#I use a midi program and write the song in there

[purplesaline]

Wrote a new song!

[k3itar0-with-a-three]

HI KEITARO!

I Really really love your music! I was wondering what program do you use to create the instrumentals?

Im currently writing some songs too and i need ideas for a composition program.

Ty!!!

Hi hi!! So, I use Bandlab on mobile for all of my instrumentals! I mostly use the samples along with midi instruments. Hope that helps!

[liure00]

Mixing Stuff Masterpost for Vocal Synth Users

i'll say a few things here and there on how i approach mixing based on a set of guidelines i've been giving thru learning. i won't go 100% and i encourage you research further on your own as everyone has a different perspective of certain concepts. whats important is that you understand the concept so that you are able to interpolate on it with your own liberties. yeah. please read the links before looking at my commentary or you won't understand what im saying.

Some DAWs, Their Guides, & Some Freebies: One of the first things you should do is pick a DAW and learn how to use it and its functions to streamline your mixing process.

Free DAWs: The Best Available in 2023 by Produce Like A Pro

Audacity / DarkAudacity (i like darkaudacity): has a section of the site dedicated to tutorials on using Audacity!

Reaper: has a 3 hour course FREE course on mixing!

FL Studio: has a demo version you can pretty much use forever with a few.........exceptions. I won't be linking any cracked versions though. Here's a manual for this program since many people use it!

Free VST Plugins by Bedroom Producers Blog

37 Best Free Mixing VST Plugins by hiphopmakers

ORDER IN THE COURT!: The order of plugins is more important than you think. These links should also introduce some terms we use in the audio production world (like "gain staging" or "EQing")

WHAT'S THE BEST EFFECTS CHAIN ORDER FOR MIXING? by Icon Collective:

The Order Of Things: Audio Plug-ins by AskAudio

Plugin order is viewed from "top to bottom". BASICALLY... most like to gain stage -> EQ -> compress -> saturate -> MORE EQing -> whatever else at this point, but i do my process a bit differently. don't be afraid to bend the rules a little bit. but the guidelines are there for a reason.....based on what they do

Basics: I'll link to some tutorials to elaborate on what was listed by Icon Collective's list.

Gain Staging: Gain Staging Like a Pro by Sweetwater

Saturation: Saturation in Mixing – Instant Warmth, Glue and Fullness with One Plugin by Tough Tones (soundgoodizer fans make some fucking noise i guess)

EQ: SUBTRACTIVE VS ADDITIVE EQ (WHEN TO USE EACH & WHY) by Producer Hive

Compression: THE COMPLETE GUIDE TO AUDIO COMPRESSION by Icon Collective + Audio Compression Basics by Universal Audio

Modulation: Modulation Effects: Flanging, Phase Shifting, and More by Universal Audio

Time Based Effects: Reverb Vs. Delay: Complete Guide To 3D Mixing by Mastering.com

Audio Busing/Routing/Sending Tracks: Your guide to busing and routing audio tracks like a pro by Splice

Limiters: 10 BEST LIMITER PLUGINS FOR MIXING AND MASTERING by Icon Collective

Sidechaining: Sidechain compression demystified: what it is and how to use it by Native Instruments (i dont know anything about this lol)

Automation: Mix Automation 101: How to Automate Your Sound For a Better Mix by Landr (p.s learn how to write automation in your respective programs)

Last note: great. these are the main things you should focus on understanding in mixing. now you are FREE my friend!

Bonus: Tempo Mapping in Reaper (if you want to learn how to midi songs with bpm changes!!!)

[mikoworks]

Welcome!

My name is Miko (she/her)! I’m an illustrator and musician making art and music about video games and animated shows that I like!

ART TAG

SHOP

COMMISSIONS

ASK

Socials:

YouTube 💙 Reddit 💙 Bluesky

Art Commissions: CLOSED

Free Resources:

OUTER WILDS PIANO ALBUM COVER: MP3 DOWNLOAD

OUTER WILDS PIANO ALBUM COVER: MIDI DOWNLOAD

Current fandoms:

Mouthwashing, Outer Wilds, The Amazing Digital Circus, Murder Drones, Portal

Below is an FAQ!

Art FAQ

Q: What kind of art do you make?

A: Primarily comics, digital paintings, and animatics of my favorite video games and shows!

Q: What art programs do you use?

A: Photoshop, Premier Pro, After Effects

Q: Can I use your art as my profile picture/banner?

A: Yes, as long as you credit me @MikoWorks!

Q: Do you take requests, art trades, or commissions?

A: I only take commissions. Check my commission status above! DM me or email me at mikoworksmail@gmail.com for a commission!

Q: Can I dub your comics or animatics?

A: Yes! If you post comic dubs, DM or email me a link at mikoworksmail@gmail.com. I’d love to see what you make!

Music FAQ

Q: What kind of music do you make?

A: Primarily piano covers of soundtracks from my favorite video games and shows!

Q: What DAW do you use to make music?

A: FL Studio

Q: What VSTs do you use for your piano covers?

A: Spitfire Audio: Originals Felt Piano, Originals Firewood Piano. Spitfire LABS: Soft Piano, Synth Pads. FL Studio Plugins: 3x Osc, Flex, Sytrus, Keyboard instrument packs

Q: How can I use your piano covers?

A: My covers may be downloaded and used in public/private videos, for personal use, remixed/edited, burned to personal CDs/vinyls, or added to personal playlists. Any works shared publicly containing these covers must include credit to me @MikoWorks. DM or email me at mikoworksmail@gmail.com for inquiries or if you posted a work containing my covers (I’d love to see what you made!). DO NOT SELL THESE COVERS.

Q: Are sheets of your covers available?

A: No. I don't know how to write sheet music, sorry! Everything I make is by ear in FL Studio.

Q: Are MIDI files of your covers available to download?

A: Yes! Click the Google Drive link above to access a FREE DOWNLOAD for the MIDI files. You can edit and remix the files however you’d like. See “How can I use your piano covers?” for more about use of my MIDI files.

Q: Are your covers available on Spotify, Apple Music, etc.?

A: No. I don't plan on providing these covers on audio streaming services. As a hobbyist musician who isn't trying to profit from these covers, it isn't my goal to provide these covers on audio streaming services. If you want to listen to these songs on Spotify, Apple Music, etc., you can download the MP3s and add them to your personal libraries on your streaming platform of choice.

Q: Can I post extended versions of your covers on my YouTube channel?

A: No. I'd prefer it if you added these songs to a loopable YouTube playlist. If there's a specific song you want to add to a loopable playlist, each song is available as its own separate video on my YouTube channel.

[dimalink]

Synthesizer – as 60 minutes audiocassette

Blue synthesizer. Blue as sky. Blue as the sea. Blue as the sea stone. As album by Candice Night SeaGlass. As, I imagine, it with my imagination. Excellent midi keyboard. Well, this is not synthesizer, actually. And this is midi keyboard.

