Podcasts about music production

In this video, Grammy-winning engineer Preston “Prizzie” Reid explains his journey from intern to Grammy winner, working with Tricky Stewart, reverse engineering Jaycen Joshua mixes, being part of Natural Audio, why he uses Auratone speakers, and how he uses side information to decode a mix and understand what's really happening inside a record.━━━━━━━━━━━━━━━━━━━━

I'm psyched to welcome back two-time Grammy-nominated @iammaggierose to Roadcase for this special episode!! Maggie is here to celebrate her new album, Half Moon, which was just released on August 14. One of my favorite artists, Maggie's musical and vocal talents combined with her down-to-earth vibe have earned her a devoted fanbase and critical acclaim —  a sweet story of success given the challenges she faced early in her career when she fought through the Nashville system to have her own authentic voice. Maggie talks to me about the latest challenges of becoming a new mom, and we discuss the many themes she brought to the beautiful story arc reflected on Half Moon. It's a wonderful and insightful conversation that I'm really excited for you to hear!!  ===================================================00:00 Episode Intro with Host Josh Rosenberg03:25 Maggie Rose's musical journey05:45 Challenges for indie artists in Nashville and industry dynamics07:26 Reflecting on Maggie Rose's latest album 'Half Moon'09:19 The importance of album sequencing and storytelling10:24 The importance of live performance and improvisation in music11:33 Motherhood's influence on songwriting and emotional depth13:31 Writing songs before and after Graham's birth15:32 The influence of jam band culture and community16:28 The song 'Gentleman' and themes of gender identity19:25 The journey of authenticity and artistic integrity20:25 Gender disparities in country radio and industry recognition23:22 Social media, authenticity, and self-expression25:19 The art of album sequencing and storytelling28:24 The Nashville music scene and artist support30:27 The moon as a metaphor for self-acceptance and growth33:30 The shift towards artist independence and authenticity35:25 Maggie Rose's journey across genres and collaborations40:26 The significance of live moments and audience connection45:29 The legacy of the Grateful Dead and its cultural impact50:22 The importance of authenticity and artistic integrity55:30 Closing thoughts and Maggie Rose's upcoming performances1:08:30 Episode Wrap Up with Host Josh Rosenberg=========================================For more information on Roadcase:https://linktr.ee/roadcasepod and https://www.roadcasepod.comOr contact Roadcase by email:  info@roadcasepod.comRoadcase theme music:  "Eugene (Instrumental)" by Waltzer

Tracklist:1) Jay-x (Clip Launch Roll) Yatagan Records2) Avrenni (Signet) 3) Keah, Orange Brothers (Zalgo) Future Techno Records4) Jay-x (Double Quantization) Aesthetics Records5) Domek (Perceptual Loop) Beyond Records6) Blake Light, Kas:st (Undrgrnd) Flyance Records7) Carlos Martz (Requiem) Protoporia Records8) Droplex, Giancarlo Di Chiara (Roller) Insomnia Records9) Jay-x (Mechanical Pulse) Yatagan Records10) Oliver Huntemann (Brutal) Senso Sounds Records11) Hannes Matthiessen (Edge Of Our Imagination) Rave with us Records12) Montenegro (Broken Heart) Sounds of Earth 13) Murch, Novis (Lost Reality) IbogaTech Records

We're joined by Pennsylvania's own ARTHUR RIZK! Longtime friend of the show and expert producer/engineer of all things extreme.Before discussing his work with bands like Blood Incantation, Power Trip, the Cavaleras, Cro-Mags, Kreator (and so many more)... We discuss Arthur's background as the once reluctant guitar player of legendary PA Hardcore band WAR HUNGRY, which lead to him finding his footing in the hardcore community in the early oughts as a young metalhead. These days Arthur is juggling his time as a musician between COLD WORLD, ETERNAL CHAMPION and SUMERLANDS when he's not manning the board for metal's biggest bands.We're also joined once again by guest co-host and another modern great in extreme music engineering, our very own Taylor Young. This is a fascinating deep dive into the world of hardcore, metal & punk production with two of the greatest minds currently doing it. Enjoy._____________HardLore: A Knotfest Series, fueled by Monster Energy.Shot, edited and mixed by ⁠⁠⁠Steven Grise⁠⁠⁠ Title sequence by ⁠⁠⁠Nicholas Marzluf⁠⁠⁠ ​Join the ⁠⁠⁠HARDLORE PATREON⁠⁠⁠ to watch every single weekly episode early and ad-free, alongside exclusive monthly episodes​Join the ⁠⁠⁠HARDLORE DISCORD⁠⁠⁠ ​Get 15% off ⁠⁠DUNABLE GUITARS⁠⁠ with code HARDLORE. Seriously. A guitar. What are you waiting for??? ​Get 10% off ⁠⁠⁠⁠MILLS VINTAGE⁠⁠⁠⁠ site-wide with code HARDLORE.____________00:00:00 - Start00:01:17 - Arthur Rizk00:03:46 - Arthur's Path to Extreme Music00:16:01 - Arthur's Lesser Known Bands...00:25:41 - Engineering And Producing Music00:27:11 - Arthur's Engineering Breakthrough (Power Trip)00:29:14 - Approaching Production as a Musician First00:32:45 - War Hungry00:41:40 - WAR HUNGRY SELF-TITLED!!!00:50:53 - Pardon This Interruption00:53:18 - Eternal Champion & Sumerlands01:05:27 - Remembering Brad Raub01:07:54 - Sumerlands - Dreamkiller01:13:04 - Balancing Time Between Producing and WritingMusic01:15:42 - What Session Did Arthur Learn the Most From?01:20:36 - Goats****01:22:18 - Shout Out To All Producers' Spouses01:24:17 - Re-Recorded Sepultura Classics01:28:30 - Blood Incantation - Absolute Elsewhere01:32:49 - Most Difficult Records They've Made01:38:01 - Perfect Production01:41:42 - Best Drum Sound of All Time01:44:49 - Best Guitar Tone01:46:54 - Heaviest Record Ever01:49:41 - Production End Game?01:51:23 - Re-Recording Age of Quarrel01:59:19 - Arthur Kinda Likes Touring02:04:31 - Making Records vs. Playing Live02:06:23 - You Hungry Arthur?02:12:28 - Top 4

“Fourteen years of conversations. The people who made my journey matter.”In this special 14-Year Celebration episode of Vigilantes Radio Live, Dini sits down with his longtime 7th Sign brother, Skin-n-Bone$ aka Don Deali'On Lion Baretti, for a conversation about brotherhood, loyalty, underground hip-hop, artistic integrity, and the history that helped shape them both.Dini and Skin-n-Bone$ reflect on meeting during the early 2010s through the 7th Sign Regime created by Bizzy Bone, the role brotherhood played in Dini's evolution from newcomer to leadership, and what it means to remain connected to a movement through changing seasons of life and music.Skin-n-Bone$ also breaks down the craftsmanship behind his sound—from complex vocal layering and melodic arrangements to his obsession with audio engineering, heavy low end, and creating records built to come alive through real sound systems. The conversation explores why he chose the independent underground over chasing mainstream trends, what recognition means to an artist who values authenticity over popularity, and how to preserve musical lineage without becoming trapped by nostalgia.Beyond the music, the two brothers discuss loyalty, identity, leadership, spirituality, longevity, and what nearly fifteen years of shared history has taught them about becoming different men without forgetting where they came from.This is more than an artist interview. It is a conversation between two members of a brotherhood looking back at the culture, people, music, and experiences that helped shape their journey.https://youtube.com/shorts/-FfjLcjhP8U?si=Nkwk9jTrF77hKRTfhttps://www.facebook.com/1nessmusiclableshttps://soundcloud.com/user-497880162/i-gotah-g-o-baby-produced?si=f223e4b7ea7840499703b33a87567b92&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharinghttps://soundcloud.com/user-497880162/pop-lock-n-drop-itd-digital-45?si=fe4c4da3f9894d46a3e1f76d149a561d&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharinghttps://soundcloud.com/user-497880162/sip-the-mytrx-part-1-produced?si=8b02c57bd491401c8b013f4cfeb2c1d3&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharinghttps://soundcloud.com/user-497880162/sets/o-g-drip-g-h-o-s-t-unk-317-of?si=cd0f1e50a83e4cb28443d8fd7eee929f&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharingBecome a supporter of this podcast: https://www.spreaker.com/podcast/vigilantes-radio-live--2166168/support.Vigilantes Radio Live! by The Only One Media Group ℗©2025Episode Credits:Produced, edited, mixed, and written by Demetrius "Whodini Blak" Reynolds, Sr.Artwork designed by Demetrius "Whodini Blak" Reynolds, Sr.Show Introduction by KateSegment jingles composed & produced by Demetrius "Whodini Blak" Reynolds, Sr.Additional music licensed through 7th Sign RecordingsLinks:onlyonemediagroup.comhttps://www.instagram.com/vigilantesradio/https://www.iheart.com/podcast/966-vigilantes-radio-live-29999229/https://www.instagram.com/whodiniblakin3d/https://www.imdb.com/title/tt26009230/To support our show, please leave reviews, ratings, or you can help fuel the passion over at buymeacoffee.com/vigilantesradioEmail us at onlyonemgt@gmail.com or vradio@onlyonemediagroup.com

In this episode, Dave talks with Dr. Tim Stulman, Program Director for Music Production at Full Sail University and creator of Keyboard Kafe, about how much music theory producers really need, why basic keyboard and ear-training skills can reduce friction in the creative process, and how a little practical musicianship can go a long way when writing production music.Watch this episode on YouTube: https://youtu.be/JtSSFgLMVWQCheck out Keyboard Kafé and get 3 months free!https://keyboardkafe.web.app/promo/52cuesSupport for the 52 Cues Podcast comes from ReelCrafter, the professional way to pitch your production music and know exactly when your cues are heard.Start your free trial at ReelCrafter.com/52Cues!Join the 52 Cues Community! – https://my.52cues.comIt's free to post your cues for feedback from the community, network with other composers, and ask questions about the industry!Plus, member subscribers get extra perks like workshops, livestreams,  cue breakdowns, live feedback sessions, hundreds of hours of video archives, and opportunities to submit to real music libraries.One-on-one coaching sessions and video critiques also available at http://52cues.com/coaching!Note: Links may be affiliate links which generate a small commission but at no extra cost to you!

