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Go on a sonic journey with us! OMNISPHERE the Podcast goes deep inside the creative process of extraordinary artists, producers, composers, and innovators that are exploring the unlimited possibilities of Omnisphere in their work.
There's always something to chip away at. There's always something you can develop and there's always sounds you can create.
James Bernard:You've used OMNISPHERE for quite some time now.
Flying Lotus:Oh yeah! OMNISPHERE is my shit, man. It's it's the one that's always gonna be with me. Just does everything. That was it. I was like, straight. I got this one bedroom apartment. Can make music all day in here. Like, that's it.
James Bernard:Today, our guest at Spectrosonics is someone who is a true renaissance man of the future. A massive creative force as a recording artist, a producer, a musician, a filmmaker, a composer, a DJ, and founder of the Brainfeeder label. It's the one and only FLYING LOTUS. You so much for being here and coming in and sharing your time with us today. Really appreciate having you. So when you were a young FLYING LOTUS
Flying Lotus:Yeah.
James Bernard:What made you believe in a life without creative limits?
Flying Lotus:I think because I I kinda come from this... A family of creative folks, and I think just knowing that it's possible has been able to help me out my whole journey. Think just seeing what happens when people really go for the road less traveled, you know, and seeing it work out for them has been a, Yeah, for me, it's been a... Yeah. The example.
James Bernard:I mean, you had some pretty crazy examples of, of the road less traveled. I mean, you know, thinking about your origin story, right? I mean, there's not a whole lot of artists that I can think of that the origin story has both John Coltrane and Cartoon Network.
Flying Lotus:Yeah.
James Bernard:Right? So how does that happen? How does that even happen? Like, where does that come from?
Flying Lotus:It's crazy. Crazy, actually. Yeah.
James Bernard:Talking about, you know, aunt Alice and uncle John, you have any favorite memories of childhood with them?
Flying Lotus:You know, just some some of my favorite moments with my aunt Alice were just kind of the smaller moments and just... I I guess I always just wanted her support and her encouragement. And whenever it was a creative thing, whenever there was a creative thing that I was really passionate about, she was really interested in just telling me to go for it.
James Bernard:So powerful.
Flying Lotus:Yeah. Which is, you know, not everyone has that experience with their families. And, I think I'm just really grateful that
James Bernard:That's beautiful.
Flying Lotus:I have that support.
Flying Lotus:It's beautiful.
James Bernard:I mean, to have... And especially Alice with with her energy and who she was. Did you originally think when you were gonna start the Brain Feeder label that it would turn out to what it is now? Mean, you guys got an amazing roster of artists
Flying Lotus:I never, I never thought it would become, you know, a Grammy winning label like that. I never thought it would be on that level. I just, I just always wanted to just have a place for for us freaks, you know, to turn to.
James Bernard:That's amazing and it's wonderful you've done that
Flying Lotus:It's that because it's a good time. It's been hard though too. It's been really hard because I think, you know, when you're in the position of the label, have this responsibility to, you know, really nurture and see these records through and not everyone has the same experience. And a lot of these people that I work with, they're my friends.
Flying Lotus:And when you start mixing the friendship and the business and stuff, it can get kind of tricky.
James Bernard:It can, yeah.
Flying Lotus:But I think we've learned a lot and we've done a lot of good work and I think at this point, it's kind of just, you know, rolling along and just building beautifully. So it's a it's a good time.
James Bernard:Amazing. Mhmm. So how do you deal with distractions? I mean, we're surrounded by distractions daily.
Flying Lotus:How do I deal with that?
James Bernard:We just have our phones and they can calmly... That's right. So so distractions are a hard one, and and we'll follow-up with writer's block if you ever actually experience that. But
Flying Lotus:Yeah. Absolutely. That's a good question. I think the distractions are... I'm I'm a victim just as well, but I think I've just accepted that, you know, for one, the light ain't always going be on. The light bulb, it ain't always there, And, you I think, when I was starting out in my twenties really, was really... I beat myself up about that way more. Like, oh, I didn't make a beat today.
