Podcasts about vcv

VCV finishes it off. Favorite albums of 2024. Best albums of 2024.   By Your Side by Svend Knutsen -joi- by dl  

Niklas har varit och spelat live för första gången på den mysiga lilla festivalen Hogstarocken med sitt projekt Enfin som han har tillsammans med Sven Fredrik. Jouni ska snart göra livepremiär med sitt projekt Ulvtharm i Tyskland och vi pratar lite om förberedelser och tankar kring livespelandeLänklista:1.) Hogstarocken - https://www.instagram.com/hogstarocken_/2.) Enfin - https://album.link/s/3vzOjJsSLXRQu8oWscUCbg3.) Ulvtharm - https://linktr.ee/ulvtharm4.) MOTU Ultralite mk5 - https://motu.com/en-us/products/gen5/ultralite-mk5/5.) APC 40 mk1 - https://www.soundonsound.com/reviews/akai-apc406.) Tower Transmissions X - https://towerpromotions.bigcartel.com/product/tower-transmissions-x7.) VCV rack - https://vcvrack.com/8.) Zoom H4 essentials - https://zoomcorp.com/en/us/handheld-recorders/handheld-recorders/h4essential/ Hosted on Acast. See acast.com/privacy for more information.

Met zo'n titel hebben we er toch minstens vier nieuwe luisteraars bij. De inhoud van deze aflevering betreft twee wat grotere asteroïden, die vorige maand onze aarde passeerden. NASA's Planetary Radar Tracks Two Large Asteroid Close Approaches:https://www.jpl.nasa.gov/news/nasas-planetary-radar-tracks-two-large-asteroid-close-approachesNew images reveal an asteroid that just whizzed by Earth has an unexpected companion:https://edition.cnn.com/2024/07/06/science/near-earth-asteroids-tiny-moon-scn/index.htmlNASA Planetary Defense:https://science.nasa.gov/planetary-defense/NASA Planetary Defense Strategy And Action Plan:https://www.nasa.gov/wp-content/uploads/2023/06/nasa_-_planetary_defense_strategy_-_final-508.pdf?emrc=37bb97X-Band Motion Detector:https://www.parallax.com/product/x-band-motion-detector/Asteroid Terrestrial-impact Last Alert System (ATLAS):https://atlas.fallingstar.com/Max:https://cycling74.com/VCV:https://vcvrack.com/Loud Numbers:https://www.loudnumbers.net/toolsDe Zimmerman en Space podcast is gelicenseerd onder een Creative Commons CC0 1.0 licentie.http://creativecommons.org/publicdomain/zero/1.0

Join us as we talk with Omri Cohen about his journey into modular synthesis, how he uses VCV rack to make stunning and inspiration music that takes us on a wild journey! Omri shares with us his advice for getting into modular synthesis as well as mushroom and fungi!If you're interested in supporting the podcast, please subscribe to the S1gns Of L1fe and Jon Audio channels on YouTube. For the video version of this show, please subscribe to the Harmonic Horizons YouTube Channel to keep up with all the latest episodes.S1gns Of L1fe: https://www.youtube.com/@s1gns0fl1feJon Audio: https://www.youtube.com/@jonaudioHarmonic Horizons: https://www.youtube.com/@HarmonicHorizonsPodcastFor bonus content including additional podcast material, head over to the S1gns Of L1fe Patreon page. Paid members get access to Beyond The Horizon - our new series of extended conversations with our guests, as well as several other benefits such as early access to all of his videos, exclusive ambient tutorials, over 100 preset packs for various synthesizers, one on one coaching for ambient and electronic music, and tons more.S1gns Of L1fe on Patreon: https://www.patreon.com/s1gnsofl1feIf you'd like to support Jon Audio and the work he does head over to his YouTube channel and subscribe. You can also check out his Gumroad page for a selection of free and paid preset packs. Finally he also has a Patreon page where subscribers get access to additional content such as exclusive music, presets for various synths such as pigments and diva, specialized courses and more.Jon Audio Patreon: https://www.patreon.com/jonaudioContact us or would like to be a guest on the show, email: harmonichorizonsp...

