Podcasts about audioblivious productions

With new AI technology, voice actors might be afraid of deep-fakes, or someone stealing their voice. But did you know that the same technology may be able to track where your voice is used and flag any deep-fakes? This week, we welcome Zohaib Ahmed, CEO of Resemble.ai and Tanja Milojevic, voice talent and Community Manager. In addition to offering a variety of solutions for voice cloning, character voices, and other content building with synthetic voices, Resemble AI runs an open-source project called Resemblyzer which allows detection of deep-fakes or misuse. Listen in as we discuss the ethics, accessibility, and the importance of storytelling in AI voices. Guest Bios About Zohaib Zohaib Ahmed is the CEO of Resemble and oversees tech development. His previous experience includes leading engineering teams at Magic Leap, Deepen AI, Hipmunk, and BlackBerry. At Hipmunk, he was the lead engineer of the first AI Assistant for Travel, built using modern NLP techniques. Zohaib graduated from the University of Toronto with a degree in computer science. About Tanja Tanja Milojevic is highly motivated, talented, and dedicated to audio description. Tanja is working with Resemble AI to clone her voice and as the Community Manager. Tanja has worked on: Games (the gate, Flippd, and others in development), Audible (Baby Teeth), Pseudopod, Podcastle, Podscape, Radio Dramas (Edict Zero, What's the Frequency, 11th Hour, You Are Here, A Scottish Podcast, Koach Studios, Electric Vicuna Productions, Campfire Radio Theater, All's Fair, Organism, Greater Boston, Twilight Radio Theater, Misfits Audio, Darker Projects, Brokensea Audio, 19 Nocturne Boulevard, Audioblivious Productions, Icebox Radio Theater, The Grey Area, The No Sleep Podcast. Top 10 Takeaways With Resemble, voice actors can choose from three levels of control for use of their voice: No Control, Content Filters, and Full Approval. Resemble has thorough terms of service that spells out voice usage. There are two ways to record for Resemble: record samples on the Resemble website or upload previous materials. Resemblyzer is an open-source project that allows you to derive a high-level representation of a voice. Resemblyzer allows for detections of deep-fakes and synthetic voice misuse. Resemble has emotional gradients that can be added to their AI voices. Resemble can analyze audio, edit and supplement a voice actor's work. Voice talent can use Resemble starting at $30 per month. Resemble's marketplace can “score” voice samples based on professionalism, and companies can license these voices to use per character usage. Resemble wants voice actors to have a major role in the industry. Referenced in this Episode Learn more about Resemble.ai Visit Tanja's Website Recorded on ipDTL Share This Resemble AI believes in compensating voice actors #VOBOSS AI voices improve accessibility #VOBOSS Passive income is never a bad thing #VOBOSS Transcript >> It's time to take your business to the next level, the BOSS level! These are the premiere Business Owner Strategies and Successes being utilized by the industry's top talent today. Rock your business like a BOSS, a VO BOSS! Now let's welcome your host, Anne Ganguzza. Anne: Hey everyone. Welcome to the VO BOSS podcast, the AI and Voice series. I'm your host in Anne Ganguzza and it is my pleasure to introduce some very special guests that are with me today. First Zohaib Ahmed is the founder and CEO at Resemble.AI. Zohaib also previously led engineering teams at Magic Leap, Deepen AI, Hipmunk and Blackberry. We also have special guest Tanja Milojevic, award-winning voice talent and community manager of Resemble.AI. Tanja assists in onboarding and supporting voice talent through Resemble's synthetic voice creation process. She has over 10-plus years of voice acting experience, and her work ranges from character voices for audio dramas, to short story narrations, to audio descriptions for the blind and more. Zohaib and Tanja, thank you both so very much for joining me today. Tanja: Thank you, Anne. I love your podcast, so I'm very excited to be here. Anne: Oh my gosh. Thank you so much! I appreciate that. So I've been interviewing quite a few companies that produce voices in the AI space for the series. So I'd love to start off by asking if you could tell us a little bit about your company and the products that you offer and what makes you different. Zohaib: Yeah, so we started off, for example, with one core problem in mind. We looked at the computer vision community, you know, all those lucky people who have Photoshop since 1991, and they'd have all these fancy tools, Unity, and you name it, to do all these fancy movies and graphic effects and all sorts of visuals that we kind of take for granted now. And we looked at them and we said, hey, why don't audio people have any of these tools? Why, why are they still stuck with old knobs on a screen that kind of resemble literally what the physical version of that instrument would be in real life, just on a computer screen? And we kind of looked at that and looked around and closer and closer. And we found that there were a lot of use cases where extending voice actors would make life a lot easier. And it would also create a lot of interesting applications that couldn't be done before. So that's kind of where we started. And since then we kind of went in all sorts of directions, but in our very core, we were building synthetic voices. So we were like our core business is to take any sort of arbitrary speech data that's unstructured, create these high quality synthetics, and then kind of go from there. And over time we've decreased latency. So we're able to generate content within a few milliseconds, like seconds or minutes of conversations in a few seconds or milliseconds. We're able to do unique audio editing, where you have like a hybrid text-to-speech where you paste in your own voice and say, in this podcast, I'm kind of blabbing on, and if I wanted to remove bits and pieces, I can do that. Or if I wanted to change a few words, I could do that. And my synthetic voice would kick in in those parts. We found pre-production and post-production value in all, everything that we're doing. And then within all that, you know, we kind of want to still keep a performance of voice actors. So we want them to not only sound like them, but to be as emotional as they are and to kind of get the performances as they do. So, yeah, we've been around for a little bit over two years now, and we've worked with more than 150,000 users who have created voices on our platform. We try to make it as accessible as possible. That's kind of the big differentiating factor between us and everyone else is we tried, from day one, our goal was, well, this is a lot more powerful if we give it to the user and let them clone their voice, then you know, Anne can go ahead and click on her voice and figure out, oh, I'd love this on my podcast. And she'll come up with the ideas, and we kind of just facilitate her ideas. So that's been our, that's been our motivation has just been like putting it out to feel people's hands. And we have like 150,000 of them now and growing every day and all sorts of different use cases have popped up. Anne: Wow. So I want to get in a little bit more into how you create your voices on your platform. But before that, I'd like to ask Tanja a question. Tell us a little bit about your voiceover career and what was it that led you -- some of my voice talent friends would say -- to the dark side? What was it that led you to your interest in AI? Tanja: Well, seeing that I love Star Wars, I think that's a great reference, dark side. That's, that's awesome. So I generally stumbled upon voice acting when I was in high school. I've always been interested in acting ever since I was a kid. I received one Christmas a tape recorder that, you know, with some blank tapes at the time, and that was the best thing ever. 'Cause then I started recording stories and everybody's conversations and annoying the whole household in general. So, so that's where that started, and I was always interested in it. And then I had a friend, her and I would do a lot of improv kind of over the phone. Do you remember the days where after 9:00 PM, doesn't matter what phone plan you had, it would be free. Anne: Wow. I don't know if that was the case in my zone, wherever I was. I don't remember that. Tanja: Yeah, here in Massachusetts, that was, that was kind of a thing. Just, you can just call after 9:00. Anne: Oh wow! Tanja: So we would improv a lot, needless to say, and not be very alert for school. But then I stumbled upon, actually at my local library, a talking book, a couple of audio books for school, A tale of Two Cities and Pet Sematary by Stephen King. And they turned out to be audio dramas. So, you know, full sound effects, story, everything was in audio and I, I was intrigued. So then I did a bunch of research, and I found out about voice acting and a website called Voice Acting Alliance where anyone could audition. It was meant for amateurs. You didn't have to know what you were doing at the time. So I got a really terrible compressor microphone, Linin from Radio Shack, I think, and started using that and did as many auditions as I possibly could and listened to people's feedback. Everyone was so gracious and welcoming. So I was hooked. And after that, I just started getting into whatever I could with voice acting, anything from audio dramas, which the independent podcasting movement now has a lot of those, and they're growing. There are several places to find them, so many amazing stories out there that there just isn't enough time in the day to listen. So I I've been involved in that consistently for 10 years. Recently, I'd say about a couple of years ago, maybe a year ago now, I started recording audio descriptions for a couple of different companies, which is a track that's added to a media, like whether it's a TV series or a film, and it describes essential costume changes, action sequences, facial expressions, and so