design. With its multitude of options and features, the Fenix IV is a must-have for any musician or sound designer looking to push the boundaries of their creativity.

On this episode of Legislative Review - Legislation regarding middle housing, legal financial obligations (LFOs), and the Governor's proposed bill for affordable housing.

Although the Twenty Fourth Amendment has received little attention since its ratification, the Amendment may provide a basis for combatting unconstitutional voter reenfranchisement schemes that condition the right to vote on money payments to the government. Author: Elizabeth Heckmann, 2022 Graduate of the University of California, Berkeley, School of Law Host: Taylor Graham Technology Editors: Hiep Nguyen (Volume 111 Senior Technology Editor), Taylor Graham (Volume 111 Technology Editor), Benji Martinez (Volume 111 Technology Editor) Soundtrack: Composed and performed by Carter Jansen (Volume 110 Technology Editor) Article Abstract: The Twenty-Fourth Amendment to the United States Constitution has received little attention from federal courts since its ratification. The Amendment's language is broad and far-ranging, prohibiting conditioning the right to vote on payment of poll taxes or “any other” tax. Although the Amendment's text, its legislative history, and early Supreme Court decisions strongly indicate that the law's drafters intended to eliminate any and all wealth-based qualifications on voting, many states continue to require people convicted of felonies to pay money to the government before regaining their right to vote. Some litigators have used the Amendment to combat felon re-enfranchisement schemes that unconstitutionally condition access to the ballot box on payment of legal financial obligations (LFOs) associated with the person's criminal sentence. Most recently, the Eleventh Circuit addressed Florida voters' challenge to the Florida Senate's interpretation of Amendment 4, which automatically re-enfranchised people convicted of felonies when they completed “all terms of [their] sentence,” including LFOs. This Note explores the lower court's and Eleventh Circuit's analyses of the Twenty-Fourth Amendment, as well as challenges and solutions to using the Amendment in the future to combat unconstitutional re-enfranchisement schemes conditioning the right to vote on a money payment to the government. Part I discusses the history of felon disenfranchisement and the Twenty-Fourth Amendment, as well as major Supreme Court decisions applying the Amendment to voting laws. Part II analyzes the line of Federal District Court and Eleventh Circuit decisions addressing Florida's Amendment 4 and whether requiring people convicted of felonies to pay all LFOs before regaining the right to vote violates the Twenty-Fourth Amendment. Part III explores why the Eleventh Circuit's ruling is not in line with the Amendment's text and history, nor with the Supreme Court's Twenty-Fourth Amendment or tax jurisprudence.

