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Jonny Lipsham Studios is a music education studio and YouTube channel located in South East Scotland. 

We specialize in  teaching songwriting, arranging, recording, mixing and mastering via our Website and YouTube Channel.

The Project is formed by Rafael Saez 

Trance / Darksynth / Synthwave

The best tools for producers, by producers.

Luke Truan, an award-winning American composer and LAFCI alumnus from Lilburn, GA, is known for cinematic-driven scores, soundtracks, arrangements, and music. With its diverse inspiration, Luke's music enfolds one’s senses with mystery, suspense, hope, and joy. 

Luke is the composer for multiple movies, which include the wildly popular animation Clone Wars: Battle of the Heroes (HELLO THERE Studio), Annette Wilson’s CONSEQUENCES, NO WORDS & CRISIS SQUAD, which won multiple awards at the Tokyo Film Festival. Scoffer Studios BLOOD BROTHERS: LIFE HARVEST, Thelma Brown's I JUST LOVE THAT MAN, Co-Composer of Felipe Barral's immersive art experience VITA. Curtis Wyatt’s SWIPE CLUB, which earned numerous awards in the Trinity International Film Festival, the Sydney Indie Film Festival, C. Nathaniel Brown’s BLOODLINE, BUCKET LISTS, and award-winning CHI NU LEGACY, Mike McMullan’s multi-award-winning TIMELINE, PORTAL ORIGINS, PORTAL ORIGINS 2, Kenya Hendrick’s FOR US, and more.  

In addition to composing soundtracks for movies, Luke has written many hours of music for some fantastic shows, which include Shark Week: Demon Shark, Shark Week: Island of the Walking Sharks (Discovery, Animal Planet), Mysterious Creatures (Discovery+), Strong Female Lead (SBS), Pig Royalty (Discovery+), The Ground Truth (Animal Planet), Blue Water Safari, ID (Discovery), Sydney Harbour Force (SBS/Discovery), Return to Amish (TLC) and more!

As a multi-instrumentalist, he always experiments with new orchestral techniques, hybrid instruments, and sound and instrument combinations. Which stretches the creative mind and, in the process, creates epic, full, and unique compositions.

A  strong background in commercial music,
three (3) years performing in the Holland America Line Cruise ship Industry, over ten (10) years Contemporary Church music, two years (2) performing musical theatre at Sinclair College
and 
one year  with America Entertainment Productions (AEP), these musical experiences are part of my performance background.

My education started at Wright State, then transferred to Belmont University to finish Bachelor’s degree (Commercial Music w/Percussion performance degree).  

Before doing the Cruise ship gig, I went to University of Dayton and Eastman School of music for Graduate study, earning credits transferring to Eastern Kentucky University, where I finished a Master’s degree (M. M.) in General Music.

I finished a Masters degree in Jazz this year (2019) - main concentration right now.  Performance & Pedagogy are part of the program.  UAM has a great jazz program ! 

I'm working on  a Jazz project, recording & writing music (Film), and performing live music.  

Hope to hear from you; best place to text is either LinkedIn or FB.  Email is listed under Contact page of main website.

🎹 Free Phonk Drum Kit:
https://hypeddit.com/bvker/lunaticphonk 

🎶 Playlists:
Phonk House: https://spoti.fi/3C6T9xE 
Chill Phonk: https://spoti.fi/3I80YHb 
Fast & Phonk: https://spoti.fi/3YVUnpq

https://phantogram.komi.io/

Fall In Love Again (Desmond Remix) Out Now
Move In Silence feat. Big Boi Out Now

Sparked by a color or song that recalls the most joyful and tragic moments in your life, a sense memory vaults you into the distant past. These subtle triggers remind us that memory isn’t confined to the mind; it lives in the body, too. Phantogram’s fifth album, Memory of a Day, captures that disorienting sense of time travel. “We put these songs together as a capsule, thinking about how a certain sound or melody can bring you back instantly to a memory of a day,” Phantogram says. 

While they were recording, the duo fixated on life calendars, a gridded sheet in which each unit represents a single week of a person’s life on the planet. As you fill in the grid, you witness the progression of your life in stark terms. The older you get, the darker the grid becomes, reminding you of how much time you have lived, and how little you may have left. “It’s this exploded view,” Phantogram says. “Like an image of Earth from a distance.” The life calendar is both morbid and nostalgic, a physical representation of our ephemeral time on Earth. 

