Podcasts about hhb

This episode is sponsored by HHB Communications, the UK's leader in Pro Audio Technology. For years HHB has been delivering the latest and most innovative pro audio solutions to the world's top recording studios, post facilities, and broadcasters. The team at HHB provide best-in-class consultation, installation, training, and technical support to customers who want to build or upgrade their studio environment for immersive audio workflow. To find out more or book a demo at their HQ facility visit www.hhb.co.uk In this episode of the Immersive Audio Podcast, Oliver Kadel and Monica Bolles are joined by the advanced system specialist at d&b audiotechnik - Nick Malgieri from Asheville, US. Nick talks about the d&b audiotechnik's biggest shows and we dive into their new spatial audio rendering system - d&b Soundscape discussing hardware and software integration. This episode was produced by Oliver Kadel and Emma Rees and included music by Rhythm Scott. For extended show notes and more information on this episode go to www.immersiveaudiopodcast.com If you enjoy the podcast and would like to show your support, please consider becoming a Patreon. Not only are you supporting us, but you will also get special access to bonus content and much more. Find out more on our official Patreon page - www.patreon.com/immersiveaudiopodcast We thank you kindly in advance! We want to hear from you! We value our community and would appreciate it if you would take our very quick survey and help us make the Immersive Audio Podcast even better: surveymonkey.co.uk/r/3Y9B2MJ Thank you! You can follow the podcast on Twitter @IAudioPodcast for regular updates and content or get in touch via podcast@1618digital.com immersiveaudiopodcast.com

This episode is sponsored by HHB Communications, the UK's leader in Pro Audio Technology. For years HHB has been delivering the latest and most innovative pro audio solutions to the world's top recording studios, post facilities, and broadcasters. The team at HHB provide best-in-class consultation, installation, training, and technical support to customers who want to build or upgrade their studio environment for immersive audio workflow. To find out more or book a demo at their HQ facility visit www.hhb.co.uk In this episode of the Immersive Audio Podcast, Oliver Kadel and Monica Bolles are joined by the live sound engineer and immersive audio specialist - David Lopez de Arenosa from LA, US. David talks about the entire process of getting an immersive live show from the studio to the crowds, covering pre-production, different immersive rendering technologies, mixing techniques and sound systems. This episode was produced by Oliver Kadel and Emma Rees and included music by Rhythm Scott. For extended show notes and more information on this episode go to www.immersiveaudiopodcast.com If you enjoy the podcast and would like to show your support, please consider becoming a Patreon. Not only are you supporting us, but you will also get special access to bonus content and much more. Find out more on our official Patreon page - www.patreon.com/immersiveaudiopodcast We thank you kindly in advance! We want to hear from you! We value our community and would appreciate it if you would take our very quick survey and help us make the Immersive Audio Podcast even better: surveymonkey.co.uk/r/3Y9B2MJ Thank you! You can follow the podcast on Twitter @IAudioPodcast for regular updates and content or get in touch via podcast@1618digital.com immersiveaudiopodcast.com

This episode is sponsored by HHB Communications, the UK's leader in Pro Audio Technology. For years HHB has been delivering the latest and most innovative pro audio solutions to the world's top recording studios, post facilities, and broadcasters. The team at HHB provide best-in-class consultation, installation, training, and technical support to customers who want to build or upgrade their studio environment for immersive audio workflow. To find out more or book a demo at their HQ facility visit www.hhb.co.uk In this episode of the Immersive Audio Podcast, Oliver Kadel and Monica Bolles are joined by the Grammy nominated music producer, recording and mixing engineer – Ryan Ulyate from Topanga, US. Ryan Ulyate has been recording, mixing and producing music for over 40 years with credits on over 120 records working with artists such as ELO, George Harrison, Mick Fleetwood and many others. In 2004 he began a long relationship with Tom Petty, recording, mixing and co-producing several albums. Starting in 2020 Ryan began remixing albums from the Petty catalogue in Dolby Atmos, including Tom Petty & The Heartbreakers Greatest Hits. Ryan talks about his long-standing career in the music industry, his recently released Grammy-nominated immersive solo album Act-3, and we talk about music mixing in Dolby Atmos. This episode was produced by Oliver Kadel and Emma Rees and included music by Rhythm Scott. For extended show notes and more information on this episode go to www.immersiveaudiopodcast.com If you enjoy the podcast and would like to show your support, please consider becoming a Patreon. Not only are you supporting us, but you will also get special access to bonus content and much more. Find out more on our official Patreon page - www.patreon.com/immersiveaudiopodcast We thank you kindly in advance! We want to hear from you! We value our community and would appreciate it if you would take our very quick survey and help us make the Immersive Audio Podcast even better: surveymonkey.co.uk/r/3Y9B2MJ Thank you! You can follow the podcast on Twitter @IAudioPodcast for regular updates and content or get in touch via podcast@1618digital.com immersiveaudiopodcast.com

