Podcasts about isdn

Title: NAB 2026 Recap: Booths, Bridges & Broadcast Breakthroughs Description: We're back from NAB — well, two of us are! George and Robert hit the Las Vegas show floor to scope out the latest in broadcast tech, while AP and Robbo keep the audio nerd banter flowing. In this episode: A deep dive on ultra-high-end ISO booths like MECART and the pros/cons of serious soundproofing The rise and practicality of Cousteau Block acoustic systems The origin story of SourceConnect and how it revolutionised VO and remote workflows The surprising legacy of SourceNexus, and how it changed Robbo's day-to-day life Wild stories: $13K calls to Cuba, ISDN blunders, and cruise ship mishaps Why the PASport VO is the modern answer to overpriced Comrex units Whether you're reminiscing about ISDN or eyeing off your next mobile rig, this one's packed with insights, laughter, and enough gear talk to fill a Pelican case.

Das Internet ist für uns alle Neuland. Okay, Mitte der 90er Jahre traf das tatsächlich zu. Könnt ihr euch noch daran erinnern, wie das damals war?Micha, Poldi und Chris reisen zurück in die frühen Tage des Internets – in eine Zeit, als ISDN rasend schnell war und US Robotics jedem ein Begriff. Als man neben seiner Festnetznummer auch die ICQ-Nummer auswendig konnte. Als jede Minute im Internet Geld kostete, man aus dem Netz fliegen konnte und sich um die Telefonleitung stritt.Diesmal bei den Spielosophen:

Wir sprechen mit dem ISDN-Experten Harald Welte über das lange Leben der Technologie hinter ISDN.

CLL #2451 (feat. Dr. Drew) 02/20/2005 – Sunday Night Show Source – Tucker Stream Recording (2024) with Fan Stream Recording (2005) Patches This episode is 100% complete with a medium audio upgrade, Adam runs into a tech issue with his ISDN line and only joins Drew for the first segment remotely via the phone. The Love Between The Two Hosts – CLL on Youtube, with Video for select episodes. https://adamanddrdrewshow.com/1743-loveline-nostalgia-with-superfan-giovanni/ https://account.venmo.com/u/GiovanniGiorgio Paid Link – As an Amazon Associate I earn from qualifying purchases. Music Provided by Rich Banks Check out His Website and Soundcloud to hear more of his awesome work and perhaps commission him for your next project. Venmo

It's that time again! It's Neatvember! Adam is back to chat about all things OMG. You have probably heard about "/save" but what about "/spend"!? Martin was away so we snuck into Obsidian corner! (Don't tell him please) Using Apple Podcasts? All notes can always be found here (https://listen.hemisphericviews.com/125)! AIFF, IFF, and WAV 00:00:00 IFF (https://en.wikipedia.org/wiki/Interchange_File_Format)

Today Gauldy calls up T-dags and they talk about the Corduroy, FMSQ, ISDN, MXdN, the Canadian series and everything Canadian moto. I don't think we have to tell you its great, but it it is. It's Captain Canada, enough said. Give it a listen! Thanks to our great sponsors: Race Tech!!! CJR Suspension KTM, Husqvarna and GasGas Heavy Metal Equipment & Rentals Hall race Fuels and Renegade Gopher Dunes Yamaha Motor Canada Matrix Concepts Canada AMO As always, the best way to support us is to support them when it comes to any and all things moto.  

Today on your show our topic is: "Working with and inspiring Youth in the 21st Century".   There are a lot of things that fill us with hope for the future: Technology, science, ethical and accountable leaders, nonprofits, and even mission-driven corporations committed to doing good. But there are few things that give us more hope for the future than young people. In the age of information warfare and AI technology, young people come face-to-face daily with problems not of their own making: natural, and man-made disasters, injustices, student loan debt, mental health stigma, corrupt leaders and corporations, and endless social change.  So how do we help youth steer this global complexity to make the world a better place?   Tylaine Duggan Bio - a natural entrepreneur has dedicated her core career to advancing youth and community.  She has combined her extensive experience in business and management, to make a positive impact on the world via youth. Her philosophy of viewing challenges as opportunities and her belief in the power of imagination and enthusiasm are truly inspiring. Ms. Duggan has achieved numerous milestones, and accolades including being the recipient of; Canadian Profit Magazine “Top 100 Corporations” as Co-Founder & CEO of ISDN.  She has also received various International Women's Achievements Awards. Her organization has received the personal endorsement of various prime minister's of Canada and premier's of Ontario.  

