9 Odd ways to deal with online toxicity and trolls

Snooze Chu Na Sai The Cat
My cat Snooze – releasing endorphins since 2009

[Editor: Firstly I gotta admit that the reason behind this article is personal. I feel that in my little corner of the internet, that there has been a general uptick in the amount of online negativity and toxic behaviour. Maybe due to a global pandemic or maybe something else entirely? But I wanted to learn more about it and specifically how to deal with it. So I asked the following question to a few artist, who have a large online audience …]

While 99% of comments are positive and feedback is generally uplifting and useful. Sometimes, one negative comment just seems to stick. Human nature being what it is, we often only remember the negative criticism.

So what strategies have you developed to deal with online toxicity and trolls?

Hainbach

hainbach

As my channel grew, so grew the influx of ill-spirited comments. At some point the anxiety I got from these was so great, that I had to do something: I needed to turn them into art. So I started taking screen shots of the comments. Instead of getting a ‘fight or flight’ response every time a mean, sexist or fascist statement came in, I felt joy – it was like a game of shitty Pokemon.

I asked other creators to join in – Red Means Recording, Noir et Blanc Vie and Simon the Magpie also collected and then read their hate comments on video. I created a tape loop collage out of the collected hate and destroyed that slowly over time, using sandpaper and knives applied to the magnetic tape loop. Hate Loops, which you can find as a video on my channel, was truly cathartic.

Ever since then I feel the freedom to react in whatever way I want to with trolling or simply hateful replies – laugh, sticky, repost to Twitter or simply ban.

https://www.youtube.com/hainbach101


Aldo Is Taken

Aldo Is Taken

I’m in a « choose love » kind of mindset where I try to refrain from typing that sick comeback line I’ve been mentally working on for 20 minutes. I often feel the urge to justify myself or to attack the Hater, because I know this will provide some instant satisfaction, but ultimately it can only lead to more toxic interactions, so I take a deep breath and I keep on scrolling.

Sometimes I will even heart the comment, that’s how hard I’m choosing love. Once I have completed this cycle I’m usually alright and ready to get emotionally destroyed by the next comment <3 

https://www.youtube.com/c/AldoIsTaken/


R Beny

R Beny

One thing I try to do is think about why the person wrote what they did. I imagine most of the time, they are projecting some other issue or feeling onto you. That helps me not take the words to heart so much.

I’m a sensitive person and don’t really think I have a thick skin, so I find approaching these things from an empathetic or humorous perspective alleviates some of the negative feelings that I might initially feel.

https://www.youtube.com/c/rbeny


Mylar Melodies

Mylar Melodies

The more extreme the comment, usually the less offensive it actually is, as it heads into absurdity. For the worst, sometimes leaving the comment for others to see and judge, is its own punishment to the person who wrote it. I suppose it’s the ones that play on your own fears and doubts that stick in your mind. But I really have learned from valid negative feedback, even though it hurt to hear, as it has unquestionably helped me improve things. Unjustified praise can make you complacent, and sometimes the negative person has a point, or part of one. But also, you have to acknowledge the universal truth that not EVERYONE will love everything you do all of the time, and so take comfort in that receiving negativity (along with the positives) means that your videos are being found, and watched. “Let the dogs bark, Sancho, for it means we are moving forward.”

One further thought – YouTube’s recommendation algorithm favours videos with high engagement, which includes comments. The reality, both sadly and happily, is that negative comments and ensuing arguments and discussions help your video rank higher. This of course leads to creators who may wish to create negative videos in order to stir up comments, and get views. It’s no different to any other medium in that regard, the choice of how to respond to controversy (namely, whether or not to encourage it) is yours. Either way, it will help you.

https://www.youtube.com/c/mylarmelodies


Ricard Magnusson (WheelSounds)

Ricard Magnusson WheelSounds

As a licensed psychologist I meet people all the time that are sensitive to other peoples’ judgements about them. Even the slightest negative comment, however innocent and well meaning, can feel like a stab in the heart and invoke feelings of rejection.

So what is it that makes certain people so hung up on that one negative comment, even in the face of several positive ones?

