1 00:00:00,000 --> 00:00:11,000 You're listening to the piano part where we talk to the brightest minds in the industry 2 00:00:11,000 --> 00:00:17,760 about how they're bringing the piano into the 21st century. 3 00:00:17,760 --> 00:00:22,520 Last time we spoke to music technologist Claire Marie Lim about her creative process and the 4 00:00:22,520 --> 00:00:26,320 integration of classical foundations with modern genres and technology. 5 00:00:26,320 --> 00:00:30,920 And now the conclusion. 6 00:00:30,920 --> 00:00:32,440 How did you learn production? 7 00:00:32,440 --> 00:00:33,440 Was it through Berkeley? 8 00:00:33,440 --> 00:00:34,520 Was it YouTube videos? 9 00:00:34,520 --> 00:00:35,720 Because it's really top notch. 10 00:00:35,720 --> 00:00:36,720 Yeah. 11 00:00:36,720 --> 00:00:37,720 Thank you so much, Erie. 12 00:00:37,720 --> 00:00:38,720 That means a lot. 13 00:00:38,720 --> 00:00:39,720 I'll be very honest. 14 00:00:39,720 --> 00:00:44,680 I think I grew the most after I was done with college. 15 00:00:44,680 --> 00:00:50,800 And I think it's because college gave me a lot of the tools that I had, but it was still, 16 00:00:50,800 --> 00:00:52,400 it still took me time to learn them. 17 00:00:52,400 --> 00:00:57,360 I listened back to a lot of the pieces that I made while I was still a college student 18 00:00:57,360 --> 00:00:58,840 and it's like, yeah, they're okay. 19 00:00:58,840 --> 00:01:03,920 But you can definitely hear the beginnings of Daltrik trying to poke around and being 20 00:01:03,920 --> 00:01:06,400 like, what is this doing? 21 00:01:06,400 --> 00:01:09,080 Which is not to say that I didn't understand things. 22 00:01:09,080 --> 00:01:11,600 I understood things conceptually. 23 00:01:11,600 --> 00:01:17,560 This is how this synthesizer works or this is how this compressor works or whatever it 24 00:01:17,560 --> 00:01:18,560 is. 25 00:01:18,560 --> 00:01:21,520 This is how that sound engineering type of thing works. 26 00:01:21,520 --> 00:01:26,680 But being able to just put my nose to the grindstone and work at it, that really came 27 00:01:26,680 --> 00:01:27,680 after college. 28 00:01:27,680 --> 00:01:30,000 And I think it was just a lot of practice. 29 00:01:30,000 --> 00:01:35,320 And actually, this is maybe the biggest tip I could share if there's a biggest tip. 30 00:01:35,320 --> 00:01:37,320 I started using my ears a lot more. 31 00:01:37,320 --> 00:01:42,120 I don't know if, and this is a very weird sort of thing to say as well, I think, but 32 00:01:42,120 --> 00:01:47,760 growing up as a pianist, even though I did do a lot of classical piano stuff, my ears 33 00:01:47,760 --> 00:01:51,040 were not super strong. 34 00:01:51,040 --> 00:01:57,320 For example, I would play a piece and if I were to mess up halfway, I would be totally 35 00:01:57,320 --> 00:01:59,960 lost because I'd be like, if I memorized it, right? 36 00:01:59,960 --> 00:02:03,600 I memorized a piece by Brahms or something, play the thing. 37 00:02:03,600 --> 00:02:06,480 And I use that as an example just because the harmonies are so beautiful, right? 38 00:02:06,480 --> 00:02:09,320 But it's like, if you forget something, that's it. 39 00:02:09,320 --> 00:02:11,640 You're totally out of it. 40 00:02:11,640 --> 00:02:15,640 Versus now, it's funny, I actually revisited this piece not long ago. 41 00:02:15,640 --> 00:02:20,000 I'm thinking of the intermezzo in A major, like opus 118. 42 00:02:20,000 --> 00:02:25,160 But I played that back when I was much, much younger and I remember having a total brain 43 00:02:25,160 --> 00:02:29,360 fart where I gave up halfway because I couldn't remember the piece. 44 00:02:29,360 --> 00:02:34,360 I revisited it a couple of months ago and I managed to play it and this time I was like, 45 00:02:34,360 --> 00:02:36,020 wait, this is that chord. 46 00:02:36,020 --> 00:02:38,440 This is this chord, la, la, la. 47 00:02:38,440 --> 00:02:44,240 So I started having a lot of these more solid connections between what I was listening to 48 00:02:44,240 --> 00:02:46,560 and what I was actually playing and doing. 49 00:02:46,560 --> 00:02:51,200 The reason I bring about this anecdote of using the ears is because I think being a 50 00:02:51,200 --> 00:02:56,800 classically trained musician took me a lot away from relying on the ears and instead 51 00:02:56,800 --> 00:02:58,840 relying on eyes for notation. 52 00:02:58,840 --> 00:03:02,760 But the moment I started doing a lot of the listening, that helped a lot also with my 53 00:03:02,760 --> 00:03:07,840 production stuff because then I would be listening to a song and I'd be like, okay, yes, that's 54 00:03:07,840 --> 00:03:09,360 a very cool synthesizer part. 55 00:03:09,360 --> 00:03:14,800 Okay, so we know it's a synthesizer, but what kind of wave is it made with? 56 00:03:14,800 --> 00:03:18,080 Is it like a saw wave or is it like a sine wave or whatever? 57 00:03:18,080 --> 00:03:21,120 And also, is it coming in very quickly? 58 00:03:21,120 --> 00:03:25,280 Does it have a very fast attack like a piano or is it more like fading in? 59 00:03:25,280 --> 00:03:28,200 And then what kind of effects does it have? 60 00:03:28,200 --> 00:03:29,200 Does it have reverb? 61 00:03:29,200 --> 00:03:32,840 Does it have a delay on it or a filter or something? 62 00:03:32,840 --> 00:03:39,240 And being able to use that part of the listening toolkit to apply that to electronic music 63 00:03:39,240 --> 00:03:43,120 helped me realize that, okay, so I know what that sound sounds like. 64 00:03:43,120 --> 00:03:47,440 Now I'm looking in my production software and it sounds like that, which doesn't sound 65 00:03:47,440 --> 00:03:48,440 like the original. 66 00:03:48,440 --> 00:03:51,480 So how do I get closer to that sound? 67 00:03:51,480 --> 00:03:54,880 And that was really something that I only developed after college. 