Introducing Łukasz Szałankiewicz: A Fusion of Art and Technology in the Immersive Arts Landscape8/14/2023 In this exclusive interview, we have the privilege of introducing Łukasz Szałankiewicz, a visionary artist and the newest Brand Ambassador for Zylia. Łukasz's artistic journey embarked in the early 1990s within the vibrant realm of Demoscene, where his fascination with pushing hardware boundaries laid the foundation for his boundary-breaking approach to art. Over the years, he has seamlessly blended sound and visuals to craft immersive experiences that challenge conventional artistic norms. Now, as a Zylia Brand Ambassador, Łukasz is at the forefront of shaping the audio landscape, bridging the gap between art and technology. With a rich background in the immersive arts and the game industry, he brings expertise and insight into the importance of 3D audio for younger students. As we engage in conversation with Łukasz, he discusses the exciting prospects for the future of 3D audio recording and how Zylia's cutting-edge solutions are positioned to redefine audio production.
Zylia: What is your background? Łukasz Szałankiewicz: My journey as an artist began in the early 1990s, when I immersed myself in the fascinating world of Demoscene - a dynamic computer community focused on breaking hardware boundaries. Those formative years were truly transformative, and the multimedia nature of Demoscene had a profound impact on my artistic vision. This laid the foundation for my solo artwork, where I love to combine sound with visuals and weave them into a conceptual framework to create meaningful and immersive experiences. As my art practice has grown, I have discovered my passion for exploring music, audiovisual performances and interactive installations. This allows me to combine art and technology in fascinating ways, encouraging audiences to engage more deeply. The fusion of creativity and innovation has become a defining aspect of my work, and I continue to push the boundaries of artistic expression. Zylia: How close are you to the immersive arts and game industry? Łukasz: For many years I have taught the history of video games and audio production at the non-public University "Collegium da Vinci" in Poznan. It’s a rewarding journey, sharing industry insights with aspiring interactive media enthusiasts. Exploring game improvements and nuances in audio design is fun and satisfying. The blend of theory and real-world practice ensures that students understand the complexities of this dynamic industry. Seeing the younger generation of game professionals becoming more passionate and creative is exciting. Zylia: How important is 3D audio to the young generation of students? Łukasz: Well, when it comes to the importance of 3D audio for younger generations of students, it's a bit mixed. It depends on their specific interests, resources, and field of study. Some students may love the idea of 3D sound as an immersive experience. They understand that it can create a whole new level of impact, whether in gaming, virtual reality, filmmaking, or even music production. On the other hand, not every student may have the same access or access to the technology necessary for 3D sound. It can be a bit more resource-intensive, requiring specialized tools and software. So, while some students are up to date with the technology, others may not yet have had the opportunity to explore its potential fully. Interestingly, today's younger generation is very familiar with the technology. They are familiar with advances in audio technology and often understand the difference between traditional stereo sound and 3D sound. They see how 3D sound adds depth and realism to audio, making you feel like you are right in the middle of the action. In conclusion, the meaning of 3D sound for students varies. But one thing is for sure; they show what is possible with their passion and demonstrations as they venture into this fascinating realm of audio. Zylia: What do you think is the future of 3D audio recording? What technological changes can occur or are already taking place in the industry?
Łukasz: The future of 3D audio recording holds exciting possibilities. Immersive experiences are an important process, driven by virtual reality and augmented reality. Audio technology is advancing, producing life-like sounds. Advances in AI and machine learning will normalize audio and transform sound processing. Expect improved microphone tech and software algorithms for more accurate sound captures. Overall, the future is about blending art and technology to create engaging and immersive audio experiences. Zylia: Where do you see Zylia's solutions in this global change? Łukasz: Zylia prides itself worldwide as a leading provider of 3D audio solutions, dealing with advanced hardware and software, especially in microphones. With constant international changes, Zylia's services are available in an organized manner. With the increased demand for audio reviews, their expertise in 3D audio technology makes them a key player. With superior performance in features such as digital reality and personalized audio, Zylia's solutions are ready to shape the future of audio recording and production. Their revolutionary technology can elevate the quality of audio recordings and define a new commitment to sound, significantly impacting all areas of entertainment, art and communications. As a recognized leader in 3D audio, Zylia aims to innovate and change the global audio landscape. Zylia: What are your following career plans? What would you like to do this year? Łukasz: The upcoming months will be quite a dynamic period with a lot going on. Currently, I'm working on a lecture about the history of communication in the Polish demoscene, while also sound designing a project that showcases Poznan on the Fortnite platform. Autumn is a season of various presentations and educational work, and in December, I will most likely travel to Sydney for the Sigrapph conference, where a demoscene event is taking place. And this is just the beginning. You can follow Łukasz on TikTok: https://www.tiktok.com/@zeniallo or LinkedIn: https://www.linkedin.com/in/zeniallo
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Exploring the Magic of Surround Sound with Zylia Microphone in "Hunting for Witches" Podcast2/9/2023 Podcasts are usually associated with two people sitting in a soundproofed room, talking into a microphone. But what if we want to add an extra layer of sound that can tell its own captivating story? That's when a regular podcast becomes a mesmerizing radio play that ignites the imagination and emotions of its listeners. One such podcast is "Hunting for Witches" (Polish title "Polowanie na Wiedźmy") by Michał Matus, available on Audioteka. It's a documentary audio series that takes us on a journey to explore the magic of our time. We had the privilege of speaking with the chief reporter, Michał Matus, and Katia Sochaczewska, the audio producer, about the creation of "Hunting for Witches" and the role that surround sound recording played in the production. The ZYLIA ZM-1 microphone was a key tool in capturing the unique sounds that make this podcast truly special.  For the past year, Michal has been traveling throughout Europe, visiting places where magic is practiced, meeting people who have dedicated their lives to studying various forms of magic, and documenting the secret rituals that are performed to change the course of things. The ZYLIA microphone was with him every step of the way, capturing the essence of these magical places.
