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Join hosts Dee Kei and Lu on this episode of the Mixing Music Podcast as they dive into the timeless mantra: "Preparation Meets Opportunity." Kicking off with hilarious travel stories—from grueling flights to Russia with layovers in Turkey to epic childhood road trips—they quickly pivot to real-talk advice for music producers, engineers, and artists.Drawing from personal anecdotes (without naming names), they break down common pitfalls in recording sessions, like unprepared templates, poor communication, and failing to control a chaotic room. Learn practical tips for smooth workflows: practice your DAW templates, prioritize artist needs, and think "for the art" to capture those lightning-in-a-bottle moments.The conversation expands to mixing and mastering—handling client notes without ego, organizing projects with tools like Trello, and daily communication to avoid "falling through the cracks." For live sound pros, they cover feedback prevention, rider communication, and making quick decisions with no room for revisions.Things get philosophical toward the end, exploring branding, professionalism, humility, and clearing your conscience to build trust and reliability in the industry. Whether you're battling self-doubt, seeking validation, or just wanting to stand out, Dee Kei and Lu emphasize dignity, honor, and purposeful action to turn preparation into lasting success.Perfect for aspiring mixers, producers, and live engineers—tune in for actionable insights, laughs, and motivation to level up your music career. Subscribe for more episodes on music production tips and industry stories.Our Sponsors:* Check out Aeropress and use my code MMPOD for a great deal: https://aeropress.comSupport this podcast at — https://redcircle.com/mixing-music-music-production-audio-engineering-and-music/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In today's episode, I'm pretty much wrapping up the track I started last week for an episode that my brother and I recorded a few weeks ago based on a setting in his role playing game, Mappa Mundi.  I'm using the same DAW (digital audio workspace) I started learning how to use last month, the free web-based program Bandlab. Part of the reason for the past month and a half of making tracks this way was to warm up to the idea of making music entirely digitally (since that is what most people in the niche I probably most closely align with musically - synthwave - use).  I must confess as a nonjoiner, I tend to ignore, be oblivious to, and occasionally even take perverse pleasure in being the contrarian.  So I was using a more analog approach until now, mostly because it just worked.   But now I can see the benefits.  Yes, there are downsides (it's basically all done in front of a computer), but I think it's a worthwhile investment to learn this program and then progress to some of the more commonly used DAWs that most music producers use.  They are just tools, after all, and at the end of the day, any tool is just that.What I still don't know if using a DAW actually saved me any time.  I actually don't think so.  That might because of the ongoing learning curve.  But it might also be due to the capability of fiddling more with things on a more microscopic level, whereas the analog world involved more guesswork and the necessity of being okay with imperfection, even with the finished product (as anyone who has heard the pops and hisses of records and cassettes can attest to).  With things going digital, I can see the capacity to fiddle endlessly and never fully finish anything.  So we will have to see.This episode also made a little mention of Jane Goodall, one of my heroes, who passed away recently.  I brought it up since the premise of the track is that you're a naturalist/explorer observing a supernatural phenomenon in the world of the game (cue pixelated depiction below), but though she gave a lot to the world due to her work and her passing marks the end of an era in some ways, I actually don't she'd want people to be sad and pessimistic at her passing.  She championed for people to have hope (since 2022 she did a podcast she called her Hopecast, after all).  She championed for local change.  She championed for us to remember that one does not need to go to the ends of the Earth to find adventure or do good - good starts right in front of you with your own life, your own family, your own community - a great thing, I think, to keep in mind in uncertain times.Thanks for listening!∞∞∞∞∞∞∞Once Upon a Dream, the second Thirteenth Hour soundtrack, is now out in digital form and on CD!   It is out on most major streaming services such as Bandcamp, Spotify, and YouTube Music.  (If you have no preference, I recommend Bandcamp since there is a bonus track there and you will eventually be able to find tapes and special editions of the album there as well.)  The CDs are out now!-Check out the pixelart music videos that are out so far from the album:-->Logan's Sunrise Workout: www.youtube.com/watch?v=K7SM1RgsLiM-->Forward: www.youtube.com/watch?v=Z9VgILr1TDc-->Nightsky Stargazing: www.youtube.com/watch?v=2S0p3jKRTBo-->Aurora's Rainy Day Mix: https://youtu.be/zwqPmypBysk∞∞∞∞∞∞∞∞ Signup for the mailing list for a free special edition podcast, a demo copy of The Thirteenth Hour, and access to retro 80s soundtrack!Like what you see or hear? Consider supporting the show over at Thirteenth Hour Arts on Patreon or adding to my virtual tip jar over at Ko-fi. https://13thhr.wordpress.com/2025/10/06/the-thirteenth-hour-podcast-530-musical-interlude-finishing-ice-giant-part-2-2/