Mr. Bill joins Poducer for an NSW collaboration episode about music production, creativity, technology, and the future of making music. We get into his early days on YouTube, burnout, social media, his live AV setup, vibe coding, custom Ableton tools, AI, and why he believes making something genuinely great matters more than constantly making content. Follow Mr. Bill https://mrbillstunes.com/ Follow Poducer Instagram https://www.instagram.com/poducerpodcast TikTok https://www.tiktok.com/@poducerpodcast Spotify https://open.spotify.com/show/28RT0Mv5mMFr2ozrO2dav Apple Podcasts https://itunes.apple.com/us/podcast/poducer/id1327594929 Linktree https://linktr.ee/poducerpodcast Chapters 0:00 Intro 2:10 Mr. Bill's First Concert 5:34 Getting Into Music Production & Early YouTube 11:48 Burnout, Creativity & Staying Inspired 15:15 Social Media vs. Making Great Work 20:06 Starting Over as a Producer Today 26:46 Podcasting & Having Better Conversations 36:31 Quality Over Quantity 44:25 Inside Mr. Bill's Live AV Setup 53:59 Becoming Technically Minded 56:34 Vibe Coding & Building Producer Tools 59:51 Mr. Bill's Ableton Project Browser 1:18:39 Using AI to Code Without Knowing Code 1:25:05 AI, Music Production & Advice for Producers 1:29:24 Meditation, Purpose & Burnout 1:38:46 Audio Classification & Problems AI Still Can't Solve 1:44:28 Will Better Tools Actually Make Better Music?

On this episode of The Bandwich Tapes, I sit down with multi-instrumentalist and recording artist Erik Hall to talk about his evolving relationship with minimalist music. We begin with his large-ensemble interpretation of Simeon ten Holt's Canto Ostinato, created in collaboration with Metropolis Ensemble and Sandbox Percussion following a performance at the Brooklyn Botanic Garden.Erik takes me inside the challenges of moving from a solitary, multitracked recording process to an ensemble filled with individual players, instincts, and senses of time. We talk about tempo, repetition, concentration, and how a piece changes when musicians must listen, respond, and move through it together.We also trace Erik's path from childhood classical piano lessons through jazz drumming, rock bands, touring, and record-making. That wide musical background eventually brought him back to the piano and to solo interpretations of works by Steve Reich, Simeon ten Holt, Glenn Branca, Charlemagne Palestine, and Laurie Spiegel.  Along the way, Erik explains how microphone placement and instrumentation helped him build the sonic world of Music for 18 Musicians. He also reflects on the balance between honoring a score and giving himself enough freedom to discover something personal inside it.We close with Erik's return to original composition, the creative discipline of working every day, and the surprising power of writing music that can stand on its own in a single performance. We also talk about his recent time playing drums with Natalie Bergman—and why, behind the kit, feel matters far more than complexity.Key TakeawaysErik's large-ensemble version of Canto Ostinato grew from his 2023 solo recording and an invitation from Andrew Cyr of Metropolis Ensemble.The project began with a 52-musician performance at the Brooklyn Botanic Garden before being refined into a studio recording with Metropolis Ensemble and Sandbox Percussion.Playing repetitive music with an ensemble requires a different kind of attention than building it alone through overdubs, especially when navigating cues, repeats, tempo, and transitions.Erik's background in classical piano, percussion, jazz drumming, guitar, touring, and studio recording all informs the way he approaches minimalist music.While recording Music for 18 Musicians, Erik used instrumentation and microphone placement to preserve the behavior of Steve Reich's arrangement while creating a distinct sonic identity.Years of working on Canto Ostinato have transformed Erik's piano playing and reconnected him with the patient, incremental process of learning music.Erik is now developing original material, including music conceived for solo piano or Fender Rhodes, while also working on a film score and considering future interpretive recordings.Music from the EpisodeMusic for 18 Musicians (Pulses) - Erik HallCanto Ostinato - Erik HallStrumming Music - Erik HallMusic for a Large Ensemble - Erik HallThe Temple of Venus - Erik HallAbout the PodcastThe Bandwich Tapes is a podcast about music, the people who make it, and the experiences that shape their creative lives. Hosted by musician Brad Williams, each episode offers an honest, thoughtful conversation with artists, producers, engineers, and other members of the musical community.Connect with the ShowEmail: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with Italian guitarist, composer, producer, and sound engineer Emanuele Naima. Our conversation begins with Steve Reich's music and expands into a thoughtful exploration of sound, collaboration, and the freedom to pursue more than one creative path.Emanuele tells me how his interest in minimalist music and academic research led him to reimagine all three movements of Reich's Electric Counterpoint. By combining classical and electric guitars with synthesizers, handclaps, and snare drum, he honored the composition while creating a distinct atmosphere for each movement: memory, stillness, and conflict.We also trace Emanuele's musical life from beginning classical guitar at eight to completing 12 years of conservatory study. He shares the wonderfully varied music that filled his childhood home, including Pink Floyd, Aretha Franklin, Elton John, jazz, psychedelic music, and Michael Jackson. That open listening continues to shape a career that moves naturally among classical guitar, R&B, funk, ambient music, sound design, production, and live performance.Emanuele also reflects on his work with Puka Shells Bling, the influence of playing funk and dub with other musicians, and the way collaboration changes everything from touch and tone to harmony and time. We close by discussing his ambient compositions, work with dance and choreography, improvised techno, and his willingness to keep experimenting without forcing every musical interest into a single identity.Key TakeawaysEmanuele's reinterpretation of Electric Counterpoint began as part of a potential PhD proposal and later developed into a complete recording project.He combined classical guitar, electric guitar, synthesizers, handclaps, and snare drum while preserving the dynamics and structure of Steve Reich's composition.Each movement became a different image for Emanuele: a memory, a peaceful refuge, and a scene of conflict.Twelve years of conservatory study gave him a classical foundation, while funk, dub, R&B, ambient music, and production expanded his sense of rhythm and sound.His childhood listening moved freely among Pink Floyd, Aretha Franklin, Elton John, jazz, psychedelic music, Metallica, Madonna, Lady Gaga, and Michael Jackson.Playing with other musicians taught Emanuele how touch, energy, harmony, tone, and placement within the beat become part of a musician's identity.Rather than committing to a single narrow path, Emanuele is embracing experimentation across ambient music, dance, live performance, synthesizers, and improvised techno.Music from the EpisodeElectric Counterpoint - I. Fast - Emanuele NaimaElectric Counterpoint - III. Fast - Emanuele NaimaEquilibri - Emanuele NaimaAbout the PodcastThe Bandwich Tapes is a podcast about music, the people who make it, and the experiences that shape a creative life. I sit down with musicians, songwriters, producers, and other artists for thoughtful conversations about craft, collaboration, careers, and the moments that happen both on and off the bandstand.Connect with the ShowQuestions, comments, and guest suggestions:contact@thebandwichtapes.com

Today our hosts are joined once again by Shelby Pollard of Black Bobbin. He and Dan had some good conversations at Fretboard Summit in Chicago this past weekend, which meant it was high time for round two of Object Worship! They talk about the history of guitar manufacturing in Chicago, revisit the conversation of what makes a tele, discuss the symbiotic relationship between player and engineer, and Shelby encourages any and all of us to use these tools to make art in whatever form that takes. It's another good one full of facts Andy and Dan had never heard - hop on in! Check out the Black Bobbin Flat Iron: https://blackbobbin.com/collections/black-bobbin-flat-iron Buy some Old Blood: https://oldbloodnoise.com/ Join the conversation in Discord: https://discord.com/invite/PhpA5MbN5u Follow us all on the socials: @blackbobbinchicago, @danfromdsf, @andyothling, @oldbloodnoise Leave us a voicemail at 505-633-4647!

On this episode of The Bandwich Tapes, I sit down with singer-songwriter David Mead for a wide-ranging conversation about singing, record-making, fatherhood, and the changing place of music in our culture.David takes me back to his earliest experiences as a singer, from hearing his mother sing around the house to studying with vocal teacher Norris Brandstrom. Those lessons began to make sense when David heard Jeff Buckley and discovered how classical vocal technique could open the door to a more adventurous, expressive way of singing.We also get inside the making of January San Fernando. David explains how working with musicians such as Larry Goldings and Val McCallum helped him relinquish some creative control, trust the instincts of the people in the room, and recognize the energy that can live in an early take.  He also shares news of another record made with the same core group of musicians.Some of the most meaningful parts of our conversation are about family. David reflects on how becoming a husband and father changed his relationship with ambition, identity, mortality, and creative work. We close by discussing his beautiful version of Michael Jackson's “Human Nature,” the childhood memory behind it, and how a low-pressure recording project became the album Indiana.Key TakeawaysDavid is grateful that he learned to sing, play guitar, and write songs before music became inseparable from today's constant flow of digital content.Vocal teacher Norris Brandstrom helped him understand that singing and speaking are extensions of the same natural process.Hearing Jeff Buckley gave David a contemporary context for the classical vocal technique he had previously resisted.While making January San Fernando, David deliberately gave musicians such as Larry Goldings and Val McCallum room to follow their own instincts.He prefers the energy and discovery of early studio takes, especially when working with musicians who have not spent too much time studying the songs.Fatherhood helped David separate his love of music from the pressure to define himself through a recording career.His version of “Human Nature” grew from a powerful childhood memory and the creative freedom surrounding the making of Indiana.Music from the EpisodeNashville - David MeadBedtime Story - David MeadIndiana - David MeadHuman Nature - David MeadAbout the PodcastThe Bandwich Tapes is a podcast about music, creativity, and the people who devote their lives to making sound. I sit down with musicians, songwriters, composers, producers, engineers, and other creative artists to explore their work, their influences, and the experiences that continue to shape them.Connect with the ShowQuestions, comments, or guest suggestions:contact@thebandwichtapes.com

Is metal just classical music in a leather jacket?  Danny and Mike have been asking a simple question: does genre actually describe the music, or just everything wrapped around it? Strip a metal riff back to its bones and could it just as easily sit next to a Baroque string passage? Swap a rock breakdown's distortion for an orchestra and does pop still sound all that different from classical rock, or modern rock, or anything else? If the notes underneath are often interchangeable, is genre measuring anything real? On this episode, Danny and Mike pull the idea apart, and ask whether it's ever been more than a costume.whatdoweknow.co.nzhttps://buymeacoffee.com/whatdoweknowshowFaceBook Page: https://www.facebook.com/whatdoweknowshow/FaceBook Group: https://www.facebook.com/groups/996177092759495Instagram: https://www.instagram.com/whatdoweknowshow/TAGSmusic podcast, genre, metal music, classical music, rock music, pop music, music theory, music production, music history, music debateSend us Fan MailSupport the show

