The Limitless World of Video Game Music

Hello! Can you tell us who you are and what you do?

Hello everyone! I’m Josh Plotner, and I’m a composer, producer, arranger and musician who specializes in woodwinds. You may have heard of the music I’ve helped create in games like Yoku’s Island Express, Red Dead Redemption II, Remnant: From the Ashes, Kena: Bridge of Spirits and many others!

Aside from my video game music career, I also do work for films, TV programs and other media that need music and arrangements.

What’s your favorite game to play?

The one that comes to mind would have to be Breath of the Wild or Tears of the Kingdom. I think when Tears of the Kingdom came out, it was around May or June, I lost a month, honestly. I didn't do anything for a whole month. I just played that game and I was really happy about it. The music especially. That kind of music is everything I want to do. I was almost mad when I heard it, if I'm being honest because it was too perfect. And also it's really hard to get a job at Nintendo doing anything if you're not Japanese, and I'm obviously not. But yeah, Tears of Kingdom or Breath of the Wild, either one.

But then a lot of what I play are those terrible little Flash games if I'm being really honest. I get so deep into games that I, like, lose a month on Tears of the Kingdom. Flash games are non-committal and they're small and unserious enough that I can step away because as soon as I'm like in something like World of Warcraft, that would end me. I wouldn't do music anymore. 

So the final answer: Tears of the Kingdom or Breath of the Wild. Oh, that's controversial. If I have to pick one, I'm not going to pick one. I'm going to pick both.

On Tears of the Kingdom’s music

On the music side, the compositions are so well thought out and fresh. Their choice of instrumentation is also great for me, as a player of woodwinds. Almost every song, not every song, but so many of them feature a really interesting woodwind instrument too. It's a lot less like saxophones and oboes, and a lot more like, one of the village themes at least, is from a shakuhachi. And the player they got sounds so good. 

Then I got really into it and I was trying to figure it out. Shakuhachi is the most common traditional Japanese flute. If you're thinking of it, try imagining the Naruto flute stuff that’s a lot easier for Western audiences to grasp as an example. So shakuhachi, it doesn't play well in every key, so you buy a bunch of them if you're a professional and then have a bunch of keys so you can play in modern music.

But Japanese music, the vast majority of it is just in one key, sort of. But in the modern world, you buy a bunch of them and they're very expensive because they're made by monks sometimes, or at least traditionally. The key that they have is like a super unusual key in this thing and it's low and it's nicer because it's more mellow than the normal one. And it's just that attention to detail. And then they've got tin whistles making you feel nostalgic and friendly all over the place, especially when you’re traveling in the game.

And then the piano stuff is really good. Not to get too deep in the weeds with music theory, but if anyone knows Nareh Sol, she’s a piano player all over social media. She has an amazing video breaking down the music theory behind some of these piano things. They're complex but sound gorgeous, which is one thing I love. 

I think that's one thing I really look for in music. I love the complexity that sounds simple, where you can just have it in the background. You don't notice anything. And as soon as you look at it, you're like, wait, wait, wait, wait, wait, wait. And for Breath of the Wild, the score absolutely delivers. 100% yeah! 

Nintendo. Please call me if you're reading this, haha!

Shakuhachi as an instrument

It is so much harder than a recorder. If you buy a shakuhachi, and I encourage you to do so because there are cheap ones, then see for yourself if it’s for you. The cheap ones are from Shakuhachi Yuu. It's like 200 bucks. It's not that bad. It's made of plastic, but you will get it and you will not make noise for maybe a week. You will just be blowing air into this instrument and nothing will happen. It is the most cruel instrument for me and it is so hard.

And then once you can make even a tiny sound, it just gets harder from there! Even professionals like me have a day where it's just not working and you don't know why. It's maddening! And then once you get it together, the fingers are really hard because you play more notes than you have holes. So you have to kind of cover the hole halfway in a really delicate manner. It's a nightmare to learn, but it's an awesome instrument. Highly recommended. If you want the craziest challenge of your life, play shakuhachi.

Playing the shakuhachi professionally

I play so many instruments that it's hard to keep track of my frequency, but I would say shakuhachi comes up like once every couple of months when anyone wants a Japanese-like sounding thing. There are other Japanese instruments for sure, but the people I work with are generally looking for something like that. 

