Podcasts about apple's garageband

Rolling Stone music business reporter Amy X. Wang joins host Brian Hiatt to break down the story of GarageBand, and the history of home recording

Wilbur Ross, the Man in the $600 Embroidered Slippers, doesn't understand why furloughed federal workers visit food banks instead of the other sort. Maybe it's because they're pretty certain they won't see him there anytime soon. Recorded using a Zoom H5 Handy Recorder and Shure SM58 mic. Edited on a 2014 MacBook Pro using Apple's Garageband. "Ahoy, polloi," lifted from "Caddyshack" using Rogue Amoeba's Audio Hijack. The background music, "Stay Away," comes from www.zapsplat.com. Dog eating from peridactyloptrix via www.freesound.org. Remember, Wilbur, the Big Dog always eats last.

We're off on another lap around the sun, but we're flying blind — the big yellow ball is nowhere to be seen, though we seem to have plenty of ice and snow for anyone who likes that sort of thing. Our winter weather is a mouse fart compared to the shit monsoon swamping the nation's capital, though, and with the Chinese more interested in exploring the moon than the wowie-zowies of Apple's latest and greatest black monolith, Patrick O'Grady wonders how much longer it'll be before we're all clubbing each other around the water hole again. Ook ook ook. • Show notes: Recorded on a 2012 MacBook Air using an Audio-Technica AT2035 mic, a Focusrite Scarlett 2i2 and Rogue Amoeba's Audio Hijack. Edited on a 2014 MacBook Pro using Apple's GarageBand, with voiceovers run through an Audio-Technica 2100-USB mic and a Behringer Xenyx 1204USB mixer. Doc Strangelove and his backup band, Monkey and the Monolith, courtesy Stan Kubrick, who's dead and won't ever know. Car wheels spinning on the ice from Freesound.org. Blizzard and snow shoveling recorded with a Sony ICD-UX533.

It's probably not what Anheuser-Busch had in mind with the tagline, "This Bud's for you." But nevertheless, craft breweries — and a few bigger outfits, too — are finding creative ways of working weed into their beverages, which could bring a whole new meaning to the term "skunky beer." These kids today. Before long nobody under 65 will know how to roll a joint. Recorded using an Audio-Technica ATR2100-USB mic and Rogue Amoeba's Audio Hijack. Edited using Apple's GarageBand on a 2014 MacBook Pro. The opener is a few bars from "Don't Bogart That Joint," by the Fraternity of Man, played by Your Humble Narrator on a Tony Dixon DX006 soprano tin whistle and an Art & Lutherie Roadhouse acoustic guitar. Sound effects from Freesound.org. Background music is "Departure Lounge" by Keshco, used under a Creative Commons license (CC BY-NC-SA 3.0) via the Free Music Archive.

Marc Sani's "Through the Grapevine" column about legislation to permit mountain bikes in wilderness, and the Republicans who support it, squeezed the grapes of many a reader of the trade magazine Bicycle Retailer and Industry News.  Patrick O'Grady never could resist kicking someone who's down, especially if someone else did the hard work of actually putting them down, so he jumps in with his latest edition of Radio Free Dogpatch. Recorded using an Audio-Technica AT2100-USB microphone and a Zoom H5 Handy Recorder. Edited in Apple's GarageBand on a 2014 MacBook Pro. Background music is "Looking Back Over the Hill" by David-Gwyn Jones, from ZapSplat.com. Other sounds from Freesound.org and Patrick O'Grady | Mad Dog Media.

Remember how it feels to lose? Keep that in mind when you win. A mediation on the midterms. Recorded using an Audio-Technica AT2100-USB microphone and a Zoom H5 Handy Recorder. Edited in Apple's GarageBand. The National Emblem March, composed in 1902 by Edwin Eugene Bagley, was performed by the U.S. Air Force Heritage of America Band. "Tiny Town" from ZapSplat.com. "You lose it, buddy," lifted from the fabulous "Caddyshack." No neighbors were harmed in the making of this podcast.

Patrick O'Grady chats with his old friend and colleague Hal Walter about the running career of Hal's son, Harrison. Patrick's father was a ball-sports kind of guy, and the two never connected on that level. But Harrison has grown up sharing his father's love of running, and he just completed his first season with the high-school cross-country team. This might be unremarkable if Harrison were not autistic. But he is, and it adds what gymnasts, divers and equestrians call "a degree of difficulty" to the basic activity. After some ups and downs during the regular season Harrison failed to qualify as a varsity athlete for the 2018 Colorado cross-country championships. But it turned out that he was eligible to run states in an event for special-needs kids. He wanted to run, but his dad had some concerns, and Hal shares the story with us in this episode of Radio Free Dogpatch. Background music is "The Matador's Entry" from ZapSplat. Audio clip from the Colorado state championship meet supplied by Hal Walter. Interview recorded using FaceTime with a Shure SM58 microphone, Focusrite Scarlett 2i2 USB audio interface, and Ecamm's Call Recorder for FaceTime, which apparently will not survive Apple's transition to Mojave. Edited in Apple's GarageBand.