Mickele Macon is Founder of Gryph Recordings. Gryph Recordings, Web3-rooted music and storytelling, is the music subsidiary of GRYPH, founded by songwriter, producer, and entrepreneur Mickele Macon. The label develops five original artist projects: K1NG BL4Z3, C0D3 S1GN4L, S0L4R., Sav4nna, and R34L G's. Through original songwriting, creator-directed production, visual storytelling, and AI-assisted tools, Gryph Recordings is building a growing catalog of music and intellectual property while exploring the future of digital media ownership, community, and direct creator-to-supporter relationships. This episode is recorded live at Yspaces in BGC, Taguig.In this episode:00:00 Introduction02:47 Ano ang Gryph Recordings?51:56 What are stories of the founder? 01:19:38 How can listeners find more information?GRYPH RECORDINGSWebsite: https://gryphrecordings.onlineFacebook: https://facebook.com/GryphRecordingsTHIS EPISODE IS CO-PRODUCED BY:Symph: https://symph.coOneCFO: https://onecfoph.coYspaces: https://knowyourspaceph.comKredit Hero: https://kredithero.comTwala: https://twala.ioGigGenius: https://gig-genius.ioSkoolTek by Edfolio: https://skooltek.coRed Circle Global: https://redcircleglobal.comCHECK OUT OUR PARTNERS:Multibook Philippines: https://multibook.com.phAsk Lex PH Academy: https://asklexph.com (5% discount on e-learning courses! Code: ALPHAXSUP)Pahatid PH: https://pahatid.phDigital Workforce Group: https://digitalworkforce.comNascent Batteries: https://nascentbatteries.comLevel Up Talent Solutions: https://lvluptalentsolutions.comAgile Data Solutions (Hustle PH): https://agiledatasolutions.techCloudCFO: https://cloudcfo.ph (Free financial assessment, process onboarding, and 6-month QuickBooks subscription! Mention: Start Up Podcast PH)ArkoTech: https://arkotechspacesolutions.comDVCode Technologies Inc: https://dvcode.techArgum AI: http://argum.aiPIXEL by Eplayment: https://pixel.eplayment.co/auth/sign-up?r=PIXELXSUP1 (Sign up using Code: PIXELXSUP1)School of Profits: https://schoolofprofits.academyHier Business Solutions: https://hierpayroll.comSmile Checks: https://getsmilechecks.comSTART UP PODCAST PHYouTube: https://youtube.com/startuppodcastphSpotify: https://open.spotify.com/show/6BObuPvMfoZzdlJeb1XXVaApple Podcasts: https://podcasts.apple.com/us/podcast/start-up-podcast/id1576462394Facebook: https://facebook.com/startuppodcastphPatreon: https://patreon.com/StartUpPodcastPHPIXEL: https://pixel.eplayment.co/dl/startuppodcastphWebsite: https://startupnetwork.phThis episode is edited by the team at: https://tasharivera.com

Lee “Scratch” Perry reshaped how people think about the recording studio. So when I heard that his final official album project came out of a three-day session in Berlin with legendary electronic duo Mouse on Mars, I headed over to Kreuzberg to talk to Jan St. Werner and Andi Toma to find out what happened.The duo have worked with everyone from Bon Iver to Stereolab to Mark E. Smith, made classic leftfield records like Niun Niggung, Idiology and Dimensional People and have always approached their work with irreverence and invention.We talk about their decades-long creative partnership, the studios they've built and rebuilt, and a philosophy of working that can sometimes mean throwing ideas away rather than trying to force them into shape.When Perry arrived at the Paraverse studio in 2019, Mouse on Mars had prepared for almost anything. What followed was a constantly moving recording session, with microphones set up across different rooms and musicians ready to follow wherever Perry took things. There was no conventional idea of a song, or much interest in making another reggae record. Parts of the record sound like an alternative reality Can record, where Damo Suzuki has stepped aside to let Perry take the vocal helm.Jan and Andi were genial hosts during our hour together, and it's obvious that spending those three days with such a legend at such a point in his life left an impression.Lost and Sound is now fully independent, and listener support helps keep the project alive and growing. You can support the show for as little as the price of a coffee. I can't offer Patreon-style bonus content at the moment — life is already too hectic to promise things I cannot properly deliver — but every contribution makes a real difference. Support the showIf you enjoyed the episode, follow Lost and Sound on Substack and me on Instagram, subscribe to the RSS Feed, and share the episode with someone who'd be into it. Independent journalism and independent podcasting still run on word of mouth.Mouse On Mars on BandcampSupport the show

Keef Carter returns to Vigilantes Radio Live for a deeper conversation about identity, storytelling, ownership and the next evolution of his creative career.The Harlem alternative hip-hop artist first joined Coach Dini to discuss his ByKEEF trilogy, the influence of Kanye West and Cassidy, his unconventional MTA songwriting process, and his belief that art can bring people back to life.This time, one statement changes the entire conversation:“I'm not really an artist. I'm a writer.”Keef opens up about what that realization means, why “Black boy joy” became central to his storytelling, the role Harlem continues to play in his creative identity, and how art galleries, train rides, fashion, film and everyday observation shape his writing.The conversation also explores Keef's plans to build a music production label, what ownership really means in today's industry, whether he'd rather create a hit for someone else than perform one himself, and how his ambition is evolving beyond simply becoming a successful recording artist.With BYKEEFX3 approaching and an August 28 performance at Trixx Lounge in Indianapolis on the horizon, Keef isn't simply preparing another release.He's beginning to define what comes after being the person behind the microphone.Spotify linkhttps://open.spotify.com/artist/1rPIKcoL1H005DjUMcGFw8?si=cDi6dU4LSw28O_d34kGwqA&utm_source=copy-linkInstagram @keefnycarterBecome a supporter of this podcast: https://www.spreaker.com/podcast/vigilantes-radio-live--2166168/support.Vigilantes Radio Live! by The Only One Media Group ℗©2025Episode Credits:Produced, edited, mixed, and written by Demetrius "Whodini Blak" Reynolds, Sr.Artwork designed by Demetrius "Whodini Blak" Reynolds, Sr.Show Introduction by KateSegment jingles composed & produced by Demetrius "Whodini Blak" Reynolds, Sr.Additional music licensed through 7th Sign RecordingsLinks:onlyonemediagroup.comhttps://www.instagram.com/vigilantesradio/https://www.iheart.com/podcast/966-vigilantes-radio-live-29999229/https://www.instagram.com/whodiniblakin3d/https://www.imdb.com/title/tt26009230/To support our show, please leave reviews, ratings, or you can help fuel the passion over at buymeacoffee.com/vigilantesradioEmail us at onlyonemgt@gmail.com or vradio@onlyonemediagroup.com

Today our hosts are joined by Isaac Nelson to talk about the development of Beam Splitter. Isaac is the other half of OBNE's R&D department, and an actor of some renown, recognizable for characters such as Old Ike and whatever we call the corporate guy who drinks the Sunlight tincture. Isaac gives nod to his object (a blue strat) and describes himself as not a particularly curious gear guy, while also giving insight into the inspiration behind his triple tracking multi-distortion mono stereo trereo embiggening behemoth, Beam Splitter. Buy some Old Blood: https://oldbloodnoise.com/ Join the conversation in Discord: https://discord.com/invite/PhpA5MbN5u Follow us all on the socials: @danfromdsf, @andyothling, @oldbloodnoise Leave us a voicemail at 505-633-4647!

On this episode of The Bandwich Tapes, I sit down with Tropidelic drummer Rex Larkman to talk about the band's new album, First Light, and the musical evolution behind it. Rex joined the Cleveland group in 2018, bringing the intensity of his punk and metal background into Tropidelic's blend of reggae, rock, ska, funk, and hip-hop.We dig into Rex's growth as a drummer—from wanting to play everything to recognizing the beauty and difficulty of playing exactly what a song needs. He explains why pocket, restraint, and a strong connection with the bass player matter so much in rhythm-driven music, and why listeners often move more when the drummer leaves space.Rex also takes us inside the making of First Light. Ideas emerged at soundchecks and on the road before being developed with producer Craig Broadhead in Cleveland. Live performances, programmed beats, layered snares, keyboards, and studio experimentation all became part of an album in which every song was allowed to find its own sound.We talk about the danger of quantizing the life out of a drum performance and the importance of allowing music to breathe. Rex describes how Tropidelic transforms its studio recordings for the stage by changing tempos, rearranging sections, adding horn solos, and adjusting set lists from one night to the next.We also discuss Tropidelic's touring community, the band's Everwild festival, and the positive message running through the new music. For Rex, the goal is straightforward: work hard, connect with the audience, support the people around you, and give every room a high-energy show that still feels human.Key TakeawaysRex joined Tropidelic in 2018 after becoming part of Cleveland's local punk and independent music community.His early influences included classic rock, Metallica, Avenged Sevenfold, punk, metal, ska, Sublime, Streetlight Manifesto, and Less Than Jake.Playing with Tropidelic taught Rex that restraint can be more challenging—and more musical—than filling every available space.Much of First Light began with short ideas created at soundchecks and developed later with producer Craig Broadhead.The album combines live drums, programmed elements, layered snare sounds, keyboards, effects, and production created in several locations.Rex believes precise editing can remove the natural movement from a performance; everything should feel in time without necessarily sitting perfectly on a grid.Tropidelic regularly reshapes its songs for the stage, changing tempos, shortening arrangements, adding solos, and responding to each audience.Music from the EpisodeSignals - TropidelicAbout the PodcastThe Bandwich Tapes is a podcast about music, the people who make it, and the experiences that shape their creative lives. Hosted by musician Brad Williams, each episode offers an honest, thoughtful conversation with artists, producers, engineers, and other members of the musical community.Connect with the ShowEmail: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with Ruthie Foster to talk about her new album, Just Say Yes, and the musical journey that gave her such a powerful connection to songs, audiences, and the spirit inside a performance.Ruthie takes me into the making of the record with co-writer and producer Tyler Bryant. We talk about the importance of a great rhythm section, how different drummers can reshape a singer's phrasing, and why Ruthie prefers to step aside and let musicians bring their own interpretations to her songs. She also introduces us to her self-created background vocal group, affectionately known as the “Cheap Inspirations.”We trace Ruthie's story from learning piano and guitar in small-town Texas to studying music in Waco and working as a session singer during her time with Atlantic Records in New York. She reflects on the education she received in studios, songwriter circles, church services, and nearly empty clubs—and how each setting taught her something different about craft, versatility, and connecting with a room.At the center of our conversation is the idea behind Just Say Yes. What began as a reminder to accept professional opportunities has grown into something more personal: saying yes to herself, her family, and what truly matters. We also discuss parenthood, the emotional life of a song, and why Ruthie is still waiting for these new songs to reveal everything they have to teach her.Key TakeawaysRuthie gives the musicians on her albums room to interpret each song and contribute their own musical personalities.Her background as a New York session singer taught her versatility, efficiency, and how to change the timbre of her voice for different projects.Studying music in Waco exposed her to arranging, publishing, copyright, big-band instrumentation, and the business behind a musical career.Growing up in the church taught Ruthie that music begins with feeling and with the ability to change the atmosphere in a room.Songs continue to evolve for her over time, sometimes revealing their full emotional meaning only after years of performance.Just Say Yes looks forward, while her previous album, Mileage, invited her to look back over her life.The album's title has grown from a professional reminder into a commitment to say yes to herself, her family, and the things that matter most.Music from the EpisodeDoubling Back - Ruthie FosterThank You - Ruthie FosterYes - Ruthie FosterHold On - Ruthie FosterAbout the PodcastThe Bandwich Tapes is a podcast about music, creativity, and the people who devote their lives to making sound. I sit down with musicians, singers, songwriters, composers, producers, engineers, and other creative artists to explore their work, their influences, and the experiences that continue to shape them.Connect with the ShowQuestions, comments, or guest suggestions:contact@thebandwichtapes.com

