Podcasts about vsts

We were visited by the lovely and skilled artist DV-i on "Hot Takes" this week! A mysterious vapor-adjacent audio/visual artist that has been growing meteorically in popularity lately, Valerie's presence on our show meant we were able to share a memorable evening full of anecdotes and quips about topics like escapism, perfectionism, DAWs, VSTs, and more. A consummate multimedia artist that has been creating for over a decade, DV-i has played countless live shows in several countries and has scored a couple of video games as well. We got to hear lore like the concept behind DV-i being a defense contractor and Valerie's decision to use vocals in her recent work during the episode. We also got to discuss the merits of using FM synthesis and splice packs, favorite film directors and types of architecture, and the differences between DJing and production. Valerie's interplay with the audience and her breadth of knowledge of art and media made for a very fun and vibrant session with Skelly and Shiro. Yaoi? Puppy death wave? Special salsa?! DV-i's episode on "Hot Takes" features all this and then some, so check it out!   "Hot Takes" is a safe space for all opinions! Join the conversation at https://linktr.ee/hottakesvapor

Send Steve a Text MessageEver wondered about the sonic intricacies of guitar amps and how they shape the music that moves you? In our latest episode, we crank up the volume on everything from the warm glow of tube amps to the cutting-edge versatility of their digital counterparts. Join me as we dissect the anatomy of an amplifier, including the preamp, power amp, and cabinet, and share how my personal journey with varying amp wattage has informed my choices for different playing environments.The debate between the authenticity of real amps and the convenience of digital models gets loud and clear here. We'll compare the tonal evolution of tube amps at high volumes to the consistent output of digital amps, discuss portability champions like the Positive Grid Spark, and delve into the world of Kemper and Axe-Fx, where speaker selection is crucial. Maintenance, costs, and the long-term love affair with the unique character of tube amps versus the pragmatic, multifaceted digital options also take center stage.To wrap it all up, you'll get a backstage pass to the future of guitar tone. From the seamless integration of effects in units like the Boss Katana to the game-changing capabilities of guitar plugins and VSTs, we're plugging into a world where the perfect sound is just a click away. Whether you're a bedroom rocker or a stage veteran, this episode is your ticket to discovering the amplifier that'll make your six-string sing. So tune in, turn up, and let's find the sound that speaks to your soul.Tune in now and learn more!Links:Steve's Channel → https://www.youtube.com/user/stinemus... GuitarZoom Channel → https://www.youtube.com/user/guitarz0... Songs Channel → https://www.youtube.com/user/GuitarSo... . Check out Steve's Guitar Membership and Courses: https://bit.ly/3rbZ3He

In Episode 2 of The Larry Ohh Show, we talk about Larry and John's Top 5 Favorite Stock Vst's in FL Studio.

Welcome to Episode 9 of Trailer Therapy! This week Bryan and Brian espouse the basic rules of trailer music... and when to break them. They also giver their advice to a composer who lives in a country where their income is too low to be able to afford the necessary VSTs and software most composers take for granted. Because of the Thanksgiving holiday week, there weren't a ton of tentpole trailers released so the hosts are doing a reset. -- Send us your questions and topic suggestions via email (⁠⁠⁠⁠help@trailertherapypod.com⁠⁠⁠⁠) or social media with hashtag #TrailerTherapyPod -- Twitter: ⁠⁠⁠⁠⁠https://twitter.com/TrailerTherapy⁠⁠⁠⁠⁠ Instagram:  ⁠⁠⁠⁠⁠https://www.instagram.com/trailertherapypod⁠⁠⁠⁠⁠ Facebook: ⁠⁠⁠⁠⁠http://www.facebook.com/trailertherapy⁠⁠⁠⁠⁠ -- Join our official Discord community to chat with the hosts & other listeners, share tips, and find trailer music collaborators: ⁠⁠⁠⁠https://discord.gg/uwA34UNKrK ⁠⁠⁠⁠ -- Please leave a review on Apple Podcasts and let us know what you like about the podcast and what you would like us to discuss in the future. We love hearing from you!

Jam packed broadcast this week as we're going over the MUST HAVE #blackfriday deals for VSTs and discussing how we can incorporate them into our Studios. For the main event, we'll be joined by Label mate and Patron  @frequencycontrolcentre3572  who will be sharing with us his expert and professional advice when it comes to building your own Artists' website. Help Support the Channel: Patreon: https://www.patreon.com/audionautic Thanks to our Patrons who support what we do: Audionauts: Abby, Bendu, David Svrjcek, Josh Wittman, Paul Ledbrook, Matt Donatelli and Stephen Setzepfandt McKinleyA - Audionaut Engineer Lars Haur - Audionaut Producer Time Stamps: 00:02:00 - INTRO 00:04:00 - BLACK FRIDAY 00:06:00 - REASON 00:08:00 - BLEASS 00:10:00 - ARTURIA 00:14:00 - SUPERPLATE 00:35:00 - WEBSITE INTRO 00:37:00 - WHY IS IT GOOD? 00:45:00 - HOW DO YOU DO IT? 00:46:00 - HOSTING 00:49:00 - BUYING A DOMAIN 00:52:00 - WEBSITE EDITOR vs BUILDING IT YOURSELF 01:00:00 - THINGS TO CONSIDER 01:04:00 - THE SMILE EXAMPLE 01:08:00 - CARL COX EXAMPLE 01:15:00 - MAGIK MAGIK 01:17:00 - SEO BASICS 01:32:00 - SUBMISSIONS 01:35:00 - NEXT WEEK 01:39:00 - WHAT WE'RE UP TO Join the conversation:

Today on the Beat Club Podcast we are accepting beat submissions from around the globe; as we speak on a variety of topics like VSTs worth having, pranks that have gone too far, always being right,  going to the beach and not getting in the water and much more. So sit back and enjoy music sent in from some of the Best producers in the world; and be sure to follow us on all social media platforms. Beatclubpodcast.com | #whereprodcuersareheard

(00:21) Asit Sharma and Dylan Lewis discuss: - How Kelloggs became Kellanova and what to make of its cereal spin-off WK Kellogg.  - Food service company Aramark spinning out its uniform business Vestis and why one might be more interesting than the other for investors. - The traps to avoid when looking at spin-outs.   (15:51) Ricky Mulvey and Bill Mann check in on Costco – the business, its potential, and its new food court offerings.  (27:05) The Motley Fool Money team goes out into the field to taste test Costco's new roast beef sandwich, mango smoothie, and strawberry ice cream.  If you're looking for investing ideas, we're offering Motley Fool Money listeners a discount on our flagship service, Stock Advisor. To learn more head to fool.com/mfmdiscount Companies discussed: K, KLG, ARMK, VSTS, COST Host: Dylan Lewis Guests: Asit Sharma, Bill Mann, Ricky Mulvey, Sierra Baldwin, Mary Long Engineers: Dan Boyd 

Today we're talking about recent updates and announcements from Native Instruments including Guitar Rig 7 & Control S Series MKIII. We'll also cover using CapCut to easily design spotify canvases for free. We'll also cover a new photo effect that creates 3d versions of images through the app. Finally we'll talk some ways to add realism to VSTs using a free version of Guitar Rig, IR Reverbs and more Help Support the Channel: Patreon: https://www.patreon.com/audionautic PayPal: https://www.paypal.com/paypalme/AudionauticRecords?locale.x=en_GB Thanks to our Patrons who support what we do: Audionauts: Abby, Bendu, David Svrjcek, Josh Wittman, Paul Ledbrook, Matt Donatelli and Stephen Setzepfandt McKinleyA - Audionaut Engineer Lars Haur - Audionaut Producer Time Stamps: 02:00 Intro 4:00 What we're up to this week in music production 21:00 Native Instruments updates MIDI controllers 29:00 Guitar Rig 7 36:00 Audionautic Radio Spotify Playlist hits 500 followers! 43:00 Free and Easy Spotify Canvas/IG Reels hacks (CapCut tutorial) 55:00 How to make VSTs sound real Join the conversation:

From Elton John's signature piano, to Alicia Key's “Alicia's Keys”, in this episode, we explore the world of artist-centric VSTs and real-life instruments. Learn more about the technology has shaped the sounds we hear in modern music, and discover which VSTs are making waves in the music industry today. Don't miss out!Episode Highlights:Why are pianists considered finicky when it comes to VSTs and sound emulation?What is the difference between sampling and modeling in VSTs?How has Alicia's Keys become a household VST for modern music production?Why are Keyscape and Pianoteq at the forefront of piano and keyboard VSTs?Which company gave Elton John his own signature piano?

Have you ever wondered about the connection between reggae and R&B, or how Daft Punk managed to revive disco for a new generation? In this episode, we pull back the curtain on the music industry, revealing the unsung heroes of reggae, the true essence of disco, and the modern artists paying homage to these iconic sounds. Plus, discover the rise of signature VSTs and how they're changing the game for producers everywhere.Episode Highlights:How does the role of bass in reggae differ from its role in rock or pop?How important have the lines and techniques of bassists Robbie Shakespeare and Aston Barrett been for reggae music, let alone popular music as a whole?Is there a common thread shared with reggae and R&B, in terms of musical structure and themes?How did Nile Rodgers manage to adapt and evolve from the disco era to the 80s and beyond?What impact did Daft Punk's "Random Access Memories" have on reviving disco and blending old with new?How have signature audio products evolved beyond just instruments to include VSTs and software?

In today's episode, Macshooter49 and Pinnacle discuss his favourite secret VSTs, the best ways to improve your music production and learning, and ways to stay disciplined during your process and career.