Sarah Belle Reid is a performer and composer. She plays trumpet, modular synthesizers, and a wide array of electronic gadgets. Sarah holds a Doctorate of Musical Arts from the California Institute of the Arts. She teaches music technology and modular synthesis at universities and her own online programs. Sarah spoke about how she combines her classical training with electronic music production and sound design. She explains how she keeps curiosity and joy central to her work. Sarah and I discussed the importance of mindset and perspective in the creative arts.  Sarah's Learning Sound and Synthesis Course opens again in August 2023! Listen on Apple, Spotify, Google, YouTube Show Notes: Sarah's Official Site - https://www.sarahbellereid.com/ Learning Sound and Synthesis Course - https://www.soundandsynthesis.com/ How to Design Your First Modular Synth Patch Free Course - https://www.soundandsynthesis.com/firstpatch2022 Sarah's Facebook featuring her Create with Courage posts - https://www.facebook.com/sarah.bellereid Now's by Sarah Belle Reid and David Rosenboom - https://reidrosenboom.bandcamp.com/album/nows Support Sarah on Patreon - https://www.patreon.com/sarahbellereid Sarah's YouTube - https://www.youtube.com/@sarahbellereid No Input Mixer Tutorial - https://youtu.be/oUhfkaVUPY8 The Art of Is by Stephen Nachmanovitch - https://amzn.to/44rikXq Zen Mind Beginner's Mind by Shunryu Suzuki - https://amzn.to/44MSJIT Brian Funk Website - https://brianfunk.com Music Production Club - https://brianfunk.com/mpc  5-Minute Music Producer - https://brianfunk.com/book Intro Music Made with 16-Bit Ableton Live Pack - https://brianfunk.com/blog/16-bit Music Production Podcast - https://brianfunk.com/podcast Save 25% on Ableton Live Packs at my store with the code: PODCAST - https://brianfunk.com/store This episode was edited by Animus Invidious of PerforModule - https://performodule.com/ Thank you for listening.  Please review the Music Production Podcast on your favorite podcast provider! And don't forget to visit my site https://BrianFunk.com for music production tutorials, videos, and sound packs. Transcript: Brian Funk: Hello everybody. Welcome to the music production podcast. I'm your host, Brian Funk. On today's show I have Sarah Bell-Reed and Sarah is a performer, composer, trumpetist, modular, synthesis, that's hard to say. She makes a lot of really wide ranging music and one of the descriptions I really enjoyed was that it's graceful, danceful, silk falling through space and a pit full of centipedes. Which describes just how it goes from so many different extremes from more traditional classical sounds all the way to far out stretching the definition of music with noise and a lot of the electronic stuff that goes into it. She's a doctorate of music arts at California Institute of the Arts, teaches music tech and modular synthesis online. I've been watching the introduction to modular synth course, which is cool. Sarah, it's great to have you here. Thanks for taking the time. Sarah Belle Reid: Thank you for having me. I'm happy to be here. Brian Funk: You have a very impressive resume of stuff you do and it's so wide ranging. I think it's really cool that you have this, it's like the nice place music is going, especially music education, where people are starting to take the traditional stuff and bring in some more new stuff, some of the more cutting edge stuff that's happening out there. And it's such a nice thing to see that you're bringing that to your performances, your music, and also your teaching. Sarah Belle Reid: Yeah, yeah, well, thank you. Brian Funk: Heh. Sarah Belle Reid: I think for me, you know, I have a very traditional background in my musical training. But I always had this feeling, even though I didn't quite know how to describe it or what it meant, but I always had this feeling that there was something more that I wanted to be able to explore in my music making. And so when I found and was introduced to these more experimental aspects of making music, like improvisation and just experimental electronics and all of that, it really felt like. all of the puzzle pieces were coming together. It wasn't a replacing of everything I had developed as a traditional or classically trained trumpet player. It was just like, oh, now this story makes sense. Now my Brian Funk: Mm-hmm. Sarah Belle Reid: voice feels more complete. You know what I mean? So it's like it all came together. Brian Funk: Yeah, I've found that for myself too, just over time, the different things in your life that feel so separate from each other. Sometimes they start coming together into this one path and you need a little time to see that happen. At least I definitely did. Sarah Belle Reid: Yeah. Yeah, for sure. Brian Funk: And it's nice too because sometimes the music education departments are very steeped in tradition and kind of resist this stuff. They see it as something that they, you know, almost like a challenge to it, maybe. I'm not sure, but I've run into that myself occasionally with trying to bring in just I teach high school English as a day job and trying to bring in like music production, Ableton Live stuff Sarah Belle Reid: Yeah. Brian Funk: into it. Not everyone is interested. Some people in the music departments were really excited and other people were kind of like, that's not music. I kind Sarah Belle Reid: Oh. Brian Funk: of got that feeling. Do you encounter that ever, some of those different challenges and how people see it? Sarah Belle Reid: Oh, of course. Brian Funk: haha Sarah Belle Reid: Absolutely. Yes. Both in, you know, in educational spaces and just in the world, you know. with people having different musical experiences, different backgrounds, different perspectives, different things that they like. Sometimes the music that I'm really interested in and that I make is challenging to listen to. Sometimes it doesn't have a traditional obvious hook or even a repeatable rhythm that you can snap along to. Sometimes it's just very... kind of amorphous and more like... sound design. You know, a lot of the time people, some people will say, oh, your music is more almost like experimental sound design than it is quote unquote music. To me, in my opinion, it's all music. Like all sound is music. But yeah, people sometimes express all kinds of opinions. And I've definitely, I've had some challenging conversations with people who don't get it and don't want to get it. But I've also had some really exciting deep conversations that are more based in curiosity. People who don't get it and are like, okay, what is happening? You know, I don't know what I'm hearing. What am I hearing? Can Brian Funk: Right? Sarah Belle Reid: you tell me how to begin to listen to this? And I love those kinds of conversations. You don't have to get it right from the beginning. You know what I mean? In fact, I feel like that mentality of, you know, you have to get it when it comes to music actually can really perpetuate that siloed. way of thinking that you can find in some educational systems, like what I believe you were talking about, where it's like, this is classical music, this is jazz, this is pop music. Brian Funk: Right. Sarah Belle Reid: I feel like if we could give everyone a little more permission to not understand things and have that be okay, we would be Brian Funk: Hmm. Sarah Belle Reid: able to maybe blend a little bit more freely between all of these different modes of making music. Brian Funk: Right, yeah, that's cool you Sarah Belle Reid: It's Brian Funk: say Sarah Belle Reid: just Brian Funk: that. Sarah Belle Reid: a thought. It's just something I've been thinking about. Brian Funk: Well, I guess you probably get a lot of the, sorry you play your trumpet so nice, but these buttons and knobs. Sarah Belle Reid: Well, I even get, believe it or not, it depends on the concert and the audience, but I've even had people come up to me afterwards and say, do you, after a long performance on trumpet, be like, well, do you ever play a nice melody on that thing, on that horn, you know? Yes, in fact, I do. Thank you for asking. It's just a mix. You know, everyone has different backgrounds and perspectives that they're coming from, so. Brian Funk: Well, art, you know, especially when it's new, always challenges people and Sarah Belle Reid: Exactly. Brian Funk: it divides people. And that's part of what's nice. Sarah Belle Reid: Yeah. Brian Funk: And there's people, I don't know who it's credited to, but just kind of, it's better to have people love it and people hate it than just to have people, okay, I've heard Sarah Belle Reid: Right? Brian Funk: this before. It's Sarah Belle Reid: Have Brian Funk: more Sarah Belle Reid: people Brian Funk: of that Sarah Belle Reid: forget Brian Funk: again. Sarah Belle Reid: about it. Brian Funk: Yeah. Sarah Belle Reid: Yeah, I once had a mentor tell me that early on and I'm so grateful that they shared that with me because it's really stuck with me. If you move someone with your music, even if you're moving them in a way that maybe feels slightly negative or they don't like it or they don't get it, you're still stirring something up within them. Brian Funk: Mm. Sarah Belle Reid: You're expanding their life in that moment. Your music changed them in some way. It made them question how they think about music. It made them hear new things. That's actually incredible. Brian Funk: Yeah. Sarah Belle Reid: And so from my perspective, it's not that I gave up, but I let go of the priority of trying to have everyone like my music many, many years ago, and now I'm focused on sharing really meaningful listening experiences with people as one of my primary goals in making music. Brian Funk: I imagine trumpet came first. Sarah Belle Reid: Yep, actually, well, piano way back and then trumpet and then electronics. Yeah. Brian Funk: How did you get introduced into that electronic world? What was it that, was it like somebody, a friend or? Sarah Belle Reid: I was in grad school in California, so it was pretty, you know, relatively late. I had been playing trumpeted music for many years at that point, but I had never even seen a synthesizer. I had no idea about this world at all. And for some reason, I decided to join a class called interface design, which is a class where you actually design and build your own. musical interfaces or interfaces for musical expression. So it could be something that has buttons and knobs on it, like an Ableton push, something that maybe is a MIDI controller, or it could be, you know. anything you could imagine that you might want to use to control sound. So people were building wearable sensor-based things that they would then give to dancers and the dancers would move around and that would give them data to turn into a synthesized sound or to control lighting. And I really wanted to build a gestural interface to go on my trumpet. That was kind of where it started. So I had never used Ableton. I had never used a synthesizer. I had never even used like an effects pedal, but I Brian Funk: Hmm. Sarah Belle Reid: was like, okay, I wanna do this because this sounds really cool. How can I turn my trumpet into some kind of controller for electronics and visual? At the time I was really interested in like coded visuals and stuff like that. I don't do a ton of that anymore. But so I started there. And then once that thing was built, I realized. you can't make electronic music without understanding how electronic instruments work. So then I started to work with modular synths and more in Ableton and different programs on my computer to kind of pull it all together. Brian Funk: Right, right, so that Sarah Belle Reid: Yeah, Brian Funk: pulled you right into that world. Sarah Belle Reid: exactly. It's kind of a strange introduction into the world of electronic music, but I'm grateful for it. So. Brian Funk: It's something that I really was interested in when I first started getting into computer-based music. I started on guitar, playing in rock bands, not trained or anything like you, but more grimy punk rock angle. Once I started finding out about MIDI controllers and that you can put them together and map them how you want, it really made me think about just instrument design in general. Sarah Belle Reid: Yeah. Brian Funk: Just how amazing it is that certain things like a trumpet or like a guitar or piano have stuck around for so long Sarah Belle Reid: Yeah. Brian Funk: and still seem almost like these unsolved puzzles that have so much left to give. And now... there's all these new kind of ways of looking at music. And it's a really fun time. There's always something new coming Sarah Belle Reid: Yeah. Brian Funk: out. That's a totally exciting new way to create music that Sarah Belle Reid: Yep. Brian Funk: sometimes relies on skills you have already. And sometimes it enables people that have no musical training at all to Sarah Belle Reid: Yeah. Brian Funk: create really interesting music. You have, um, can you describe what you did to your trumpet a little bit? Sarah Belle Reid: Yeah, I Brian Funk: I've Sarah Belle Reid: can... Brian Funk: seen some pictures and like, it's, it's kind of, it's like space age almost. Sarah Belle Reid: Yeah, so basically what it is, it's a little collection. So basically it's run with a microcontroller, an Arduino, which is a little tiny microcontroller that you can get for, I think, 20 or 30 bucks. And it allows you to attach different sensors to it and read the data from the sensors. And so I built this little enclosure that goes onto the trumpet and it detects the motion of the valves, so the pistons that you use to change to play different notes, and also the amount of pressure that you have, that your left hand has on the trumpet as you're holding it, and also the tilt. There's an accelerometer in it as well, so as you move the horn up and down or side to side, it will detect that as well. And then that Arduino, like I said, it just reads the data and allows you to transmit that data onto a computer. And from there, you have to get creative and figure out what you want to do with it. If you want to use it as MIDI to control a MIDI synth, or if you want to convert it to some other data format, which you can do and send it to another program and so on and so forth. But the real music making starts at the computer end of things. Brian Funk: Hmm. Sarah Belle Reid: And the device, which I call MIGSI, which is Minimally Invasive Gesture Sensing Interface, remember folks, I did this in grad school. It was very much my thesis, so it's super nerdy. I apologize. Brian Funk: That's cool though. Sarah Belle Reid: But yeah, that part is really just about sensor data capture, like gestural Brian Funk: Hmm. Sarah Belle Reid: data capture, yeah. Brian Funk: Right. And you have to then, like you're building the instrument, you're building this thing, and then you have to decide what all of that stuff does, which Sarah Belle Reid: Yeah. Brian Funk: can change for, I'm sure every performance. Sarah Belle Reid: Exactly. And that's the most challenging and also the most rewarding part. I co-designed Migsie with someone named Ryan Gaston, who I was in school with at the time. And we, I remember we got to the point where all of the sensors were working. The data was flowing to the computer and we were just looked at each other and we're like, what the heck do we do now? Like, what do you do with seven streams of numbers? How do you turn that into music? It's a big challenge. But, um, you know, you just go to go piece by piece and you, you can, basically you can think, well, maybe this when this number goes up that means there's more reverb applied onto this sound or maybe when this number goes down maybe we divide this string of numbers into like three sections and we use each section to trigger a different sound and you start you start small like that and then the ideas start to kind of click as you go Brian Funk: Right, that's Sarah Belle Reid: yeah Brian Funk: pretty much the same advice I give people with Ableton Live and programming your MIDI controllers. Sarah Belle Reid: Yeah. Brian Funk: I do a class for Berklee Online, it's a sampling with Ableton Live, and there's a live performance portion, and I explain to the class, like, look, I'm not expecting something ready for prime time at Madison Square Garden or something like that. It's just build it small. Start with one little thing you wanna do. Sarah Belle Reid: Right. Brian Funk: and try that out because it's different than picking up any other instrument because you have to build the instrument and then you have to decide what it does and then you have to make music and perform Sarah Belle Reid: Exactly. Brian Funk: it. Sarah Belle Reid: And often what I've learned over and over and over again is that simpler is better when it comes to mapping things like mini controllers or anything. In my experience anyway, you often think, well, I have 10 fingers and I've got 34 buttons, like, let's use them all. But, and, you know, some people are really great at that kind of thing. For me, I've really realized that Less is more. Sometimes just three or five really meaningful controls can be more than enough to make an expressive piece of music. Because it's not all about triggering a sound, and then that's it. It's triggering a sound. Maybe it's loud this time and softer this time or different pitches and all of the different things you can do to the sound once you trigger it. I hope that makes sense. I feel Brian Funk: Definitely. Sarah Belle Reid: like I kind of went on a little. But less is more is the moral of the story. Brian Funk: It's the same thing I've done with my live performance set in Ableton. Um, it's the same set I created almost 15 years ago Sarah Belle Reid: Right. Brian Funk: and it just gets save as save as, and you just change something. And it kind of started like slowly. It went up and I added things and then Sarah Belle Reid: Yeah. Brian Funk: it kind of got a little over complicated Sarah Belle Reid: Yup. Brian Funk: where I have these buttons might Sarah Belle Reid: Yeah. Brian Funk: as well make them do something. And my performances, when I listened back to them, sounded like somebody that was afraid the audience might think I'm only checking my email on my computer. So Sarah Belle Reid: I'm Brian Funk: I'm Sarah Belle Reid: sorry. Brian Funk: like overcompensating, doing way more. It didn't serve the song or the music, but it looked cool. You Sarah Belle Reid: Right, Brian Funk: know, Sarah Belle Reid: you were busy. You had your hands Brian Funk: I was Sarah Belle Reid: full. Brian Funk: busy. And by now it's tapered off a lot. It's Sarah Belle Reid: Yeah. Brian Funk: nowhere near as complicated as it was at one point. Because, yeah, it's just... I agree with you a lot, the simple stuff is where it's at, used effectively. That's fun. You've done some really cool stuff recently. I wanted to talk to you about, it was one of the big things that got me to reach out to you with the creative, um, the create with courage Sarah Belle Reid: Mm-hmm. Brian Funk: for 30 days or 30, maybe it's 31 days Sarah Belle Reid: Yeah. Brian Funk: you did just a post on Facebook is where I was seeing them. And just offering some wisdom information, some experiences from your past. Sarah Belle Reid: Right. Brian Funk: What, what inspired you to start doing that? Sarah Belle Reid: Well, I was thinking a lot about... why I make music. It's a big question that I actually ask myself fairly often. I think it's just helpful to check in. And for the record, I don't think that there's any right or wrong answer for a person to have. I just think it's a nice exercise of self-reflection to be like, why am I doing this? What's meaningful about this to me? Because it will change as we grow as artists and go through life, I think. I was thinking a lot about this. A couple of the really big driving forces behind why I am an artist and why I dedicate my life to making music has to do with creating and sharing connections with people through sound, as I mentioned a little earlier on, and also joy. It's a really simple thing, but just being joyful and doing what I love and sharing that with other people. And in the last couple of years, as I've been doing more online teaching, I've also come to really, really value the pursuit of courage and creative courage. And in particular, one of the reasons why I teach is because I want to be able to help people make more music that they absolutely love with joy and courage. I want to help people make the kind of music that they will listen back to and be like, Yeah, like, heck yeah. Like, I did that Brian Funk: Hmm. Sarah Belle Reid: thing and that feels like a true expression of myself. And I am so excited to share that with the world. You know, like, I went for it. I didn't compromise along the way because I was nervous about what someone would think, which is something that I used to do a lot. And I'm sure many people can relate to. You know, I didn't, like, dim it down for fear that it wouldn't be accepted. I just did my thing. Loud Brian Funk: Hmm. Sarah Belle Reid: and... And so those were the values. It was this idea of connection, joy, and then courage. And I was just sort of chewing on it and thinking it over. And yeah, the idea of... walking the walk a little bit and just seeing, okay, well, what would it look like if every day I shared something that required me to be courageous Brian Funk: Hmm. Sarah Belle Reid: and myself and to be vulnerable and just open about what I've learned in life and what I've gone through that's helped