This week on the Pro Audio Suite, we've taken a deep dive into the evolving landscape of voiceover auditions, with a particular focus on a new directive from the MEAA suggesting auditions be conducted solely via phone. We debate the potential impacts, from audio quality to AI protections, and whether this levels the playing field or sets the stage for mediocrity. Our journey didn't stop there; we ventured into discussions about the surprisingly good quality of smartphone mics, particularly the iPhone, and pondered if the consumer really notices or cares about audio fidelity. The conversation naturally flowed into the realms of audio tech history, reminiscing about anti-piracy measures in CDs and the quirky side of recording hacks. Join us as we explore these topics and more, including: The concept of the "mequalizer" in voiceovers. Potential implications of recording auditions on smartphones for AI training. A look back at anti-piracy efforts, from tape biases to digital watermarking. The fun and frustration of navigating tech limitations with creative hacks. 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 And don't forget the code trip a P 200. That will get you $200 off your triboof. And of course, austrian audio making passion heard. An email came via our union here in Australia, the MEAA, talking about voiceover auditions. And they want talent to do auditions only on a phone. I can kind of see why they're thinking of that, but the issue I've got is that phones are not that bad. Speaker A: There's too many roadcasters in this conversation. : We got to move away from the default bank in China. Speaker A: So what is the reason, Andrew, did they say? Is it because they think that the crappy quality is going to, well, supposed crappy quality would be my opinion. Going to make people think twice about just using it? : That is correct. It's going to be MP3 from your telephone purposely made bad. : But is it really? Speaker A: I mean we've talked about this on the show before. I mean the iPhone in a micro. Sorry, the microphone in an iPhone is spectacularly good. So what's the point? : Or is it more that the consumer doesn't care anyways? : Meant to be an equalizer so everybody sounds equally mediocre. : The me equalizer is that the Joe. : Meek mediocre, the meequalizer will inherit the voiceover industry. : Or you were saying so that they purposely don't use the audition for the job. : Correct. : Yeah, it's like protection. : I guess it makes sense. I mean, I know in the states people love it when they get their auditions lifted and they don't have to record it again. : Yeah, it happens all the time. : Or you record them anyways and you still use the audition. : Oh, that happens too. So that's fascinating. So did you get a direct answer as to why? Or is it just a mandate don't ask questions? : It kind of came via my agent who's forwarded it from the union. There's also a disclaimer form as well to protect you so that you have to read a disclaimer on your audition saying that my voice cannot be used for AI and blah, blah, blah, blah, blah. So it's all about AI, but it's kind of like the more I thought about the iPhone thing, particularly iPhone and an iPhone 15, you can get away with using that actually for broadcast, really? : If it's done correctly. Yeah. If you record in a quiet, well tuned environment, you're going to have a very good sounding iPhone recording. Speaker A: Yeah. : A well placed iPhone will sound better than a poorly placed U 87. Speaker A: Absolutely. There you go. Well, so maybe that. Maybe the directive should have been stand on your local street corner and record on your phone. Maybe that should have. : Or just ask Robert. Speaker A: Just listen to the pro audio suite, any episode, just check out Robert and you'll get a good idea of what to do. : You should run the Hoover or the vacuum cleaner while you're doing an. Speaker A: Or you could record in, my know, kids screaming toilets, know all the fun stuff. : There you go. Speaker A: That's right. : Or toilets screaming. Speaker A: Yes. And kids. : Yeah, that's fascinating to me. So what medium are you recording with just to the voice memo app on. : Your phone, I'm assuming. So I used the phone once to muck around with when I bought a rode microphone that plugged into your phone. : Right. : I think I use garageband from memory. I can't remember off the top of my head, but I never record on the phone anyway. But if this is the new directive, I don't really know whether it's going to achieve much because. All right, so someone's not going to use it for the real job, so you're not going to get it stolen. They can still use it for AI. Because if you're training a robot, then doesn't matter what it sounds like. Really? : Good enough to train an AI bot. Speaker A: Yeah. : And then again, the other thing is, of course, send in an audition that sounds like shit. You don't want the person at the other end to go, oh, God, their studio is awful, I won't be using them. Speaker A: Well, this is the thing. Are they going to be told that you're auditioning on your phone or are they just going to get your audition expecting that you're going to be in your booth, in your home? : Well, I don't know. And the other thing is, of course it's a directive here. But I mean, what if I'm auditioning for another country? : Why don't they just take all the auditions and run it through a plugin that makes it sound like crap? : Boy, you could do that as well. : Yeah. Just give it a 4K low pass, be done with it. Speaker A: Yeah. : So just real sounds like a telephone. Speaker A: Yeah. : How about this. Okay, I got it ready. When they post it, they just put a little watermarker in there that goes voice jungle. : Do you remember? This is probably a long, long time ago. But there was a point at one stage they were worried about records being bootlegged and they used to put something. There was some kind of weird frequency. When you tried to record, dub something across, it would have had this weird frequency through it. Speaker A: Oh, really? : Yeah. I think on tapes they tried to do something that would mess with the bias of a tape. : The bias. : You couldn't make a dub of it. And then later in CDs, you found that with the. Remind me of the code spitiff had the Src. There was a setting when you'd master a CD, it would only allow one digital generation to be made and the second digital generation could not be copied. Src or something. What was that called? : Yeah, I don't remember, but yeah, I. Speaker A: Know what you're talking about. : It's a sample bit, like, people would call it sample bit, I think. Speaker A: Yeah. : When you master a CD, you can actually enable a bit that will prevent that disk from being copied. Yeah, I remember that in my recording in like, wavelab or whatever I was using to master or burn the master, you could say, do not make this disk copyable. : And then if you had a professional dat machine, it wouldn't give a crap and it would copy it anyways. Speaker A: Yeah. : Was that connected via AES or via SPDif? : SPDIF or AES, I believe. Well, definitely. No, no. Spdif because Sp Diff carried more metadata than AES, I believe. I don't know that if it was carried over AES, because SPDIF was the. : Consumer protocol and AES was the pro correct protocol. : And then there was another change to it, because then after that, when recordable CDs came out, the music industry wanted its royalties for all the music that was going to get bootlegged. So they made special, more expensive recordable CDs. So that then when you bought a consumer CD recorder, you had to buy these more expensive CDs, like Phillips came out with the 870, and it was a cheap CD recorder, but you could only use these expensive discs. But then everyone figured out that all you had to do was you bought one expensive disc and you put it in the machine and you primed it for record. And then you waited and you just grabbed your fingernails underneath the CD tray and you pulled it out and you switched the disc with a cheap disc and you pushed it in without triggering the closed motor so it didn't notice. Start its cycle up again. Speaker A: Wow. : That's a hack. : And then you could just record on cheap discs and you didn't have to have an expensive recorder, because if not, you were buying like, an HHB or like, a $1,000 CD recorder instead of a $300. Speaker A: Wow. Well, there you go. Wow. Wish I had known that hack all those years ago, but there you go. : And then the other thing that you don't remember on the CD was the pre emphasis bit. That would raise the high end. Right? That's what preemphasis did. It raised the high end a little bit extra. Speaker A: Yeah. : I don't remember why, but I do. : Remember that it had that to compensate for shitty playback systems. : I don't know, because there's the RIA EQ curve on phonographs. : It was almost like. It's like that was pre emphasis. De emphasis. Yeah, scums. That's what they called it. Scms. Serial copy management system. Yeah, they would call it scum because they hated it. That was annoying. : Well, I mean, based on that scum, why don't we have a scum in our daw? So we just hit that when we record. So it sounds great, but no one. Speaker A: Sends it out on CD. Send it. : People are talking about things like this, like trying to find a way to be able to track the media from even where it all goes. So, for instance, if you have a sound effects library, the sound effects can be seen inside of the mix that they are, and then somehow the person gets royalties. I don't know. It's a pretty hard problem to solve. Seems like there's a thousand ways to get around it and only one way to make sure it works. Right? Speaker A: This phone thing, going back to that just for a second, because it's just occurred to me, does it sort of smack of desperation to you that this sort of clutching its straws of sort of like, well, this is the best we can do? Does it feel to you like it does to me that maybe they're just getting desperate with this whole thing? : To me, it smacks of. I didn't know there was that big of a problem with pilfering auditions, that this is necessary. : Yeah, I'm shocked. I mean, I would never have thought of this as a solution, but I would have thought of another way to do it. But this is a super. It's a thing that anybody can do because everybody has a smartphone at this point, and it doesn't fix the fidelity problem necessarily, because you can still record really great sounding files, even more so. : You can now up res stuff. I'm sure this is going to hit for audio, but someone brought me a SD. It was DVD, but it might as well have been a VHs. It just looked like shit compared to all the video that we're used to, right. And took it to AI and it made it look like proper HD. It just interpolated everything, all the missing bits. It just like. I know it would have been here. Here's the nose hair. Speaker A: Yeah. I don't know. I suppose you sort of got to be. These sort of unions and stuff have to be seen to be doing something, but I don't know that they're really doing anything. : I can't see it making any difference. I mean, you've just got to be really careful about who you audition for. They've just got to be trustworthy and they've got to be a signatory of a union so they don't break the law, otherwise they lose their membership to the union. I mean, I can't think of any other way of doing it. There's got to be some kind of way of punishing. But if someone wants to do it, they'll do it anyway. Yeah. : Is it that there's too many desperate voice actors, just desperate to find any kind of work and they just don't care. They just want to get any opportunity to work. So they set themselves up to be. : Ripped off and then next thing you know, they take a gig where they're just, like, reading the dictionary and all of a sudden their voice is cloned, or it's part of a clone that you don't know it's in, and they've just been part of a. Because this is like a big data war is really what it boils down to. And how do you protect your data when your data is just, like, coming off of you like light? Speaker A: Well, I mean, when you think about how many auditions people do every day, how much sort of unused voiceover is actually floating around out there, there must be craploads of it. : So much. Well, did I tell you what we want to do with the echo servers? We don't really want to do this, by the way, so don't worry. But we just thought it'd be funny if we ever just took a recording of all the junk that gets set into echo. Speaker A: Imagine what people check. Yeah. This fucking piece of shit. Bullshit, bullshit, bullshit. : God damn it. Speaker A: Why does my mic sound like shit? What's going on? Yeah, all that rubbish. Yeah, that'd be hilarious. You could do a rap song out of it or something. Just sound. : There's like a lot of material there. Speaker A: Absolutely, yeah. The source elements. Twelve inch or something. : Echo roulette. Speaker A: Yeah, there you go. Echo roulette. : Echo blue. Speaker A: You could have fun with that. You could actually tell people. You could sort of have a competition. The person who leaves us the best line for our remix wins a twelve month subscription to Nexus or something. There you go. : That would be a really fun one. I mean, right now it's like we don't run the queue manager because it would just fill up in an hour and then the computer would explode. : Yeah. Speaker A: Interesting. There you go. It's funny, isn't it? I mean, AP and I were talking about subjects we were going to talk about today and I was flicking back through our catalog of shows just looking for ideas and it goes back as far as like 2020. We were talking about AI back then. It's been an overriding sort of shadow over the industry for so long, hasn't it? : But in the last two years it has gotten. Speaker A: It's gotten worse. But you can go back to 2020 and we were talking about it then. It's just been this big black cloud hanging over the industry for so long, hasn't it? It's just weird. : Don't worry, there won't be any industry anymore. So it's all, well, God. Speaker A: Oh, that's reassuring. It's crazy, isn't it? Thanks to George's influence, I've been delving into AI a little bit and, man, some of the stuff just images even conjure me up this image and bang, there it is. It's just crazy. : Thing is, I recognize all those images that you post as being AI generated. Speaker A: I'm sure you do. : It has a very distinct style. It's a signature to it, if you know, you know, I guess is what I'm saying. Most people could care less, but yeah. : It'S a slippery slope that we're sliding on down into the depths of God knows where. No work. Speaker A: Yeah, exactly. : Of the slurp. Speaker A: Yeah. Well, who knows? : Yeah. Splash. Speaker A: Well, that was fun. Speaker C: Is it over? Speaker B: The pro audio suite with thanks to tribooth and austrian audio recorded using source connect, edited by and repeaters 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, theproaudiosuite.com. #ProAudioSuite #VoiceOverTips #AudioEngineering #SmartphoneAuditions #AITechnology