on and so forth meant for the blind and visually impaired to access media on an equal playing field to everyone else. So that's been a lot of fun. I've done a couple of short stories, narration, kind of narration based, playlist intros, radio spots, things like that, tied in here and there. And then I accidentally actually stumbled upon Resemble.AI because I've always been fascinated with artificial intelligence and smart assistants. Being someone with the visual impairment, I use screen readers all day, every day. My phone has a screen reader. I have, I kid you not, four Echoes in my house. So that gives you an idea of how much I love artificial intelligence and assistants. So I was looking for voice cloning and specifically searching as a voice actor, how do you become a virtual assistant? And Resemble.AI popped up with voice cloning, of course, with how Zohaib was discussing earlier, the ability and the power that it gives the user where you can then clone your voice for free. I never saw that anywhere. I've, I haven't come across any other website that allows you to just record and it's there. So I tried it and then I sent in data. I also applied on the form, and I heard back from one of the team and started the dialogue of, hey, I want to do all the voices, like everything. I don't, I don't care what it is, whatever you guys need. And it evolved into this role. So it was a very organic process that was serendipitous for me. So really excited to be here. Anne: Absolutely. That's a really wonderful story. And I saw on your website, I've listened to some of your demos, and I know that you're very passionate about the acting part of voiceover and being able to tell the story. I think you have an affirmation that you said, it's not just the voice that matters. It's how you tell the story. Tanja: Absolutely. Anne: I guess my question going into that is how does AI fit into this? Do you envision an AI voice being able to tell the story as a voice actor would? Tanja: I do. I mean, I think that we have room here to definitely include both where, for example, a client might want to use the artificial voice for a smaller character, but then they might want to, down the line, hire that voice actor, if they're readily available and also not remaining anonymous, which is an option for our voice talent as well. Then they might get additional work with that company depending on what the needs are, especially if they are someone who's, who's available and responsive, and the company likes their voice anyway. But that said, the emotional gradients that we have, that we offer at Resemble really allow the developers to add these emotions to the clips that they're generating, whether it's sad, angry, caring, happy, et cetera, scared. There is a lot of customization that's available for the developers. And we do take feedback very seriously. Anyone's feedback for improvement, we're ever evolving and improving. So with just the rapid changes in AI technology in the last decade, I'll be looking forward to seeing how much more realistic and how much more powerful neural TTS voices will become over time, since it's literally, it's just a matter of time and of data crunching. Anne: Excellent. Zohaib, can you talk to me a little bit about how voices are created on your platform? Zohaib: Yeah, so we, we wanted to make it as simple as possible. So there's, there's two ways of creating voices. The first option is anyone could go on our web platform, record 50 sentences. Typically these sentences are fairly short, five to eight words each, and after 50 sentences, we will build the voice for you in the next 15 to 20 minutes. There you go. There's your voice. And the second way is you upload some sort of unstructured data. So you can imagine a lot of talent that we work with, and a lot of customers that we directly work with, they are sitting on top of data where they've previously recorded data that convey a certain emotion or that it conveys a certain style of speech. So it allows our folks to kind of create domain specific voices. So for example, if Tanja is doing a voice for a telco on like IVR, so it's like you pick up the phone, and you call Verizon and kind of talks back to you or synthetic voice talks back to you, that kind of data set is very different than if Tanja was doing like an audio drama. Anne: Right? Zohaib: She needs to be a lot more emotional, and it's a completely different performance. So we tried to capture in exactly the kind of data or the performance that we want to reproduce to your earlier question, in terms of emotion and inflection, the model the AI is built in a way such that it tries to predict the right emotion or the right inflection, given a few words or whatever you're typing in. So that's a couple of ways of doing it. Once we ingest that data, typically the 30-second technical pitch is it consumes the audio as well as a transcription of that audio. And then it tries to learn what the transcript would output. And at the end of it, once it's learned a mapping between the words and the audio and the reason we could do it at 50 samples and not 20 hours like it used to be, or 100 hours like it used to be is because the model has already has a notion of English. So it's, you don't need to provide it with everything. It's just -- Anne: So you have a base model. Zohaib: -- we try to cover most of the phonetic -- exactly. Anne: Ah, okay. Zohaib: We do that for -- across different languages. So if you wanted Tanja to speak Spanish, and assuming Tanja doesn't speak Spanish -- Anne: Right. Zohaib: -- we can record her English and then get her voice to speak Spanish because the AI has learned some notion of Spanish already. And then during prediction time, it's just, you give it text and then you say, hey model, if this Tanja synthetic voice was generating this particular text, what would this audio look like or sound like? And it tries to make predictions. That's what most machine learning does. It's just prediction at the end of the day. Anne: Right. So then if people are creating voices on your platform, are you using those? Is that data that gets fed in for the machine to learn from, in order to create that ball or -- Zohaib: No, no. Yeah. So the, the underlying model is -- it's stagnant. Anne: Oh, okay. Zohaib: So like we freeze it in time and then we don't append data to it. And the reason we don't append data to it, that's like live data that's being adjusted is typically in any stream of machine learning, it's bad data, even a little bit of bad data hurts you significantly, so -- Anne: Oh, interesting. Zohaib: -- you don't want to pollute data at all. So you kind of want to -- you know, it's like if you, if you were building an application for measuring house prices, and then all of a sudden, you started sneaking in outliers into that dataset, the predictions would get worse overall because of these outliers. So we don't include any of user data into any of these models. Those are all like custom models that we've collected data ourselves specifically for building that task. Anne: Gotcha. Zohaib: And those are like stuck in time. Anne: So that's been done. And so there's no other mo -- I'm just curious. So there's no other models that will improve that model. Is that correct? Or there's no other information that can be added that would improve the model, or you're maybe continually trying to improve it or no, you're, you're good with this model? Zohaib: No. So we were constantly trying to improve it. There's two ways of improving the model. One is like where we lack data. So for example, if we understand that our model used to struggle with deep voices, deep male voices -- Anne: Okay. Zohaib: -- we would go ahead and be like, oh, that's because we didn't collect enough -- Anne: Enough. Zohaib: -- of this kind of data. So we'll go ahead and try to fill in those gaps and see like, okay, what else are we missing now? So we always can try to improve it with data. Anne: Gotcha. Zohaib: But then some of the bigger advancements, the bigger improvements occur due to just architecture changes. So just recently we've done things like produce audio at 44 kilohertz most, if not all, text-to-speech engines produce it at 22 or 24, but that's like architectural change in the model that produces better results. So yeah, there's only really two avenues to go. Either you feed it more data and see if you could tweak things or where you, once you get stuck there, you look at the architecture of the model, and you say, well, what are we not able to do better? Are we not able to render higher frequencies? Are we not able to predict certain emotions really well? Did we struggle with a particular accent, et cetera, then you kind of adjust the architecture from there. Anne: So, that's interesting. So it leads me to think about, let's say if I were to produce my own voice, my emotion, right, or my model emotion maybe would be completely different than maybe somebody else's or maybe the model's emotion or inclination toward that emotion. Is that correct to assume that, and it would be better if I wanted a model of my voice to upload more data? Zohaib: Yeah. So we definitely do that. So it's the fundamental model is built up of all sorts of accents and a variety of data. What we've seen is the dataset that we provide you to record typically captures -- it's like phonetically balanced. So it captures like most of the phonemes that you're -- that we speak in. So that kind of gets us really far, but we have had scenarios where we -- I, I recall one with this company out in New Zealand that, you know, recorded or sent over some data. And when we generated it to my non-oceanic ears, it sounds good. It sounds like, yes, like people in New Zealand sound like, and then we sent it over to them and, you know, there's like all sorts of like, oh, but it, New Zealand, we don't do -- Anne: Right. Zohaib: -- the, the R's like that. That's how Australians do the R's, and that accent is slightly different than the Australian. So when do you get, when you get really integrated, then