Matt The Tall: Artificial Intelligence Still Can’t Understand The Ocarina

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Rollz Radio Episode 13 | Hosted by Rollz McGuyver

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Episode Description

Matt The Tall joins Rollz Radio to discuss becoming the first ocarina musician in the Value For Value music ecosystem, performing at Renaissance fairs, recording woodwinds, and navigating the rapidly changing world of artificial intelligence as a software engineer.

“These machines are really just knowledge without understanding.” – Matt The Tall

The conversation explores Podcasting 2.0, Boostagrams, AI-generated music, vibe coding, privacy, live performance, and Matt’s “Ocarina Test” for AI image generators. Along the way we discuss why niche creators may have a unique advantage in decentralized music and why human creativity remains difficult to replicate.

Chapter Markers

  • 00:00:00 Introduction
  • 00:01:51 Discovering Value For Value
  • 00:09:37 Live Ocarina Performance
  • 00:12:32 The Ocarina Journey
  • 00:18:21 Recording Woodwinds
  • 00:24:45 Why AI Can’t Understand an Ocarina
  • 00:29:03 Software Engineering in the Age of AI
  • 00:39:25 V4V Segment – Thank you to Boostagrams
  • 00:50:21 Knights of the Round Flute & Closing Thoughts

Links & References

Transcript

00:00:00 Speaker 1

Do you think that human art will get buried under an avalanche of generated content?

00:00:08 Speaker 2

Potentially, but at the same time, I think it’s not as cut and dry as far as like human versus AI created because you still need the intention and the creative force of a human to actually come up with something worthwhile, but not just the initial creation, but also the refinement.

00:00:28 Speaker 1

Rolls Radio.

00:00:35 Speaker 1

The purpose of this show is to shed light on how musicians can be paid directly by their listeners, specifically using the open source functionality provided by Podcasting 2.0 spec, podcastindex.org, and RSS feed management.

00:00:49 Speaker 1

This is a fancy way to explain the enabling of peer-to-peer exchange of value for value when listening to music.

00:00:56 Speaker 1

Musicians, artists upload their music and

00:00:58 Speaker 1

distribute it themselves, you, the listener, can listen on a podcasting 2.0 enabled website or app like Fountain, Stablecraft, Kraft with a K, or V4VMusic.com and do what we call sending a boost, which is a micro payment facilitated through the Bitcoin Lightning Network directly to the artist.

00:01:17 Speaker 1

On Rolls Radio, if you’re listening on a podcasting 2.0 enabled app like Cast-O-Matic, Podverse, Fountain, True Fans,

00:01:25 Speaker 1

Podcast guru, when you send a boost during interviews, 50% of the proceeds go to my guest, 50% go to me.

00:01:33 Speaker 1

When you boost during a guest song, 99% of the proceeds go to my guest and 1% stays back here with Rolls Radio.

00:01:39 Speaker 1

So I can see that it happened and I can say thank you in the V4V segment at the end of each episode.

00:01:45 Speaker 1

Let’s get into today’s interview.

00:01:51 Speaker 1

My guest today is software engineer, Value for Value’s first ocarina player, and really, really tall, Matt the Tall.

00:01:58 Speaker 1

Welcome to the show, Matt.

00:02:00 Speaker 2

Pleasure to be here.

00:02:01 Speaker 1

So you’re an embracer of decentralized music and value for value.

00:02:05 Speaker 1

Tell us how you got into the space, both as a listener and a musician.

00:02:10 Speaker 2

So as a listener, I come from the No Agenda community.

00:02:14 Speaker 2

Adam Curry was one of the big starters of the Value for Value music.

00:02:19 Speaker 2

Blanket on the right term to use, but movement, I guess, for lack of a better bit of vocabulary on hand.

00:02:25 Speaker 2

So I got started with his Boostagram Ball Show and then spread out to other shows like Salty Crayons, Upbeats, Homegrown Hits, Unsurprisingly, As You Found Me From.

00:02:36 Speaker 2

And let’s see, what are some other ones?

00:02:39 Speaker 2

I don’t remember if I got the chance to listen to Mo Facts through a podcasting 2.0 app.

00:02:44 Speaker 2

But at any rate, I got into it as a listener first and then

00:02:49 Speaker 2

When I got laid off from my previous job before my current one, I was on the job search and then actually got into publishing music.

00:02:58 Speaker 2

And actually that was how I got into performing as well, was during that spell of joblessness because my wife was basically saying, oh, you know, like I get you want to go to the Renaissance Fair, but you don’t have an income right now.

00:03:09 Speaker 2

And so I’m like, okay, I could perform.

00:03:14 Speaker 1

I think I also read on your site, one of your friends said, well, now that you’re being paid to perform, you’re a professional.

00:03:20 Speaker 1

I think that’s pretty accurate, right?

00:03:22 Speaker 2

I mean, that’s how I look at it.

00:03:23 Speaker 2

Yeah.

00:03:23 Speaker 2

If someone’s willing to offer you money for something without you asking for it, like, you know, just playing, like before I even had any sort of a donation box, like I’ve had some people like offer tips and I was just playing around the fair before I started playing on the stage.

00:03:36 Speaker 1

Oh, that’s awesome, man.

00:03:37 Speaker 1

I would love to actually go to one of those fairs and see you play.

00:03:40 Speaker 1

So we’re going to get into all the ocarina.

00:03:43 Speaker 1

Do you pronounce it ocarina?

00:03:44 Speaker 1

Is that how it’s said?

00:03:45 Speaker 2

I do.

00:03:46 Speaker 2

I picked that up from a gentleman named David Eric Ramos.

00:03:49 Speaker 2

He was kind of my big inspiration getting into the instrument.

00:03:52 Speaker 2

And I also picked up a lot of the basics from some of his videos when I was first learning.

00:03:56 Speaker 2

And he chose to use that pronunciation because of the Italians, because the instrument hails from Italy in the 1850s.

00:04:04 Speaker 2

And so the Italians pronounce it Ocarina.

00:04:07 Speaker 2

And so it’s my little way of, paying a little homage to that minus, if you’re going to do it really Italian, you got to have the fingers in there.

00:04:14 Speaker 1

Of course.

00:04:15 Speaker 1

Yes.

00:04:15 Speaker 1

Well, this is an audio only podcast at this time.

00:04:18 Speaker 1

You know, maybe we’ll go video.

00:04:19 Speaker 1

Maybe I’ll start doing video at some other point in time.

00:04:22 Speaker 1

But with that said, I do want to continue just a little bit down the V for V.

00:04:26 Speaker 1

stuff and just then we’ll get into some of your music and more about the Ocarina.

00:04:30 Speaker 1

So the V for V, the value for value space is wide open, right?

00:04:35 Speaker 1

Two sides of that coin are nobody’s here and V for V is dead, right?

00:04:39 Speaker 1

I’ve heard that before.

00:04:41 Speaker 1

And then the other side is nobody’s here.

00:04:43 Speaker 1

This is an opportunity to stand out as an early adopter.

00:04:47 Speaker 1

What are your thoughts on that?

00:04:49 Speaker 2

I would consider, yeah, it’s wide open.

00:04:51 Speaker 2

Maybe there’s not as many people, in the V4V space as there could be, but I mean, that’s anything when it’s starting to get that chicken and egg problem.

00:04:59 Speaker 2

You get the, oh, there’s no one here, but if, you know, no one takes that first step, then you’re going to be stuck there.

