Podcasts about apple earpods

Samsung had their big mobile product launch event  The sixth generation of the Fold has a much less noticeable crease in the middle of the screen. Samsung is using a new display coating.  Galaxy Buds 3 - looks like the Apple EarPods got a Tesla Cybertruck styled makeover. There are some quite prominent angles!  But it's the Galaxy Ring which got the headlines, the first major brand to launch what is effectively a health tracker on your finger. It comes with an accelerometer, heart rate sensor, and skin temperature sensor to allow you to track sleep, heart rate data, and activity. It comes in gold, silver, and black on a titanium frame. It is a ring though so it can't be adjusted, which is why they have a sizing kit. It'll be an Android-only product, but when connected to your phone will allow you to do a double pinch gesture to control your phone's camera or dismiss an alarm hands-free.   Texans got help tracking the power outages from an unlikely hero  The "Whataburger" burger chain app turned into a lifeline for people in Houston to know where in the city had power. The app has a map feature to show all the store locations which conveniently has a feature to show which stores are open and closed. And because there are so many locations in Houston, seeing the clusters of stores closed gave a very clear visual of the power situation in the city.    LISTEN ABOVE See omnystudio.com/listener for privacy information.

On episode 3367of the BSP I discuss my ethos and approach to editing, why I think that you should value your audiences time and how following what experienced and talented podcasts do can be detrimental. I read your negative comments, discuss getting used to your voice, and discuss when it's justifiable for your living space to be filled up by your hobby.   Subscribe to the full audio podcast at http://www.bandrewsays.com   Gear Used This Episode (Affiliate Links): Behringer XM8500: https://geni.us/xm8500 Behringer UM2: https://geni.us/behrum2 Apple Earpods: no   As an affiliate I earn from qualifying purchases.    Ask Questions: https://www.askbandrew.com Merch: https://www.podcastage.com/store Discord: http://www.podcastage.com/discord   00:00 - Intro 01:20 - My Ethos of Editing Podcasts & Video 19:45 - What I'm Testing 22:05 - WYHTS: Responding to Negative Comments 27:15 - WYHTS: Starting a Clips Channel! 30:34 - WYHTS: Clothes are Too Expensive 31:30 - Ask Bandrew 32:28 - Voice Submission 1 33:48 - How To Get Used To Your Own Voice? 36:30 - Email Submission 2 37:00 - Recommendation: Dynamic Mic Under $500 Article: https://podcastage.com/rev/broadcastdynamic 39:15 - Video Submission 3 41:00 - When Is It Justifiable For Your Hobby To Take Up Living Space? 48:30 - Outro

On episode 336 of the BSP I discuss why you should edit your podcast and demonstrate why editing is so important by not doing any edits during this show. I talk about pushing your arbitrary content release deadlines to ensure you're releasing a product that will reflect well on you for years to come, then I discuss you bullying me, the reptilian elite being real, microphones for deep voices, and critiquing your sound.   Subscribe to the full audio podcast at http://www.bandrewsays.com   Gear Used This Episode (Affiliate Links): Behringer XM8500: https://geni.us/xm8500 Behringer UM2: https://geni.us/behrum2 Apple Earpods: piss off   As an affiliate I earn from qualifying purchases.    Ask Questions: https://www.askbandrew.com Merch: https://www.podcastage.com/store Discord: http://www.podcastage.com/discord   00:00 - Intro 01:01 - Not Editing Podcasts 03:38 - Don't Hit Your Content Release Deadlines 07:35 - What I'm Testing 10:20 - WYHTS: Swearing at Work 12:25 - WYHTS: Reptilian Elite Are REAL! 15:30 - Ask Bandrew 16:40 - Voice Submission 1 17:37 - Microphones for Deep Voices? 23:35 - Voice Submission 2 24:30 - How To Get Rid of Mouth Clicks 29:45 - Voice Submission 3 30:26 - Critiquing Your Sound 33:30 - Outro