Show Notes for the Billy Newman Photo Podcast View links at wnp.app Explore outdoor photography, technical media projects, stories from backcountry expeditions, and insights from the creative process with Billy Newman—photographer, author, and podcast producer. Connect, learn, and follow along. Quick Links: Portfolio: billynewmanphoto.com/photographs Studio: wphoto.co Posts: billynewmanphoto.com/posts Photo Books: billynewmanphoto.com/books Amazon Author: amazon.com/author/billynewman Podcast Episodes: Billy Newman Photo Podcast: Listen here Relax with Rain: Listen here Night Sky Podcast: Listen here Connect With Billy Newman: Email: billy@billynewmanphoto.com Instagram: @billynewman LinkedIn: billynewmanphoto X (Twitter): @billynewman Recommended Books: Landscape Portfolio (PDF): Download Black and White Photography (PDF): Download Working With Film (PDF): Download Western Overland Excursion (PDF): Download Support the Podcast & Photography Projects: Make a sustaining financial donation: Visit Support Page Podcast Forward: The Billy Newman Photo Podcast blends real-world outdoor adventure, technical insight, and practical photography tips. [Music] Hello and thank you very much for listening to this episode of the Billy Newman Photo Podcast. I’m talking about a photograph that I made on the Oregon coast today doing Blue Hour probably. I think it was after the sun had set. It was sort of like the golden hour to talk about right as the hour as the sun is setting into sunset. The blue hour they also talk about as after the sun goes down there’s a lot of those blue kind of purple tones that show up in the atmosphere or you know in the clouds and in the water. There’s just a lot more of that tone as the sun drops and it’s a spectrum shift from what we see in the daylight to what we see at night time. But I think this was a photograph taken on the Oregon coast. I think your band-in if I’m right. And I really liked this photo. It just had it wasn’t really a big structure in the wave or a big curl or anything like that. That would be that’d be really striking but I really appreciate this photograph as kind of a close-up look at I just sort of the dreamy feeling of being on the coast. But it was definitely a photograph that I liked a lot and I like that line in the skies as it cuts across as you can kind of see at the top there there’s a bit of like a cloud break that goes down and that’s where we get a lot of that light from the sky in the background that kind of cuts underneath that big brim of cloud that goes over the top of the snet that causes a lot of bounce from the ground back up to the sky and then back down and you get a cooler or you get a defused sort of soft light in that effect which I think is really cool. You can see more of my work at billyneuminphoto.com. You can check out some of my photo books on Amazon. I think you can look up billyneumin under the authors section there and see some of the photo books on film, on the desert, on surrealism, on camping. Some cool stuff over there. Finished up that camping trip I was doing up the mountain creek there in the cascades a couple days ago. That was that like Wednesday. I think it was like maybe like Tuesday, Tuesday night to Wednesday morning. I think that was this super moon that was coming up that night if I remember right and that was pretty cool. It was cool to see the full moon up there and they always talk about the super moon which is kind of a I don’t know it’s a little bit of a misnomer but it’s cool to see too that I think they talk about happening every six months or so. Really it’s just kind of the oscillation of a bit of the eccentricities and the orbit of the moon that make it I think about 25,000 miles closer that it’s maximum and then maybe about 25,000 miles further away and it’s distant maximum but I think it’s really like a little bit of a sliver larger than it normally would be. If you notice though it’s a thing I learned way back and I think they they they show it in a scene in Apollo 13 but if you put your hand all the way out and you put your thumb up at all times you’re able to cover the entire full moon just with your thumbnail. It’s pretty wild but you got kind of always like visualize the moon is being this really big thing in the sky and really a lot of the time it’s it’s just as big as your thumbnail at arm’s reach which is kind of a trip but it’s kind of a it was cool to see the super moon that night it was really bright it was cool to kind of watch around and kind of look at how it was illuminating the forest and the trees and the mountains and stuff around me that was kind of nice to see cold that night though man I tell you so I have a 15 degree sleeping bag and that’s great 15 degrees is fine but and 15 degrees really is is more than adequate for most circumstances that I ended up in and during the summertime where it’s I don’t know it’s just not too big of a concern about how cold it gets but when it says 15 degrees it really means you’re going to be comfortable down to somewhere around 35 degrees but anywhere under 30 degrees is a pretty uncomfortable experience I think it means you’re going to stay alive that until it’s about 15 degrees so if it were me again buying something for maybe I don’t know a more heavy three season camping experience most of the time probably a lot of the nights out that I do even though I like to go at all times a year it seems like the majority of nights I go out are during the summer months or during like pretty fair weather seasons but if I were going to buy again which I’m going to try and get like a two or three sleeping bag system going if I was going to buy again I’d probably get a zero degree or maybe a negative 15 degree you know I could really use the warms because man what I noticed is even if it was just a little bit down to what would have been probably maybe I don’t know 29 or something like that it was you know it was a bit below freezing who knows how cold it really was it was only like an elevation of 2500 feet and it was a canyon I thought it was a clear night but I thought it would be relatively sheltered and yeah it was a lot of it was a lot of ice on my window when I woke up and it was a cold cold night to sit through too so yeah that 15 degree bag was just hold up out there but yeah if I was going to go again I think they have like a zero degree bag and then down below that they have like a negative 15 and like maybe like a negative 30 degree bag negative 30 sounds like a real warm like down back so I think mine’s a synthetic bag they talk about this sometimes where there’s like differences in the the thermal insulation qualities of the material that your sleeping bag is made out of and I think that the for it was it was an improvement actually you know above whatever cotton we were using for a while they were using wool stuff which was pretty smart that that works really well to be an insulating material and it doesn’t all right it works well with moisture and stuff and all the other things we know about marina wool is really cool everybody knows about that kind of stuff but we had like you know those really terrible big cotton sleeping bags way back those erupted and I don’t know if they were really even that insulating then they switched over to those synthetic materials which is probably all oil based is that sound right like a petroleum based like plastics product that was made out of synthetics I think that’s how they spin up a lot of those those I don’t know just those synthetic types of materials that they’re making these nylons out of so I think that was how all out of this this synthetic stuff had been made but really I think what they they talk about being the superior insulator is down and that’s what I’d hope to try and find as another zero degree or negative 15 degree sleeping bag would be a negative 15 degree down bag which is normally a bit more expensive you know when you’re looking around at the price points for these different sleeping bags if you’re trying to get into some colder weather camping stuff what you’re going to find is at those name brand or you know not even name brand this is a just a a bespoke manufacturer for a quality technical outdoors product is going to be very expensive and so that’s where you’re going to find I don’t know well you know three three 99 for a sleeping bag two 99 four 99 six 99 I’ve seen like a lot of pretty expensive prices out there I think Nimo makes some bags that are looking pretty cool that I’ve seen recommended a few times I’ve heard a big agnus they make tens most of the time though right they’re tank up and here aren’t they yeah stone glaciers one that I keep hearing kind of pop up here and there now for some sense marm it I think got some bags all right eyes so is you know a retailer of recreational equipment they’re closed right now though so I don’t even know if you could get an order from anyone like that but but they have some bags I think that’s where my synthetic bag was from that I’ve been using for the last I don’t know seven years or so so that’s it’s been fine but I also tested out the sleeping mat I got I got a new thermo rest sleeping mat and now big news it’s pretty exciting guys stay tuned it’s uh yeah it’s a larger sleeping mat than I have before but it’s a coded one with the I think it’s kind of like I don’t know it’s ballistic now but it’s that nylon coating over it so it’s not just the rubber mat at the base of it so you can throw it on the ground or on the semi abrasive materials that it would be outside and it’s working great I think it’s about one inch thick or so it’s about 25 inches wide at the shoulder point and it’s long enough to fit my old body which is probably a new one for me so yeah I got a solid camp mat I think for the last like three years I’m sleeping on one that goes flat about four hours after you start sleeping so that’s kind of nice to swap out I don’t know why I put up with it for so long really should do that sleep is like one of the best things you can get you know if you can figure out just like a couple easy things to take care of when you’re out camping or out in the woods and stuff it’s it’s probably sleep I mean that’s like the thing that takes you know and it’s frustrating too because when like even the last one I’m talking about didn’t sleep very well way too cold part of it you know enough shelter enough stuff that was kind of comfortable but really as it is yeah it’s like oh I need to I need to figure out a couple other extra things to kind of throw in there but yeah there’s just a couple things you can figure out when you’re going camping like how to stay warm or how to be comfortable when you do go or like when you are sleeping it’s like one of the most important and most I don’t know effective things you can do to kind of improve the way that a trip goes because like yeah I can be like I can be brutal the next day if you don’t get any sleep the night before which is probably the first half dozen camping trips of the year you know this first half dozen or so overnight to the year I’m just always kind of groggy and like oh why don’t I have to get up right now which is sort of how it was Wednesday morning when I woke up yeah I popped up and I think it was probably about five a.m. or so that I that I got up I think it was just about first light the sun had come up yeah but there’s a little bit of light up in the sky and the stars were kind of washed out by the blue sky so I hopped up and the fire was out I think from the night before like I was mentioning how those the sticks had worn out and the colds had started burning down even I think by the time I was near the end of my last podcast so I hopped out and the the back windows were clear there wasn’t any frost on it but the front window the windshield was ice over pretty hard really I mean it looked like it was you know like coated in water and then froze over solid so it wasn’t even just kind of like a fluffy bit of white frost or something that had built up on it through fog it just looked like a hard coating of just a nice sheet over the windshield so that no great I don’t have an ice scraper or something with me I’m thinking it’s me you know who needs an ice scraper I’m taking a sip of coffee so yeah I don’t know I grabbed a box I think it was a piece of cardboard out of the back that I could kind of flex around a bit through that over the windshield tried to run the truck for a bit try to warm it up it took a while too but yeah scraped off some ice scraped off a whole big enough to kind of get started on the drive and then prepped to take off but yeah I took some photos and stuff around the campsite for a bit first in the morning nice draw on the valley like I was talking about that goes up to that that ridge point that you can kind of see off in the distance and I think I could see like the the fire from the smoke or the smoke from the fire of the neighboring campers over there I don’t know if I’d mentioned it well yeah I definitely didn’t last one how they were they’re kind of doing brotes out in the on the road around sunset I think I got a little clip of it on video but yeah it’s like four or five of them and these kind of beater late 90s four by four trucks doing spins out in the dirt roads so looks fun I don’t know but they were I think getting the fire going and stuff in the morning too or whatever they had going from the night before if you can see a plume of it coming up from that area they would have been camping in over by the the creek bed downhill and yeah it was cool it took some photos and stuff that morning walked around kind of cleaned up the camp a little bit put the fire stuff out and jumped in the truck had that little hole in the ice to see through and then yeah popped on a podcast and cruised down the road and so what I was trying to do was it was take off down to a couple other spots along the creek while it was still morning and then head down ultimately to the area where the lake started to build up and so kind of how it works is like it kind of flows down the creek and then there’s a dam at a point ultimately and then back right behind the dam is a reservoir where that creek is kind of built up and I guess now is yeah a body of water out there so drove down a ways and took some photographs of the creek and the morning light and some of the water and stuff coming through I really like that kind of affected the the sort of early spring kind of fresh snow melt mountain creek stuff that just sort of looks really crisp and forested and natural and then I came down a ways further to a bridge that kind of cuts across the span of the creek as it starts to sort of widen out into the reservoir area and it looks like a you know a big stretch of calm water out on the edge of the the bridge where I think two different groups that were doing some fishing in the morning and yeah it seems like people are still out it was a busy area up there is still still definitely pretty fully populated set of people you know even during this lockdown period there’s a bunch of people out there hanging out in fishing I think it was two different different groups it too maybe they were they were all kind of connected but yeah they were they were out there with a couple lines over the bridge and they were picking up a couple things and things so I saw a lady that was pulling up in a little a little blue kayak to the ramp on the first day and on her what is that thing you know when you you run it through the gilling at you got the fish and stuff anyway just she pulled up with like got it is like four or five trout or something on her on her in her kayak I don’t know that’s where I’ll leave it I guess but she pulled up with four or five trout so I figured these guys these guys were doing a little bit of trout fish out there which sounds fun it’s a nice clear crisp morning stuff like I was saying so yeah it sounds like it’d be nice to be out there for a couple hours doing sufficient and yeah it looked like they were they were up to it they were getting a couple things it’s cool to a son osprey that they took off I think over the lake area just at that time and would kind of like pull up at certain spots over the water kind of back flap to hold in the same spot and look under water and see if there was something and then I don’t know didn’t see enough or didn’t see a prime opportunity and then we’re gonna swoop off and then take off to a different section of the lake and do it again so watch that about three or four times try to take a couple pictures of the area which you’re nice too I like the photographs that I got that morning it’s got to got a nice nice look to it really you know a lot of the time the photographs really look a lot better when you just select the right time of day to be somewhere which you know is obvious but just the types of colors and the types of saturation and dynamics that you get in the the look of a pretty simple you know set of trees and water it just comes off a lot better when it’s it’s just the right type of light it’s really amazing to to kind of see what differences it makes when it’s a cloud a day or a sunny day or a morning or an evening or midday really it seems like the dynamics of the light change so much that you can get like a totally different look in the photo which is always kind of interesting to pay attention to and sort of see how that how that goes what changes about it and sort of how that affects the photographs that you’re making I mean you can have you know some cool at any time of day but it’s kind of cool to figure out how it works for you or how it works or what I’m trying to do is how how to figure out how how it works for my photographs and what I’m trying to do which is nice I don’t know it was cool going out there and climbing around the creeks and stuff in the morning and taking a couple photos and water and osprey and going over to the lake area that’s trying to work on similar stuff to what I’ve done before but kind of that mirrored look of the really calm water as it spreads across the lake in the morning and then the reflection of the the bright blue kind of pre-sunlit sky or how is it you know like before the sun is actually up over the horizon there’s not a lot of intensity so it’s just kind of a softer blue glow in a lot of ways and then there’s still enough illumination that you can see the greens and the trees and sort of the soft calm water in the morning before it gets kind of agitated through the rest of the day so nice kind of peaceful looks to the the photos and sort of the natural stuff that I like to go kind of capture you know really ultimately though there’s some nice stuff up there and I was really like happy to kind of photograph some of the some of what I was looking for but I was also also frustrated in the area too I think there was a there’s is a little more choked off than what I normally like like there wasn’t as many opportunities as I had hoped for I had to try and you know utilize the ones that I found but there wasn’t as many opportunities as I had hoped for for kind of an opened up wide scene that you could set up a landscape photo and there wasn’t a lot of elements to really work with it was just sort of a you know that’s like some rolling hills off to a green hill so sometimes I’m trying to find some stuff that’s a little bit more dynamic and it’s look than that but it’s fun though even as it is anyway though I’m trying to I think maybe like I was mentioned last one I got stuck and turned around but the snow and I didn’t want to deal with any of that right now but in the next weeks and stuff I want to get up to Mount Jefferson or Mount Washington or a couple of these other wilderness areas that they have a few kind of visual landmarks that would be worth taking an observation of you can check out more information at billynewmanphoto.com you can go to billynewmanphoto.com afford slash support if you want to help me out and participate in the value for value model that we’re running this podcast with if you receive some value out of some of the stuff that I was talking about you’re welcome to help me out and send some value my way through the portal at billynewmanphoto.com for slash support you can also find more information there about patreon and the way that I use it if you’re interested or are feel more comfortable using patreon that’s patreon.com for slash billy newmanphoto I wanted to talk today about some stuff that I’ve been doing this last week for the last few weeks I’ve been talking about some outdoor stuff and some things kind of related to the lockdown pandemic stuff but I kind of changed what I was talking about a little bit for this podcast but I wanted to get into was some of the training stuff I’ve been looking into around logic pro 10.5 that has just come out recently and I thought it’d be kind of kind of cool to go over a little bit of an overview of some of the new features and stuff that are there and some of the stuff that you can do with a digital audio workstation and why why I’d bother talking about it but I think it was about about a year ago or so I was talking about setting up the studio in the house that I’m not here and how I was getting a PC computer ready to go is an older one is I think like something from some test up I had around from from 2010 or 11 or so yeah yeah about that time and I remember getting that computer setup with a I think it was yeah I had like windows 10 on it and then I was using I think the same audio interface usb out into the computer and then I downloaded I downloaded sonar the new version of sonar that you can get for free I think it had been owned by what was k-quack sonar and then I think Gibson had bought out k-quack and so it became Gibson sonar and then I think Gibson decided that wasn’t going to be part of their business anymore so I think they just kind of shut it down essentially but then sold that off to band lab and band lab is a I think a one or it’s another internet company they have kind of a simplified digital audio workstation app that you can use to kind of create a demo or something like that but what they had done is they they’d gone through I guess and had purchased probably for a relatively inexpensive price or I don’t know I assume since they’re just they’re just keeping it and kind of hardly maintaining it or you know doing a bit to maintain it but they took the the sonar platinum program the full digital audio workstation multi-tracking tool and they made it free for people to use and for people to get but I think it’s only a Windows only program so you got to have Windows 10 to run it so I did that yeah and and sonar was a program that I’d work with before for doing some some studio multi-tracking stuff I think years ago probably around like 2012-2013 when I was when I was working with some friends to set up some studio equipment stuff was cool we had like a big sound craft ghost that was laid out and then we had a bunch of a bunch of channels kind of running into that from from the microphones they were using to track this band and then that all went into a pretty old computer was amazing what it could do you know for just a you know it’s probably like a 2 gigabyte of RAM you know smaller hard drive 2004 or 5 6 era PC computer no I probably wouldn’t need that much right there’s something about that time but that’s what we used yeah that’s like all we had all we had with us we had a I think it was like a pre-sowness audio interface and then we got like like an eight-channel audio interface that was really cool you know we had like eight eight digital audio channels coming into the interface which means we could track eight live channels into sonar at a time and it didn’t even hit up you know even on that old machine and so it was interesting how that architecture worked to do some editing stuff but so sonar is what I had been using before for some stuff really audition Adobe edition is what I’d use most for some of this kind of the more simple radio broadcast style stuff and that’s what I had learned to use when I was at when I was at a radio station doing an internship years and years ago back in 2008 right summer 2008 and did that and they used the Adobe edition version 1.5 to do all their radio production edits and yeah I remember going in taking calls with the production guy I don’t know somebody calling into do like a I think they would do like a water level report it was really interesting radio that station you know you could figure but they would have like this I don’t know something you know it’s it’s 1245 and here’s your local water level report for July 28th or something and then it would be some lady that would call in from a department that would measure the stuff and she would give her water report and the production guy you’d record it and then produce that and then it’d be prepped to go out on air later you know it was like a spot that a DJ would trigger upstairs and so we’d kind of walk through using audition to do those steps and so learning that as a program is probably the first one that I’d done which a product probably goes back to high school or before that when I was doing editing stuff but but sonar back to sonar was some of the stuff that I’d used probably give it more for the for the music you know like trying to like track a band or do like multi-tracking projects but so yeah that’s what I’d used a bit that’s why I thrown on this windows 10 PC to do some audio production stuff for this podcast workflow that I was trying to get into and it’s cool it works really well but but I stepped using that computer a while ago I think the the windows 10 computer that I’m talking about had a power supply go bad which could be replaced pretty easily and and is on a to-do list of mine but since then I’ve really just been relying on kind of like I had mentioned just recording recording onto the device and then using Adobe addition to do the post production work on my MacBook which is I don’t know it’s just it’s just a more it’s just a better workflow and stuff for the most part so I’m kind of sticking with that but recently to get to the point as you are all excited logic pro 10.5 has come out now logic as yet to be mentioned in this podcast logic pro is the program that was produced by Apple as the professional digital audio work station and so there’s garage band which probably a lot of people have some experience with and garage band is sort of the trimmed down simplified home user version of a program like like logic pro and they’ve done that intentionally I think it’s the same team that generates the two programs and if you if you look at them or you look at their interfaces and you look at the types of access you have to things you really do see a familiar similarity to it which is cool so if you’ve used something like garage band in the past for home projects you won’t really have as big of a difficulty moving into a more professional digital audio workstation environment like logic pro 10 so I think it was logic pro 10 just you know 10 zero it came out when I don’t probably like 2013 or so I think that was that was sold for 200 bucks so it was like a purchase price of 199 and then since then you get the point updates for free or you know as included with your original purchase so just recently I think there had been like 10.4 before this and then now they’ve moved on to 10.5 and 10.5 I think it’s probably the biggest as noted by you know playing in new sources as noted as one of the most significant feature updates that logic has had probably in years and years I mean I think this is the first end of the concert removed and updated some of those legacy items that have been in there since 2003 or four or five you know it was just some of these legacy products that were that were originally put in there is including their interfaces too it looks like a 2002 interface for for you know like there’s these synthesizer interfaces where these these weird knobs that you have to these weird just rotating features of the interface it looks like it looks ridiculous I don’t know there were any other way to explain it but it’s it’s pretty wild for some of the some of the stuff that’s just remained in computer computer systems for a long time but for 10.5 they try to go through and update a lot of that stuff and it’s really interesting there’s a lot of cool new features in logic 10.5 so logic is real similar to sonar which is I guess kind of why I mentioned it and at least from my experience as similar you guys would probably think it’s similar to I don’t know what people that are listening probably actually have some well no one’s listening what do we say if someone were to bother to try and find some information out about logic and they ended up listening to this podcast they probably have had some information about it or they would be coming from from an experience with avid’s pro tools and pro tools is like the industry standard for multitracking DAW software and I’ve never used it I’ve never opened pro tools I’ve never seen pro tools you know in in its process at all I don’t know I’ve got I’ve looked at a couple videos or something but yeah I have no I have no experience working in pro tools and I don’t know I’m not a fan of avid’s software overall you know for pro tools or for or for the avid system of a video editing stuff either I’m just I’m not I’m not really that interested in the kind of stuff that they put together and it really for price and stuff too it just seems kind of kind of over done a little bit so I’m pretty happy with with some of the other the other more available tools that are in the consumer computer market I mean I think it’s like 800 bucks or something still to get to get avid’s pro tools and I think that in the past it was you know insanely more than that even well you know kind of proprietary back in the past it was more difficult now I think M audio is a partner with pro tools and so in the past if you have pro tools you have a lot of proprietary pro tools audio interfaces that you had to use if you wanted to set up your studio to work seamlessly with the pro tools software now I think they’ve made a deal with M audio which is sort of like a less expensive audio interface manufacturer they’ve had like interfaces and microphones and you know they’ve got like an array of I think they’ve got like some studio monitors they’ve got some interfaces they’ve got like keyboards is a big one that they’ve got I’ve got a keyboard over here from M audio and what is it yeah M audio less expensive they make pro tools interfaces which is cool now so that they’ve got a partnership with pro tools and I think that they’ve been trying to make that more accessible to musicians probably because it’s become a more competitive market with well really with like logic logic pro I think I think the industry standard set is I don’t know it always seems like more secure than it should be you know that doesn’t it doesn’t seem like an absolute the pro tools should be the the digital audio workstation of of engineers across the world but for whatever reason it’s just kind of taken over and and as those people you know are still still in those positions I think that’s that’s just with tat and audio recording school it’s like a standard even though there’s a lot of other good other good services and choices out there I think I’ve seen soar and logic taught a lot too so I don’t know they’re definitely competitive and and as I’ve been hearing more there’s there’s I don’t know there’s produced you know music producers that are coming out saying oh yeah I do a lot of a lot of my work in in logic and then there’s you know there’s a whole class of music producers that are logic based producers are stone our based producers are and all right it seems to kind of rotate around every couple years for for who’s doing water you know who wants to look cool people that use pro tools one of the cool probably a lot of time so back to back to old logic pro 10.5 here’s the good stuff so thanks a lot for checking out this episode of the Billy Newman photo podcast hope you guys check out some stuff on billyneuminfoadow.com a few new things up there some stuff on the homepage some good links to other other outbound sources some links to books some links to some podcasts links to some blog posts all pretty cool yeah check it out at billyneuminfoadow.com thanks a lot for listening to this episode and the podcast bye see you next time [Music] [BLANK_AUDIO]