There could be several explanations: If you consider the fact that the human species historically has depended on the group for survival, it makes sense that rejection feels almost life threatening, because historically it actually has been! Try fighting off a hungry wild animal on your own…

A common theme in cognitive therapy is cognitive distortions, sometimes referred to as thinking errors. Thinking errors are faulty conclusions by our brain, or a tendency to interpret things in a certain way that might not be true. The mechanics behind this is assumed to be our basic beliefs and assumptions about our self.
If we, for instance, have a basic belief that no one will ever love us, we might be at risk of only seeing the things in life that confirms this belief. So negative comments from others will be more aligned with our basic beliefs, and therefore we tend to focus on those things that confirms our view of the world.

This is a kind of confirmation bias, a tendency to see the things that confirms our pre-existing beliefs.

Another common thinking error is “Mind-reading” – we assume that we know what others are thinking of us, but in reality, it most likely tells more of our own thinking than the other persons’ thoughts… The reality is, we have no idea!

The dilemma with thinking errors is that they happen in a split second, almost like a reflex, out of habit. Our mind is lazy and often cuts corners, it’s more energy efficient and faster than generating new conclusions. Therefore it’s always a considerable effort to think new, more realistic and helpful thoughts. But it gets easier with practice!

Step 1 is identifying your negative thoughts. If someone gives you negative feedback, pay attention to what you think in that moment (for example “I will never make it in the music business” or “this song sucks”).

Step 2 is creating a more helpful thought. Because thoughts aren’t truths, they are just thoughts. We can train ourselves to think more helpful and realistic thoughts. What we do repeatedly will become a habit, so make sure to do the right things!

[Editor: If you want to read more about cognitive distortion, specifically for musicians, here’s a very interesting article about cognitive distortion by Ricard Magnusson over at ProducerHive]

Find Ricards music as WheelSounds on Spotify


Emily Hopkins

Emily Hopkins

I think a lot of the time, people forget there’s an actual human being behind the computer screen, on both sides. And that can be hard to handle when you try to understand why people say such hateful things. There’s no understanding it. For me, my response depends on the severity of the mean comment.

For mild rudeness (someone hates my music) I respond with a “it’s not for everyone! thanks for watching!” and remind myself that a negative comment counts just as much as a positive comment in the YouTube algorithm.
Heavier comments (usually misogynistic) result in a shadow ban from the channel and I go for a walk or spend extra time around my family and friends.
For the heaviest comments — I won’t go into what those entail — I don’t really have a good answer for how to handle those. I’ve had panic attacks from reading those kinds of comments, and I’ve tried to rationalize, understand it, or picture the meanest and unhappiest person writing the comment, but the cruelest and most disgusting threat I’ve ever received happened on a public forum from a husband and father of 3 girls.

I wish I had a better answer for how to respond to stuff like that, but I think talking about it helps, and I’m really grateful for the love and support I get not only from the majority of my audience, but from my fellow artists who have to endure similar things while continuing to create things for other people to enjoy. 

https://www.youtube.com/emilyhopkins


Cuckoo

Cuckoo

I think my bottom line nowadays is “I can’t help everyone”. I’d love to help widen their views, and get out of their malicious habits etc. But there’s just so much one can do. And even if it’s a bit sad to just leave them be, there’s just only so much you can do for people in a commenting section. I think my responsibilities towards myself are more important. To keep myself whole, sane and sound.

I have a sort of “mantra”: If my creation communicates, it’s good enough. Of course I know of my current level, my shortcomings, what I want to improve, what I might never reach etc. But as long as what I’m doing communicates, I can live with all of that. Attacks attack those shortcomings has no value to me anymore. It used to upset me, but now it kinda just washes away.

But to be honest, I’m truly blessed with the finest commenters on the whole Internet. People are usually very thankful and encouraging.

https://www.youtube.com/c/cuckoomusicnerd/


[Editor: This article will be updated whenever new answers find their way to my inbox… Also if you, dear reader, happen to have a way of dealing with internet trolls, then please leave a comment below]

Benjamin Shaw – Ponderer Sounds

1. Favourite knob/fader/switch on a piece of gear and why?

Recently I got the Type One Analog Ensemble by Tom Oakes of Horrothia FX who just
happens to live in my town of birth, Cornwall in the UK. Asides from being an absolutely gorgeous chorus the Type One has this excellent arcade style button for the footswitch and it is so satisfying to click.