yeah. We need to collect more data from that kind of source. Anne: Interesting. And is it also, let's say, for example, as a voice talent, right, I want to have my human voice, right, that I use and get paid for, but I also want to have my AI voice available, and maybe I want to do a lot of, I want to do IVR systems. I do a lot of them now anyways, figuring that that's going to be one genre that's going to utilize AI voices. If I were to give you data that I've already recorded, where I've done a lot of phone voices, would that make a better phone voice for me versus let's say something, like, I might do some acting and do some more dramatic emotional stuff? So if I wanted to create an AI voice for IVR systems, I would maybe give you more data that would be inclusive of that type of read, versus maybe I could have another AI voice that would be my, you know, my more dramatic voice that could be for video games or for whatever, and then work more on the emotional aspect of the data. Tanja: Yep. Yep, exactly. Zohaib: Absolutely. Everything is domain specific. Anne: Got it. Zohaib: So you give us data that's like IVR, it produces a better idea. Anne: Right. Yep. Got it. Now I assume that, you know, I can't create my own voice for free there or can I? That would be -- I don't imagine it's free to create my own voice, like, or an accurate representation of my voice? Zohaib: Yeah. So if it's like for a custom data set that we're ingesting, it's no longer free -- Anne: Got it. That makes sense. Zohaib: -- because there's some sort of pipeline that we put you through. Anne: Sure. Okay. Zohaib: But yeah, there are different, depending on which aspect you're coming from, whether you are a VO, you're a voice talent, or whether you are a company that just happens to have voice data, the pricing kind of varies from there. Anne: Well, I always found it interesting because I literally, I've been doing my VO BOSS podcast for four years. Literally I could give you probably the most conversational aspects of my voice if I were to just give you all that data. And that would create a very conversational Anne for an AI voice, I would hope anyway. Zohaib: Yep. Exactly. Tanja: Right. Anne: Okay. Right. Okay, so let me ask you a question. Do you sell AI voices as well? So let's say if somebody is using -- that they don't necessarily want to create their own voice. If they want to use your platform for, you know, creating audio files, can they use your voices at a, at a cost? Zohaib: Yeah. So we do have a marketplace. Anne: Okay. Zohaib: So we, we invited a lot of voice talent. And actually, if you just go and build a voice, we -- it rates, we rank your voice in some way, or we score your voice in some way, depending on what kind of microphone you use and what kind of support you've got. Anne: Okay. Zohaib: So we do invite people to add their voice to this marketplace. And then from there on, those voices are available for a selection to our customers. Anne: Got it. Zohaib: So our customers can say, oh, I really like Anne's voice. And they'll click on your name, they'll listen to a sample with your synthetic voice and be like, oh yeah, that's, that's exactly kind of what I want. And then they could propose a project to you -- Anne: Got it. Zohaib: -- and then we kind of facilitate that kind of agreement. Anne: So then my next question is, is there compensation and usage for any, let's say, company that wants to use my voice, and is it on a per job basis? Zohaib: Yeah. So the way that we look at it is, it's on a per character usage fee. Anne: Okay. Zohaib: So we do compensate voice actors on a per character level. Anne: Okay. Zohaib: So if you are building an IVR voice, is that more that that customer uses your voice? We show you exactly what that character usage is, so you can track it. And then there's some sort of compensation at the end of every month. Anne: Oh, okay. So it's a monthly thing? It's not necessarily based on per job? Tanja: Right. It's just how many characters were run through your -- Anne: Got it. Tanja: You can have multiple voice models, and maybe clients are using all of them, different clients. It would all simply be based on how much data these clients were running through these voice models collectively on a month to month basis. And the royalties would come out of the characters generated. Anne: Got it. So then if my voice were recognizable, right, and it was a great AI voice, I would be concerned as a voice talent that maybe the usage of that voice might not be in alliance with my brand, right? Or maybe they're using it for something that I would not necessarily be aligned with with my brand. Is there any sort of, you know, job control in that respect? Zohaib: Yep. So we have three levels of control that we offer at the moment. So the first is no control. We have plenty of voice talent that does -- that do like impersonations of voices, or they do like really specific character voices that aren't really tied to them in any way. And they're okay with anyone doing anything with those voices. So if you're making a game, the character in that game could be anything. It doesn't really matter to them. So that's like one level, I guess. Anne: Okay. Zohaib: I'll jump to the most extreme level, which is, we also have the ability for the talent to completely make it a manual process and make it so that there has to be a project description, and that it has to be accepted. They have to be sample lines that are discussed with that or show to the voice talent and then the project executes. And then there's like category in the middle, which is kind of like exploratory right now. But it's something that I think not only voice AI or hopefully not just us, but other people are also trying to do, which is something we call a content filter. Anne: Yeah, mm-hmm, yeah. Zohaib: So the idea is that we're able to detect with texts whether something is political -- Anne: Yeah. Zohaib: -- whether it's not safe for work, and we're automatically able to prevent that from ever being generated. So at the moment, it errs to the side of caution. So there are a lot of false positives, but that's because we want to be extra safe for that scenario -- Anne: Sure, absolutely. Zohaib: -- where, you know, if you've mention Donald Trump on there -- Anne: Sure. Zohaib: -- it'll most likely say, hey, that's political -- Anne: Right. Zohaib: -- and doesn't want you to say anything. Anne: Or if there's -- yeah. Or maybe there's swear words or, you know, words that I would never say myself -- Tanja: Right. Anne: -- wouldn't be represented -- okay. Very interesting. So tell me a little bit about, I saw something on your website about Resemble Protect. What is that, what does that do for us, Resemblizer? Is that what it -- Zohaib: Yeah, exactly. So that's an open source project that we have. It's, it's on GitHub, github.com. Anne: Is that what you were just describing to me? Was that the Resemble Protect or? Zohaib: Nope. So yeah, Resemble Protect [inaudible] it's the same thing. Anne: Got it. Zohaib: The idea behind Resemblizer was when we first started, there were a lot of components that kind of build up our voice model. So you can assume that since we're detecting emotion, we can also offer just emotion detection as a service, since we're detecting different sorts of languages and different sorts of voices, we can kind of offer -- like we do some sort of fingerprinting to identify or disentangle your voice from the text that you're reading or your accent, et cetera. So Resemblizer basically is this open source package. It ships with, or it comes with like this pre-trade model. So what that means is as a user of that open source or free package, you don't need to train anything. There's no ML working to do. You don't need to buy compute or have powerful computers. Because open source project is basically our way of looking at this problem of speaker identification and deepfake protection, and basically looking at it and saying like, this is like a problem for everyone to solve. And this is a machine learning network that's able to distinguish between fakes and reals. And we kind of put it out in the public because it's not our core product or anything. So we're like, well, let's put this out there and see what other people can do with it. So we've had people who are trading that model with a lot more data that we traded with, so like different languages, et cetera. Anne: Sure. Well, that's amazing. I think that's really wonderful. And that is an open source project that you began and put it out there? Zohaib: Exactly. Anne: That's really great, because I've always said that there's gotta be some sort of a way for us to figure out where is our voice being used. I mean, we have enough problems as it is, and I'm sure Tanja can identify that we don't know if our voice is being used, you know, in another region or, you know, another campaign that maybe we didn't agree to in the first place. I mean, that's always been -- Tanja: Right. Anne: -- you know, something that voice artists have been concerned with is usage. And there really hasn't been a way that I'm familiar with outside of some other voice talent and saying, "hey, I heard your commercial in California. I thought you said it was only for east coast." And so that's really how we found out before. So I would think with AI voices, I would hope, that there would be technology that would allow us to figure out where is this voice being used. And also, I guess my question would be, does that also take care of if let's say, 'cause you have a model, right? I can speak Spanish, even though I don't. So is there a way, is there hybrid models of, of AI voices, like two or three different people and then youcreate a whole new voice? Is that a thing to create new voices like that? And then if so, how do you know if your voice is involved in there? Zohaib: Yeah. So we've been experimenting with a technique that kind of does what you just described, which is like blending voices together. We've been using it largely for a different purpose. So we work