How to Use Automation in Your Music Production Workflow | with Raphael Sepulveda - Progressions: Success in the Music Industry

Episode Transcript
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(00:00):
Yeah, man, once you start doing this stuff, it's just like, you get excited
because you're building features for yourself that, you know, like, probably the
developer's not gonna do it. That's Rafael Sepulveda, a producer,
composer, mixer, and workflow automations master. Rafael writes music for
television and ads, as well as produces records and contributes heavily
to the soundflow community, helping people script and design automations for themselves.

(00:22):
Today we are gonna go deep on the advanced automations that he uses
every day. Once I implement it into my workflow,
it will be amazing. It will be like, man, this is actually making my. I
can work faster, and I can build more for less work. We also get into
a lot of pro tools, specific workflows for track presets and templates. That's
where track presets and templates come in handy, like, it gives

(00:44):
you. And we touch on how he got into writing music for sync and why
it's so different from making records. One thing that I learned pretty
quickly, once you start landing these, you know, you
see your work in real life, it's just like they push your music
way down. My inner automations. Nerd has been
building scripts nonstop since we had this chat. So if you've been thinking about taking

(01:06):
the dive into soundflow or just learning to code your own scripts, definitely stick around
for my interview with Raphael Sepulveda.
So I've been excited to chat with you because we met at NAmm. At

(01:29):
this point, it was like, almost two years ago, and I'm in the midst of
kind of like, working through my end of the year
systems tweaks. And I'm like, I know that you're going to
have some tricks for me, so. Oh, yeah,
I wanted to just get straight into Nerd and ask, do you have
a top three pro tools, workflow or automation

(01:52):
things that you've put together? Absolutely. I mean, I have so many, I
can give you more than three. Make it five if you want. But the first
one that comes into mind is the stuff that I have for my
subgroups. So the way that I work, you know, like a lot of people,
I have a bunch of subgroups at the end of my session, you know, just
auxes for the drums, guitars, and whatnot. And I like to have

(02:13):
all those colored a certain way. One of the macros that I use all
the time, and I have them right here on my iPad. I
have most of the groups that I would use on a session
laid out, and I just need to select the tracks that I want,
and I hit a button, it will color it, it will look through the session.
If it doesn't have an aux to go to, it will go create

(02:35):
one and then route to it and have it pretty much
laid out for me. And that one is just. I
just do it all the time. I have it. I have, like, maybe
16 of them right here. That's awesome. So that one I use all the
time. The other one that I use all the time is
duplicating. And now, you know, this pain. Being

(02:58):
a pro tools user, we have to duplicate a
track. It involves several steps. Oh, yeah. You know, usually
if you're on Ableton or logic, you hit the shortcut and it
just creates a new track. And that's it. With pro tools, one of the things
that we love about it is that gives you options, but when you're in
the flow of things, you kind of want to, like, just get it going.

(03:20):
So, you know, the first thing that comes up is the little window saying, oh,
what do you want to duplicate? Do you want the clips? You want the automation?
Do you want this and that? How many do you want? Most of the time,
I want the same thing. I just want the same track with no
clips so that I can usually record something else,
like a guitar. I just want to do another pass.

(03:42):
So I go through those options, have it there, and then the next pain
point is the name. I just want it to
be. If it's guitar one, I want it to be guitar, too. I don't want
it to be guitar one. Dot dupe one. Yeah, that's
right. So I have a macro that
takes care of all that. It will do the duplicate. It will

(04:03):
deal with that window, set it up the way that I like it, which is
just, you know, have to track. It will wait for it to come up, and
once it's there, it will change the name to guitar two or guitar
three. It will go through the whole session and be able
to tell how many guitars are, or, you know, whatever
the name, the main name is, and give

(04:26):
it a number that makes sense. So that one
is just like, man, that's
amazing. Yeah, man. Once you start doing this stuff, it's just like,
you get excited because you're building features for yourself that, you know,
like, probably the developer is not going to do it.
It's probably too customized for yourself.

(04:49):
There's no way that this is going to happen. So you just do it. It's
like, okay, this is actually awesome for me.
And I guess, let's see. I mean, I'll just mention another
one of my favorites is the reverse reverb trick. You
know, like, that's the classic we all do. Yeah, but it
also involves several steps. Well, I have it so that

(05:11):
I just need to select. And I usually do this with vocals, you know, to
come into a verse or whatnot. I just select
where I want the reverse to start, and then
I include some of the vocal, like, usually the first word,
I hit the keyboard shortcut, and
it will just go through all the motions to make that happen. And, you

(05:33):
know, like that. It usually, it is more complex with a
monosource, which is usually a case of vocals, because the
reverb, you want it to be stereo, right? So usually what that
involves is duplicating
that vocal track twice. So you have two of them, then
grabbing the piece of audio that you want, bring it down twice,

(05:55):
then creating a stereo track, bringing those two down.
So it's basically a stereo file of the mod, of the monophile.
Then go into auto suite, choosing your reverb of
choice and setting it up the way that you want it. And then
with pro tools, it has a bot at the bottom of the auto suite window,
it has a reverse reverb option. So you hit that and it

(06:18):
will finally get it there. And then you have to clean up, delete all the
tracks that you created and then rename it all that.
The worst. The worst with his automation
trick. And it's just so awesome to just. It kind of
makes me want to do it more, even though it's. At this point, it's a
little overplayed, let's be honest. But when you need it, it's like, oh, I

(06:39):
can just do it real quick. Just press the keyword shortcut. All the stuff that
I just said. Boom. Gets done, and it's perfect. And I have
it so that as soon as it's done, it plays back what it did. Because
usually I want to see, maybe I want it a little bit longer.
So I make the selection longer, and it'll
just read through the whole thing. That's awesome.