This episode is sponsored by HHB Communications, the UK's leader in Pro Audio Technology. For years HHB has been delivering the latest and most innovative pro audio solutions to the world's top recording studios, post facilities, and broadcasters. The team at HHB provide best-in-class consultation, installation, training, and technical support to customers who want to build or upgrade their studio environment for immersive audio workflow. To find out more or book a demo at their HQ facility visit www.hhb.co.uk In this episode of the Immersive Audio Podcast, Oliver Kadel is joined by the remote audio network engineer and PhD candidate at AudioLab, the University of York - Patrick Cairns from Glasgow, Scotland. Patrick graduated from Glasgow Caledonian University (2019) with a BSc in Audio Systems Engineering. Patrick has since achieved an MSc by research in Audio Technology at the Audiolab, University of York (2021), where they currently continue their research as a PhD student. Patrick's research explores the development, application and evaluation of bleeding-edge network music performance systems, with a focus on immersive audio. This work investigates how spatial audio and virtual acoustics can be applied to make network music experiences more like live performance, and examines the effect this can have on the way we interact with one another musically in shared virtual spaces. Patrick's research also includes high-impact industry collaboration within the MINERVA project. Beyond academia, Patrick is an avid enthusiast of all things audio and has experience in various roles across the industry, including broadcast, live sound, sound for film, and music recording and production. Patrick discusses in depth the current advancements in remote spatial audio networking for a range of industry use cases covering the core technology, signal flow and available workflows. This episode was produced by Oliver Kadel and Emma Rees and included music by Rhythm Scott. For extended show notes and more information on this episode go to www.immersiveaudiopodcast.com If you enjoy the podcast and would like to show your support, please consider becoming a Patreon. Not only are you supporting us, but you will also get special access to bonus content and much more. Find out more on our official Patreon page - www.patreon.com/immersiveaudiopodcast We thank you kindly in advance! We want to hear from you! We value our community and would appreciate it if you would take our very quick survey and help us make the Immersive Audio Podcast even better: surveymonkey.co.uk/r/3Y9B2MJ Thank you! You can follow the podcast on Twitter @IAudioPodcast for regular updates and content or get in touch via podcast@1618digital.com immersiveaudiopodcast.com

This episode is sponsored by HHB Communications, the UK's leader in Pro Audio Technology. For years HHB has been delivering the latest and most innovative pro audio solutions to the world's top recording studios, post facilities, and broadcasters. The team at HHB provide best-in-class consultation, installation, training, and technical support to customers who want to build or upgrade their studio environment for immersive audio workflow. To find out more or book a demo at their HQ facility visit www.hhb.co.uk In this episode of the Immersive Audio Podcast, Oliver Kadel is joined by the PhD researcher at AudioLab, the University of York - Anthony Hunt from Toulouse, France. Having graduated from the University of York (2021) with an MSc degree in Audio and Music Technology, Anthony joined the Audiolab research team in October 2021. He is currently undertaking a PhD program on “Virtual representation of performers in Extended Reality Networked Music Performance (XR-NMP)” under the supervision of Prof. Gavin Kearney and Prof. Helena Daffern. This project aims to better understand which bodily elements are essential to represent the performer in the XR-NMP context, and how it impacts their sense of social presence. Anthony discusses his research in avatar representation in extended reality for immersive networked music performance and what impacts social presence and immersion. This episode was produced by Oliver Kadel and Emma Rees and included music by Rhythm Scott. For extended show notes and more information on this episode go to www.immersiveaudiopodcast.com If you enjoy the podcast and would like to show your support, please consider becoming a Patreon. Not only are you supporting us, but you will also get special access to bonus content and much more. Find out more on our official Patreon page - www.patreon.com/immersiveaudiopodcast We thank you kindly in advance! We want to hear from you! We value our community and would appreciate it if you would take our very quick survey and help us make the Immersive Audio Podcast even better: surveymonkey.co.uk/r/3Y9B2MJ Thank you! You can follow the podcast on Twitter @IAudioPodcast for regular updates and content or get in touch via podcast@1618digital.com immersiveaudiopodcast.com

