How to Use Automation in Your Music Production Workflow | with Raphael Sepulveda
In this episode, you'll learn about:
- Soundflow
- Keyboard Maestro
- How to Use Automation to Speed up Workflow
- Why Consistent File Naming So Important
- Automating Complete Session Delivery and Stem Printing
- The Power of Pro Tools Track Presets
- Coding and Automation is a Skill just like playing an instrument
- How Making Music for Sync Differs from Making Records
- How to Hit All the Cuts when Composing for Ads
Connect with Raphael
📸 Instagram: https://www.instagram.com/raphaelsepulveda/
Grammy File Naming Conventions - here
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Credits:
Guest: Raphael Sepulveda
Host: Travis Ference
Editor: Stephen Boyd
Theme Music: inter.ference
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Yeah, man, once you start doing this stuff, it's just like, you get excited
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because you're building features for yourself that, you know, like, probably the
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developer's not gonna do it. That's Rafael Sepulveda, a producer,
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composer, mixer, and workflow automations master. Rafael writes music for
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television and ads, as well as produces records and contributes heavily
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to the soundflow community, helping people script and design automations for themselves.
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Today we are gonna go deep on the advanced automations that he uses
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every day. Once I implement it into my workflow,
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it will be amazing. It will be like, man, this is actually making my. I
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can work faster, and I can build more for less work. We also get into
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a lot of pro tools, specific workflows for track presets and templates. That's
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where track presets and templates come in handy, like, it gives
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you. And we touch on how he got into writing music for sync and why
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it's so different from making records. One thing that I learned pretty
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quickly, once you start landing these, you know, you
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see your work in real life, it's just like they push your music
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way down. My inner automations. Nerd has been
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building scripts nonstop since we had this chat. So if you've been thinking about taking
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the dive into soundflow or just learning to code your own scripts, definitely stick around
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for my interview with Raphael Sepulveda.
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So I've been excited to chat with you because we met at NAmm. At
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this point, it was like, almost two years ago, and I'm in the midst of
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kind of like, working through my end of the year
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systems tweaks. And I'm like, I know that you're going to
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have some tricks for me, so. Oh, yeah,
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I wanted to just get straight into Nerd and ask, do you have
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a top three pro tools, workflow or automation
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things that you've put together? Absolutely. I mean, I have so many, I
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can give you more than three. Make it five if you want. But the first
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one that comes into mind is the stuff that I have for my
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subgroups. So the way that I work, you know, like a lot of people,
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I have a bunch of subgroups at the end of my session, you know, just
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auxes for the drums, guitars, and whatnot. And I like to have
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all those colored a certain way. One of the macros that I use all
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the time, and I have them right here on my iPad. I
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have most of the groups that I would use on a session
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laid out, and I just need to select the tracks that I want,
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and I hit a button, it will color it, it will look through the session.
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If it doesn't have an aux to go to, it will go create
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one and then route to it and have it pretty much
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laid out for me. And that one is just. I
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just do it all the time. I have it. I have, like, maybe
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16 of them right here. That's awesome. So that one I use all the
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time. The other one that I use all the time is
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duplicating. And now, you know, this pain. Being
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a pro tools user, we have to duplicate a
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track. It involves several steps. Oh, yeah. You know, usually
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if you're on Ableton or logic, you hit the shortcut and it
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just creates a new track. And that's it. With pro tools, one of the things
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that we love about it is that gives you options, but when you're in
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the flow of things, you kind of want to, like, just get it going.
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So, you know, the first thing that comes up is the little window saying, oh,
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what do you want to duplicate? Do you want the clips? You want the automation?
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Do you want this and that? How many do you want? Most of the time,
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I want the same thing. I just want the same track with no
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clips so that I can usually record something else,
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like a guitar. I just want to do another pass.
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So I go through those options, have it there, and then the next pain
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point is the name. I just want it to
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be. If it's guitar one, I want it to be guitar, too. I don't want
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it to be guitar one. Dot dupe one. Yeah, that's
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right. So I have a macro that
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takes care of all that. It will do the duplicate. It will
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deal with that window, set it up the way that I like it, which is
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just, you know, have to track. It will wait for it to come up, and
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once it's there, it will change the name to guitar two or guitar
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three. It will go through the whole session and be able
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to tell how many guitars are, or, you know, whatever
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the name, the main name is, and give
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it a number that makes sense. So that one
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is just like, man, that's
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amazing. Yeah, man. Once you start doing this stuff, it's just like,
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you get excited because you're building features for yourself that, you know,
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like, probably the developer is not going to do it.
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It's probably too customized for yourself.
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There's no way that this is going to happen. So you just do it. It's
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like, okay, this is actually awesome for me.
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And I guess, let's see. I mean, I'll just mention another
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one of my favorites is the reverse reverb trick. You
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know, like, that's the classic we all do. Yeah, but it
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also involves several steps. Well, I have it so that
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I just need to select. And I usually do this with vocals, you know, to
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come into a verse or whatnot. I just select
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where I want the reverse to start, and then
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I include some of the vocal, like, usually the first word,
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I hit the keyboard shortcut, and
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it will just go through all the motions to make that happen. And, you
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know, like that. It usually, it is more complex with a
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monosource, which is usually a case of vocals, because the
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reverb, you want it to be stereo, right? So usually what that
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involves is duplicating
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that vocal track twice. So you have two of them, then
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grabbing the piece of audio that you want, bring it down twice,
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then creating a stereo track, bringing those two down.
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So it's basically a stereo file of the mod, of the monophile.
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Then go into auto suite, choosing your reverb of
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choice and setting it up the way that you want it. And then
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with pro tools, it has a bot at the bottom of the auto suite window,
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it has a reverse reverb option. So you hit that and it
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will finally get it there. And then you have to clean up, delete all the
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tracks that you created and then rename it all that.
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The worst. The worst with his automation
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trick. And it's just so awesome to just. It kind of
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makes me want to do it more, even though it's. At this point, it's a
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little overplayed, let's be honest. But when you need it, it's like, oh, I
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can just do it real quick. Just press the keyword shortcut. All the stuff that
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I just said. Boom. Gets done, and it's perfect. And I have
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it so that as soon as it's done, it plays back what it did. Because
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usually I want to see, maybe I want it a little bit longer.
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So I make the selection longer, and it'll
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just read through the whole thing. That's awesome.
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I'm kind of old school because I never use the reverse reverb button in the
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audio suite. Does that audio sweep the reverb
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and reverse the reverb, or does it reverse the vocal print reverb and
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then reverse the reverb? Right. So basically it will print the reverb and
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then reverse it, right. And basically you have the effect.
