Podcasts about Fairlight

On today's REX Daily Podcast, Dom talks with 2021 Fairlight Foundation graduate Emma Foss about what she learned during her time at Fairlight, her current role as a hypnotherapist and her desire to specialise in rural mental health... He talks with Mīti founder Daniel Carson about winning the Early-Stage Award at the 2025 Fieldays Innovation Awards, what it means for the company, Alps2Ocean Foods Tapui Ltd and the idea of transforming bobby calf waste from the dairy industry into a high-value, low-carbon protein product... And he talks with Kevin and Nicole Oppert as part of the new series of Milking It on REX brought to you by Dairy Women’s Network in association with Figured and CMK. Tune in daily for the latest and greatest REX rural content on your favourite streaming platform, visit rexonline.co.nz and follow us on Instagram, Facebook and LinkedIn for more.

Episode 174 Chapter 33, Digital Synthesizers and Samplers. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 33, Digital Synthesizers and Samplers from my book Electronic and Experimental music.   Playlist: DIGITAL SYNTHESIZERS AND SAMPLERS   Time Track Time Start Introduction –Thom Holmes 01:38 00:00 1.     Jon Appleton, “Syntrophia”(1978) from Music For Synclavier And Other Digital Systems. Composed and performed on the Synclavier, Dartmouth Digital Synthesizer, Jon Appleton. 08:55 01:40 2.     Claude Larsen, “Nitrogen” (1980) from Synthesis. Sounds a bit like “Oxygen” by Jarre from 1976. Programmed, performed, Fairlight CMI Music, Roland System 700, Oberheim TVS-1 Four Voice, Polymoog, Roland MC 8 Micro-Composer, Syntovox vocoder, Claude Larson. 02:31 10:36 3.     Eberhard Schoener, “Fairlight 80” (1980) from Events. Featured the Fairlight CMI played by Schoener and vocals by Clare Torry. 04:20 13:04 4.     Eberhard Schoener, “Events - A La Recherche Du Temps Perdu” (1980) from Events. Mellotron, Violin, Piano, Moog, Oberheim, Fairlight CMIsynthesizers, Eberhard Schoener;  Fairlight CMI, Morris Pert; Gong, Percussion (Gede, Kempli, Rejong), Furst Agong Raka; Gong, Percussion (Gender, Lanang, Rejong), Ketut Tama; Gong, Percussion (Wadong, Rejong), Rai Raka; Percussion, Morris Pert; Fender electric piano, Roger Munnis; tenor saxophone, Olaf Kübler; Drums,  Evert Fraterman, Pete York; Electric Bass, Steve Richardson; Electric Guitar, Ian Bairnson. 11:07 17:26 5.     Klaus Schulze, “Death Of An Analogue” (1980) from Dig It. All music played on the Crumar GDS digital synthesizer/computer. All percussion by F.S. Drum Inc. and GDS. 12:20 28:31 6.     Klaus Schulze, “The Looper Isn't A Hooker” (1980) from Dig It. All music played on the Crumar GDS digital synthesizer/computer. All percussion by F.S. Drum Inc. and GDS. 07:05 40:52 7.     Joel Chadabe and Jan Williams, “Song Without Words” (1981) from Rhythms For Computer And Percussion. "The equipment used in RHYTHMS is a portable minicomputer/digital synthesizer system designed and manufactured by New England Digital Corporation in Norwich, Vermont, expressly for making music.” This was an early Synclavier without a keyboard controller. Synclavier digital synthesizer, Joel Chadabe; Percussion, Vibraphone, Marimba, Slit Drum, Log, Wood Block, Temple Block, Cowbell, Singing Bowls, Jan Williams. 07:24 47:54 8.     Don Muro, “Deanna Of The Fields” (1981) from Anthology. Vocals, Piano, Electric Piano, Acoustic Guitar, Electric Guitar, Synthesizer, Korg M1 Music Workstation, Bass, Drums, Percussion, Don Muro. 02:52 55:18 9.     Nervous Germans, “Hometown” (1981) from Nervösen Deutschen. Bass, Producer, Micki Mäuser; Drums, Udo Dahmen; Guitar, Manni Holländer; Vocals, Casio VL Tone micro keyboard, Grant Stevens. 05:15 58:10 10.   Tuxedomoon, “Blind” from Time To Lose, Blind. Effects, Guitar, Peter Principle; Casio M-10, Blaine L. Reininger; Vocals, Moog, Soprano Saxophone, Steven Brown; Vocals, Winston Tong. 07:44 01:03:26 11.   Herbie Hancock, “Rough” (1983) from Future Shock. Fairlight CMI, AlphaSyntauri, Emulator, Herbie Hancock; Background Vocals, Bernard Fowler, Grandmixer D.ST., Nicky Skopelitis, Roger Trilling; Bass, Bill Laswell; Drums, Sly Dunbar; Lead Vocals, Lamar Wright; Prophet-5, Michael Beinhorn; Turntables, Voice, Grandmixer D.ST. 06:54 01:11:00 12.   Wendy Carlos, “Genesis,” “Eden,” and “I.C. (Intergalactic Communications)” (1984) from Wendy Carlos' Digital Moonscapes. Programmed All Sounds programmed and performed on the Crumar GDS/Synergy digital synthesizer, Wendy Carlos. 15:20 01:17:50 13.   Ron Kuivila, “Household Object” (1984) from Fidelity. Casio VL toneand homemade electronics, Ron Kuivila. 09:34 01:33:20 14.   Lejaren Hiller, “Expo '85” (1985) from Computer Music Retrospective. Four short pieces highlight the versatility of the Kurzweil K250: “Circus Piece - A Cadential Process” (4:04), “Transitions - A Hierarchical Process” (2:12), “Toy Harmonium - A Statistical Process” (1:41), “Mix Or Match - A Tune Generating Process (5 Examples)” (3:44). 11:55 01:42:52 15.   Third World, “Can't Get You (Out Of My Mind)” (1985) from Sense Of Purpose. Yamaha DX7, Prophet 5, PFR Yamaha, Grand Piano Yamaha Acoustic, Organ Hammond B3, Clavinet Mohner D6, Percussion, Vocals, Michael "Ibo" Cooper; Backing Vocals, Glenn Ricks, Meekaaeel; Bass, Rhythm Guitar, Backing Vocals, Percussion, Richie "Bassie" Daley; Drums Yamaha Acoustic Drums, Electronic Drums Simmons, Drum Machine D.M.X., Drum Machine Linn Drum Machine, Percussion, Backing Vocals, Willie Stewart; Keyboards, Lead Guitar, Rhythm Guitar, Harmonica, Acoustic Guitar The Washburn Electro Acoustic, Vocals, Percussion, Stephen "Cat" Coore; Lead Vocals, Backing Vocals, Bill "Bunny Rugs" Clarke; Percussion, Neil Clarke; Percussion, Binghi Drums, Junior Wedderburn, Tschaka Tonge. 03:37 01:54:46 16.   George Todd, “Sound Sculptures” (1985) from Music For Kurzweil And Synclavier. Synclavier Digital Music System, George Todd. 09:02 01:58:22 17.   Russ Freeman, “Easter Island” (1986) from Nocturnal Playground. Electric Guitar, Acoustic Guitar, Guitar Synthesizer, Keyboard Bass, Emulator II, Linn 9000 Drum programming, Russ Freeman; Drums, Percussion, David Renick; Percussion, Emulator II programming, Steve Reid; Alto Saxophone, Brandon Fields. 05:30 02:07:22 18.   Donald Steven of G.E.M.S., “Images - Refractions Of Time And Space (1986)” from Group Of The Electronic Music Studio - McGill University. Yamaha DX7, Laurie Radford; Bass, John Oliver; Electric Flute, Jill Rothberg; Percussion, Elliot Polsky, François Gauthier. 11:42 02:12:52 19.   Jane Brockman, “Kurzweil Etudes” (1-3) (1986) from Music For Kurzweil And Synclavier. Kurzweil K250, Jane Brockman. 10:19 02:24:32 20.   Richard Burmer, “Across The View” (1987) from Western Spaces. Emulator II plus an analog synth, Richard Burmer. 04:38 02:34:48 21.   Sonny Sharrock Band, “Kate (Variations On A Theme By Kate Bush)” (1990) from Highlife.  Electronics, Korg M1, Korg Wave Station, Dave Snider; Bass, Charles Baldwin; Drums, Abe Speller, Lance Carter; Guitar, Sonny Sharrock. 05:52 02:39:32 22.   Second Decay, “Taste” (1994) from Taste. Produced with the Roland Compu Music CMU-800R workstation and without MIDI; Simmons Electronic Drums,Thomas V.. Other synths used: ARP Odyssey, ARP 2600, PPG Wave 2.0, Emulator I and II, Roland SH-101, SH-7, CR-78, TR-808, MC-4, TR-606, EMS Synthi A, Solina String, Mellotron, Crumar Performer, Teisco 110F, Wasp, Linn LM-1, SCI Pro-One, Minimoog, Korg Mono-Poly, SQ-10, Elektro Harmonix Minisynth, Vocoder and effect devices, Compact Phasing A, Roland Echos RE 201, SRE 555.  04:20 02:45:18   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

This week we're joined by the creators of Fairlight! Hear us talk about Sabine Lisicki, Jack Draper, Wimbledon, and of course, their project Fairlight. Fairlight is truly a multimedia experience of an electro-pop musical performed on a tennis court with video components...and it explores the history of homophobia in tennis through the years. Learn more about it here. Before the interview, Tony talks about his experience getting Roland Garros tickets and a small procedure he had earlier this week. For more from us, find us on Twitter and Instagram! And if you're enjoying the pod, please give us a 5-star review! Hosted on Acast. See acast.com/privacy for more information.

Oli Freke talks us through the history of samplers, from the introduction of the Mellotron in 1963, through to current day sampling software, while highlighting the golden era of sampling from the late 80s to early 90s.Chapters00:00 - Introduction01:08 - The Mellotron02:28 - Pre-Digital Samplers03:18 - Pierre Schaeffer And The Phonogène04:03 - Peter Zinovieff And EMS 05:44 - The University Of Illinois' PLATO06:08 - Harry Mendell's Melodian 07:21 - Wendel Sampling Computer08:29 - The Fairlight and Fairlight II15:20 - The Fundamentals Of Sampling19:43 - The Synclavier23:47 - Digital Delay Lines (DDLs)26:04 - EMU Systems Emulator31:01 - Ensoniq Mirage32:39 - Other Notable 1980s Releases34:46 - Akai S1000 and Roland S Series38:14 - Sampling And Legal Issues 41:16 - Modern Day SamplingOli Freke BiogOli Freke is a London based musician, artist and author who has had a life-long passion for electronic instruments, synthesizers and electronic music. Currently working for the BBC, he has previously enjoyed success with electro band Cassette Electrik supporting the Human League on tour, written music for television and produced dance music since the 1990s.His Synth Evolution range of posters, celebrating the synthesizer and electronic music culture, launched in 2017 and led to the definitive, hand-illustrated book, ‘Synth Evolution: From Analogue to Digital (and Back)', featuring every commercial synth of the 20th century.www.synthevolution.netwww.linktr.ee/olifrekeCatch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

INTERVIEW: The Fairlight Choir release 'source/code and the cord' by Fi Carr on Radio One 91FM Dunedin

There were two musical synthesizers that revolutionized the way music was made in the late 1970's and all through the 80's, the Synclavier and the Fairlight. The least expensive model cost the equivalent of a small house, and the most expensive model was the equivalent of a smallish mansion. More similar than they were different, they would help some of the greatest musicians of the time to create their biggest hits, and we delve into it here. We also mention their spiritual predecessor--and Todd's favorite instrument--the Chamberlin, as well as their tiny concurrent sibling, the Casio SK-1.Connect with us at tapeheadspod.com.RELATED LINKS:Our Synclavier vs. Fairlight playlist, on SpotifyKevin Malony Synclavier documentary, on YouTubeThe Fairlight Story, on YouTubeMellodrama, the Mellotron/Chamberlin documentary, trailer, on YouTube

This week's pick is nostalgic for a time before machinima... its a rare look back at the demoscene era that informed and influenced the evolution of machinima all those years ago.  The film selection is called We Are Demo, made in 2016 by Fairlight, Noice, Offence, and it was originally shared on X by the Commodore Computer Museum. Check out our review and thoughts, and do add your comments on our YouTube channel.Phil introduces the film We Are Demo, which was made in 2016 using technology from the 1980s and 1990sThe film is a tribute to the demoscene, and the Commodore 64Phil explains the demoscene and its requirement for both technical and artistic skills.We discuss the historical context of the demo scene and a few anecdotes from some early experiencesThe demoscene was a way for creators to self-promote and showcase their skills, often incorporating their team logos into the demosPhil examines the use of the SID chip, which limited music to three notes of polyphony, explaining how composers overcame some key limitationsWe Are Demo adheres to the musical limitations, using the SID chip to create the musicIs it all about nostalgia and creativity involved in creating music and visuals within these technical constraints?We discuss the visual and musical style of the film, and how it is faithful to the era of the demosceneWhat's the role of an emulator these days, a discussion inspired by the film.Ricky recalls the SIGGRAPH conferences and the demoscene meetings We reminisce about the unique community and artistic spirit of the demoscene, which is similar to the early days of machinima.What are your thoughts about this pick – add some comments in the discussion below about whether the demo scene is something only older generations will appreciate.Credits:Speakers: Ricky Grove, Phil Rice, Damien ValentineEditor/Producer: Phil RiceMusic: Animo Domini Beats