This episode is sponsored by HHB Communications, the UK's leader in Pro Audio Technology. For years HHB has been delivering the latest and most innovative pro audio solutions to the world's top recording studios, post facilities, and broadcasters. The team at HHB provide best-in-class consultation, installation, training, and technical support to customers who want to build or upgrade their studio environment for immersive audio workflow. To find out more or book a demo at their HQ facility visit www.hhb.co.uk In this episode of the Immersive Audio Podcast, Oliver Kadel is joined by Professors Gavin Kearney and Helena Daffern from the AudioLab at the School of Physics Engineering and Technology at the University of York, UK. Helena and Gavin talk about the recently announced CoSTAR project - the initiative focuses on leveraging a novel R&D in virtual production technologies including CGI, spatial audio, motion capture and extended reality to create groundbreaking live performance experiences. This episode was produced by Oliver Kadel and Emma Rees and included music by Rhythm Scott. For extended show notes and more information on this episode go to www.immersiveaudiopodcast.com If you enjoy the podcast and would like to show your support, please consider becoming a Patreon. Not only are you supporting us, but you will also get special access to bonus content and much more. Find out more on our official Patreon page - www.patreon.com/immersiveaudiopodcast We thank you kindly in advance! We want to hear from you! We value our community and would appreciate it if you would take our very quick survey and help us make the Immersive Audio Podcast even better: surveymonkey.co.uk/r/3Y9B2MJ Thank you! You can follow the podcast on Twitter @IAudioPodcast for regular updates and content or get in touch via podcast@1618digital.com immersiveaudiopodcast.com

Hey UNcivilized Fam, So many men who get themselves into Men's Work fall into this early trap. Please give this short solo episode a listen on how you can avoid — forgetting your balls! In this episode I break down UNcivilized Ethos Tenet #8 and remind me all the beautiful benefits of living a powerful life. HHB, Fellas. Not just H. Enjoy and please share this with someone in your life. Cheers, Traver If you look at the civilized world and think, "No thank you," then you should subscribe to our podcast, so you don't miss a single episode! Also, join the uncivilized community and connect with me on ⁠my website⁠, ⁠⁠⁠⁠⁠⁠⁠⁠ YouTube⁠⁠⁠⁠⁠⁠⁠⁠, or⁠⁠⁠⁠⁠⁠⁠⁠ Instagram⁠⁠⁠⁠⁠⁠⁠⁠ so you can join in on our live recordings, ask questions to guests, and more. Get a copy of one of my books,⁠⁠⁠⁠⁠⁠⁠⁠ Man UNcivilized⁠⁠⁠⁠⁠⁠⁠⁠ and⁠⁠⁠⁠⁠⁠⁠⁠ Today I Rise⁠.

🎥TOP 10 DE ESTRENOS DE JULIO 2023🎥 Esta vez realmente son dos top 5 uno de cine y otro de series porque es verano y a veces al vida nos lleva a tomar decisiones así. También es evidente que el top1 es la portada de cada programa así que realmente emoción la justa. En cualquier caso, gracias por escucharnos esperamos que la lista os ayude un poquito. Locuta y edita: Xevipanda Música de: HHB, Brooki de fondo Cover de Barbie Girl de Aqua: Tanaë Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Military members deploy when needed, but some members volunteer to stay deployed. Staff Sgt. Yoshi Shinzato tells us why one Soldier volunteered to be deployed for three years. Includes sound bite from Spc. Peter Latourette, HHB 101 Airborne Division. Hosted by Lance Cpl. Clayton Rogers.