me get to where I am today. Maybe that could help people bring a little bit more of that into their lives. And as an added bonus, I can connect with people along the way. you know, through the discussions in the comments and everything on the posts. Brian Funk: Mm. Sarah Belle Reid: So that's sort of how it came up. And, uh, it was an amazing experience. It was 30 days. And every single day I shared some kind of lesson, um, you know, or experience that I've had in life that has had, that is somehow related to being a musician or being a creative person. And, you know, going through sometimes very challenging times, sometimes really awesome times, and just everything that you learn from it, and how you grow with it. Brian Funk: Hmm. Sarah Belle Reid: Yeah. Brian Funk: Yeah, there was definitely a lot of vulnerability shared, Sarah Belle Reid: Yes. Brian Funk: which I thought was really nice. Especially coming from someone with your background, you have a doctorate in music, right? So like, it's very, it's the kind of thing that I think a lot of people would feel like your past, right? Like you've, you've received the credentials, you're playing the festivals, you're doing all these things that... It's nice, it's refreshing. It's something I've Sarah Belle Reid: Yeah. Brian Funk: gotten doing this podcast as well is that I haven't had anyone tell me it's easy or that, yeah, I just make music, you know, just comes Sarah Belle Reid: Yeah. Brian Funk: out of me. Like anything, masterpiece after masterpiece, nobody says that. Even Sarah Belle Reid: Yeah. Brian Funk: people like you would have thought that really had it figured out, still have these struggles and vulnerabilities. Sarah Belle Reid: Well, and I think that's part of, that's another really big reason why I wanted to do this is because usually, it sounds like your podcast is an exception to that, which is great, but a lot of the time online, you see the perfect finished product, right? You see the album after months or years of work. You see the perfectly curated social media feed. You see everything going super well. And it can be baffling. Like it can be like, how are they doing this? What is wrong with me? Brian Funk: Right? Sarah Belle Reid: get that perfect schedule in my studio or make a track a week or whatever you're seeing someone else do. And I think that such a big part of the growth that I've been able to have over the years as a musician has come from being able to see into other people's real lives and see them working through... mindset struggles or insecurities or life being full of surprises or like, hey, I suck at this and like, I've got to go and practice really hard. And like getting to see that happen, like see people just go from really not having that skill to like a month later, really having that skill because they put three hours a day in the practice room and made it happen, you know. So I guess what I realized is that a lot of the time online, that's missing. You don't see that process-based aspect. Brian Funk: Right. Sarah Belle Reid: Yeah. Brian Funk: Yeah, you kind of get the flashy Sarah Belle Reid: You Brian Funk: finished Sarah Belle Reid: just get Brian Funk: product. Sarah Belle Reid: the, Brian Funk: Yeah. Sarah Belle Reid: yeah, and then it really, and then it's easy for someone to be like, wow, I'm never gonna be there. Like, Brian Funk: Hmm. Sarah Belle Reid: I guess I'm not cut out for this. That's the sentence I hate hearing the most is, and it's something I once used to say to myself, I guess they have something I don't have, like some secret ability. Brian Funk: Right, Sarah Belle Reid: So I Brian Funk: like Sarah Belle Reid: kind of Brian Funk: some Sarah Belle Reid: felt Brian Funk: gifts. Sarah Belle Reid: like some gift, you know, and of course people have, we all have our own unique little gifts. All of us do. And, and anything is learnable and figure out a bowl and it just takes some grit and perseverance and, and courage, and you got to take action and do the thing, you know? Brian Funk: Hmm. Sarah Belle Reid: So I really wanted to share that with others and, be honest about how I got to where I am and also what I'm in every day still. Brian Funk: Right. Sarah Belle Reid: Very much. Brian Funk: That's an important gift really, because you mentioned the joy of it, but this is the very thing that brings so much people so much frustration and Sarah Belle Reid: Yeah. Brian Funk: self-doubt. And I mean, it's funny when you mentioned also like, why do I make music? Like sometimes I get these feelings too. I'm like, what am I making these silly songs for? I'm like a grown-up now. You know, like, let's do something important with my time. Right. And... Sarah Belle Reid: Right. Brian Funk: I think about that and when it's not coming together, when it's not working out, then that's when I'm really vulnerable for that kind Sarah Belle Reid: Yeah. Brian Funk: of feeling. And there's no joy in that. Sarah Belle Reid: Right. Brian Funk: And at least, and you said there's no right or wrong reason, which I think is so true too because I have a lot of friends that just have an acoustic guitar that they strum after work in the backyard. Sarah Belle Reid: Mm-hmm. Brian Funk: It's not to record anything. It's not to write a song. It's... maybe learning a riff or just because they like to hear the sound under Sarah Belle Reid: Yeah, Brian Funk: their fingers. Sarah Belle Reid: yeah. Brian Funk: And sometimes we lose that in this quest to whatever Sarah Belle Reid: Mm-hmm. Brian Funk: it is, whether it's to make songs, finish things or get releases out. It is a real fast way to lose the joy of it. And Sarah Belle Reid: Yeah. Brian Funk: I think with something like music where, especially if you're trying to make a career There's, there's so many safer bets for like careers that at least if you're going to do music, you should be having fun. You should be enjoying Sarah Belle Reid: It's Brian Funk: it. Sarah Belle Reid: so Brian Funk: Cause that's, Sarah Belle Reid: important. Brian Funk: that's Sarah Belle Reid: Yeah. Brian Funk: the reason you would ever be crazy enough to do this. Sarah Belle Reid: Yeah, it's so important and yeah, it's something over the years that I have lost and found and lost and found again and what I've realized for myself is that... Joy is something I can come back to on purpose. I just have to be aware of it. I have to remember. I have to remember to be like, "'Okay, Sarah, how can this be fun?' It sounds like such a silly question, but when you're in the studio and things aren't working and you're like, ah, this sucks, ah, I suck. And then all of the stuff comes in, all of the thoughts and the, oh, Brian Funk: Damn opens, Sarah Belle Reid: no one's Brian Funk: yeah. Sarah Belle Reid: gonna Brian Funk: Heh. Sarah Belle Reid: listen anyway, and blah, which I call mind trash. That's what all of that is. It's like in that moment, it's not easy, but the most valuable thing you can do is just be like, okay, breaks. And then how can I make this fun right now? Brian Funk: Hmm. Sarah Belle Reid: And maybe the answer is pick up some random instrument that you haven't played in a while. Or maybe the answer is take your battery-powered synth out and sit in the backyard or whatever it is that just feels... fun and just come back to that joy and that reason why you're doing it. For me, a lot of the time it's like, I'm not going to do this right now. I'm just going to improvise. I'm just going to play because for me Brian Funk: Hmm. Sarah Belle Reid: that is fun. And when I start doing that, basically a hundred percent of the time. maybe 90% of the time, it just gets me out of my head. I'm gonna be real. And I reconnect to the sound and my breath and my body and my music and something clicks, you know? Brian Funk: Hmm. That's a great question to ask. What would this look like if it were fun? How could I make this into something fun? Sarah Belle Reid: How can this be more fun? Yeah. I also love the question, how could this be easy? That's a little bit of a side note, slightly different Brian Funk: Hmm. Sarah Belle Reid: question, but that's a bonus power move right there because we are so Brian Funk: Right. Sarah Belle Reid: good at over-complicating things. So I Brian Funk: Mm-hmm. Sarah Belle Reid: love asking myself that one too. It's like, I've got a big project, I've got to get it done today or this week. How can this be easy? Brian Funk: Yeah, I had a really funny and silly one of those moments just like a week or two ago with this podcast where with the art, I finally have somebody helping me do some editing with the podcast. Animus, shout out to him, his help has been so great and tremendous. But sometimes I stick in episodes that are just me talking Sarah Belle Reid: Uh huh. Brian Funk: and I was getting really stressed out. I was like, oh, the art. is going to get all messed up because it's going to say like this number of episode and then mine's going to come. I'm like, oh, what am I? And I was like, why do I need the number on there? Sarah Belle Reid: How Brian Funk: And Sarah Belle Reid: can Brian Funk: I was Sarah Belle Reid: this Brian Funk: like, Sarah Belle Reid: be easy? Brian Funk: oh my God, this is a problem I don't need to have. But it just, it was the kind of feeling that made me like look at everything in my life and be like, what else am I doing this to? Sarah Belle Reid: Yes. Brian Funk: Where else am I trying to put Sarah Belle Reid: Oh, Brian Funk: numbers where they don't need to Sarah Belle Reid: right. Brian Funk: be? Sarah Belle Reid: That is some deep wisdom. That's good. Brian Funk: I'm sorry. Sarah Belle Reid: That's a funny example, but it's so true. If you're anything like me, if you hadn't noticed that, you could have agonized over that for like Brian Funk: I did. Oh, Sarah Belle Reid: some Brian Funk: I did. Sarah Belle Reid: time. Brian Funk: Yeah. Sarah Belle Reid: Yeah. Brian Funk: There was like months, like two months. I was like stressing me out. Sarah Belle Reid: Oh, well I'm really glad you came to that Brian Funk: Yeah, Sarah Belle Reid: realization. Brian Funk: simple thing. Sarah Belle Reid: Yeah. Brian Funk: But it's such a good question. It reminds me, I don't know where I heard this because I would love to attribute this to somebody, but it was like, we say like, this brings me joy, this brings me joy. And then the person just turned around is like, no, you're taking joy in it. Take joy in it. So it makes that feeling of like having fun and like enjoying Sarah Belle Reid: Mm-hmm. Brian Funk: something for what it is. more of an action than something that happens to you. Sarah Belle Reid: Mm-hmm. Brian Funk: And that again has been really helpful for me in Sarah Belle Reid: Mm-hmm. Brian Funk: certain situations where I'm thinking like, music isn't bringing me any joy. I was like, well, I have to take joy in it. Like, Sarah Belle Reid: Uh-huh. Brian Funk: what is it about it that makes it fun? I guess it's another way to look at it. So. Sarah Belle Reid: Yeah, yeah, it's valuable. The I don't sorry, I don't know if you want to change topics, but one other thing that popped into my mind is just that it gets to be fun. Like you have Brian Funk: Mm-hmm. Sarah Belle Reid: permission, permission granted, even the most quote unquote, serious, professional, legitimate insert, whatever qualifying word you want musician. is allowed to have fun, Brian Funk: Mm-hmm. Sarah Belle Reid: right? And like somehow I feel anyway, maybe I'm just speaking from my own, or I'm certainly speaking from my own experience, but. it almost felt, when I was in school at times, it almost felt like fun was a waste of time. Like fun was not focus, fun was Brian Funk: Mm. Sarah Belle Reid: not the discipline that was needed. Fun was goofing around, you know, it wasn't valued Brian Funk: Kid Sarah Belle Reid: in Brian Funk: stuff. Sarah Belle Reid: the same way. Yeah, yeah, like you said a minute ago, Brian Funk: Yeah. Sarah Belle Reid: like why am I, I'm an adult, why am I making Brian Funk: Right. Sarah Belle Reid: these funny songs or whatever? And I just think that, For me, realizing and embracing that when I have more fun, I make better music. It does Brian Funk: Mm-hmm. Sarah Belle Reid: not mean all my music sounds cartoonish and goofy and like, ha ha, some of it does, but that's not the end result. It just means that I am more embodied in the process. I'm more present, I'm more joyful, and as a result, everything works better, right? Brian Funk: Yeah. Sarah Belle Reid: Because I'm moving in flow with myself. I'm not fighting against myself. Brian Funk: Yeah, the play aspect, play music, you know, Sarah Belle Reid: play. Yeah. Brian Funk: play music. It's so important. We were saying we, having trouble remembering things on the spur of the moment, and I'm trying to think of a book now, but it was all about improvisation and it Sarah Belle Reid: Mm. Brian Funk: talked a lot about play. Oh, the art of is, the art of is, is what the book is called. I think, now I'm not sure. Sarah Belle Reid: Hahaha Brian Funk: I'll write it down, put it in the show notes, but it... It just struck me like that's where so much fun happens. And when you're, when you are a kid, suppose you're on like a playground or something, you're just making up rules. You're coming up with things on the fly. You're not trying to decide if it's acceptable or if it's, you know, smart enough or intelligent Sarah Belle Reid: Yeah. Brian Funk: enough, which is something I struggle with a lot with my music. I always feel like I'm not being clever enough. Sarah Belle Reid: Mm-hmm. Brian Funk: It's Sarah Belle Reid: You're Brian Funk: just. Sarah Belle Reid: not alone. Brian Funk: which spirals me out of Sarah Belle Reid: Yeah. Brian Funk: the joy of doing it. But that, when I get playful though, then I'll do something weird that I wouldn't normally do. That would be maybe a little unorthodox that might sound clever later on, right? But it was just because I was kinda being silly or just Sarah Belle Reid: Yeah, Brian Funk: letting go of things. Sarah Belle Reid: letting go. Exactly. You take risks when you're in a playful Brian Funk: Hmm. Sarah Belle Reid: state. You're curious. Curious is the magic word for me personally. When I'm playful, when I'm having fun, I get curious. I ask myself, what if? What, not in a bad way, not what if no one likes it, but what would happen if I did that? Ooh, what if Brian Funk: Right. Sarah Belle Reid: I put those sounds together? Ooh, what if I map my controller in this way? Ooh, what if I do it all backwards? And that curiosity is, in my opinion, is where like... innovation comes from. It's the people who are like, oh, I wonder if I connect this and this way instead of that way. Oh, look, I just stumbled across this cool new technique that people will use for the next 40 years, you Brian Funk: Right? Sarah Belle Reid: know what I mean? Brian Funk: Yeah. Sarah Belle Reid: And so I love that. And for me, that is like the magic mindset space. If I can get into a playful, curious space, I know I'll be okay. Yeah. Brian Funk: Yeah, it's helpful with other people too, especially Sarah Belle Reid: Yeah. Brian Funk: people you get along with that you're comfortable with. Sometimes that can help you get there Sarah Belle Reid: Oh Brian Funk: a Sarah Belle Reid: yeah, Brian Funk: bit. Sarah Belle Reid: for sure. Yeah. Brian Funk: In watching some of your videos, I came across one that I thought was really, I mean, there were a lot, but the one that stuck out to me was when you were playing with mixers to create Sarah Belle Reid: Mm-hmm. Brian Funk: feedback. So it was like, I forget what you title it, but basically you're plugging the outputs of the mixer back into the inputs and creating all these. stuff you're not supposed to do. Like you're not allowed to do that, Sarah Belle Reid: I'm Brian Funk: right? Sarah Belle Reid: sorry. Brian Funk: If you went into a studio and started doing that, they'd throw you out. What are you doing? You're going to break something. It's going to, but you were taking that noise really, feedback and just interesting, well, things people wouldn't think is interesting that would normally think was wrong, but that was something you were using then to create something interesting. Sarah Belle Reid: I'm right. Brian Funk: And Sarah Belle Reid: Yeah. Brian Funk: that's a playful thing. That's the kind of thing you might If you let a kid that didn't know what they were doing, just start connecting things they would Sarah Belle Reid: Yeah. Brian Funk: come up with. But a trained professional would never think to do that. Sarah Belle Reid: Yeah, that's true. Yeah, the technique that you're referring to is called no input mixing. And yeah, exactly. It's a feedback based technique where you patch the outputs of a device back into its own inputs. And by doing that. you are creating a feedback loop and it will start to self-oscillate, which means it will start to produce its own tones. And they are inherently super chaotic and unpredictable. And something that's so fascinating about working with feedback is, in my opinion, is that you, because of the chaotic nature of the feedback loop that you've created, you're trying to do. So for example on a mixer, you know some mixers have the three band EQ like high, mid, low EQ knobs for example. You could turn the mids up and you'd expect the mids to be boosted but it might actually cause the sound to go from a steady tone to like a choppy, sputtery sound. Or you could turn the volume knob up and instead of it getting louder the pitch will go down strange nonlinear interactions because of the way that you have it self-patched. And I love that. I find it delightful and super intriguing because it it's like an invitation to listen in a really deep way. Again a really curious way because you don't know what's gonna happen. And this instrument, this object that is like usually has a very specific role in your on your desk all of a duo partner and Brian Funk: Right. Sarah Belle Reid: it's like jamming with you. You know and you can do this kind of feedback patching with synthesizers too. It's one of my favorite techniques to use on a modular or any kind of synth. It's not just mixers that you can do it with if anyone's curious. Brian Funk: So you would just patch those outputs. That was a famous thing people did with the Minimoog. They would put the, I think it was like the headphones back into the external Sarah Belle Reid: Yeah! Brian Funk: input. Sarah Belle Reid: Yeah, the only thing just for anyone who's trying for the first time, um, it's just really important that you have your main outputs should, should always have a volume control attached Brian Funk: All right, Sarah Belle Reid: to them. Don't Brian Funk: maybe Sarah Belle Reid: use those Brian Funk: a limiter. Sarah Belle Reid: in the feedback loop. And, and I recommend never using headphones if it's your very first time doing feedback based patching, because the volume is very unpredictable. So Brian Funk: Yeah. Sarah Belle Reid: just make sure you've got some kind of master volume control. And I've been doing this now, feedback patching for, you know, well over a decade. and I have not broken anything, and a signal is a signal, and it's all gonna be okay inside the instrument. The main thing you have to worry about potentially damaging are your ears and your speakers. So just keep your volume low. Use a limiter, it's a great idea, and you'll be fine. Everything will be groovy, and you'll make some cool sounds. Yeah. Brian Funk: Yeah, yeah, I can definitely agree with that advice. I've had that situation where maybe I'm trying to record the band and somewhere along the way, I routed something the wrong way and everyone's headphones just starts squealing. Sarah Belle Reid: He, oh no. Brian Funk: People falling out of their chairs. It can Sarah Belle Reid: Yeah. Brian Funk: be horrifying and scary when it happens. Sarah Belle Reid: Oh yeah, when you're not expecting it for sure. Brian Funk: But it's that unpredictability. It's almost like a collaborator Sarah Belle Reid: That's right. Brian Funk: when you get that kind of stuff. My first exposure to feedback was with electric guitars and turning up the distortion, putting them in front of the amp. And you get these overtones. And you can almost get melodies depending on what guitar you have. You get different things screeching out of it. Sarah Belle Reid: Yeah. Brian Funk: And it becomes an art in how Sarah Belle Reid: Yeah, Brian Funk: to. Sarah Belle Reid: yeah, and it's beautiful. I mean, there's so much music throughout history that, you know, it's a short, relatively short history of electronic music so far, but so many people exploring feedback in such beautiful ways. And it's not always crazy. you know, blasting noise. Like you said, sometimes it's delicate, ghostly tones and Brian Funk: Hmm. Sarah Belle Reid: little chirps. Like it can be very beautiful and tender even. It's just all about how you kind of dial it in, you know, which just comes down to making small movements, turning knobs slowly Brian Funk: Right. Sarah Belle Reid: and listening. Brian Funk: I've sampled feedback a long time ago off my guitar and I was gonna make an instrument out of it inside a sampler in Ableton Live. And I was really surprised at how soft it came out because it's not that way when you're doing it live, especially through a guitar amp. Sarah Belle Reid: Yeah. Brian Funk: I'm sure you probably have family members that are very understanding of strange noises coming out of