(07:00):
I'm kind of old school because I never use the reverse reverb button in the
audio suite. Does that audio sweep the reverb
and reverse the reverb, or does it reverse the vocal print reverb and
then reverse the reverb? Right. So basically it will print the reverb and
then reverse it, right. And basically you have the effect.
Right? Just the standard reverse reverb right there. So

(07:22):
that if it didn't have that, then the. The automation flow would have been
way longer, but thankfully. Oh, yeah, they helped us
that with that one. Yeah, that was when I first got keyboard
maestro years ago. That was like the first thing I built
was a reverse reverb, but I didn't use the reverse button, so I had to,
like, audio sweep the reverb, then reverse, and then

(07:45):
have that selection. And then you reverse that. And I built that. And I was
like, this is amazing. And then I never bought keyboardmeister. I just used that, a
proof of concept, and then just like, moved on and just forgot that I was,
you know, doing that. But it's those little things. It's like people
don't think about how much time you save
incrementally, because we're talking about saving 2 seconds,
but you're talking about saving like 2 seconds

(08:08):
ten times a day, 30 times a day. And then you start building all these
automations and you're just like. Then you start saving minutes and hours and then at
the end of the year you're like, I just got, like an extra week to
do something else. You know what I mean? Which is, I
don't know. That's huge for me because I've got a kid now. I don't know
if you have. If you've. I do have a son. And

(08:29):
I'll be pleased to inform you that we've been sick for the past four months.
He's almost one year old, so he started daycare
recently. So, as you know, it's.
We're going through that right now. But yes, it's
those, you know, it might seem. Might seem marginal,
you know, like that. It just saves you a little bit of time. But they

(08:51):
do add up. Yeah, but there's more benefits to that. I mean, there's
workflows that are way longer and we can talk about that in a bit.
And I don't know about you, but whenever I finish melody,
my wrist hurts. And if I have to do even
more stuff in addition to that, you know, these
workflows, they help you with your physical,

(09:13):
you know, stamina, just less clicking around.
And with pro tools, you feel it. I mean, you have to get
to the one thing like I described earlier. You have to do a bunch of
other things. So it really
makes you a little bit lazy, I'll tell you that much. I've been
using these systems for four years now, and there's

(09:35):
no way. There's just no way. I cannot go back. And the same, you
know, I was just talking to my friend right now. It's like, man,
sample wasn't you know, it was acting up. It's like, just restart it. It'll be
fine. But, yeah, he was just explaining to me, he's like, man, I cannot work
without this. It's just, I need this. I did a record recently,
and I was using. I was using bounce factory. Andrew

(09:57):
ships bounce factor, which is an amazing sound flow
based product that is, like, built so
overkill. Like, what? He's like, it can do anything,
but I was having a problem with heat, and I never really was
able to. I didn't have time to, like, really get onto the sound flow form
and, like, work through it. And so any session that the producer had

(10:19):
sent me that had heat on, I'd left it on, did my mix,
and none of those, I could get sheps to bounce. And
I was doing atmos stems, so I was bouncing so many stems, and I was
sitting there, like, basically crying because I haven't
sat there and actually printed stems for, like, two years or
since. Whenever bounce factory came out, I just, like, have never sat in front of

(10:41):
my computer and had to do that again until this moment a couple months ago.
And I was, like, just breaking down. I was like, I should pay somebody to
do this. I can't do it anymore. Yeah, man, it's just
impossible. You know, like, it's with stems. You know,
having the machine do that kind of stuff is just the best case scenario.
Oh, yeah. If you have it laid out in a way that, you know, is

(11:02):
bulletproof, like, you know, the. The tracks are going to print the way
that you want them. Yeah. Stuff like labeling. I mean, when I started
this, my pain point was I
started doing this composing stuff that I've been doing for the past three
years. And one of the things is printing a ton
of stamps and a ton of alts

(11:24):
and the format of the names, they're pretty long. I
mean, when they come to me, you know, whenever I'm prepping,
mixing a track from another composer or my
stuff, the name is temporary. You know, usually we assign
it a number, and then it
has the type of how long the

(11:47):
track is. You know, we have 60 seconds, 30 on
20, which is two minutes. Yeah, we have several lengths, and
then we have, you know, what type of track it is. You know, this
is for the stems, you know, typical stuff. And then you have to put the
VPN, the key of the song, all that stuff in
every stamp. And I was typing them manually and, you

(12:08):
know, we are humans. We are going to make mistakes.
I was making mistakes left and right, you know, tempo, you know, just
my, my finger will slip a little bit. It's like, oh, there's no way this
is 200 bpm. I screwed up. It ain't 20 either.
So I don't know. So whenever you
set up your, your automation

(12:30):
to handle that stuff, it's just, you know, like, I haven't had any
mistakes for years. Yeah. You know, like,
at first, you know, obviously you have to finesse your
coding and make it, make sure that it works in all kinds of
situations. But I'll say that that is one of my other favorite
ones. Just having the ability to

(12:52):
print stamps and have them be
awesome all the time. I did my
script before Andrew worked on
his, so mine is more specific to my
workflow. I do still like to
print the main pass on an audio

(13:14):
track. Okay. Then I do, I do balance the stamps because
that will take too long. I don't really QC. It's not part of
my job to QC the stems. We have somebody else to do that. But I
do QC the main pass and the alts.
Yeah. And I've always found, like, I have not, haven't had any type
of trouble. Whenever you print the audio on the session

(13:36):
itself, while with bouncing, I remember there
have been some hiccups with, especially with effects like reverb and
stuff. You know, it rarely happens. But
back in the day, I remember being burned a little bit
because there was an artifact in the session that even, even if you're
listening to it while it is bouncing, it will,

(13:58):
the resulting file will have the glitch. Yeah. So I have that and
that going on. All the information from the session
is print it on the audio file, which is awesome. It'll grab the, like I
said before, the BPM, it'll grab the key. The key.
I do type it in at first, whenever I set up the session, you know,
I listen to the song and then figure out the key. And then

(14:20):
that way the script can read it off the file. That's cool. And
then it will know, depending on what track I have highlighted, what
stem we're talking about. And once it does all that,
it will go in. You know, usually they land in the bounce
files folder. And with stems, you know, when you do the
bounce, the track, it will add a dash st. We don't want

(14:42):
that. Right. So go get rid of that. And then it
will move all the files from the bounced files into
its proper place where it needs to live. And that,
man, is just invaluable. And
there, we're talking about saving several minutes at that point. Oh,
yeah. Well, you're also talking about saving the kind of thing that a

(15:05):
lot of people pay an assistant for. Like, you get down to, like, stem printing,
so you can pay somebody to build you a script, or you. You can
subscribe to one of these scripts that exist, or you could pay
somebody hourly for 8 hours on a Saturday and a Sunday.
And that's gonna be a lot more expensive than, uh, you
know, building something yourself or subscribing to soundflow or whatever you want to do.

