In the Mix: DJs at Cloudflare
Tune in for a discussion on music production with a few Cloudflare DJ's.
Hey, how's it going, everyone? Chris Ledesma, also known as Ledez, here with Tyler and Rotas.
You know, the main course of this segment is, you know, I'll let them introduce themselves real quick, but really just here to talk about how we got started in music production slash DJing.
And then also kind of take you through, you know, our journey and then kind of some of the steps, you know, you can use to get started if you want to get into it yourself.
But, you know, we'll start with Tyler and kind of introduce yourself and kind of, you know, give us a little background on how you got started.
Yeah, thanks, Chris. Happy to talk about this. One of the cool things at Cloudflare is they're really supportive of a lot of people's hobbies.
And, you know, being at Cloudflare for five years now, I've actually done a lot of events with other people at Cloudflare for, you know, like DJing and producing.
And, you know, it's always been a great place to just talk about these sort of subjects.
So just like really happy that, you know, we can be on Cloudflare TV and talk about this just to start.
But I guess for those who don't know me, I run a sales program to sell strategy at Cloudflare.
I also go by the alias Super Edition for like a music producer and DJ.
And I have a new project coming out in June under the alias Hyrule Disciples.
But I've done stuff with Rodas as well.
Maybe Rodas can introduce himself. How's it going, everyone? Yeah, my name is Chris.
You can formally call me Rodas or informally call me Rodas. I've been producing for, gosh, like 14 years on and off.
I currently run the outbound business development team actually in the London office.
So really excited to do this actually across the pond with a few of my favorites.
And yeah, just to echo, I think what Tyler said, it's really, really fun getting to know people within the company, you know, that share some similar interests.
And yeah, it's going to be a fun session.
Yeah, definitely. And then I'll just give everybody a little background.
So I've only been at Cloudflare, I'm coming up on a year here in five days.
And Chris actually did one of my interviews, you know, for here at Cloudflare a year ago.
And when I saw his LinkedIn, he had all, you know, these projects, you know, done and worked on.
So I looked him up on SoundCloud and then half of our interview, if not more, was just talking about music.
And really just like, you know, just like in general, this is his producing abilities.
And then kind of just like how I guess some of that translated to, you know, his success here at Cloudflare.
So it's definitely really cool to hear about. Yeah. So also just to give some more context around me, like I said, I've only been here for a little under a year.
I started producing, I think, three years ago now. So it was my sophomore year in college.
The way I started was actually I was living in a fraternity house at the time and I was just chilling in my room.
And then obviously, you know, everybody has these loudspeakers in each of their rooms.
And so I heard one of my buddies, I just blasted, you know, at the time, like obviously it wasn't like the best noises, but I could tell that it was just like something he was working on and going back and forth.
You know, you know, Chris and Tyler, just the press play, then like go back, press play, you know, hear it over and again.
I was like, oh, what's that? What's going on here? When he checked it out, he was messing around in FL.
And I was like, well, this is something I need to need to get my hands on.
And so that's kind of, you know, just how I started producing.
And then, you know, a year after that started, you know, got my first controller and then started DJing from there.
And then also, you know, before we jumped on the call, I was telling y'all, you know, my biggest inspiration was Avicii.
And this is around like 2018. And that's like, you know, kind of when he passed away.
And so I was like, wow, like he was like my biggest inspiration kind of getting into it.
And so then after that, everything kind of took off from there, just wanting to, you know, put my mark, you know, put my inspiration, you know, into a computer and such.
But, you know, Tyler, I mean, if you want to give, you know, a little deeper background, how exactly you got into it and like what inspired you to, you know, want to produce and then, you know, want to take the time to learn the craft.
You know, that'd be awesome to hear. Yeah, yeah. You know, it's funny.
It's been like a really long journey and it's kind of had its ups and downs.
I think the first time I had like Fruity Loops on my computer was in like middle school.
And I was just, you know, chilling, making some basic beats. And at that point, I didn't know anything about music.
And so like I wasn't following any time frames and like kicks and snares and everything were all over the place.