James Bernard:You fight it when you always gotta be on, right? Like every day you gotta be grinding and making Yeah. Those beats,
Flying Lotus:I think, now I've just accepted that, you know, sometimes I'll get on a streak and it'll be great and then sometimes it's just like, you know, gotta start enjoying life and live more and go places and visit your friends and do the things that everyone else does that seem to let go. But as far as writer's block and stuff, it's different. I think there's a difference between, having a creative lull and there's just times when you just feel like crap and you don't, you're just not going to make anything.
James Bernard:The voices aren't calling
Flying Lotus:right Yeah, just there so kind of knowing the difference and just being like, okay, well actually I feel fine. I need to just sit in the chair and do some stuff. But I am of the mindset of there's always some work you can do musically with this work. There's always something to chip away at. There's always something you can develop and there's always sounds you can create. There's always chords you can learn. So it's infinite. So if you're not feeling it, then maybe that's, it's a bigger issue.
James Bernard:Just doing something to grease the wheels here.
Flying Lotus:There's always something. Doesn't have to be writing a hit song, know? I think that that mindset, it's different. I think it's, I've accepted that, Like I said, the journey is infinite. So some days I'm just gonna be working on just being a better musician, really. And it's not about writing tunes or anything.
James Bernard:Just wood shopping. Yeah. Yeah. Indeed, man. There's a fair amount of people that have drawn connections from your work and and afro... Afrofuturism. Mhmm. So I wanted to ask you, like, what are your thoughts on Sun Ra? I'm not sure I've ever heard much of what you've thought of Sun Ra.
Flying Lotus:Well, I mean, I have I have a lot of thoughts on Sun Ra. I think Sun Ra is amazing, as a, you know, just the figure that he was and his philosophy is so amazing. I've also, I really wanted, I really want to make a sequel to Space is the Place.
James Bernard:That would be amazing.
Sun Ra:Teleport the whole planet here through music.
Flying Lotus:I have this idea.
James Bernard:Please
Flying Lotus:do. Please think I think there is a...
James Bernard:Come on. That'd great.
Flying Lotus:Yeah. Think there's more to tell with that story.
James Bernard:Yeah.
Flying Lotus:In this in this age. Yeah. For sure. Yeah. I think there's a way to do it.
Flying Lotus:That'd be a lot of fun.
James Bernard:Well, I I know I'd be excited to hear it. I know probably I've
Flying Lotus:been trying to put
James Bernard:it out. Watching would be
Flying Lotus:really happy to I'm trying to put it out. The air.
James Bernard:Well, you know, it's funny because because talking about that, did you know that that Sun Ra had a really strong connection with Bob Moog and actually with the invention of the Minimoog?
Flying Lotus:I'm not surprised. Yeah. But... Yeah. Yeah.
James Bernard:So they they actually had a a a lot of philosophical conversations
Flying Lotus:Really? About Sound. What it meant,
James Bernard:about sound, about what was happening. Because, I mean, this was a... This was brand new. Yeah. And we actually got some tape of them from 1969 of Sun Ra and his bandmates checking out Bob's first Minimoog prototype and chatting with him about it.
James Bernard:And it's pretty cool.
Flying Lotus:Yeah. Yeah. Yeah. We got it here. You wanna hear Yeah.
Flying Lotus:Yeah. Absolutely.
James Bernard:Can we roll that and listen to that?
Bob Moog:Probably for the last hundred years that they're working away from pure pitch and more toward working with tone color as a musical value. It's much easier to work with tone color in an electronic instrument than it is with an acoustic instrument. With a synthesizer, you can change the tone color continuously from pure pitch to pure noise, from, you know, very bright to very mellow.
Flying Lotus:Sun Ra like that. Yeah. No. Yeah.
Sun Ra:He's training here.
James Bernard:Yeah. In other words,
Sun Ra:you just provide the musician with the basis, you know, from which to work because how do you create the areas of separation between sound, noise and music? In other words, you're providing with the whole spectrum.
Bob Moog:Yeah, that's up to the musician. What you call noise may not be noise if a musician uses it. How can you measure a sound to see whether it's music or noise? And really, there's no way. Wild.
Flying Lotus:Yeah.
James Bernard:I mean, that... That's crazy because they're talking about where it went. They're designing an instrument there. Yeah. They're talking about the prototype of a Minimoog.
Flying Lotus:Yeah. And And and he's playing it all. Clear. The vision seems so clear too, but, you know, it didn't take, it took a while for people to adopt.
