#seattle producer

[scallopi]

kikuo signed my art!! he kept saying 'wow!!!!!' 😭❤️

[theangiediary]

can we put ackles back in texas for like a year? off camera . I want that accent 🥺🤲

[sofiiak-music]

booking a diy west coast tour is actually really hard everyone

i leave for tour in about a month, i’ll be in new york city, playing two solid shows, im looking for more dj sets, i dont want to be so in debt that it is fucking scary u know

then i go on the west coast part of the tour. i have so many expenses to prep for this tour, merch, music, costumes, but it will be worth it, i am following my dreams and i am so happy i can do that. i love dancing on a stage, i love performing, it makes me so happy, i love electroclash, i love my music community, i love the underground music scene, and i love the thin line you can walk between thrash pop and punk music to create nu rave.

everything will work out because there is no other option

i wrote a new song called prada it’s really good i think it’s gonna be my next single, it seems like it will do well with the gays

[filmcourage]

This Is What's Missing From Hollywood Movies Today - Jesse Harris

Watch the video interview on YouTube here.

[grungeincluded]

Gordon Raphael is an American record producer and musician from Seattle, Washington, currently living in Hebden Bridge, UK. Raphael has worked with The Strokes, Regina Spektor, The Libertines and The Psychelic Furs. He has produced songs with Hinds, Skunk Anansie and Mexico's top band, Fobia. He is known for his work with The Strokes, whom he met while attending an early show at Luna Lounge on Ludlow Street, New York City. He produced The Strokes EP The Modern Age (2001), as well as Is This It (2001) and Room On Fire (2003). He also produced some of the songs on Green River-Dry As a Bone (1987) and they are considered one of the first grunge bands.

He formed two bands in Seattle, synth-driven Mental Mannequin and Colour Twigs. During the grunge revolution he was the keyboardist for the psychedelic band Sky Cries Mary. He released his book : The World Is Going To Love This: Up From The Basement With the Strokes in 2022. You can check out more of his work by visiting his official website or following @gordonraphael on Instagram.

© Grunge Included | @37fotosb

[jasperwocky]

no one told me that if you get top surgery and take off your shirt in reasonably queer spaces you become a tboy magnet and all the trans guys around you will take their shirts off too

[seattlerecordingstudios]

Sound Design: Creating Unique and Expressive Sounds

If you’ve ever listened to a movie soundtrack, video game score, or even the latest hit song and wondered how they create those one-of-a-kind, immersive sounds, then welcome to the world of sound design. It’s more than just recording instruments—it’s a creative process that transforms simple sounds into something captivating and expressive. Whether you're a Seattle music producer working in one of the many Seattle recording studios or an aspiring artist, sound design offers endless possibilities for innovation.

Let’s explore some key sound design techniques, such as sampling, synthesis, and sound manipulation, that can transform ordinary sounds into extraordinary sounds.

Sampling: The Art of Borrowing Sounds

Sampling is essentially borrowing pre-recorded audio clips and repurposing them into new compositions. Whether it’s lifting a drum beat from an old vinyl record or grabbing a bird call from nature, sampling allows sound designers to build on existing soundscapes to create something fresh.

The magic of sampling lies in how you use it. Consider artists who turn sounds like a dripping faucet or car engine into rhythmic beats. A Seattle music producer can take a snippet of a sound and morph it into an entirely new creation in the studio. Tools like time-stretching and pitch-shifting can give the sample an entirely new identity, making it almost unrecognizable from its original form.

Sampling is ideal for musicians who want to blend old and new, creating nostalgic yet modern compositions.

Synthesis: Building Sounds from Scratch

While sampling allows you to reimagine existing sounds, synthesis lets you build them from scratch. Synthesis is like sculpting with sound, allowing producers to generate new tones using oscillators, filters, and envelopes.

There are several types of synthesis, with subtractive, additive, and frequency modulation (FM) synthesis being the most popular. Subtractive synthesis, for instance, starts with a rich waveform and carves it down using filters to create the desired sound. On the other hand, FM synthesis works by modulating the frequency of one waveform with another, resulting in more complex and harmonically rich sounds.