00:05:04 Speaker 2

So with me and, you know, deciding to publish V4V, I was like, oh, you know, I’m the first Ocarina musician who decided to go for it, so I can at least use that as a title.

00:05:12 Speaker 2

Why not?

00:05:13 Speaker 1

Yeah, the juice is too sweet, right?

00:05:15 Speaker 1

Like, and the barrier for entry is just knowledge to be in this space.

00:05:19 Speaker 1

Like it’s just understanding that it’s here.

00:05:21 Speaker 2

Oh, there’s a little bit of technical friction for some people, like, just getting to understand what tools and software you might need to take advantage.

00:05:29 Speaker 2

But like you said, it’s mostly just a knowledge gap.

00:05:31 Speaker 1

Yeah.

00:05:32 Speaker 1

Once that’s crossed, it’s just like, why wouldn’t you be involved in this space?

00:05:36 Speaker 1

You know, it’s so do you think niche instruments like the Ocarina or niche genres are actually benefiting more from the V space?

00:05:45 Speaker 1

So do you think that it’s maybe

00:05:48 Speaker 1

I guess easier to stand out as a niche performer than anything else than it would be maybe in the mainstream realm.

00:05:56 Speaker 2

I think it’s that.

00:05:56 Speaker 2

And I also think just by virtue of the fact that you don’t have as many barriers between you and a potential audience, there’s that factor as well.

00:06:04 Speaker 2

I mean, how many cases can you, know, write into a podcast and just have them read, you know, what you send on the show live or, you know, after the fact, you know, depending on how you time it.

00:06:15 Speaker 1

Yeah, I agree.

00:06:17 Speaker 1

I’ve learned about you through listening to shows like Homegrown Hits and a little bit of Boostagram Ball as well.

00:06:22 Speaker 1

And I’ve heard your name read off in those boosts.

00:06:27 Speaker 1

So, you know, that’s the exhibit A right there.

00:06:30 Speaker 1

Exposure is very easy.

00:06:32 Speaker 1

You know, for us to connect, it was simply just by hearing the value for value being read.

00:06:37 Speaker 1

I think I saw you listening on.

00:06:39 Speaker 1

What are your favorite listening apps?

00:06:41 Speaker 1

I guess would just be my question.

00:06:43 Speaker 2

So that’s a somewhat nuanced answer.

00:06:47 Speaker 2

For sending in Satoshis to people, I’ll use Fountain partly because my line of thinking is if I’m trying to get people to try out V4V, it’s probably the easiest app for people to start with.

00:06:58 Speaker 2

You don’t need to be able to host your own node.

00:07:00 Speaker 2

You don’t need to go through any of the technical rigamarole there.

00:07:04 Speaker 2

But for some of the core features in Fountain, I’ll admit I’ve had some

00:07:09 Speaker 2

annoyances.

00:07:10 Speaker 2

Like for some reason, I don’t know why there have been so many times where that app has just not remembered the playback position in a podcast where I’ll pause and want to go back to it.

00:07:18 Speaker 2

But take for instance, Podcast Guru, I think is the one that I’ll use my other one.

00:07:23 Speaker 2

Let me double check the phone real quick just to be absolutely sure I’m not misquoting you.

00:07:26 Speaker 2

Yeah, Podcast Guru has like a better listening experience for the most part, I would say though.

00:07:31 Speaker 1

Yeah.

00:07:32 Speaker 1

Are there any other fringe apps or just other apps in general that you might use to?

00:07:36 Speaker 1

Well, I suppose 2 questions.

00:07:37 Speaker 1

Listening to podcasts and then do you have any preferred for listening to music, V for V music?

00:07:44 Speaker 2

I mean, those are effectively the same answer for me, I would say right now, but I know there are some others I need to try, like I know valueforvaluemusic.com I think is one of them that I started to check out.

00:07:54 Speaker 2

I might at some point try playing with

00:07:59 Speaker 2

maybe writing my own in some form or other, LLM assisted for the sake of, harnessing that fun little piece of technology.

00:08:06 Speaker 2

And I exaggerate saying little, considering the large is in the name.

00:08:12 Speaker 2

But yeah, one idea that’s kicked around in my head that I might want to do at some point is since I

00:08:20 Speaker 2

I’m a hacker, enjoy security, private, topics of privacy and the like.

00:08:26 Speaker 2

There’s a part of me that while I like the notion of being able to stream Satoshis, I would like to be able to do it in a more asynchronous manner.

00:08:33 Speaker 2

So to me, one thing that I might want to try and play with as a feature is being able to like hit a single button and have it just calculate all of the streaming value and set it as like a cluster of boosts.

00:08:45 Speaker 1

Interesting.

00:08:46 Speaker 1

Okay.

00:08:47 Speaker 1

do you have your own app that you’re using, that you are building or?

00:08:52 Speaker 2

Currently, no, just the idea, shake it around in my head, but I’ve had, how to put it, one of my plagues that I have too many interests and not enough time to devote to all of them.

00:09:02 Speaker 1

Sure.

00:09:04 Speaker 1

Yeah.

00:09:04 Speaker 1

Okay.

00:09:04 Speaker 1

I think that I want to we can continue this conversation and even go down that realm of, your software development background a little bit and what that could mean for the space and just in general.

00:09:15 Speaker 1

But I do want to go into your song.

00:09:18 Speaker 1

You’re going to perform live and you’ve got a backing track.

00:09:20 Speaker 1

So let’s why don’t you go ahead and do that now.

00:09:23 Speaker 1

I’ll back down on my

00:09:26 Speaker 1

my levels here just because I know it’ll peak a little bit.

00:09:29 Speaker 1

So I’ll bring that down and we’ll get you to play the song.

00:09:31 Speaker 1

Then we’ll go into the ocarina, a little bit of your background and some more and then continue the conversation.

00:09:37 Speaker 2

I was going to say, if you want, I can introduce the song first.

00:09:39 Speaker 2

This is from The Witcher 3 Wild Hunts, the Blood and Wine story called The Lullaby of Woe.

00:09:48 Speaker 2

So I wound up starting to work on this one as a piece for the upcoming Renaissance Faire that coincides with Halloween because it’s got a nice little spooky sound to it.

00:09:57 Speaker 2

And I’ll be playing that on this lovely alto F right here, one of my larger ocarinas in the collection.

00:10:03 Speaker 2

All right, let’s get to it.

00:10:47 Speaker 2

.

00:12:29 Speaker 1

Absolutely beautiful.

00:12:31 Speaker 2

Oh, thank you.

00:12:32 Speaker 1

What drew you to the ocarina?

00:12:35 Speaker 2

Okay, so what drew me to the ocarina as an instrument was honestly I just love the sound of them.

00:12:40 Speaker 2

That pure tone, just, I don’t know.

00:12:43 Speaker 2

A friend of mine encapsulated it well when he said, like, to him, the ocarina sounds like what he always thought flutes should sound like.

00:12:49 Speaker 2

And I have that same feeling.

00:12:52 Speaker 1

I just was thinking about that when you were saying, I’ve always liked the sound of a clarinet, an oboe.

00:12:58 Speaker 1

a flute, but there’s something just, I don’t know, are all ocarinas made of wood or can they be different materials as well?

00:13:06 Speaker 1

Is that one made of wood?

00:13:07 Speaker 2

Well, this one’s not wood actually.

00:13:09 Speaker 2

I could understand like thinking it does, but what you see with the color here actually is a glaze.

00:13:14 Speaker 2

So it’s just got the black at the top here by the mouthpiece and then the more brown tan color going on here.