James Bernard:And definitely, I mean, you can hear Bob really was, was thinking about giving musicians so much control and power of where they wanted to take sound.
Flying Lotus:Yeah.
James Bernard:And Sonra Roberts were right there with them. They were definitely chatting it up. So speaking of synths, you know, we always love to hear how artists are using our instruments in their in their music. And I know that you've used OMNISPHERE for quite some time now, I think. How long you've using it at this point?
Flying Lotus:I feel like I've been using it maybe since 2017, 2018, something like that.
James Bernard:Yeah. Should've been doing it for a while since '2, obviously.
Flying Lotus:Yeah. Since '2. Yeah. And it's, it's, it's definitely one of my go tos. It's, it's in my template for sure every time.
Flying Lotus:I guess when I first started messing with it, I never really knew how deep the synth went until we started connecting.
James Bernard:Yeah, started to do some stuff with some FM and played around with some of the extras.
Flying Lotus:And then I just started to see like, oh, well it just does everything and it has this warmth to it that is, yeah, it just has a very analog feel to it and it can if you Or want it it can be be very clean. Yeah.
James Bernard:For sure.
Flying Lotus:Yeah. And then you just have layer upon layer that you can do to this. It's insane.
James Bernard:Yeah. I mean, we're gonna talk about that in a second, but I know that on your on your previous tour, you were having some uninsane amount of OMNISPHERE. Yeah. Yeah. Yeah.
James Bernard:We'll talk about that in a moment. But but talking about that, you you just did a little short tour with a live band with some pretty killer musicians that you were doing. And you had that that show at the Blue Note, Eric went to it and said he really loved it. I was out of town and I really wanted to go to Oh that
Flying Lotus:man, next time.
James Bernard:But how was the setup for that? Because I know that we talked a little bit prior to that and you were using OMNISPHERE, so how are you using that?
Flying Lotus:Yeah, right now in the show I basically have, well in the first iteration of the show I had 127.
James Bernard:What kind of computer were you using? I mean they weren't all on the same time, But still you've got that many just
Flying Lotus:That waiting was risky. Was risky.
James Bernard:That's bananas.
Flying Lotus:But the thing is, the idea was that I wanted to be able to make a beat in the moment. Improv and just kind of go with wow. And just have a selection of sounds that I could just loop up and make beats in the moment. But it's, the brave part is just having it all on one computer.
James Bernard:That's, why I'm
Flying Lotus:brave because
James Bernard:it can all go wrong, you know, but...
Flying Lotus:I never had any problems with
James Bernard:it. That's great.
Flying Lotus:I never had any problems with it, but I was always feeling like I was risking it. Yeah. But I never had any issues. It was always really stable because I have a controller with 16 pads on air. Yep.
Flying Lotus:So each pad is a sound that I can jump to.
James Bernard:So you've mapped out the controller to trigger or to do the sounds?
Flying Lotus:To do patch selections.
James Bernard:Are you doing that? Well, we'll get into... There's something I wanna show you a little bit later about, live mode. But when you're doing that, are you switching that internally in OMNISPHERE or is that something enabled
Flying Lotus:to It's enabled to have an instrument rack. An instrument rack. Great. And then I'll jump to different patches and
James Bernard:some
Flying Lotus:of them aren't OMNISPHERE.
James Bernard:Yeah, of course. Yeah, yeah. Sometimes you need
Flying Lotus:to But most of them are actually just some of
James Bernard:I are to wanted to show you a little cool trick that's kind of handy when you play OMNISPHERE live. If done, I got a screen in front of you there and I'm gonna I'm gonna pull out my little laptop here. So I think when we were talking on the phone, I think we were texting. I think we... Either we talked on the phone before your show when we were...
James Bernard:You were asking me for a little bit of, like, you know, some ideas because you were doing it, like you said, the week before. And I suggested maybe looking into live mode. And I don't know if you ever actually went there and looked into live mode, but that's that's a motor hunt inside of OMNISPHERE where you can have up to eight patches that are ready to go, and you can select them using notes on on a keyboard, which right now what I've done is actually assign them to pads, which are just notes. Mhmm. So very quickly, I can, you know, like a lead, another little lead, bass, and maybe a little kind of thing that's chugging along.
