Breaking Into Soundscapes: Crafting Connection Through House // Tim Palm #1251

Swedish electronic artist Tim Palm joins Breaking the Biz to discuss creativity, community, and breaking into the music industry on his own terms. From custom looping tech to AI's role in music, this episode explores the space between sound and connection—and what it means to truly vibe.

Known for his immersive style and genre-defying house tracks, Tim rejuvenates the fundamentals of House subculture by creating sonic experiences that bring people together—especially those who often feel left out of traditional spaces.

With over 140,000 followers and 92 million views, Tim has built a global community through playful soundscapes, intimate performances, and a distinctive presence online and on stage. From Seoul to Stockholm, his work invites listeners into an evolving, joyful process where accessibility and connection are at the forefront.

Hosts explore how 2024 shaped Tim's career, from his debut album to national TV and radio features. Looking ahead, we unpack what’s next in 2025—including new singles that continue to broaden his creative journey. In a space where disability empowerment meets cultural reinvention, Tim Palm reminds us: music isn’t just heard—it’s felt.

Join our conversation on social media:

facebook.com/breakingthebiz
instagram.com/breakingthebiz
instagram.com/yic_unity
https://www.linkedin.com/company/18149713

Interested in being a guest speaker? blieberman@yicunity.org

Transcript

0:00

I'm Tim Palm. I'm a music producer and artist based in Sweden and I am currently in my own home studio in my house. Stay tuned for today's episode of Breaking the Biz, an informative podcast where we dive into the world of entertainment by interviewing seasoned professionals who have made their mark in the industry. Gain invaluable insights as they share their personal journeys, offering advice on navigating the dynamic landscape of the entertainment industry. Whether you're an aspiring actor, musician, filmmaker, author, animator, or any creative soul, tune in for expert career guidance, insider tips, and firsthand accounts on breaking into the entertainment industry. Get ready to unlock the secrets behind successful careers and fuel your own passion for the limelight. Please remember to like this video and to subscribe to our channels for more great conversations. Greetings from Breaking the Biz. Brought to you by Yes I Can Unity through Music and Education. I'm William Felber, your navigator through the intriguing universe of the entertainment industry as revealed by the visionaries and creators who bring it to life. Stay tuned as we delve into diverse insights from the forefront of entertainment. Hearing from pioneers, more creators and agents of change, prepare for a journey filled with tales of innovation, resilience, and the undying quest for artistic brilliance. All right, this is Breaking the Biz, a entertainment industry podcast with Yes I Can. Tim Palm rejuvenates what may say the fundamentals of the house of culture. The music thrives in interaction with the listener, building a space for people who don't have a space. With over 140,000 followers and 92 million views to date, Tim is continuously building interactions with people all over the world. Through his distinctive yet playful process. He's creating soundscapes and catchy melodies that stand out. It's easy to feel the joy and intimacy that shines through the artistic process that Tim and his team have created. Tim is played in London, Helsinki, Seoul, in Koping and Stockholm. Sharing a feeling that words fail to explain, Tim Palm opens up a realm where musical boundaries dissolve and genres intertwine. 2024 was a formative year for Tim Palm, having established himself as a music artist and debuted the album with gigs all across Sweden, gaining momentum on all fronts, including social media, national TV and live radio interviews. 2025 will follow up the album with fresh singles, showcasing the creative journey and broadness of Tim's musical ability. All right, thanks for being here. It sounds like a pretty cool trajectory so far. Yeah, I'm impressed that you actually, we updated that text today, so I'm very impressed that you took the New first text that said that's what I try to do. I mean like I'm just try to keep things up to date whenever I can. Yeah, awesome. So yeah, this is to ask you some questions. So looking at this, this press kit, I see you mentioned a team. I remember when we were talking about the music festival, you mentioned a team. Like who would you say is a part of your musical? Oh, that's a great question. So one of them that I would say has been a big part of it is Jasper. He's a friend who helps me with all the social media. So similar that I have my passion in music, he has the passion for videography and taking photos. So I approached him four years ago and said, hey, I'm gonna get serious with social media. Do you wanna join this journey? And we started exploring social media and he did all the videos and I did the music and together we have been on this journey for four years now. So he is definitely one of the team members. And then we have Sven who has been a co producer on the album and also a partner joining in the live shows. So he is a producer but also is really good at piano and guitar. So in our live performance I played electronic beats and he improvised his guitar and keyboard and then I record that on the fly and together we build and improvise electronic soundscapes. So very similar to the jazz approach but in the electronic world. And then we have the label which is two people, it's a small independent label based in Stockholm that helped finance the album and yeah is supporting me on this journey. So that is sort of the core team. And then we have people that have jumped in on helping design for the album cover and helping with, you know, promotion on different, different pieces. But those are the sort of core team that has been with me. Yeah since the album project started and some even before