On this episode of Career Buzz, Stephen Armstrong is joined by Tylaine Duggan to talk about "Working with and inspiring Youth in the 21st Century".   There are a lot of things that fill us with hope for the future: Technology, science, ethical and accountable leaders, nonprofits, and even mission-driven corporations committed to doing good. But there are few things that give us more hope for the future than young people. In the age of information warfare and AI technology, young people come face-to-face daily with problems not of their own making: natural, and man-made disasters, injustices, student loan debt, mental health stigma, corrupt leaders and corporations, and endless social change.  So how do we help youth steer this global complexity to make the world a better place?   Tylaine Duggan Bio - a natural entrepreneur has dedicated her core career to advancing youth and community.  She has combined her extensive experience in business and management, to make a positive impact on the world via youth. Her philosophy of viewing challenges as opportunities and her belief in the power of imagination and enthusiasm are truly inspiring. Ms. Duggan has achieved numerous milestones, and accolades including being the recipient of; Canadian Profit Magazine “Top 100 Corporations” as Co-Founder & CEO of ISDN.  She has also received various International Women's Achievements Awards. Her organization has received the personal endorsement of various prime minister's of Canada and premier's of Ontario.  

In this episode of the Karma Stories Podcast, Rob shares six fascinating stories from the Malicious Compliance subreddit. The tales include a hilarious account of an ISDN modem leading to a $14,000 bill, a dad getting outsmarted by his teenage kid, and a cashier finding a clever way to use a free haircut coupon. Other stories delve into tricky translations for love, an excessive amount of butter on popcorn, and a thrilling cash center mishap involving thousands of pounds. Tune in for a blend of humor and cunning as ordinary people navigate extraordinary situations!Submit your own stories to KarmaStoriesPod@gmail.com.Karma Stories is available on all major Podcasting Platforms and on YouTube under the @KarmaStoriesPodcast handle. We cover stories from popular Reddit Subreddits like Entitled Parents, Tales From Tech Support, Pro Revenge and Malicious Compliance. You can find new uploads here every single day of the week!Rob's 3D Printing Site: https://Dangly3D.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/karma-stories--5098578/support.

It's a Premiere Radio Networks Reunion as we are joined by two broadcasting legends who worked with Weezy in the '80s and '90s and are now industry heavyweights: voice talent and king of the promo, Joe Cipriano and radio exec and DJ for LA's legendary KEARTH 101, Larry Morgan! We're chatting about legacy media and our collective memories of radio's heyday and processing how we are all evolving within our fields as technology continues its march towards confounding boomers with seven factor authentication.Also with us is new-school content creator, author, actor, and podcaster Travis Richey who shares his utilization of digital tools as he journeys from boy with a dream to working industry professional.We look fondly back on our analog childhoods where we put on a show with our cassette tape recorders and wired our bedrooms for two block radius radio transmission! Joe and Larry each scored radio station jobs as teenagers and Travis was feverishly writing Star Trek spec scripts before traveling to Hollywood to join the Acme Comedy group based on advice he found on Wil Wheaton's blog.We examine how radio has changed both culturally and operationally, as we recall the days of big name DJ personalities, air checks, meter readings, FCC licenses, and stacks of carts.   Joe remembers his first voice over home studio and his pioneering ISDN line efforts for remote recording and he previews his unique opportunity promo Masterclass! Learn from Joe how to be like Joe! Larry shares how Covid inspired radio stations to evolve quickly into broadcasting with just a laptop and some wifi, and Fritz shares his experience as a radio station music director. Then we dip into the future, as AI steers us in exciting and terrifying directions!Plus, Fritz and Weezy are recommending Franklin on Apple + and The Witch Trials of J.K. Rowling Podcast.Path Points of Interest:Joe CiprianoPromo Mojo MasterclassJoe Cipriano Promo DemoLiving On Air by Joe CiprianoJoe Cipriano on FacebookJoe Cipriano on InstagramJoe Cipriano on X/TwitterLarry MorganLarry Morgan's Snark Monkey PodcastLarry Morgan on FacebookLarry Morgan on InstagramTravis Richey on IMDBRobot, Ninja & Gay Guy2 Hot Guys in the ShowerThe Vampires' Curse: (Decimus Book 1) by Travis RicheyExposing Ourselves PodcastTravis Richey on FacebookTravis Richey on Instagram Franklin on Apple +The Witch Trials of J.K. Rowling Podcast