“Days are only numbers,” Sarah Barthel sings on the chorus of “Come Alive.” That lyric became a north star for the duo as they set forth to make Memory of a Day. At once heavy and ebullient, “Come Alive” distills the lasting impact Phantogram has made on popular culture. Since their 2010 debut, Eyelid Movies, Phantogram has been comparable to no one, futurists who still manage to stay ahead of the curve more than a decade into their career. Their genre-bending approach to pop has led them to work with everyone, from Big Boi, with whom they founded Big Grams, to Subtronics, Future Islands, Deftones, the Flaming Lips, Tom Morello, and Miley Cyrus, to name just a few. A festival staple across the globe, Phantogram has also toured with Queens of the Stone Age, Arcade Fire, the XX, and many more. “We’ve always been proud of that: not being afraid of the experimental.”

Though their music has always been future-facing, to make Memory of a Day, Phantogram looked back. “Recording this album, it felt like how it did when we first started making music together,” Phantogram says. Alongside special collaborators like Mikky Ekko and Dan Wilson, Phantogram was joined in the studio by producer John Hill, who helmed Phantogram’s second album, Voices. The duo experimented in the studio and indulged in the music that brought them together in the beginning, artists such as J Dilla, Prince, Slowdive, and so much more. They reference new wave acts like the Talking Heads, ESG, and Liquid Liquid as influences on the percussive punk track “Feedback Invisible,” which is followed by the wistful burst of color “Attaway.” It’s a shoegaze song so sumptuous “you can almost see the grain in the guitar sounds.” 

Phantogram think in images when they write, drawing on scenes from films that linger with them years on. “Ever since Eyelid Movies, our work has been visually driven,” Phantogram says. In the video for the fuzzed-out waltz “All a Mystery,” snippets of human lives coalesce into a montage of experience. “Erase all the tapes in my mind/ Throw them all away,” Barthel sings, accompanied by a bittersweet swell of synths. “Turn back the tables of time/ Let all those memories die.” A swirl of memories, both triumphant and tragic, surface on Memory of a Day. “Come Alive” was written after Barthel experienced a transformative live show on her own, while the title track recounts the moment Josh Carter had to put his dog down. “It’s what you wanted, but couldn’t say,” he sings. “I’m not afraid of dying or what it feels like”

The album’s penultimate track, “Happy Again,” is a thrumming, bass-heavy rock song with a chorus that sounds like a wave crashing against the sand. “Another empty summer sunset/ Feeling homesick,” Barthel sings ahead of the bridge, her voice catching on the breezy, luminous production. “Can you believe this is your life?” It’s a moment of realization Phantogram compares to the dour scene in Forrest Gump, where Lieutenant Dan, “mega depressed and drunk,” throws a bummer New Year’s Eve party. Still, the song ends with an enlivening mantra. “I can be happy again,” Barthel repeats as guitars careen and crash. If days are only numbers, then how else can a person measure a life? On “Ashes,” the answer seems to be in moments of resilience. Based on the adage “you came into this world alone and you’ll leave it alone,” the throbbing production infused with elements of trip hop, shoegaze and indie accompanies Barthel as she reminds the listener: “Ashes rise, ashes rise.”

When they penned the lyrics, Phantogram thought of the mythical phoenix spreading its wings after catastrophe to take flight. The vulnerable, even despairing moments on Memory of a Day are stark, but they’re buoyed by a relentless optimism that has driven this project from the outset. In the Los Angeles studio where they recorded Memory of a Day, Phantogram often marveled at the distance they’ve come, both physically and spiritually, since they first started making music together in a barn in Upstate New York. “Tomorrow never knows,” Barthel nods to the Beatles on “Come Alive.” The accumulation of days together tell a story bigger than any finite lifetime, and Phantogram’s life calendar is only a fraction full.

Maria "Geauxcat" Midboe is an aspiring Sync Music composer based in ATL.  Raised on 70's rock/disco and 80's New Wave...Geauxcat takes their old love of 80s nostalgia and combines it with their love of dance music to create a variety of compositions, from lush melodic illustrations to quirky synthwave cues.  Geauxcat is a classically trained pianist and plays multiple instruments, which they try to incorporate into every track.

Maria &quot;GEAUXCAT&quot; Midboe is following

Maria "GEAUXCAT" Midboe is following