that. Yeah, definitely can't understate the importance of having that team to help with all the like little side aspects that people don't often think about when it comes to music. Like all the promotional stuff like that can be a full time job in and of itself. I think I saw Jasper on some of the videos I was looking at the guitar player. And how would you describe your transition from doing music as a hobby to doing music as a profession? I am still in that transition, so I can only speak for that. But I think I started seeing myself professional when I started making money on it was one aspect of it, but one was also when I could treat it as a job, you know, I post regularly on social media. I make sure that I have a strategy. When I'm releasing, I'm looking at the data as well. I am taking time to reply to emails, send emails, do gigs. So when I went over to not to do things even when I didn't have the energy and time to, because it needs to be done, that's when I started to treat it as a profession. But I'm still working part time as an engineer to cover the now very expensive bills. But with that said, all my creative costs are covered by the creative income. So I sort of have those, those two separate budgets, so to speak, which is like bigger step than most dream of. So it feels like a very big step in that direction. So what kind of engineering are you doing? I saw that you didn't major in music. I'm also studying engineering. I'm currently a grad student in electrical and computer engineering. Yes. So I have two masters, one in computer science and math and the one in teaching those same subjects. That's pretty cool. Also you didn't major in music. Do you think it makes sense for anybody to major in music at all? Oh, first off, I am not a study counselor or anything. So take all my advice with a pinch of salt when it comes to this. Especially as I haven't studied the the music masters but from talking to other people and when I was thinking about it myself. The main reason to study music from my personal perspective is to get time to fully commit and try to do music. In Sweden you can take a very good loan to survive and studying is free. So in Sweden if you take three year studies in music, you get three years to get basic income to survive and you can also fully commit those three years to try the waters in the music. And for me I sort of get the same opportunity by having a part time job that covers those economics and then I can spend my time fully committing in music during the other part. But that also depends on, you know, I have a network of people in music and I have very easy to learn. So I haven't really needed a teacher to deep dive. I've read a lot of manuals myself. So I think it also depends on your style of teaching and learning. That's a very political like safe answer. But I think that's the best answer I can get. Yeah, I think it makes a lot of sense. Like I, some of the, the biggest artists like never formally studied music. Like I've at first I studied music and I'd say that there's some things that aren't necessarily that practical that are being taught especially in the like in the electronic realm. And I'm also definitely envious of the free school because I have a lot of student loans. Having grown up and studied in the US how would you describe the interaction, if any, between your music and engineering workflows? So one thing that one reason I chose my field of engineering is because like I saw a connection between that and music. How would you say it's the same for yourself? It can be and it definitely has been. I am currently in the middle of transitioning jobs. I'm not sure where I'm going now, but the job that I have had has been a music tech company and my job has been user research. So my role has sort of been the user's voice in the company. So I have talked with users that use the platform to make music and then translated those needs into engineering needs. And so my job has been very much in the intersect of communication, engineering and music. But that isn't necessarily depending on what job I will get now, it might be more or less in the music realm, but there's definitely possibility to have that connection. That's pretty cool. Sometimes it's apparent when you don't have artists on team for some of these products. So I think that it's pretty cool that you are able to contribute that. How important would you say it is to have the art in schools, have things like general music class? Oh, I think it's super important. Once again, I can only speak from personal perspective and not on, you know, political or a perspective about, you know, I haven't read studies on people's health and stuff like that. But for me personally, getting the opportunity to explore music and find venues to try creating and see what that world is, has been, it's been great. But for me, I am pretty confident that I would have like my parents put me in a choir when I was like 2 years old. I would have researched and figured out music like no matter what. And my connections and musical friends haven't been from that type of school. It has been an after school music activity activities and those kind of extracurricular things. So did they in Sweden, is there like music. Are there like music classes like in public schools? Yeah. So there is music classes in like normal school. Yes. And then you can also there are like schools for after school time where you can go and take singing lessons for, you know, 20 minutes every week or be in a band 40 minutes every week and stuff like that. And that's where I got Most of my musical connections. So I was in a cover band there and I was taking singing lessons and also I was taking drumming lessons. And my teacher was actually one of the first people in Sweden to import drums, like electronic drums from Germany to Sweden. So during those lessons in my early teens, we started exploring all types of drum machines. And instead of him teaching me about how to play all those paradiddles and all those rudiments, he taught me about all kinds of