『The Art Parlor for June, 2026 Presents: Jessica Tomlinson!』のカバーアート

The Art Parlor for June, 2026 Presents: Jessica Tomlinson!

The Art Parlor for June, 2026 Presents: Jessica Tomlinson!

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Episode Notes This month, it was our pleasure to speak with Jessica Tomlinson! Jessica is an eclectic composer, synthesist, keyboard player, and recording engineer based in the Tampa Bay area who happens to be legally blind. When she isn't playing pop rock with the band Rainbow Portal, she's crafting boundary-pushing experimental compositions in her home studio. She serves on the Audio Engineering Society’s Accessibility committee and the MIDI Association Special Interest Group focusing on accessibility. Jessica is also an active member of SoundGirls and the Earth Modular Society. She gives back to the community through Girls Rock Camp St. Pete and teaches blind senior citizens to use assistive technology. She also creates visual art with a powerful magnifier. I hope you enjoy the show as much as we did creating it! For more information about Friends in Art, please visit their website: . AI-Generated Transcript Opinions expressed on ACB media are those of the respective program contributors and cannot be assumed to serve as endorsements of products or views by friends in art, the American Council of the Blind, their elected officials, or staff. Friends in Art welcomes you to the Art Parlor, where visually impaired artists of all types will discuss their work. Pull up a chair, bring along your beverage of choice, and listen to thoughtful, stimulating conversations with visually impaired artists in all media and from all parts of the world. And now... Hi everyone, this is Annie Chiappetta, President of Friends in Art, and this is the Art Parlor. And tonight we have a very special guest, Jessica Tomlinson. And we're going to talk about pretty much all different kinds of stuff relating to creativity and music and being an artist, that kind of stuff. Jessica, welcome. How are you today? I am very good, excited to talk creativity with you as I enjoy learning about lots of different media. as you will hear, I do enjoy dabbling in many different things and I enjoy hearing about other people's creative practice as well. Excellent. Excellent. So how did you first decide you wanted to be a part of the performing arts? Was it something that you like to do as a kid? Was it, you know, when you were in high school? How did that develop for you? So I have always been very fascinated by and very attuned to sound because with people's five senses the brain tends to pick one or two to prioritize. Technical geeks will think of this as being like a computer's IRQs, meaning is the keyboard or the mouse, the primary input device. So most people, their primary input sense is sight, but I was born with underdeveloped optic nerves or optic nerve hypoplasia. So sound has always been my primary sense that I focus on. And then the sense of touch is kind of secondary and then maybe seeing is a kind of third because I do have some low vision. So I would make up words for sounds like if someone were to scrape a chair across the floor, I would say that's like calling it huge or radio static sounded a lot like frizz, frizz, frizz. So I saw musicians kind of from afar, but I didn't have any role models when I was very young, so I didn't really think of it as something I could do. However, when I became a teenager and started going to local concerts, I saw the front of House mixing console, which is the large board at the position where the engineer is able to balance the levels from all the different instruments. And when I saw and heard and was told that that was an actual job that some people do, I was completely hooked. I was single-minded throughout my teenage years that I was going to have a career in that field. And I went to a trade school. I went to full sale university back then it was called full sale real world education in Orlando. And I did I graduated from the recording arts program. And I found it very fascinating. I learned a lot of incredible things. I picked up a lot of general standard knowledge about recording equipment and how it's connected in something we call signal flow for how signal goes from the microphone to the preamp through the mixing console to the outboard gear. And finally, at that time, we were mostly using tape machines. Now we have programs on the computers called digital audio workstations that double as the tape recorder, the multi-track, the mixing console, and even the outboard effects gear too. So all that is in the computer. How many of those digital audio workstations are you trained in or that you know of? that you have knowledge of. I've used different ones over the years. I cannot say that I am expert in a lot of the ones that I used earlier. My very first one was called Cool Edit Pro from Adobe, now Adobe Audition. I used digital performer for a little while there. At Full Sail I was taught about Pro Tools and Logic. Then I used a Cubase for a while there. And now my DAW of choice is Reaper. And I feel much more comfortable with Reaper today. I can do, I ...
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