Have you ever felt stuck in an endless cycle of tweaking, adjusting, and second-guessing your music production decisions? Producer John Kunkel (aka John Grand) reveals the counterintuitive truth that many of us miss: working smarter, not harder, is often the key to finishing more tracks and creating better music.John shares his game-changing approach to using reference tracks as structural blueprints rather than just mixing guides. By importing a track you love and mapping out its arrangement, you immediately transform that intimidating blank DAW canvas into manageable building blocks. This simple technique has helped John slash his production timeline from weeks to days, and it might just revolutionise your workflow too.The conversation takes a fascinating turn when John explains why your sound selection decisions matter far more than your processing skills. "Your track is only going to sound as good as the choices that you make in sound selection," he explains, likening poor sound choices to painting with incompatible materials. This insight challenges the common tendency to reach for EQ and compression when the real solution might be choosing a different sample entirely.Perhaps most thought-provoking is John's psychological observation that constantly adding layers often indicates a lack of confidence in your original ideas. Drawing inspiration from artists like Eric Prydz, he advocates for focusing on fewer, higher-quality elements that evolve through automation rather than overwhelming arrangements that exhaust listeners' cognitive capacity.Whether you're just starting or looking to break through a creative plateau, this episode offers practical strategies to finish more music while keeping the joy in your production process. Links mentioned in this episode:Follow John GrandFollow The New Division How to Make Progressive House from Start to Finish | SpliceSend me a message Support the showWays to connect with Marc: Book your FREE Music Breakthrough Strategy Call Radio-ready mixes start here - get the FREE weekly tips Grab exclusive access to BONUS content on Patreon Try Riverside for FREE Follow Marc's Socials: Instagram | YouTube | Synth Music Mastering Thanks for listening!!

In today's episode, I'm building on what I have been discussing the past three weeks as I continue to make a dark synth track to accompany one of the many hunting scenes in The Thirteenth Hour prequel, A Shadow in the Moonlight, about a cursed hunter who has to spend eternity hunting an enchanted deer.  I've wanted to learn to use a desktop based DAW to make and edit music so am using this track as a way to do that.  I've settled on the free web-based program Bandlab which also have a companion mobile app.  While it doesn't do everything, it does far more than I expected it to do.  I have tried to resist the temptation to fall back on my analog ways and cheat the purpose of this exercise :)At this point, the track is 90% done.  Just some fine tuning left to do with the final mix.Thanks for listening!∞∞∞∞∞∞∞Once Upon a Dream, the second Thirteenth Hour soundtrack, is now out in digital form and on CD!   It is out on most major streaming services such as Bandcamp, Spotify, and YouTube Music.  (If you have no preference, I recommend Bandcamp since there is a bonus track there and you will eventually be able to find tapes and special editions of the album there as well.)  The CDs are out now!-Check out the pixelart music videos that are out so far from the album:-->Logan's Sunrise Workout: www.youtube.com/watch?v=K7SM1RgsLiM-->Forward: www.youtube.com/watch?v=Z9VgILr1TDc-->Nightsky Stargazing: www.youtube.com/watch?v=2S0p3jKRTBo-->Aurora's Rainy Day Mix: https://youtu.be/zwqPmypBysk∞∞∞∞∞∞∞∞ Signup for the mailing list for a free special edition podcast, a demo copy of The Thirteenth Hour, and access to retro 80s soundtrack!Like what you see or hear? Consider supporting the show over at Thirteenth Hour Arts on Patreon or adding to my virtual tip jar over at Ko-fi. Join the Thirteenth Hour Arts Group over on Facebook, a growing community of creative people.Have this podcast conveniently delivered to you each week on Spotify,  iTunes, Stitcher, Player FM, Tunein, and Googleplay Music.Follow The Thirteenth Hour's Instagram pages: @the13thhr for your random postings on ninjas, martial arts, archery, flips, breakdancing, fantasy art and and @the13thhr.ost for more 80s music, movies, and songs from The Thirteenth Hour books and soundtrack.Listen to Long Ago Not So Far Away, the Thirteenth Hour soundtrack online at: https://joshuablum.bandcamp.com/ or Spotify.  Join the mailing list for a digital free copy.  You can also get it on CD or tape.Website: https://13thhr.wordpress.comBook trailer: http://bit.ly/1VhJhXYInterested in reading and reviewing The Thirteenth Hour for a free book?  Just email me at writejoshuablum@gmail.com for more details!https://13thhr.wordpress.com/2025/09/22/the-thirteenth-hour-podcast-528-musical-interlude-working-on-a-dark-synth-track-for-a-shadow-in-the-moonlight-part-4/

In today's episode, I'm building on what I started discussing last week as I continue to make a dark synth track to accompany one of the many hunting scenes in The Thirteenth Hour prequel, A Shadow in the Moonlight, about a cursed hunter who has to spend eternity hunting an enchanted deer.  I've wanted to learn to use a desktop based DAW to make and edit music so am using this track as a way to do that.  I've settled on the free web-based program Bandlab, which is supposedly the easiest one to start using, though I will say that I have found none of the ones I have tried intuitive or especially user friendly.  That said, connecting a keyboard to the computer has helped a great deal, and I expect that the initially hassle will have longer term payoffs in terms of flexibility and range of tools at my fingertips when making new tracks than I would have doing it all analog.  So, I'm trying to not throw my hands up in frustration and go back to what I know since the whole point was to learn how to use a DAW in order to make this track.  This is the main melody behind the track.One of the soundtracks that served as an influence was William Goldstein's score for the Chuck Norris film Forced Vengeance.  There is an Eastern flair to it (the film takes place in Hong Kong) that is perfect for one of these schlocky 80s martial arts films along with an ominous tone and plenty of tastefully done 80s synth.   You can actually listen to the entire thing on William Goldstein's YT channel.Thanks for listening!∞∞∞∞∞∞∞Once Upon a Dream, the second Thirteenth Hour soundtrack, is now out in digital form and on CD!   It is out on most major streaming services such as Bandcamp, Spotify, and YouTube Music.  (If you have no preference, I recommend Bandcamp since there is a bonus track there and you will eventually be able to find tapes and special editions of the album there as well.)  The CDs are out now!-Check out the pixelart music videos that are out so far from the album:-->Logan's Sunrise Workout: www.youtube.com/watch?v=K7SM1RgsLiM-->Forward: www.youtube.com/watch?v=Z9VgILr1TDc-->Nightsky Stargazing: www.youtube.com/watch?v=2S0p3jKRTBo-->Aurora's Rainy Day Mix: https://youtu.be/zwqPmypBysk∞∞∞∞∞∞∞∞ Signup for the mailing list for a free special edition podcast, a demo copy of The Thirteenth Hour, and access to retro 80s soundtrack!Like what you see or hear? Consider supporting the show over at Thirteenth Hour Arts on Patreon or adding to my virtual tip jar over at Ko-fi. Join the Thirteenth Hour Arts Group over on Facebook, a growing community of creative people.Have this podcast conveniently delivered to you each week on Spotify,  iTunes, Stitcher, Player FM, Tunein, and Googleplay Music.Follow The Thirteenth Hour's Instagram pages: @the13thhr for your random postings on ninjas, martial arts, archery, flips, breakdancing, fantasy art and and @the13thhr.ost for more 80s music, movies, and songs from The Thirteenth Hour books and soundtrack.Listen to Long Ago Not So Far Away, the Thirteenth Hour soundtrack online at: https://joshuablum.bandcamp.com/ or Spotify.  Join the mailing list for a digital free copy.  You can also get it on CD or tape.Website: https://13thhr.wordpress.comBook trailer: http://bit.ly/1VhJhXYInterested in reading and reviewing The Thirteenth Hour for a free book?  Just email me at writejoshuablum@gmail.com for more details!https://13thhr.wordpress.com/2025/09/15/the-thirteenth-hour-podcast-527-musical-interlude-working-on-a-dark-synth-track-for-a-shadow-in-the-moonlight-part-3/

YoutubeInstagramAmazonFacebookBioThe video for “Neon Dreamers,” the latest single from Arcade Knights, opens on a futuristic cityscape reminiscent of Blade Runner or Tron. As the visuals unfold, soaring vintage synthesizers and thunderous reverb-soaked drums create a cinematic soundscape. Digitized female vocals deliver the track's core message:We're the neon dreamers lighting up the skyChasing our tomorrow, never asking whyWith our hearts electric, breaking through the darkIn this digital world, we'll make our markEvoking the atmosphere of the Stranger Things soundtrack as much as Daft Punk, the song explores a timeless question: What does it mean to be human in a world dominated by machines?That question lies at the heart of Arcade Knights, the synthwave-cyberpunk electronic project of Canadian musician Dean Parsons. Known for his deep love of 1980s drum machines and synthesizers, Parsons incorporates authentic hardware such as the LinnDrum and Oberheim OB-8 into his work. While modern software can replicate these sounds, he prefers the analog warmth and tactile experience of physical instruments, embracing the buttons, knobs, and patch cables that bring a unique authenticity to his production process.Unlike most contemporary producers, Parsons creates entirely outside of a digital audio workstation. Every track is written, recorded, and mixed using his MPC hardware sequencer, a process he believes allows more emotion to come through the physical act of playing.“My main production machine is not a DAW,” he explains. “Every track, every note, every melody is crafted and recorded through purpose-built hardware. There's a lot of heart that comes through the keys and pads.”“Neon Dreamers” serves as a companion piece to Cyber Hack, the full-length album released earlier this year. The record tells the story of hackers raised in an AI-driven world who use their skills to protect humanity, ensuring technology serves people rather than controlling them.The theme reflects Parsons' own life. Growing up in the 1980s surrounded by Commodore 64s and science-fiction films like Terminator and RoboCop, and later working as a cybersecurity expert, he has lived at the intersection of the analog and digital worlds.“It's important to embrace technology, but not let it control your life,” Parsons says. “Technology is advancing rapidly, and if we continue to depend on it blindly, it may begin to control us. I love technology, but it's a double-edged sword. The message of Cyber Hack is that we must remain the ones in control.”Become a supporter of this podcast: https://www.spreaker.com/podcast/creator-to-creators-with-meosha-bean--4460322/support.

On the surface, panning and pan laws might sound like the driest topic in the world—but if you care about making mixes that translate everywhere, you can't afford to ignore them. In this episode of Inside the Recording Studio, Chris and Jody take a deep dive into the mechanics and the myths of stereo placement, with their usual mix of expertise, humor, and truth bombs. First, they cover the basics: What is panning? What are pan laws? And why are they such a big deal when it comes to balancing tracks in stereo? You'll learn how pan laws affect perceived loudness, how different DAWs handle them, and why some engineers insist they contribute to that elusive idea of a “DAW sound.” From there, Chris and Jody explore real-world scenarios. How do pan laws impact mono compatibility? Why does it matter when you collaborate with other studios or engineers? And how can you use this knowledge to avoid translation issues when moving sessions between DAWs? They'll also dig into some common misconceptions, bust a few myths, and explain how this “brutally boring” subject can actually make a measurable difference in your mixes. As always, it's not just theory. Expect recording setup tips, insights into hidden features in studio gear, and plenty of practical takeaways for anyone working with home studio gear. And because it's Chris and Jody, you'll also get humor, banter, and a little nonsense—because even pan laws deserve a laugh. If you've ever wondered why your mixes sound different when played back in another DAW, or why mono checks sometimes fall apart, this episode will give you the clarity (and chuckles) you need. #PanLaws #MixingTips #MusicProduction #HomeStudioGear #ProAudioLife #RecordingSetup #InsideTheRecordingStudio #DAWWorkflow

In today's episode, I'm building on what I started discussing last week as I continue to make a dark synth track to accompany one of the many hunting scenes in The Thirteenth Hour prequel, A Shadow in the Moonlight, about a cursed hunter who has to spend eternity hunting an enchanted deer.  I've wanted to learn to use a desktop based DAW to make and edit music so am using this track as a way to do that.  I've settled on the free web-based program Bandlab, which is supposedly the easiest one to start using, though I will say that I have found none of the ones I have tried intuitive or especially user friendly.  That said, connecting a keyboard to the computer has helped a great deal, and I expect that the initially hassle will have longer term payoffs in terms of flexibility and range of tools at my fingertips when making new tracks than I would have doing it all analog.  So, I'm trying to not throw my hands up in frustration and go back to what I know since the whole point was to learn how to use a DAW in order to make this track.In addition, I have been experimenting with another digital tool called Nauk Nauk to make short videos of the toys I've made.  The app is basically generative AI specific to action figures and making them move.  I'm not super for or against this kind of technology, and while I touch on some of the operational pros and cons of using this kind of tech (at least from what I can see), this is one I can get behind.  Who doesn't want to see their toys come to life? Especially ones you've made!  Case in point - this one of Beverly Switzler is my favorite so far: https://www.tiktok.com/@13thhr/video/7547184629434813710?is_from_webapp=1&sender_device=pc&web_id=7547583918360708621Thanks for listening!∞∞∞∞∞∞∞Once Upon a Dream, the second Thirteenth Hour soundtrack, is now out in digital form and on CD!   It is out on most major streaming services such as Bandcamp, Spotify, and YouTube Music.  (If you have no preference, I recommend Bandcamp since there is a bonus track there and you will eventually be able to find tapes and special editions of the album there as well.)  The CDs are out now!-Check out the pixelart music videos that are out so far from the album:-->Logan's Sunrise Workout: www.youtube.com/watch?v=K7SM1RgsLiM-->Forward: www.youtube.com/watch?v=Z9VgILr1TDc-->Nightsky Stargazing: www.youtube.com/watch?v=2S0p3jKRTBo-->Aurora's Rainy Day Mix: https://youtu.be/zwqPmypBysk∞∞∞∞∞∞∞∞ Signup for the mailing list for a free special edition podcast, a demo copy of The Thirteenth Hour, and access to retro 80s soundtrack!Like what you see or hear? Consider supporting the show over at Thirteenth Hour Arts on Patreon or adding to my virtual tip jar over at Ko-fi. Join the Thirteenth Hour Arts Group over on Facebook, a growing community of creative people.Have this podcast conveniently delivered to you each week on Spotify,  iTunes, Stitcher, Player FM, Tunein, and Googleplay Music.Follow The Thirteenth Hour's Instagram pages: @the13thhr for your random postings on ninjas, martial arts, archery, flips, breakdancing, fantasy art and and @the13thhr.ost for more 80s music, movies, and songs from The Thirteenth Hour books and soundtrack.Listen to Long Ago Not So Far Away, the Thirteenth Hour soundtrack online at: https://joshuablum.bandcamp.com/ or Spotify.  Join the mailing list for a digital free copy.  You can also get it on CD or tape.Website: https://13thhr.wordpress.comBook trailer: http://bit.ly/1VhJhXYInterested in reading and reviewing The Thirteenth Hour for a free book?  Just email me at writejoshuablum@gmail.com for more details!