And, I have one more midi keyboard - near my computer keyboard. Akai professional lpk25. It has a size like computer keyboard. And I try with this with computer program LMMS. Plugins different. So, just to try it. I need to learn how to play. To have idea - to use this cool things with normal way.

Also, I have a synthesizer from 70s. Even more, looks like, it works, as I see for the first check. I checked it. It is so huge. And, buttons are possible to press. Different modes to switch. Well, now, it is about this level. This is a present, surprise for myself. When, I learn how to play. So, I will play the specific synthesizer. With its own unique sound. True retro. 70s or 80s.

And, main instrument – it is blue magical midi keyboard Axel Vox 49J. And, I learn using this. Now, it is 60 minutes a week. Well, for keyboards – it is small, few. Feature of keyboards – that, you need to play with two hands. It is complicated for the brain. And, I am only something like a month ago or one and half or two months ago – start to do this combination in my mind. And, I play with two hands. This is my main achievement here.  

I play scales. One item. Chords to this scale. Separately left and right hands. And chords I learn by themselves. Main chords. It is also standalone thing. Right and left hands. And compositions by textbook – I play with two hands, already. To the music with joy. My textbook has this name. There are children`s songs there. I like them too a lot. When I learn it – I will sing and play them with a great joy!

For some songs there is lyrics. I sometimes speak the lyrics. Not sing. And simply speak words. It is, also, some preparation moment. And, as idea, some rhythm for Eurodance, maybe, it is, also, possible to play one hand with doing in a cycle. Main – do it with rhythm. Well, simple one. It is, also, a step. And, of course, main play - with two hands, and, this is my main thing for now. I start to get it! Rhythm 80. I play with it.

Synthesizer - it is huge thing. It, also, has effects and modes. And, if to connect with computer – so, it is, infinity of possibilities, you will receive. But, now, I am only learning. And, I play with no connected midi keyboard. Music - it is rhythm, it is notes. And skills.

So, this is musical compare. 60 minutes – it is, maybe, side of audiocassette. They should to be, like these models. As idea.

Dima Link is making retro videogames, apps, a little of music, write stories, and some retro more.

WEBSITE: http://www.dimalink.tv-games.ru/home_eng.html ITCHIO: https://dimalink.itch.io/

TUMBLR: https://dimalink.tumblr.com/ BLOGGER: https://dimalinkeng.blogspot.com/ MASTODON: https://mastodon.social/@DimaLink

[a-concert-just-for-me]

I've been fascinated by music boxes ever since I was a wee tot, but never got one because I thought they could only play one melody. After learning about punch cards from the early days of computing (and more advanced looms), I decided to try making a music box based on a punch card. (I tried this, never to any great success, several times in elementary and middle school. This once included a robot for a science class)

I have heard RUMORS that you can speak on music boxes for upwards of an hour. Do tell, do tell. I am very curious and captivated 😇

I don’t really know anything about the history of music boxes (I’m such a fake fan! /j), but I do enjoy making them. It’s been a long journey of trial and error to figure out the most efficient way to do it, but I’m pretty sure I finally have my own process down now :)

Infodump under the cut

So! You want to make a music box, huh?

(This is where you say omg yasss girl that sounds like so much fun!!!)

Oh wow, very cool! I am happy to teach this class.

Well, of course to start, you will need a music box. Here are the options of programmable (well, with paper strips) music boxes.

Kikkerland 15

Grand Illusions 20/Murobox 20

Wintergatan 20 (custom)

Grand Illusions 30

Murobox 40

To explain the types of music boxes:

The first part is the brand name, then the number is how many notes they have. I’m only familiar with a few of them.

Fun facts:

1. Muroboxes are music boxes that you can program from your phone. They’re really cool, but super expensive! I’ll stick to my way, haha

2. There is a 60 note option on musicboxmaniacs ‘create’ tool (I’ll talk more on that site in a min), but there isn’t actually a 60 note programmable music box out there. It’s just for fun.

3. The boxes I have are the Kikkerland 15 and the Grand Illusions 30. I’ll explain more about them.

Kikkerland 15

Honestly I never use this guy. It’s 2 octaves, C scale (unless it’s transposed; I’ve never looked into it—more on transposed boxes in a second). No sharps or flats. Very limited in what you can do with it. But it’s very cute :3

Grand Illusions 30

Okay, here’s where things get goofy. So, this one is 3 octaves, and the strips are written in the key of C.

OR *ARE* THEY?

Actually, for some reason, the box is actually in the key of F!

(That means that if you were to punch the note of C on the music box strip, it would actually play an F!)

Here’s a scale I did of what the music box strips say:

And here’s what the actual notes are:

So how do you know how to write the music if the notes don’t match what the box plays???

Well, we have two options!

1. You could write it using the C scale and let the music box transpose it to the key of F for you (still sounds good most of the time)

2. Or if you want an exact 1:1 transcription, you could write the music using the F scale from the get-go. I usually use this option unless I intuit that a song would sound better transposed instead/it’s easier to write that way

Okay, you have your options on what key to write in, now what?

1. You can use musicboxmaniacs.com’s ‘create’ tool (I used this for the longest time—very tedious) and download the strips from there

2. You can use a music notation software (I use Musescore!), convert the song into MIDI format, upload it to musicboxmaniacs.com, and download the strips from there.

3. (Or, if you’re a freak, you can eyeball it and do it by hand on the sheets that come with the box. Idk man I’m not a cop but seriously what is wrong with you)

Done! Now assuming you’re not a freak, how do you convert what’s on your computer to actual music box strips in real life?

1. You could print out the guide strips on copy paper and overlay them onto the strips that come with the box (I think?) OR just glue it on top of a bunch of other pieces of paper until you get the right thickness. And then with either method, punch out where the ‘x’s are.

2. Or you can be galaxy-brained and let a cricut machine do it for you

Yes, you heard that right!!! A machine can punch all the holes for you!!! Someone made a python code that will convert DXF files to SVG files! Then you can put the SVG files into the cricut design space and print them!

I have a video on it here:

EDIT: there was a video here but I realized I accidentally doxxed myself in it 😆 I need to go back and edit it lmao

It’s just a tutorial on how to convert DXF files to SVG files, and then how to use the SVG files in the cricut design space to print out music box sheets

“Okay,” you say, “I followed the video…That’s cool and all…but what materials do I use? Your video seems a bit outdated and doesn’t even have a second part…”

YOU’RE RIGHT, IT IS, and I surely did not end up making that second part, lol. Let me remedy that.

After tons and tons and tons of trial and error, I’ve figured it out. My first method involved using posterboard, which kind of worked, but always made the songs stutter and stop.

Finally, I had the huge-brain revelation that it wasn’t a mechanical issue with my box like I’d thought for so long—the paper just wasn’t thick enough!!!

So now, the best combo I’ve found is this:

1. 12x12 Cricut mat

2. 2 pieces of 12x12 paper (thick ones!)