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Right? Just the standard reverse reverb right there. So
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that if it didn't have that, then the. The automation flow would have been
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way longer, but thankfully. Oh, yeah, they helped us
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that with that one. Yeah, that was when I first got keyboard
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maestro years ago. That was like the first thing I built
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was a reverse reverb, but I didn't use the reverse button, so I had to,
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like, audio sweep the reverb, then reverse, and then
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have that selection. And then you reverse that. And I built that. And I was
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like, this is amazing. And then I never bought keyboardmeister. I just used that, a
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proof of concept, and then just like, moved on and just forgot that I was,
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you know, doing that. But it's those little things. It's like people
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don't think about how much time you save
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incrementally, because we're talking about saving 2 seconds,
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but you're talking about saving like 2 seconds
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ten times a day, 30 times a day. And then you start building all these
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automations and you're just like. Then you start saving minutes and hours and then at
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the end of the year you're like, I just got, like an extra week to
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do something else. You know what I mean? Which is, I
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don't know. That's huge for me because I've got a kid now. I don't know
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if you have. If you've. I do have a son. And
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I'll be pleased to inform you that we've been sick for the past four months.
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He's almost one year old, so he started daycare
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recently. So, as you know, it's.
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We're going through that right now. But yes, it's
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those, you know, it might seem. Might seem marginal,
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you know, like that. It just saves you a little bit of time. But they
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do add up. Yeah, but there's more benefits to that. I mean, there's
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workflows that are way longer and we can talk about that in a bit.
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And I don't know about you, but whenever I finish melody,
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my wrist hurts. And if I have to do even
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more stuff in addition to that, you know, these
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workflows, they help you with your physical,
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you know, stamina, just less clicking around.
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And with pro tools, you feel it. I mean, you have to get
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to the one thing like I described earlier. You have to do a bunch of
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other things. So it really
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makes you a little bit lazy, I'll tell you that much. I've been
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using these systems for four years now, and there's
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no way. There's just no way. I cannot go back. And the same, you
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know, I was just talking to my friend right now. It's like, man,
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sample wasn't you know, it was acting up. It's like, just restart it. It'll be
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fine. But, yeah, he was just explaining to me, he's like, man, I cannot work
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without this. It's just, I need this. I did a record recently,
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and I was using. I was using bounce factory. Andrew
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ships bounce factor, which is an amazing sound flow
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based product that is, like, built so
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overkill. Like, what? He's like, it can do anything,
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but I was having a problem with heat, and I never really was
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able to. I didn't have time to, like, really get onto the sound flow form
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and, like, work through it. And so any session that the producer had
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sent me that had heat on, I'd left it on, did my mix,
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and none of those, I could get sheps to bounce. And
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I was doing atmos stems, so I was bouncing so many stems, and I was
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sitting there, like, basically crying because I haven't
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sat there and actually printed stems for, like, two years or
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since. Whenever bounce factory came out, I just, like, have never sat in front of
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my computer and had to do that again until this moment a couple months ago.
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And I was, like, just breaking down. I was like, I should pay somebody to
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do this. I can't do it anymore. Yeah, man, it's just
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impossible. You know, like, it's with stems. You know,
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having the machine do that kind of stuff is just the best case scenario.
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Oh, yeah. If you have it laid out in a way that, you know, is
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bulletproof, like, you know, the. The tracks are going to print the way
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that you want them. Yeah. Stuff like labeling. I mean, when I started
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this, my pain point was I
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started doing this composing stuff that I've been doing for the past three
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years. And one of the things is printing a ton
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of stamps and a ton of alts
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and the format of the names, they're pretty long. I
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mean, when they come to me, you know, whenever I'm prepping,
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mixing a track from another composer or my
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stuff, the name is temporary. You know, usually we assign
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it a number, and then it
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has the type of how long the
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track is. You know, we have 60 seconds, 30 on
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20, which is two minutes. Yeah, we have several lengths, and
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then we have, you know, what type of track it is. You know, this
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is for the stems, you know, typical stuff. And then you have to put the
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VPN, the key of the song, all that stuff in
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every stamp. And I was typing them manually and, you
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know, we are humans. We are going to make mistakes.
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I was making mistakes left and right, you know, tempo, you know, just
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my, my finger will slip a little bit. It's like, oh, there's no way this
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is 200 bpm. I screwed up. It ain't 20 either.
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So I don't know. So whenever you
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set up your, your automation
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to handle that stuff, it's just, you know, like, I haven't had any
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mistakes for years. Yeah. You know, like,
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at first, you know, obviously you have to finesse your
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coding and make it, make sure that it works in all kinds of
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situations. But I'll say that that is one of my other favorite
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ones. Just having the ability to
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print stamps and have them be
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awesome all the time. I did my
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script before Andrew worked on
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his, so mine is more specific to my
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workflow. I do still like to
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print the main pass on an audio
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track. Okay. Then I do, I do balance the stamps because
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that will take too long. I don't really QC. It's not part of
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my job to QC the stems. We have somebody else to do that. But I
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do QC the main pass and the alts.
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Yeah. And I've always found, like, I have not, haven't had any type
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of trouble. Whenever you print the audio on the session
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itself, while with bouncing, I remember there
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have been some hiccups with, especially with effects like reverb and
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stuff. You know, it rarely happens. But
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back in the day, I remember being burned a little bit
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because there was an artifact in the session that even, even if you're
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listening to it while it is bouncing, it will,
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the resulting file will have the glitch. Yeah. So I have that and
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that going on. All the information from the session
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is print it on the audio file, which is awesome. It'll grab the, like I
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said before, the BPM, it'll grab the key. The key.
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I do type it in at first, whenever I set up the session, you know,
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I listen to the song and then figure out the key. And then
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that way the script can read it off the file. That's cool. And
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then it will know, depending on what track I have highlighted, what
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stem we're talking about. And once it does all that,
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it will go in. You know, usually they land in the bounce
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files folder. And with stems, you know, when you do the
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bounce, the track, it will add a dash st. We don't want
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that. Right. So go get rid of that. And then it
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will move all the files from the bounced files into
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its proper place where it needs to live. And that,
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man, is just invaluable. And
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there, we're talking about saving several minutes at that point. Oh,
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yeah. Well, you're also talking about saving the kind of thing that a
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lot of people pay an assistant for. Like, you get down to, like, stem printing,
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so you can pay somebody to build you a script, or you. You can
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subscribe to one of these scripts that exist, or you could pay
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somebody hourly for 8 hours on a Saturday and a Sunday.
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And that's gonna be a lot more expensive than, uh, you
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know, building something yourself or subscribing to soundflow or whatever you want to do.
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Yeah, it's like, it's, uh, taking work away from people, but. But, you
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know, it's. It's freeing. I mean, that's. That's where we're heading,
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you know? Like, even if I had an assistant, I will hook him up with
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sandflow so that no time is wasted, so that the whole
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machine is moving forward. Yeah, I don't think it's about taking work
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from anybody. It's just like, we just need to keep moving forward. That's
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true. That's a great way to think about it. It's a great way to think
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about it. Come on. We have the power. Why would I force you to
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do the thing manually? Well, let's talk about
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naming for a second, because you mentioned that was a pain point
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for you. Because I recently did.