This is our weekly music production, technology and marketing podcast. We're live every Wednesday at 11AM Pacific/7PM UTC. This week we've got new VSTs from Native Instruments and Spitfire Audio, as well as the latest in Marketing. Check out the Podcast: Apple Podcasts: https://apple.co/3CSZyvO Spotify: https://spoti.fi/3N5vyBS Help Support the Channel: Patreon: https://www.patreon.com/audionautic Thanks to our Patrons who support what we do: Audionauts: Abby, Bendu, David Svrjcek, Josh Wittman, Paul Ledbrook, Matt Donatelli and Stephen Setzepfandt McKinleyA - Audionaut Engineer Lars Haur - Audionaut Producer Time Stamps: 02:00 - Welcome 08:00 - New​⁠@spitfireaudiollp LABS 20:00 - New ​⁠@NativeInstruments 30:00 - ​⁠@ArturiaOfficial Collection 4 40:00 - ​⁠@Tidal Artist Hub (Marketing Minute) 54:00 - Round Robin Join the conversation:

While I'm not a pianist, I've certainly done a fair amount of piano programming as well as  lot of research looking for that perfect piano sound. On today's episode I  compare ten (yes ten!) piano libraries  with examples from meditation to jazz and Beethoven to Debussy.Plus in my Year of Taxi update, we  check in on any returns or forwards and take a listen to this week's submission which is a Stranger Things-inspired synth tension cue, and then I  give my thoughts a Cuban salsa cue written by another longtime 52 Cues Community Member, Enrico Caporale (https://soundcloud.com/user-542988836).Watch this episode on YouTube!https://youtu.be/3xQnNDvUYIg00:00 - Intro & Welcome02:16 - Year of Taxi Check-In16:23 - 10 Piano VSTs Compared01:08:47 - Join the 52 Cues Community!01:10:02 - Salsa Huevo En Barbita," by Enrico Caproale01:17:22 - Outro & How You Can Support 52 Cues!All Is Well - Music for Meditation by Shannon Kropfhttps://open.spotify.com/album/69hUKqypKHV5o27jadtPc7 Join the 52 Cues Album Accelerator – a self-paced program with over 6.5 hours of video content, discussion threads, articles, and resources which guides you through the entire process of creating a production music album. Plus you'll receive a 90-minute, one-on-one session to listen through your album and discuss strategies for library placement. Head over to 52cues.com/accelerator to sign up today!

In this latest episode of ASTCT Talks, Dr. Genovefa Papanicolaou, MD sits down with Dr. Richard J. O'Reilly, MD and Professor Karl S. Peggs, MB, BCh, MA, MRCP, FRCPath to discuss Virus-Specific T-Cells (VST). They dive into what VSTs are, safety of VSTs, challenges and opportunities of adoptive cell therapy for viruses and more. Disclaimer: Dr. Richard O'Reilly received royalties following licensure of the EBV-specific T-cell bank by Atara Biotherapeutics and has subsequently received research support and consultant fees from Atara Biotherapeutics. About Genovefa Papanicolaou, MD Genovefa Papanicolaou (@GenPapaMD) is an infectious disease physician at Memorial Sloan Kettering Cancer Center and professor at Weill Cornell Medical College of Cornell University in New York. She is the past Chair of the Transplant Infectious Disease Special Interest Group (TID-SIG) of ASTCT (2021-2023). Her research areas of interest include viral infections, biomarkers, and personalized infection management. About Richard J. O'Reilly, MD Richard J. O'Reilly, MD is the Claire L. Tow Chair in Pediatric Oncology Research and former Chair of the Department of Pediatrics at Memorial Sloan Kettering Cancer Center. As Chief of the Bone Marrow Transplantation Services in both the Departments of Pediatrics and Medicine, Dr. O'Reilly pioneered transplantation approaches for patients who lack HLA matched siblings. He and his colleagues introduced the use of marrow transplants from matched unrelated donors and thereafter T-cell depleted transplants from HLA half matched donors for children with lethal immune deficiencies and both children and adults with leukemia.  In 1994, he introduced the use of transplant donor T-cells for the treatment of EBV-induced lymphomas. Currently, he is evaluating  adoptive cell therapy employing banked partially HLA-matched and appropriately HLA restricted T-cells from third party healthy donors for viral infections and  leukemias, conducting Phase I and II trials testing adoptive transfer of these  virus-specific and tumor-specific T-cells following T-cell depleted HCT as a therapeutic approach for EBV lymphoproliferative disease, drug resistant CMV infections and leukemic relapse in the post transplant period.  About Professor Karl S. Peggs, MB, BCh, MA, MRCP, FRCPath Karl completed his medical training at Cambridge and Oxford Universities. Following specialisation in Haematology, he spent 5 years developing adoptive cellular therapies for viruses at UCL. After taking the position Head of Adult Stem Cell Transplantation Services at UCLH, he spent 3 years at Memorial Sloane Kettering Cancer Center, NY in the laboratory of Dr James Allison, contributing to the body of work underpinning checkpoint blockade that led to the Nobel Prize for Medicine in 2018. On his return, he continued his work in the field of anti-viral T cell therapies, established the clinical translational side of the academic CAR T cell programme at UCLH and ran a joint Research Laboratory with Professor Sergio Quezada in the UCL Cancer Institute from 2010-2021, becoming Head of the Academic Research Department of Haematology in 2019 and Director of the Sir Naim Dangoor Centre for Cellular Therapy. He was a co-founder of Achilles Therapeutics in 2016, transitioning to the CMO role in 2021.

Melodic Techno Ableton Template Vol.2 is an Ableton 11 Template for Techno music producers who want to take their productions to the next level.  This royalty-free Ableton template project is designed to give you a head start in your music production journey. This means you can use it as a starting point for your productions or use the sounds, and midis inside any of your projects without legal issues. With the Melodic Techno Ableton Template, you'll have access to an Ableton 11 project file that includes everything you need to create a professional-sounding techno track.  The project file is compatible with Mac and PC, making it easy for producers of all levels to use. The project file includes only Serum and Diva as third-party VSTs, making it easy to use and modify. You can easily adjust the project to your liking, adding your own sounds and effects, or use it as a starting point for your own musical creations. Whether you're new to techno music production or pro, the Melodic Techno Ableton Template Vol.2 is the right template tool to help you achieve your creative vision. To run this project fully, you will need the following DAW and VST Instruments and Plugins: Ableton 11.2.6 Serum v. 1.345 Diva Rev 1 2092

VST3 vs. VST2 Plugins.. What Should You Use? In short, use VST3 for best future-proofing of your music projects... however, there may be times where your software does not support VST3, and that's where you'll have to fallback to the VST2 version of that plugin. As an end user, we really don't see too many benefits of VST2 vs. VST3, as it's mainly developers who gain more features and functionality that we end users get to use when making our music. (The main benefits of VST3 would be usually a resizable GUI, and in FL Studio, we can often right-click in VST3 third-party plugins!) As a bonus, we cover how to buy plugins for music production, and being careful about the best VSTs for beatmaking when they are subscription plugins.

In this week's episode we're taking a look at the latest in free VSTs with features from Spitfire Audio and Sample Science. We're also looking at the latest marketing changes in Instagram as well as discussing our top tips for mixing Check out our new Eco T-Shirts: https://audionauticrecords.bandcamp.com/merch/audionautic-space-eco-tee Special thanks: McKinleyA - Audionaut Engineer Lars Haur - Audionaut Producer Help Support the Channel: Patreon: https://www.patreon.com/audionautic PayPal: https://www.paypal.com/paypalme/AudionauticRecords Join the conversation:

"Martinic" is one of the leading companies in the business of virtual instrument and FX plug-ins, also known as VSTs. Everybody who's making music on a computer will be using either virtual effects or virtual instruments to some extent, but not many know how they are actually made. "Martinic" CEO Martin Broerse tells us about his company, how they work both under licence for big brand names (which we all know and love) and under their own brand name, how it's achieved that vintage Synthesizers from the 1980s or even analogue combo Organs from the 1960s gain a second life as a virtual instrument plug-in, what the challenges are in virtual modelling such instruments and why Martin would never give away one specific piece of hardware (!) from his own collection of instruments. In a nutshell: This is a super, SUPER interesting episode for everyone who's interested in digital music and production technology! ...and it contains a lot of exclusive music by UAP (myself) which (by the time of release of this episode) isn't available anywhere else except on this very podcast episode.

Go Grizzly interview on the ProducerGrind Podcast. We sat down with this multi-platinum producer to talk about his come-up story and unique sample making & production process. We went into stories of getting placements building specifically with Kevin Gates & exposed his favorite drum kit! Another dope producer interview hosted by TB Digital & WhoIsJBeats. Go Grizzly Credits: Kevin Gates - Not the Only One Future - You da Baddest DaBaby - Baby Sitter King Von x Lil Durk - Still Trappin' KSI - Poppin Quando Rondo - I Remember

