Alright – so today we’ve got the honor of introducing you to Clayton Pangelinan. We think you’ll enjoy our conversation, we’ve shared it below.

Alright, Clayton thanks for taking the time to share your stories and insights with us today. Can you talk to us about how you learned to do what you do?

It was a trial and error process. I learned a lot from watching tutorials on YouTube, reading books on different aspects of the process, listening to podcasts and interviews and consistent practice. In terms of speeding up the process, I personally don’t believe in getting quick results.

However, I think taking on one aspect of the craft (for example, learning a new genre of music), having a consistent practice, while keeping a slow and steady approach, is the fastest way to grow. I find that the changes are incremental in time. Some of the most essential skills I learned was the ability to study and learn from “reference tracks”.

This process basically consists of taking a favorite song, lining it up into a DAW and doing the best that I could to recreate, or simulate certain aspects of the track for the purposes of learning how to produce better music. I think an initial obstacle I had in the beginning was not having a personal mentor at the start, to learn how to do what I do.

I think having mentorship in the beginning is key, if you are able to find someone who is willing to teach you in the earliest stages of the process. But I have no regrets learning in a self-taught kind of way, through trial and error. But once you hit a certain roadblock in your process, or a glass ceiling in skill level, there is nothing wrong in seeking out a mentor, or learning from someone who is better than you at certain aspects.

Clayton, love having you share your insights with us. Before we ask you more questions, maybe you can take a moment to introduce yourself to our readers who might have missed our earlier conversations?

I got into music production initially because when I moved to California, I knew nobody who did it. I didn’t know how to record, how to make beats, how to mix and master music, or even about song arrangement. I didn’t get into making my own music until I was about 17 years old, learning how to make beats because I wanted my own music to write to.

At first, I started out with an iPad, using a lot of the iOS music apps that it had at the time like Garageband, iMaschine and INTUA’s Beatmaker 2. Whenever I would go online to learn how to use these apps, a lot of people online considered it to be as a fun toy, but not a serious tool on how to make professionally sounding music.

But ironically enough, utilizing whatever limitations it might have had, I managed to learn a lot of what I know now by experimenting with what the iPad had to offer. I would watch tutorials online on how to do something and I would try to apply what I learned within the different apps.

Eventually, I managed to get a MacBook and I started learning how to use a DAW to make music. I started with Logic Pro X and eventually I ended up learning how to use Ableton Live, which is now my main DAW of choice, simply because of the workflow and how fast I’m able to get my ideas out.

In terms of what kind of music that I make, I currently work on a plethora of genres. I started out making Hip-Hop and gradually I branched out to making R&B, Alternative, Pop and Electronic music. I think what sets me apart from others in terms of what I do, is I like being able to experiment with different genres of music, instruments, sounds, samples, etc. I never like to place limits on myself on what I’d like to create, or experiment with sonically. I’m very open to new ideas and I place a lot of care into the process of brainstorming a concept and executing on that idea the whole way through.

In my 10 year process of making music, the thing that I am most proud of is being able to see my own personal growth throughout the entirety of the journey. I like being able to sit down and crank out an idea, while also having the ability and skill set to create a full track front to back. I’ve also had the pleasure of being able to produce a track for legendary Detroit rapper, Elzhi, with a production team that I’m a part of called Soulsnacks. And the artists and the personal connections that I’ve made along the way have made the journey a worthwhile pursuit.

I’m really proud of the work that I’ve done with Alternative/R&B artist, Chrxstal Sarah. I played a major hand in producing 3 out of the 4 tracks off her Summer Pack’23 EP that she dropped this year. I worked on “Air Sign Things”, Waves”, and “Common Sense”. I also had the pleasure of working with singer-songwriter, Alyssa Bernal. She dropped a project this year called “Everything”. I worked on “The Light”, “Green Light”, “Hold Your Breath”, “Ready”, “Taken”, “Selfish” and “Straight Up”. I put a lot of time into those tracks and I’m really happy that people are loving the records.

Currently, I’ve been heavily involved in writing, recording, producing and engineering for a group called “Nolo Theory”. As of this writing, we currently have two releases out called “PLUTO” and “Like A Freak”. The best way that I can describe our collective is as an experimental Hip-Hop group. We’ve cut a lot of demos over the past few months of this year and it’s been a thrill to see everyone who is a part of the group grow, not only musically, but as people too. We have a lot of releases planned still for this year and in 2024 so definitely be on the lookout for that.

As an artist and producer myself, I go by the stage name “Microphonist” and with this project, I focused mainly on releasing Hip-Hop records. This year, I dropped an EP called “DOB”, short for “Date Of Birth”. I wrote, recorded and produced the majority of the project during the 2020 pandemic. I had a lot of issues to overcome and this project is definitely a culmination of all of that.

Sonically, it’s a rough time capsule of what I had been through up until that point in my life. Dealing with the struggles of my own mental health, struggling with feelings of self-doubt and an anxiety about the future. I hesitated to drop the project sooner for fear of how I was going to be perceived but after getting over that fear, I dropped the project as a surprise release on my 29th birthday this year. I’m really glad I did and while I still have so far to go in this journey and I don’t know what else life has in store for me.