wherever Sarah Belle Reid: Oh yeah, Brian Funk: you're Sarah Belle Reid: well... Brian Funk: working. I have the same thing and my wife is... totally cool about me making any kind of noise. But a year or two ago, I was recording an album and I decided I wanted all these guitar feedback tracks going on, so I had this little amp and just cranked it up. And I was just sampling it, because I was like, I'm going to also make a collection of these so I can have Sarah Belle Reid: Yeah. Brian Funk: them. And that was the one time she came down. She's Sarah Belle Reid: I'm sorry. Brian Funk: like, what's going on in here? Because to just be squealing and squeaking away, she probably thought like Sarah Belle Reid: That's Brian Funk: I Sarah Belle Reid: so Brian Funk: blew Sarah Belle Reid: funny. Brian Funk: up or something. Sarah Belle Reid: that. Yeah. Yeah, my family's put up with a lot. Brian Funk: I think anybody that's making music, even if you're just in a traditional thing without experiments you're looping the same thing over and over and over and over just to tweak things so people around you get used to you just incessantly. It's a really nice way to think though with that sound and useful sound for music can kind of just come from anywhere. There's really nothing that's off limits after a while when you start thinking in that way. Sarah Belle Reid: Totally. I'm working on a piece right now and we... I just spent, this was a couple of weeks ago, but I spent the day at an old, abandoned sawmill, like a cedar sawmill, sampling the big, they have these incredible big saw blades, huge, like six feet wide, and when you hit them, strike them with different things, they just sound incredible, and they ring for like, some of them 15 seconds, like a long decay ring. Just gorgeous. cedar logs that hadn't been cut into boards yet. And they're all different thicknesses and different lengths. And so if you whack them with like a stick, they're like, like different, they're like giant woodblocks, but like low, like base Brian Funk: Right. Sarah Belle Reid: woodblocks. And they all have different pitches. It's beautiful. And so I've been using all of those types of sounds as like percussion for this piece, as opposed to using, you know, real drums. It's all Brian Funk: Right. Sarah Belle Reid: just clanging metal from, you know, from the sawmill and pots and pans are my favorite. I mean, your kitchen is the ultimate sample playground. I'm sure you've told people that a million times, but like open up the cupboards, get the pots Brian Funk: Yeah. Sarah Belle Reid: and pans. Yeah. Brian Funk: And the kitchens usually have a cool reverb to them. Maybe they're like, it's not like carpeting usually in kitchens, Sarah Belle Reid: Right. Brian Funk: so they kind of have like this room sound. We do an assignment with the Berkeley class where you just go through your day and just find sounds. Your normal routine, but like listen, pay attention. And so many people never get past breakfast, Sarah Belle Reid: I'm sorry. Brian Funk: you know, because the kitchen is just loaded with appliances Sarah Belle Reid: Oh yeah, Brian Funk: and different Sarah Belle Reid: I love Brian Funk: pots Sarah Belle Reid: that. Brian Funk: and pans and jugs. It's really cool. And everyone's is different. You would think after a while that everyone's song would sound the same, or everyone's just sampling their kitchen. But every, that's like what I think is some of the beauty of it too, is that just everyone's atmosphere is unique, especially when you start adding up all the individual pieces. Maybe Sarah Belle Reid: course. Brian Funk: we have a pot and pan that sounds similar, but once we start opening cabinets and drawers and then we got a whole new palette. Sarah Belle Reid: Yeah. And also how you, you know, what you do to those samples, right? Like, do Brian Funk: Hmm. Sarah Belle Reid: you use the slam of the cabinet door as like a little percussive hit or do you time stretch it or do you, you know, speed it up so it's this like really high little piccolo sound, you know? That's where it gets really... really individualistic. Some people, some person might hear a melody in the way that the doors close and make a whole piece about that and someone else might not hear that and instead they might hear like a really awesome rhythm and they might run with that. So I think yeah music is everywhere. Anything is an instrument. It all comes back to curiosity to me. It's just a big loop. It's Brian Funk: Yeah. Sarah Belle Reid: a big feedback loop. Yeah. Brian Funk: Positive feedback loop. Do you use any particular gear to do this? Do you have like some giant rig with furry microphone windscreens? Sarah Belle Reid: Honestly, it depends if I'm in my, so when I can, I bring things into my studio just so that I can record in a more acoustically dampened space, but often if I'm out and about, I'm just using a simple Zoom field recorder, nothing fancy. It does, it could certainly be a fancier setup, but I. I haven't upgraded anything yet and it's actually been years and it works well. Brian Funk: Mm. Sarah Belle Reid: Most important thing to get, which I didn't get early on, is like a good wind sock of some kind or windscreen, because that's the Brian Funk: Right. Sarah Belle Reid: one thing that will really rain on your parade when you're trying to record outside is the KRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR Brian Funk: Yeah, just that low rumble of the wind. Yeah. Sarah Belle Reid: It's more, in my opinion, it's more important to get the sounds and like, be creative with them than it is to get the most perfect, Brian Funk: Right. Sarah Belle Reid: high quality, pristine recording. Um, Brian Funk: I say the same exact thing. Sarah Belle Reid: yeah. Brian Funk: You're better off to have it. And you have a Sarah Belle Reid: I, Brian Funk: phone probably Sarah Belle Reid: that's what Brian Funk: on Sarah Belle Reid: I was Brian Funk: you. Sarah Belle Reid: just about to say is I've even, I've even recorded samples on my phone. I don't do that anymore because I have this zoom recorder, which is great, but that's how I started was just using my computer mic, like a built-in mic and my phone and just voice memo and everything. Brian Funk: Yeah. Sarah Belle Reid: And. It's fine. It's a place to start. Brian Funk: I was doing a class a week ago with Berkeley. And I was like, oh, I'm going to do this. I was trying to sample my voice through this microphone, but for whatever reason, my interface wasn't connecting with my Sarah Belle Reid: Mm. Brian Funk: computer. So I had those Apple AirPod, not Sarah Belle Reid: Mm-hmm. Brian Funk: these ones, but the ones with the wire. So they were old ones when they still had the eighth inch jack. So however long Sarah Belle Reid: Hmm. Brian Funk: ago that was. And I just sampled my voice through it to make an instrument that I could put inside a sampler. And I loved the quality of that cheap mic. In some ways, I almost like the bad mic better. Because once you start stretching it, repitching Sarah Belle Reid: Right. Brian Funk: it, weird things happen that aren't in the clean recording Sarah Belle Reid: Yeah, Brian Funk: that you can get, Sarah Belle Reid: totally. Yeah, I think it's Brian Funk: it's Sarah Belle Reid: all Brian Funk: important Sarah Belle Reid: just. Brian Funk: to just Sarah Belle Reid: Yeah, Brian Funk: get it. Sarah Belle Reid: exactly. It's just get it make start making things you can always upgrade like your gear later if you want to but start making stuff now. And you never know like you're to your point, you might end up liking it even better. You're not the first person I've heard you say who says that it's like, there's just some kind of magical quality about that. You know, kind of quote unquote crappy quality, bad recording. It's like actually Brian Funk: Yeah. Sarah Belle Reid: got some life to it, you know? Brian Funk: I find sometimes in the context of a recording, that quality helps the sound kind of stick out Sarah Belle Reid: Mm-hmm. Brian Funk: where it doesn't get lost in all the other really nice recordings. It's got its own little texture, its own little Sarah Belle Reid: Yeah. Brian Funk: space in the mix that you can really dial in. Sarah Belle Reid: Yeah. Brian Funk: So you've got a course that's about to start up, you said, Sarah Belle Reid: Yeah, Brian Funk: learning sound and synthesis. Sarah Belle Reid: that's right. Brian Funk: So that sounds like fun after we've been talking a little bit about some of Sarah Belle Reid: Yeah. Brian Funk: your philosophies in there, I'm sure. Sarah Belle Reid: Oh yeah. Yeah. That is, it's a, so it's next round is starting in late August and it opens every year, twice a year. But it's, as the name suggests, learning sound and synthesis. It's a class that's all about sound design and making music with modular synths and You know, that could be to do sound design for video games, or you could, you know, take the class to make your own music, your own electronic music, dance music, experimental music. A lot of folks are in the class with a focus on film scoring. Basically, what I teach is a very, very comprehensive how-to and synthesis technique. course that focuses on universal synthesis concepts rather than specific instruments because I'm really interested in giving people you know, the technique and the knowledge that they need to use any instrument they want, whether it's a virtual synth that runs on their computer or the synth inside of Ableton or some Moog desktop synth or a keyboard synth or whatever. And I don't want to, you know, lock people out of the class by saying, sorry, if you don't have this one particular Euro Rack, you can't come and learn. So I teach using VCV Rack, which is a really amazing free modular synth. program that runs on your computer. And I really, really love it. And yeah, we start there and people go a million directions Brian Funk: Mm. Sarah Belle Reid: from, excuse me, from there. Brian Funk: Well, that's Sarah Belle Reid: Yeah. Brian Funk: cool because so much of it is based off these building blocks. Sarah Belle Reid: Exactly. Brian Funk: And that's something I didn't know when I first tried to play a synthesizer. I didn't understand that there were these commonalities Sarah Belle Reid: Yeah. Brian Funk: between all of them. They all looked like different spaceships to me. Sarah Belle Reid: Yeah. Brian Funk: And I felt like I had to learn every single one, but soon you start to see the pieces and how they Sarah Belle Reid: That's Brian Funk: come together. Sarah Belle Reid: exactly, that's the thing that all of my students say and it's so exciting when they get to that point. Usually a month or a month and a half into the class, people start saying. oh wow, like I just realized how this instrument that I've had over here collecting dust on my desk works. Like I get it now because, you know, we basically, the philosophy behind the class is kind of like the under the hood approach to learning synthesis. So instead of learning how the... you know, the Moog Matriarch works or how any of those instruments work on the top level, you're learning how each individual component works, like really deeply what's up with oscillators. Not just, yeah, we know they drone, but like, did you know that you can, you know, use oscillators for 50, 100 different things, and then they can be chaotic and noisy and, and droney and all of this and like what's up with LFOs and how can we use as them as sound sources and how can we use them as control sources and all of that. So by the time you go through that, you not only know how VCV rack works and how modular synths work, but you go back to your various other instruments that you have and it all starts to click because you're like, wait a second. I get it. Brian Funk: Right. Sarah Belle Reid: it's an oscillator, it's an LFO, I know how those things work, that's a filter, and you're able to make more music with them than you were able to before, which is really exciting. Brian Funk: Hmm. Yeah, you just start to see the Sarah Belle Reid: You Brian Funk: kind Sarah Belle Reid: start Brian Funk: of main Sarah Belle Reid: to see Brian Funk: idea. Sarah Belle Reid: all the connections, yeah. Brian Funk: Yeah. Sarah Belle Reid: Yeah. Brian Funk: Right. Do you have a favorite synthesizer? I mean, Sarah Belle Reid: Ooh, Brian Funk: I would say you'd probably Sarah Belle Reid: I don't Brian Funk: go Sarah Belle Reid: know. Brian Funk: modular stuff, but I don't Sarah Belle Reid: Yeah, Brian Funk: know. Sarah Belle Reid: I am a big fan of modular and in particular, I mean the reason why I love modular is because of the flexibility. I also love, you know, I have a Hydra synth, which is a keyboard based poly synth, I love it. But the reason why I love it is because of all of the flexibility that I learned on my modular that I can bring into how I patch it and how I customize Brian Funk: Right, Sarah Belle Reid: the sounds Brian Funk: gotcha. Sarah Belle Reid: on the HydroSynth because it's very flexible. These days, what I've been really enjoying are very small modular synths. I, you know, very limited. I've put together, I don't know the exact size, but just a tiny little case, two rows, fits in a backpack. And I'm just living with it as though it is a fixed. signal path synth, or not fixed signal path, but like those are the modules. They're not swappable. Brian Funk: of the component. Sarah Belle Reid: Yeah, Brian Funk: Right, Sarah Belle Reid: and Brian Funk: right. Sarah Belle Reid: you do, of course, make your own patches within them, but I'm not changing them out every couple weeks, which is something that some folks do a lot of in the Brian Funk: Yeah. Sarah Belle Reid: modular world. And I've really enjoyed that because it feels more like my trumpet or like a keyboard where it's an instrument that I can really get to know on a really deep level that's not constantly changing. And I like the smallness of it because it forces me to be really creative and limitations, you know, are my best friend in the studio is just reduce the limitations, again, less is more. And I find that by, you know, giving yourself fewer options, you have to make better creative decisions and you try things that you probably wouldn't try otherwise. Brian Funk: Yeah, I think that is what creativity is. It's Sarah Belle Reid: Yeah. Brian Funk: making do with what you have. Sarah Belle Reid: Yeah, yeah, Brian Funk: And Sarah Belle Reid: yeah. Brian Funk: you're in this box. Not necessarily in the module, but Sarah Belle Reid: That's the trouble Brian Funk: I don't Sarah Belle Reid: with Brian Funk: f- Sarah Belle Reid: modular synths, though, is that you can always grab another one, right? So Brian Funk: Right. Sarah Belle Reid: I always try to encourage people to keep it small and just see what you can get out of that, because there's always something you haven't tried before. Guaranteed. Brian Funk: Yeah, I don't feel particularly creative when I'm scrolling through 9,000 kick drum samples, trying to find the one I'm going to use in my song. And I can imagine what modular it's, I've not gone too far down that road, mostly out of fear of getting carried away. Sarah Belle Reid: Um, yeah. Brian Funk: Because I've been in front of walls of them. Sarah Belle Reid: Yeah, yeah, Brian Funk: And Sarah Belle Reid: yeah. Brian Funk: it kind of like, what? And then to just know that you can always get a new one and swap it out. It's, I don't know. I think I'd go bankrupt real fast. Sarah Belle Reid: Yeah, that's why I mean in like, I totally hear you and you're not alone. Brian Funk: Hehehe Sarah Belle Reid: But that is a big reason why like the class that I teach and the community around it, the learning sound synthesis community is it's really, we're really focused on like making music first Brian Funk: Mm. Sarah Belle Reid: and foremost. It's not so much about the gear. Of course, the gear is a big part of the discussion because we're learning how it all works and, and people need advice on what, Music is always the number one goal, and I think that really helps. For one, it feels more inclusive. It feels more welcoming. It's like you don't need the big sprawling synth in order to make awesome music with modular synths. You can open up your phone and get like a modular synth app and like, that's fantastic. Start with that. It's perfect. VCV Rack's free. I love it. It sounds really great. There's actually a ton of VCV Rack modules that are direct emulations of digital modules that you can get in Euro Rack format. And they run the same code. and they Brian Funk: Right. Sarah Belle Reid: sound fantastic. So it's a perfect place to start and for many people it's not just a starting point, it's the perfect setup for them, you know, for years. I use VCVRC all the time, especially when I'm on the road. I Brian Funk: Mm-hmm. Sarah Belle Reid: just don't want to travel with like a massive, you know, rig. Brian Funk: Yeah, that's a big consideration when you're playing out and touring especially. Sarah Belle Reid: Yeah. Brian Funk: Like what are you carrying around with you? I know for myself, like a lot of times I'm going alone too. And if I'm going into like New York city and Brooklyn, I want to be able to carry everything in one trip Sarah Belle Reid: Yeah. Brian Funk: because I'm lucky if I park a half a mile away from the club. And I don't want to leave half my gear in the club and Sarah Belle Reid: No. Brian Funk: half in the car. So I've made it that that's been a really helpful limitation for me. Like what can I fit on this table and what can I carry? Sarah Belle Reid: Yeah. Brian Funk: Because for a little while I was getting interested in it was wasn't modular, but it was modular ask with MIDI controllers because you're kind of. Sarah Belle Reid: Yeah, lots of pieces. Brian Funk: You got all your little pieces together, so you keep adding to that next thing you know, like you're out of control real fast. Sarah Belle Reid: Yeah, I understand. Brian Funk: Yeah, I'm sure it's so I'm guessing having that kind of limited space is practical as well as great for creativity. Sarah Belle Reid: Yeah, exactly. I honestly think it's a win-win. I mean, some of the best shows I've ever played have been the ones that I've been forced to. really, really re rethink things because I'm like, okay, I'm flying. It needs to fit in the overhead. I also have a trumpet, so I'm really limited, right? It's like my trumpet case has to come on the plane. So then I'm like, what can I slide into that carry on, Brian Funk: Yeah. Sarah Belle Reid: you know, or into my backpack or something like that? But again, it just. It gets you thinking in a creative way. It gets you looking for sound everywhere in a more resourceful way. And I've found it really liberating. Brian Funk: Yeah, I agree. I've gone to almost no guitar pedals. You know, just really a tuner and a little bit of a noise gate. And it's just so nice. I used to rely on the delay pedal and the reverb and all these other things to make my parts interesting, but taking that away forces you to really pay attention to what you're playing Sarah Belle Reid: Right. Brian Funk: and the music much Sarah Belle Reid: Yeah. Brian Funk: more than... pressing buttons. Sarah Belle Reid: We like pressing buttons too though, it's okay. Brian Funk: It's fun. Sarah Belle Reid: Ha ha Brian Funk: There it Sarah Belle Reid: ha. Brian Funk: is. It's, there's nothing like it, but it, it's such a slippery slope. I think for myself, um, I avoid the like pain of trying to create by adding gear and then complicating things, you know, maybe pain's not the right word, but like, kind of like the fear of. Sarah Belle Reid: Yeah. Brian Funk: I don't know if I'm going to make anything good. So if I can kind of just fiddle with stuff, Sarah Belle Reid: Right. Brian Funk: I'm a little off the hook. Sarah Belle Reid: I can relate to that for sure. You can make something great though. Brian Funk: I will Sarah Belle Reid: Yeah, Brian Funk: try. Sarah Belle Reid: you got it. Brian Funk: Yeah. So where can people sign up for the course? You also have a free one we should mention too. Sarah Belle Reid: Oh yeah! Brian Funk: That was really cool. I've been watching a little bit of that. You have great energy too. I think that's a nice, you know, reason why people should come to you is that you're excited about it. And you transmit that really well over the videos. Just, hey, this is really cool everyone. You should check it out. Sarah Belle Reid: Yeah, well, I teach because I am genuinely passionate about teaching and about this topic. Like, I am all fully in and in love with what I teach. And so, yeah, I'm happy to hear that comes through. Yeah, I really do it. I do it because I love it. I'm also really passionate about helping people get started in electronic music and not only get started, but go deep into electronic music and make awesome music. Who... who for whatever reason feel like they're not cut out for it. That's a big kind of personal mission. If you, for whatever reason, just feel like you're not smart enough, or you feel like, oh, I'm the least techie person in the room. I've heard that so many times. Or they've got it and I don't have it. Maybe you believe in yourself, but you're just. intimidated, super normal, super common. And modular synthesis is an intimidating thing to get into because there are a million options and it can just be daunting, right? Like where do Brian Funk: Yeah. Sarah Belle Reid: I start? What do I need first? But at the same time