Type One Analog Ensemble

I also really love the Speed Control dial on my Sony Clear Voice Walkman, it’s old, plastic and the dial is knurled and recessed almost past the point of being able to turn it but the tactile experience mixed with the sonic result is awesome.

Sony Walkman varispeed

Lastly I don’t own one yet but I’m really looking forward to getting a Nakedboards MC-8 MIDI controller, the faders are a little larger and spaced nicely for using with orchestral software libraries to add that ‘human’ feel.

2. Do you have an ‘almost’ perfect bit of kit? What would you change?

A recent addition for me is my StudioLogic SL88 Studio MIDI keyboard. I have an old family heirloom upright piano that is gorgeous but I haven’t been able to relocate it to our current residence, so getting a properly weighted, natural feeling, full size key bed has made writing with software instruments way more enjoyable and inspiring, so far I wouldn’t change a thing on it.

StudioLogic SL88 Studio MIDI keyboard

I used to manage a mates boutique shop, Pedal Empire, in Brisbane and build pedalboards professionally, so I have played hundreds, if not thousands of individual pedals, my ethos from that experience is that ‘perfect’ is a relative term and every pedal, if you allow it the time, can yield some ‘perfect’ results in the right context. I think it’s up to the player to find the gold and follow where it leads. Even something as amazingly engineered as the Chase Bliss Blooper for example, is full of quirks, artifacts and limitations of sorts, but if you ironed all those out to be ‘perfect’ it probably wouldn’t be half as fun.

3. What setup do you bring on holiday/tour/commute etc.?

Since moving to a rural, coastal location in Tasmania in recent years I haven’t had need to take a rig on the road much, however if we do go away for longer than a few days and I need to film a demo or make some music I’ll usually take the Walrus Audio Slö, Bondi Art Van Delay, 1981 DRV & CBA Blooper. Those with a guitar, laptop and little interface is all I need for guitar inspiration.

Walrus Audio Slö, Bondi Art Van Delay, 1981 DRV & CBA Blooper

I’m also building a small modular system that is easy to take out and make generative ambient music.
If I don’t have need for anything and just want to make some music in the moment I love using the Fugue Machine app, it’s great for coming up with a simple melody and layering in different speeds and directions… too much fun.

4. What software do you wish was hardware and vice versa?

I use PaulStretch a lot, something about taking a 1 minute piece and making it 15 minutes long is so fascinating to me and PaulStretch does that in it’s own special way, I’d love that in a pedal. I’m pretty new to modular synth but perhaps there’s a module that does that.

I recently got hold of a Pecan Audio Edera which is a stereo warming unit in a small simple pedal format. Previously I would use some plugin distortion on the fx bus to warm up tracks while wishing I had something like the Analog Heat, but way less complicated, so the Edera has fulfilled that wish.

Pecan Audio Edera

Back the other way, hardware I wish was software, I still haven’t found a plugin or process that yields the same result as recording to cassette or tape and slowing down. 80’s and 90’s tape/cassette equipment all have their own oddities that they impart to a recording. They sounds so good to me and even the best tape emulation can’t quite nail it just yet. They’re getting closer and closer though.

5. Is there anything you regret selling… or regret buying?

Years ago I made my mind up that I wouldn’t have any extra pedals/gear laying around that weren’t in constant use or on my pedalboard so I used to sell everything surplus to my needs and made my mind up not to regret any of it. I don’t follow that mantra anymore and have heaps of gear in corners and on shelves. I have bought and sold an El Capistan about 4 times now, currently don’t have one, that’ll probably change again. I did have an original Bondi Del Mar that I let go right before the prices got exorbitantly high which is a bit of a bummer, but I kinda despise that part of the gear community anyway, I like to sell knowing people are getting a good deal.
Working at PE for years made it easy not to miss things I’d personally sold when it’s always there in store if you need a fix. I would get way too sad if I let myself think too much about what I’ve let go, safe to say I’ve moved through hundreds of pedals on my board in the last 10 years. I don’t think I’ve regretted a purchase ever because it’s all a learning experience finding out what works and what doesn’t.

