[03:45 - 03:53] Met a conductor named Arnie Roth and composer Moca at a concert in Sydney, Australia.

[05:03 - 05:14]Invited to a concert in Seattle, USA and met again.

[06:43 - 06:55]Kept in touch and submitted CDs of his work to the conductor.

[07:19 - 07:31]Eventually became useful and started composing music for anime and video games.

[07:31 - 07:39]Started with classical training on the flute.

[08:14 - 08:19]Played Metroid Prime and started creating music using finale.

[08:14 - 08:19]Music for anime and video games includes Tower of God, Re:Zero, and Star Wars Visions.

[08:26 - 08:31]Moved on to using DAWs (digital audio workstations) like Logic Pro.

[00:00 - 09:20]Kevin Penkin is an Australian composer known for his work in anime and video games, and started his journey with classical training on the flute.

[09:20 - 09:32]Person is talking about getting someone named Kevin on their side

[14:24 - 14:44]They discuss the concept of noise in music

[14:24 - 14:44]They talk about the importance of texture in music and how it is often underrated

[15:22 - 15:31]Person learned Japanese in Australia and frequented a bar popular with working holiday Japanese people

[16:58 - 17:16]They opened a bottle of gin and started drinking

[17:33 - 17:42]They mention doing business meetings on Zoom and how their Kago (polite language) has increased since COVID

[17:42 - 18:00]The person reflects on their relationship with language and communication

[09:20 - 18:17]Person discusses their journey in music, learning Japanese, and their experiences with language and communication.

[18:17 - 18:23]Co-hosted event for "Made in Abyss" with Kevin, who was on a Zoom call.

[18:33 - 18:39]Kevin spoke Japanese for the entire part of the event.

[19:14 - 19:21]Kevin was extremely polite and professional, even talking to the prime minister levels.

[19:21 - 19:45]Kevin's level of Australian-ness increases as he gets more drunk.

[20:55 - 21:19]At 2:30am, Kevin pulled out a dry and unsatisfying double whopper from his bag.

[21:40 - 21:53]During a previous trip to Japan, Kevin ordered all items on the menu at a restaurant.

[24:08 - 24:25]Kevin's friend had a similar experience with a dry chicken sandwich in Australia.

[25:55 - 26:03]Kevin and Joey discussed the naming convention for soundtracks.

[26:03 - 26:29]Kevin used unconventional names for some of the tracks in the "Shield Hero" soundtrack.

[26:44 - 26:52]The "Shield Hero" soundtrack had 25 or 26 episodes.

[28:04 - 28:28]Franco's character in a movie fires a tank bullet at a helicopter, not related to "Shield Hero".

[28:44 - 29:01]Each season typically has 12 or 13 episodes.

[18:17 - 29:01]30am, he pulled out a dry double whopper. The "Shield Hero" soundtrack had unconventional track names and 25 or 26 episodes, with each season typically having 12 or 13 episodes.

[29:01 - 29:07]Discussion about number of episodes in anime series

[29:43 - 29:50]Differences in music composition for different series

[29:43 - 29:50]Process of receiving a commission to write anime music

[29:43 - 29:50]How music is matched to visual elements in anime

[32:37 - 32:56]The success of a specific track in "Made in Abyss" and how it came about

[34:14 - 34:41]Discussion of the composer's previous works and experience with anime music

[35:06 - 35:15]The balance between respecting the source material and creating something new

[35:15 - 35:28]The use of manga and other materials to create music for an anime series

[35:37 - 35:45]The success and impact of the opening scene in "Made in Abyss"

[36:18 - 36:26]The composer's early work on a video game and later adaptation into an anime

[29:01 - 36:42]A discussion about the process and challenges of creating music for anime, with a focus on the success of a particular track in "Made in Abyss" and the composer's early work in a video game adaptation.