Confession time: how many compressor plugins do you actually need? One? Two? Six? Let's be real—you probably have a “go-to” compressor and five others you bought during a flash sale because someone on YouTube said it was life-changing. Don't worry, you're not alone. Chris and Jody are right there with you in this week's episode of Inside the Recording Studio, tackling the hilarious, slightly painful truth about gear hoarding in music production. Let's paint the picture. You open your DAW, scroll through your plugin folder, and realize you've somehow collected enough EQs to start your own virtual museum. You tell yourself each one “has a different color” (translation: it's slightly shinier than the last). Meanwhile, your mixes still hinge on the same three plugins you've used for years. And guitars? Don't even start. That “backup” guitar? It has three backups of its own. This episode is all about calling out the obsession we all share—the need to collect, collect, and collect some more. Chris and Jody ask the uncomfortable but necessary questions: Does more gear actually make you a better mixer or songwriter? Why do we keep buying shiny new toys while ignoring the hidden features in studio gear we already own? And when is “just in case” actually code for “I'll never use this, but it looks cool in my rack”? They'll swap stories about plugin overload, forgotten purchases, and the sobering reality of discovering licenses for tools they don't even remember buying. (Yes, it happens.) They'll also share practical ideas on how to prune your collection, focus on what actually improves your workflow, and get back to what matters most—making music, not scrolling menus. But don't expect a lecture. This is Inside the Recording Studio, after all. You'll get plenty of laughs, playful digs at gear addiction, and the kind of nonsense that makes self-reflection just a little less painful. After all, admitting you might be a gear hoarder is easier when Chris and Jody are joking right along with you. At the end of the day, this episode isn't about shaming you for that seventh guitar pedal or your fifth reverb plugin. It's about reminding ourselves that great music comes from skill, creativity, and intent—not the size of your plugin folder. Or as Chris and Jody put it: too much gear sometimes means too little music. So before you buy that next “essential” bundle, hit play on this brutally honest (and very funny) conversation. Your wallet—and maybe your mixes—will thank you. #GearAddiction #PluginAddiction #HomeStudioGear #ProAudioLife #RecordingSetup #InsideTheRecordingStudio #MixingTips #StudioConfessions

Starting your music journey but not sure which DAW to choose? In this video, we break down the best DAWs to kick off your career, what makes them different, and which one will actually help you grow as a producer. We also discuss the different demo versions of all the daws to figure out who has the best offering.➡️ Get Bypass Here: https://helpmedevvon.com/products/bypass➡️ Our Site: https://www.helpmedevvon.com ➡️ Get Our Rosetta Plugins: https://cutt.ly/RwAEmuRF➡️ Our Site: https://www.helpmedevvon.com Please subscribe to our YouTube and rate our podcast it helps us a lot!➡️ https://linktr.ee/mystudionerdsFollow Ushttps://www.instagram.com/helpmedevvon➡️Join this channel to get access to perks:https://www.youtube.com/channel/UCGyDjbX9F9ARt_8sgv5kGDg/joinFollow The CastDevvon Terrellhttps://instagram.com/helpmedevvonLJhttps://instagram.com/prodbyljeanHere is L.Jean channel! https://youtube.com/@SweataWeathaCourtney Taylorhttps://instagram.com/officialcourtneytaylor#podcast #mixing #mastering

Wciskanie przycisków w rytm, plastikowe kontrolery udające instrumenty, albo gry, w których warstwa wizuakna jest idealnie zsynchronizowana z dźwiękiem - czy wiecie od jak dawna tego typu rzeczy istnieją w świecie elektronicznej rozrywki? Zapraszamy na podróż po historii gier muzycznych i rytmicznych, gdzie razem z Kasią i Andrzejem z  @RetroSfera  przywołujemy niesamowite wspomnienia, jakie pozostawiły w nas te tytuły. Od lat 90-tych, po współczesny renesans, który zaobserwować możemy na rynku VR-owym. Natapirujcie włosy, zapnijcie pieszczochy i wyruszcie z nami w wyjątkową muzyczną podróż. Zapraszamy! Podziękowania dla Perki za okladkę i montaż. Podziękowania dla Patronów za wsparcie, a najbardziej dla: Op1ekun, Tysho, Jan Jagieła, Janomin, Łukasz M., Tomasz Herduś, Paweł G., Uki, Mateusz "Kaduk" Kadukowski z kanału Kadukowo.Zapraszamy też do odwiedzin naszego Discorda - https://discord.com/invite/PafByaf9DU Link do kanału Defana: https://www.youtube.com/@wsumiespoko/ (00:00:00) Start(00:01:30) Kilka słów o Retrosferze(00:03:20) Nasze najwcześniejsze wspomnienia z grami muzycznymi(00:12:32) Automaty(00:23:48) Konsole domowe(00:47:24) Konsole przenośne(00:52:47) Początki Harmonix(00:56:48) Plastikowe kontrolery(01:21:05) Handheldy(01:28:24) Gry karaoke(01:40:55) Gry muzyczne jako DAW(01:47:25) Przesyt rynku i zajechanie go jak łysą kobyłę. Co pozostało?(01:57:30) Gry rytmiczne, ale nie muzyczne(02:23:00) Gry muzyczne i ich drugie życie w świecie VR(02:39:32) Gry rytmiczne VR, ale inne(02:45:00) Freestyle i dygresje: o muzyce w grach(03:05:10) Podziękowania dla patronówKonsumpcja:MP3: https://mkwadratpodcast.pl/podcast/MKwadrat_specjalny_42.mp3YouTube: https://www.youtube.com/c/MKwadratPodcastRSS: https://mkwadratpodcast.pl/feed/podcastSpotify: https://open.spotify.com/show/7e5OdT8bnLmvCahOfo4jNGiTunes: https://podcasts.apple.com/ca/podcast/mkwadrat-podcast/id1082742315twitch: https://www.twitch.tv/mkwadratpodcastInterakcja:WWW: https://mkwadratpodcast.pl/Forum: https://stareforumpoly.pl/Discord: https://discord.com/invite/PafByaf9DUFanpage: https://facebook.com/MkwadratPodcast/Grupa FB: https://www.facebook.com/groups/mkwadratpodcast/Twitter: https://twitter.com/mkwadratpodcastInstagram: https://www.instagram.com/mkwadratpodcast/Kontrybucja:Patronite: https://patronite.pl/mkwadratpodcastSuppi: https://suppi.pl/mkwadratpodcastTipply: https://tipply.pl/u/mkwadratpodcast

As a DJ who has been at this for a very long time, there aren't a whole lot of DJ's I'll stick around for after my set. With that being said, when this weeks guest is on the lineup, I'll stay. She's a whole vibe and her strength is versatility. She's as comfortable behind the decks as she is at a DAW. Representing West Florida, please welcome back AnnGree. Tracklist below. Please enjoy❤️ Back next week -Thomas Tracklist: 01. Dub Head - Zeroday 02. Break, Sp:MC - Box Clever (Skeptical Remix) 03. AnnGree - Thoughts On Paper 04. Harley D - Elevate 05. Hiraeth, Freddy B, Drumslave - Stuck In the Mud 06. Dub Ten, Re:growth - Shrinkwrap 07. Enei, Kasra, JoSoSick - Plan 08. Zero T, Minor Forms - Shifty 09. Amoss, Fearful - Beldray 10. Jenks (UK) - Bullet 11. Hologram - Loco 12. Leks, Takeda - Point Of No Return 13. TeeBee - The Lightning That Scared Mars 14. Freddy B, Dub Ten - The Human Race 15. Molecular - Dirty 16. Leks, Speaker Louis - Excluded 17. QZB feat. Freddy B - Cut Off The Top 18. LOG1N - Dub Pirate 19. ZeroZero - Confidence VIP 20. Ill Truth, Minor Forms - Job Lot 21, AnnGree - Urban Daze 22. Kasra - Electronica 23. Document One, Comma Dee - Different 24. Re:growth - Take Me 25. AnnGree - Disconnect

PreSonus Studio One 7.2: A Deep Dive ReviewThe provided text offers an in-depth review of PreSonus Studio One 7.2, highlighting its strengths as a fast, flexible, and professional Digital Audio Workstation (DAW) suitable for various music production roles. It traces the DAW's history, emphasizing its modern, clean-slate design compared to older software and how it evolved into an all-in-one solution for recording, mixing, mastering, and live performance. The review details new features in version 7.2, such as the Sub Zero Bass instrument, Nashville Number System, and improved recording and editing tools, while also discussing the practical applications of its AI-powered stem separation. Finally, it explores the significance of Fender's acquisition of PreSonus, suggesting potential future integrations and guitar-centric workflows, and concludes that Studio One 7.2 is a robust, time-saving tool for contemporary musicians and engineers. http://www.makingascene.org

Let's kick off the month of September with a back to back set of GTWM the Podcast with Mo and Alex! So move over Jose Mari Chan, it isnt your time yet! The boys take two calls in this one from 2 guys in their 40's with typical hornball problems. Lets go. Caller #1 is Kimal who is 49yrs old from Boston.  Kimal ismaried with two kids but he is also banging his 29 year old Latina co-worker.  She got pregnant and had anabortion, and now he's leaving her behind so he can be a better husband.  Daw. Caller #2 is Jose who is 40yrs old from Paranaque.  Josehas a 19 year old Fubu who has sugar daddies and even though he has developed feeligns for her -- including giving her a modest allowance -- is it time to cut ties with this teen?Send more to the Philippines without overpaying. NALA gives you fast, secure transfers with some of the best exchange rates out there.Use promo code MoTwister when you download NALA!Here's the NALA link: https://join.iwantnala.com/MoTwisterAlso, GTWM is brought ot you by GameZone!FUNbelivable sa GameZone dahil you play a REAL GAME of Tong-its with REAL PLAYERS, FOR FREE! You have a chance to split over thirty-four million pesos, at may chance ka pato claim up to fourteen-thousand, six-hundred-forty pesos daily! The cash credits you get can be used to play kahit anong game.  You can even cashout! May dalawang eventevery single day!  G ka na ba?  Visit GZone.ph and social media account on Facebook, Instagram and TikTok @taragamezone. G na sa Tong-its? Tara Gamezone!Remember, ang gaming dapat fun-fun lang!

Send us a textHow To Fix Sibilance In this episode of A VO's Journey, we focus on one of the most distracting audio issues for voice actors: sibilance. Those sharp, piercing “S” sounds can cut through your recording and ruin an otherwise professional read—but with the right approach, they're manageable.We break down what sibilance is, why it happens, and the best ways to control it both while recording and in post-production. You'll learn mic techniques to reduce sibilance, how vocal delivery plays a role, and the tools available in your DAW (like de-essers and EQ adjustments) to smooth out your audio.If you've ever cringed at harsh “S” sounds in your playback, this episode will give you the practical steps you need to fix it and deliver clean, polished voice overs.50% Off First MONTH FOR VO JOURNEY ACADEMY HERE:  https://www.avosjourney.comJoin Academy Voices Talent Roster Here: https://www.academyvoices.com/offers/4sNBzDc9 Support the showSocial Links: Instagram - https://www.instagram.com/anthony_pica_vo/ Twitter - https://twitter.com/AVOsJOURNEY Facebook - https://www.facebook.com/groups/avosjourney/ LinkedIn - https://www.linkedin.com/in/anthonypicavo/

Today's guest is Kenneth Jay, a seasoned Canadian actor with decades of experience across theatre, film, and television. Known for his dedication to craft and his deep respect for storytelling, Kenneth has built a career that bridges continents and philosophies. In this inspiring and laughter-filled episode, hosts Todd Kramer and Jay Reum chat with Kenneth about the unique discipline of being an understudy, the art of preparation without certainty, and why truth is always at the center of performance. Kenneth shares his journey from Ottawa to Ryerson Theatre School, his surprising connection to Stanislavski's lineage, and how collaboration, language, and identity shape the actor's path. This conversation is both thoughtful and funny — weaving in the joys, struggles, and revelations of a life lived for the stage. Actors will find wisdom, humor, and a reminder of why we do what we do. ⏱️ CHAPTERS 00:00 – Opening 04:20 – Strapless workouts and silliness 07:00 – PunchTrack: a DAW for narrators 11:00 – Introducing Kenneth Jay 13:00 – Kenneth's showreel and career highlights 16:40 – Growing up in Ottawa, moving to Toronto 18:20 – Ryerson Theatre School and Stanislavski connection 23:30 – Why Kenneth chose theatre over academics 27:00 – The first spark: Robin Hood in grade school 30:00 – Falling in love with Shakespeare 35:10 – The joy and craft of understudying 41:00 – Personal truth inside every performance 47:20 – Collaboration, colleagues, and connection 52:00 – Longevity in the acting industry 57:00 – The gift of language and expression 01:01:30 – Identity and performance 01:05:00 – Laughs, stories, and lessons learned 01:10:00 – Advice for young actors 01:15:00 – Closing thoughts with Kenneth