But I think what made me get into it was it was finally that you could actually like compose music completely on your own.
And so like I had grown up playing like guitar and other things, but, you know, there's only so much you can play in and of itself.
But you can never really create like complete songs. And so, you know, you'd always like, you know, have to go out and find people like a drummer or a keyboard player or something else to be able to make like complete music.
And what was cool about like these programs is, you know, you could really give you control that you could program the drums, you could program the piano, you could program, you know, a whole bunch of other things.
And what I think is funny is that I think there's this perception that, you know, because you make music with computers, that, you know, the computers are doing all the heavy lifting and it's, you know, it's very easy.
And, you know, anybody can just like, you know, press a few buttons and come up with like an Avicii type song.
But I think that's just the bait and that's what gets you into it.
And then as soon as you realize all the different nuances that you have to figure out between writing different melodies and different harmonies and understanding rhythms and how all those things mix together.
It's like if every single thing becomes its own like practice and like, you know, individual thing that you need to master.
And that's why I think, you know, it's been like maybe 20 years later.
I mean, there's still so much of producing that I like I want to get better at that, you know, to make me a better artist.
But, you know, at different points in my life, I got, you know, inspired by different people.
Growing up, you know, I was listening to a lot of hip hop when I was in middle school.
This was like 50 Cent, you know, Dr. Dre and G-Unit still had like albums out and I was like trying to make that type of music.
And then, you know, growing up in like my 20s, that was kind of like the gold rush in EDM.
And I, you know, I wanted to produce a little bit more like Deadmau5 or like Tiesto or, you know, Diplo and things like that.
And so it's been cool to be able to, you know, be inspired by different types of music and, you know, and try to recreate it in a lot of different categories.
But man, it's been a it's been a struggle, you know, just like the trials and tribulations of a music producer.
It's you know, sometimes you feel on top of the world and you feel like you can do anything.
And other times you feel like you've got the biggest mountain ahead of you.
So it's been a huge challenge.
But Rodas, I love to hear your journey, too. And I guess a quick story before I pass it to Rodas is, you know, we both met each other at Cloudflare.
And, you know, we actually worked together in some capacity.
We're both in the sales function.
And, you know, we both heard that each other did music producing and DJing.
I listened to some of the stuff on YouTube. He's got some great remixes. And, you know, just by virtue of just, you know, connecting on that, you know, we were able to do a lot of, you know, house party events.
You know, we did some events at bars and then Cloudflare IPO.
We actually hosted the IPO party and actually spun that for for the entire team.
So it was really cool. But Chris, love to hear how you got into it.
The journey doesn't end, Tyler. It's been a couple of years. The mind's kind of funny.
It broke up a few different times. I kind of empathize what you said, Tyler, a little bit with like, you know, you go through ebbs and flows of both the journey, but also like, you know, your take on music as it develops.
So I remember sitting down when I was in middle school as well. And my brother pulls up GarageBand.
Right. So it's like the proprietary free software that, you know, Apple has, which I think everyone's played with.
Right. Yeah, of course.
And he was just purely dragging and dropping loops. So so for those that don't know, those are preset beats.
Right. So you have an element that you can slice and dice that further.
But these were, you know, eight, 16 bar, 32 bar loops of anything, really.
And I had the the fun ability when he left his laptop open to start making a song.
And I had so much fun. I actually I I dubbed myself. My name at the time was 321 Techno wasn't really that more elaborate than it should have been.
But I remember my dad had a CD printer. And actually, I finished an album of about 13 songs in my eighth grade, took it to recess and started selling it actually on on the other recess, you know, like a break for pretty much snack money, a snack bar.
So fast forward a few years. I really didn't do much aside from that. And then I thought, you know, I really enjoyed music enough to kind of get back into production.
And the difference between, you know, that and kind of where I came from, you know, back in high school was I want to start making my own stuff.
So when you take these loops, there's not a lot of creativity. I'd say when you drag, you know, a bunch of loops together and just let them play, which was solely what I was doing.
So I remember vividly I was I was a busboy at a local spaghetti restaurant in my area.