with customers who are trying to get really particular pronunciation of words or a really particular performance, but they want to keep the original voice that they're, that they're using or the target voice. But that target voice, we just don't have enough data in that target place to get that kind of pronunciation. So typically what we've done in the past is refer using Tanja's voice and her voice has said something in particular, and you want to control exactly how she's pronouncing those words. What we typically do is augment her data with someone like your data. And then we kind of blend some of it together enough that we can disentangle the way that you're pronouncing, pronouncing the words versus how she's saying them. And we can blend different aspects of voices together that way. But yeah. Anne: Is that, is that like a separate model? Like, you know what I mean? Like is that like a new model that you've generated? Zohaib: You can think of it as a new model. Anne: Okay. Zohaib: You can think of it as new model, but our --so that's when you, when we say model, it's always kind of weird because models are models are comprised of models. Like there's a model that just does like emotion detection. There's a model that just does pitch detection. There's one that's just looking at languages and making sure it's conditioning on the right languages. There's one for like gender, et cetera, speaker. And these are all like disentangled pieces. And then you could, these are like blocks, and you could put one block with the other block and get something different, if that makes any sense, but they're fairly modular by design. Anne: Okay. Okay. Well, I do want to mention that I did check your website for any terms of service and ethics policies, which I just want to make sure that my BOSS listeners know that yes, I found a wonderful page on that. And I really liked that you had a statement that said once your voiced is created, that we own all the rights to that voice, and that you don't use that voice data to train other models, which is something I've not seen on some other websites that generate AI voices. So I appreciate that, nor do we resell the voice data to third-party companies. So yeah, I appreciate that you have that page. And I just want to kind of put that out there. So BOSSes know I like to work with companies that are concerned with ethics in this. It's kind of a crazy time for us as a lot of voice talent are fearful that they're going to be losing a lot of work. So with that, I think my last questions to you guys would be, first of all, Tanja, where do you see the future of voiceover, let's say, in five years? Tanja: That's a great question. So I really do think that we are in the beginning of a new market, but that said, I don't think that we're in danger as voice talent of losing our jobs. And just because AI is going to be very powerful, and companies are going to want to utilize it, because for them it's less paperwork. And maybe these are companies that don't necessarily go out on Fiverr or voices.com or look at people's websites to find talent. They just don't have the bandwidth, or they would rather just work with a third party where they have a selection of voices already available, and they just sign an NDA agreement or something, and then they move forward. And then, so these companies are normally, in my opinion, not places we would be searching for clients anyhow -- Anne: Yeah. Tanja: -- or not clients that are readily available to us in our search, auditions or working with our agents or what have you. So that said, a lot of these places are going to be using AI, in my opinion, mainly for IVR, conversational with all these apps that are coming out, new apps, continuously, virtual assistants, probably smaller characters in games, non-player characters, and even e-learning, I think e-learning is going to be huge, or even folks making their websites more accessible, I guess, to all, by having an AI read their blogs or maybe customizing ads. Anne: Right, sure. Tanja: So you, you get the idea, it's like it's endless of what the use cases could possibly be. I think that this is a nice blend, a nice way for voice talent, to get additional marketing that maybe they would have to do themselves. And it would take longer. They'd work with new clients that maybe they wouldn't have sought out initially. And also their voice would be used ethically, I would say in five years, because I think all the companies that are not paying attention to ethics right now, in five years, we're going to know who they are. There's only so far you can go -- Anne: Yeah, yeah. Tanja: -- before your -- somebody's going to come out, concerns are brought up. So yeah, I really do think, you know, we'll be more educated then as voice talent on what the market is. And I think if we get in on the market now, we'll be there when it's saturated in the future, we'll still be there. So I don't see any problems or concerns myself as a voice talent. We just need to educate ourselves and really ask those hard questions and make sure that it is something that we're comfortable with and then move forward. Passive income is never a bad thing. Anne: Well, I agree with you there. [laughs] Zohaib, where do you see the future of AI and the future of Resemble in five years? Zohaib: Yeah, so Tanja kind of mentioned all sorts of interesting concepts that we might see in the future or we're already seeing now. So that's, that's one thing. So there are a lot of interesting things that we can do. And honestly, I'm in the camp that I don't quite know exactly what the answer to that question is. I can make really good predictions, but a lot more people are a lot more creative than I am. So they will figure out where to use this. So already we have some interesting use cases within EdTech and within banks to like old companies that you would think would never do anything innovative, but since they have the solution now, they're able to be a bit more flexible with what they can do. But in the long run, I think a good parallel to look at is, if you look at how movies were made and especially like visuals, so you went from this world of actors to like stunt actors perhaps, or from stunt actors, actors, whatever you had for a long time, we did that little dance. We went to like a green screen -- Anne: Yeah. Zohaib: -- you know, which is more recent. Then we had like technology like mocap that came out where you just wear a suit, and then you kind of just do the action and maybe the face stays still. And that's, that's the rest. There's a, there's a movie on Netflix called The Irishman -- Anne: Yup. Zohaib: -- which they take, I believe, Robert DeNiro and make him older. And those are like all things that, you know, that's a very good path to look at when you're looking at audio, because we're lucky in audio that we're kind of the last people that people think about. It's like kind like the addition at the very end, like, oh no, we needed someone to voice over. And what I think we want to do is kind of become like the first thought that people have is like, oh, this is a core part of the -- Anne: Sure. Zohaib: -- entire movie or the entire product. Anne: Absolutely. Zohaib: And you have a lot of these scenarios where you have these gorgeous looking movies that get like really high budgets, and the, the dialogue and the VO is just so underwhelming because it's such a last minute effort to piece that together. And sometimes the writing and the dialogue doesn't kind of go hand in hand, or sometimes there's just not enough time to improvise as voiceover talent. And we kind of want to change the way that works. And I think like in five years or so, you will start seeing a lot more experiences that will involve AI voices. And I'm not sure if those experiences are what we see today. Perhaps you'll start seeing dubs of movies and films where the original voiceover talent is -- that type of voice is kept and the character is still kept, but they're now speaking Mandarin or Japanese or Spanish without worrying that, hey, it sounds like a different character that can be jarring to the entire experience. Anne: Right, right. Zohaib: So yeah, there's, I think there are plenty of things, but if you just take a peek at like the computer vision and the visual world, there's like a pretty clear path or some sort of a vague path where AI voices can go as well. Anne: Well, you guys have been so gracious. Thank you, both, so very much for joining me today and having such an interesting conversation. Where can my listeners go to find out more about you guys? Zohaib: Yeah. You can go to www.resemble.ai. We're also Resemble.AI on practically every social media thing out there. You can email any of us. You could get all of us if you email team@resemble.ai. They'll send an email to everybody. Yeah. You can find out more. Anne: Well, thank you, guys, again so very much. It's been a pleasure having you here. I am going to give a great, big shout-out to my sponsor, ipDTL. You two can connect like BOSSes and find out more at ipdtl.com. You guys, have an amazing week, and we'll see you next week. Bye! Zohaib: Bye. Thanks for having us. Tanja: Bye, thank you so much for having us. >> Join us next week for another edition of VO BOSS with your host Anne Ganguzza. And take your business to the next level. Sign up for our mailing list at voBOSS.com and receive exclusive content, industry revolutionizing tips and strategies, and new ways to rock your business like a BOSS. Redistribution with permission. Coast to Coast connectivity via ipDTL. CONNECT + FOLLOW Twitter @vo_boss Instagram @vo_boss Facebook /VO BOSS YouTube VO BOSS SUBSCRIBE YouTube https://www.youtube.com/c/VOBOSS Spotify https://rb.gy/meopx8 Apple Podcasts https://rb.gy/chdamm Amazon Music https://rb.gy/luw83x Google Podcasts https://rb.gy/koc3ls Stitcher https://rb.gy/hslkgj TuneIn http://tun.in/piZHU iHeart Radio https://rb.gy/uixh90 Pandora https://rb.gy/knoz7c SPONSORED BY ipDTL: https://ipdtl.com Anne Ganguzza Voice Productions: https://anneganguzza.com