On this midweek show, Crystal chats with Emijah Smith about her campaign for State Representative in the 37th Legislative District - why she decided to run and her thoughts on addressing issues such as community representation, housing affordability and zoning, homelessness, public safety, mismatch between passed policy and subsequent implementation, education funding, and climate change. As always, a full text transcript of the show is available below and at officialhacksandwonks.com. Follow us on Twitter at @HacksWonks. Find the host, Crystal Fincher, on Twitter at @finchfrii and find today's guest, Emijah Smith, at @ElectEmijah.   Resources Campaign Website - Emijah Smith: https://www.electemijah.com/   South Seattle Emerald's 37th LD Representative Position 2 Debate (October 4, 2022) - Moderated by Crystal Fincher: https://www.officialhacksandwonks.com/sse-37th-ld-debate-2022   Transcript [00:00:00] Crystal Fincher: Welcome to Hacks & Wonks. I'm Crystal Fincher and I'm a political consultant and your host. On this show, we talk with policy wonks and political hacks to gather insight into local politics and policy in Washington State through the lens of those doing the work with behind-the-scenes perspectives on what's happening, why it's happening, and what you can do about it. Full transcripts and resources referenced in the show are always available at officialhacksandwonks.com and in our episode notes. Today, I'm very excited to have a guest joining us from the 37th Legislative District who's a candidate for State Representative. Thank you so much for joining us today, Emijah Smith. [00:00:49] Emijah Smith: Thank you - I'm happy to be here. [00:00:51] Crystal Fincher: Happy to have you here. I guess just starting out - I would love if you could just share what experience you're bringing to this race and why you decided to run for office? [00:01:03] Emijah Smith: As you know, I'm a mother, I'm a grandmother. I'm raised and rooted, been living in the 37th my whole entire life basically. I have historical context of the community, as well as current context. I chose to step into this role because I've been in Olympia for over 10 years - locked arms with families, bringing our youth forward - to really advocate for meaningful change that we want to see in our community. Advocating for universal preschool, advocating for stable and affordable housing, food security, the broken tax system, racial justice - you name it - the things that are important to really ensure that our families are healthy and our communities are healthy. So I've been doing the work and I want to - I'm here to be a bridge builder, really - to say, I'm in Olympia, this is your space. I'm told when I'm out here canvassing all the time that we really - the 37th wants to transform status quo. So people are like - I'm a great champion for the voiceless, they know I have the credibility and the consistency of doing the work. So having that current real lived experience of the lives of the 37th, having demonstrated experience in Olympia, and really having some really powerful relationships with families and our children in the 37th is the reason why I step into this opportunity. [00:02:29] Crystal Fincher: And it is a unique opportunity and you bring up something important - which you talk about - the context of how the community used to be versus how it is today, which is different. The district has grown, it has changed, the composition of people who are there are different. As you look at how the 37th Legislative District has changed, what do you think is the most important thing you as a representative can do to connect with the community today, while not displacing any further the community that has been left out and preserving the culture and heritage and history of the district? [00:03:10] Emijah Smith: Thank you for asking that question. I am from the historic Black community of the Central District - raised there, grandparents there, parents there - and really seen firsthand, really, the love and the investment in our community. Although it started out with redlining, that's how the community came to be. It's been a very joyful childhood experience that I had there - it felt safe - until that failed War on Drugs came into the community. And I believe those policies - steeped in racism, the over-policing, the criminalization of addiction, and the lack of resources - just as a young person, I was committed and committed myself to say, I'm going to go to college, I'm going to do any and everything I can to bring resources to the community, bring healing to the community, as well as restoration. So in that process of those policies, I believe that's really key to what started the displacement and the gentrification - because of those poor policies that were just really targeting a community that I believe was vulnerable at the time. And so being - having the privilege to stay in my community, I have not been pushed outside of Seattle - doing all that I can to ensure that me and my children can stay in place with regard to the taxes and things. I have really seen and built relationships with the new faces in community - so through my, as a PTSA president at my children's elementary school as well as my kids' school currently, really seeing the families that are coming in, having the opportunity to learn some of the issues that they care about. But in addition to that, along the way - again, since as a youth - been advocating for community building and development and making sure that folks can stay in place. So fighting for or advocating that taxes can be reduced for low-income communities - a Black community's average income in Seattle is around $50,000, probably a little bit less. How can one - how can anyone - survive and live in Seattle with the rents and the cost of living? It's impossible. And so our elders and our seniors are just holding on. But I will say - going to Olympia, really, with King County Equity Now and other organizations in our ecosystem - really holding the Washington Finance and Housing Commission accountable to ensure that our dollars were coming back to community so that we can get the developments like the Africatown Plaza, Ethiopian Village, Elizabeth Thomas Homes, Petah Village - these are all community investments that are in the 37th. And so to be on the frontline doing that work is what we have to do, is what I do. This is a people's campaign, this is about people-powered policy. And I have found along the way, although I have a Master's in Public Administration - seen on the professional side of the academic side of how to move policy - I have found the most meaningful policy has always come from community voice and community's power. [00:06:09] Crystal Fincher: I would agree with that. And you talk a lot about the need to make sure people can afford to stay in there. You just talked about the average income of Black families being around $50,000, which is half - less than half now - of what the median income is in the entire City of Seattle. So there is a huge gap, with historical reasons behind that, and that absolutely needs to be addressed. When it does come to housing and just the ability for people to continue to live where they've been living, to stay in the housing that they currently have, to age in place - what are the most impactful things you can do to help to keep housing affordable? [00:06:52] Emijah Smith: Again, it's - there's a few things. I currently sit on state-level housing justice coalitions and Housing Trust Fund coalition - really speaking to those policy teams in Olympia designated by the governor to look at housing, really speaking - so this is a statewide collective, but we speak directly to the barriers that are at hand. We speak to the historical racial injustice and marginalization as well as policy that has created such barriers and marginalization. We bring the real lived experience of folks of - this is the barrier to even applying for housing, these are the reasons people are denied housing. But your system, through the Department of Commerce, also has these barriers because it's set up for organizations that oftentimes don't look like the most marginalized to get the funding because they've had the decades of opportunities to build the capital or had the experience. And right now, in order to develop housing from communities that are marginalized, they have to - in order to apply, you have needed to have already built some housing. Well, how does one do that if the resources are barred, or I won't say that they're scarce, but they're limited. So we're trying to talk to the Department of Commerce and really advocating there - those are the things that I'm doing. Also looking at taxes, right? Too many seniors have reached out - just trying to stay in place, they're on limited incomes - either retirement, social security - and they just cannot afford the taxes that keep going up in prime areas, particularly like the Central District. But I would love to say that all of the Seattle proper, the taxes keep rising because property values keep rising. I'm even speaking with families who are new, who are the new faces who've come in and bought a home and they're like - they're concerned if they can even keep the current home that they've had maybe for the past five years because the taxes just keep rising. And when taxes rise and you're a property owner, of course you're going to pass that on - most do - to the renters. So property taxes are definitely to be in place, we need to look at incomes - provide a level of income of how much your property taxes need to be, some things need to be exempt - particularly for our seniors. The cost of living is already so high - people are having to choose between prescriptions, food, or rent, or mortgage, or paying those huge taxes. So those are the things that I'm looking into. My value is that everyone should have a home. No one should be unhoused. And I know people are making choices due to other reasons to choose if they should be housed or not. But nevertheless, housing should be available. I'm heartbroken to even share, but just two weeks ago I came across a family - a mother, two children, 4 and 10, living in tents just - not too far, maybe a couple miles from my home - and not for me seeing the child being rejected to going to the bathroom maybe to wash up. I was like, Can I speak to your mom? The mom was willing to share the story and I immediately reached out to some people I know who professionally work sheltering families and luckily they answered the phone, then they called someone else and that person answered the phone, and we were able to get the family into at least some emergency shelter. But I'm telling you, a 4-year old and a 10-year old out in the woods in tents - that is unexcusable and that was in the 37th. And I'm willing to do any and everything that I can to ensure that that's not happening to anyone else. But the reality is I know that it is. [00:10:41] Crystal Fincher: Yeah, and there are a lot - there are a lot of things that need to be done to address this issue. Legislatively, in your capacity as a legislator, certainly legislation that is in process that could potentially help a lot of other things that are needed. I guess one of the things that will be coming up in this upcoming session, should you be elected, is the missing middle housing bill, sponsored by Representative Jessica Bateman, to address the shortage of housing supply which experts say is a necessary component of addressing this, not necessarily the only component, but one of the necessary components. Do you support that missing middle housing bill? [00:11:20] Emijah Smith: I do support missing middle housing. I also support some level of rent control. We have to create a pause - again, I'm meeting single people who are afraid of - what can I do? So yeah, I do support that. I think that those things are happening. I've also talked to families just in general throughout my years of engaging in community - where there's low-income housing - there's not enough low-income housing, first and foremost, so people can even apply for that. But there's a lot of low-income working class families in the 37th who need to stay in place. Then there's also affordable housing and if you need to make $80,000 or more just to try to get into that one-bedroom, things are impossible. So middle housing is definitely needed. Whenever I look at legislation, I have to look at the racial equity impact of that legislation. I don't like to jump on anything without understanding the unintentional harm, 'cause we don't want to create more inequities. We don't want to increase the disproportionality on anyone. So that - one thing about me as a leader, as a legislator, in that role representing community will definitely be looking at the fuller impacts, not just quick looks, let's just move and make a quick decision. 'Cause what we don't want to do is invest a lot of time and a lot of money and still causing more harm in community. [00:12:41] Crystal Fincher: And then in terms of addressing housing, we need to get people sheltered - first and foremost - no matter what people are dealing with. I think you have expressed several times that people do deserve housing, period - even if they're dealing with an addiction, dealing with behavioral health issues. Not only do they deserve that, but that's helpful in stabilizing or getting to the point where they can stabilize the issues that they're dealing with. We do have challenges with availability of services to help people - whether it's behavioral health services, substance use disorder treatment - we do wait for people to fall through all the cracks and maybe even become involved in the criminal legal system before they have access to any kind of intervention and then it's much harder to address that problem by that time. How do you plan to address the availability of those services? [00:13:39] Emijah Smith: Wraparound services are definitely necessary. I have family members with behavioral health issues and recovering from addiction. And what I have found to be successful is that people can have stable housing, have stability at least for a year, have something stable to be able to address some of the other issues. I've spoken with firefighters who are concerned that they're going to the housing that is being developed for folks with the multiple issues that have disability, mental illness, whatever - there's different issues - but they're being called for something that's not oftentimes a fire or a heart attack or a health issue, and so there's these reservations. Clearly it's showing that we need more investments - we need more investments in our mental health across the board. And we definitely need more wraparound services for those who need it. And I also would include those who are re-entering from the carceral system - they're given $40 of gate money. If they are not - have a strong support family or community network that could provide housing, oftentimes those folks are really right out in the streets and they're unhoused - and that doesn't support success, that supports recidivism. So the things that I'm looking at is how do we increase vouchers for those who are coming out - it was increased from 3 months to 6 months - but I am a believer in a year's time for stability because I've seen firsthand what it did for family members and community members to stay stable and in place. I also think about our children. When COVID first happened, there was a lot of children who were even in these tiny homes - they might be sheltered, but how can one learn in such a small space in our weather? So as you know, that just really touches my heart. So we have to utilize the revenue, we have to address our backwards and broken tax system to create the dollars and bring them there. I love Washington State - I'm not someone who wants to leave and go to another state and live. It is vibrant here and I want to do everything I can do to invest - not only in Washington, but in the 37th - we have the revenue, we have the marijuana dollars. So I was advocate last session that provided that $400 million to come to our communities, to go to organizations that can also continue to keep investing in community. So we have the revenue, we have a broken tax system that if corrected, or repaired or fixed - whatever you want to use - we can make some serious change. And if we center that revenue on our basic needs - housing, healthcare, education - our families can be healthy, our communities can be healthy. So that's my mindset. These are some complex issues because of who holds the purse strings, but also who's in place to make those decisions. But my value is where I share with you before - everybody deserves housing, healthcare, education, and I do any and everything I can do to champion and support to ensure that happens. We also have to look at the policy language, though - that becomes the issue. These big values and these big systems - who's going to disagree? No one would disagree. But oftentimes our institutions are working in silos instead of working together. So a quick decision can come from housing, but you didn't look into Department of Corrections to see - can that really work. And so again, there's unintentional harms that are created and then we have to go back and it takes a long time to keep going back. So we have to be better at talking with each other and looking at the language that's going to make sense for our state and for those people who are most marginalized. And the way that you do that - to save us some time and save us some money - is you talk to the people with that lived experience, 'cause those who are closest to the problems are the best ones with the solutions. [00:17:30] Crystal Fincher: Absolutely agree - and that feels relevant to some of the challenges that our legislature is having in terms of passing legislation, but sometimes not quite landing the implementation of that legislation in a way that can delay funds getting to the people who it was designed to help, the building of infrastructure to deliver that - where certainly good intentions were there and the policy itself may be sound, but the actual implementation - the how do we deliver this help to the people - has some missing elements that make some complications. How do you think your experience can help address that issue? [00:18:12] Emijah Smith: I'm a - not to be a pause - to me, the first step is always making space and allowing space for people to be at the table, co-designing with community. I do agree with implementation 'cause once the law is happened and it's going to be sent down to the next group to try to figure that out. We should be having conversation to whoever's going to be sent down to. I think about some of the housing projects that are in the 37th and when they started to change - think it was HOPE VI or HOPE IV - and that started to change. The things that weren't considered at the time is like credit history - when you push people out of where they're staying right now, where are they actually supposed to go? There was housing vouchers that were provided, but the new system of how the people will get the housing wasn't taken into account - first and last month deposit. If you have those type of conversations from start to finish, where can we - that's implementation - so what are some of the the barriers or some of the the snags that we can work out along the process? We would've saved ourselves some hardship, and I think that although with the best of intentions of creating and designing these spaces and building community, we also created a lot of unhoused people. We also pushed people into the carceral system because we weren't talking with each other. So the way that happens and another example, I believe, is the LFOs - these are called legal financial obligations. There was a lot of advocacy on the state level to ensure that those who were coming out - the big fines - to reduce some of the interest there. Because if someone still has interest and their legal financial obligations were not complete, they could still almost be put right back into jail - and not almost - some people can go back and be jailed for not making payment. Well, how can you make payment if you're just trying to enter? You already can't - might be limited on the job that you can receive, the housing you can receive, you can't even get stable because of that. The implementation once the law changed was that you have to understand how to ask for that when you were being sentenced. And a lot of people did not know - that's part of the implementation. It has to be addressed at sentencing, not after the fact. 