 So I am sitting here having lunch with, actually, make your own introduction. I'm here having, watching Anthony having lunch. I am Benjamin, the music composer and coordinator at Freedom, and this is Anthony. I do stuff. I hate this stuff. So we were sitting here, we were talking and I realized I had my tripod here for other reasons. And I figured that the Freedom family might also be interested in kind of hearing what we were talking about. So the moment that he confirmed, so I had to just ask you, if you were in an elevator, right, and you had, until the time, you know, from the ground floor, up to the 20th floor, to explain what's going on with music factory right now, how would you do that? What? Give you two minutes. Two minutes. That's a slow elevator. Yeah. All right. One of those old tiny ones that we got a pull off. Well, the music factory is a royalty-free music model that we create music for a catalog similar to Epidemic Sound. It is free for all of our partners to use. And we would never, ever, like, monetize and strike against any of them for any reason because we own all the music in its maiden house. OK. How is it made in house? Like, do we have, like, and I already know the answer to this question, but let me be a little bit silly here. So when you say that it's made in house, are we bringing in the guys with the weird sticks and like this? Yes, I have one actually. Really? You have one of those? The baton. So that's, like, what it's really called? Is that what you call it? That's a baton, yes. A little, yeah, that's a Dutcher's baton. Oh, cool. So are we bringing in, like, huge symphonies and orchestras or? Well, no. We're using symphony libraries that pre-recorded the samples and we use that with a piano and we record the music that we want to create that's in our heads. We have two other composers currently on staff, myself, Jim Taylor Rock and Michael Bullo. He is brand new. And we work together. We create music that collaborate. And we release different styles from symphonic to electronic to rock and roll and jazz. Oh, yeah. So I heard that you've been sort of dabbling in EVM lately. Yes. Is there something you want to, like, let anybody know? Like, are you going to, like, shape half of your head and do the whole Sphrillx thing? Well, I already got a tattoo. What? How old is that? I've never seen that. 2009. Like, I've been working with him for months and I've never seen that. Yeah. I put it up there on purpose so the shirt would cover it. Nice. So then it's like, I'll show you mine if you show me yours. Yeah. I am not inked in any way. He doesn't get it. Anyway, Harry Potter reference. OK, moving on. Wait, are you saying you want to see my one? What are we talking about? I lost. EDM music, right. EDM music. So I've been stealing a tarot being inspired a lot by guys like Deadmau5 and Armand Van Buren, Sphrillx kind of, but I'm not really a dubstep fan. So that's where I've been pitching my tent to. Those two guys' genres, because that's what I like. I like the pitching my tent. It's a reference to camping, not a reference to this guy right here. And I promised him that I wouldn't let this video paint him in a negative light. I'm doing that all on my own, right? Yeah. You don't need my help, man. You've been doing stuff with orchestral stuff. Now you're looking to go in to be EDM and all that. What kind of software are you using? I'll use the Zebra synthesizer. There's the big collection by Artoria, which is basically a big collection of re-created old-style synthesizers like the CS80, the Mube, Odullars, and the Prophet, something Prophet that I can originally not have. I'll help each other. Using those two main software, as well as some other patches like Opusphere, so those all come together and I create beats with them. And then whenever it comes into my hand, that's what I produce or whatever I hear from someone else. That's what I steal tomorrow. Get inspired by it. Recently, there was a thing that your team entered into. It was a thing having to do with Albert Einstein. Ah, the genius contest. Can you film me in on that? There was a show coming out, a National Geographic called Genius, and it's The Life of Albert Einstein as played by Jeffrey Rush as Einstein. Do you know the sounds familiar? Jeffrey Rush played Barbosa in the Pirates of the Caribbean release. So he's one of my favorite actors. And I really was excited because this was an opportunity to potentially get to meet Hans Zimmer and Lauren Balfe, which are two big composers, and they did the Pirates of the Caribbean, they did Batman and Light-Aid and a whole bunch of others. The Lion King, that's what he's most famous for on Zimmer. Anyway, we didn't win, but we had a lot of fun. Me and two other guys worked on that one together. It was just an absolute blast to work with. In that, you guys essentially recreated the trailer, right? Yeah, we took the original trailer for National Geographic. We tried to remove a lot of the music and isolate the vocal stuff, the speech, and then we made our own track underneath all of that. Oh, cool. Was that difficult, sort of isolating? Because I'm sure that there was background music underneath them speaking, right? There was insanely difficult. So much so that I actually had to go against tradition and turn the music up louder so that the vocals were kind of drowned out a little bit because you could still hear the background music over the vocals. Sort of moving on from that, you had done some work previously here at Freedom with a vocalist. She's still on board. She comes in every month or so and records