Tonight with David Ault performing Live for the No Sleep Podcast, Jack flies solo and introduces the show that- began it all- “Breathing Space” audio produced by Umberto Lenzi. Check out the alternate version produced by Peter O'Malley at evicuna.com! Extras: Phone call from Matt Leong and promo from Audioblivious Productions. Learn more about your ad choices. Visit megaphone.fm/adchoices

Tonight with David Ault performing Live for the No Sleep Podcast, Jack flies solo and introduces the show that- began it all- “Breathing Space” audio produced by Umberto Lenzi. Check out the alternate version produced by Peter O’Malley at evicuna.com! Extras: Phone call from Matt Leong and promo from Audioblivious Productions. Learn more about your ad choices. Visit megaphone.fm/adchoices

SAVE THE LAST WORD FOR ME #1: Chatting with the Audioblivious Gang (8/2016) Here's a gem from the archives, the inaugural episode of a discussion podcast that I had high hopes for, but which only went for 8 episodes or so. But the discussions are fun and if you're interested in voice actors' lives, we delve pretty deep in these interviews.  Unfortunately, "Audioblivious" doesn't exist anymore, but I have grown close to several of the people in this episode: Austin Beach and Sarah Golding, for two, who since this interview have made great strides in audio drama, so you should look 'em up and see what they're doing these days. I'll be posting these re-runs monthly -- they originally launched on a different platform that I never use anymore, so you probably never heard of this show. Still, I hope you'll listen and enjoy.

The story of the murder of Kate McDonnell, an Irish-American girl, in Pittsburgh, Pennsylvania in 1884, and her inexplicable deathbed effort to hide the identity of her killer. Also: Police Blotter & Court News,                                  Cleveland, Ohio, January 5, 1864. Note: This is our most unusual Police Blotter segment,  featuring an all-star cast of podcasters.   HISTORICAL REFERENCES.   What Katie Wouldn't Tell: Newspapers - The Pittsburgh Dispatch, February 28, 1884. The Cleveland Plain Dealer, February 29, 1884.   Police Blotter & Court News: Newspapers - The Cleveland Plain Dealer, January 5, 1864.   GUEST VOICES.   What Katie Wouldn’t Tell:   Reporter, Pittsburgh Dispatch – Sinead Mc, the host of the Mens Rea podcast. Police Blotter & Court News: Reporter, Cleveland Plain Dealer – Nina Innsted, the host of the Already Gone podcast. Municipal Judge – Robin Warder, host of The Trail Went Cold podcast. Prosecutor – Sam Kulper, host and producer of the Breakers podcast. Defendant’s Attorney – Pete Lutz of the Pulp Pourri podcast, the Jake Dimes podcast, the Range Detective podcast; and the Save the Last Word for Me podcast. Mr. Jones (Witness) – Barney Black, co-host of the Bloody Murder podcast. Mr. Smasher (Witness) - Steve Blizten, host of the Drift & Ramble podcast. Mr. Swipes (Defendant) – Austin Beach, host & producer of the Audioblivious Productions podcast. Police Blotter Intro Title Voice - Larry Oliver – free-lance voice artist & commercial narrator; Twitter: @olivervoiceover MISCELLANEOUS: Outro Aphorism (voice) – Kit Caren, co-host of the Forgotten News Podcast and Whispered True Stories. Host Intro – Nina Innsted, the host of the Already Gone podcast. Outro Aphorism - Source: Collins, Susan, Mockingjay (Hunger Games series, book #3) (2010), at Page 23. MUSIC: Kevin MacLeod of Incompetech.com – Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses / by 3.0 At Rest The Curtain Rises I Knew A Guy Freesound.org Ukelele strums SOUND EFECTS: Freesound.org: Applause Clapping Typewriter with Bell Gavel_-_3_Strikes_with_room_reverb  gavel-double Flaw-and-Disorder Wind Chimes   HEY!  CONTACT US:   E-Mail:  ForgottenNewsPodcast@gmail.com Facebook page: https://www.facebook.com/Forgotten-News-Podcast Twitter: @NewsForgotten @KitCaren @WhisperedTrue (kit caren)   HEY! CAN YOU HELP US?!   PLEASE HELP THE FORGOTTEN NEWS PODCAST TO COVER THE COSTS OF RESEARCH, INVESTIGATION, AUDIO EQUIPMENT. AND PODCAST HOSTING FEES.   ANY DONATION - EVEN A DOLLAR - WOULD REALLY HELP US OUT! Just click on this PayPal link, to contribute. PAYPAL Thank You! Thank You! Thank You!   T-SHIRTS, MUGS, AND OTHER SWAG - NOW AVAILABLE! Just click here!