[36:42 - 37:09]The speaker talks about being in their thirties and drinking sparkling water

[37:30 - 37:35]They mention something about a shock absorber and a kickstarter for a project called "Under the Dog"

[39:44 - 39:50]The speaker talks about their college experience and being happy to work on anime

[40:02 - 40:11]They mention working on the project "Made in the Abyss" and feeling creatively fulfilled

[40:40 - 40:46]The speaker discusses their education and experience in music composition

[41:14 - 41:38]The speaker talks about how they got into music composition and experimental music

[42:51 - 43:02]They met "Gone" through another person, and discuss their mutual love for anime

[43:10 - 43:26]They mention a behind-the-scenes documentary for "Made in the Abyss" and a joke made about being Australian

[43:44 - 43:50]The speaker talks about working with violinist Dimitri and their process for recording music

[44:17 - 44:23]They mention checking with friends before recording to ensure accuracy

[44:23 - 44:29]The speaker mentions the high cost of recording sessions and the importance of being prepared

[36:42 - 45:02]All of these experiences led the speaker to feel fulfilled and grateful for their work in anime and music composition.

[45:18 - 45:27]The speaker talks about a positive response from a YouTuber.

[45:51 - 45:56]They discuss meeting at a convention and bonding over drinks.

[49:36 - 49:44]The YouTuber compares synthesizers to guitars and their unique characteristics.

[51:35 - 51:41]The speaker mentions being a musician and understanding the YouTuber's passion for music.

[51:35 - 51:41]The speaker expresses interest in hearing more about the YouTuber's music process.

[51:35 - 51:41]The speaker mentions understanding the technical terms as a fellow musician.

[52:01 - 52:15]The YouTuber talks about a Russian synthesizer and its unique sound.

[53:05 - 53:22]They discuss the process of creating music with synthesizers.

[53:05 - 53:22]The YouTuber shares more about the technical aspects of synthesizers.

[53:05 - 53:22]The YouTuber talks about the influence of voltage and processing on synthesizer sound.

[53:30 - 53:36]The speaker compares this to the different characteristics of guitars.

[45:03 - 53:36]The speaker and the YouTuber bond over their mutual interest in music and discuss the technical aspects of creating music with synthesizers and guitars, specifically discussing the unique sound of a Russian synthesizer and the influence of voltage and processing on the sound.

[53:43 - 53:52] The speaker discusses a particular synthesizer used in the Doom soundtrack and expresses a desire to own one.

[53:57 - 54:09]They talk about their collection of synthesizers and other random items, acquired during a quarter-life crisis and the pandemic.

[57:19 - 57:33]The speaker's creative process involves waking up with melodies in their head and singing them into their phone.

[57:41 - 57:48]They also experiment with different sounds and instruments to create a unique sound.

[1.00:53 - 1.01:08]The speaker sometimes shows their unfinished tracks to a select group of people for feedback.

[1.01:43 - 1.01:54]The speaker mentions a track from Made in Abyss Season 1 called "Swings Around About" which features a unique arpeggio technique played by multiple violins, violas, and cellos.

[1.03:04 - 1.03:09]This technique creates a shimmering, concussive sound that the speaker is proud of.

[53:37 - 1.03:15]The speaker discusses their love for synthesizers and their creative process, mentioning a particular track from Made in Abyss Season 1 that showcases their unique use of instruments. They also mention showing their unfinished tracks to a select group of people for feedback.

[1.05:41 - 1.05:49]The speaker is discussing audio engineering and recording techniques.

[1.11:00 - 1.11:16]They mention recording in a massive studio in Vienna with a small amount of musicians to create a rich sound.

[1.11:00 - 1.11:16]They also discuss recording in a concert hall in the Czech Republic for a different project.

[1.11:17 - 1.11:39]They also mention the unique sound profile of certain recording spaces and the practicality of using them.

[1.11:40 - 1.12:18]The speaker mentions having grandiose ideas but needing to scale them back to fit within budget constraints.

[1.11:40 - 1.12:18]The speaker expresses appreciation for the business skills needed in audio engineering.