00:13:20 Speaker 2

And so this one here is a 12 hole style

00:13:25 Speaker 2

And here we go.

00:13:26 Speaker 2

There’s the maker’s mark on the tail here where it says Ocarina Music.

00:13:29 Speaker 2

Hopefully you can see that in light there.

00:13:31 Speaker 2

And so yeah, I’ve got a number of them.

00:13:34 Speaker 2

One of my absolute favorites that I’d be devastated if it ever broke is this little terracotta one.

00:13:39 Speaker 2

That’s my go-to Alto C.

00:13:42 Speaker 2

And this one has a fun little story in how I got it if you want to hear that at some point.

00:13:46 Speaker 1

Absolutely.

00:13:47 Speaker 1

Yeah.

00:13:47 Speaker 1

I would love to continue.

00:13:48 Speaker 1

I would love to hear any stories you have about your ocarinas.

00:13:52 Speaker 2

Okay, so since we’re already on the story topic, so this is a little to see here.

00:13:56 Speaker 2

I can even play like through the range of it if you want to hear it.

00:13:59 Speaker 2

But the maker, Hans Rotter, is based out of Austria.

00:14:04 Speaker 2

And he, when he announced his impending retirement, basically sort of gave people a heads up that he was going to be closing up direct sales and then like fully retiring later on.

00:14:15 Speaker 2

And so when I was perusing his website to get in like a last direct order from him,

00:14:21 Speaker 2

I noticed there was a section he had labeled as special ocarinas, and that included a set of five as part of that.

00:14:28 Speaker 2

And so that Alto C that I showed you there was one of those ocarinas.

00:14:32 Speaker 2

And at the time of ordering, I thought it was a different model than I was getting actually, because if you look at the tail here, let’s see the name of Emiliano there.

00:14:43 Speaker 2

Now, Hans, I had seen him post before about his F Galliani model.

00:14:50 Speaker 2

The Galliani and the Emiliano are both named after ocarina players out of Italy who are superb musicians.

00:14:57 Speaker 2

I aspire to be that good.

00:15:00 Speaker 2

But the F Galliani, like I would already have been like amazingly happy to get, but then I, you know, open the box, you know, start testing out the new ocarinas.

00:15:09 Speaker 2

I’m like, oh, this one says Emiliano on it.

00:15:11 Speaker 2

And I couldn’t find any information about it.

00:15:14 Speaker 2

So I reached out to Hans directly and he responds pretty quickly to the message and he says, you’ve really lucked out with that because that’s one of the best tad hole ocarinas you can get for an Alto C.

00:15:25 Speaker 2

Nice.

00:15:27 Speaker 2

So that was fantastic.

00:15:30 Speaker 1

Pack of five you said, right?

00:15:32 Speaker 2

Yeah, it was a set of five.

00:15:33 Speaker 2

So yeah, it’s got the, it was that Alto C.

00:15:37 Speaker 2

an E flat, and a soprano F, soprano G, and a soprano C.

00:15:43 Speaker 2

Okay.

00:15:44 Speaker 1

So the tuning basically is the same as like when, say you’re at a piano and you’re playing with a B flat clarinet, right?

00:15:51 Speaker 1

Everything’s just transposed.

00:15:52 Speaker 1

Is that how the language works there?

00:15:56 Speaker 2

The naming for the ranges of ocarinas, like Alto C, I think it might correspond a little different to like how like in classical music they do altos.

00:16:04 Speaker 2

I’m not as familiar with the theory side of it, I’ll admit.

00:16:07 Speaker 2

But my understanding is the way that I am used to reading sheet music for the ocarinas, the ocarinas sound at an octave higher.

00:16:15 Speaker 1

Oh, okay.

00:16:16 Speaker 1

All right.

00:16:16 Speaker 1

So it’s not actually like playing, you’re not transposing like when you’re reading it.

00:16:23 Speaker 2

It depends.

00:16:24 Speaker 2

So the ocarina has a pretty limited range and just like for my style of how I do music, I like reading my sheet music for ocarinas in different keys as though I’m playing an alto C just because that’s what I started with.

00:16:36 Speaker 2

So it’s that much of this mental burden I have to deal with to like, you know, switch between them.

00:16:41 Speaker 2

So just a personal preference thing there and me taking liberal advantage of technology.

00:16:46 Speaker 1

Do you have a musical background?

00:16:48 Speaker 1

Do you play any other instruments?

00:16:50 Speaker 2

No, I, in fact, to get into the ocarina, I practically had to start from zero.

00:16:55 Speaker 1

And you said that was right around the 2021 time frame is that you started?

00:17:00 Speaker 2

No, so my getting into the ocarina is an instrument, like seriously at least I should say.

00:17:05 Speaker 2

I dabbled with it a little bit in high school, never got to where I actually sounded good and kind of, you know, fell by the wayside for a number of years.

00:17:12 Speaker 2

But then

00:17:14 Speaker 2

Comic-Con 2018 was my gateway into the ocarina.

00:17:18 Speaker 2

My wife and I were there.

00:17:19 Speaker 2

We walked past a booth selling ocarinas.

00:17:22 Speaker 2

My wife saw I was eyeing them and she’s like, oh, go ahead and get it.

00:17:25 Speaker 2

And now she is continuing to live with the consequence of her saying that.

00:17:31 Speaker 1

That’s like, that’s like me and my wife when we drive past like a really good taco stand or something.

00:17:35 Speaker 1

I’m like, she’s like, it’s like you’re looking at a girl in a bikini, dude.

00:17:38 Speaker 1

Like, just go back and get the thing.

00:17:42 Speaker 1

It’s amazing.

00:17:45 Speaker 2

Food is a whole other fun topic we could go into.

00:17:47 Speaker 1

Absolutely.

00:17:48 Speaker 1

So you mentioned you’ve got a handful of ocarinas, ocarinas.

00:17:52 Speaker 1

Is there a similar rabbit hole like guitar players get tons of pedals or tons of guitars and they own, you know, if you know guitar players, they just, they can’t stop buying them.

00:18:03 Speaker 1

Is that a similar thing with these ocarinas?

00:18:07 Speaker 2

Yes, ocarina acquisition syndrome is a real issue.

00:18:10 Speaker 1

I like that it’s got a formal name.

00:18:15 Speaker 2

I don’t know if I’d call it a formal name, but it sounds formal enough to come with it.

00:18:18 Speaker 2

It’s too funny not to.

00:18:19 Speaker 1

Yeah, absolutely.

00:18:21 Speaker 1

So recording the Ocarina, we talked a little bit about me having to pull the levels back.

00:18:25 Speaker 1

It looks like a large diaphragm condenser, but it’s not picking up much of your room.

00:18:29 Speaker 1

So maybe it is a dynamic.

00:18:31 Speaker 1

I don’t know much about that microphone.

00:18:33 Speaker 2

It’s a condenser.

00:18:34 Speaker 1

Yeah, I was going to say for woodwinds and Ocarina would be considered a woodwind, right?

00:18:40 Speaker 2

Yes.

00:18:41 Speaker 1

So for woodwinds, I feel like you need an acoustic, some sort of acoustic treatment, which you’ve got panels in your room, some sort of, a little bit.

00:18:50 Speaker 1

Yeah, something.

00:18:52 Speaker 1

But I mean, I’m sure like playing in some sort of concert halls or even intimate rooms, you can hear the difference in the reverb and everything.

00:19:01 Speaker 1

I’m sure that comes out in different places that you’re playing.