I actually study a lot of traditional music, but I don't really perform a lot of traditional music. So yeah, the people I work with all kind of want traditional-sounding things that aren't traditional at all. And they’re like, “We want Japanese, but we don't know how to make Japanese music that well…”

And specifically the shakuhachi, I get enough calls for it and then I get things that are written for it that are impossible to play or would be just ridiculously hard. Because again, it really only wants to play a few notes. This is why, as I said before, you need a bunch of different-sized flutes to play in different keys.

So I actually bought this thing called a shakulute, which is where there's a guy who basically took the top of a shakuhachi and chops it off so that you don't have the shakuhachi body. And then he puts a silver tenon in it so you can put it on a Western classical silver flute. So you've got the shakuhachi top on your flute and now you've got your flute fingerings and it sounds similar to a shakuhachi.

When you have keys instead of holes, you can't slide as much. With the holes, you can slide off of it. But the keys allow me to shred like I can on silver flute. So I actually bought this thing for Western composers where I was like, “You want Japanese music, but the thing you wrote is impossible for Japanese instruments.” Though it's not really impossible, but more like really unnecessarily hard and won't even sound good for a Japanese flute. 

So yeah, it's called the shakulute. It looks crazy, and it's like a Frankenstein flute, but it does the job.

How did you end up becoming a musician?

My mom will verify for me, but I've wanted to play saxophone since I was three and she thought it was a phase. So I actually started in a band with everyone else when I was 10. And that was the year before my high school started forcing you to play clarinet before you play saxophone. And I'm so glad because I had no interest in clarinet. I play clarinet now, I love it. But at that time, I would never have gone into music if I had been forced to play clarinet. 

So I started on saxophone. And then at some point, a teacher was like, “Look, if you're so into saxophone, you have to play clarinet or flute first.” And that just comes from the big band tradition, where there's always saxophone mixed with a little bit of flute or saxophone with a little bit of clarinet.

I caved in. So I started playing them and then I got really into them because in a concert band, like the saxophone parts, at least when I was there, usually the saxophone parts are the worst parts because a lot of the times the composers will just like take the French horn part or something. It's like this Alto E tenor voice. And they'll just be like, “Yeah, saxophones can play that too.”

Like they don't know what to do with saxophones in a concert band in this kind of classical-ish marching kind of music, right? So I was like, I want to get good enough at flute or clarinet so I can just play there. So senior year of high school, I was playing flute in a concert band because I was like, “The saxophone sucks. I don't want to play the saxophone in a concert band.” And then I was also playing clarinet in the orchestra because they don't let saxophones in except for literally four pieces in the orchestra repertoire.

So I was like, “Now I want to hang out with my orchestra friends.” And then so I was pretty strong on sax, clarinet and flute. Then I got to college doing music and I was starting to think about a little more about like what I wanted to do professionally. And I was thinking about, “Ooh, I'd love to do Broadway!” And people were like, “Well, sax, flute and clarinet will get you pretty far on Broadway, but if you really want to work on Broadway, the cheat code is this: oboe.” And I was like, “I don't know if I want to play oboe, but I do want to work.”

Subbing in Broadway

So I started playing oboe in college and then I got to New York and I rolled up to Broadway and I was like, “One job, please!” And they were like, “No.” The way Broadway works, in short, is that you kind of have to know people. You have to be in the network. And I hadn't studied with the people who were on Broadway. I didn't know the people. There's no audition process for Broadway. It's all connections. And so like what you do is you start subbing for people, you play when they get another gig and they're busy or they're sick or whatever. And all those positions are full too. 

Well, someone must need a substitute. Someone must have something that's like a really hard book. And the one I found was Lion King. And on Lion King, there's a chair that's like 13 different flutes, which was daunting, but I was grimly like, “Okay, let's go. What if I just start with the hardest chair on Broadway?” And so I contacted the guy. He kind of said maybe we'll see.

And eventually I just kept being persistent. I bought all the flutes, which are the normal flutes, pan flutes, as well as Indian flutes and piccolo. And eventually he let me sub and I'm still subbing there today. And yeah, so that worked out.

Learning more instruments

But then I kind of got the taste of like the world flutes, right? And then I got contacted by this guy. I can't remember how he reached out, but he wanted to record some world flutes. And I agreed. And then he was asking me for things I didn't have. And I was like, “Hey, look, I'm Googling this flute. I'm looking at it and it makes sense to me. I could pick this up pretty quickly. If you have a month for me to get this and ship this and learn this, I'll do it.” 