(15:28):
Yeah, it's like, it's, uh, taking work away from people, but. But, you
know, it's. It's freeing. I mean, that's. That's where we're heading,
you know? Like, even if I had an assistant, I will hook him up with
sandflow so that no time is wasted, so that the whole
machine is moving forward. Yeah, I don't think it's about taking work
from anybody. It's just like, we just need to keep moving forward. That's

(15:50):
true. That's a great way to think about it. It's a great way to think
about it. Come on. We have the power. Why would I force you to
do the thing manually? Well, let's talk about
naming for a second, because you mentioned that was a pain point
for you. Because I recently did.
It was a full album project, and the label wanted a very

(16:12):
specific naming for each type of file. And luckily,
I have a very specific naming, so I was able to get
a batch rename process where I could swap out the words that I use
for the words that they want. And it was still time consuming. But what,
like, how do you name. How do you name a mix right now? Like,
what's your. Your naming convention? A few years ago,

(16:34):
I adapted the Grammy
specifications. Do you know what I'm talking about? There's a document flying around
back in the day. Yeah. With how it's supposed to be.
I don't remember it because I have sound flow through it for me, but let
me try. I know it was the initials of the artist,
and then underscore the name of the song.

(16:56):
Underscore what is the. If it's a mix,
a master, and then underscore the revision.
A rev one, rev two, rev three, then
underscore forty eight k a twenty four,
something like that. I'm pretty sure that was
90% correct, but, yeah, that's kind of like how I have it

(17:19):
set up for. For artists stuff we don't do. For the composition, stuff
that I do, we use different terminology that's more in
house. But for artists and records, that's the way
that I do it currently. Nice. Nice for listeners. I just found
the link to the PDF that he was describing. I'll put that in the show
notes. I'm not going to read it back, but it's easy to

(17:41):
find. Yeah, right. Okay. So we've kind of talked about some of the
things that you're up to, some of the things that are possible.
How'd you end up going down the automation rabbit hole? Like, why did
you decide to try to save this time? And more importantly, what are you doing
with the time you saved? Oh, man. Oh, like
that. Well, I know that in 2019,

(18:04):
I was very curious to learn how to, like, do some
programming. You know, something that, you know, kids nowadays, they get it in
school, and I felt like, man, like, if I could just get my hands on
something like that, you know, like, just get familiar with it. And
I've always wanted to do a contact library,
but whenever I try to go in and try to study the

(18:26):
thing, it's not very user friendly,
especially somebody that does not know how to do any programming. It kind
of, like, felt like I was missing the foundations, the very
basics. Yeah, I put it off for a while, but
in 2019, I saw
somebody using keyboard maestro

(18:48):
and they were flying like, oh, my God. When I saw that
video, I was like, what is going on? I thought I was
decent at pro tools, but he was just doing
things that I didn't even know were possible, which now, you know,
it's crazy because we've gone way ahead of that in
modern days. But what he was doing, which was basic stuff, like

(19:11):
going through the menu items and pro tools and, like, for example,
doing a keyboard shortcut and attaching it to something kind of like toggle the
click name so that you can see it or not. Yeah, stuff like that.
But to me, it was like, wow. And you can just do it there. It's
like, wow, that's pretty amazing. So
I got the bug from there and it opened

(19:33):
the world for me because I was like, wow. This is not just for pro
tools. You can automate whatever you want. Yeah.
And I still remember the first thing that they teach
you how to do with keyword maestro is just to open a
folder on your computer. So you assign, and I still use them
to this day. It's just, I have it. So the f one,

(19:55):
f two, and f three are my top three
projects that I'm working on at the moment. So whenever, you know, like, my
top three clients. So, okay, I'm going to work on this guy
today, boom. F one is usually the one that I'm working all the time and
it just shows up. That's versus going in open
window, going through all the clients, all this guy. And you know,

(20:19):
as dumb as that might seem, just, it is way easier to just
hit one key and it shows up. Yeah.
So I, that's how I started and then it just got even more
complicated and more complicated and I just wanted more. You know, once you
start, you get used to, it's like, huh. This whole thing about the
macros is cool, but I kind of want to, yeah, you know, I was referring

(20:41):
my mind to, I want to like do some coding, some more like
advanced stuff. Yeah. The way that keyword master has it laid out is
pretty user friendly. It's basically blocks of
actions that you can drop in into a flow
and then once you hit run,
it will go through all those processes, you know, back to back and it will

(21:04):
get your result, whatever that may be. And then I discovered
sound flow and that was a whole,
I was amazed. And I remember
I, I opened, I got the trial that they have a
30 day trial, I got it on it. And these, this
was early days, at least for me. Yeah, but things have changed

(21:27):
dramatically since then. But it was early days and I was like, man, this
is cool. It's a little hard though. I
tried the trial, I tried to trial. There were so many
commands, so many things you could do, you know.
So I was going through it and I was building
my first script and then I was like, man, this is

(21:50):
taking a while. And I was in the middle of like a big project and
I wanted to see if I could do something quickly, but
it was obvious to me that this required a little more investment
for my part. So I let
the trial expire and then I got back like, man,
let me just roll with, keep up my answer for now. As clunky as it

(22:12):
might seem at this point for me, I'm just going to roll with that for
now, get through this project, and then after the Christmas break
I'm going to go into this. And that's exactly what I did.
After the Christmas break, I got into it, it was 2020,
a new year. Yep. We did not know it was coming, but I
was like, okay, this is the year for me. Yeah.

(22:35):
So I started getting into soundflow and going
down the rabbit hole of coding and scripting.
So Samflow uses JavaScript
as the, the language of choice. And the cool thing
about JavaScript is that it's a very well
documented language, probably the most

(22:57):
well documented language. And from my
experience coming from trying to do some contact stuff,
which is not, well, you know, I mean, I guess it is, but still
harder, much harder. With JavaScript, you can find so many
examples of things to do. So that's what I did. I
went on YouTube, watch a bunch of videos, did a little chorus on

(23:19):
my iPhone. It was called Mimo. Just like a
training thing, very easy to do.
And once I got that going, it's like, man, okay, this is
cool. Started going through all the things
that sample has to offer, which is thousands. I mean,
that was another thing. Like, man, just seeing what

(23:41):
other people have done, it's like, wow, I just need to spend some
time checking everybody's things out. Oh, yeah, yeah.
So I did that. I did a whole list. Every time I would see a
name of something that sounded cool, I would put it there and I would just
make a point to try it out. And eventually I just started putting the pieces
together. And the most important thing, and the thing that

(24:02):
kept me going was that once I implemented into my workflow,
it will be amazing. It will be like, man, this is actually making my, I
can work faster and I can build more for less work. You know,
it's like, it's actually manifesting in
real life versus when you're trying to learn something, you know, usually takes a while,
like, let's say whenever you're learning an instrument or something like

(24:25):
that, it is, it takes a while from going from zero
to playing on stage or on the studio, it takes a few years.
Yeah. Here I was able to quickly implement what I wanted to do
and try it out that same day. Yeah. And see the
benefits. And once it's there, I just have it, you know, laid down on my
stream deck and on my iPad or on my keyboard.

