Podcasts about digital recording

Stewart Alsop sits down with Matias Avalos on this episode of the Wisdom podcast to explore the intersection of technology, humanism, and creative sovereignty. The conversation moves from Matias's work with neural network-based audio plugins and effect chains to broader questions about corporate transhumanism, data ownership, and what it means to maintain human agency in an increasingly automated world. They discuss the dangers of convenience-driven technological adoption, the implications of companies like Palantir and Neuralink, and how bureaucratic incentives push toward total legibility while protecting their own opacity. Along the way, they touch on everything from IMAX audio production and the death of walkable cities to Instagram's transformation from visual diary to data extraction platform, ultimately arguing for local, open-source, and sovereign approaches to technology that keep humans in the loop rather than replacing them with "average fabrics" of algorithmic output. Find Matias Avalos on LinkedIn for more techno-poetic discussions.Timestamps00:00 Stewart welcomes Matias Avalos to discuss their friendship and upcoming conversation topics.05:00 Matias explains audio effect chains using neural networks to capture professional recording room signatures and create portable high-fidelity sound processing.10:00 Discussion of piezoelectric microphones converting sound vibrations to electrical signals and CIA experiments using lasers to capture audio from glass surfaces.15:00 Conversation shifts to digital audio recording, sampling rates, and the importance of source material quality for post-production work.20:00 Stewart shares his journey building web conferencing software to replace Riverside, encountering lip-sync problems and learning about FFMPEG processing.25:00 Matias discusses corporate transhumanism, Neuralink's implications, and how brain interfaces could enable continuous taste mining beyond medical applications.30:00 Analysis of corporate transhumanism through companies like Neuralink, discussing private decision-making, lack of transparency, and various transhumanist philosophies globally.35:00 Matias reads poetry about digital replicas and data generation, exploring how wearable devices continuously capture human activity creating targetable information streams.40:00 Discussion of Peter Thiel's shift from libertarianism to neoconservatism, Palantir's origins in Total Information Awareness program, and Buenos Aires as humanist sanctuary.45:00 Examination of American convenience culture, post-WWII suburban isolation, and Buenos Aires as walkable humanist alternative to car-dependent American cities.50:00 Matias presents Neil Harbison as positive transhumanism example, explaining color-to-vibration synesthesia implant while discussing techno-optimism from Global South perspective.55:00 Conversation explores bureaucratic incentives toward population legibility, compelled silence laws, and sovereignty through open-source local technology ownership avoiding corporate control.60:00 Matias concludes discussing digital identity ownership, social network portability, and how digital twins determine human worth across platforms and borders.Key Insights1. Modern digital audio processing technologies represent a fundamentally different approach to music and sound production compared to generative AI tools. Matias Avalos distinguishes between technologies like Neural DSP's Mantra plugin, which uses deep neural networks to capture and emulate professional recording environments, and generative platforms like Suno. The key difference is that traditional digital signal processing tools put the creator in control, allowing them to make artistic decisions using expensive effect chains that would otherwise only be available in elite studios like Abbey Road. These technologies democratize access to professional audio tools without removing human agency from the creative process, whereas generative AI tools operate as black boxes that produce outputs based on prompts rather than allowing genuine creative control.2. The capture and preservation of source material remains critically important in audio and video production, despite advances in post-production capabilities. Through his experience building a web conferencing application to replace Riverside.fm, Alsop learned that many technical problems, particularly lip-sync issues, stemmed from poor source file management and recording methodology. This principle extends across all media production, as Avalos explains using the example of missing lighting in professional photography. While modern generative AI might attempt to invent missing elements, the results cannot match properly captured source material. This highlights a fundamental tension in contemporary media production where the quality triangle of cheap, good, and fast has been disrupted by AI technologies that can deliver all three if we lower our standards for what constitutes good work.3. Corporate transhumanism represents a particular and concerning subset of transhumanist philosophy that differs significantly from earlier artistic and philosophical approaches to human enhancement. While early transhumanists like Neil Harbison, a color-blind artist who implanted a device to translate color frequencies into vibrations, pursued personal enhancement and expanded human experience, corporate transhumanism as practiced by companies like Neuralink focuses on technological integration with significant profit motives and control mechanisms. The discussion highlights how these corporate approaches position themselves as solving medical and cognitive problems while simultaneously creating dependency through terms of service, data mining, and token-based economic models. This represents a Trojan horse where the promise of enhanced capability masks the establishment of new forms of control and surveillance of human consciousness itself.4. The concept of legibility as a bureaucratic end goal rather than a means to an end explains much of the surveillance apparatus that has developed in Western societies, particularly in the United States since 9/11. Alsop describes how those in positions of power, wealth, and fame have a structural incentive to make everything around them legible and controllable while maintaining their own privacy and illegibility to external observation. This dynamic manifests in technologies like Palantir and in legal mechanisms like compelled silence through gag orders, which directly contradict constitutional principles of free speech. The drive for total legibility of populations appears to have no ultimate purpose beyond the accumulation of legibility itself, creating a recursive loop where surveillance and data collection become self-justifying activities that serve power structures rather than the populations they ostensibly protect.5. Human beings continuously generate enormous streams of metadata through their daily activities, creating what Avalos describes as evaporating against our own will into hundreds of RSS feeds for hundreds of corporations. This automatic data production occurs through basic activities like waking up, moving through space with smartphones and wearable devices, and interacting with digital platforms. The fundamental question that predates transhumanism but becomes more urgent within it is how individuals can own what they produce simply by existing and moving through the world. This data is captured through accelerometers, gyroscopes, GPS systems, and countless other sensors that create comprehensive digital profiles without explicit consent or meaningful control by the individuals being monitored. The unilateral nature of this communication, where individuals broadcast data without receiving genuine value in return, has become so deeply embedded in modern infrastructure that it forms part of the taken-for-granted landscape of contemporary life.6. Platform lock-in and the inability to migrate digital identity across services creates a new category of loss that requires genuine grieving. Avalos describes how his experience with Instagram, which began as a personal visual diary before the Facebook acquisition, evolved into a situation where he cannot extract his creative work and social connections from the platform without significant loss. This phenomenon extends beyond mere inconvenience to touch on fundamental questions of identity and citizenship, as social media profiles increasingly determine real-world opportunities like visa applications and border crossings. The implications of digital footprints have become severe enough that individuals can be denied entry to countries based on algorithmic analysis of their online interactions, likes, and expressed beliefs. This creates a situation where people are worth exactly what their digital twin indicates they are worth, with no meaningful avenue for human appeal or nuanced self-representation.7. The future relationship between humans and technology requires a return to principles of sovereignty, local control, and open source development rather than dependence on corporate platforms and proprietary systems. Both Alsop and Avalos advocate for a do-it-yourself approach to technology that emphasizes ownership and control over personal tools and data. This includes avoiding closed systems like Neuralink unless they become open source and user-controlled, and prioritizing local execution of AI models over cloud-based services that create dependencies and enable surveillance. The conversation suggests that techno-optimism remains possible, but only from what Avalos calls the trenches, acknowledging the different relationship that people in the Global South and those outside centers of power have with technology. This grounded optimism recognizes the entanglement of beneficial and harmful aspects of technological development and maintains that human agency and creative freedom require conscious resistance to the convenience-at-all-costs model that has characterized recent technological adoption.