00:19:05 Speaker 1

But recording that, have you, was that a struggle for you to kind of learn the best way to get a really solid recording down?

00:19:13 Speaker 2

It definitely took some trial and error, but I am very lucky that there’s a gentleman who makes ocarinas

00:19:21 Speaker 2

His company is called Pure Ocarinas, a gentleman named Robert Hickman.

00:19:25 Speaker 2

And he has done an amazing job of just compiling a bunch of great knowledge on Ocarinas, how to play, how to record.

00:19:33 Speaker 2

His guide on how to record the Ocarina for practice was where I first started on that.

00:19:37 Speaker 2

And then being able to listen back to my own recordings, that let me really hone in on things I wanted to improve on and making those incremental adjustments until getting a sound I liked.

00:19:47 Speaker 1

Do you think that there’s, or have you heard

00:19:51 Speaker 1

a limit to the styles of music that an ocarina could play.

00:19:54 Speaker 1

I mean, I have my, obviously there’s no limits to anything you can do, but I’m curious if you’ve ever experimented with different genres with the ocarina.

00:20:04 Speaker 2

I don’t think I’ve ever limited myself to a particular genre.

00:20:07 Speaker 2

I mean, big surprise, I gravitate a little towards like some renaissance and folk tunes and the like for performing at the fair.

00:20:14 Speaker 2

But even then, like I’ll pull in some contemporary things as well.

00:20:19 Speaker 2

Like my

00:20:20 Speaker 2

What I’ve thoroughly enjoyed doing with my show so far is I’ll end it with Country Roads, which sounds wonderful in Ocarina.

00:20:25 Speaker 2

It’s a ton of fun.

00:20:27 Speaker 1

How are you getting the background tracks for your music and do all of your tracks that you’d perform the, are you performing, or you said you’re not, you don’t play any other music.

00:20:36 Speaker 1

Are you doing, are you working with others to get your background tracks?

00:20:41 Speaker 2

Depends on the backing tracks.

00:20:42 Speaker 2

So the one that you heard was one that I used composition software to help me make.

00:20:48 Speaker 2

So found a base score to work from.

00:20:51 Speaker 2

One of the things that I do for just thinking from a live performance perspective is like I need to give myself at least a few seconds from actually starting the track to actually like having my ocarina ready to play.

00:21:02 Speaker 2

So that was why you heard like a little bit of a lead in before I started playing.

00:21:06 Speaker 2

So that just gives you that little bit of space to prepare.

00:21:09 Speaker 2

And so that’s definitely a factor.

00:21:11 Speaker 2

I have customized some various scores over time and I’m sure that number will continue growing.

00:21:17 Speaker 2

where I’ll take some score, usually like if it’s been written in a way where it’s not targeting piano, usually piano will give me nice outputs for something where like I don’t necessarily need to go as far as like working with another musician to be able to make that happen.

00:21:33 Speaker 2

But like I’m totally down to collaborate with people.

00:21:36 Speaker 2

So like.

00:21:38 Speaker 2

for instance, you brought up the possibility of doing some arena with some of your music and I’m totally down for that.

00:21:43 Speaker 1

Yeah, absolutely.

00:21:45 Speaker 1

Have you ever performed?

00:21:46 Speaker 1

Do you ever perform live with like a keyboard player or anything like that?

00:21:49 Speaker 1

Do you ever, or do you usually just do performances by yourself with backing tracks?

00:21:54 Speaker 2

So far I’ve only done it solo, but definitely something I’m open to.

00:21:57 Speaker 2

Yeah, I’ll find the right people to perform with.

00:21:59 Speaker 1

Absolutely.

00:22:00 Speaker 1

Well, so with my group with Rolls and Dice, it’s a hip hop format and we take samples, right?

00:22:05 Speaker 1

And we loop them and then sometimes I’ll recreate the whole track or whatever.

00:22:10 Speaker 1

And in some cases there’s flutes, there’s that different things.

00:22:13 Speaker 1

And so I never considered, like I’d never known an ocarina player or really even

00:22:20 Speaker 1

flute players.

00:22:21 Speaker 1

So I never considered actually retracking some of that stuff.

00:22:24 Speaker 1

But with that, I don’t know, there’s a ton of that kind of opportunity.

00:22:28 Speaker 1

That’s why I was like, this V for V music space, the reason I started this podcast was to talk to people like yourself, to meet people like you who would just, it’s so easy to connect with folks in this space that are doing this thing and just connecting with real people, real musicians and talking about it.

00:22:45 Speaker 1

And so that’s been the most fun part with me.

00:22:48 Speaker 2

Can I add a little bit more on the backing track question?

00:22:50 Speaker 1

Yes, absolutely.

00:22:52 Speaker 2

How to put it, like I’ve, it’s been a more recent thing with me getting into making my own and actually, making them sound decent.

00:22:58 Speaker 2

But then I have also like, straight up bought, song books and whatnot from other musicians as well for doing that.

00:23:05 Speaker 2

So like there’s a gentleman I mentioned, Fabio Galliani in passing because the ocarina that’s model that’s named after him.

00:23:12 Speaker 2

And so he has a song book that’s a bunch of European folk music.

00:23:16 Speaker 2

And so I have a few pieces from that I’ve already gotten down to where I’m willing to perform those in front of an audience.

00:23:24 Speaker 2

So like the Tarantella Napolitana, the Circassian Circle, there’s a bunch of cool songs in that book.

00:23:30 Speaker 2

And then David Eric Ramos, I’ve also used backing tracks from for some of the stuff that I play, like the stables that I have a recording of that’s using his backing track, but me playing the ocarina over it.

00:23:42 Speaker 1

The Legend of Zelda.

00:23:48 Speaker 1

man, yeah, it’s a great game.

00:23:50 Speaker 1

So the songbooks, with those songbooks comes the backing tracks.

00:23:53 Speaker 1

Is that accurate?

00:23:55 Speaker 2

Yes, or in the case of David Eric Romos, it was because of me subscribing to his Patreon at the time.

00:24:01 Speaker 1

Gotcha.

00:24:01 Speaker 2

And so that was just part of the deal.

00:24:03 Speaker 1

Yeah, hey, that’s awesome.

00:24:04 Speaker 1

They get the tracks and perform over them.

00:24:07 Speaker 1

What is one thing people most often misunderstand about the Ocarina?

00:24:12 Speaker 2

The Legend of Zelda origin.

00:24:14 Speaker 2

that people expect.

00:24:16 Speaker 2

Many, many people think, it comes from Legend of Zelda, but long before that game series ever existed, the Ocarina already did.

00:24:25 Speaker 2

It was 1853, I believe it was, that Giuseppe Donati invented the instrument as we know it in Italy.

00:24:33 Speaker 1

So, okay, so I’ve got a question that it’s both about the Ocarina and

00:24:40 Speaker 1

something else, and it can take us down this other path, which I kind of want to go and I’m kind of curious about.

00:24:45 Speaker 1

So on your website, mapthetall.site, you have an article titled Ocarina Test for AI Image Generators.

00:24:53 Speaker 1

The essence is that AI can’t generate an Ocarina image.

00:24:58 Speaker 2

Certainly not a good one yet that I’ve seen.

00:25:00 Speaker 1

Yeah, So can you explain why you wrote the article and perhaps draw the parallel to

00:25:06 Speaker 1

the AI world we’re living in with AI slop or AI generation in general.

00:25:14 Speaker 1

And I don’t know your thoughts on all of that.