cables and connecting MIDI and all the technical aspects. So I really. To use the value of having a digitally talented teacher. That. That sounds pretty neat. Like I there she's like, yeah, I would say my background I. It was. My teachers were very low tech and it was frustrating. It just. So yeah, that's. That's pretty cool that you're able to have that opportunity. Like what role do you see electronic music playing in music education in general? I think electronic music is another way of expression. I think that the computer can be an instrument. However, I don't think that we should compete. I think there is need for an openness on both sides. I don't think people that, you know, play classical guitar should be oh, computer is not an instrument. But in the same way I don't think people that have the computer as an instrument should be, oh, playing classical piano is not what you hear on radio right now. So that's not a real thing either. I think it's. My view on creativity is that creativity fosters more creativity. And the most important thing is for everyone to sort of see what the other one brings to the table and see what are the similarities, what are the connections here, what are we both trying to achieve with music. And then people have different outlets to what I believe are sort of the same end goal of expression. That's a. That sounds like a pretty. A pretty balanced way to see it. Yes, it's get the world today. It's like there's so many different things going on, I guess so many options. What do you think of the emerging role of AI in music? I think this is a tricky one. I think first of all, I think this goes back to what I said, that we shouldn't have things compete against each other similar to computer versus piano or similar. I think AI in music is another way of expressing yourself. Also I think just saying AI in music is a very narrow way of thinking about it because AI in music can be so many things. I know a startup that is working on an AI to export stems named correctly organized after BPM and color. So that when you're sending files to other engineers, you can just press bounce and the other engineer will have fully organized and that is just time saving. And there could be other similar prompting in music where you say, hey, I need a majestic string arrangement that accompanies this beat that I have. And there is also a synth that when you import one sample, the AI learns what that sample is and gives you a playable instrument that is actually not a sample, but a synth. And all these are very different AI in music. So the question is too broad to answer simply, but I believe that use the tools you want to get the outcome you want, but be aware of why you're doing it and always put human connection first. Because I think the goal for me personally with music is human connection. So are you doing this because you don't know any way else to do it and this is how you want to do it, or are you sort of losing out because you're doing it this way? Is it a shortcut or is it an escape? That makes a lot of sense. I think that kind of like the unique perspective that we would have is having studied some of the actual, like some of what it would take to actually come up with these types of products is like, I think that we was like, it's, it's, it's not just like, oh, like it's just the AI is coming to steal artists music. Like there's so many, there's so many things that you could do with it. And that also brings me to another thing that I think has sort of been missing in, in social media and artistry in general for a bit. I think people are going to yearn even more for human connection on the consumer side of music as well. Even if the song is AI generated, maybe there is a story behind that that is still very exciting or stuff like that. So I think, you know, the why is going to be even more interesting on the consumer side now more than ever. Yeah, yeah, you see? Yeah, because like, I guess it'd be like people would be coming to it for a variety of reasons. Like you're gonna have some people that just want to like churn out clickbait and then you'd have some people that are, that are gonna come for it, to it for every reason that you would come to. Like more manually generated things. What do you think the biggest disruption to the music industry will be in the next decade? The biggest disruption, I need to think of it on this one. It's a tricky one. The biggest disruption, I think the never ending Question of economics in creative art will continue to be never ending. I think that's something that is always gonna be a topic like the economics in putting value on creativity is such a difficult thing and I think that's going to continue to be a difficult thing. And that is not the biggest disruption. But also I think everything with money is determined. Trickiest thing you know, will people go to clubs, will people go to parties? Will the venues afford to stay up? And how do we make sure that we have venues in all the levels? We can't only have, you know, the bars that you play for two beers and the festivals where you need to be a super established artist, you need to have all the levels of venues. And I think that is being like with economics that they are right now. I think that's being trickier and trickier and also with more and more people aiming for me included aiming for social media numbers to get into the musical business, you will have less experience performing live. You will go from 0 to 100,000 followers over a few years. But you have never been on stage because your audience finds you online. And then you're going to be on stage and you don't even know how in ear monitoring works or how to play together with others and stuff like that. So I think just the gap between online and in real life is going to be bigger and I think that's going to be could be problematic. But this is also a question that is lot of. I'm not a pro in economics and stuff like that, but these are my thoughts definitely. See what you're saying is like I've now started to hear of folks