Before Abe Batshon started BeatStars in 2008, a handful of superproducers had a quasi-monopoly on selling beats, charging hundreds of thousands of dollars per song. Top producers still get paid today, but the concept has become more antiquated with platforms like BeatStars democratizing beat-making. Creators can sell instrumentals — either under an exclusive license or not — to artists around the globe for a fraction of the previous cost. With $200 million paid out to creators to date, BeatStars has reset the entire economics of beats. Abe started BeatStars without any VC funding during the Great Recession. This was also pre-steaming, when the music industry was in its dark days. Bootstrapping the company, BeatStars would redefine the music landscape along with other DIY distribution platforms such as SoundCloud and YouTube. Abe's goal from the get-go was to break the relationship-driven nature of creating music and open opportunities for creators around the globe.Fourteen years later, it's safe to say Abe has created more opportunities and then some. Famously, Lil Nas X bought the beat for viral sensation “Old Town Road” on BeatStars for $30. BeatStars' producers have also been featured on songs released by Drake and Ariana Grande and ads for adidas, the NBA, and many more. BeatStars' fingerprints are all over media, not just the independents but the majors too. Here's all the noteworthy moments during our conversation:[3:27] Recognizing BeatStars instrumentals online [6:18] Starting BeatStars amid 2008 music landscape[7:28] Receiving pushback when BeatStars began[10:02] What finally changed for producers[12:20] Resetting economics of beats[16:25] Typical earnings for BeatStars creators[20:36] Music syncs in mainstream media[23:44] BeatStars growth trajectory[28:20] More competitors in the marketplace [31:22] VC money's impact in the music industry [36:03] BeatStars cap table[39:30] Roadmap for the futureListen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuests: Abe Batshon, @AbeBatshon  Sponsors: MoonPay is the leader in web3 infrastructure. They have partnered with Timbaland, Snoop Dogg, and many more. To learn more, visit moonpay.com/trapital Enjoy this podcast? Rate and review the podcast here! ratethispodcast.com/trapital Trapital is home for the business of hip-hop. Gain the latest insights from hip-hop's biggest players by reading Trapital's free weekly memo. TRANSCRIPTION[00:00:00] Abe Batshon: for us, it's never been about the money. It's always been about these young people all over the world and old people, creators from everywhere. Like, can we liberate the idea of songs? Can we help push people to be more experimental with their words and their messages and their art and something that's so personal for them. I don't see any of these like venture-backed companies or big invested-type of companies actually having a genuine approach to how they treat or deal with their community. So I'm really not worried about it. I definitely keep them in mind in terms of continuing our fight to liberate music. [00:00:57] Dan Runcie: Today's episode is a topic I've been wanting to dive into for a minute and this is about the business of buying and selling beats. It's a fascinating marketplace that has shifted considerably over the past few decades. So I wanted to bring on an expert himself to chat about it. Abe Batshon, who is the founder and CEO of BeatStars, which is a marketplace for buying and selling beats. He joined me on this topic, and we took a trip down memory lane. We went back to the 2000s, we talked about what it was like. You remember when Timbaland was bragging about getting half a mill for his beats and Neptunes had 40% of the songs on the radio? As great as it was for them, there really wasn't a lot for the other producers and other people that were trying to come up, so BeatStars came up in this post-YouTube era to make it possible for having this marketplace. And Abe talks about what it was like back then and just given some of the challenges that existed with the music industry, searching for its own business model at the dark days of piracy and trying to navigate that. But then also with the early days of the streaming era and how that has lifted his business. In the past two years, BeatStars has made more money than it made in the past 12 years before that, and it's on track to have another one of its biggest years yet now. So we talk about what that journey's been like, what led to that, and how this marketplace and how this business has evolved. When Abe was starting this, people laughed at him because they thought it was crazy what he was trying to do. Today, there are plenty of investors with bigger pockets that are trying to come in and eat his lunch. So we talked about what that looks like and why he still thinks that BeatStars is well positioned there. We also talk more broadly about the amount of VC money that's come into music tech, and how he looks at that, and what it looks like for other opportunities. If you're as fascinated about this topic as I am, you'll love this conversation. Abe kept it real and it was great to talk to him. Here's our chat.[00:00:37] Dan Runcie: Hey, welcome to The Trapital podcast. I'm your host and the founder of Trapital, Dan Runcie. This podcast is your place to gain insights from executives in music, media, entertainment, and more, who are taking hip-hop culture to the next level. [00:02:55] Dan Runcie: All right. Today we have Abe Batshon who is the CEO and founder of BeatStars. One of the premier places to buy and sell beats and wanted to have him on so we could have a conversation about this entire process, this landscape, and right before we recorded, Abe, you were just telling me about how you were listening to a different podcast. And you could hear when you hear that BeatStars beats on a podcast, Trapital podcast, of course, mine came from there. How do you know that the beat for sure came from BeatStars as opposed to somewhere else? [00:03:27] Abe Batshon: Well, yeah, I'm a dude. I listen to so much music on the platform. Like, I process everything so much and I kind of, I don't know if it's photographic memory in terms of when you hear something, I just retain that information around that piece of music forever. Like, I know when I've heard something. Yeah, so, yes, I'll randomly, like, you know, turn on the TV or turn on the radio or turn on, you know, TikTok or turn on SoundCloud or turn on anywhere. And I'm like, holy shit. Or Spotify, you know? And I'm listening to, like, some of the trending viral songs or the top Billboard songs. I'm like, yeah, I know those beats. I know those beats. I've heard those before. Yeah. [00:04:04] Dan Runcie: Do you feel like there's a distinct brand or sound that has BeatStars sound that you can pick up on almost in the same way that well-known and established producer has that sound like you could hear a track and be like, oh, that's a Neptunes track even if I'd never heard it before, do you feel like that's the case for a BeatStars beats? [00:04:21] Abe Batshon: Good question. You know, maybe eight years ago, nine years ago, yeah, I could have, you know, been like, okay, that's definitely an influence from the marketplace, from the sound, from the platform, but today with the amount of variety and just so many different genres, and sub-genres and styles of music that's getting uploaded to BeatStars, it's impossible to just define it to one, sound anymore, but maybe 10 years ago, for sure. Yeah, not now, not now. [00:04:49] Dan Runcie: Yeah. That makes sense from the timeframe perspective 'cause I could imagine, especially in the early days, there are artists you have that are likely championing the service. And if they're bringing on others that want to have that artist-type beat there, then there's going to be a lot of that similarity. But over time, especially with where you are now, over 200 million paid out to artists on this platform that just speaks to the reach that you have and everything that you've been able to do from it. [00:05:16] Abe Batshon: Yeah, man. so fulfilling, so fulfilling to just like know that's the kind of impact the technology and platform is making for, you know, for creators' lives. I'm definitely not satisfied with that number at all. But it's a great, great motivational indicator for me to keep going for the team, to keep pushing. But, you know, our aspirations are a lot bigger than that for sure. [00:05:37] Dan Runcie: Yeah. Let's actually go back a bit because I think that could be a way to have the arc of where this is going. Of course, you started this company in 2008, but in the 2000s, it was such a different landscape for producers, beat makers. And I look at that era as being quite top-heavy, right? If you were one of the super producers. If you were Timbaland, if you were Pharrell, if you were Kanye, then you almost had a, you know, quasi-monopoly in a particular area of just what you could charge, what you could do. But for everyone else that wasn't a superstar, it was a much more challenging landscape, I could assume. Can you speak to what it was like that time frame? [00:06:18] Abe Batshon: Oh, so challenging then. So challenging, you know, I was working at INgrooves prior to me starting up BeatStars and, you know, I'd work with a bunch of artists, and labels and I'd get to know, like, the producers behind some of the work that's being released. And even for those top-heavy guys that I was talking to, they started definitely feeling a shift in how operationally the record labels were approaching licensing of beats and the development of an artist. You know, I think I just saw a recent article. I forget which publication, oh, maybe Billboard just the other day about how everyone's a distributor now. All the majors are just, you know, they're distributors. Each one of their kind of like sub-companies under the parent companies are all, you know, competing with each other, actually as distribution companies, and it's creating like a healthy competition of distribution. And so, you know, that wasn't the case back then, man. You know, back in the day, like, the major record labels weren't operating from a DIY, you know, distribution mindset of like mass distribution, mass releases of content. That wasn't the mindset. So, yeah, it was a much more controlled environment with which producers actually were contributing to, you know, these songs or these albums that were, you know, the majority of what we were listening to back in 2008. And I think you know, what changed at all was, was the emergence of probably YouTube, right? The emergence of YouTube, and SoundCloud, and, you know, and BeatStars, right? And the accessibility and the ability to now reach a broader and global audience of collaborators and music creators. And we were kind of laughed at. We were kind of laughed at in the beginning, you know, everything different that goes against a grain, that goes against a traditional way of how things are done, there's always going to be some resistance to that model or any resistance to those ideas. And it used to bother me back in the day and I used to get some of these super producers, you know, some of them would send me like dirty messages, like you're fucking up the game. You're saturating, you're devaluing our art. And I didn't see it that way. You know, I didn't see it that way. I was seeing it as a new opportunity to create more and broader reach of intellectual property for the independent creator that can actually sustain themselves in a world where it's controlled by a few different organizations, you know. [00:08:36] Dan Runcie: Definitely. Thinking about those artists themselves. I'm thinking back to that time, there was that stat, maybe it was in 2002 or 2003, where they said that 43% of the songs on the radio were Neptune songs. And I think you could have said the same about Timbaland. You could have said the same about Max Martin or any of these people that are just on the radio so much, but you come in with this platform that very much speaks to where we were in the music industry and where things were with technology with hip-hop specifically. This is the blog era, it's really starting to pick up. You're starting to see more of that DIY distribution from the artist side. SoundCloud was just launched and even Spotify was still in the early days, but streaming still didn't take off the way it did. And I can imagine that some of the pushback or some of their response you got was from people feeling that you were likely ahead of the curve, and because of that, there were still several years before things really took off in streaming. So it was probably interesting just to see the landscape evolve. And then as you had success, you saw other competitors come in and other folks see the landscape and you're like, well, you know, I've been trying to tell you all, this is what the vision has been since the 2000s. But back then, the industry was just in such a place of people were still trying to push CDs. Like people were still trying to fight piracy. And like, when you think about that, I'm not surprised at all that you had faced some of that pushback you did. [00:10:02] Abe Batshon: Yeah. I'm trying to kind of go back to those days in hip-hop, you know, everyone was the plug for certain things. Everyone was the plug for certain things. And you had to go through this person or this company in order to achieve some of the, like, artistry goals that you have as an artist, you know? And there was a determined route that you had to go, you know. There was a determined route that you had to go and you had to go through certain gatekeepers in order to, you know, achieve success. And it just bothered me from a human level. You know, it bothered me from a human level that we're not allowed to experiment and develop art, you know. Closed environments, the outcome of those. Like you said, how many more Neptunes hits can we have continued to listen to? Nothing against the Neptunes, I fucking love those guys, right? They're amazing, they're geniuses. But even them, they would tell you that, yeah, that kind of monopoly was probably unhealthy for music, for artists all over the world. You know, I'm sure they will tell you that that opportunity was, you know, scarce, you know, opportunity was scarce. And yeah, it was relationship-driven industry, you know, so it was a different time, different time. And I think my goal was to just completely break it.[00:11:16] Dan Runcie: Thinking about that time too. You had the people that were the top producers at those times, and they could charge handover fist for a beat. I mean, there's the line where, you know, Timbaland's like, I'm getting half a mill for a beat. And if I'm thinking about just from the competitive dynamic, what happened there, you did have this very top-heavy landscape. And in some ways they're telling you, Hey, you know, you're fucking up our money. And in some ways you are, but not necessarily in a bad way because you're letting everyone else that couldn't eat at all at least get something, right? So when you now introduce this marketplace and no, you don't necessarily have to pay half a million for a Timbaland beat to get on the radio. You could pay under a thousand dollars, a few hundred dollars to have one of the biggest songs of the summer on your music, and being able to do that lifts it up for everyone else. So I think whether it's your Timbaland's or your Mike Will, other folks could still get, you know, six figures or a lot of money, but I don't know if they're getting that 2006 or those 2003 checks that they were for the type of beats they did.