As an introduction, could you broadly tell us about your path to marketing and brand management?My path to marketing began in school, because that's the moment when you realize you're good at a lot of things, but you don't know which path to take. You realize that marketing is just a small chunk of something. You have languages, finances, geography, understanding of people. It began during school with the “not knowing” of where to go next. This state of not knowing led me to studying finances, which is quite an interesting direction. I got my Bachelor's degree at “BA School of Business and Finance”. Then the path led me to agencies. I started as a project manager. Initially it was an event agency, I organized various events for clients, had various experiences with marketing and sponsorships. From project managing I advanced to project directing. I was entrusted with managing an agency within the McCann Group. I managed the whole agency. It was an event, experience marketing agency. Shortly before the crisis I was approached by Tele2. I was quite excited at that moment, since I've found telecommunications to be really interesting. Innovations and technologies have always been close to my heart. I was one of those people who used an illegally unlocked iPhone, when they still weren't available in Latvia. I've always enjoyed trying new technologies. At Tele2, my path began as a value-added services manager. I was the head of sponsorship department who's responsible for all brands, business, Zelta Zivtiņa, Tele2, everything that's incoming, our sponsorship strategy, how we show up on television, Zelta Talanti, ZZ Čempionāts, event as a whole, sponsorship of Positivus, it was all my responsibility. If we look at brands of drinks sponsoring events, they could easily sell their drinks at these events and earn back their money. My job was to create content, which was quite challenging back when all our phones still had buttons. To create content which you then try to sell, like incoming call melodies or pictures, was challenging at the beginning. I grew out of this position quite organically. The market changed, there was a crisis, and sponsorships took a downward turn globally. When that happened, I took on other experience marketing activities not related to sponsorships, for example, opening of new Tele2 stores. Back then Tele2 was going through a global relaunch, therefore it had to be relaunched in Latvia as well. I had the joy and honour to be a part of the team implementing this and to work with global agencies, and experience the whole brand creation stage from the very beginning. Then I had an offer to take over the brand of Zelta Zivtiņa. At first it meant campaigns, we still worked with the concept of doing youth and friendship type of ads. Then the telecommunication market changed, the essence of the product changed. Until then services were based on minutes, but then everything went limitless. I had to launch a new Zelta Zivtiņa, but it wasn't just the visual identity. It was a commercial launch, which included a complete change of the product portfolio, from incoming call bonuses and tariffs based on minutes to fixed price and limitless use. I had the joy to create the first limitless tariff plan in the prepayment market, which was a first in Europe. Back then no prepayment plan offered limitless calls, and that was an interesting turn of events. Due to that, we realized we had to change the story, the creative concept, brand's idea, brand's narrative and brand's visual identity, and that was a significant process, since you're aware you're working with a brand that has the biggest client base in Latvia. It was very challenging. I vividly remember sitting in the call centre and calling people who were still using ancient, unfavourable tariffs and offering a new one, because it was essential to hear out the client in order to create something better. Time went on, the Tele2 period was quite long, about 10 years. Then I had an offer to join a start-up called Sonarworks. I joined them in two thousand and…, It's about five years ago. At Sonarworks, I'm responsible for the whole product and company brand family, for Sound ID and Sound ID Reference. These last two are the fruits of our latest relaunch.So you switched from a large, international company, which has a huge audience in Latvia, to a start-up that has a very niche audience?Yes, but it's about scope. I basically worked with the largest client base in Latvia, but I switched to a company that has an ambition to take over the whole world. It means there's a completely different story. I left a company that's very much guided by marketing and sales, but I joined a product-guided company. That's completely different story and something new and challenging for me. To be a part of the product creation process. Product marketing has quite the significance, which I previously wasn't that much involved with. It was all about the brand, the brand being beloved, having a client base. You offer them the best, you talk about tariffs, sales campaigns. Here it's the opposite. You talk through a different prism. That's what attracted me the most. Secondly, you have the opportunity to create something and do something meaningful, and make the name of Latvia be heard abroad, and be present when someone else is trying to achieve that, while providing support with your knowledge, experience both in an agency and on the client's side.What are the most significant changes you've experienced during these five years at Sonarworks, which is a niche company that works with sound engineers worldwide? It's a niche, but you're reaching it globally from here, in Riga. What are the things you do here, that you wouldn't be doing in a large, global company?Targeting is very important for us. When you're entering a global market, it's essential to know who you're approaching, what you want to achieve and what is your audience. Your strategy can't be to aim a cannon at sparrows. It doesn't work. Firstly, you don't have the money for it, you can't afford it. You pay a lot of attention to how you spend your money; you plan very carefully. If you do spend money on something, you want to show the best possible quality for it. When it comes to a large company, you can create a video, polish it to perfection, you have time to prepare for it. In our case, we create a launch video in two weeks. We just don't have the option to polish a packshot for six months. The whole cycle is different. The essence of a start-up is that if you're releasing something that's finished, then it's too late. You're better of releasing it gradually. You release a minimum viable product (MVP) version, and you test it, you improve something, you see whether the message does its job. You release two landing pages and see which one has a better traffic. It's about so many experiments, using growth hacking methods. You grow though many small details, since you don't know what works. At the same time, you have a huge ambition, and your goal is set quite high, so that you don't lose out on some opportunities along the way in case your goal was smaller. Your goal is as high as possible, so that you attempt everything at your power to achieve it. Those are the biggest differences. Also having a quick response. Another significant difference in a start-up that involves a heavy, difficult technology, like audio industry, which doesn't have the most comprehensive terminology, technology, white papers, basically it involves a lot of heavy information. The process and on-boarding itself is very hard. I still remember myself as I joined this team. You're excited, you want to do something, but you don't fully understand the product. It takes a while until you comprehend it yourself, since you as a brand marketing expert have to know what you're selling, you have to feel confident about it. I still visit our product developers at R&D and don't understand half of what they're saying. Our company is constantly in a phase where we research new concepts, new data. During this process, we patent them, since when they've ben researched and they make sense, they can be launched and evolved further. That makes any on-boarding extremely hard. The fact that we keep a lot of things in-house and we can't outsource them also makes a difference.For you as a marketing and branding person, how important is it to be on top of the whole product, so that you're able to tell about it to others?Extremely. When I first joined the team, it was very important to me. We have a great on-boarding procedure for new people joining the team. We try out the product ourselves, we have a studio demo. We have two business lines. One for creators of music – musicians, studio engineers, recording studio staff. Real creators of music and sound, because it's not only music, it's also movie soundtracks, games which have a huge audience and where sound is extremely important. The second part is the listeners. So we have these two blocks. When I joined, the company was already steadily recognized in the professional industry among creators of music, and we attempted to provide this same technology, which is an application that removes sound colouring from speakers and headphones. This technology removes such colouring as bass or other colouring arising from the specific room. It removes it and adapts it to the so called studio reference. And we then deliver this clean sound. Let's say an engineer working in Los Angeles wants to hand over his work to the second engineer working in New York, but the room, equipment, headphones and speakers over there are completely different, yet he can be sure the sound will the same, without any colouring created by the room or different headphones. We know that different devices create different sound. If use Beats headphones, they will have bass. It won't be a clean sound. When we realized that we have a unique technology, we decided that we can deliver this clean studio sound to the listener as well. We did it very successfully; people liked this idea and this product. Upon providing this consumer product to more and more people, we gained an important insight, namely, that every person has their own taste. There is no single approach to sound that's liked by everybody. Maybe I do like the bass, or my hearing is slightly impaired on the right side. There are these personal factors. The device you're using, the sound transmission, what streaming platform you're using, since they tend to compress their files and they're not always with high definition. It's your device, your hearing, your preferences. It's a multi-level optimization of sound, which actually is quite complex.  That's why the initial on-boarding is so important, so you understand it all. You have to hear and experience this product, in order to believe it. It's hard to explain. Oh, you have an hour? Let me tell you about our three-level sound optimization. If you only have five minutes, then have a listen of this. That's the difference. Back when I started working, there was this cool stage, when had these demos, we were invited to the studio to listen to the clean sound, and that really showed what the software is capable of, how it can fix the hardware, which isn't particularly flexible and easy to fix. When you have a listen and experience it, that's when you believe it.What is it like to sell to the world this clean sound? As you said, it's hard to explain and must be actually heard first. But you have to communicate it to the whole world from Riga. And you have to sell the clarity itself, instead of some effect.The studio people already know this, they know their graphs, they know how these curves work. What happens in studio? A song is recorded, these “golden ears” as they are called in the industry polish the song. The next step before they deliver it to any labels or Spotify is to listen to this sound on various devices, for example, Apple EarPods, Beats headphones, the most basic radio. You can't affect the middle stage, at least it wasn't possible until now. And our technology assists in this stage. If I as a listener pick up some headphones, I have no idea what their curve is and what they sound like. I know that our technology will, first, equalize the sound to the studio level and remove the manufacturer's colouring as we call it, and then apply my preference, the exact number of bass that I like, adjust the sound to my hearing according to the test done within few minutes, since I might hear better with the left ear and have trouble hearing high frequencies with my right ear. It will take the clear base, and add the unique personalization on top.You as a brand person have to know all the technical aspects to such extent that you're able to tell about them to someone else. You just can't do without it. While working with designers there as this feedback, where you felt confident in the design side of things and could provide valuable feedback in the process of working with designers. And you have to be on top of your direct task, which is branding and marketing, you have to have a good knowledge of the technical side and the terminology used by designers. We can draw parallels with what you said about being interested in and being good at several things at the same time.And not being able to choose.And this is the position, where you can draw from all of these areas. When I talked with colleagues, they said good things about the way you communicated within the design process. That you're knowledgeable in the specifics of design and are able to provide valuable feedback, without stepping on the designer's toes. What are the communication principles that you've learned during all these years working with the creatives that allows designers to feel good about this collaboration?As a brand manager, you've already been given free rein. For example, if you're creating a new brand identity, your task is to create something conceptual, a frame that still allows others to express their creativity. You can't define absolutely everything. If you define every single detail, you'll end up with a brand book on 400 slides. It's been done before, but I prefer providing a clear, high-quality toolbox that one can work with and then just trust the person. You have to give a clear briefing, it's very