Podcasts about anglepoise

2022.06.04 – 0520 – The Mic-To-Mouth PositionMic positionLook back at earlier in the book when we discovered how to sit and breath better. Hopefully you are still using that ‘home balanced-breathing position' (from which you can vary slightly), to enable a good flow of air to and from your lungs. In a TV studio it is sometimes ‘natural' urge to lean in to the camera, but doing so squashes the abdomen. In the audio studio, try not to lean into the microphone to read as this will alter your ‘home position' and disrupt the good work that you have achieved. Instead move the microphone towards you. If you are podcasting or radio broadcasting, ensure that the microphone is at the right position for you. That's easy if it's on an adjustable ‘Anglepoise' or ‘scissor arm' holder, as you can sit up and hold your head up for airflow, and have the mic at mouth-height. If you can, move the mic to you: leaning towards it will create skeletal and therefore, vocal, tension.But what if the mic is on a desk stand? It may be that you have to crick your neck down to talk into it, or even hunch over. Both of these actions will reduce your ability to practice affective breathing and breath control. In fact, if, when presenting for radio or a podcast, you act as though you are on camera and being beamed into living rooms, you may naturally sit up and be more alert than you would be, alone in a radio booth. See acast.com/privacy for privacy and opt-out information.

2022.06.03 – 0519 – Mic Stands, Arms and MountsMic stands, arms and mountsIt makes sense that desk mics are those on a stand, on a desk. And touch of the base of the stand, or a knock of the desk itself, may likely be heard through the microphone. That's why many studios have the main mic held in an Anglepoise-type arm, which can often be adjustable inasmuch as you can alter the height or distance from you, to get that Goldilocks position that you are comfortable with. However, it's a sad fact that some professionally-designed studios have the arm clamped to the desk in such a way that either the arm or the mic itself partly obscures the screen that you are reading from. Other studios have mics suspended from the ceiling in a carefully balanced combination of wires, which are less easy to alter for height or distance. Whether on an arm or from the ceiling, the mics are unlikely to be simply clipped into a clamp, but held in place in a ‘cats cradle' of taught elastic. These are often called ‘shock mounts'[1]. Studio microphones are deliberately designed to pick up low frequencies but that means they are also very sensitive to rumble and vibrations (properly called “structure borne noise” or “impact noise”). But you can only make use of the ability to record bass frequencies if they aren't drowned in rumble noises. Hence, the elastic suspension. Such a mount also helps protect the recording from accidental bumps on the mic stand, because they dampen the impact noise before it even reaches the mic. Such mounts are delicate and intricate, so don't go moving them without knowing just what you are doing! In fact, don't go touching the mic at all unless you know that it is OK to do so. Certainly, don't tap or blow in to it to “check it works”, or even touch or tap the base or stand. [1] Hear sound samples with and without shock mounts: https://www.neumann.com/homestudio/en/do-i-really-need-a-shock-mount See acast.com/privacy for privacy and opt-out information.

Why is the Anglepoise 1227 desk lamp such an iconic piece of design? Architecture critic and author Jonathan Glancy tells its story in his new book ‘Spring Light: The Anglepoise Story'.

We meet the founder of Design Week Lagos and hear about a collaboration between celebrated lamp-maker Anglepoise and the UK's National Trust. Plus: some words of wisdom on retail design from Joana Astolfi.

Fold by fold, engineers have begun to recognise the innovative potential of origami beyond the traditional paper cranes and flowers. With its applications ranging from ingestible robots to deployable shelters, it is easy to see why the ancient art form has many excited for the future of robotics, medicine, and spaceflight. Inspired by unfurling insect wings, foldable structures have been used for their space-saving benefits in spaceflight for some time; the Japan Aerospace Exploration Agency (JAXA) used the Miura fold for their 1995 Space Flyer Unit, and NASA is following suit in their upcoming James Webb Space Telescope. Increasingly, the mathematical laws of origami are being applied to engineering – helping to create tools without the need for complex internal mechanisms. In this episode of Create the Future, we speak to Dr Mark Schenk, an aerospace engineer whose childhood interest in origami led to his innovative work on morphable and deployable structures that might – one day – lead to a future without hinges or springs. We learn how to save weight when building aeroplanes, discuss the implication of ‘soft robotics’ in factories and warehouses, and hear why Mark insists on showing his engineering students an Anglepoise lamp during their first lecture. * This episode was recorded early in 2020 before any lockdown measures were implemented.