But with all of the songwriting that I did for this project, I’m really glad I was able to get down my thoughts on past situations and personal traumas. It’s a very rough project but these songs contain some of my most raw thoughts and emotions. My only hope is that these records can help somebody get through dealing with their own problems and that the stories that I share on that project helps give people the strength to continue working through their own personal lives and to one day find inner peace within themselves.

As far as where I’d like to take this artist project next year, my main focus is to finish and release a plethora of collaborations that I’ve done over the years. I have so much music in my hard drive that still needs to be out in the world, much of it was recorded either during the pandemic, or post-2020. So a lot of that material is gonna get dropped in 2024 and I’m excited for it.

What can society do to ensure an environment that’s helpful to artists and creatives?

I think right now is the perfect time for independent artists to truly thrive. That being said, I think building community is one of the best things that people can do to support an artist. Joining a Discord, going to a local show, streaming a record, making playlists of some of your favorite independent releases, etc. can go a long way in helping to show love and support for the art that’s in your local scene.

I think word of mouth is still powerful. If you and your friend group are art lovers, merely getting together and talking about some of your favorite releases is still valuable in my eyes. I’ve had the pleasure of hearing about some incredible artists just by talking with friends and hearing releases from some DJ friends of mine.

In the current cultural and artistic landscape, I think a lot of the creative industries that produce content for the mainstream are taking a hit. A lot of these major studios and major labels are churning out content that simply isn’t resonating as much as it could, or should be. I think a vacuum has now been created where in order for music, or art to really make an impact, it’s now going back into the hands of an independent movement, or consciousness. A space where creativity, open forum discussion and personal connections that both artists and audiences alike can co-create together.

Even with the advent of AI and the way we consume other forms of media, a special emphasis is now placed on in-person meetups, as opposed to merely existing in online spaces. Independent artists now have to compete with big brands for ad-space. Artists now have to wear multiple hats if they even have a semblance of a chance at cracking into a wider audience appeal, at least until they are able to form a strong team that can help push their narratives and the artistry.

With that reality being set, I think people have a plethora of different ways in which they can support their favorite artists. They can choose to go to an intimate, private listening session for a new release, or they can choose to buy a release from Bandcamp, or to support a Patreon account if an artist has one. And no matter what medium they choose to do so, I think all of the different options are viable, providing that an artist has more than one way for a new fan to support them, besides just streaming a record from Spotify, or Apple music.

I think on a broader scope, some things that should change are the payouts when it comes to DSPs as it pertains to supporting the work of an artist. However, the realist in me, knows that this change isn’t coming anytime soon. Another change that I would love to see happen in my lifetime is for major labels to bring artist development back into the fold.

The new era in which A&Rs are simply using arbitrary metrics to measure the success of an artist is a vital flaw in the current music industry system of today. Artists who are lucky enough to go viral off a single TikTok, are being signed and shelved by labels. They aren’t being developed into superstars anymore and music videos are now not as potent in breaking a new artist as it used to be, during the blog era of the early 2010s. I think the powers that be should put more of an emphasis on the development of the artist and the art itself because as it stands, even the mainstream audiences are starting to notice a decline in the quality of output that has been provided to them ad-nauseam.

You can even see it with streaming networks such as Netflix, Disney+, Hbomax, etc. How many remakes, or superhero movies do we really need? Studios and the executives that run them are taking less of a chance on new stories, or worlds that could go on to become massive franchises. When the conversations in those meetings are only about the bottom line and how to milk the consumer out of as much money as possible, you start to see how the art suffers and creatives are constantly bombarded with fitting into pre-determined molds and tropes that no longer seem to resonate as much with Gen Z as it once did in other generations, including my own. There is an obvious disconnect and the people can see that. At the end of the day, the every-day person is looking for some kind of escape. People want to be entertained but it’s so much more than seeking cheap thrills, or gimmicks.

People are looking and are starved for a deeper connection to art that stirs the soul and captures the painful, harsh realities of the human experience. And if as a listener, you happen to stumble upon a great piece of art, share that with as many of your friends as possible. In today’s era, it’s not about going viral, it’s a matter of who can capture the current mood and feel of society as a whole. The artist who can understand their own niche and carve out a unique space for their own audience online and in real life, will be the ones who will have the most success. But it largely comes down to people taking a stand and supporting the art in their lives that brings them food for the soul.

So as a consumer, doing things such as hitting up your favorite podcast, or music reviewer about a release that you absolutely love can really make the difference in showing support for an artist. Or making a TikTok sharing a song that you just cannot get enough of would mean the absolute world to an artist who works a 9-5 job, just barely making ends meet. The choice is largely coming down to the consumer and to me, is where the real power lies. And if enough people support independent works of art, whether it’s an EP, or a short film, eventually major labels will start to take notice.

What’s the most rewarding aspect of being a creative in your experience?

In my opinion, any day in which I’m able to create a piece of art is a blessing. Any time I’m able to channel an emotion, a thought, a concept, or an idea into something that I can listen to in my car, or play for my friends, means everything to me.

All the times when I’m able to be paid for my work as a producer, or when I see all the different countries and cities that my music is being played in brings me the validation that I need to keep going. Just the idea that a song that I wrote is something that people can live their lives to is absolutely amazing to me. Time is precious and any time that people spend listening and consuming my art is the ultimate form of appreciation to me. I thrive off of that and I’m incredibly thankful to have that part to play in the rhythms of people’s lives.

Contact Info:

• Instagram: @microphonist_
• Twitter: @microphonist_