ipaghost - EP38

Transcript

Speaker: Welcome to Chasing the Beats, a show dedicated to weeklybeats.com artists, their songs and stories from the 2024 season and beyond. I'm your host, SQF, and our guest today Ipaghost.

Speaker: welcome to Ipaghost. I believe that's how you say it, right? Yeah. Awesome. So great to have you on. ah we were chatting briefly before we started recording and I realized that I didn't know a lot about your music because you didn't do 2024. And that's that's okay. I'm not here to throw shade on not doing 2024.

Speaker: But you were nominated, I guess you will, or I guess I'll say by Ilzix. And um I'm so grateful to have been introduced to your music because I love so much of it. And I can't wait to ask you tons of questions.

Speaker: my God, thank you so much. I can't wait to answer these questions. Yeah, it's a big fan I have a few big fans out there in the Weekly Beat group. That's because like they all love my GIFs.

Speaker: I need to research your GIFs. I probably spend way more time on the GIFs than I do on those songs. Oh man, that makes me makes me very sad.

Speaker: yeah Because your music's so good.

Speaker: I've actually like literally like spent like hours like making a fresh gif if I couldn't find something for right track. I love the dedication. Because the thing was, it like there's so many good songs every week. you know like Just week after week, great songs. And like after a while, you just get tired of just writing great track, great track, over and over and over again. So i was like, there's got to be a better way to show my appreciation. your perfect gift. you know That's awesome.

Speaker: So your first weekly beats was in 2020. No, ah first weekly beats was like 2014. Right. right i I heard about it in 2012 when it started, but mostly because like, I'm like chiptune adjacent.

Speaker: And also i did like another contest, not contest, a competition before it's called um Iron Chef of Music. I told you about it before. Yes. And so, you know, like all the different compos and competitions and whatever, they all kind of know about each other a way. Yeah. And so Prop Man actually was like, um he helped me he helped me with Iron Chef and he was like, I'm doing weekly beats this thing. And I was like, oh, that's really cool. he's like, yeah, Trash 80's doing it. And like all these other chiptune people are doing it. And like...

Speaker: I really wanted to do it, but 2012, I was just started full-time at a game studio doing music and audio. So I was like swamped doing a handful of titles like at the same time. So I was like, I didn't have time for another challenge.

Speaker: <unk> Right. Yeah. Especially a music challenge when you're doing that from work. Yeah, I already missed like a few like weeks, and I was like, can't. That's going to really eat at me if I just start midway. you know like Can't break the streak too early. and Exactly.

Speaker: And ah what years were you doing the Iron Chef of Music stuff? Like how much how early before weekly weeks? That's hard to pinpoint. Iron Chef started from like a small like label, IDM label like in Pittsburgh called Crack 5 Records.

Speaker: And oh we just were like started doing this like Iron Chef thing because we liked watching the TV show. we're like We also like like manipulating samples and stuff like that. That's like what we did.

Speaker: And we were like, what if we do this with audio? And so we would do it there. And it was like kind of just like a local thing every once in a while. And then I moved to Chicago 2004, I think.

Speaker: And I met Joe sometime around there. And we started doing it, like I don't remember, 2006, I think. And just did it like in a gallery. And we'd just get like lots of alcohol and lots music nerds. and like And just did this like little competition. It was like a lot of fun. So like yeah, I got really used to like making really fast tracks. And I should probably explain what Iron Chef is. it's like we What we did is like we gave everyone a mystery sample. And it could be a sample of anything, like the sound of ice cubes or whatever whatever kind of like little tiny sound we could find. Mm-hmm.

Speaker: Everyone gets the same sample? Everyone gets the same sample. And you have two hours to chop up that sample. And you can only use that sample. Oh, that's amazing. You can't use extra instruments or voices or synths or anything like that.

Speaker: Wow. got so like it was kind of like this really stream of conscious thing. You didn't have time to question yourself about like your beats. I know like a of people... when you start off, you get like stuck in the loops. like You're like, oh, I got this great loop, but I can't go anywhere. It's kind of just stuck, refining it. And like you have no time for that. it's like You just have to finish it, get it done. and like Trust your instincts. Yeah. And it like really kind of hones like your like writing ability. And none of the songs were great.

Speaker: Well, sometimes they were, but there wasn't a pressure to to have to be that great, because you could just be like, it's a designer and chef, so it's like yeah just having fun. It's one sample, two hours, like see what you can make. And you don't have time to question what you're making.

Speaker: Exactly. And we debate the rules all the time. We'd be like, oh, is frequency, is amplitude modulation breaking the rules? Stuff like that. Yeah.

Speaker: yeah And it was like, yeah, so that that happened like for a while. And then Weekly Beats, I started doing Weekly Beats in 2014. That became my priority after that. right Just obsessed with Weekly Beats. Because it's a great community. you know it's like yeah yeah Well, I mean, it sounds like you kind of had your own community with the Iron Chef stuff, right?

Speaker: Yeah, it kind of fizzled out because like we kind of separated, moved different places. and Yeah. it's It's really like a live kind of experience. It doesn't really have the same vibe like online, even though we had like online people. like The first one we did was 50 people globally and 10 chefs locally. And it was like just packed, this huge gallery full of just...

Speaker: just people watching and getting drunk. Yeah.

Speaker: So do you think that experience

Speaker: do running these and participating in these just like sample flip contests helped you with all of your weekly beat stuff? I think so.

Speaker: i definitely don't have like a fear of like waiting to the last second to kill a baby and then to start from scratch. you know yeah I've done that like a few times. And luckily, like there's some mods who like are really nice and will give you like an upload link if you like miss it by a few seconds. or But for the most part, yeah. like and I would definitely recommend doing like little challenges like that list in general. Because like it really forces you to like organize what you have to do like in little 15 minute chunks. 15 minutes, I've got to cut up samples. 15 minutes, I've got figure out a beat. 15 minutes, I've got to you know lay down some melodies. and

Speaker: Yeah. And ah you mentioned that you're part of the the Sunday squids, right? Yeah, I kind of coined the term. because i All right, you that you're the OG Sunday Squid.

Speaker: Yeah, because like I mean, i would call us the Sunday Squad, but like there's no emoji for Sunday Squad. So I used the ice cream sundae and the squid. Love it.

Speaker: That's so great. Yeah. so you sort of use some of these like making a song quickly on Sundays? Yeah.

Speaker: Yeah, I mean, i i definitely try to start like Saturday. like That doesn't always work out. What I'll do is like I'll make a pizza on Saturday.

Speaker: yeah and Everyone knows I can make a pizza like for weekly beats. Oh, hell yeah. Yeah, I'll make a pizza, and like I'll be like making the dough. and we're We've been talking about pizza earlier, but I'll be making the dough thinking of like melodies or ideas and like that. So I'm kind of bopping around in the kitchen,

Speaker: and might even record some onto my little memo app or something like that. Oh, right. The memo app is so embarrassing. It's just thousands and thousands of recordings of me just being horribly out of tune. Yeah.

Speaker: Well, Ilzik just shared some of his like voice memos of like how he came up with rhythms. And I was like, kudos to you for sharing these like super vulnerable and embarrassing recordings.

Speaker: But also, it was so cool to listen to them and hear like the final product and like understand more of that process. So it's cool to hear that you do a similar thing. of like Because I'm not really good at like just...

Speaker: making pizza dough and coming up with melodies, you know, I got to like plunk around on the keyboard and stuff. how How are you at showering? Cause like, that's another place i I'm pretty good at melodies.

Speaker: Yeah. Harder to record, i guess. It's all right. I mean, that's the thing. It's like, you're just using it as like, like a little sketch pad. So yeah I mean, a little background noise is not no big deal, you know? like Yeah. Yeah. what is your songwriting process like after you're like kind of coming up with some melodies making some dough showering whatever because like listening to your stuff there's lots of ear candy there's what really sticks out to me is your bass lines are like a focal point of a ton of your work oh wow and

Speaker: like I was just listening to like the syncopation and the timing, and I'm like, this sounds like a real bass being played. wait Thank you so much.

Speaker: That means much to I know a lot of is MIDI. How do I get there? That's kind of what i want to know. I don't know. Okay. So I, I mean, I've been doing music for a long time, you know, I don't know if you want the whole story, but I did play bass for a while, like in high school, college, um, self-taught, just, just trying to play that along with like red hot chili peppers and stuff like that. Yeah. Yeah.

Speaker: And i was okay. I wasn't really great, but I was like, I loved it. And was lot fun. And I played violin before. So it kind of, you know, like that, like a monophonic kind of instruments has made more sense to me at the time than like chordal instruments.

Speaker: Right. And so, yeah like I love like a nice like funky bass line. And so all the songs from 2022 and like a lot of them from 2020 are all made with citrus, which is like an FM synthesizer in FL Studio.

Speaker: And I got kind of like sucked into this rabbit hole of just like, um just, I got the bug. I was like, I i started with, I've used FM synthesis for like a lot of other songs, um but usually it was like patches I found or presets or, you know, it's like a preset kitty.

Speaker: Yeah. Yeah. I mean, nothing wrong with that. Nothing wrong with that. Like you learn a little bit taking apart other people's work, you know? Right. Yeah. And then I did this track for Weekly Beats 2020. It was like oscilloscope.

Speaker: And reason why is because there there's like a form of audio music um where if you take a left channel and a right channel, and you put it through an oscilloscope,

Speaker: you create an image using sound, right? And so people have gotten really good at drawing little pictures and and even making little animations and stuff like that. And i was like, oh, this is really interesting. I want to try this. And you know at first I started off with like ah sound like just little samples and stuff like that.

Speaker: And i realized, oh, I could do this in citrus. Because like citrus can like also has like an additive effect. and synth on it where you can actually like import like a wave clip of like one waveform.