שחר הפיק סרטון מאוד מורכב בשביל לסקור מקרן קול של סונוס. אז אהוד ידרוש הסברים לאיך ולמה הוא עשה את זה. https://www.youtube.com/watch?v=7FW83U22KuU זה הטיימליין לסקירה על ה-Sonos Arc Ultra. היא באורך 17 דקות, יש כאן 16 טרקים של אודיו, 5 טרקים של וידאו ואני מאמין שהיא הסקירה הראשונה בעברית שהופקה כולה בדולבי אטמוס. היות והסרטונים שלי לא עולים כסדרה בנטפליקס, המרתי את המיקס אטמוס 7.1.4 ל-Binaural מה שמאפשר לחוות את הצליל ההיקפי דרך אוזניות. זו אגב לא הסקירה הראשונה בעברית ב-Binaural כי את זה כבר עשיתי ב-2020. כדי לפרק את צליל הסראונד המקורי מההדגמות של דולבי הייתי צריך לגלות מהן פקודות הטקסט שצריך לשים ב-Command Line של כלי בשם eac3to. כדי לעשות את האנימציה בתלת מימד למדתי לעבוד עם בלנדר, Unreal ו-Twinmotion וכדי לנתב את הצלילים השונים, למדתי איך לעבוד עם אוטומציה ב-Fairlight. שחר הדפיס המון דברים עם ה-Bambu A1 Mini ויש לו תובנות על החברה.   לרלרת לאהוד יש שאלה לשונית על לרוויה   המלצה בדקה אהוד - הסרט Carry On בנטפליקס (בידוק בעברית) - שהוא מתח-אקשן בסגנון ניינטיז אבל שנעשה עכשיו - וקשה להמנע מהשוואה ל"מת לחיות", ולסרט אקשן אחרים עם גיבור שוטר ונבל פושע/טרוריסט. יש בו מלא טרופים - ובחצי השני שלו הוא נהיה מופרך לחלוטין - אבל עדיין כיפי מאוד. עם טארון אגרטון וג'ייסון בייטמן.

Will Dowd is a partner and Portfolio Manager at Fairlight Asset Management.Throughout this Summer Series, we're speaking to 12 accomplished investors and financial advisors to unpack their journeys in finance and the lessons they've learned along the way.In today's conversation with Will, we're unpacking:Fairlight's investment philosophy and how they've built an enviable track recordWill's love (and we mean love) of under-studied industrial businesses that can quietly compoundWhy Will focuses on small and mid capsHow Fairlight filter the universe to uncover interesting investment opportunitiesHow Will would build a portfolio for the next 30 yearsWill's biggest gripes with the industry that all investors should be mindful of—------Thank you to Viola Private Wealth for sponsoring this Summer Series and helping us keep all of our content free.Trusted by the Equity Mates community, Viola Private Wealth helps investors grow and protect their wealth. With over $2.5 billion under management, they provide sophisticated investment strategies backed by decades of experience. To speak to the team at Viola Private Wealth, complete the contact form on their website.—------Looking to start 2025 on the right foot?Pick up a copy of our books Don't Stress Just Invest or Get Started Investing.Want to speak to one of our hand-picked financial advisers? Fill out the form on our website and we'll put you in touch.Want more Equity Mates?Listen to our basics-of-investing podcast: Get Started Investing (Apple | Spotify)Watch Equity Mates on YouTubeFollow us on social media: Instagram, TikTokSign up to our daily news email—------In the spirit of reconciliation, Equity Mates Media and the hosts of Equity Mates Investing acknowledge the Traditional Custodians of country throughout Australia and their connections to land, sea and community. We pay our respects to their elders past and present and extend that respect to all Aboriginal and Torres Strait Islander people today. —------Equity Mates Investing is a product of Equity Mates Media. This podcast is intended for education and entertainment purposes. Any advice is general advice only, and has not taken into account your personal financial circumstances, needs or objectives. Before acting on general advice, you should consider if it is relevant to your needs and read the relevant Product Disclosure Statement. And if you are unsure, please speak to a financial professional. Equity Mates Media operates under Australian Financial Services Licence 540697. Hosted on Acast. See acast.com/privacy for more information.

I hope you guys enjoy the Q3 2024 Investor Audibles from: - Saltlight Capital - Fairlight Capital Finally, a big thanks to our sponsors for making this episode happen. Mitimco This episode is brought to you by MIT Investment Management Company, also known as MITIMCo, the investment office of MIT. Each year, MITIMCo invests in a handful of new emerging managers who it believes can earn exceptional long-term returns in support of MIT's mission. To help the emerging manager community more broadly, they created ⁠⁠⁠⁠emergingmanagers.org⁠⁠⁠⁠, a website for emerging manager stockpickers. I highly recommend the site for those looking to start a stock-picking fund or just learning about how others have done it. You'll find essays and interviews by successful emerging managers, service providers used by MIT's own managers, essays MITIMCo has written for emerging managers, and more! TIKR TIKR is THE BEST resource for all stock market data, I use TIKR every day in my process, and I know you will too. Make sure to check them out at ⁠⁠⁠⁠TIKR.com/hive⁠⁠⁠⁠.

This week on “I Got More To Say,” Host Cato III welcomes the man who helped change his life,  legendary music industry veteran Todd Herreman! During Todd's 20 years in the music game, he has served as a producer, composer, engineer, and songwriter. After earning his Bacehlors in Music and Philosophy from Indiana University, Todd got his start by working as a Recording Engineer and Fairlight operator for Prince in 1986, recording multiple tracks on his magnum opus  “Sign O' The Times” album. He then went on to work with other superstars such as Michael Jackson, Jeff Beck, Jody Watley, and Brian Wilson. After earning a Master of Legal Studies degree with a concentration in Intellectual Property from Southern Illinois School of Law, he embarked on a 20 year teaching career. After 13 years at Southern Illinois, he served as a Co-Chair of Audio Arts at Cato III's Alma Mater of Syracuse University, in the prestigious Visual and Performing Arts College. Tune in as Todd details what it was like working with Prince, Michael Jackson, his experiences teaching, and gives his take on a few hot topics regarding record labels, contracts, and more! https://linktr.ee/igotmoretosay