The Fort Hays State University Neuromuscular Wellness Center has a new person in charge. Luke Kriley stops by to tell us about himself and a little bit about the Center on this episode of the Post Podcast. Transcript: EDITORS NOTE: Transcripts are provided by an automated service and are not verified for accuracy.   James Bell  at the Fort Hays State University neuro muscular Wellness Center has a new person in charge Luke Kriley stops by to tell us about himself and a little bit about the Center on this episode of the Post Podcast.     my new assistant professor Fort Hays State University within the HHB with his health and human performance. I'm a physical therapist by trade, I switched over to academia just this year. But I wanted to talk about some of the service based programs we have on campus, what we're in charge of is the neuromuscular Wellness Center. So essentially, what that is, is just think of it like a gym or miniature PT clinic, it's there to provide an accessible resource for community members who have neuromuscular diseases, if they want to work on physical fitness, functional mobility, quality of life, or just to stay active will serve those populations. A lot of the times when you have a specific disease that's kind of chronic in nature, and does not improve over time, just based on how the disease progresses, pathology wise, you know, you can only do so much physical therapy for someone's gonna have to pay for it, not just insurance. So if you get to a point where you meet your cap, you need to look for a place we're a good place to do that. What's nice is we're staffed by two full time faculty myself and then Macy Klaus, we both bring clinical experience, she's is experienced in cardiac rehabilitation and pulmonary rehab, I come a physical therapy background. And then we also have a lot of students, I get involved with the program as well.   James Bell  Love that, you know, I had the opportunity over the years to do some stories with physical therapists. And it's such an interesting kind of field. It's, it's, I think most people think of it as just an extension of like a massage or a yoga class class. But really, it's it's more in depth than that, right?     Yes, yes, absolutely. So, you know, within the world of physical therapy, most people come to physical therapy for pain. But one of the things pain does is it causes dysfunction, whether it's emotionally, physically, however you want. So those are the things we try to address. You know, if you come to us and say, Hey, I can't get swing my tennis racquet anymore, because my elbow hurts. What do I need to do we find a plan, we give you some interventions, some exercise stretches to help you figure that out. But there is massage involved. But there's a lot of other things as well. People just like to massage the best.   James Bell  Imagine that. So you said this is this is open to the community how to get involved? Or how do they take advantage of those services?     Yeah, so they can just get a hold of us anywhere at Fort Hays State University and they get a hold of me, I can give you my email or I don't have a phone number on me from my office. I don't know that quite yet. It just started. So   James Bell  fair enough. You know, and I've been here three years, I can't tell you my office line either sorry. But you're listening. Yeah, I just use my cell phone.     So it is $45 a month, you pay as a membership. And then you can come Monday through Friday, every single day, if you'd like to, we can give you different hours, we try to leave it open up for general hours in the morning. Because it's no longer staffed by full time position. That's faculty running it. The hours have changed a little bit, but we tried to be as flexible as possible.   James Bell  Okay, so is there you mentioned insurances? Is this covered at all by insurance? Are you guys strictly Okay, cash kind of service provider,     this is strictly cash service provider, we do not bill insurance. Now the neat thing is now, you know, say you do want someone to provide you with a little bit more guidance, supervision, because you're a big fall risk, you have these certain things going on, and you want someone maybe more than a personal trainer or a fitness expert, when you being a physical therapist, I can guide you through that stuff, give you the exercises you need, maybe do some hands on strategies. And the nice part is we don't have to bill insurance, so we're not restricted or limited by anything.   James Bell  Okay. And then I wonder if you want to talk a little bit about the role the students play in this? Because I mean, I it's obviously it's on campus, it's probably an academic kind of training exercise for them. But how does that all work together? Yeah, so     we use it a lot for professional development. And a lot of kids are going pre professional programs. So this gives them an experience to be hands on and actually see some people in the clinic with real disease real diagnosis, and then get to work with clinicians like Macy. And I,   James Bell  you know, historically, do the students always kind of have that track where they were seeing those hands on or is that relatively new kind of part of the field? It has     been going on for quite a while, I think they've had this for five or six years, somewhere along those lines, I'm not 100% Sure. But with myself being in the clinic, now we have a more clinical approach, I believe, we can start doing some more stuff to get them a little bit more specific into different tracks professionally that you want to take.   James Bell  Okay, you know, I'm just curious, what does a training track look like? Is that a standard four year program? Or is it kind of like a doctor program where they have the post secondary, and they have to do specialized training and all that to get certified or or     sure what I'm talking about physical therapy. So if you go pre professional PT at Fort Hays, you're gonna get your four year bachelor's degree, you'll have some specific prereqs you have to take and then after that, you'll go to a post professional or postgraduate school, which is going to be three years and you'll end up with a doctorate of physical therapy. So it's four years of bachelors, you apply to whatever program going to get into and then it's three years of additional graduate work.   James Bell  Okay, so yeah, that's like a doctor, as long as the training and lots of education I love that because that's who you know. You think talk about these things. And it seems like Google Now, everything is accessible, you can look it up, you can learn, you know, learn those exercises, but having that specialized training and having that people direct to you, probably when you're talking about physio, specialty, physical health, is a much better way to go. And having to have that training probably is invaluable to the, in the in the field,     right? Absolutely. And the nice part is they learn to work with patients and console them. So, you know, in the medical field, No, you go to see the doctor, you're gonna see the doctor for four and a half, five minutes, when you come see a physical therapist or with a clinician, you're gonna see them for 45 minutes to an hour. So there's a lot of personal one on one relationships, they start to figure out how to talk to different generations, you know, there's many years difference between most people they're going to work with, so trying to learn how to communicate, relate to them, not be offensive, and kind of find things they're interested in is a really nice aspect. They, they learned to develop their soft skills very well.   James Bell  Yeah. And you know, we're hearing more and more about that how important those are in almost every academic pursuit, but especially out in the workforce, having those abilities in those skills kind of translates to everything we do. Absolutely, you know, with this program as well, I wonder if you want to talk a little bit about some of the well, I don't know what what the right word would be. But some of the maybe the specifics, like what does the physical therapy look like? Or is it just so different for everybody that it doesn't take any sort of standard track?     Yeah. So you know, in general, we're going to be working on making sure people aren't high fall risk. So if you come in and say you have difficulty walking, we call that gait training. You know, if you're in a wheelchair, and you want to be able to get up and transfer move around a little bit, those are things we can work on. A lot of it is technique based, making sure you do it safely and appropriately and efficiently based on whatever you have going on. You know, the students like to work on the gait training, because it's interesting for them to see how different people walk to learn those different techniques. And the whole goal is to keep you more independent. So you're not having to go live in a nursing home or do something along those lines. We I mean, it's different for everyone, a lot of it's gonna involve the gait training, cardiovascular training, strength training, there's different balance technique techniques. We don't do a lot of hands on manual there. That's kind of not the point. But no, if that needs to be done, we can do a little bit of that too.   James Bell  Okay. Well, we get just about we've gotten under a minute left. I wonder if you want to share any last thoughts or anything else before we go?   No, I just say if you're interested, please try to get a hold of us. You know, I did not bring my contact information. So I'll get that to you, James. But you know, anyone that's really thinking about, Hey, I just want to get active, get involved, but I've got certain things going on where I really want to be supervised. We'd be a great place a great fit for you

Tune in as 1LT Scott Klein is joined by SFC Renee Kyger of the 1AD SHARP office and SPC Myra Underwood of HHB, DIVARTY on how Operation Ironclad is making a difference across Team Bliss.

**AUDIO MISSING FOR FIRST FEW MINUTES OF THE SHOW** SORRY!Last minute changes in the Derek Chauvin trial as jury selection starts Monday. Andrew Cuomo in more hot water as New York Times reveals he may have seriously underreported nursing home deaths to government counterparts. Police release report in Brittany Gosney murder. Ghislaine Maxwell case gets interesting as former Clinton aid flips. House of Representatives passes HR1 Act on election integrity reform. Eric Swalwell sues Trump, and more! Join criminal defense lawyer Robert F. Gruler in a discussion on the latest legal, criminal and pollical news, including:• Minnesota Court of Appeals issues last minute ruling in Derek Chauvin's case.• Prosecutor can re-add Third Degree Murder Charge against Derek Chauvin, even though this charge was previously dismissed for lacking probable cause.• Chauvin can bring up other arguments at the District Court level as to why the charge should not be added.• Review of the Chauvin / Floyd court docket and a review of other motions submitted.• New York Times reveals Cuomo Administration actively withheld data about nursing homes deaths for fear of political exposure.• New York State Health Department finds death toll is 50% higher than Cuomo Administration's figures.• Review of New York Statutes for (1) Forgery in the Second Degree (2) Tampering with Public Records in the First Degree (3) Tampering with Public Records in the Second Degree• Preble County Sheriff's Office releases the probable cause statement in the Brittany Gosney case.• Officer Andrew Blevins writes the report detailing the incident on February 27th, 2021 killing at the lake that left her son James Hutchinson dead.• Gosney is saying that her boyfriend, James Hamilton, was the driving force behind her “getting rid of her kids.”• Ghislaine Maxwell cases sees new activity as former Clinton aide Doug Band implicates the former president in the trafficking ring.• Who is Doug Band?• Doug Band says Bill Clinton travelled to Epstein's island, despite his repeated denials of ever making a trip.• H.R. 1 Act passed the House and heads to the Senate. • Joe Biden expresses support, claiming we need this bill to safeguard the integrity of elections. • What is inside the bill? A review and look inside. • What can the Republicans do to stop the bill from passing? Anything?• Eric Swalwell sues Donald Trump, Mo Brooks and Rudy Giuliani in an attempt to stay relevant.• Review of the nine complaints, which include the infliction of emotional distress.• Swalwell wants actual and punitive damages as well as an order requiring the defendants to provide written notice before holding future rallies.• As always, your questions and live Locals.com chat after the news!Connect with us:• Locals! https://watchingthewatchers.locals.com• Podcast (audio): https://watchingthewatchers.buzzsprout.com/• Facebook: https://www.facebook.com/robertgruleresq• Rumble: https://rumble.com/c/RobertGrulerEsq• Robert Gruler Instagram: https://www.instagram.com/RobertGrulerEsq/• Miss Faith Instagram https://www.instagram.com/faithie_joy/• Clubhouse: @RobertGrulerEsq @faith_joy• Twitch: https://www.twitch.tv/robertgruleresq• Homepage with transcripts (under construction): https://www.watchingthewatchers.tvDon't forget to join us on Locals! https://watchingthewatchers.locals.comWhy Locals? We head over to Locals to continue the conversation before, during and after the show. You can also grab the slides (and other stuff) from the show as well as a free PDF copy of Robert's book which is also available to buy on Amazon here: https://rcl.ink/hHB