6. What gear has inspired you to produce the most music?

My process for making pedal demos has always been to let the subject pedal guide my noodling and musing so mostly when you watch one of my videos you’re hearing snippets of how the said pedal has inspired me.
I always get inspired easily by Spitfire Audio orchestral samples, they just capture so much realism and are emotive to play, same goes for Fracture Sounds, The Phonoloop and Felt Instruments.
Pedal wise the Hologram Electronics Microcosm is pretty much the most inspiring analog thing I’ve owned and I can rest assured that plugging into it will spark something if I’m ever drawing a blank.

Hologram Electronics Microcosm

7. If you had to start over, what would you get first?

I started playing guitar in the ‘Big Amp Heavy Guitar’ era, if I could go back and tell myself to get a Telecaster and a Princeton it would make a world of difference. My first pedals were a Line-6 DL4 and a Crowther Hot Cake which I still think now for the way I like to write and play are great pedals to start with.

8. What’s the most annoying piece of gear you have, that you just can’t live without?

I feel like maybe I’m in a sweet spot where I’ve narrowed down my choices to equipment that largely improves my work flow. That said, I recently dived headlong into modular synthesis after a few years of deliberating, and though I have a clear vision for what my desired sounds from Modular are, the learning curve is pretty dramatic. The Patch & Tweak book from Kim Bjorn Bjooks is helping a lot though.

Ponderer Sounds eurorack

9. Most surprising tip/trick/technique that you’ve discovered about a bit of gear?

In the box I love to duplicate tracks, hard pan them, and then zoom in and move one of them just a few milliseconds ahead for a massively wide sound. Also a fun trick is recording something to tape, physically speeding it up and recording it again and then slowing it down and stretching it out to overlay with the original recording. This adds textures that I absolutely adore the heck out of.

Hardware wise the Horrothia Type One I mentioned earlier is a terrific widening tool with the chorusing effect dialed at it’s slowest where you can’t actually discern the movement. I nearly always record guitars for stuff other than demos through the Type One in stereo even if I later end up panning or summing to mono, it just sounds so good and I leave it on constantly. The only downside is I don’t get to smash that arcade button as much as I’d like!


Artist or Band name?

Ponderer Sounds – My Youtube Channel for gear demos and music creation

Genre?

Ambient/Post Rock/Dream Pop/Orchestral

Benjamin Shaw

Where are you from?

Originally Cornwall UK – Live in Tasmania Australia (but probably not for too long)

How did you get into music?

I played piano under my grandmothers supervision from about 4 or 5 years old. Music was always encouraged in our home. I have fond memories of crawling under the dining room table with a small cassette radio and a cushion and listening to George Harrison’s Cloud Nine album till I fell asleep. I would have been 6 or so. And I grew up with a nice collection of records from the Beatles, Bee Gees and Creedence Clear Water that I played to death, plus when someone else wasn’t playing music my mum always had Beethoven or Tchaikovsky on. My childhood had a constant soundtrack.

I think I started guitar when I was 17, I’d steal my sister’s boyfriend’s sparkly silver Ibanez and teach myself how to play punk rock like Rancid & Bracket. I remember discovering the power chord and then it was all full steam ahead. Later I got into Pearl Jam, Stone Temple Pilots and Foo Fighters before getting into less mainstream and more indie/emo stuff in the late 90’s.

What still drives you to make music?

It’s my life blood, being creative is the way of the future and I believe it will only become more and more important to us the more automated the rest of our lifestyle becomes. It amazes me that there’s only a handful of notes, limited combinations of them to create chords and melody, but somehow the human element of interpreting them constantly yields fruit that didn’t exist previously, and an individual can move so many strangers with mere vibration.

How do you most often start a new track?

I’ve never been one for learning other peoples music, when I sit at the piano/keyboard or pick up my guitar I gravitate towards making something myself. I’m in the process now of adapting small musical ideas from pedal demos and turning them into full tracks so typically that’s where a new idea spawns.