In this special episode of The Pro Audio Suite, join hosts Robbo, Andrew, and George as they dive deep into the latest advancements in remote collaboration technology with Source Connect Four. Joined by special guests Rebecca, Ross, and Vincent from Source Elements, the team discusses the game-changing features and improvements that make Source Connect Four a must-have tool for audio professionals. The episode kicks off with introductions and sets the stage for an in-depth discussion on Source Connect Four. Celebrating the recent accolades and advancements in remote collaboration with Source Connect Four, the team explores the groundbreaking features, including the Auto Restore/Replace function, which has been improved and made more user-friendly. They also delve into the future integrations with Nexus and other platforms, promising further enhancements for audio professionals. Discover how Remote Overdub Sync revolutionizes the overdub process, ensuring seamless synchronization in remote recording sessions. Exciting news for iOS users! Learn about the upcoming iOS compatibility for Source Connect Four. Wrapping up with congratulations and gratitude, the team reflects on the insightful discussion and looks forward to the future of remote collaboration in the audio industry. Tune in and stay ahead of the game with Source Connect Four, the ultimate solution for remote audio production! 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   loading Summary In this podcast, the Source Elements team celebrates their success and discusses the latest updates to Source Connect 4, including support for Dolby Atmos, improved user interface, and the Restore Replace feature. The software has been redesigned to simplify remote connections and enhance the user experience. The COVID-19 pandemic has accelerated the adoption of remote recording technology, making it a necessity in the audio industry. The podcast also explores the potential integration of Source-Connect and Nexus, as well as the benefits of Source-Connect's remote overdub sync system. Finally, the host expresses gratitude to various individuals as the show concludes. #SourceConnect4 #DolbyAtmos #RemoteCollaboration loading loading Timestamps (00:00:00) Source Elements Wins NAB Best in Show (00:01:40) Source Connect 4: Dolby Atmos Support (00:05:52) Source Connect 4: Improved User Experience (00:08:36) Recorded Files in Pro Tools (00:10:08) Port Forwarding Simplified in Source Connect 4 (00:11:10) COVID's Impact on Remote Recording Technology (00:16:11) Streamlining Remote Audio Engineering (00:20:03) The Future of Source-Connect and Nexus (00:22:27) Remote Overdub Sync in Source-Connect (00:24:27) Farewell and Gratitude Transcript : Y'all ready? Beat history. : Get started. : Welcome. : Hi. Hi, hi. Hello, everyone to the pro audio suite. These guys are professional. They're motivated. : Thanks to Tribooth, the best vocal booth for home or on the rote voice recording and austrian audio making passion heard. Introducing Robert Marshall from source elements and someone audio post Chicago, Darren Robbo Robertson from voodoo radio imaging, Sydney tech to the Vo stars, George the tech Wittem from LA and me, Andrew Peters. Voice over talent and home studio line up learner. : Here we go. : And welcome to another pro audio suite. Thanks to tributh. Don't forget the code Tripap 200 to get $200 off your tributh. And austrian audio making passion heard. Just imagine a New Zealander, an American, a Canadian, an Australian and a half Englishman walk into a podcast. It's just happened. We have, apart from Robert Marshall, we have Rebecca Wilson, we have Ross and we have Vincent from source elements. : Ooh, here we are. : Wonderful. : An Argentine too. : Can you talk from our laughter who is here? : Yeah. : And welcome to the party in Las Vegas, by the sounds of it. : Now, we should say the award winning team. : Yeah, I was going to say there's a bit of a party going on because there's a new trophy in the cupboard. By the sounds of things, there is best in show. : We're holding it up right now. It's brilliant. Shining blue and it says, nab. Best in show. And it's gonna go under Robert's trophy case. : Exactly. I don't have a trophy case, but I have a trophy shelf. : Trophy shelf, yeah. : So, Phyllis, in best in show for. : Remote collaboration, remote production. Yes. : This is the new baby source connect four. Yeah. : Yes, it does. Atmos, amongst other many cool things, source Connect used to do and more than it does now. : So go and fill us in on the atmos thing because that's a massive leap forward. : Yeah. It allows you to have all sort of the raw atmos stream, so not just a rendered mix going across a remote connection, so someone can listen, but instead it gives you the flexibility to send what's called the bed. Then all the objects, these are all separate audio channels, as many as it will be, as many as 128 and the time code. And then most importantly, the metadata that steers all these objects around so that whatever the receiver has, as Atmos does, is it just conforms it. It renders it specifically for their speaker setup. So you could have a stage mixing a film with, say, 20 speakers and a director reviewing that mix in real time over source connect with, say, twelve speakers or even ten speakers. And maybe another person's connected at the same time and they just have headphones. So they're getting it as binaural. : It takes a lot of the thinking out of the equation, right? You just let the renderer on the remote side deal with the translation. So just lets the host, or the mix host, if you will, put one stream up and have it divvy out to everyone accordingly. : So everybody's end basically decides what it's. What it wants to hear. : Exactly. : Yeah. : Right. : Well, no, they'll hear the same thing. They'll just experience it in spatialization differently. : It'll be optimized for their speaker set up because it'll be coming out of a renderer directly on their side and. : The spatialization would be compatible from what you hear in binaural or 5.1. It's what someone's hearing in nine 1.6. But just with that lesser detail, I. : Guess the end goal is sort of like listening parity, which is almost impossible to achieve because everyone's