So I have a new toy (or two) - a nice new set of RODE Wireless Pro 32-bit floating point recording units.  Nice.  But I honestly wasn't sure if the recording had worked (there must be a lesson or two in UX design here, but I'll let that go.) Anyway, the recording DID work, or I wouldn't be publishing this podcast.  No editing.  No effects.  No tricks. Just straight out of the recording unit - 32-bit floating point is good like that, you don't even need to set any levels! The topic is mostly about what we've been up to and the things going on. Which is to say, lots! Enjoy!   Cheers P. If you enjoy this podcast, please head over to Mastering Portrait Photography, for more articles and videos about this beautiful industry. You can also read a full transcript of this episode. PLEASE also subscribe and leave us a review - we'd love to hear what you think! If there are any topics, you would like to hear, have questions we could answer or would like to come and be interviewed on the podcast, please contact me at paul@paulwilkinsonphotography.co.uk.    Transcript [00:00:00] What is it? No matter which way you put the keys in, it's always the wrong one. Oh, squeaky windscreen wipers. [00:00:18] The sound of a Land Rover's windscreen wipers, as you can, as you can probably tell from the scraping sound, it's drizzling outside, which means you have to have the wipers on intermittent, and a Land Rover's, Windscreen wipers are not subtle. They're kind of, they're just noisy. They kind of scrape water, um, off the windscreen. [00:00:43] If, and if you're wondering, maybe they should just be replaced. These are new ones and they always sound like that. Anyway, as you can hear, I'm in the Land Rover. I am just leaving a shoot with the Hearing, Dogs. I'm acutely aware that it's been a while since I've, uh, recorded a podcast, and so here I am. [00:01:02] Once more sitting in the driving seat of some really wonderful British engineering, even if it is clunky, making scraping sounds in the drizzle, which is so poetic, I suppose. I'm Paul and this is the Mastering Portrait Photography Podcast. Now, dear listener, if you're listening to this, then it's been a success. [00:01:39] If you're not listening to this, well, you won't know it hasn't been because it simply won't come out. I'm recording this on a new set of Microphones, or at least a new set of transmitters. So, uh, we were recording a workshop video the other day and it became apparent that I needed to bite the bullet and upgrade our transmitter system. [00:02:01] It's been a while. I've had the old RØDE system now probably ten years, I think. And it felt like it was the moment to buy into some new technology. So here I am. Quite excitedly, if I'm honest, because I've never recorded myself in 32 bit floating point before. Now, if you're just a stills guy, that means nothing. [00:02:24] Uh, 32 bit, I mean, our images are in 16 bit or 8 bit, so you obviously are, you know, aware of the difference in quality, but 32 bit floating point essentially means you never need to set the levels. Now, that's the bold claim by anybody. RØDE, Zoom, Sennheiser. who make 32 bit recording, 32 bit floating point recording gear. [00:02:48] Apparently you never need to set the levels, you can plug in and record, it'll sound amazing, and how easy could that be? Where could it possibly go wrong? Well, I will know where it goes wrong at the end, when I drag the audio off this unit. Uh, and see if I can make a podcast out of it. Uh, so, as I said, apologies. [00:03:11] I seem to spend my life doing this thing. I'm really sorry there haven't been many episodes of the podcast. But it's not because I'm lazy. It's not because I don't want to do it. It's simply that, just for a minute, we are swamped. There is so much, uh, going on. And we've gone quiet on quite a lot of channels. [00:03:30] To the point where, even yesterday, I had a couple of WhatsApps. Are you alive? Uh, anybody there? Almost knocking on the glass to see if, uh, we're alright. We are fine. We're just incredibly, uh, busy. And that's not to say we haven't found a few gaps in the diary to go do some nice things. We've been watching the cricket, the 100, which is the UK's franchise cricket. [00:03:54] And obviously the test matches have started again. Now, Sarah and I, we really weren't cricket fans until Jake started working with the English Cricket Board. Now, obviously, Superfans. So we went to the final of the hundred, uh, at Lords the other day. Wonderful day out with the kids. It was a beautiful, I mean beautiful, hot, sunny day. [00:04:16] You wouldn't know that this is Thursday I'm recording it, and on Sunday it was hot and sunny and nearly 30 degrees. Today it's 16 degrees and drizzling and windy. Uh, you wouldn't know it's in the same week, let alone the same season. Or the same season, let alone the same week. Uh, but there we are. So we have found time to do a few bits and pieces, uh, like that to spend a little bit of time with the family, but essentially that's it. [00:04:42] Everything that isn't core to what we're trying to do just at the moment has fallen by the wayside, including my love affair with a Peloton exercise bike. I'm paying for it dearly. I'm gonna have to get back on that thing when all is done. What are we doing? Well, we're re engineering still, but properly. [00:05:02] Finishing off the re engineering of the Mastering Portrait Photography, not just the website but the whole offering. So ranging from the way we do our workshops, the teaching side of it, through to the assets that you can download, uh, as well as the articles, the videos, the membership side of the site, all of it is being overhauled with a view to getting it out there at the beginning of September. [00:05:28] That's our current date which of, as of right now, we've is about a week away. It's a lot closer than I would like it to be, but that's what we're trying to achieve is to get version one, um, everything sorted and out there. So, uh, last night, um, basically I spent the entire night building, uh, an animation of our garden. [00:05:49] I've built the garden that we shoot in, in 3d, in software. So that I can, uh, run any angle of, on the garden and show exactly how the lighting would look and why we use it the way we do it. And that's an exercise that's been going on, uh, for a few weeks as well. So there's all of that. We're also been working on how we do workshops and trying to figure out what I want the workshops to be. [00:06:14] And essentially, I want them to be why. I want them to answer the why. That's what I'm trying to figure out.. How to use language, how to use pictures, how to use, um, the various, um, things we do. The what and the how, yeah, they're kind of interesting. They're the sort of things you get from YouTube videos, typically, or from trainers, typically. [00:06:38] You know, do it like this, do it like that, this is what you should do, this is how you should do it. Um, but, I get really bored really quickly. I have a boredom threshold that's more or less on the floor. Um, And so, I'm really only curious when somebody's explaining why. Why do we do things? Why do things work the way they do? [00:07:00] And so that's become, um, our focus, or my focus on, uh, that side of it, is explaining why it's important that we do what we do. rather than just the what. So that's the reason why the podcast has gone quiet and we've had, I mean, a myriad of clients. A brilliant, brilliant magician, David Schwartz, flew over from New York. [00:07:26] He's a native New Yorker. I first photographed him on a cruise ship heading towards the Arctic Circle in Russia. Nine years ago, it turns out we were discussing it. Um, anyway, he was in Europe. So he flew over from where he was in Germany, came over to London and, uh, I photographed him again, just the nicest guy and the nicest pictures. [00:07:47] Um, and also he did me the honor of recording an interview on the podcast, which I will cut, um, and release in the near future. Um, it was, this was intended to be an introduction to that. Particular podcast, but it takes me longer to cut those podcasts. This podcast, you're getting this straight off the microphone , so if I screw it up, you're getting it anyway. [00:08:12] Uh, because there isn't time to do a craft edit. uh, on this. The other thing we've done is we've now got someone inside, talking of craft edit, someone in the business, uh, Katie, who some of you will know is one of our, uh, she was originally a client, went to film school, went to university to study film, um, and then sarah and I were at Jake's graduation. Jake graduated, he got an upper 2. 1 from Loughborough University in Sport Technology. He's now back working with English Cricket Board, but we went to his graduation and while we were sitting having breakfast, the three or four of us were sitting having breakfast, I got a text from Katie. [00:08:53] I'll have to paraphrase it because obviously I can't read my phone when I'm driving, but it said broadly speaking, I You're my favorite people to work with. Is there any chance of a more permanent role? Because Katie had been and helped us record a few bits. She's obviously modeled quite a lot for us these days. [00:09:07] Um, and so I looked at this text and thought, you know what? This is, I mean, this must be six, eight weeks ago. Um, and so, well, we're at this kind of interesting junction in the business's career. And, uh, We need, we know we need video capability. We are building videos and have been building videos, but what we don't have is the natural capability in house. [00:09:29] Now I can do it, I can learn it, so can Sarah, so can Michelle, but it's a little bit of a struggle. It's a bit of an uphill battle to learn all the software, to learn all the edits, even things, you know, like the recording gear I'm working on right now. And, and so it'd be really useful if we had someone in house who could help us shape the videos, help us script them out, maybe storyboard them, and then edit them. [00:09:55] And Katie, of course, being a graduate from film school, uh, fitted all of those bills. And on top of that, she is super lovely, um, and has slotted in to the team almost seamlessly. And so we're sitting looking at this text and it's, you know, as you all know if you're running a business, how can you You can't simply find the money. [00:10:16] There's got to be an argument as to how we're going to do it, how we're going to monetize that, what's going to come out of the budget. Uh, so a few things like me getting a faster computer for a minute, that's stalled, that's for certain. Uh, not least of which because obviously the Land Rover blew up at the beginning of the year and we're still just paying that six and a half thousand pound bill off. [00:10:34] But nonetheless, nonetheless, we sat and looked at this text and thought, well, it feels like the stars are aligning. We wanted to get the website up and on its feet. There are some things next year in the diary that mean it would be very useful, uh, if the website was, uh, up, the Mastering Portrait Photography website was up and working, uh, almost autonomously. [00:10:56] We need to be able to create videos, we need to have a backlog of videos ready to roll for some of the chunks of next year, early in the year. More on that will come out in future podcasts. And so, um, with a little bit of trepidation, we committed to the first ten days or so. With Katie and it's been an absolute blast. [00:11:15] We're all still learning how this is going to work, how we're going to do edits and things, but uh, DaVinci, which is the editing suite we've chosen to go with is incredibly intuitive. Now I'm, I've used Premiere Pro since I can remember, probably 20 years um, or something like that. So uh, I thought we'd go down that road, but it turns out that DaVinci is a much better collaborative tool. [00:11:39] It's also I think it's a better editing suite. Certainly if you love sound, uh, the Fairlight sound engine in it, um, that allows you to do the mixing is absolutely wonderful. And I love, I absolutely love a bit of sound. Uh, so Katie has joined the team and that's sort of another distraction away from me just releasing podcasts. [00:11:59] But today I've just been down to Hearing Dogs. But before I left the studio this morning, I don't know if this is the point of this particular podcast, but it's certainly a little bit of a reminisce. So now we're teaching. Now we're really growing the academy side of our business. Um, coincidentally this morning, I got posted, you know how Facebook sends you notifications? And there was this thing about some of our favourite teachers from the high school, for our American friends, uh, secondary school for my British friends, uh, I went to, which is the Alun School in Mold in North Wales. [00:12:33] Um, and it was really nice to see some of the teacher's names knocking around and it got me to thinking about my English teacher. Now I've emailed the school to see if I can get a hold of him, uh, in a nice way just to say thank you. Now, Mr. Betley was probably. The strictest teacher I have ever met. Um, and back in the 80s the teachers were fairly strict. [00:12:56] I have had boar dusters bounce off my head, bits of chalk thrown at me. I've been, one teacher who shall remain nameless held me up against a wall by my throat, which these days would instigate legal proceedings, but back then seemed to just be the norm. However, Mr. Betley, strict as he was, somehow dragged English out of me. [00:13:21] He dragged the written word, or the love of the written word, out of me. Now, he was also the guy that broke my own ruler, hitting me over the knuckles with it. Because I'd been messing around. I was a dick. I mean, let's be honest, I was an absolute idiot. Probably still am. Um, I wouldn't say I was unruly, or particularly I wasn't naughty as such, but I certainly never focused. [00:13:45] I found it impossible to focus, um, particularly in academic, um, subjects. Was good with things like woodwork and metalwork and art, music, of course. Uh, but when it came to sitting and concentrating on a page of writing, I was not gifted in the slightest. And so, one particular lesson, he asked me to get my ruler and come up to the front, to which he whacked me over the knuckles with it, splintered it into a thousand pieces, and gave me f I don't know what it was, 40p or something to go and buy a new one. [00:14:14] Um, that was the life back then. I remember one day, um, I had been asked to do an errand for another teacher midway through the class, so I pottled off across the school campus to do this errand, whatever it was, can't remember, and on the way back, our lesson, whatever lesson it was, was on the top floor of one of the blocks. [00:14:35] And so I thought I'd use the lift, um, elevator. And so, uh, without really thinking too much about it, I was on the ground floor. I hit door, you know, up, climbed in, went to the top floor. And as the doors opened, I knew I was in trouble. Cause you're not allowed to use the elevator. Gradually, ever so slowly, the doors opened and I can see a figure, a shadowy figure standing in the corridor outside, and there he is. [00:15:02] Mr. Betley, just stood there, arms folded, who'd clearly clocked that I'd walked in on the bottom floor and knew, somehow, that that's what I was going to do. So the doors opened. There's Mr. Betley, stood there, just quietly watching me. Wilkinson, he said, Wilkinson, come to my room at lunchtime and you're going to write four sides of A3 on the life and times of a ping pong ball. [00:15:30] He leant in. He hit ground floor button, stepped back out of the elevator and let it take me all the way back down to the bottom floor. Come lunchtime, I had to sit and write four sides of A3 on the life and times of a ping pong ball. Now I don't know quite how he got that idea, where that subject came from, but I remember it clearly. [00:15:52] I remember thinking up all of these arguments and all of these stories about dented ping pong balls and ping pong balls that have lost their air. And ping pong balls that have been spun out of control by these incredible Welsh ping pong players, uh, I was in school in Wales. Uh, and how, how sometimes when they hit the net it's a relief just to get a bit of respite. [00:16:12] Um, you know, it's just one of those, uh, things. And then the ultimate demise of every ping pong ball is that crack. The final, untimely, ignominious crack. And the ping pong ball is useless for nothing more than going into somebody's craft box. www. Where it'll be reincarnate as, I don't know, the eyes on a monster or something, I'm sure that's what I wrote about. [00:16:35] Anyway, Mr. Betley gave me a love of the English language, the written version of the English language, not the way I speak, I know I don't speak particularly, um, eloquently. But he gave me a love of writing stories and that has carried on now and I write for Professional Photo Magazine and NPhoto Magazine and Digital Photographer Magazine. [00:16:55] www. professionalphotographer. com And I absolutely love the written word. And so I'm trying to get hold of him, and it's all a bit of a coincidence, but it's, I suppose what it's done in my head, is just trigger some thoughts about what makes, what makes, I don't know, there are teachers I loved, but didn't impart an awful lot, and there are teachers like Mr. [00:17:16] Betley, who I, I guess, I don't think I feared him, but I certainly respected him, and he drew out stuff from me, and how he knew that I had, the ability in me to write when all I really did was mess around. Um, then I don't know. Uh, so we're trying to figure that out. And the reason I tell you the story is that's what's been going on behind the scenes is it's me trying to figure out and putting the materials together for better workshops, for better content on the mastering portrait photography website for finding ways to be useful to add insight, to answer the inevitable why. I love the question why. Why do we light things the way we do? Why, why do I bang on about the catchlights in the eyes when I'm doing portraiture? Why is that my anchor point? Why do we use fast shutter speeds for some things and slow for others? Why do we pick the lenses we do? [00:18:20] Why, oh why, oh why, all of those. wise. So that's what's been going on. So apologies for there being no podcasts for a while. I will try to make up for it. If this little bit of kit works and I've got no idea, there's absolutely nothing that tells me this is recording apart from one little red light, um, on the transmitter, which has gone orange, which is a little bit freaky. [00:18:41] I don't know whether it's still working. Everything seems to be good. It doesn't even have, because it's 32 bit floating point, it doesn't even have level dials. It just kind of says, yep, recording. So in about 10 minutes, I will know whether this was a fool's errand or whether you're actually going to hear this podcast completely uncut. [00:18:59] It's going to come out the way it is. I'm just driving back through the village to the studio, um, over the speed bumps. There you go, speed bump, and still my squeaky windscreen wipers in the background. They'll be in the background, by the way, but I can't drive without them. Uh, that's just, uh, one of those things. [00:19:17] Anyway, anyway, I hope the podcast, I hope, I hope a little bit of me hopes you've missed the podcast. If you haven't missed it, if you're, this is the first episode you're listening to, please listen to one of the other episodes that have been recorded, uh, and edited. Craft edited, I like to think. Um, if you like your podcasts raw and from the cab of a Defender Land Rover, then I'm your guy, here it is. [00:19:39] Uh, anyway, I hope your world is good. I hope the summer. Or as we head into the late summer and the beginnings of the autumn, I hope you're having a wonderful one. I hope you've had a wonderful one. Um, I hope that life finds you well. To all of the students out there today who've just got their GCSE results in the UK, I hope it's gone well for you. [00:20:01] Uh, I know a couple of my clients, uh, Jess in particular, one of our dancers who's I've worked with. Uh, I hope you've got the results that you've, uh, deserve having worked so hard and as I pull up in front of our studio in the drizzly mizzle, uh, whatever you're doing, whatever you're doing, be kind to yourself, take care.

Hope you're all enjoying your summer! Here's your monthly VGM mixtape.Credits:(00:00:04) V Rising"Farbane Nights", Migova(00:04:36) Hearthstone"Orsis", Peter McConnell(00:08:26) Arranger"Looping Dreams", Tomas Batista(00:09:59) Arctic Eggs"Dolphin Dance", Cameron Ginex(00:11:09) SCHiM"wieltje", Moonsailor(00:13:47) HV-MTL: Forge"Bio-Electric Dreams", Emmett Spengler(00:17:57) Aerial Knight's We Never Yield"The Crowned Ones", Daniel Wilkins, Neil J(00:21:20) Fairlight 84"Vandal Heart", YASU, SAKI(00:23:27) Valorant"SUPERPOWER", Kiss of Life, Mark Tuan(00:26:18) Hot Lap Racing"High Speed, High Fun", P.A.D(00:29:26) God Eater: Resurrection"Breakout", Yamasa Sound Team(00:32:32) Pawafuru Purokakyu"Flying High", 麦野優衣(00:34:13) Phantasy Star Online 2"Zero-G - The Earth - Original", Haruna(00:39:55) Kitten Burst Ogma's Temple"Nightmare", Jam2Go(00:44:14) R:Racing Revolution"RISING", Koji Nakagawa(00:46:50) R2BEAT"Better", R2BEAT MUSIC(00:49:23) Jumplight Odyssey"Hit Pause and Say Nothing", Michael Allen(00:52:06) Warhammer 40K: Darktide"Derelict Research", Jesper Kyd(00:54:05) PAYDAY 3"Cryptoshot", Gustavo Coutinho(00:57:37) Trepang2 Bladekisser"Cave Party", Brandon McKaganFollow NOWPLAYING on Patreon to keep track of every single VGM release of 2024 and access to hefty playlists

Florence, 1584. Rumours are spreading about the virility of a prince marrying into the powerful Medici family. Orphan Giulia is chosen to put an end to the gossip. In return she will gain her freedom, and start a new life with a dowry and her own husband. Cloistered since childhood and an innocent in a world ruled by men, Giulia reluctantly agrees, only to be drawn under the control of the Medicis' lecherous minister. Years later, married and with a growing family, Giulia hopes she has finally escaped the legacy of her past. But when a threat arrives from a sinister figure from her youth, she must finally take control of events – and become the author of her own story. Based on true events and reminiscent of The Marriage Portrait by Maggie O'Farrell, The Maiden of Florence (Fairlight Books, 2024) a charismatic voice to a woman cast aside by history. Katherine Mezzacappa is an Irish author currently living in Carrara, northern Tuscany. She holds a BA in History of Art from UEA, an MLitt in English Literature from Durham and a Masters in Creative Writing from Canterbury Christ Church University. Her debut novel (writing as Katie Hutton), The Gypsy Bride, made the last fifteen in the Historical Novel Society's 2018 new novel competition. Her short fiction has been short- and longlisted in numerous competitions, and she has been awarded residencies at Cill Rialaig Artists village by the Irish Writers Centre in 2019 and at Hald Hovedgaard by the Danish Centre for Writers and Translators in 2022.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Giulia is an orphan who has been cloistered since she was a baby. In 1584, the powerful Medici family demands a test of virility from the Grand Duke of Mantua before his marriage to Eleanora de Medici. Giulia, who knows nothing about the world of men, is offered a dowry and husband in exchange for one night with the prince. She doesn't know what that night entails, or that the lecherous minister who arranges it will never set her completely free. The Maiden of Florence (Fairlight Books, 2024) is based on a true story. Katherine Mezzacappa is an Irish author currently living in Carrara, northern Tuscany. She holds a BA in History of Art from UEA, an MLitt in English Literature from Durham and a master's in creative writing from Canterbury Christ Church University. Her debut novel (writing as Katie Hutton), The Gypsy Bride, made the last fifteen in the Historical Novel Society's 2018 new novel competition. Her short fiction has been short- and longlisted in numerous competitions, and she has been awarded residencies at Cill Rialaig Artists village by the Irish Writers Centre in 2019 and at Hald Hovedgaard by the Danish Centre for Writers and Translators in 2022. When she is not writing, Katherine volunteers with a second-hand book charity of which she is a founding member. She also sews dresses and is learning Irish and German. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