'Cause if you try to appeal it, then you can be denied of those legal obligations being removed. Legal obligation interest has somewhat, has been changed - it's being improved as we're moving along, but what does that look like for the people on the ground - that's a whole 'nother story. So that's - those are the examples that I want to share around implementation. I also think about implementation for our education dollars. There might be some dollars that were sent out to some districts, but if that money is not specified to that department and really restricted to say - family engagement - then the district can use it any way it likes. So the language in the bill has to be very clear and legislators who are representing their communities have to really fight for that language versus families like me - in Seattle Public Schools, we were fighting for family engagement dollars, but the district had put it into other places where there was a priority and a need, but there was a miscommunication, clearly, or implementation issue because we're saying, You have this money you can invest here - where they're like, Well, actually it wasn't restricted - we were able to do what we wanted to do with it. [00:21:29] Crystal Fincher: That makes a lot of sense. And you also bring up a good point about the district and public schools, which certainly have their own issues, but the State - the Legislature - plays a big role in how education is ultimately delivered because they're funding it. And even though there are some issues with how that funding is allocated, part of the problem is that there is too little funding - and so choices are being forced in some situations that shouldn't be choices at all. And usually it's the kids with the least, the kids in areas where they don't have parents with a lot of generational wealth and excess income that are donating to their kids' schools, and education can look a lot different in different areas of the district and even things like turnover of teachers and administrators is unequal in different parts of the district. And especially in the 37th, those schools are paying for it. In your capacity as a legislator, if you're elected, what can you do to increase funding for schools? And where is that in terms of a priority for you? [00:22:43] Emijah Smith: Oh, it's a top priority. It's a top priority. It's top three, top four priority. Education has always been a huge issue - because when I was that teenager in school watching my community, the devastation from that failed War on Drugs - when I committed myself to advocacy, I committed myself to making sure that people had an opportunity in education because I believe that education is an opportunity to change your circumstances. But I also understood that education - the system that I saw - can also track you into the prison pipeline. So I did everything that I could to educate myself about the education system - so as an undergrad, as well as getting my master's in Public Administration. I studied Seattle Public Schools - how money funnels down, what those disparities look like for the new teachers versus senior teachers, what the budget looks like, how budgets are created. And really engaged myself in Seattle Public Schools, to be honest, as a parent, because it became really apparent once I had my own children what it looks like to navigate that and what money followed your child. If your child is special education, then there's certain dollars that come from the federal government that's supposed to provide you more resources, but actually it goes into a fuller budget of a school's budget, as well as a district's budget. So when I think about those things, I think about central offices that tend to carry a larger portion of the budget. How can we try to balance that out? How do we support our teachers to make sure that they're properly trained and well-equipped and want to be in "Title I" schools, which tend to be in the 37th, because those are schools that tend to have higher free reduced lunch. With the population changing, less schools are Title I, but nevertheless you still see this pattern of teachers coming in and leaving and then going back maybe to a North Seattle school, a school that seems to have less diversity, maybe learning styles, what have you. And that's an issue - and to me, I look back at the systems - that is a design system, and we have to work to see how we can make things more equitable. And the PTA right now are looking at how they can share funds, right? My PTA Mercer - I'm the president of the Mercer PTSA - and we're sitting there, we're talking about what schools - do we want to apply to join with these schools to put on certain events and then they split the money. So that those schools who have less revenue with regard to PTSA can have more of an opportunity to support the families that are there. So I first wanted to say that - from a parent perspective, I've been advocating on the special education taskforce at Seattle Public Schools, which helped bring the recommendations forward - what they're negotiating with the SEA in Seattle Public Schools. I've been on the OSPI, which is a state-level education department around bringing in ethnic studies for our students. I'm a strong proponent with regard to apprenticeship opportunities for those families who may not want to jump right into college, can't afford college but want to invest in having livable wage employment for their student. Education is a serious issue. In every way that I can be involved, I am. I also was a catalyst for the current strategic plan at Seattle Public Schools to really look at equity, ensuring that our students furthest from opportunity are being supported. Also with the McCleary Act - to make sure we're fully funding our education - we have a long ways to go and particularly the gap is with special education students and services. So I'm a strong proponent there. I think if we can properly fund our schools, we won't have the same disproportionality that's going on with retaining teachers and retaining good administrators and staff and making sure our children are doing well. A big issue that comes up on the state level, like you said, is the general fund. If you take money here, where you're going to get it from? 'Cause it might come away from our mental health services, it may come away from our health services, it may be something you want to look at for food - and hungry kids can't learn. If kids aren't getting the services, they can't learn. So we as leaders in the state capital - and I say we, because families are leaders and our voice is strong and because of our voice, we have made some meaningful changes. I particularly think about the pre-K and getting working more access to childcare - that has come from really fierce families that say, We need this, we have a ways to go, but we're making progress. Community has to continue to keep advocating for the needs and say, Don't take away our healthcare, don't take away our nurses in school, don't take away our counselors. COVID has allowed this to be a much bigger issue across racial backgrounds, I would say. Before someone might think of it, Oh, it's just more marginalized communities. No, it's all of us, it's all the families. And I love that my leadership and my advocacy has such a strong background of diverse bodies - from, I would say, from white families to Asian American families, Black families, you name it. What I love about my leadership though, is I'm going to make sure we're going to bring forward that Black and Indigenous nuance that oftentimes is ignored and neglected. But from immigrant, refugee, English language learners - I'm an advocate for all of us, not just for my job, but for all of our children, because it's our children who are our future now. 'Cause me - that high schooler whose passion and commitment has me here today. So there's a lot more stories, there's a lot more I can say - it is a complex issue, but at the end of the day, we must fund and invest strongly in our public education to ensure that our children have an opportunity and have a chance to thrive. [00:28:47] Crystal Fincher: I'm also looking at - we have the conversation about climate change. It really is a conversation about equity injustice, because no matter what element we're talking about, it is BIPOC communities, low-income communities, those who are most marginalized, who are experiencing most of the impacts right now and will continue to be without intervention. And this is - we're seeing this happen right now - it's not something to come. These are consequences that are happening right now, whether it's exposure to extreme heat or cold, whether it's exposure to pollution and particulates that contribute to asthma and heart disease and lung disease. We have life expectancies that are years shorter in some areas of the city - some of those in the 37th Legislative District - than there are in other areas of the city. So reducing pollution, greenhouse gas emissions are critical to everyone, but in particular BIPOC communities being able to thrive and live a healthy and productive life. How do you plan to address greenhouse gas emissions, climate change, and pollution? [00:30:05] Emijah Smith: Definitely a supporter and value climate change and environmental justice. I truly understand that it's really steeped and centered around - it's a racial justice issue. It's been an issue and we've had guidance - I feel like, from forever - from our Indigenous brothers and sisters and community members around this issue telling us and warning us about the importance of what's going to happen in our lives if we do not take care of the land. So I just want to first give honor and recognition there. I, myself, and my children - I was diagnosed with asthma at the age of two months. I live - what I designate as South Seattle - if you're not, if you haven't been here a long time, it's really - it's not quite Rainier Beach, it's a little bit past Franklin High School. Just really aware of the air quality here. The soil quality is poor. Today the smoke is ridiculous - I just think something's burning wherever we are. I'm needing to have to stay inside and keep the door closed, and still the air quality is an issue. I'm a neighbor and a community member that's fighting to keep our trees - Beacon Hill - the more that we build, because density, keeping housing and keeping people in place is important. But if it's at a cost of tearing down the trees which are helping a habitat, which is helping clean our air - that's an issue. Senator Saldaña, who's a sole endorser for me, is leading on the HEAL Act. I would support that. There's legislators out there doing that, there's organizations - I've been endorsed by SAGE Leaders also, I take leadership from Got Green, South Seattle Climate Advocates - they have a network - really listening to those who've been really leading this charge. But I will say that I'm not one to get in the way. I do see that a lot of things that are coming up oftentimes are saying, Fine, fine, fine the big companies that are causing a lot of the pollution and the problems. But we have to be thoughtful about some of the other ways because the more that they make the money and pay the fine and keep doing the thing, it doesn't stop the harm that's being caused. Most of the issues are complex because we talk about 'em as issues and oftentimes we don't talk about 'em as a racial justice issue. We don't talk about it from a place of normalized anti-Blackness or the steeped racism of how this country was even started. We don't talk about that sometimes, we kind of leave it to the side - so we have to be willing to talk about the issue, be willing to fund the issue, be willing to bring in more green jobs because we're doing a lot of repair. So we need to do the repair of these issues, but at the same time, we need to be creating policies and implementation in a way that is equitable, that is going to change the dynamic that's happening in this country. So for me, this stuff is strongly intersected, but yeah, I'm not one that's going to be in the way. I'm here to support the crew for the cruise ships, the airplanes - there's a lot of issues that have been targeted in the 37th, and why? Because it's been historically a traditional place where people have been pushed to go there because they - we've been othered. 'Cause before it was Black folks, there was Jewish folks here. But people who were being pushed here were othered. And othered meant you had less value, so then you can come here too. Oh, you're an immigrant, you're a refugee - we're going to push you over here into these housing projects. Instead of looking at - this is a great place to be. I love the diversity, the power, the vibrancy of it all, but it comes with a lot of detriment that we have to constantly keep fighting. And for some reason they want to just keep neglecting and ignoring what the community is calling for. And really, we're calling for health. We're calling for - we want our communities healthy, we want our families healthy, we want to be safe. So I'm just sharing with you my values around it. I'm sharing with you that there's work. I'm in the community petitioning with my neighbors now to sign something to say, Let's not - if you're going to build this 5-story, market rate building over here in our community, why would you do it in the 37th anyways? Doesn't seem equitable. But if you're going to do it, don't cut down our trees. If you're going to do it, let's make sure we're implementing something here to make sure our streets are safe. Engage with us, understand that we're powerful, understand that we are deserving - and we don't have to beg you to be deserving, but we need to - but the way this is set up, you make us force and demand for you to pay attention. So I'm locking arms with Puget Sound Sage, I'm locking arms with the other environmental justice organizations that also center racial justice in these issues, and utilizing the power of my vote and the leadership representing the 37th District to move us forward. [00:34:52] Crystal Fincher: Now as we wrap up today, there are a lot of people who are struggling to make a decision in this race, who are looking at you and your opponent and saying, Okay, what are the differences? Why should I make the choice for one over the other? What is your message to those voters as they're trying to decide who they should vote for in who's going to represent them in the 37th? [00:35:21] Emijah Smith: I would say to the voters that there is a clear distinction. There's a distinction of a people's campaign versus a status quo campaign. I've been engaged, vetted, incredible in the 37th. I've been here my whole life and I'm currently demonstrating the work that it takes to do legislative advocacy - not only do I lock arms and go to Olympia with families and community members, I also provide the training to help families and community members understand the process there - how a bill becomes a law, how do you effectively talk with your legislators? Like I'm arming, we're gearing each other up. I'm also a parent and a grandparent who's lived the lives of our community, who understands sacrifices that are being made to make sure our community's thriving. To me, that's what's really clear - I'm here at a campaign to really transform status quo. The 37th, across all the backgrounds - our community has said we don't want status quo. So I'm here to represent not status quo. My campaign is based on people-powered policy. It's to have a bridge to make sure that those who feel voiceless have a voice, for those who want true representation of our lived experience understand that that is myself. So I can provide you with the education, the demonstrated experience - but I also have the relationship that's important across our bases. So that's what I would share. I would also want to share with y'all that I have sole endorsements from current 37th leaders - our Senator Rebecca Saldaña, King County Councilmember Girmay Zahilay, our City Councilmember Tammy Morales. Kim-Khánh Van, who's a Renton City Councilmember, 'cause the 37th does have a sliver of Renton. I have sole endorsements - One America Votes, the Washington State Labor Council, Pro-Choice Washington. These are coming because of the work that has been demonstrated by me, because of the consistency, because of the commitment around us as community. And you can check out my website at ElectEmijah.com to see more of the leaders and endorsers that I have. I do want to also add the Honorable Larry Gossett - he's a sole endorser. And I have others - Dr. Ben Danielson. There are others, but I just wanted to share that people are putting their name behind me because they see the work that's done and they understand that status quo has to change in order for us to really advance to a place where we're really tapping in and seeing the humanity for each other and really caring about each other and caring about our community. It'll be an honor to have your vote - thank you. [00:38:17] Crystal Fincher: Thank you - we will include the link to your website for people who want to learn more information in the episode notes. And thank you so much for taking the time to speak with us today. [00:38:28] Emijah Smith: Thank you - it was an honor, again, for the invitation. Thank you and have a wonderful day. [00:38:32] Crystal Fincher: Thank you all for listening to Hacks & Wonks. The producer of Hacks & Wonks is Lisl Stadler. Our assistant producer is Shannon Cheng, and our Post-Production Assistant is Bryce Cannatelli. You can find Hacks & Wonks on Twitter @HacksWonks, and you can follow me @finchfrii, spelled F-I-N-C-H-F-R-I-I. You can catch Hacks & Wonks on iTunes, Spotify, or wherever else you get your podcasts - just type "Hacks and Wonks" into the search bar. Be sure to subscribe to get our Friday almost-live shows and our midweek show delivered right to your podcast feed. If you like us, leave us a review wherever you listen. You can also get a full transcript of this episode and links to the resources referenced in the show at officialhacksandwonks.com and in the episode notes. Thanks for tuning in - talk to you next time.