Neste episódio, Janina Ester fala sobre a luminária Anglepoise, um ícone do design da iluminação, estrela de vários filmes do agente secreto 007.

This podcast series explores a game-changing understanding of the human mind that can increase the performance, resourcefulness and well-being in any business or organisation.  In this episode we discuss: How an understanding of the mind can change the ease, effectiveness, and enjoyment of running a business.  The difference it can make to the role of leadership and the to the culture of an organisation.  Why the business world needs to move away from its obsessive focus with results, and realise that success comes as an outcome of enjoying the journey of everyday creation.  Hosted by Piers Thurston.  More info: Find out more about the iconic classic brand Anglepoise  Check out An Introduction - What is the Role and Value of Quality of Mind in Business? You can find out more about Quality of Mind   Piers Thurston regularly writes about Quality of Mind on LinkedIn has a large collection of articles and posts   

Sir Kenneth Grange is known as the godfather of UK product design. He is the man behind quintessentially British everyday products for brands such as Kenwood, Parker, Kodak and Anglepoise – but also behind the InterCity 125 train, the regional Royal Mail postbox and the latest London black cab. Grange is one of the founding members of the famous interdisciplinary design consultancy Pentagram and during his more than half a century of work he has come to define, change and modernise British design.

Sir Kenneth Grange is a designer. He's been designing elements of our everyday lives for the past six decades. Born in London in 1929, he went to Willesden art school aged fourteen and four years later he left and embarked on a remarkable career. He is still working today at 87 years old. "Why would I stop? I mean, if a bloke can play the piano, you don't stop him playing it, do you?"His long career stretches from the early days of modernism to the digital age. One of his first big jobs was working for the Festival of Britain in 1951. He was co-founder of the design studio Pentagram, led a life with strong echoes of TV's "Mad Men" for a while, and his work has infused the texture of the UK. His designs include the first parking meter, the Intercity 125 train, the Kenwood mixer, the Morphy Richards iron, the Wilkinson triple razor, bus shelters, the black cab, the Parker 25 pen and the Anglepoise lamp. He's also the reason we no longer get wet when we fill our cars with petrol: he designed petrol station forecourts with roofs.In 2013 he was knighted for his services to design, and in 2016 an Intercity 125 was named Sir Kenneth Grange.Producer: Sarah Taylor.

Sir Kenneth Grange is a designer. He's been designing elements of our everyday lives for the past six decades. Born in London in 1929, he went to Willesden art school aged fourteen and four years later he left and embarked on a remarkable career. He is still working today at 87 years old. "Why would I stop? I mean, if a bloke can play the piano, you don't stop him playing it, do you?" His long career stretches from the early days of modernism to the digital age. One of his first big jobs was working for the Festival of Britain in 1951. He was co-founder of the design studio Pentagram, led a life with strong echoes of TV's "Mad Men" for a while, and his work has infused the texture of the UK. His designs include the first parking meter, the Intercity 125 train, the Kenwood mixer, the Morphy Richards iron, the Wilkinson triple razor, bus shelters, the black cab, the Parker 25 pen and the Anglepoise lamp. He's also the reason we no longer get wet when we fill our cars with petrol: he designed petrol station forecourts with roofs. In 2013 he was knighted for his services to design, and in 2016 an Intercity 125 was named Sir Kenneth Grange. Producer: Sarah Taylor.

Our guest today, Simon Terry, Innovation and Brand Director at Anglepoise (and direct descendant of the original family run manufacturer) takes us back to 1932 to the birth of this iconic lamp.