Poet and musician croc E moses hails from South Africa and a born Canadian, drops by the studio for a good long chat about making films, releasing music in the present time, and even some controversial politics.

We go to a local cell tower and dress the guide wires up with springs, cymbals, whilst contact-bowing metal objects through a bass amp. The airstream was once again used as a broadcast satellite, to then mic up using AEA R88 and condenser mics. The cell tower will soon be available to be loaded into your sampler and use the many new textures as an instrument, as heard in this podcast. Watch for the launch of SpiceRack; loops and samples from The Jawshop - Adventure Recording.

The Canadian government is in its second reading of Bill C-11, a bill that threatens the livelihood of both Canadian creators and free speech. This is a rant.

We explore the insides of the 4track stereo culvert broadcasting session done down by the beaver pond, and the various mic techniques used, mixing techniques, dangers of water, and how the massive set up was well worth it. Also discussed is the production on a short film, and examples of the sounds from the session are given.

This episode explores the world of making DIY reverbs and spaces to to put your music and sounds in. Some examples are given.

Something different in this podcast, a taste and description of some of the loops and sounds that will soon be available from The Jawshop - Adventure Recording. Wear headphones!

#43 An Announcement A quick chat about a cool piano hack, and how I made it to sound like a rowdy Rhodes, some info on The Jawshop - Adventure Recording process and some results from out in the field, and a special announcement of some fun things to buy from the The Jawshop in times ahead.

A quick recap of the fruits and misgivings of 2020

Vancouver based musician, arranger, producer Thomas Hoeller joins us to discuss Frank Zappa, AEA R88 and his approach to writing and arranging.

An account of recording old gretsch drums in a corrugated grain silo using an AEA R88 stereo ribbon mic, and obtaining a reverb at 82 bpm that was unbelievable.