How do you know when a track is finished?

I don’t really know, but when I’ve added everything in my head and find myself getting lost in it, when I’m supposed to be listening back subjectively, I know it’s pretty much ready to go.

Show us your current studio

Ponderer Sounds Studio

Best creative advice that you’ve ever heard?

‘Inspiration exists, but it has to find you working.’ Pablo Picasso.

Always start, move yourself till something moves you and then chase that down.

Promote your latest thing… Go ahead, throw us a link.

Head over to my youtube channel (Ponderer Sounds) to watch weekly demos on great pedals and gear, and stay tuned for a new song creation series I’m working on.

https://www.youtube.com/channel/UCgHpuhheoXRxZVKONOOFE_g/

[Editor: All photos in this interview are by Tiarne Shaw]


[Editor: Do you have a favorite tip, trick or way of working with any of the gear from this interview?
Then throw a comment below…
]


Samplik Prost – Simple Sample

1. Favourite knob/fader/switch on a piece of gear and why?

Tascam 424 Varispeed knob

This is the varispeed pitch control on the Tascam 424. My favorite knob. I like that you can use it to get a completely different song.

[Editor: This is a classic machine and that knob is a personal fave too]

2. Do you have an ‘almost’ perfect bit of kit? What would you change?

I really like to shoot music videos on the street and I’m missing some kind of rig/stand for my kit.

3. What setup do you bring on holiday/tour/commute etc.?

Pocket Operators Operating

This is 3x po33 po-32 po-35, two reverb pedals, a bunch of wires, sony TCS-580V stereo cassette-corder and zoom recorder. Everything fits in one backpack

4. What software do you wish was hardware and vice versa?

This is a stereo extender for mono devices

5. Is there anything you regret selling… or regret buying?

Yes, this is rk004 by retrokits. Great device, but I didn’t need it

rk004 by retrokits

6. What gear has inspired you to produce the most music?

This is po-33. I don’t know how it works, but every time when I pick it up, I create a new track.

Teenage Engineering PO33KO

7. If you had to start over, what would you get first?

PO400

I think it’s a modular synthesis. Although it’s not too late to get to know it better.

8. What’s the most annoying piece of gear you have, that you just can’t live without?

Ahahahah great question. This is a po-400. It really helps to understand the principles of working with sound, but sometimes I don’t understand anything at all.

9. Most surprising tip/trick/technique that you’ve discovered about a bit of kit?

On the PO33KO, if you select the filter mode, turn the encoder in different directions and hold the record button, you can get an amazing result. An example can be found here 👉  https://www.instagram.com/p/Bt3cRKzlq8y/    


Artist or Band name?

samplik prost / In Russian it means a “simple sample”.

Genre?

Disco house chill hop.

Samplik Prost

Where are you from?

Moscow, Russia

How did you get into music?

In middle school, my friend taught me how to play the guitar. He’s left-handed and I’m right-handed.It was fun. After that, I couldn’t stop making music.It’s always been a hobby. We played punk rock and alternative. It was a long time ago.But 3 years ago when I got my first pocket operator, I became interested in electronic music. I realized that there are no genres and that you can experiment as you want.

What still drives you to make music?

Most likely, this is a search for new ideas and solutions. It’s like searching for diamonds.You know they are there, but you need to dig a lot. But sometimes you find them right away.

How do you most often start a new track?

I start by searching for a nice chord, then drums and of course vocal samples.

How do you know when a track is finished?

When I feel that everything is in its place and I can start making the next track.

Show us your current studio

I want to move some of my stuff to the wall to free up my workspace.

Samplik Prost Studio

Best creative advice that you’ve ever heard?

Steal Like an Artist / True, I haven’t read this book, but I like the title.

Promote your latest thing… Go ahead, throw us a link.

My first experience in creating music in this style  https://youtu.be/X5oRReeCTMQ
But my main experiments I am posting here:

https://www.instagram.com/samplikprost/


[Editor: Do you have a favorite tip, trick or way of working with any of the gear from this interview?
Then throw a comment below…
]