Speaker: And it you can play it like it's an instrument and it becomes an oscillator. And um so I did the whole track like that using Citrus that way. And um just playing around, like how can I make this not just sound like a bunch of you know robotic burps and farts, and make it sound like music?

Speaker: And so like i had a lot of fun doing that but like I learned a lot about the synth and it was like very like at first the synth like the the fm synth and I think most fm synths are very intimidating because like they're not as intuitive as like subtractive synths you know where like yeah you start off with a beautiful saw and then you cut into with a beautiful filter and it just always sounds good no matter what you do with the knob and like fm synths is nothing like that all some wrong turns real quick yeah it's nothing like that and so yeah And so um also, FL Studio has like interesting like wave shapers, envelope shapers, where it's like, sorry, envelope shapers, where it's like, and you know normally you have like the tack, sustain delay. and

Speaker: Well, they have like this one that's just like you know like a vector of points that you kind of move around, and you can make it like anything you want. It can be like lines, it could be squigglies, it could be whatever. And so like I didn't really understand the whole system at first. And then doing that project, it like opened my mind. i was like, whoa, I understand a lot more about this synth. And so I kind of got sucked into it and I was like starting to make more and more synths with it. And i' was like, well, I've done some tracks doing all synth patches before, like FM patches before, but i was like,

Speaker: what if I like make them all from scratch that's like all mine? So like that was my goal, was just to make a new couple patches every weekly beats until like I had this like library of patches I made and that like I can just pick from.

Speaker: And so every song is like, either I like i make a new sound for it or I like it take an old sound and I adjust it to fit the track and stuff like that. yeah And it just starts to click, you know? And the thing is, it's like when you're sitting down in front of like...

Speaker: a DAW or whatever, whatever you're making music on, especially DAWs now, because like you can make any type of music on a DAW, right? like There's a world of infinite possibilities.

Speaker: And you're like, well, where do I start? you know and yeah yeah Do like drum and Do I make ragtime? There's like a yeah weird, huge ocean of possibilities. And so kind of like one way of getting into that like where do i start is like a nice tasty little instrument, you know, like a little sound that like speaks to you. And kind of like, it's like when I make a new sample or instrument, like, like a song kind of like is like in there. i'm like, oh i this guy, this guy's got a little sound. He's got a little melody. like oh, I can hear some possibilities with this. Yeah, or it's like this bass, I can give it a little bit of slap, you know, because like you can change how resonance behaves with the more you know attack or the more pressure you put on the key and stuff like that. You can give it more like more of like a filter cut or more a little bit twang on it. So it kind of sounds like a little slap of a bass, you know.

Speaker: And so all of a sudden you're making a little funky beat or bass or something like that. and Adds a lot of character to it. Yeah, and also one of my favorite drum synths is the 808. So that was like one of like the first things I did is I recreated all of the 808 sounds, and I used schematics for that one. like i actually like There's tons of information online about like how the old 808 works and stuff, so was like, oh, I'm just going to...

Speaker: And I love researching stuff. So i was like, I'm just going to learn all about the 808 and how this this circuit works and what it's doing and just recreate it. And 808's great because it like it goes with everything. You can put an 808 on anything and the sounds great. So you really dove headfirst into sound design.

Speaker: Yeah, and like I mentioned this before. I have ADHD. I'm pretty 95% sure. Me too. i mean And so it's like, I have this mentality. It's like, oh, I got to write a song. So that means I'm going to try to recreate the sound of ocean splashes. or Oh, just this one track I did was this 2022.

Speaker: i did like a phone track. It was like one of the first ones I did. Oh, yeah, yeah. I was just listening to that. You got me freaking? A lot of time building... like a little like phone sounds and phone sounds are like two different oscillations. And those two oscillations create like, you know, your classic dial tones. And, and I was like just researching about like phones and how it works. i was like, Oh, this is pretty simple actually. Like they're just two different tones. And I was like, Oh, that's how they made the, the phone interchanges work. They like used filters to like kind of create these like,

Speaker: analog you know logic gates and stuff like that. So yeah I decided to build all of that, like not only something to generate those tones, but something to interpret those tones. So like in that track, there's a synth that's generating the the tones, and then it's sending it to the mixer track, or didn the mixer.

Speaker: And on the mixer, there's another instrument that's like receiving those numbers and then creating a synth from that. So you're never listening to the actual synth. You're actually calling the...

Speaker: the instance that's on the and the mixer, and that's creating the sound. Wow. ah For no reason. was like, all right, now I've got to write a song around this.

Speaker: And it's like this little sample that plays like a couple of times. It's like... That's my process.

Speaker: So, yeah, I mean. So just go, like, follow your interest and go deep. I mean, I feel like that's how all art is, you know? Like, you yeah you should just be curious and try things. And that leads to, like, all these wild inspirations. And you do these weird things that you never thought you would do before.

Speaker: Yeah. like Like, yeah, like it's crazy. Like, a lot of my synths and stuff, I get, like, a lot of inspiration from research. Like, i do I have, like, some vocal patches that I made from, like, learning about how, like, they would synthesize voices. Like, back in the day, like, before it was, like, digital, it was, like, all done, like, on...

Speaker: optical film strips and they would create a voice synthesizer where they can literally just like draw like words and stuff onto this like you know strip of optical you know film and it would play and would create sounds and voices. And so i was like, oh, I could do something like that. And so I did.

Speaker: And so some of my tracks have like ah the pretty much anything that's like, like AEI OU is like the vowel sounds. Like that's all like my, one of the ah patches.

Speaker: And i have like a few of them. Like i did one that's like uses like classic, like data from like the average male, you know, it's like, And it's got their vocal bands.

Speaker: and And then I did one where i recorded my voice, and I could tell where like my pitch reins were. So i like I put the filters right there and kind of recreated my voice for one track. And then one track I did for the Halloween one, I just made like weird ghoulies. like this kind of I think as we're going to play that maybe later. don't know, the Spooky Cookie.

Speaker: Oh, maybe. Maybe. We've got so many things to play.

Speaker: So yeah, that one's kind of fun. I do have some tracks that have like, you know, words in it, but I, those are are different situations where like, um, FL studio has its own like little voice synthesizer and.

Speaker: Got it. Do you ever do your own vocals or are all the vocals that I'm hearing synth vocals? In the past, I have. Not from the last couple years. I know, like 2020, I did one where like, so one method of doing so vocals um I might do is like, I'll just find vocals, like found sound or like, or find like a text to speech, like from like my iPhone or whatever. And I'll record like a, like scratch track where I'm just like singing the vocals. And then I can use that to line up um using like a editor where the, the, the words will go.

Speaker: And i can like pitch the words and place them in the right place. And that way, having a visual visual cue makes it go so much faster. yeah And sometimes I'll just use my voice you know on that or whatever, and if it sounds good. I don't know. i like I'm still not like crazy about my voice.

Speaker: Me either, which is probably surprising for everyone to hear since I record it regularly. But singing, i like i'm still like that's going to be my challenge for 2026 is to do some singing songs.

Speaker: But I haven't found enough effects to put on it for me to be happy with it yet. Just go dry. Just go dry. ah what you should do is double track where you sing it different tracks. And that always makes everything sound so good.

Speaker: And then I have to learn how to actually write lyrics before I do that. So there's there's some barriers to overcome. Yeah. yeah I mean, lyrics are like way easier than you think they have to be.

Speaker: That's the thing is, like I never really liked lyrics im growing up. I'm not the kind of person that like picks out lyrics very well out of songs. Yeah. So like I always like. I always like songs that are just kind of about nothing, really.

Speaker: And, you know, like that's the thing. like you know A good song makes you think. you know like It doesn't shouldn't be too literal about anything. You just kind of evoke it. Open to interpretation. Exactly. like So, yeah. I mean, it doesn't have to be too... I mean, that's the thing. is You're putting too much pressure.

Speaker: And that's the thing. is like You turn it into like a challenge where you've got to this volume. Just constant, constant, constant. And that's what happens. Yeah, like... yeah in weekly Just doing one-year weekly beats has helped me get over it yeah any fears that I like.

Speaker: The first few songs that I posted, I'm like, oh, God. And then by the end, I'm like, oh, whatever. like I like it. Maybe someone else will like it, too. you know That's awesome. and that's the I mean, that's the way it goes, right? like Yeah. Yeah.

Speaker: I don't know if I—sometimes I write music for other people, like in mind. But for the most part, it's like, I really want this song to exist so I can listen to it, because there's not enough people making the music I want to listen to. Yeah.

Speaker: And so— ah Yeah, I've always been like that. like I started doing music like electronic music like in the ninety s like early 90s. Someone handed me like a floppy disk, and it had a tracker on it, like a screen tracker.

Speaker: And so like a tracker is like this you know music writing software for old computers that looks like a spreadsheet. Well, I have an M8, so i definitely know about the tracker world. and But not like old school trackers.

Speaker: But I mean, I understand the concepts. Oh yeah. I mean. Applied throughout the ages. They're all the same. Yeah. Essentially. ah Spreadsheets. Spreadsheets. That make beautiful noises. Hex codes. Yeah.

Speaker: So when you're building a song, what do you do when you get stuck? Oh, well, I mean, that's the thing. It's like when you get stuck, it's like you're just kind of coming from like.

Speaker: Stress. it's That's a stress thing, right? When you're in a flow, there's no getting stuck. you're just You can't stop. that i love that. right so like um You're kind of stressed out about something, so it's the first thing you've got to do is relax. You've got to feel it. you know I always kind of, like when I'm writing stuff, um no matter what I'm doing, like I try to like bop around when I'm writing my music, because if I don't feel it... Mm-hmm.

Speaker: trash can right right away. you know um So kind of like you got to feel it when you're writing it or else no one's going to feel it for you. you know yeah and so And sometimes that means that like you're kind of...