Florence, 1584. Rumours are spreading about the virility of a prince marrying into the powerful Medici family. Orphan Giulia is chosen to put an end to the gossip. In return she will gain her freedom, and start a new life with a dowry and her own husband. Cloistered since childhood and an innocent in a world ruled by men, Giulia reluctantly agrees, only to be drawn under the control of the Medicis' lecherous minister. Years later, married and with a growing family, Giulia hopes she has finally escaped the legacy of her past. But when a threat arrives from a sinister figure from her youth, she must finally take control of events – and become the author of her own story. Based on true events and reminiscent of The Marriage Portrait by Maggie O'Farrell, The Maiden of Florence (Fairlight Books, 2024) a charismatic voice to a woman cast aside by history. Katherine Mezzacappa is an Irish author currently living in Carrara, northern Tuscany. She holds a BA in History of Art from UEA, an MLitt in English Literature from Durham and a Masters in Creative Writing from Canterbury Christ Church University. Her debut novel (writing as Katie Hutton), The Gypsy Bride, made the last fifteen in the Historical Novel Society's 2018 new novel competition. Her short fiction has been short- and longlisted in numerous competitions, and she has been awarded residencies at Cill Rialaig Artists village by the Irish Writers Centre in 2019 and at Hald Hovedgaard by the Danish Centre for Writers and Translators in 2022.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/historical-fiction

Blackmagic Design announces new products at NAB in Vegas, including the URSA CINE 12K LF camera and the Pyxis box camera. Dave Hoffman joins us to discuss the new features in Resolve 19, such as the integration of the Fairlight audio suite and the replay system. The conversation touches on the Blackmagic Cloud Store and the ability to collaborate and edit in real-time using the cloud. They also mention the focus on mobile with the release of Resolve on the iPad and the upcoming camera app for Android. The future of AI models and AR cinematography is briefly discussed. Chapters 00:00 Introduction and Overview 03:38 New Products at NAB: URSA CINE 12K LF and Pixis 09:06 Blackmagic IP10 Codec and 2110 Compatibility 13:18 Collaboration and Real-Time Editing with Blackmagic Cloud Store 16:12 Resolve 19: Integration of Fairlight and Transcription Engine 28:21 The Future of AI Models and AR Cinematography Learn more about your ad choices. Visit megaphone.fm/adchoices

You've probably heard of America's Magnificent 7 - Nvidia, Apple, Microsoft, Alphabet (Google), Tesla, Amazon and Meta (Facebook). In this episode we introduce you to the latest grouping of stocks to watch - the Magnificent 11. Here's what else we cover in this episodeWhy the Magnificent 11 are also known as the GRANOLASWhy Ren isn't convinced by the Magnificent 11 just yetWhich group of stocks have performed better over the past year - the 7 or the 11?Bryce's latest investment - a small cap fund managerWhat you need to do to enjoy the benefits of compoundingResources discussed: Listen to our episodes with Fairlight's Nick CreganListen to our episodes with Fairlight's Will DowdHave a question? Ask via our website and we'll answer it on the podcast.Join the conversation in the Facebook Discussion Group—------In the spirit of reconciliation, Equity Mates Media and the hosts of Equity Mates Investing acknowledge the Traditional Custodians of country throughout Australia and their connections to land, sea and community. We pay our respects to their elders past and present and extend that respect to all Aboriginal and Torres Strait Islander people today. —------Equity Mates Investing is a product of Equity Mates Media. This podcast is intended for education and entertainment purposes. Any advice is general advice only, and has not taken into account your personal financial circumstances, needs or objectives. Before acting on general advice, you should consider if it is relevant to your needs and read the relevant Product Disclosure Statement. And if you are unsure, please speak to a financial professional. Equity Mates Media operates under Australian Financial Services Licence 540697. Hosted on Acast. See acast.com/privacy for more information.

Dit typisch Britse gerecht wordt vrij koud geserveerd. Om het klaar te maken is een druppel David Gilmour onmisbaar, maar je hebt verder ook een gram Peter Gabriel, een vat Fairlight, een lepel Led Zeppelin, een mespunt melancholische akkoordjes én een deal met God of de platenfirma nodig. Aan tafel!

Thanks for tuning in to this Thursday edition on RealAg Radio, brought to you by Pioneer Seeds Canada! On this week's Farmer Rapid Fire, host Lyndsey Smith checks in with: Jenn Doelman of Renfrew, Ont.; Mark Burnham of Coburg, Ont.; Brendan Uruski of Zbaraz Man.; and, Kristjan Hebert of Fairlight, Sask. Plus, we will hear... Read More

Thanks for tuning in to this Thursday edition on RealAg Radio, brought to you by Pioneer Seeds Canada! On this week's Farmer Rapid Fire, host Lyndsey Smith checks in with: Jenn Doelman of Renfrew, Ont.; Mark Burnham of Coburg, Ont.; Brendan Uruski of Zbaraz Man.; and, Kristjan Hebert of Fairlight, Sask. Plus, we will hear... Read More