Music producer Philip Magee has worked with some of Ireland's biggest artists. In this conversation, he joins Jess to discuss the impact of AI on the music industry.

Today our hosts discuss two solo sets. Andy recently returned from Post Fest, where he played his first solo set in several years. He talks about how it went, the one technical difficulty he ran into, and the overall setup to create a visually and aurally compelling experience. Then Dan talks about prepping for his first solo set in a couple years, and the line between exploratory instrumental improvisation and simply singing the songs he's written. Then, some voice mails allow them to both give and take advice. If you don't feel like listening, just remember this: it's ok. The show will go on. You're doing great! Listen to the episode of Stompboxing referenced by Dan: https://youtu.be/-aWzA0b_hdM?si=I9aAg8Ej69IWdWYM Buy some Old Blood: https://oldbloodnoise.com/ Join the conversation in Discord: https://discord.com/invite/PhpA5MbN5u Follow us all on the socials: @danfromdsf, @andyothling, @oldbloodnoise Leave us a voicemail at 505-633-4647!

Send us Fan MailIn this episode, Jacnique Nina shares her journey as a soulful artist thriving in Las Vegas, her insights on musical versatility, the importance of creative ownership, and her upcoming projects. Discover how she balances artistry with business and stays true to her musical roots.key topicsJacnique Nina's musical journey from California to VegasHer approach to musical versatility across genresThe importance of creative ownership and rights in musicHer experiences with awards and recognition in VegasUpcoming projects including new albums and media expansionJacnique Nina LinkTreeJacnique Nina new single "Believe in Love"Shop This Episode

Tracklist:1) Jay-x (Total Anxiety) Aesthetics Records2) Code Ark (Half Evil) Future Techno Records3) Mohamed Ghanem (Ready) Sound Kleckse Records4) Jay-x (Mechanical Pulse) Yatagan Records5) Valenzuela Lucas (Engligthen Me) Future Techno Records6) Jay-x (Program Change) Aesthetics Records7) Jay-x (Zero Latency Rage) Yatagan Records8) A.D.H.S. (Hyena) Electric Ballroom9) AIO (The Beginning - Innervoix Rmx) Kosmos Records10) Rein (Meet her at the Warehouse) Let Techno Unite Records11) Jay-x (Accent) Deepsessions Darktech12 Jay-x (Overboost) Yatagan Records13) Jay-x (Image Cycles) Katana Records14) Tao Andra (Reflex) Terminal M

On this episode of The Bandwich Tapes, I sit down with multi-instrumentalist, singer, songwriter, and producer Eliot Lewis for a conversation about rhythm, versatility, technology, and the experiences that shaped his remarkable career.Eliot began as a drummer and still considers rhythm the foundation of everything he does. We talk about how that early connection to the drums influenced his work as a guitarist, bassist, keyboardist, singer, and songwriter, as well as the unspoken communication that develops when musicians spend years learning how to play together.We also explore Eliot's years with Average White Band, where he grew as a performer and lead vocalist while sharing stages with artists including Earth, Wind & Fire, B.B. King, Buddy Guy, War, and the Ohio Players. Eliot discusses his work with producer and songwriter Dan Hartman, playing on Tina Turner's “The Best,” and learning the value of becoming a musical chameleon who can understand and support many different artists.A large part of our conversation focuses on Eliot's time with Hall & Oates and Live from Daryl's House. He explains how the musicians learned and recorded new material with very little rehearsal, why Daryl Hall wanted the performances to remain spontaneous, and what Eliot learned from working with guests such as Robert Fripp, CeeLo Green, Booker T. Jones, Grace Potter, and KT Tunstall.Eliot also takes us inside his current solo live-looping show. He describes the technical and musical challenge of creating the sound and dynamics of a full band by himself, the importance of remaining in the moment, and why technology should always serve the song rather than replace the musicianship underneath it.Key TakeawaysEliot still considers himself a drummer first, and rhythm remains the foundation of his work on every instrument.His live-looping show is designed to create the feeling and dynamics of a three- or four-piece band rather than simply repeat accompaniment.Learning several instruments helped Eliot understand how each musical role fits into an arrangement without competing for space.His years with Average White Band developed his confidence as a singer, songwriter, performer, and collaborative band member.Working on Live from Daryl's House required strong ears, quick preparation, trust between musicians, and an ability to respond in the moment.Eliot believes technology is most effective when it supports the song, but a performer must still be able to play and communicate when the technology fails.Running a solo career means balancing music with booking, travel, marketing, arranging, production, and the many other responsibilities that happen away from the stage.Music from the EpisodeRetroactive - Eliot LewisJetstream - Eliot LewisSonic Soldier - Eliot LewisHelpless - Eliot LewisAbout the PodcastThe Bandwich Tapes is a music interview podcast hosted by Brad Williams. Each episode features thoughtful conversations with musicians, songwriters, producers, and other creative artists about their careers, influences, collaborations, musical craft, and the experiences that shape their work.Connect with the ShowQuestions, comments, or guest suggestions:contact@thebandwichtapes.com

Everywhere I go Y2K and 90's nostalgia seems to follow. We'll be exploring the socio-cultural conditions of the modern day that may have led to this yearning for the past, as well as the music, culture and fashion of the goths that came before us. We'll also dive into the causes and conditions behind the ever evolving markers of goth identity construction. Our guests this episode are Moth, Hades and Cam, who you can also find at the Phantasmagoria events around Chicago! Please support us on Patreon! Intro 00:00 Getting Into Goth 2:00 Music Production 5:50 The Changing Face of Goth 23:45 Reliving the Past 38:00 Us vs. Them 1:16:30 Gender 1:34:52 Post Show Musings 1:49:18 References: Nostalgia Gender  

Everywhere I go Y2K and 90's nostalgia seems to follow. We'll be exploring the socio-cultural conditions of the modern day that may have led to this yearning for the past, as well as the music, culture and fashion of the goths that came before us. We'll also dive into the causes and conditions behind the ever evolving markers of goth identity construction. Our guests this episode are Moth, Hades and Cam, who you can also find at the Phantasmagoria events around Chicago! Please support us on Patreon! Intro 00:00 Getting Into Goth 2:00 Music Production 5:50 The Changing Face of Goth 23:45 Reliving the Past 38:00 Us vs. Them 1:16:30 Gender 1:34:52 Post Show Musings 1:49:18 References: Nostalgia Gender

Today our hosts chat with Zak Sherman of The Audio Cultivation Project. They talk about his entrance into pedal building coming at an early stage in his musical development, and how that leads to designs that come from an unexpected place. They also talk about the upcoming Midwest Pedal Fest, and why he and Alec Breslow chose to host it in Detroit. And of course, they talk about his chosen object: a particularly modded Telecaster that speaks to who he is as a player and pedal designer. They try to tackle the important questions, like what is a Telecaster, what is the midwest, and who in this room is a poser? Check out The Audio Cultivation Project: https://audiocultivationproject.bigcartel.com/ Buy some Old Blood: https://oldbloodnoise.com/ Join the conversation in Discord: https://discord.com/invite/PhpA5MbN5u Follow us all on the socials: @danfromdsf, @andyothling, @oldbloodnoise, @audiocultivationproject Subscribe to OBNE on Twitch: https://www.twitch.tv/oldbloodnoise Leave us a voicemail at 505-633-4647!