(24:46):
I do all different combinations, you know,
so it that once I caught that bug, I was like, man, this
is, this is cool. And it made me feel
really good that I could learn a new skill because, yeah, I mean, at this
point it's tough.
Yeah, yeah, it saves so much time. One of the things

(25:09):
I wanted to highlight because maybe not, we've mentioned soundflow so many
times, and everybody listening to this may not be familiar with what soundflow
is, and I'll let you give a rundown of that, but
I think two of the most powerful aspects of soundflow
is one, everything's saved to the cloud. So if you go to another
computer, you can pull your commands down, which is

(25:32):
something that you couldn't get back in the day. Like when I was at capital,
there was a, there was a few people that used quick keys, some of the
film scoring guys, but I think you had to carry a usb stick around, you
had to load your things on, assuming they had quick keys on the computer. And
then the assistant had to remember to turn it off. And
soundflow, you can just log in, everything starts working. And
the other one, the power is in making your own

(25:56):
macros because I know friends that have tried soundflow and they're like,
oh, and you know, there's like a, there's like a free version that comes with
pro tools or something like that, I think now. Yes. Yeah, but it's just, it's
basically just giving you control of the things that people already
know. And that's the argument that a lot of, some of my friends have had.
It's like, well I'm already super fast at pro Tools. I'm like, dude, it's not
about having save as on your stream deck, it's

(26:19):
about building something deeper than that. You know, like we
all know the key commands. Like if you work professionally, you're already very fast.
This is to do weird. This is to get into the dark arts, you know
what I mean? Yeah, but yeah, like that's where you get the Jews out of
it, you know, just making things that are a little more complicated. But you
know, I can give you a lot of examples, even easy

(26:41):
stuff that just helps
me. But yeah, I guess we have to rewind and kind of talk more
about sound flow. I kind of just, you know, assume that, well,
Sandflow, to me it is the best
automation software that there is. I am biased because I am on
pro tools and the creator Christian,

(27:03):
he made it specifically for pro tools, even though it
can do a lot of things outside of pro tools. That was the main
focus at the beginning, so that it will help engineers
just work way faster on pro tools.
And that is the biggest difference from something like keyboard master for
example. Keyboard master is just, you know, tool for the

(27:25):
Mac to help you automate. Soundflow has that, you
know, the aspect of pro tools and the
audio community attached to it. Yeah, yeah.
So, and one of the cool things that I really like about
Soundflow, like you said, well, the cloud stuff, a lot of people when they hear,
oh, it's in the cloud, they get a little bit scared because the data, they

(27:48):
want to have a backup. I'll admit I
was part of that camp for a while,
but we're in a new world, man. Like in reality. I'll
give you my own experience here.
In the last four years, I've only lost Internet connection twice.
One, one time it was a week, I had a studio.

(28:11):
The studio I'm in right now is in my house.
But in 2020, before the whole pandemic, I had a studio off
site and we lost an Internet in the building for a
week. And what did I do? I just used my
phone and gave the computer a
hotspot on my phone, and it was completely fine.

(28:32):
And even if you lose Internet connection,
it's not that you can't use Soundflow. You can use it on an offline mode,
which means that you can use all your commands, you just can't edit them
so that it doesn't break the sync with the cloud. That's, you
know, forget about saving. You don't need to save and sample because every,
every move that you make gets synced to the cloud

(28:54):
immediately. Yeah, you know, one of the
other benefits of having that is that I just experienced
it right now. Just changed from my trash can Mac Pro to the
Mac studio. Once I install sandflow,
all the keep cover commands just populate. I don't have to do anything else,
you know, versus, you know, like the other stuff pro tools related,

(29:17):
like your track presets, you have to make sure to go on
the documents folder in the old computer, put them, you know,
make sure that you transfer them over. Anything that you put on sample
will automatically just take over on your new computer. And
the same applies if you're at another studio. Like whenever I go
tracking, all the custom keyboard shortcuts that I have

(29:39):
just automatically populate and I don't have to worry
about, you know, it's just like I'm working on my own workstation, which is
super awesome. It's been a. I mean, I hate to use the word game
changer, but there's really no other way to describe it. If you're looking to
save time or you have a lot of repetitive tasks. I mean, just like
editing this podcast, there's like so many things that I have to do over

(30:01):
and over and over again. Folder structures like you want to talk about, like non
audio workflows, I'm sure you have some. But like, I
got, I have buttons that create my pro tool session
hierarchy and my podcast hierarchy,
and I just press one button, it asks me the name of the
song, type in the name of the song, a couple more things. Boom. There's

(30:24):
Dropbox folders created, there's work drive folders created.
Everything's named. I got tired of making those
folders. You know what I mean, yeah, I. Have that same one that you
have. Yes. Yeah, that's just so easy. I think you
actually helped me on the forum with that
because I was trying to use your, you have your

(30:46):
utilities that'll create a pro tool session, which I ultimately
never used, but I downloaded that and then I posted like, hey, how do I
make this folder structure here, here, here? And then I
think you jumped in because you're always on those forums helping. People
out, which, oh yeah, yeah. And that's something that I want to tell everybody.
If you're struggling with this kind of stuff, just get on the forum.

(31:07):
Well, specifically with sound flow. And I'm super
down to hell. That's something that I've been doing. I started doing it so that
I could practice more of the scripting. And then eventually, you
know, like, I do have a lot of answers that take,
it takes time for other people to find. So I'll just, you know, I'm more
than willing to just help you because, you know, I've

(31:30):
been through that whole process. It can be frustrating.
And I just think, you know, if, if I could just, you know, show
you how to do, then you can, you know, sometimes if I see
users actually, you know, trying is in a good path. I won't give away the
whole answer. I will just point you in the right direction so that you have
the tools to do whatever you want. That's, sometimes I can give you the whole

(31:51):
script, but you don't know how to modify it. Oh yeah. You're kind of
stuck there. Yeah, yeah. But I do, you know, I love helping
people in the forum. The, the forum and the store, I think make,
they really bring so much added value to soundflow because you can just scroll
through and it's like, oh, I want to make a script for
this. For example, I was thinking, I wonder if I can build something that'll replace

(32:14):
my Uad plugins with UADX plugins.
And then you go to the store and somebody's got one up there already and
we, it's called a store, but it's like 95% free
applications. There's a small group of people that create paid applications
that obviously have taken a long time to build, but yeah,
it's invaluable. Do you have any, like,

(32:37):
what's the craziest thing you've done? Maybe not even
related, like one of the hardest automations or pieces you've put together. It
could be anything. Yeah, it's definitely gonna be
protos related, but yeah, that was the, the craziest one
was the, the whole set of
deliverables script that I made for my