Synthesis gives you endless possibilities. It’s how electronic music producers craft those distinctive bass drops and shimmering pads. If you’re a Seattle music producer with access to a Seattle recording studio like Mirror Sound, you can experiment with advanced synthesizers, turning simple waveforms into intricate soundscapes. Plus, with hands-on training available at Mirror Sound, even novices can dive deep into the world of synthesis.

Sound Manipulation: Shaping Sound with Effects

Once you’ve recorded or created your sound, the next step is to manipulate it. This is where effects like reverb, delay, and distortion come into play, adding character and dimension to your tracks.

Reverb, for instance, can make your sound feel like it’s echoing through a massive cathedral, while delay can create space and rhythm. Distortion, however, can add grit and power to your sounds, making them sound more aggressive or intense. Sound manipulation is an art form in itself. Every effect can drastically change the tone, mood, and feel of a track.

In Seattle recording studios like Mirror Sound, these effects are applied through top-tier gear like the API 1608 Recording Console, which offers pristine control over your mix. Mirror Sound’s engineers know the perfect balance between subtle sound manipulation and more dramatic transformations, ensuring your track is professional and expressive.

Conclusion: Finding the Right Studio

Sound design is a journey of creativity, whether you're sampling, synthesizing, or manipulating sounds. The real beauty of sound design lies in the endless ways you can craft unique and expressive audio. If you're a Seattle music producer looking to take your sound to the next level, finding the right studio can make all the difference.

That’s where Mirror Sound Studio comes in. With professional recording services, song arrangement, production assistance, and hands-on training courses, they offer everything you need to hone your sound design skills. The studio is equipped with high-end gear, like the Neumann U87Ai microphone and the API 1608 Recording Console, ensuring top-notch quality. Whether you're crafting a music demo, voice-over, or full album, Mirror Sound helps bring your vision to life with a professional touch.

So, if you're ready to create sounds that are as unique as your vision, check out Mirror Sound Studio—the go-to spot for Seattle recording studios that are all about elevating your music.

[daveinediting]

Of course I'm writing about this after the fact and posting it to the day. 

What's already occurred is Seattle's 48-Hour Film Project. 

FRIDAY 730PM I was actually on my way home from work and tried to dial into the Livestream of the kickoff during which representatives from each production team draw two genres of which they can pick one. 

We drew Thriller/Suspense and Social Media/Influencer.

Oof. 

Neither of those genres hold passionate interest on our team. I tracked some of the conversation surrounding our choice on Discord, where it was eventually suggested to mash the genres we drew. Don't pick one or the other. Choose both.

Which is how our short film "Killer Content" was born.

A day or so after filming was complete, someone suggested the following log line to capture the essence of what our story's about—

"A social influencer will generate the biggest following, even if it kills her."

—but I'm getting ahead of myself.

SATURDAY 3AM Our writers wrapped the script coming up on three Saturday morning. Eight AM the crew's assembled at a theater on Capitol Hill to begin production. Three PM they're filming in a home in Wallingford. Fully wrapped between six and six-thirty.

As for me, I'm not on the clock 'til footage arrives at my place. So, nothing Friday night (of course). Nothing during the morning's and early afternoon's filming (of course) until filming at the first location wraps and a courier is sent my way, arriving at three thirty with the one camera card used so far.

After a selfie of the two of us doing the hand-off for photos posted to our Discord channel, I plug the card in, transfer all the footage to my workstation and now...

I'm on the clock.

The goal is to finish a first cut before I go to bed so that the producer and director can assess it first thing Sunday morning which they always do.

So. 

How long did that first cut take me?

Thirteen-and-a-half hours.

Yeah. I went to bed coming up on 5AM Sunday morning. The director watched it an hour fifteen minutes later, shot me an email a few minutes after that whilst I was still asleep, and I was up to feed our cats/shower/dress/make coffee for my wife/review my edit and begin the process of endless tweaking before the producer and director arrived a little after ten, five hours after completion of the first cut.

I actually went to bed at 445AM after exporting the cut, uploading to Dropbox, and sending copies to the composer, graphic designer, and sound designer. It was only after I was comfortably in bed next to my wife that I realized to whom I had yet to share the product of my work.

Yeah.

The producer.

And the director.

Woops.