3. Elmers craft bond stick glue

4. Scotch tape

5. A scraper tool

Directions

1. Glue 2 pieces of 12x12 paper together. I use scrapbook paper, as it comes perfectly in that size! I usually do a pretty design on top, then a boring white on the bottom, as not to waste my pretty paper. But yeah, two pieces of that scrapbook paper glued together is the perfect thickness.

2. Let dry under something heavy.

3. Put the paper pretty-side-down onto a standard grip cricut mat

4. Tape down the edges of the paper onto the mat so that it doesn’t move at all during the cutting process (needs to be precise!)

5. Use a deep cut (cardstock+ is what I use)

6. Plug in your machine and let it do its thing!

7. When it’s done, remove the mat. Peel off the music box strips one by one, making sure to label them on the ugly side according to the order they’re in. This will save you soooo much confusion later

8. Poke out any holes that didn’t get cut all the way

9. Tape your strips together in the right order (make sure that if there are any holes that fall under your tape, to re-punch them!)

10. Test out your strips in the box! If it sounds like there are missing notes, make sure to go back and make sure they’re all punched all the way through/no tape is blocking them

11. Now that you have your beautiful song, you have to clean up your mess. Use a scraper tool to scrape allllllll the annoying little punched-out paper bits into the trash.

13. Now you’re all done! Put your stuff away and think about your next project lol

Thank you for the ask <3

[deathemayor]

saw a take that peeved me in the vocaloid feed on bluesky but i don’t wanna be confrontational there + my thoughts are too powerful for a 300 character per post thread so im making it tumblr’s problem

due to my intense vsynth brainworms this is going to sound incredibly pedantic and annoying which is why i am posting it here okay here we go

the post was sort of a ‘callout’ of a creator who uses synthv for covers of fnf songs or whatever. the general body was like “they write their own lyrics but they make the vocals using ai with a program called synthesizer v” (the implication being, “this person is an ai-using fraud, don’t support them”)

if ur in the community or like have a little bit of an idea of how ai is associated with synthv specifically this is a nonsense uninformed take (the ‘ai’ training is used for autotuning/cross language synthesis/some other shit idk but the point is it’s not the type of ai that like, writes the melody/lyrics for you and is voiced from random samples from unknowing providers but i’ll get back to this later)

ai is mentioned on synthv’s website (also vocaloid’s much to the detriment of news articles that report on hatsune miku) so it’s a common misunderstanding, whatever. it would be nice if people actually looked into the ways ai works in vsynth at least a little bit but in an age where artists are on the defense against the ai boogeyman i guess i sorta understand the knee jerk reaction to assume the ai in vsynth software like synthv is the Bad kind. annoying, but nothing new.

but i think what made this post rotate in my mind to the point of crystallizing into unnecessary rage is an add-on that was like “i just prefer my music to be sung by real people!” followed by “by the way, vocaloid isn’t ai, so no you’re not bad if you like hatsune miku music”

ohhh man this actually did piss me off a little cuz wow way to really shout to the heavens that you have no damn clue what you’re talking about

firstly, i COMPLETELYYYY understand that the premise and general sound of vocal synth music is not for everyone. the computerized words, the unrealism, or even the fact that it’s not an actual person singing, like whatever that’s fine i get it. but like you can’t go around and be like “by the way vocaloid [aka hatsune miku] is chill don’t worryyyy” bc that line of thinking from my understanding doesn’t really make sense? miku isn’t a real person either 😭😭 her latest release even uses ai! (at least i think it does cuz vocaloid 6 has ai support but idk i guess that doesn’t matter) does she just get a free pass cuz she’s an internet darling?

miku is a piece of software where you write the midi for her vocals and input the lyrics so a slurry of samples recorded by saki fujita can be played back in an in-character singing voice. synthv is a piece of software with similar character voice databases where you do the same thing, write a midi and input lyrics so a database’s voice samples put it all together to sing back. the inclusion of ai in this process is to streamline the workflow for the user to automatically work out the pitch transitions between notes to save on time manually tuning, creating a more realistic playback. this ai, perhaps merely the inclusion of these two letters in the proximity of synthv’s marketing, is what makes synthv both Significantly Different and Inferior to miku.

the lack of ai with vocaloid (as far as op knew, cuz need i remind you vocaloid as of its 6th installment uses similar ai to synthv lol) making it Better than synthv sent the implication, TO ME, that op thinks that the ai used in synthv is the type that like, takes samples from other people without their permission to create the voices (then leading to the “i just want my songs sung by REAL people” aka not sung by dubiously gathered samples). i recognize this means of creating ai voices to impersonate other people and make them say things they should not without their knowledge or permission is CERTAINLY bad but like that’s not how any of this works if we’re talking synthv (you could argue this applies to those utau banks that make voicebanks for like sonic the hedgehog and shit but those usually sound like ass and are about as convincing as a sentence mixed youtube poop). maybe that’s not what they meant (i don’t wanna dig up the post cuz i don’t wanna be bothered and it’s probably gonna piss me off to the point of starting something which i don’t want) but based on my understanding of their point this is like. wholly untrue. in fact synthv voicebanks (particularly those from eclipsed sounds whose terms of service are free to read on their website) have special terms specifically designed to protect the voice providers of their databases BECAUSE of the extra realism in their voices (terms such as, “you can’t credit any voice work done with Solaria to Emma Rowley [her voice provider] or anyone else besides the software itself” in the case Solaria is used to say something objectionable and cast it on Rowley, that would be a breach of the terms and might even get your license revoked). shit like that is likely what people who are afraid of ai voices expect to happen but there were contracts signed to protect and inform the voice providers of what their vocal likeness is being used for + compensation paid to them for their work providing vocal samples SPECIFICALLY for this product. and ofc miku is the same. ITS THE SAME. BUT MIKU IS A FUNNY INTERNET MEME SO SHES FINE. GRRRRR!!!!!!

[deadcactuswalking]

How lonelyboy's lofi chill vibes with korn misses the point

For some backstory, on 20 June, 2024, producer lonelyboy released what appears to be a semi-official or at least licensed remix album of songs by the iconic nu metal band Korn. Whilst not credited as lead artists on the album itself, they are featured on every track. The album consists entirely of lo-fi hip hop renditions of the band's most acclaimed and successful singles across nearly their entire career. It is currently available on all streaming services and I used Spotify to listen to this album so the link is attached here. Feel free to listen to the record and support it if you enjoy regardless of my opinions. For the full review, written on 24 June and originally published on RateYourMusic, click the tab below.

If there's one band that I enjoy that I would probably never grant the lo-fi hip hop remix album to, it'd probably have to be Korn. Qualities that stand out to me about the band's work and make them unique do not seem to fit a lo-fi hip hop palette swap. They're percussive and raucously so, but also unpredictable, and at their best, can deliver very wonderfully written hooks. Even the most stock Korn songs or albums can be incessantly catchy if that earworm warps its way back around into your head, and I would probably place a lot of that on the unique and polarising vocals of the frontman Jonathan Davis, whose delivery has never not been convincing, whether he's going for the creeping falsetto or pained shrieks and grunts that pepper what otherwise could work as pretty damn great pop songs honestly. There's a lot to love about Korn, and I like the original version of pretty much every song here, and for many of them, I actually adore them, and have a great deal of nostalgia for them and especially their videos.