On this episode of The Bandwich Tapes, I sit down with Barns Courtney for a wide-ranging conversation about performance, songwriting, musicianship, ambition, and the strange balance between control and chaos.Barns talks about the solo acoustic shows he has been playing and how stripping away the band has changed his relationship with an audience.  Without a fixed stage plan, every night becomes more unpredictable, more conversational, and more dependent on what is happening in the room. We discuss why great performances need an element of risk and how those shows have reminded him not to let ambition overshadow gratitude.We also talk about his ongoing work as a singer and the discipline required to maintain an instrument that is constantly changing. Barns reflects on vocal lessons, life on the road, the financial realities of touring, and the challenge of building a sustainable career without losing the joy that made him want to perform in the first place.  Barns also takes us inside the making of his new album with producer and multi-instrumentalist Jonathan Wilson. He describes being challenged to improve as a musician, learning when to loosen his grip on an arrangement, and discovering how a fresh perspective can reveal what a song actually needs.Our conversation moves through meditation, neurodivergence, social media, aging, creative discipline, and the story behind “Glitter & Gold,” which was recorded with one microphone, an out-of-tune piano, filing cabinets, and whatever sounds were available in the room. Throughout it all, Barns returns to one idea: the real purpose of performing is not to prove how impressive you are, but to connect with people and bring them some measure of joy.Key TakeawaysBarns continues to take vocal lessons and views singing as an instrument that must be constantly relearned as the body changes.His acoustic shows have created more space for improvisation, audience interaction, humor, and genuine unpredictability.He believes a performance can become too controlled, and that risk is often necessary for a show to feel transcendent.Working with Jonathan Wilson challenged Barns to become more proficient as an instrumentalist and more open to outside ideas.Barns now approaches songwriting with greater discipline, comparing the process to fishing: showing up regularly without knowing what will surface.The live album captured the sound of a band that had developed trust, instinct, and a shared musical language through touring together.Barns has come to see performance less as a display of ambition and more as an opportunity to connect with people and bring them joy.Music from the EpisodeFun Never Ends - Barns Courtney99 - Barns CourtneyGlitter & Gold - Barns CourtneyAbout the PodcastThe Bandwich Tapes is a music interview podcast hosted by Brad Williams. Each episode features thoughtful conversations with musicians, songwriters, producers, and other creative artists about their careers, influences, collaborations, musical craft, and the experiences that shape their work.Connect with the ShowQuestions, comments, or guest suggestions:contact@thebandwichtapes.com

Send us Fan MailSend us Fan MailIn this dynamic episode of Living the Dream with Curveball, we sit down with Sean Martin, the visionary behind the modern rock project The Quarantine. With a unique blend of grunge and metal, Sean has taken the music world by storm, performing in 13 countries and amassing over 40 million views on TikTok. As a veteran, Sean brings a profound perspective to his artistry, merging his military experiences with his creative journey.Sean shares his story, from his upbringing in Fort Bragg, California, to his military service and subsequent music education at the Musicians Institute. He discusses the challenges he faced in the industry, including navigating the complexities of record contracts and the importance of DIY tactics in promoting music today. Listeners will gain insight into Sean's songwriting process, particularly how he manages to convey aggression with meaning through his powerful lyrics and diverse vocal styles.Throughout the episode, Sean delves into the themes of his latest album, *Aversion to Normalcy*, discussing its inspiration and the emotional journey behind its creation. He emphasizes the need for critical thinking and personal responsibility in a society that often strays from its founding principles.Listeners will learn about:- The evolution of Sean's music and the significance of storytelling in songwriting- The impact of military experiences on his life and music- The role of collaboration with high-profile musicians and producers in shaping his sound- The importance of addressing mental health and societal issues through art- Upcoming projects, including a mini-documentary and new singlesJoin us for an engaging conversation that encourages reflection, resilience, and the pursuit of authenticity in both life and music. For more information on Sean and The Quarantine, visit thequarantined.comSupport the show

Eddie Bazil explores a range of advanced effects techniques, using practical audio examples to demonstrate how creative combinations of delays, reverbs, harmonisers, flangers and phasers can add depth, movement and texture to your productions.Chapters00:00 - Introduction02:43 - Example 1: Multi-Tap Delay05:43 - Example 2: Granular Resynthesis08:10 - Example 3: Wrapping Reverbs12:21 - Example 4: Adding Frequencies With A Harmoniser16:10 - Example 5: Flangers For 3D Motion20:43 - Example 6: Flanger, Phaser and Reverb#EventideUltraTap #SoundtoysCrystallizer #IKMultimediaCSRPlateReverb #AcusticaAudioRICE #EventideH949Harmonizer #BlueCatFlanger #InitialAudio808Studio2 #SoundtoysPhaseMistress #GForceM-tronProIV #EventideBlackholeEddie Bazil BiogEddie Bazil launched his music industry career at the age of 17 as a synth programmer for a range of Electro / New Wave bands, including Art Of Noise, Spandau Ballet, Pet Shop Boys, Bobin, Paul Dee, DJ Krush, DJ Shadow, Jets Orchestra, and many more. By his 20s, he was working as a sound designer for Akai, Roland, Emu/Ensoniq, eventually signing on exclusively with the latter. Later, due to a growing demand for software instruments and libraries, Eddie began developing libraries for various software manufacturers, including Native Instruments, Kiesel, Sound Effects Library, Rob Papen, Arturia, and Propellerheads.During this time, he trained in music production. He soon gained several prominent contracts working with some notable artistes such as Busta Rhymes, Greensleeves, 9 Bar, SFP, Sleeveless, Chris Campbell and Gam Productions. He contracted to Island Records and Chrysalis as a producer and remixer, and was commissioned to write the score for Macbeth that ran at 2 Way Mirror at Alexander Palace for the Cambridge Shakespeare Company. This led to him offering educational workshops and classes, and becoming a contributing creator and Forum moderator for Sound On Sound.Recently, he was invited by the Recording Academy to become a professional member, approved educator, and mentor for their member base. Eddie now concentrates on providing private sound design and mixing/production tuition, and creating content for Sound On Sound magazine.https://eddiebazil.co.uk/Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

Send us Fan Mail“If you're giving your all for a full house, that's expected. But if you're giving your all for just a few people, that's a big deal. People remember that.”Incremental steps lead to great progress--but staying a student of creativity can be hard sometimes. In this episode, Emmeline sits down with rap artist, sound engineer, and open mic host Manii to talk about why the arts are a slow burn--and why that's okay! He shares his path to professional musicianship and discusses how little wins can add up. He also discusses the importance of community in finding inspiration and listening to that little creative voice inside of you. Lastly, Manii offers a sneak peek of a brand new remix he's been creating.To learn more about Manii, or to follow his musical journey, follow him on Instagram.For behind-the-scenes information and more about Journey of an Artist, visit the Journey of Series official webpage, or follow Emmeline on social media at @EmmelineMusic.

In this podcast episode Ashea is joined by Todd Urban, General Manager at Softube, educator at Passaic County Community College, and creator of the Urban Sound Studio YouTube channel. With over 30 years of experience in audio production, Todd discusses Softube's philosophy of being "rock and roll scientists," the evolution from Console One to the groundbreaking Flow Studio hardware, and how creative workflow and intentional pre-production can transform recording and mixing practices.Todd shares insights into Flow Studio's design philosophy of facilitating "flow state" rather than perfectionism, the importance of committing to decisions in tracking, the balance between hardware and software in hybrid workflows, and how understanding mixing principles makes tracking engineers more effective.In This Episode:Pre-Production Planning and Intention — Establishing emotional objectives and sonic goals before trackingTracking Conservative, Mixing Creative — Capturing intentional raw material for successful mixingTeaching Audio Production: Learning from Students — Educators staying current with trends while maintaining principlesThe Role of Recording Engineers in Modern Production — Why understanding mixing makes tracking engineers more effectiveAbout Our Guest:Todd Urban:Todd Urban is the General Manager at Softube with 10+ years at the company across product education, development, management, and marketing. With over 30 years of professional audio experience, Todd holds degrees in orchestral arranging, music education, jazz performance, music management, and a production master's from UC Berkeley. He is the creator of the Urban Sound Studio YouTube channel and teaches at Passaic County Community College in New Jersey.Stream Todd Urban's Music Here:https://open.spotify.com/album/3JWFSrFxOdt4KdVKfd3AXp?si=ZvcmY6u2QiS_hzC_S-PSlAAbout Our Host:Ashea is a platinum-selling songwriter, music producer, and audio engineer from the UK. With credits spanning notable artists, major labels, and prestigious broadcasters, Ashea brings authentic conversations between industry professionals to the Production Expert Podcast.

On this episode of The Bandwich Tapes, I sit down with Terri Lyne Carrington to discuss her remarkable career, her artistic evolution, and her ambitious new album, Trip the Night Fantastic. Widely recognized as one of the most influential drummers, composers, producers, and educators working today, Terri shares how groove, storytelling, and social consciousness have become inseparable parts of her creative voice.We talk about the concept behind Trip the Night Fantastic, which Terri describes as a groove-centered project created for difficult times. Our conversation explores the relationship between dance, rhythm, and emotional connection, and how groove can often reach listeners before lyrics ever do. Terri reflects on jazz's historical relationship with dance music and why reconnecting with that tradition felt important for this project.We also dive into her journey as an artist and how life experience eventually led her to fully integrate her identity, values, and artistic work. Drawing on lessons learned from mentors such as Wayne Shorter and Herbie Hancock, Terri discusses leadership, collaboration, production, and the challenge of balancing a strong artistic vision with creating space for others to contribute.The conversation also explores the work of the Berklee Institute of Jazz and Gender Justice, the role of representation in music education, and the importance of creating environments where new voices can shape the future of the art form. Along the way, Terri reflects on her upbringing in Boston, her experiences working alongside some of the greatest musicians in jazz history, and what gives her hope when she looks at the next generation of artists.This is a thoughtful conversation about creativity, purpose, community, and the ongoing evolution of jazz from one of its most important modern voices.Key TakeawaysTrip the Night Fantastic was conceived as a groove-oriented album designed to reconnect jazz with its dance traditions.Terri believes groove often creates an emotional connection before listeners fully engage with lyrical content.Her artistic identity became stronger when she stopped separating her life experiences from her creative work.Lessons from mentors like Wayne Shorter and Herbie Hancock continue to influence her approach to music and leadership.Producing music requires balancing a clear artistic vision with openness to collaborators' ideas.The Berklee Institute of Jazz and Gender Justice was created to expand opportunities and perspectives within jazz education.Terri remains optimistic about the future of jazz because of the creativity, knowledge, and commitment she sees in younger musicians.Music from the EpisodeRiddim Song - Terri Lyne CarringtonIdentity Song - Terri Lyne CarringtonAutonomy Song - Terri Lyne CarringtonSolidarity Song - Terri Lyne CarringtonAbout the PodcastThe Bandwich Tapes is a podcast hosted by Brad Williams that features in-depth conversations with musicians, composers, producers, educators, and other creative artists. Each episode explores the craft of making music, artistic growth, collaboration, creative philosophy, and the stories behind the people shaping today's musical landscape.Connect with the ShowEmail: contact@thebandwichtapes.com