68 00:03:54,880 --> 00:04:00,920 I was developing beginnings of that as a student, but it was really when I really started doing 69 00:04:00,920 --> 00:04:06,840 a lot of this regular practice and opening my ears very literally to stuff that my production 70 00:04:06,840 --> 00:04:07,840 I think got a lot better. 71 00:04:07,840 --> 00:04:08,840 So I don't know if that helps, Ari. 72 00:04:08,840 --> 00:04:11,840 That was like a very roundabout of seeing that. 73 00:04:11,840 --> 00:04:13,680 Yeah, no, it makes total sense to me. 74 00:04:13,680 --> 00:04:18,280 I mean, you're basically talking about the difference between playing music versus making 75 00:04:18,280 --> 00:04:19,280 music, right? 76 00:04:19,280 --> 00:04:20,280 Totally. 77 00:04:20,280 --> 00:04:21,280 Yes. 78 00:04:21,280 --> 00:04:22,280 Yeah. 79 00:04:22,280 --> 00:04:23,280 Have you ever heard of, I think it's Centorial. 80 00:04:23,280 --> 00:04:24,280 Do you know that? 81 00:04:24,280 --> 00:04:25,280 Yes. 82 00:04:25,280 --> 00:04:26,280 Yeah, yeah, yeah. 83 00:04:26,280 --> 00:04:27,280 Totally. 84 00:04:27,280 --> 00:04:28,280 Right. 85 00:04:28,280 --> 00:04:30,120 Because I tried a few lessons in that where they give you a synth sound and then you have 86 00:04:30,120 --> 00:04:32,040 to try to make it yourself. 87 00:04:32,040 --> 00:04:34,200 I knew I was bad, but I didn't think I was that bad. 88 00:04:34,200 --> 00:04:35,880 It was really hard. 89 00:04:35,880 --> 00:04:39,400 But I feel like this is the modern equivalent of your training, right? 90 00:04:39,400 --> 00:04:40,720 Yeah, it totally is. 91 00:04:40,720 --> 00:04:42,680 And that's actually things that I do with my students. 92 00:04:42,680 --> 00:04:45,960 So if any of my students are listening to this, which they might, it's like now you 93 00:04:45,960 --> 00:04:46,960 know where it comes from. 94 00:04:46,960 --> 00:04:48,320 Now you know why we do the thing. 95 00:04:48,320 --> 00:04:52,200 Yeah, we'll play a sound or sometimes it'll be something that they bring to. 96 00:04:52,200 --> 00:04:53,200 They bring to the table. 97 00:04:53,200 --> 00:04:56,200 So they're like, hey, there's this new song that's on the radio. 98 00:04:56,200 --> 00:04:59,200 Let's listen to it and let's kind of think a little bit about how that works. 99 00:04:59,200 --> 00:05:03,200 And sometimes it's not even a sound, but it could be something like the processing on 100 00:05:03,200 --> 00:05:04,920 a vocal, for example. 101 00:05:04,920 --> 00:05:08,680 So like this singer's voice, like how are they processing his or her voice or their 102 00:05:08,680 --> 00:05:09,680 voice, right? 103 00:05:09,680 --> 00:05:14,120 What kind of effects do they put on their vocal chain in that case? 104 00:05:14,120 --> 00:05:18,000 And that's a part of the ear training to listening to all of these different artists types of 105 00:05:18,000 --> 00:05:21,120 sounds and then being how do we recreate that if we want to? 106 00:05:21,120 --> 00:05:25,720 So I'm very curious about this Ableton. 107 00:05:25,720 --> 00:05:28,560 Sorry, I have to read. 108 00:05:28,560 --> 00:05:32,160 I'm so old. 109 00:05:32,160 --> 00:05:34,640 You know, the Ableton keypad. 110 00:05:34,640 --> 00:05:35,880 Yeah. 111 00:05:35,880 --> 00:05:39,360 Can you show us if you have in front of you? 112 00:05:39,360 --> 00:05:41,560 So this is something. 113 00:05:41,560 --> 00:05:45,360 This is an instrument that's called the Ableton Push. 114 00:05:45,360 --> 00:05:50,560 And it works very interestingly because the layout will change depending on what you want 115 00:05:50,560 --> 00:05:53,680 it to be, which is it's kind of fun. 116 00:05:53,680 --> 00:05:56,880 The cool part about it is that let me see if I can also share my sound. 117 00:05:56,880 --> 00:06:02,040 So the cool part about this, too, is that it's not just specific to one type of sound. 118 00:06:02,040 --> 00:06:04,560 So it could pretty much be like any sound that you want it to. 119 00:06:04,560 --> 00:06:10,840 At the moment, I've got some kind of electric piano sound pulled up. 120 00:06:10,840 --> 00:06:12,120 But that's how you kind of play it. 121 00:06:12,120 --> 00:06:13,960 And I don't know if anyone plays guitar. 122 00:06:13,960 --> 00:06:15,600 Maybe some of the listeners will play guitar. 123 00:06:15,600 --> 00:06:18,400 But this particular layout is very similar to guitar. 124 00:06:18,400 --> 00:06:22,600 So each note that's directly above each other is a fourth above each other. 125 00:06:22,600 --> 00:06:25,200 So for example, that's your major chord. 126 00:06:25,200 --> 00:06:30,040 That's F. That's G. So you can play a lot of these chords everywhere. 127 00:06:30,040 --> 00:06:33,560 But yeah, this is my main controller that I like using a lot. 128 00:06:33,560 --> 00:06:37,080 The main reason why I do it is because of what I mentioned just now, which is that it 129 00:06:37,080 --> 00:06:38,080 doesn't. 130 00:06:38,080 --> 00:06:39,400 Sorry, let me move my mic. 131 00:06:39,400 --> 00:06:43,960 The main reason why I like playing it so much is because you can have different types of 132 00:06:43,960 --> 00:06:44,960 sounds. 133 00:06:44,960 --> 00:06:48,760 So the electronic piano electric piano is one of them at the moment. 134 00:06:48,760 --> 00:06:51,560 But I'd love to get a suggestion from any of y'all. 135 00:06:51,560 --> 00:06:53,200 Would you like to hear a different instrument? 136 00:06:53,200 --> 00:06:56,440 Maybe we can find something else. 137 00:06:56,440 --> 00:06:57,440 Something weird. 138 00:06:57,440 --> 00:06:58,440 Yeah. 139 00:06:58,440 --> 00:06:59,440 OK, cool. 140 00:06:59,440 --> 00:07:00,440 Something out there. 141 00:07:00,440 --> 00:07:01,440 Yeah, maybe something weird. 