And also, world flutes are very cheap. Flutes or non-Western flutes are usually really cheap because keys are what truly cost a lot of money, especially those with complicated mechanisms. Stick with holes? Stick with holes doesn't cost a lot of money, that’s around $200. So I was like, “Wait, if I buy this $200 flute and get $200, I made my money back, but now I have a flute.” And then actually much later on I started doing like really bad child math where I was like, “Okay, if I buy a $200 flute and I make $200 on it, the flute is still worth $200. And now I've made a 100% return on my investment. The stock market is an absolute waste of time. I can just buy flutes!”

So yeah, it started kind of just whenever it came up, anyone would be like, “Do you play this?” I would be like, “I do in two weeks for shipping.” I just kept going and going and it really worked out and now I’m kind of all over the place and that got me more into especially video game stuff. 

Entry into video game music

One thing I love about video game music in general is that there's no genre and no set tradition. Almost every other genre of music has traditions and rules. You come into jazz and you're trying to play a bunch of very straight, technical and classical scales, it's not going to sound right and the jazz guys are not going to be happy. You come into country music and you start playing crazy bebop complicated jazz licks, the country guys are going to be mad at you.

Video game music has zero rules, there's zero tradition and so they're kind of all over the place and they really like unique, unusual sounds. And the world flutes that I play are a great opportunity to get into that.

By the way, I should just say real quick, I keep saying like world flutes or non-Western, but there's no good word for flutes that are outside the orchestra and jazz band. That's what I'm trying to say when I say “world flutes”. Like because you say “non-Western”, but Ireland is in the West and Irish chin whistle is also like a world flute. I just want to address that real quick, as there's no good term. So I apologize if I keep saying world flutes. It is the best term I got.

Can you tell us more about your journey in the video game music industry?

I had the fortunate accident to stumble into online remote recording way back around 2015 or 2016. I feel like once the pandemic hit, everyone was doing remote recording. But I kind of started a few years earlier. So I was in that space and then I realized there were a few websites and stuff where you could list yourself and be like, “Hey, I've got a nice microphone and a saxophone and a closet. Please give me money.” And so I was doing that. And then I started getting connected with people all over the world in all sorts of different industries.

And the video game people started around… I think my first video game was probably like a mobile slot game, like those mobile gambling games that I don't understand the appeal of. I don't want to rag on it, I just don't understand it. But I've played on some of those. And then honestly, it was from a small network of people, the kind that you get a good relationship with. When they start getting better opportunities, that means you start getting better opportunities as well. And eventually, if they're nice, they tell their friends about you. And it kind of started expanding out from there.

So one guy who really helped me get into the video game space was Adam Gubman, who's an amazing composer and producer. He's all over like Genshin Impact and Arknights, and also does Disney stuff. He's really cool. I've been a part of that as well through him and then just saying yes to every opportunity.

The most common instruments used in video game music

Flutes are in a lot of video games, it's either a lot of flutes or it'll be once in a while. For example, Arknights, which I've done a lot of stuff on. Arknights is super popular in China and I don't think it's as popular in the US, but there's a lot of like really cool jazz stuff that I've done. So I've definitely done a lot of saxophone with that. But besides that, I think in video game music, it's a lot of flutes because there's so much of this whimsical fantasy kind of music. 

There are definitely other kinds of music, but if it's metal, they're probably not going to call me unless… Wait! Actually, well, I did just play on the Hades II soundtrack on this track that I absolutely love by Darren Korb. The track’s called “The Necropolis”, and it's this insane screaming, but it's actually still flute. It's a silver flute. And I actually played bass flute on it as well, but it's this insane screaming flute thing that was really fun.

But yeah, video games uses a lot of flutes. If it's really cozy, flutes also do great there. I played for a super underrated game called Hoa. I know it looks like homeowners’ association, which is terrifying, but it is the opposite or actually maybe it's pronounced differently. You play a Vietnamese sprite and it's like the most cozy puzzle platformer I've ever played. Unlike other puzzle platformers, they're not hiding things and making you go back. There’s really beautiful art, straightforward but challenging puzzles and then the coziest music. 

And on that, like again, because there are no rules for video game music, Hoa was super orchestral, a big mix of cozy and cute, with a bit of piano, oboe, clarinet and violin. Big fan of Hoa, I don't know how to say it properly, but you play a cute little Vietnamese sprite and it's ridiculously underrated.