James Bernard:Now using live mode like this, obviously, as you can see, I can bring in parts by touching the pad. And if if I touch multiples, then they all come on at the same time. Right? So I've got just cacophony of everything. But the cool thing about this kind of setup is if you're using a live setup and let's say you don't really need all those sounds all across the keyboard, but, like, I might want the leads up here.
James Bernard:Right. And the bass sitting down here, I can do some stuff. And then maybe that that little looped percussion thing that's happening, I want it sort of at a key range that's up and away. So I'll latch that. But we have this stack mode.
James Bernard:Now stack mode is where you can set up splits. Yeah. That's why I can do the splits here. So I've got stack mode there. But the cool thing is there's another sort of function inside of live mode, which is called stack mode regions, stack mode note regions.
James Bernard:Uh-huh. So with that, when you turn that on, what happens is now stack mode is active, but only for when you bring things in. So if I don't have anything else in, right now, I've got the... It's it's up to that section, and now I can start bringing in everything. So I've got the leads here.
James Bernard:Bass. And then up here, that's just gonna loop. So I've got that kinda going.
Flying Lotus:Oh, yeah.
James Bernard:So... And then I could play my leads up. Yeah. So it's a fun little fun little way to play around and use the the live mode and the stack mode together to to have a little way to do splits and stuff. Because I know sometimes when you're playing, you might want that ability to get down there and get some base in the lower hand
Flying Lotus:Yeah.
James Bernard:And some leaves on the right. So that that's a fun little trick. Should try that.
Flying Lotus:Yeah. That's really interesting.
James Bernard:I'll go over that with you again later. No. No. I see it. I get it.
James Bernard:I
Flying Lotus:it. Yeah.
James Bernard:So I also wanna
Flying Lotus:show because
James Bernard:I've never
Flying Lotus:used the stack but that
James Bernard:But as a split, right? But but when you layer it and you have the ability to sort of pull things in and out, so you could have another lead that sometimes is there just that lead or just that lead or both. So wait, how do...
Flying Lotus:So you're running that one lead Yes. But with the stack... When you go to the stack page...
James Bernard:Yeah. So if you go to the stack page, you'll see there's two leads that are sort of in that area,
Flying Lotus:The classic saw
James Bernard:and the glider. But you're not hearing them both until Until
Flying Lotus:you pick one.
James Bernard:I actually decide which ones are happening by by touching the pads, which are just note numbers that I've assigned to them.
Flying Lotus:Oh, yeah. That's really useful.
James Bernard:And then you can hit multiples. So I can have all four of them in or just the leads or the leads in the bass or just that looped sound. So it's it's a really handy
Flying Lotus:all be in the same They would all be
James Bernard:in the same keyboard. Yeah. So so I could decide, oh, I want this lead, but I don't want that extra glider thing in. I just want this one, but I want everything. Oh, yeah.
James Bernard:But now I wanna add in that
Flying Lotus:guy. Mhmm.
James Bernard:Now I got it in there. So it's just
Flying Lotus:a little bit more
James Bernard:of a flexibility when you play in live to be able to bring things in and out for, for a performance patch. So it's a fun little trick. I Have you used
Flying Lotus:you all got all the tricks. Oh, you know was just like, I, you, cause you posted something about
James Bernard:No, the the G codes recently.
Flying Lotus:Yeah. Well, now it was the, that was, what was the, FX change?
James Bernard:Yes. Yeah. Yeah.
Flying Lotus:With the patches, the presets on that. I didn't know about that. Yep. Was great.
James Bernard:Actually speaking of effects, thank you for the segue, I appreciate it. Because I was gonna ask you, I mean you have, you're using OMNISPHERE three now. Yeah, absolutely. Have you been playing around with much with the creative effects that we added? Because we know we added a whole bunch of new effects in there.
Flying Lotus:Not as much as I should, to
James Bernard:be honest.
Flying Lotus:Show me some stuff.
James Bernard:So so I'm gonna use, we're gonna use some of the phrases, some of the, sticking with our Afrofuturism theme with Sun Ra. I'm gonna use some of the, phrases that were from Heart of Africa that are in OMNISPHERE that are actually in the sound bank. Right? So we've got this nice African horn here. And I'm gonna go into the effects section and we're gonna go in
Flying Lotus:and These are look just these are the samples.