142 00:07:01,440 --> 00:07:02,800 So I'm going to browse for a different sound. 143 00:07:02,800 --> 00:07:06,080 Maybe like let's do an effect. 144 00:07:06,080 --> 00:07:07,080 So OK, cool. 145 00:07:07,080 --> 00:07:12,200 Can I ask Claire, are these sounds loaded into the controller or is it separately on 146 00:07:12,200 --> 00:07:13,200 your computer? 147 00:07:13,200 --> 00:07:15,360 Yeah, so these are all that's a great question, Eric. 148 00:07:15,360 --> 00:07:17,640 So these are all in the software. 149 00:07:17,640 --> 00:07:22,000 So in the software Ableton Live, you have to connect this to the software for it to work. 150 00:07:22,000 --> 00:07:25,680 So very honestly, like if I didn't connect this to my computer, it would just be like 151 00:07:25,680 --> 00:07:30,920 a really expensive paperweight, like a $700 paperweight. 152 00:07:30,920 --> 00:07:33,360 But yeah, let's see what happens if we load like this one up. 153 00:07:33,360 --> 00:07:34,600 That one was kind of fun. 154 00:07:34,600 --> 00:07:35,600 So let's see. 155 00:07:35,600 --> 00:07:36,600 Cool. 156 00:07:36,600 --> 00:07:46,320 So we got some lasers now going. 157 00:07:46,320 --> 00:07:49,520 If we wanted to, we could also do something that's like totally different. 158 00:07:49,520 --> 00:07:55,120 So maybe let's do yeah, let's do some drums so you can do like some drum kits as well, 159 00:07:55,120 --> 00:07:56,560 which is kind of fun. 160 00:07:56,560 --> 00:07:57,560 Let's see if we can do. 161 00:07:57,560 --> 00:08:01,880 Yeah, let's do like a classic 808 thing. 162 00:08:01,880 --> 00:08:02,880 Load that. 163 00:08:02,880 --> 00:08:03,880 Cool. 164 00:08:03,880 --> 00:08:05,040 So now the layout has changed, right? 165 00:08:05,040 --> 00:08:09,880 We're not seeing those notes anymore, but now we're seeing drums so I can do like drums 166 00:08:09,880 --> 00:08:10,880 over here. 167 00:08:10,880 --> 00:08:11,880 So it's really flexible. 168 00:08:11,880 --> 00:08:14,500 It's one of my favorite parts about using this instrument. 169 00:08:14,500 --> 00:08:18,920 It is created by the company Ableton that also creates the software Ableton Live. 170 00:08:18,920 --> 00:08:23,740 So that's the software that I was connecting to my that is in my computer that I'm connecting 171 00:08:23,740 --> 00:08:24,740 to at the moment. 172 00:08:24,740 --> 00:08:27,040 So it integrates really well with that software. 173 00:08:27,040 --> 00:08:28,680 Yeah, that's the instrument. 174 00:08:28,680 --> 00:08:29,680 Awesome. 175 00:08:29,680 --> 00:08:30,680 Thank you for the demonstration. 176 00:08:30,680 --> 00:08:35,400 Is this the future of piano keyboard? 177 00:08:35,400 --> 00:08:41,400 Are we going to forget about this black and white and is that the future? 178 00:08:41,400 --> 00:08:42,400 I don't know. 179 00:08:42,400 --> 00:08:43,880 Honestly, that's a great question, Kimi. 180 00:08:43,880 --> 00:08:50,200 I think that for I often tell my students that like a lot of the time it's not so much 181 00:08:50,200 --> 00:08:54,520 the same instrument, but I try to help them think of it as a totally different instrument 182 00:08:54,520 --> 00:08:56,680 because the piano is one thing. 183 00:08:56,680 --> 00:09:01,300 And then the piano keyboard synthesizers are also a different thing. 184 00:09:01,300 --> 00:09:03,480 And then you have this sort of thing, right? 185 00:09:03,480 --> 00:09:07,160 Because I remember, for example, this is a little bit of a side anecdote, but the very 186 00:09:07,160 --> 00:09:11,760 first time that I touched a synthesizer, I thought it was going to be the same because 187 00:09:11,760 --> 00:09:13,200 it was a piano keyboard, right? 188 00:09:13,200 --> 00:09:18,040 But I basically had to relearn all of my technique because the action is so different. 189 00:09:18,040 --> 00:09:20,320 So when you play it, it's like it's a totally different type of thing. 190 00:09:20,320 --> 00:09:24,000 It's like springs instead of the actual, you know, hammer action that you have. 191 00:09:24,000 --> 00:09:25,840 So it feels really, really different. 192 00:09:25,840 --> 00:09:30,320 And I remember at first I hated it because I was like, oh, what's this like plastic thing? 193 00:09:30,320 --> 00:09:32,000 So I hated it at first. 194 00:09:32,000 --> 00:09:33,400 But after a while, you kind of get used to it. 195 00:09:33,400 --> 00:09:37,480 So that's why I think a little bit about this sort of instrument being totally different. 196 00:09:37,480 --> 00:09:40,960 And that's a little bit of what we do at Berkeley College of Music too. 197 00:09:40,960 --> 00:09:44,640 Like the program that I teach in specifically is called the Electronic Digital Instrument 198 00:09:44,640 --> 00:09:45,640 Program. 199 00:09:45,640 --> 00:09:50,760 So a lot of my students do have a keyboard background in part because we do use keyboard 200 00:09:50,760 --> 00:09:52,940 controllers in their instruments too. 201 00:09:52,940 --> 00:09:56,840 But some of them will use push and some of them will use other instruments that look 202 00:09:56,840 --> 00:09:58,880 a little more different. 203 00:09:58,880 --> 00:10:00,560 Also there's like lots of different instruments too. 204 00:10:00,560 --> 00:10:02,400 So it really depends on the student. 205 00:10:02,400 --> 00:10:04,600 And that's why we think of it as a totally separate vein. 206 00:10:04,600 --> 00:10:08,640 So I think maybe it is the future, but I don't think it will replace the piano. 207 00:10:08,640 --> 00:10:13,240 I think it'll all kind of grow together, if that makes sense. 208 00:10:13,240 --> 00:10:14,240 Yeah. 209 00:10:14,240 --> 00:10:22,720 So what's your advice for classical musicians who are interested in broadening their field 210 00:10:22,720 --> 00:10:23,720 or horizons? 211 00:10:23,720 --> 00:10:26,560 Yeah, that's a really great question. 