Source-Nexus I/O is a plugin and virtual driver system that upgrades your workstation with a versatile audio input-output routing solution, tailored and customizable for streaming audio seamlessly from both DAWs and Desktop applications.  It Automatically connects to Source-Nexus Review for effortless streaming.  This week's episode is the soundtrack to a walk-through of the new interface we recorded with Robert. It's an in-depth look at a game-changing software you can't afford to miss if remote sessions are a part of your day-to-day business... You can see the video on our YouTube channel.. https://youtu.be/uxzEsSiJyQA A big shout out to our sponsors, Austrian Audio and Tri Booth. Both these companies are providers of QUALITY Audio Gear (we wouldn't partner with them unless they were), so please, if you're in the market for some new kit, do us a solid and check out their products, and be sure to tell em "Robbo, George, Robert, and AP sent you"... As a part of their generous support of our show, Tri Booth is offering $200 off a brand-new booth when you use the code TRIPAP200. So get onto their website now and secure your new booth... https://tribooth.com/ And if you're in the market for a new Mic or killer pair of headphones, check out Austrian Audio. They've got a great range of top-shelf gear.. https://austrian.audio/ We have launched a Patreon page in the hopes of being able to pay someone to help us get the show to more people and in turn help them with the same info we're sharing with you. If you aren't familiar with Patreon, it's an easy way for those interested in our show to get exclusive content and updates before anyone else, along with a whole bunch of other "perks" just by contributing as little as $1 per month. Find out more here..   https://www.patreon.com/proaudiosuite     George has created a page strictly for Pro Audio Suite listeners, so check it out for the latest discounts and offers for TPAS listeners. https://georgethe.tech/tpas If you haven't filled out our survey on what you'd like to hear on the show, you can do it here: https://www.surveymonkey.com/r/ZWT5BTD Join our Facebook page here: https://www.facebook.com/proaudiopodcast And the FB Group here: https://www.facebook.com/groups/357898255543203 For everything else (including joining our mailing list for exclusive previews and other goodies), check out our website https://www.theproaudiosuite.com/ “When the going gets weird, the weird turn professional.” Hunter S Thompson In this episode of Pro Audio Suite, the team introduces Robert Marshall from Source Elements and discusses the company's new communications platform for media professionals, Nexus. This platform enhances remote work by enabling content creators and voiceover artists to bring audio directly into a standalone app, and set up online review sessions with clients. Nexus also simplifies audio routing, making it easy to use, even for non-technical users. The platform, priced at $11.95 per month, promises a lot of value and utility for users. In future iterations, Nexus plans to provide more improvements and functionalities, making it an affordable, powerful tool for media professionals. #ProAudioSuite #SourceNexus #HomeStudioSolution   Timestamps (00:00:00) Welcome & Sponsor Shoutout (00:00:53) Intro to Source Connect (00:07:56) Discussing Buffer Setting (00:14:41) Nexus Tech Support History (00:20:23) Source Connect for Video Editing (00:26:16) Pro Tools I o Routing Issues (00:28:41) Source Connect Pricing (00:30:59) Broadcast vs Communication Users   Transcript Speaker A: Y'all ready to be history? Speaker B: Get started. Speaker C: Welcome. Speaker B: Hi, hi. Hello, everyone, to the Pro Audio Suite. These guys are professional, they're motivated. Speaker C: Thanks to Tributh, the best vocal booth for home or on the road voice recording and Austrian audio making passion heard. Introducing Robert Marshall from source elements. And someone audio post chicago Darren, robert Robertson from Voodoo Radio Imaging, sydney to the Vo stars, george, the tech Wittam from La. And me, Andrew Peters, voiceover talent and home studio guy. Speaker A: Line up. Speaker B: Here we go. Speaker C: And welcome to another Pro Audio Suite. Don't forget the code trip a P 200 to get $200 off your tribooth. : And don't forget Georgeth tech TPAs for your deals. Speaker C: Man indeed, indeed, indeed. And don't forget demosthework.com. Anyway, that's enough plugs now we're talking. Speaker A: About Source elements.com today. Speaker C: This is a first for us, the first time we've been seen on camera, which sorry about that. It's the way it goes. Speaker A: No, scary. : Oh, crap, I forgot I should need to stop picking my nose now. Speaker C: As long as that's all you're picking. Speaker A: Yes, that's got your balls. Whatever you do. Speaker C: So this is the new source nexus. Speaker B: Robert yeah, we just released this and really something that I guess if a lot of our crowd are voice talent, at least initially here, this is kind of showing more of the client side or our new version of a client side application kind of shooting down the middle. We had originally made Source Live, which has a really high powered server assisted video streaming system and it can have a lot of, I think up to 20. We tested up to 26, 25 or 30 people. We just ran out of people to test with. But it shouldn't have any limits on the number of connections. So the idea here was to take Nexus, which has started to become sort of a slightly more commoditized concept. Nexus going way back how many years ago? I'm not sure, but it feels like probably at least ten, maybe a little bit more, maybe 13 years ago or so. Nexus comes out and really sets this genre for how to construct post sessions so that you can have your talent coming in on Source Connect. You can have your clients in on various meeting platforms, you can have a remote connection. Nexus was also used for bringing in sound effects, feeds and other monitorings of other types of things, things that you would normally patch into a patch bay in the hardware world. This is now all starting to happen application and Nexus is this patching center, as the name implies. But that capability has been slightly commoditized. You have all kinds of things like even UA and Apollo has our virtual drivers built into the interfaces and interfaces are coming out with loopback connections and blah, blah, blah. So here we are innovating and saying, what was Nexus originally used for? And a lot of it was used for integrating these communications platforms and we thought let's make a communications platform that's a little bit more built for media professionals. And on this side, the initial sort of intent is for review and approval. So you can imagine either you've got clients on the gateway here and they are meeting and then there's a talent connected and the engineer can patch all this together using Nexus actually. And they would have a session where talent's connected in on source connect and the clients are all here on a meeting platform. And so here's sort of a meeting platform that's more designed for media professionals and specifically like a review and approval workflow. Here's kind of what it looks like a little bit. One of the first things with Nexus is it has now a plugin dedicated for it that does a lot of this template setup. People used to have these crazy templates for Pro Tools and now if you oops, what I should do is share my screen. So here's Robert's Screen. So the first thing that Nexus has besides this meeting room looks pretty similar to a lot of things but here's one big difference. There's a plugin that's included with it. And the plugin has, as you can see, my talkback coming in here has the input from the mix. So I can hear the mix actually right here. The mix is also sent to the broadcast input, which we'll talk about in a split second. And then here's the chat return. So if someone says hello, we will see this meter bounce. Speaker A: Hello. Speaker B: There you go. So that's how I hear. And this takes care of all the mix minus and all the routing that people would have to do in one drop of a plugin on the master fader. Yeah, you don't have to change your session structure. You don't have to mix to a bus. So you can separate the people from what you're listening to and make them mix minus. Essentially, this does it for you. And so here's this broadcast input. But over here in the gateway, I've got this broadcast section. So now I can send my mix separate from my communications input, which is not something you get to do with zoom, et cetera, et cetera, all the other ones. So here's a high quality stereo communications feed without having to have problems with my talkback conflated within it and those kinds of things. So now you guys might notice that if I just literally go over here and this might be loud. Here's a rock tune in this session and then as easy as that is it's a good level right I put it down to -20 because we have to blend it with this stuff and. : Coming back to me in full stereo. Like high fidelity. Speaker B: Yeah, high fidelity, full stereo. Speaker A: Yeah, absolutely. Speaker B: That's the whole point. But really it's like I don't want you looking at my screen because there's too much stuff there. And whatnot what you really want to see is this. So if I jump back out and I share my window, you can't see what I'm doing because I'm not sharing it, but I'm basically sharing again. But this time, instead of doing entire screen, I'm picking window. I'm picking that Pro Tools video window. So now we can play this spot that we using as a little ADR demo. And right now that's more stuff to talk about later, the remote ADR workflows, but here's just a review and approval thing. And so a lot of voice sessions are not synced to picture. You're just, hey, read it three times. All right, I'll cut that in and you see it happening. And essentially, here's the core of that session. I can have a talent connected. I can bring the talent in through here, actually through a new plugin, but I can't really talk about that. But the classic connection where you have Source Connect and a plugin on an Aux track. So here you can see I'm receiving from source connect. This is the original Nexus plugin. And so there's from Source Connect, and that's popping over to my record track over here. And then an Aux send from receive of Nexus. And I can send the chat over to the talent. Speaker A: So you don't have your talent on Nexus then? Is that what you're saying? Speaker B: You don't want to? Because then you have all right, everyone mute their mics or you don't have separation, essentially. So what you have is you can have the talent join Nexus. And one of the first we plan on kind of rolling out updates rapidly. And one of the ones that's up on the dock is a no audio button, meaning not just mute your microphone, but mute the whole output. So then the talent can be here. The talent can look at the picture, see the clients and record. And within the realms of that latency, you can even record sort of with pictures as long as the engineer slides it back. And it happens a lot over these remote systems. You just kind of deal with the latency a little. : Can I ask you about the buffer setting? I now see in my window? It says off no buffer right now. Speaker B: Yeah, right. Another thing. So stuff you can't do in zoom oh, the broadcast, which is really high quality, is giving me a little bit of trouble. You can add some buffering on your side. So maybe that connection is going to be a little bit more latent, but it's going to have a stronger connection because as you know how it goes with all of these Chrome type things, it's all up to the way Chrome really decides to treat the audio. And Chrome loves to drive latencies as low as possible and just say, screw it, I'm going to stretch audio and mask all kinds of stuff and quite frankly, make up more audio than I'm actually broadcasting just to kind of make communications work. And if it is high quality, that's nice, but it's not my goal. My goal is just communications. Just by adding to that buffer, at least we can protect that audio stream a little bit and make sure that clients aren't hearing. So, for instance, the way I do it, when I send my talent to the clients, I'm sending them through the broadcast input so they hear that voice record from the talent in really high quality. Whereas we're over here the chat. Even though there is a broadcast option on the chat, you don't really need it. And that way you also have echo cancellation built into here and you're optimizing the way things are. You're not all eggs and all echo canceled. Good enough for a lawyer's meeting or the other side, something like Source Connect now was where it's just like wide open, pure audio, but then you have feedback issues. This is kind of trying to blend. You got clients who are used to the business meeting. You've got Vo talent and playback that needs to be high quality. Put all that together in the right. : Way, that's always challenging a lot of things. It's an all or nothing proposition. It's either Zoom equality or everybody's in a high quality and it's just you introduce new problems, especially the client is not prepared for that. Speaker B: Yeah, I mean, there's a lot of stuff that's like for people that aren't initiated in this stuff, it's easy for us to say stuff, but we do this day in and day out. At least I do. : Obviously, we always have headphones at the ready. Speaker B: Yeah, we're actually getting it pretty good on the iPhone and iOS devices, and those have their own challenges. We have a warning right away that says, like, if you're going to use this for communications, we can't really give you as high quality broadcast audio. So there's another thing that's unique to this is there's a mode to it where you can just join it for the broadcast audio, which is a case where maybe you do want to have a sidecar zoom meeting. Some of the issues with a sidecar zoom meeting with a high quality broadcast on the site is now Zoom is unaware of its echo cancellation. So the high quality audio broadcast echoes through everyone's connections because it doesn't think that that's part of its initial input output. It doesn't catch it in its algorithm as well as when it's all integrated into one platform. But yeah, you can join this and just use it for the broadcast, or you can use it for the meeting, but when you use it on the iPhone, if you just want to use it for the broadcast, you'll get high quality. But if you use it for communications and the broadcast, the broadcast unfortunately gets stepped on. And I'm sure you've seen some of that happen even when you just get a phone call. As soon as the iPhone thinks it's in a communications mode. It's like it's doing that good enough for communications, make it intelligible kind of thing. But still there's people that might be driving. You might have a producer who's just really they just want to make sure the session is flowing well. They're not listening to it in the same way that the writer and the art directors are, for example, worrying about what time is it and are we going to have to pay somebody overtime if this goes any longer? Yeah, but that's pretty much it. The idea is it's trying to be really simple about it as well. Speaker A: It's very cool. I mean, as you say, it takes zoom out of the equation, which is the best bit. Plus, as you say, we're listening to the talent in broadcast quality as well, which for me as an engineer is a big thing. I don't want to have to listen. Speaker B: And in any session you do, you can remote heise it in just like one drop of a plugin. You don't even have to think about it. So one of the unique things about the review plugin here is that you can bring your talk back in from any input in the whole computers. Right now I'm using same as system, which is picking up this road NTUSB actually. So same as the system setting or picking it up directly. And that can be my Talkback input, which is on a trigger with a slash key. Or if you're on a Pro Tools HDX or HD native system, when Pro Tools launches, your audio interface is exclusively owned by Pro Tools. And if your Talkback mic is going to that audio interface, how do you get it in there? Here you go. You pick it up on the side chain. Speaker A: Nice. That's clever. Speaker B: I like that you tell this thing. So say my input is I don't know, it wouldn't be one of these buses, but I don't even have a hardware input. Yeah, so in this case but then you just pick your input there and then here you'd say use key input. That covers all the HD native and anybody else with an exclusively run hardware audio system. There's a few others out there. I'm trying to think of what they are, but maybe like a Fairlight, for example, and that CC one card that they have and things like that can make use of that input. Actually, come to think of it, I'm not too sure Fairlight has gotten around to putting side chain inputs on their plugins yet. That's a different issue. They could sure use it. Because I remember I did a tech support thing the other day for a Fairlight person and what I ended up doing is making an Aux channel, dropping a Nexus plugin and picking up making the Aux channel the input for his talkback mic and then just sending it off to a virtual device like Nexus 23 24. So then over here on the review plugin. I just went over and picked up Nexus A 24 or whatever and got his talk back into the system, even. Speaker A: Though, yeah, that's clever. Speaker B: It took an extra channel. It'd be nice if fairly put in a side chain on their plugins. And I forget what other exclusive systems there are, but there are some plenty, I believe. Speaker A: Well, it's very cool, mate. You must be pleased with it. Speaker B: Oh, yeah. I mean, it's funny how it's exactly a year. We went to AES last year and showed a prototype of this and we put the prototype together in like the month or two before AES, I think. And it was like that kind of thing where you make 80% of the progress. We had a review plugin that looked a lot like this stuff was functional. And then the whole last year has been spent like the details. Speaker A: So was the idea, I mean, Nexus One, shall we call it the original Nexus? For me, it's no secret I've talked about it on this show a million times. I love it. Looking at this and watching you use it now was the idea to take something that was really useful, but probably you needed to have a bit of a tech understanding and make it a bit more user friendly. Is that what you were trying to do? Speaker B: So we would find things like this. You'd get someone and they'd buy Nexus at that time. It's like 295 at the time. But they'd be on the phone with one of our tech support people for another 45 minutes an hour. We're building a template for them. It's kind of expensive, honestly. And this isn't everybody, but there's like a certain level of users I just need to do this thing and well, what you need to do is kind of complicated. That's fine. Can you show me? And then you show them and then next thing you know, when they get stuck or something, they're back at it. And originally Nexus didn't even include live tech support. Try to simplify because some of these people, george, I know you know this syndrome where people get set up with something that is barely at their capacity to remember, especially if you're setting it up for them. Because it's a different thing when you brew something up in your head. But if someone's just like, Here you go, whiz, bang, boom. And then you're like, oh, fuck, I got to get off the phone. See you later. Have a good day, sir. And it worked. I don't even want to close my computer. So the idea was this first one is just to take that whole kind of set up and distill it into here. I mean, here's your classic mix minus is what this is. : Just because someone's a talented engineer, mixer, whatever, it doesn't mean they necessarily are trained and know how to build some of the really routing and stuff. Speaker B: Those are different I know exactly how that is. I mean, that's kind of how I got my start. Like, I was a sound designer and mixer at Cutters, and there's sort of operators I was always involved with even. What equipment are we going to buy? How are we going to set up? How can we be more efficient, are we going to do our storage? I mean, there's so many aspects. : You were like engineer, technician, really. Speaker B: I was a little bit of like the I didn't do all the soldering because there was also like a whole department of full text. But I was like the liaison and I would define and get my hands very dirty doing the stuff for the audio department because you're also an audio department in a company that was originally a video company. So the video texts are videotechs and they can do what you want, but they don't know the same stuff. They know exactly how to run an Avid and premiere and all those things. And then audio is kind of a weird thing. So, yeah, it came out from you're setting stuff up and then here we are making the stuff that we trying to simplify these things. Speaker A: So I guess the important point to make here too, especially for content creators or for voiceover artists, is all this techie stuff in the background. Especially if you're a voiceover artist, that's not your responsibility, that's the engineer's responsibility. All you need to do if you're a voiceover artist is dial into the Engineer on your usual source connect connection. Yeah, but dial into the audio engineer on your usual source connect connection and bang, you're in. But if you need to run sessions or if you want that connectivity, then you've got all this in Nexus as well. Right? Speaker B: So first thing I was going to say is there's engineers that they just want to walk into work, go, where's my talkback mountain? Where's the mic pre for the talent? Where do I search my sound effects? And I just want to run that way. Yeah, they're not worried about like, am I on the latest version of this and that and what do I have? They're more of the artist type of engineer and not so much of the tech kind of engineer. And they're doing a lot of great work, but they're just not into it as much. And so a lot of those people, as you said, sometimes especially is what's happening these days is people are going freelance a lot. And a lot of those people had the support of a big team in a post house like that. And now they're freelance and they're leaning on either companies and people like George or some of our tech support. And so the idea is to simplify this, but here's something that a voice talent could do with this. Imagine you have clients that think, and I'm going to say think that they can save money and time by having the Voice Talent record themselves and then just throwing a bunch of audio takes and poorly, poorly noted stuff at Audio Engineer to say just put it together. And somehow that's going to save 1 hour of an Audio Engineer's time by making them edit stuff after the fact. And Robbo, you and I both know that they will get more of what they want quicker for less money if they just do a supervised session with an engineer on the line. Nonetheless, it happens to a lot of Voice talent. Andrew knows this and they are like, can you play that back for me? Speaker A: Yes. Speaker B: Now, as a Voice Talent, all you got to probably I think this is stereo only. We should modify this for mono, but you could just make a master fader in your daw and chuck this on it. And now you can do playback without thinking about it. You just play it back. You're broadcasting your mic. You want to do a playback, especially if you use the push to talk. You can mute your microphone. So the playback is nice and clean for them, but they're probably not recording you anyway, so they just want to hear it and decide if. So this could be useful for a talent who just needs to have a very simple playback system. And one of the things also that's going to come out pretty soon is a standalone version of this plugin because it's also useful for video editors. They want to share their video edit screen and what they're working on with clients in exactly the same way we are in Pro Tools. But the video editing systems don't have quite the same idea of always a live ongoing mixer. So in this case, you would just use Nexus to bring the audio directly into the standalone app. The audio from your system essentially like a copy of your audio from the system. And then you can have your Talkback mic selected directly. And now someone running Final Cut or Premiere can easily set up a review session with their clients so they can work remotely as well. Speaker A: Cool. Speaker B: So it does have a couple of applications. There some other fun stuff. You hit the Talkback button and it dims things. So for example, if you can talk over it, when you're like right over here, this happens and that happens and it dims the mix. And you can just decide what you want to dim just by selecting here what gets dimmed when you dim. Speaker A: Nice. Speaker B: If you do need to run with Zoom or something like that, there's some preferences here. You can send your Talk back to your broadcast input. Like I said, Zoom can't differentiate these things. So that way you could use this with a Zoom type setup or whatever. Just a traditional meeting. : Google meet, right? Microsoft. Speaker B: This is a funny setting. Normally this is off and we take away the master fader for the engineers. So that they don't end up turning their whole mix down and printing it. But if they do want to have their control of their mix of their own level, then they can turn that preference on and have is that just. Speaker A: For if what you're sending. So that's effectively what I'm sending out my mix bus, is that right? Speaker B: Yeah, exactly. So if you were to somehow move this fader and then mix everything down yeah, it's down. You might bounce down at like negative something bad. Speaker A: But if you're recording and things are a bit hot, at least you can trim it a touch, right? Speaker B: Right. If you want, you can turn this on and you can control your monitor mix a little bit easier without having to change your master fader. But when you mix down, you want to either make sure you put this puppy at zero you can type the numbers in here, by the way, too, or you can do the preference and just turn it off. So there is no way, there's no fader. It's gone. Speaker A: See, the thing for me is in Pro Tools, and you might correct me if I'm wrong here, but when I have a session and I save memory locations, right? So I'll create a new session. I'll create a record section as a location memory, and I'll tell it to remember the tracks that I'm viewing and the zoom and all that sort of stuff, and the mute and the mute and all that sort of stuff. And then I'll create another section which might be Mix, and then I'll have other tracks. So when I slip through and when I go to each memory location, it's muting and unmuting master faders. So on my record section, my record master fader, I would have this Source Connect plugin on it. But then when I went to my next one, if I was doing the mix and I opened up that memory, it would be a different master bus, which wouldn't have that on there. So that would negate that forgetting to turn it off. Right. Speaker B: It's like the old SSL boards that would have, like I forget what the modes are called, but like mix down mode and tracking mode, and it would do a whole bunch of switch arounds to deal with queuing and things like that. Yeah, you're kind of like switching your mixer into different modes depending on what you're doing it's one of the favorite. : Things with Twistawave is being able to hide the little volume slider on the bar at the top because people will slide that thing down. Don't even realize why it's so quiet. Start recording at a higher level or doing all kinds of weird stuff. No, that's just your playback, dude. So I love that. I can hide it, make it disappear. Yeah, you can't touch it anymore. Speaker A: Opening a hole. Speaker B: That's why we put this here, because it's just like we were trying to make this thing the idea a lot with this was to reduce tech support and try to which ironically is the. : Idea of the Passport Vo is to also reduce support, which is I'm actually frankly a little concerned about. Speaker B: It was kind of funny when Andrew and I talked about doing this episode, he's like, and then all you need, you need this and Passport Vo. And I was like, with this, you just kind of need a basic two out interface. Like you could just do a road AI one. Speaker A: See, if you buy the Passport Vo, you don't have to pay $15 a month either. See, there you go. Speaker B: That's true. How many months is that at like $600? The Passport Vo is a piece of hardware and it's beautiful in its own right. And even though it does cover a playback workflow, there's many differences. I'm personally not worried about it. Speaker C: The thing we sort of don't touch on, which is something that's kind of more common than it was pre COVID, is once because I lived remotely for seven years before a mate of mine who's an audio engineer moved here as well. And when he decided to move here, it was like, thank God for that. At least I've got some kind of support. So things go wrong in here, at least I can give him a call. He'll just pop around and fix it for me. So all these things that make life a lot easier and technically support you in a kind of roundabout fashion are perfect for people like myself or Pip the audio engineer, just so we don't have to sort of go, shit, I've got no one around here to fix anything. Speaker B: Yeah, I mean, honestly, I like it too, even though I know what to set up. It's like couple tunnel or however you say that. Having to set up sessions and do things and do all your routing when it is nice. Oh, I started this little thing. I wasn't planning on doing a review, but now someone wants to hear it. Hold on, put the plugin on there and you're not changing things. And so it's just convenient even if you know what you're doing, it's like, why work harder? Speaker A: Look, I can't tell you the amount of times Nexus has saved my ass since I've had know just that fact of being able to get stuff out of the box, out of the software, out of the software, where you kind of think, holy shit, how am I going to get this out of here and into there? Nexus is usually the answer. Speaker B: I'll give you the craziest thing I solved with Nexus. One time this guy was desperate and he had some problem with his audio interface. I forget he had like an input and an output device and he couldn't use the same device for input and output, but one device was only running at one sample rate and basically end result is you couldn't get these. Two things to aggregate together and work as a single device for Pro Tools. So he ended up with Pro Tools kind of like me right here, where he's got no input. I think right now with my Pro Tools interface, if we go to my I O setups, you get in these weird situations, no inputs. Speaker A: Wow. Yeah, look at that. That's crazy. Speaker B: Got nothing, right? Speaker A: Yeah. Speaker B: But you're like, I need some inputs. So you just drop a Nexus plugin on a bunch of aux channels and like, hey, inputs. Speaker A: Yeah, that's clever. Speaker B: And I just sidewired his whole Pro Tools system. Speaker A: There you go. : Sometimes the Pro Tools I o routing is confoundingly frustrating. I mean, I've tried to set it up for people. I feel like every time I try to customize the I get, I confuse myself. Speaker B: Half the problem with the Pro Tools I O is that you're all good, and then you get a session from somebody else, and then your I O set up is cluttered with a bunch of other shit from somebody else. You're like, yeah, what are these things? I never created them. Can I delete them? And then if you really get into it, sometimes Pro Tools picks the wrong output. You can have many differently named things going out, the same physical output, so you're hearing everything where you want. Then you're like, I don't need this output. And proto's like that's being used in the session. Make sure that you don't screw yourself, because if you delete that output, then who knows? Yeah, it is interesting. Nexus kind of puts all that routing just on the top level, and for some people, it's a little bit easier. : To see, I think, so it makes more sense to me, that's for sure. Speaker A: So give us the sell, Robert. What's the sell, mate? How much a month? Speaker B: We are trying to make this very affordable. So the idea is that what other people would spend in, say, a streaming service and a high quality streaming service I won't name any names, and they're cobbling together different services to make things. Our Nexus is right now, and we hope to keep, at this point, 1195 a month. And we're just going to add to it. : That's cheaper than my Netflix subscription, man. Speaker A: Yeah, it is pretty cheap, I'll be honest. Speaker B: It's cheaper than, like, middle. I don't know the Zoom pricing exactly, but I believe at least one of the lower tiers of Zoom is like, $20 a month, I think. Does that sound right? : Cheaper than Zoom pro. Speaker B: Yeah. And then with Zoom, you got to add other services. So really, with Zoom, you're looking at at least $30. Speaker A: Well, with Zoom, you still got to have Source Connect, right? And all that sort of stuff. And at least with this, with the broadcast setting, you can get away without that for a while. Speaker B: You yeah. I mean, with this, you might still have Source Connect, but you might not need a separate broadcaster. Some of these users are often trying to put things together in more affordable ways or I don't know. This is designed to be a lot of bang for the buck and we're going to add a lot to it and a lot of very specific industry type workflows built within so that you can get your job done easier. Speaker A: What about podcasters and video creators and all that sort of stuff? Speaker B: Right now there's the record button, right, that we're actually using, but I'm not sure exactly how it's going to be presented, like, which overall tiers. But yeah, the ability just to hit record and then collect all those files easily. It's not going to be the direct to Daw workflow that maybe a higher end podcast might use, but for a simple, I just want to collect files and send them to the engineer who's going to edit them together. And never give that engineer bad files, by the way, people. It's very rude. Speaker A: Jesus. Take your own advice for once. Speaker B: Will. : Pot calling the catalog. Speaker A: I was going to say absolutely. Do as I say, not as I do. Speaker B: That's right, exactly. : Robert, let me ask you this. So from you're in this case, what would they call you? The host of the session? Speaker B: Yeah, I'm the host. It's my room. : Does the host get to see the settings on the guests? So as a host, do you know that a guest is using broadcast versus communication? Speaker B: Yeah, which we're not using right now. You would see the HQ there, I think. Got you. Yeah. There's going to be some of that stuff. We plan to have like a button where you can see what the bit rates are of the connections and things like that. But right now this is 1.0. That's right. Speaker A: This is the beginning. Absolutely. Speaker B: Yeah. Speaker C: But it's funny because I've talked to you about the client of mine in Dubai, the studio there that I do a lot of work with. I've been talking about this, and they're super, super keen. And that's why they want to get this as part of their workflow because it just tightens everything up, everything's in one place for them, which is good for them and bloody good for me. Speaker B: Yeah, exactly. : I was confusion about should I mute this or mute that? Should I unmute this? You don't want to be listening to this, but only be listening to. Speaker B: Yeah. Andrew, for you, you're recording in Twisted Wave, and so when they ask you for playback, you have to play back at a twisted Wave, right? Speaker C: Well, no, because I usually use the bigger machine and not the one I'm using here. So it's wavelab. Same thing, though. But I just don't play back. Speaker B: Right, you just don't play back. No. In a later iteration, when we get the standalone version of this, you'll be able to just pipe wavelab right through it as your system output and then you can do playbacks. Speaker A: That's opening a whole nother can of worms. Speaker B: This is feeding the animals at the zoo. Speaker C: Correct. It's like, I know I can, but should I? This is the question. Speaker A: But at least you've got the option, though. You can make the moral decision, but at least you've got the option there. You might be recording a podcast and you might want to play something back or something. But in a voice session you might go, well, listen, you might take the stance to, well, you're not paying me to be an audio engineer, so no, I don't play back. Not that you would tell them that. Speaker B: It's creatives. It's like, imagine you've got an art director and a writer and they're just like, what song do we want on the spot? What about this one? What about that one? And they're playing stuff over the cell phones before it's like, here, you could just be like sharing what's on my desktop. Check out this song. I don't know. I like this one. They're just playing each other's itunes library at each yeah. Speaker A: Well, there's the other thing you could do, too. You could almost with Nexus, if you can get an analog line into whatever it is you're using and you can plug your phone in. You could plug a phone call in through this as well, too, couldn't you? You could have someone listening on the phone. Speaker B: I don't know that one day you don't actually. Maybe you can order this and order a phone number. Speaker A: Yeah, well, there you go. I just think the amount of times that I've had sessions where the client's been on holidays or the creative has been stuck in the airport and I've had someone on a phone as well and you can still throw them into this mix. Speaker B: Yeah, I mean, the way I throw people on a phone call into my session right now is I'll use even like FaceTime is a really easy one. You can get a phone call on FaceTime and FaceTime shows up on the Mac and Skype if you buy a phone number from them. The nice thing about FaceTime is, like, everyone has a phone in their computer just by the nature of it. So that's like one way to just. Speaker A: Make Nexus your input and your output of that. Absolutely right. Speaker B: Exactly. Speaker A: Yeah. Very cool indeed. Well done, sir. Speaker B: Thank you. : Bravo. Speaker B: We are proud. And if anybody has questions, source elements.com, check it out. Speaker C: Indeed. Check it out. Speaker B: Well, that was fun. Is it over? Speaker C: The Pro Audio suite with thanks to Tribut and Austrian audio recorded using Source Connect edited by Andrew Peters and mixed by Voodoo Radio Imaging with tech support from George the Tech Wittam don't forget to subscribe to the show and join in the conversation on our Facebook group. To leave a comment, suggest a topic or just say G'day. Drop us a note at our website. Theproudiosuite.com.  