I come into the Apple store. I kid you not with fives and, you know, 20s and one dollar bills.
And the guy last night, the story's like, you know, you can buy this online, right?
So I legitimately, you know, that was my first encounter of logic was was I download this.
And I was a little bit off put by how technical and crazy the system was.
But, you know, through a ton of YouTube, through a ton of coaching, just messaging, even some artists that, you know, you wouldn't even think would respond to you, that you kind of idolize getting feedback and playing around for a couple of years.
It's become, you know, kind of a true like form of fun art.
And like you said, Tyler, it's this element of like, you know, your inspiration changes a lot.
So I remember growing up on like Deadmau5 was my favorite.
And I mean, just very, very pure sounds, super fun to listen to.
I think, you know, a lot of people who just would be open to electronic music and find something they like about, you know, his music.
But it started changing a little bit more as I started opening up, ironically, to some of the, you know, hip hop sampling or whatnot.
And some artists even now, like around Muramasa, Lito, Porter Robinson, you know, I very much subscribe to kind of this producer persona mentality.
Like they kind of take on this this element beyond of almost like this, you know, they get to be someone else kind of behind the DJ deck.
So it's been a fun journey, too. And it's still iterating. Like there's a weird, you know, sense of everything's OK, not knowing everything all the time because, you know, you never know what you're going to make.
Sometimes you do a production session as we've all been in and you come up with what you think is gold.
And the next day you play it on the speakers like, what was that? But but then again, that also prompts the next song that you make.
So, yeah, ever ever changing.
Yeah. Craft, we'll put it that way. No, definitely. And like, it's funny because I mean, I'm still like a baby compared to both of y'all, you know, in my in my my craft and just getting started.
But like, you know, even like in the early stages, like I've already seen and felt like the different like inspirations, like from getting started and then kind of like what I thought I wanted to produce versus like what I've actually what I actually like produce and what I actually, you know, put, you know, onto the keyboard.
And, you know, what I think like what I feel like resonates with me now wouldn't, you know, necessarily have resonated with me when I first got started.
And then when I first started, you know, it was all about just like my ear.
Like I did. I don't want to take the time to sit down and watch all these YouTube videos and just like understand.
I was like, let me just play around with it, see if I can figure it out myself.
And like if it sounds good to me, then like that's that's like I feel like it's half the battle.
Like it's all about like you're in your internal rhythm, your internal beat, you know, that that sound that like each individual hears, like that's like what you have to put into it to make it yours, you know.
And so that's like what I wanted to like first accomplish.
And then once I realized that, hey, that might not be enough, you know, that's when you have to run to the to the multiple YouTube videos and then just like trying to like truly understand, OK, like how to the technical aspect of making it happen.
And then even like you said, like Chris, it's it's continual learning.
You know, there's always something you can do different. There's always something you can do better.
There's always like something you can learn.
And especially when the inspiration changes like that's when you have to go back, you know, and say, OK, this is like the sound I'm hearing now.
That's like what I'm resonating with.
Now, how do I like go back and like create this?
But, you know, for for both of y 'all, I think I think one of the important things, too, is like it's like time management.
Right. Like how like how do you how do you like currently, you know, with life and work?
And like you said, Chris, you started off, you know, and like was it eighth grade?
And then you kind of drift away from it because, you know, because life just happens, right?
You have stuff going on.
And so, you know, I like to see, you know, you know, one, I guess, you know, some of the how you first started, you know, what first YouTube videos are looking at like like for me, the first things I looked at was I would go in and I would find like an artist I like and just type in, you know, how how to make Martin Garrix type drop, you know, and just watch the whole like the whole basic production.
I mean, you know, like, OK, then building like someone building the melody, then the chords behind it.
And then, you know, kind of what what kind of kicks do they use?
You know, what kind of different effects go into, you know, just making a drop that I, you know, enjoy listening to that type of drop I enjoy listening to.
And then, you know, kind of like after that, you know, once you like say, OK, this is like the basics and like actually looking to the technical side of it, you know, like what kind of leads are they putting in?