212 00:10:26,560 --> 00:10:31,320 I think a lot of the time it's just being open. 213 00:10:31,320 --> 00:10:35,360 And this is also thinking back to my experience, but some of the experiences of my students 214 00:10:35,360 --> 00:10:36,360 too. 215 00:10:36,360 --> 00:10:41,680 Sometimes we get so locked in the things that we're used to that the moment we step out 216 00:10:41,680 --> 00:10:46,880 of the comfort zone, it's so jarring that we just like freeze up a little bit. 217 00:10:46,880 --> 00:10:50,880 So I think being open is really interesting. 218 00:10:50,880 --> 00:10:55,000 If people are interested and they come from a classical piano background and you want 219 00:10:55,000 --> 00:11:00,700 to get maybe a little bit of insight into something that could be kind of a little so 220 00:11:00,700 --> 00:11:06,000 classical, but going into the more electronic side, there's a really wonderful set of albums 221 00:11:06,000 --> 00:11:11,000 by Wendy Carlos called Switched on Bach that I would highly recommend. 222 00:11:11,000 --> 00:11:14,680 This was done back in like the sixties and the seventies, but basically Wendy Carlos, 223 00:11:14,680 --> 00:11:18,720 she's an amazing electronic musician, one of the very first electronic musicians to 224 00:11:18,720 --> 00:11:19,760 do this. 225 00:11:19,760 --> 00:11:25,160 She did entirely orchestrated synthesizer versions of Pieces by Bach. 226 00:11:25,160 --> 00:11:29,320 So for example, there's like the two part inventions like in A minor, for example, she 227 00:11:29,320 --> 00:11:34,520 did that, but instead of having just the two voices for right hand and left hand piano, 228 00:11:34,520 --> 00:11:38,160 she re-orchestrated everything so that it would be like, okay, there's like a high synth 229 00:11:38,160 --> 00:11:41,400 part playing the right hand in this section. 230 00:11:41,400 --> 00:11:46,160 Later on when the left hand enters, it's like another type of synthesizer and it's really, 231 00:11:46,160 --> 00:11:47,160 really beautiful. 232 00:11:47,160 --> 00:11:48,920 I really encourage people to listen to it. 233 00:11:48,920 --> 00:11:52,120 It's called Switched on Bach and there's, I think, Switched on Bach one and then Switched 234 00:11:52,120 --> 00:11:53,760 on Bach two. 235 00:11:53,760 --> 00:11:57,880 And then she also did, I think, a version of the Well-Tempered Clairvier as well, also 236 00:11:57,880 --> 00:12:00,000 in the synthesizer version of stuff. 237 00:12:00,000 --> 00:12:04,100 So if people are interested in that, I would highly recommend. 238 00:12:04,100 --> 00:12:07,680 So Claire, we're getting a little long now and we still have rapid fire questions to 239 00:12:07,680 --> 00:12:11,680 go, but I wanted to make sure that we touch on something very important, which you've 240 00:12:11,680 --> 00:12:16,600 already alluded to, which is your efforts in activism, right? 241 00:12:16,600 --> 00:12:24,240 Because like you said, in our musical field, sometimes they're predominantly white, male, 242 00:12:24,240 --> 00:12:25,240 historically speaking. 243 00:12:25,240 --> 00:12:27,760 So can you talk a little bit about your efforts in this area? 244 00:12:27,760 --> 00:12:33,560 Yeah, specifically, I think a lot of the work that I do, Eric, is related to the field of 245 00:12:33,560 --> 00:12:38,080 music tech, but also even in just like music in general, I think. 246 00:12:38,080 --> 00:12:42,400 We see a lot of these, especially even from the classical sphere and the jazz sphere, 247 00:12:42,400 --> 00:12:47,840 there's still a lot of non-white people whose voices have yet to be heard. 248 00:12:47,840 --> 00:12:51,200 So a lot of the time when I'm working with young people, especially, I work a lot with 249 00:12:51,200 --> 00:12:54,640 youth and a lot with kids K to 12 as well. 250 00:12:54,640 --> 00:12:57,500 It's really just about showing up and being there. 251 00:12:57,500 --> 00:13:02,000 And it might seem very, very simple and very rudimentary, but even just walking into a 252 00:13:02,000 --> 00:13:06,160 classroom, a lot of the time when I've done talks, for example, about music and I walk 253 00:13:06,160 --> 00:13:13,000 into a classroom and there's a few students who are not white and they're just looking 254 00:13:13,000 --> 00:13:17,920 at this random Asian lady who's walked in, it means something to them. 255 00:13:17,920 --> 00:13:23,240 And a lot of the time, even after I've done a certain talk at a certain location, I've 256 00:13:23,240 --> 00:13:28,240 done music tech work or I've showed them synths and software and stuff like that, there have 257 00:13:28,240 --> 00:13:31,480 been students who have come up to me and be like, hey, thank you for being here. 258 00:13:31,480 --> 00:13:36,160 Because every other teacher that I've seen or every other person I've seen do this has 259 00:13:36,160 --> 00:13:38,680 not looked like me, but now I know it's possible. 260 00:13:38,680 --> 00:13:42,120 And that's pretty much exactly the same thing that happened for me. 261 00:13:42,120 --> 00:13:46,080 Apart from that one night that changed my life with the live electronic music stuff 262 00:13:46,080 --> 00:13:51,160 with Disclosure, the other night that I really think about a lot was when I saw an artist 263 00:13:51,160 --> 00:13:53,440 called Toki Monster perform. 264 00:13:53,440 --> 00:13:59,640 And Toki Monster was the very first woman of Asian descent nominated for a Grammy in 265 00:13:59,640 --> 00:14:01,540 the dance and electronic music category. 266 00:14:01,540 --> 00:14:04,720 And that was only in 2019, so it's not too long ago. 267 00:14:04,720 --> 00:14:09,080 But I saw her perform many years ago when I was still a student. 268 00:14:09,080 --> 00:14:12,960 And that was a night where I was like, she looks like me, this is not impossible. 