JOHN PARK'S WORKSHOP LIVE 9/1/22 CircuitPython LFO @adafruit @johnedgarpark #adafruit Low Frequency Oscillators for everyone! Visit the Adafruit shop online - http://www.adafruit.com ----------------------------------------- LIVE CHAT IS HERE! http://adafru.it/discord Adafruit on Instagram: https://www.instagram.com/adafruit Subscribe to Adafruit on YouTube: http://adafru.it/subscribe New tutorials on the Adafruit Learning System: http://learn.adafruit.com/ -----------------------------------------

Modular-Systeme können eine schwierige Sache sein. Aber Mirko Ruta kreiert damit nicht nur tolle Sounds, sondern fesselnde Songs. Diese Serie ist ein MakingOf zu einem Song und wir reden über Module. In dieser Folge geht es um ADSR Hüllkurven und LFOs. Mirko Ruta: www.ruta-sound.com   Auf youtube ansehen: https://youtu.be/_1ELXGfiPdw   Fragen und Anregungen an sounthcast@sounth.de Website Tim Heinrich: https://sounth.de Newsletter abonnieren: http://eepurl.com/dJaBMD Spotify: https://open.spotify.com/show/5VSIxSdavASHfETN64Ow8I Facebook-Gruppe: https://www.facebook.com/groups/309751689699537/ Wenn ich Dir helfen konnte, freue ich mich über einen virtuellen Kaffee ;-) https://ko-fi.com/timheinrich

PLEASE LEAVE ME A REVIEW on THIS PODCAST!! 5 STARS BABY!!!I just setup an email to contact me on the Podcast!! - emlyninthemix@gmail.comP.S I love youGive me a follow on Spotify - dropping music monthlyhttps://open.spotify.com/artist/09EVg...

Live with TQ4 the creator of the TQ-404 online synthesizer : Jamming on the TQ404: the world's first peer to peer analog synthesizer with TQ4 on electronic guitar

Sonic adventures w tq404 new synthesisizer.. On this episode man tries out TQ4's New synthesizer ! Electronic jam w new software that he wrote with a three-way jam session using this new software, it's all in real time and embedded in the browser known as the Trance Quazar 404 reminiscent of Moog using LFOs, music for sci fi films and video games

What is a synthesizer? What do all those knobs to? On today's episode we help you understand the fundamental components from oscillators, filters, envelopes, LFOs, to the great beyond! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/producercast/message Support this podcast: https://anchor.fm/producercast/support

Get started with synthesisers and join Al as he explores the world of oscillators, ADSR envelopes, filters, LFOs & arpeggiators.