How many layers are they putting in for the melody?
How many layers are you putting in for the chords? You know, how are they panning it?
Are they doing some sort of like automation? So I guess like that was kind of like a super like fast overview, like how I first started looking at like those YouTube videos.
But I like to hear like what y'all started looking at and then, you know, how how you took that and then kind of made it your own as well, Tyler.
Yeah, yeah. So, you know, it's really funny, right? Because like I feel like there's usually some level of inspiration that, you know, wants to get you into something and like where you start.
And I think sounds like similar to you guys.
I didn't take like a comprehensive, like formal schooling program to to get into this.
It was very much like bite sized piecemeal. And I think a lot of that you would learn off of just like the parts of your music or your beats that you like definitely didn't sound like real artists.
And, you know, you'd play like a, you know, bad drums.
You'd be like, oh, man, these are awful. Like, how do I do?
I don't do drums like Dr. Dre. Or how do I you know, how do I make my, you know, like my drums really hit like the Deadmau5 song and things like that?
And so, you know, you end up, you know, researching like, you know, YouTubing.
How do you make a Martin Garrix style beat or Deadmau5, et cetera? But then you start to find like there's a little community out there.
And like, you know, I started following like a few people that put out different content.
There's this one guy, Reed Stefan, who like he dresses up like a puppet and but he just like knows his stuff in and out from like an audio engineering and music production standpoint.
And I watched maybe, you know, 20 hours of this guy's videos.
Right. And he took me down rabbit holes that I would not have otherwise found.
And I think that's one of the really cool things about music producing is that it really makes you appreciate music a lot more.
Right. Because I think when I first really just listened to music and just fell in love with music, I just had like a surface level understanding.
And I would say, oh, these like drums sound good or like I like the way that, you know, the singing part, you know, sounds or like the melody, like, you know, makes me feel this type of emotion.
But then once you really get into it, you understand there's so many like subtle things and all these productions that really like make it good.
Like there's these textures in the background in the background that you don't even notice.
It's probably like the 21st most important noise that's in the song, but it really like makes the song because without it, it sounds really like there in the background and things don't sound full or it doesn't sound like the mood.
Right. And same thing just with like, you know, making snares hit and things like that.
Right. It's like the ability to make things sound like in your face and like, you know, make your body move is like way difficult.
It's not like, you know, you just take a sample or you record like something hitting a snare drum.
It's like there's a there's a science to this stuff.
And that's a cool part where you kind of bridge the appreciation of music and do like the technology aspect.
And so like once you really get into that, you have to understand like, OK, how do you choose work?
How do compressors work? Right. And then you understand like the frequency spectrum.
And so it's like, OK, what are the frequencies associated with this note on the snare?
And, you know, you want to boost some frequencies and then you want to like squash, you know, certain, you know, certain musical sounds to make it sound more thick.
And it's like there's, you know, ad harmonics with by saturating it, which, as you hear, they're just like multiples of the same frequency, like down the line.
And it's like, you know, you start getting like so deep into like the math and the science and the engineering behind it.
And that's what I've come to really love.
It's like, you know, it's like, you know, a lot of this stuff that just sounds good.
And it's like music's one of those things that most people think are like it's more of just like a feeling.
It's for like creative people. It's not really like, you know, math or engineering or anything else.
But, you know, once you get down and understand like why songs sound good, you'll find that there's a lot of symmetry in terms of like, you know, the mathematical, you know, frequencies that are all present in the song.
And, you know, there's it's missing all the stuff that that sort of clash with those particular things and everything kind of fits in with the frequency spectrum.
So that's kind of like where like what I'm excited about right now and kind of like things that like I'm researching is like, OK, you know, you know, what's the right amount of delay time to put on a particular sound?
Right. And there's usually a mathematical equation depending on like the BPM of the sound and other things.
And it's like it's super nuanced. And it's like I'm totally nerding about all this stuff that like nobody cares when they listen to a song on the radio.
But it's like, you know, it's like the little stuff that that really makes songs like be pushed over over the edge.