After reading a New Yorker essay about aging, complacency and a risk-management program gone all pear-shaped, Patrick O'Grady recalls a few painful damage-control miscues of his own, and argues that an overabundance of caution can be as perilous as throwing it to the wind. Recorded with an Audio-Technica ATR2100 USB microphone and a Zoom H5 Handy Recorder. Edited in Apple's GarageBand. Sound effects from Freesound. Blues loop from fredsonic at Freesound. Read the essay by Daniel J. Levitin at The New Yorker.

This is a video I made a couple of years ago, looking into the origins of one Marvel's most misunderstood X-Men. This clip was produced under my old "Savage Henry Lee" outfit, which is what basically evolved into the Death By Media Man channel, so you're seeing some early work here. I'm still pleased with how it came out. All this here stuff was written & performed by Hank Pattison, except for the music, which I got through Apple's Garageband. CBMF is a show about comic books and the jerks who read 'em. It's created and produced by Hank Pattison, who is also on twitter. twitter.com/HLHPattison Cover art adapted from X Force #30, drawn by Tony Daniels and (I think)John Holdredge. published by Marvel Comics.

Join Dodificus and Jenepod as they discuss Apple's Garageband program - tips, tricks, and getting started information for newbies. Guest starring exmanhater and hananobira sharing their Garageband expertise.

I started playing more with AudioBus, Propellerhead's Figure, and Apple's GarageBand.

#DonaldforSpiderman! Join Ross, JD, and Kris as we welcome special guest Paul Appel and discuss all things Marvel's Civil War! The first discussion segment covers the Marvel Comics event from 2006, and transitions into an almost philisophical discussion about how the political ideologies of our favorite superheroes. Discussion segment two continues that vibe, while discussion segment three launches into movie rumors for 2016's Captain America: Civil War! We recorded this episode right after the Sony-Marvel Spiderman Deal news broke, so we also dive into that topic!This week's beer featured on What's the Hops is Karbach Barn Burner.Intro Music: "Just What I Needed" by The CarsOutro Music: "Come On Eileen" by Dexy's Midnight RunnersAll other music/sound effects are stock in Apple's Garageband.

C.M. Mayo introduces her new ebook, Podcasting for Writers & Other Creative Entrepreneurs (Dancing Chiva, 2012). "Naples Dave" and others from fiverr.com are the big voices, along with music clips from istockaudio.com, uniquetracks.com, plus silly sound effects, and more. C.M. Mayo recorded her portion at ye olde writing desk desk (any snoring sounds are from the dog) and edited the whole shebang on her laptop using Apple's GarageBand. As Mayo says, "If I can podcast, so can you." About the ebook: Based on award-winning writer and avid podcaster C.M. Mayo’s one day workshop at the Writer’s Center, Podcasting for Writers & Other Literary Entrepreneurs provides an introduction and overview of podcasting for writers, from basic concepts to nuts-and-bolts tips. In 10 “easy peasy” steps (along with some “fancy schmancy” for those so inclined), Mayo shows you how to generate and publish your unique podcast—and yes, get that puppy onto iTunes. Read more about this ebook at www.dancingchiva.com C. M. Mayo is the author of the novel, The Last Prince of the Mexican Empire (Unbridled Books); which was named a Library Journal Best Book 2009; Miraculous Air: Journey of a Thousand Miles through Baja California, the Other Mexico (Milkweed Editions); and Sky Over El Nido (University of Georgia Press), which won the Flannery O’Connor Award for Short Fiction. Mayo started out podcasting in 2009 with a simple recording of her lecture for the Library of Congress about the original archival research behind her novel; since then, it’s just been one podcast after another. Currently she hosts two podcast series, Conversations with Other Writers and, apropos of a travel memoir in progress, Marfa Mondays: Exploring Marfa, TX & Environs in 24 Podcasts.” Her website is www.cmmayo.com