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It was a full album project, and the label wanted a very
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specific naming for each type of file. And luckily,
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I have a very specific naming, so I was able to get
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a batch rename process where I could swap out the words that I use
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for the words that they want. And it was still time consuming. But what,
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like, how do you name. How do you name a mix right now? Like,
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what's your. Your naming convention? A few years ago,
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I adapted the Grammy
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specifications. Do you know what I'm talking about? There's a document flying around
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back in the day. Yeah. With how it's supposed to be.
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I don't remember it because I have sound flow through it for me, but let
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me try. I know it was the initials of the artist,
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and then underscore the name of the song.
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Underscore what is the. If it's a mix,
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a master, and then underscore the revision.
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A rev one, rev two, rev three, then
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underscore forty eight k a twenty four,
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something like that. I'm pretty sure that was
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90% correct, but, yeah, that's kind of like how I have it
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set up for. For artists stuff we don't do. For the composition, stuff
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that I do, we use different terminology that's more in
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house. But for artists and records, that's the way
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that I do it currently. Nice. Nice for listeners. I just found
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the link to the PDF that he was describing. I'll put that in the show
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notes. I'm not going to read it back, but it's easy to
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find. Yeah, right. Okay. So we've kind of talked about some of the
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things that you're up to, some of the things that are possible.
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How'd you end up going down the automation rabbit hole? Like, why did
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you decide to try to save this time? And more importantly, what are you doing
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with the time you saved? Oh, man. Oh, like
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that. Well, I know that in 2019,
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I was very curious to learn how to, like, do some
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programming. You know, something that, you know, kids nowadays, they get it in
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school, and I felt like, man, like, if I could just get my hands on
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something like that, you know, like, just get familiar with it. And
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I've always wanted to do a contact library,
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but whenever I try to go in and try to study the
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thing, it's not very user friendly,
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especially somebody that does not know how to do any programming. It kind
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of, like, felt like I was missing the foundations, the very
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basics. Yeah, I put it off for a while, but
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in 2019, I saw
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somebody using keyboard maestro
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and they were flying like, oh, my God. When I saw that
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video, I was like, what is going on? I thought I was
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decent at pro tools, but he was just doing
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things that I didn't even know were possible, which now, you know,
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it's crazy because we've gone way ahead of that in
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modern days. But what he was doing, which was basic stuff, like
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going through the menu items and pro tools and, like, for example,
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doing a keyboard shortcut and attaching it to something kind of like toggle the
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click name so that you can see it or not. Yeah, stuff like that.
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But to me, it was like, wow. And you can just do it there. It's
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like, wow, that's pretty amazing. So
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I got the bug from there and it opened
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the world for me because I was like, wow. This is not just for pro
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tools. You can automate whatever you want. Yeah.
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And I still remember the first thing that they teach
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you how to do with keyword maestro is just to open a
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folder on your computer. So you assign, and I still use them
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to this day. It's just, I have it. So the f one,
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f two, and f three are my top three
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projects that I'm working on at the moment. So whenever, you know, like, my
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top three clients. So, okay, I'm going to work on this guy
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today, boom. F one is usually the one that I'm working all the time and
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it just shows up. That's versus going in open
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window, going through all the clients, all this guy. And you know,
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as dumb as that might seem, just, it is way easier to just
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hit one key and it shows up. Yeah.
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So I, that's how I started and then it just got even more
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complicated and more complicated and I just wanted more. You know, once you
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start, you get used to, it's like, huh. This whole thing about the
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macros is cool, but I kind of want to, yeah, you know, I was referring
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my mind to, I want to like do some coding, some more like
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advanced stuff. Yeah. The way that keyword master has it laid out is
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pretty user friendly. It's basically blocks of
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actions that you can drop in into a flow
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and then once you hit run,
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it will go through all those processes, you know, back to back and it will
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get your result, whatever that may be. And then I discovered
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sound flow and that was a whole,
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I was amazed. And I remember
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I, I opened, I got the trial that they have a
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30 day trial, I got it on it. And these, this
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was early days, at least for me. Yeah, but things have changed
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dramatically since then. But it was early days and I was like, man, this
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is cool. It's a little hard though. I
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tried the trial, I tried to trial. There were so many
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commands, so many things you could do, you know.
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So I was going through it and I was building
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my first script and then I was like, man, this is
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taking a while. And I was in the middle of like a big project and
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I wanted to see if I could do something quickly, but
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it was obvious to me that this required a little more investment
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for my part. So I let
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the trial expire and then I got back like, man,
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let me just roll with, keep up my answer for now. As clunky as it
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might seem at this point for me, I'm just going to roll with that for
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now, get through this project, and then after the Christmas break
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I'm going to go into this. And that's exactly what I did.
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After the Christmas break, I got into it, it was 2020,
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a new year. Yep. We did not know it was coming, but I
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was like, okay, this is the year for me. Yeah.
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So I started getting into soundflow and going
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down the rabbit hole of coding and scripting.
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So Samflow uses JavaScript
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as the, the language of choice. And the cool thing
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about JavaScript is that it's a very well
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documented language, probably the most
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well documented language. And from my
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experience coming from trying to do some contact stuff,
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which is not, well, you know, I mean, I guess it is, but still
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harder, much harder. With JavaScript, you can find so many
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examples of things to do. So that's what I did. I
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went on YouTube, watch a bunch of videos, did a little chorus on
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my iPhone. It was called Mimo. Just like a
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training thing, very easy to do.
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And once I got that going, it's like, man, okay, this is
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cool. Started going through all the things
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that sample has to offer, which is thousands. I mean,
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that was another thing. Like, man, just seeing what
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other people have done, it's like, wow, I just need to spend some
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time checking everybody's things out. Oh, yeah, yeah.
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So I did that. I did a whole list. Every time I would see a
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name of something that sounded cool, I would put it there and I would just
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make a point to try it out. And eventually I just started putting the pieces
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together. And the most important thing, and the thing that
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kept me going was that once I implemented into my workflow,
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it will be amazing. It will be like, man, this is actually making my, I
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can work faster and I can build more for less work. You know,
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it's like, it's actually manifesting in
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real life versus when you're trying to learn something, you know, usually takes a while,
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like, let's say whenever you're learning an instrument or something like
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that, it is, it takes a while from going from zero
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to playing on stage or on the studio, it takes a few years.
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Yeah. Here I was able to quickly implement what I wanted to do
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and try it out that same day. Yeah. And see the
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benefits. And once it's there, I just have it, you know, laid down on my
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stream deck and on my iPad or on my keyboard.
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I do all different combinations, you know,
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so it that once I caught that bug, I was like, man, this
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is, this is cool. And it made me feel
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really good that I could learn a new skill because, yeah, I mean, at this
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point it's tough.