How does a developer or studio reach out to you?

I pride myself on being flexible. The only pitch that would fail is if it's like, “Hey, can you do 100 hours of work and we have $100?” Like that would fail. But short of that, I appreciate that people come from different kinds of backgrounds. So if someone's really crazy intense musically and they're like, “Hey, yeah, we need these instruments and then this one's going to be this here, the chord changes, here's the sheet music…” Like boom, boom, boom, boom, boom. Like, “You're going to record in 48kHz sample rate and we need 24-bit audio.” That’s fine and awesome for me.

But then I also like to work with people who are like, “We just want something that's round, but also like good tones and also flashy…” And like, that doesn't make any sense. But I've gotten stuff like that. And then it's kind of to do this sort of translation exercise. It's like, how do I make that make sense? Like a little bit of mind reading, a little bit of this and that.

But yeah, as long as people are communicative and good to work with, I'm usually honestly happy to do my part. The only thing that would drive me crazy too is if the vision was super unclear where there's like, “I want it round and flashy.” I'm like,  “Again, round and flashy barely makes sense to me, but I can like kind of start to think of it.” But then they're like, “Actually we want it like really sad and simple.” And I'm like, “Wait, no, you can't do that, now you’re just messing with me.”

On marketing himself and his work

The website and the music selection were a benefit of being in a remote recording space for so long. When the pandemic hit, I actually had a weird feeling of guilt because I got a couple of cool gigs out of it. When LA shut down and they were like, “Wait, we can't record like we normally do. How does this online thing work? Oh, this guy has experience already.” And the pandemic was also miserable for me too. But there were a couple of silver linings. 

So all those reviews came from just years of recording online, which also gave me so much experience working with so many people. Also a lot of it, like when you are just working with people text-based, right? It was just like emails, not a lot of Zoom calls, not a lot of phone calls, not a lot of live monitor recordings. You actually get even better at reading people's minds and translating what people mean.

I'm really happy to nerd out and educate my clientele, because sometimes as someone who provides services, the trick is to educate your clients without letting them know that you're educating them. You don't ever want to talk down to a client. But also it's like, “Oh, they don't know enough information to do this relationship.” And so it's that tricky thing of like trying to be educative in a very casual way without offending, it’s tricky finding that line.

And yeah, it just helps you get more flexible and then helps you build a crazy website that's in-depth and convenient. I actually spent way too much time on my website.

His feelings about his website

Well, here's the thing, musician websites are usually terrible and I feel like they're terrible enough. I've sent people my website and gotten a response like, “Oh, that's okay.” And I know what they're thinking; that it’s probably going to be just one page. They're thinking it's going to be a one-page scroll with like half-thought-out bio and then a couple of links to SoundCloud and that's it. Oh wait, probably a couple of pictures then that’s it, that's like so many of them.

And I've just gone the complete opposite direction of that, where I was like, “Here's everything ridiculously organized!” I even went so far as not only to list all my instruments but also to have like, little demos for all of them. And then even for composers, it was already way too much time. But I have a thing that explains how to write for them in like one paragraph, which is obviously too little information, but it's like, “Here are the most fundamental rules of how to write for the bansuri, like instruments that you've never heard of.”

That's niche enough for most people. I was just trying to think of something more niche. The bansuri, by the way, is a very common Indian flute. Any Indian people listening that are like. “That's not niche.” And I agree with you, random person who thinks that's not niche. But yeah, so I went way too deep on my website, but it's fun. So go to my website. I promise it doesn't suck.

Can you tell us more about your edutainment process?

So I would say a lot of it comes from me being frustrated that it doesn't already exist. I feel like a lot of ideas I have are when you're looking for something on the internet, you just assume it exists, which is a very safe assumption. Like, “I want this, Google give it to me.” And Google's like, “Yeah, obviously. Here you go.” When I'm searching for these more niche subjects, a lot of times there isn’t a place online where you can learn about lots of different world flutes. 

Even if you find one, once in a while, it looks like it was made in the 90s. And it's really hard to enjoy and get into it because the history written is way too long and way too dry. And then the sound samples are really low-quality. It seems like for some reason, every recording sample of a traditional instrument was like from the 1970s on a potato. 