Listen to the interview here! Tell me a little about yourself and your writing.I'm a thirtysomething Scottish writer who's queer in a few senses of the term. I guess I write the sort of pulp modernist stuff that has people confused over which genre it sits in, with SF, Fantasy and Horror tropes all mixing it up with a very literary sensibility (I read too much James Joyce as a kid and way too muc William Burroughs). Thing is, I grew up with the default label for that -- books like Zelazny's ROADMARKS or Silverberg's THE BOOK OF SKULLS or Moorcock's CORNELIUS QUARTET -- being SF, but these days it seems to be more commonly called Fantasy... or cross-genre, or slipstream, interstitial, New Wave, New Weird, New Wave Fabulist -- I've sort of given up on all these labels. These days I just call it strange fiction. Tell me about the story that you've created a soundtrack/playlist for.VELLUM was my first book, and the first half of a diptych, THE BOOK OF ALL HOURS, completed with INK. I think of it as kind of a "Cubist fantasy". The narrative is non-linear, with the story fragmented across this Moorcockian multiverse, the Vellum of the title, with the characters playing out their roles (or trying to escape them) across the various folds of the Vellum, in different incarnations. The basic idea is that you've got a language called the Cant which allows humans to "write" reality on that Vellum. Humans who get themselves rewritten by the Cant basically become gods amongst men -- unkin. The downside of this is that you have one group of these unkin, the Covenant, who see themselves as angels of God, and they're basically building up to an apocalypse where they intend to wipe out all opposition. The heroes are rogues unkin who don't want to participate in this War in Heaven on either side; they remember what it is to be human and just want to live like the rest of us. It's basically about their struggle to survive as reality falls apart around them. What is your playlist? TV Eye, The StoogesHoppípolla, Sigur RosTenderness and Scar Tissue, Five Seconds to Self-DestructionJumpin' Jack Flash, The Rolling StonesThe Green Fields of France, The FureysFairytale of New York, The Pogues & Kirsty MacCollThe Wrecker and the Wrecked, Five Seconds to Self-DestructionSearch and Destroy, The StoogesAnarchy in the UK, Sex PistolsNancy Boy, PlaceboI Wanna Be Your Dog, The StoogesGoodbye You Fucking Thief, G-PlanThe Drama of Being With You, Five Seconds to Self-DestructionOperation Jack Goes Boom, Five Seconds to Self-DestructionIf You Love Me, You'd Destroy Me, Aereogramme (& Hal Duncan) What does music mean to you? To your writing?I love music. Who doesn't? If I had the talent to actually sing or play an instrument I'd totally be in a band. It might not be a good band but, it'd be... enthusiastic, if nothing else. The poetry I write is pretty traditionally lyrical because I'm drawn to the musical patterning, I guess -- the rhythm and rhyme. Even my prose has a tendency towards the lyrical at times. I've actually written a lot of songs -- lyrics and music that exists in my head (but that I don't, unfortunately, have any effective way of communicating to others, given my appalling singing voice.) Hell, I've got a full musical scripted as a libretto, all the songs -- duets, reprises, medleys, the full whack -- and it sounds great in my head. If I could play piano, write sheet music or something, I'd be well up for trying to stage it. But hey ho. The nearest I've got to actually making music is a collaboration with the band Aereogramme for the Ballads of the Book album that came out last year from Chemikal Underground, that and fiddling around on my own with Apple's Garageband software. That's where the Five Seconds to Self-Destruction stuff comes from actually; it's kind of a proper actual soundtrack to VELLUM and INK in the sense that the tracks were put together with the books in mind, scenes and characters. It may not be terribly proffessional at all, but sod it; I like it. What kind of music do you like to write to?I don't actually write to music at all, I'm afraid. It's too distracting, I find. I can't focus on my words with someone else's being sung in my ear. And even if it's instrumental music, my attention gets drawn away into it so I lose focus on the text. The thing is, voice is a big part of my writing, and if you're working on prose that has it's own rhythm, even a soundscapey post-rock track that matches the mood of a scene perfectly is liable to clash with what's going on in my head. I mean, if you're working out a sentence, you write down your first version, read it through, change a few words, read it through again, and repeat until it flows right. So it's like editing some piece of experimental music: record, rewind and play; rewind, cut here, splice there, and play; and so on. To me, it's like trying to edit one track with another track playing constantly in the background, and not being rewinded in time to the one you're working on. If this story was made into a movie, who would you want to do the soundtrack?Oh, that's kind of a hard one. There's kind of two aspects to the sound I'd want to be there. I'd want the sort of soundscape thing you get from post-rock, from bands like Sigur Ros, Kinski, Aereogramme, Mogwai, G-Plan, mainly instrumental, shifting through quiet and loud phases, really complex and interesting. But at the same time, I'd want some of the three-minute, balls-out garage/punk blast-in-the-face quality you get from The Stooges or the Sex Pistols. I don't know if there's one band that could do that. Then again, Aereogramme's earlier stuff is pretty full-on guitar, so I reckon they'd be fucking awesome. And since they called it quits last year after their latest (and I think best) album, this'd mean they'd have to get back together, right? So, yeah, I'll go with them. They'd do a fucking awesome job. To learn more about Hal, visit his blog Notes from the Geek Show.Stop by next week for my interview with author Jeff Sypeck.

Joel Gottschalk was a graduating senior in December 2006 when he described his experience using Apple's GarageBand to create a podcast for ART 497A Gallery Management that fall semester. Joel created images for the podcast and used GarageBand loops. He offers advice for UA students who are interested in creating podcasts using GarageBand.