[1.11:40 - 1.12:18]The discussion touches on the use of various microphones and recording techniques to create different sound textures.

[1.11:40 - 1.12:18]The speaker talks about recording in a chapel or church and the process of pitching ideas to higher-ups.

[1.11:40 - 1.12:18]They also mention the use of early reflections and the importance of balancing sound correctly.

[1.11:40 - 1.12:18]The speaker discusses techniques used to create a rich sound with a small amount of musicians.

[1.11:40 - 1.12:18]The discussion touches on the use of different durations of bow hand to create different note lengths.

[1.11:40 - 1.12:18]They also mention recording with a rock orchestra in Boston.

[1.11:40 - 1.12:18]They also mention recording with a rock orchestra in Boston.

[1.11:40 - 1.12:18]They also mention recording with a rock orchestra in Boston.

[1.11:40 - 1.12:18]They also mention recording with a rock orchestra in Boston.

[1.03:20 - 1.12:18]The speaker concludes by mentioning the business skills required in audio engineering and the desire to record in experimental spaces like a dying black hole in space.

[1.12:33 - 1.12:42] The speaker discusses the recording of a dying black hole and their fascination with EDM music and rave culture.

[1.14:12 - 1.14:19]They mention their friend who introduced them to the rave scene, and how they were inspired to incorporate elements of dance music into their work.

[1.15:25 - 1.15:35]The speaker also talks about their experience attending warehouse gigs and the intense bass they felt on the dance floor.

[1.16:57 - 1.17:02]They explain how they incorporated dubstep and other elements of EDM into the Tower of God soundtrack, inspired by the color palette and minimalism of the manwa.

[1.19:07 - 1.19:25]The speaker's incorporation of contrasting elements in the soundtrack reflects the concept of "biblical minimalist and maximalist" style.

[1.19:55 - 1.20:04]The speaker discusses the process of creating the soundtrack, including working with musicians and finding the right budget.

[1.19:55 - 1.20:04]The speaker expresses their gratitude to the music supervisor for supporting their vision.

[1.20:09 - 1.20:18]They mention their background in music and attending music college, which helped them connect with other musicians for the project.

[1.12:18 - 1.20:26]Overall, the speaker discusses their process of incorporating EDM elements into the Tower of God soundtrack and how their background in music and experience with rave culture influenced their creative choices.

[1.21:49 - 1.22:02]Introduction to conversation about connections and working with musicians in the entertainment industry

[1.25:08 - 1.25:24]Importance of networking and making connections in the industry

[1.25:08 - 1.25:24]Discussion of orchestrating for a large group and learning about different instruments

[1.25:08 - 1.25:24]Importance of research and preparation for composing

[1.25:08 - 1.25:24]Stress and pressure in the process of composing and orchestrating

[1.25:08 - 1.25:24]Importance of creating a comfortable and collaborative atmosphere in the studio

[1.25:24 - 1.25:32]Conversation with musicians about mistakes and potential changes

[1.27:00 - 1.27:15]Different approaches to recording multiple takes for different permutations

[1.27:00 - 1.27:15]Importance of being open to experimentation and using different takes to create a unique sound

[1.27:30 - 1.27:50]Example of working with friends at an underground show and musicians at RCM

[1.20:26 - 1.28:01]Summary of conversation and reflection on the stress and pressure of composing and orchestrating in the entertainment industry.

[1.28:59 - 1.29:08]The speaker discusses the potential issues that can arise when hiring musicians for a recording session, such as sickness or visa delays.

[1.31:09 - 1.31:21]They mention the role of an orchestral fixer who helps organize the musicians and the studio.

[1.31:09 - 1.31:21]The speaker talks about working in tandem with a session producer and the importance of communication and control.

[1.33:23 - 1.33:35]They also discuss the mental and physical demands of conducting and the need to push for better performances.

[1.34:40 - 1.34:45]The speaker mentions the added difficulty of recording remotely due to COVID-19, but also notes some conveniences, such as time differences.