Speaker: So like when you're thinking about creativity, it's just like you know it's like a million choices, right? It's death from a million cuts. And so like you can't get stuck on any single one, and so that means you need to like start on something else. like you know Either start a new project, start a new part of the song.

Speaker: um Sometimes what I like to do is write up write a like a lot of different little parts that might have nothing to do with each other. Then I'll jam them into one big song. So that way, that's like one way of I'll just write a bunch of things and find out what goes well with each other. you know and Yeah.

Speaker: That definitely helps. And sometimes it's just like, you know, try doing something that you like more. Like if you're having problems with melody, you start with like a, you know, like with drums, if you like, you know, or try doing something like different.

Speaker: But that's the thing is, is like, if you're, if you're getting stuck, that means you're stopping and you can't stop ah cavevin Right, it's like you're trying, if the flow stops in one area. You're stopping yourself, right? like yeah the You just need to like train yourself to be like, I can't stop, there's a gun at my head.

Speaker: And you kind of have that, that's what makes Weakubit so perfect, is because it is like this metaphorical gun in your head, and you're like, I gotta finish this. Like, there's no... yeah Especially if you wait till the last day, which is what I do.

Speaker: Well, and I've said this a few times before on the show, like... whenever I get stuck or i more so to kind of what you were talking about, like feeling that pressure, I'm like, this is supposed to be fun.

Speaker: i want to go find that flow and find that fun again and not, not worry about like the things aren't coming together yet. And it's on Thursday and like, Oh no, what am I going to do?

Speaker: Yeah. I mean, just get weird with it. That's another thing you can do. Like sometimes, yeah, I don't know. I feel like you, it's a lot of pressure, you know, this like kind of coming up with a new idea. And the thing is that you can practice writing a song, but you can't practice like writing the same song over and over again. Right. Like no one was hearing the same song. No, no. Over and over again. So it's all about like finding weird things, you know, like um messing things up on purpose.

Speaker: um That's great. Cause like, That's what people to hear, fresh ideas, fresh new things. So I'm always like trying to break like the instruments. I'm always towart you know turning all the knobs in different ways. I'm messing with the pitch. I'm messing with the tempo.

Speaker: I'm like trying something weird every... I try yeah at least, every single time so that like there's a new fresh idea in there that is something you haven't heard before. But it's also like, you know how do you practice that when can't really? just practice the act of making yourself do it. It's all about the reps.

Speaker: Yeah, it's about the reps, doing the work. Yeah.

Speaker: i can't believe you make all your tracks on GarageBand. Is that right? I just do my final mix mastering on GarageBand. um I mostly used an M8 last year.

Speaker: OK. And then you know just did final mastering in GarageBand. Now I've been pretty heavy into the Digitone too. So I've been trying to decode FM, you know, but like electron FM.

Speaker: Yeah. So like you said, I've been starting with patches and then going and messing them up to like, try to just have some sort of feel about what I'm doing to build this thing from scratch, you know?

Speaker: Yeah, it's... Oh, that sounds really fun. I actually sound kind of jealous that you have one of those, like... Well, it sounds like you're the FM master, so... Well, I don't know, because, like, I'm familiar with Citrus, but I don't do too much, like, on, like, hardware. And, like, I want to do some more stuff with hardware.

Speaker: Like, for shows and stuff, it's, like, a lot of fun to be able to, like... tweet it's called ah i'm I'm starting to understand more of the performance aspects of the Digitone.

Speaker: yeah you know the inmate is great. I love composing on it and like building things on it because it's so fast and I can do it from my bed. and But it's nice to have these kind of like performance aspects and just think about making music in a slightly different way.

Speaker: Yeah, that's awesome. um Yeah, I heard some of your tracks are really great. Oh, thank you. Thank you. Is this the first year you've done music or just weekly beats? So I started making music in like high school.

Speaker: okay Before that, I played trumpet. And then i i was like, I need to switch to guitar, I think. So switched to guitar. and I was really into like recording on a four track. And You know, had some early drum machines that I didn't really jive with that well. Like some of the old like boss drum machines that are like not great to program.

Speaker: And yeah, played in some bands and then kind of took a long break from music and realized that, oh, there's these hardware instruments that I can actually use to make music because like I'm on my computer all day It's not really inspiring for me to like,

Speaker: make music on my computer. And i I sort of discovered MIDI sequencing versus how I had been making music in the past of you know recording audio tracks of multiple takes of like, I got it right. yeah So it was kind of inspiring to me to think about MIDI and changing sounds after you build a pattern and and modifying the pattern after the fact, like kind of sculpting what you want.

Speaker: um and so I started out with a Deluge, um if you're familiar with that, since Synthstrom Deluge, which I loved and I didn't think it could be dethroned until I got an M8.

Speaker: and I just love the M8 that i sold the Deluge. Sorry, Deluge diehard people. and then was curious about the Electron stuff. So got one of those. So I've kind of been dabbling in music for a long time, but this was definitely my first serious sprint in making songs back to back to back to back.

Speaker: Yeah. I mean, even like an Irish chef, it wasn't like that. so i mean I'm curious from your experience of doing five years of weekly beats,

Speaker: um You know, thinking back to like, you have a ah long music making career experience. Yeah. Yeah. like How has Weekly Beats participating five years, how has that changed you, the way you make music? like For me, it was a big experience that I think translated to other areas in life, just about like persistence and the value of reps. so I'm curious for someone seasoned as you

Speaker: i mean I mean, yeah, like I've been doing music for a long time. So what really changed, though, from the beginning, is like I started doing music in 2014 for the Weekly Beats. I was like i was like you know already doing Iron Chef for a while, and like I was making music for video games.

Speaker: So I was like kind of like in that headspace at the time when I started. And i was like, let's use it as an excuse to like make more of these things like And I still do like a lot of game-inspired music. Yeah, definitely. I pick up lots of game-inspired and chiptune.

Speaker: Yeah, like I have some tracks that actually sound like they're like little games and from themselves, you know like you're playing a little game. Yeah. But like one thing, it's like it really like got me to standardize my whole workflow.

Speaker: like I of almost have like synesthesia now, like because like I make like all the drums this one color. I make all the basses this one color. Mm, OK. all the pads or whatever, this color, just to kind of keep organized so I'm never lost and stuff like that. And I kind of create a lot of presets of like my different workflows so that I can just call them up super fast.

Speaker: So everything that's like kind of like a hiccup, anything it's like, oh, I want to make music, but i I don't want to do this one thing, make that into a preset. And that really like helps speed things up, just like having a standard way of working like every time so that it's like...

Speaker: something you know that you don't have to worry about anymore and like yeah my mastering is like super duper easy i just run it through like just a compressor like like the yeah i felt the fl studio compressor and i just use the same preset almost every single time it's like yeah i mean i don't do a ton either i think there's a lot of like like mystery around mixing and mastering where like you, you think like you should have to do a ton to like get this thing out.

Speaker: Yeah. But I think a lot of times just like a compressor and like, oh, I want to hear this thing a little bit more here. Like, let me change some frequencies. Well, I think like if you're recording like any type of like live instruments, I think it's, yeah, it makes a huge difference because like people can't play perfectly the same amplitude every single time. But with like synth stuff, it's like, if something needs to be a little bit louder, you just turn it up a little bit, you know? yeah And you're so deep in the sound design. a lot of the times that stuff happens in sound design.

Speaker: Yeah, totally. um i do When I do my live shows and I have to like break it down into stems, I do have to completely remaster it because like you do have to have like a good actual good mix for stems because otherwise everything just goes out of whack.

Speaker: But for the most part, just cram everything into that one compressor and just like, yep, you deal with it. I'm i'm done with this. But I haven't i mean, it's it's a bit loud. It's a little bit louder than I'd like, but for the most part, I haven't had too many complaints about it.

Speaker: Yeah. And what other, so you've got your sort of like templates and you know, color coded structures so you can get going easily.

Speaker: It really taught me how to like, how to like approach writing music. Right. You know, you're, you're like asking me about like, how do you come over, overcome blocks and stuff like that? Like, that's like something like, you learn from just doing it over and over again. And like, that definitely changed. You know, I used to have like a lot of writer blocks before like, you know, weekly beats, especially for like music that like i I'm doing for more than two hours, you know, like if I want something that like nice and stuff, like I get kind of stuck.

Speaker: And so having like a week for each weekly beats, like, yeah like I was like, well, I don't want to get stuck on these. I definitely want them to go fast as possible. And definitely like helped like my professional work, too. like I was able to churn out stuff for my work. And...

Speaker: and Yeah, it was like, i mean, it's just like leveling up. It's such a great experience. Like, you can write like 52 horrible songs and you'll be so much better at the end of it, you know? Oh, yeah, yeah.

Speaker: And then, as we know from speed Trash, sometimes... The thing that you think is terrible, other people are like, oh my God, that's the best thing you've ever made. I hate don't understand why people like certain tracks. like It's always different.

Speaker: there's no That's the thing. is that If you're worried about like, oh, this isn't good enough, stop because no one agrees on what's good enough. you know It's true. Absolutely across the board. There's no accounting for taste.

Speaker: So, like, my favorite tracks are always, like, these really, like, you know, ah absurd ones. Because, like, I'm throwing everything at it and having fun.

Speaker: And the ones people like are the ones that I like, my lazy ones, where I'm just like, oh, it's been a rough Saturday, so I'm just going to, like... Let me just crank out the super bopping bass line baseline and like dance to it. And and Orange Strength's like, oh, this is my favorite one. I'm like, this one? Really? It's ah the most basic one I have.

Speaker: But I didn't even do anything weird on it. I know. it has to be a little bit weird.