[00:12:20] Abe Batshon: But, Dan, superstars are superstars in terms of creation, right, in terms of music production. Even on BeatStars, right, even on BeatStars, maybe, yeah, there's some producers on a platform that don't have that type of name recognition in a game of only a handful of producers. It's kind of different now to gain that kind of name recognition, but there are superstars on BeatStars. There are superstars that are generating half a million dollars in cumulative earnings in licensing revenue from one beat on BeatStars. So those days of like earning hundreds of thousands of dollars on one track is still happening on the platform. It's just happening in a different model. It's happening in a non-exclusive model where thousands of recording artists are, you know, licensing that same production and have the rights to create another master version of that production. But at the end of the day, that producer generated hundreds of thousands of dollars just from that one piece of content that lives as a catalog item in their store. Yeah. And I'm hearing like huge songs now on the radio that those beats are still available, non-exclusively on the platform, they're still available. So producers are becoming less and less willing to let go of their intellectual property exclusively because there's just so much backend earnings and recurring revenue, business building and, you know, forecasting of earnings for themselves, that it doesn't make sense now for them to kind of give up the rights to just one rights holder anymore. So now it's super competitive and it's gotten to a point where I think competition is healthy in song making like, Hey, here's the beat, $20. By the way, some of these beats, a lot of these beats that live on BeatStars, if they existed back in those 2000s, when it was the heyday of license revenue of 200,000 a beat or 500,000 a beat from Timbaland. Like, these beats are competing with those beats or even beyond them, right, 'cause these kids are pumping out content like crazy, right? They're bending this software in terms of DAW, the accessibility to digital VSTs, and effects, and processing, and sound libraries and, like, their ability to, like, craft, you know, sonically, like, amazing, amazing records that penetrate every market around the world. Like, it's much easier now. Back then it was harder. But, yeah, I think the earnings potential is still there on BeatStars. You know, I think it's still there. It still exists and that's why we're still seeing producers that have had tons of success, you know, licensing to major recording artists still maintaining and developing and building their online presence on BeatStars. Like, it's still a major income stream from them to the point where they can't neglect it. And they can't completely immerse themselves in the traditional way of like, you know, music licensing within the industry. It's cool to see. It's cool to see a balance. You got to have both. You got to have both today. [00:15:07] Dan Runcie: Oh, yeah. And I'm glad you brought that point up 'cause that's an important distinction 'cause, of course, we're talking before about the upfront money that the super producers were getting in the 2000s, but people were rarely talking about the totality of it, and what it looks like. And that's what you're talking about here and being able to measure it in totality makes so much more sense because, with the way it currently is now, with an artist releases something on BeatStars, there's so many ways that they can generate money from that, whether that's, especially if it's non-exclusive, as you mentioned, people can pay for it directly. Anyone that is then using that beat, you could earn revenue directly, you know, from anything that's there, depending on the arrangement. But then I think you have this additional benefit where people, especially with TikTok and all these other platforms, they want to be able to remix and make their own versions of songs and being able to do that and how that can compound on each other. That's what makes the platforms like this successful. And maybe it would be helpful to hear you mentioned that, you know, there are superstars on the platform that are making and exceeding a lot of those, you know, revenue totals that we had seen before. What does a typical breakdown of that look like in terms of how much of that comes from upfront sales of people purchasing versus how much of it is the recurring and maybe ballpark? We don't need anything too exact, but maybe to give an idea. [00:16:25] Abe Batshon: Yeah. So I guess we can only attribute the upfront micro licensing revenue on BeatStars, right? That $200 million, that micro licensing. But if we wanted to get very, very technical, we can talk about the earnings that were actually, you know, generated from those, you know, derivative works, those songs that were made from those beats. And if you calculate the earnings from the millions of songs that are created on the platform every year that get distributed to DSPs and DIY distributors, you're talking probably billions of dollars of earnings, music copyright earnings from, all of these non-exclusive licenses, cumulatively. So I wish there was a way to calculate all that, but it's hard to like quantify that. But I think today, from a platform earnings potential on BeatStars. I think the average seller producer on the platform generates over a thousand dollars a year, you know, which, Hey, a thousand bucks is, you know, not the craziest amount, but if you compare that to the average earnings of artists on these DSPs or some of these, some of these other ways of earning revenue from music. I don't want to poke too many holes at platforms that are, you know, kind of not building their businesses and products with the music creators in mind. I wish they would. I wish they would, but we're not going to get too deep into that. But I think I'm proud. [00:17:53] Dan Runcie: I was going to say there's somewhat listening right now that is backing into the math of how many streams does it take to get a thousand dollars a year?[00:18:01] Abe Batshon: Right. Exactly. Yeah, I think if we were to calculate the stream versus earning ratio on BeatStars, yeah, our million streams are definitely generating a shit ton more, shit-ton more than what you would earn, you know. But again, it's a different concept, different way of consumption. Things are happening differently than compared to, you know, the more bigger consumer products that are out there, which, you know, we're going to keep up with them at some point though, I think, and that's one of our goals is to build a more consumer-friendly product that actually is not just niche to artists and music producers. So we're excited about what the future of what we can do for our creators, yeah. [00:18:41] Dan Runcie: Can we talk a little bit more about that? What would that consumer side look like? 'Cause I think as you mentioned, a lot of the creators themselves are the ones that are using the platform, getting the most out of it, but what would the more creator side focus look like?[00:18:56] Abe Batshon: Like a more creator-focused platform that evolves, what the evolution of what BeatStars could be? Yeah, I mean, you know, we are already starting to do it. We're already starting to do it in terms of adding publishing administration, global publishing administration, and partnership with Sony Music Publishing and giving our creators the ability to go and collect on, you know, all their royalties worldwide. I think is a big one from all of these copyrights that are made on the platform that they still have ownership and rights to. You know, we don't take ownership of anything on the platform. Our creators right now keep a hundred percent of all their sales on the platform. They maintain all of their ownership. They dictate and decide what their license terms look like. We're just a technology layer just facilitating this collaboration. And I think, we'll definitely get into a lot more, a lot more businesses that are complimentary to music licensing. So we do allow our creators to sell sound kits and samples as well, too. And I think we're, you know, we're going to build a more sophisticated product around that. Major companies are already licensing for syncs already off of the platform indirectly, even though that's kind of not the primary function on the platform. That's something that, you know, we're exploring and, and going to expand on as well 'cause just another revenue stream opportunity, you know.[00:20:12] Dan Runcie: I was going to ask you about syncs next because I feel like that is so current and top of mind, especially the explosion of video streaming right now in all those projects. And so many people see the benefit of having a good sync. And I think we're having these conversations before, but ever since the Kate Bush song on Stranger Things, those conversations have happened so many more times, more frequently than I've at least heard before then.[00:20:36] Abe Batshon: For sure. For sure. Yeah. We used to have a, man, like eight years ago, we did have a sync license and I don't know why we took it away. We just kind of wanted to laser focus on just the non-exclusive licensing of artists and producers. But yeah, we're already seeing our music and Netflix documentaries. We're already seeing our music, you know, synced on movies, TV shows, independent, films, commercials for Adidas and Madden video games. We're seeing our content already being used in that way. You know, it makes sense to develop a product that's, you know, tailored for that community for sure. [00:21:06] Dan Runcie: Has any of the explosion of music rights buying and selling, has any of that changed and shaped your business in any way? Because I know that there are super producers themselves that have sold theirs, whether Tableland or Darkchild having done deals themselves. Has any of that shifted anything or have you seen any result of that in your business or any of the transactions that are being made there? [00:21:31] Abe Batshon: Yeah, so I'm not too aware of too many producers on the platform that have kind of sold their rights away or anything like that. It hasn't happened on the platform, but I'm sure, I'm sure there's been, you know, those investor, kind of like investor copyright types that are out there acquiring rights of music, whether it's, you know, from the producer's side of things. But I'm sure they get approached all the time. I just, I don't know of any, like, specific creator producer on the platform that's done it yet. But I'm sure, like, a lot of people are having those conversations with them for sure. [00:22:03] Dan Runcie: Yeah, 'cause I know the artists' side, artists get reached out to all the time now about this whether it's from the main investment firms that we know, or even some that in my experience don't really do much in music, but have reached out because they'll reach out to me to see if I can reach out to these artists, right? And I got to imagine that in some ways, not only are they looking for the artists themselves, they're looking okay, where are these artists? Where are the catalogs that they own? So it's fascinating to see, I assume that it's likely a conversation that, especially given the way your business is, I know you said that a thousand dollars is the average payout annually that artists or that the beat makers and producers get on the platform, but I'm sure that it is quite top-heavy itself where, you know, there are the few that are just bringing in so much, and I'm sure that they're probably hearing some of those conversations every now and then. [00:22:54] Abe Batshon: For sure. For sure. Yeah. I'm sure it's happening a hundred percent. [00:22:58] Dan Runcie: Yeah. One of the things that I had seen, especially with BeatStars, we talked about how growth you've had recently, and, I believe this was at July 2020, you had $85 million in payouts that you had done to beat makers specifically at that point since you had launched a platform in 2008, and then you had recently announced a few months back here now in 2022, that you had had $200 million. So quite a big jump, it's almost double in less than a two-year span. One, it would be great to hear what that was like and also, what are the steps that happened or what are the things that you all had done that helped you, you know, double everything that you had done the past decade-plus in the past two years?[00:23:44] Abe Batshon: Yeah. I mean, our growth trajectory, even the years prior were a hundred percent year over year as well, too. So we were already kind of pre-pandemic move, like, that was our growth trajectory prior as well. It just took us a long time. It just took us a long time. We did it the slow and steady way. And the last two years, I would say, for sure the pandemic put a priority, yeah, I guess I guess people started questioning their existence, man. You know, like we started questioning our existence and we're like, am I not going to explore my art, you know? Like, I know I was doing it. I was making more music during the pandemic. And I would, you know, meet a lot of our creators and I and I would hear their stories and like, I started singing during the pandemic, or I started making beats more seriously, I'm home and I needed an outlet to kind of license and sell them. And so I think the pandemic definitely kind of accelerated the priority or like top of mind of creators to take it more seriously or to kind of, you know, explore more serious options for monetizing their music. So it's been a blessing to kind of see the platform and marketplace grow globally all over the world, and yeah, the marketplace is still booming and still going crazy. And I think, you know, we'll achieve over 70 million this year for sure. That's kind of our projection, could be more. So yeah, the licensing activity is continuing to go great. I'm excited. I'm excited about the future, man.[00:25:06] Dan Runcie: That's good to hear because I am not surprised to hear the growth in the pandemic. I think there's so many things we can look back on the past two and a half years where especially something like this, where the art of doing it is something that people could do at home. So many people that are creating products, or creating services, or music, or medium putting out into the world, so much of that picked up and there was so much that was successful. And I think we saw that with the way the stocks went and the way everything was. So you had this run from March 2020 pretty much up until let's say November 2021, when everything was booming, right? The past six months, we saw certain things come back down to earth a bit. And I think there were a lot of the pandemic stocks and a lot of the companies, even the ones in the music industry that had had sky-high valuations, coming back down to earth a little bit, but at least for you all, I'm getting the impression that that hasn't necessarily impacted you from that perspective, given I think you have a different business model than a lot of the companies that had, you know, challenges there, but how the past three to six months been specifically?[00:26:10] Abe Batshon: Yeah, I think our growth has kind of leveled off a little bit. We're kind of, you know, I guess, the normalization of things are happening for sure. And we're having to work harder to like retain our subscribers and users. It's just shifting our approach and adjusting and pivoting to more accessible business models for this time and this moment in our history. I mean, it's for sure a recession. It's happening globally. It's impacting a lot of people's lives and we need to make sure that we kind of still factor that in mind and create products that are are still useful and accessible and functional for anyone with any economic status that they're in, you know, because it breaks my soul if someone can't afford a BeatStars subscription and can't explore their art and can't develop themselves and meet those goals because of this current space that we're in right now. So we're definitely pivoting and adjusting and thinking about new and better accessible business models that can cater to anyone with any kind of economic status. So, we're definitely adjusting things though. [00:27:11] Dan Runcie: I could imagine. I do think though that these things aren't permanent and, of course, we'll see things pick up, again it's just a matter of the timing there specifically. I do feel like for you all, it's interesting because the future of where this all is heading right now, you, as you mentioned, I think that you were a bit ahead of the curve. So, you know, growth in the early days may not have been as fast, but now we're in this place where people saw the success you have, people see the potential of where things going and now more companies are starting to launch their own beat marketplaces and ones that we're establishing other places. Have you seen that impact, what you've seen in your businesses? Because I know that, at least from other people I talked to that are in streaming of the DSPs, they've talked about how we've switched from this herbivore market where everyone's just capturing people that are generally wanting subscriptions to now they're in this carnivore mode of competing with each other. Have you seen any of that where you feel like the people who are beat makers now, it's not so much capturing new ones. It's essentially positioning yourselves from the competitors who have come after you. [00:28:20] Abe Batshon: Yeah, I'm definitely, you know, definitely aware of the competitors, and a lot of these guys were admirers of what we've done. And you know, I know them personally. It's flattering, you know. It's flattering to see in terms of people being inspired by the things that I create and build and what we do here as a company as well too. And it's part of being in a capitalistic society that we're in, you know. Monkey see monkey do, you know. I feel like it's increased our kind of our competitive spirits here at the company to want to be more innovative. I think it's a blessing that there's other folks trying to come into our space. For me, I've been doing this for almost 15 years, right? So it's, I need a kick in the ass in terms of where I want to go in my career and the aspirations where I want to see BeatStars. I mean, we've always been driven and always been the hardest working and most caring community that you'll ever see in terms of the music producers. But yeah, I just use it as a competitive chip to keep moving and pushing and pushing for our creators to provide even more fair and useful products for them. I haven't seen a shift in like our business or anything like that because of the competitors, you know. It may take a while for that to happen. If they do something super unique or whatever it is that they're doing, but I haven't seen anything that's like, exciting from an innovation standpoint. It's just monkey see monkey do, copycats. [00:29:38] Dan Runcie: Yeah. That was going to be my next question, you see, if are there new things that you're seeing the competitors do that make you say, oh, that's interesting, right? 