Today's absorbing episode of Electronically Yours features a famous production team primarily responsible (together with Anne Dudley) for creating the band Art Of Noise, Gary Langan and JJ Jeczalik. Gary started as assistant engineer on the most famous Queen albums, he then went on to work with  Trevor Horn at Sarm on various projects, he produced Beauty Stab for ABC and Through The Barricades for Spandau Ballet. He co-founded ZTT in 1983, and produced Happy? For PIL. Gary went on to work with Malcolm McClaren, Scritti Pollitti and constellations of major stars and some of the most epic albums of the last 30 years. JJ Jeczalik  is a British electronic musician/record producer, Fairlight expert and co-founder of Art Of Noise. He was also behind the success of controversial Liverpool band, Frankie Goes to Hollywood and their number one hit singles "Relax" and "Two Tribes" also on ZTT.[9] Other work for ZTT involved further work for FGTH on the Welcome to the Pleasuredome album and for another two signings, Propaganda and Andrew Poppy. Ladies and Gentlemen – meet the men behind the noise, Gary Langan and JJ Jeczalik... If you can, please support the Electronically Yours podcast via my Patreon: https://www.patreon.com/electronicallyours

EPISODE SUMMARY Welcome one and all to this epic adventure of GunFucks, run by BigBeaz! Join a wildly inconvenienced witch, a gambler in witness protection, a creepy and mysterious child, and an incredibly nonchalant nomad as they explore the planet Daemon and try to survive everything it has to throw at them in their pursuit of loot!  SHOW NOTES GET THE ULTIMATE RPG CAMPFIRE CARD DECK HERE! Click here for the card deck and other wonderful items by James! This episode features GunFucks by Adira Slattery! Grab yourself a copy & let your inner badass out! Get this wonderful game and more of Adira's wonderful work! Adira's Twitter: twitter.com/AdiraSlattery James D'Amato as DEBORAH THUNDERBUTT James' Twitter Make sure to check out James' Other Podcast! Lev Rodriguez Shiver as SALLY MELON Lev's Bluesky Get some more of their wonderful work at Mayday Roleplay! Nathan Blades as THIAGO FROSTBITE All things Nathan Play their other games here! Nathan is hosting a whole month of Tabletop RPG one shots! Catch them live here! Aaron Willems as RUSSELL MAJKOWSKI  Enjoy more of his fantastic personality and work here! Beaz as STORYTELLER and HOST Follow him at: Twitch Bluesky Twitter Music Featured in this episode includes “Detonation Blues” by Fillmore, “Hello, And Good Morning” by Liberty, “Swamp Thang” by Fantoms, “JNTR” by Sam Barsh, “Midday March” by Fairlight, “Square One” by Avocado Junkie, “Fight” by Bright Seed, & “O Mio Babbino Caro” by Messages and Portraits  Editing and sound design by Tracy Barnett Find more of their work here! Learn more about your ad choices. Visit megaphone.fm/adchoices Learn more about your ad choices. Visit megaphone.fm/adchoices