So I got up, crafted a quick email to them including the Dropbox link, sent it, confirmed it was sent, and then went back to bed.

For real this time.

Okay. Let's rewind thirteen hours so I can point out something I think editors of old would've, I dunno... bristled at? Found confounding? Confusing? Distracting?

They definitely would've marveled at how the job's changed. And I'm not even talking about the computing workstations and the software for editing, graphic design, and sound mixing. Let alone the AI-powered tools. We'll file that all under the job of "editing" whether it's done today, ten years ago, or fifty years ago. Somehow the job of editing was completed with the tools at hand. So no. I'm not talking about how the craft has changed. What I'm talking about is what it takes to make a short film in 48 hours.

Of course for those of us engaged in post-production, that number's somewhere close to 24 hours. I don't, for example, start my work 'til the footage arrives. The composer can start as soon as the script is finished and they speak with the producer first thing Saturday. They can't really finish, though, until picture's locked. Same deal for the graphic designer, although since the script was 90% about YouTube streamers, most of the work can be assumed right from the pages of the script. They can't be done done, though, until the producer says they're done because, in this case, we were all still assessing what the film needed after my work was done, after my cut was locked. And again same deal for the sound designer whose work really does depend on my timing. They can get a head start... but they can't finish without my final cut.

So. 

What time did I finish my final cut?

Well, that was coming up on five Sunday morning. After that, say from ten that same morning, it was the producer's and director's cut as facilitated by me. The first of those subsequent cuts finished around twenty minutes after eleven. The second and final of those cuts finished at ten minutes after noon. Leaving about five hours for graphics and sound design to complete the film.

Earlier, I mentioned how editors of old would've been gobsmacked by how their profession's changed.

Here's what I mean.

Even though there are three professionals whose work cannot be completed until mine's complete, there's also no way, no way against a deadline that would otherwise impose a five-hour turnaround on them in this case... no way any of us would fully buy into that. 

So.

As I'm editing I'm also communicating with those other departments.

How?

On my phone through Discord, texting, and email. Any assets that would otherwise need to be couriered are sent almost instantaneously through Dropbox and Google Drive.

So that happened.

Right off the bat, soon as I start ingesting footage, music assets arrive from the composer. Assets called for by the producer as well as assets to cover likely contingencies.

We stay in contact until midnight, tail end of Saturday, regarding a further contingency I identified just as soon as I began laying down Scene 1.

I'm also in contact with the graphic designer until 2 Sunday morning coordinating a number of issues including the first of three element bundles he's sending me, including discussions of how to best take advantage of the opportunities presented by the fact that, in this scripted universe, three of the main characters are YouTube streamers so branding, branding, branding! Also, how are we sending assets back 'n forth? Google Drive. And then he lamented not having set photos of the lead actor so I sent some screencaps his way.

And so on.

Back and forth throughout the night. Not relentlessly, of course, but sometimes a full-blown text conversation would erupt momentarily as we coordinated, as I cut deeper into the script and had questions related to the use of graphics and animations.

I mention the sound designer last here because we had the most involved conversations on Discord regarding, ultimately, four scenes demanding his help. Actually three scenes. I was just curious what ideas he might have for the scene that was already pretty good to go. 

Okay but "demand"? What's that all about?

Well, the choice was made to not use music during any of the streaming segments... which is pretty much everything between titles and credits. One of the four scenes literally has no sound to propel it. Two more need the tension amped up on a mood pivot. And the last is pretty good...

But could be better I'm thinking.

In each case, the emotion of the scene pivots on a dime and we don't want to lose our audience in those moments, so...

Sound design.

It's the first time in this short film challenge across the years that I realize  I'm not the one who'll get this film across the finish line. Sound design's what's gonna get us there in our film's most important moments.

So.

As I work my way through the first cut, I'm communicating with the sound designer, sending him two of the four scenes for his consideration ASAP.

It's how we're gonna get through this together. So because all three departments are waiting on me... I'm gonna communicate as much as I can on the fly as the film takes shape.

That way, they're absolutely not gonna have to start from scratch with five hours to go on a hard deadline.