'Cause that would definitely validate the ass-kicking or the bit of the push there. It reminds you of that sports analogy, right? Like how. Michael Jordan had to go create these demons out of thin air because there was really no one at this level, and anytime someone tried to say, oh, Jordan or Drexler, he just like squash it that immediately. So you all having that, yeah. [00:30:04] Abe Batshon: I've always had that. You know, I'm a sports guy, huge sports guy, played sports my whole life, too. And so I definitely was competing with myself in terms of wanting to be better and extract more capacity of myself and see myself and my team's dreams continue to grow. But yeah, I just use those as just another factor into, and I'm not to say anyone's intentions are bad or anyone's intentions are good, but it's a little suspect. It's a little suspect. It's a little bit, I don't know, what's the word, but it feels ingenuine. It feels like a land grab. It feels like a money game. And for us, it's never been about the money. It's always been about these young people all over the world and old people, creators from everywhere. Like, can we liberate the idea of songs? Can we help push people to be more experimental with their words and their messages and their art and something that's so personal for them. I don't see any of these like venture-  companies or big invested type of companies actually having a genuine approach to how they treat or deal with their community. So I'm really not worried about it. I definitely keep them in mind in terms of continuing our fight to liberate music.[00:31:13] Dan Runcie: How do you feel in general about the amount of VC money that has entered music and music tech and the platforms and companies that have been launched? [00:31:22] Abe Batshon: Dude, where was this money when I was in, like, Silicon Valley? You know, I mean, I'm from the East Bay, Hayward, California. And you know, Silicon Valley was just right down the street. And when I was building BeatStars, man, I couldn't even get a meeting with these guys. Like, I created 12 of the most amazing decks throughout my career that no one ever actually saw. Like, I couldn't sell anyone on the concept of investing into music. But like I understand that at that time, the music industry was going through a huge transitional moment. Like, everyone was really scared about the future of music. So it was pretty disastrous in terms of where music was at that time, and if I wasn't an investor, I probably wouldn't have invested in me either. But I never even got an opportunity to even you know, meet investors or pitch the ideas of BeatStars. We had to bootstrap this thing the whole way. And our creators invested in us, our customers did, we built this thing together with them. We just continue to reinvest every little penny that we made back into the platform. And so I think it made the journey a lot more satisfying, but it's exciting that there's much more investment and people willing to believe and other entrepreneurs and their ideas. I think it's cool. It pushes all of us, you know, pushes our creative boundaries and it's cool to see money flow. And I I'm happy that, you know, other entrepreneurs are not going to have to struggle the way that I did for 13, 14 years before I was, you know, able to kind of like sustain ourselves. So it's like, but you know, we kind of always figured out ways to sustain ourselves build organically, which has been beautiful. And we've been profitable since day one and we just continue to run lean, you know, and just not be wasteful and just, yeah. So it's exciting. I don't know where it's going to go. I mean, I don't know where a lot of the money is actually flowing in music tech, really. You probably know more than me, Dan. I don't pay attention to a lot of that stuff. [00:33:06] Dan Runcie: You're too busy building to track this stuff. [00:33:08] Abe Batshon: I'm busy, man. [00:33:09] Dan Runcie: That's my job. [00:33:11] Abe Batshon: Busy, dude, too busy. [00:33:12] Dan Runcie: Yeah. With that though, do you get more interest or offers from any of these tech companies now, because I've started to hear from a lot of the companies that rose up the same timeframe that you did that. Now, when all this money pours in, now they're getting the attention, too, and the interest, too, from these investors that wouldn't have paid attention before, but now it's much less about the initial investment. Now they're trying to either acquire and now they're trying to do a joint venture, do these things. What have those conversations been like? [00:33:48] Abe Batshon: It's definitely getting aggressive for sure. And I think because of where we are right now, economically, you know, investors feel like they can come in and get a good deal right now for all these startups or companies that have existed even prior to the pandemic that are still thriving through it as well. I'm seeing a lot of acquisitions happen, a lot of private equity stuff happening. And it's interesting. It's interesting. We don't need the money, Dan, in terms of like where we are financially. We're, you know, we're self sustaining. We've got a ton of money in the bank and we have our investment plan internally to kind of finish our, you know, not finish, but continue our roadmap of all the things that we dream of wanting to do and build within our goals at BeatStars. So, thank God I'm healthy. I'm feeling good. I'm in remission. I I battled cancer the last couple years during the pandemic. And you know, that was a shaky moment for me during that time. It was really up and down. I didn't know where my future was and still kind of in it, but I'm thankfully feeling really well and just energized and I'm enjoying independence, I'm enjoying independence. And I really feel that we're in a good spot to kind of push through this kind of down moment of the economy and head down and focus on our creators while everyone is just focusing on profit and revenue. And we're going to do the opposite and just build something that's going to be a utility for people for many years to come, hopefully. [00:35:07] Dan Runcie: Yeah, definitely, I mean. [00:35:08] Abe Batshon: They're coming though. They're throwing checks. They're, you know, they're throwing checks at us. They're making offers, but, yeah, we're just not ready right now. We're just not ready. [00:35:15] Dan Runcie: Yeah. And like you said, you have the vision for this and the amount that you've poured into it, the amount that you've gone through, as you mentioned, especially in recent years, like all that comes through with the story, and I think that is what connects with both the artists and what connects with anyone that may be interested from a business perspective. And I think you do have the control, the autonomy to make those shots when you want to, and that's the power of bootstrapping, right? We all know the trade-offs where, yeah, it can take time as you very well know. But if you're able to get through the other side, the autonomy you have. You could make decisions like you don't have to have, you know, the investors reading it out of your deck or anything else are trying to wonder why you're not pumping more Facebook and Google ads to go do this or that, right? Like, you're able to do the things on your terms and to clarify, is the ownership a hundred percent you for the company or? [00:36:03] Abe Batshon: No, it's not a hundred percent me. Some employees have ownership in the company. We did take a minor, a very small, minor investment from Sony music publishing when we did our joint venture together. They've been great partners. They've been awesome. And they've been helping us kind of strategize and scale our publishing business, which I believe in the last 16 months, we've had 26 Billboard 100 hits that are from our BeatStars publishing roster of creators. One of our producers has two songs on Beyoncé's new album. And I know we had Megan Thee Stallion's new single, Pressurelicious, with one of our producers, I believe, it was HitKidd with Future. So it's like, it's so cool to see that our business is touching so many different parts of the music business. It's not just the independent creator like we're powering songs, even for the major, major superstar artists, which is awesome to see. So yeah, I'm excited about the future, man. I think we're just getting started, Dan. [00:36:53] Dan Runcie: Yeah. and it's always fascinating to hear how companies like yours think about the compensation and things like that for employees because with a lot of the other competitors or even others in the space, especially with the amount of money that support and people are getting, you know, equity in these companies and they are getting them because if they're VC backed, then they have an exit in the mindset and you aren't coming from that perspective. So it's always interesting to hear, okay, what are the other things you're doing? So, yeah, it sounds like you're still doing equity, I know. [00:37:22] Abe Batshon: Oh, I forgot to mention like there's 400 creators as well. 400 creators that invested in BeatStars when we partnered with Indiegogo back in 2016 to be one of their, actually their initial kind of equity crowdfunding launch partners. And it wasn't because we needed funds or needed money at that time. We did it because I loved the fact that our creators can actually, like, buy ownership into the company, and I can like, continue serving them, man. I can continue feeling like, you know, I have to make sure I'm reporting to these people because these are the people that keep me grounded. These are the people that keep me focused on, you know, how we impact all the other creators' lives. So yeah, we have 400 other creators from the platform that invested like $150,000 total during that campaign. So it was pretty cool to know that they're also on our ownership structure.[00:38:11] Dan Runcie: That's great to see them on the cap table. That's great. I'd like to close this conversation out. [00:38:16] Abe Batshon: Hopefully, make some money at some point. [00:38:19] Dan Runcie: Well, I mean, that depends how some of these conversations go with these, you know, companies breathing down your back. [00:38:23] Abe Batshon: Exactly. [00:38:24] Dan Runcie: So we'll see.[00:38:25] Abe Batshon: For sure.[00:38:26] Dan Runcie: But I like to close this conversation out of it and talk about focus because you talked a lot about creators and how you're focused on serving them. We're talking primarily about the people who are buying beats, the people that are selling beats, and anyone involved with that production or engineering process. But for you, I know what it's like to build a company. I'm sure there's been plenty of times where not just you or some of the people you're working with are like, oh, what if you did this? What if we did that, right? But you've been able to stay focused on I'm sure, part of it was likely a function of you're building as fast as you can. Given the fact that you're bootstrapped, some of your focus is by design, but then on the other hand, now that things are starting to come in, you're starting to see the success in reaping the rewards. I'm sure there's likely some thoughts of maybe that thing that you had in the back of your mind for a few years, but now maybe it's a little bit easier to do if you're going to be, you know, hitting nine-figure payouts annually soon enough. What are some of those things, if there are, that you have on the roadmap for where things are going for other things you might be doing?[00:39:30] Abe Batshon: Yeah, we definitely want to make some acquisitions for sure. We're exploring some of that too. We're exploring some potential acquisitions, and I think maybe we'll do our first one by the beginning of 2023. Never know. So we're definitely thinking about how can we acquire some technology or companies or communities that really would help elevate what we're doing. So definitely, definitely thinking about that. We're investing a ton in technology, man. We're, I mean our engineering team, we're probably, we'll double by next year. I think we're at like 40, 40 people on the engineering team now. So we have all of these cool projects that these engineering pods are working on and it's exciting to see. So you'll definitely start seeing a lot more innovation more frequently from BeatStars soon. We have spent, and it may look like focus, but really it's been just kind of a restrain of our technology for the last four or five years. We've been rebuilding our whole tech stack, the back end, front end, the whole thing, because, you know, we were still using legacy platform from 2008 when it was just, you know, me and our founding members of the company, Joseph Aguilar, one of our engineers, you know, building it together and we're just some kids, you know, just going crazy. We didn't think that this thing was going to scale to millions and millions of creators all over the world. So we had to kind of pivot four years ago. And we're about 95% done in terms of the full platform rebuild. And from a technology standpoint, we're competing with some of the biggest music services in the world in terms of our tech stack. Now we're prepared to really do some damage now and build on top of what we're doing and optimize our offering and also get into some different verticals as well, too. So, yeah, it's kind of like a new rebirth of BeatStars in a sense, a whole new team, a whole new technology stack, a whole new drive, and purpose. And we're building out our executive team right now, too. It's been just me in terms of executives. I was wearing all the hats, and I don't know why I was doing that. And we just hired a Head of People, Sarah Simmons, who just joined us. We have our CTO, Nader Fares. We hired Damien Ritter as our President of Label. [00:41:37] Dan Runcie: My guy, Dame. [00:41:38] Abe Batshon: Yeah, man, Dame is legend and legend to me in terms of what he's done on the independent record label front, you know, and what he's been able to do, the dude's one of the smartest guys I know. And I'm excited to have him lead the initial kind of kickoff of what a BeatStars record label can look like. Like, so many amazing artists have been discovered on BeatStars, even just from our competitions. You know, like we discovered Ali, Ali Gatie, won one of our song contests and he's got billions of streams, you know, Joyner Lucas, and Anees. Anees is an independent artist right now that's doing some amazing things, touring, you know, he's got a hit song called Sun and Moon and just killing it on TikTok and just so cool, man, just so cool to see all of these amazing artists take and utilize the platform the best way and build careers. And, yeah, so it's cool to see all these different things happen and finally bringing some like seasoned leadership to, you know, bounce things off of and build with and collaborate with. And I think I've come to a place in my career now. I feel like almost 15 years in, I can let go of some control and I think I've matured enough as an executive to now understand and articulate what the company needs and what we want in our dreams and now do it in a collaborative way with a bunch of amazing people that have the same kind of mission. So it's exciting to see what this new phase of BeatStars goes into. [00:42:55] Dan Runcie: Making moves. Love to hear it.[00:42:57] Abe Batshon: Trying to, man.[00:42:58] Dan Runcie: Hey, hey, that says that's the journey. That's the journey. Well, Abe, this has been great. Appreciate you for coming on, and before we let you go, we want to make sure that people that are listening know to find you, so where can they go to either follow you or to follow BeatStars if they want to tap in more? [00:43:14] Abe Batshon: Thanks, Dan. Dude, I'm some big fan of yours, like I told you before the podcast. Congratulations. Amazing to follow your journey as well. Follow BeatStars at @BeatStars, B E A T S T A R S everywhere. My personal social media shut down everywhere for the last few months. I shut it down, but I'm going to bring it back, just @AbeBatshon and excited to hear the feedback from this episode from folks listening to it. Appreciate you having me on man. [00:43:37] Dan Runcie: Of course, and best luck to you and best luck to you from health, most importantly, and with the business too. [00:43:43] Abe Batshon: Thank you, sir.[00:43:45] Dan Runcie: If you enjoyed this podcast, go ahead and share it with a friend. Copy the link, text it to a friend, post it in your group chat, post it in your Slack groups, wherever you and your people talk, spread the word. That's how Trapital continues to grow and continues to reach the right people. And while you're at it, if you use Apple podcast, go ahead, rate the podcast. Give it a high rating and leave a review. Tell people why you liked the podcast. That helps more people discover the show. Thank you in advance. Talk to you next week.Advertising Inquiries: https://redcircle.com/brands