important. Over the years you learn to define your specific wants, your mood board and the direction. What helps me in the process is providing a debrief in the initial stage and a starting direction, namely, being present at the very beginning with the aim to talk things through, and the just letting the creative process take place without interfering, to just trust. I'm not a designer and I can't provide assistance. There's a point when you have to allow the designer to do his job. What you can do on your side is research, providing information about the audience, global trends and the product, provide a toolbox and give them free rein.You mentioned the term “brief”. Could you name some basic principles of a good brief? What should a good brief look like in order for it to work efficiently?I've created various briefs, starting from a one-pager to a 400-slide presentation with plenty of visual samples. I prefer briefs with a lot of aids, that's my practice. I give an assignment, provide background, tell about our biggest challenges within the specific assignment. There's always a timeline. Then there's an additional block of aids. I always have an urge to link something that's already done, like a brand strategy deck. Provide things that help the creative process to reach a deeper level of things. Provide it as additional information in the end instead of putting it into the brief. Then there's a debrief session, where we establish in few sentences whether we have understood each other. The next step is the direction and first concepts. It depends on the project. Whether it's a rebranding project, or material for a specific campaign, maybe it's packaging or a project of other sorts. It differs. It could also be a video. I enjoy the so-called checking-in. We make calls, we check whether we're on the same page and move forward, invest more time. I don't expect that the agency will come up with everything at once. As I said, the product is quite complex, it's also not a product that everyone needs. It's a “nice to have” product. You have to create the need yourself. It's not easy, therefore I try to help as much as I can, but I also know when to step back. There have been times when I've said “make my logo bigger”, but I try not to be like that.How do you see the tasks of a company's brand manager? What are your responsibilities? Where are you aiming to take the brand in the long-term? Of course, you manage all kinds of day-to-day activities, but if you look a few years in in the future, what are you trying to achieve as a brand manager? Brand is a tool that supports the product. At the moment, one thing that's very important for me and the brand is to maintain simplicity in everything we do, since our product is so heavy on technology. The creator's side, the terminology and the white papers I mentioned, it involves heavy technological information. Even the product itself is heavy. Even the technology for listeners involves a three-level sound optimization. In essence it's a smart equalizer. Audio lovers used to turn the knobs, but now you can do it with an app. You have an AB test, which helps you find your sound preference. Then you enter a silent room and test your hearing. My goal is to make it as simple as “click, click, boom”. Let's take that same studio engineer, he has to measure the room he's working in, so that he can calibrate his speakers. We're thinking that the measurements should be taken in the process, while you're just starting to use the software. It's important to show the measuring process as very simple. In the sense that you have a technologically heavy product, but you communicate it as something intuitive and easy, as something simple, even though it's really, really hard work. We have created 3D elements, you even helped us with that. We have created video instructions, showing everything step by step. Then we test it out in a group, get the first feedback. It's quite an iterative process. You just make corrections again and again. On the brand's side, I want everything to be clean and simple, even the app's interface. If there's a text, maybe we can do without it. We try to show some parts of the on-boarding and explain in the beginning what this app is about. We're aware that a lot of people skit that part, but we try to keep it short and sweet, so you have some understanding once you go through it. It's like training in a way. How simply can you describe everything on the website? You could publish the whole white paper on there, but is that necessary? It's not easy to just pull out the essence of it all. Simplicity is the most challenging part in this position. If we talk about long-term ambitions, as cheese as it might sound, it would be Apple and Macintosh products, because they are so complex, yet the user interface's design is so simple. So that's something to aim for.How do you find the balance between daily tasks, like social networks and newsletters, and the long-term goals of the brand, when you're responsible for both of these things? Do you have any annual goals or sprints?We use the OKR planning method, so we have quarterly plans, and then, based on these plans, we plan our tactical action. Based on the Agile principle, we have two-week sprints. You divide your quarterly goal accordingly in your Jira board and complete the tasks. At the end of every two-week period, we have a team retrospective, where we each share or progress. Then together we make a plan for the next sprint. During these Monday planning sessions, we get a global idea about what priorities should we focus on. Once you're in the market with your technology and you depend on your partner, it also brings a lot of uncertainties in regards to launches and other projects. Something gets delayed, something gets moved. We have weekly and bi-weekly team cross-alignments and planning sessions, where we figure out whether something is still urgent. Whether we launch this partnership announcement this time or we postpone it again, because there's a delay. There's a product, you make a new release. The new release has a bug in one of the operating systems, so you have to fix it again. Something gets pushed forward. You can't make a solid five-year plan and go for it. That's why we divide it by year and quarter. You have the option to adjust something within the quarterly period and then the two-week period. We look back at the sprint, plan the next one. When the quarter ends, we look back at the quarter. We check whether the next quarter's plans still align with the previous one. Then there's the year, the end of the year. Of course, there is a bigger five-year goal that we would like to achieve, but we still stick with these stages.What I find cool about SoundID is that you're a local company from Riga, but you work with sound engineers all over the world. How do you catch up with the global rhythm? How do you sense what your audience is feeling, thinking and doing right now all over the world, while you're here?We do a lot of monitoring of what is happening out there, the current trends. We also have a considerable client base that provides us with feedback.Does that mean questionnaires, newsletters?A bit of everything. We also have a review site. Consumer product mostly gets reviewed in the App Store or Google Play, but the pro product gets feedback on a special site where all reviews are gathered. You're able to respond quickly, if you see several people troubleshooting something. People post a lot on social media. We have a support centre in our website, where you can submit a ticket with your problem, which then gets solved. In that sense you can hear all these things. Our clients write us, they share information. We have a nice partnership with several influencers.Influencer marketing is still effective?It is. In our industry, word of mouth and PR is quite effective. These are things we can do. We can't afford to do a brand awareness campaign in America. That's extremely expensive. And do we even need that? In the professional world it's a very niche audience which you can find elsewhere, but we're not yet ready for the consumer audience. Our brand will flourish only once we have partners. We can't do it alone, because we require integrations in the partner's products. It can mean various verticals like headphone manufacturers, telephone ecosystems, cars or speakers. We can achieve that only once we're joined by Netflix, Apple TV or Bose headphone manufacturer or Apple, because we can't manage that alone. We're having negotiations, and I can't name any names to make this conversation more impressive, but I can say that we've been heard and the information known to us really warms our heart. We're happy the process is moving forward. And the process is long. Often enough, if you want to integrate your technology in a car, it can sometimes take even five years. From the moment you begin negotiations until the end of the production process. It involves numerous chains of logistics, like the chipset manufacturer, other parts. Consequently, it turns into a really, really long process. With an app, you can reach somebody quickly, but in this case, you need a partner.How can you make yourself be heard by the top brands you mentioned? You have to write to them, make them hear you and respond to you, then integrate your product.What are they all interested in? They're interested in data. We're a data and research company according to our DNA. We have a large amount of data, we've done extensive research. I'm talking about personalization. We've done about 3 million AB tests. On Google Play, we have more than half a million app downloads. During all this period, we've measured about 67 thousand speaker sets in studios. These are just some examples I'm mentioning. We've also tested 5000 different headphones. These numbers are large. First of all, we see that we can offer them data. Secondly, we have a push and pull marketing strategy as we call it. The idea is to build a relationship and learn from the end listeners, so you can provide this information to your business-to-business partner. What are they interested in? Whether someone even needs it. We build a relationship with the end listener, so we can show our partner that the listener wants the product and considers it to be something good. As I mentioned before, this isn't a must-have product. You have to create the interest, make it necessary. The client wants it to be “click, click, boom”. He won't buy our product in its current set-up, won't even use it for free, because the path to get there is too long. We have now polished the android app, which now allows you to hear a playback. To have a full experience that allows you to use your iPhone with any kind of headphones is not doable unless there is a small button on the Spotify or Apple TV interface. It's like a cat and mouse game. You have to interact with the end audience, you need app downloads. You have to learn to communicate, because does anybody understand what you're saying, when you call it a “personalized sound”? Or do you call it “improving your sound”? Maybe “your perfect sound”? We're learning about the messaging. We're learning how to improve the user experience in the app, because it itself will be integrated. That's what we do as our homework. At the same time, we're gathering an extensive amount of data and information about what people like or don't like, what are the most popular preferences. What curves are popular, maybe smiley faces. We have that information and that's what we can offer to them, because they need data and we have that. You're able to approach them in that sense. You juggle with several things. You create directly targeted campaigns for one person on LinkedIn, however LinkedIn doesn't yet allow targeting one person, but you can target location. If you know where the headquarters of a specific company are located, you buy that one column. We've come up with all sorts of ideas. The idea is to implement a very specific targeting. When we go to expositions, we can't afford to just set up a stand. If there's a month left before the exposition and you haven't booked ten important conversations, you just don't go and don't waste your time. You prepare for something else. It involves a lot of micro-managing. Sometimes it feels like you're make these class A visuals so that, when you do get that big partner, you're already for it. There's a pile of copy versions you can use, there are visual examples. It's something new even for them. It's a new segment for the music audio industry. Until now, one block was for sound enhancement companies that just improve the sound. There was no algorithm or level optimization, just some companies saying they have the best sound. Personalized sound is a completely new concept. We're attempting to create a revolution in the industry. When we started the rebranding process, we realized that this is the moment when various popular additional services are appearing on the market, like BankID, Apply Pay, Smart-ID. We realized that we too can offer something like that, but in the way of sound, regardless of where you're going and what you're listening to.Let's image you had to join a start-up or a brand at an earlier stage, where you had even more limited resources, time and budget. Internet allows you to reach any person all over the world, and there are various channels of communication, like TikTok, Instagram, your website etc. How to not get lost in all that? Where would you begin, how much and how often? What is the most efficient way to approach your audience at the beginning of the road?You have to understand what exactly is your audience? It's very important and something a lot of people forget. They don't know who their client is and what is this need of theirs that they're trying to resolve. There's always a need that gets resolved with a product. In the beginning, you basically just fumble about. I can share what I've been told about the early stages of Sonarworks. Back when Sonarworks didn't even have a product, the cofounders figured out that they should mostly focus on their English-speaking audience, since you don't have the money to simultaneously communicate with Asia and other places, where you have to consider other languages and cultural peculiarities, and you