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Yeah, yeah, it saves so much time. One of the things
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I wanted to highlight because maybe not, we've mentioned soundflow so many
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times, and everybody listening to this may not be familiar with what soundflow
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is, and I'll let you give a rundown of that, but
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I think two of the most powerful aspects of soundflow
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is one, everything's saved to the cloud. So if you go to another
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computer, you can pull your commands down, which is
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something that you couldn't get back in the day. Like when I was at capital,
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there was a, there was a few people that used quick keys, some of the
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film scoring guys, but I think you had to carry a usb stick around, you
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had to load your things on, assuming they had quick keys on the computer. And
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then the assistant had to remember to turn it off. And
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soundflow, you can just log in, everything starts working. And
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the other one, the power is in making your own
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macros because I know friends that have tried soundflow and they're like,
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oh, and you know, there's like a, there's like a free version that comes with
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pro tools or something like that, I think now. Yes. Yeah, but it's just, it's
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basically just giving you control of the things that people already
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know. And that's the argument that a lot of, some of my friends have had.
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It's like, well I'm already super fast at pro Tools. I'm like, dude, it's not
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about having save as on your stream deck, it's
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about building something deeper than that. You know, like we
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all know the key commands. Like if you work professionally, you're already very fast.
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This is to do weird. This is to get into the dark arts, you know
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what I mean? Yeah, but yeah, like that's where you get the Jews out of
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it, you know, just making things that are a little more complicated. But you
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know, I can give you a lot of examples, even easy
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stuff that just helps
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me. But yeah, I guess we have to rewind and kind of talk more
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about sound flow. I kind of just, you know, assume that, well,
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Sandflow, to me it is the best
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automation software that there is. I am biased because I am on
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pro tools and the creator Christian,
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he made it specifically for pro tools, even though it
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can do a lot of things outside of pro tools. That was the main
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focus at the beginning, so that it will help engineers
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just work way faster on pro tools.
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And that is the biggest difference from something like keyboard master for
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example. Keyboard master is just, you know, tool for the
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Mac to help you automate. Soundflow has that, you
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know, the aspect of pro tools and the
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audio community attached to it. Yeah, yeah.
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So, and one of the cool things that I really like about
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Soundflow, like you said, well, the cloud stuff, a lot of people when they hear,
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oh, it's in the cloud, they get a little bit scared because the data, they
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want to have a backup. I'll admit I
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was part of that camp for a while,
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but we're in a new world, man. Like in reality. I'll
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give you my own experience here.
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In the last four years, I've only lost Internet connection twice.
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One, one time it was a week, I had a studio.
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The studio I'm in right now is in my house.
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But in 2020, before the whole pandemic, I had a studio off
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site and we lost an Internet in the building for a
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week. And what did I do? I just used my
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phone and gave the computer a
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hotspot on my phone, and it was completely fine.
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And even if you lose Internet connection,
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it's not that you can't use Soundflow. You can use it on an offline mode,
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which means that you can use all your commands, you just can't edit them
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so that it doesn't break the sync with the cloud. That's, you
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know, forget about saving. You don't need to save and sample because every,
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every move that you make gets synced to the cloud
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immediately. Yeah, you know, one of the
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other benefits of having that is that I just experienced
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it right now. Just changed from my trash can Mac Pro to the
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Mac studio. Once I install sandflow,
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all the keep cover commands just populate. I don't have to do anything else,
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you know, versus, you know, like the other stuff pro tools related,
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like your track presets, you have to make sure to go on
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the documents folder in the old computer, put them, you know,
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make sure that you transfer them over. Anything that you put on sample
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will automatically just take over on your new computer. And
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the same applies if you're at another studio. Like whenever I go
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tracking, all the custom keyboard shortcuts that I have
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just automatically populate and I don't have to worry
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about, you know, it's just like I'm working on my own workstation, which is
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super awesome. It's been a. I mean, I hate to use the word game
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changer, but there's really no other way to describe it. If you're looking to
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save time or you have a lot of repetitive tasks. I mean, just like
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editing this podcast, there's like so many things that I have to do over
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and over and over again. Folder structures like you want to talk about, like non
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audio workflows, I'm sure you have some. But like, I
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got, I have buttons that create my pro tool session
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hierarchy and my podcast hierarchy,
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and I just press one button, it asks me the name of the
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song, type in the name of the song, a couple more things. Boom. There's
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Dropbox folders created, there's work drive folders created.
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Everything's named. I got tired of making those
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folders. You know what I mean, yeah, I. Have that same one that you
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have. Yes. Yeah, that's just so easy. I think you
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actually helped me on the forum with that
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because I was trying to use your, you have your
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utilities that'll create a pro tool session, which I ultimately
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never used, but I downloaded that and then I posted like, hey, how do I
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make this folder structure here, here, here? And then I
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think you jumped in because you're always on those forums helping. People
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out, which, oh yeah, yeah. And that's something that I want to tell everybody.
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If you're struggling with this kind of stuff, just get on the forum.
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Well, specifically with sound flow. And I'm super
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down to hell. That's something that I've been doing. I started doing it so that
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I could practice more of the scripting. And then eventually, you
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know, like, I do have a lot of answers that take,
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it takes time for other people to find. So I'll just, you know, I'm more
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than willing to just help you because, you know, I've
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been through that whole process. It can be frustrating.
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And I just think, you know, if, if I could just, you know, show
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you how to do, then you can, you know, sometimes if I see
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users actually, you know, trying is in a good path. I won't give away the
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whole answer. I will just point you in the right direction so that you have
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the tools to do whatever you want. That's, sometimes I can give you the whole
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script, but you don't know how to modify it. Oh yeah. You're kind of
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stuck there. Yeah, yeah. But I do, you know, I love helping
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people in the forum. The, the forum and the store, I think make,
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they really bring so much added value to soundflow because you can just scroll
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through and it's like, oh, I want to make a script for
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this. For example, I was thinking, I wonder if I can build something that'll replace
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my Uad plugins with UADX plugins.
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And then you go to the store and somebody's got one up there already and
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we, it's called a store, but it's like 95% free
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applications. There's a small group of people that create paid applications
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that obviously have taken a long time to build, but yeah,
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it's invaluable. Do you have any, like,
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what's the craziest thing you've done? Maybe not even
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related, like one of the hardest automations or pieces you've put together. It
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could be anything. Yeah, it's definitely gonna be
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protos related, but yeah, that was the, the craziest one
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was the, the whole set of
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deliverables script that I made for my
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composing work. And it's just, I already touched
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on it with the whole bouncing and doing the stems
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and that whole chunk. It did take a long time
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to make, but then after that, there's an extra
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step. Once everything is bounced
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and ready, it's already where the files are, where they're supposed to
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go. It handles the session
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and kind of finishes everything off for me. And what I mean with
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that is that it will go, it will save the session,
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then it will create a save as of it, because I do provide for the
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composing stuff. I do provide like a simple session of
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everything. So I would need to clean that up. There's
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stuff that nobody needs to see. Like I have a whole monitor
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aux that I listen through that. It has my TC
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electronic, the clarion laptop
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meter. Yep. Has the sonarworks sound id,
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you know, stuff that if you put that on another computer, just not going
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to work or it's going to sound horrible. So I need to clean that up
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so it creates a save ass. It goes through. I usually
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delete all the comments. Comments for me are more
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technical. Like if you're like the mic that you use or whatever,
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once for this, for the, for my purposes,
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you don't need comments. So I go, it deletes all the
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comments. It deletes any other extra tracks that
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were there just for.