[1.35:16 - 1.35:28]They mention their experience recording in Europe and America during the pandemic.

[1.35:43 - 1.35:51]The speaker talks about streaming audio through a platform called AudioMovers and potential issues with internet lag.

[1.28:01 - 1.36:14]The speaker discusses the challenges of hiring and conducting musicians for a recording session, including the added difficulties of recording remotely during COVID. They emphasize the importance of communication and control, and mention their experience recording in Europe and America during the pandemic. The overall takeaway is that recording sessions require intense focus and collaboration.

[1.36:26 - 1.36:35]Speaker discusses conducting for Star Wars and the physical intensity of the job

[1.39:30 - 1.39:37]Mentions using traditional Japanese instruments for Star Wars Visions episode

[1.39:37 - 1.39:42]Describes the complexity and cultural significance of the shō instrument used in the episode

[1.41:09 - 1.41:25]Talks about the importance of respecting indigenous instruments and collaborating with First Nations people

[1.43:26 - 1.43:43]Acknowledges the challenge and pressure of creating music for such a highly regarded franchise

[1.43:43 - 1.43:49]Emphasizes the responsibility of representing Japanese culture accurately in the music

[1.44:31 - 1.44:49]Notes the freedom in creating music for an animated show rather than a live action one

[1.36:14 - 1.44:57]Speaker discusses their experience conducting and composing for Star Wars Visions, specifically focusing on their use of traditional Japanese instruments and the responsibility of accurately representing the culture. They also mention the challenges and freedoms of creating music for a highly regarded franchise.

[1.44:57 - 1.45:08]Concepts of the show were to explore the universe in a different medium

[1.45:08 - 1.45:14]Kevin genuinely loves the show, and it is important to him

[1.45:14 - 1.45:19]He wants to support his friend Kevin and watch Star Wars Visions

[1.45:32 - 1.45:38]Kevin's take on Star Wars is unique and identifiable

[1.47:49 - 1.48:15]He wants to learn how to sing again and create a personal album

[1.48:15 - 1.48:21]He wants to evolve and create something personal in the next 10 years

[1.51:15 - 1.51:20]Wants to achieve balance in his life

[1.52:23 - 1.52:28]Kevin is optimistic and hopeful for the future

[1.52:35 - 1.53:01]The pandemic put things into perspective for him, and he wants to get back to normalcy

[1.52:35 - 1.53:01]He wants to be productive while also being closer to community and family in Melbourne

[1.44:57 - 1.53:01]Kevin discusses his love for the show and his desire to create something personal and evolve in his career. He also talks about the importance of balance and his optimism for the future.

[1.53:01 - 1.53:06]Speaker expresses missing Australia and the desire to move back

[1.53:06 - 1.53:12]Melbourne is a beautiful city despite lockdowns

[1.53:17 - 1.53:33]Grateful for being able to travel to America and London during pandemic

[1.53:42 - 1.53:49]Emphasis on balance and expansion in personal and professional life

[1.54:51 - 1.55:01]Discussion about streaming and playing games on stream

[1.54:51 - 1.55:01]Mention of wanting to play specific games and composing music for live audience

[1.55:18 - 1.55:28]Appreciation for being a guest on the podcast

[1.56:35 - 1.56:52]Plans to return to Japan and have a longer conversation about the topic

[1.58:04 - 1.58:20]Shoutout to Trash Taste Twitter, subreddit, and Spotify channel

[1.58:20 - 1.58:28]Shoutout to guest's upcoming work in July

[1.59:13 - 1.59:34]Gratitude towards hosts for helping during pandemic

[1.59:56 - 2.00:08]Guest expresses happiness about being able to hang out again

[2.00:08 - 2.00:12]Request for a drink

[1.53:01 - 2.00:12]Guest expresses desire to return to Australia, discusses balance and expansion in personal and professional life, talks about streaming and playing games on stream, and expresses gratitude towards hosts for helping during pandemic.