have to communicate obvious things in a completely different manner than you're used to. Instead, you focus on the narrowest client base. In their case, they went where the client is at. It's obvious that the epicentre of music recording industry is Los Angeles. It's not Riga, unfortunately. Even in the scale of Europe. They started looking for contacts and travelled around. You have to test out the concept and the technology to see if somebody even needs it, if it works. They went to the USA with a primitive demo set-up. Through Facebook friends they found their first leads from the music industry who listened to them. They talked among them, mentioned some other engineer they knew, who also should listen to it. From one apartment to a garage to a studio. In the beginning, you just listen to what your client has to say and what he actually needs, what's their struggle. You get the proof of concept that, yes, it indeed is a problem, instead of just imagining that it is a problem, when no one out there actually needs your product and it solves nothing. Many suffer a disappointment, because they didn't do their first homework. This could be the take-away from that.Let's talk a bit about rebranding. You have had various experiences with rebranding. What's the decisive moment when a company should consider rebranding, fine-tuning or upgrading? When you know you should make some changes and improvements, what questions should you ask yourself to understand what you actually need?Rebranding usually is the answer when you hit a dead end. You realize that this no longer works. Or the media world switches from television to digital environment. Those are the moments when you realize that your current identity has become outdated and that you have to change something. Or you might have a completely new product for a new audience, therefore you require a new, fresh face. The reasons vary. You just get the process going. In none of these stages have I expected that an agency would serve everything on a platter and ready to go. You're basically looking for a partner who will be by your side during this. You can't do it alone. Whether it's a corporation or a sales-oriented company or a product-driven company, it's a collaboration. It's not like you can write a brief, drop it off and forget about it. It involves very intense work. When we were going through the relaunch of Zelta Zivtiņa and I was responsible for everything from A to Z, I realized that the year was ex  tremely intense. You monitor the data, you see some readings going down. Why are they going down? You look for the problem and do a deep analysis. It's not about creative pictures and choosing what looks the prettiest and trendiest. It involves plenty of analytics and data. It's about strategy of whether to take the other path or no. It means an in-depth study of your competitors and territories. Discovering which areas are already taken. Checking whether an opportunity also represents a need. It's quite a long process. If talk about the launch of SoundID, the initial insight for why we even did that, when we had the True-Fi product for our listeners. Why should we create SoundID? We realized that the studio sound we offer to engineers and then also to listeners represents a miniscule niche part of the audience, since this sound is popular among geeky audiophiles, but not all of them. Part of them still want that “click, click, boom” feeling without the need to adjust their equalizer. We realized that, if we want to go global and set a new standard among the audience, we have to go further. We have to approach the listener of music, and that market is huge. And it goes past the listeners, there's also the gaming world, movies. The market is really huge. The first insight from our data was that one sound does not fit all. Then we realized that everyone has their own taste, everyone has both different devices and hearing ability. We possess a technology that's able to align all that. We checked out what's going on in the market. We saw that specific components are already taken. Some start-ups are already working on hearing correction. There are companies in the market working on sound enhancement. Then we realized that we don't actually fit in any of these categories, we're a completely new category. We combine sound levels, creating a unique sound profile. The industry is aiming to provide more effortless services to people. There also are these ecosystems of several devices that you like. You shouldn't have to make adjustments every time you get home, get in the car or put on your headphones. You should be able to do one test that establishes your personal sound, your curve, which then follows you everywhere. At that moment we realized that, if we want to reach this audience, which is a wide range of music listeners, we can't just show them curves. Who's able to read curves? That won't do. We knew we had to think outside the box a bit. We then sat down with the agency after doing our own homework. We had data and evidence from several studies, indicating that people do make different choices. We approached the research part really carefully, we studied the competitors, the market. We realized that we want to deliver this complex concept of three-level sound optimization, but do it lightly. A two-minute A/B test, which then gives you your profile. We decided to not show any curves, but to focus on personalization. During this process we came up with a unique pattern, which is unique to everybody. There are no two identical profiles. They are unique, based on the information that your profile provides about you, based on your hearing ability, your personal preferences and your device.What you are telling me is very interesting from the technical viewpoint, but why was it important at that moment to change and improve the brand's visual language?The most important aspect in that whole stage was that you realize you want to reach vast masses of people, but you can't do it alone. You will most likely have to team up with class A companies. That's when you realize that your current identity won't be able to follow that. We had to realize that we most likely could become “Powered by” or “SoundID technology”. We primarily decided that we won't apply white label strategy, because we want to take the most challenging route, which was one taken by Dolby, Intel and Gore-Tex, namely, technologies that don't live by themselves, but are integrated in another body like a computer or a Columbia jacket. You've chosen the strategy of ingredient marketing or ingredient product. You're incorporated as a technology, but, as I mentioned, it's really hard, because you have to juggle with both sides. You have to be recognizable in the consumer audience and also have to get some partners. We realized that the brand has to be universally scalable. Even when it comes to such detail as an icon, it has to be able to take up a 16-pixel spot in the corner of the desktop. It has to be simple, also descriptive, meaning, it describes what it is. You could've used “clang” or “squash”, just a symbol of sound. It also integrates beautifully with partners. The hardest part, when creating a brand, was to simultaneously consider how you will look like in an Android phone or on a poster, when an A-list celebrity's newest album is launched. How will you look next to something else? We're not in a place where we could launch a worldwide brand recognition campaign. If we do get there, it will hopefully be as the sound under some popular streaming service just like Dolby managed to do that. Meaning, sound provided by SoundID. If we're allowed and given the chance to create a SoundID poster, then it would say below that it's only available for Netflix clients. You realize you have to take two routes. We do a lot of the respective tasks and learn, and go to the partners with our homework already done. We play with visuals, so we're also able to show it to them. This is a completely new technology for them too, so it's important to demonstrate how to show it, how to talk about it, how to visualize it. Our goal was to create a brand that's not too aggressive on its own, like red and whatnot. To enable it to cohabitate with other brands worldwide. One task was the name, the second was the visual look. While doing our homework, we took Spotify's latest advert and inserted our logo to see how they look together. Or we wrote a press release that we in collaboration with Adele and Apple TV are releasing an album, by providing music that the artist has always wished you could hear, using your own preferences. You play around with visuals and possible names, since the product naming architecture is quite complex. You have to complete many small tasks. During the process, we went through several various versions. We had quite the exercise for about half a year before we came up with our final version.It's important to note, that rebranding isn't just about creating a pretty presentation or to change the logo on your homepage. The most important part is the implementation.For those who will attempt to take over the market of China and the USA, even such nuance as the name pays a big role. I still remember how hard it was. Not to mention domains and such. For example, if you want to provide your technology to some big Chinese company or device manufacturer, they focus a lot on the fact whether you have a trademark symbol. You have to register the brand and the symbol. We had created a wonderful logo, we all loved it and wanted to move forward with it. There are various tools that help you check whether the logo is not already in use in the territories you wish to enter. That symbol was used by some medicine in China. It was identical. It was a sharp S symbol, created from geometrical shapes. You know you'll never get a trademark over there because it's a “copy+paste” of something already available in their market. That really prolonged the process. One thing is to think of something, but then you realize it doesn't work in the specific market. From our partners in China, we know how important it is for them to have the “TM” next to a logo. For us it's not so popular, but in their market having a trademark is the way to go. It's all serious. That road wasn't easy. At that moment you realize you've already gotten attached to that logo, it's dear to your heart, you've visualized various versions, but that you have no choice but to look for something new. And you start everything from ground up. Today everyone wants their logo to be iconic, for it to be noticeable and memorable. Once you set the limit of 16 pixels, you know you don't have that many choices. Your options to create something unique that will be scalable to such small size are limited. It was extremely challenging. One might think, oh, it's just a name and a logo. In reality, we had an Excel file with 400 potential names. You like one name, but you can't get the domain, and then there's a problem with the logo. There are no experts in Latvia who could help you. My colleague helped with the legal part, by calling a Swiss company that helped verify whether this can actually be checked. The road of creating a global consumer product is not that easy. There are patents, technologies, trademark, you go by the book.There's also the creative aspect.Of course, there's the creative part too. We don't want Anttila catalogue type of models, we have people with personalities. We don't have the money to do fancy photo sessions, but then you look at stock photos and get the stock feeling, which you don't want either. I think we've done well visually with the given toolbox. It warms my heart to see it blossoming. And I call the visual creators about how excited I am about the photoshoot they did, and you can see that they like the way we work with them. From time to time in the design process you get the urge to push for something more stylish, but then again you have to maintain the boundary of what you have created. You have to give it the chance to live through its cycle, instead of trying to change it in the process and improvise from scratch. I'm a bit like a brand guardian. When you've lived through the creation of the brand and an agency or a freelancer, you're working with suggests changing something, you realize that, no, the basis is already there. You have many options, where to improvise. You've been given a sandbox, you can do whatever you want, but many do want to step out of the given boundaries.Maintain consistency really is a big task. You mentioned the brand identity toolbox that you receive once the rebranding is complete, and then you implement it in your daily life. What should a good brand identity toolbox contain that would allow it to be implemented successfully?There are the basic elements. Your logo or icon, basic things like colours, typography, logo, icon. I always look for the fifth element as I call it. Something that makes you unique. In our case it's the pattern, which communicates the curve in a different manner and provides character. But you have to respect the boundary. We created a pattern that everyone really liked, but then we started communicating it and things started to drift. The pattern, this unique element was being overused. It showed up on forms, on Excel sheets or next to every picture. That's when you realize it's too much. If it's the fifth element to your brand, it's face, then you should only use it for things it was designed for. If it's designed to represent sound personalization, then you should use it only when discussing it. The visual complements the copy and the other way around. If it gets worn out, it will start to feel as a wallpaper, a decoration. It's important to not overwork the identity.That's a very good point. To not overwork the identity.I'm very pleased that we've been noticed in the industry, our visual identity has been noticed. We've heard good words about our packaging, website and visual identity not only from representatives of the industry, but also from media, writing a release about our product and devoting a whole paragraph to our top-notch visual identity. That really warms my heart.It's a sound-driven, technical product, but the visual part is also significant.Of course, just like everywhere else.Great. Thank you.