00:25:17 Speaker 2

Sure.

00:25:17 Speaker 2

So the origin of that article actually was me joking around with someone at a no agenda beat up mentioning, oh yeah, you know, one of the funny things about these image generators is like they can’t make an ocarina.

00:25:27 Speaker 2

And someone said, oh, you should coin an ocarina test for those.

00:25:31 Speaker 2

And that was literally the inspiration for that article.

00:25:35 Speaker 2

And so, doing some experimentation, I found like these various image models just cannot seem to get them right.

00:25:42 Speaker 2

And I haven’t done much playing with like seeing what they do with like an existing image of an ocarina.

00:25:49 Speaker 2

I wouldn’t be surprised with that reference that they might do better, but

00:25:53 Speaker 2

To be able to make a convincing ocarina, you have to understand the basics of how the instrument works, which these machines are really just knowledge without understanding.

00:26:00 Speaker 1

What’s your opinion on AI-generated music?

00:26:03 Speaker 2

It’s one of those things where there could be some nuance there because I have already been playing with LLMs to help me with arranging music.

00:26:10 Speaker 2

But the trick is I’m not using them for straight up generating audio.

00:26:15 Speaker 2

So you’ve got services like Suno where you can take whatever it is that you’re using for your prompt and actually get straight up audio out.

00:26:22 Speaker 2

Whereas the way that I’ve approached using AI for helping me with making music and whatnot is taking an LLM and having it give me an XML file that I use to represent sheet music, because it’s all just text.

00:26:37 Speaker 2

And so large language models, they deal with text.

00:26:40 Speaker 2

And so what better thing to use for pattern recognition for something like music?

00:26:44 Speaker 1

While we’re on the topic, do you think that

00:26:47 Speaker 1

AI will make human creativity more or less valuable.

00:26:51 Speaker 2

I would argue more valuable, especially if you look at AI and LLMs as an augmentation.

00:26:59 Speaker 1

I was going to say, do you think that human art will get buried under an avalanche of generated content?

00:27:06 Speaker 2

Potentially, but at the same time, I think it’s not as cut and dry as far as like human versus AI created because you still need the intention

00:27:16 Speaker 2

and the creative force of a human to actually come up with something worthwhile, but not just the initial creation, but also the refinement.

00:27:25 Speaker 2

So I can’t speak for others personally, but like the way that I approach music is like when I’m learning a piece, I learned, you know, I learned it very slowly, initially, very basic, and then

00:27:36 Speaker 2

I refine and add the embellishments.

00:27:37 Speaker 2

Like you heard, some of the articulations, the vibrato that I had in the lullaby of woe there.

00:27:42 Speaker 2

Like that’s an iterative process to make those small refinements that make a big difference.

00:27:48 Speaker 1

And just as a human being, there’s nothing that replaces the feeling you get when you’re performing or when you’re nailing those parts, or just the emotions that come with it.

00:27:59 Speaker 1

So I don’t know, I kind of just thought those questions would be fun because that article that you wrote, I was just curious to hear your stance on it all.

00:28:06 Speaker 1

I agree.

00:28:07 Speaker 1

I think AI is an augmentation.

00:28:09 Speaker 1

People fear what they don’t know.

00:28:11 Speaker 1

People fear change.

00:28:13 Speaker 1

And, we have to balance it.

00:28:15 Speaker 1

If you’re using AI in your work, in your music, in your whatever, obviously people are going to do what they want to do.

00:28:20 Speaker 1

With music, it’s one thing.

00:28:22 Speaker 1

It all depends on what you’re trying to do.

00:28:24 Speaker 1

If you’re just trying to pump out something for a background music or for anything at all, like cool, it doesn’t matter.

00:28:29 Speaker 1

But it’s not going to stop me from feeling the way I feel when I create or when I write a song or whatever.

00:28:36 Speaker 1

So.

00:28:36 Speaker 2

Oh yeah, and on top of it too, like.

00:28:39 Speaker 2

There’s no replacement for a human when you’re talking about having a live experience performing.

00:28:45 Speaker 2

Especially when you’re talking in the physical realm of something like a fair or some other venue where you actually get to physically interact with people.

00:28:52 Speaker 2

I wouldn’t be at all surprised if there’s a qualitative difference in what people experience when they’re getting those vibrations straight from the instrument rather than through a recording.

00:29:03 Speaker 1

You’re a software engineer.

00:29:05 Speaker 1

Do you write code?

00:29:06 Speaker 1

What is your background in that?

00:29:09 Speaker 2

So my oversimplification of what I do is I write words in a way that computers execute them.

00:29:14 Speaker 2

Except I didn’t realize quite how literal that would become.

00:29:19 Speaker 2

Because now I could literally write executable essays.

00:29:21 Speaker 2

It’s a weird world.

00:29:23 Speaker 1

Yeah, just go into your clod or whatever.

00:29:25 Speaker 1

It just, and actually write in.

00:29:28 Speaker 2

Yeah, quite literally.

00:29:29 Speaker 2

It’s a wacky world that like I never would have been able to predict this like five years ago that we would be at this point.

00:29:35 Speaker 1

But you were doing, you were coding before AI.

00:29:39 Speaker 2

Yeah, I started working in the software industry in 2013 after getting out of college.

00:29:45 Speaker 1

Okay, so that’s what you studied in school?

00:29:48 Speaker 2

Yep, studied computer science and I’ve worked as a software engineer in varying levels of seniority since.

00:29:56 Speaker 1

Do you do any vibe coding?

00:29:58 Speaker 2

Oh yeah, how to put it, I’ve actually need to go back to a project I’ve been playing with that on because I haven’t actually

00:30:06 Speaker 2

tested it out as much as I should because big surprise time is precious.

00:30:12 Speaker 2

But yes, I’ve actually played with making my own practice tool to make basically as like a combination tuner and some other fun things for like, working on certain skills with the Ocarina.

00:30:22 Speaker 1

You probably could have written that, but it would have taken you much, much longer, right?

00:30:27 Speaker 2

Yes, exactly.

00:30:28 Speaker 1

What language are you writing it in?

00:30:31 Speaker 2

I decided to use Go.

00:30:34 Speaker 2

partly just as an excuse to get a little more familiar with that language.

00:30:38 Speaker 2

So the company I work at now, like a number of our backend services are written in Go, but it’s not a language I’m terribly familiar with.

00:30:45 Speaker 2

A lot of my work at my current job has been more in TypeScript.

00:30:50 Speaker 2

So both for backend code after a fashion as well as for frontend code.

00:30:57 Speaker 1

Going a little bit back to the

00:31:00 Speaker 1

I think I mentioned it in passing, just people are fearful of what AI is doing if it’s taking their job.

00:31:06 Speaker 1

I think maybe this is a false notion or I don’t know.

00:31:09 Speaker 1

Is that fear real in the world of a software engineer or is it more of the same thing?

00:31:14 Speaker 1

It’s like, no, you just become more of that checksum, like you’ve got to use it to your advantage, but still the human element, I guess.

00:31:22 Speaker 1

What is that like from the lens of a software engineer?

00:31:26 Speaker 2

How to put it, I wouldn’t say I have a definitive answer on that just because of how crazy of a world we live in.

00:31:32 Speaker 2

AI or LLMs as a technology, like it’s in its infant stages.

00:31:37 Speaker 2

Like we’re seeing new discoveries literally daily and no mature technology has that rapid of an advancement.