“You can hear the sounds of nature during a meeting with the Danish witch Vølve, in her garden, or the summer solstice celebration at the stone circle of Stonehenge, where thousands of pagan followers, druids, and party-goers were drumming, dancing, and singing.” "I also used Zylia when I knew a scene was going to be spectacular in terms of sound, with many different sound sources around." Michał recalls. “So, through Zylia, I recorded the summer solstice celebration at the stone circle of Stonehenge, where thousands of followers of pagan beliefs, druids and ordinary party people had fun drumming, dancing and singing. It was similar when visiting Roma witches who allowed their ritual to be recorded. All these places and events have a spatial sound that was worth preserving so that we could later recall them in the sound story.”
Want to learn more about 3D audio podcasts? |
"Music is the only language in the universe that we can all speak and understand" says Basia Galaj our Brand Ambassador, sharing her thoughts in a short interview.
Zylia: Tell us why music is so important for you? When and how it all began?
Basia: Music is the only language in the universe that we can all speak and understand. Even when you don’t necessarily play an instrument or sing, you can feel it. Music makes people emotional, helps go through happy and sad times and that is why I feel like it is the most powerful weapon we have. It is very important to me because it brings hope that humans can unite and create no matter the differences.
When I was about a year old, my grandma started singing to me and playing me different recordings and albums. I would repeat those melodies after her. When she passed away, my mom and grandpa took over. Grandfather played me jazz in the car - lots of Ella Fitzgerald and Louis Armstrong; I still remember the cassettes he used! :-) My mom showed me Michael Jackson, Basia Trzetrzelewska, Kayah and classical music such as Bach and Chopin.
That lead to piano lessons at age of 5 and continues until day on :-)
Basia: Music is the only language in the universe that we can all speak and understand. Even when you don’t necessarily play an instrument or sing, you can feel it. Music makes people emotional, helps go through happy and sad times and that is why I feel like it is the most powerful weapon we have. It is very important to me because it brings hope that humans can unite and create no matter the differences.
When I was about a year old, my grandma started singing to me and playing me different recordings and albums. I would repeat those melodies after her. When she passed away, my mom and grandpa took over. Grandfather played me jazz in the car - lots of Ella Fitzgerald and Louis Armstrong; I still remember the cassettes he used! :-) My mom showed me Michael Jackson, Basia Trzetrzelewska, Kayah and classical music such as Bach and Chopin.
That lead to piano lessons at age of 5 and continues until day on :-)
Zylia: How and when did you firs hear about ZYLIA?
Basia: I heard about ZYLIA from my mentor and friend – Mikolaj Stroinski. It was during the summer of 2017. He called me and said: Basia, you need to meet these incredible guys, They created a mic... and he just kept going and going :-)
Basia: I heard about ZYLIA from my mentor and friend – Mikolaj Stroinski. It was during the summer of 2017. He called me and said: Basia, you need to meet these incredible guys, They created a mic... and he just kept going and going :-)
| Zylia: What do you think about ZYLIA ZM-1 mic after testing it and using for casual recording? Basia: ZYLIA mic is absolutely revolutionary. It sounds great, looks fantastic so it captures attention, easy to use. I remember when I flew to LA to sing during the NAMM festival, me and my guitar player - Lucas did a few recording in the super loud convention center using ZYLIA ZM-1 mic. We were afraid that the outside noise would make the recording muddy and just not the best quality. Oh how wrong we were!! :-) The sound was great for the conditions we found ourselves in. |  Basia Galaj and Lucas Fonseca at NAMM Show 2018 in Anaheim. |
Zylia: How do you see the potential of microphone array technology in changing the way musicians record themselves?