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Well, that's another workflow that I use. I have an archive folder at the
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very top of my session, and there I chug
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anything that I already committed and that
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I don't really need for. You know, like I. Especially for virtual
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instruments, you know, like one of the workflows, you know, it's just you do the
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part, you commit it, and then you have it as audio. So then
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I chug it into this archive folder and I have it there in case I
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want to redo a part, whatever. Whenever I'm just done with the
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song, I don't need any of that. So it makes sure to delete
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that archive folder and anything that's in there that's
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good. And then once the session is clean, it will go
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through the IO, it'll hit default because you don't want all those
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buzzes that go nowhere. Basically, the session is
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super good for anybody to open. And, you know, like, I am a little
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bit OCD with that kind of stuff. If people are going
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to receive my session, it's going to be super clean and ready to
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go. Everything's organized.
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So that script handles that they'll go and then it
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will do the final step. And this is the one that's, you know, it was
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tricky at first. Now it's simple, but it'll do a safe copy in.
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And the reason I do that is so that it flushes any audio files
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that are no longer existent in the session. Right. Because, you
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know, like, as you, as you're working, you might trim a file, it'll still be
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there, or you might even not get rid of the whole thing altogether. But the
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audio files folder still contains that audio. Yeah.
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I like to have the session, just have the stuff that it needs, you know,
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to play. And if you set up the safe copy in
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window in a certain way, you can have that. It will just make sure that
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all the files are in the session, are the ones going into
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that other thing. And then once that session is
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created, it goes through the folder hierarchy that
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I have, just like you, it might have a whole system going
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on, and there's pretty much set for another script
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that I have. That is, whenever I'm done and I want to deliver, actually deliver
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to the client, I select all the sessions and it will grab
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just the pieces out of that. I don't want them to have the whole hierarchy,
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just several parts, you know, like this, you know, the important stem, the stems,
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the mixes, the, the pro two session, not the
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proto session that I worked in, because that's just a mess. It has all the
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creative stuff. Yeah, but that one, I remember
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it was when I was starting out, and it took me a long
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time, months to perfect that. Yeah,
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that's, I'm trying to. So that would basically,
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you'd have to have a really tight naming system for it to know if you
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select like ten song folders. Yeah. You'd have to be
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very consistent for it to identify what it needs. Right. But
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since I created the sessions and everything is handled by scripts, it
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will always be perfect. That's true. The only thing
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it needs for me is the name of the server. Yeah, whatever. That's
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the one thing that I have to provide everything else gets is, you
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know, already preset by the scripts
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and it just never messes up.
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That's, that's amazing. I'm definitely, I'm definitely emailing you in a
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few weeks and asking you to build something for me.
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So let's, we've talked about a bunch of automation. There's probably like
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people that have completely fallen asleep. Let's talk about making
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music and composing. Oh, yeah. Okay,
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so I know you left New York, you came to
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Nashville, you kind of transitioned into
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doing a lot more composition, and it seems like that worked out for you
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pretty quickly. And I think a lot of people
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really try to kick that door down for a long time. How did it
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work out for you that you started landing spots, you know,
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fairly fast, and you have any tips for people on how to get in
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the door? Yeah, I mean, I guess I got lucky.
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You know, the whole composing thing came about, you know, through
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the pandemic. You know, I
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I was doing records before, and I still do now. Things are back to
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normal by the time we're shooting this, but, uh,
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yeah, whenever the whole Covid thing happened, you know,
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I had a studio, and just people couldn't come through. It just
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wasn't happening. So I needed to
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find a lot of opportunities. And it just so happened that
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the company that I currently work with,
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Halloween music, they were looking for somebody like me
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initially as an engineer, basically to
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handle the library side, but
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also, as things develops, like, hey, well, do you need
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tracks like this? I can give you tracks like this. So it
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kind of just worked out like that. And from
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my point of view of making records, you know, I'm the kind of guy
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that the guy, you know, like, I am the band,
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and the artist is usually just a vocalist, so I am used
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to making tracks from. From scratch.
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That is not, you know, something. I didn't really need
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to adjust anything with my workflow with that. It was more about
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the getting used to the intention of the
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tracks. Like, it's more about the spot. And one
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thing that I learned pretty quickly, once you start landing
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these, you see your work in real
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life, it's just like, they push your music way down.
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It's like, man, I'm used to having it loud and proud. It's like, in
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the background, you barely hear stuff. Like, okay,
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more about the groove, making sure that it fits
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the. Whatever it is.
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Having a lot of space for the Vo. That's
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true. What's important.
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So I got used to that. And just dealing with the clients,
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making sure that they get what they want, that was the adjustment
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and just working through it, working to picture
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that was something that I didn't do before, but
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that came pretty natural to me. I mean, I just
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made it sound in a way that looks good, too.
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Just making sure, you know, I. You know,
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it got. Sometimes, you know, I try to hit every cut, even though with a
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beat, but that sometimes doesn't happen, and that's okay. That's something
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that I had to learn as well. Can we talk about that? Process for a
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second. Hitting. Hitting all the cuts with a beat. I worked with a guy years
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ago, and. And we would always, like. We'd throw picture up, and
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he would just kind of, like, strum a guitar. Not even, like, really musically. And
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we would just try some tempos, and he would really pay attention to, like, where
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things were hitting before him. And his writing partner would even, like, go open
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logic in the other room and start writing. What's your process for
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trying to, like, especially in ads? Like, you gotta, like, land your sting
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in the right spot at the end. Are you, like, working backwards? Are you just
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trying different tempos? Is it moving? Like, how do you kind of
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hit those spots? Well, it changes every time. I'll tell
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you the one from the last one that I landed. So basically, they
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provide a script, and there's some key
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points that need to happen. And at this point, you know, there's no muse. They
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just. They just sent a. Some references,
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but not. There's no. Nothing to look at. It's just some.
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There's some scribbles, you know, like, it was very
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bare. So what I do. I do have.
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It's gonna be. In this case, it was 30 seconds. So I laid down
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on pro tools. I opened up the session, and I put some
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markers where I think, you know, it could land. I kind
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of, like, spread them evenly apart. And then there was. I know there
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was supposed to be a pause, and then at the end, it needs to come
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in. So then I laid it down like that. It's like,
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okay. And I just start looking at the
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tempo and kind of, like, moving it up and down until I can get, like,
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a few. Like, I try to do, like, 16 bars, something like that. That
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makes sense musically. And I'll start there because I know if I get 16
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bars, that that is something that I can work with. Yeah, that's true.
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And then I grab the guitar or the piano, and I just
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start strumming something. And then I just look
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as the timeline goes on, it's like, okay, here I can put
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that sync point that they want here, here, and then here.