269 00:14:12,960 --> 00:14:15,120 So that meant a lot. 270 00:14:15,120 --> 00:14:16,960 And I think about that so much. 271 00:14:16,960 --> 00:14:22,240 So that kind of, in a way, was one of the reasons why I try to do a lot of this activism 272 00:14:22,240 --> 00:14:24,520 stuff or I try to integrate it into my education. 273 00:14:24,520 --> 00:14:29,160 So I'll bring a lot of that element into some of these spaces where I work in. 274 00:14:29,160 --> 00:14:34,200 And to be very frank, most of the spaces that I do work in have strong populations of people 275 00:14:34,200 --> 00:14:35,200 of color. 276 00:14:35,200 --> 00:14:39,000 So it really does make a difference when people see diversity and when they see different 277 00:14:39,000 --> 00:14:41,640 representation in different areas of fields. 278 00:14:41,640 --> 00:14:47,400 Some things I've tried to do also is when I know that I can't be, I shouldn't be the 279 00:14:47,400 --> 00:14:50,160 right person to do this, I try to open it up to someone who should. 280 00:14:50,160 --> 00:14:54,600 For example, I recently did something that was focused actually a little bit more on 281 00:14:54,600 --> 00:14:59,800 dance music culture, and it was specifically also for a group of students that was more 282 00:14:59,800 --> 00:15:01,320 students of color. 283 00:15:01,320 --> 00:15:05,760 And I offered it up to one of my other friends who was specifically black, and he does a 284 00:15:05,760 --> 00:15:08,800 lot of DJ culture and a lot of history as well. 285 00:15:08,800 --> 00:15:11,480 And I said, this is the perfect person to do this. 286 00:15:11,480 --> 00:15:17,000 So I think that's also something that we can do as well in our sphere as educators and 287 00:15:17,000 --> 00:15:22,640 just people being aware of what is a good time to show up and when is a good time to 288 00:15:22,640 --> 00:15:26,440 show up to a certain group of students who need to see it or to a certain audience who 289 00:15:26,440 --> 00:15:27,440 needs to see it. 290 00:15:27,440 --> 00:15:31,280 It doesn't just need to be students, but it could be a different audience. 291 00:15:31,280 --> 00:15:36,680 So I try to do a little bit of that as well when I'm working with different groups, not 292 00:15:36,680 --> 00:15:42,240 just showing you cool stuff, how to press buttons, but also teaching people a little 293 00:15:42,240 --> 00:15:46,980 bit about the more historical side or being aware of the cultural connotations of some 294 00:15:46,980 --> 00:15:48,760 of these things that we're working with. 295 00:15:48,760 --> 00:15:49,760 Right. 296 00:15:49,760 --> 00:15:52,960 Yeah, because ultimately everybody has a voice that deserves to be heard. 297 00:15:52,960 --> 00:15:53,960 Right? 298 00:15:53,960 --> 00:15:54,960 Yeah, totally. 299 00:15:54,960 --> 00:15:58,120 And I think for a lot of the at least for them, and this is going back to the younger 300 00:15:58,120 --> 00:16:04,200 kids that I work with too, but for a lot of them, I think they don't realize that a lot 301 00:16:04,200 --> 00:16:06,320 of these norms exist when they're so young. 302 00:16:06,320 --> 00:16:07,320 They don't. 303 00:16:07,320 --> 00:16:09,400 So they're still open to a lot of these ideas. 304 00:16:09,400 --> 00:16:12,880 I'm really talking about like super young, like four or five year olds. 305 00:16:12,880 --> 00:16:17,840 The reason why I think about them is because one of the incidents that did for sure shape 306 00:16:17,840 --> 00:16:22,000 a lot of what I'm doing now is I used to tour a lot with this group called Alphabet Rockers. 307 00:16:22,000 --> 00:16:24,440 Shout out to Alphabet Rockers. 308 00:16:24,440 --> 00:16:28,080 They're a double Grammy nominated hip hop group that does a lot of hip hop, but for 309 00:16:28,080 --> 00:16:29,080 kids. 310 00:16:29,080 --> 00:16:32,600 So they do a lot of social justice types of work and a lot of the audience is in that 311 00:16:32,600 --> 00:16:33,600 age group. 312 00:16:33,600 --> 00:16:37,400 So it's like four or five year olds, sometimes a little bit older, like teens and stuff like 313 00:16:37,400 --> 00:16:38,640 that. 314 00:16:38,640 --> 00:16:44,320 But there was one concert we did for these kindergartners or first graders or something. 315 00:16:44,320 --> 00:16:48,800 And I was doing the on stage DJing and playback stuff for them. 316 00:16:48,800 --> 00:16:53,000 After the show, we had a meet and greet and every single one of the kids that came up 317 00:16:53,000 --> 00:16:57,840 to me and asked about stuff or like wanted to say hi, they were all girls. 318 00:16:57,840 --> 00:17:02,480 And I think if I hadn't been a woman, that wouldn't have happened. 319 00:17:02,480 --> 00:17:04,600 And then like all the boys were like in the back. 320 00:17:04,600 --> 00:17:10,400 And I just thought of like, imagine all of these opportunities where maybe there wasn't 321 00:17:10,400 --> 00:17:15,360 a woman here and there it was just the boys that were coming up and all of these girls 322 00:17:15,360 --> 00:17:19,920 wouldn't have the chance or the courage really to acknowledge like, hey, I want to find out 323 00:17:19,920 --> 00:17:24,260 more about what she's doing or what they're doing on stage and stuff. 324 00:17:24,260 --> 00:17:28,880 So I think a lot about these actual practical things happening. 325 00:17:28,880 --> 00:17:32,920 Not practical, but like real life situations happening and the real effect that it has 326 00:17:32,920 --> 00:17:36,880 on a person just because I think of the real effect that it had on me at the time. 327 00:17:36,880 --> 00:17:37,880 So yeah. 328 00:17:37,880 --> 00:17:38,880 Yeah. 329 00:17:38,880 --> 00:17:42,880 I don't want to go off on too big a tangent here, but that's the thing. 