The very unusual story of the marriage of a 10 year old girl with a 21 year old man, in January 1940, in Athens County, Ohio - including the decades of aftermath. This was an event which made headlines across the U.S., at the time.  The second part of episode will feature the latest installment of our popular segment Police Blotter and Court News, with short tales of small time crime from 1868. HISTORICAL REFERENCES:  Child Bride: Three Get Ohio Terms in Child Marriage, Cleveland Plain Dealer, (Cleveland, Ohio), January 7, 1940. Child, Spouse: Jailed, Associated Press (news report),January 7, 1940. Bride Goes To County Home, The Lima News (Lima, Oh.), January 8, 1940. Child, Spouse Pledge Eternal Love, The Arizona Republic(Phoenix, Az.), January 8, 1940. Child Bride, 10, Has Long Wait, The Portsmouth Times (Portsmouth, Oh.), January 8, 1940. Rev. Charles William Schall Sr., Find A Grave - memorial page (featuring photos of grave of Charles and Mary Alice, and miscellaneous family details). Mary Alice Schall (nee: Limberg/Hudnell), Fide A Grave - memorial page (photo of adult Mary Alice, gravestone and miscellaneous family details). Child Bride (motion picture), Stern Fisher Studios, 1938. Full movie is available on YouTube. Wherever You May Be (episode), X Minus One (radio program), June 26, 1956. Full audio of the episode is available on YouTube.  The script is also online. Police Blotter and Court News: Cleveland Plain Dealer, June 3, 1868. Cleveland Plain Dealer, September 7, 1861.   GUEST VOICES: Child Bride: Guest Co-Host - Allyson Koplin of the Dumb & Busted podcast. Reporter / Narrator (news article) - Dr. Neil Davis, listener. Mary Alice Schall / Limberg – Cynthia Woods, listener. Mrs. Lydia Hudnall - Amy Cappella Leitch, listener and Friend of the podcast; also, co-administrator of Podcasts We Listen To facebook group. Police Blotter and Court News: Narrator, Police Blotter & Court News - Jeff Richardson of Everything Is Awesome Podcast and the Shattered Worlds RPG Podcast. Police Blotter Intro Title Voice - Valerie Whitaker, listener. Judge / Call to Order - John Doe, free lance actor & voice performer. Judge  / Adjournment - Austin Beach of Audioblivious Productions. Outro Aphorism (voice) –Josie Necrofuhra, free-lance voice over artist. Host Intro – Nina Innsted , the host of the Already Gone podcast. MUSIC: Kevin MacLeod of Incompetech.com – Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses / by 3.0 At Rest I Knew A Guy The Curtain Rises Freesound.org: Sad_ending_piano SOUND EFFECTS: Freesound.org:   Applause Clapping Flaw & Disorder Gavel_-_3_Strikes_with_room_reverb OUTRO APHORISM: Source:  Chesterton, G.K., A Short History of England (1917), Chapter III, shortened quote, from original sentence: "It is a paradox that the past is always present: Yet, it is not what was ..."    T-SHIRTS, MUGS, AND OTHER SWAG - NOW AVAILABLE! Just click here!   HEY!  CONTACT US:   E-Mail:  ForgottenNewsPodcast@gmail.com Facebook page: https://www.facebook.com/Forgotten-News-Podcast Twitter: @NewsForgotten @KitCaren   HEY! CAN YOU HELP US?!   PLEASE HELP THE FORGOTTEN NEWS PODCAST TO COVER THE COSTS OF RESEARCH, INVESTIGATION, AUDIO EQUIPMENT. AND PODCAST HOSTING FEES.   ANY DONATION - EVEN A DOLLAR - WOULD REALLY HELP US OUT! Just click on this PayPal link, to contribute. PAYPAL Thank You! Thank You! Thank You!

rdYou are going to have to listen to this episode, if you want to find out what connects Jack the Ripper, Shakespeare, Winnie the Pooh - and New York City in 1891.      HISTORICAL REFERENCES:   Shakespeare / Jack The Ripper Mystery: Gardner, Charles W., The Doctor and The Devil (1894). Willemse, Cornelius, Behind the Green Lights (1931). Sante, Luc, Low Life (1990). Begg, Paul, The Forgotten Victims (2014). Tully, Jim, Prisoner 1167: The Madman Who Was Jack the Ripper. Sugden, Philip The Complete History of Jack the Ripper. Graham, Heather, Sacred Evil (2011) Shakespeare, William, The Merchant of Venice (1596). New York Times, April 25, 1891. New York Tribune, October 2, 1888. Brooklyn Daily Eagle, April 24, 1891. Cleveland Plain Dealer, April 25, 1891. Bismarck Daily Tribune – October 11, 1888. Boston Daily Globe on November 13, 1888. Police Blotter & Court News: Cleveland Plain Dealer, June 1, 1888. GUEST VOICES Jack The Ripper, Shakespeare and Winnie the Pooh: Carrie Brown / Shakespeare – Emma, co-host of S’laughter Podcast. NYC Police Inspector Thomas Byrne - Eoghan Maguire - Buddah0047 (twitter) and (mixer). Charles W. Gardner, Private Eye - – Sam Kulper of the Breakers podcast. NYC Police Recruit Instructor - Zane Sexton – from Shadowy Slicker podcast. Police Blotter & Court News: Police Blotter Narrator - Penny – of Murder She Spoke Podcast. Police Blotter Title Intro (voice) - Dennis Serra, host of Evil Podcast. Judge / Call to Order - John Doe, free lance actor and voice performer. Jack Kilroy (defendant) - Austin Beach of Audioblivious Productions. Municipal Judge (#1) - Scott Philips of Audioblivious Productions. Municipal Judge (#2) - Pete Lutz from the Pulp Pourri podcast, the Jake Dimes podcast, the Range Detective podcast; and the Save the Last Word for Me podcast. Outro Aphorism (voice) – Kit Caren, co-host of the Forgotten News Podcast. Host Intro – Nina Innsted, the host of the Already Gone podcast. MUSIC: Kevin MacLeod of Incompetech.com – Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses / by 3.0 At Rest I Knew A Guy SOUND EFFECTS: Freesound.org Gothic Music Ghost Piano Applause People Talking Gavel_-_3_Strikes_with_room_reverb Rimshot Tinkerbell Transition_Music OUTRO APHORISM: Source (paraphrase) – Chesterton, G.K., The Blue Cross (1910), reprinted in the Innocence of Father Brown, short story collection. T-SHIRTS, MUGS, AND OTHER SWAG - NOW AVAILABLE! Just click here!   HEY!  CONTACT US:   E-Mail:  ForgottenNewsPodcast@gmail.com Facebook page: https://www.facebook.com/Forgotten-News-Podcast Twitter: @NewsForgotten @KitCaren   HEY! CAN YOU HELP US?!   PLEASE HELP THE FORGOTTEN NEWS PODCAST TO COVER THE COSTS OF RESEARCH, INVESTIGATION, AUDIO EQUIPMENT. AND PODCAST HOSTING FEES.   ANY DONATION - EVEN A DOLLAR - WOULD REALLY HELP US OUT! Just click on this PayPal link, to contribute. PAYPAL Thank You! Thank You! Thank You!

