So I was introduced to Emily at an Ableton event here in Nashville and we were chatting about some pretty specific protools stuff. Something insane about how she needed to have a flightcase for an old Mac Pro to do her job. It was all very unusual. I had no idea who I was talking to tbh. But I could tell she had a WAY of doing things. Turns out she’s one of the biggest vocal producers working!  No big deal. She’s recorded and produced for folks like Katy Perry, Britney Spears, Ke$ha, Miley Cyrus, Jessie J, Flo Rida, Kelly Clarkson and WAY more.  In 2010, Emily began work on Katy Perry's Teenage Dream as an engineer. She also engineered eight songs and co-wrote one song ("Gasoline") on Britney Spears' Femme Fatale (not to mention her work on Circus, Pretty Girls and Britney Jean) So it turns out she’s seen and heard a LOT of craziness at a very high level. We are talking about top tier pop recording. I’ve never chatted with someone who’s been in this particular line of work so it was ace just trying to work out how it really happens. How are those Britney and Katy Perry vocals really tracked? A modern master with the Digi scissors who has literally cut together the stories of a big slice of modern pop. Please welcome to the pod, Emily Wright!!! ______________________________________ In the nitty I get into the world of altered drones Taking on a stack of tasty tones from a rare encounter with a CS80 I try to build a little something with them ______________________________________   Sponsors for today are in duality! Hearty thanks to  https://bastl-instruments.com Makers of naughty, powerful and sometimes dark machines! And to  http://www.steadystatefate.com Who’ve made a large range of modules including the new and rather tasty STEREO DIPOLE filter I feel very lucky to have such cool companies get on board! A special shout out also to Jim at  https://modularaddict.com He’s helped me so much trying to navigate the huge world of bloops!