Speaker: but like but Most people like all like my simple stuff, I think. i think I used to, when I started doing weekly beats, I used to be, oh, I didn't like this track. It didn't come out the way I wanted to. And then I learned after a while that I should just stop because like I'm just coloring people's opinion. like They'll like it.

Speaker: Yeah, that is kind of like my pet peeve when I'm listening to people's songs on weekly beats when someone's like, ah this is trash. Like, I didn't really like this. I'm like, don't like, don't color my opinion before I even have a chance to listen to it.

Speaker: Yeah, have to do that. Tell me what I like. I also had to do that with clients because like clients will agree with you if you tell them that they're like, yeah, this is a piece of shit. But if you're like, oh my God, this is the greatest thing that's ever been made and you should be paying me twice. They're like, oh my god this is the best thing in the world And it works.

Speaker: It works. It doesn't matter what the track is. They'll love it. So yeah, people very susceptible. So don't color their opinions for them. like make them Yeah, but bias is easy to to tip.

Speaker: Yeah. um So yeah, i stopped doing that. Because like a lot of them, I am like, this is no one should listen to this.

Speaker: Some songs I make on purpose like that, though. like I don't know if this is the term, but I think um it's called like party ruiners where you just make tracks that like are made to like just destroy parties and like make everyone leave. I love that. ah Speaking of parties, ah what is your live setup like? And do you do a lot of live performances still? It's changed. I've been doing live performances, like I said, since the nineties and it's changed over the years. Like,

Speaker: Lately, it's been really stripped back. Just because like I don't have a lot of money for new hardware. Right. And moving things around is kind of difficult. So right now, I just use like a laptop. And i have like a like a MIDI controller that has like a bunch of like knobs and sliders. and um It's like really old. It's like from 20 years ago. And like kids look at it at shows, and you're like, what what is this? Is this some sort of artifact from that?

Speaker: break what is this museum piece and they're like is this is this a mouse and i'm like nish leave me alone it's like i'm not that old i'm okay i'm pretty old i mean but i mean i'm getting up there myself so it's a mouse you should know about it yeah you should know about it and when you're building live set now like I assume that you're building from weekly beats songs, or do you have completely different songs that you build from? um I used to have completely different songs, but these days I really like my weekly beats. I'm really proud of them. I have some bangers in there.

Speaker: You do. So I've been like, and that's where I've been doing most of my work that I like in the last decade. decade Yeah. So in weekly beats. Yeah. Weekly beats for sure. Like I'm so, I'm so sad I didn't do last year.

Speaker: I just couldn't do it last year. I mean, we we all, i'll so I'll speak for everyone here. i don't think only anyone will mind. We all hope to hear some tunes from you in 2026. Yeah, maybe.

Speaker: I'm definitely thinking. Yeah, I know. I get it. I get it. I get it. You know, it's a lot to commit to. It is. And even though like I feel like I did the streak thing, so like that's not going to be priority for me if I do. Yeah. Because like I think that was like really stressing out my partner.

Speaker: because i'm ah We spoke about this on Discord week. I'm pretty sure people have gotten divorced because of weekly pizza. My partner's just like, did you finish your song this week? And I'm like, no, working on it. It's like, okay.

Speaker: I'll have the lawyer draw up the papers. And then I'm like, hey, I i i saw i told her the other day, i was like, hey, there I saw on Discord that they have louder keys for the M8. So they're like even clackier. And she was like, don't.

Speaker: Don't. Please don't.

Speaker: Oh, my God. Yeah. I mean, that's the thing is like the the partners of weekly beaters are the true heroes, I think. Yes. They should be, you know, commended. Yes. Every single one of them. This shout out to all of you.

Speaker: Shout out. Thank you so much. Thanks for putting up with us. Thank you for all the work you've done. But we were talking about this, uh, this week on discord where I was like, I think I'm practicing with this podcast to not be so beholden to yeah keeping the streak alive yeah and getting back on the horse and like taking a break when you need, which I think is a healthy way to look at weekly beats.

Speaker: Especially in this climate. Like, we need our breaks. Like, things are getting kind of rough out there. So, you know, so no self-help is really big right now. Like, you should be, like, making sure you're on top of mental health so you can deal with everything in your life.

Speaker: And the music. But yeah, so that's going to be my theme for 2026 if I come out. I'll be, I'll definitely, okay, I'll make a promise. There will definitely be one track. All right, cool. that's We'll see where it goes from there. Yeah, yeah. It may or may not be pizza-related, because ah I think it's like Mission Crossing. like um So I did the pizza song 2020. That was like the first track. And was straight-up banger right out the gate.

Speaker: Right out the gate. And what's crazy is like people were like, oh, he spent like ah months on that or something. I like, no, that was like the same deal as every other week. like Saturday before tried starring, weren't writing it. and But you're like, you're so backed up with all this creative juices. It's like, and it can only be a banger, like at that first day, because you're like, oh, I love writing.

Speaker: yeah i don't hate it at all. And then at the end of the year, you're like, I hate i hate writing. Yeah. I know. I've just now finally gotten back around to like making music. Don't too much now. You have to save a little bit for next year. I know, I know. But I'm like really enjoying it. That's the problem. ah And I'm trying to figure out like how can I keep this spirit alive like week to week yeah during the weekly beats year and not feel like at the end of the year where I'm like, I just need a break from this.

Speaker: Maybe I should ask Headbreak because he just keeps going. Yeah. Somehow. But yeah. That's a trooper right there. like Oh my God. Yeah. Yeah. like I've seen people even do like daily challenges.

Speaker: That's insane to me. That's insane. I mean, kudos to you if you can do it. but And then like Orange Drink. He's like doing like videos every week. know. I know. I still want to have him on the show and he wants to do a video show because he's got so many videos. Like we have to show them.

Speaker: And you should do this on video. Get some of that YouTube money. and ok Okay. Okay. Like you got a good program here. It should be on there. All right. Post the old ones on there from like, but just, well, the orange drink,

Speaker: the Orange Drink video, I guess now, video podcast is going to be my foray into more serious video production. Okay, okay. I'll get a taste for what it's like for one episode to see if I can like recreate it Because I would like to do some...

Speaker: cool video stuff with weekly beats because I really enjoyed watching his like recap of the year and seeing clips from all the videos. and I'm like, Oh, like I felt so nostalgic for the year. Like there's just something different about seeing that like video component of all these videos that I've watched throughout the year. Yeah. Like such an overachiever. It's disgusting.

Speaker: Yeah. But I love him. He knows that. And he he's got that really cool basement, lighting, dance moves. I've been down there. i live like 10 minutes, 15 minutes. Oh, no way. Yeah.

Speaker: Wow. But I still don't get to see him. He's always working on stuff. He's got a band now. Yeah, he's very busy. He's very busy. Every time I message him, he's like, oh, yeah, starting in next month, I'm free. And then I message him. it's like Welcome back to another hour of Orange Drink Talk.

Speaker: Yeah.

Speaker: All right. So what's, should we start listening to some music? I think so. let's think we got to start with 2020 week one, hot out the gate, pizza, pizza goddess.

Speaker: That's a good one. all right. Let's do it. Yeah. Here we go. Yeah. Yeah. Yeah.

Speaker: See ya.

Speaker: Chicago, New York. Use your hands. You don't need a fork. California, Boston, and Hawaii. I'm the pizza goddess. Bow down before me. Shove it, slice into my mouth. Pizza's something can't do without.

Speaker: I like it hot and extra cheesy. Don't you want to extra please me?

Speaker: I want to.

Speaker: California, Boston, and Hawaii.

Speaker: Detroit, Chicago, New York. Use your hands. You don't need a fork. California, Boston, and Hawaii. I'm the pizza goddess. Bow down before me. Shove it twice into my mouth. Pizza's something I can't do without.

Speaker: I like it hot and extra cheesy. Don't you want to extra please me? Girl, don't.

Speaker: There's no denying that's a fucking banger. Tell me more about that song. We were briefly chatting while we weren't recording about like more bass skills. So like's let's take it from there.

Speaker: Yeah, all the good stuff happens off air. You need to switch it around. That's right. Capturing all the bad stuff. So yeah, like I was telling you earlier, it was like i used to play bass um like when I was a little kid. But like even before then, like i I remember being like a little kid.

Speaker: And my dad used to put some like jazz on while he was driving around. And I'd just be in the back seat, just like with my eyes closed, just picturing myself playing the bass. and like I just pictured myself just doing it. And so I got a bass from like a you know one of those like secondhand stores or something like that. um might have been a pawn shop.

Speaker: and And I just started playing it and like almost immediately. I was like, not that good, but like I was like, it's like i your I already know you. I've been air playing for... Yeah, I mean, also, like like I've been playing violin since I was like six.

Speaker: Oh, OK. And so it's like a big violin. like Essentially, it's the same like kind of strings and everything. So yes it's like it's all there. You just kind of have to make it like much bigger. So yeah, I got really into the bass and just playing along with like my favorite you know bands and stuff and like just great bassists and stuff like that. I always wanted to be a bassist.

Speaker: but And mostly just because like I couldn't play guitar. It's like chords. I don't understand this. But yeah, now I miss my bass. I gave it away. like um When I was living in Chicago, I was still drinking back then.

Speaker: And i got drunk and just gave away all my basses. I had two basses and a bass Oh, man. Like a big, big bass amp. And was just like, yeah, you love basses? Here, have one. Have all of them. Because that's i'm like I'm just too nice when I'm drunk. Yeah, you are. Just take it.

Speaker: and my stuff I haven't gotten one yet. so yeah So I'm like living vicariously through like you know citrus and recreating these like fake bass patches. and I mean, you're fucking good at it. So so the thing about you know synthesis, or at least the kind that I do, it's like half of it is creating a really great instrument, right? And then the second half is like...