dl and Rachel take the first stab at soundtracks in VCV history, believe it or not... Drinks in Episode- Tequila

dl and Evil start a new tradition of convincing other VCV hosts to love their favorite bands. We start with on of dl's favorites, Canada's own The Crash Test Dummies. All music in episode by Crash Test Dummies Drinks in Episode: Scotch!

For a while now, I have been strongly pulled towards investigating the possibilities of using feedback from natural sources combined with digital sound-tools in order to trigger and generate collaborative bio-melodies. So this remix brief seemed like an excellent excuse to begin to tentatively explore some of these ideas further.  Using a fair bit of persistent coaxing and with a combination of various VCV rack modules, selective spectral filtering and some randomly tuned digital resonators reacting to the rich frequencies of the recorded flowing Italian stream sounds - much to my delighted surprise, I discovered that the stream seemed to want to sing these strange meandering contrapuntal melodies to me...No, I was not expecting bagpipes either.* * I subsequently discovered that there is a type of dual-chantered Italian bagpipe called the 'zapogna' which does not sound entirely dissimilar to the mysterious stream instrument that emerged here: https://en.wikipedia.org/wiki/File:Zampogna_romana_alla_serrese_(Pazzano_2_settembre_2012).ogv Stream in Vicenza reimagined by Fiona Conn. 