Breaking down how podcast apps work to provide the best experience for you to consume podcasts (the tech term, server-side crawling.) Yes, you do need to DISCLOSE if your guests are paying you to be on the podcast, valuable transcripts for your podcast, making Apple Earpods sound the best possible, the Black Podcasting Awards, The Squeeze, making money podcasting and how long does it take, why subscriber numbers is not the best metric, best practices for confirming IAB stats for potential sponsors, and stats mean and median numbers ---- and congrats to the winners of the Amazon Music contest for American Football podcasts! Audience feedback drives the show. We'd love for you to contact us and keep the conversation going! Email thefeed@libsyn.com, call 412-573-1934 or leave us a message on Speakpipe! We'd love to hear from you! SIGN UP FOR OUR NEWSLETTER HERE! Quick Episode Summary :13 Intro 2:46 PROMO 1: My Name is Sheba 3:25 Rob and Elsie conversation 4:15 Congrats to the winners of the Amazon Music Football promotion! 5:49 Helping your consume podcast apps easily and why server-side crawling is a thing 9:43 Releasing a 48 second update episode every day when you're taking a hiatus

Breaking down how podcast apps work to provide the best experience for you to consume podcasts (the tech term, server-side crawling.) Yes, you do need to DISCLOSE if your guests are paying you to be on the podcast, valuable transcripts for your podcast, making Apple Earpods sound the best possible, the Black Podcasting Awards, The Squeeze, making money podcasting and how long does it take, why subscriber numbers is not the best metric, best practices for confirming IAB stats for potential sponsors, and stats mean and median numbers ---- and congrats to the winners of the Amazon Music contest for American Football podcasts! Audience feedback drives the show. We'd love for you to contact us and keep the conversation going! Email thefeed@libsyn.com, call 412-573-1934 or leave us a message on Speakpipe! We'd love to hear from you! SIGN UP FOR OUR NEWSLETTER HERE! Quick Episode Summary :13 Intro 2:46 PROMO 1: My Name is Sheba 3:25 Rob and Elsie conversation 4:15 Congrats to the winners of the Amazon Music Football promotion! 5:49 Helping your consume podcast apps easily and why server-side crawling is a thing 9:43 Releasing a 48 second update episode every day when you're taking a hiatus