The piece of music in this week's episode is called Spirit Of Java. It’s a slow and grooving psybient piece which is suitable for depictions of psychedelia and Burning Man scenarios. It uses a combination of flute sounds, a trap-influenced electronic beat and epic percussion instruments to convey a sense of both spectacle and spiritualism. Let’s break it down and explore the sound of jungle hedonism.IN THIS EPISODEI wrote Spirit Of Java as a way of channeling a few seemingly separate influences. On the one hand, I wanted to explore the power of woodwind instruments in conveying spiritualism. By using a trap-influenced beat, I offer a modernized take on the well-established “psybient” (psy + ambient) genre. Also included are clearly recognizable tropes from the genre such as gamelan bells, jungle ambiance, reversed samples, drone layers and a comfortably slow tempo. How does it convey spiritualism?02:38 Instrument: Flutes Flute sounds have long been musical bedfellows with depictions of spiritualism. The Hindu god Krishna is often depicted with a flute. In storytelling, exotic flute sounds are a type of regional riff, instantly placing the listener in a certain part of the world, especially in Native American, Indian or Asian mysticism. I used two flutes, one a software instrument and another one which was a gift my wife brought back from Bali. It looks beautiful but is probably more of an ornament than an instrument. Some pitch correction was required!04:17 Instrument: Drone stringsThe sitar emulation in this song plucks along to a simple harmonium drone accompaniment. In soundtrack music, making drone sounds using string instruments is a quick and common way to convey Eastern mysticism. I layered these two uniquely Indian instruments with some good old open-string acoustic guitar parts to accentuate the drone effect. 05:52 Instrument: Hare Krishna cymbals and percussionThe devotional music of Hare Krishna is quite easily recognizable. Group singing is accompanied by finger cymbals. I used finger cymbal sounds along with a shaker and a tambourine to articulate the “Hare Krishna rhythm”. There’s also a cavernous gong sound every so often, the type you’d hear in temple. Finally, spiritual sounds are associated with the use of big percussion sounds like the epic floor tom drum rolls.This piece was born out of a certain patch on my Korg RW-05 outboard synth module. It sounds like a gamelan bell. I used it with a simple straight rhythm to anchor the rest of the piece. 08:14 Method: Meditative, repetitive tempo This piece of music is an 8-bar cycle that repeats without introducing any new harmonic progression. In other words, it simply cycles around without introducing much forward motion, the same way that much liturgical music does. The tempo of the piece is synchronized with the tempo of sustainably slow breathing. Pace and repetition convey a sense of meditation. How does it convey outdoor festival psychedelia?09:15 For the sake of modernizing the piece, I opted to use a trap-influenced beat instead of the standard four-to-the-floor kick drum pattern used by much electronic music. The key was to exercise the right amount of restraint in the hi-hat rushes because they’re so fun!09:54 The title of the track references a jungle island. Besides the exotic choice of instrumentation, a few tricks went into creating the sense of being outdoors. One of the synthesizer parts resembles the sound of a flying insect. There’s also an occasional sound effect that resembles the sound of a condor.10:46 Psybient music often uses LFOs to create a ‘wah-wah’ effect that’s in time with the beat. In this piece, I’ve applied an LFO to the guitar droneDOWNLOAD & USE THIS MUSIC * Download ‘Spirit Of Java’ by John Bartmann https://gum.co/pWhGQ * Search for more music by John Bartmann https://johnbartmann.com/musicSHOW NOTES * The Magical Native American trope https://tvtropes.org/pmwiki/pmwiki.php/Main/MagicalNativeAmerican * The flute as a Regional Riff https://tvtropes.org/pmwiki/pmwiki.php/Main/RegionalRiffSOUNDS & DEVICES USED * Native Instruments Kontakt 4 Persian Ney flute * Alan Vista Chau Gongs * Heavyocity Evolve * acoustic guitar, bamboo fluteSUBSCRIBE Spotify Apple Podcasts YouTube RSS Stitcher TuneIn Home MY BANDS! Pravda https://pravdaofficial.com Pebble Shakers https://pebbleshakers.co.za CONTACT https://twitter.com/johnisthemusic https://johnbartmann.com/contact ABOUT THIS SHOWHow I Make Music is where behind-the-scenes musicians tell their own stories. Every Wednesday, we break apart a song, soundtrack or composition and investigate the insights into how it was made.Host an episode of this podcast https://bit.ly/howyoumakemusic

Low-frequency oscillation A low-frequency oscillator (LFO) generates an electronic signal, usually below 20 Hz. LFO signals create a periodic control signal or sweep, often used in vibrato, tremolo and other effects. In certain genres of electronic music, the LFO signal can control the cutoff frequency of a VCF to make a rhythmic wah-wah sound, or the signature dubstep wobble bass. #low-frequencyoscillator #lfo Envelope Main article: Envelope (music) Schematic of ADSR Envelopes control how sounds change over time. They may control parameters such as amplitude (volume), filters (frequencies), or pitch. The most common envelope is the ADSR (attack, decay, sustain, release) envelope:[7] Attack time is the time taken for initial run-up of level from nil to peak, beginning when the note is triggered. Decay time is the time taken for the subsequent run down from the attack level to the designated sustain level. Sustain level is the level during the main sequence of the sound's duration, until the key is released. Release time is the time taken for the level to decay from the sustain level to zero after the key is released. LFO #Synthesizers generate sound through various analogue and digital techniques. Early synthesizers were analog hardware based but many modern synthesizers use a combination of DSP software and hardware or else are purely software-based (see softsynth). Digital synthesizers often emulate classic analog designs. Sound is controllable by the operator by means of circuits or virtual stages that may include: Oscillators typically produce waveforms (such as sawtooth, sine, or pulse waves) with different timbres.[7] #Lowfrequencyoscillators (LFOs) produce waveforms used to modulate parameters, such as the pitch of oscillators (producing vibrato).[7] Voltage-controlled filter (VCFs) – "shape" the sound generated by the oscillators in the frequency domain, often under the control of an envelope or LFO. These are essential to subtractive synthesis. Envelope generators – provide envelope modulation to "shape" the volume or harmonic content of the produced note in the time domain with the principal parameters being attack, decay, sustain and release. These are used in most forms of synthesis. ADSR control is provided by envelope generators. Voltage-controlled amplifiers (VCAs) control the volume or gain of the audio signal. VCAs can be modulated by other components, such as LFOs and envelopes.[7] After the signal generated by one (or a mix of more) VCOs has been modified by filters and LFOs, and its waveform has been shaped (contoured) by an ADSR envelope generator, it then passes on to one or more voltage-controlled amplifiers (VCAs). A VCA is a preamp that boosts (amplifies) the electronic signal before passing it on to an external or built-in power amplifier, as well as a means to control its amplitude (volume) using an attenuator. The gain of the VCA is affected by a control voltage (CV), coming from an envelope generator, an LFO, the keyboard or some other source.[51] Filter weki --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/vegansteven/message

The soundtrack in this week's episode is called Mad Heights. It’s a fast-tempo, hyperactive and energetic podcast theme with an eclectic sound palette, including violin, LFOs and beats. It was originally written as an experiment in unusual audio production techniques. The instrumentation includes a multi-tracked violin, piano stabs (played on drum pads), voice, guitar and a bunch of other stuff. The track is suitable for mood-lifting moments and depictions of cheerful insanity, partying, offbeat games, and all sorts of hyperactive comedy. IN THIS EPISODE * Automation can be either drawn in as a straight line, or contain a human touch. The more human, the more organic (and slower) the process is because you actually have to listen back while ‘playing’ your controller. Before computers, this was the only way. * To convey hyperactivity or even nervous anticipation, I aimed for a jerky, twitchy sound throughout the piece. To achieve this, I used quick muting of the bass and glitch tracks, and also converted the piano chords from MIDI to audio, and played them on a drum pads as if they were drums. Violin pizzicato also helped. * Opening up a highpass filter always raises the energy. It has the same effect of opening a door to walk into a noisy, energetic room. * Piano is first played as normal, then chopped into parts and played as rhythmically as a set of drums. This is a breakbeat take on jazz piano! * Violin is multi-tracked with three distinct articulations: arco, tremelo and pizzicato. I wanted to express all the different sounds of the violin in one crazy track. Software strings layer some of the more important parts to thicken them up. * Some of my music starts with the guitar, but this track was an example of adding the guitar later to reinforce the rhythm. Acoustic guitar is a great rhythm instrument, allowing you to do anything from muted stabs or flowy strumming. * Layered a two part vocal harmony during the track break. I was having fun and wanted to go all the way with the cheerful tone of the track. * The sawtooth bass synth and basic glitchy beat in this track are simple, repetitive and solid. There was already so much going on that anything else would have been overkill. At the end of each 16-bar passage, they join synchronize and join forces to fill the gap left by the other instruments - a small moment to shine! The whole track is two chords, but a special two chords: C major to A7. This is a jazz progression which has been used countless times in standards like Ain’t Misbehavin’ * The internet is attracted to the weird. Don’t hold back on your uniqueness!DOWNLOAD THIS TRACK * Download it https://gum.co/FBNPU * Use it https://johnbartmann.com/faq * Search my music https://johnbartmann.com/musicSOUNDS & DEVICES USED * Spitfire LABS - Strings Long * Juno VST (bass) * Acoustic guitar, violin, voiceSHOW NOTES * Circle of Fifths explained https://www.youtube.com/watch?v=d1aJ6HixSe0 * Lasse Gjertsen - Hyperactive https://youtu.be/v6A0VbwMXrA * The wacky Mad Heights music video for this track https://youtu.be/3_unE6Xan0E * Max For Live Ganz Graf visualizer patch https://maxforlive.com/library/device/1530/ganz-graf-mod-xABOUT THIS SHOW You’re listening to How I Make Music, a weekly podcast for the musically curious to go behind the scenes of composition for audio storytelling. Hey, I'm John Bartmann. I’m a composer from South Africa. My soundtracks, moods and themes have been used in podcasts, audio dramas, and also in commercial film, TV and radio. Every Wednesday, we break apart one of my own compositions and investigate the stories and insights into how it was made and its effect on listening ears. How I Make Music helps you better understand how to make, select and use music to create gripping storytelling.SUBSCRIBE Spotify Apple Podcasts YouTube RSS Stitcher TuneIn HomeMY BANDS! Pravda https://pravdaofficial.com + Pebble Shakers https://pebbleshakers.co.zaCONTACT https://twitter.com/johnisthemusic https://johnbartmann.com/contact

Today on Inland Journal and the Inland Journal podcast, a Spokane man has created a book based on his father’s letters home as a soldier fighting World War II in Europe. “When my father was drafted in the Army, he made a promise to his folks that he would write whenever he could and he kept his promise, based upon all these letters. This is just a smidgeon of what he wrote because this is just to his folks and the siblings that were still under roof there.”