In this SUPER special, SUPER secret episode of the HHB podcast, we dive into how to decide whether someone’s feedback is worth taking — and how to take negative, “nippy” comments from your coworkers without feeling like garbage.

One of the very first places we find body isn’t even in our emotional states — it’s in our bodies. And chronic stress changes us in ways we didn’t even realize… join HHB’s Founder Samantha Wilding and Client Success Director Ofir Yakobowicz for a deep dive on stress physiology and what your body is trying ... Read more

Today on the #HHB podcast, we talk about Stress Recovery – and how to make it permanent.

De dagen worden korter en grauwer. Tijd om wat zonlicht in de duisternis te brengen, en dan kun je als weldenkend mens eigenlijk alleen maar uitkomen bij Max-megahit We zijn er Bijna!. Een programma over zestigplussers op vakantie, hoe leuk kan dat nu eigenlijk zijn? Fantastisch natuurlijk! Waarin schuilt de magie van dit bril-jante programma? Is de rol van Martine van Os onze journalistieke droombaan? En wat is toch het geheim van Omroep Max?Verder in deze aflevering: kampeeranekdotes, #promenadegate, kippenoverlast én aflevering 6 van Ik Geloof in Mij!Volg Televisië op Twitter (@Televisiepod) en Instagram (@televisiepodcast). Michel en Alex zijn te volgen op Twitter via: @micheldoodeman en @alexmazereeuw.Word Vriend van de Show! (https://vriendvandeshow.nl/televisiepodcast). Hier vind je updates, en - belangrijker nog - kun je zelf van je laten horen. Vinden we leuk, ouwe schavuiten.

Welcome back y'all to a brand new DUO episode of HHB!!! Co-hosted by Deadleigh and Ray-Love! Shorter than usual because we don't have AyC but there is still tons to talk about! From the critical reception of Lil Nas X's costume to the dumb shit Summer Walker was on this week. Tons of Music including our listener submission by JayStrange titles Barry B! Go check him on Apple Music, Spotify, soundcloud, whatever! Following that is some of our other favorites: AG Club, Smino, 21 Savage, Tierra Whack, JID and more! We live tap in!!! Lil Nas X Barb Costume (2:23) Lil Wayne meets Trump (6:28) Summer Walker hating on Hip-Hop (11:33) Kendrick‘s holding 6 albums (16:35) Jaystrange's Barry B (22:27) AG Club's Columbia (28:46) Freddie Gibbs' 4 Thangs (39:03) Trippie Redd's Pegasus (44:54) King Von's Welcome to O'Block (48:29) Tierra Whack's Dora (55:54) J.I.D.'s The Clutter Freestyle (1:00:32) Smino's Donne Outhaway (1:06:22) 21 Savage & Metro Boomin's Savage Mode 2 (1:11:05) Ariana Grande's Positions (1:20:44) Clipping.'s Visions pf Bodies Being Burned (1:26:36) Ty Dolla $ign's Featuring Ty Dolla $ign (1:36:51) Outros (1:43:24)

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Soms gaat je hoofd een hele andere kant op dan je lijf, je hart of je buik. Deze oefening gebruikt de intelligenties van je hoofdbrein, hartbrein en buikbrein. Het helpt je om ze op 1 lijn te brengen voor iets wat op dit moment een uitdaging voor je is. Iets wat je graag voor jezelf wil, een doel, iets wat belangrijk voor je is. En toch blijft er iets wat je tegenhoudt. Deze oefening is onder andere gebaseerd op de neurowetenschappen. Waar we inmiddels weten dat we drie breinen of neurale netwerken hebben: één in ons hoofd, één in ons hart en één in ons buik. Gecombineerd met oude wijsheid en tradities is het resultaat een prachtige impactvolle oefening om in contact te komen met je eigen intuïtie en wijsheid, zodat je veel meer van je eigen potentieel (dan alleen je hoofd) kan gebruiken. HHB alignment tekst: Soms gaat je hoofd een hele andere kant op dan je lijf, je hart of je buik. Deze oefening gebruikt de intelligenties van je hoofdbrein, hartbrein en buikbrein en helpt je om ze op 1 lijn te brengen voor iets wat op dit moment een uitdaging voor je is. Iets wat je graag voor jezelf wil, een doel, iets wat belangrijk voor je is, en toch blijft er iets wat je tegenhoudt. Deze oefening is onder andere gebaseerd op de neurowetenschappen waar we inmiddels weten dat we drie breinen of neurale netwerken hebben: één in ons hoofd, één in ons hart en één in ons buik. Gecombineerd met oude wijsheid en tradities is het resultaat een prachtige impactvolle oefening om in contact te komen met je eigen intuïtie en wijsheid, zodat je veel meer van je eigen potentieel (dan alleen je hoofd) kan gebruiken. Veel oefenplezier!