James Bernard:Yeah. These are stock samples that are that are in OMNISPHERE.
Flying Lotus:They're not presets.
James Bernard:They're No. Yeah. I just literally went into They gotta
Flying Lotus:tell them that.
James Bernard:Yeah. Yeah. So so it's it's it's just the sound source. Right? So I'm just using a sound source.
James Bernard:This is not really a patch at all. It's just literally that. So we're gonna go into the creative effects and let's put in something here. We're gonna start with a half speeder. So what we've gotten now is it's taking the audio that's coming in and playing it back in half.
James Bernard:So we're getting... And we can decide the the note values that we wanted to capture. So without it, you know, we'll take it off. Alright. So there's that.
James Bernard:And then we're gonna bring in... Let's do another one. We'll do the flip backward. So now this is gonna take it and flip it backward as we play it. So...
James Bernard:But it's also capturing that by different note values. So right now it's on half value, and I'm gonna go through some presets, which, by the way, you can do over here. So if you call up an effect and you click on these arrows, then it starts to go down through the presets.
Flying Lotus:Right.
James Bernard:That's a good one right there.
Flying Lotus:Let's use that one. Alright.
James Bernard:So that, again, will will will bypass the effects. That's the original. Let's go through a few more here. Let's try stomps without. And we'll go through a little buzz string.
James Bernard:Again, that's before. So getting some nice little interesting stuff there.
Flying Lotus:Definitely different.
James Bernard:And, you know, depending on what you put in, you get some interesting stuff out of it like this kind of like brooding. Right? But if we take it off
Flying Lotus:Alright. It's a
James Bernard:real happy sort of like little ditty there, and then how it's just really brooding and flipped forward and backward, and you get some interesting movement happening there. This one's wild too. That's before.
Flying Lotus:Wow. Like crazy.
James Bernard:Take that off. Right? So there's the original and now he's like the lion. Right? Crazy stuff.
James Bernard:This one's one of my favorites too. So this one's got a nice sort of energy to it. But again, by by its... Without the effects. Right.
James Bernard:And because it's doing, like, sort of quarter note captures and sixteenths, you're getting a different sort of rhythm that's being pulled out of that one sound. And we'll go again. That was without the effects. And that's with a little half speeder and and flip backward on it. And then this one's wild.
Flying Lotus:That's freaky right there. Right?
James Bernard:And then without it...
Flying Lotus:Wow. Yeah.
James Bernard:I mean, it's quite a big difference though.
Flying Lotus:I mean, this
James Bernard:is like horror movie soundtrack all day. Mean, like, what is this beast? Alright. And then I wanna put one more on here. Let's do a let's do a warp shifter.
James Bernard:Alright. So the warp shifter is kind of fun because what it's doing is it's taking the input signal and it's giving sort of an interesting movement, swishy kind of movement to it. So now we've got Oh.
Flying Lotus:I like that.
James Bernard:Right? And that's just with that on, and we'll take that off. Again, that's that's before. Now with the warp shift.
Flying Lotus:Yeah. I like that.
James Bernard:Really fun little effect. And I'm just using default preset on that one. Right? So the cool thing about that, so what what we were just doing there is is, you know, we're adding effects to an OMNISPHERE patch. Right?
James Bernard:So that's within OMNISPHERE. Mhmm. But, you know, there's also, have you used and have you seen that you can also use OMNISPHERE effects
Flying Lotus:On a audio track?
James Bernard:Any audio track. So you load it into... I've got Ableton here, and I just pull up OMNISPHERE effects, and now I've got them as a rack of effects that I can put on any audio track. So I've got I've got a little something here that I wanna play for you.
Sun Ra:Yeah.
James Bernard:And I wanna see if you can guess what the audio is. It's a it's an... It's a piece of music from a song. Okay. But I'm just gonna run the effects first, and we'll see if you can kinda get it.
James Bernard:And I'll just... I'll start pulling the effects off one by one Sure. Okay. To see if you can get there. So we'll play it first.
James Bernard:Alright. Now I'm pulling off the pump o matic now. Alright. I'll take off the half speeder. So now it's playing at rather the speed.
James Bernard:But we got the refraction, which is adding all this other texture and movement. We'll take that off. And so now it's InnerSpace, and InnerSpace is the impulse response of interesting texture, and that's also adding that. You get it yet? Alright.