Basia: I think and I really hope it will become a necessity for every musician or music passionate that would like to easily record themselves in a great quality. It has so much potential in many areas! It can only grow in the VR world and that is becoming a next step in the music industry. It makes life of bands much easier since it is using only one cable, not 19 for every mic capsule inside the mic.
Basia: I think and I really hope it will become a necessity for every musician or music passionate that would like to easily record themselves in a great quality. It has so much potential in many areas! It can only grow in the VR world and that is becoming a next step in the music industry. It makes life of bands much easier since it is using only one cable, not 19 for every mic capsule inside the mic.
Zylia: What are your plans for future? Any interesting projects on your mind?
Basia: I am the leader / organizer of the very first TED talk at Berklee that will be happening next semester – Fall 2018. I am hoping to grow my blog and YouTube channel; I have lots of new content coming up very soon! Over the summer I am going to be doing interviews with Polish World War II veterans, asking them about their experiences and memories and I am going to write music to their confessions and stories. Hopefully, I will be able to use ZYLIA mic to record the interviews :-)
Some extra thing that I do is a project I called – Throwback Thursday! Every Thursday I do a video featuring my friends, we play a song from our childhood or just something we have memories of. I put those videos on my YouTube channel and Facebook fan page :-)
Zylia: We definitely need to see them:-) Thank you for your time and good luck with new projects!
Basia: I am the leader / organizer of the very first TED talk at Berklee that will be happening next semester – Fall 2018. I am hoping to grow my blog and YouTube channel; I have lots of new content coming up very soon! Over the summer I am going to be doing interviews with Polish World War II veterans, asking them about their experiences and memories and I am going to write music to their confessions and stories. Hopefully, I will be able to use ZYLIA mic to record the interviews :-)
Some extra thing that I do is a project I called – Throwback Thursday! Every Thursday I do a video featuring my friends, we play a song from our childhood or just something we have memories of. I put those videos on my YouTube channel and Facebook fan page :-)
Zylia: We definitely need to see them:-) Thank you for your time and good luck with new projects!
Basia Galaj
Born in Bydgoszcz, Poland, Basia entered the world of music at a very young age. In 2014, she got accepted into the University of North Texas, where she pursued a degree in Jazz Studies. She has had the privilege to share the stage with artists such as ten-time Grammy Award winner Bobby McFerrin.
Currently Basia lives in Boston, MA and attends the prestigious Berklee College of Music where she is pursuing a degree in Contemporary Writing and Production with a minor in Creative Entrepreneurship. On June 19th 2017, Basia released her debut EP called "Day By Day".
She is currently performing around East Coast with her band, playing her original music.
Currently Basia lives in Boston, MA and attends the prestigious Berklee College of Music where she is pursuing a degree in Contemporary Writing and Production with a minor in Creative Entrepreneurship. On June 19th 2017, Basia released her debut EP called "Day By Day".
She is currently performing around East Coast with her band, playing her original music.
| We had a great pleasure to meet Yao Wang during our visit at Berklee College of Music. A few days ago Yao published her project 'Unraveled' - it is a phenomenal immersive 360 audio and visual experience. You as a listener find yourself at the center of all elements, you are surrounded by choir, strings, synths, and imagery. You can experience being in the middle of the music scene. Get to know more about this project and read an interview with Yao Wang. |  Art work by @cdelcastillo.art |
Zylia: Tell us what is the story behind your project?
Yao: Last spring, I was 9 months away from graduating from Berklee College of Music, and the panic of post-graduation uncertainty was becoming unbearable. I was struggling to plan my career and I wanted to do something different. I spent a whole summer researching the ins and outs of spatial audio and decided to do my Senior Portfolio Project around my research. What I have found is that spatial audio is often found in VR games and films - recreating a 3D environment. It is rarely used as a tool for music composition and production. I saw my opportunity.
With the help and hard work of my team (around 60 students involved), we succeeded in creating ‘Unraveled’, an immersive 360 audio and visual experience, where the audience would find themselves at the center of all elements, being surrounded by choir, strings, synths and imagery. My role was the project leader, composer, and executive producer. I found a most talented team of friends to work on this together: Gareth Wong and Deniz Turan as co-producers, Carlos Del Castillo as visual designer, Ben Knorr as music contractor, Paden Osburn as music contractor and conductor, Jeffrey Millonig as lead engineer and Sherry Li as lead vocalist and lyricist. Not to mention the wonderful musicians and choir members. I am truly grateful for their hard work, dedication and focus.