😐

[menandwomanofhistory]

Kearney Barton

[erik-powery-for-america]

Freeway & Jake One - She Makes Me Feel Alright (Official Video)

[dgspeaks]

TEHYA: Illuminating the Alt-Pop Scene with "crowd pleaser"

Introducing TEHYA, the prodigious 23-year-old singer-songwriter, producer, and multi-instrumentalist whose debut track “crowd pleaser” is set to captivate audiences worldwide. Hailing from the vibrant music scenes of LA via Seattle, TEHYA emerges as a formidable force in the alt-pop realm, marking her arrival on the esteemed Neon Gold Records alongside luminaries like Charli XCX and Tove…

[gianlucacrugnola]

Nirvana - Nevermind

L’approccio al secondo lavoro dei Nirvana è stato intenso, viscerale e quasi del tutto casuale. Posato sul piatto del mio giradischi dell’epoca ha iniziato a girare, urlare e farmi sognare traccia dopo traccia attraverso l’onnipotenza espressiva dei solchi più sconvolgenti di quegli anni, roba da disadattati, come me d’altra parte a 15 anni quasi 16 ma anche più tardi. Nevermind, una terrificante…

[reasonsforhope]

On her fingers, Chicago’s Chief Sustainability Officer Angela Tovar counted the city buildings that will soon source all of their power from renewable energy: O’Hare International Airport, Midway International Airport, City Hall.

[Note: This is an even huger deal than it sounds like. Chicago O'Hare International Airport is, as of 2023, the 9th busiest airport in the world.]

Chicago’s real estate portfolio is massive. It includes 98 fire stations, 81 library locations, 25 police stations and two of the largest water treatment plants on the planet — in all, more than 400 municipal buildings.

It takes approximately 700,000 megawatt hours per year to keep the wheels turning in the third largest city in the country. Beginning Jan. 1, every single one of them will come solely from clean, renewable energy, mostly sourced from Illinois’ newest and largest solar farm. The move is projected to cut the Windy City’s carbon footprint by approximately 290,000 metric tons of carbon dioxide each year, the equivalent of taking 62,000 cars off the road, the city said.

Chicago is one of several cities across the country that are not only shaking up their energy mix but also taking advantage of their bulk-buying power to spur new clean energy development.

The city — and much of Illinois — already has one of the cleanest energy mixes in the country, with over 50% of the state’s electricity coming from nuclear power. But while nuclear energy is considered “clean,” carbon-free energy, it is not considered renewable.

Chicago’s move toward renewable energy has been years in the making. The goal of sourcing the city’s energy purely from renewable sources was first established by Mayor Rahm Emanuel in 2017. In 2022, Mayor Lori Lightfoot struck a deal with electricity supplier Constellation to purchase renewable energy from developer Swift Current Energy for the city, beginning in 2025.

Swift Current began construction on the 3,800-acre, 593-megawatt solar farm in central Illinois as part of the same five-year, $422 million agreement. Straddling two counties in central Illinois, the Double Black Diamond Solar project is now the largest solar installation east of the Mississippi River. It can produce enough electricity to power more than 100,000 homes, according to Swift Current’s vice president of origination, Caroline Mann.

Chicago alone has agreed to purchase approximately half the installation’s total output, which will cover about 70 percent of its municipal electricity needs. City officials plan to cover the remaining 30 percent through the purchase of renewable energy credits.

“That’s really a feature and not a bug of our plan,” said deputy chief sustainability officer Jared Policicchio. He added that he hopes the built-in market will help encourage additional clean energy development locally, albeit on a much smaller scale: “Our goal over the next several years is that we reach a point where we’re not buying renewable energy credits.”

Los Angeles, Houston, Seattle, Orlando, Florida, and more than 700 other U.S. cities and towns have signed similar purchasing agreements since 2015, according to a 2022 study from World Resources Institute, but none of their plans mandate nearly as much new renewable energy production as Chicago’s.

“Part of Chicago’s goal was what’s called additionality, bringing new resources into the market and onto the grid here,” said Popkin. “They were the largest municipal deal to do this.”

Chicago also secured a $400,000 annual commitment from Constellation and Swift Current for clean energy workforce training, including training via Chicago Women in Trades, a nonprofit aiming to increase the number of women in union construction and manufacturing jobs.