Ellie Bryant holds B.A. and Master's in Education and Human Development degrees from George Washington University and Master's of Fine Arts in Writing from Vermont College of Fine Arts.ON SALE FEBRUARY 12, 2026The sequel to the bestseller, Sheltering Angel: A Novel Based on a True Story of the Titanic.After losing her husband Bradley in the Titanic disaster, Florence Cumings' heartache is far from over. Her teenage son Wells is killed in the WWI battle of Belleau Wood while defending France with the Allies. Two decades later, her second husband Chess dies of influenza shortly before her eldest son Jack succumbs to effects from injuries sustained in the Great War. Then, Andre Maquera West Street Digital Inc.Brad and Andre discuss winter in Vermont, Cabin Fever, music and joy, journey in life, beating the blues. Producer/Guitarist/Chief EngineerWest Street Digital is a full service recording studio in Fairfield, Vermont.

Send us a textVirtually all digital recording uses a format called PCM. But there is another digital format that works in an entirely different way. It's called DSD, for Direct Stream Digital, and you might find that it sounds better than PCM.In this episode, I explain what DSD is, mostly from a practical, user, viewpoint.If it sounds better, why don't we use it? Well, DSD comes with some serious limitations. I explain those limitations and the techniques used to get around them in the world of contemporary recording.Most people will find the shortcomings of DSD to be enough of a problem that they have no interest in it. But for those of us who are on a quest for the best sounding audio we can achieve, DSD is worth it despite its challenges.Here is a link to Native DSD, a digital distributor that has specialized in DSD digital downloads:https://www.nativedsd.com/… and a link to Outer Marker Records, the label the Hazelrigg Brothers and I founded a few years go. All the releases on Outer Marker were recorded in DSD:https://www.nativedsd.com/label/outer-marker-records/We think DSD is the most musical recording format there is. email: dwfearn@dwfearn.comwww.youtube.com/c/DWFearnhttps://dwfearn.com/

The Camera can’t be equated with the Phonograph if you consider artists were capturing images and likenesses for centuries. The phonograph is more like the first canvas that can hold a performance or a moment in perpetuity. It came sixty years after the camera. It’s been here for one hundred years. Now the camera and READ MORE The post S2. 3. Music after Digital Recording first appeared on Accelerando Podcast.