‘Unraveled’ also officially kickstarts my company ICTUS, a company that provides music and sound design content specializing in spatial audio solutions. For immersive experiences such as VR, AR and MR, we are your one-stop audio shop for a soundscape that completes the reality. We provide music composition, sound design, 360 recording, mixing, mastering, post-production, spatialization and visualizing services tailored to your unique project.
We are incredibly humbled that 'Unraveled' has been officially selected for the upcoming 44th Seattle International Film Festival, which runs May 17 to June 10, and to have been accepted for the Art and Technology Exhibition at the Boston Cyberarts Gallery, from Saturday May 26 to Sunday July 1.
Yao: Last spring, I was 9 months away from graduating from Berklee College of Music, and the panic of post-graduation uncertainty was becoming unbearable. I was struggling to plan my career and I wanted to do something different. I spent a whole summer researching the ins and outs of spatial audio and decided to do my Senior Portfolio Project around my research. What I have found is that spatial audio is often found in VR games and films - recreating a 3D environment. It is rarely used as a tool for music composition and production. I saw my opportunity.
With the help and hard work of my team (around 60 students involved), we succeeded in creating ‘Unraveled’, an immersive 360 audio and visual experience, where the audience would find themselves at the center of all elements, being surrounded by choir, strings, synths and imagery. My role was the project leader, composer, and executive producer. I found a most talented team of friends to work on this together: Gareth Wong and Deniz Turan as co-producers, Carlos Del Castillo as visual designer, Ben Knorr as music contractor, Paden Osburn as music contractor and conductor, Jeffrey Millonig as lead engineer and Sherry Li as lead vocalist and lyricist. Not to mention the wonderful musicians and choir members. I am truly grateful for their hard work, dedication and focus.
‘Unraveled’ also officially kickstarts my company ICTUS, a company that provides music and sound design content specializing in spatial audio solutions. For immersive experiences such as VR, AR and MR, we are your one-stop audio shop for a soundscape that completes the reality. We provide music composition, sound design, 360 recording, mixing, mastering, post-production, spatialization and visualizing services tailored to your unique project.
We are incredibly humbled that 'Unraveled' has been officially selected for the upcoming 44th Seattle International Film Festival, which runs May 17 to June 10, and to have been accepted for the Art and Technology Exhibition at the Boston Cyberarts Gallery, from Saturday May 26 to Sunday July 1.
"Get a pair of headphones. Cave in somewhere quiet. Alone. Empty your thoughts and… Allow yourself to dive into something new. A pristine place that will truly disconnect you from the daily frenzy of life."
‘Unraveled’ has been officially selected for the upcoming 44th Seattle International Film Festival, which runs May 17 - June 10, with more than 400 films from 80 countries, running 25 days, and with over 155,000 attendees!
‘Unraveled’ has been officially selected for the upcoming 44th Seattle International Film Festival, which runs May 17 - June 10, with more than 400 films from 80 countries, running 25 days, and with over 155,000 attendees!
Zylia: Recording so many people at once must have been challenging. How did you organize this?
Yao: I worked very closely with Paden Osburn, the conductor and music contractor, to schedule, revise, coordinate and plan the session. Paden is a dear to work with, basically allowing me to focus on the music while she coordinated with the rest of the amazing choir members. We had developed a great workflow.
I also had many meetings with the team of engineers as well as many professors to figure out the simplest, most efficient way to record. It was indeed very challenging and stressful to pull off, but it was also one the most magical night of my life.
Yao: I worked very closely with Paden Osburn, the conductor and music contractor, to schedule, revise, coordinate and plan the session. Paden is a dear to work with, basically allowing me to focus on the music while she coordinated with the rest of the amazing choir members. We had developed a great workflow.
I also had many meetings with the team of engineers as well as many professors to figure out the simplest, most efficient way to record. It was indeed very challenging and stressful to pull off, but it was also one the most magical night of my life.
Behind the scene, photo by @jamiexu0528.
Zylia: Tell us more about the technical part of this project.
Yao: On October 27, 2017, we had a recording session of the choir parts with 40 students from Berklee College of Music. The recording was done using three ambisonic microphones (Zylia, Ambeo, TetraMic). We tried forging a 320 piece choir by asking the 40 students to shift their positions around the microphones for every overdub. We also recorded 12 close mic-ed singers to have some freedom spatializing individual mono sources.