nursery rhymes. Nursery rhymes. Now, you can see her at the Kids Hub. Now, pray tell. Tell me more about these nursery rhymes. I don't want to. So these nursery rhymes are basically. I say as I sensuously eat pizza. The nursery rhymes range from anything from pop-up, black sheep, to green sleeves, which is actually, interestingly, a nursery rhyme. That's actually an old Celtic tune about a prostitute who wore green sleeves. But we're using it on nursery rhymes, you know, channel for some reason. There's no, like, illusions to sex or anything. Ring Around the Rosie is about a claim, so. I don't know how accurate that is, but I've heard that. I know that there's stuff you can't talk about because spoilers, but what can you talk about? Why can't I? Joris talks about everything. Wait, leave that out. Edit that out. What can you tell us about what's coming on here with Music Factory, Freedom, et cetera? Well, I can hint at a contest you're working on for local composers here. I can't give any details on it because we're still not finalized on the details. When you say local, you talk about hearing folks. That's right. Here in the Philippines, we're having an international contest to look for a composer. And we're meeting this week with someone to discuss the details. One of the other things we're working on is a collaboration with Rainimator. He's producing a trailer for a series that we're working on. He's using one of my tracks, and I'll be doing some voiceover work for him as well. So where can people get the music from Music Factory? One of these two players. Is this a mirror image, or is it gonna be over there? You're creating a lot of work from me with cards. Yeah, he gets it. Okay, yeah, the eye. Click that eye over Anthony's head to download all of our music. Now I'm gonna flip the image just to make it look better. Click work, work like this. I hate you. Dennis is an award speech. You're like, I'd like to thank mom. I'd like to thank the janitor from my high school. I'd like to thank that police officer who showed me the doll and asked if I could point to where... In all seriousness, I would even want to go back to a joke I made about stealing music, because I'm against that as a rule, but one of the greatest composers of all time, one of the greatest artists of all time, actually, a professional, public professor, and Kostakowicz, for both motives, sang something along the lines of good artists borrow, great artists steal. So in that sense, I'm stealing music from others because it inspires me and it makes me excited. And so I would like to really thank all the big guys out there, the ones who I'm standing on their shoulders and learning from. And the people of the forum, the people I work with, especially Gemta La Rock, he's a fantastic musician. I think since it's honored to work with all these people and to be in that realm. So I'm actually glad that you sort of mentioned that and clarified, because in the world of comedy, it's said that an original joke hasn't been written since the invention of electricity. Or there are other variations that hasn't been written in the last 200 years and so on and so forth. But sort of that same idea that there is sometimes a very thin line between inspiration and then not inspiration. So where is that line for you? That's a really hard question. Because sometimes that line is being transcribing, which means writing down exactly what I heard someone else do and then just making altercations to make it loud. And that's one way where I can learn how to write what they wrote and then make it into something that I want to say. So sort of writing something in their style? Writing exactly what they wrote. Line for line, no for no. But then changing it so that it's got that same feel, but it's not exactly the same. Are you familiar with the works of The Almighty Alfred Yankovic? Say that again. Alfred Yankovic, Weird Out. Oh, I thought that's what you were saying, but I wasn't sure. Yeah, I'm familiar with the accordion player. So he does these things that he refers to as style-bearings. Yes. Which I assume start out in much the same way. And I'm wondering if you're familiar enough to say that's sort of what you're referring to? No. No? No. What I'm referring to, and maybe you can reference a clip here or something, is if you listen to John Williams' Star Wars Imperial March, it's actually very heavily based on the Mars theme from not-to-come-Mars, or if you have Mars, from The Planets by Christophe Holtz. And you can hear this if you just, if you listen and compare the feel, you'll see that, and he says this in the music, he was inspired by that track, which would make this Laura Bader's theme inspiration I'm talking about, where he will take something note for note, play it back, and then turn it a little bit, change a few notes here and there, move the rhythm around to something that he likes, so that it sounds like he's on paper. Like Rachel. Yeah, like Rachel. Awesome. Well, I've had a wonderful time here. Thank you for watching me eat pizza. For those watching home, it wasn't just me eating pizza. He actually finished his salad quite early. Yeah. I hope this has been helpful for you to have. Let us know in the comment section down below. There are other people here at the Freedom Office that I would like to meet with, and do something similar to what we've done here. If you're interested in that, let us know and I'll do more. Till next time, don't forget to like, subscribe, and do all those things that make us look for jobs. Also, be awesome to yourself and amazing to each other. Bye.