"You will tell a different story at the end. One of how miracles have found you through the Grace of God and how it changed your life. Your story will become a testimony of who Jesus is." — Anonymous What an incredible day it is for us to hear not just one but 2 life stories today. As a bonus treat for this Sunday, here's our Second Service with Pastor Leo as he tells his story and how God used it to tell HIS Story. * Our apologies on the Audio of the Sermon Part, our Digital Recording got corrupted so we tried our best to clean and salvage the Audio from our Recorded Video. All the same, we are blessed to hear your message, Pastor Leo. #Whatsyourstory? #Back2BackSunday #AhumanlifeisaSTORYtoldbyGOD #aHeartthatbeatsforJesusbeatsforOthers #itisaONEBEATFamdayFundaySonday! (Credits to the original artists and owners of the media used. No copyright infringement or any illegal means intended)

I recorded the first section of the podcast on my cassette deck very much like I used to as a child. The second section was recorded using my Fostex FD-4 four track. The background music was also recorded on the FD-4. All mixed files were uploaded to Reaper on a POP OS linux machine and rendered to MP3.

Fran Ashcroft is a producer, mix & mastering engineer from the North West of England. He's worked at studios all over the world at many major studios as well as writing his own music. Fran has just released a brand new book 'The Analogue Approach To Digital Recording' where he demonstrates how we can use an analogue mentality in a digital world. Perfect for this podcast! Episode sponsored by Make Noise Pro Audio https://makenoiseproaudio.co.uk/   Click below to open a Spotify playlist featuring some of the music from our guests. https://open.spotify.com/playlist/39vz6t8dhQYe6b1g1S2dFJ?si=c2af54607abd4302   If you have enjoyed this podcast, please don't forget to leave a review!   You can find more information about me, Joe Montague and the remote drum sessions I do on my website below. You can also sign up to receive FREE weekly Beatles 'Isolated Drums' stems. www.allyouneedisdrums.com

With the year coming to an end,  you may be reflecting on the good and bad points of 2022, trying to remember the areas where improvement on your farm is needed.   Recording your farm operation, whether it's fertiliser, pesticides or other inputs, is critical to determining the margin per field or crops.   If you are not able to do this then it will be difficult to put in place the correct measures to rectify any issues.   Teagasc have joined forces with Farmplan to increase the level of digital recording by tillage farmers, and for this week's episode of The Tillage Edge podcast, Michael Hennessy is joined by Ben Hatton from Farmplan to explain more about the programme, how farmers can avail of the software and the benefits they will get from it. For more episodes and information from the Tillage Edge podcast go to:https://www.teagasc.ie/crops/crops/the-tillage-edge-podcast/ Produced on behalf of Teagasc by LastCastMedia.com

Pat Leahy, Former Assistant Garda Commissioner, Liam Herrick, Executive Director, Irish Council for Civil Liberties.

Nah di Episode ini gue bahas tentang seorang Yeko Wibowo yang bisa bantu kalian untuk Recording paket murah meriah tanpa Shift,Harga Flat sudah termasuk Mixing,Mastering & si Om Yeko juga punya Record label,Mungkin dia bisa bantu kalian,Agar bisa rilis di semua platform (Spotify,Deezer,iTunes,dll) Penasaran? Langsung aja dengerin WTF podcasts ini sampe habis,Thank ya #selalujadiberkatuntuksesama

CCATP Lite with Doug Kaye Let's Talk Photography with Doug Kaye Macstock Expo is Going Virtual AND Free This Year on 25 July 2020 Shure Digital Recording Kit – Everything You Need for Good Audio Why I Use 5 Different Apps to Take Notes allison@podfeet.com Tesla Affiliate Link podfeet.com/patreon podfeet.com/slack podfeet.com/facebook podfeet.com/paypal

This week, my guest is my longtime friends and esteemed producer and recording and mix engineer Jonathan Wyman. This episode is pretty audio geek forward.

Benjamin and Vadim go through the entire digital recording signal chain from the perspective of a vocal. They then discuss the gear that's involved at each step and the which gear is most important for getting quality recordings.

