Thanks a lot to you and Bo!!!

glad to hear it! Thats what SoS is about

What pieces of gear do you use bro?

@@yabiru no particular order. Blofeld keys DM12D * Pro 2 Pro 3 Nord 3P Drum Akai Force Polyend SEQ Minilogue XD * Wavestate * Mopho SE Mopho module AS1 x 2 Rev 2 module KSP NDLR Typhon * E touche` Bunch of pedals and few other bits n pieces, anything with an asterisk is possibly going to be sold for something like an Osmose or w/e.

Glad you liked it!! 🙌

That's very kind of you to say, thank you ^_^

Panic Girl totally should make a series on this!

@@BoBeats I'd watch it 😁

We never sync’ed anything, and I was starting to think we were the only ones. 😂 We we’re also sort of a hybrid of…I don’t know what to call it, experimental/ambient with a beat. Some things I learned: 1. Some days it just didn’t work. Things would not sync up well. We learned to accept it. 2. Used audio cues and brought pieces in one at a time. This sometimes caused “long intros,” but worked. For example we’d get the a part going, then trigger a one off sample, this told the other one to go ahead and bring in the next bit. Sometimes one of us wouldn’t hear it, so the other would just trigger it again. 3. Practiced. And tried different ordering for bringing things in. Sometimes using a particular loop first made it easier to sync. 4. Tested repeatability. Some pieces only ever worked that one time. In which case we’d sadly shelve it. 5. Ordered the set around minimum changes. Those tempo knobs are finicky, if we had two pieces more or less at the same tempo we’d line them up together, sometimes altering one to be a bit faster or slower than we originally wanted. Or even it meant some pieces were performed with slightly different tunings or sounds. 6. It was exciting. No piece was ever 100% the same. I enjoyed and embraced the struggle. (My partner not so much.) To me, what is recorded should be an average approximation of what to expect live, and sometimes what we’d thought would be a transition would turn into a thing in itself as we argued with syncing. And there’d sometimes be these crazy great moments that would never exist again but were perfect in the moment.

Kind of accurate

Do you mean how to get booked for a gig?

@@PanicGirlVids Yes indeed! How does that work? (I really have no idea).

@@PanicGirlVids (I mean I know it's hard work, skill and a lot of PR on your part, but there's also the formalities and the actual procedure)

@@mr_floydst I’m not sure what you mean with procedure, but usually when someone approaches me who is interested in booking me for a set they describe first where and when the gig is, and ideally how much budget they have planned for booking the artist. If it all agrees with me, I usually ask how long the set should be, as it makes a huge difference to me if it should be 30 minutes or 2 hours. If we agree on all those terms then they usually ask for a Tech Rider. It’s a PDF or something similar, where you describe what equipment you will be taking with you on stage and what you will need from them, like stereo monitoring on stage for example, a table that should be at least this and this long, and what cables they will need to get the audio signal from your gear / mixer to the sound technician at the venue. When all this is done you usually get a time slot for your sound check at the venue, and then you go from there! I hope this helps :)

@@PanicGirlVids Thank you very much for your detailed answer! Yes, that helps. I know my question was a bit odd but thanks for answering it.