The soundtrack in this week's episode is called Dungeon Of Fear. It’s a dark and brooding suspense track suitable for tension and brooding moments, like the ones you experience shortly before a horror ‘reveal’ or as the soundtrack to some underground torture cavern.In this episode: A bass drone represents plot stasis. The lack of harmonic progression mirrors the suspense in the narrative Make it easy by avoiding the temptation to tweak everything. Use default patches. Create a ‘reveal’ for your dusty skeleton moment PItch drops with the Doppler Effect works in horror and tension Purposefully de-syncing your LFOs to create more humanity Allow yourself to be surprised by your software tools Use glassy sounds above 10kHz for the ‘nails on a chalkboard’ effect SHOW NOTES * John Carpenter’s Halloween soundtrack: the original https://www.youtube.com/watch?v=pT4FY3NrhGg and the remake (with the LFOs disappointingly synced!) https://www.youtube.com/watch?v=gqVyois9mp4SOUNDS & DEVICES USED * Heavyocity Evolve “Gnarly Piano Gods” * Absynth 5 DOWNLOAD THIS TRACK Download https://gum.co/Cobmp. Download and use the track from this episode in your podcast, audio drama or (non-commercial) video. Quick-search all my soundtracks at https://johnbartmann.com/music.ABOUT THIS SHOW How I Make Music is a show for aspiring music producers, podcasters, audio drama creators and film-makers. Hey, I'm John Bartmann. I make music and offer my own perspective on how to make it. My original music has been used in film, TV, radio and online. Each week, I write, record and release a new soundtrack. In this podcast, I deconstruct these original soundtracks one by one, sharing the separate musical parts, decisions and stories behind how each complete tune was made.SUBSCRIBE Spotify Apple Podcasts RSS Stitcher TuneInCONTACT https://johnbartmann.com/contact

Patreon link! Also err I got my old Twitter back. It's at conelraduk. Go follow. This one is actually a bit on the spooky side, with some nice mournful parping trumpets and a midtempo groove (though there is also an upshift to enjoy into a bit of faster paced stuff). I've also got the hang a bit more of messing with LFOs etc on the synths for some nice juicy noises. Hope you like it. Thank you to everyone for listening, and remember, if you feel like two albums' worth of music per month is worth the price of one cup of coffee, please consider joining the conelrad Patreon here. You get higher-quality, sting/intro-free versions of the songs! And another free short track! There are other ways, including free ways, that you can help too — please see below! Bandcamp I have about six albums of music at conelrad.bandcamp.com. They're mostly shorter tracks, but these are the albums that inspired conelcast (because people told me that they listened to them while working)/ You can pay whatever you like for them. Some people have done this already (thank you so much). Free ways to support!!!!! If you know artists, coders, creatives or open-plan office workers of any kind who could be interested, do let them know about conelcast. Also, if you know of anywhere I could recommend the podcast — popular blogs/sites for artists and other creatives, for instance — do let me know. You can email me at conelrad@munchhouse.com or get me on Twitter at conelraduk. You can join the conelrad mailing list here. That's the best way to keep updated with conelcast and other conelrad projects. Rating on Apple Podcasts (even if you don't use your Apple device to listen) Launch Apple's Podcast app. Tap the Search tab. Enter the name of the podcast you want to rate or review. Tap the blue Search key at the bottom right. Tap the album art for the podcast. Tap the Reviews tab. Tap Write a Review at the bottom. 2. Tell as many people as you can about the show! Recommended it to friends–especially those who are artists, writers, coders or people who just need something to help them focus on what they're doing. I personally work in a large open-plan hotdesking office and listen to stuff like this all the time. Whether you do any of the above or not, thank you so much for listening. It's great that you'd trust me with your ears. (c) 2019 conelrad. To discuss reuse, derivatives, licensing or commissions please email conelrad@munchhouse.com.

=== PREVIEW === New chord progression Deep bass 6D-1X Pan Rack with LFOs on EQs 120 Bpm Update: Added lead instrument Update: Changed intro and added EQ to strings and bass Update: Adjusted ending (of the preview)

Whilst considered superior apartments in Sector 7, (they are generously sized for any spaceship in the Megafleet ), they have the one drawback of being next to the cargo deck... nowehere is really silent anymore, not even in space. All inside AUM (kymatica) on iPhone. Base is a Mixtikl patch generating very low frequency mechanical noise, some harmonics accentuated mixing original signal with 2 other busses one with hpf one with lpf- each of these 3 tracks has a different reverb size. Next is a field recording of a very noisy sloped travelator pitched down to 1/8th speed, with a very large reverb, these generate the vast booming sounds and strange occasional squeals and more mechanical hum. Next another field recording - this one of the inside of a refrigerator, pitched up a little, this is fed into adverb/AUFX space, these are the hissing gurgling noises, a smaller reverb space is used here. One final field recording, this one of an evacuation alarm test at a local shopping mall.... happens at 08.45 every Wednesday. I am happy when I get to catch this as I make a shortcut through the mall as it opens... sometimes recording as I go! Next up are two synths (Ripplemaker) auto generating two different speed buzzer/alarm sounds. The last field recording and two other synths have volume modulated by LFOs running at very low frequencies using a sample and hold waveform, to generate some sense of movement and space. 55 minute version link up soon Disquiet Junto Project 0383: Interstellar Ambience The Assignment: Record the sound of an apartment on a large interstellar ship. More on this 383rd weekly Disquiet Junto project — Interstellar Ambience / The Assignment: Record the sound of an apartment in a large interstellar ship — at: https://disquiet.com/0383/ More on the Disquiet Junto at: https://disquiet.com/junto/

Whilst considered superior apartments in Sector 7, (they are generously sized for any spaceship in the Megafleet ), they have the one drawback of being next to the cargo deck... nowehere is really silent anymore, not even in space. All inside AUM (kymatica) on iPhone. Base is a Mixtikl patch generating very low frequency mechanical noise, some harmonics accentuated mixing original signal with 2 other busses one with hpf one with lpf- each of these 3 tracks has a different reverb size. Next is a field recording of a very noisy sloped travelator pitched down to 1/8th speed, with a very large reverb, these generate the vast booming sounds and strange occasional squeals and more mechanical hum. Next another field recording - this one of the inside of a refrigerator, pitched up a little, this is fed into adverb/AUFX space, these are the hissing gurgling noises, a smaller reverb space is used here. One final field recording, this one of an evacuation alarm test at a local shopping mall.... happens at 08.45 every Wednesday. I am happy when I get to catch this as I make a shortcut through the mall as it opens... sometimes recording as I go! Next up are two synths (Ripplemaker) auto generating two different speed buzzer/alarm sounds. The last field recording and two other synths have volume modulated by LFOs running at very low frequencies using a sample and hold waveform, to generate some sense of movement and space. 55 minute version link up soon Disquiet Junto Project 0383: Interstellar Ambience The Assignment: Record the sound of an apartment on a large interstellar ship. More on this 383rd weekly Disquiet Junto project — Interstellar Ambience / The Assignment: Record the sound of an apartment in a large interstellar ship — at: https://disquiet.com/0383/ More on the Disquiet Junto at: https://disquiet.com/junto/

Whilst considered superior apartments in Sector 7, (they are generously sized for any spaceship in the Megafleet ), they have the one drawback of being next to the cargo deck... nowehere is really silent anymore, not even in space. All inside AUM (kymatica) on iPhone. Base is a Mixtikl patch generating very low frequency mechanical noise, some harmonics accentuated mixing original signal with 2 other busses one with hpf one with lpf- each of these 3 tracks has a different reverb size. Next is a field recording of a very noisy sloped travelator pitched down to 1/8th speed, with a very large reverb, these generate the vast booming sounds and strange occasional squeals and more mechanical hum. Next another field recording - this one of the inside of a refrigerator, pitched up a little, this is fed into adverb/AUFX space, these are the hissing gurgling noises, a smaller reverb space is used here. One final field recording, this one of an evacuation alarm test at a local shopping mall.... happens at 08.45 every Wednesday. I am happy when I get to catch this as I make a shortcut through the mall as it opens... sometimes recording as I go! Next up are two synths (Ripplemaker) auto generating two different speed buzzer/alarm sounds. The last field recording and two other synths have volume modulated by LFOs running at very low frequencies using a sample and hold waveform, to generate some sense of movement and space. 55 minute version link up soon Disquiet Junto Project 0383: Interstellar Ambience The Assignment: Record the sound of an apartment on a large interstellar ship. More on this 383rd weekly Disquiet Junto project — Interstellar Ambience / The Assignment: Record the sound of an apartment in a large interstellar ship — at: https://disquiet.com/0383/ More on the Disquiet Junto at: https://disquiet.com/junto/