Nate takes your questions for this season's last episode. Tune in for tips and tricks.

Nate lays out the baseline for successful drum tracking. Tune in for mic recommendations on Mid/Side stereo configurations, overheads, snare drums and more.

Doug Messenger was born in New York on Long Island on March 9, 1942. After his dad got a new job opportunity, his family decided to made a big move to Mexico City, Mexico where he spent most of his younger years from the age of 4 to 17. Doug's passion for learning landed him back in the United States where he studied at Princeton in New Jersey, earning a Bachelor of Science in Engineering. While traveling back to visit family in Mexico in the summer of 1962, Doug met the love of his life, Jeanne Thompson. Doug and Jeanne soon married after he graduated from Princeton and he worked at Bethlehem Steel's Export Office in New York City. Doug knew he was destined for more so he quit his job and decided to move to Boston, Massachusetts to enroll in the esteemed Berklee College of Music. Unfortunately, Doug's wife, Jeanne became very sick so he was only able to attend the music school for 2 years, but he knew he wanted to play music so played in R&B bands all over Boston, one of which was the best band in town with Roger Pace, considered to be the white James Brown. As a side musician, Doug had the thrill of backing up some of the best soul and R&B legends of our time including Al Green (1965), Chuck Berry (1966 & 1971),Etta James (1967), Dee Clark (1966) and a 415lb singer called Lotsa Poppa (1966). In 1968, Doug also played guitar for Darrell Banks for the song,"Open The Door To Your Heart" and Dyke & The Blazers, "Shotgun Slim," in 1970. One of the biggest songwriters Doug worked with was Van Morrison from 1971-1973, where he played guitar and arranged songs for Van's album, St Dominic's Preview and got the chance to collaborate with piano legend, Vince Geraldi. After one of his house band shows, as fate would have it, Doug ended up playing Monopoly with Jimi Hendrix (Doug is still bitter that Jimi landed on Boardwalk his first time around the board), known at the time as Jimi James. They would meet again in 70s, a few months before Hendrix passed away. Over the years, Doug played in over 20 house bands from 1965-1975 and was hired for sessions for Warner Brothers, MGM, ABC, Original Sound and a few for Motown in 1971 & 1972. Doug also played with songwriter/composer, Jackie De Shannon and also played in a band called Mudd with Willie Weeks on bass and also backed up Carly Simon on "Speak Out To Me," but now Doug wanted to start his own band. Ironically called The Police, Doug's first band came to a halt when his lead singer died of a heroin overdose. It took him 5 years to find the next 3 members of his next band, The Pickles, who were making waves on the LA scene and just as they were about to get signed, one of his lead singers died in a car accident. Doug knew he had enough of playing in a band so he turned his rehearsal space into a recording studio in 1984. By the time he acquired enough gear in 1988, Doug officially opened Hard Drive Analog & Digital Studios in 1990. He got his Stephens tape machine that Pink Floyd THE WALL & Steely Dan’s AJA was recorded on and Fleetwood Mac “Rumors” was mixed on in 1987. Since 1990, some of the incredible music talents who have come through to record at Hard Drive Analog & Digitial Recording include Joe Pass, Jimmie Eat World, Joe Bonamassa, Cindy Blackman, The Plain White Ts, At the Drive In, Mars Volta, Neon Trees, New Found Glory, Nikhil Korula Band, Robben Ford and Beck's first single, "Loser" was also recorded here. Doug has also recorded the background music for the American Music Awards, Billboard Music Awards and Country Music Awards. Over the years, Doug has also recorded 7 albums with the blues label, Delta Groove Records, one of which won the WC Handy Foundation Blues Album of the Year. Currently, Doug Messenger is working with Paul Denman, Sade’s producer and Daniel Ash from Bauhaus and will be recording the 8th album of the Nikhil Korula Band in January 2020. For more information, contact Hard Drive Analog & Digital Recording: (818) 588-1817 4814 Vineland Ave North Hollywood yelp.com/biz/harddrive-analog-and-digital-recording-north-hollywood?osq=hard+drive+analog

A transcript of Alameda's secret audio recording will be released to the public. How should the two Alameda councilmembers recorded in the conversation react to the fallout? Also a bonus appreciation for Alameda builder Ron Cowan and how Willie Brown once met with us and declared way before the 2014 Oakland mayoral election that Libby Schaaf would win. 

Nate sits down with Drue Olsen from BlaqVoid to talk about their new twist on record labels, social media marketing, and s'mores. Also, Nate apparently has an opinion on punters.