Frederik Pohl (1918-2013) recorded at the Octocon Science Fiction Convention, October 15-16, 1978. Interviewers: Richard Wolinsky, Richard A. Lupoff and Lawrence Davidson, for KPFA's Probabilities radio program. Digitized, remastered and re-edited February, 2021 by Richard Wolinsky. Frederik Pohl, who died in 2013 at the age of 93 in September, 2013, did almost everything in the world of science fiction, as a writer, an agent, and a magazine and book editor. He grew up in Brooklyn, began writing at an early age, and in his twenties was a member of a leftist group of science fiction writers known as The Futurians, publishing for pennies a word in the sf pulps of the era. In 1937, in order to make money, he became an agent, and two years later a pulp magazine editor himself, often buying his own stories along with collaborations with various other writers, all under pseudonyms. In the late 1960s, he became editor of Galaxy Magazine, and its sister publication, Worlds of If, and in the 1970s became the science fiction editor at Bantam Books which he left shortly before this interview. In the mid 1970s, Fred Pohl  emerged as one of science fictions pre-eminent novelists with Man Plus in 1976 and Gateway in 1977. In 1978, on the heels of novelist Damon Knight's memoir, The Futurians, he came out with his own memoir, The Way the Future Was. And that was where his career stood when the three of us interviewed him. We were all still new at interviewing, particularly in placement of the microphone. Fred Pohl's success continued for many years after this interview. Jem, published in 1979, won the National Book Award the only year there was an award for science fiction. The sequel to Gateway, Beyond the Blue Event Horizon was a finalist for both the Hugo and Nebula Awards in 1980. In all, there eventually were seven novels in the Gateway  (Heechee) series, and after 1979, all told, he wrote 17 more novels, the last being The Lives He Led, published in 2011, along with several collections, even more collaborations, and some non-fiction as well. At the time of his death at 93 in 2013, he was working on a second memoir, which has to date not been published. NOTES. Judy Lynn Del Rey was the sf editor at Ballantine Books starting in the early 1970s and soon had her own imprint, Del Rey Books (in collaboration with her husband, writer Lester Del Rey). Judith Merrill was a writer and anthologist, noted for her Year's Best SF Stories collections, which she edited from 1956 to 1968. John Michel was a key member of the Futurians who never fulfilled his promise. John W. Campbell was the editor of Astounding Stories, later Analog, from 1937 into the 1970s, and is credited with discovering such writers as Isaac Asimov and Robert Heinlein. His influence on science fiction was all-encompassing, even as his politics were, as Isaac Asimov quipped, somewhere to the right of Hitler. Horace Gold was the first editor of Galaxy, before Fred Pohl. It was the magazine that brought literary style into science fiction. Other names mentioned are Anthony Boucher and F. Francis McComas, the first editors of the Magazine of Fantasy and Science Fiction, F&SF. This podcast was first posted February 14, 2021. Three Futurians in 1938: Donald Wollheim, later publisher of DAW books, Fred Pohl, and John Michel. Creative Commons photo donated by the Wollheim family. The post The Probabilities Archive: Frederik Pohl (1918-2013) Acclaimed Science Fiction & Fantasy Novelist and Editor appeared first on KPFA.

Episode 263 of The Business Development Podcast takes you deep into the editing stage of podcast production, where a raw recording transforms into a polished, professional show. In Part 7 of the Podcast Playbook series, Kelly Kennedy shares his complete start-to-finish editing workflow, honed over hundreds of episodes. From understanding your DAW workspace to identifying and fixing common audio problems, he covers the why and how behind every step, always keeping the listener's experience front and center. Kelly also breaks down his go-to plugins, explains their real-world use cases, and offers detailed guidance on creating a consistent, clean sound that keeps audiences engaged.Listeners will walk away with a clear, repeatable process for editing like a pro, including the exact sequence Kelly uses to repair, enhance, and master audio before releasing it into the world. Alongside the technical instruction, he shares valuable mindset advice—normalizing the learning curve, encouraging practice, and reminding creators that great editing isn't about chasing perfection, but about respecting your audience's time and attention. Whether you're a beginner or a seasoned podcaster looking to tighten your process, this episode delivers the tools, techniques, and confidence to elevate your show's production quality.Key Takeaways: 1. Editing is for the listener, not you, and should focus on making the show easy and enjoyable to follow.2. Understanding your DAW workspace is essential before making any edits.3. Common audio issues like hiss, hum, reverb, plosives, sibilance, clicks, and uneven levels must be identified and fixed early.4. Use the right plugins to solve problems efficiently without overprocessing the voice.5. Always fix issues before enhancing audio with EQ, compression, or clarity tools.6. Edit for your ears, not your eyes, and trust what you hear over what you see on the waveform.7. Keep a human feel by leaving natural pauses and personality in the conversation.8. Maintain consistent loudness levels to meet podcast industry standards and avoid listener volume adjustments.9. Record and use room tone to make cuts seamless and keep edits invisible.10. Perform a full quality control listen-through on multiple devices before publishing.