Stewart Alsop sits down with Matias Avalos on this episode of the Wisdom podcast to explore the intersection of technology, humanism, and creative sovereignty. The conversation moves from Matias's work with neural network-based audio plugins and effect chains to broader questions about corporate transhumanism, data ownership, and what it means to maintain human agency in an increasingly automated world. They discuss the dangers of convenience-driven technological adoption, the implications of companies like Palantir and Neuralink, and how bureaucratic incentives push toward total legibility while protecting their own opacity. Along the way, they touch on everything from IMAX audio production and the death of walkable cities to Instagram's transformation from visual diary to data extraction platform, ultimately arguing for local, open-source, and sovereign approaches to technology that keep humans in the loop rather than replacing them with "average fabrics" of algorithmic output. Find Matias Avalos on LinkedIn for more techno-poetic discussions.Timestamps00:00 Stewart welcomes Matias Avalos to discuss their friendship and upcoming conversation topics.05:00 Matias explains audio effect chains using neural networks to capture professional recording room signatures and create portable high-fidelity sound processing.10:00 Discussion of piezoelectric microphones converting sound vibrations to electrical signals and CIA experiments using lasers to capture audio from glass surfaces.15:00 Conversation shifts to digital audio recording, sampling rates, and the importance of source material quality for post-production work.20:00 Stewart shares his journey building web conferencing software to replace Riverside, encountering lip-sync problems and learning about FFMPEG processing.25:00 Matias discusses corporate transhumanism, Neuralink's implications, and how brain interfaces could enable continuous taste mining beyond medical applications.30:00 Analysis of corporate transhumanism through companies like Neuralink, discussing private decision-making, lack of transparency, and various transhumanist philosophies globally.35:00 Matias reads poetry about digital replicas and data generation, exploring how wearable devices continuously capture human activity creating targetable information streams.40:00 Discussion of Peter Thiel's shift from libertarianism to neoconservatism, Palantir's origins in Total Information Awareness program, and Buenos Aires as humanist sanctuary.45:00 Examination of American convenience culture, post-WWII suburban isolation, and Buenos Aires as walkable humanist alternative to car-dependent American cities.50:00 Matias presents Neil Harbison as positive transhumanism example, explaining color-to-vibration synesthesia implant while discussing techno-optimism from Global South perspective.55:00 Conversation explores bureaucratic incentives toward population legibility, compelled silence laws, and sovereignty through open-source local technology ownership avoiding corporate control.60:00 Matias concludes discussing digital identity ownership, social network portability, and how digital twins determine human worth across platforms and borders.Key Insights1. Modern digital audio processing technologies represent a fundamentally different approach to music and sound production compared to generative AI tools. Matias Avalos distinguishes between technologies like Neural DSP's Mantra plugin, which uses deep neural networks to capture and emulate professional recording environments, and generative platforms like Suno. The key difference is that traditional digital signal processing tools put the creator in control, allowing them to make artistic decisions using expensive effect chains that would otherwise only be available in elite studios like Abbey Road. These technologies democratize access to professional audio tools without removing human agency from the creative process, whereas generative AI tools operate as black boxes that produce outputs based on prompts rather than allowing genuine creative control.2. The capture and preservation of source material remains critically important in audio and video production, despite advances in post-production capabilities. Through his experience building a web conferencing application to replace Riverside.fm, Alsop learned that many technical problems, particularly lip-sync issues, stemmed from poor source file management and recording methodology. This principle extends across all media production, as Avalos explains using the example of missing lighting in professional photography. While modern generative AI might attempt to invent missing elements, the results cannot match properly captured source material. This highlights a fundamental tension in contemporary media production where the quality triangle of cheap, good, and fast has been disrupted by AI technologies that can deliver all three if we lower our standards for what constitutes good work.3. Corporate transhumanism represents a particular and concerning subset of transhumanist philosophy that differs significantly from earlier artistic and philosophical approaches to human enhancement. While early transhumanists like Neil Harbison, a color-blind artist who implanted a device to translate color frequencies into vibrations, pursued personal enhancement and expanded human experience, corporate transhumanism as practiced by companies like Neuralink focuses on technological integration with significant profit motives and control mechanisms. The discussion highlights how these corporate approaches position themselves as solving medical and cognitive problems while simultaneously creating dependency through terms of service, data mining, and token-based economic models. This represents a Trojan horse where the promise of enhanced capability masks the establishment of new forms of control and surveillance of human consciousness itself.4. The concept of legibility as a bureaucratic end goal rather than a means to an end explains much of the surveillance apparatus that has developed in Western societies, particularly in the United States since 9/11. Alsop describes how those in positions of power, wealth, and fame have a structural incentive to make everything around them legible and controllable while maintaining their own privacy and illegibility to external observation. This dynamic manifests in technologies like Palantir and in legal mechanisms like compelled silence through gag orders, which directly contradict constitutional principles of free speech. The drive for total legibility of populations appears to have no ultimate purpose beyond the accumulation of legibility itself, creating a recursive loop where surveillance and data collection become self-justifying activities that serve power structures rather than the populations they ostensibly protect.5. Human beings continuously generate enormous streams of metadata through their daily activities, creating what Avalos describes as evaporating against our own will into hundreds of RSS feeds for hundreds of corporations. This automatic data production occurs through basic activities like waking up, moving through space with smartphones and wearable devices, and interacting with digital platforms. The fundamental question that predates transhumanism but becomes more urgent within it is how individuals can own what they produce simply by existing and moving through the world. This data is captured through accelerometers, gyroscopes, GPS systems, and countless other sensors that create comprehensive digital profiles without explicit consent or meaningful control by the individuals being monitored. The unilateral nature of this communication, where individuals broadcast data without receiving genuine value in return, has become so deeply embedded in modern infrastructure that it forms part of the taken-for-granted landscape of contemporary life.6. Platform lock-in and the inability to migrate digital identity across services creates a new category of loss that requires genuine grieving. Avalos describes how his experience with Instagram, which began as a personal visual diary before the Facebook acquisition, evolved into a situation where he cannot extract his creative work and social connections from the platform without significant loss. This phenomenon extends beyond mere inconvenience to touch on fundamental questions of identity and citizenship, as social media profiles increasingly determine real-world opportunities like visa applications and border crossings. The implications of digital footprints have become severe enough that individuals can be denied entry to countries based on algorithmic analysis of their online interactions, likes, and expressed beliefs. This creates a situation where people are worth exactly what their digital twin indicates they are worth, with no meaningful avenue for human appeal or nuanced self-representation.7. The future relationship between humans and technology requires a return to principles of sovereignty, local control, and open source development rather than dependence on corporate platforms and proprietary systems. Both Alsop and Avalos advocate for a do-it-yourself approach to technology that emphasizes ownership and control over personal tools and data. This includes avoiding closed systems like Neuralink unless they become open source and user-controlled, and prioritizing local execution of AI models over cloud-based services that create dependencies and enable surveillance. The conversation suggests that techno-optimism remains possible, but only from what Avalos calls the trenches, acknowledging the different relationship that people in the Global South and those outside centers of power have with technology. This grounded optimism recognizes the entanglement of beneficial and harmful aspects of technological development and maintains that human agency and creative freedom require conscious resistance to the convenience-at-all-costs model that has characterized recent technological adoption.

On this episode of The Bandwich Tapes, I sit down with singer, songwriter, producer, author, and visual artist Kelly Lang for a conversation about creativity, confidence, country music, and the experiences that have shaped her life and work.Kelly and I begin by discussing the many forms her creativity takes, from songwriting and recording to painting, producing, and creating videos. She talks about learning to move between those disciplines, the freedom that comes from no longer being afraid to fail, and the challenge of navigating social media without letting a single negative voice outweigh the support of an entire audience.We also discover that Kelly and I share an unusual part of our musical histories: we both appeared on Star Search. Kelly reflects on competing as a young artist, navigating unexpected changes during the show, and why she is grateful that her experience took place before social media became part of every televised performance.Kelly also shares stories from growing up around Conway Twitty, whose road manager was her father. She remembers hearing Conway test new songs for family and friends, sitting beside the stage as audiences responded to him, and realizing at an early age that she wanted to create that same kind of connection. We discuss her song “Goodbye Darlin',” written in Conway's honor, and the songwriting lesson she learned from Harlan Howard: say as much as possible with as few words as necessary.Our conversation also explores Kelly's growth as a producer, the confidence she has developed in the studio, and the emotional perspective that comes from experience. Twenty-two years after a breast cancer diagnosis, Kelly says she is less interested in chasing fame and more interested in creating music that helps someone through a difficult day. She also introduces her album Jealous Green Eyes and the single “Never Met a Man I Didn't Love.”Key TakeawaysKelly sees songwriting, painting, producing, and video creation as connected parts of a larger creative life.Her experience on Star Search taught her to adapt quickly, perform under pressure, and trust herself at a young age.Growing up around Conway Twitty gave Kelly an early understanding of songwriting, performance, and the connection between an artist and an audience.Harlan Howard taught her to write directly and use as few words as possible while preserving the song's emotional meaning.Kelly has become more confident about expressing her musical ideas and making final production decisions on projects bearing her name.Life experience has deepened the way she writes and interprets songs, giving her greater empathy and emotional perspective.More than two decades after her breast cancer diagnosis, Kelly now measures success by whether her music moves, encourages, or helps another person.Music from the EpisodeThis Too Shall Pass - Kelly LangAbout the PodcastThe Bandwich Tapes is a music interview podcast hosted by Brad Williams. Each episode features thoughtful conversations with musicians, songwriters, producers, and other creative artists about their careers, influences, collaborations, musical craft, and the experiences that shape their work.Connect with the ShowEmail: contact@thebandwichtapes.com

Today our hosts welcome back one of the finest minds in Objects: Jesse Honig of 29 Pedals and Believable Audio. They discuss his recent video on the differences between preamps, and our hosts experience a freewheeling wonderment of knowledge. Subjects include capturing the spirit in the room, leaning into the noises, letting an idea be fully explored on its own, a hot take involving acoustic treatment, and how the five percent difference only matters when it matters to you and your creative process. Watch "Side quest for mic pre skeptics": https://youtu.be/4pJk9laRR1c?si=ZUwceWD8P2smWCRs Buy some Old Blood: https://oldbloodnoise.com/ Join the conversation in Discord: https://discord.com/invite/PhpA5MbN5u Follow us all on the socials: @danfromdsf, @andyothling, @oldbloodnoise, @29pedals Subscribe to OBNE on Twitch: https://www.twitch.tv/oldbloodnoise Leave us a voicemail at 505-633-4647!