that get signed to major labels like just by just based on their TikTok following. That's like their whole experience. Or would you say in Sweden it's like more the. There's like an issue with getting bigger venues because like I. I would guess that at least in the US situation seems like if anything the huge venues would like wipe out the little ones possibly. It's tricky. I feel like I still still haven't gotten into to the music scene in Sweden in that way. I have played gigs with companies and I have played some small festivals and I have played at some bars. But I'm still a bit on the outside of the music industry in Sweden. Some people don't even know that I am from Sweden. I was at the label Sone, the music label. They had an office and they had a moving in party and I was invited through my label and I got approached by five different People because they recognized me from social media, but they all thought I was from the US So I still haven't really, as I said, done that transition from online to getting into that gigging in Sweden yet. It's on the to do list for 2025. Yeah, makes sense. But I guess that also could be the reason because, as I said, I don't feel like those middle venues are that easy. It's a lot of, you know, do you want to play for food and beer? And I feel like I am above that, but I am under, you know, playing the Avicii arena and the biggest venues. So finding that middle gap and also the balance of respecting your own value and saying no to those gigs that aren't valuable, but also playing because playing is fun, and that's a balance that I'm still working on figuring out. That makes sense. It's like so many people want to pay for exposure, which, yeah, that could definitely. That could be. That could be tough to. To deal with, especially, like, the more you have to do to actually physically get yourself there. And, yeah, also, like, I'm thinking of the social media thing. Like, hard to explain that, you know. Well, I don't need the exposure in that way because I reached 10 million accounts on my social media in the last 30 days. You know, now I want the money and I want to play and get the interaction. Yeah, that makes sense. Yeah. Yeah, it's like. Yeah. Then I think there's also, like, a certain American dominance to social media is like, it's, I guess, to where people can assume that everybody's from the US on some of these bigger platforms. Who do you consider to be your target audience? My target audience, I guess, would be someone around 20 to 35, maybe 40, with a free spirit that enjoys adventures and dancing. Yeah, I guess I belong to your target audience, except for the dancing part. What would be your ultimate dream collaboration? Oh, oh, that's a tricky one. I have always been very inspired by Swedish House Mafia. Like, they were one of the acts that made me get into electronic music, so that would definitely be a cool one. Lately, I've been really inspired by Fred again as well. I feel like we have a similar view on music and creativity, so I think that would also be really cool. And then also, if you want to get a little throwball curveball. Ed Sheeran has been one of my favorite artists for a long time. Especially also with the live looping and performance setup. I feel like we could do really cool stuff together. You could instantly make one piece of music Technology appear, what would it be and why? Oh, can you repeat the question again? If you could instantly make one piece of music technology appear, what would it be and why? Any piece. Oh, shit. This is an interesting question. So first I'm going to give you the coped out answer, which is the instrument we already built, because I could ask this back in 2018 and then we built a wireless loop machine controlling Ableton so that I can loop. I have the loop buttons on my chair, my wirelessly controlling Ableton so that I can press start and stop recording while I'm playing the instrument. Because that was the main problem I had that I couldn't press multiple buttons at the same time. So the answer a few years back would have been a wireless loop controller. But that already is solved. So I guess now it's a really good question, I think, what if there was a sin that could create the sound that you were thinking of directly? So you can imagine the sound, you have the sound, but you can also hear it before you played it. So you know that the volume and everything is correct, but everything is done in such a quick way that you can do it live. You wouldn't have to risk tweaking the resonance too high, so you destroy the ears of the audience and stuff like that. So some sort of very unlimited synth that enables you to do all the synths live. Because I feel like that is the balance that I'm working on right now. Making sure that you always know what sound you get when you are picking a new bass sound when improvising live. But you also want to have not have the same five bass sounds the entire show. So somewhere of having, you know, more creativity and more exploration in a live setting. So this be like. Are you imagining it'd be some type of monitor or would it be like a brain computer interface? Oh, I don't know. The quickest way, the most simple way in which way that is, I don't know yet. I tend to ask my. If I get asked questions like this, I tend to focus on what I want, not how to do it, and then someone else can figure out how to do it. And I think especially when asking about create whatever you want, it's more fun to think about the problem space rather than how to solve it. No, no, no, that makes sense because like there can be some things that just. They sound like they'd be easy, but then from like a software or hardware standpoint, actually very frustrating to implement. And you run, I guess, as you know, it's just like sometimes you're surprised by, like the very unsexy bugs you run into. So if we want to figure out that we. I think we need an hour, another meeting, and maybe a. And some input. Budget, 100 people. And what would you say your home studio must haves? I see you're sitting in