The spatialization was achieved through Facebook360 Spatial Workstation in REAPER. Many sound design elements were created in Ableton and REAPER. The visuals were done in Unity. We basically created a VR game and recorded a 360 video of the performance. Carlos Del Castillo did an outstanding job creating an abstract world that had many moments syncing with the musical cues.
Yao: On October 27, 2017, we had a recording session of the choir parts with 40 students from Berklee College of Music. The recording was done using three ambisonic microphones (Zylia, Ambeo, TetraMic). We tried forging a 320 piece choir by asking the 40 students to shift their positions around the microphones for every overdub. We also recorded 12 close mic-ed singers to have some freedom spatializing individual mono sources.
The spatialization was achieved through Facebook360 Spatial Workstation in REAPER. Many sound design elements were created in Ableton and REAPER. The visuals were done in Unity. We basically created a VR game and recorded a 360 video of the performance. Carlos Del Castillo did an outstanding job creating an abstract world that had many moments syncing with the musical cues.
| Zylia: What do you think about using ZYLIA ZM-1 mic for recording an immersive 360 audio? Yao: I clearly remember meeting Tomasz Zernicki on the Sunday prior to our choir session. The Zylia team came to Berklee and demonstrated the capabilities of their awesome microphone, and I thought I had nothing to lose, so I asked for a potential (and super last minute!) collaboration that has proven to be fruitful. This has also brought me great friendship with Edward C. Wersocki who operated the microphone at our session. Unfortunately, he couldn't stay for the whole session, so only partial lines were recorded with the ZYLIA. He also guided me with the A to B format conversion which was extremely easy and user-friendly. I loved the collaboration and will only keep pursuing and exploring more possibilities with spatial audio. Hopefully, this will be the first of many collaborations. |  Behind the scene, ZYLIA ZM-1, photo by @jamiexu0528. |
Zylia: What are your plans for future? Any interesting projects on your mind?
Yao: My long-term goal would be to establish my company ICTUS as one of the leading experts in the field of spatial audio. We are currently working on an interactive VR music experience called ‘Flow’ with an ethnic ensemble, GAIA, and the visuals are influenced by Chinese water paintings. The organic nature of this project will be a nice contrast to ‘Unraveled’s futuristic space vibe.
Another segment of the company is focused on creating high quality, cinematic spatial audio for VR films and games. We are producing a 3D audio series featuring short horror/thriller stories with music, descriptive narration, dialogues, SFX and soundscapes. Empathy is truly at the heart of this project, some of our stories will have a humanitarian purpose and we will be associated with many organizations that are fighting to end domestic abuse, human trafficking, rape, abuse and other violent crimes. We hope to bring more awareness and traffic to these causes with our art. Spatial audio is incredibly powerful, it really allows you to be in the shoe of the victims and without the visuals, I swear your imagination will go crazy!
Yao: My long-term goal would be to establish my company ICTUS as one of the leading experts in the field of spatial audio. We are currently working on an interactive VR music experience called ‘Flow’ with an ethnic ensemble, GAIA, and the visuals are influenced by Chinese water paintings. The organic nature of this project will be a nice contrast to ‘Unraveled’s futuristic space vibe.
Another segment of the company is focused on creating high quality, cinematic spatial audio for VR films and games. We are producing a 3D audio series featuring short horror/thriller stories with music, descriptive narration, dialogues, SFX and soundscapes. Empathy is truly at the heart of this project, some of our stories will have a humanitarian purpose and we will be associated with many organizations that are fighting to end domestic abuse, human trafficking, rape, abuse and other violent crimes. We hope to bring more awareness and traffic to these causes with our art. Spatial audio is incredibly powerful, it really allows you to be in the shoe of the victims and without the visuals, I swear your imagination will go crazy!
 | Finally, I aspire to always stay at the forefront of technology and use it as a tool to elevate art, without ever overshadowing the core message and values that it brings. |
Yao WangYao is a composer, sound designer, producer and artist. She recently graduated from Berklee College of Music with a Bachelor of Music Degree in Electronic Production & Design and Film Scoring. Passionate about immersive worlds and storytelling, Yao has made it her mission to pursue a career combining her love for music, sound and technology. With this mission in mind, she is now the CEO and founder of ICTUS, a company that provides spatial audio solutions for multimedia.
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In this short interview our Brand Ambassador Gene Torres describes his experiences with ZYLIA microphone and provides insights on recording his gigs and live performances.
Zylia: Gene, this is our second interview. Last time we talk you were testing a prototype of ZYLIA mic (the first interview). Now you are the owner of your own ZYLIA ZM-1 mic. Do you like it?
Gene: Hello, nice to chat with you again!