330 00:17:42,880 --> 00:17:46,960 I know sometimes people get down on social justice and there's a lot of fighting in the 331 00:17:46,960 --> 00:17:50,640 news and stuff like that, but we're talking about real people, right? 332 00:17:50,640 --> 00:17:51,640 Real experiences. 333 00:17:51,640 --> 00:17:56,440 When somebody comes up to you like that and says, you know, you inspired me. 334 00:17:56,440 --> 00:17:57,440 Yeah. 335 00:17:57,440 --> 00:17:59,760 That's so meaningful and so powerful. 336 00:17:59,760 --> 00:18:02,720 So kudos to you for doing that, for taking your platform. 337 00:18:02,720 --> 00:18:03,960 Thanks for letting me share that. 338 00:18:03,960 --> 00:18:05,840 I don't often get to talk about that. 339 00:18:05,840 --> 00:18:06,840 So thank you. 340 00:18:06,840 --> 00:18:07,840 Yeah. 341 00:18:07,840 --> 00:18:10,200 I think that's something that we believe it's important too. 342 00:18:10,200 --> 00:18:14,280 We got to wrap up pretty soon, but I just want to ask you quickly before we move on 343 00:18:14,280 --> 00:18:20,520 to rapid fire, I think as a music technologist, what do you see in the future? 344 00:18:20,520 --> 00:18:22,080 What's the future of music? 345 00:18:22,080 --> 00:18:23,080 Yeah. 346 00:18:23,080 --> 00:18:24,080 Wow. 347 00:18:24,080 --> 00:18:26,760 That's such a tough question, Eric. 348 00:18:26,760 --> 00:18:28,080 We want your perspective. 349 00:18:28,080 --> 00:18:29,080 Yeah, totally. 350 00:18:29,080 --> 00:18:36,880 Very honestly, I think there's so many possibilities that I don't think I'd be able to touch all 351 00:18:36,880 --> 00:18:42,360 of them, but at least from one thing in my current line of sight, I guess, is that there's 352 00:18:42,360 --> 00:18:47,440 a lot of more people who I think will have the courage to try things out without all 353 00:18:47,440 --> 00:18:50,040 of these barriers before them. 354 00:18:50,040 --> 00:18:54,840 So for example, I'm thinking back to, this is a little bit more of an older school stuff 355 00:18:54,840 --> 00:18:58,440 too, but even going back to the studio, just now Claire mentioned she has this set up as 356 00:18:58,440 --> 00:19:02,760 a studio, but like 10 years ago, that might not have been the case for a lot of people. 357 00:19:02,760 --> 00:19:06,840 They wouldn't have been able to do that on their own and have the courage to do their 358 00:19:06,840 --> 00:19:07,840 things for themselves. 359 00:19:07,840 --> 00:19:10,400 So I think there's going to be a lot of that. 360 00:19:10,400 --> 00:19:15,520 I hesitate to use this word, but I think it makes sense in this case, like a more democratic 361 00:19:15,520 --> 00:19:17,480 approach to music creation. 362 00:19:17,480 --> 00:19:22,280 It's like everyone kind of has the same tools, and it won't always be the same, but even 363 00:19:22,280 --> 00:19:26,280 just starting, say, with phones, like if you have a phone, being able to use that as part 364 00:19:26,280 --> 00:19:32,200 of your creative process, creative technology process, having your phone be your first foray 365 00:19:32,200 --> 00:19:36,400 into making sound or building beats and stuff like that. 366 00:19:36,400 --> 00:19:39,760 I think that's going to be something that will definitely be in the future. 367 00:19:39,760 --> 00:19:44,680 And to that end, I think just even more diversity in the music that we're hearing, not just 368 00:19:44,680 --> 00:19:48,440 from the people also, but even just styles, stylistically. 369 00:19:48,440 --> 00:19:52,640 I think a lot of people, when they make music, and this is something that I tell to my students 370 00:19:52,640 --> 00:19:59,160 and my mentees as well, but it's definitely not, it might be a little bit cliche, but 371 00:19:59,160 --> 00:20:02,240 it's not an understatement to say that no one else is going to make the music that you're 372 00:20:02,240 --> 00:20:04,280 going to make, because it's true. 373 00:20:04,280 --> 00:20:05,280 No one else is you. 374 00:20:05,280 --> 00:20:10,560 All right, so if you don't make something, no one else is going to do it for you, and 375 00:20:10,560 --> 00:20:13,440 no one else is going to make it in the exact same way. 376 00:20:13,440 --> 00:20:17,520 So I think to that end, there's going to be a lot more different types of music styles 377 00:20:17,520 --> 00:20:18,520 that we'll be hearing. 378 00:20:18,520 --> 00:20:22,680 Sure, it might sound similar, but I think there's a lot of power in everybody kind of 379 00:20:22,680 --> 00:20:26,640 realizing their own version of the music that they're hearing in their heads. 380 00:20:26,640 --> 00:20:29,400 So I think that's kind of what I see in the immediate future. 381 00:20:29,400 --> 00:20:33,080 I think there's so many possibilities, though, like even the crazy music tech developments 382 00:20:33,080 --> 00:20:37,480 that are developing all the time, like I was just talking to some of my other friends the 383 00:20:37,480 --> 00:20:40,520 other day about this, but now it's not just physical controllers, right? 384 00:20:40,520 --> 00:20:44,880 But I did a little bit of work with this pair of gloves called the Mimiu gloves that are 385 00:20:44,880 --> 00:20:47,360 basically gloves, but they're controlling music. 386 00:20:47,360 --> 00:20:51,920 So if you do something like if you make a certain gesture, it plays a certain chord 387 00:20:51,920 --> 00:20:53,360 or it puts on a certain effect. 388 00:20:53,360 --> 00:20:57,200 So there's that too, which is like, maybe that's an example of how crazy things will 389 00:20:57,200 --> 00:20:59,400 get in the most wonderful sort of way. 390 00:20:59,400 --> 00:21:00,400 Sorry, Tintra. 391 00:21:00,400 --> 00:21:03,720 Yeah, I saw your video of that. 392 00:21:03,720 --> 00:21:04,720 That was cool. 393 00:21:04,720 --> 00:21:07,240 I had no idea that that was happening. 