But I'd be interested to hear, you know, Rodas, too, because, you know, Rodas has I think the first song of Rodas that I heard was his Jason Mraz remix, which I think has like 20 million views on YouTube.
And if you haven't heard it, it's awesome. And it's like a tropical house remix.
But, you know, love to hear, like, I guess maybe background behind that song in particular.
And just I guess, you know, what you're learning about now.
So it was really funny, actually. I that was the second song I ever released that I was kind of comfortable getting out to SoundCloud.
There was a there's an application hype machine, I think, that was tied to a bunch of blogs.
It's still active today, but it was a great source of finding good music. And what I did was I produced actually a Jack Johnson remix.
So so this actually answers your question, Chris.
Like, how did you first start to kind of figure out time management or how you how you like really start up with the track?
I thought I'd take either a remix or someone's vocals, something simple.
So in this case, the Jack Jack Johnson song actually was its full song with just a guitar in the background.
So I could I could add a beat to it. I could speed it up. I could add a few leads, melodies, chords, et cetera.
And I emailed two blogs and one of them picked it up.
And it actually hit like top seven in the charts, which was super lucky at the chance.
I mean, I 100 percent there's tons of failure all the way throughout the process.
But it kind of made me think, OK, like anyone could really do this.
Right. Like, I mean, I've very, very bare bones experience on how I got to learn, you know, how to how to compose a song.
And it's a lot of probably cringe tactics.
I still use that. Like, what are you doing? You know, seriously. But through that, I actually use some of the leads.
And Chris, you mentioned this with the Martin Garrix drops.
I was looking up Kygo sounds to produce in one of the plugins massive.
So, you know, the nice thing about music software, for those who don't know, is you can you can buy or leverage these things called plugins, which I define as software within software.
It's you can really go down a rabbit hole of a specific thing.
Like like Tyler mentioned of I want this kind of EQ from this company.
And I mean, you could spend hours and hours and hours of figuring that out.
But again, you're on one instrument for for forever. Right. So I was a little bit against it at first myself, where I started doing, you know, how do I make these sounds from other artists?
And I was kind of worried I was copying out.
And actually, I would say it's the opposite where I came for a full circle.
I learned that, you know, the sounds that that you produce, you actually learn intelligently kind of how to sound design a little bit more and you can tweak them further.
Like these sounds don't need to sit stale after you do, say, a YouTube, you know, tutorial or you download maybe a file you can import in one of these plugins.
There's a ton of iteration that you can do. And to be honest, if you think about the history of music, like a lot of it is actually reiterating and recomposing the same chords, the same logic, just in a lot of different steps, a lot of different motions.
I think where it started getting fun and creative and emerge kind of two things that you mentioned, like, Chris, on one end, you said you started listening to the music coming in the speakers and that helped you like rationalize what you wanted the sounds to come to.
And Tyler, you mentioned some of the mathematics. And I love that you both mentioned that because it's kind of a spectrum on both ends after learning a lot of the math, which is super important.
Like there's obviously best practices in production.
I think it's healthy to find a balance of being creative and how you want to hear something and make it your own.
So I think one of my songs, like a couple of years down the line, I ended up I couldn't find a clap for the life of me that I wanted in a song.
And I used a water drop. And it actually came out of a project I did when I studied as a music minor at university.
They gave us a minute clip of a Lord of the Rings.
I forget what what part of one of the movies.
And we had to dub the entire sound based on how we produced it. And I remember it was I had to squeeze a piece of paper to like recreate the sound of bones falling down a well.
It was it was very odd, but I really appreciate the project.
I emailed my teacher after I was like, this is like where sound design really gets in its purest form.
You can really create something out of nothing. And, you know, as an art form, it really there's no right or wrong way to do it.
There's definitely better or worse tactics.
But I think the comfort in after doing it a few years, and I bet you all of you would agree, right, is the ability to know that, hey, there's a lot of flexibility in the free form of what production really needs to everyone.
And everyone has a different take on it, which is just super fun.