ZM-1, as far as I’m concerned, is a game changer in terms of recording rehearsals & gigs. I do like it, the possibilities are endless.
Zylia: How do you use ZYLIA recording studio?
Gene: I mainly use it for gigs & rehearsals. Jorge Sylvester a sax player and composer wants me to record a solo bunch of tunes that he wants to release!
>>Jorge Sylvester web page
Matter of fact, he just did a performance based on Eric Dolphy’s music. If you scroll down the above link, you can hear some of the show.
Gene: Hello, nice to chat with you again!
ZM-1, as far as I’m concerned, is a game changer in terms of recording rehearsals & gigs. I do like it, the possibilities are endless.
Zylia: How do you use ZYLIA recording studio?
Gene: I mainly use it for gigs & rehearsals. Jorge Sylvester a sax player and composer wants me to record a solo bunch of tunes that he wants to release!
>>Jorge Sylvester web page
Matter of fact, he just did a performance based on Eric Dolphy’s music. If you scroll down the above link, you can hear some of the show.
Performance of Gene Torres, Jorge Sylvester and Nora McCarthy doing The Re-Imagining Eric Dolphy show.
Zylia: What is so interesting for you in this system? Does it change the way you record your music?
Gene: Yes, it has changed the way I record not just my music but all the gigs that I do!!
I think that very noticeable is the fact that recording set-up time was cut by at least 50 minutes, definitely less set-up time is required. Within 10 minutes I’m up and running. When I had my two 8-channel computer interfaces there was at least 16 input cables that had to be plugged in. Not any more!
Gene: Yes, it has changed the way I record not just my music but all the gigs that I do!!
I think that very noticeable is the fact that recording set-up time was cut by at least 50 minutes, definitely less set-up time is required. Within 10 minutes I’m up and running. When I had my two 8-channel computer interfaces there was at least 16 input cables that had to be plugged in. Not any more!
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Recorded live performance. Rhonda Denet and the Silver Fox Trio. Mixed Company.
Zylia: You play with many NY musicians, what is their opinion?
Gene: Once, just out of curiosity, I counted the number of groups I was going to work with, either 6 months back or 6 months forward to a specific date... I counted up to 30 groups/bands!
Their opinion is they freak out cause the ZM-1 has the either Red or Blue led ring around it that glows, so they asked what the heck is that! :-) Once I explain what the ZM-1 is and what it does, they usually ask a million questions!!
Gene: Once, just out of curiosity, I counted the number of groups I was going to work with, either 6 months back or 6 months forward to a specific date... I counted up to 30 groups/bands!
Their opinion is they freak out cause the ZM-1 has the either Red or Blue led ring around it that glows, so they asked what the heck is that! :-) Once I explain what the ZM-1 is and what it does, they usually ask a million questions!!
 Gene Torres, George Brandon & Kevin Nathaniel’s Afro Roots Tuesday’s |  Gene Torres, Grace Garland and Robin Radus |
Gene Torres, Andy Friedberg and Mike Campenni
Zylia: We are very happy that you decided to be our Ambassador and share with other musicians your knowledge and experiences using ZYLIA.
Gene: Once I received the ZM-1 I felt that the world of NYC needs to know what Zylia came out with and how good it is!!
Zylia: Do you have any plans for future? Any interesting gigs are coming?
Gene: I am going to record a solo recording of Saxophonist Jorge Sylvester when we both can work our schedules out!
I’m trying to finally release a CD as a band-leader. One of the things I want to record is a bunch of tunes with minimal direction but strictly improve. So the CD will have 1/3 originals, 1/3 covers but arranged, and 1/3 improve tunes!
Be on the lookout for it!
Gene: Once I received the ZM-1 I felt that the world of NYC needs to know what Zylia came out with and how good it is!!
Zylia: Do you have any plans for future? Any interesting gigs are coming?
Gene: I am going to record a solo recording of Saxophonist Jorge Sylvester when we both can work our schedules out!
I’m trying to finally release a CD as a band-leader. One of the things I want to record is a bunch of tunes with minimal direction but strictly improve. So the CD will have 1/3 originals, 1/3 covers but arranged, and 1/3 improve tunes!
Be on the lookout for it!
Gene Torres
Electric Bassist
Gene Torres, born and raised in Brooklyn, NY. Originally from Fort Greene, now residing in Bayridge. Picked up the bass at 15 years old and has not put it down since. Started out playing R&B (Motown, Stax, Atlantic, etc.) then moved on to funk (James Brown, Sly and the Family Stone, Earth, Wind, and Fire, etc). The 1st group
that Gene played with was called Paranoid. Paranoid was awarded the 3rd best band in Brooklyn. At that time most of the bands had horns and we were no exception.