Expectedly, I was a bit cynical about all this considering lonelyboy's previous remix ventures with seedier, less worthwhile artists I won't name - or even acts that fit the lo-fi hip hop template quite well like 2Pac. Yet I still came into listening to this project with the expectation that, hey, maybe what I think will not work about this will greatly be to its benefit. The struggle between having what you want to express and finding the mode to express it in forms the crux behind some of my favourite records, including ones by Korn. Translating the passion, trauma and desperate pleas for acceptance that Davis will cry out for, into a lo-fi hip hop package, isn't dead on arrival because it doesn't sound like it'd work. Hell, I'd argue that it's quite the opposite: it sounds weird and difficult, so much like Korn's brostep album or any of their other bizarre experiments from their career, this could be at least interesting.

What goodwill that exists whenever Korn bring in the bagpipes, Skrillex wub-wubs, guest rappers, funk grooves, etc. is that it's all human and ultimately a part of the Korn sound and appeal, and even if those ideas don't necessarily make it through all the steps of writing, recording and producing without being diluted or unfocused, you can still respect how daring the idea was and how they fucked around and found out. The level of "fucking around" here feels much cheaper and less collaborative. The beats are perfectly fine, I suppose, but the melodic elements ripped from the band's finest singles aren't natural fits (obviously!) and little is done to accommodate that. I can imagine the only influence from the real members of Korn here was perhaps giving him a stronger, more professional MIDI for their greatest hits compilation to place through a lo-fi hip hop soundfont and call it a day. The stereotypical elements of the average algorithm-pushed lo-fi hip hop nothingness are all here: you get whooshing sound effects on what honestly might be too many measures, it's borderline obnoxious, whilst layers of ASMR rain pattering, birdsong and cricket ambiance are laid upon the already programmed beats in such a flat and unengaging way that it just emphasises how basic and uninspired these versions of the songs are. If you love and appreciate the band's work to the extent of a full remix album, you'd take the risks they made part of their brand.

"Y'all Want a Single" being a lo-fi hip hop beat is such a foreign idea to me that I figured maybe there'd be a novelty factor to it that's somewhat amusing, but of course not. No amount of royalty-free library SFX of water swishing around in a lake can make this elementary shit sound anymore than a demo an intern would have put together for the Luigi's Mansion soundtrack when first hearing the concept and they haven't got Totaka on board yet. And that comparison isn't just a throwaway joke either because there could be genuine promise to this: the way Korn wrote melodies and how lo-fi hip hop beats are inherently somewhat stagnant and moody could create an at least immersive darker experience. Focus on the ambient touches, have little parts where you stray away from the melody, replace the "chill vibe" sound bank with some horror elements, it could genuinely make for an interesting reinterpretation of the band's work in a similar sound. certain tracks, like "Falling Away from Me", "Blind" or "Right Now", have a vague menace and suspicious aura inherent in how the songs are already composed that could be developed on so extensively within this sound. But lonelyboy just doesn't care. If he cared, the intro track wouldn't have an extended period of silence accidentally tacked onto the end and left on the Spotify release. on first listen, I questioned what this guy actually did and on repeat listens, I question what he could have done and what really could have been. Korn have written some of my favourite songs of all time and it's obviously not just because they're nu metal songs, or that there's no room to transform them into something different. There's just so little tangible care put into this that it makes me almost a little embarrassed for the guy who now has tons of eyes and ears on him because he somehow leeched this onto the official Korn page. And given how low some of these basic, thoughtless and detached melodies are sometimes in this muddy cloud of a mix that could have been sequenced all in a day, I think he's a little embarrassed too - that this is what he's chosen to make his brand. Can't blame you, man. Hope whatever monetary gain you scramble back on an album you wrote none of, that can't even get a "Freak on a Leash" remix on Korn's official account to 10,000 streams as of writing, is worth it.

[tranquilspot]

[S] John: Play haunting piano refrain.

[tell me if the track doesn't work]

Released August 9, 2009 by Kevin Regamey and Malcolm Brown The first ~50 seconds were used for this flash. Well that was a nice interlude. Showtime is such a memorable song, it appears later in different tracks, making it John's theme. Thanks to the Unofficial Homestuck Collection, some tracks even have the artist commentary! That's great, I'll be able to comment on it. Also, piano fingers go weeee~

Kevin Regamey: To be honest, I've fallen off the MSPA train pretty hard. This has undoubtedly been the busiest year (or two) of my life, and I am only now returning to reacquaint myself with what the heck is up.

Maaan if only I got more curious, I could have discover Homestuck way earlier. That wouldn't have change the fact that it already ended (or was about to) by the time I discovered Undertale first (back in 2016). Must have been wild to have experienced MSPA during its inception and golden age. That thing huge, so I understand it can be hard to keep up especially when you get off the train a while ago.

Malcolm wrote the chiptune version of Showtime first. I heard it, dug it, and created a piano arrangement just for the hell of it. Like Malcolm has said - earlier on, we didn't necessarily know what we were writing for, so we just wrote whatever spoke to us.

Creative process can be so various and unique from one person to another. They didn't really know in which direction or for what they were writing, but they did anyway. And the chiptune version came first! Crazy.

Tell me your secret guys, please 🥺

I had posted a "Work in progress" version to the music boards, and I received some positive feedback. Positive enough for me to elaborate it into a full piece.

Fuck yeah, MSPA really did sound awesome! Too bad it closed. I mean we've got MSPFA, but I bet for veterans it doesn't feel the same. Is there a similar platform currently existing? Like you post a wip and you got feedbacks then it motivated you to post the full work? No no I'm not talking about Deviantart, been there, done that. Twice. Twitter doesn't showcase art properly, and Tumblr isn't much for like and positive feedbacks, if any feedback really ToT I have put some of my fan art here, but how to get people interacting with it? That'd always been a mystery to me.

As luck would have it, Andrew was finishing up the first playable page of Homestuck just as I posted the full version. As such, I was lucky enough to have the honour of first musical appearance in Homestuck,

Giga chad energy, what a winner!

but most of the credit should certainly go to Malcolm - for defining John musically at such an early stage of the game, and for being the sole inspiration behind this track.

Man, don't discredit yourself! You still did great, you're on the podium even if you're not first place. Yeah, having the skill and honor of defining a character theme is on a different level. But horizontally I would say. There's pride on both. If the chiptune version is well-known and catchy, the piano one is an iconic powerful track, mixing nostalgia, aimless yearning and tenderness. So much emotion that left a mark in each of us. Later to be magnified by the organ pipe version, by da man, James Roach.