your home studio right now. I would guess must haves. I guess the boring answer is speakers, microphone, computer, headset, also are the must haves. And then a quite a good vibe. A good vibe is sort of when you have the essentials. You have the microphone, you have the computer, you have some sort of speakers. The best thing you can have is a good vibe in the studio that will make everyone perform their best. So if you want a singer to record the vocals, if that singer is comfortable and feel inspired and feel excited, you're gonna get a much better take than if the person feels a bit cold and a bit bored, then they're not gonna deliver as good. And same thing when producing. If you don't feel inspired and you feel in the moment, you're not gonna make as good beats. And then the technology exists to. If you get some noise in the background, you can remove that. If you have some, you know, the volume is a bit low, you can change that. It's a bit too little frequency, you can EQ that. So there is so much technology to save a bad recording, but there is no technology that can give human feeling. So when you have the essentials, a good vibe and how you get that good vibe, that is totally up to you. Right. So it could be a couch, it could be lighting, it could be a bar, it could be, you know, whatever. But be comfortable in the space you're creating and you're gonna get much better results. It actually makes a lot of sense. Yeah. The interpersonal dynamics and all that's definitely important is like. I've often described the experience of playing in a band or playing a quartet is like. It's basically like a marriage. It's. It. Because it's like. It can just be like the right sort of like, vibe can really make or break the whole experience. And it's definitely like. It could be tricky and it's. It's definitely like getting it right could definitely make all the difference. And it's something. It's. It's very abstract. It seems like it's something that I've seen people try to put into machines. We've definitely not. We haven't figured out how to get computers to have feelings yet. Even though I did see a paper on Archive recently about interoceptive AI. But I think it's also a difference between, you know, making a computer replicate human feeling or getting human feeling and a take. And maybe not for the listener, but for the creator itself. And if you only create for the listener, then I would say that you're more of a business person than a creator. Yeah, that makes that, yeah, that, that makes so much sense because then it's, then it's like it's not for you anymore. And I also think that, I think a lot of people, they think they know that the, what the formula is to like get like however many streams, but then I don't think anybody really does. And then I'd say, yeah, there are also a lot of people that, that don't realize that like our brains really are not that similar to computers. Like, our brains aren't like, they're not compilers, they're not embedded systems. They don't have. We don't have D flip flops, we don't have circuits that like, in a way computer would have, like. Yeah, yeah. But I also think what you're saying with the formula is very like, there are definitely some patterns that help the song fit more onto the radio. And then you need to decide if that's what you want to do. And if you want to do that, go ahead. But also if you want to. Like, one of the most liberating feelings was when I decided to not try to do songs that would work, instead do songs that I wanted to do and separate creativity from business. So first create something that I wanted to do, no matter how that sounds, if it's abstract musical piece or if it's a dance song, or if it's, you know, if the structure is a B, a B, or if it's a never ending progressive song. And then when you've done that, when you feel happy what you've created, then comes the business aspect of finding the people that also enjoy that. So my personal view is create what you want without thinking of it as any sort of business and then figure out the business aspect of it. Okay, which people enjoy these things. How do I reach the people that enjoy my art instead of doing the art to the people that I already reach? Danik said, I guess at some point, probably because like a chicken or egg question, like there's stuff that's popular now, but then it had to get popular at some point. And then, and see, it's like, yeah, it's like it's. Yeah, it's kind of. I think I saw, I Read a paper where the. There were some. They're exploring like the response of like relatively uncontacted communities to atonal music. And it showed that, that like we, we don't just innately prefer this like functional harmony stuff. It's something that's taught even though it's taught very, very young. Just need to think about also just doing a little bit of digging around in advance. And I understand you call your gear setup the Spaceship. Would you send your music to outer space? And if so, what would you send from your. Your body of work? So first I don't know how I'm ever gonna get rid of that name. I called it the Spaceship, like when I was a young teenager in some interview and then it just blew out of proportion. And I wasn't even the one who named the spaceship. There was someone else who saw a lot of buttons at the gig and said, oh, that looks like a spaceship. And I went with it. And now I've seen like 10 other people also calling the studio the Spaceship. So now I'm trying to get away from that, but I don't think I ever will. Just a side note and would I send my music to space? I guess my answer is I don't really care. Like, sure, but what would it do out there? And honestly I've already done that. I bounced my voice to the moon and back with a radio signal at a Tech event in 2018 and did a song during my old artist name called to the Moon and Back. So I guess already done that. I guess oddly enough, I've also done this. I think it was, I played, I think it was for. I played on a trailer for Interstellar. I played viola and it was. They told us it was gonna get