To skip past our computer talk and get to the goods, skip to 10:19. Hit Anchor.fm/shuffleall to hear Derek's new podcast! Questions from the components! (stab: OBNE Dark Star Reverb) TC Electronic June-60 Chorus (stab: Bogner Uberschall) Vintage chorus based on the Roland Juno 60 Bypass switch, mono/stereo slider, and two buttons for modes Y-cable for stereo Mode 1: slow, warm chorus. Mode 2: Faster, more dynamic movement I + II: Dual chorus, slightly offset LFOs that give a slight Leslie effect Cool retro design w/ wood panels. Looks like the Juno 60 Pedal Genie Deep Space Devices - Golem - $169 Klon Centaur is back (stab: Wampler 30 Something) Bill Finnegan, creator of the Klon, is making new models again. About 8000 models were made between 1994 and 2000 originally. Original production run price was only $225, later went up to $329 The pedals are built by Bill and are the original Centaur, not the surface-mount KTR model He’s putting them on eBay starting at $100. 27 bids later, #3888 sold for over $2000 At the time of this note, #3952 is at $1358. What’s the hot take on this? Are we as guitarists over the Klon? --- Send in a voice message: https://anchor.fm/thetonecontrol/message

We explore synths, drum machines, samplers, LoFi music, studio monitors and so much more with the help of Mr. Paul Gaeta, an electronic music producer and manager at the Moog Factory in Asheville, NC. Paul explains how he came to work at Moog, and then tells us about his electronic music project, which utilizes a Juno 60 synth. He also tells us about his lofi project and the copyright problems that arise from sampling songs. We delve into Paul's musical writing process, and Joe explains chord theory by comparing chords to cookies. No matter what instrument you play, a synthesizer could be a great way to spur some creativity in your music. Paul talks about how to generally use synths - don't try to recreate a sound in your head (like a "saxophone" sound), but try to explore the sounds that you can pull out of the synth by way of filters, LFOs, oscillators, and different waveforms (saw tooth, square, triangle, etc). He explains the differences between mono synths and poly synths, between analogue and digital synths, and places to start if you want to get into synths but have no prior experience. From there we move into the world of drum machines and samplers. Paul tells us about different pieces of equipment and generally how to use them. The conversation gets into the music of Stranger Things (from the synth-oriented electronic band Survive) and Michael Jackson, the evolution of MTV and VH1, and GarageBand and the modern era of instant gratification. Check out some of Paul's projects: Paul Abdul (lofi beat stuff) https://paulabdul.bandcamp.com/album/promises-to-keep Panther God (synthy stuff) https://panthergod.bandcamp.com/album/golden-changes Xero God (rap project) https://xerogod.bandcamp.com/album/bandidos

We explore synths, drum machines, samplers, LoFi music, studio monitors and so much more with the help of Mr. Paul Gaeta, an electronic music producer and manager at the Moog Factory in Asheville, NC. Paul explains how he came to work at Moog, and then tells us about his electronic music project, which utilizes a Juno 60 synth. He also tells us about his lofi project and the copyright problems that arise from sampling songs. We delve into Paul's musical writing process, and Joe explains chord theory by comparing chords to cookies. No matter what instrument you play, a synthesizer could be a great way to spur some creativity in your music. Paul talks about how to generally use synths - don't try to recreate a sound in your head (like a "saxophone" sound), but try to explore the sounds that you can pull out of the synth by way of filters, LFOs, oscillators, and different waveforms (saw tooth, square, triangle, etc). He explains the differences between mono synths and poly synths, between analogue and digital synths, and places to start if you want to get into synths but have no prior experience. From there we move into the world of drum machines and samplers. Paul tells us about different pieces of equipment and generally how to use them. The conversation gets into the music of Stranger Things (from the synth-oriented electronic band Survive) and Michael Jackson, the evolution of MTV and VH1, and GarageBand and the modern era of instant gratification. Check out some of Paul's projects: Paul Abdul (lofi beat stuff) https://paulabdul.bandcamp.com/album/promises-to-keep Panther God (synthy stuff) https://panthergod.bandcamp.com/album/golden-changes Xero God (rap project) https://xerogod.bandcamp.com/album/bandidos

A semi generative limbo moment using sequencers and LFOs to modulate notes and parameters/effects etc. Disquiet Junto Project 0335: Alone Time Record conference-call hold music — a private limbo of your own making. Major thanks to Matt Pinto for having proposed this Junto project prompt. Step 1: Hold music is a ubiquitous fact of modern life. Ask yourself what hold music you’d like to hear while waiting for someone to pick up the other end of the line, or while waiting for a conference call to begin. Step 2: Record a short piece of hold music that satisfies the scenario you pondered in Step 1. Your finished track should be suitable for looping, since you never know how long you’re going to be on hold. Six More Important Steps When Your Track Is Done: Step 1: Include “disquiet0335” (no spaces or quotation marks) in the name of your track. Step 2: If your audio-hosting platform allows for tags, be sure to also include the project tag “disquiet0335” (no spaces or quotation marks). If you’re posting on SoundCloud in particular, this is essential to subsequent location of tracks for the creation a project playlist. Step 3: Upload your track. It is helpful but not essential that you use SoundCloud to host your track. Step 4: Please consider posting your track in the following discussion thread at llllllll.co: https://llllllll.co/t/disquiet-junto-project-0335-alone-time/ Step 5: Annotate your track with a brief explanation of your approach and process. Step 6: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants. Other Details: Deadline: This project’s deadline is 11:59pm (that is, just before midnight) wherever you are on Monday, June 4, 2018. This project was posted in the late afternoon, California time, on Thursday, May 31, 2018. Length: The length of your track is up to you. It should be suitable for looping, since you never know how long you’re going to be on hold. Title/Tag: When posting your track, please include “disquiet0335” in the title of the track, and where applicable (on SoundCloud, for example) as a tag. Upload: When participating in this project, post one finished track with the project tag, and be sure to include a description of your process in planning, composing, and recording it. This description is an essential element of the communicative process inherent in the Disquiet Junto. Photos, video, and lists of equipment are always appreciated. Download: It is preferable that your track is set as downloadable, and that it allows for attributed remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution). Linking: When posting the track online, please be sure to include this information: More on this 335th weekly Disquiet Junto project (Disquiet Junto Project 0335: Alone Time / Record conference-call hold music — a private limbo of your own making) at: https://disquiet.com/0335/ Major thanks to Matt Pinto for having proposed this Junto project prompt. Pinto publishes the excellent Caesura newsletter, more on which here: http://caesura.club/ More on the Disquiet Junto at: https://disquiet.com/junto/ Subscribe to project announcements here: http://tinyletter.com/disquiet-junto/ Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0335-alone-time/ There’s also a Junto Slack. Send your email address to twitter.com/disquiet to join in. The image associated with this project is by Tom Magliery and used thanks to a Creative Commons license: https://flic.kr/p/5MHfwX * https://creativecommons.org/licenses/by-nc-sa/2.0/ *image has been processed by my iPhone for this piece.