Soms gaat je hoofd een hele andere kant op dan je lijf, je hart of je buik. Deze oefening gebruikt de intelligenties van je hoofdbrein, hartbrein en buikbrein. Het helpt je om ze op 1 lijn te brengen voor iets wat op dit moment een uitdaging voor je is. Iets wat je graag voor jezelf wil, een doel, iets wat belangrijk voor je is. En toch blijft er iets wat je tegenhoudt. Deze oefening is onder andere gebaseerd op de neurowetenschappen. Waar we inmiddels weten dat we drie breinen of neurale netwerken hebben: één in ons hoofd, één in ons hart en één in ons buik. Gecombineerd met oude wijsheid en tradities is het resultaat een prachtige impactvolle oefening om in contact te komen met je eigen intuïtie en wijsheid, zodat je veel meer van je eigen potentieel (dan alleen je hoofd) kan gebruiken. HHB alignment tekst: Soms gaat je hoofd een hele andere kant op dan je lijf, je hart of je buik. Deze oefening gebruikt de intelligenties van je hoofdbrein, hartbrein en buikbrein en helpt je om ze op 1 lijn te brengen voor iets wat op dit moment een uitdaging voor je is. Iets wat je graag voor jezelf wil, een doel, iets wat belangrijk voor je is, en toch blijft er iets wat je tegenhoudt. Deze oefening is onder andere gebaseerd op de neurowetenschappen waar we inmiddels weten dat we drie breinen of neurale netwerken hebben: één in ons hoofd, één in ons hart en één in ons buik. Gecombineerd met oude wijsheid en tradities is het resultaat een prachtige impactvolle oefening om in contact te komen met je eigen intuïtie en wijsheid zodat je veel meer van je eigen potentieel (dan alleen je hoofd) kan gebruiken. Veel oefenplezier!

Ebben az adásban a Harry Benson: Shoot First című dokumentumfilmről beszélgettünk, amely sokféle morális és etikai kérdést vet fel, amellyel adott esetben egy fotósnak szembesülnie kell. Ezután Peti beszámolt a Tripontban tartott Wacom bemutatónapról, végül pedig Benedek osztotta meg a Leica Q2-vel szerzett tapasztalatait, és bemutatta a Budapest Street Photography Collective-et. Az adás linkje: https://tripodcast.hu/17 Műsorvezetők: Láng Péter, Lénárt Gábor, Varga Benedek Csatlakozz a Tripodcast Community Facebook csoporthoz! http://tripodcast.hu/community Küldj nekünk hangüzenetben kérdést! http://tripodcast.hu/messages Az adást a Tripont, a Nikon és a Manfrotto támogatta! Az adásban elhangzott témák: - Harry Benson: Shoot First - Official Trailer: https://youtu.be/hhB-ay-Pbyw - Harry Benson: Shoot First - Netflix: https://www.netflix.com/title/80095094?s=i&trkid=13747225 - Wacom táblák: https://tripodcast.hu/f5522 - Leica Q2: https://www.leica-budapest.hu/markak-597/leica-598/foto-604/q-rendszer-630/fenykepezogep-649/leica-q2-fenykepezogep-fekete-4620 - Budapest Street Photography Collective: http://bpspc.hu - BPSPC interjú: https://absolutbudapest.blog.hu/2020/03/01/tukrot_mutatnak_bemutatkozik_a_bp_street_photography_collective

WELCOME BACK Y'ALL TO ANOTHA EPISODE OF HIP HOP BABIIIIIIES!!! Review oriented episode, feel free to hit us with feedback if you mess with today's episode, love y'all! Timestamps: Intro (0:00), Bully Scammer (2:24), Billy Eilish hates hip hop! (7:35), Brent Faiyaz F*ck The World (11:35), Denzel Curry & Kenny Beats UNLOCKED (14:25), JPEG Mafia BALD! (19:15), Mac Miller Circles (21:25), Dreamville ROTD3 Deluxe (26:22), HHB favorite projects we missed, starting with Baby Keem DIE FOR MY B*TCH (30:22), Roddy Richh Please Excuse Me For Being Antisocial (33:20), Mike Sherm Sherm World (37:00), Deaths in the rap community (38:10).

The Bears are back to sucking! HHB producer Ryne Burden joins the crew this week as they recap the loss to the Rams, discuss who is to blame, highlight a 2020 draft prospect, preview this weekends game, answer the mailbag, and more!

Staf returns from Perth worse for wear. The boys talk about one way traffic in the form of the All Blacks and Mitch Marsh gives HHB a shout out from the WACA.

Staf returns from Perth worse for wear. The boys talk about one way traffic in the form of the All Blacks and Mitch Marsh gives HHB a shout out from the WACA.

Het nieuwe jaar is begonnen met een heerlijke hartige aflevering van Heel Holland Bakt en dus ook weer een volle podcast in de vorm van Gebakken Lucht! Jim en Vincent zijn op dreef, want de HHB-persoonlijkheden breiden steeds meer uit! Zo is Robért nu te zien in Wie is De Mol?, een ander megapopulair programma. Hoe ver hij het gaat schoppen en of er een kans bestaat dat hij De Mol is, dat hoor je hier! Daarnaast wordt natuurlijk de hele HHB-aflevering geanalyseerd. Het thema is hartig en dat hebben we geweten! André was op dreef, Maroeska moest naar de WC en we gaan flink aan de soezen! Vragen voor de show? Mail naar gebakkenluchtpodcast@gmail.com Volg ons op Twitter en Facebook via @GebakkenluchtPC

Het nieuwe seizoen van Heel Holland Bakt is begonnen! En deze 6e serie begon heel anders dan dat we van het bakprogramma gewend zijn. Volgens Omroep MAX was dit dan ook een 'bonusaflevering' waarin we 500 hoopvolle bakkers hun creaties zien tonen, om vervolgens gereduceerd te worden naar de 10 die uiteindelijk in de tent verder mogen gaan. Werkt deze aparte aanpak? HHB-fans Jim en Vincent zijn van mening dat Janny, Robert en André wellicht wat ideeën wat langer in de oven hadden moeten laten zitten. Verder controverses rondom kandidaat Cas, een kandidaat heeft al een kookboek uitgebracht en wat zijn de grote kanshebbers? Vragen of opmerkingen? Mail naar gebakkenluchtpodcast@gmail.com Volg ons op Twitter en Facebook via @GebakkenLuchtPC