(33:00):
composing work. And it's just, I already touched
on it with the whole bouncing and doing the stems
and that whole chunk. It did take a long time
to make, but then after that, there's an extra
step. Once everything is bounced
and ready, it's already where the files are, where they're supposed to

(33:23):
go. It handles the session
and kind of finishes everything off for me. And what I mean with
that is that it will go, it will save the session,
then it will create a save as of it, because I do provide for the
composing stuff. I do provide like a simple session of
everything. So I would need to clean that up. There's

(33:45):
stuff that nobody needs to see. Like I have a whole monitor
aux that I listen through that. It has my TC
electronic, the clarion laptop
meter. Yep. Has the sonarworks sound id,
you know, stuff that if you put that on another computer, just not going
to work or it's going to sound horrible. So I need to clean that up

(34:07):
so it creates a save ass. It goes through. I usually
delete all the comments. Comments for me are more
technical. Like if you're like the mic that you use or whatever,
once for this, for the, for my purposes,
you don't need comments. So I go, it deletes all the
comments. It deletes any other extra tracks that

(34:29):
were there just for.
Well, that's another workflow that I use. I have an archive folder at the
very top of my session, and there I chug
anything that I already committed and that
I don't really need for. You know, like I. Especially for virtual
instruments, you know, like one of the workflows, you know, it's just you do the

(34:51):
part, you commit it, and then you have it as audio. So then
I chug it into this archive folder and I have it there in case I
want to redo a part, whatever. Whenever I'm just done with the
song, I don't need any of that. So it makes sure to delete
that archive folder and anything that's in there that's
good. And then once the session is clean, it will go

(35:14):
through the IO, it'll hit default because you don't want all those
buzzes that go nowhere. Basically, the session is
super good for anybody to open. And, you know, like, I am a little
bit OCD with that kind of stuff. If people are going
to receive my session, it's going to be super clean and ready to
go. Everything's organized.

(35:35):
So that script handles that they'll go and then it
will do the final step. And this is the one that's, you know, it was
tricky at first. Now it's simple, but it'll do a safe copy in.
And the reason I do that is so that it flushes any audio files
that are no longer existent in the session. Right. Because, you
know, like, as you, as you're working, you might trim a file, it'll still be

(35:57):
there, or you might even not get rid of the whole thing altogether. But the
audio files folder still contains that audio. Yeah.
I like to have the session, just have the stuff that it needs, you know,
to play. And if you set up the safe copy in
window in a certain way, you can have that. It will just make sure that
all the files are in the session, are the ones going into

(36:19):
that other thing. And then once that session is
created, it goes through the folder hierarchy that
I have, just like you, it might have a whole system going
on, and there's pretty much set for another script
that I have. That is, whenever I'm done and I want to deliver, actually deliver
to the client, I select all the sessions and it will grab

(36:41):
just the pieces out of that. I don't want them to have the whole hierarchy,
just several parts, you know, like this, you know, the important stem, the stems,
the mixes, the, the pro two session, not the
proto session that I worked in, because that's just a mess. It has all the
creative stuff. Yeah, but that one, I remember
it was when I was starting out, and it took me a long

(37:03):
time, months to perfect that. Yeah,
that's, I'm trying to. So that would basically,
you'd have to have a really tight naming system for it to know if you
select like ten song folders. Yeah. You'd have to be
very consistent for it to identify what it needs. Right. But
since I created the sessions and everything is handled by scripts, it

(37:26):
will always be perfect. That's true. The only thing
it needs for me is the name of the server. Yeah, whatever. That's
the one thing that I have to provide everything else gets is, you
know, already preset by the scripts
and it just never messes up.
That's, that's amazing. I'm definitely, I'm definitely emailing you in a

(37:49):
few weeks and asking you to build something for me.
So let's, we've talked about a bunch of automation. There's probably like
people that have completely fallen asleep. Let's talk about making
music and composing. Oh, yeah. Okay,
so I know you left New York, you came to
Nashville, you kind of transitioned into

(38:11):
doing a lot more composition, and it seems like that worked out for you
pretty quickly. And I think a lot of people
really try to kick that door down for a long time. How did it
work out for you that you started landing spots, you know,
fairly fast, and you have any tips for people on how to get in
the door? Yeah, I mean, I guess I got lucky.

(38:32):
You know, the whole composing thing came about, you know, through
the pandemic. You know, I
I was doing records before, and I still do now. Things are back to
normal by the time we're shooting this, but, uh,
yeah, whenever the whole Covid thing happened, you know,
I had a studio, and just people couldn't come through. It just

(38:55):
wasn't happening. So I needed to
find a lot of opportunities. And it just so happened that
the company that I currently work with,
Halloween music, they were looking for somebody like me
initially as an engineer, basically to
handle the library side, but

(39:16):
also, as things develops, like, hey, well, do you need
tracks like this? I can give you tracks like this. So it
kind of just worked out like that. And from
my point of view of making records, you know, I'm the kind of guy
that the guy, you know, like, I am the band,
and the artist is usually just a vocalist, so I am used

(39:38):
to making tracks from. From scratch.
That is not, you know, something. I didn't really need
to adjust anything with my workflow with that. It was more about
the getting used to the intention of the
tracks. Like, it's more about the spot. And one
thing that I learned pretty quickly, once you start landing

(40:01):
these, you see your work in real
life, it's just like, they push your music way down.
It's like, man, I'm used to having it loud and proud. It's like, in
the background, you barely hear stuff. Like, okay,
more about the groove, making sure that it fits
the. Whatever it is.

(40:24):
Having a lot of space for the Vo. That's
true. What's important.
So I got used to that. And just dealing with the clients,
making sure that they get what they want, that was the adjustment
and just working through it, working to picture
that was something that I didn't do before, but

(40:46):
that came pretty natural to me. I mean, I just
made it sound in a way that looks good, too.
Just making sure, you know, I. You know,
it got. Sometimes, you know, I try to hit every cut, even though with a
beat, but that sometimes doesn't happen, and that's okay. That's something
that I had to learn as well. Can we talk about that? Process for a

(41:08):
second. Hitting. Hitting all the cuts with a beat. I worked with a guy years
ago, and. And we would always, like. We'd throw picture up, and
he would just kind of, like, strum a guitar. Not even, like, really musically. And
we would just try some tempos, and he would really pay attention to, like, where
things were hitting before him. And his writing partner would even, like, go open
logic in the other room and start writing. What's your process for

(41:30):
trying to, like, especially in ads? Like, you gotta, like, land your sting
in the right spot at the end. Are you, like, working backwards? Are you just
trying different tempos? Is it moving? Like, how do you kind of
hit those spots? Well, it changes every time. I'll tell
you the one from the last one that I landed. So basically, they
provide a script, and there's some key