Oh, side note: My midi keyboard was misbehaving when I wrote this, so every note of the piece was clicked into a sequencer. D:

I'm not familiar with such programs, but putting them one by one sounds like hell. Rip x) —>

[life-take]

So I haven't been posting much lately because... I'm working on music! A very specific and esoteric type of music...

I decided to try 'porting' music for use in Super Mario World romhacks. This means writing a .txt file of a song that another romhacking program, AddMusicK, inserts into SMW ROMs played by emulators and real SNESes.

I decided to port Your Woman by White Town!! But because I am me, I transcribed the song into MIDI myself!! I just finished the MIDI except for some minor stuff which I'll use a reference for writing the .txt file.

I've never owned a SNES but I think romhacking is cool! I hope people end up using my port in their hacks!

[crimesididntcommit]

FIVE YEARS OF NOCTURNAL YOUTH. Five years ago today my first real, “canonical” album Nocturnal Youth came out.

I had put out a few collections of what were essentially sketches and demos back then, but …Youth was the first thing to feel like a genuine, realized artistic statement. It’s the album where I first figured out what it was that crimesididntcommit should be, a series of coarse, confrontationally confessional admissions of heartache, ugliness, self-loathing and despair. 

After messing around with a lot of instrumental, soundscape-y work out of anxieties around my voice (which was terribly underdeveloped) and embarrassment around putting my lyrics and feelings front and center, this came out of me. There’s nowhere for me to hide on it — from the first lines, “I only hurt you ‘cause you say that you like it,” to the last, “How long do we have? Do I have you?” — it’s an album that is painfully upfront. 

I didn’t plan on writing a lot about this record today, but it felt like too big an anniversary to ignore, and I hadn’t listened to it in years. The current incarnation of crimesididntcommit really begins with my album sentimental, but Nocturnal Youth is in many ways the blueprint that I would spend years sonically chasing and attempting to understand or perfect. I made the entire thing on an iPhone in GarageBand, singing half the vocals on smoke breaks at a dead end job in a dying, middle of nowhere mall. The store was going out of business; I’d just experienced a several-month breakdown and dissolution of a ten year friendship, a blossoming, toxic romantic relationship and the first circle of adult friends I had ever made as an openly trans woman. I had started the early, manic stages of a drug addiction that began right as I became equally addicted to another person, and both were now cut off from me. I was cutting myself regularly, new scars covering my upper arms all the time. Everywhere I looked seemed like another reason to drive into a wall, but my car had already exploded at 2 AM on a toll road after the radiator cracked and the engine head blew. 

Years later in accelerated resolution therapy I would recount standing over that SUV, lifting the hood as a toxic cloud of coolant and smoke rolled hot across my face and stuck inside my lungs, the perfect metaphor for how all of my life seemed to be at the time, but way before I started getting actual clinical help, I made this.

It’s surreal for me to listen to this album today, on Valentine’s of 2025. I know the girl who made it, but I’m not her almost at all anymore. I like her now more than she liked herself then. She was a completely unknowable, unmanageable, out of control lunatic in constant agony and radiating it out onto everyone else around her, but she was trying her best to feel alive against a brain that wanted her to die. 

For all the intense despair and misery and “just-let-me-die-please” energy eagerly polluting every track, I hear so much creativity, so many explorations and big swings. The vocals for the title track were sang while battling strep throat, laying on a torn up couch, eyes shut facing the ceiling. It’s an album full of sounds of dismantling machines — I’d run Korg synths through bookshelf speakers and record the results into an old phone mic, a process I still use sometimes today. I didn’t even have a real MIDI keyboard at the time, so I’d use the touch ribbon on the Volca Keys, a profoundly frustrating and limiting thing, and program loops until they sounded just one step away from falling apart. There are so many lyrics about feeling trapped — “towns like this have claws dug deep in our skin,” “here in our box, here in our cage, we’re still locked up, it still remains” — broiling with trauma, skin bubbling and blistering in the cigarette lighter dark. But I felt free when I was working on these songs, writing and rewriting lyrics again and again in spiral notebooks, scrawling and doodling and drawing the feelings of each song out. I would put sketches on printer paper over the blinking lights of synths to make them glow and stare at the color in the dark to try and heighten the mood I was capturing.

A song like “Scars” makes me want to give who I used to be a hug just as much as a slap to the face; it’s one of the most openly toxic, unstable, genuinely abusive things I’ve ever written, both towards myself and the people that inspired it. I just want to shake her by the shoulders and tell her to get it together, girl! I’m years away from that kind of behavior now, but I can remember laying in my art studio, carving up parts of my body, rubbing the bloody skin across canvases and sending photos to people, desperate for someone to see what I was going through and, if not save me, tell me I was okay. All of it was a desperation to feel like I could be okay. Listening to this song for the first time in years, I’m struck by how stark it actually is, incredibly minimal until the end sprint. There’s no resolution, there’s no comfort, there’s just a piercing, uncomfortable final cut before the end of the album.

The final song, “Electric You,” is, along with “Field of Fog,” the best of the album, and I love that it’s the ending. The mumbling, buried beneath the surface spoken word at the start are a frantic, manic plea to someone on an answering machine that you know they’ll never hear. (I didn’t actually leave that as a message on a machine, but that was the vibe I was going for.) I had come to the realization that I was wasting my time trying to get through to someone who didn’t want me to anymore, and so really, almost all of the lyrics referring to “you” on this album are towards a different side of myself. When I ask how long we have, I’m singing as much to an ex as I am to myself. Everything good felt so fleeting to me back then.

I remember standing in a parking lot behind a bar I used to loiter around when I took the cover photo. I had just been doing my drug of choice at the time and had cut my finger prepping it, not noticing until I’d already stepped out from the seat of someone’s car and lit a cigarette. It was October of 2019 and I felt like the whole world was about to end, somehow, someway. My entire life had an apocalyptic energy to it, and every time I went out, every night I spent at someone’s house, sleeping on a couch or floor or borrowed bed, felt like a party at the end of the world. I didn’t know how much longer I or anyone would be alive. These are the ways that mental illness color everything; it’s like looking at the world through a filter that turns it into a mirror, reflecting whatever it is you feel back. I don’t think that’s only true of people who are mentally ill or going through it — I genuinely believe all the concepts of karma and visualization and positive thinking are rooted in that, we find reflections of what’s inside of us wherever we go, and they can be beautiful. But at that point in time everything felt like a temporary, pointless parade in the dark, balloons about to be forgotten, half-deflated, sulking in the corner of the once-full room as the ghosts of who we once were moved along in shadow. I couldn’t think of a better cover for the record — a self-inflicted wound, a single hand reaching out in the dark, something smoldering, something that will only make you sick with time.