The entire VCV crew lock themselves in a room with a bottle of (Blackened*) whiskey and try on 72 Seasons by Metallica.

Blíží se největší akce českého wrestlingového spolku VCV Originál Wrestling - Megashow 8. Při této příležitosti byl pár dní před touto show do pořadu pozván předseda Rudolf Kolínský alias RJ Kolda, aby společně s Michalem během 30 minut probrali nejen tuto akci, ale i zákulisí VCV.

I've been working on making my own fixed rack in VCV, and this composition is a result of it.

I made this composition in VCV rack. It is a Eurorack modular simulator.

Here is another composition I made using the virtual modular eurorack software VCV rack. It's minimal in places, quite noisy, and nooby.

the VCV gang all discuss what they will be doing on YouTube, starting TODAY! Head over to @versechorusversepod and check us out!

Getting to grips with some more modules from VCV rack. Just a short jam.

An experiment with VCV rack.

No Chama o Plantão de hoje discutiremos qual modo ventilatório é o ideal quando iniciamos a ventilação mecânica.Será que há superioridade entre o modo PCV ou VCV?Existem situações específicas para a escolha de cada modo?E com quais valores iniciais definimos esses parâmetros ventilatórios?Para responder a essa e outras perguntas, não deixe de escutar!

Lea Whitehurst Gibson and Bekah Kendrick talk to us about the processes they created and used to develop a community-centered organization with courageous fundraising principles…Virginia Community Voice “So our mission overall is to equip neighbors and historically marginalized communities to realize their vision for their communities. And then the second part of our vision, our mission is to prepare institutions to respond effectively.” Learn more and follow them on socials: Facebook, Insta, Twitter, LinkedIn and of course, you can donate here.Facebook: @virginiacommunityvoiceInsta: @vacommunityvoice     Website:   https://vacommunityvoice.org/Lea Whitehurst Gibson is the Executive Director of VCV and is a seasoned community organizer. Priori to leading the VCV, Lea was the Director of Community Engagement at Thriving Cities Group. She also worked for Richmonders Involved to Strengthen our Communities (RISC) where she organized 1,000 people in 20 diverse congregations to stand together for just practices. Lea has a degree in theology from Elim Bible College.At VACV Lea oversees the organization's operations, fundraising, staff and board development, and leads Community Voice Blueprint training and coaching. Lea and her husband are foster parents and live on Richmond's Northside.Contact Lea at lea@vacommunityvoice.org.Bekah Kendrick is an experienced nonprofit professional, grantmaker, and grant writer. Prior roles include: Technical & Grant Writer for Thriving Cities Group, Director of Community Impact: Education at United Way of Greater Richmond & Petersburg, and Director of Programs at MentorVirginia. Bekah has a Bachelors in American Studies from The College of William & Mary and Master's in English from Virginia Commonwealth University. She manages fund development and communications for Virginia Community Voice. Bekah enjoys reading, hiking, and being near the water with her husband and son.Contact Bekah at bekah@vacommunityvoice.org.Find the Community Voice Blueprint hereVirginia Community Voice was inspired by Community Centric Fundraising and its July 2020 launch!Here are the 10 principles of CCF, and here are the Courageous Fundraising Principles of Virginia Community VoiceProcess: Virginia Community Voice equips their neighbors to realize their vision for their own neighborhoods. Locally they work with marginalized communities that have not historically been listened to or heard and implementing the solutions they think best for their communities. And they work to prepare the official decision makers and traditional positional authority to listen and implement those solutions. All of this is towards a commitment for equity for the entire Commonwealth of Virginia - and specifically in Richmond, which is the former capital of the Confederacy.It's important to know their programs:1) RVA Thrives, has a goal and mission of equipping neighbors to realize their vision for their own community and to make sure they have resources and coaching to engage in what is happening in the neighborhood (food access, affordable housing, gentrification etc.) 2) Community Voice Blueprint (downloadable for free) is a four-step guide to community engagement around which they offer coaching and training.As they are a Black and woman led organization, they wanted to make sure that their inception did not include the traditional racist and donor-centric practices that most npos use.Here are a few notes about what Bekah and Lea describe as part of their process:They set the intention of dismantling old ways and centering racial equity, and “injecting equity into our entire process”They questioned whether they needed to start another nonprofitThey looked for resources and saw no documented path towards equitable community engagementAs they formed the organization (as a spin off of a white-led organization) they took the time to research fundraising norms and ways of working that they disliked and are rooted in white supremacy. In doing research in current norms and racism in philanthropy/fundraising specifically, they identified the most problematic: Donor centric fundraising only presents one model of who a donor can be. Said Bekah: “we knew we wanted to have a more democratic and accessible model in which all gifts are valued equally, no matter whether they're small or large, whether they're monetary or time. “Avoid communication that objectifies people, is myopic, acts as poverty porn or tourism, charity model or promotes white saviourism. Said Bekah: we wanted to move away from that toward communication storytelling that is affirming, that is telling a more complete and complex picture. Even if it's one that is uncomfortable.”Wanted to acknowledge and talk openly about how wealth is accumulated, the racist roots of nonprofits and philanthropy and how wealth is extracted through genocide, extraction of labor, and enslavement of people, and how foundations were founded. In summer 2020, they are inspired by the community centric fundraising principles and were already in the process of developing their own Courageous Fundraising Principles and their fundraising model. Once they had formulated their thoughts, they spent a lot of time working with all staff members, to make sure all felt invested and were engaged. Their staff include neighbors, considered community engagement specialists or community advocates (and they are at every staff meeting.)Then they went to their neighborhood steering committeeThen they worked with their board as individuals, and then as a groupThey also took the time to talk to Spanish-speaking communities - translating the work and receiving feedback. And Black communities as well.They took their time!Once the Courageous Fundraising Principles were finalized, they threw a virtual party on Giving Tuesday to share with board, neighbors, investors and answered the following:What does it actually mean to invest in local community?How does VCV understand its relationship to money and to donors?What is a true investment?Why is this important? Why are old ways unethical?Where does VCV believe it should we be investing its time? They also asked folx to give feedback. (And they raised money)As part of tactics, they intentionally began using the term “investor” - investing time and money. They ask for folx to become “members” and membership includes a monthly recurring investment as well as three hours a month, amplifying the voices of people of color. They promise to honor these investments equally.They continually ask themselves “Is this the right way to do this? Is this causing harm whose voices are not at the table?”They respond to the community and are transparent with their budgeting process and budgetIn working with institutions, they envision that when they sign a grant agreement with grant guidelines, the funder will also agree to guidelines from VCV, affirming what they are doing. In creating their board of directors, the based their board on the community itself. With at least 75% people of color, who have lived experiences in marginalization. They deprioritized wealthy folx and report that they have not suffered from that choice. With a board that comes from the community, they have more equitable outcomes!In giving advice, Lea says: “You will get pushback from people saying, like, I'm not sure!...Are you sure?” People of color were worried. Not because they didn't think it was the right thing or it was the right way to go, but they were worried for us as an organization because of potential retaliation that could come from something like this. But here's the thing - we have not seen that, we have not seen retaliation. We have seen our capacity grow. We have seen, investment stay and in some places grow because we've chosen to do the bold thing. Again, when you hit a point of tension on the other side, there's beauty. It is also still scary. But we're going to push forward because we know that there is something more beautiful on the other side. And that has been true of my life in general. But specifically in this space, it was scary, but also right.”So much wisdom in this episode but I love this quote:“For us, this is not about just doing this work, doing you know, our courageous fundraising principles, , focusing our work around equity, focusing our work around the community, rooted solutions to the problems that we face every day for the sake of doing that. We are doing it because our lives are at stake, our communities are at stake, our families are at stake. And that is the reason for this. It is not about what we think the next big thing is or how we want to move, you know, in the world differently. It is about, the very soul of our spaces, of our communities, of our lives, of our children's lives. What I want to say is this, this is real life. It affects real people. And if we don't start to change things, our children are going to keep dying in the street. That's, what's going to keep happening. If we allow our culture to support in equitable outcomes and equitable processes and equitable policies that is what's going to keep happening.”Okay also this one: “...you have the opportunity to pivot and to say, we need to do something differently or to kind of stay the course along the norms that are continually hurting our communities. And so we made the choice to pivot and that's, and that's actually where the beauty came from. Cause you know, it's, it's a point of tension, right? Like you get to a point where you're like, oh, we're doing something that's not fully equitable. Do we cover it up? Do we like, you know, wash it over or do we, or do we lean into the tension and say we didn't do something right. We admit to it and we want to change it. And what I find every single time is that there's beauty on the other side of leaning into that tension.”