In this video, Don Cannon explains how hit records really happen, discovering Lil Uzi Vert and Jack Harlow, how Young Jeezy's “Go Crazy” was made, and how his journey started as a DJ. Including how you can make hits in any DAW Pro Tools, Logic Pro, FL Studio, Ableton Live, Studio One, Cubase, and REAPER from your bedroom.━━━━━━━━━━━━━━━━━━━━

Xylo Aria is a singer, producer, and entrepreneur. Xylo founded Music Production for Women to help empower and educate women music-makers. Her new album Dream will be released summer 2026. I've been following Xylo's work for some time now and it was great to speak to her about her work. We discussed building community and the creation of her new album. Xylo has collected a lot of wisdom in her journey and shares it with us today.  Music Production for Women is running SoundLab, a virtual event on July 14th and 21st, 2026 to help attendees unlock the skills of producing and mixing music. Sign up here: https://musicproductionforwomen.com/soundlab2026 Listen on Apple, Spotify, YouTube Links: Xylo Aria - https://www.xyloaria.com Music Production for Women - https://musicproductionforwomen.com MPW Podcast - https://musicproductionforwomen.com/#section-2gUK_YLsXV Free Intro to Music Production Class by MPW - https://musicproductionforwomen.com/music-production-masterclass-1535-155985 Xylo on Instagram - https://www.instagram.com/xyloaria/ MPW on Instagram - https://www.instagram.com/musicproductionforwomen MPW on Facebook - https://www.facebook.com/musicproductionforwomen MPW on YouTube - https://www.youtube.com/@musicproductionforwomen Xylo on YouTube - https://www.youtube.com/@XyloAria/videos 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. Brian Funk

Today our hosts spread the worship around, focusing on a few topics that touch on many objects. Andy has a new amp, Dan has some experiences looking at noise relationships when multiple pedals get involved, each of them gets excited about playing a solo show, and they take an unprompted voicemail. Buy some Old Blood: https://oldbloodnoise.com/ Join the conversation in Discord: https://discord.com/invite/PhpA5MbN5u Follow us all on the socials: @danfromdsf, @andyothling, @oldbloodnoise Subscribe to OBNE on Twitch: https://www.twitch.tv/oldbloodnoise Leave us a voicemail at 505-633-4647!

Send us Fan Mail"Es que la ciudad es tan vacía como dicen." How do you know which language best fits a song? How do you keep your saddest stories from sounding too depressing? Where do you go for sonic inspiration?AMANDA tackles these questions and more as she sits down with Emmeline to discuss her brand new song, "Medio Oeste." They talk about the importance of pulling the right producers on board, how one riff can transform a track, and why songwriters are so tempted to tell stories that seem a smidge melancholy. Plus, hear them geek out over their favorite 90s musicians!To learn more about AMANDA, or to follow her musical journey, make sure to find her on Instagram. For more episodes of Journey of a Song, Emmeline's other show, make sure you're subscribed to Journey of a Song on all of your favorite podcasting platforms, or visit here.For behind-the-scenes information and more about Journey of an Artist, visit the Journey of Series official webpage, or follow Emmeline on social media at @EmmelineMusic.

A listener-requested episode is back by popular demand! Dee Kei and Lu tackle one of the most common questions in the show's history — what computer should you actually buy for mixing, producing, recording, and video editing in 2026?They make the case for why Mac has become the default choice for anyone working in a collaborative environment, breaking down file compatibility issues, AirDrop convenience, and why the cost gap with PCs no longer justifies the headache. From there, they go deep on the Mac mini's rise as one of the best value computers ever made, why it became so hard to find, and how the M4 and M5 chip generations have made fan noise, overheating, and lag basically non-issues for audio work.The conversation also covers RAM and storage decisions that actually matter (versus the ones that don't), why external Thunderbolt drives are now just as fast and far more affordable than maxing out internal storage, and surprising GPU improvements that are changing video editing speeds for producers who dabble in content creation. They wrap with an unexpected but relevant detour into Apple's privacy stance and what that means for engineers handling sensitive, high-value sessions.If you've been putting off a computer upgrade or just don't know what specs actually matter anymore, this episode cuts through the noise.SUBSCRIBE TO OUR PATREON FOR EXCLUSIVE CONTENT!⁠SUBSCRIBE TO YOUTUBE⁠Join the ‘Mixing Music Podcast' Discord!HIRE DEE KEIHIRE LU⁠HIRE JAMES⁠Find Dee Kei and Lu on Social Media:Instagram: @DeeKeiMixes @MasteredbyLu @JamesParrishMixesTwitter: @DeeKeiMixes @MasteredbyLuThe Mixing Music Podcast is sponsored by ⁠Izotope⁠, ⁠Antares (Auto Tune)⁠, Sweetwater, ⁠Plugin Boutique⁠, ⁠Lauten Audio⁠, ⁠Filepass⁠, & ⁠Canva⁠The Mixing Music Podcast is a video and audio series on the art of music production and post-production. Dee Kei, Lu, and James are professionals in the Los Angeles music industry having worked with names like Odetari, 6arelyhuman, Trey Songz, Keyshia Cole, Benny the Butcher, carolesdaughter, Crying City, Daphne Loves Derby, Natalie Jane, charlieonnafriday, bludnymph, Lay Bankz, Rico Nasty, Ayesha Erotica, ATEEZ, Dizzy Wright, Kanye West, Blackway, The Game, Dylan Espeseth, Tara Yummy, Asteria, Kets4eki, Shaquille O'Neal, Republic Records, Interscope Records, Arista Records, Position Music, Capital Records, Mercury Records, Universal Music Group, apg, Hive Music, Sony Music, and many others.This podcast is meant to be used for educational purposes only. This show is filmed and recorded at Dee Kei's private studio in North Hollywood, California. If you would like to sponsor the show, please email us at ⁠deekeimixes@gmail.com⁠.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Send us Fan MailAlyssa shares her feelings on Clive Davis passing - expresses her gratitude for her music collaborator Robby  ~ and her protective deep love for Mother OceanFeatured song ~ Purples and Blues/Get Up (Remix)Support the showInstagram

On this episode of The Bandwich Tapes, I sit down with singer, songwriter, producer, studio builder, and longtime Austin music figure Hank Alrich for a conversation about songs, sound, family, and the long arc of a creative life.Hank talks about his early years as a working folk singer, his time building a recording studio inside Armadillo World Headquarters, and eventually taking the helm of that legendary Austin venue in the late 1970s. Along the way, he reflects on the kind of musical education that comes from being surrounded by country, blues, folk, jazz, funk, and experimental music all in the same room.We spend a good bit of time with Hank's album Broken River, especially the way it balances polish and looseness. Hank shares how he approaches recording with a live band, why he values trusted collaborators, and how his daughter Shaidri has become an essential musical voice in his work.This is a conversation about writing only when the song demands it, letting musicians play together in real time, and learning to respect the crack in the performance where the light gets in.Key Takeaways • Hank's first professional gig was as a house folk singer, playing six sets a night, seven nights a week. • His work at Armadillo World Headquarters gave him a broad musical education across folk, country, blues, jazz, funk, and beyond. • Broken River brings together songs from different periods of Hank's writing life. • Hank values live recording because of the human, almost metaphysical connection between musicians in the room. • His daughter Shaidri plays an important role as a harmony singer, collaborator, and trusted set of ears. • Hank sees production as a team effort, with every musician and engineer contributing to the final shape of the song. • The conversation explores the difference between perfection and completion in making records.Music from the EpisodeI Hate to See That Evening Sun Go Down - Hank AlrichThe Perfect Hat - Hank AlrichShe Had Whiskey For Dinner - Hank AlrichBroken River - Hank AlrichAbout the PodcastThe Bandwich Tapes is a music interview podcast hosted by Brad Williams. Each episode features thoughtful conversations with musicians, songwriters, composers, producers, and artists about craft, collaboration, creative process, musical identity, and the way music actually gets made.Connect with the ShowEmail: contact@thebandwichtapes.com

Something for the H.E.A.T today.... Slxm Sol (pronounced Slim Soul) is an East London-born producer, DJ and sound engineer at the intersection of deep, soulful house and jazz-inflected electronic music. Named a must-hear emerging artist (DJ Mag), his debut EP SQR006 (2024) premiered via Mixmag, EELF and Délicieuse Musique and garnered praise from Juno Download, The Club Map and Apparel Music. Alongside his solo portfolio, Slxm Sol's regular collaborators include Rudimental, BB James and LEGZDINA. Sol also co-produced “No Better Friend” and “Fire” on House Gospel Choir's Love Is The Message (2025), which charted at #13 in the UK Official Dance Album chart. In addition to music production, Slxm Sol is co-founder and A&R of independent label Soul Quest Records, is a Point Blank Music School alumni (Music Production & Sound Engineering BA Hons) and was selected amongst ten emerging electronic musicians and producers to participate in the AVA Creators Forum advanced artist development program (March 2025). Slxm Sol is now preparing the release of his second EP, set to release in early 2026. In the meantime, he can be heard on radio stations such as Balamii, Rinse FM, EXT and Voices Radio. Be sure to check out the new release he's part of on Soul Quest called Maintain Altitude 2, you'll hear his track as the opener to this mix, very tasty! Buy: https://soulquestrecords.bandcamp.com/album/maintain-altitude-2 Enjoy! @slxm-sol