394 00:21:07,240 --> 00:21:08,240 It's really weird. 395 00:21:08,240 --> 00:21:09,960 Yeah, it's weird in the best sort of ways. 396 00:21:09,960 --> 00:21:14,960 And I mean that in like a very wonderful in awe type of way. 397 00:21:14,960 --> 00:21:18,440 But yeah, that's just a fraction, I think, of stuff that people are developing now. 398 00:21:18,440 --> 00:21:21,160 So who knows what will happen next? 399 00:21:21,160 --> 00:21:22,160 Great. 400 00:21:22,160 --> 00:21:25,800 Well, we really appreciate your insight and your perspective. 401 00:21:25,800 --> 00:21:28,240 So thank you for sharing that with us. 402 00:21:28,240 --> 00:21:31,280 So we're going to move on to our rapid fire questions. 403 00:21:31,280 --> 00:21:32,280 All right. 404 00:21:32,280 --> 00:21:35,400 So this is short and sweet to the point. 405 00:21:35,400 --> 00:21:36,400 All right. 406 00:21:36,400 --> 00:21:38,280 And we'll take turns, the three of us. 407 00:21:38,280 --> 00:21:40,000 So I'll go first. 408 00:21:40,000 --> 00:21:43,280 Number one, what is your comfort food? 409 00:21:43,280 --> 00:21:45,480 Oh my God. 410 00:21:45,480 --> 00:21:46,480 Oh, no. 411 00:21:46,480 --> 00:21:47,480 Oh, no. 412 00:21:47,480 --> 00:21:48,480 This is terrible. 413 00:21:48,480 --> 00:21:53,240 Okay, I'll go for Singaporean food, Chak Kui Teow. 414 00:21:53,240 --> 00:21:55,520 Yeah, okay. 415 00:21:55,520 --> 00:21:57,800 Number two, cats or dogs? 416 00:21:57,800 --> 00:21:58,800 Oh, no, cats. 417 00:21:58,800 --> 00:21:59,800 Oh, no, you said dogs first. 418 00:21:59,800 --> 00:22:07,440 I don't know if you can take that back. 419 00:22:07,440 --> 00:22:09,880 What is your word or words to live by? 420 00:22:09,880 --> 00:22:11,680 Ah, okay. 421 00:22:11,680 --> 00:22:16,480 Word cards, stay humble, don't be late by Iskander Ismail. 422 00:22:16,480 --> 00:22:19,080 Yeah, I know it's short. 423 00:22:19,080 --> 00:22:20,080 It's supposed to be rapid fire. 424 00:22:20,080 --> 00:22:24,640 But I just want to say that Iskander Ismail is a Singaporean composer who inspired me 425 00:22:24,640 --> 00:22:26,320 very much back in the day. 426 00:22:26,320 --> 00:22:31,920 So that was a coat that I took from my mentor who was his mentee, my mentor, Julian Wong. 427 00:22:31,920 --> 00:22:32,920 Hi, Julian. 428 00:22:32,920 --> 00:22:33,920 Julian's watching. 429 00:22:33,920 --> 00:22:34,920 Yeah. 430 00:22:34,920 --> 00:22:35,920 Wonderful. 431 00:22:35,920 --> 00:22:36,920 Thank you. 432 00:22:36,920 --> 00:22:39,280 What is the most important quality you look for in other people? 433 00:22:39,280 --> 00:22:40,280 Wow. 434 00:22:40,280 --> 00:22:41,480 Oh my God. 435 00:22:41,480 --> 00:22:44,480 These are so deep. 436 00:22:44,480 --> 00:22:45,480 It's Yukimi's question. 437 00:22:45,480 --> 00:22:46,480 I can't take that. 438 00:22:46,480 --> 00:22:50,280 That's good, Yukimi, thank you. 439 00:22:50,280 --> 00:22:51,700 Patience. 440 00:22:51,700 --> 00:22:55,800 Very important for sure. 441 00:22:55,800 --> 00:23:02,480 And by the same token, what is the worst quality in people that you want to stay away from? 442 00:23:02,480 --> 00:23:03,480 Cool. 443 00:23:03,480 --> 00:23:07,840 And maybe this is a little bit of myself too. 444 00:23:07,840 --> 00:23:11,240 Bad temperedness, like losing your temper. 445 00:23:11,240 --> 00:23:12,240 Okay. 446 00:23:12,240 --> 00:23:16,120 Name three people who inspire you, living or dead. 447 00:23:16,120 --> 00:23:18,120 Oh my God. 448 00:23:18,120 --> 00:23:29,520 Let's see, my grandfather and my mentor when I was, Mr. Xiao, my mentor when I was in high 449 00:23:29,520 --> 00:23:34,400 school doing music and also Toki Monster. 450 00:23:34,400 --> 00:23:39,760 Which historical figure or composer do you want to learn or take lessons from if she 451 00:23:39,760 --> 00:23:44,720 or he were alive? 452 00:23:44,720 --> 00:23:47,240 Probably Nadia Boulanger. 453 00:23:47,240 --> 00:23:49,760 I love her ideas about sound. 454 00:23:49,760 --> 00:23:51,760 Yes, Nadia Boulanger. 455 00:23:51,760 --> 00:23:52,760 Great. 456 00:23:52,760 --> 00:23:58,360 Which historical figure composer do you wish to hang out with at the bar if she or he were 457 00:23:58,360 --> 00:23:59,360 alive? 458 00:23:59,360 --> 00:24:00,360 Oh, interesting. 459 00:24:00,360 --> 00:24:01,360 Well, maybe Bach. 460 00:24:01,360 --> 00:24:02,360 I don't know. 461 00:24:02,360 --> 00:24:10,720 I think it would be fun to chat with him about all of the same things that he's written many 462 00:24:10,720 --> 00:24:11,720 times. 463 00:24:11,720 --> 00:24:12,720 Probably Bach. 464 00:24:12,720 --> 00:24:17,160 Well, I love Bach too, so we can all hang together. 465 00:24:17,160 --> 00:24:19,520 So my turn. 466 00:24:19,520 --> 00:24:21,840 Name one piece in your current playlist. 467 00:24:21,840 --> 00:24:24,680 Oh, one piece in my current playlist. 468 00:24:24,680 --> 00:24:29,800 I've been listening a lot to a tune called Never Enough by Disclosure. 469 00:24:29,800 --> 00:24:31,280 So that's one piece. 470 00:24:31,280 --> 00:24:32,280 Cool. 471 00:24:32,280 --> 00:24:33,280 All right. 472 00:24:33,280 --> 00:24:35,280 Maybe we'll list that in our Spotify as well. 473 00:24:35,280 --> 00:24:37,560 Name a book title you're currently reading. 474 00:24:37,560 --> 00:24:39,760 Oh, I'm reading quite a few. 475 00:24:39,760 --> 00:24:41,200 Oh dear. 476 00:24:41,200 --> 00:24:44,760 Well, let's see. 477 00:24:44,760 --> 00:24:45,880 What would be a good one? 478 00:24:45,880 --> 00:24:49,880 The reason I hesitated was because the one that initially came to mind, and you can feel 479 00:24:49,880 --> 00:24:52,440 free to edit this out, but it's called Assholes. 