Rachel, Evil, Svend and dl discuss the year in VCV. They go over their favorites found this year and answer some questions! Drinks: Champagne, Fireball and PBR!!!

The entire VCV crew is together at last! We discuss our favorite bands, and try best we can to still make this episode listenable.  Music in Episode: By Your Side, written by Svend Knutsen, performed by Svend Knutsen, THE Brent Berg and David Leisten Drinks in Episode: Svend- Lagunitas! Evil- Whiskey Sour and Buffalo Trace dl- Whiskey Sour and Scotch Rachel- ...don't ask

About: Aria Cluster aka Sushant Joshi is a music producer, sound designer, and educator currently based out of Bhimtal, Uttarakhand, India. His current work revolves around using sound in an experiential way either by more of an ambient approach or anything new in terms of manipulating noise around in terms of medium using synthesizers. Sushant's core lies in music production, synthesizers, sound design, sound editing, mixing, and sound art. Being a self-taught musician has been a journey, prescient and invigorating. The process of making music for Sushant is a blank canvas to which the colours of sound flow in all their natural capacity and tone. He approaches composition starting with the key and time signature and then creates unending chain of improvisations. In his music making Sushant prefers exploration of modular synths, VCV rack and semi-modular synths. He recently released his album Omnipresent, a compilation of 30 songs created in VCV rack. The core approach is creating generative, ambient soundscapes. Links: https://soundcloud.com/aria_cluster https://ariacluster.bandcamp.com/releases https://open.spotify.com/album/4Uu3d4cJoHDSOFgA6T6hdu

The VCV duo interviews the might Bobby Waters, a wonderful bass singer from the supergroup They Wellermen. They talk acapella, sea shanties and what it's like to be a Tik Tok sensation. Drinks in this episode: dl: Guinness and the best damned Irish coffee ever (with Jameson) Svend: Guinness Bobby: Captain Morgan Spiced Rum with lemonade (for the scurvy) Songs in the episode: Wellerman by The Wellermen By Your Side by Svend Knutsen

In episode 8 of VCV, Svend and David honor Mexico with their booze while talking their favorite bands. Drinks in episode:  Svend - Carta Blanca (40!), Pelican Brewery (Beak Breaker) David - Classic margaritas with Sauza tequila Songs in episode: By Your Side by Svend Knutsen When is it Enough by Svend Knutsen Fast and Dangerous by Svend Knutsen

The VCV duo have a their friend, James Stanton @stanmegaton, help them dissect 1997 in music. Was this the year the music died, or the year it was re-born? Drinks in this Episode: All the whiskeys and scotch (Alberta Premium Manhattan, Buffalo Trace, Tin Cup, Laphroaig, Hopworks Brewing, Glenfarclas) Greg with How to Drink (YouTube) gets a shout out. Music in Episode: Carlotta Valdes - Harvey Danger I Would Hurt A Fly - Built To Spill The Blarney Stone - Ween By Your Side - Svend Knutsen

⚠️TRIGGER WARNING⚠️In this episode, there is a discussion containing details of sexual assault and suicide. If you are sensitive to these topics, I encourage you to proceed with caution and only listen if you feel as though you are able to do so. Lakeydra Houston | Dallas-Fort Worth Metroplex | Sexual Assault Prevention Advocate | Public Speaker | K.E.Y. Fit Company | HR Recruiting Manager | Mental Resiliency Advocate | YouthMentor Meet Air Force veteran Master Sergeant Lakeydra Houston of the Dallas, Texas area. Lakeydra entered into the military as a Security Forces Airman, became an Enlisted Accessions Recruiter, and is currently serving as a Recruitment Manager. She’s a volunteer for VETS2INDUSTRY and is a Sexual Assault Prevention & Mental Health Advocate. With Key Fitness Company, she is found empowering people and businesses to create a connection between physical and mental fitness. "My goal is to empower our military and civilian community to become fit mind, body, and spirit through veteran assistance, wellness resources, resiliency workshops, mental sharpness techniques, and mentorship. Our focus should be on Diversity, Equity, and Inclusion; we all matter.  I am a SURVIVOR of suicide, sexual assault, and a wellness/mental health advocate. This is the driving force behind the vision of my business, KEY (Knowledge/Empowerment/You-nity) Fit, to help others understand there is hope." Features include Dateline NBC, Live at the Table, VCV, and V2I. “My past has not defined me, destroyed me, deterred me, or defeated me; it has only strengthened me.” Dr. Steve Maraboli Let’s heal mind, body, and soul. Knowledge • Empowering • You-nity  LINKEDIN     https://www.linkedin.com/in/lakeydra-houston-405926b6/  COMPANY WEBSITE: keyfit.life/ Air Force Veteran Brian Arrington, the CEO, and Founder of Vets2Industry was a guest on the Mettle of Honor (S1:E5)  VETS2INDUSTRY: https://vets2industry.com Brian Arrington:  --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/mettle-of-honor/message Support this podcast: https://anchor.fm/mettle-of-honor/support

V druhej epizóde podcastu sme sa rozprávali so Slavom Krekovičom o aktuálnom ročníku festivalu Next, ktorý začína už tento týždeň, s Júliusom Fujakom o jeho kompozičnom prístupe a poslednom albume kaleidoSONICope!, s lektorom série videí o práci v softvéri VCV rack, ktorý simuluje prostredie modulárnych syntetizátorov, Ondřejom Spiritzom, a nazreli sme aj do pozadia divadelnej dramaturgie A4 v diskusii s divadelnou kritičkou, redaktorkou a pedagogičkou Martinou Mašlárovou a Ľubom Burgrom. Zvuková paleta v tomto diele vychádza z live setu Ondřeja Spiritzu odohraného vo VCV racku, a z útržkov koncertu Júliusa Fujaka, ktorý sa odohral v A4 18. novembra, za čo im ďakujeme. Podcast vzniká v rámci projektu medzinárodnej spolupráce Re-Imagine Europe, spolufinancovaného z programu EU Kreatívna Európa a z verejných zdrojov Fondu na podporu umenia a Nadácia mesta Bratislava.

In questo video/podcast trovate alcuni concetti di anestesia tra cui:(1) Volume Corrente(2) PEEP(3) Pressione di Plateau(4) Driving Pressure(5) Modalità di Ventilazione (PCV, VCV, PCV-VG)Ma anche FiO2, manovre di reclutamento nel contesto specifico della chirurgia robotica e io personalmente ho osservato questi aspetti a Genova, Italia, sul robot Da Vinci Italia.Vi confesso che sino ad oggi non ho ancora trovato una lezione di anestesia su YouTube che trattasse gli argomenti del Volume Corrente, della PEEP, della Pressione di Plateau, della Driving Pressure e delle Modalità di Ventilazione nel contesto specifico della chirurgia robotica laparoscopica addominale, in Posizione di Trendelenburg.Se avete commenti, puntualizzazioni o aggiunte scrivetele pure giù in descrizione....#ventilazione #anestesia

Each week on Biz Buzz, our host David Sillick talks to business experts in the community. This week he sits down with Vanessa Castillo from VCV Agency.VCV Agency is a creative collective helping business owners expand their brand awareness and online presence through content marketing. By fusing strategy and storytelling we are able to connect them to their dream clients in authentic and organic ways.To learn more check out vcvagency.com.BluHorn Media Planning and Buying Software Is an affordable, easy-to-use tool that advertising agencies, media buyers/planners, and digital media directors and strategists use to plan media, buy media, analyze media, report media, and reconcile programmatic, digital and traditional media buys. BluHorn integrates with Nielson, Comscore, BluHorn Programmatic (powered by Centro), and QuickBooks; saving you time and money. While other tools on the market like MediaForce, GaleForce Digital, Advantage, Strata, and Free Wheel may require contracts, BluHorn remains a cost effective solution with no contract requirements. Enjoy a 14 day risk free trial of BluHorn Media Buying software today at BluHorn.com.

VCV vs PCV

Гости выпуска: Арина Егорова и Арик Ахвердян. Арине 23 года, она основала стартап Slitslot для планирования карьеры, Арик – создатель сервиса видеоотбора кандидатов на разные должности VCV. С ведущей Дарьей Кушнир они обсуждают главные ошибки в карьере, тренды рекрутмента и что делать, если не знаешь, кем стать. Истории молодых предпринимателей, советы экспертов и еще много всего читайте в наших соцсетях: t.me/rbyoung vk.com/rusbasey

Named after the famous Philip K. Dick novel, Scanner Darkly is one of the most dedicated coders in the monome community. He got his start creating the Orca firmware for the monome modular devices, but really caught his stride working on updates to the Teletype - a coding module that features an exposed scripting environment. By adding a lot of new scripting functions (including a complete set of grid support tools), Scanner has made the Teletype a much more exciting for a lot of users. In our chat, Scanner Darkly talks about his background learning coding, his interaction with electronic music and computer, and the variety of opportunities that he is currently pursuing. One of the 'soon-to-release' things includes some VCV rack work, so a lot more people will get to engage with his work. I think we all have something to look forward to enjoying! You can find Scanner's work all over the internet - if you search for Scanner Darkly, you'll see that he must have been one of the early people to get access to the name on the net; if a link isn't about Philip K. Dick, it's probably about him. Enjoy our talk, and if you get a chance, check out his work, or keep a close eye out for his upcoming releases on VCV rack and other platforms. Cheers!