Paranoid stayed together for about 6 years, which Gene was a part of for 5. After leaving, Gene started freelancing and getting exposed to many styles of music. The majority of musicians Gene was playing with was much older so they were like mentors to Gene. The 1st order was to learn Jazz, which at the time was like speaking another language. After many bumps and bruises along the way Jazz started to make sense. Still though, formal training needed to be had, so at that time Jazz Mobile was one option, another was Lynn Oliver’s. Still, a private lesson was another thing that had to be done so studying with Bob Willams, Ritchie Hart, Ken Hatfield, Charlie Banacos (correspondence course) and Paul Caputo and which he’s still studying with Paul up to this day...
Gene’s 1st major recording was playing on the James Mason, Rhythm of Life, album (1977). To this day it’s in the top 100 in England and it’s a collectors item. It started a whole music revolution (Acid Jazz) in England with Sade and a bunch of other english groups. Today, Gene at any given day can be playing from Hip\Hop to Bebop, with a little rock thrown in. Now not only playing bass, but writing, producing, music editing, sheet music(Finale), teaching privately and in a school.
Some of the people Gene has had the pleasure of playing and or recording with runs the gamut of music styles, for example Ben E. King, Al Hibbler, Rahn Burton, Public Enemy, Yousef Lateef, Chico O’Farrel’s Afro\Cuban Big band at Birdland. Ernie Marcelin of Taboo Combo, La Bamba, and the Hubcaps, Southside Johnny, Ted Curson – Blue Note \ Late Nite Jam Session, The Weather Girls, The Chiffons at The Apollo Theatre, Chambers Brothers, Jonathan Butler, Hannes DeKassian Trio, Moon Pool, Tony Cedras (Keyboardist with Paul Simon), Jennifer Holiday, Noo Voodoo, Mark Pender (of the Conan O’Brian show, opening up for the BT Express). The Big Apple Circus, David Dorfman Dance Company, Fred Ho (Vampire Opera) Petey Pablo of Jive Records, Gucci Man (Me & You single), Danny Mixon, Ty Stephens, Pee Wee Ellis, Co\winner of the 2010 McDonalds GospelFest Childrens Choir Contest.
Gene’s endorsements are: Walter Woods Amps, Harry Kolbe Soundsmith Speaker Cabinets, Overwater Basses
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that Gene played with was called Paranoid. Paranoid was awarded the 3rd best band in Brooklyn. At that time most of the bands had horns and we were no exception.
Paranoid stayed together for about 6 years, which Gene was a part of for 5. After leaving, Gene started freelancing and getting exposed to many styles of music. The majority of musicians Gene was playing with was much older so they were like mentors to Gene. The 1st order was to learn Jazz, which at the time was like speaking another language. After many bumps and bruises along the way Jazz started to make sense. Still though, formal training needed to be had, so at that time Jazz Mobile was one option, another was Lynn Oliver’s. Still, a private lesson was another thing that had to be done so studying with Bob Willams, Ritchie Hart, Ken Hatfield, Charlie Banacos (correspondence course) and Paul Caputo and which he’s still studying with Paul up to this day...
Gene’s 1st major recording was playing on the James Mason, Rhythm of Life, album (1977). To this day it’s in the top 100 in England and it’s a collectors item. It started a whole music revolution (Acid Jazz) in England with Sade and a bunch of other english groups. Today, Gene at any given day can be playing from Hip\Hop to Bebop, with a little rock thrown in. Now not only playing bass, but writing, producing, music editing, sheet music(Finale), teaching privately and in a school.
Some of the people Gene has had the pleasure of playing and or recording with runs the gamut of music styles, for example Ben E. King, Al Hibbler, Rahn Burton, Public Enemy, Yousef Lateef, Chico O’Farrel’s Afro\Cuban Big band at Birdland. Ernie Marcelin of Taboo Combo, La Bamba, and the Hubcaps, Southside Johnny, Ted Curson – Blue Note \ Late Nite Jam Session, The Weather Girls, The Chiffons at The Apollo Theatre, Chambers Brothers, Jonathan Butler, Hannes DeKassian Trio, Moon Pool, Tony Cedras (Keyboardist with Paul Simon), Jennifer Holiday, Noo Voodoo, Mark Pender (of the Conan O’Brian show, opening up for the BT Express). The Big Apple Circus, David Dorfman Dance Company, Fred Ho (Vampire Opera) Petey Pablo of Jive Records, Gucci Man (Me & You single), Danny Mixon, Ty Stephens, Pee Wee Ellis, Co\winner of the 2010 McDonalds GospelFest Childrens Choir Contest.