Podcast que se queda pa los libros. En este episodio tuvimos a Mauro, productor de Young Miko, Anuel, Villano Antillano y muchos más . Chequeate los temas que cubrimos

BATTLE OF THE CLONES With the announcement or leak of the new Maschine Standalone, the question arises... Are we witnessing a paradigm shift? To tether or not to tether that is the question. Has NI lost its stronghold on the beatmakers market now that Akai has set a new standard of strong stand-alone machines like MPC X, One, Live (II) etc? How much does it matter that NI has traditionally offered very strong plug-ins and VSTs vs. AKAI having flipped things on its head with plugin in their standalone boxes? How does the hardware compare? Do we need a CV on these stand-alone boxes? What CV alternatives and eurorack integration options exist for both brands?

On this episode of The Friends Podcast, we bring on producer Dime On The Beat and have some great conversation about FL Studio and VSTs, places to eat in Detroit, producer tags, the importance of social media and networking, and a whole lot of other stuff yall need to hear. Listen now and get to know Dime On The Beat (@diamdime_on Instagram), and when you're finished with this interview, make sure you go check out her beats ASAP. You can find everything related to Dime On the Beat on her linktree (https://linktr.ee/Dimeonthebeat). Thank you for listening! Links Linktree: https://linktr.ee/thefriendspodcast Follow us on Instagram!: @thefriendspod http://instagram.com/thefriendspod Subscribe to our Youtube!: https://www.youtube.com/channel/UCT1mr5u3GWstsecxHvRwJ7g Reach out via email: Friendspodcastshow@gmail.com Purchase a beat from Dime On The Beat here: https://linktr.ee/Dimeonthebeat

The 2010s! It is a decade that is filled with so many great moments in my life. But one of greatest things that I got watch unfold and be a small part of was the Sega Genesis/Megadrive Chiptune Scene! Where before it was possible to simulate the sound through sampling or VSTs and the only … Continue reading "Episode 25: Mega Drive/Genesis Chiptune Scene of the 2010s"

In this podcast episode of Music Production Made Simple, I discuss hard drives with you for your music production computer. There's two main hard drives we use for our music production computers.. That is Mechanical Hard Drives (HDD), and Solid State Hard Drives (SDD). There are also what's called a "hybrid hard drive" where there's a small amount of SSD built into a Hard Drive to help it run a little faster by "caching" common files for faster loading. Mechanical Hard Drives A mechanical hard drive is more affordable, and is able to be purchased with LOTS of storage space. You simply provide a power cable from your computer's power supply (PSU), and a SATA cable plugs into the HDD and motherboard for the data connections. As I said in this episode, I liked the 5400RPM hard drive, as the noise was not audible in my acoustic computer case to help keep things quiet.. the 7200RPM can be hard audibly. Solid State Hard Drives: At the time of making my music production computer build video, 250GB was like $200-300!!! Now you can get 1TB-2TB for that same price.. (about 5-6 years later..) SSDs are awesome because they are QUIET and FAST. The only problem at the moment is you can't buy them in LARGER sizes like 4TB or 8TB (maybe in the old card-type SSDs).. but they are still pricey. Conclusion.. Hard Drives for Music Producers So I hope the gives you insight to buying hard drives as a music producer. Currently we use an SSD for our main C: drive which is where we install our operating system (Windows for example), and our most important programs and files like FL Studio, Drum Kits, and our main VSTs. For our LARGER files (like my FL Studio courses), we store these on a HDD (Hard Drive) because it's more affordable. Hopefully in the coming years we will be able to just use one hard drive again, but this time on a fast SSD that is affordable, with a reasonable capacity to keep up with all our digital assets nowadays.. By the way, you can checkout my FL Studio Books if you'd like to become a better producer! =========================== GET THIS EPISODE'S RESOURCES: https://itsgratuitous.com/podcast/s2e23-different-hard-drive-types/ ===========================

Neste episódio do Podcast, o lambda Giovanni Bassi convida Igor Abade e Carlos dos Santos para uma conversa sobre os 20 anos de .Net. Entre no nosso grupo do Telegram e compartilhe seus comentários com a gente: https://lb3.io/telegram Feed do podcast: www.lambda3.com.br/feed/podcast Feed do podcast somente com episódios técnicos: www.lambda3.com.br/feed/podcast-tecnico Feed do podcast somente com episódios não técnicos: www.lambda3.com.br/feed/podcast-nao-tecnico Lambda3 · #294 - 20 anos de .Net Pauta: Como era antes? Lançamento do .NET em 2002: VB, C# e J# (Cobol.NET etc) Visual Studio .NET Framework, .NET Core, .NET Silverlight IronPython, IronRuby Open source all the things: Roslyn, ASP.NET Core, EF Core, Maui Compra da Xamarin TFS, VSO, VSTS, AzDO, Github? Próximos 20 anos Participantes: Carlos dos Santos - @cdssoftware Giovanni Bassi - @giovannibassi Igor Abade - @igorabade Edição: Compasso Coolab Créditos das músicas usadas neste programa: Music by Kevin MacLeod (incompetech.com) licensed under Creative Commons: By Attribution 3.0 - creativecommons.org/licenses/by/3.0