Fans of VCV Rack and Voltage Modular will be all over the name VULT, but it's also making its name known for both hardware modular gear as well as nifty DSP trickery. Created by Leonardo Laguna Ruiz, Vult produces some of the best virtual modules I've tried, and is branching out into hardware modules and even DSP programming languages. And, of course, this amazing body of work is coming from an equally amazing guy. Leonardo is one of those pan-continental, pan-discipline people that will make you love the modern world. Leveraging a love of recording technology with an education in electrical engineering, he is one of those guys that thinks in differential equations. His passion is in modeling, and his work shows it: the filters, oscillators and other devices that he's created are fabulous examples of math-in-audio at its best. In our chat, we talk about the modules, the language, hardware developments and Leonardo's beginning story. The whole thing is inspiring, and it'll make you want to crack those books again. Enjoy! In the introduction of the podcast, I mention the opportunity to support Paul Birken's upcoming 'zine release. If you are interested, you can check out the first edition here, find out more on Facebook, or touch base with him at tonewrecker@gmail.com. Support the 'zine cause!  

I've known Wes Milholen for a while - I first met him as he was working on some of his first replacement faceplates. He was part of the Denver/Boulder modular scene, and we spent time at meetups and performances. I always found his crisp and clean designs to my liking, and found him to be a thoughtful developer and talented performer. He's gone on to do a lot more stuff: module development, more panel designs, and even design work for VCV rack. As you'll hear in this interview, he views design work to be his calling, and it shows in everything that he touches. We had a great talk - some reminiscing, some product history talk, and a lot of discussion about the world of modular synthesis. Wes has his finger on the pulse of that world, and has some good insight on where things came from and where they are going. Check out his work at https://grayscale.info/, https://1979.ws/ and https://vcvrack.com/. He's also hanging around mose social media sites and Muffwiggler's forum. Enjoy!

With Yoad Nevo and Matt Hodson - Waves Flow Motion FM hybbrid synth, Synth Watch, Alesis Strike Mulitpad, VCV Host - Vst in your VCV rack,

With Yoad Nevo and Matt Hodson - Waves Flow Motion FM hybbrid synth, Synth Watch, Alesis Strike Mulitpad, VCV Host - Vst in your VCV rack,

As I started digging into VCV Rack, I was entranced by the number of people that had done interesting third party work. One of the developers that caught my attention was Jeremy Wentworth - the creator of the JW Modules selection. Interestingly, he also reached out to me to find out if I was interested in talking to a third party person about VCV Rack. Works out, right? I started digging into his background, and it was clear he was going to be a great guy to talk to. His interests are all over the creative coding map, and his VCV Rack modules were sneaky-good, featuring graphical and generative modules that went way beyond simple Eurorack emulations. Seemed like a great opportunity to get to know a true creative coder. The result is a conversation with a person that loves to do it all, swamps himself with the work that he loves, and spends a lot of time interacting with (and often helping) others. Jeremy has a great vision for his own future - and he has some ideas for us, too! You can find out a lot more about Jeremy on his personal website: http://jeremywentworth.com/ Enjoy!

This is the first in a collaboration with Synthtopia.com, featuring open source developers of both hardware and software. More information is available at synthtopia.com... It's been a while since I've seen something with as much momentum as VCV Rack. This system went from "it was just released at Knobcon" to "everybody is using this for everything"! Part of the reason behind its success is the quality of the project - which has been coded by Andrew Belt (with design assistance by Wes Milholen). The system is pretty amazing, with a virtual modular model that is second-to-none. But it is also a completely open-sourced framework, too - one that has been embraced by a number of developers. For example, recent interviewee Michael Hetrick just released a huge set of modules based on some of his explorations; but we also see that Andrew has supported versions of the Mutable devices within the Rack system as well. In our chat, we go over Andrew's background, how he does his development, and what he finds important in an open source project. In the course of the discussion, you'll certainly learn more about why VCV Rack is so detailed, how he works with other developers, and what the future might hold. Enjoy!

(*This is a fictional case) Your patient has just had a very difficult instrumental delivery in theatre after a prolonged obstructed labour. Unfortunately now her uterus won't contract despite oxytocin and ergometrine and she is bleeding pretty briskly. You clean her deltoid with an alco-chlorhex wipe, inject 250mcg (1 ampoule) of carboprost i.m. and cross your fingers that this will do the job. You lean over the drapes, talk to the obstetric team and start rubbing her uterus while they repair the episiotomy. Suddenly you hear a raspy wheezing sound from the head of the bed - you immediately jerk your head around and glance at your patients face - she looks terrified. Bronchospasm! She has pursed lips and is struggling to breathe, her sats probe says 75% and you suddenly wish you had signed up to do dermatology back in your intern year..... Your assistant runs around trying to find a nebuliser and salbutamol and over the next 4 minutes she becomes unresponsive, her breathing becomes progressively worse and she takes on a mottled colour. Everyone in the room including the IT technician fixing the PC in the corner can see she needs you to manage her airway & breathing...... 1. How would you induce anaesthesia? Which drugs would you use? 2. Once you get the endotracheal tube in place how are you going to set up the ventilator to safely ventilate this woman? You notice her ETCO2 is already 75mmHg and you can't even get a pulse oximtery reading. You decide that her hypoxia and the acidosis from all that CO2 is causing her some serious harm - time to get some oxygen in. You set the ventilator to VCV with tidal volume 700ml x 16 breathes per minute and a PEEP of 8mmHg. 3.After a few minutes your patient has no pulse!  What has happened (what is the differential diagnosis) and what are you going to do...? 4. You sort that issue out but now what bronchodilators are you going to use? 5. Her uterus is still bleeding and in fact the tone is much worse - what are you going to do about that! SAFE MECHANICAL VENTILATION IN BRONCHOSPASM KEY POINTS: Use a volume-control mode of ventilation. Use minimal PEEP. Use a small tidal volume, 5-7ml/kg Use a slow respiratory rate, 10-12 breaths per minute (or even less!) Use a long expiratory time, with I:E ratio 1:3 or 1:4 Increase inspiratory flow rate to maximum. . Reset the pressure limits (i.e. ignore high peak airway pressures).  . Use heavy sedation. Use neuromuscular blockade. Use lowest FiO2 to achieve SpO2 of 90-92% Minimise the duration of neuromuscular blockade. Keep the Pplat below 25cmH2o to prevent dynamic hyperinflation.   Resources: http://www.derangedphysiology.com/main/required-reading/respiratory-medicine-and-ventilation/Chapter%206.1.1/ventilation-strategies-status-asthmaticus http://intensiveblog.com/    INTENSIVE podcast - The Alfred ICU. "Asthma and Mechanical Ventilation Pitfalls by David Tuxen"    

Another big week. The boys cover a grassroots campaign by HiQ to fight-off LinkedIn. Are you in? Indeed has gone shopping, acquiring Interviewed and taking the company into ATS territory. Can Indeed build a platform to take on Google, LinkedIn and Facebook? They sure are giving it their best shot. HR is progressively becoming a mainstay in every company's PR efforts. As PR gets more and more competitive, marketing teams are turning to the warm-and-fuzzies of HR to cut through the clutter. We discuss. Then, we look at a 500 Startups company, VCV, who automates the sourcing and much of the recruiting at employers. Is this the future of hiring? Definitely maybe. TheLadders is knee-deep in TMZ territory with their current content marketing strategy, publishing 5-12 stories daily to generate traffic. There are opposing viewpoints on this tactic and it gets a tad heated. Lastly, we look at a company called Werk that hopes to bring flexibility to the workplace. However, that's not what the boys find interesting. You'll have to listen to find out what got them chatting it up. As always, visit our sponsor America's Job Exchange, Sovren and Wonscore by Wonderlic. They make it all happen, people.

Démon, Bláhys a R.J.Kolda jsou čeští wrestleři, kteří nás provedli od náboru, přes trénink, až do ringu. Vítězství - cit - vášeň je krédo těchto rváčů a vy po poslechu tohoto Snacku už určitě nevynecháte ani jednu show českých wrestlerů!

The human pathogen Helicobacter pylori colonizes half of the global population. Residing at the stomach epithelium, it contributes to the development of diseases like gastritis, duodenal and gastric ulcers, and gastric cancer. It has evolved a range of mechanisms to aid in colonization and persistence, manipulating the host immune response to avoid clearance. A major factor in this is the secreted vacuolating cytotoxin VacA which has a variety of effects on host cells. VacA is endocytosed and forms anion-selective channels in the endosome membrane, causing the compartment to swell. The resulting VacA-containing vacuoles (VCVs) can take up most of the cellular cytoplasm. Even though vacuolation is VacA's most prominent and namesake effect, the purpose of the vacuoles is still unknown. VacA exerts influence on the host immune response in various ways, both pro- and anti- inflammatorily. Most importantly, it disrupts calcium signaling in T-lymphocytes, inhibiting T-cell activation and proliferation and thereby suppressing the host immune response. Furthermore, VacA is transported to mitochondria, where it activates the mitochondrial apoptosis pathway. Within the cell, VacA has only been shown to localize to endocytic compartments/VCVs and mitochondria. Considering its diverse effects, however, the existence of other cellular sites of action seems plausible. In this study, the VCV proteome was comprehensively analyzed for the first time in order to investigate VCV function. To this end, three different strategies for VCV purification from T-cells were devised and tested. Eventually, VCVs were successfully isolated via immunomagnetic separation, using a VacA-specific primary antibody and a secondary antibody coupled to magnetic beads. The purified vacuoles were then measured by mass spectrometry, revealing not only proteins of the endocytic system, but also proteins usually localized in other cellular compartments. This apparent recruitment of proteins involved in all kinds of cellular pathways indicates a central function of VCVs in VacA intoxication effects. In a global evaluation, the VCV proteome exhibited an enrichment of proteins implicated in immune response, cell death, and cellular signaling; all of these are processes that VacA is known to influence. One of the individual proteins contained in the sample was STIM1, a calcium sensor normally residing in the endoplasmic reticulum (ER) that is important in store- operated calcium entry (SOCE). This corroborates the findings of a concurrent report, in which VacA severely influenced SOCE and colocalized with STIM1. A direct interaction of STIM1 with VacA was examined in a pull-down assay, but could be neither shown nor excluded. Immunofluorescence experiments conducted in HeLa cells confirmed the presence of VacA in the ER and also found it to traffic to the Golgi apparatus, identifying these two cellular compartments as novel VacA target structures. The exact route of VacA transport remains unclear, but the involvement of both the ER and the Golgi suggests the possibility of retrograde trafficking, analogous to other bacterial toxins like shiga and cholera toxins. In summary, the elucidation of the VCV proteome and the discovery of the ER and the Golgi apparatus as VacA target structures have generated intriguing starting points for future studies. The detection of many proteins implicated in VacA intoxication effects in the VCV proteome leads to the proposal of VCVs as signaling hubs that may coordinate the complex meshwork of VacA effects. Further investigation of individual proteins is expected to help greatly in illuminating this matter.

Kasey Chambers questions Is God Real while we discover Brad Butcher is a Beliver that Miranda Lamberts Little Red Wagon is the perfect fit for O’Shea’s Parade.... Did any of that make sense? No. Also tunes from Beccy Cole, John Williamson, Gemma Louise Kirby and chats with the Viper Creek Band and Waterloo Revival all on REAL Country this week. Subscribe or listen FREE here: iTunes: http://bit.ly/1fHY1dH TuneIn: http://tun.in/tfQEys Web: http://www.RealCountryMix.com/ Listening on iTunes? We'd love a 5 star review!