The economic benefits extend past the city’s limits: According to Swift Current, approximately $100 million in new tax revenue is projected to flow into Sangamon County and Morgan County, which are home to the Double Black Diamond Solar site, over the project’s operational life.

“Cities and other local governments just don’t appreciate their ability to not just support their residents but also shape markets,” said Popkin. “Chicago is demonstrating directly how cities can lead by example, implement ambitious goals amidst evolving state and federal policy changes, and leverage their purchasing power to support a more equitable renewable energy future.” ...

Chicago will meet its goal of transitioning all its municipal buildings to renewable energy by 2025, the first step in a broader goal to source energy for all buildings in the city from renewables by 2035 — making it the largest city in the country to do so, according to the Sierra Club.

With the incoming Trump administration promising to decrease federal support for decarbonizing the economy, Dane says it will be increasingly important for cities, towns and states to drive their own efforts to reduce emissions, build greener economies and meet local climate goals. He says moves like Chicago’s prove that they are capable.

“That is an imperative thing to know, that state, city, county action is a durable pathway, even under the next administration, and [it] needs to happen,” said Dane. “The juice is definitely still worth the squeeze.”

-via WBEZ, December 24, 2024

[mikeywayarchive]

It has been seventeen years since The Black Parade was sent to the MOAT. In that time, a great Dictator has risen to power, bringing about "THE CONCRETE AGE”; a glorious time of stability and abundance in the history of DRAAG. His Grand Immortal Dictator wishes to celebrate our rich and storied culture, fine foods, and musical entertainments by welcoming you to these great demonstrations of power and resolve. And lending voice and song for the first time in six thousand two hundred and forty six days, their work privilege ceremoniously reinstated, will be His Grand Immortal Dictator's National Band... The Black Parade. Long Live Draag —— “Long Live:" The Black Parade North American Tour Tickets On sale Friday, November 15, 2024 10am local time www.livenation.com |  www.mychemicalromance.com/tour July 11, 2025 | Seattle, WA | Special Guest: Violent Femmes | https://www.ticketmaster.com/event/0F... July 19, 2025 | San Fransisco, CA | Special Guest: 100 Gecs | https://www.ticketmaster.com/event/1C... July 26, 2025 | Los Angeles, CA | Special Guest: Wallows | https://www.ticketmaster.com/event/0B... August 2, 2025 | Arlington, TX | Special Guest: Garbage | https://www.ticketmaster.com/event/0C... August 9, 2025 | East Rutherford, NJ | Special Guest: Death Cab For Cutie/Thursday | https://www.ticketmaster.com/event/00... August 15, 2025 | Philadelphia, PA | Special Guest: Alice Cooper | https://www.ticketmaster.com/event/02... August 22, 2025 | Toronto, ON | Special Guest: Pixies | https://www.ticketmaster.ca/event/100... August 29, 2025 | Chicago, IL |  Special Guest: Devo | https://www.ticketmaster.com/event/04... September 7, 2025 | Boston, MA |  Special Guest: Idles | www.redsox.com/MyChemicalRomance September 13, 2025 | Tampa, FL | Special Guest: Evanescence | https://www.ticketmaster.com/event/0D... —— Director: Claire Marie Vogel Producer: Lars Ruch Associate Producer: Jeremy Lambert Art Direction: Matt Varnish Linguistic Specialist: Nate Piekos

My Chemical Romance

[Nov 12, 2024]

[filmcourage]

Why I Quit Filmmaking To Start A Film Festival - Jesse Harris

Watch the video interview on YouTube here.

[wilsonpussyindulgence]

turns out he wanted the meeting because HE "doesn't feel up to being in community right now" and genuinely wanted to cancel the weekend and the cast was overwhelmingly like "fuck off we're doing the show"

i've decided i'm glad he pulled this bullshit beause it gave me a thing to be irritated about all day yesterday instead of despairing over the general state of everything

the cishet white guy who runs the theatre company of the show i’m doing, you know, the guy who chose to run a political thriller in NOVEMBER OF AN ELECTION YEAR, sent out a group text to be like “can we all get on a zoom tonight and talk about how we feel about running the show this weekend” like he was open to/wanting to canceling it

motherfucker be SO serious right now