Shoki is a platinum and billboard #1 producer, having worked with Polo G, City Morgue, and Scarlxrd, amongst others. We talk loops, subscription Vsts, placements and more.   If you're interested in sponsoring this podcast, having a product featured, or having an ad read on the show, please email us at: kultclassicofficial@gmail.com   Did you know we're on Spotify, Apple Podcasts, and Soundcloud?   For event tickets and merch be sure to check out : kultclassicofficial.com   Follow Kult Classic IG: @kultclassicofficial Twitter: @kultclassicoff TikTok: @kultclassicofficial   Follow Shoki IG: @prodshoki   Follow Bobby Dee IG: @bobbydeeonthebeat Twitter: @bobbydeebeats TikTok: @bobbydeeonthebeat_   edited by @drewfromcharlotte

Ep. 082 - [Best VSTs for Producers] With Black Friday coming up we dive into our favorite VST plugins, the free, the cheap and the expensive. We cover: all the ways you didn't know how to use Soothe2; Distortions & Saturations including Sausage Fattener, Softube Saturator, Trash 2, Devious Machines' Inflitrator, Rift, Krush and Melda's Saturator and Wave Shaper; Soft Synths like Serum, Quanta and Vital; some random ones like VocalSynth2, iZotope Vinyl, Spiff, Portal, Acon Digital Chorus, Valhalla Shimmer and Roth Air; and, of course, The FabFilter Bundle including Pro-L2, Pro-Q3, Pro-C, Pro-R, Pro-DS and Saturn. We also talk about some plugins that we wish we HADN'T purchased. Song of the Week: RIP Kenny - Just Wanted You To Know Pre-Save: https://distrokid.com/hyperfollow/ripkenny/just-wanted-you-to-know Support Our Sponsors: Dojo TV: Free producer live stream classes from the Producer Dojo Senseis https://www.thehumanmusicpodcast.com/producerdojo The Weekly Download: Learn from ill.Gates in his private weekly group lessons and get access to over 250 more episodes in the archive for only $20 per month! https://www.thehumanmusicpodcast.com/producerdojo Guest Practices: Learn from Seth Drake at the Approach Institute, the BEST engineer we know. First class is free! https://www.thehumanmusicpodcast.com/theapproach More Episodes, Socials and Free Sound Packs: https://thehumanmusicpodcast.com

In this mini episode Dylan and Jon explore the wide world of amp sims and vst's. We only scratch the surface. Let us know your experiences with them! All the socials TeeSpring: https://teespring.com/stores/sharpen-that-axe Patreon: https://www.patreon.com/SharpenThatAxe Instagram: https://www.instagram.com/sharpenthataxepod/?hl=en FB: https://www.facebook.com/Sharpen-That-Axe-Podcast-779600132187413/ Twitter: https://twitter.com/SharpenThatAxe?lang=en email: sharpenthataxe@gmail.com

On Episode 11 we visit Nick Skalkos at his home in Cambridge Ontario, Canada! Nick is a long-time musician and producer for several successful projects including The Miniatures, City and Color, and Spirits. He is now also honing his skills as a real-estate investor with his wife Sarah to create some sweet passive income. AND saving lots of animals!   ...............  On this episode we get into: .......... - some producer/engineer software jargon (The versatility that comes from working with today's impressive VSTs and plugins) .......... - Being prepared, willing, and available for opportunities ................. - Investing in yourself and mastering your craft for the big moment ....................... - artist's developing all avenues of their character .................. - opening for acts of all different genres .............. - being cool and influential by not caring about being cool ................. - writing perimeters that help make decisions ........................ - shifting from a Consumer mindset to an investor mindset.     ........................  We also get to check out Nick's home studio and Wall of releases as he shares valuable stories and insight (Exclusive to YouTube only) ...................      Here are a few links to music Nick has been a part of: ................. http://www.nickskalkos.com/ SPIRITS:  https://youtu.be/cgyt9DbAmCI  ................ https://open.spotify.com/album/6V3oFnyb4PNgF9xvl5Ylf7?si=ov2mMt5IRSCqwK2_ZC7gTg  ........................... CITY AND COLOR:  https://open.spotify.com/track/4db6ZkcKuzHd5tDNlaq96Y?si=XY9ev5-MTQemXjk6QnV3Jw  .............. THE MINIATURES:  https://open.spotify.com/artist/4gj4vBnc7aAzjMRoMS0K3n?si=YO_X7qM1SdmVPwsUeYNZoA  ................. Podcast credits: Intro/Outro Music:  “Do It All Again” by Rosedale ......... Produced and Edited Animations, and graphics by: Mike Liorti ............... Get 15% off your Vocal Eze order by using this link: http://vocaleze.refr.cc/mikeliorti --- Support this podcast: https://podcasters.spotify.com/pod/show/stateofmyart/support

Andy is a music producer, a recording engineer, a geek, a nerd, a weirdo, and a damn talented creator. He's currently an engineer at Black Diamond Recording Studio in Portland Oregon - but also creates and designs as part of the alias 'Team Banzai'. Naturally interested in technology and seeing how things work, at the age of 10 he began fiddling with hi-fi and reel-to-reel tape machines with his dad and was onto running soundboards by middle school. We trail his journey into dj'ing house parties by 16 and moving to Japan by 18. He tells some of the tales of DJing as a foreigner in another country at various dive bars and themed events, we talk about the everchanging and quickly rinsing of the 'hottest' song trends and how they've changed over the years. Andy and I explore an explanation of the different types of professional Dj's, producers, and sound designers as well as offer advice to students of the craft. We talk about explicit language, as well as the language of music - which is a skill awarded with dedicated time and precision. Andy weaves his jobs and experiences together and explains how they all overlap and create his creative enjoyable working lifestyle, and we both find important agreement on feeling the "vibe" - even in a professional music relationship. The intimate creative relationship formed to produce a final artful and fruitful product is certainly a two-way street - and can become a layer more or less complicated the farther or closer personal styles of creation drift. Mr. Shartle shares his views on youtube tutorials, making more with less, hands on learning, making beats and his creative process using modular and analog synths, VSTs, Plugins, sampling and creative sound design. I've been grateful to have Andy as a mentor and person to come to with audio questions. He's miles and years ahead of me but teaches eye to eye. Checkout Team Banzai's latest album ADHD wherever you get your tunes. Cheers. (This episode was recorded March 30th)

When these words come from the chief engineer at one of India's best recording studios - YashRaj Film (YRF) Studios - you need to take his advice seriously. Very seriously. Shantanu Hudlikar shares his views on the current state of affairs in the music recording business and ways to improve the scenario. He's not against using VSTs or technology products. He is all for using them - but only in the right manner, and where required. Shantanu will be hosting several episodes on this channel covering other dimensions of audio recording and song mixing.

Windows represents the single largest Git source control library in the world at 300GB - but what does it take to work on it? Carl and Richard talk to Ed Thomson and Jill Campbell about how Azure DevOps (formerly known as VSTS) functions under the load of 33,000 people working on the Windows project with 11 million work items. There are many things in Azure DevOps that can cope with that scale, but some aspects don't make sense to add directly, like moving millions of work items. For that, the team has built extensions available in the Visual Studio marketplace - check them out, maybe they can help you!Support this podcast at — https://redcircle.com/net-rocks/donations

Cloud Developer Advocates Jessica Deen and Erik St. Martin show you how to get started with DevOps using Visual Studio Team Services (VSTS) for Go developers. Learn how to use the code you already have on GitHub, connect it to VSTS, and then build CI/CD pipelines to deploy your Go apps to Kubernetes on Azure. You'll also learn how you can get started with DevOps Projects on Azure, which will take care of all the scaffolding for you, including your VSTS account if you don't have one.P.S., Did you know that VSTS is free for individuals and for small teams up to five?Jump To: [01:00] Demo Start For more information:Go on AzureVisual Studio Team ServicesCroc Hunter - The game! GitHub repoAzure for Go developers - Tutorials, API ReferenceCreate a free account (Azure)Go on Azure series:Part 1—Build Go apps with Visual Studio CodePart 2—CI/CD, Docker, and Kubernetes with VSTS (this episode)Part 3—Go on Web Apps and Azure Kubernetes ServicePart 4—Cloud-native Go appsPart 5—Build apps with the Azure SDK for GoPart 6—Events and messagingPart 7—Build a Go app with Buffalo and deploy to Azure Follow @erikstmartin Follow @AzureFriday Follow @jldeen

Cloud Developer Advocates Jessica Deen and Erik St. Martin show you how to get started with DevOps using Visual Studio Team Services (VSTS) for Go developers. Learn how to use the code you already have on GitHub, connect it to VSTS, and then build CI/CD pipelines to deploy your Go apps to Kubernetes on Azure. You'll also learn how you can get started with DevOps Projects on Azure, which will take care of all the scaffolding for you, including your VSTS account if you don't have one.P.S., Did you know that VSTS is free for individuals and for small teams up to five?Jump To: [01:00] Demo Start For more information:Go on AzureVisual Studio Team ServicesCroc Hunter - The game! GitHub repoAzure for Go developers - Tutorials, API ReferenceCreate a free account (Azure)Go on Azure series:Part 1—Build Go apps with Visual Studio CodePart 2—CI/CD, Docker, and Kubernetes with VSTS (this episode)Part 3—Go on Web Apps and Azure Kubernetes ServicePart 4—Cloud-native Go appsPart 5—Build apps with the Azure SDK for GoPart 6—Events and messagingPart 7—Build a Go app with Buffalo and deploy to Azure Follow @erikstmartin Follow @AzureFriday Follow @jldeen

More news from Build - the release of Visual Studio for the Mac 7.5! Carl and Richard talk to Mikayla Hutchinson about the latest features coming for the former Xamarin product. The biggest news is support for Razor, JavaScript and TypeScript intellisense, which sounds simple, but involves a ton of changes and makes VS for Mac more than just that mobile development tool. There's plenty of improvements in the mobile dev space too, and the first steps to integrating with VSTS!Support this podcast at — https://redcircle.com/net-rocks/donations

Azure Friday visited various Microsoft booths in the Expo Hall at Build 2018 to learn what's new. In this episode, Donovan Brown chats with Abel Wang about continuous integration/continuous delivery (CI/CD).For more information, see:DevOps Resource CenterVisual Studio Team ServicesWhat is Continuous Integration?What is Continuous Delivery?Create a free account (Azure)Follow @donovanbrown Follow @AzureFriday Follow @abelsquidhead