Yeah. Yeah. Yeah. And I think I'll hear y'all's opinion on this, because this is what I like always say and think about is that like I don't.
So I don't think there's a such thing as like bad music.
You know, if someone if someone goes in and they, you know, put their heart and soul or actual effort into a song, like, yes, like maybe like not everybody's going to like it.
But like if they're putting their like full effort into it and they're like, like, you know, being genuine about like producing it in the outcome of the song, they're like, I don't think that's necessarily bad music.
Like, yeah, maybe I'm not going to like that sound that you make.
Like it could be like I might just think it's terrible, but it doesn't make it a bad music.
If that's like your internal, like what you're hearing inside you and you're like actually like genuine about producing that that doesn't make it like a bad song.
I just don't like I don't like sing with it. That's not what's going on inside of me.
But that's that's you know, that's I think that's part of what you're saying, Chris, is like that's that's music, right?
It's about, you know, making your own and doing your own inspiration.
And that's like what you hear inside.
And, you know, that's that's it. That's that's the whole point. I don't know why we do it is to get that, you know, annoying little rhythm, annoying little melodies, you know, that are stuck in our head, you know, put them out so like, you know, we can play it for the people around us, you know, just for us to hear it in general.
But I don't know what your thoughts on that. Yeah, I mean, I completely agree with you, actually.
You know, it's funny. I think like people sometimes say that they don't like or they call something bad music.
And I think that's usually because it's not conveying, I guess, like the emotion or the energy that that they want, you know, in that particular experience.
But like that doesn't necessarily mean that in the right context, they wouldn't like appreciate it.
And like, you know, example of that would be, you know, most like Western, like especially like dance music is like in key, right?
Like you're making songs and like, you know, a minor or C major or something like that.
Right. And generally, like when songs are in key, like most people think it's like very like pleasant sounding and things like that.
But then you get into like jazz and, you know, jazz will start to play some notes like out of key.
But it's you know, they kind of go back in the key.
And then like, you know, it took a while for a lot of people to appreciate jazz music because they're like, you know, they're like, well, you know, I there's like some some sounds in there that are like kind of upsetting to me.
Right. And and I think, you know, when you put people in the right situation and you know, like if you sit back and sometimes you listen to it for like a little while longer, it's like, OK, there's actually like some method and there's some organization to like how this is happening.
And, you know, I think, you know, it ends up like having you appreciate that type of music.
And I guess, you know, the other kind of example of that is, you know, like when you're watching like a movie, for example, like when they're building attention before like a really climatic part.
A lot of times, though, like in the score, they'll like put a bunch of, you know, sounds that don't feel good together, right.
Songs that are not in key to like build up that tension because they know that it's like kind of, you know, to your ear.
It's like, oh, that doesn't sound right. It doesn't sound right.
And then like, you know, once that climactic moment hits, you know, they're just going to give you that release.
Right. They're going to everything's going to sound like, you know, in tune and like supposed to be together.
And like it's because of that contrast between those two things that it actually makes you appreciate the good part better.
And so I think there's kind of like a good, you know, there's there's a reason for a lot of these things.
I don't know what you think.
That's a really good point, Tyler. I've been listening to a lot more music and this isn't every artist.
Otherwise, I don't think I'd have anything to do for the rest of my life.
But it's I'm sort of listening to more albums all the way through and trying to contextualize, like what is the story behind this?
And some artists, maybe they don't think too, too much about that. Like they arrange their songs.
But some of the artists I mentioned earlier, like Lido is one of my favorites.
Every single album he has, it's an entire story. And he's really creative with some of the sounds he uses.
Chris, I had this interesting take when I was listening to another one of my favorite artists that's similar to Lido Cashmere Cat.
His most recent EP has like two or three different songs that are actually incredibly distorted, or at least have a portion of it where it's clipping in a sense.
So as producers, it's the first thing you run away from. It's like you don't want the D word distorted to come out of any of your music.
But it worked really well.
And you could tell it was intentfully done for the reasons that it's actually probably not a common thing that people release on, say, a Spotify or SoundCloud.