Anne Ganguzza and Danielle Famble dive into a crucial topic every voice actor faces: Return on Investment (ROI). In an industry that combines both tangible equipment and intangible skills, the discussion examines which investments are truly worthwhile. From starter microphones to a full-blown studio, and from coaching to building confidence, Anne and Danielle offer a fresh perspective on how to measure the success of your financial decisions. They emphasize that in a creative industry, ROI is not always about money—it's also about personal growth, confidence, and building a sustainable business.   00:00 - Anne (Host) Hey bosses, we now have events, so don't miss out. Our VIP membership gives you exclusive discounts to events and access to workshops that are sure to boost your voiceover career. Find out more at voboss.com.  00:16 - Speaker 2 (Announcement) It's time to take your business to the next level, the boss level. These are the premier 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.  00:35 - Anne (Host) Hey everyone, welcome to the VO Boss Podcast. I'm your host, Anne Ganguzza, and I am here with the Boss Money Talks series with my good friend, Danielle Famble. Hey, Danielle, hey, how are you? I'm good, how are you? I'm good, Danielle. I just got an email from Amazon, oh, and the subject said you might like this, or we found something you might like, which I think is such a marketing tactic. It is a good opening line. Works on me, yeah for sure.  01:08 - Danielle (Guest) It works on me. You definitely opened the email, didn't you?  01:11 - Anne (Host) Yeah, because it's based on my previous you know, either browsing or my previous purchases, and so those of you that have ever perused the VioBoss website know that I have a Studio Gear page where I put all the recommendations for Studio Gear, and so I was updating that page and, of course, everything that they sent to me was Studio Gear related, and I was like, oh, look at that shiny new interface, look at that shiny new pair of headphones. Yeah, you know, new colors, new colors. Yeah, it leads me to think about Danielle what Vio expenses are actually worth the ROI? I mean, that is something that I think every voice actor needs to consider when they're spending money and investing in their business. So which purchases are actually worth it?  01:58 - Danielle (Guest) Yeah, and there are lots of little things that you can invest in in your business and some of them are tangible, like you're talking about the headphones or the interface, and then some of them are intangible, like when you're investing in your education or you're investing in yourself with coaching. So I think that that's such a personal question and it also will change as you progress in your VO boss journey. Agreed, the things that are great returns on investment as you progress in your VO boss journey? Agreed, the things that are great returns on investment when you're earlier on in your career? You may not invest in those again when you're 10, 15, 20, 30 plus years in the game. Right, yeah, that's a fun little question.  02:38 - Anne (Host) I mean we could start with the obvious. The obvious would be most people think, well, okay, I want to be a voice actor, so what do I need? I need a microphone. So there are microphones and there I think microphones are an investment that if you're just starting out and you're not sure if this is really the thing that you want to do or you're going to, you know this is a long term investment for you. Maybe just a starter microphone works. That's a few hundred dollars and I think that that would be worth an investment to just get your feet wet, get you know, dip your toes in the water and find out if this is a career choice that you are going to stick with.  03:12 But if you kind of know that in your heart and you've done enough research and maybe you've gone ahead and done some coaching and you're fairly certain, I would say it's absolutely worth your investment to invest in a good microphone. I mean because I think microphones are one thing. We may use them every single day, right, but we're not like handling them too much. We're not, like you know, dropping them on the ground. God forbid, hopefully not. You're. A good microphone is going to last for years and years, like my 416 and my TLM 103, I have had them for already, like going on 15 years, like, literally there's no signs of slowing down. However, at one point they will, but I've certainly made back the money that I've invested in them, absolutely. What are your?  03:56 - Danielle (Guest) thoughts. I agree, I'm kind of more of the grow as you go kind of mentality. So when I started I was using the Synco Mic D1, I think, or something like that D2. And it was billed as the knockoff 416. And then when I actually had the 416, I was able to listen to them side by side. And it is not, but it worked out for the time being. It was what I could afford at the time and then the additional money or the money that I had that I could have spent on the 416 at the time, I put that money into coaching. I put that money into getting a good demo. I put that money into investing in sort of the soft skills needed to win and do well in this business and really in business in general.  04:45 So I think that the ROI, again, like you, can sort of start with what is the starter, and maybe the starter is a certain dollar amount and I don't think there is a dollar amount, but it's the dollar amount that is comfortable for you. That maybe isn't the 416 or the TLM 103, something like that and then you use some of that money to then invest in the soft skills and invest in your coaching, invest in your website or things like that.  05:16 - Anne (Host) I started off with an AT2020 and I graduated to a Rode MT1A, which is not necessarily what I would recommend today, but those were only a few hundred dollars, and I still remember when I actually got my very first like major investment in a mic was a good 10 years after I had. I had been because I made good money with that Rode for at least six, seven years, and then and it just didn't occur to me because I had a great studio at the time, right, and I didn't hear a need or nobody Everybody said, oh my God, you sound great, and so I didn't feel a need that I had to go experiment with microphones. Now, some people are gearheads. You know we've all got our thing, kind of like me investing in lipsticks or in clothing. You know they have to try it all Totally.  06:08 I remember, though, when I did invest in my TLM 103, I actually heard the difference, but I could not have been able to tell the difference. Probably, I think, when you're first getting into the industry, it takes a minute for you to get an ear. Develop your ear For your sound, for your microphone yeah, we don't talk enough about that and maybe that's fodder for another. You know another episode. But developing your ear in voiceover for performance and for good equipment, it takes time I mean years and it took experimentation. It took, you know, trying, and I think it took me, after years of being in the industry, of hearing the difference with a good quality pair of headphones, with a good quality mic in a good quality studio, and so all of those were were back the ROI.  06:55 - Danielle (Guest) That also increases as well. You know things like investing in your booth, investing in where you're going to record. I started recording in my closet and like adding extra pillows, and I was taking pillow cases off of, like my bed, from the couch cushions. I was taking anything that was soft and just bringing that into the closet with me to record and I, you know I did quite a bit of work that way for a good amount of time and then, you know, time progressed and I got a different booth and then I upgraded to the booth that I'm in currently. So if you, I think, if you can grow as you go, you might be getting more of an ROI because you're developing that, your ear, you're developing your business sense, your business savvy, you're understanding, you know what you bring to the microphone, what you bring to the business, and all of that is how you increase that ROI for sure.  07:53 - Anne (Host) You know, and we should talk about ROI Is ROI always positive financially based?  07:58 - Danielle (Guest) No, I don't think so. No right, I think it can definitely be the intangibles as well. It can be exactly how comfortable you feel attacking commercial copy. It can be how quickly you're able to adjust from in a session when you're given differing opinions on how you should, you know, read a line or something like that. It's your ability to speak up for yourself and ask for what you want and negotiate all of those things.  08:22 - Anne (Host) That's such a good point of this topic because ROI, especially in our industry, when our voices I mean our voices are so much more than just physical voices for our product, it has everything to do with who we are, what got us here, our life journey and confidence right. So if a new microphone can make you feel more confident, can make your performance better, that's going to make your product better. So ROI, I think in our type of industry, when it's a creative industry, really can be almost as much intangible as it is tangible.  09:00 - Danielle (Guest) It's what you're pouring into the product that you're offering, which is tangible. It's what you're pouring into the product that you're offering which is yourself. It's what you're pouring into your physical instrument. It's what you're pouring into your heart. It's what you're pouring into. I love the confidence aspect, because that is a huge intangible.  09:17 that is incredibly important, oh my gosh yes, helps you feel good in your booth, in your read, it's what gives you the confidence to go to conferences and put yourself out there, reach out to new agents. Yeah, like that is the product. The voice is the conduit to it, but you, the human being, are the product and so, whenever you can pour into yourself and make sure that you are operating at your best and highest vibration, you're going to get that ROI back because you're putting out a one-of-one, a very unique commodity, absolutely.  09:52 - Anne (Host) You know, not everyone can just get Spoken from the girl who loves to talk about money. I love that, right. I love that. It's just as important, right, I think, for the ROI to be intangible as it is to be tangible. Now, if we talk about the tangible aspects of it, how do you measure? How do you measure the ROI? How do you look at the hard-cold numbers for an investment in a microphone? I mean, are you looking at it on a monthly basis? Are you like, okay, I invested you know a thousand dollars in this microphone and how have I made it back? Right, Are you looking at the jobs you booked? Are you looking at, you know, an agent you just got? And again, how do you track that? Really, in cold, hard numbers? Sometimes you can't Right.  10:36 - Danielle (Guest) Sometimes you can't, but some things you know, for example, like like a microphone or an interface. You know, I look at things pretty clearly in terms of can I afford it or not? That's sort of the start. And if I cannot afford it right now, how long will it take me to be able to afford it? Should I utilize other tools? Should I use debt? Should I put it on a credit card? But I know that I've got some invoices that are going to be paid by the end of the month and so I can pay for it. Can I afford this thing? And then I look at is this thing, let's say a microphone, is it replacing something that I've already used that needs to be replaced? Do I really need it? Or if I'm a gearhead and I just like it, that's fine too. But know that you know before you just acquire new things and then, do I know how to use it? Yeah, that's sort of the intangible.  11:25 - Anne (Host) That's a good. That's a good, that's a good point Can.  11:27 - Danielle (Guest) I use it, you know, with, with. Can I use it how it needs to be used, or do I need to invest in education to learn how?  11:35 - Speaker 2 (Announcement) to use it.  11:35 - Danielle (Guest) For example, I got a new interface and I wanted to make sure I knew how to use it. Can I afford it? Yes, I bought it, great. But then I didn't really know how to use it. So then I invested in coaching with an audio engineer who explained what it was to me and how I could use it. And so then the ROI actually made sense, because when someone said, hey, can you turn up your gain or turn off that 4K button, or we don don't really. We need this, this and this. Can you tell us what your interface is Like? I could speak to it with confidence, because I had put in the time and energy to, yes, buy it, but then learn how to use it. And for me, then, that's how I look at the ROI.  12:15 - Anne (Host) Sure, well, you know, I get a lot of students because obviously I'm a coach and I get a lot of students because obviously I'm a coach and I get a lot of students who will say, well, I want to be able to work in the industry and then be able to pay for my demo or my coaching, my additional coaching. And so that's a tough one, because that's like what came first, the chicken or the egg, because in reality you kind of have to figure out, you kind of have to make an investment in the coaching aspect of things and, of course, the demo too, because I'm a big believer that demos are what helps market that voice, so that you can get the jobs, so you can then reinvest it in your business. And so what are your thoughts about the intangible investments like, well, investing yourself with coaching and with, let's say, demos.  12:57 - Danielle (Guest) I think those are probably, as you're starting out, that's probably going to be what's going to get you the highest ROI. Are those intangibles. It's the coaching, it's the demos, it's the website, it's the marketing materials, it's knowing how to market yourself, it's knowing what genres you want to work in and that you're good at and that it's fun for you that you're finding the joy, that it's fun for you that you're finding the joy. So those things. I think that's really where I would spend more of my energy and my money trying to really invest in those things. But to your point, you need one to beget the other. The work begets work, but you've got to have something to show who you are, what you do and how well you do that thing Exactly.  13:42 So sometimes that may need to be going into a little bit of debt so that you can purchase that, or it is utilizing your nine to five to fund your five to nine. It's having to sort of figure out what is it that I'm trying to get let's say it's a demo or a coaching package, for example and how much is that going to cost me? How long will it take me to save up for it? Or what do I need to do to make that happen, because then, after a certain period of time, I usually say give yourself like six months to a year to try and get that money back. Yeah, yeah, it's a long enough time, if not longer sometimes.  14:22 - Anne (Host) Yeah, and maybe even longer. I think in the beginning sometimes it could take longer because, you know, I remember telling people my first year I made a decision to go full time when I decided to move across the country and I thought for the first couple of months I would look for a job in education. Because I came from education and I was like, so I had worked so hard in my other job, I took a few months off. Well, I actually couldn't have afforded at the time the few months off, because that was that was like the crash of 2008. And so, in reality, yeah, I basically was not successful in getting in the door really for my, my full time job, just because it was a new area and you know I was specializing in technology and so there were lots of factors in that. And so I just decided to pour all of my energy into going full-time in VO and, as hard of a worker as I am, I still, the first year maybe made $1,200. It was really something that I was learning lots of things. I mean, it was a new area. I was trying to get to know new people, new local studios and trying to figure out marketing, because now I was doing it full time and so there was a lot of investment that I made in my own education and in improving my voiceover, improving my getting new demos and that sort of thing. So it did put a lot of money out for that initial investment.  15:49 And so sometimes it can take a little bit of time to see the return on investment and again, like we were talking about before, sometimes you don't recognize it because in this business you kind of have to develop an ear for a lot of things. You have to develop an ear for your studio sound. You have to develop an ear for a microphone Does it fit you? You have to develop an ear for, you know, for your auditioning really, and that's kind of a soft skill right that incorporates coaching and incorporates just doing it and practicing it. So those are so difficult in the beginning, I think, to justify a return on investment. And I think if you're just getting involved in this business you have to kind of expect those things to take more time than you would like them to Absolutely and also know what not to do.  16:37 - Danielle (Guest) So I always try to look at it as what am I doing to get to my very first dollar and anything outside of that Maybe I don't need to be focusing my money on it because I'm not going to get that return on investment as quickly.  16:50 - Anne (Host) I like that.  16:50 - Danielle (Guest) So it may be those things to get to your first dollar are the coaching.  16:55 It's your, it's your marketing materials, it's your demos, it's your learning how to utilize your, your, your DAW or your interface, like it's your demos, it's your learning how to utilize your DAW or your interface, like it's learning about those things. But maybe it's not. Maybe it's not getting like the super fancy website, maybe it's not business cards, maybe it's not. You know all kinds of other things that seem like oh, this is what I should do for the business purposes, a CRM, you know, like just everything that you do for business. It may not be what you need to be doing now, but what can get you to your first dollar the quickest? Because that's a proof of concept that it's working. And if you can get to one dollar, you can get to two. Then you can get to four, six, eight, whatever. So I would, I would look at it like that of where? Where am I putting my energy, my effort?  17:39 - Anne (Host) I know it's probably going to take a bit of time, but I'm driving towards getting to my first dollar and that's how you'll get the snowball going of the ROI and they hang it up like when they open their business, like I don't know if people do that anymore, but in reality, like that becomes like such an important concept, like what are you doing to make your first dollar? And you're right, sometimes it doesn't happen immediately and I think one thing that people just have to understand is that it does sometimes take time, right, but once you make the first dollar, as you said, then comes the second dollar, then comes the third dollar, and I notice it happens over and over in this business where it's like success begets success.  18:29 - Danielle (Guest) Yeah, it does.  18:30 - Anne (Host) And so once you start booking jobs, right outside of an occasional lull right, which happens like seasonally in this industry, and that's something else that you have to get used to Then there's always the capability and the confidence to get to dollar number two and then to get to dollar number three and typically it happens more frequently and then comes the confidence, which I don't think there's a price on that, to be quite honest, because once you have confidence in yourself, in your product and in your business, I don't think there's anything stopping you from being successful, for sure, totally. Let's talk about other things. That, because you mentioned a website and I don't want to let that go, because I think that a website investment is a whole lot more important than some people think, because, again, I'm going old school, right, when people used to actually make their first dollar and then frame it and hang it up in the place of their business. Well, the place of our business now is our studio, and so we really need to be thinking about where you know we're going to celebrate those wins, right, and we want to think about how are we opening our storefront right, where is that storefront? Because it's not physical, it's online, and so that impression that storefront is where people go to buy things.  19:47 I mean, I buy things online every day and I think we all do that. Storefront is important and I think that that is a worthy investment. Now, do you need to make that right away, before you have a demo or before you have right any samples to put up there or even a thought as to what your brand is about? You can always start creating a website on the back burner of things, because as you grow, it develops kind of like your studio, right? You evolve, you change, you grow. I think your website is one of those things. Your storefront grows with you.  20:19 - Danielle (Guest) Yeah, absolutely. I think it's important to have you know you, to place your digital shingle up so that people can find you, because in this day and age, so many people are finding you on your website or digital presence in some way, and then they're coming to speak with you via email. So they need to know how to reach you. So I do think that's important, but some things do. The great thing about a website is that it can change and evolve and sort of that's the point. Can change and evolve, and sort of that's the point. So you start with what you have, and if what you have is just this is my name, this is my picture, this is what I sound like and this is how you can reach me, those basic things are all. That's what a website should entail, anything else showing what you do.  21:04 - Anne (Host) A way to purchase.  21:05 - Danielle (Guest) A way to purchase a product, a way to purchase a product that is really like. It's the gateway to how to get to purchase the product of my voiceover services, me as a person, and how we can work together me, you, the client. But other than that, I don't think that it serves you to wait to put that digital shingle up until you're ready, because there's time that could go to making your first dollar, absolutely Even if that digital shingle is not the way that other people's digital shingles look. But I would say, put the website up and get that out there as quickly as possible. That has the basic information about how to find you, how to purchase your product that you're selling, how to pay you, how to pay you Exactly you have to be able to get pounds so that you're selling how to pay you, how to pay you Exactly Like.  21:54 - Anne (Host) You have to be able to get pounds so that people can hire you and then pay you, and that, I think, is so, so important.  22:00 - Danielle (Guest) And those things will grow and evolve as time goes on. But you don't need to wait until all of these things are in place and perfect to put it out there so that people you know this is the get to your first dollar. It's got to be scrappy.  22:15 - Anne (Host) I agree with you. Now, what about the other things? Like OK, so you've, how are you going to make your first dollar? So then the next biggest question, or I would say one of the biggest questions I always get, is like so how do I get work? How do I get work?  22:29 So there are multiple ways to get work Right and there are investments that you can make in order to get work Right. You can invest in a pay to play. You can invest in you know management. You can invest in a marketing company that can help you to market. You've decided you're going to hang that shingle out and you're going to do it.  22:53 Well, now you've got to make money right. Now you've got to see that return on investment that you've made, and so you've got to make money. So how do you make money and how do you determine what products or what avenues to invest in so that you can find opportunities? Because that's really what you're doing. You're paying to find opportunities, and whether you're paying somebody to help market you in social media or maybe you're doing that yourself, that's really cost of your time, right, which is a cost you got to calculate, and we have a great episode on what's your hourly worth, right? How much do you get paid per hour? So figure out what that is worth. But let's talk about do you see pay-to-plays as being a worthy investment?  23:35 - Danielle (Guest) It can be a worthy investment, depending on the genre that you want to be working in. If you want to be working in a certain genre, that pay-to-plays are more often than not posting jobs for, absolutely yes, and usually those pay-to-plays have tiers.  23:53 - Anne (Host) Yes.  23:53 - Danielle (Guest) And usually those pay to plays have tiers. I started on a pay to play at the lowest tier as a proof of concept to make sure that I wanted to do this, that it made sense for me and was I going to be making my money back. And I found in one or two jobs I made that lowest tier, that I paid for the year I'd made that money back. So it made more sense to consider upgrading to higher and higher tiers and I think that's the way that you can sort of stair-step it. I agree.  24:14 But, if you know that you're wanting to go into a certain genre, that maybe a pay-to-play is not going to be as beneficial for you, then I would make it so that you're getting the best return on your investment of time and money as possible. But then you spend more of your time going into the spaces where that genre is more marketed and maybe that's not a pay to play. Maybe it is an agent, maybe it's not an agent, maybe it is your own time, maybe it's looking on social media sites for different types of work opportunities. So knowing the genre that you're trying to work in will then tell you where you should put your time and your energy and your money. And if you're trying to work in, will then tell you where you should put your time and your energy and your money and if you do want to work in both broadcast and non-broadcast right.  24:57 - Anne (Host) That, to me, separates out the you know which genres there's. Broadcast and non-broadcast. Broadcast require. You know you're going to have an agent and maybe a manager. You're not going to have to invest in an agent, by the way. You don't have to invest money in an agent, but you have to invest money in a demo that will attract an agent and auditions and or jobs that you've booked on, maybe pay to plays or rosters that attract an agent to want to put you on their roster.  25:20 - Danielle (Guest) That's number one and they would probably need to see it on your website or see, like where those types of jobs that you've done or your demos.  25:26 - Anne (Host) Absolutely.  25:26 And I do want to just make one point about the pay to plays, because there's so many many people that that's always the biggest. I think is one of the biggest topics of discussion is pay-to-plays and what tiers and what's worth it. Back in the day when I joined, there was only one tier and it was like a few hundred dollars a year. And I, what I, even if you join on that first tier right and just to dip your toes in the water, remember, to me it's an education because you're starting, because if you have never worked in voiceover, you don't know what real jobs are out there. You might have worked with a coach that gave you scripts they were practice scripts, they weren't actual jobs that maybe had casting specs or a quote. You know like, oh, here we're going to pay you this amount of money and here's the audition I want you to do, or here's the actual size of the job. And so you're really I think if you're even just on a bare bones level of those pay to plays, you're paying for education to find out what jobs are current out there, who's hiring and what types of jobs are they hiring. So I always say a first level investment is always good for people kind of looking to dip their toes in the industry to find out if this is something they really like, because then they could see here are the types of jobs that are being offered out there, and here's what an actual corporate narration looks like, or here's what an e-learning module looks like, and so I think that's a very worthy investment. Then, yes, there are different tiers. Now there's always back and forth about is this tier worth it? Is the most expensive tier worth it? And, of course, I think that just depends on the timing of things and your ability to audition well and timely Agents.  26:58 Don't ever pay for an agent. If you have to pay for an agent, you need to like run. But managers, in terms of return on investment, if you do get a job through an agent, you're typically paying them a fee, a commission, and so that, yes, is a good return on your investment for the most part, unless you've got an agent who's unscrupulous and maybe not, you know, paying you, which actually does happen Something did just happen recently which is unfortunate and then a manager of which you're paying a certain percentage of every job, whether or not you got that job through them. So that is. You know that's another discussion which we actually had a podcast on that, Danielle because you do have a management company and for you it's a very worthwhile investment. Again, depending on the genres that you work in, a lot that is going to determine if it's worth the ROI.  27:49 So one last thing I want to talk about is ROI in terms of marketing. What should we consider a good return on investment for our marketing efforts? Should we hire, should we buy a CRM? Should we hire a marketing agency? Should we, you know, pay a social media manager to get us out there? I mean, there's so many different options and this could be like again like part two of an episode. You know what are those options and how do I determine the best ROI on that? And marketing is tough Marketing is tough Marketing.  28:22 - Danielle (Guest) I even consider, like my agents and managers, part of my marketing budget, because me doing all of these auditions through them and being associated with them on their websites or on their marketing materials is also marketing, and marketing is one of those that it can be that you really are playing the long game. You could be marketing to a potential client for years and years and then finally a job comes your way through them. Well, that's a worthwhile return on investment because you've been consistently reaching out to these people and, as time has gone on, they know you, they can trust you and they want to work with you. And you know the stars aligned where they had something that was a good fit for you. So it really the thing about marketing is that it is a long-term investment in the growth of you and your voiceover business.  29:19 So the ROI with marketing is a little bit more like. It's kind of like when you are consistently investing money into your savings account or into the stock market or into your retirement account. It's harder to track sometimes. It is hard to track sometimes, but you're doing it knowing that you're not necessarily trying to get an immediate return on investment. You're basically investing in the long-term health of your business, because then you're diversifying yourself from the pay-to-plays, from your agents, from your SEO expenses for your website, All of those things, your SEO expenses for your website, like all of those things. It's really just diversification, and that one is harder to track.  29:58 - Anne (Host) And also, you know, it can be a combination of any or all of the above that we've spoken about today and I mean I really appreciate it can be a combination of your investment in yourself and your performance and your auditioning techniques and investment in you know, refreshing your demos and investment in evolving or getting a new website. Investment in you know, maybe paying somebody to help you market yourself, and investment in you know a pay-to-plays and a management company. So all of these things together and as you evolve right, your investments and your expenses evolve. I mean that's really called growth? Yes, it is, and hopefully it spurs in a positive direction.  30:39 - Danielle (Guest) Yeah, you can always also ask yourself you know if it's something that you're going to be putting your financial investments in. Can I afford it, yes or no? Right, how long will it take for me to be able to afford it? And what do I need to do to purchase it? What tools do I need to use to be able to purchase it? And then, what am I trying to gain from it? What does it look like if this were to be successful? What am I trying to get out of it?  31:04 And it can't just be I just want to book a job. That's a little too nebulous. It could just be something more like I want to feel more confident when I walk in my studio. That's a direction that you can go and then you can say, okay, return on investment, I got it, because now I feel a lot more confident. Check the box, but know what is it going to cost me? That could be money or not. And what am I trying? What is the outcome? What's the cost and what's the outcome? And then, when you can figure those two out and you're very clear about it, then go for it, because you'll know when you've had that ROI.  31:37 - Anne (Host) Love it, love it. And the one thing my takeaway is that ROI is not always financial. No, not always financial, not always easily measurable, so bosses out there lots of things to consider, Danielle, as always, what an amazing conversation. Thank you so much. Yeah, this was conversation. Thank you so much. Yeah, this was fun. Thank you for bringing it up.  31:54 Absolutely. I am going to give a big shout out to our sponsor, ipdtl. You too can connect and network like bosses. Find out more at IPDTLcom. Guys have an amazing week and you know, you guys are absolutely worth our ROI. Absolutely have a good one. Bye, bye. Absolutely have a good one, bye, bye.  32:11 - Speaker 2 (Announcement) 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 vobosscom 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.   