480 00:24:52,440 --> 00:24:55,440 So I don't know. 481 00:24:55,440 --> 00:24:59,760 That's why I was like, okay, I probably shouldn't say that. 482 00:24:59,760 --> 00:25:01,760 It's actually in the background over there. 483 00:25:01,760 --> 00:25:02,760 Whoops. 484 00:25:02,760 --> 00:25:05,400 If that's okay, then that's the book that I've been currently reading. 485 00:25:05,400 --> 00:25:06,400 It's very fun. 486 00:25:06,400 --> 00:25:10,280 It talks a lot about the human condition actually and about narcissism, which is why I thought 487 00:25:10,280 --> 00:25:13,280 it was interesting. 488 00:25:13,280 --> 00:25:17,680 Another book that I've been reading is Revisiting, actually, was Becoming by Michelle Obama. 489 00:25:17,680 --> 00:25:20,480 So that's been another one that I've been looking at too. 490 00:25:20,480 --> 00:25:22,280 But yeah, feel free to edit that first part out. 491 00:25:22,280 --> 00:25:23,280 We'll keep both. 492 00:25:23,280 --> 00:25:24,280 Maybe it will be. 493 00:25:24,280 --> 00:25:25,280 Oh no. 494 00:25:25,280 --> 00:25:29,440 You get only one song or piece to listen to for the rest of your life. 495 00:25:29,440 --> 00:25:30,440 What is it? 496 00:25:30,440 --> 00:25:31,440 Oh wow. 497 00:25:31,440 --> 00:25:32,440 That one's tough. 498 00:25:32,440 --> 00:25:39,320 You know, maybe it would be, it would probably be the, yeah, I think I will say, I wasn't 499 00:25:39,320 --> 00:25:40,920 sure about this, but I'm pretty sure. 500 00:25:40,920 --> 00:25:47,680 The Arthur Rubinstein version of Intermezzo in A Me is like one of my favorites all the 501 00:25:47,680 --> 00:25:48,680 time. 502 00:25:48,680 --> 00:25:53,680 It's one of the reasons that I still go back to a lot of classical music stuff, even if 503 00:25:53,680 --> 00:25:56,960 the rest of my world is electronic, because it puts me into a good space. 504 00:25:56,960 --> 00:25:57,960 Yes. 505 00:25:57,960 --> 00:25:58,960 That's exciting. 506 00:25:58,960 --> 00:25:59,960 We have to talk more. 507 00:25:59,960 --> 00:26:02,760 Rubinstein is also my personal god. 508 00:26:02,760 --> 00:26:04,960 So music is blank. 509 00:26:04,960 --> 00:26:07,960 What is the blank? 510 00:26:07,960 --> 00:26:16,960 Music is a world of possibilities. 511 00:26:16,960 --> 00:26:17,960 Awesome. 512 00:26:17,960 --> 00:26:21,960 That is a wonderful answer. 513 00:26:21,960 --> 00:26:26,720 All right. 514 00:26:26,720 --> 00:26:28,720 Thank you so much, Claire. 515 00:26:28,720 --> 00:26:32,160 Before we, before we wrap up, do you want to talk a little bit about Beat Tover and 516 00:26:32,160 --> 00:26:33,160 what it is? 517 00:26:33,160 --> 00:26:34,160 Yeah, totally. 518 00:26:34,160 --> 00:26:35,160 Thanks, Eric. 519 00:26:35,160 --> 00:26:36,160 Thank you so much for having me. 520 00:26:36,160 --> 00:26:37,160 This was so fun. 521 00:26:37,160 --> 00:26:38,160 I'm so excited. 522 00:26:38,160 --> 00:26:41,760 So I'm currently doing this October long project called Beat Tover, where I make a little bit 523 00:26:41,760 --> 00:26:43,440 of music every day. 524 00:26:43,440 --> 00:26:46,800 Previous years, I tried to do a little bit of a theme for every year. 525 00:26:46,800 --> 00:26:51,640 So this year I'm actually doing a new song every day, which is not killing me yet. 526 00:26:51,640 --> 00:26:52,640 We'll see how it is. 527 00:26:52,640 --> 00:26:55,680 By the time this podcast gets released, we will see if I'm still alive. 528 00:26:55,680 --> 00:27:01,360 But yeah, if folks want to follow me, that's going to be at Daltrix, so D-O-L-L-T-R-I-C-K 529 00:27:01,360 --> 00:27:02,920 on all social media platforms. 530 00:27:02,920 --> 00:27:07,920 Or if you look on the greater internet, it is D-O-L-L-T-R-exclamation point C-K in all 531 00:27:07,920 --> 00:27:08,920 lowercase letters. 532 00:27:08,920 --> 00:27:11,200 Sometimes the spelling throws people a little bit off. 533 00:27:11,200 --> 00:27:14,440 But as long as you do the all lowercase letters and the exclamation point, you should find 534 00:27:14,440 --> 00:27:15,440 me. 535 00:27:15,440 --> 00:27:17,240 So that's a little bit of that. 536 00:27:17,240 --> 00:27:18,240 All right. 537 00:27:18,240 --> 00:27:20,520 Well, thank you so much. 538 00:27:20,520 --> 00:27:23,880 That's going to wrap up this episode of the Piano Pod. 539 00:27:23,880 --> 00:27:27,400 Thank you, Claire, for joining us today and sharing all your wonderful thoughts on so 540 00:27:27,400 --> 00:27:28,400 many different subjects. 541 00:27:28,400 --> 00:27:32,760 And once again, I will remind the audience, if you want to find out more about Claire, 542 00:27:32,760 --> 00:27:35,400 her website is ClaireMarieLym.com. 543 00:27:35,400 --> 00:27:40,500 And she also has a website for Daltrix specifically, at Daltrix.com. 544 00:27:40,500 --> 00:27:44,480 Check the description for the links. 545 00:27:44,480 --> 00:27:49,260 If you enjoyed today's episode, please rate and review on whatever podcasting platform 546 00:27:49,260 --> 00:27:50,260 you use. 547 00:27:50,260 --> 00:27:55,120 If you are watching us from YouTube, remember to hit the thumbs up button and be sure to 548 00:27:55,120 --> 00:27:56,640 subscribe to our channel. 549 00:27:56,640 --> 00:27:59,960 You can also find us on Facebook, Twitter, Instagram and LinkedIn. 550 00:27:59,960 --> 00:28:03,240 The links are in the description below. 551 00:28:03,240 --> 00:28:08,600 If you have feedback for us, please leave it in the comments or DM us via social media, 552 00:28:08,600 --> 00:28:14,920 or you can also email us at the pianopodnyc.gmail.com. 553 00:28:14,920 --> 00:28:18,160 And we will see you all for the next episode of the Piano Pod. 554 00:28:18,160 --> 00:28:19,160 Bye, everybody. 555 00:28:19,160 --> 00:28:20,160 Thank you, Claire. 556 00:28:20,160 --> 00:28:21,160 Bye. 557 00:28:21,160 --> 00:28:37,160 Bye, Claire.