In July 1886, Steve Brodie, a resident of the Bowery neighborhood of New York City, made a bet to jump off the Brooklyn Bridge, into the river below, in exchange for the money to open a saloon. This was a 135 foot jump. He became legendary for the leap. But, did it actually happen?  Listen and decide what you think!  Also, on this episode, we present a short story from 1902 - Maude and Percy Visit the Bowery - which gives a humorous (?) glimpse into what happens when a naïve upper middle class young couple decide to experience the excitement and terrors of the Bowery. Although the story is fiction, it contains many mentions of real places and people of the time period, including Steve Brodie (!) and McGurk’s saloon, which was depicted in detail on a recent episode of our podcast.  And, for the enjoyment of our listeners, the story of Maud and Percy is presented here, as an audio play.    HISTORICAL REFERENCES   Steve Brodie: New York Times, July 24, 1886. New York Times, February 7, 1901. New York Post, November 5, 2007. The Day, Associated Press (AP), July 24, 1986. Sante, Luc, Low Life (1990), pp. 122-25. Haw, Richard, The Brooklyn Bridge: A Cultural History (2006), pp. 145-150.  McCullough, David, The Great Bridge: The Epic Story of the Building of the Brooklyn Bridge (2012), p. 448. Freeman, Morton, A New Dictionary of Eponyms (1997), pp. 33. Steve Brodie: Find-a-Grave. Bridget Brodie (wife): Find-a-Grave.   Maud and Percy: Jarrold, Earnest (a.k.a. “Mickey Finn”), Maud and Percy Visit the Bowery, Cleveland Plain Dealer, January 11, 1903 (reprint from New York Sun). Earnest Jerrold – Wikipedia biography. Earnest Jerrold – “Mickey Finn” is Dead (obituary), New York Times, March 21, 1912.    GUEST VOICES. Steve Brodie: Steve Brodie - Andy Wang, the host of the Inspired Money podcast.  Accomplice of Steve Brodie – Sam Kulper of the Breakers podcast. Bowery Bus Tour Guide (Unidentified) - Pete Lutz from the Pulp Pourri podcast, the Jake Dimes podcast, the Range Detective podcast; and the Save the Last Word for Me podcast. Maud & Percy: Maud – Sara Stapleton of the Karen & Ellen Letters podcast. Percy – Kevin Gallagher, the host of the Everything is Awesome podcast. NYC Police officer (Unidentified) – Barney Black of Bloody Murder podcast. Intoxicated Man (Unidentified) – Austin Beach of Audioblivious Productions. Waiter (Unidentified) – Drew Profit of Audioblivious Productions. Man on Street & Witness at McGurk’s (Unidentified) - Scott Phillips of Audioblivious Productions. Sadie - Taylor Sadowski, listener and fan. Sadie’s Friend (Unidentified) - Karen Wickiam, the host of Stat! Shocking Traumas and Treatments podcast. Sailor (Unidentified) - Jeremy Hennessy of Audioblivious Productions. Pick-Pocket Girl / Lady of the Evening (Unidentified) - Danielle Ries of Audioblivious Productions. Narrator (story) - Sam Kulper of the Breakers podcast. Miscellaneous: Narrator, the story of Steve Brodie & Outro Aphorism (voice) – Kit Caren, co-host of the Forgotten News Podcast. Host Intro – Nina Innsted, the host of the Already Gone podcast.     MUSIC   Kevin MacLeod of Incompetech.com – Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses / by 3.0 At Rest I Knew A Guy Confortable Mystery   Freesound: Piano_Ending_Tune organ grinder chinese umbrella rag demo   Andy Wang: My Pearl is a Bowery Girl (chorus) The Bowery (chorus)   ABRF: Short Ragtime Piano Thingy I Made   StarSheep4: Swingin' The Alphabet - Childrens' Song Arrangement                (drum intro segment only).   SOUND EFFECTS   Freesound: Male_crying_and_weeping WestVillageNYC crowd Horror_shrieks_woman crowd-mob-riot-noise (voices only) Splash Medieval_Fanfare_tweaked Clapping Cheering Applause   OUTRO APHORISM:  Source: Chesterton, G.K., Heretics (1905),                                      in chapter “Omar and the Sacred Vine”, p. 108.   T-SHIRTS

The small town of New Richmond, Ohio, was the location of the lynchings of a violent serial rapist and murderer in 1876, and the killer of a beloved elderly man in 1895. This episode tells the tragic and terrifying chain of events which led to these incidents.  HISTORICAL REFERENCES:   Crowell, Cheryl, New Richmond (2012), p. 9   George Mangrum incident: Cincinnati Enquirer, July 10 & 13, 1876. Cincinnati Gazette, July 12, 1876. Cincinnati Times, July 12, 1876. Detroit Free Press, July 13, 1876. Chicago Inter-Ocean, July 13, 1876. Bethel [Ohio]Journal, July 30, 2015. Phillips, Christopher, The Rivers Ran Backward: The Civil War and the Remaking of the American Middle Border (2016), Chapter 7 (pp. 284-290). Noah Anderson incident: Cleveland Plain Dealer, August 22, 1895. Columbus Dispatch, August 22, 1895. New York Times, August 22, 1895. GUEST VOICES: Guest Co-Host – Jozi Bently of the Moo Point: A Friends Podcast and the My Dream Podcast. Reporter, Cleveland Plain Dealer - Jimmy Murray of the Jimmy’s Seen Some Stuff Podcast. Reporter, Cincinnati Gazette, Scott Phillips of Audioblivious Productions. Reporter, Cincinnati Gazette - Paul Miscavage of Minefire Podcast. Lynch Mob leader – James Jerome of Mysterious Radio Podcast. Lynch Mob Leader - Phillip Primeau of Semi-Intellectual Musings Podcast. Lynch Mob leader - Karrington Martin of the Real Dudes Podcast. Lynch Mob Leader - Marcus James of the Whispers of the Paranormal Podcast. Reporter, Cincinnati Enquirer - Paul Csomo of the Varmints! podcast. Sister of Mary Bennett & Outro Aphorism – Kit Caren of the Forgotten News Podcast. Amanda Abbott - Taylor Sadowski, listener and fan. Reporter, Cincinnati Gazette - Allan Rudy, listener and fan. Lynch Mob leader - Jake Hawkins, a listener and fan. Host Intro – Nina Innsted of Already Gone Podcast.   MUSIC: Kevin MacLeod of Incompetech.com – Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses / by 3.0   At Rest I Knew A Guy Confortable Mystery   SOUND EFFECTS: Freesound.org tinkerbell - short introduction   OUTRO APHORISM: Source: Chesterton, G.K., The Sign of the Broken Sword (1911), reprinted in The Innocence of Father Brown (1911) and The Delphi Collected Works of G. K. Chesterton –Illustrated (2015).   CONTACT US:   E-Mail:  ForgottenNewsPodcast@gmail.com Facebook page: https://www.facebook.com/Forgotten-News-Podcast Twitter: @NewsForgotten @KitCaren   HEY! CAN YOU HELP US?!   PLEASE HELP THE FORGOTTEN NEWS PODCAST TO COVER THE COSTS OF RESEARCH, INVESTIGATION, AUDIO EQUIPMENT. AND PODCAST HOSTING FEES.   ANY DONATION - EVEN A DOLLAR - WOULD REALLY HELP US OUT!   Just click on this PayPal link, to contribute. PAYPAL Thank You! Thank You! Thank You!

Since 2013, World Audio Drama Day -- October 30th -- has been calling our attention to the existence, and the creation, and the preservation of audio drama. Not only the old stuff your grandparents talked about: new programs as well, that are being created every day by modern-day producers. Some are brilliant; others are barely listenable. But all of them contribute to the genre, and all are worthy of some kind of recognition. That's why W.A.D.D. was created. It's no coincidence that it's tied in with the anniversary of Orson Welles's "War of the Worlds" broadcast -- and I hope, if you're here and reading this, that you already know the significance of Orson Welles in my life.  But enough about the Day. Here's our offering for W.A.D.D. 2017, a live recording of my adaptation of Robert Bloch's short story, "Return to the Sabbath", performed at Pulpfest '17 in Pittsburgh. We hope you enjoy it. Our show is significant in that it brought together three independent audio drama producers: Austin Beach, of Audioblivious Productions, who with his team creates the "Wynabego Warrior" comedy series; Ed Champion, whose seminal "Gray Area" series is making waves; and myself. All of us met in person for the first time in that location, and we hit it off like gangbusters, and performed pretty well together, too, I think. Also present were Cora Devoir, a Pittsburgh local, who volunteered to join us in the madness, and my sons Derek (who drove over from Norfolk, VA), and Keane, who flew with me. To have my boys involved was a very special treat for me indeed. CAST: ANNOUNCER/VITO/REPORTER: Derek Lutz MILO MAYO: Pete Lutz LESLIE KINCAID/SYLVIA CHANNING: Cora Devoir of Arcade Comedy Theater EDWARD RELCH/KARL JORLA: Edward Champion of Gray Area Productions STUDIO BOSS/BLESKIND: Austin Beach of Audioblivious Productions MUSIC COMPOSED & PERFORMED BY Dr. Ross Bernhardt with some passages by Kevin MacLeod of incompetech dot com SFX & MUSIC CUES: Keane Lutz POST-PRODUCTION SOUND TWEAKING BY: Steve Blizin, Ryan Baldwin, Daniel Burnett (thanks, guys!) ADDITIONAL POST-PRODUCTION FINE-TUNING BY: Pete Lutz

The guys from Audioblivious Productions go on an epic road trip to the Superstition Mountains to look for gold and the Lost Dutchman Mine. Native American folklore says this area could be cursed and may even be the gateway to the underworld. It's just a legend. What could go wrong?