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Jimmy Herring circa 1994In the spring of 1994 the Grateful Dead were still touring, I got married and began my graduate studies at DePaul University. Working full-time in the printing and publications department of my alma mater and going to school full time left me with little time for live music or much of a social life.But in the summer of 1994, all I had to do was work full time... and take some of my precious earned vacation time to see some music.After 25 years of actively seeking out live musical experiences, the summer of 1994 stands out as a highlight. In particular, the ten day period of July 14 - 24, 1994 stands out as one of the most ambitious musical experiences of my life.Thursday 7/14/94 - work 9 - 5, Widespread Panic, The Vic (Aquarium Rescue Unit opened)Friday 7/15/94 - work 9 - 5Saturday 7/16/94 drive 5.5 hours to Ames, IA -  Widespread Panic, People's Bar and GrillSunday 7/17/94 - drive back to ChicagoMonday 7/18/94 - work 9 - 5, 3 hour drive to the Riverbend Campground outside of Noblesville, IN.Tuesday 7/19/94 - Grateful Dead, Deer Creek AmpitheatreWednesday 7/20/94 - Grateful Dead, Deer Creek AmpitheatreThursday 7/21/94 - Grateful Dead, Deer Creek AmpitheatreFriday 7/22/94 - drive back to Chicago, celebrate birthday at Martyrs'Saturday 7/23/94 - Grateful Dead, Soldier Field, ChicagoSunday 7/24/94 - Grateful Dead, Soldier Field, Chicago5 Dead shows, 2 Panic shows and 3 full days of work in 11 days.But you are here to hear about Widespread Panic.That July 14th show at the Vic was originally scheduled for a larger venue, the newly opened Skyline Stage on Navy pier. But Peter Frampton used his own PA a couple of weeks earlier which led to the venue not allowing Widespread to use their PA....  I'll add that this change in venue happened after the band and crew had arrived in the early morning of July 14 to set the stage.Several dozen people were turned away at the door of the Vic because of overcrowding and the air conditioning failed before the band even hit the stage.The Aquarium Rescue Unit (without Col. Bruce but with Kofi Burbridge on keys and flute and Paul Henson on vocals) opened for Panic. I wonder if Jimmy Herring ever had a sense of deja vu when sharing the stage with  Widespread Panic? Or perhaps being in the Aquarium Rescue Unit was like LIVING in deja vu!I featured the final two songs and the encore of Panic's one set show back in PaniCast #4....PaniCast #4 - Sweating to July 14, 1994 The Vic Theatre, Chicago.This week I bring you the opening of the first set up through the drum break in Papa's Home.I've also added a couple of great radio studio performances from 1993 and some silly interviews...July 14, 1994The Vic TheatreChicago, IL(set one opener)Heroes >Weight of the World,PilgrimsPorch SongMay 3, 1993KTCZ 97.1 StudiosMinneapolis, MNInterviewWonderingJuly 14, 1994 continuesLittle Kin,It Ain't No Use >Travelin' LightMay 10, 1993WDET 101.9 FMDetroit, MIInterviewHenry Parsons DiedJuly 14, 1994 continuesJunior,Stop-Go >Papa's HomeJuly 14, 1994 Aquarium Rescue Unit (opening for Widespread Panic)Vic TheatreChicago, ILFixin' to Die(calling out to 'Garrie' during the song... same Garrie?)Jimmy Herring on guitarOteil Burbridge on bass/vocalsApartment Q258 on drumsKofi Burbridge on keys/flutePaul Henson on vocalsLISTENER'S GUIDE:7/14/94Listen how Weight of the World starts with Dave melodically driving the song forward until Mikey takes control and leads into the third verse. This allows DAS to switch to a percussive slap bass technique, nearly teasing 'We Want the Funk....' at one point.The Pilgrims intro is so mellow, almost like they backing into the song. Feeling confident and conversational in the way they are playing....  - and so we listen, and if it's real good, and we shake.And then Houser takes a solo and the heat is on!Check out the jam that begins about 5 and a half minutes into Ain't No Use.... soaring, triumphant, lovely.And again around the 5 and a half minute mark in Papa's Home a graceful and confident jam. Houser's leads are reminiscent of a yet-to-be-written Surprise Valley.5/3/93 and 5/10/93Being asked by radio DJs about being from Athens and REM must've gotten old and you can't blame JB Jack the Jester for trying to have a little fun with them in the process. I just love JB talking about Sunny in the 5/10 interview; 'Sometimes he rubs them. Sometimes he shakes them.'7/14/94 ARUThe band calls out for "Gary" during Fixin' to Die.... leaving me wondering if they were somehow calling out to Garrie Vereen....SOURCE INFO:7/14/94Source: SBD > DAT @ 48.0khz > Analog(master)Transfer: Analog(master) > Tascam DA-45HR @ 44.1khz > Audiophile 24/96 USB > Cool Edit 2000 > CDwave > FLAC(level 6)Converted and edited by D.P. SwintSeeded by Patrick Wood5/3/93Source: FM > Cass (?) > CDTransfer: Pioneer CD-070 > HHB 800 > EAC (secure) > CDWave > MKWAct SHN v.3 flac 5/10/93Source: FM > Cass (?) > CDTransfer: Pioneer CD-070 > HHB 800 > EAC (secure) > CDWave > MKWAct SHN v.3 > flac7/14/94 Aquarium Rescue Unit Source: SBD > DA-P20 @ 48.0khzTransfer: Tascam DA-45HR > Audiophile 24/96 USB > WaveLab 5.01a > CDwave > FLAC(level 6)Converted and edited by D.P. SwintPhoto: screen shot from YouTube video of ARU in Jacksonville circa 1994https://www.youtube.com/watch?v=t7-dxV4_D-EDOWNLOAD the cast here(right click to save to hard drive):Everyday Companion Podcast 71Click here to subscribe through iTunes.

Listen Up! How weird is it that we're about to elect our 203rd president, and this is show number 203?! Oh... wait...What we ended up doing on HalloweenHHB finally sent me some replacement CDRsSo are elections being rigged with electronic voting machines?Tune 1: You're Bringing Me Down by CrashHurricane Sandy, and how will it affect things moving forwardThe BV podcast acually began around another infamous hurricaneTune 2: Karnevale 2 by LjovaWe respond to some listener feedback regarding our last showDon't forget to stop by the BV Store and buy a T-Shirt!Cya!Some of these sounds were used in the making of this podcast.

This is part two of two of the long-overdue Head-Fi Podcast on-the-floor coverage of 2007 HeadFest.  In this episode, I interview several of the 2007 HeadFest Exhibitors, asking them about their products and their Meet impressions.Again, this episode (Episode 004) concludes the Head-Fi Podcast coverage of 2007 HeadFest (the 2007 International Head-Fi Meet in San Jose).Thanks again to Joseph Cwik (Head-Fi username "joe") for his great help in putting Episodes 003 and 004 together.(This Podcast was Sponsored in part by Sennheiser USA and HHB.)

This long-overdue Head-Fi Podcast Episode includes Luis' (LFF's) on-the-floor coverage of 2007 HeadFest.  LFF interviews several Head-Fi Members in attendance to get their opinions and impressions of HeadFest 2007.Thanks very much to Luis, from whom I could learn a few tips from when it comes to interviewing, and also to Joseph Cwik for helping me piece this episode together (and for the much-deserved pestering to finally get this done).This Episode is one-half of the remaining 2007 HeadFest Podcast coverage, with Episode 004 following almost immediately to conclude the coverage of 2007 HeadFest (the 2007 International Head-Fi Meet in San Jose).(This Podcast was Sponsored in part by Sennheiser USA and HHB.)