A semi generative limbo moment using sequencers and LFOs to modulate notes and parameters/effects etc. Disquiet Junto Project 0335: Alone Time Record conference-call hold music — a private limbo of your own making. Major thanks to Matt Pinto for having proposed this Junto project prompt. Step 1: Hold music is a ubiquitous fact of modern life. Ask yourself what hold music you’d like to hear while waiting for someone to pick up the other end of the line, or while waiting for a conference call to begin. Step 2: Record a short piece of hold music that satisfies the scenario you pondered in Step 1. Your finished track should be suitable for looping, since you never know how long you’re going to be on hold. Six More Important Steps When Your Track Is Done: Step 1: Include “disquiet0335” (no spaces or quotation marks) in the name of your track. Step 2: If your audio-hosting platform allows for tags, be sure to also include the project tag “disquiet0335” (no spaces or quotation marks). If you’re posting on SoundCloud in particular, this is essential to subsequent location of tracks for the creation a project playlist. Step 3: Upload your track. It is helpful but not essential that you use SoundCloud to host your track. Step 4: Please consider posting your track in the following discussion thread at llllllll.co: https://llllllll.co/t/disquiet-junto-project-0335-alone-time/ Step 5: Annotate your track with a brief explanation of your approach and process. Step 6: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants. Other Details: Deadline: This project’s deadline is 11:59pm (that is, just before midnight) wherever you are on Monday, June 4, 2018. This project was posted in the late afternoon, California time, on Thursday, May 31, 2018. Length: The length of your track is up to you. It should be suitable for looping, since you never know how long you’re going to be on hold. Title/Tag: When posting your track, please include “disquiet0335” in the title of the track, and where applicable (on SoundCloud, for example) as a tag. Upload: When participating in this project, post one finished track with the project tag, and be sure to include a description of your process in planning, composing, and recording it. This description is an essential element of the communicative process inherent in the Disquiet Junto. Photos, video, and lists of equipment are always appreciated. Download: It is preferable that your track is set as downloadable, and that it allows for attributed remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution). Linking: When posting the track online, please be sure to include this information: More on this 335th weekly Disquiet Junto project (Disquiet Junto Project 0335: Alone Time / Record conference-call hold music — a private limbo of your own making) at: https://disquiet.com/0335/ Major thanks to Matt Pinto for having proposed this Junto project prompt. Pinto publishes the excellent Caesura newsletter, more on which here: http://caesura.club/ More on the Disquiet Junto at: https://disquiet.com/junto/ Subscribe to project announcements here: http://tinyletter.com/disquiet-junto/ Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0335-alone-time/ There’s also a Junto Slack. Send your email address to twitter.com/disquiet to join in. The image associated with this project is by Tom Magliery and used thanks to a Creative Commons license: https://flic.kr/p/5MHfwX * https://creativecommons.org/licenses/by-nc-sa/2.0/ *image has been processed by my iPhone for this piece.

Experimenting with LFOs controlling Echo Audio Effect. 118bpm.

Piccadilly Records: https://www.piccadillyrecords.com/counter/search.php?search=Kalvaberget+Recordings&label=1 The second release from Kalvaberget Recordings. Two long minimal house tracks from Clark Eng. Old school flavored. Deep and bassy with sweeping sounds. "Rest Less" has a dusty, eyes-down aesthetic that should see it find favour across backrooms and low-ceiling basement parties across the globe. Warm, humming, filtered pads carrying a plethora of percussion units. "KIR" packs more umph, with rapid LFOs, rumbling sub and rattling percussion. White noise hats add a technoid bite while the occasional vocal refrain allows glimmers of light break through a rather hefty, blackened mix. RIYL Sylphe, Vakula, Firecracker, Shevchenko, Unthank, Mus Records and all those left-of-centre dancefloor chemists. STAFF COMMENTS Matt says: Dusty, eyes-down house music for the witching hours. Brilliant!

Piccadilly Records: https://www.piccadillyrecords.com/counter/search.php?search=Kalvaberget+Recordings&label=1 The second release from Kalvaberget Recordings. Two long minimal house tracks from Clark Eng. Old school flavored. Deep and bassy with sweeping sounds. "Rest Less" has a dusty, eyes-down aesthetic that should see it find favour across backrooms and low-ceiling basement parties across the globe. Warm, humming, filtered pads carrying a plethora of percussion units. "KIR" packs more umph, with rapid LFOs, rumbling sub and rattling percussion. White noise hats add a technoid bite while the occasional vocal refrain allows glimmers of light break through a rather hefty, blackened mix. RIYL Sylphe, Vakula, Firecracker, Shevchenko, Unthank, Mus Records and all those left-of-centre dancefloor chemists. STAFF COMMENTS Matt says: Dusty, eyes-down house music for the witching hours. Brilliant!

In this insanely late episode of the Spiraken Manga Review, Xan and Kal rant and review about two Manga. The Sci Fi, adventure manga, "Eureka 7" by Kazuma Kondou and the Seinen Action series, "Master Keaton" by Naoki Urasawa Xan and Kal go off on insane parents, go over the initial plans for New York Comic Con and Introduce a new segment in the podcast. We hope you enjoy and sorry for the lateness, Xan's Computer Died...again Remember to send us emails, check out fightbait.com and also a picture of Neil Patrick Stewart in a smoking jacket with a pipe. Hope You Enjoy Music For Episode: Intro Music - Master Keaton by Kuniaki Haishima (Master Keaton OST ),Background Music - News theme (Freesounds.com ), Background Music -Dearest by Boa (Inuyasha OST ),Background Music - Think Music by Merv Griffin ( Jeopardy OST ), Background Music -Days by Flow (Eureka 7 OST ), Background Music - Get It By Your Hands by Hiroshi Watanabe (Eureka 7 OST ), Background Music -Opening Theme by Kuniaki Haishima (Master Keaton OST ),Ending Music -Space Rock by iLL ( Eureka 7 Movie Ost ) Our Website http://www,spiraken.com Our Forum http://spiraken.rapidboards.com Our Email Spiraken@gmail.com Xan's Email xan@spiraken.com Kal's Email Kal.spiraken@gmail.com Our Twitter Spiraken Our Sponsor www.audiblepodcast.com/spiraken Xboxlive Gamertag Xan Spiraken Our Voicemail 206-350-8462 Random Question of the Week:What is Master Keaton's first name and What is his daughter's name?

Shawn & Troy continue the NMSA09 wrap up. On Our Mind: NMSA Director Search! From the Twitterverse: * rmbyrne Free Technology for Teachers: Week in Review - My Trip to GTA http://ff.im/-cOg0Q * JohnMikulsk Furious about new privacy changes on Facebook. I have 2 requests from students now that they can easily search for me and see profile pic. * scottmerrick Looks like the Tue. night ISTE Speaker Session will be SIGVE folks at table at the Skypark or the Campfires. Speedchatting here we come! * chickensaltash Please show your support for the Edublogs Awards http://bit.ly/5X19J1 #edtech * eduinnovation Enjoying Ommwriter on my Mac. The gang at @ommwriter have found a way to make technology used for writing soothing and inspiring. (It has to be better than Google Wave!) * InstructorG 50 Inspirational Quotes for Teachers http://bit.ly/6c9nX3 * drmmtatom RT @MSMatters: RT @NMSAnews: NMSA Executive Director Resigns http://bit.ly/5MLr7D * cfanch so, educators, what books should I add to my amazon wish list? -or- to my books to download to ipod? (no kindle yet...) * simfin iPhone and iPod Touch Apps for Education http://ow.ly/LfoS (via @russeltarr ) (via @dianadell) Advisory: Conversation Starter: Today's episode of CNN Student News has a short segment in which there is a discussion about the differences in the ways in which male and female students learn. The segment talks about the idea of all male or all female middle schools. This segment could be a good prompt for getting students to reflect and discuss the ways in which they learn. http://www.freetech4teachers.com/2009/12/student-conversation-starter.html?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+freetech4teachers%2FcGEY+%28Free+Technology+for+Teachers%29 Webspotlight: Proprofs - Online Game Creation Practicing new skills and learning new facts is often presented as less than exciting, but education does not have to be this way. Good teachers have always known that puzzle games are some of the best ways to get old and young alike well on their way towards mastering a subject area. ProProfs is dedicated to the mission of combining education and entertainment, providing free online puzzles, brain games, and other fun resources to get people actively involved in the learning process. http://www.proprofs.com/ Free Audio Book: A Christmas Carol (http://www.learnoutloud.com/Free-Audio-Video/Literature/European-Classics/A-Christmas-Carol/29311) Footnote: Footnote helps you find and share historic documents. We are able to bring you many never-before-seen historic documents through our unique partnerships with The National Archives, the Library of Congress and other institutions. http://www.footnote.com/ Reading Practice Can Strengthen Brain 'Highways' by Jon Hamilton Intensive reading programs can produce measurable changes in the structure of a child's brain, according to a study in the journal Neuron. The study found that several different programs improved the integrity of fibers that carry information from one part of the brain to another. http://www.npr.org/templates/story/story.php?storyId=121253104 NMSA09: Getting School Wise: Carol Josel www.Schoolwisebooks.com http://www.schoolwisebooks.com/blog mailto://carol.schoolwisebooks.com "Helen Ladd: "One theory of action seems to be that holding teachers accountable for their student's scores . . ." "The Pretty Good Student . . . " by Charles Osgood. Time activity

In this HOW TO Digital Performer tip, we show how to setup McDSP's Chrome Tone Chorus plug-in so that you have greater control over the plug-ins LFOs by allowing the Dynamic section to affect the LFO's Shape, Rate, and Depth parameters. To view the full version of this HOW TO, check HOW TO: Digital Performer-PRM bundle 8 at www. TutorialDEPOT.com.