At some point in this period of time, I told someone who was very important to me and who I wish I still knew that I was thinking about calling my new album nocturnal youth. He looked at me and without pause said “Well, that’s what you are.” I think about that, and I think about him, and I think about all the other people I used to know but don’t anymore, most of that through my own faults, but some of them not, and I think about how this year I’ll turn 29, and how, five years ago, I was a nocturnal youth, and for at least the next year and a half, I still am, too. 

I’m just happier now.

It’s not a perfect record, and I’d never make it today, and that’s why I love it still. You can listen to it here: https://crimesididntcommit.bandcamp.com/album/nocturnal-youth https://open.spotify.com/album/32VeJbH6Awae2GK7YoiTEc?si=kZcAlNtUQ6asyMMAw3CHcA

[keitaiware]

📁 Interview 002: "UTAU and Music Production on MacOS." ft. yoneyoneprone

Today's interview we will have a in depth look at incorporating UTAU into a music production workflow on MacOS. Our guest today is Yoneyoneprone, also known as 44e, he has been producing original songs by using UTAU and Garageband together to create alternative EDM, and rock music!

Before we start with any of the questions, can you introduce yourself and your work?

44e: Hello! I’m 44e-prone, also known by my online alias, Errorfours (or just Error, for short). I’m a music producer who mainly produces UTAU originals using Mac’s default DAW Garageband.

Q. What kind of genres do you specialize in your work?

44e: Genre is something weird for me because I don’t really tend to stick for a specific one. I guess if I had to pick, I’d say I make electronic rock? Not sure if that’s really a genre, though, haha. I guess I’ll say that I do a little bit of everything.

That’s the sort of vibe I got from your work! I like the rock and chip tune elements in your songs, its a nice wide range between the two!

Q. When it comes to UTAU, how long have you been familiar with the software?

44e: I first started on UTAU-Synth about 4-ish years ago. I recorded a voicebank, JANKYLOID ENGLISH. I was familiar with the UTAU community, but that’s my first time actually using the software. However, I only really started using UTAU regularly (on OpenUTAU ) last year or so. I was inspired to get back into UTAU because of you, actually! So my answer for this question will be “about a year”.

Oh wow! I am really flattered!! Having an English voicebank for your first UTAU is insanely impressive, there was a point where I went on hiatus so I will say about 3 years..? It was sort of sparse during that time. It feels good to be back in the scene, and I am glad to have you here as well!

Q. For my next question, how long have you been producing music for, and whats your general workflow when producing and incorporating UTAU into that workflow?

44e: Starting with English was definitely a decision, haha. I’ve always composed my own music on piano since I started quite young, but I started doing DTM music maybe 5 or 6 years ago. I started on Musescore actually. My general workflow goes like this. I write an instrumental with a melody track that acts as a placeholder for vocals. Once I’m happy with it, I go back and write lyrics. I’ll format the notes in Garageband and separate out the syllables in a Google Docs document. That way, I can use the, “lyrics,” feature in OpenUTAU. Garageband is funny, in that, it doesn’t export MIDI files. I have to export the vocals as an .AIF file, find it in my library, then use an .AIF to MIDI converter. I then have a MIDI file I can use in OpenUtau. I select all the notes and put in the syllables I wrote down and separated from earlier. I then export my tracks and put them over the instrumental just to hear how it sounds (and make changes if needed.) After that, it’s just a matter of tuning vocals and mixing the final.

Very intuitive! Yes, its a real shame how Garageband cannot export files in MIDI format. I feel like exporting in MIDI format is a core feature. I appreciate the insight!

Q. Do you play any instruments?

*(Outside of manipulating VSTs inside the DAW.)

44e: I started playing piano at 5 which is a very good way in my opinion. Music programs operate almost solely on the skeuomorphism of keyboards. I can play the ukulele but only basics. I play flute in a marching band and sing in a choir. I was born with perfect pitch, so it gives me a good jumping off point when trying to learn a new instrument, I can usually figure out the very basics quickly. My family is also very musical so I was always encouraged to play music. I’ve got family members that play bass clarinet, guitar, taiko, etc. Needless to say, music is an important part of my life! However, when producing, I hardly touch an instrument. I have a MIDI keyboard but I never use it. A lot of people tend to think that you need to play an instrument or get formal training, but that’s not the case at all. 99% of what you hear me make is all just placing notes by clicking.

Very interesting! That's a lot of instruments.. I think having such a large musical background helps a lot too! Especially when looking for sound profiles to incorporate in your work. Its also good insight for beginners before they make any decisions to purchase equipment for music production.

Q. Speaking of which, do you have any recommendations for beginner producers?

44e: I would say just start. Starting is one of the biggest hurdles to overcome. Many people think stuff like “I’d start, but it’s going to take a long time to learn.” So what if it takes time? What’s the rush? It’s okay if your first works aren’t great. My first UTAU album, “YOU & I” is by no means an objectively fantastic piece of work, but I learned so much from it. I definitely have a long way to go, but you hear the improvement, just listen to my old and new versions of, “Blockhead!” That’s literally all of my recommendations. Just start.

Its very daunting, it helps knowing what inspires you and what sounds are most pleasing to your ear as well. I love block head a lot! Both versions are very enjoyable as the duet is very fun!

Q. Do you have any inspirations for your work?

44e: I’d say I’m inspired just by the music I listen to. I’m a big fan of JIN’s music with his cool guitar riffs and such. Mikito-P was a big inspiration for me to start producing music I’d say. I don’t think I have a good answer to this question, I just listen to music and go “Woah, that’s neat.”

I do this as well, its nice having a wide range of tastes! Its a bit ironic how recently I've been binging JIN's work after listening to summering again.

Q. To wrap up this interview, what are your future ambitions for your work?

44e: I want to be famous, and have 43 songs that need to be completed. I have two large UTAU projects coming up! I’m working on a game and a song series. I hope I can complete them and that there are people who will enjoy it. :)

*Noting* He wants to be famous, and finish his 43 unfinished songs.. *pen click*

How exciting! I wont pry for too many details as we wouldn't want to spoil the audience, but I will be looking forward to that! If you're curious to find more of 44e's work, I will link his profiles down below. Thank you for your time shared with the KEITAIWARE project today!

Twitter: https://twitter.com/yonyoneprone YouTube: https://www.youtube.com/channel/UCtiymJUs5ILN4nHcde-1F8w Spotify: https://open.spotify.com/artist/5QSCVjMHhor5F4mPptogOP?si=6YDZ7-nbRIimTt1pOMkAJg&nd=1&dlsi=f82f24497a1d415e

[stubborn-society]

Kam Theory: “everything that’s meant for me will come.”

Photo Credit: Kam Theory

Cheers, I apologize for being absent from my post. I’ve been busy af, then I got sick with covid for the first time. Take it easy on me, would you? 

I’m so excited to be back. Things have been steadily moving along here at Grapefruit HQ. Our house is growing, and given the state of western civilization, I think everyone is more or less happy. I feel booked and blessed. 