And like you said, there was some tension in the beats before. It also had like beautiful, you know, chords, you know, played, you know, over over, you know, some of the distortion even after.
So there's a lot of intent with some of what the artists do.
And I think what production has taught me at least is, you know, one, you always want to like empathize with the end goal of the producers, you know, producing.
But none of us will fully know. And that's kind of the fun part about it is, you know, there's there could be hours spent in one melody that's eight bars.
None of us would know it. But but but it, you know, it has intent.
Everything typically does have intent. Right. And I think that that's what makes music music.
And that's why I would I would, you know, subscribe to what you say, Chris.
It's everything, you know, that's made with intent for music is, you know, it's meant to be good.
Yeah, no, definitely. Exactly. And that's cool that you're like listening to the albums all the way through to like get the story behind them.
I like I've I think one of my favorite ones that I listen like I listen through and there is actual like like the song at like the next song like with like slowed into each other was on of your her Odessa's moment apart.
Yeah. Right. Yeah. It came out a few years ago.
And I mean, speaking about Odessa, this might be interesting, too, as it kind of like closes out.
But I've seen Odessa, you know, like I think three different times.
I think, you know, I've seen I've seen a bunch of people, you know, live in concert.
But I mean, hands down, they've got to be I think I think the best the best performers I've seen just because because they're not they're not in a certain genre, you know, like they have their own sound.
And, you know, like it goes on to, you know, what we're talking about, like some of the sounds they have, like they should have worked together.
But, you know, they like they just have that year that like makes it all fit together.
But yeah, I know, you know, we're about to come, you know, to a close. So it might be cool, you know, kind of, you know, maybe just throw out, you know, some some of our favorite artists, some of our favorite people we've seen live and then also just, you know, you know, put out our social media.
So if you want to follow us or, you know, ask more questions offline, be good to go.
But we can start with you.
Yeah, so similar to you, Chris. I love Odessa. I've seen them probably like 10 times, you know, also like pretty lights, you know, quite a bit as well.
And I think there's like a lot of synergies between like a lot of their type of music.
One of the things I like about their live performances and specifically Odessa is I think Coachella maybe like five years ago, they brought out the USC Marching Band and like they kind of like bridge the gap between, you know, a lot of electronic music, like everyone's used to seeing, you know, from like, you know, DJ equipment and like, you know, it's a fully produced song and like maybe they'll add some like filters or like some effects on it.
But you're generally hearing it the same. But, you know, being able to see a portion of the song like, you know, played live by like a traditional type instrument, you know, like whether it be like a live drummer or like, you know, Zoo will bring out like a saxophone and like a live guitarist, you know, sometimes as well.
And I think like that's the future of live performances, right?
Where it's like, you know, it's playing a really highly produced song.
So, you know, it's high quality. But it's also like, you know, it's also brings like some of that, like, you know, new remix type element.
But anyway, you know, for anybody who wants to learn a little bit more about producing, you can find me at super.edition at Instagram.com.
It's where you'll find my music as well.
And my new project is Hyrule Disciples, and you'll be able to find it at Hyrule.Disciples on Instagram.
Nice, Tyler. I'll be really quick. Petit Biscuit and Rufus Dussault, for anyone who knows, you know, for not, just check them out.
You can find me at Andyroy, A-N-D-I-E space R-O-Y. I also have another side project, Funny Money.
That's F-V-N-N-Y, M -V-N-N-Y on pretty much any social. Chris, over to you, man.
Yeah, awesome. Again, thank you, Tyler. Thank you, Chris. Everybody, you can find me on Instagram, Ladez underscore productions.
I do. I do also have a project coming out for my Make -A-Wish mix series.
A little spoiler alert.
The reason that my series is called Make-A-Wish is that each mix is 11 minutes, 11 seconds long.
Yeah, definitely really excited about this project. But again, Chris, Tyler, thank you for this time.
Cloudflare TV, thank you for having us.
You know, hopefully we'll get to come back again. Yep, sounds good. Thanks, guys.
Super fun. Thanks, guys.