Have you ever abandoned a promising track because it suddenly "didn't feel right" the next day? Why does your track feel wrong the next day? Is Overthinking Killing Your Songwriting Process? In this eye-opening episode of Inside the Mix, synth-pop artist Michael Oakley unpacks the creative psychology behind overthinking songwriting and how our emotional state can sabotage musical momentum.Inspired by advice from Max Martin -“Don't overthink a song until its third rewrite” -Michael reveals how writing 14+ song drafts taught him the balance between intuition and iteration. We explore the mental traps artists fall into: abandoning promising tracks, getting stuck in endless revisions, and losing objectivity. Michael shares how trusted collaborators (Ollie Wride, Dana Jean Phoenix, and John Kunkel) help him overcome production blindness and restore clarity to his mix decisions.You'll also learn practical strategies to break creative paralysis, from setting a tempo and key to choosing sounds that unlock inspiration. Discover how he transformed a 2000s-inspired track into a synthpop anthem, retaining its essence while reinventing its sound.Whether you're battling the blank DAW screen or questioning your last vocal take, this episode offers real-world tools to finish more music with confidence. Subscribe now to join our community of producers and songwriters learning to navigate the creative landscape with confidence. Michael's new album arrives May 8th next year—perfect timing to apply these insights to your musical projects.Links mentioned in this episode: Follow Michael OakleyListen to the Sodajerker podcast Xfer SerumSend me a message Support the showWays to connect with Marc: Book your FREE Music Breakthrough Strategy Call Radio-ready mixes start here - get the FREE weekly tips Grab exclusive access to BONUS content Follow Marc's Socials: Instagram | YouTube | Synth Music Mastering Thanks for listening!!

Im zweiten Teil meines Gesprächs mit Thomas Lemmer geht's ans Eingemachte: Wie produziert einer der bekanntesten Chillout-Künstler Deutschlands seine Musik? Wir sprechen über seine DAW, Plugins und Lieblingssounds, aber auch über seine Herangehensweise beim Mixen und Mastern – inklusive Dolby Atmos. Du erfährst, warum gerade bei ruhiger Musik jedes Detail zählt, wie Thomas seine Beats programmiert und welche EQs bei ihm fast immer im Einsatz sind. Ein inspirierender Deep Dive für alle, die Sound nicht nur hören, sondern fühlen wollen.

Duck. Breathe. Pulse. Repeat. The beat hits, and everything else steps aside. In this episode, Chris & Jody journey into the hidden choreography of sound—where one signal controls another, and side-chaining becomes more than a trick. It becomes feel. What starts as a lesson in DAW setup and MPC Live integration quickly morphs into a deconstruction of space, impact, and the rhythm behind rhythm. Compression is the hammer. Side-chaining is the sculptor. Basslines yield to kicks. Pads inhale and exhale. You'll learn the how, sure. The routing. The thresholds. The tools. But more importantly, you'll learn the why—the artistic intent behind the technical choices. Oh, and the usual chaos? It's there. Along with Friday Finds that might just blow a few fuses (in the best way). Plug in. Tune out. Let the side-chain lead. #SideChainSecrets #StudioAlchemy #SonicSculpting #MixingWithEmotion #HomeStudioCraft #AudioMovement #InsideTheRecordingStudio #CreativeMixing

In this week's episode, I compare learning a new DAW to learning a new language – and share where I'm at in my own journey toward “speaking” Ableton Live fluently.  Plus, I feature a new reggaeton-meets-comedy hip hop cue.Watch this episode on YouTube: https://youtu.be/pEN_lE0HZyo Join the 52 Cues Album Accelerator – a self-paced program with over 6.5 hours of video content, discussion threads, articles, and resources which guides you through the entire process of creating a production music album. Plus you'll receive a 90-minute, one-on-one session to listen through your album and discuss strategies for library placement. Head over to 52cues.com/accelerator to sign up today!

Referencing Your Way to a Better Mix In this episode of Inside the Recording Studio, Chris and Jody break down the power of reference mixes—why they're essential tools for mixers and how to use them effectively in your workflow. From understanding tonal balance to making better decisions about EQ, compression, and stereo width, reference tracks can be your secret weapon for more polished, competitive mixes. The duo shares their personal referencing workflows and recommends plugin tools that simplify A/B comparisons inside your DAW. Plus, don't miss their offbeat banter and the latest pick from this week's Friday Finds. Whether you're just getting started or you've been mixing for years, this episode will help you train your ears, sharpen your instincts, and mix with more confidence. Learn how to mix smarter by referencing like a pro! #InsideTheRecordingStudio #MixingTips #ReferenceMixes #MusicProduction #AudioEngineering #MixLikeAPro #DAWWorkflow #PluginTools

What if consuming art outside of music could unlock your most original sound?

Paul White explores the creative potential of using 'found' sounds, demonstrating how items found within your surroundings can be sampled, manipulated and transformed into complete tracks within your DAW using a few simple tools.Chapters00:00 - Introduction00:36 - Software Options01:27 - Methods Used For This Demo01:58 - Creating A String Patch04:49 - A Few More Examples08:03 - Constructing A Unique Percussion Kit11:01 - Layering Sounds With Synth Pads12:13 - Using The Voice Creatively13:00 - A Finished Track Using The Sampled SoundsPaul White BiogPaul White initially trained in electronics at The Royal Radar Establishment in Malvern then went on to work with Malvern Instruments, a company specialising in laser analysis equipment, before moving into technical writing. He joined the Sound On Sound team in 1991 where he became Editor In Chief, a position he held for many years before recently becoming Executive Editor. Paul has written more than 20 recording and music technology textbooks, the latest being The Producer's Manual and in 2010 he received a BASCA award for his contributions to the music industry.Having established his own multitrack home studio in the 1980s he's worked with many notable names including Bert Jansch and Gordon Giltrap. He's played in various bands over the years and currently collaborates with Malvern musician Mark Soden, under the name of Cydonia Collective. Paul still performs live claiming that as he has suffered for his music he doesn't see why everyone else shouldn't too!http://www.cydoniacollective.co.uk/Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

Deadlines don't care how creative you're feeling—so Chris and Jody are jumping into the fast lane with an episode all about navigating tight studio deadlines. Whether it's last-minute sessions, surprise client changes, or an unexpected "we need it yesterday" scenario, the guys share their real-world strategies for staying productive under pressure. From prioritizing tasks in your DAW to smart time-saving workflows, they'll give you the battle-tested tactics that have helped them hit the mark—even when time's running out. Hear about clever plugin choices, effective template setups, and how to keep creative focus without sacrificing quality. And yes, there's still room for a little nonsense and the latest edition of Friday Finds, because no crunch is complete without some fun. #InsideTheRecordingStudio #MusicProductionTips #AudioWorkflow #QuickMixingHacks #StudioTimeCrunch #FastTrackYourMix #ProducerMindset #RecordingEngineerLife

It's time for a little Gallic flair in podcastland as "Michelle" sashay's into view. How unusual is the song in the Beatles back catalogue? Do cover versions add anything at all? And how did our beloved podcast hosts (it says here) come to the song in the first place? Rankings: Track-by-track Ranking eMail: beatlesstuffology@gmail.com Twitter: @beatles_ology Instagram: beatlesstuffology JG's Blog: Judgementally Reviews… Andrew's Blog: Stuffology   Produced By: Pressing some buttons in a DAW. But also by JG McQuarrie

In this no-holds-barred episode, Dee Kei and James dive deep into the toxic myths, vague advice, and ego-driven illusions that still dominate the world of mixing and audio education. From the false promise of "secret sauce" techniques to the cult of gear and performative certainty, they break down why so many mixers cling to superstition — and how it's holding back real growth.They also explore why even elite mixers often give ambiguous or misleading advice, how language shapes misunderstanding, and why certainty is often just a mask for insecurity or marketing.Plus: Japanese philosophy, baseball rituals, self-diagnosed autism, and why Rick Rubin might actually have it all figured out.

"I was struck by the many underlying tensions of this recording. The racialized profiling described by Masha Hassan—the dual nature of observation, the police surveillance of bodies and Masha's surveillance of them juxtaposed against the vibrancy and music of the open marketplace.  "I wished to highlight those elements through a chopped and edited approach, a kind of digital tape manipulation, first through Eurorack synthesizer, and then further in DAW based editing; looping, sampling, resampling, stretching, and compressing audio.  "While the moments of tension that are so compelling to me in Masha's original recording may or may not be present in this reimagined piece, I aim to achieve that anxiety on a poetic level in my composition — exactimo."   Friday market in Ventimiglia, Italy reimagined by John Wilhelm.

Ever wondered why your mixes don't sound professional, even with decent gear and endless YouTube tutorials? In this episode, Marc Matthews and Tim Benson, AKA Aisle9, reveal the overlooked production habits that separate amateur mixes from polished tracks.Discover how using reference tracks, including your own successful work, can instantly level up your sound. The duo also expose their most cringeworthy recording mistakes, from misaligned mics to monitor mishaps, underscoring why getting things right at the source is critical.You'll also learn the workflow most producers ignore: poor project organisation. Marc and Tim share practical tips on track naming, grouping, and DAW session structure that boost efficiency, and no new gear is required.Whether on your first track or your fiftieth, this candid, tip-packed conversation will help you overcome common mixing hurdles, avoid overprocessing, and finally achieve that clean, professional sound you've been chasing.Tune in to transform your studio sessions and start producing music that truly translates.Links mentioned in this episode: Got a question? We'd love to hear from you! Submit a question, share your social media handles or website, and get featured in a future episode. Plus, one lucky person will win a Starbucks voucher each month!Send me a message Support the showWays to connect with Marc: Master with confidence - join the Pro Home Mastering waitlist - If you grab the course using my link, I may earn a commission at no extra cost to you Radio-ready mixes start here - get the FREE weekly tips Grab exclusive access to BONUS content Book your FREE 20 Minute Discovery Call Follow Marc's Socials: Instagram | YouTube | Synth Music Mastering Thanks for listening!!

Send me a messageWhy do some mixes, even with top plugins and techniques, still sound off? The answer might lie in a step you're overlooking: the static mix.In this episode of Inside The Mix, Marc Matthews talks with mix engineer Nate Kelmes to explore: What is a static mix in audio mixing? And why is a static mix important before adding effects? Nate explains how balancing levels and panning, before any processing, can account for 70–80% of a great mix. “If the plugins disappear, the song should still work,” he says.You'll learn how long to spend on a static mix (hint: 2–3 hours is a sweet spot), what the benefits of starting with a static mix are, and how a static mix improves overall mix quality by building emotion and clarity from the start. Nate also shares how a strong static mix can reduce the need for heavy processing later, making your workflow faster and more intentional.From native DAW tools to vocal automation and top-down mixing, this episode is packed with actionable insights for producers at any level. If you want more cohesive, impactful mixes, this is where it starts.Links mentioned in this episode: Follow Nate KelmesListen to the Sound Discussion PodcastListen to Microphones and Recording Audio with Mike SeniorListen to Music, the Industry and Everything Else with Warren Huart Support the showWays to connect with Marc: Radio-ready mixes start here - get the FREE weekly tips Grab exclusive access to BONUS content Book your FREE 20 Minute Discovery Call Follow Marc's Socials: Instagram | YouTube | Synth Music Mastering Thanks for listening!!

