An overview in early 2022 which Zambians are able to use to compare to the 2024 realities. Season 3 is focused on providing what was discussed with creatives, platform owners, art organisations, community organisers and IP rights owners or managers of those who create. All use the phone or/and Zoom.

This episode looks at what engineer/producer Mwinga Chamundala sees and hears within his work as well as sound experiences. He speaks of the difficulties with microphones, audio interfaces, general sound equipment and sound treatment.

Mwinga discusses how listeners noticed the lower quality in comparison to their peers from other environments. He provides insight into courses he has taken and his thoughts in comparison to what is available as online knowledge share.

Provding a timeline of evolution and how little knowledge was handed down by earlier musicians and producers. He outlines where he feels changes were made.

He begins with a general overview of production and what happens with music making and distribution then goes on to go in depth over sound knowledge. He discusses how IP is not really taught within some of the music courses and discusses one of the newest offerings from a musican led music school which he believes has made a difference even if the equipment and in depth sound study is lacking.

Robyn from Sound Composed combines past, present and future to define how musicians in the early 90s were limited in access to musical instruments and the amount of control that venue owners and those who owned equipment had and why she took a plan to an MP that only came to light years later. Robyn outlines what she feels the error was when the first instrument duty tax was removed and how it inadvertently rewarded those who continued to take advantage of musicians and their inability to afford instruments.

The missing era is lightly touched on which alters the current perception when genres like hip hop, dance, rnb and others have an entry point much earlier than what is written in Zambia's music history. This aspect will be covered in detail in the last episode of the season where guests will be invited who experienced the missing era and were part of youth aspirational break away from the restrictions where DJs, musicians and producers began to look at more global feels for young audiences growing up in the early rap and hip hop era. Currently Zambia tends to credit the era with one music form when in reality, the most recorded form is the only one spoken about. In reality several genres were present with the unavailability of good studios taking most live which kick started live music changes with some of today's young bands still playing live remixing developed in the era without knowing the origin.

Mwinga aka Dizzy earned the nickname Sound Ninja from Robyn because of his continual passion for sound and his attendance of all workshops with David Asomaning of DM Sound Design UK. Mwinga was able to get that one on one session where David offered to mix one of his productions in order to walk him through mixing and mastering.

The introduction to Mwinga Chamandula is a 15 minute journey as he breaks down a timeline where his entry into music comes at a time when digital recordings are standard, even if equipment is hard to get your hands on. Recorded 2 years ago during an IP research project funded by British Council, Robyn of Sound Composed takes a back seat in the first part and listen to him outline his journey. His attendance of the workshops with UK's David Asomaning of DM Sound Design led to further sessions where he was able to work on one of his songs with David to perfect his mixing and mastering skills.

Mwinga went on to compose, engineer and produce a song that became the origin of one of the biggest songs to come out of Zambia, garner millions of hits online and up the sound quality level of Zambian production to a new generation of warmth. He is now determined to continue to improve his skills, continue to excel and learn everything he can about intellectual property so he is ready for all challenges ahead.

Mwinga became a producer while still at school in his teens. This is a two parter so that anyone can listen to the journey that leads to the environment he has had to negotiate when his mission is simply to excel in sound and be able to work with anyone anywhere.

He gives an honest look at the musical environment that was his entry point, outlines what was available and talks about the relations who helped give his start. There are three women who provided him with support when he needed it most. His mother, aunt and his first gospel album production brought a lady who opened the door for his sound life to go up a notch.

In the second part, Mwinga delves deeper into Zambia, its music environment, sound quality and mindsets as well as has encouraging words for some who have worked to pave paths and criticism for those whom he feels could have handed down better legacies. The insight into the workings of the music industry are balanced against his attention to detail and thoughts about mixing, mastering and identifying the best ways to improve.

In the intro Mwinga often has his three year old son drop in, so expect the little mumbles of a kid who loves to sit and play in the studio, has his own little Yamaha keyboard and chips in enthusiastically with glee as we go along! The future is here.

Season 3 is kicking off with the additions of the research Decolonising Intellectual Property & Sound Rights. This had a focus on women in music and intellectual property for creatives in Zambia.

Sound rights in Zambia have been problematic since its independence in 1964 and no master rights holder has ever received royalties in the territory as they are not collected. This means broadcasters and other users do not pay which impacts synchronisation licenses as well as all royalties associated with sound recordings. This has unfairly impacted owners of sound rights whether they are producers, artist owner or lable owned.

In this episode we begin by discussing sound recordings made in Zambia. Historically it was broadcasters and ethnomusicologists operating in the territory who held sound rights which mostly focused on cultural practitioners. Some remain in archives of broadcasters, media houses and private libraries. The vast majority, however, lie outside Zambia, in neighbours like Zimbabwe and in repositories such as International Library for African Music set up from the works of Hugh Tracey. Over 35, 000 recordings and several rare cultural instruments are housed at the associated university that worked with the Tracey family.

This episode began with a look at how Zambia itself is represented online. The resources about the music and sound history are so scanty that Wikipedia page on Zambian music history appears at the top and core of all searches. We examined what is on the page and it provided a picture that through research young people have been able to study and recognise the damage caused by not carrying own narrative and beginning to occupy the spaces that count. Should the world be seeing a viewpoint that does not reflect the realities? How does the musical history begin to hold authenticated knowledge that can be shared. Even local books on music history are inaccurate. Could this be an area where young creatives should be engaged in beginning to build a picture that is authenticated and representative?

The episode touches on National Arts Council Director Maanka Adrian Chipindi's view. His thoughts on how Zambia's music and cultural history are represented. He is quite thorough in expressing knowledge of local cultural practitioners, ethnomusicological works and right down to a fun conversation as Robyn of Sound Composed begins to touch on the future project to come of African Audio and the viLimba Research intentions to find solutions that support a digital ecosystem and immersive bridge where cultural repositories and soundmarks help focus on saving the cultural assets, heritage assets and kick start products on a different infrastructure with IP and cultural knowledge at the core.

Hear what National Arts Council Director has to say about traditional knowledge laws, problematic wording and the importance of changing the narrative, making IP work for young Zambians and the legacy.

This recording was made early in 2022 and is still relevant today for its importance in outlining the journey ahead.