As is my style, I am bringing you fresh, new artists to keep your eyes and ears on before anyone else. I’m no paycheck patsy out here lazily sowing seeds for the machine. I’m just one woman, the boss, out here putting her BST in the game every day. Mark my words. This is a threat and a promise.

I’ve waited a long time to get this interview under my belt and it’s finally come to fruition I’m so stoked: 

Another Friend of Grapefruit - this is the lovely and gifted Kam Theory. I’ve put her 2020 single, The Process, on 5 playlists already. Check it out for yourself. 

Hi, Kam Theory! 

Hi! 

How’s it going?

It’s going haha.

First, in your own words, tell us who you are. 

I am an ATL-based artist and producer from Savannah, GA.

I love Atlanta, especially the artists from there. How long have you been making music for this project? Is there a story behind it? 

I’ve kinda always been making music for this project but I just didn’t know what I’d call myself at those earlier stages. I’m always aiming to discover and hone in on what exactly I'm doing and slowly but surely I'm finding my sound and as a result, a name that stuck came about. I don't exactly even recall why I chose it. Partially it was my nickname Kam that my friends started calling me to shorten Kamiah. And Theory I think just resonated with my personality, interests, and the subject matter of my music, haha.

I got my first project name from a joke someone made when I worked in a call center when I was 20 and had it for 15 years, there’s no rhyme or reason! So tell me more about your path as a musician and what got you to where you are now. 

My music journey started as a child, I instantly gravitated toward music. I showed interest in it from my earliest memories. Through elementary school I would bang on any keyboard I could get my hands on, I played violin in 5th grade (but quit sadly haha), and then picked up a guitar at 13. I kinda always had these fleeting moments with being able to learn or play because I didn't actually have an instrument that was mine (or could afford lessons) until my first keyboard and first guitar at 13/14. But from there I taught myself how to play guitar by learning songs I loved and by writing my own songs. Naturally, I wanted to record myself and my own creations, so that bred my love for production. At 14 or 15 I got my first USB mic and MIDI cord to connect my lil casio and begin teaching myself programs like Mixcraft and eventually Ableton Live. I spent many hours just creating and trial and error learning music to get where I am today with it.

That’s cool you started producing songs so early! Kids really didn’t have that kind of access to recording programs and all that comes with that when I was that age but it’s really cool to see. 

We started following each other on TikTok a few months ago; that’s where I discovered you are crazy talented. What made you decide to start promoting your music on TikTok?

Mostly being encouraged by people around me to post my music on the platform, because it can be a great tool for discovery. And it can just be fun! I’m not always as consistent with it as I should be but it’s definitely cool to connect with others as a result of posting.

I notice some artists are very aggressive with their promotion on the app and others prefer to take a much more organic, real-life approach to it and just put their work out there and let it reach who it reaches. What has it been like for you as an artist promoting their music on social media? 

It’s a good tool when I am consistent with it, but sometimes I find it draining if I find myself feeling like I have to create content to be seen or not drowned out by the algorithm. But overall it's helpful when I am intentional about it and just remember that everything that's meant for me will come.

Yeah for sure, it’s stressful to be on there trying to get a song to go viral; I kind of think that ship has sailed anyway (definitely for the better). But it’s such a great tool for connecting with people and building community. Do you use it to connect with other artists or creators on there?

I do find music there occasionally, from specific artists that I might discover down to accounts that actually make lists of artists/or songs to listen to.

Has TikTok been a good platform to build community and find other musicians?

I think it is or can be. Social media overall has the potential to be that. Just depends on who you meet, connect with, and how you plan to move based on that imo!

Totally. Musictok can be a very energizing place, especially now that things have chilled out and it’s not so much like The Hunger Games or something. But some people do still have that energy vampire vibe that’s annoying. Do you enjoy the other music content that you see? Do you think on TikTok the content matters more or the music? 

I do. I love to see artists/musicians play and discover new ones via the algorithm that I potentially wouldn't have otherwise. Usually, it’s the music but also I enjoy how an artist can kind of curate a short-form video to reach a wider audience. A good visual is satisfying too, but especially when it compliments the music that’s already happening!

I’ll be honest, I don’t think anyone has mastered the art of seamlessly merging their content with their music on TikTok yet. But it’s not shade, I guess that doesn’t necessarily have to be the goal. Besides, a lot of artists on TikTok are solo. You also write and play all the instruments, record, and produce everything yourself. How do you feel about that? Is it your preference?

 I think it has its pros and cons like with everything. I like not having to wait on anyone to get things done or made as a result of being solo. But I do miss collaboration when I've gone through a long period of time without it. And it's nice to have a creative control break when working with others because the work is spread out over multiple brains vs just one haha.

Yeah, I used to get weird about collaborating but when you are really vibing with someone it’s really hard to go back to juggling everything yourself. This is sort of a non-sequitur, but how do you feel about competition in the music industry? Do you feel affected by it?

I think competition tends to stem from competing for an opportunity as opposed to competing for the sake of it. Also competing for attention because attention can lead to such opportunities. But there’s more room in this now than ever before because of social media and the internet. So it’s just interesting to witness or experience. I think it can bring out the worst of some personalities tho haha.

ABSOLUTELY. I think if there’s anyone to compete with it’s the stories we tell ourselves that hold us back. 

Lately, there has been a lot of conversation around indie artists maintaining control and ownership over their music and working independently of a label. Do you have any personal thoughts on signing to a label? 

I kind of touched on this in the previous question without even knowing haha. It’s absolutely an important conversation. The industry can be predatory, so I'd say my hope is that every single artist has the ability to decide what works for them. I would hope that everyone makes informed decisions vs hastily made ones that they might regret later on or ones made in the face of deception. In a perfect world, all artists could pursue the career in music they desire without the aid of a label to eventually leech off the fruits of that labor. But on the flip side, that same aid gets you the resources to execute your vision to a higher degree. So it can be subjective. I personally know that I want to maintain ownership and control of my music so I will move accordingly.

I respect that, and I think it means a lot to certain fans these days, too. But as you mentioned, there are a lot of great labels that are run by people with good taste who truly want to help artists, too. I think staying open to the right opportunities always helps the artist. So, what does the end game look like for you right now? What are your most immediate goals? 

Definitely building a platform to get my music heard and connect to more people. And to create more opportunities for myself in music as a result of that, so yes, playing more live shows and finding more collaborators. I really don’t know if I’m seeking a label or ever will be because I would like to keep my autonomy, haha. But as I continue to learn more about the industry and business aspect of music maybe that will change, who knows. I’m kind of going with the flow right now but I would like to continue down this path and just grow organically.

I’m all about organic growth, I think it serves the artists best. Another non sequitur, but I really want your perspective. How do you feel about the expanding space for black artists and black music right now? Does it inspire you to witness and participate in the shifting of people’s perception of what Black music is? 

I love that the perception is changing surrounding the expanding space for black artists. And the reason I say perception is because, to me, black artists created many if not all of the genres many other artists take credit for so this was ours to begin with! It absolutely inspires me because while marketing is important and influences so much, I think social media has given black artists back the power to create space for whatever we want to do. We can create our own lanes. 