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And then depending on the. On the last one that I did, I just did
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it like that. And everything landed correctly. And, you know, like, the
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tempos in the thing with things like that, like 30 seconds or
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60 seconds, is that if you put it on 120 or, you
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know, something like that and multiple, that it will be perfectly. Because that's, you
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know, it's. By the second. Yep. So if you get it close to
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that, you will be guaranteed to land
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before the 32nd mark or 60 or whatever
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numeral is. Yeah, so I did that. And
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it just, you know, it just happens. And then, you know,
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once we see the whole picture, you know, there'll be adjustments
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to that, but then it doesn't really matter. Like, they're, you know, they've, they've
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already, in this case, they've already edited to your track that's
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already then, and then you just want, you know, several adjustments to that.
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Yeah, but in other cases, it involves temple
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mapping, and that can get a little, a
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little crazy. But once it's set up, you get, you know, it's, it's there and
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it's just kind of magical whenever it
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lands on with the, with the picture, even though the temples are going left and
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right, like, it's going crazy. Yeah. With the picture, it looks,
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sounds completely fine. It really does.
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It. The eye, whenever there's a visual, you
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just, you get, I don't want to say tricked, but it's just,
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I don't know, a lot of things pass by that wouldn't
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pass by if you were just listening to music. Yes. You know?
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Yeah. So that, that's kind of how I handle that. And, you know,
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it's, it's, it's fun, man.
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Like, it's just one of those things like I didn't do before is like, okay,
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this, this actually can work, you know, with variable
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tempos. You know, that's whenever you're tracking a band live, and
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that's pretty much the extent of that, or at least was for
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me. Yeah, yeah. I know a few people that'll like, you
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know, bump a section up a BPM or something,
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but, yeah, you don't really see a lot of
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deliberate tempo changes. Right. In
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music. Just so you, you obviously work in pro tools for
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everything. A lot of composers, or I guess I should say
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heavy midi users have hated pro tools for
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so long. I think they've solved all those problems. But did
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you ever, were you ever frustrated with the way pro tools works in these composition
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settings? Oh, yeah. Oh, yeah, man. It's been an ongoing, you
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know, with pro tools, it's been a love hate relationship for the
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majority of it. And, you know, I've tried
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logic. I've tried Ableton live. Those are the
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two dogs that I know the best after pro
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tools. Yeah. But there's just something about pro tools. I mean, it is the dog
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that I know the best. There's something that I've learned. It's just
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the best tool for the job is the one that you know, the best. It's
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just, you know, I know where everything is. And pro tools, I know how to
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do, you know, like, even like, the more intricate things. You know,
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one of the things that we love about pro tools is that gives you many
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options to do all kinds of different things, like something very
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simple, like multi mono stuff. Like, I. I do so much multi
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model stuff, and you don't know that you miss it whenever it's just not
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there, you know? Like, what is multi mono enabled
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in life? Nothing, you know, that does not exist. So it's like, yeah,
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but I. All my compressors are multi mono. That's just the way
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that I like it. And when it's not
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there, it's just like, man. But, yeah,
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I'll just say that, you know, pro tools has changed a lot
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since then, and it's just, you know, in
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my frustration,
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I've tried to, you know, like, instead of, like, jumping ship and
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just going in, getting Cubase or something like that.
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Right now, as of right now, cubase and logic are the top
Speaker:
dawes for scoring or for writing.
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Yeah, and portals, I would say, is the third.
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But instead of jumping ship, it's like, man, how can I get involved
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with these guys and kind of, like, let them know my
Speaker:
frustrations and things that can be done better,
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you know? I got lucky that for whatever reason, they
Speaker:
chose Nashville, Abbott did to do what
Speaker:
they called a ACA chapter. ACA
Speaker:
is the avid Customer
Speaker:
association, and they meet up and they do these
Speaker:
events, and they get together with the
Speaker:
users, just talk shop
Speaker:
and get to know the people that make the software. And
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they came to Nashville in
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February of this year, in 2023.
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And, yeah, I went to the event and met all these guys, and they're cool
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people just trying to make the best offer that they
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can. And
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a lot of changes have happened since last year, since
Speaker:
2022. A lot of things are moving in there
Speaker:
in the positive, very positive direction, and
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just talking with them, I got really excited and, you know,
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and as you can see, in 2023,
Speaker:
there's a lot of things coming that are. They're even
Speaker:
backtracking on things, you know, like the pricing. They finally brought
Speaker:
perpetual licenses back, which is, you know, something that people wanted it, you know.
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Yeah. That is sign. A sign that times
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are definitely changing. Yeah. But in terms
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of the software itself. Yeah.
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And now. Now that I have it set up with sound
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flow, there really isn't any better option. It's
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just impossible. I don't know about you, but I abuse track
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presets that is one thing. Track process is
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huge, workflow. Huge, huge. Other daws
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have a version of that. But this one, you know, you can
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import, because what a track preset is, it is a whole
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session, and you can just drag things from it. Even
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tempo markers, you know, like, if you delete,
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you know, the extension of
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track preset is PTXP or
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PTXT, I think it is. If you delete the last letter, it's just a
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normal, normal procession, and it will open
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like a normal session. Can you add a p to a normal session?
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I think so. I've never tried it that way, but, yes, I would make
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sense. I think it would make it work, but that's
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what it is. And you can. You have access to whatever you have in that
Speaker:
session. Obviously, most people use it just to get the tracks that they
Speaker:
saved. So I have it
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set up. Or my template is kind of like. I
Speaker:
use several different
Speaker:
philosophies here, but the one that I've been using the most
Speaker:
is having kind of like a basic template with all the things that I
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need. You know, like, I have, like, what I call my master
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chain, you know, like my. My submaster, my.
Speaker:
My regular subgroups, like the guitars, the
Speaker:
drums, things that are always in. 90% of the things
Speaker:
that I do, you're all laid down there. And instead of having,
Speaker:
like, hundreds of tracks of different
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instruments and stuff, I just have here my iPad,
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all my favorite track presets for the instruments that
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I like. And when I need them, I just press the button and it
Speaker:
will load that for me. And you kind
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of populate the session with the things that you need. And
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it happens so quickly because you just. It's just one.
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One iPad push away. Yeah. And
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the thing with that is that my iPad started to get full,
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so I made another script that is
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shows up a search, kind of
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like what you would see in spotlight. And then you can start typing
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and find whatever track preset that you want, is basically searching through all
Speaker:
your track presets, and you can select what
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you want. Even, you know, I, like, I got into the practice of saving track
Speaker:
presets after every project. Just stuff that worked, you
Speaker:
know, things that I'll probably not use for a while, but
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just this worked. It made it all the way to the end.
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This is. This is something that I might want to use later on instead of
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rebuilding it. Yeah. From scratch or from memory or
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trying to find the session. I just have it there. I just put, you know,
Speaker:
the name of it. I put the. In parentheses, the name of the project you
Speaker:
know, something that might help me remember where it came from.
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And once you're working on something
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else years later, it's like, man, I kind of remember that.
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Let me see how that sounds to you. You pop it in, it's like, man,
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it's already kind of mixed. Yeah. Like, it really
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helps with the, with the workflow. And I just don't. I mean, that,
Speaker:
to me, was a game changer, and I just don't think I can find something
Speaker:
similar to that. And that's just one of the things.