We sit down with Heavy and Nick from the band Black Magic Caravan to discuss their (somewhat) unconventional marketing approach, why acting like a professional is important in every stage of your career, and how to communicate your mix needs to live sound engineers. Plus: Sunset Boulevard is a dirty street, and it's Motley Crue's fault.

Jeff has been in Australia 12 years and now owns and runs Redback Connect - a digital recording agency of sorts. Hear about his story from grocery stores, to recruiting agencies, professional sales to setting up and selling out a conference telecom business that was Venture Capital backed. Now running Redback he explains the swings and roundabouts in running business in today's market.

Nate sits down with Myke Johnson for tips on making a living as a musician and the importance of networking. Plus: an in-depth look at writing music from an initial inspiration into a completed work.

Nate talks with Greg "Stryke" Chin from Avid about Pro Tools' inception, how it made an immediate impact on the recording world, and how it continues to influence music creation and sound recording. Plus: demos sound way too good these days.

Brayden from Performance Audio's Repair Department dolls out pro tips on prolonging the life of your speakers, and weighs in on an important issue from Nate's past.

Nate sits down with local music producer and audio engineer, Harley Anderson, to talk music tech, how he finds inspiration, and how he's able to meet crazy deadlines. Plus, we need to better define the role of the 'producer' and what ever happened to the concept album?

Nate sits down with local Pop Punk artist, Logan Dallimore, to talk DIY recording, where he finds inspiration, and what his process looks like. We also talk about his vocal chain, his love affair with Pro Tools, and plugins versus hardware. Plus, should you be giving away your music?

Nate sits down with Haydon Anderson, the lighting director at one of Salt Lake City's more well-known venues, The Complex. We discuss the hard work and payoff involved with carving out your own career path into the entertainment industry--and how he knocked down the door to get in..

On this episode, we check in with Sean from Rode Microphones and discuss the secret to their continued success as an industry tech leader.

I played this version of Tenor Madness unaccompanied. My students at Haverford High recorded the performance and edited the recording for a Digital Recording class project.

This week, I take on the long-standing debate over which is superior: analog or digital. Also, I give a review of the new album from BadBadNotGood.

This is another file by Lindsey Koma, a former Digital Recording student at HHS who is still in high school. I'm quite proud of her continued work in music recording and wanted to share this with everyone. She keeps me updated on her work that she does on her own at home and sends me finished MP3 files. Very impressive work in my opinion!

This is another file by Lindsey Koma, a former Digital Recording student at HHS who is still in high school. I'm quite proud of her continued work in music recording and wanted to share this with everyone. She keeps me updated on her work that she does on her own at home and sends me finished MP3 files. Very impressive work in my opinion!

This is another file by Lindsey Koma, a former Digital Recording student at HHS who is still in high school. I'm quite proud of her continued work in music recording and wanted to share this with everyone. She keeps me updated on her work that she does on her own at home and sends me finished MP3 files. Very impressive work in my opinion!

This is an original composition by Lindsey Koma, a Digital Recording 1 student in my class at Haverford High School. She worked on this at home on her own. Here's a brief explanation from Lindsey about what she did to create the composition: "I create songs in chunks. I started out with this song using the string loop from garageband. That was what i based everything off of. I then added MIDI synths and bass to go along with the strings. I added drums and extra loops including one called Fat Pad which i re-pitched the second half of to match the rest of the song. I created the lyrics and tune as i went. I used Elastic Audio to do the voice editing. What i usually do is i create the chorus first and then i go and figure out the rest based on the chorus."

I created this file using Logic Express 8 as an example for my Digital Recording 2 class at Haverford High School. In this file I used loops and a few tracks that I recorded from my MIDI keyboard. This is a complete example file with ABA form, texture (meaning loops come in and out), automation/mixing, and modified audio/MIDI loops all of which add creativity to a loop project. Refer to my podcast "Looping with Creativity" for my full presentation of all the ideas I developed to make a creative loop song.

I created this file using Logic Express 8 as an example for my Digital Recording 2 class at Haverford High School. In this file I used loops and a few tracks that I recorded from my MIDI keyboard. This is an example of an "A" section with texture meaning that it is a cohesive sections with loops coming in and out. Refer to my podcast calling "Looping with Creativity" for my full presentation of all the ideas I developed to make a creative loop song. From this point, I would develop a "B" section using a different set of loops and create an ABA form.

Audio posted by Chooch Schubert for his Random Acts of Chooch Podcast. Quoting the original show notes: This is the audio from a panel I spoke on at Balticon 43 over Memorial Day weekend. A special thanks to my fellow … Continued