00:31:44 Speaker 2

So for starters, I would say, you know, we don’t even necessarily know what next year’s going to look like as far as like the crazy progress that we’ve seen with these things.

00:31:54 Speaker 2

And then

00:31:56 Speaker 2

I will say it does give a little bit of an existential dread, but in a manner of I don’t necessarily know what my job effectively will evolve into because the way that I approach writing code now versus like say five years ago is completely different.

00:32:16 Speaker 1

Because of AI.

00:32:19 Speaker 2

Yes, because of these AI tools that we’re able to use.

00:32:21 Speaker 2

I mean,

00:32:22 Speaker 2

In the past, it would be me, deciding how I’m going to solve some particular problem and then, hand coding, granted with a little bit of help here and there from autocomplete and other tools that are already available in IDEs, but now it’s just incredible to be able to define from like an architectural level what you want the system to do.

00:32:42 Speaker 2

and then see the LLM write it for you.

00:32:44 Speaker 2

And then you just need to make sure you give it the proper scrutiny to make sure it didn’t screw something up in the process.

00:32:49 Speaker 1

Yeah, you’re becoming as much of A quality assurance as you are an engineer.

00:32:55 Speaker 2

Exactly.

00:32:56 Speaker 2

Yeah.

00:32:56 Speaker 2

And how to put it, like one of the things that I think will be valuable to have is a good sense of taste and preference of what something should be.

00:33:07 Speaker 2

Because there are so many directions you can take a piece of software.

00:33:10 Speaker 2

I mean,

00:33:11 Speaker 2

It’s effectively, what can you imagine?

00:33:13 Speaker 2

And if it is something that you can implement in a technical fashion and define in software, it’s possible to make it happen.

00:33:21 Speaker 1

Yeah, and I think that scales to all jobs.

00:33:23 Speaker 1

It’s just my opinion, right?

00:33:25 Speaker 1

It’s just the part that has to be educated.

00:33:29 Speaker 1

I think that universities or whatever, colleges, people are learning, they’re going to be learning how to prompt instead of

00:33:36 Speaker 1

how to research.

00:33:37 Speaker 1

And that’s kind of what the internet, how the internet’s evolved.

00:33:40 Speaker 1

But I think the important part is actually knowing how to spot information that may be not quite right and to hone in a little bit.

00:33:50 Speaker 1

That’s the skill set that I think the generations coming up are going to have to battle with.

00:33:55 Speaker 1

Because being born in the internet age, we kind of like, I’m a millennial, right?

00:34:00 Speaker 1

So seeing the internet come into what it was, you experienced the whole

00:34:05 Speaker 1

you can’t just put everything out there.

00:34:07 Speaker 1

Like, you have to have some form of reservations, but it has to be just educated differently to the digital native class.

00:34:17 Speaker 2

Oh, and with you mentioning, like, the notion of, say, being careful about what you overshare online, like, you know, OPSEC there, I apply that with working with LLMs.

00:34:27 Speaker 2

I mean, big surprise, I only do work stuff with the work LLM.

00:34:31 Speaker 2

And then for my own personal stuff,

00:34:33 Speaker 2

The way that I approach it is I do not use, so like in my case I use a subscription to Anthropics Claude just because like that’s what I’ve had the best experience with when it comes to LLMs.

00:34:44 Speaker 2

And I figured, you know, using the Claude harness is probably the best way to utilize those models.

00:34:48 Speaker 2

So when it comes to the OPSEC side of it, the way that I approach it is I will not give anything to my, you know, instance of Claude that I’m not willing to open source and put out in public.

00:35:01 Speaker 2

And so

00:35:02 Speaker 2

Part of the reason for that, though, was coming across an article where someone literally used like a, I think it was a GDPR-based request for their data from the various frontier model providers, and they got back a psychological profile from each one.

00:35:20 Speaker 1

It’s absolutely wild.

00:35:22 Speaker 1

You have to implement some sort of operational security.

00:35:24 Speaker 1

You have to have that in the wild, wild world we live in.

00:35:31 Speaker 2

Yeah.

00:35:31 Speaker 2

I mean, and how many cases have we already seen where, someone doesn’t specify something right or just the LLM and its goal seeking behavior does something you don’t expect?

00:35:39 Speaker 1

The paperclip maximizer.

00:35:42 Speaker 2

Oh yeah, but like the paperclip maximizer is a great example, but like even more practically, I think it was a Facebook or meta security researchers playing with an LLM and then it started to delete a bunch of their data.

00:35:55 Speaker 2

They told it to stop.

00:35:58 Speaker 2

It kept going and they literally had to go and physically shut down the machine that they had this thing running on to get it to actually, stop doing what it was doing.

00:36:06 Speaker 1

Unreal, yeah.

00:36:08 Speaker 1

this stuff is crazy.

00:36:12 Speaker 1

Okay, well, listen, we covered the stuff I wanted to go over with you and I thought it brought out some really cool topics of conversation.

00:36:18 Speaker 1

Is there anything else on anything that we touched on that got your mind going or anything else you want to add?

00:36:25 Speaker 2

I’m not thinking of anything offhand, but it’s entirely possible I’ve got just threads that haven’t resolved into something about right this moment.

00:36:33 Speaker 1

I know I kind of kept us moving fast, didn’t I?

00:36:36 Speaker 1

At any rate, no, my thought is like, let’s, these conversations can continue, but I like to kind of just get to them, to meet of those, that kind of stuff.

00:36:46 Speaker 1

I guess with all of that said, where do people go to find your music or your work?

00:36:53 Speaker 2

So probably the easiest way to find any of the music that I’ve worked on in some fashion would be like getting access to the MP3s would be like on the podcast index.

00:37:03 Speaker 2

If you just search Matt the Tall or there’s also an Ocarina group that I have done one song with so far called the Knights of the Round Flute.

00:37:10 Speaker 2

So we did an Ocarina septet version of Over the Misty Mountains, which was a lot of fun.

00:37:16 Speaker 1

Yes, I actually have that one queued up here.

00:37:18 Speaker 1

I was going to play that one.

00:37:20 Speaker 1

because it was cool and I’ll play it at the end of the show.

00:37:23 Speaker 1

I think what I’ll do is I’ll have it play at the end of the show so people can, boost your song directly and I’ll do the same thing with when you were playing, the V for V model.

00:37:34 Speaker 1

But I was curious, it’s like Knights of the Round flute.

00:37:37 Speaker 1

So again, I’ll play that at the end of the show.

00:37:40 Speaker 1

But

00:37:42 Speaker 1

It reminded me of like the Bach inventions, like you got your four-part harmonies, it sounded like in there.

00:37:48 Speaker 1

And I don’t know, how did you end up working with six different Ocarina players?

00:37:53 Speaker 1

Are there flautists in there?

00:37:54 Speaker 1

Are there other, are there 6 Ocarinas?

00:37:58 Speaker 2

Oh, those are all Ocarinas and Knights of the Round flutes.

00:38:01 Speaker 2

I literally randomly got invited to join in with the group.

00:38:06 Speaker 2

So there are a few different Ocarina communities that I participate in.

00:38:10 Speaker 2

And then

00:38:11 Speaker 2

one day I got a DM from one of the members going, hey, do you want to show no Korean associate?

00:38:15 Speaker 2

And I said, why, yes, I do.

00:38:19 Speaker 1

Glad you asked.

00:38:20 Speaker 2

Yeah, exactly.

00:38:21 Speaker 2

And so, shoot.