Wer gerne unterwegs mit seinem Smartphone Musik hört nutzt oftmals In-Ear-Kopfhörer wie beispielsweise Apple EarPods, AirPods oder andere kleine „Stöpsel“. Zu Hause am Schreibtisch hingegen sitzt stattdessen das Headset auf dem Kopf. Über die Zeit sammelt sich so Schmutz, Staub und Dreck an, weshalb es regelmäßiger Pflege bedarf. Die richtige Reinigung und die Desinfektion erklärt euch GIGA in einfachen Schritten...

Yes. I got what I wanted didn't I? I believe I did. Now, have fun listening to the unboxing.

Mit dieser Position hätte wohl niemand gerechnet, doch es ist tatsächlich so: Gegenwärtig kaufen sehr viele Kundinnen und Kunden bei Amazon noch immer die kabelgebundenen Apple EarPods mit Lightning-Anschluss fürs iPhone. Aber warum?

Bislang erhielten unsere französischen Nachbarn beim Kauf eines iPhone 13 immer noch die Apple EarPods mit dazu, anders als bei uns und im Rest der Welt. Doch dieser Großmut endet jetzt – aus gutem Grund.

I don’t think “Welcome” is the right word for this episode in that it is a mess.  We’re unfocused and all over the place… kind of like our country right now.  We’re post riot and pre inauguration or ig-nauguration if you’re the Senator and it really doesn’t feel great right now being an American, at least for me.  No one seems happy.  I supposed democrats are relatively happy because Mao Tse Trump is leaving office but no matter where you are on the spectrum, things are not good in this country.  So much unrest and dis-ease, it doesn’t feel good.  Maybe we’ve taken so much for granted for so long, we’re being jarred out of our cushy country’s consumerist tendencies and we need to wake up.   A couple of things we go over that bears a mention going in: we talk about the filibuster.  Now I don’t know about you, but this moron didn’t even really know what a filibuster was until recently.  So, I’d like to address it briefly so you know what this moron’s understanding is of the filibuster.  A filibuster is a form of obstruction and it occurs when a bill comes up and a senator or representative raises a question for debate relating to the bill.  The debate can continue on and on and on unless a “supermajority” can be reached rather than the original majority that would have been needed before someone raises the question and therefore the debate.  A supermajority is a 3/5ths vote (60%) instead of 51%.   In many cases the points made in the debate have nothing to do with the bill at all.   Here are a couple of examples courtesy of a BBC article (link in the description): In 1935 Louisiana Democrat Huey Long tried to quash a bill by talking for more than 15 hours, reciting recipes for Roquefort salad dressing and discussing in detail the best way to fry oysters. Twenty-two years later, the South Carolina Senator Strom Thurmond, set a record by filibustering a civil rights bill for 24 hours and 18 minutes, reading aloud the voting laws of each US state and quoting George Washington's farewell address in its entirety. Sometimes filibustering a bill might be more commonly referred to as “talking a bill do death”, or “talking out a bill”, “stonewalling”... or how about cock-blocking.  Isn’t that a form of filibuster?   So we cover that wonderful aspect of our government and a tool that may serve the Republicans in the upcoming Democratic Senate, even though it’s democratic by only one vote.   We finish by talking about the military style sendoff Trump is asking for on the morning he departs the White House before the inauguration of Grandpa Joe Biden, complete with military band, soldiers and hopefully a flyover.  Isn’t that completely contrary to the Republican platform in terms of wasteful spending of our tax dollars?  How much do you think the sendoff he’s asking for will cost?  Wednesday is going to be so much fun. With all that is going on in the world, all that is going on in this country we start by talking about, guess what?  That’s right.  We start by talking  about the Senator and the fact that he can’t get his $250 Apple Earpods to pair with his PC so he has to switch over to his $250 Beats by Dre headphones.  See how difficult life can be America?  Wherever you are I hope life is being more kind to you than it is to our friend The Senator.  Let’s reach out to him right now with some positive energy and well wishes and thank you for listening to The Modern Moron… The art of the filibuster: How do you talk for 24 hours straight? - BBC News 