Speaker: playing it like a real instrument. So you can have a really great patch, but if you're not playing it like you would play the instrument, it's not going to sound very good. And vice versa. like you know You can have a horrible patch, and if you play it really well, it can actually sound a lot like the real instrument. but Actually, I think we might play one song where that's a good example of that.

Speaker: So, yeah, that's where the bass came from. um And I think that's what stuck out to me, is that Yeah, they're great patches, but the, like, like you said, it's like you're actually playing bass and yeah timing the feel like there's none of the notes feel like static where they all have the same decay. and Like they're all unique and come together to just like feel really lively and make you make you dance around.

Speaker: Yeah, i were i that's I love that you catch these things because like that's what I spend so much time doing. is like Because the thing is, like I'm writing it this stuff. I'm not a really good pianist. I can do like melodies and the little chords here and there, but I would never perform. Yeah, like can noodle.

Speaker: Yeah, yeah i learned only i learn from doing weekly beats. Yeah, yeah. And so sometimes I'll- are you like adjusting micro timing and note lengths and like to perfect this?

Speaker: sometimes, but yeah, like sometimes I'll play it a few times. ah Sometimes I'll have it in my head that I have to play it the way it's going to be perfect the first time. And sometimes I'm just like, I don't have time for that. i'm just going to quantize.

Speaker: I also make my own custom quantize patches too. So that like, Like, if I'm in a real hurry, like, I can have whatever I write quantized in a very specific way what I wanted. So it has my own humanistic, you know, vibe to it.

Speaker: But I can do it, like, super duper quick. So it really depends. It's usually, like, a little bit, you know, it's like... um like you adding like some kind of like swing to it making making music um is a lot like making pizza oh my god we you gotta this might evolve into a pizza show it is a pizza show because i to welcome to pizza time

Speaker: Because i haven't really said anything about pizza on this show. It's a travesty, really. I am a huge fan of pizza. One of the reasons that I took a break from the podcast is I threw a huge party where I had like 50, 60 people over.

Speaker: i made 20 pounds a dough. Whoa. Like 27 pizzas, I think I made. my God. And yeah, huge fun party. Oh my God. That's so crazy.

Speaker: you have like professional kitchen or something? No, I just have, i have a decently sized wood fired oven. so And I'm just have a little tiny KitchenAid mixer. So it took me like 13 mixer loads to make all that. Oh my God. Yeah.

Speaker: ah So yeah, I love pizza, sourdough. I have a stone mill, like talking about going deep on sound design. I've gone deep on like pizza design.

Speaker: Yeah. So like, i find like music's a lot like cooking, you know, like you're like, you're smelling the ingredients. You're like, does it need more of this? Does it need a little bit that? You know, like you're kind of using your senses to kind of like guide you and you smell the flavors. It needs a little bit of something. It needs a little snare.

Speaker: It's a little tang. It needs a little bit of spice. Yeah, know it is a lot like cooking. Yeah. hey guys I do like a lot of graphics, too. like Audio was always just kind of like a hobby before it became a job for me.

Speaker: But I kind of feel like it's all the same thing, too. like Even with you know doing graphics or whatever or animation, i'm like I'm doing it the same. It's the same process. like Interesting. I'm like, it doesn' it need what what flavors does it need? what What do I need to bring out?

Speaker: um what do i need And sometimes like um editing is really important too. like What do I need to take out? like I know with some of my tracks, you might have noticed that like I'll cut out like the bass kick right in the beginning. Are you expecting this bass kick? And it's like, nope, you got a little instrument right there. and it's like So what I usually do is I usually write like,

Speaker: For each like little melody, I'll just write like the whole loop and I'll have like everything in there. I just like layer it like indiscriminately. I just put like tons and tons of layers on there. So you'll have like all these little melodies. I have all these like little things.

Speaker: Like a big fat lasagna. And then what I do is I put on the timeline. and I split it up into like their individual tracks and I so slice it up like a pizza. a Slice it, slice it, slice slice it. And then I take out little bits here and there. and so like you know um That way I can make of this nice little like you know interlock of different like ideas and they can I can switch between them very quickly and stuff. so The thing is, like you don't want to have always too many things going on at once. you know like Sometimes you want to like have a little cut a little hole for like this thing to shine or you want to... like So it's all about kind of like a little puzzle. Like, how can I take out as much as possible?

Speaker: And then that kind of creates this like really like nice, dense melody full of like ideas and stuff, but it's not like overpowering, you know? You don't want like, I mean, some songs you do want like everything all at once, but.

Speaker: Yeah. But I did notice that there's like, I can't remember which track now. I'm thinking you're probably thinking about the the Quack Quest.

Speaker: Is that the one? Maybe, or Pompously Catawampus. Okay. or But theyre like I noticed, because I was trying to decode, like, hmm, this is definitely not...

Speaker: just a bunch of loops and we go to a different section like there's certain songs where you're like there should be a bass note here but you like withhold it yeah and then and then like a couple loops later it's like oh there it is but it's even funkier than you imagined it would have been and then you know, like maybe all the bass just drops out or a bunch of other parts drop out and like leave these other things in there. So i was like, Oh, that like, this is keeping it like fresh and exciting.

Speaker: um So it's cool to hear about that process of like kind of starting with all of the possibilities and then you're sort of like mix matching them. Yeah, totally. And that's the thing. It's like,

Speaker: like especially with beats and stuff like that, like i think those might be, i don't know. Is that what ghost notes are? I don't know. But like, especially like, you know, with beats and stuff, like um you can get rid of ones cause like you're, you're the listener's brain is going to put that in there. Right. especially like they're expecting that downbeat at the very beginning of the bar, you don't need that anymore. Cause like they're already putting it in there for you. Yeah. So, um and it also lets you shine some light on the instrument that would normally get like drowned out by that beat. Cause, um,

Speaker: And don't know when I started doing that, but I started doing it like a while ago. And then like, was like, no, I really liked this effect. And like, I kept doing it on like everything. Now it's like, I can't stop doing it.

Speaker: And I imagine it's a similar philosophy to taking these stems and building a live set because like a live set, at least how I'm thinking about it. Cause I would like to do a live set at some point is like I've got all these pieces that can fit together in different moments. Like how am i arranging them on the spot maybe to you know, to create an effect or build or,

Speaker: Oh, 100%. Yeah, that's how i like my um old songs used to be. I used to like just record like or just write like one loop on FL Studio, and then I'll just have like others like you know mute and unmute different channels live.

Speaker: And I record that, and then that was my song. So essentially, it's the same thing I was doing before, but now I'm like a lot more precise with it. Got it. I'm just using the knife instead, um just so like everything's out there nicely and...

Speaker: And I feel like I have a little bit more like control over it that way. And it's not as instant, but at the same time, like one of the things I love about, you know, DAWs is that like, I can make all these crazy micro edits that you could almost never do like with, you know, any type of, you know, synthesizer or like MIDI machine or anything like that.

Speaker: which is why I love like doing stuff on the DAWs and stuff. Cause like, I want to break out the grid sometimes, you know, like I want to like break the rules and a lot of machines are like kind of, they don't really are made to like break the mold that often, you know? So yeah the more ways you can figure out to mess things up on your like machine, like the better, you know?

Speaker: And when you're making those micro edits, is it, Like, are you just consciously like, hmm, I think I need to drop this part out, but just like a little chunk of it or like, what's the process for screwing things up?

Speaker: Yeah, I mean, it's exactly that. I just treat it like it was like a mute button or something like that. But, you know, I'll do several passes and stuff like that. So sometimes I get a little stumped. Sometimes things don't work out right there, so you're going to have to do some problem solving to get it to work. Especially with my live set, because...

Speaker: I have, like, my songs go all over the place that's hard to mix them together. And I like my sets all, like, mixed together. Like, it's from the beginning to end. It doesn't stop. So it's, like, going from different keys at different tempos and stuff like that. like, how do you figure that out?

Speaker: Some songs sound really good at one tempo, but when you change the tempo, it sounds horrible. and Yeah. I don't know what that phenomenon is, but it's not the same with all the tracks. It's just, like, certain ones, like, have to be that speed. Mm-hmm.

Speaker: um So it's like kind of like kind of trying to work with like different compromises or solutions. and Well, let's ah keep it going and close out pizza and talk.

Speaker: I'm just kidding. And move on to sandwiches. And we're going to go with Sandwiches Secrets, the secret sauce mix. All right, here we go.

Speaker: My mouth.

Speaker: Tell me all of those sandwich secrets. Open up and let them out. Tell me all of those sandwich secrets.

Speaker: Tell me all of those and the cheesy secrets Whisper them into my mouth

Speaker: Tell me all of those sandwich secrets. Whisper them into my mouth. Open up and let them out. Tell me all of those sandwich secrets.

Speaker: Whisper them into my mouth. Open up and let them out. That's such a good song.

Speaker: Sandwich secrets. So good. I know you can't see us because it's not video, but we're dancing. We are. And we were just talking about the disco drop.

Speaker: The disco drop. Okay. So, I mean, a lot of songs have the disco drop. It's not like unique to this song or anything, but the inspiration was actually from ah from a movie. I wonder if you can guess what movie it is.

Speaker: I probably won't. It's Blade Runner. So there's like this club scene and there's just like, that's all the music is pretty much. It's just this like disco drops in the background. And he's like, looking, I need to find like, need to find this replicant.

Speaker: if and so like yeah like i've I've always liked that sound a lot so I was like kind of put it in this banger and it works oh my it works it works so live people go nuts for that sound oh man I wish I could hear this live at some point it's really great live yeah I can imagine i mean I make some tweaks to all the songs so it's like little bit fresh for each performance yeah what kind of kind of tweaks do you make and Sometimes I take my favorite parts and kind of spin it out into its like own like little thing, you know? Yeah, like...