Gene’s endorsements are: Walter Woods Amps, Harry Kolbe Soundsmith Speaker Cabinets, Overwater Basses
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"This technology should change they way people record rehearsals..." - an interview with Gene Torres
10/31/2016
ZYLIA Team: Gene, can you tell us a few words about you and your music passions?
Gene Torres: I grew up in Brooklyn, NY, and at 15 years old, after my friends and I decided to start a band. I choose the bass guitar. In the beginning, I was only playing R&B and Soul music but I got turned on to Funk, Jazz, Brazilian, Salsa, Rock, Haitian & African Music. In NYC you can work more if your musical vocabulary is wide.
Gene Torres: I grew up in Brooklyn, NY, and at 15 years old, after my friends and I decided to start a band. I choose the bass guitar. In the beginning, I was only playing R&B and Soul music but I got turned on to Funk, Jazz, Brazilian, Salsa, Rock, Haitian & African Music. In NYC you can work more if your musical vocabulary is wide.
The theory behind that was the more styles you learned the more you can work. If you only know one style then you only earn 1 style of income. Now mind you I’m not a specialist on any of the styles previously mentioned but I know enough to hold my own. Then came Theory Lessons and Ear Training lessons up to today I’m still studying Theory and Ear Training.
Z: You are following us since from the beginning:-) What was so interesting for you about our product?
G: As soon as I saw the web page, I knew due to the breakthrough in some of the other companies like Celomony’s Melodyne, Propellerheads Recycle, iZotope’s RX. It was just going to be a matter of time before recording audio was going to change. ZYLIA is leading the way for multitrack recording.
Z: You are following us since from the beginning:-) What was so interesting for you about our product?
G: As soon as I saw the web page, I knew due to the breakthrough in some of the other companies like Celomony’s Melodyne, Propellerheads Recycle, iZotope’s RX. It was just going to be a matter of time before recording audio was going to change. ZYLIA is leading the way for multitrack recording.
Z: Why did you decide to volunteer for beta tests?
G: Technology has always been something I’ve enjoyed and curiosity about why things work and how they work. At one point any product that I bought for my musical career, was opened and taken apart to see what was in it. And, NO, I didn’t open the ZM-1, lol !!
Z: In what conditions are you testing ZYLIA? What is your first impression?
G: I’m testing the ZM-1 in actual rehearsals (3 and counting) and It was brought to 1 gig to try. My 1st Impression is that it works, and it works great. Now mind you these tests are not under controlled situations and there is a lot of trial and error on my part. But the bottom line is that if you follow ZYLIA ZM-1 guidelines you will have a really good recording.
G: Technology has always been something I’ve enjoyed and curiosity about why things work and how they work. At one point any product that I bought for my musical career, was opened and taken apart to see what was in it. And, NO, I didn’t open the ZM-1, lol !!
Z: In what conditions are you testing ZYLIA? What is your first impression?
G: I’m testing the ZM-1 in actual rehearsals (3 and counting) and It was brought to 1 gig to try. My 1st Impression is that it works, and it works great. Now mind you these tests are not under controlled situations and there is a lot of trial and error on my part. But the bottom line is that if you follow ZYLIA ZM-1 guidelines you will have a really good recording.
Z: Do you find this technology useful? Is it solving any of your problems?
G: Yes it solves the idea of having a multitrack recording (without spending 2 hours beforehand sitting up all the mic’s for a multitrack) so for example you wanted to hear one singer's part over another singer's part cause you’re not sure if their parts work, now you're able to isolate the parts to hear who’s doing what.
Z: In general, what do you think about this technology and ZYLIA Portable Recording Studio?
G: The technology should change they way people record rehearsals or anything for that matter. I can’t wait for the ZM-1 to be released on the market. I hope to be one of the 1st to have one when its released!!
Z: Can you recommend it?
G: Yes, I've had a few musician/producer friends call me to ask about it. Some questioned me on Facebook. They were amazed by what it does and the possibilities going forward!!
G: Yes it solves the idea of having a multitrack recording (without spending 2 hours beforehand sitting up all the mic’s for a multitrack) so for example you wanted to hear one singer's part over another singer's part cause you’re not sure if their parts work, now you're able to isolate the parts to hear who’s doing what.
Z: In general, what do you think about this technology and ZYLIA Portable Recording Studio?
G: The technology should change they way people record rehearsals or anything for that matter. I can’t wait for the ZM-1 to be released on the market. I hope to be one of the 1st to have one when its released!!
Z: Can you recommend it?
G: Yes, I've had a few musician/producer friends call me to ask about it. Some questioned me on Facebook. They were amazed by what it does and the possibilities going forward!!
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