Azure Friday visited various Microsoft booths in the Expo Hall at Build 2018 to learn what's new. In this episode, Donovan Brown chats with Edward Thomson about Git and TFVC.For more information, see:DevOps Resource CenterVisual Studio Team ServicesWhat is Git?Create a free account (Azure)Follow @donovanbrown Follow @AzureFriday

Azure Friday visited various Microsoft booths in the Expo Hall at Build 2018 to learn what's new. In this episode, Donovan Brown chats with Abel Wang about agile development.For more information, see:DevOps Resource CenterVisual Studio Team ServicesWhat is Agile? (docs)Create a free account (Azure)Follow @donovanbrown Follow @AzureFriday Follow @abelsquidhead

Azure Friday visited various Microsoft booths in the Expo Hall at Build 2018 to learn what's new. In this episode, Donovan Brown chats with Abel Wang about agile development.For more information, see:DevOps Resource CenterVisual Studio Team ServicesWhat is Agile? (docs)Create a free account (Azure)Follow @donovanbrown Follow @AzureFriday Follow @abelsquidhead

Azure Friday visited various Microsoft booths in the Expo Hall at Build 2018 to learn what's new. In this episode, Donovan Brown chats with Edward Thomson about Git and TFVC.For more information, see:DevOps Resource CenterVisual Studio Team ServicesWhat is Git?Create a free account (Azure)Follow @donovanbrown Follow @AzureFriday

Azure Friday visited various Microsoft booths in the Expo Hall at Build 2018 to learn what's new. In this episode, Donovan Brown chats with Abel Wang about continuous integration/continuous delivery (CI/CD).For more information, see:DevOps Resource CenterVisual Studio Team ServicesWhat is Continuous Integration?What is Continuous Delivery?Create a free account (Azure)Follow @donovanbrown Follow @AzureFriday Follow @abelsquidhead

We caught up with Dmitry Lyalin and Rogan Ferguson live at GDC to talk about game development's interesting part in Microsoft's direction for VSTS and its cloud development product family, the group's focus on meeting devs where they are, and Mickey Mouse impressions for fun and profit. --- 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/gamedevbreakdown/message Support this podcast: https://anchor.fm/gamedevbreakdown/support

In this episode of the Xamarin Podcast, Pierce Boggan and James Montemagno talk about a new tool that turns drawings into Android or UWP layouts, merged dictionaries coming to Xamarin.Forms, ways to make your Android emulator experience more awesome, and configuring CI for mobile apps with VSTS. 7:00 Ink to Code 10:00 Wireless deploy to iPhone (Windows & Mac) 12:20 New Preview: Xamarin Android Device Manager 13:45 Speed up your Android emulator boots with quick boot 14:40 Google Play on your Android emulator 16:35 Merged dictionaries come to Xamarin.Forms 21:15 Contribute to Xamarin.Forms F100 effort 24:45 Building Xamarin.Android/iOS apps in VSTS hosted agents 26:10 Unit testing Xamarin.iOS apps in VSTS 28:30 QuickType.io Show Links: Ink to Code (https://blog.xamarin.com/draw-next-app-idea-ink-code/) Wireless Deploy to iPhone (Windows & Mac) (https://blog.xamarin.com/lose-cables-make-deploying-ios-tvos-device-easier/) Preview: Xamarin Android Device Manager (https://blog.xamarin.com/first-look-xamarin-android-device-manager-preview/) Android Emulator Quick Boot (https://blog.xamarin.com/android-emulator-quick-boot/) Just Push Play: Using Google Play on an Android Emulator (https://blog.xamarin.com/just-push-play-using-google-play-android-emulator/) Better Resource Organization with Xamarin.Forms (https://blog.xamarin.com/better-resource-organization-xamarin-forms/) F100 (https://github.com/xamarin/xamarin.forms/issues?q=is%3Aopen+is%3Aissue+label%3AF100) Running Xamarin.iOS Unit Tests in VSTS (https://blog.xamarin.com/running-xamarin-ios-unit-tests-visual-studio-team-services/) Building Xamarin.Android apps in VSTS Hosted Agents (https://montemagno.com/building-xamarin-android-apps-in-team-services-vsts-with-hosted-vs-2017-agents/) Building Xamarin.iOS apps in VSTS Hosted Agents (https://montemagno.com/building-xamarin-ios-apps-in-team-services-vsts-with-hosted-macos-agents/) QuickType.io (https://montemagno.com/paste-json-as-code-with-quicktype-io-in-visual-studio/) Follow Us: James: Twitter (https://twitter.com/jamesmontemagno), Blog (http://motzcod.es/), GitHub (http://github.com/jamesmontemagno), Merge Conflict Podcast (http://mergeconflict.fm) Pierce: Twitter (https://twitter.com/pierceboggan), GitHub (https://github.com/pierceboggan) Subscribe: iTunes (https://itunes.apple.com/us/podcast/xamarin-podcast/id691368176?mt=2) Google Play Music (https://play.google.com/music/listen?u=0#/ps/Ifcss44ww5lc375esulsuettsey) Overcast (https://overcast.fm/itunes691368176/xamarin-podcast)

What does it take to implement a DevOps practice at Microsoft? While at Connect in New York, Carl and Richard talked to Lori Lamkin about the efforts of the VSTS team to deliver more value to customers faster. Lori talks about changing the tempo of deployment for TFS from 24 months to three weeks and the re-organization of the teams so that developers are responsible for features from conception to operations. The role of operations also evolves to one that focuses on monitoring, rather than deployment - it's a lot of change, but worth it!Support this podcast at — https://redcircle.com/net-rocks/donations

In this episode of the Xamarin Podcast, James Montemagno and Pierce Boggan cover the latest news for mobile developers from Microsoft Connect(); 2017, including updates to Xamarin.Forms, the Live Player, Visual Studio 2017, and Visual Studio for Mac. 4:15 .NET Standard comes to File -> New -> Xamarin.Forms App 9:30 What's new in the Xamarin Live Player - .NET Standard support, SkiaSharp support, and updates to onboarding 13:00 Visual Studio Team Services gets even more awesome - hosted macOS agents and secure files 16:00 How to catch up on Connect(); announcements 18:25 Xamarin.Forms 2.5 - Native Forms, layout compression, iOS 11, improved macOS desktop support 25:30 Sunsetting Xamarin Components - what you need to know 28:00 What's new in Visual Studio and Visual Studio for Mac for mobile developers 33:15 Help us make Xamarin faster in Visual Studio 2017 34:10 Library/Tool/Product of the Week Show Links: .NET Standard comes to File -> New -> Xamarin.Forms (https://blog.xamarin.com/net-standard-comes-xamarin-forms-project-templates/) Streamlined Testflight Registration with Fastlane (https://montemagno.com/streamlined-testflight-registration-with-fastlane/) Simplified App Signing with Secure Files in VSTS (https://blog.xamarin.com/simplified-app-signing-secure-files-visual-studio-team-services/) Microsoft Connect(); Sessions for Xamarin Developers (https://blog.xamarin.com/microsoft-connect-2017-sessions-xamarin-developers/) Three Big Things to Explore in Xamarin.Forms 2.5.0 (https://blog.xamarin.com/3-big-things-explore-xamarin-forms-2-5-0-pre-release/) Making iOS 11 Even Easier with Xamarin.Forms (https://blog.xamarin.com/making-ios-11-even-easier-xamarin-forms/) Sunsetting the Component Store (https://blog.xamarin.com/hello-nuget-new-home-xamarin-components/) Visual Studio 2017 version 15.5 Preview Release Notes (https://www.visualstudio.com/vs/preview/) Visual Studio for Mac version 15.5 Preview Release Notes (https://www.visualstudio.com/en-us/news/releasenotes/vs2017-mac-preview-relnotes) Help us make Xamarin faster in Visual Studio 2017 (https://forums.xamarin.com/discussion/108762/help-us-make-xamarin-faster-in-visual-studio-2017) AppCenter.ms (https://appcenter.ms/) Follow Us: James: Twitter (https://twitter.com/jamesmontemagno), Blog (http://motzcod.es/), GitHub (http://github.com/jamesmontemagno), Merge Conflict Podcast (http://mergeconflict.fm) Pierce: Twitter (https://twitter.com/pierceboggan), GitHub (https://github.com/pierceboggan) Subscribe: iTunes (https://itunes.apple.com/us/podcast/xamarin-podcast/id691368176?mt=2) Google Play Music (https://play.google.com/music/listen?u=0#/ps/Ifcss44ww5lc375esulsuettsey) Overcast (https://overcast.fm/itunes691368176/xamarin-podcast)

Visual Studio Team Services continues to evolve! While at Connect in New York, Carl and Richard chatted with Brian Harry about the latest set of features coming out of the VSTS team. Brian talks about how Microsoft has been eating its own dog food and using VSTS everywhere, even with the development of Windows. Discussions also dig into the challenges of moving so fast with so many developers, managing testing at speed and more!Support this podcast at — https://redcircle.com/net-rocks/donations

Can everyone benefit from DevOps practices? While at Ignite in Orlando, Carl and Richard sat down with Donovan Brown and Damian Brady to talk about the recently formed League of Extraordinary DevOps Advocates and the effort to get both developers and operations folks taking advantage of Continuous Integration, Continuous Delivery, Instrumentation tooling and more. While the key to a good DevOps practice is the culture and process, having great tools makes everything easier, and today VSTS and TFS offer one-button delivery pipelines. It's never been easier for everyone to get onboard with a DevOps practice!Support this podcast at — https://redcircle.com/net-rocks/donations

How does Microsoft make Visual Studio Team Services? With Visual Studio Team Services! While at Ignite in Orlando, Carl and Richard sat down with Dan Hellem and Rogan Ferguson to talk about their work in the VSTS team building and deploying features on a three-week cycle. The discussion dives into the agile practices that the different teams use and how they come together to get new versions out on a regular basis as part of the Software-as-a-Service offering of VSTS. Great conversation about keeping developers productive!Support this podcast at — https://redcircle.com/net-rocks/donations

What can analytics around development do for you? Carl and Richard talk to Steven Borg about his work with Visual Studio Team Services (VSTS), especially around understanding developer productivity. The conversation starts out with a comment around Team Foundation Server and VSTS, the former being the on-premise version of the latter. But why run your own infrastructure when you don't have to? Then Steven dives into different kinds of analysis, looking for the best quality code. Can analysis tell you who should do a code review? Have a listen!Support this podcast at — https://redcircle.com/net-rocks/donations