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But that one is, you know, very important to me.
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Yeah. In terms of the way that I work now. Well, yeah. Okay. There's two
Speaker:
things you touched on. One, I wanted to talk about templates, but we'll come back
Speaker:
to that. But track presets, that it sounds like you're
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doing kind of a more advanced version of what I'm doing with the track presets,
Speaker:
because I have my, I switch my whole mix template to basically
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run off of the track preset. So I pull all my, my bus
Speaker:
bussing and routing structure in and then put the audio files
Speaker:
at the top of the session. And then I've got my stream deck set
Speaker:
up with instrument groups like drums, bass, guitar, whatever. So
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I'll click, you know, say there's three kicks in this pop track. I'll select those
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three kicks. I'll go over, press kick, and that'll load a
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track preset that'll move it into the kickoffs, color
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code it, give it the groups, give it any plugins,
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whether they're active or inactive, that I like to use. And then
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it'll. Then it'll jump back up to the top of the session. I can select
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the snares and press snares. Boom. We go through,
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cycle through the whole session, and mix perhaps, like, 1015 minutes.
Speaker:
Yeah, man, that's awesome. I love it. It's great. But, uh, so I
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want. Okay, I wanted to ask you about templates because I feel like
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the more, like, I cruise around the Internet and, like, participate in TikTok and
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stuff, templates are getting this, like, bad rap that
Speaker:
people are just, like, want to sell you their vocal chain, and it's gonna mix
Speaker:
your record, and. And then it's making other people react, like,
Speaker:
don't use templates. I start from scratch every time, and I'm like, you guys all
Speaker:
have templates. Wrong. Templates are like, free
Speaker:
creativity and let you work quick. It's not to do the
Speaker:
work for you. It's to help you do the work. But I don't know
Speaker:
what. So you kind of touched on your philosophy. How much
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processing is active in your templates
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versus ready to go, I guess, is the
Speaker:
question. Well, I like to have it pretty much ready to go. Yeah. The
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thing is, and the reason why it's
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controversial is, I think it's. If you decide
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to just keep it as it is and it's not gelling with
Speaker:
the track that you're working with, you know, like, that is where it's a problem.
Speaker:
But if I put on something, you know, like a chain that I
Speaker:
did a while ago I listen to, it's like, this is. Doesn't sound right. I
Speaker:
mean, it's there, but. And then I start tweaking it, and then I start changing
Speaker:
into whatever I want it to sound at the moment.
Speaker:
But that is way easier than trying to rebuild it
Speaker:
from. From scratch. And there's some chains, man, that
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I've gone crazy, um, you know, with drums and
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stuff. You know, we're always in the quest of
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not using samples and whatnot. Oh, yeah.
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Yeah. So you will see, if you go through one of my sessions, you will
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see the attempts at doing some crazy
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thing that at the end of the day, you know, just put a sample, you
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would have saved so much time. It was pretty much the same,
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but there's some good stuff that I, you know, I would spend, like, an hour
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just, you know, playing around, and I can just
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go through my thought process, like, man, actually, that sounded pretty cool. Let me
Speaker:
just grab, like, half of it, and then, you know, take it from
Speaker:
there. Yeah. So that's where track
Speaker:
presets and templates come in handy. Like, it gives you a snapshot of
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where you were mentally at that point. It's just
Speaker:
you have to make a deliberate effort, you know, to
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change things and make it fit to whatever you're working.
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True. I just can't, you know, like,
Speaker:
the stuff that I do now. Time is of the essence. I cannot start
Speaker:
from scratch. There's just no money for any of that, you know,
Speaker:
luxury to spend a week tweaking one track.
Speaker:
It just needs to happen immediately. Yeah. And
Speaker:
that is where it comes in handy. You're more efficient. Things are laid out, you
Speaker:
know, in a particular way, and you just have to make an
Speaker:
effort to change it up if it needs to, or just, you know, there are
Speaker:
times in which you would do something from scratch. One of the things that I
Speaker:
do for records, I do like to make
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one or two sounds that are specific for that track,
Speaker:
that are signature to that track, and that's where I spend my
Speaker:
time, you know, making sure that something that's gonna be on the spotlight,
Speaker:
you know, I'm gonna make sure that that has a signature sound, but then
Speaker:
everything else, you know, I have many
Speaker:
gray guitar sounds, mini grades, drum sounds. You know, it's
Speaker:
just. I can mix and match them, you know? Yeah, that's my thing
Speaker:
that I've done throughout the years. So that's what I think about
Speaker:
that. I agree. I think the people, when they're
Speaker:
newer in their journey, they don't know that they're supposed to change the
Speaker:
preset. And I think I'm actually going to make a pitch to
Speaker:
all audio engineers and companies out there.
Speaker:
I feel like if you're going to load presets into
Speaker:
your plugins, which obviously you are, they should have
Speaker:
an input game marked, right? Especially if you're getting into, like,
Speaker:
guitar stuff and you're going to record, like, you're. You probably
Speaker:
plug your guitar in, your mic preset, you load your presets. It's. It's
Speaker:
expecting that gain all. It's all the game staging is done. Yeah,
Speaker:
exactly. If somebody filled the meter up and loaded your guitar
Speaker:
temp, your guitar sone, it's going to be crazy distorted,
Speaker:
and they're going to be like, this is horrible. And you're like, no, that's not
Speaker:
how it was supposed to be used. So there you go.
Speaker:
Nerd in me. But before we go, I wanted to
Speaker:
ask. Your main instrument is guitar? Yeah, that was the
Speaker:
first instrument that I learned. Yeah. Do you. Are you die hard
Speaker:
amp or are you software? Are you like
Speaker:
Kemper software at this point? Yeah, I mean,
Speaker:
yeah, most of my career, I used guitar Rick out of all things.
Speaker:
And again, is the tool that you know, that
Speaker:
is the tool that I know. I can get the sound out of it. It
Speaker:
is cpu friendly, which is one of the battles.
Speaker:
And you can recall it. Yeah. Those are the things that are
Speaker:
important to me. At the end of the day,
Speaker:
if it's a little better, you know, if I mic up
Speaker:
on amp or whatever, that's cool. But that is
Speaker:
just in the world that I live in now. That is not something to
Speaker:
worry about. It really is more about the part,
Speaker:
you know, the. The musical aspect of it. I mean, the tones are cool. They're
Speaker:
gonna be cool regardless if it's just 5% better. It's just that
Speaker:
that doesn't matter, you know, in the world that I'm in right now.
Speaker:
Yeah. As so much is dictated by the fingers and the
Speaker:
instrument, like, if you've got a great guitar and you're
Speaker:
a great player. Like, I don't know. I think people that don't play guitar, I
Speaker:
play guitar. They, they don't understand how much tone is in,
Speaker:
like, a person's fingers. You know, I've got buddies where
Speaker:
they'll, they'll play their guitar and you're like, oh, wow, that sounds amazing. My guitar
Speaker:
doesn't sound like that. And then they'll grab your guitar and start playing and you're
Speaker:
like, oh, okay, fuck. I understand. The problem's me. It's not
Speaker:
him, it's me. Awesome, man. Dude, this has been
Speaker:
a lot of fun. I would, I would nerd for another hour,
Speaker:
but I know you've got stuff to do. I've got to get back to a
Speaker:
mix, but I've got two questions. I think you know what they are. So the
Speaker:
first one that I hit everybody with is, was there a time in
Speaker:
your career that you chose to redefine what success meant to you?