sent somewhere. So I don't know. And I guess there's some, some. Maybe some. Some micro. One day will. Will hear one of us. Some, some bacteria we haven't discovered yet or whatever bacteria we put on Mars. I, I guess kind of in a, I guess on the topic of these like storage and listening mediums, would you. And I know, I know you said that you don't think there should be a comp. Like a competition between these, you know, like this, these more low tech and these more high tech ways of doing music. How important would you say the preservation of analog audio is? As I've seen a lot of folks that say, like, you know, they would, they would just like swear by like keeping tapes and keeping like vinyl, etc. Oh, this is a tricky one. So we actually, we mixed the entire album in a studio in Gothenburg in Sweden. And in that studio currently is the same mixing table that Michael Jackson used or the engineer of Michael Jackson used. So it's like a 4 million Swedish krona mixing table. And then we used all analog gear to mix the album. But then after we mixed it there, we still did final tweaks in the box after that. So we got all those nice compressors and stuff. And then we fine tuned the volume levels of the kick and stuff after that in between the songs to get a balanced thing anyway. But we definitely felt that there was a difference. We did a few songs mixed in the box and in the analog year and we felt that there was a warmth or there was something in that analog mix that we liked. And if that is because the interaction, like the interface was physical and you tweaked knobs and therefore got different result and you connected with it better because you actually tweaked the stuff or if it's actually a difference, I don't know. And would it have changed the success or not of the releases? I don't know. Would I have not released the songs if we didn't do it there? Definitely. I still would have released them. So keeping things I think is important in one way that we learned from history, but also it's different keeping because you want to and you can, and not continuing without it because you also can. Don't let not having analog gear axis stop you from creating, but rather if you can use the opportunity to try that as well. But I don't think it's a deal breaker in any way to be a creator or producer or engineer. Maybe this is getting too much into how to solve the problem. But do you have any. Do you speculate any specific technical reason for certain results, say the process D to A to D inversion or something specific ways of sampling and you know, that type of stuff. I think 99.9% of the people that listen won't know, won't care and won't bother. But if you want to have, if you think it's fun, if you feel like there's a difference for you, do what you want. And when it comes to like technical stuff like converters and stuff, I don't think that is. You won't hear the difference in any reasonable way anywhere really. So like have fun and how you have fun, that's up to you. That's a very non technical answer to the question. But I think, I think there's a bit of placebo effect going on sometimes. Like I have this professor who actually wasn't my professor. I just stopped by his office one time. He claimed that he could hear the difference between like 192k sample rate and like 48k. I'm just like, dude, come on. Like, I, I don't, I, I don't buy it. Like, but if, if he could, that's fun for him, right? And if he enjoys listening to that and creating in that way or you know, fun for him. I don't think like art and creativity and especially both listening as well do it in the way that you get pleasure from doing it. And who am I to say, oh no, I don't believe you can hear the difference. You don't need to listen in 48. And that will make that person since they are a little bit worse. Because there's also studies saying that placebo works. Right? So if placebo works, who am I to say that this person doesn't actually feel better listening to high bitrate music? Yeah, it makes sense. Yeah, maybe. I guess there's always ways that we were kind of dismissing maybe the way certain outliers can hear things. I guess there's a reason randomized like double, double blind studies or things because it's significant. Significant enough how? What would your approaches to like sampling? Not the like, you know, like actually like getting you know like a 44,100 floating point numbers out of your like recording a second, but more like, let's say, oh, I want to, you know, you know, sampling in the sense of. Well, I guess it's kind of similar like oh, I'm going to get a little, I'm going to record this truck backing up or take a little snippet of this song and put it in my own music. So first thing, I think I touched upon this before the idea over the quality always if you are in a really bad place but you hear something really cool, record it and do what you can with it and create the idea, even if it's not ideal. So that's the first thing. I have a sample and a song I'm working on, which is actually a recording from a live microphone. And you can hear all the bass, all the rumble, all the audience in that. And I just EQed out the bass as good as I could and then I put it in the song looped and in the context you can't hear all that rumble. But me five years ago would not use that sample because it wasn't perfect. But I believe that the idea comes before the quality and sampling and Then the other aspect that I'm really, really into is capturing the human touch in performance. Like I can come up with melodies, I can go and that's nice. And it's a melody that could work. But if I were to improvise over a chord progression that's not the melody I would play, I would play something different and that would maybe be a bit out of rhythm and it would be. But it would be the most human way because it just comes from me fully in the moment and capturing those moments is sort of what I live for. So I wanna, you know. For the album me and Sven, the co producer went into a studio. For every song idea we had, we improvised for 10 to 