EPISODE SUMMARY Welcome one and all to this epic adventure of GunFucks, run by BigBeaz! Join a wildly inconvenienced witch, a gambler in witness protection, a creepy and mysterious child, and an incredibly nonchalant nomad as they explore the planet Daemon and try to survive everything it has to throw at them in their pursuit of loot!  SHOW NOTES GET THE ULTIMATE RPG CAMPFIRE CARD DECK HERE! Click here for the card deck and other wonderful items by James! This episode features GunFucks by Adira Slattery! Grab yourself a copy & let your inner badass out! Get this wonderful game and more of Adira's wonderful work! Adira's Twitter: twitter.com/AdiraSlattery James D'Amato as DEBORAH THUNDERBUTT James' Twitter Make sure to check out James' Other Podcast! Lev Rodriguez Shiver as SALLY MELON Lev's Bluesky Get some more of their wonderful work at Mayday Roleplay! Nathan Blades as THIAGO FROSTBITE All things Nathan Play their other games here! Nathan is hosting a whole month of Tabletop RPG one shots! Catch them live here! Aaron Willems as RUSSELL MAJKOWSKI  Enjoy more of his fantastic personality and work here! Beaz as STORYTELLER and HOST Follow him at: Twitch Bluesky Twitter Music Featured in this episode includes “Detonation Blues” by Fillmore, “Hello, And Good Morning” by Liberty, “Swamp Thang” by Fantoms, “JNTR” by Sam Barsh, “Midday March” by Fairlight, “Square One” by Avocado Junkie, “Fight” by Bright Seed, & “O Mio Babbino Caro” by Messages and Portraits  Editing and sound design by Tracy Barnett Find more of their work here! Learn more about your ad choices. Visit megaphone.fm/adchoices Learn more about your ad choices. Visit megaphone.fm/adchoices

Thanks for tuning in to this Farmer Rapid Fire edition of RealAg Radio, brought to you by Pioneer Seeds Canada. Host Shaun Haney is joined by: Franck Groeneweg, of Three Forks, Montana; Mark Burnham, of Cobourg, Ont.; Patrick Kunz, of Beiseker, Alta.; and Kristjan Hebert, of Fairlight, Sask. We will also hear from Ashley Knapton,... Read More

Thanks for tuning in to this Farmer Rapid Fire edition of RealAg Radio, brought to you by Pioneer Seeds Canada. Host Shaun Haney is joined by: Franck Groeneweg, of Three Forks, Montana; Mark Burnham, of Cobourg, Ont.; Patrick Kunz, of Beiseker, Alta.; and Kristjan Hebert, of Fairlight, Sask. We will also hear from Ashley Knapton,... Read More

A rare Roger-Brian collab, "Machines (or Back to Humans)" features blipping Fairlight synths, programmed drums and a vocoded Roger bounced against Brian's rocking guitars, John's jiving bass and Roger's energized live percussion. Freddie's lead vocal is magnificently aggressive and commanding. Fans forget about this, but it's a ridiculously relevant topic of the moment, as the boys create a lively battle between man and machine. And about that instrumental remix... --- Send in a voice message: https://podcasters.spotify.com/pod/show/tater-thoughts/message

Rick Astley is the most famous person you probably knew nothing about. That's okay, neither did we. And that was the point of this episode. What an incredible story, and an incredible human being. And one of the biggest Internet memes of all time. And an incredible production company, with an incredible string of hit songs, including everyone from Divine to Donna Summer, by way of Dead Or Alive, Kylie Minogue, Bananarama, Samantha Fox, and Rick, obviously. And all of that was with a little help from the seemingly ubiquitous Fairlight. P.S.: C'mon, Todd, Posh Spice--not Sporty--is the one who's married to David Beckham. Our movie this time is the unforgettable 1988 supernatural dramedy "Big," starring Tom Hanks, which Blaine had seen so often he didn't need to re-watch it, and Todd hadn't seen since its original release. Take a walk along the piano keyboard with us as we look at this lovely gem, and you're even invited to come have a sleepover, but as usual when it comes to the bunk beds, we get to be on top. Wait, what? RELATED LINKS: Rick Astley, "Never Gonna Give You Up" official video, on YouTube Rick Astley, on Spotify Our most glittery Never Gonna Give You Up playlist, on Spotify Amazing and surprisingly emotional documentary Legendary Song That Became the RickRoll, on YouTube Another amazing documentary, The Hit Factory, about Stock Aitken Waterman, on YouTube Kylie and Rick live in Hyde Park, on YouTube. PURE JOY to watch. Our Cover Your Ears song, which is Rick with The Foo Fighters live in Tokyo, on YouTube Big, at IMDB The iconic walking piano scene from Big, on YouTube

Capturing carbon is one thing, but as many farmers are aware, quantifying the amount of carbon being sequestered can be a tricky feat. Hebert Grain Ventures (HGV), of Fairlight, Sask., has joined the Canadian Alliance for Net-Zero Agriculture (CANZA), and will work with researchers from the University of Saskatchewan on a national case study. The... Read More

Back in the 80's, there existed a genre--equal parts rock and beauty--that was almost exclusive to the times, called Power Ballads. Many were epic, many were cheesy, and we explore quite a few of the most famous ones in this episode. For those of you keeping track at home, not a single one of them featured a Fairlight. Have a comment or an 80's song/band/movie you'd like to hear us cover on the show? Email us at tapeheads80@gmail.com. Follow us on Instagram and Spotify RELATED LINKS: Our Heavy Metal Power Ballads playlist, on Spotify Poison, "Every Rose Has Its Thorn" official video, on YouTube Guns 'n' Roses, "November Rain" official video, on YouTube Motley Crue, "Home Sweet Home" (1985 version) official video, on YouTube Motley Crue, "Home Sweet Home" (1991 version) official video, on YouTube I Want My MTV book, at Amazon

In this episode, we talk about one of our absolute favorite bands, Tears For Fears, and more specifically, their career-changing feminist anthem, "Woman in Chains," which introduced the world (but not Todd's dad!) to the stunning Oleta Adams. It also featured the drumming talents of both Manu Katché--already famous for playing with Peter Gabriel--and the inimitable Phil Collins. Oh yeah. . .and it totally featured a Fairlight synthesizer, too, because of COURSE it would, and if you're a regular listener of this podcast, you're already well aware of it. Our movie this time is the clever, thorny, and ultimately problematic 1988 dark comedy "Heathers," starring Winona Ryder and Christian Slater, which could only have been made in the era before suicides and school shootings were all-too-common occurrences in this country. You've been warned; both subjects are prominent story arcs in the movie. Want to hear us discuss a song, band, or movie from the 80's and beyond? Have a comment or a question? Email us at tapeheads80@gmail.com Follow our small but mighty Instagram page. RELATED LINKS: Our Tears For Fears Deep Dive playlist for this episode, on Spotify Tears For Fears, "Woman in Chains" official video on YouTube Tears For Fears, "The Seeds of Love" on Spotify Tears For Fears, "Saturnine, Martial, and Lunatic" on Spotify Heathers at IMDB Boxing Helena at IMDB

This episode finds us discussing a controversial song by The Police, so much so that they actually recorded two different versions of it, the original in 1980 which creeped everybody out, and the 1986 version which not only broke up the band (essentially), but also incorporated our favorite instrument, the Fairlight. We also discuss one of the most famous 80's movies of them all, Ferris Bueller's Day Off. We spend a good amount of time on the soundtrack, and on Ferris's synthesizer, which was an E-mu Emulator II (like Trevor Rabin of Yes used to have) and NOT a Fairlight. Send us an e-mail at tapeheads80@gmail.com Follow us on Instagram for randomness, and Spotify for playlists for some of the episodes. RELATED LINKS: The Police, "Don't Stand So Close to Me" official video (1980), on YouTube The Police, "Don't Stand So Close to Me '86" official video, on YouTube The Police, "Zenyatta Mondatta", on Spotify The Police, "Every Breath You Take: The Classics", on Spotify The Police, "Driven To Tears" live, from URGH! A Music War, on YouTube. The drums at the end are absolutely amazing. Hilarious fight between Stewart and Sting, on YouTube Bring on the Night, at IMDB Stewart's excellent live percussion on "Wrapped Around Your Finger", on YouTube Vladimir Nabokov, Lolita, at Amazon Books Ferris Bueller's Day Off, at IMDB

Towards endings and new beginnings!

A high functioning team is a key component of running a business, and trust builds strong teams. So how do leaders foster trust between team members? Kristjan Hebert, a farmer at Fairlight, Sask., says the younger a team, the steeper the learning curve. Hebert has a team of young professionals and he makes sure there... Read More

Thanks for tuning in to this Thursday edition of the Farmer Rapid Fire! Today's show is brought to you by Pioneer Seeds Canada. Host Shaun Haney is joined by: Ryan Barrett of Kensington, P.E.I.; Todd Hames of Marwayne, Alta.; Kristjan Hebert of Fairlight, Sask.; and Dave Walton of Wilton, Iowa. As well, don't miss the... Read More

Thanks for tuning in to this Thursday edition of the Farmer Rapid Fire! Today's show is brought to you by Pioneer Seeds Canada. Host Shaun Haney is joined by: Ryan Barrett of Kensington, P.E.I.; Todd Hames of Marwayne, Alta.; Kristjan Hebert of Fairlight, Sask.; and Dave Walton of Wilton, Iowa. As well, don't miss the... Read More

Today I talked to Sarah Jane Butler about her novel Starling (Fairlight Books, 2022). Starling is 19 and was raised in a camper van by a strong-willed mother who cut them off from their community of fellow travelers. Starling, who has never gone to school or to the dentist, knows the nomadic life of trapping rabbits, foraging for food, and getting kicked out by local police. When her mother suddenly leaves one morning, Starling has to figure out a way to survive in a harsh world, on her own. She walks until she connects with an old friend from another traveling family and starts to consider settling into a more conventional way of life, but first, she needs to figure out who she is. Sarah Jane Butler grew up on the edge of Southborough Common in Kent. She studied languages at university and spent time living in France and Spain. Her short stories (some published under the name SJ Butler) have appeared in literary journals and anthologies, and her story ‘The Swimmer' was included in Best British Short Stories 2011. She has twice won the 26 Project Writer's Award, most recently in 2021 for her poem ‘Flow', and has performed her work in pubs, a festival tent and a disused light vessel. Starling is her debut novel. As well as writing fiction, she is a copywriter and communications consultant. She lives in Sussex with her husband and two children. Sarah enjoys seeing the world around her, and often walks around fields and woods to try and identify and learn about local wildlife – she has also set up a small village wildlife group for those who share her interest. She has swum in her local river for many years and has kayaked and canoed on it all her adult life. G.P. Gottlieb is the author of the Whipped and Sipped Mystery Series and a prolific baker of healthful breads and pastries. Please contact her through her website (GPGottlieb.com). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Today I talked to Sarah Jane Butler about her novel Starling (Fairlight Books, 2022). Starling is 19 and was raised in a camper van by a strong-willed mother who cut them off from their community of fellow travelers. Starling, who has never gone to school or to the dentist, knows the nomadic life of trapping rabbits, foraging for food, and getting kicked out by local police. When her mother suddenly leaves one morning, Starling has to figure out a way to survive in a harsh world, on her own. She walks until she connects with an old friend from another traveling family and starts to consider settling into a more conventional way of life, but first, she needs to figure out who she is. Sarah Jane Butler grew up on the edge of Southborough Common in Kent. She studied languages at university and spent time living in France and Spain. Her short stories (some published under the name SJ Butler) have appeared in literary journals and anthologies, and her story ‘The Swimmer' was included in Best British Short Stories 2011. She has twice won the 26 Project Writer's Award, most recently in 2021 for her poem ‘Flow', and has performed her work in pubs, a festival tent and a disused light vessel. Starling is her debut novel. As well as writing fiction, she is a copywriter and communications consultant. She lives in Sussex with her husband and two children. Sarah enjoys seeing the world around her, and often walks around fields and woods to try and identify and learn about local wildlife – she has also set up a small village wildlife group for those who share her interest. She has swum in her local river for many years and has kayaked and canoed on it all her adult life. G.P. Gottlieb is the author of the Whipped and Sipped Mystery Series and a prolific baker of healthful breads and pastries. Please contact her through her website (GPGottlieb.com). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

Happy witchy Wednesday! We are back with a new episode talking all about astrology. Joining us today is Fairlight of Airy Fairy Tarot and today she is sharing with us astrology houses, placements, and how those relate to your life! We share our signs, some of our characteristics based on our charts, and what those mean for astrology based thinking! We hope to get you thinking about your astrological charts and how those translate into your life! Enjoying our content? Please connect with us on our online communities for questions, topic polls, and podcast updates. Find us on Facebook and Instagram at Heathen and the Hedge Podcast. Find us: https://linktr.ee/HeathenandtheHedge Witchy Wednesday - Magic Info, Spirituality, Metaphysical Blessed Be Y'all - We love you! --- Support this podcast: https://anchor.fm/heathen-and-the-hedge/support