We absolutely can. Personally, I think TikTok has been a great platform to bring greater visibility to Black alternative artists. Would you agree it’s more instrumental to this than other platforms? 

I would say yes! All of the algorithms have their bias (we know this for sure) but the main thing I like about tiktok’s algorithm is that it seems to really tailor itself to its specific audience and as a result, we can uplift our own people more. I love that.

For sure. I love the music community, seeing artists’ creativity and the way people engage each other on topics there. So…here’s a prompt for you. What are two of your favorite albums that you consider polar opposites?

This is such a good and hard question haha. I’d say The Beauty In Distortion by J*Davey and Homogenic by Bjork. The reason I say this is because while both albums are beat-centric and make use of distortion at times, the end result was so different. Another pairing imma list is Girl In The Half Pearl by Liv.e and Strange Mercy by St. Vincent. I love these albums and both have a melancholic vibe but in different ways. The music nerd in me wants to point out how both of them are from Dallas, Tx haha.

I still haven’t listened to Liv.e. I keep hearing she is amazing, I really need to get it together. So with artists releasing singles and really taking their time to release a full album now, I have to ask - especially younger artists - what do you prefer more, full albums or singles/playlists?

I love full albums to the core. I love the concept of bringing to life a whole project with such an intention and tying something together like that. And the way an entire album can become like a capsule of a certain time over a collection of songs as opposed to one. The rollout, the aesthetic, the concept/theme, the sonic choices that tie everything together is just the most satisfying thing. And to experience it the way the artist intended. I love it. (Singles/playlists are great too tho! haha)

I agree so much. I love it. I accept other answers, but I love this answer.

Your content is really fun to watch because you’re wholesome yet so confident! I can tell you really love guitar and the process of constructing songs. Do you draw a distinction between the songwriting process and production or are the lines more blurry? 

Thank you, haha. It took and is still taking a long way to exude confidence in it so I appreciate that. I would say it's more blurry for me because I tend to do both interchangeably. When I write it's not just about the song structure and content but I usually also have an idea of how I want it to sound once it's clearly conceptualized in my head and I'm trying to get it out and recorded. So for example, I might write a lyric and a melody but I also hear that it HAS to have this kind of delay on it or it doesn't feel complete haha. If that makes sense.

It makes perfect sense. That’s part of why I think the recorded medium really adds to the experience of songwriting. You have that control, but a responsibility not to exhaust yourself or exhaust the song. Do you believe in the concept of a magnum opus? Do you think people can strive for it or do you think it just happens?  

I think it’s subjective. But in the case of it happening, I tend to believe it just happens, and the best way it happens is when an artist has grown into themselves and found a sound that is THEM. I’ve thought about this in terms of when an artist self-titles an album. They believed after however many projects they previously put out that this one embodied THEM fully. Yet, that could still not be the album of theirs that is considered magnum opus to listeners haha.  

Haha, true! True. When I was a kid a self-titled album used to really bother me and I think maybe that had something to do with why but I never articulated it. Or I just thought they were lazy. I don’t know. 

So here’s a wild card question. Do you believe in reincarnation? 

Yes. Energy just recycles and we are energetic beings having a human experience.

Me too. I really hope next time I get to be something other than human. How much do you feel like you infuse your life philosophies into your songwriting? 

A lot haha. I’m very interested in the metaphysical and spiritual. And it’s just natural to sneak in those existential concepts when that’s what all of this is haha. Art and creation fragment themselves and are imitating and experiencing themselves. Ourselves!

I’m definitely a sucker for artists who do this, probably because I vibe with it pretty deep myself. So What’s on deck in 2023 for Kam Theory? What are you looking forward to? What can your new fans look forward to?  

I definitely have goals in mind for this year musically but they are also dependent on my personal life goals at the moment haha. I definitely will just be taking opportunities as they present themselves and making more of them. But if all goes well I'll be performing more and collaborating more, and I'll finally release a project as opposed to just singles. Let's hope for and manifest the best! :)

WE HERE HOPE FOR AND MANIFEST THE BEST FOR KAM THEORY <3

(Originally published on beastsunltd.com March 8th, 2023)

[nightinghoul]

I have a midi keyboard, and I'm learning to play a little bit on it.

I've always wanted to play an instrument. My sisters got piano lessons growing up, but I didn't. I'm the youngest, and right when I was that age you might start any sort of lessons, my parents divorced, and then my mom was single and poor, and life was too chaotic.

I've tried all kinds of instruments over the years. I have enough musical background (from being a choir kid) to understand them a little, but struggle with my fine motor skills and coordination.

Last year, I decided to try the keyboard. Because of the type of learner I am, a midi keyboard with light-up keys seemed best. The built-in songs were crap, so I went online to find out how to find and play songs from apps. Sources I ran across said I would have to settle for the built-in songs to light the keys, and anything else I could connect midi for feedback on my playing, but that was it.

I started using an augmented reality VR app that overlaid virtual light up keys over my actual keyboard. That was going okay, but wearing the headset while playing was a bit of a pain, and I couldn't practice without it. I couldn't stop to look at what chords I was playing, write them down, and practice outside of the program.

Yesterday, I found out you CAN set up the keyboard to light up with the music on the app called Synthesia. So, now I'm doing that. It's fun! At the very least, I get the sensation that I'm playing, and maybe I'll develop some muscle memory.

My problem now is that I have carpel tunnel syndrome in my right hand. After playing for a short time, my hand gets cramped and siezes up, and it's very painful. I think I also have a pinched nerve.

Aside from that mess, I'm enjoying myself. The piano feels intuitive to me. Sometimes I play around on it without the lessons, and I just listen to each note, hear out the differences between how a space between four notes vs a space between five, or listen to the emotional tone of major and minor chords. I don't know the words for any of these things, but it's better for me to feel it out and then get an explanation down the road.

As for whether or not I will really have any talent, that remains to be seen. My track record with musical instruments is terrible. But my track record for continuing to try is pretty good. 😁

[kinitstuffblr]

HEY I WANT TO MEET PEOPLE WHO DO STUFF I DO SO

Reblog if you make music!!!

[ms-demeanor]

Okay so like a million years ago before cellphones did very much other than make calls and play snake you used to be able to program your own ringtones by opening a ringtone "app" on your nokia brick and placing notes on a staff and manipulating them up and down by pressing various number keys to make a little midi tune and saving the file.

Does anyone know of a program that will allow me to do that now? I just want something that will let me drop a note on a staff and play a corresponding tone and will let me do that a few hundred times in a row to make songs because I cannot read music but through a lot of tedious trial and error I can *write* music on a staff if I can listen to the notes as I place them and play them through but everything I'm searching is leading me to programs that will transcribe midi files into sheet music scores OR that will create midi files from an extant mp3 and neither of those is what I'm looking for?