Speaker:
Absolutely, man. And that was early on, I thought I was going to
Speaker:
be a touring musician with a famous band, you
Speaker:
know, like a successful band. You know, I wanted to be, you know,
Speaker:
I'm from, you know, my scene was the early, mid two
Speaker:
thousands, you know, my chemical romans, you know, like, take him back
Speaker:
Sunday. I want to be, I wanted to be in a band like that,
Speaker:
and I wanted to be in a band like that by the age of 24,
Speaker:
which kind of make things complicated
Speaker:
so quickly, you know? You know, as time was going on, you know, I
Speaker:
was making, you know, progress towards that. But
Speaker:
then, you know, I was approaching 24 and I saw that, you know, I was
Speaker:
still pushing what, it still wasn't happening. And, you know, my
Speaker:
career, you know, I had to do many different things, but
Speaker:
basically there comes a time in which you need to, you know, secure yourself
Speaker:
financially. And I was making money at the
Speaker:
studio recording other bands and not so much playing with the band.
Speaker:
The band was making no money. So
Speaker:
there. There I am at 25, 24 years old. It's like,
Speaker:
wait. Like, I am pretty happy here at the studio. This is
Speaker:
cool. Like, I get to record whatever I want. I'm not
Speaker:
touring. And then in hindsight, you know, like, touring
Speaker:
is not really. That wouldn't have been the lie for me. For me, that
Speaker:
was something, you know, as a fantasy as a kid growing up, like, oh, man,
Speaker:
that's what I wanted to do. But that, that was not the lie for
Speaker:
me. So right there, I had to redefine success as, you
Speaker:
know, just living, you know, I was happy to be
Speaker:
employed in the music business and doing music every day.
Speaker:
That, to me, is what matters.
Speaker:
Yep. I love it. I love it. It's funny, the
Speaker:
long, you know, if you do this long enough, you. You kind of.
Speaker:
You take for granted that you make your living in the music industry,
Speaker:
and then you think about how many people would kill
Speaker:
to make their living in the music industry in any part of it,
Speaker:
you know? But, like, when you're wrapped up in it, you just forget
Speaker:
sometimes and, you know, yeah, it's. It's pretty
Speaker:
awesome to do what you love, even if it's not music. If you love painting
Speaker:
and you make a living at painting, that's awesome, too. So many people don't
Speaker:
get to chase their passion and, you know, pay their bills that way, but.
Speaker:
So last question. What is your current biggest goal
Speaker:
that you can share with us, and what's the next smallest step you're going to
Speaker:
take to go towards it? Well, man, this is a very
Speaker:
general one. A lot of people share it, but
Speaker:
it's. It's my goal, you know, just financial security, you know, financial
Speaker:
freedom, just the thing, you know, like, you know, in
Speaker:
this business, you have to make a lot of sacrifices with your time
Speaker:
and, you know, like, you understand this, you have a family. You know, my family
Speaker:
has to sacrifice a lot, you know, so one of my biggest
Speaker:
goals is just to attain that so I can have more
Speaker:
time with my family and enjoy that part of life. You know, that's one of
Speaker:
the things that that is, has a lot of
Speaker:
value for me. And I guess the
Speaker:
next step, you know, is. That's a
Speaker:
difficult question because I'm always, you know, every, every move that I
Speaker:
make is towards that.
Speaker:
But I guess, you know, one of the things that I want to do for
Speaker:
next year is start to get more with the social media and stuff. Like, I
Speaker:
am somebody. I think you found out when you went to my instagram. I barely
Speaker:
post anything. I do post, you know, whenever there's a new
Speaker:
version of pro Tools or another Mac coming out. Yeah,
Speaker:
but I found out that, you know, in
Speaker:
this day and age, you have to be present in social media
Speaker:
to kind of like, you know, get people to know you. If
Speaker:
people don't know you, they don't. They don't know if you exist, you
Speaker:
know, you lose an opportunity. So, yeah, that is something that I look
Speaker:
forward to next year, just, you know, getting more
Speaker:
active with social media. And I
Speaker:
guess one of the things that I'll be making content
Speaker:
around is obviously what we've been talking about
Speaker:
this today, soundflow and pro tools specifically,
Speaker:
I'm in the soundflow store. I have a package
Speaker:
that is free and it has a few of the
Speaker:
commands that I like. But I've been helping out in the forum
Speaker:
for the last four years. I have a ton of
Speaker:
scripts that are just lay there just like doing
Speaker:
nothing. I'm just going to start cleaning them up and putting
Speaker:
them in there. And, you know, every time I. Every time I
Speaker:
post one, I'll do a little piece of content around that and
Speaker:
I think that'll be fun for people to find and get familiar with the
Speaker:
things that I like. Yeah. And I think that, you know, just another
Speaker:
step into developing a
Speaker:
multifaceted career. I guess you kind of have
Speaker:
to now. And the Internet has become like. It's become how
Speaker:
people build trust with each other. Especially post pandemic where a lot of people
Speaker:
decided that they could leave music hubs. Like, I don't have to be in
Speaker:
Nashville anymore. I don't have to be in LA or whatever. And they go
Speaker:
somewhere cheaper to live. And they still have maintained connections and
Speaker:
they. People still trust that they make music. Cause they could see they
Speaker:
get to know this person on the Internet. Social media is
Speaker:
definitely an interesting double edged sword, but it's so
Speaker:
necessary. You know what I mean? Yes. Yeah,
Speaker:
absolutely. I'll be watching those videos because I need
Speaker:
to. There's so many things I need to code that I
Speaker:
will be. I'll be looking for more tricks. But dude, this has
Speaker:
been. This has been great. Please tell people where they can find you,
Speaker:
where they can find anything you've done for
Speaker:
soundflow or whatever. Just your little spot to share, whatever you
Speaker:
want. Well, I'll keep it super simple. Currently,
Speaker:
my one thing that I have is my Instagram.
Speaker:
That is the best place to find me. Whenever I have something to
Speaker:
announce or anything, that's where I post it. So please
Speaker:
find me as Raphael sepulveda on Instagram.
Speaker:
And if you're into soundflow or want to check it out,
Speaker:
go sample.org and you can find my
Speaker:
package on the store. Just type my name and you'll find it right away. Rafael
Speaker:
sepulveda utilities and that is
Speaker:
it. Awesome. Amazing. Dude. This was a good
Speaker:
hang. One of these days I'm gonna make it to Nashville. You coming to namm
Speaker:
this year? Hell yeah, man.
Speaker:
I'll be there. Absolutely. Awesome.
Speaker:
It.