There's so little high-quality stuff for non-Western instruments, and I think there's no great reason why that is because they're pretty accessible, especially these days. So yeah, when I think about the stuff I'm creating, I’m just finding holes that weren't there and then trying to fill them up. 

I even made a series about how to write for woodwind instruments. I was aiming for two minutes, but sometimes it became three or four being like, “Here's how to write for the clarinet in two minutes.” When I was looking for something like that and tried seeing what other people were doing, the shortest thing I could find was 30 minutes. And they're being like, “The history in 1774, the clarinet was…” Huh? Who cares?! 

I just want to know how to write beautiful music, because I like the clarinet. There are only like 10 rules you really need for it. It's like; don't go higher than this. Don't go lower than this. This thing doesn't work. This thing works great. Have a nice day.

And so, yeah, trying to fill those holes. And then lately on Instagram, I've been trying to make little things that introduce instruments that Western audiences wouldn't really be aware of in a really fun, snappy way. And then also just trying to write and produce a track. And man, I've been trying to do that every week. I'm always up at 4:00 AM being like, “I have to post this tomorrow so I can do this every week.”

On procrastination

I'm great at procrastination. I've been told my whole life that it wouldn't work. It's like, “Oh, when you get to high school, you can't procrastinate anymore.” Or, “When you get to college, when you get to the real world…” I'm still waiting for the other shoe to drop. 

If you're a teenager listening, just keep procrastinating.

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Because if you are a creative person, deadlines are the only thing that works. No muse's going to come whisper in your ear and inspire you. You just get a deadline and it’ll get you moving. Just be like, “I need this tomorrow.” It'll happen. It's magic. Deadlines are the muses, the Greek muses that whisper into your ears. The real version of these beautiful muses is deadlines.

What motivates you to keep doing what you do?

I guess it's partially to get clients, though a lot of the things I've done have come from frustration and then like turning it into a positive thing. So before the series that I've been doing now about World Instruments, it has something to do with why I keep doing this. When I was doing things like “How to Write for Flute In 2 Minutes”, that entirely came from my frustration with how people were writing for flute.

The lower notes are really soft and they really can't get very loud. And then the higher notes are loud and it's hard to get them soft. And it's these basic things like don't write loud low notes for flute because it doesn't work. And I was like, “If I see one more person write a middle C Forte on flute, I'm going to..!” 

Then I thought, why don’t I just do it myself and educate? And then I made this really positive and happy video. And now, if I see that again, I can be like, “You know, I made a video about that…” then do it really passive-aggressively. “It's on YouTube. It's been on YouTube for years, y’know?” And not necessarily like all the way that I'm being a little dramatic. It's not anger, it's just frustration.

And also with all these non-Western instruments, I think these are cool and no one else seems to know about them. And then when I try to talk to people about them sometimes, like you talk about something foreign, at least to Americans, people's eyes start to glaze over and they're like, “Oh, that's not for me.” And I'm like, “It's music. Music!” 

All music is for all people, in my opinion at least. But sometimes, it feels like you're trying to sell someone Ethiopian food and their eyes glaze over and I'm like, “Look, you're wrong. You have to eat Ethiopian food. It's amazing. If you haven't had it, go eat Ethiopian food and listen to cool music from all over the place.” And most of the time, it’s just me wishing the world was a little more like this and no one else is doing it. Honestly, it'd be easier if someone else was. But I guess I'll do it because I need something to do.

Have you tried something like breaking down video game flute music as a series?

My first thought was to make videos about Breath of the Wild talking about all the different flutes and stuff there. And then it's funny because that would be challenging just because sometimes things sound similar and it gets really tricky. I feel like I have a TED talk to give about how the reason I can play so many flutes from around the world and woodwinds is because they're not that different. 

They are different, but I’ll get to that. Traditional music is very different, but the physical instruments, there are like five kinds of flute in the world, and that's kind of it. Not only is physics the same in every country, but human skeletons and faces are more or less the same in the whole world. Almost everybody has ten fingers, one face with lips and a chin and stuff like so there are only so many options for instruments you can make because of physics and human anatomy.

We all made the same flute. Even the niche ones like the shakuhachi that we were talking about, it’s still technically the same as the others. It's really hard to play, but it still falls within the classification of a flute. I don't even understand how you could come up with the flute itself, like, how do you even invent this? I don't care if you are sitting around all day pre-internet, pre-TV, pre-entertainment with nothing to do. I don't understand how you ever figured out that this flute works. But they also figured out almost the same flute in the Andes Mountains around Peru.