If you enjoy this podcast, consider buying me a coffee: https://adamstoner.com/support I've kept an audio journal for over five years. When I began I was studying Radio Production at the University of Gloucestershire. I've worked for a couple of radio stations since then including the UK's children's radio station Fun Kids where I currently produce podcasts including The Week Junior Show and Activity Quest. During university I would record voice memos on my iPhone and email those to a Tumblr account. I'm not sure I was fully aware of what a podcast was at the time but I suppose that's essentially what I was making; a hyper-deconstructed, voicemail-esque, far-too-frequent podcast. After university I downloaded all of the voice memos and binned the account but I carried on logging my thoughts and capturing sound. These voice memos feature friends old and new, relationships past and present, and places that no longer exist. One of the earliest is my then-girlfriend and I walking around the since-demolished Beechwood Arcade in Cheltenham. Others are filled with the sounds of buskers and church bells, lecturers and concerts. If you listen to the podcast version of this blog post you'll be able to hear some of the things I mention. Soon I realised a lot of creatives do the same thing, especially musicians and others who work in audio, but keeping an audio diary isn't something that's just for people who work in audio. The average person can also benefit from becoming an audio diarist. My setup today isn't that much more complex than the one from 2015. I occationally use a dedicated audio recorder (a Zoom H1 with a pair of Apple Earpods plugged in) but otherwise I still whip out my iPhone to record birdsong, to blab some passing thought into the record, or conduct impromptu interviews with my friends and family (‘where are we off to?', ‘tell us what you can see', ‘what are you doing?') – much to their annoyance, I'm sure. I catalogue and regularly back these recordings up to both Tresorit, my cloud hosting provider of choice, and external drives to make them both safe and highly searchable. Here's how you can become an audio diarist: The best microphone is the one you have. Your iPhone is as good as any studio microphone. It's what I record all of my podcasts on! Introduce each clip with the date, time, and where you are. If there are other people nearby get them to say hello and introduce them too. You don't have to talk. Audio diaries can just be sounds from somewhere. The trickle of a nearby stream, the sound of applause at a stand-up gig, the rowdiness of a central London pub pre-COVID and post-9pm. No written diary is a diary if you burn every page after writing it; no audio diary is an audio diary without audio. Back up your recordings (via iCloud for iPhones) and back them up again. Label them something sensible so you can find what you're after. Let's take my last entry as an example: 141020 (the date) 1856 (the time) at Home (the location) talking about lockdown rule changes (the subject) The key with any diary whether it's written or recorded is both quantity and quality. Record often – I make three entries a day on average – and – for added emphasis – keep what you record safe. The more you add to it, the more valuble it becomes to your future-self (or whoever you might be making your diary for). If audio isn't your thing, I've also written a post on how to keep a written diary too which you can read at /journal.

00:00 雑談回。幾つかの結末。 05:04 結末❶Anchorの罠。アンダーバーに殺されたまま。 11:28 結末❷完全ワイヤレスイヤホンTWS-520の使用感その後。 41:17 TASCAM DR-07Xマイクテスト内容。 45:56 SpotifyとApple Podcastはどういう経路でたどり着いているんだろう？ 49:14 1時間いっとく？の謎テンション突入。 51:07 ポッドキャストの最適な長さってどんなだろう？どんな時聞くのか？ 56:37 結末❸Anchorからのメール着信で思い出したインスタショッピング再審査の結末。 59:54 ふだん聞いてるポッドキャストやラジオ配信と各アプリ雑感。 --

今回は完全ワイヤレスイヤホンTWS-520の聞く側の音質についてレビューです。アップル純正のコード付きイヤホン「EarPods」に対してどういう聞こえ方をするか、手持ちのマイクで比較再現などしています。購入の参考にどうぞ Amazon JPRiDE TWS-520 ▶︎ https://amzn.to/2TpgtjF 前回のJPRiDE TWS-520についてのレビュー。マイクの音質に関しての比較を細かににしています。 ▶︎ https://podcasts.google.com?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy9kYjdmNDhjL3BvZGNhc3QvcnNz&episode=ZTE5MTRlYzEtZWNjYS00MzNjLWE2MzMtY2NiOTMwMzk4NjM2 --- 使用中マイク。TASCAM タスカム DR-07Xレビュー記事 ▶︎ https://koukichi-t.com/archives/28479 TASCAM タスカム DR-07X Amazon ▶︎ https://amzn.to/2VqoRzR ※音質や音声サンプルとして参考にどうぞ ✅今回の録音条件 ・TASCAM DR-07X iPhone 11 Pro接続 ・Apple純正ボイスメモ ・XYモード。単一指向性 ・エフェクトなし ・机の上にマイク ・距離30センチくらい ・入力レベル85（MAX90） ・声大きめ ・ウインドウジャマー有り ・低域カット無し --- ✅TASCAM DR-07Xで録音、音質テスト配信済みの各サービス

Apple EarPods version 2. Bad compression for audio good for music though. --- Send in a voice message: https://anchor.fm/al-seoghie/message