Toronto and Montreal based trio, American Lips, have just announced the release of their latest 3-song maxi-single Waste of Crime on Ancient Fashion Records. American Lips features Death From Above 1979 drummer Sebastien Grainger and prolific producer Adrian Popovich, also known for his time in legendary Canadian rock act Tricky Woo. In explaining their newest offering the bands' latest one-sheet asks you to ponder, “Ever wondered what it would sound like if The Art Of Noise produced a Plastic Bertrand record?” To clear up that question Popovich explains, “I spent a good chunk of 1988 listening to the Colors OST and the“Kiss”cassingle by The Art Of Noise and Tom Jones. This older kid Rob on my street who was into punk rock said “the Colors soundtrack is pretty cool but that Art Of Noise song is garbage!” As a nine-year-old, I'd yet to be called out on my questionable musical tastes. Rob made me a mixtape with songs by The Ramones, Misfits, Motorhead, The Buzzcocks and a bunch of other essentials. I'd never heard any punk music before and the impact it had on me was huge. Ffwd to 2022, when Sebastien unilaterally decided to add Fairlight sample horn arrangements to two new American Lips songs, the simultaneous feelings of glorious discovery and deep shame I felt in 1988 came flooding back”. Inspired by Wax Trax! Records, Shep Pettibone, Art Of Noise, and a hot cut from The Ghostbusters OST, American Lips shed the punky garage-wave of their 2017 debut LP “KissThe Void,” and take a hard-drive dumpster-dive, emerging with a kind of “sample-bank pop” -at once danceable, but stylistically hard to pin down (don't call it dance punk!). Double A-sides “Waste Of Crime” and “Labor Of Hate” are backed by extended dub remix“Labor Of Dub.” Fans of mid-80s Cabaret Voltaire, Ghostbusters OST, Decadent Dub Team, Rocket From The Crypt and Plastic Bertrand will rejoice in the exquisite peppering of influences in these new compositions.  WebSite: https://ancientfashionrecords.com/ D I S C O V E R Twitter: https://twitter.com/american_lips Instagram: https://www.instagram.com/americanlipsss Bandcamp: https://americanlips.bandcamp.com Facebook: https://www.facebook.com/americanlipsband Spotify: https://open.spotify.com/artist/5srNG8oK8FdG7qe9jiH7p7?si=mkAMZTuzQnO2CWxt4nrmpQ Brought to you by AIXdspShop now and get up to 50% off on all plugins.Website: HEREPledge monthly with Patreon https://www.patreon.com/apologueShop Apologue products at http://apologue.ca

The teenage Trevor Horn could be found playing bass in dance bands on the Top Rank circuit supporting acts like Tommy Cooper (and singing Long-Haired Lover From Liverpool and Hi-Ho Silver Lining). He began writing songs for Tina Charles, had a worldwide hit with Buggles and went on to produce Dollar, ABC, Frankie Goes To Hollywood, Malcolm McLaren, Grace Jones, Pet Shop Boys and countless others. In this terrific exchange he talks about life in covers bands (“big money, £150 a week”), how the Fairlight changed the landscape, the diplomacy all producers require, his “pictorial sense” of how ABC should sound, his regrets about Frankie, bands' paranoia about their record companies, Rod Stewart and the “farting post”, why he'd like to work with Bob Dylan and the drama of making Owner Of A Lonely Heart. Worth it for his uncanny impersonations of Dylan and Rod Stewart alone, and further stories from his just-out memoir ‘Adventures in Modern Recording: From ABC to ZTT'. Which you can buy here …https://www.amazon.co.uk/Adventures-Modern-Recording-ABC-ZTT/dp/178870603X @Trevor_Horn_Subscribe to Word In Your Ear on Patreon and receive every future Word Podcast before the rest of the world - and with full visuals!: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

The teenage Trevor Horn could be found playing bass in dance bands on the Top Rank circuit supporting acts like Tommy Cooper (and singing Long-Haired Lover From Liverpool and Hi-Ho Silver Lining). He began writing songs for Tina Charles, had a worldwide hit with Buggles and went on to produce Dollar, ABC, Frankie Goes To Hollywood, Malcolm McLaren, Grace Jones, Pet Shop Boys and countless others. In this terrific exchange he talks about life in covers bands (“big money, £150 a week”), how the Fairlight changed the landscape, the diplomacy all producers require, his “pictorial sense” of how ABC should sound, his regrets about Frankie, bands' paranoia about their record companies, Rod Stewart and the “farting post”, why he'd like to work with Bob Dylan and the drama of making Owner Of A Lonely Heart. Worth it for his uncanny impersonations of Dylan and Rod Stewart alone, and further stories from his just-out memoir ‘Adventures in Modern Recording: From ABC to ZTT'. Which you can buy here …https://www.amazon.co.uk/Adventures-Modern-Recording-ABC-ZTT/dp/178870603X @Trevor_Horn_Subscribe to Word In Your Ear on Patreon and receive every future Word Podcast before the rest of the world - and with full visuals!: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

For this episode of the Planet MicroCap Podcast, I spoke with Andrew Martin and Nick Peters, CEO and CIO of Fairlight Capital LLC. Fairlight Capital LLC is an alternative investment manager with exposure to Small and MicroCap stocks that I've been following for a while, and its long overdue to have Andrew and Nick on the show. They recently published the Q3 2022 investor letter, so I wanted to dive in to a bunch of topics they brought up in there: value in US community banks, LDI Pension Crisis, outlook for the remainder of 2022, plus their investing strategy and research process, where we talk about their investment in RCI Hospitality. For more information about Fairlight Capital, please visit: https://www.fairlightcapital.com/  You can Follow Fairlight Capital on Twitter @Fairlight_Cap: https://twitter.com/Fairlight_Cap  Today's episode is sponsored by: Stream by AlphaSense, an expert interview transcript library that integrates AI-generated call summaries and NLP search technology so their clients can quickly pinpoint the most critical insights. Start your FREE trial on their website: https://streamrg.co/PMC Planet MicroCap Podcast is on YouTube! All archived episodes and each new episode will be posted on the SNN Network YouTube channel. I've provided the link in the description if you'd like to subscribe. You'll also get the chance to watch all our Video Interviews with management teams, educational panels from the conference, as well as expert commentary from some familiar guests on the podcast. Subscribe here: http://bit.ly/1Q5Yfym Click here to rate and review the Planet MicroCap Podcast The Planet MicroCap Podcast is brought to you by SNN Incorporated, publishers of www.SNN.Network, The Official MicroCap News Source, and the MicroCap Review Magazine, the leading magazine in the MicroCap market. You can Follow the Planet MicroCap Podcast on Twitter @BobbyKKraft

In Instructions for the Working Day by Joanna Campbell (Fairlight Books, 2022), Neil Fischer has inherited his father's former hometown of Marschwald in East Germany. He drives there from England, remembering stories about his father's brutal behavior, the split from his mother and sister, and the loneliness he experienced throughout his childhood. He picks up a chatty hitchhiker who helps him get through part of the journey. An inability to understand people, especially his father, has always plagued Neil, but now he faces the task of deciphering his demanding father's last wish and restoring the derelict village to its former glory. He plans to renovate and revive Marschwald, but is met with hostility, mistrust and underlying menace by nearly all the old people in the town. His only friend in Marschwald is Silke, who is coming to terms with her traumatic experiences during the Cold War and has recently uncovered a shocking truth, concealed from her for years by her controlling brother. As tensions rise, a series of surreal encounters force Neil to contend with his own troubled past – but right now, all signs point to danger. Joanna Campbell lives in Gloucestershire, England. She studied German at university and as a student spent a year living in West Germany. Joanna has worked as a teacher of both German and English, and now writes full-time. She is very interested in the Cold War − particularly the communist state of East Germany − partly as a result of studying the era for her university course and also from living with West Germans devastated by the division of their country and separated from their loved ones. She loves to write about the themes of separation and isolation as a result of this interest. She is learning to paint and most of her efforts involve abstract cityscapes reminiscent of battle-scarred Berlin. Her debut novel Tying Down the Lion was published in 2015, and her short story collection When Planets Slip Their Tracks (2016) was shortlisted for the Edge Hill Prize. Her novella Sybilla won the 2021 National Flash Fiction Day Novella-in-Flash Award. Her short fiction has been published in many anthologies and literary magazines and has won several awards including the London Short Story Prize. G.P. Gottlieb is the author of the Whipped and Sipped Mystery Series and a prolific baker of healthful breads and pastries. Please contact her through her website (GPGottlieb.com). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In Instructions for the Working Day by Joanna Campbell (Fairlight Books, 2022), Neil Fischer has inherited his father's former hometown of Marschwald in East Germany. He drives there from England, remembering stories about his father's brutal behavior, the split from his mother and sister, and the loneliness he experienced throughout his childhood. He picks up a chatty hitchhiker who helps him get through part of the journey. An inability to understand people, especially his father, has always plagued Neil, but now he faces the task of deciphering his demanding father's last wish and restoring the derelict village to its former glory. He plans to renovate and revive Marschwald, but is met with hostility, mistrust and underlying menace by nearly all the old people in the town. His only friend in Marschwald is Silke, who is coming to terms with her traumatic experiences during the Cold War and has recently uncovered a shocking truth, concealed from her for years by her controlling brother. As tensions rise, a series of surreal encounters force Neil to contend with his own troubled past – but right now, all signs point to danger. Joanna Campbell lives in Gloucestershire, England. She studied German at university and as a student spent a year living in West Germany. Joanna has worked as a teacher of both German and English, and now writes full-time. She is very interested in the Cold War − particularly the communist state of East Germany − partly as a result of studying the era for her university course and also from living with West Germans devastated by the division of their country and separated from their loved ones. She loves to write about the themes of separation and isolation as a result of this interest. She is learning to paint and most of her efforts involve abstract cityscapes reminiscent of battle-scarred Berlin. Her debut novel Tying Down the Lion was published in 2015, and her short story collection When Planets Slip Their Tracks (2016) was shortlisted for the Edge Hill Prize. Her novella Sybilla won the 2021 National Flash Fiction Day Novella-in-Flash Award. Her short fiction has been published in many anthologies and literary magazines and has won several awards including the London Short Story Prize. G.P. Gottlieb is the author of the Whipped and Sipped Mystery Series and a prolific baker of healthful breads and pastries. Please contact her through her website (GPGottlieb.com). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

What's up, dudes? Punk rock and synth pop legend Captain Sensible of The Damned joins me to talk his UK holiday hit “One Christmas Catalogue!” We get into how he got started as a solo artist and how he composed the song! Citizen Kane Christmas scene? Yup. Fairlight digital workstation? You bet! Wishbooks and catalogues? Definitely! A fantastic guitarist, vocalist, and composer, Captain Sensible is just super rad and enjoys the paradoxical complexity of writing songs with simple form and harmonic structure. So grab your electric guitar and synth, put on your red beret, and dive into this episode!Get your tickets for their upcoming shows now!The DamnedFB: @OfficialDamnedTwitter: @thedamnedYouTube: The Damned

We close out the week with a new edition of What Was First focusing on groundbreaking electro-pop label ZTT Records. Listener Kjell Arne Sandvik suggested this label and it makes for a very interesting episode. This bite-size history lesson involves Trevor Horn, The Art of Noise and pioneering use of the Fairlight synthesizer.  Subscribe to Rockin' the Suburbs on Apple Podcasts/iTunes or other podcast platforms, including audioBoom, Spotify, Google Podcasts, Amazon, iHeart, Stitcher and TuneIn. Or listen at SuburbsPod.com. Please rate/review the show on Apple Podcasts and share it with your friends. Visit our website at SuburbsPod.com Email Jim & Patrick at rock@suburbspod.com Follow us on the Twitter, Facebook or Instagram @suburbspod If you're glad or sad or high, call the Suburban Party Line — 612-440-1984. Theme music: "Ascension," originally by Quartjar, covered by Frank Muffin. Visit quartjar.bandcamp.com and frankmuffin.bandcamp.com

Maya Tussing Bio Maya is a Partner of Fairlight Advisors which helps nonprofit leaders fulfill their mission with first-class financial and investment solutions honed while working at the most respected institutions in the world.  Prior to Fairlight, Maya was the Head of BlackRock's Institutional Index Allocation Group, where her team managed over $200B across all asset classes, investment styles and vehicles. Over the last 20 years, Maya has held senior risk management roles at firms such as BlackRock, Barclays Global Investors, Visa, and GE Capital. Additionally, she has coached hundreds of men and women at all levels of corporate and non-profit organizations to achieve personal and professional success and satisfaction. Maya is a graduate of Pomona College and holds an MBA in international finance from the University of Washington.   We talk about   Has Silicon Valley become risk adverse? How does interest rates impact fundraising for companies in Silicon Valley? What lessons can founders of for-profit companies take from non-profits and vice-versa? What happens when multiple nonprofits collide?   And much more     Connect with Maya Tussing https://www.linkedin.com/in/maya-lis-tussing/   https://www.fairlightadvisors.com/

Photo:   Old Mill, Fairlight from an old postcard. Card dates to 1900s and is a multiview showing the North Seat and the mill which stood on the site of the North Seat 100 years previously #LondonCalling:  The unmet energy demands for the century. @JosephSternberg @WSJOpinion https://www.ft.com/content/d702e4cc-a688-4dba-a05a-dfbd1f9442f9 https://www.wsj.com/articles/europes-energy-woes-are-rerouting-global-lng-flows-11648226667?mod=djemalertNEWS