Speaker: yeah so like yeah I mean, for the most part, like I wish that i could do more live stuff. Yeah. But my laptop can't even handle like Citrus, so I have to do stems, unfortunately. so Each show, I kind of have to do like a lot of work kind of like preparing like the different stems and stuff, because the FM synthesis is like really CPU-heavy, especially for it to sound good. like the The simple songs, it sounds great, but with the songs that have like super saws and stuff like that, just kills.

Speaker: Can I ask the machine, yeah. Man.

Speaker: That's why I want to play around with some hardware. Other than this being a banger, what made this one of your top picks? I mean, first of all, it's about pizza. And so, like... The sandwichy secrets?

Speaker: Oh, I'm sorry, I'm sorry. The sandwichy... You instantly went back to pizza. That's how much we love pizza. That's the secret. It's actually a sandwichy pizza. Pizza sandwich. Some call it a calzone, but you know.

Speaker: Yeah, I lost my train i thought there. Why did I? Well, first of all, if you notice, like a lot of my songs are about food. And it's like, I don't know where that came from.

Speaker: i mean, I know Chibomato did that a lot. All their songs are about food, too. But it's just like, i don't know. i never i don't know what else to write about. Like, food is so good. i just want everyone to know about food and bunnies. i Yeah. I happen to require food multiple times a day. So I'm a huge fan.

Speaker: There you go. right Write some songs about food. I should. yeah I need to just stop being so serious and thinking that I'm going make some sort of profound song. You can make a profound song about food.

Speaker: It's true. We've listened to a few already. ah But I think we're about to switch gears away from food. And this song is appropriate because we are nearing the end of summer.

Speaker: And it's time to revisit Summer Night Splash from 2022, 20. Here we and we go

Speaker: but

Speaker: all right. Perfectly captured summer splashing around at the pool. Yeah. uh, you were telling me while we weren't recording about all the sounds in this and the water sound is actually FM as well.

Speaker: Yeah. It's just an FM patch. All the, all the sound effects I did, like the last two years have been like FM patches pretty much. Wow. And that's I just love this one because, of like, okay, I was telling you this before, too. It's like the bass is the kind of bass you want to blast from your car.

Speaker: Those bass songs. And it's just, like, I think it's just, like, one of those like one of my 808 drum patches, but I used the drum patch as a bass, too.

Speaker: And so you get this really nice, like, boom. And it's just just it just feels refreshing every time I hear it. Like, it's such a palate cleanser, you know? It's like... I would love to blast this with my windows down and pull up next to someone in the light.

Speaker: Yeah. Get that big subwoofer going. like You don't know Summer Splash? Yeah, it's one of the the Miami songs.

Speaker: Miami bass songs. Yeah, so like I he really like that splash sound. I couldn't believe I made it. And that's the thing I was telling you about earlier. is like It's one of those songs that like I don't think of it as being like a synth song at all, because it's like it's just so...

Speaker: fresh and crisp. Yeah. I mean, it it really is impressive how many different sounds you're able to get out of FM. Like, did you have to research the water sound?

Speaker: No. Surprisingly Okay, you're just like, yeah, here we go. i Well, I did... One of the projects I did was for, like... I did a game for, like, Disney's Mermaids.

Speaker: So I had to do, like, a lot of water stuff, like samples. Oh, right. Recording, like, underwater splashes and... Things like that. So I already knew like kind of the sounds I wanted and like how they sounded as a sample.

Speaker: And so like I was able to take that and and just kind of recreate it using like little synthesis. So if you like create a patch that has like these little pips and pops and they're all like different random, like little peopleop it sounds like little droplets. Wow. And you add like some noise so that like it sounds like kind of like the white part, the the foamy part of the water and stuff like that.

Speaker: And then add a boop part that makes it sound like that little pocket of air that you created. So it's like you add all those things together and all a sudden you have splash and like, whoa, that's really cool. That is really cool.

Speaker: I love making these sounds because it's like... It's like hu model miniature making, you know? Ooh, yeah, that's a really good analogy. Because like you know like you're trying to approximate something that exists in real life, but much smaller with like much more constraints on it. you know like um You're not using real materials. You're just kind of like approximating everything.

Speaker: And when you do enough of that, it you like you kind of recreate this thing and it it kind of tingles your brain when you look at this tiny little thing that looks something that's really big. And that's how I feel about making these patches is that like you know it almost feels like a recording of like this or that and stuff, but it's also...

Speaker: slightly not quite there, just like this a little bit of uncanny valley, but that at the same time makes your like brain kind of have fun with it, at least for me. And so like I think that's part of the reason why I kind of got really stuck into it. It's just because like I was just like, it was like not you know making little miniatures. was just like, oh, I got to make this little thing next, and I got to make this little guy next. and Man, i I would love to...

Speaker: see some videos of you like just going through some of these patches. Oh, yeah, yeah, yeah. We should do that like some other time. Yeah, yeah. But definitely don't want to see me making them, because they're like it would drive other people mad.

Speaker: Like, Or like, really here's my water patch. Like, here's how it evolved into this. No, like, like it's it'll make people mad because it's like, it'll be like hours of just me playing the same sound back over and over and over again. Like, i'll sometimes I'll like work, if I'm recreating a sound from like um a recording, like, I'll be going like A-B testing. So it's like, blah, blah, blah, blah. So I'll start with like analyzing like,

Speaker: what the sound looks like, you know, and I'll be noting like the frequencies that like are dominant. And then like also just using your ear, nothing's better than your ear. So like, it's just, it drives my partner insane. Cause it's like, I'm just like listening to the same sound, like,

Speaker: like all day it's just like blah blah blah to splash splash splash yeah so yeah it really can really like so i understand that yeah no it's it'd be really cool to see the process in a succinct way yeah you know and see how you create these things because like Like when you said I made all these sounds with FM, my brain didn't even register like, oh, splash sounds too. Yeah, like everything. Like some songs I'll have like, like I'll add like the AC hum from like the wall, you know, like the, like, you know how like when you're doing hardware and you have like a compressor on real high and like all of a sudden can. like 60 cycle hum.

Speaker: Yeah, I recreated that, and I'll throw in some like noise, so some like tape hum, and stuff like that, so it sounds like I'm actually like getting sounds from like a real synth, but there's nothing real. like It's all fake. That's amazing.

Speaker: And I had this one song where like I had the sound it made it sound like the compressor was picking up that sound, like just blowing it real up. And like Orange Drinker, and he was like, is this like a real synth? was like, no, this is like...

Speaker: this is just all it's all fake it's all everything of it's like just make believe i love the analogy of that you're like miniature building yeah you know like that's a really great way to think about it yeah i should make a little three d characters based off these patches and have them like animated to the sounds yes yeah that's also why i like to show it at a pizza party yeah You need to invite. We're scheming. We're scheming.

Speaker: I'm kind of upset you didn't invite me to your pizza party. Yeah. ah Come to Littleton, Colorado. might. Yeah, you should. If there's free pizza on the line.

Speaker: Oh, yeah there's there's always free pizza. it Turns out pizza is like the cheapest way to throw a party. So, yeah. Even like 37 of them. How many was it?

Speaker: Yeah, total all in it was like $150 in supplies. What? You know, for the cheese? Yeah. It was like $20 in cheese.

Speaker: Yeah. That's awesome. All right. Sticking on topic here. What should we play next? So you mentioned that you would like to hear Whiskerbox. Yeah, let's play something slow now.

Speaker: All right, let's slow it down. Wind it down a little bit. We've got to go back up towards the end. We need to digest. Yeah. All right, here we go.

Speaker: Yeah.

Speaker: The next step is

Speaker: to make a new one.

Speaker: Bye.

Speaker: Thank you.

Speaker: All right, I hope everyone has digested now, slowed down. Believe it or not, all of the bird sounds are also FM. Yeah.

Speaker: Tell us a little bit more about this song and the sounds you made and why you like it. Well, I picked this one because I actually, well, it's the most humanistic one I have, I think.

Speaker: It's like like, I recreated like the sounds of the birds, I recreated the sounds of the winding music box, and I recreated the music box tines.

Speaker: And yeah, this one just is very like nostalgic, you know? It makes me think of my childhood a lot, and So when I was making it, I started off with the music box.

Speaker: And so I had to recreate the tines, which wasn't too hard. The only thing that was kind of interesting is like I had to add like some pre-delay, because like you want to have that like little click before you hear the time. Oh, yeah. So luckily with FL Studio, you can set the track so you can put the note in the beginning, but it's like... It has like a little pre-delay on it so that like you can like get that little click before plays a note. So that's all in one patch.

Speaker: and um And I recreated the little doves because like yeah like and they've always been singing to me as like a little kid. And so like it's kind of crazy that they have like a little song that's, like I guess, public domain, I'm hoping.

Speaker: but like You're going to get sued by Big Dove. Big Dove. Yeah, so like... even remember where I was going with this one, but like... Yeah, I wanted to pick something that was humanistic.

Speaker: and And so like, even the tempo doesn't really stay constant throughout this one. It kind of like... You have to wind it up, and it kind of goes fast, and it slows down over time. And like... Like the details that you think about...

Speaker: Like, it's just astounding. What's crazy is this one was one of the easiest ones to write, but not in like a bad way. like I feel like, oh, this was a cop-out. This one like just wrote itself.

Speaker: like It was like the doves were telling me to write this one. but the So the name of the song is called Whisker Box, which is, um have a box full of bunny whiskers. And so, like you know I actually have a couple of different places where I put bunny whiskers, because i have two bunnies, so, ah Felix and Oscar Rabbit. And so, they give me their whiskers, and I put them in a little box.

Speaker: and So that's what this song's about. It's about my bunnies, and they're little box of whiskers. And so, writing it, it was just like it just came to me. It was like one of those songs that dislike there was no friction whatsoever. it was just like from my mind straight to the computer.