Flying Lotus:Oh, wild. Yeah.
James Bernard:Way back off your
Flying Lotus:first album. Yeah.
James Bernard:Man. Bad actors. Alright. And again, we'll put that back on again. Now let's mix in some of the original.
Flying Lotus:Yeah, man. Man.
James Bernard:So you could throw this on the master bus of your whole mix and come up with some interesting other things. Let's try a couple more other effects. So there's that great warp shifter again. Right? Take that off.
James Bernard:Got some drifter, which is putting on a little bit of
Flying Lotus:A little wobble.
James Bernard:A little wobble too. Right? Let's try another one. So this one, I'm gonna mix in because this one's a real slow, really warped slow kind of modulation thing happening. And if we bring in the mix, it just makes it sound like this.
Flying Lotus:Wild.
James Bernard:Weird seasick thing kind
Flying Lotus:of hanging out there with it. And
James Bernard:then on this one, we'll do this. I wanna show you the pulsar split. So pulsar split's really cool because it's it's a high and low band. So it's like two band splitter, and it takes the audio signal, splits it up into those two bands, and it allows you to change and how those two bands are coming in and out sort of volume. So you can do like side chaining, but like you have different shapes that you can apply and rates.
James Bernard:So I can have this going and let's say I wanna take this and make this a sixteenth note. So I can get the top end with shopping. And then bring in the mix.
Flying Lotus:Yeah. It's really cool when you apply some of these effects to like mix buses probably. Totally.
James Bernard:Yeah. It's really cool. You can throw this on a mix bus and it kind of like that little extra ear candy on top. Right? That you've got.
James Bernard:So that's that's some of those fun fun effects that we've got. So you should definitely try those out Yeah. In your session.
Flying Lotus:I think I'm a have to.
James Bernard:Especially the creative, effects. There's like... There's so many in there that really... I don't have time to go over all of them. So many really cool creative effects.
James Bernard:So try those out. Now I wanna do one last thing here as far as
Flying Lotus:Yeah, please.
James Bernard:A fun little desert island quick pick, if you will Okay. With me. This is not better or best. Okay. This is if you had to choose between the two, which do you choose.
James Bernard:Right? So, Moog or Oberheim? It's a tough one.
Flying Lotus:Oberheim. Wow. I'm sorry.
James Bernard:See, would've pinned you from Moog.
Flying Lotus:I know. You know what though? I've only only because I've only recently kind of I just have a deeper appreciation for the sound that the Oberheim's produced, that kind of juicy sound that yes a lot of those lot of hits just couldn't have been possible without that juice on there. But the same thing with Moog though, right?
James Bernard:It's a hard one because it's like... It's tough one. How could you do this? It's not gonna get better for me Alright. Dillo or Mad Lib?
James Bernard:I know. I'm sorry. Not a better bats if you had to choose.
Flying Lotus:Oh come
James Bernard:on man. I know that's a tough one.
Flying Lotus:I'm not doing that.
James Bernard:Alright, fine. We'll take a both, right? Can't do it. Alright, this is a fun one. Seven Samurai or Shogun Assassin?
Flying Lotus:I'm more of a Shogun Assassin person. I love both. Shogun is just like you you run that in the background, people come by, what the hell is this? Oh, let me put you on. It's one of those
James Bernard:It's a mood, it's an entire vibe.
Flying Lotus:I feel like when I, the first samurai movie I ever rented was not what I was hoping for and it took me a long time to find Shogun Assassin because that was the one I was looking for. You know, when you think of like bad ass samurai fights and stuff and blood and guts and all that stuff. Was looking for that.
James Bernard:You're looking for that.
Flying Lotus:Yeah, that's it.
James Bernard:Yeah, kind of figured you'd go there but we posted the question. Chicks Mad Hatter or Herbie's headhunters?
Flying Lotus:I mean, look, this is, I know people yell. I love that Mad Hatter album, bro. I listen to that a lot. I mean, Headhunters I listen to a lot too, but the Mad Hatter was just such a conceptually out thing and fun and it... Yeah I always come back to that one.
James Bernard:So Mad Hatter it is.
Flying Lotus:Yeah yeah.