(41:51):
points that need to happen. And at this point, you know, there's no muse. They
just. They just sent a. Some references,
but not. There's no. Nothing to look at. It's just some.
There's some scribbles, you know, like, it was very
bare. So what I do. I do have.
It's gonna be. In this case, it was 30 seconds. So I laid down

(42:13):
on pro tools. I opened up the session, and I put some
markers where I think, you know, it could land. I kind
of, like, spread them evenly apart. And then there was. I know there
was supposed to be a pause, and then at the end, it needs to come
in. So then I laid it down like that. It's like,
okay. And I just start looking at the

(42:34):
tempo and kind of, like, moving it up and down until I can get, like,
a few. Like, I try to do, like, 16 bars, something like that. That
makes sense musically. And I'll start there because I know if I get 16
bars, that that is something that I can work with. Yeah, that's true.
And then I grab the guitar or the piano, and I just
start strumming something. And then I just look

(42:56):
as the timeline goes on, it's like, okay, here I can put
that sync point that they want here, here, and then here.
And then depending on the. On the last one that I did, I just did
it like that. And everything landed correctly. And, you know, like, the
tempos in the thing with things like that, like 30 seconds or
60 seconds, is that if you put it on 120 or, you

(43:18):
know, something like that and multiple, that it will be perfectly. Because that's, you
know, it's. By the second. Yep. So if you get it close to
that, you will be guaranteed to land
before the 32nd mark or 60 or whatever
numeral is. Yeah, so I did that. And
it just, you know, it just happens. And then, you know,

(43:40):
once we see the whole picture, you know, there'll be adjustments
to that, but then it doesn't really matter. Like, they're, you know, they've, they've
already, in this case, they've already edited to your track that's
already then, and then you just want, you know, several adjustments to that.
Yeah, but in other cases, it involves temple
mapping, and that can get a little, a

(44:02):
little crazy. But once it's set up, you get, you know, it's, it's there and
it's just kind of magical whenever it
lands on with the, with the picture, even though the temples are going left and
right, like, it's going crazy. Yeah. With the picture, it looks,
sounds completely fine. It really does.
It. The eye, whenever there's a visual, you

(44:24):
just, you get, I don't want to say tricked, but it's just,
I don't know, a lot of things pass by that wouldn't
pass by if you were just listening to music. Yes. You know?
Yeah. So that, that's kind of how I handle that. And, you know,
it's, it's, it's fun, man.
Like, it's just one of those things like I didn't do before is like, okay,

(44:46):
this, this actually can work, you know, with variable
tempos. You know, that's whenever you're tracking a band live, and
that's pretty much the extent of that, or at least was for
me. Yeah, yeah. I know a few people that'll like, you
know, bump a section up a BPM or something,
but, yeah, you don't really see a lot of

(45:07):
deliberate tempo changes. Right. In
music. Just so you, you obviously work in pro tools for
everything. A lot of composers, or I guess I should say
heavy midi users have hated pro tools for
so long. I think they've solved all those problems. But did
you ever, were you ever frustrated with the way pro tools works in these composition

(45:29):
settings? Oh, yeah. Oh, yeah, man. It's been an ongoing, you
know, with pro tools, it's been a love hate relationship for the
majority of it. And, you know, I've tried
logic. I've tried Ableton live. Those are the
two dogs that I know the best after pro
tools. Yeah. But there's just something about pro tools. I mean, it is the dog

(45:50):
that I know the best. There's something that I've learned. It's just
the best tool for the job is the one that you know, the best. It's
just, you know, I know where everything is. And pro tools, I know how to
do, you know, like, even like, the more intricate things. You know,
one of the things that we love about pro tools is that gives you many
options to do all kinds of different things, like something very

(46:12):
simple, like multi mono stuff. Like, I. I do so much multi
model stuff, and you don't know that you miss it whenever it's just not
there, you know? Like, what is multi mono enabled
in life? Nothing, you know, that does not exist. So it's like, yeah,
but I. All my compressors are multi mono. That's just the way
that I like it. And when it's not

(46:34):
there, it's just like, man. But, yeah,
I'll just say that, you know, pro tools has changed a lot
since then, and it's just, you know, in
my frustration,
I've tried to, you know, like, instead of, like, jumping ship and

(46:55):
just going in, getting Cubase or something like that.
Right now, as of right now, cubase and logic are the top
dawes for scoring or for writing.
Yeah, and portals, I would say, is the third.
But instead of jumping ship, it's like, man, how can I get involved
with these guys and kind of, like, let them know my

(47:19):
frustrations and things that can be done better,
you know? I got lucky that for whatever reason, they
chose Nashville, Abbott did to do what
they called a ACA chapter. ACA
is the avid Customer
association, and they meet up and they do these

(47:41):
events, and they get together with the
users, just talk shop
and get to know the people that make the software. And
they came to Nashville in
February of this year, in 2023.
And, yeah, I went to the event and met all these guys, and they're cool

(48:03):
people just trying to make the best offer that they
can. And
a lot of changes have happened since last year, since
2022. A lot of things are moving in there
in the positive, very positive direction, and
just talking with them, I got really excited and, you know,

(48:25):
and as you can see, in 2023,
there's a lot of things coming that are. They're even
backtracking on things, you know, like the pricing. They finally brought
perpetual licenses back, which is, you know, something that people wanted it, you know.
Yeah. That is sign. A sign that times
are definitely changing. Yeah. But in terms

(48:46):
of the software itself. Yeah.
And now. Now that I have it set up with sound
flow, there really isn't any better option. It's
just impossible. I don't know about you, but I abuse track
presets that is one thing. Track process is
huge, workflow. Huge, huge. Other daws

(49:09):
have a version of that. But this one, you know, you can
import, because what a track preset is, it is a whole
session, and you can just drag things from it. Even
tempo markers, you know, like, if you delete,
you know, the extension of
track preset is PTXP or

(49:31):
PTXT, I think it is. If you delete the last letter, it's just a
normal, normal procession, and it will open
like a normal session. Can you add a p to a normal session?
I think so. I've never tried it that way, but, yes, I would make
sense. I think it would make it work, but that's
what it is. And you can. You have access to whatever you have in that

(49:52):
session. Obviously, most people use it just to get the tracks that they
saved. So I have it
set up. Or my template is kind of like. I
use several different
philosophies here, but the one that I've been using the most
is having kind of like a basic template with all the things that I

(50:14):
need. You know, like, I have, like, what I call my master
chain, you know, like my. My submaster, my.
My regular subgroups, like the guitars, the
drums, things that are always in. 90% of the things
that I do, you're all laid down there. And instead of having,
like, hundreds of tracks of different

(50:36):
instruments and stuff, I just have here my iPad,
all my favorite track presets for the instruments that
I like. And when I need them, I just press the button and it
will load that for me. And you kind
of populate the session with the things that you need. And
it happens so quickly because you just. It's just one.