George "The Tech" Whittam is a global authority on voice-over recording technology and tech support for voice actors. He is known for his expertise in studio design, equipment setup, and acoustic solutions for voice-over professionals. Whittam's company, GeorgeThe.Tech (https://georgethe.tech/avs), offers tech support, training, and engineering services. *In this Episode, we talk about: * * VO Home Studio/Recording Space * Can you DIY a VO Booth? * SPLURGE or SAVE? Interfaces, Mic Cables, Microphones, Headphones, Computers and DAWs * Source Connect 4 * Home Studio Challenges * Pasport VO - Small but Powerful Interface Get *10% * OFF George's Services HERE (https://georgethe.tech/avs) Share YOUR Home Studio Challenge HERE (https://forms.gle/cWYj5yyJ9WxgBN9V8) Want a CEntrance Pasport VO interface? Email George at: george@georgethe.tech Atlanta VO Studio Upcoming Training Learn Audacity with Larry Hudson (https://atlantavoiceoverstudio.com/what-we-offer-classes-learn-audacity-w-larry-hudson/) Find Your Voice with Daniel Ross (https://atlantavoiceoverstudio.com/what-we-offer-workshops-find-your-voice-workshop/) The Character of You Class (https://atlantavoiceoverstudio.com/what-we-offer-classes-the-character-of-you-class/) (Learn how to bring your authentic voice to scripts) Script Workout with Jill Perry (https://atlantavoiceoverstudio.com/what-we-offer-classes-vo-virtual-script-workout/) Character of You Workout with Steve Henderson (https://atlantavoiceoverstudio.com/what-we-offer-classes-character-of-you-virtual-workout/) CLICK HERE for 15% off a Voice123 Membership ($495 tier and up) - https://bit.ly/3uPpO8i Terms & Conditions - https://docs.google.com/document/d/1CcYMkdLxWfbmwbvu-mwaurLNtWYVpIBgkJpOQTYLDwc/edit?usp=sharing Looking for a VO MENTOR? Check out our Mentorship Membership for just $25/month - https://www.provoiceovertraining.com/300-membership *LET'S CONNECT! * facebook.com/atlantavoiceoverstudio instagram.com/atlantavoiceoverstudio twitter.com/atlvostudio tiktok.com/@atlantavoiceoverstudio YOUTUBE: https://youtube.com/atlantavoiceoverstudio Atlanta Voiceover Studio & ProVoiceoverTraining's Classes & Workshops www.AtlantaVoiceoverStudio.com www.ProVoiceoverTraining.com **Sign up for FREE weekly VO tips: https://bit.ly/AVSemail

Ai Brian, Blake, and Richard are back for Episode 567 of the Chasing Tone Podcast - The great JHS Notadumble-fumble humble-bumble and is this a new golden age for guitarists?This week Brian is temporarily waylaid by "stuff" so Blake and Richard tackle the show without him for the first time since records began, although there is a very brief appearance from his Ai alter ego. Meanwhile there has been some division of opinion in the guitar community about a revelation from JHS.Meanwhile the Big F have released a new DAW that is essentially free for any guitarist and Richard is a big fan. Does this signify a new shift in focus for gear manufacturers and are we now in a new golden era for guitarists? Blake drops a hint about something for beginner guitarists coming from StringJoy and Richard wants the new Tone King Imperial MKII module from Synergy.Valeton have released a very interesting mini multi fx pedal and IR loader and its so inexpensive Richard feels compels to buy one. Meanwhile Blake has received and email about NAMM Next and breaks down the implications. We also pay tribute to Jim Irsay, billionaire guitar collector extraordinaire, who sadly recently passed. Bionic eyes, Mysterious Pink Pedal, Harry Potter, Cheese highs, Becoming Led Zeppelin...it's all in this week's Chasing Tone!We are on Patreon now too!Support the show (https://www.patreon.com/chasingtonepodcast)Youtube:https://www.youtube.com/@chasingtonepodcastAwesome Course, Merch and DIY mods:https://www.guitarpedalcourse.com/https://www.wamplerdiy.com/Find us at:https://www.wamplerpedals.com/https://www.instagram.com/WamplerPedals/https://www.facebook.com/groups/wamplerfanpage/Contact us at: podcast@wamplerpedals.comSupport the show

On this episode of the StudioNerds Podcast, we sit down with CURTISS KING and IMAN OMARI to dive deep into the power of using FL Studio as your entire creative hub. No Pro Tools. No Logic. Just straight one DAW. Is it possible? What is it like being a content creator and artist? Let's find out.If you're a producer and want to get on Colossal, and sell more beats, register now at colossal.fm/producers - and it's free, no subscription costs!➡️https://colossal.fmhttps://www.instagram.com/colossal_apphttps://www.tiktok.com/@colossal.apphttps://www.youtube.com/@colossal-app➡️ Join EngineEars Here: https://cutt.ly/RrvNBZ9J➡️ Get Our Rosetta Plugins: https://cutt.ly/RwAEmuRF➡️ Our Site: https://www.helpmedevvon.com Please subscribe to our YouTube and rate our podcast it helps us a lot!➡️ https://linktr.ee/mystudionerdsFollow Ushttps://www.instagram.com/helpmedevvon➡️Join this channel to get access to perks:https://www.youtube.com/channel/UCGyDjbX9F9ARt_8sgv5kGDg/joinFollow The CastDevvon Terrellhttps://instagram.com/helpmedevvonLJhttps://instagram.com/prodbyljeanHere is L.Jean channel! https://youtube.com/@SweataWeathaCourtney Taylorhttps://instagram.com/officialcourtneytaylor#podcast #mixing #mastering

- FREE PACKS Free Resonyx Sample Pack → https://www.dawnation.net/resonyx Free New Era Terror Serum 2 Preset Pack → https://www.dawnation.net/newera Free Wavium Sample Pack → https://www.dawnation.net/wavium ______________________________________________________________ - EPISODE OVERVIEW In this episode of Behind The DAW, Timothy Linetsky, better known as Underbelly—the brutally honest genius behind the You Suck at Producing YouTube channel—for a conversation about the future of music production in the age of AI & algorithms. Together, we break down:

Brian, Blake, and Richard are back for Episode 565 of the Chasing Tone Podcast - Brian reveals a deep dark secret and will robots ever play the blues?Blake has an evil plan and the guys caution him against it and check his credentials for podcasting. Richard saw an ai powered robot on TV and it has scared him so the guys discuss it and Brian makes a confession. He also asks some questions about the future of humanity and Richard has a foolish plan. Richard and Blake have had some late night DAW issues which caused them much anguish and woe and swap tales. Richard also has stupid podcast jokes. Brian questions Blake about his DAW of choice and Richard has a new album to listen to which Brian is unimpressed with.There have been some major moves in the corporate world of music with Samsung buying a number of HI Fi brands and closer to home, Thomann appear to have bought Hughes and Kettner. Blake bursts a bubble when he reveals the source of a musical legend. The guys then talk about band load-outs and why modelling might be the future again. Brian then reveals one of his lifelong goals. Daleks, Oregon batteries, Mullets, Rob Hubbard, Clibbings, Logic JR, Richard Sounds...it's all in this week's Chasing Tone!We are on Patreon now too!Support the show (https://www.patreon.com/chasingtonepodcast)Youtube:https://www.youtube.com/@chasingtonepodcastAwesome Course, Merch and DIY mods:https://www.guitarpedalcourse.com/https://www.wamplerdiy.com/Find us at:https://www.wamplerpedals.com/https://www.instagram.com/WamplerPedals/https://www.facebook.com/groups/wamplerfanpage/Contact us at: podcast@wamplerpedals.comSupport the show

- FREE PACKS Free New Era Terror Serum 2 Preset Pack → https://www.dawnation.net/newera Free Wavium Sample Pack → https://www.dawnation.net/wavium Free Phaseus Sample Pack → https://www.dawnation.net/phaseus ______________________________________________________________ - EPISODE OVERVIEW In this episode of Behind The DAW, we sit down with Pixel Terror—a high-octane electronic act known for genre-bending drops and festival-shaking energy—to talk about something few producers ever dare to: addiction, ego, and the brutal path to personal and creative clarity. This isn't just another convo about mixing tricks or social media hacks. This is a raw, behind-the-scenes look at what nearly destroyed his career—and what ultimately rebuilt it from the ground up. Together, we break down: - Why ego is the silent killer of creative potential—and how it almost ended everything. - How sobriety became the ultimate music production superpower (and why no one's talking about it). - What it's really like to go from duo to solo—and how that shift forced a total identity reset. - How to stay clear-headed, focused, and creatively inspired in an industry that glorifies chaos. - The mental and emotional rewiring it takes to produce at a high level, stay consistent, and thrive long-term. - Whether you're questioning your habits, battling burnout, or just want to know what it really takes to survive (and win) in this industry—this episode will give you the hard truths and hidden tools most producers never hear. Subscribe for more deep dives into music production, mindset mastery, and building the career you were born for.

Edward Willett is the award-winning author (under his own name and as E.C. Blake and Lee Arthur Chane) of more than sixty books of science fiction, fantasy, and nonfiction for readers of all ages, including twelve novels for DAW Books, the most recent of which is The Tangled Stars, a humorous far-future space-opera heist adventure featuring an AI-uplifted talking cat who becomes a starship captain. Ed won Canada's top science fiction award, the Aurora Award, for his second novel for DAW, Marseguro, and has been shortlisted several times since, including for his most recent young adult science fiction novel, Star Song. Ed has also won an Aurora Award for his podcast, The Worldshapers. In 2018, Ed founded Shadowpaw Press, publisher of the Shapers of Worlds anthologies among many other books, not only science fiction and fantasy but also literary fiction, poetry, historical fiction, children's books, and nonfiction. In addition to writing, Ed is a professional actor and singer. He lives in Regina, Saskatchewan, with his wife. They have a grown daughter and a much younger black Siberian cat named, of course, Shadowpaw.Shadowpaw Press in Regina, Saskatchewan, is thrilled to announce the release on March 25 of Shapers of Worlds Volume V, the final installment in a powerhouse anthology series that has featured some of today's top writers of science fiction and fantasy, including major award-winners and international bestsellers, all of whom were guests on editor Edward Willett's Aurora Award-winning podcast, The Worldshapers.http://shadowpawpress.com/https://edwardwillett.com/

In this episode the guys discuss the the ask the question Will BANDLAB Challenge FL Studio One Day? Is getting users to use your DAW when theyre young the most powerful way to ensure mass user growth? Are plugins in different countries in different languages? Is The LS 208 the new workforce mic of our generation? Is transitioning from recording engineer to mix engineer difficult? Lets find out.If you're a producer and want to get on Colossal, and sell more beats, register now at colossal.fm/producers - and it's free, no subscription costs!➡️https://colossal.fmhttps://www.instagram.com/colossal_apphttps://www.tiktok.com/@colossal.apphttps://www.youtube.com/@colossal-app➡️ Get Our Rosetta Plugins: https://cutt.ly/RwAEmuRF➡️ Our Site: https://www.helpmedevvon.com Please subscribe to our YouTube and rate our podcast it helps us a lot!➡️ https://linktr.ee/mystudionerdsFollow Ushttps://www.instagram.com/helpmedevvon➡️Join this channel to get access to perks:https://www.youtube.com/channel/UCGyDjbX9F9ARt_8sgv5kGDg/joinFollow The CastDevvon Terrellhttps://instagram.com/helpmedevvonLJhttps://instagram.com/prodbyljeanHere is L.Jean channel! https://youtube.com/@SweataWeathaCourtney Taylorhttps://instagram.com/officialcourtneytaylor#podcast #mixing #mastering

- FREE PACKS Free Wavium Sample Pack → https://www.dawnation.net/wavium Free Phaseus Sample Pack → https://www.dawnation.net/phaseus Free This F**cking Song Sample Pack → https://www.dawnation.net/thissong ______________________________________________________________ - EPISODE OVERVIEW In this episode of Behind The DAW, we interview Grammy-winning producer and founder of Beat Academy, Ill Factor, to uncover what it really takes to build a sustainable, successful music career. This isn't just another conversation about plugins, DAWs, or marketing hacks. We're getting real about the emotional, mental, and strategic foundations that top-tier producers build long before the hits come. Together, we break down: - Why your music is not your identity — and why that's a good thing. - How to stop being crushed when people don't like your music. - Why mentorship is the ultimate cheat code to building a career that actually lasts. - How to create a firm foundation that fuels both your creativity and your longevity. - What Ill Factor learned firsthand working with legends like Justin Timberlake, Gwen Stefani, Jason Derulo, Kelly Rowland, and even composing for Assassin's Creed and Just Dance. - The overlooked mental shifts that separate hobbyists from professionals. Whether you're feeling stuck, taking rejection too personally, or wondering what it really takes to thrive long-term — this episode will challenge and empower the way you think about your music, your career, and yourself. Subscribe for more deep dives into music production, mindset mastery, and building the career you were born for.

This week, a return appearance from William Tyler. As a guitarist and sideman, William has worked with the Silver Jews, Lambchop, and other forward leaning acts, balancing a deep understanding of tradition with experimental energy. His own records have found him drifting from Takoma School style finger picking to a zone that hovers in-between krautrock and country; in recent years, he's expanded even further, with incredible beat driven collaborations with Four Tet and the fried psychedelia of his full band Secret Stratosphere project.  His latest work is called Time Indefinite, out this week via Psychic Hotline. It's a strange and meditative record, and it's a new high water mark for Tyler. On this episode of the show, we toss out the script in favor of following Tyler's thoughts; like the indefinite time his new album references, linearity isn't always the focus in this talk. And while we touch on more than a few heavy topics, including addiction, climate change, and the sad state of satirical art, this one is an entry in our "hangout episodes" series, the DAW rolling along just for good measure.  You can read a full transcript of this conversation at Aquarium Drunkard, where you'll find 20 years worth of playlists, recommendations, reviews, interviews, podcasts, essays, and more. With your support, here's to another decade. Subscribe at Aquarium Drunkard. Stream a playlist of bumper music featured on Transmissions, as well as selections from our guests.Transmissions is a part of the Talkhouse Podcast Network. Visit the Talkhouse for more interviews, fascinating reads, and podcasts.