15 minutes, multi tracked everything and took all the pieces that we liked and chop them up and reorganize them into a song format because we wanted to have that human improvisation as the sort of core aspect of the song. So I think my goal in sampling is how can I get as much humanity as possible from this, especially in the electronic scene. Yeah, it's, it's, yeah, that's, yeah, it's all senses like because I guess it's like. Yeah, I think there's a point where it's like yeah, I guess people, if something speaks to them then they can let the little things go. Or those little like glitches can be a part of the charm I guess like hence the low. All those lo fi playlists that are out there I guess kind of thinking at a different. I guess like I guess there is more expansive form of human intelligence. How much potential do you see in the musical application of, of bio signals? Especially like outside of the voice. I am not entirely sure I understand what you mean, honestly. A bio signal, like for instance, I've seen a few startups claiming to sell like it's like direct to consumer even though they're, they're pretty noisy at this point and kind of like, I guess like somewhat low brow. These like let's say a direct to consumer like eg based mid controller, EG based synth or you know, something along those lines or something where you could, you just, you can like use different body parts in unconventional ways to get some music out of it. Basically. Yeah, no, I have seen, I've been at music tech festivals as well where they have used similar tech to create music and I've seen people create music from data of cities using traffic data and I've seen people create art pieces from all types of data and I think what you do with the data is more important than the data you use. And I think there is musicality in everything and I think you can find it if you want to. And I'm going to repeat myself again. But use the way that you think is fun to create the art you want and which way you do that, I don't really care. And I think when it comes to tech in general, explore. Engineers and creators and developers love creating new stuff. And maybe these sensors are great for musical but maybe they will in the future also help detect cancer or something. So I am for all types of exploring and creating new tech and I think art is a very good conductor for exploration in all fields. So I think continue exploring all types of ways to express yourself. Yeah, art's definitely like a. It's a lower pressure way to explore new things. That had one and one viola teacher that was just like, well, you know, if you mess up, like nobody dies. So I said a look at it like, which five words would you use to describe your current music listening habits? My listening habits? Yeah. Oh. So okay, five words. Okay, okay. Okay. Mood control is the first word. I think that's two words, but I'm going to count it as one word. Mood control is first word for listening habit. Time filling. It's going to be two words. That's one word again. But time filling is the second one. Loneliness, Erasement. Another two word word. Creativity. Chasing the fourth one and party and dancing as the last one. It is pretty cool. That sounds pretty exciting. Last question. Then we're going to open it up to the audience. If you could go back and give a certain piece of advice to your younger self, what would it be? I wouldn't, I wouldn't do that. If I would do that, I would change the way that I ended up here. And there is. I believe that in every situation where I had an opportunity choice to make, I did the best choice that I could make at the time. And changing that would change where I am right now. And I don't want to take that risk. Like the butterfly effect, I guess. Oh yeah, yeah, for sure. So but if I'm gonna change the question, I'm gonna take the liberty of doing that to give the advice to someone that was in my situation. I'm gonna. The one thing that I really enjoyed in the last few years is there are two door, like two way decisions and one way decisions, some decisions, if you go through with them, you can't go back. Some decisions are if you do it, you can go back and don't waste your energy on the two door Decisions waste your energy. Spend your energy on the decisions that you can't change once you're through. So that is the first one and then one that I have always followed. But I still think people should. Don't underestimate gut feeling. And I'm not saying go and buy that lottery ticket because you think it's going to be a winner this time. But what I'm saying is that if you feel that you are doing the right thing, you are gonna do better when you're doing that thing. If you believe that you are at the right job, you're gonna perform better at that job. If you believe that you are approaching the correct adventure or the correct gig, you are gonna do better at that endeavor that you take on because you believe in it 100%. And so you're saying just a clip about the decisions thing. You're saying don't focus on the ones that, that like would allow you to go back. Yeah, so. So for example, ordering, like buying clothes you can buy. Like if you feel, oh, maybe I don't like, I, maybe I won't fit in this outfit or maybe I won't feel comfortable in this really cool jacket. Well, then don't wear the jacket tomorrow after you've tried it. It's not a big thing unless your economy says that you can't. But like, if you can't afford to buy that thing, buy that thing. Don't stress for it for two hours before buying that jacket. Just do it. Because you can just decide not to wear the jacket afterwards. You don't have to do the final decision now. But you know, maybe buying a house, it's not that easy to just sell the house the day after. It's like a big process and that's more of a one way direction. Once you decide to do that, you maybe should consider between renting or buying a bit more before doing the decision or you know, doing some sort of interview, maybe you should consider a bit more. Because once an interview is live, you can't really