James Bernard:John Williams or John
Flying Lotus:John Williams. Sorry.
James Bernard:I know. I just, I recently saw that and found out about it. I was like, we gotta ask them.
Flying Lotus:Know. Sure.
James Bernard:Never would have pinned you for John I
Flying Lotus:know, I know, but that's, I mean, that's everyone though. Like so many people don't realize how big a fans they are.
James Bernard:I can't get, I mean, you know, I can't tell you how many times my, my wife, Cynthia will tell you all the times, like, know, Jurassic park just comes out of nowhere.
Flying Lotus:Yeah. Right.
James Bernard:And just, it's always there. Yeah. Just the kind of always in the background and, know, it just always works.
Flying Lotus:Anytime you go to these theme parks and stuff and you hear that music and it's just, yeah, it's just incredible. Yeah. This the... So nostalgic and I think some of those of those things, the early Spielberg stuff, they just locked in to some really memorable amazing films and music.
James Bernard:Totally agree. Last one on this, Vangelis or Tomita? I know these are hard. I Well, to say these, he's got some tough ones for I have
Flying Lotus:to say Vangelis, easy actually. I love the Tomita records, but you know, my favorite Tomita records was just like playing other people's compositions, but Evangelist you do was like improvising a lot of that stuff and making up all these amazing ideas.
James Bernard:It's going all over the place, man. You see this setup where he's got all the MIDI controllers.
Flying Lotus:I watch those videos at least once a week.
James Bernard:I still don't understand. I've... When I've seen them, like all of the little assembles, I'm trying for the life of me to figure out what they meant. It's another language that he understands obviously.
Flying Lotus:Well, you gotta have someone from that lab on this podcast.
James Bernard:We didn't do Totally. Can you decipher what was going on? What the
Flying Lotus:hell was happening?
James Bernard:What's this arrow with the line to the right? I mean, of what?
Flying Lotus:Because they... Just saw something, one of the documentaries on him, they had his transcriber person on there and she was talking about his process and stuff. Maybe you need to get her
James Bernard:Let's to come try and find out who that is. Find that
Flying Lotus:transcriber and see if she'll like spill.
James Bernard:That'd be very cool. Yeah. We'll be We'll let you know if we're able to secure that.
Flying Lotus:Well, bring me
James Bernard:back We'll for that bring you back for that one for sure. Alright. So final question. Alright. And and this is a big one.
James Bernard:So you you recently... You produced on the latest Thundercat album. You scored the furious. You directed your first feature film, Ash.
Flying Lotus:Second.
James Bernard:Second? Yeah. Okay. You just did a master class or you created a master class. What you saw yesterday was the first day.
James Bernard:And you released Big Mama EP which amazing love. As soon as that came out, I was like brilliant. Like you're all over the place and it's amazing.
Flying Lotus:Thanks, man.
James Bernard:That'll happened this year. Yeah. So the question is what's next and do you sleep?
Flying Lotus:Oh man, feel like I haven't done enough this year.
James Bernard:Wow, really?
Flying Lotus:Really? Yeah, really do. I feel really bad about it. Just, just... I feel a little behind But to be but yeah, I'm I'm just excited to do this.
Flying Lotus:I got the best gig in the world,
James Bernard:man.
Flying Lotus:Truly I have the best gig. I wake up every day just being grateful as a motherfucker man, just feeling like I get to do this for real. When I first started and I was kind of getting some action out here, it was like I got a little apartment, one bedroom apartment, I was stoked bro. That was it, I was like straight, I got this one bedroom apartment, could make music all day in here like that's it. And it just got better after that so I'm just grateful.
James Bernard:Well it's really amazing to have you on and to spend the time with you.
Flying Lotus:Thank you for having me.
James Bernard:Thank you so much.
Flying Lotus:It's always good to see you. It's too long. I remember the last time
James Bernard:I saw you, but we won't make it that long again for sure.
Flying Lotus:Yeah. I mean, OMNISPHERE is my shit, man. It's just that's
James Bernard:Thank you.
Flying Lotus:Yeah. For real. Like, that's... It's it's the one that's always gonna be with me. So...
Flying Lotus:Appreciate it. Yeah. Thank you. And now... Thank you again.
Flying Lotus:Yeah. Cool. Let's do it again.