00:38:25 Speaker 2

I know we had another piece that we were considering working on, but I feel like that, you know, things happen in life and it’s hard to organize a number of people, but I’m sure that we will get other pieces out eventually.

00:38:35 Speaker 1

Yeah, very cool, man.

00:38:38 Speaker 1

All right, well.

00:38:39 Speaker 1

That’s it for this then.

00:38:41 Speaker 1

So thanks for coming on the show, Matt, and let’s stay in touch.

00:38:45 Speaker 2

Excellent.

00:38:46 Speaker 2

And I forgot to plug my website when you asked for ways to find me.

00:38:50 Speaker 1

Oh, yes, right.

00:38:51 Speaker 2

Because, you know, how to put it, the easiest way to find the music in a listenable form is probably the podcast index, but I also need to update my music page on the site because I realized recently that I don’t have a link to

00:39:03 Speaker 2

The nights of the round flute piece, so that’ll be getting updated in a few minutes here, probably.

00:39:08 Speaker 1

Yep, there you go.

00:39:10 Speaker 1

And it’s, is it mathetal.site?

00:39:13 Speaker 2

Yes, there’s a lot of T’s in there, so remember it is MATTHETALL.SITE.

00:39:20 Speaker 1

All right, man.

00:39:21 Speaker 1

Thanks again.

00:39:22 Speaker 2

Thank you.

00:39:25 Speaker 1

This is the B4V segment of the show where I go through recent boostagrams, zaps, streaming sats, and I read them out on the show.

00:39:34 Speaker 1

These are people who are listening to Rolls Radio and sending in their appreciation.

00:39:39 Speaker 1

So starting with September 29th, which is the date I released the last episode, Sir TJ the Wrathful, episode 12 of Rolls Radio, I have boosts coming in

00:39:50 Speaker 1

So we’ll start with one from Sir Libre.

00:39:52 Speaker 1

He had a few boosts on episode 12 with Sir TJ the Wrathful.

00:39:58 Speaker 1

First he boosted in using booster bot and **** box it looks like with 1000 sats and he said, is there no reading of Boostagrams on this show?

00:40:07 Speaker 1

Sad face.

00:40:08 Speaker 1

Then as he kept listening he boosted again with 1000 more sats and said, never mind you do read Boostagrams.

00:40:15 Speaker 1

I boosted too soon.

00:40:18 Speaker 1

Then he boosted with 1,111 more sats to Sir TJ the Wrathful with karma and wrote Sir TJ the Wrathful plus plus.

00:40:27 Speaker 1

And it looks like he sent a test boost for 100 sats.

00:40:32 Speaker 1

I see you, Sir Libre.

00:40:33 Speaker 1

Thank you for the boost.

00:40:34 Speaker 1

I do read the boostagrams as I am doing it right now.

00:40:38 Speaker 1

By the way, Sir Libre, the creator of the app and website V4V Music, which is a site I mention often on this show as a great place to listen

00:40:48 Speaker 1

to go to stream V4V or decentralized music.

00:40:51 Speaker 1

It’s the primary place I go to listen.

00:40:54 Speaker 1

Actually, since episode 12 launched, Rolls Radio has been featured on V4Vmusic.com.

00:41:00 Speaker 1

Thank you so much, Sir Libre.

00:41:02 Speaker 1

That’s awesome.

00:41:03 Speaker 1

I appreciate what you’re doing for the community and I thank you for featuring my show on your website.

00:41:10 Speaker 1

Hopefully we can bring more light to this space together.

00:41:15 Speaker 1

The next boost comes from Matt Finlay.

00:41:17 Speaker 1

It looks like from the Fountain app and again on episode 12 with Sir TJ the Wrathful for 321 sats.

00:41:25 Speaker 1

Matt says, I had wondered where the kill the banjo parody came from.

00:41:30 Speaker 1

Now I know.

00:41:32 Speaker 1

Really enjoyed the show, Sir TJ the Wrathful and Rolls MacGyver.

00:41:35 Speaker 1

Thanks Matt.

00:41:37 Speaker 1

Yeah, in the episode what he’s referring to is I played a song from TJ where he was playing his banjo.

00:41:44 Speaker 1

and the wrath of the banjo, that’s what Matt is referring to in episode 12.

00:41:50 Speaker 1

The next boost comes from Chad F.

00:41:53 Speaker 1

What looks like boostmebitch.com is where he boosted from.

00:41:57 Speaker 1

For 333 sats, he says, shout out me and Reid and our podcast, Chad and Reid’s podcast, Candor.

00:42:07 Speaker 1

Yes, I often refer to that podcast because it is an awesome show.

00:42:12 Speaker 1

Thank you for the boost, guys.

00:42:14 Speaker 1

I will continue referring to your show because you guys provide a ton of value on there as well.

00:42:19 Speaker 1

Thank you.

00:42:22 Speaker 1

Chad F boosted another 333 sats and said shout out to Matt Finlay, as I mentioned Matt Finlay earlier from the boost, another awesome V4V podcaster, host of the V4V spotlight and a musician with his own music on V4V.

00:42:39 Speaker 1

Thanks for the boost, guys.

00:42:42 Speaker 1

I’m seeing a boost come in from Rev Hodl on Fountain for 420 sats.

00:42:48 Speaker 1

It says, been digging rolls radio, hashtag 40 hours per week or 40 HPW.

00:42:54 Speaker 1

Got some boosting to do.

00:42:56 Speaker 1

Boost what you listen to.

00:42:58 Speaker 1

Hashtag V4V.

00:43:00 Speaker 1

Yeah, I agree.

00:43:01 Speaker 1

I actually on my fountain app is usually what I’m using to listen to podcasts.

00:43:06 Speaker 1

I’m usually on v4vmusic.com when I’m listening to music.

00:43:10 Speaker 1

I bounce between a lot of the apps, but those are kind of my daily drivers, as we call them.

00:43:15 Speaker 1

I actually have some shows that I just listen to that don’t do the V4V stuff.

00:43:20 Speaker 1

So I’ve actually just queued them up in my Apple Podcasts app because I listen to certain shows that don’t do that.

00:43:28 Speaker 1

And I just

00:43:29 Speaker 1

I separate them out that way.

00:43:31 Speaker 1

That’s how I’m doing.

00:43:31 Speaker 1

I don’t know.

00:43:32 Speaker 1

But every show that is V for V, I listen to in my Fountain app.

00:43:37 Speaker 1

And I do.

00:43:38 Speaker 1

I try and boost everything I listen to where I find value.

00:43:40 Speaker 1

So Rev, I’m with you.

00:43:42 Speaker 1

Boost what you’re listening to.

00:43:44 Speaker 1

We have another boost from Chad F for 3,333 stats.

00:43:49 Speaker 1

He says, great episode with Sir TJ the Wrathful.

00:43:52 Speaker 1

Great.

00:43:53 Speaker 1

Thanks, Chad F.

00:43:54 Speaker 1

Yeah, that’s episode 12.

00:43:57 Speaker 1

Now I’m going to move on to Zaps.

00:43:59 Speaker 1

I’ll head over to Noster.

00:44:00 Speaker 1

I primarily use Primal for my Noster app.

00:44:05 Speaker 1

I see Amplified Tunes, Zapped 33 SATs on the Sir TJ episode 12, Sir TJ episode 12.

00:44:14 Speaker 1

Thank you, Amplified Tunes.

00:44:16 Speaker 1

Amplified Tunes, by the way, is a force to be reckoned with.

00:44:19 Speaker 1

It’s a website, a magazine, playlist, podcast, does so much for the V4V space.