remove it from the Internet, you know. So think about where you spend your energy so that you spend it the right way. Because I think decision fatigue definitely is a thing. Yeah, yeah, that, yeah, that makes a lot of sense. I was going to open it up to some audience questions. All right. Presley. Tim, I'd just like to ask you, have you ever wanted to compose music for film and TV in the near future? Sure. So honestly, I would prefer it if a piece that I've already created or I'm working on would end up in a movie or tv. I think that's the more fun way to do it. And I prefer to do a soundtrack that is still in my realm of electronic music for the movie, even if it's a song made for a movie. But I'm not that interested in doing the Hans Zimmer orchestra thing. I want to do all the creative stuff that I can do, but I want to do it all within my sort of world. But I would definitely be up for for that because it sounds like a really fun thing to do. All right, Justin? Yeah. So I was kind of curious because you mentioned your connections and stuff like where you have. Where there's a bunch of people behind the scenes who do important stuff in the stuff. And I'm wondering how do you meet those kinds of people where you can work with and stuff? Oh, I think every person has an equally interesting story. I wouldn't say there is a one way fit all, but I would definitely say that open communication is like one thing to work with. People in general, be very open about your intentions and what you expect. But also they are not working for me. We are a few people and we are all working together to a goal. And be equally considerate about your goal as their goal because they are not only investing in me, I'm also investing in them. So with Jesper, for example, who is doing video, he want to get better at video. He want to do that full time and he want to. His goal is to film at the same festival that I want to perform. Cool. We have our goals aligned. Then it's much easier to work together. But if I only think about what I want to do and not ask him what he want to do, then it's going to be a one sided relationship and then it's going to be work for and not work with. So I think it's really important to set expectations on both ends and especially now that none of us are making a living of it yet. Make sure to prioritize the person over the work. Oh, you have very much on your other job now. Cool. Take another week to finish this edit. Focus on you and make sure that what you're doing is sustainable for everyone. And when it comes to finding them, it could be through friends or friends or you know, when it came to Jesper, I asked another friend who has a camera, hey, do you want to help me record? And he said, well, you should actually talk to Jesper. He also has a camera and he's more passionate about this than me. So you two should grab a Beer. And then we went for a beer and we talked about it. And with the label, for example, it was Sven, my co producer, pitched it to the label and then it was more of, you know, checking there as well, the expectations. And that label prioritizes having fun and projects they believe in over making a shit ton of money. And they are also working part time at other tech jobs. So we made sure that. Okay, how much time can you put into this? How much time can I put into this? And once again, what are the expectations from each other to do this? So, yeah, short answer. Make sure that expectations are aligned with the people you work with and almost prioritize themselves over you. And they are going to be, you know, wanting the best for you as well. And finding them is all about actually daring to ask, be in spaces where they are and be honest about where you're at. Yeah. Does that sort of answer the question? Yeah, I think so. It does. Thanks, Andy. Thanks for sharing all that, Tim. Really insightful to hear about the way you communicate with your team and work together. I think that's really inspiring. I wanted to ask just a really quick question. Favorite drum synth plugin of all time? I think I'm gonna all time. I'm actually gonna answer a new one and that this one is sent only for drums, but it's a really fun one. It's called Life by XLN Audio. It's a Swedish company and they have created a two setup concept. So you have a recorder on your app and then you have the actual drum machine sequencer in the computer. And what you do is you record sort of similar to a voice memo and then it uploads it to the cloud. So you have it on your computer when you're ready and it automatically detects all the transients in your loop and then it either creates rhythms and stuff with it, or you can create your own rhythms or you can generate patterns. Create your own patterns. You can tweak the page, you can tweak the formatting of everything and you can either do it like with harmonics so it won't change the notes. So you could sample a piano and if you only play notes in the right key, then it gives you really cool melodic patterns. Or you can have it in drum mode so it automatically pitches some of the notes down to get more of a kick drum sound. And that plugin is just really, really fun, really, really creative. And I think it has a really fun balance of fun creativity AI, but also letting you actually be the decision maker of the end result that's really cool. I'm going to check that out right now. Yeah, do it. All right. So that will conclude our questions. Tim, thanks so much for doing this. Help make this work with this, our time difference and everything. And to people that showed up as I'll say farewell and continue to exist. Will do. And also, I sent over, I think you have links to a few live performance videos that we didn't watch now, which is totally fine. But if you can share them in the, you know, with the meeting or links to Instagram and YouTube as well after. So you can check out what I do, because I think seeing the live performance or hearing some of the music might give some more context into the things I talked about as well. If you don't know who I am and what I do,