A NSFW satirical parody news broadcast in a world where all video game characters exist in the same reality. Episode 1 Monday Edition, written by audioblivious productions, produced by Austin Beach, Starring Jeremy Hennessy as Blip 8bit, Sarah Golding as Pixel Flowers, Mike Janson as Skip Laggy, all additional voices by Audioblivious Productions. Cover art by Kessi Riliniki, Music by Dayn Leonardson of Koach Studios Sfx by Austin Beach and Freesound.org 

This week, Don Parker ventures up to Lake Clarity to see if there's any merit to the ghost stories surrounding the abandoned summer camp on the lake's shores. While Don has never really believed in ghosts, what he finds at Camp Clarity changes his mind.  Lake Clarity is proud to announce that we have joined the FateCrafters Studio Network! And this week we wanted to give a warm shout out to Audioblivious Productions, and their newest episode, Shadow of Lavenhan. It's awesome.    dt xks tdjr qbdp hippcyi akjqcaq sp cjr ydui sp qbi tkggkvdjy jchi ekjcqbcj rsucg ________   Enjoy this podcast? Tell a friend! Or leave a review wherever you listen to podcasts. Wanna know more about the Lake Clarity area? Find us on social media!   Lake Clarity Tumblr Facebook Twitter Instagram LakeClarity.com FateCrafters Studios Facebook Twitter All of our music is created by Its Teeth! If you like good music, check out his website, or find him on Spotify or Bandcamp!  

I can hear you cry, "WHAT!? Two new NADIs in ONE MONTH? Pete, what's the matter with you?"  Well, sometimes that's what happens, and now, with the launch of NADI #5, we're only one month behind instead of two.  With this episode we announce our membership in the new "Fatecrafters" Network of shows. Listen for the special trailer between 1 and 2 for a new show by our friends and co-members at Audioblivious Productions! THIS PRODUCTION IS RATED PG for mild adult language. Parental Guidance is suggested. 1. "MR. HANDY-DANDY, THE D.I.Y. GUY", with Bralynn Bell as the host and Chuck Wilson as Rock Virgo, the world-famous Mr. H-D, it's a spoof on Home Improvement shows. 2. "JAKE DIMES, RANGE DETECTIVE". In chapter 5, "Hog-Tied", our hero unwittingly finds himself face-to-face with the leader of the payroll robbing ring, and the lovely Chris Greenslate receives a puzzling note from Jake. CAST: ANNOUNCERS: Glenn Higbee and Darren Rockhold JAKE DIMES: Dana Gonsalves BIRCH HICKAM: Tommy Gragg BRAX: Bill Hollweg CHRIS GREENSLATE: Kristen DiMercurio LUPE: Debby Leal-Ramirez 3. PULP-POURRI THEATRE S4 E5: "HANDS OF THE HIGH PRIEST" Adapted from a WEIRD TALES story by M. G. Moretti, we learn what happens to the members of an archaeological expedition that steals the "eye" of a stone idol. A creepy chiller that's not for the timid soul! CAST: GUEST VOICE: Jon Grilz of the "Small Town Horror" podcast www.smalltownhorrorpodcast.com ANNOUNCER: Lisa Ayala WARDEN: Derek Lutz GUARD: Micah Blain McKENZIE: Pete Lutz JOHNSON: Ross Bernhardt HENDERSON: Christian Ferris RADIO VOICE: Darren Rockhold SPECIAL MUSIC STINGS composed for Pulp-Pourri Theatre by Tom Parsons http://www.soundcloud.com/rory-parsons

Tonight with David Ault performing Live for the No Sleep Podcast, Jack flies solo and introduces the show that- began it all- "Breathing Space" audio produced by Umberto Lenzi. Check out the alternate version produced by Peter O'Malley at evicuna.com! Extras: Phone call from Matt Leong and promo from Audioblivious Productions. 

This week, we’re playing Wynabego Warrior: The Tale of John Waynnabe (eagle screech), the wacky western epic by Audioblivious Productions. John is a mysterious drifter who drives around the West(ern part of Kentucky) in a souped-up RV, righting wrongs. It’s a rollicking good time! Later on, I chat with Austin, who co-founded Audioblivious Productions and plays John in the show.

Judge Roy Bean was a cantankerous old coot and the "Law West Of The Pecos" but in his younger days, he was quite a ladies man with a history that's as wild as the old west. Find out how he came to be the law west of the Pecos in this very special episode featuring the cast of the Audioblivious Productions.

What do you think the truth smells like? We've made it a year. With plenty of crazy crazy things to happen. A Whale of a Tale was written by Dan Manning of Ars Paradoxica, Featuring the voices of Dan Manning, and Mischa Stanton from Ars Paradoxica, Austin Beach from Audioblivious Productions, and Alexander Danner and Jeff Van Dreason of Greater Boston. Jim Robbie and the Wanderers is a bi-monthly radio drama podcast. Tango and Charlie are two female musicians travelling a surreal post-apocalyptic america with their robot companion Jim Robbie, entertaining and sticking their noses where they don’t belong. The United States that the Wanderers inhabit is full of all sorts of strange and wonderful surprises, from zombies, cactus people, underwater kingdoms to vampires, messed up physics and mad scientists. A script for those who want to follow along, or who are hard of hearing is found on our website at jimrobbieandthewanderers.com

If you’d really like to start making your own Audio Drama, but you have 101 reasons why you can’t just yet, then this episode is for you.We’ve got two guest segments. The first is from Brian Mock who has literally just started his own Audio Drama production journey. Brian has started a zombie apocalypse show Z-Poc Nation, and he’s encouraging you to get over the many fears and doubts in your mind as you ponder starting your own show. Brian’s message is simple, getting set up doesn’t need to be difficult, or expensive.The second is from creator of The Fall Audio Drama and man of many voices Dayn Leonardson. In Dayn’s piece he’s going to explain how he voiced multiple characters in his show, and offer you a few tips and tricks for doing the same in yours.We also have a splendid trailer for Audio Epic’s Witch Hunter Chronicles. And creator Domien De Groot has a special offer for Audio Drama Production Podcast listeners. You can get this 13+ hour epic for only $10 by using the coupon code ADPP when you check out on Bandcamp. Thanks Domien!This week’s intro was by Audioblivious Productions.

Are you still waiting to make the leap and start creating your own shows? How long does it take to become an Audio Drama producer?We’ve seen a few new faces emerge in the world of Audio Drama Production in 2015. One such new face is Austin Beach of Audioblivious Productions. Austin and the guys recently released their very first show Natural Selection, and they have big plans for the future.If you’re yet to get started creating your own Audio Dramas, this is a great example of how you just need to make that leap. Less than a year ago Austin had never opened a piece of audio editing software. DAW-Matt-LeongTwo of the big takeaways here are that you don’t need to try and learn everything over night, and that you don’t need to release everything you mix. Practice and experimentation is key. Yes it will take time, along with a lot of trial and error, but you can be an Audio Drama producer by this time next year.There will undoubtedly be even more new producers emerging in the medium in 2016 than there were this year. Will you be one of them?Also on this weeks show, a Christmas message from Matt Leong (who also drew us an Audio Drama rabbit named DAW!), the induction of new Knight of the Pledge Seth Williams, and we’ve released an Audio Drama called Kraken Mare.