On this episode of The Bandwich Tapes, I sit down with pianist, composer, producer, and sound designer Dave Mackay for a thoughtful conversation about musical identity, touring life, and the creative possibilities that live between composition, improvisation, and sound.Dave reflects on the strange rhythm of life on the road, especially after years of near-constant touring. We talk about the physical and emotional shift from playing for massive audiences to suddenly being home, and how that quiet space can bring a different kind of reflection. He speaks honestly about performance, nerves, and why playing the piano can feel natural while speaking into a microphone can still feel unnerving.We also trace his musical path, from early piano lessons in England to his studies in London and at Berklee College of Music in Boston. Dave shares how a perceptive childhood teacher encouraged him not just to learn music, but to develop his own voice. That thread carries through the entire conversation, from his improvisational instincts as a child to the way he builds sounds, writes records, and approaches collaboration now.A major part of our conversation centers on Dave's remarkable body of original work, including his Three trilogy:  L.A., Nashville, and Utopia, and his album The Looking Chamber. We talk about the influence of the Esbjörn Svensson Trio, the creative chemistry of working in a trio format, and how sound design and composition constantly inform one another in his music. Dave also shares why he prefers creating his own keyboard patches rather than relying on presets, and how his relationship with Nord keyboards grew out of that sonic curiosity.We close by talking about his work touring with Brandi Carlile, how that opportunity came together through Lucius, and why he remains passionate about live music that breathes naturally rather than being locked to click tracks and playback. It's a conversation about artistry, listening, taste, and learning how to trust your own instincts, both on stage and in the studio.Key TakeawaysDave talks candidly about the physical and emotional reality of life on tour, and why the transition back home can feel just as intense as the touring itself.He shares how improvisation has been part of his musical voice from the very beginning, even as a young piano student.Dave reflects on the importance of great teachers and how one early mentor helped him develop his own sound rather than imposing someone else's.We discuss the origin of his Three trilogy — L.A., Nashville, and Utopia — and how those records grew out of improvisation, friendship, and experimentation.Dave offers a fascinating look at sound design, explaining how creating his own patches and textures is integral to his compositional identity.He talks about touring with Brandi Carlile and why live music feels most alive to him when musicians listen and respond in real time.The conversation becomes a broader meditation on trust: trusting your ears, your collaborators, and the artistic choices that feel most like you.Music from the EpisodeAll the Same - Dave MackayHere in the Vastness - Dave MackayImpulse - Dave MackayProphecies - Dave MackayTrust Goddess - Dave MackayAbout the PodcastThe Bandwich Tapes is my chance to sit down with musicians, composers, songwriters, and creative artists I admire for honest conversations about craft, collaboration, career, and the deeper musical ideas that shape their work. It's a show about process, perspective, and the stories behind a life in music.Connect with the ShowEmail: contact@thebandwichtapes.com

Today our hosts tackle an all-timer of a question: what's the right number of knobs on a pedal? Stay tuned until the end to find out if they arrive at a definitive, unanimously agreed upon answer! They also talk a lot about Andy's exploration of the Chase Bliss Big Time, and take some listener calls. There's product development chat, time signature chat, listen it's just more chat from your favorite chatterboxes. Buy some Old Blood: https://oldbloodnoise.com/ Join the conversation in Discord: https://discord.com/invite/PhpA5MbN5u Follow us all on the socials: @danfromdsf, @andyothling, @oldbloodnoise Subscribe to OBNE on Twitch: https://www.twitch.tv/oldbloodnoise Leave us a voicemail at 505-633-4647!

This week, we're talking about the subtle growth that happens over years of making music:the things we've quietly improved at without really noticing.From trusting our ears more, to simplifying workflows, finishing tracks more naturally, and becoming more comfortable creatively, this episode is about the small changes that shape us over time as producers and musicians.A more honest conversation about music production, creativity, and the reality of being stuck.Thanks to our Patrons who support what we do:Audionauts: Abby, Bendu, David Svrjcek, Josh Wittman, Paul Ledbrook, Matt Donatelli and Stephen SetzepfandtLars Haur - Audionaut ProducerJonathan Goode - Audionaut ProducerThere's a new compilation out, it deserves your attention:https://music.bonkwave.org/the-four-seasons-of-bonkwave-autumn-waves-2/Join the conversation:

Send us Fan MailHow do we stay inspired as creatives? How do we ensure that what we're producing is in line with not only our goals, but what makes us feel happy and fulfilled? In this episode, Emmeline tackles these questions and more with Josiah Leeper! Josiah is a prolific producer and the brains behind the indie music project Indoor Swimming. Josiah is both a thoughtful, seasoned producer and an intentional student of music, and his belief in consistency and curiosity have helped him build a home studio where he produces projects in which he deeply, enthusiastically believes. He shares his plans for growth, his excitement about music and how the manifestation thereof has changed, and what inspires him most!To learn more about Josiah Leeper, or to follow his musical journey, visit his official website or follow Indoor Swimming on Instagram and Spotify. You can also check out his open mic at The Celt every first Tuesday!For behind-the-scenes information and more about Journey of an Artist, visit the Journey of Series official webpage, or follow Emmeline on social media at @EmmelineMusic.

Show Notes What happens to creativity when every song, sound, and style is a thumb-tap away? Sam Young has spent more than two decades behind the decks in London, and his answer is blunt: originality is at an all-time low. As a DJ, producer, remixer, and founder of the record label WyldCard, he sits at the exact point where taste, technology, and commerce collide, and he sees a culture increasingly content to recycle what already works. Sean Martin and Sam Young dig into how algorithms quietly shape what listeners believe they like, and how that pressure reaches the dance floor. Sam Young draws a clear line between a club night, where a crowd shows up hungry for records it has never heard, and a private event, where the real skill is reading a host's taste from the handful of songs they send and still making the room move. The throughline is judgment, the human ear that no recommendation engine has learned to replace. The conversation turns to sampling, AI, and the difference between craft and shortcut. Sam Young runs A&R for WyldCard himself, listening to demos every week, and he can hear within seconds when a producer is chasing a trend instead of setting one. His distinction is sharp: taking something obscure and making it feel new is an art, while feeding a recognizable hook into a tool and printing one more cover version is not. He is candid about AI as a cheat code, and just as candid about a near future where producers simply talk to their software and ask for ten options. This is not a lament, though. Sam Young points to the rare artists who still cut through precisely because they refuse to sound like everyone else, and to a younger generation quietly rediscovering originality. The optimistic version of the story is the one Sean Martin keeps circling back to: technology at its best clears away the busywork so the mind stays in control of what gets made. The question this episode leaves open is whether the tools that make music easier to produce will widen the gap between the familiar and the genuinely new, or finally close it. Host Sean Martin, Co-Founder at ITSPmagazine, Studio C60, and Host of Redefining CyberSecurity Podcast & Music Evolves Podcast | Website: https://www.seanmartin.com/ Guest Sam Young, DJ, Producer, and Remixer | Founder of WyldCard Records (production aliases Vanilla Ace and Sammy Deuce) | Website: https://djsamyoung.com/ Resources DJ Sam Young | https://djsamyoung.com/ WyldCard Records on SoundCloud | https://soundcloud.com/vanillaace Music Evolves: Sonic Frontiers Newsletter | https://www.linkedin.com/newsletters/7290890771828719616/ Keywords sam young, vanilla ace, sammy deuce, wyldcard, sean martin, dj culture, music and ai, sampling, algorithms and music taste, originality in music, house music, record label a&r, nu-disco, music production, creativity, art, artist, musician, music evolves, music podcast, music and technology podcast More From Sean Martin on ITSPmagazine More from Music Evolves: https://www.seanmartin.com/music-evolves-podcast Music Evolves on YouTube: https://www.youtube.com/playlist?list=PLnYu0psdcllTRJ5du7hFDXjiugu-uNPtW On Location with Sean and Marco: https://www.itspmagazine.com/on-location ITSPmagazine YouTube Channel: https://www.youtube.com/@itspmagazine Be sure to share and subscribe! Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Overcoming Loss & Fighting Epilepsy With Music | Michael Gomoll Joey Gomoll died in 2010, just shy of his 5th birthday, after battling a rare form of epilepsy called Dravet's Syndrome his entire life. Upon his passing, his family started  a charity called Joey's Song to help raise money to fund research grants focused on finding treatments and cures for rare, intractable, pediatric epilepsies. In the 15-plus years since Joey's death, Joey's Song has grown from a few acoustic guitars in a sports bar to a multi-day concert series featuring Grammy winners and Rock n Roll Hall of Famers (Members of bands like Cheap Trick, Guns N Roses, The Go-Go's, The Bangles, Tears For Fears, Garbage, Portugal.The Man, Goo Goo Dolls, Eve 6, Everclear and many more). This amazing collection of musicians gathers every January in Madison, WI. They volunteer their time and talent, and form a series of supergroups throughout the weekend for a one-of-a-kind concert event.Since its inception, Joey's Song has been a part of over $ 2 million raised and has had over 10,000 attendees in just the last two years.Links:https://www.joeyssong.org/https://www.instagram.com/joeyssongTagspodcast for creatives,creative podcast,podcast creator interviews,professional podcast,creative podcasts,podcast host interviews,creative podcast ideas,Child Loss,epilepsy,Event Management,Family,Fundraising,Live Music,Music Festivals,Music Interviews,Music Production,Overcoming AdversitySupport PEG by checking out our Sponsors:Download and use Newsly for free now from www.newsly.me or from the link in the description, and use promo code “GHOST” and receive a 1-month free premium subscription.The best tool for getting podcast guests:https://podmatch.com/signup/phantomelectricghostSubscribe to our Instagram for exclusive content:https://www.instagram.com/expansive_sound_experiments/Subscribe to our YouTube https://youtube.com/@phantomelectricghost?si=rEyT56WQvDsAoRprRSShttps://anchor.fm/s/3b31908/podcast/rssSubstackhttps://substack.com/@phantomelectricghost?utm_source=edit-profile-page

Back in 1962, the Tornados released "Telstar" a spaced out instrumental written and produced by Joe Meek. It was the First Record by a British Rock Group to Reach Number One in the US Hot 100 and it set Meek apart from the record producers of his time. We explore "Telstar" and the Meek's career and legacy, from ingenuity to outer space to paranoia and beyond. Plus, a jaw-clenching Mouthgarf Report and I See What You Did There! Sources: https://en.wikipedia.org/wiki/Telstar_(instrumental) https://en.wikipedia.org/wiki/Joe_Meek https://en.wikipedia.org/wiki/I_Hear_a_New_World https://www.tinymixtapes.com/news/joe-meeks-pop-masterpiece-i-hear-a-new-world-gets-the-chance-to-haunt-a-whole-new-generation-of https://open.spotify.com/album/2icihEwgiDuWvCL80YlWCb?si=7nQM4ZV8Se6gbmq-WmTVTg https://open.spotify.com/track/6W5mQNW9bBqPdZq8RmJeVm?si=b153299c18ea49c7 Please give us a 5 star rating on Apple Podcasts!  Want to ask us a question? Talk to us! Email debutbuddies@gmail.com Listen to Kelly and Chelsea's awesome horror movie podcast, Never Show the Monster. Get some sci-fi from Spaceboy Books. Get down with Michael J. O'Connor and the Cold Family and check out his new compilation The Best of the Bad Years 2005 - 2025 Next time: First Steven Spielberg Film