(50:59):
One iPad push away. Yeah. And
the thing with that is that my iPad started to get full,
so I made another script that is
shows up a search, kind of
like what you would see in spotlight. And then you can start typing
and find whatever track preset that you want, is basically searching through all

(51:21):
your track presets, and you can select what
you want. Even, you know, I, like, I got into the practice of saving track
presets after every project. Just stuff that worked, you
know, things that I'll probably not use for a while, but
just this worked. It made it all the way to the end.
This is. This is something that I might want to use later on instead of

(51:43):
rebuilding it. Yeah. From scratch or from memory or
trying to find the session. I just have it there. I just put, you know,
the name of it. I put the. In parentheses, the name of the project you
know, something that might help me remember where it came from.
And once you're working on something
else years later, it's like, man, I kind of remember that.

(52:04):
Let me see how that sounds to you. You pop it in, it's like, man,
it's already kind of mixed. Yeah. Like, it really
helps with the, with the workflow. And I just don't. I mean, that,
to me, was a game changer, and I just don't think I can find something
similar to that. And that's just one of the things.
But that one is, you know, very important to me.

(52:24):
Yeah. In terms of the way that I work now. Well, yeah. Okay. There's two
things you touched on. One, I wanted to talk about templates, but we'll come back
to that. But track presets, that it sounds like you're
doing kind of a more advanced version of what I'm doing with the track presets,
because I have my, I switch my whole mix template to basically
run off of the track preset. So I pull all my, my bus

(52:45):
bussing and routing structure in and then put the audio files
at the top of the session. And then I've got my stream deck set
up with instrument groups like drums, bass, guitar, whatever. So
I'll click, you know, say there's three kicks in this pop track. I'll select those
three kicks. I'll go over, press kick, and that'll load a
track preset that'll move it into the kickoffs, color

(53:07):
code it, give it the groups, give it any plugins,
whether they're active or inactive, that I like to use. And then
it'll. Then it'll jump back up to the top of the session. I can select
the snares and press snares. Boom. We go through,
cycle through the whole session, and mix perhaps, like, 1015 minutes.
Yeah, man, that's awesome. I love it. It's great. But, uh, so I

(53:29):
want. Okay, I wanted to ask you about templates because I feel like
the more, like, I cruise around the Internet and, like, participate in TikTok and
stuff, templates are getting this, like, bad rap that
people are just, like, want to sell you their vocal chain, and it's gonna mix
your record, and. And then it's making other people react, like,
don't use templates. I start from scratch every time, and I'm like, you guys all

(53:52):
have templates. Wrong. Templates are like, free
creativity and let you work quick. It's not to do the
work for you. It's to help you do the work. But I don't know
what. So you kind of touched on your philosophy. How much
processing is active in your templates
versus ready to go, I guess, is the

(54:13):
question. Well, I like to have it pretty much ready to go. Yeah. The
thing is, and the reason why it's
controversial is, I think it's. If you decide
to just keep it as it is and it's not gelling with
the track that you're working with, you know, like, that is where it's a problem.
But if I put on something, you know, like a chain that I

(54:36):
did a while ago I listen to, it's like, this is. Doesn't sound right. I
mean, it's there, but. And then I start tweaking it, and then I start changing
into whatever I want it to sound at the moment.
But that is way easier than trying to rebuild it
from. From scratch. And there's some chains, man, that
I've gone crazy, um, you know, with drums and

(54:58):
stuff. You know, we're always in the quest of
not using samples and whatnot. Oh, yeah.
Yeah. So you will see, if you go through one of my sessions, you will
see the attempts at doing some crazy
thing that at the end of the day, you know, just put a sample, you
would have saved so much time. It was pretty much the same,

(55:20):
but there's some good stuff that I, you know, I would spend, like, an hour
just, you know, playing around, and I can just
go through my thought process, like, man, actually, that sounded pretty cool. Let me
just grab, like, half of it, and then, you know, take it from
there. Yeah. So that's where track
presets and templates come in handy. Like, it gives you a snapshot of

(55:42):
where you were mentally at that point. It's just
you have to make a deliberate effort, you know, to
change things and make it fit to whatever you're working.
True. I just can't, you know, like,
the stuff that I do now. Time is of the essence. I cannot start
from scratch. There's just no money for any of that, you know,

(56:05):
luxury to spend a week tweaking one track.
It just needs to happen immediately. Yeah. And
that is where it comes in handy. You're more efficient. Things are laid out, you
know, in a particular way, and you just have to make an
effort to change it up if it needs to, or just, you know, there are
times in which you would do something from scratch. One of the things that I

(56:27):
do for records, I do like to make
one or two sounds that are specific for that track,
that are signature to that track, and that's where I spend my
time, you know, making sure that something that's gonna be on the spotlight,
you know, I'm gonna make sure that that has a signature sound, but then
everything else, you know, I have many

(56:49):
gray guitar sounds, mini grades, drum sounds. You know, it's
just. I can mix and match them, you know? Yeah, that's my thing
that I've done throughout the years. So that's what I think about
that. I agree. I think the people, when they're
newer in their journey, they don't know that they're supposed to change the
preset. And I think I'm actually going to make a pitch to

(57:12):
all audio engineers and companies out there.
I feel like if you're going to load presets into
your plugins, which obviously you are, they should have
an input game marked, right? Especially if you're getting into, like,
guitar stuff and you're going to record, like, you're. You probably
plug your guitar in, your mic preset, you load your presets. It's. It's

(57:35):
expecting that gain all. It's all the game staging is done. Yeah,
exactly. If somebody filled the meter up and loaded your guitar
temp, your guitar sone, it's going to be crazy distorted,
and they're going to be like, this is horrible. And you're like, no, that's not
how it was supposed to be used. So there you go.
Nerd in me. But before we go, I wanted to

(57:56):
ask. Your main instrument is guitar? Yeah, that was the
first instrument that I learned. Yeah. Do you. Are you die hard
amp or are you software? Are you like
Kemper software at this point? Yeah, I mean,
yeah, most of my career, I used guitar Rick out of all things.
And again, is the tool that you know, that

