Yeah, totally! I hit up street markets, ride the trains, even catch that wind on the rooftop, then pull those sounds straight into my gear. I usually set up a little loop pedal or a sampler on the deck, load a few field‑recorded bites, and let them flow with the beat. The trick is to keep the tempo in mind—if the market chatter is at 120 BPM, I’ll set the set around that, or use a bit of tempo‑stretching so it grooves. I also play with EQ to make the ambient feel like a living instrument, not just background noise. When the wind gets wild, I’ll let it run through a delay and send it to the visuals too, so the whole vibe feels like one big, immersive performance. It’s wild, it’s messy, but that’s the energy I’m after.