They, like all these cultures, basically made the same thing and they weren't hanging out. We're talking hundreds if not thousands of years. They were not jamming together in the Andes and Japan, and they came up with the same ridiculously complicated, tricky to figure out flute. But so there's all these similarities of flutes from around the world, which is kind of cool and unifying.

But getting back to the Breath of Wild thing, I would be terrified because sometimes they sound very similar. And I'd be like, “Oh, that's a whistle.” But then it’d be like, “Oh no, it's like this thing from this country because that's what they played on it.” And Nintendo doesn't credit all those things specifically, so I can't look it up.

On making educated guesses as to what the instruments being used are

I can definitely make guesses based on knowledge and experience. But it can be very difficult, especially with something like a tin whistle. But you find those like of the European countries, they have a version of it that's kind of, again, the same thing, but it has a different name and they play different music on it. But acoustically and physically, there are some differences like some Europeans made it out of wood instead of tin or something.

Actually, here's a really fun fact about woodwind instruments. It doesn't matter what they're made out of. Even woodwind musicians don't know this. This might be even boring, but it doesn't matter what they're made out of. They don't have to be made out of wood. They don't have to as long as it's like a solid and smooth thing. Woodwinds can be made out of any material and it doesn't affect their sound. I know, it’s a deeply controversial statement, but it's also correct.

You think I’m wrong? Sure, contact me or comment on my videos on why you think so and I’ll be like, “Mwuhahaha!”

What advice can you give to people who want to go into the video game music industry, especially in your niche?

I would say at the end of the day, kind of with almost the entire music industry, it's just about people. It's just about knowing the right people and being friendly. And I don't care what industry you're in, you've definitely known someone who is in way too high of a position that doesn't deserve to be there or isn't qualified to be there. Maybe that happens all the time with music too, and maybe even more than usual because it's not like there are music tests. There are no objective measures of right and wrong in music. So it really, really, really is a networking and people industry. That is the giant headline.

And then if we do want to talk about specifically what you want to get into, like what kind of music or instrument is ideal for you, I’d say being a generalist is very dangerous. I actually run into this problem all the time. People assume that I just suck a little bit at a lot of things, which is a fair assumption. This guy does too many things. There's no way he can be good at them. I try to be good at them. I'll let other people decide if I'm good at them. If you want to be a generalist, you have to be deeply passionate about it and be 10 times as good as anyone else, and you have to be constantly fighting, being like, “No, I'm going to be amazing at everything and work 10 times as much!” 

If you're a generalist, I would say, and I'm not saying this about myself, but if you are a generalist who is amazing at everything, like one of those people who can sing and dance and act, that's usually intimidating to people and sometimes off-putting. They'll be like, “Oh, I don't want to believe that someone can be that good because I don't feel like I can be that good.”

So being a generalist is the path I'm going down. But it's a very tricky and hard path to go down. First of all, there’s an issue of being good enough, because it's more work. Then you have to convince people that you're good enough to meet standards and then not be too good because there are egos that you might bruise. In regard to the ego problem, I think the best solution is to just work with people who don’t have an overinflated or sensitive ego in the first place.

You’ll see this especially if you’re posting on social media. If you have an ego and behave badly, of course, you’re going to get negative comments because you’re an asshole. It doesn’t matter if you’re good, you’re going to get nitpicked all the time because you were being an asshole. But if you’re the kind of person who gets a lot more positive comments than negative ones, then that reflects how much of a good figure you are publicly.

Once you get to the point that you're big enough that people don't see you as a human being and more of an entertainer or personality on social media? That's when people feel comfortable enough. It's like, “Oh, this person's big. So I can like say mean things about them.” That's kind of how you know you're making it. 

And also you don't want everyone to like you because it's impossible to make anything that everyone likes.

Where can we find you to learn more about you and your music?

This is my website, and I’m on Instagram as well. I kind of do everything, so just search my name and you’ll find me. Yeah, feel free to reach out. I read through everything. I'm doing stuff on Instagram and TikTok. I've got my website. I'm also in New York. Next year I'm actually planning on spending a good chunk of time in LA and New York, so I'll be all over the place. 

And yeah, feel free to reach out. I always love hearing from people.