(58:18):
is the tool that I know. I can get the sound out of it. It
is cpu friendly, which is one of the battles.
And you can recall it. Yeah. Those are the things that are
important to me. At the end of the day,
if it's a little better, you know, if I mic up
on amp or whatever, that's cool. But that is

(58:42):
just in the world that I live in now. That is not something to
worry about. It really is more about the part,
you know, the. The musical aspect of it. I mean, the tones are cool. They're
gonna be cool regardless if it's just 5% better. It's just that
that doesn't matter, you know, in the world that I'm in right now.
Yeah. As so much is dictated by the fingers and the

(59:04):
instrument, like, if you've got a great guitar and you're
a great player. Like, I don't know. I think people that don't play guitar, I
play guitar. They, they don't understand how much tone is in,
like, a person's fingers. You know, I've got buddies where
they'll, they'll play their guitar and you're like, oh, wow, that sounds amazing. My guitar
doesn't sound like that. And then they'll grab your guitar and start playing and you're

(59:25):
like, oh, okay, fuck. I understand. The problem's me. It's not
him, it's me. Awesome, man. Dude, this has been
a lot of fun. I would, I would nerd for another hour,
but I know you've got stuff to do. I've got to get back to a
mix, but I've got two questions. I think you know what they are. So the
first one that I hit everybody with is, was there a time in

(59:47):
your career that you chose to redefine what success meant to you?
Absolutely, man. And that was early on, I thought I was going to
be a touring musician with a famous band, you
know, like a successful band. You know, I wanted to be, you know,
I'm from, you know, my scene was the early, mid two
thousands, you know, my chemical romans, you know, like, take him back

(01:00:09):
Sunday. I want to be, I wanted to be in a band like that,
and I wanted to be in a band like that by the age of 24,
which kind of make things complicated
so quickly, you know? You know, as time was going on, you know, I
was making, you know, progress towards that. But
then, you know, I was approaching 24 and I saw that, you know, I was

(01:00:32):
still pushing what, it still wasn't happening. And, you know, my
career, you know, I had to do many different things, but
basically there comes a time in which you need to, you know, secure yourself
financially. And I was making money at the
studio recording other bands and not so much playing with the band.
The band was making no money. So

(01:00:56):
there. There I am at 25, 24 years old. It's like,
wait. Like, I am pretty happy here at the studio. This is
cool. Like, I get to record whatever I want. I'm not
touring. And then in hindsight, you know, like, touring
is not really. That wouldn't have been the lie for me. For me, that
was something, you know, as a fantasy as a kid growing up, like, oh, man,

(01:01:19):
that's what I wanted to do. But that, that was not the lie for
me. So right there, I had to redefine success as, you
know, just living, you know, I was happy to be
employed in the music business and doing music every day.
That, to me, is what matters.
Yep. I love it. I love it. It's funny, the

(01:01:40):
long, you know, if you do this long enough, you. You kind of.
You take for granted that you make your living in the music industry,
and then you think about how many people would kill
to make their living in the music industry in any part of it,
you know? But, like, when you're wrapped up in it, you just forget
sometimes and, you know, yeah, it's. It's pretty

(01:02:03):
awesome to do what you love, even if it's not music. If you love painting
and you make a living at painting, that's awesome, too. So many people don't
get to chase their passion and, you know, pay their bills that way, but.
So last question. What is your current biggest goal
that you can share with us, and what's the next smallest step you're going to
take to go towards it? Well, man, this is a very

(01:02:24):
general one. A lot of people share it, but
it's. It's my goal, you know, just financial security, you know, financial
freedom, just the thing, you know, like, you know, in
this business, you have to make a lot of sacrifices with your time
and, you know, like, you understand this, you have a family. You know, my family
has to sacrifice a lot, you know, so one of my biggest

(01:02:48):
goals is just to attain that so I can have more
time with my family and enjoy that part of life. You know, that's one of
the things that that is, has a lot of
value for me. And I guess the
next step, you know, is. That's a
difficult question because I'm always, you know, every, every move that I

(01:03:10):
make is towards that.
But I guess, you know, one of the things that I want to do for
next year is start to get more with the social media and stuff. Like, I
am somebody. I think you found out when you went to my instagram. I barely
post anything. I do post, you know, whenever there's a new
version of pro Tools or another Mac coming out. Yeah,

(01:03:31):
but I found out that, you know, in
this day and age, you have to be present in social media
to kind of like, you know, get people to know you. If
people don't know you, they don't. They don't know if you exist, you
know, you lose an opportunity. So, yeah, that is something that I look
forward to next year, just, you know, getting more

(01:03:54):
active with social media. And I
guess one of the things that I'll be making content
around is obviously what we've been talking about
this today, soundflow and pro tools specifically,
I'm in the soundflow store. I have a package
that is free and it has a few of the

(01:04:16):
commands that I like. But I've been helping out in the forum
for the last four years. I have a ton of
scripts that are just lay there just like doing
nothing. I'm just going to start cleaning them up and putting
them in there. And, you know, every time I. Every time I
post one, I'll do a little piece of content around that and

(01:04:39):
I think that'll be fun for people to find and get familiar with the
things that I like. Yeah. And I think that, you know, just another
step into developing a
multifaceted career. I guess you kind of have
to now. And the Internet has become like. It's become how
people build trust with each other. Especially post pandemic where a lot of people

(01:05:01):
decided that they could leave music hubs. Like, I don't have to be in
Nashville anymore. I don't have to be in LA or whatever. And they go
somewhere cheaper to live. And they still have maintained connections and
they. People still trust that they make music. Cause they could see they
get to know this person on the Internet. Social media is
definitely an interesting double edged sword, but it's so

(01:05:24):
necessary. You know what I mean? Yes. Yeah,
absolutely. I'll be watching those videos because I need
to. There's so many things I need to code that I
will be. I'll be looking for more tricks. But dude, this has
been. This has been great. Please tell people where they can find you,
where they can find anything you've done for

(01:05:45):
soundflow or whatever. Just your little spot to share, whatever you
want. Well, I'll keep it super simple. Currently,
my one thing that I have is my Instagram.
That is the best place to find me. Whenever I have something to
announce or anything, that's where I post it. So please
find me as Raphael sepulveda on Instagram.

(01:06:07):
And if you're into soundflow or want to check it out,
go sample.org and you can find my
package on the store. Just type my name and you'll find it right away. Rafael
sepulveda utilities and that is
it. Awesome. Amazing. Dude. This was a good
hang. One of these days I'm gonna make it to Nashville. You coming to namm

(01:06:28):
this year? Hell yeah, man.
I'll be there. Absolutely. Awesome.
It.

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How to Use Automation in Your Music Production Workflow | with Raphael Sepulveda

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