00:44:24 Speaker 1

Give them a follow on us or visit the websites if you haven’t been there already or don’t follow them already.

00:44:29 Speaker 1

But they are always pushing music.

00:44:31 Speaker 1

Great, great force in the V4V space.

00:44:34 Speaker 1

It’s a great time to mention, by the way, that Rolls Radio, this show has been featured on Amplified Tunes under the Ecosystems tab as a friend of the site.

00:44:46 Speaker 1

And

00:44:47 Speaker 1

I started this podcast only recently and to meet and talk to so many cool, like-minded people has been the best.

00:44:54 Speaker 1

And to be featured on websites like Amplified Tunes, V4V Music, it just goes to show that what we’re doing here is a growing community.

00:45:04 Speaker 1

This community has embraced me and I tend to keep giving back.

00:45:07 Speaker 1

So appreciate.

00:45:09 Speaker 1

Sir Libre, you, I appreciate Amplified Tunes, you guys as well.

00:45:12 Speaker 1

Thank you for the features.

00:45:13 Speaker 1

You guys rock.

00:45:15 Speaker 1

That’s it for Zaps, but while I’m here in my Noster client, I’ve picked up some new followers on Noster, and that to me is a testament to V4V, so I’m going to mention their names in this segment as well.

00:45:28 Speaker 1

Thanks to my newest followers, Bitcoin Suzzy, Greenie, Muffin, Noster Poor Girl, Zoltan, and Worlds Gone Mad, and just recently Rev Hodl.

00:45:40 Speaker 1

So thank you guys for following me.

00:45:42 Speaker 1

I assume, I hope this means I’m doing something right on there.

00:45:45 Speaker 1

And I look at each follower as a person, unless of course, you know, you’re a bot or an AI, whatever.

00:45:52 Speaker 1

But otherwise, that means a lot to me.

00:45:54 Speaker 1

So thanks for connecting.

00:45:56 Speaker 1

That’s where I primarily do my contacting of folks or getting introductions to people.

00:46:04 Speaker 1

I’ve been meeting so many people through that protocol.

00:46:08 Speaker 1

So thank you.

00:46:09 Speaker 1

And finally, now we’re going to look at streaming sats or miscellaneous boosts without messages.

00:46:18 Speaker 1

These are people who are listening.

00:46:20 Speaker 1

Well, streaming sats are people who are listening and automatically sending value to the show.

00:46:25 Speaker 1

Or my group rolls and dice are boosting anonymously.

00:46:29 Speaker 1

So I can’t actually see some of the names of these.

00:46:31 Speaker 1

or even the apps.

00:46:32 Speaker 1

So if you’re streaming and want to let me know or if you’re boosting and want to let me know, it’s you, send a note on Noster or attach a note to your boost and I’ll read it on the show.

00:46:40 Speaker 1

That’s where I’ll see it.

00:46:42 Speaker 1

Otherwise, I can’t see all that information just yet.

00:46:45 Speaker 1

But starting from September 29th, I’m seeing 10 streaming sats from Anonymous.

00:46:52 Speaker 1

Thank you.

00:46:53 Speaker 1

I see plus, I see 43 sats from Eric PP via AutoBoost on v4vmusic.com.

00:46:59 Speaker 1

While listening to a rolls and dice track.

00:47:00 Speaker 1

Yes, so I do read about rolls and dice boosts here as well.

00:47:05 Speaker 1

That’s my band, that’s my group.

00:47:07 Speaker 1

We’ve hosted our V4V music on the podcast index so you can find it searching on v4vmusic.com or any other podcasting 2.0 enabled app website, Stablecraft, Fountain.

00:47:21 Speaker 1

You search rolls and dice, you’ll find our album.

00:47:24 Speaker 1

He was streaming music on Homegrown Hits episode 153.

00:47:28 Speaker 1

The track was No More Trouble.

00:47:30 Speaker 1

So I appreciate the auto boost, Eric PP.

00:47:34 Speaker 1

Another 49 sats came from Sir Libre streaming the same track.

00:47:40 Speaker 1

No More Trouble.

00:47:42 Speaker 1

Rolls and Dice on Homegrown Hits.

00:47:44 Speaker 1

Thank you, Sir Libre.

00:47:46 Speaker 1

I’m seeing 48 sats on October 2nd from Anonymous.

00:47:50 Speaker 1

60 sats on the 7th from Anonymous.

00:47:54 Speaker 1

Plus 10 from Logs in the Fountain app.

00:47:58 Speaker 1

Streaming Homegrown Hits episode 151 where Rolls and Dice music was featured as well.

00:48:03 Speaker 1

The track was graffiti and Logs also boosted another 10 sats a couple of times as well.

00:48:11 Speaker 1

Thank you, Logs.

00:48:13 Speaker 1

Finally, I’m seeing a boost to 48 sats coming from Fountain.

00:48:17 Speaker 1

Doesn’t say who it is, but it came in from episode 9 of Chad and Reid’s podcast, Candor.

00:48:23 Speaker 1

All on a Mission was the track by Rolls and Dice featured on that episode.

00:48:28 Speaker 1

So thanks Chad and Reed for playing that track.

00:48:31 Speaker 1

Appreciate the support.

00:48:33 Speaker 1

And thank you for the boost from Anonymous.

00:48:35 Speaker 1

The boost does come with a boostogram.

00:48:38 Speaker 1

It says, I was thinking if songs already have tags and people usually are changing the splits when they play a song, it would have been hard to look for that change.

00:48:49 Speaker 1

and adjust the speed accordingly.

00:48:51 Speaker 1

Also, for what it’s worth, I do like how Fountain tries to remember your playback speed for different shows.

00:48:57 Speaker 1

Hashtag 40 HPW 40 hours a week.

00:48:59 Speaker 1

So it looks like your boost came in while my track was playing.

00:49:02 Speaker 1

That’s why I’m seeing it.

00:49:03 Speaker 1

You may have meant to send that to Chad and Reed.

00:49:07 Speaker 1

So Chad and Reed, I owe you 48 sats or 24 each.

00:49:10 Speaker 1

That’s coming your way in the mail.

00:49:12 Speaker 1

So be on the lookout for that.

00:49:15 Speaker 1

But

00:49:15 Speaker 1

I know exactly what this boost is talking about though.

00:49:17 Speaker 1

They’re referring to the playback speed, which was mentioned on this show.

00:49:22 Speaker 1

Some shows like this show play music, but they also play, you know, our talking format.

00:49:28 Speaker 1

And so if you’re listening playback at 2x speed or some sped up speed, the talking is okay.

00:49:38 Speaker 1

But when you get to a track, music is not okay sped up.

00:49:42 Speaker 1

It’s just not the same.

00:49:43 Speaker 1

So there’s some functionality built into apps.

00:49:46 Speaker 1

Actually, Sir Libre has updated V4V music to do this, and I think this is the talk of how apps are actually integrating the ability to automatically switch back to 1X if you’re listening at a different speed, a faster speed, or maybe you listen to your podcast at half speed, I don’t know.

00:50:06 Speaker 1

But it’ll change it to 1X for the music where it makes sense to do that.

00:50:12 Speaker 1

So I think that’s what that boost was talking about.

00:50:13 Speaker 1

At any rate, thank you everyone for the boost, for the zaps, for the follows.

00:50:18 Speaker 1

I appreciate it and we’ll see you next time on Rolls Radio.

00:50:21 Speaker 1

Peace.

00:52:04 Speaker 1

A.

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