Speaker: and And I had like this really simple, like clean guitar sounds like a you know it like a little bit of reverb, and it's a simple patch that I've had forever, um since 2020.

Speaker: and and But the way it's played, you know like it's strummed. like I'm not like sticking to any type of grid or anything, I'm just being really loose with it. you know and just giving it like a very humanistic kind of vibe to it. So like when I listen to it, I don't think of it like an FM patch. I'm thinking of like someone playing a little guitar, you know?

Speaker: Yeah. i come And then there's the next part, it's the cello. So the cello is the one I wanted to tell you about, because like sometimes a patch is just like... i need ok so was like so like I needed something right there, and I was like running out of time. And I was like, I just need i want to play a cello in there.

Speaker: And there was no time to like you know model a cello. It was hours before, it like you know or might have been minutes at this point, before the deadline. And so like I was like so like you know i kind of quickly like made something that was kind of like a stringed instrument, since I have a few other stringed instruments.

Speaker: And by itself, it doesn't sound like much. It wouldn't sound like it's a cello, but the way I played it was like with lots of glissando, lots of vibrato on there, so that like it was felt like a lot of emotion, lots of like changing the amplitude. So like this is one of those instruments that was like...

Speaker: a patch but the way if you play it like a cello it will sound like a cello yeah that's what's so beautiful about that one is like it was like really one of the like the super quick patches that just happened to sound perfect right there yeah and and then i had like a little bit like that high string that's just kind of like at the end it's just here that's like kind of like a little drones like and that i i learned that from watching movies like anytime there's like a like uh some part where they need to be nostalgic and thinking about their childhood or whatever. You hear that's like little wine in the top. is says oh

Speaker: And you just kind of like hold that note out. And it's like, it really like brings you back to your childhood for some reason. I don't know why, but wow if anyone knows they can call in. Yeah. have install First time caller.

Speaker: but That is amazing. Like just the, the details that you think of, Like i the stuff that you just rattled off, even like the music spot, music box patch.

Speaker: It's like, i understand what you're saying, but I don't know that I would have thought of like, Oh, well I need to like delay this because you're you're like plucking the time. Yeah. yeah Like that's so cool.

Speaker: Yeah. Like little details like that make a huge difference when you're talking about instruments and stuff like that. Like, And sometimes like i do a lot of work, like not all the patches, depends on what my goal is for that day, but when I'm like analyzing an instrument, stuff like that, I'll do like you know graphical analysis, I'll do like and spectral analysis, that kind of stuff.

Speaker: but And I use my ears, but sometimes ah you have to do research too. like What are those like little finger symbols? I forget what they're called. But I recreated one for a song, and I like, it doesn't sound right. And then was like, oh, wait a second. That's because there's two of them.

Speaker: So as soon as like I had like two of them at the same time, but like slightly different you know pitch and stuff, it was like it was perfect. Wow. That's what it was missing. It was like that one little detail that... I wouldn't have noticed just from like analyzing the sound itself, but just from like you know doing so like really rudimentary basic research on the instrument itself. but So do you sit down to just make patches?

Speaker: Yeah. You're like, I'll hear a song. yeah For weekly beats, I do. yeah like just because it's like That's my way of like getting into the song. you know like Otherwise, I'll have too many ideas. like where do you Where do you start? you know It's like...

Speaker: Yeah, like you hear something in the real world and you're like, I wonder if I could recreate that. And then the song is born. Yeah, and it leads to a song it's like you got all these ideas, but you're also kind of confined to like whatever that idea is. So like you don't get like over...

Speaker: What's the word? You don't get like too distressed about not having like all the choices you to make. Yeah. So like anytime you can like cut out choices, you do it like... Yeah, yeah. And that's the reason, oh, without you were asking for like tips for getting out of writer block. Yeah.

Speaker: Using methods to kind of mechanically give you like challenges and stuff like that. Like um ah David Eno, oh no, I'm sorry, Brian Eno. Sorry, don't know who David Eno Brian Eno has these cards.

Speaker: can't remember the names them. I've heard about these Yeah, I'm blanking i'm blanking out. i It's this time of night where I'm b blanking out about all words. Oblique strategies.

Speaker: Correct. They, they have, you can buy the cards, but they also have like websites where you can just like, just refresh the page and look at you new oblique strategy. And it's not always appropriate for audio stuff, but um it'll give you like a lot of different challenges and stuff that I find people and find it easier to solve problems than it is to, you know, just come up with something creative for no reason, you know? Tear into the void and try to narrow down the universe into one idea.

Speaker: Exactly. Like if you have a problem to solve, then you're like, oh, I got it. That's easy. You know, you just, it comes to you in new intuitively. So like one sample, two hours, boom.

Speaker: Exactly. So anytime you have a chance where you can cut out like a lot of unnecessary like decision making. Because you don't want to like drown yourself with decisions and stuff, especially early on. You want to just lay down as much as you can. And yeah.

Speaker: Make it happen. Just make it happen, Captain. Yeah. Yeah.

Speaker: All right, we're going to kick it back up to Feel the Rhythm, week 47, 2022. this your favorite. I love this one.

Speaker: All right, here we go. Feel the Rhythm, week 47, 2022.

Speaker: So, so, so, so, so.

Speaker: So, so, so, so.

Speaker: Thank you.

Speaker: So, so, so, so, so.

Speaker: All right. I mean, another banger, probably repeating that a lot, but I...

Speaker: i mean another banger probably repeating that a lot but i was chatting on discord after listening to this after making some music myself and i was like if this came out of my digitone that i was just working on like i would be so fucking happy because like this just had like it makes you move it's not over complicated but it's just like got all the right things like that bridge part breaks it up like i don't know just really great

Speaker: That's awesome. I forget that this one's a banger. I was telling you also that like this is one of my throwaway tracks that like I mean kind of just pulled it out. like I do think it's a banger. It does well when I play it live. Yeah.

Speaker: And I always like vibe to it. But at the same time, it's like it's pretty simple. It doesn't have too much. yeah Like my other songs where put way too much. So it's like, I don't know if way too much is the, uh, there's some tracks that have definitely way too much.

Speaker: All right. I'm still working through the catalog, so I'll take your word on it, but this is simple and it moves. Yeah, it's it's got everything that you... It's kind of like a good pizza in a way. like It doesn't have too much. It's got your flour, your salt, and your water, and some yeast, and a little bit oil.

Speaker: But sometimes that's all you need. not margarita. It's about the ratios. you know You have to get the ratios right. you know like And when you get... it's like It just comes off. And that's the thing. is like you really like well Tell me why you like this song. It's it's the bass, right?

Speaker: mean, again, yeah, it's the bass that just really holds it down and keeps it moving. And I, I think the, like the synth vocals just like really, really work on it.

Speaker: And I am always trying to like decode your arrangement secrets. And, you know there's like that really great bridge part.

Speaker: And then there's like a riser, like it's going to leave the bridge part, but it stays in, but then add some like extra sense. So it's like, I see how you're toying with my expectations and like doing something slightly different, which is what I want to learn how to do more of. of like Where can i break those expectations in a way that like works for the song?

Speaker: Yeah, like anywhere and everywhere. i mean, where it works for a song is like always tricky, right? like You're never going to know until you're in the vibe. you know like Take things out. you know like Use your little like you know you mute and unmute kind of yeah button live and just kind of vibe with it like you're like a DJ. And that's kind of how I work too. like I'm just you know doing it live for a little bit, jamming out. And then I'm like, yep, I know exactly where all this all of the slices go now. like a Nice.

Speaker: And you could just record the muting and unmuting if you wanted to. Yeah. Yeah. um I used to do it that way. And I changed just because like coming back to projects and making edits and stuff became hell to deal with all these like, you know, automations and stuff like that. was like, all right, I'm grown up. I can cut this the normal way.

Speaker: All right. We're going to move on to B-Force Battles. This is the one with a little bit too much, I think, right here. Week 36.

Speaker: But we'll talk about it when we come back. But I was like, I i hemmed and hauled on my picks and I was like, okay, I got to do this one. So here we go.

Speaker: Oh, oh, oh, oh,

Speaker: are you um

Speaker: come

Speaker: right, so I had to include this one because it is so much like I'm playing a video game, like getting slaughtered by some bad guy going into a different world, reading a dialogue.

Speaker: like it's There's like twists and turns all over the place. And you know it's definitely chiptune based, but there's parts of it that like kind of stray from just like straight chiptune.

Speaker: Yeah. And so, like, I've done Chiptune in the past, and I know back then, fake bit was kind of, like, not the thing to do. But these days, people are a little bit more open about it. I think, you know, opinions have been, like, changing a little bit, little bit more accepting of fake bit.

Speaker: But yeah, like, I was like, this one is like, I had like some oscillators I made for a previous track that was like recreating, like, you know, Nintendo oscillators, you know? And so like, I've have a little bit of experience with chips. So I like, I know like the constraints of the chip, but i also like for this particular track, I was like, i didn't want to just do like a straight up chip. This is like a made up console and everything. It's got extra channels. It's got like,

Speaker: a way better sampling chip for like drums and stuff like that. And so like, I was like, this is going to be for like the, I don't remember what I called it. Like B box, super B box, the family something family, uh,

Speaker: Consolette, I think is what you call it. And so like, I've done other B battle songs in the past. It's like kind of like, I, like I have different like titles that like have like multiple like incarnations of like, you know, yeah. Like the Cottontail rally stuff. Yeah.

Speaker: and Sometimes they're like from the same game, sometimes they're from different consoles and their sequels and stuff like that. So like I kind of like creating these like fake little games and stuff because I really wish I could turn them into games, but that's really hard. I'm yeah making a game right now. It's just a simple hidden object game. It's so much work.