Marcel Eichner kommt aus Berlin und arbeitet dort seit 2001 als freiberuflicher Full-Stack Entwickler mit Schwerpunkt Javascript im Online-Travel, Social-Community oder Wissenschafts-Bereich. 2001 hat er sein erstes Gewerbe angemeldet und sich mit kleinen bis mittleren Jobs über Wasser gehalten, welche anfänglich aus dem Zusammenschrauben von Computern bestand. Etwas später hat er dann auch erste Websites entwickelt und die Projekte wurden umfangreicher. Zwischen 2009 und 2011 hat er einen der bekanntesten Horror-Filmblogs betrieben für welchen er auch das CMS entwickelte. Anfang 2011 hat er zusammen mit einem Partner foobugs gegründet - eine GbR, welche vor allem wesentlich größere Projekte übernehmen konnte. Dort konnte er seine Fähigkeiten vor allem im Bereich Projektmanagement und Consulting ausbauen. Zwischen 2014-2016 war er Partner des Social-Media-Monitoring der Firma Toocan, für welche er ebenfalls eine umfangreiche Lösung programmierte. Nach diesen größeren Projekten ist er seit 2016 wieder verstärkt alleine unterwegs und unterstützt verschiedenste Projekte, meist auch über die Programmierung hinaus. Dabei findet er es besonders spannend zu sehen, wie unterschiedlich ein Projekt aufgestellt sein kann und welche Probleme es immer wieder zu lösen gibt. Wir sprechen in diesem Interview auch darüber, dass Remote Arbeit nicht gleich zu setzen mit Arbeit auf Reisen ist. Marcel hat seine ganz eigene Lösung gefunden und ist damit sehr glücklich. Hier findest du den Podcast bei Gerlent im Blog. Seine Tooltips: https://mite.yo.lk/ für die Zeiterfassung, dazu am besten mein mite-cli , welche es ermöglicht auch über die shell Zeiten zu erfassen (nodejs): https://github.com/Ephigenia/mite-cli https://slack.com/ oder vergleichbares E-Mail Kalender-App, um Termine auch in verschiedenen Zeitzonen zu organisieren https://www.google.com/drive/ oder vergleichbares Bluetooth Kopfhörer, damit man schnell in einen Call springen kann (dabei sind die Apple EarPods wirklich zu empfehlen) Die Shownotes: https://www.xing.com/profile/Marcel_Eichner https://www.linkedin.com/in/ephigenia https://twitter.com/ephigenia https://www.ephigenia.de https://www.ephigenia.de/cv/ Gerlent im Netz: Gerlent - German Talent Gerlent bei Facebook Facebook-Gruppe - Wie werde ich Digitaler Nomade by Gerlent Abonniere den Podcast: RSS-Feed iTunes Oder indem du im Player oben einfach auf "Subscribe to this Show" klickst Kontaktiere den Podcast: podcast@gerlent.com Wir freuen uns immer über neue Gäste im Podcast. Wenn du Freelancer bist, Remote Worker oder dich als Unternehmer für "new work" einsetzt, melde dich gerne bei uns. Vielleicht bist du ja dann schon demnächst bei uns im Podcast als Gast.  

Testing out new Yeti Mic compared to Apple EarPods. Working on a new Robot Control System overview. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/wakeuplearn/support

Today we speak with Jason Davis. Jason is an artist manager, developer, independent record label owner, and serial entrepreneur. Davis has worked with names like Boyz II Men and P. Diddy to Lonestar and Dolly Parton, transcending genres and gaining an understanding of all facets of the industry. He speaks about writing hit songs, working with Jay-Z, and so much more. You don't want to miss this info-packed episode! For more information about Jason's work, check out: Radar Label Group One One 7 Awaken Records Resources: Your Love Pursues: A Memoir by Jason Davis Mozart: A Life (book) by Paul Johnson Reposition Yourself: Living Your Life Without Limits (book) by TD Jakes Best small purchase: Apple Earpods (wireless)

Rob Black talks about spending money in the Christmas season, Apple Earpods, Amazon's Jeff Bezos, and chats with Briefing.com's Chief Market Analyst Patrick O'Hare about the stock market's record highs, recent mergers, housing starts in California, and 2018 predictions.See omnystudio.com/listener for privacy information.

With Apple EarPods

With Apple EarPods

Apple AirPods gegen Apple EarPods Der Apple In-Ear Kopfhörertest: - Unboxing der Apple Airpods. - Verbindung mit dem iPhone. - Ausstattung und Besonderheiten. - Empfang und Klang - Ergonomie und Bedienung - Akku Feedback zu Euren Hörermails: 1. Digitale Dividende 2: Alles nur Übertrieben? Nein mit Erklärung, warum nicht. 2. Muzo Geräuschunterdrückung: Betrug? oder Erfolgsgerät? Einlagensicherung bei Kickstarter und Indiegogo. Was sein kann.

Our most terrible show to date. Really. You should not listen to this episode. We’re not kidding. This episode is sponsored by MacSales.com

Our most terrible show to date. Really. You should not listen to this episode. We’re not kidding. This episode is sponsored by MacSales.com

Show Notes – http://heytechiesshow.com/shows/hts76/ Michael, Bruce and The Guru discuss Amazon’s first UAV delivery, DotComGuy, Remembering the Mercury 7, Trump meets with Tech leaders, Podesta e-mail leaks, V2V, Yahoo hacked… again, Is Apple having serious trouble?, VidAngel, Apple Earpods, Plus Rumors to This week in tech history.

#London #facts and #news, plus interview with Caroline Pidgeon MBE, review of Jamie's Italian restaurant, Apple #EarPods, #Sinatra at the #Palladium, Robin the Fog and music from Oh Wonder. Presented by Anthony Davis.

Phil Edwards, Andy Blume and Daniel Olivares are back in the studio with this week's look at all things Geek. Show Notes: Community Broadcasting Program identified for abolition within National Commission of Audit Report recommendations [CBAA] Virgin Mobile outage leaves customers without phone service [The Age] Thousands of people have phone and internet cut [The Age] Optus Now Supports Direct Billing For Google Play [Gizmodo Australia] Brazil passes an Internet 'Bill of Rights' [San Jose Mercury News] Snapchat adds Video Calls and Instant Messaging [9to5Mac] Samsung ordered to pay Apple $128.9 million over infringed patents [The Age] Wild Rumor of Apple EarPods with Biometric Sensors Has Roots in Apple's Research [Mac Rumors] OS X 10.10 emphasis planned for WWDC, iOS 8 features pushed to iOS 8.1, new Apple TV still in the works [9to5Mac] Bob Hoskins dies of pneumonia aged 71 [BBC News] Is Back to the Future returning to Universal Studios Hollywood? [Theme Park Insider] Craig Ferguson Quits Late Late Show, Says Plan Was in Place Before Letterman Announced Exit [Yahoo TV] A guide to Craig Ferguson's weirdest traditions you'll never see on late-night TV again after this year [The Washington Post] Review: Jonah From Tonga and the genius of Chris Lilley [SMH] Something we mentioned in the show but missing in the Show Notes? Let us know via our Contact Page. Songs We Played: Dolly Parton - "9 to 5" [iTunes] Robin Thicke - "When I Get You Alone" [iTunes] Nancy Sinatra - "These Boots Are Made for Walkin'" [iTunes] Led Zeppelin - "Trampled Under Foot" [iTunes] Hilltop Hoods - "The Nosebleed Section" [iTunes] The Lemonheads - "Mrs. Robinson" [iTunes] Otis Redding - "I Can't Turn You Loose" [iTunes] Jessica Rabbit - "Why Don't You Do Right" [YouTube] Questions, Comments, Feedback and Suggestions are all welcome. Website - http://geeksinterrupted.fm Facebook - https://www.facebook.com/GeeksInterrupted Twitter - https://twitter.com/GeeksOnAir Voicemail - http://www.speakpipe.com/GeeksInterrupted If you enjoyed this episode head on over to iTunes and kindly leave us a rating, a review and subscribe.

主持：陸志勤、李碩宏；嘉賓主持：Derek 甚麼是數碼聲音廣播？有什麼好處？ Apple新推出的EarPods […]