Speaker: so like So what I wanted to do is like, I had these little B guys and like earlier i had a track from like a few years ago. It's like using the Famicom and you get like your basic blade, which is like the idea is like the game, you're like at this tiny little B and you have this giant, like, you know, final fantasy sword here. And I was like, you know, it's like just whacking like these, like, you know, Monsanto. Oh, I shouldn't say Monsanto. I should say.

Speaker: Sponsored by, I'm just kidding. I don't want them to come after me. Oh my God. They only care if you use their Some nameless, you know, some big farm tech company. Yeah.

Speaker: Big dove. they have, like, these giant robots and, like, you're just attacking, like, these, like, robots that are, like, essentially, like, killing your, like, ecosystem and stuff like that. so Yeah. So you're like this B-force. And so i wanted to like create like a whole um gameplay you know segment where it feels like I just recorded like a little bit of gameplay for you.

Speaker: And so like I started off with like a little like innocuous, like little overworld kind of music. And then all of a sudden you get, you know. Skirt! you get a bad guy pops up and like you got to like select, you know, like what weapons you you're going to use, different moves and stuff.

Speaker: And you get your butt kicked like immediately. And you're like, there's even a part where it's like, you know, like you're like, oh but you're like dead. You can hear like your little heartbeat, like the little flashing heart. And like, and you have to like select to continue. And then like all of a sudden, like all your like B buddies come and help you out. And like, um and you like kick that bad robot,

Speaker: um real kick him down. And so like, yeah. So, and so you're like, it goes back to the overworld and you're like, yeah, did great and everything like that. But then like all those best, you know, games that comes back, the boss comes back and it's like, I'm not quite dead. And it's like this crazy, like ending part where just like sped up and it's like heavier, it's like more hardcore.

Speaker: and like at the very end you win and you continue on your game so i would love to make this one to the animation because like every time i hear it i see the game like it drives me crazy that this isn't a game right now i was just going back through and looking at the song page and seeing all ilzik's uh just like library of gifts that he put up to go along with the song. To tell everyone on the Radio Land, Ilzik messaged me when he heard this song. He was like, oh my god. He freaked out. And immediately afterwards, he spent like the rest of the night

Speaker: posting like a gif for each like little segment that happens and it's like from with timestamps with timestamps and it's from the super um nes game um game mother are earthbound it depends on which localization it is And even though it's not the beast, there is a beast in that game somewhere. but Captures the spirit.

Speaker: It does capture the spirit. I think i love it that he I blew his mind with that one. because like I was kind of actually hoping. That's one of the tracks I actually did write for you know someone who was like for Ilzik, essentially. Just to freak out.

Speaker: Yeah, he said, this took a this took a while, but I kind of couldn't stop. Yeah. It's really great to have like a community like that that like really champions your work and just loves your stuff. and like It makes it easy to keep going because it like, I don't know, it's just you want to make your friends happy.

Speaker: yeah and there are everyone else is doing great stuff too it's like i'm having my mind blown every week you know it's like yeah i just and that's why want you to do 2026 even if it's just a couple songs because still want to hear what you make yeah i do too actually um it's a shame don't do it i'll do it i'm gonna do it you heard here you heard it here uh you can do it with healthy boundaries break and and but I, I speak for everyone again to say like, we would love to hear more of your creations.

Speaker: Yeah. kind of You're blowing minds over here. I kind of like the fact that like, yeah, I think I was stressing myself. i was stressing out my partner i was probably stressing out the buns. So yeah. Yeah. I think healthy boundaries is going to be 2026. Yes. Theme.

Speaker: yes see Healthy bangers. Healthy bangers.

Speaker: I'm having fun over here. This is a great show. Yeah, this is awesome this is awesome. I'm actually really looking forward to hearing more people on here. I this keeps going. Who else do you want to hear that hasn't been on here?

Speaker: I know, Orange Drink, that's for sure. oh yes. There's so many people. There's also, I mean, it depends like from last year, I wasn't really in the loop last year because.

Speaker: Well, I have been meeting with more just like OG weekly beaters that, you know, have got lots of reps in and different styles of music, which which ah we've said before, just like being able to hear all these different styles and, know,

Speaker: follow what everyone else is doing in the community and like on, you know, Sunday night, like, all right, let me hear what everyone posted. Like, Oh shit, this is amazing.

Speaker: So yeah I, I definitely want to have more people on from recommendations and here's some more stories from OG people. Yeah. I'll send you some people. Oh yeah.

Speaker: It is in the discord. and Well, we are near the end of our show. I'm going to play one more on the way out, which is going to be clocking out. Oh, but before we go, do you want to say anything about clocking out?

Speaker: I do don't even know. You're doing about that one. i Or do I need to play? You're going to refresh my memory. Cause like, i let's play it real quick. That one with like break beats or something like that. Yes. Okay. All right. We're going to play it real quick.

Speaker: right. We're back from the refresher and, uh, we'll We'll play this on the way out, but now we both know what song we're talking about. Because as you all know, it's kind of hard to remember what you name things, especially mine, because I just like do random.

Speaker: ah But is it it is interesting when you do the random name, of how much people like latch on to... the random name. I already forgot the name. I think this might have been like some sort of like, it might been a Sunday where like you had to change hour back or something like that.

Speaker: okay. don't know. I usually try to think of like a theme that's relevant to whatever's going on. So usually it's not just 100% random. Usually it's like random-ish.

Speaker: Pseudo-random. Right. But this one's great because it has like a that really cool Sonic Hedgehog snare drum on it. Yes. It's nice.

Speaker: Recreated with a thermal course. Of course. Of course. And yeah, it's got like little dude doodles in it that kind of, the synth doodles kind of remind, oh.

Speaker: Uh-oh. I think my battery did. My battery, can you? right, we just replaced some microphone batteries and we're back. and ah we're going to actually close out the show and then let you hear clocking out on the way out.

Speaker: And thank you so much for taking the time to record this and deep dive on your music and all of your like sound design stuff and process and knowledge from five years of Weekly Beats.

Speaker: I feel like I'm... better off knowing about you and your music now and i'm gonna keep diving into your catalog and everyone else should too my god thank you so much that's that's so sweet i mean when i'm working on this i'm like just kind of have like my head into it so much that like i forget that other people like it that stuff you know like yeah and it's really cool to hear like other people's opinions because of like that's one thing i love about weekly beats is that in the real world, like everyone's worried about like, Oh, no one's going to like this song. But the truth is, it's like, no one says anything, whether they like it or not, they just like consume media and then they move on with their lives. And so it's really rare, rare to like, a it's really rare to like, get like honest feedback and opinions and yeah dialogue and stuff with other people, especially other people who like know exactly what you're going through just going through the, yeah I mean, it's like,

Speaker: I mean, i i know it's mentioned a lot here, but it's like you're in the trenches, you know? It's true. You kind of get this camaraderie with like everybody else because like there's no time to be like picking on anyone as far as like you know yeah stuff like because it's like you're feeling it too. you know like Yeah, we're all little little bees with swords like fighting fighting songs every week.

Speaker: and Coming to help each other out. Yeah. And this might be a bad analogy, but me and my partner were talking about this recently of like, if you've ever worked at a toxic workplace yeah and you become like besties with all the coworkers and then you go work at a place that's not toxic and like, you don't need that camaraderie because like, it's not that bad.

Speaker: yeah i think there's a little bit of that. Like we're all in this together fighting the fight sort of camaraderie in a similar way. And the discord's the same way too, where like after work, everyone hangs out and they just bitch about like the job.

Speaker: I wish we could just make music all day. yeah Yeah. All right. So the next track is clocking out. i don't know if we played it. our Did you play it yet? We listened to it, but we held it back from everyone so we could at least talk about what the hell we were playing.

Speaker: But yeah, I think this is the end of the episode. and thank you so much for having me on. This is great. I love what you're doing here. Like, thank you. Not only do you have a great voice for radio, which you do, but you're easy to talk to. You're fun and you've experienced it, you know, like, even though like we didn't weekly beats together, feels like we have, cause we've been through the same thing, I guess. Yeah. know yeah We've been through, we have the same trauma.

Speaker: self-induced weekly song trauma yeah yeah but we are going to both approach it with healthy bangers next year healthy bangers and uh take breaks when we need to streaks we've done streaks yeah ah we've seen what they're all about we know we can do them sometimes you need to nap on sunday yeah Or pizza, you know. Or pizza, yeah. Yeah.

Speaker: And who knows, we there might be a spinoff pizza show yeah that we can do together. so Yeah, we could like, let's do that. Oh, I lost your mic. Oh, I'm getting a call from my mom. Oh.

Speaker: Sorry, no, my mom. I call i call my mom every night. Oh, that's cute. See? like, why am I not picking up? She knows I'm doing this, by the way. Well, I will let you go so you can talk to mom.

Speaker: all right. Thanks again. And everyone go check out iPagost stuff. It's amazing. I hope to do a deep dive with you on a bunch of FM sound design. Like your skills are unmatched.

Speaker: Let me know if you have... Oh, another thing is like all my tracks from last year and a lot of the tracks from the year before, the 2020, they're all on Weekly Beats, like the project files, the zip files.

Speaker: So you can just drop that into like even like a free trial version of FL Studio and they'll play fine. So if you want to like look under the hood and play with the instruments or yoink the instruments for your stuff, feel free.

Speaker: That's the reason why I did it because like I wanted to make it very accessible for anyone to like just... see what I do, you know? Fantastic. Cool. Well, thank you for sharing all that and letting people see under the hood.

Speaker: Yeah. Thank you so much for having me on. This is a great show. I love it. Awesome. Thank you. all right. Everybody please like and subscribe. Yeah. Like and subscribe. All all right. Have a good one. All right.

Speaker: Thanks. Bye.

Speaker: Bye.