going to have different speakers and configurations. But this is the most optimized version to get closest to that. : It's not like we're dropping like, you know, one of the voice channels so you only hear one side of the conversation. : It's the purpose that Atmos was made for so that there'd be one deliverable and then whatever your speaker set up. The person with the really nice speaker setup doesn't have to compromise for the person with the really simple speaker setup. : And the other way around. : And the other way around. The other person with a simple setup is not sort of burdened, in a sense, by having something that they can't play because of someone who has a really fancy system. So Atmos is like a deliverable that lets you play back anything from stereo all the way up to, you know, huge speakers arrays and 15 and 20 speakers even at home. : I think I have kind of an alternate kind of take on this which is basically like a bit of a tangent from that, that angle of it, but it's basically like these. Getting into a really tuned listening environment is a really expensive moment. You only get so many hours in there and the ability that now you could be working on a laptop in headphones through the Dolby Atmos renderer and building a mix towards your big mix session where you're going to actually sit in that room. That's kind of like what I think is at stake. And what's really exciting about this is you could be working on 5.1 before when you were working like in a stereo setting is you weren't able to know that it was going to translate. Exactly. This is kind of, or even at. : All, you kind of use tools like I had the, the waves thing that lets you take five one and make it binaural and you'd kind of have an idea. : I think most engineers I know would say they do their best work when like they, the client leaves and they get to work on something by themselves in a bit. So now the ability that you could be working towards this grand big spatial mix in a laptop setting and then transmit that to a listening environment that you can get into or physically get there, that's the real exciting prospect. : It kind of feels like equity, really like true equity. : Let's bring it back into more of the realm of our listeners, I guess. And AP and I have been having a bit of a play around with source connect four. Thanks very much to you guys. And the biggest step forward I see is firstly the GUI. You know, it looks so much more SmIc, so much more professional, so much more user friendly. But in terms of operation wise, the biggest step forward is the old queue manager, which now becomes restore replace. In source connect four we were like. : You know, we've spent 20 years honing technology and then we thought now we need to hone the user experience. It's really an internal focus for all of us. : Now the queue manager so often was just, people never read the manual. It didn't, it didn't work automatically enough. And then people would just go, what is this thing? I don't know. Shut it down, let's get on with our session. It wasn't something that they thought to ask for because they never had anything like it before. : It's weird, I've done so many sessions where I've said, are you using Q manager? And I get the answer, no. What's that? : Yeah, we just have one extra step to go, which is to be reading your session file automatically, your pro tools or logic or other session file, whatever we can. And then you honestly wouldn't have to do anything. And you've got restore happening all the time without needing to configure anything. : For me, the other awesome one would be for it to work even after I've shut down source connect because there's so many times that you shut it down and you go, oh, I shouldn't have done that, should I? : But you know, well we have reconnection logic built in now or like a new method where you know, if somebody does shut down, you still got work to do, you can bring it back up and it'll reconnect and it will restart. But we also, you know, if you shut the program down, then it can't do it anymore. That's the same. : But as far as, like, uploading the data maybe ahead of time or right away so you don't have to wait for the talent or worry if the talent shuts their system down. : This is maybe the most important thing about source page four. We've redesigned it from scratch, completely rewritten every line of code so that we can add these features that we know everybody wants. So the plan was the very first version on the first day. It's pretty much feature to feature for source connect three because we just need to get it out. : Right? : Yeah. : With doggy connection. : Okay. All right. Some more extra cool stuff. : There's a lot of cool stuff to. : Get you to want to upgrade, but then what you're talking about, like, hey, let's upload, you know, the whole session to the cloud so that the engineer can get it later on. All of that stuff can come now because with built hooks into all of this technology. : Sure. Well, let's pick through a few of them. AP and I were talking, we were looking at that restore replace page. AP noted the recorded files area and was wondering if that was sort of a hybrid of the old source connect now where you could actually record directly to the cloud. Is that the case, or is that actually looking at my. Well, in my case, my pro tools folder going, these are the files you've recorded so far. : Exactly. Those are the files that you've recorded in Pro tools. What I would originally say the Qmanager or the auto restore. Auto replace system recognizes as ones that it knows what they are and who they were connected to. And if there's any audio to fix or replace, restore or replace that it can do it. So those are your recorded files. And then the other one you might see in there is the uploads, which are files that maybe someone else recorded that you are uploading data to, to either restore someone else's file or replace data in someone else's file. : Okay. Because I think AP, you sort of liked the idea of recording in the cloud, didn't you? : Yeah, that's one of those features you're. : Technically recording there, and we can make that recording more available. It's actually, I think source connect three had that, but it had some flaws to it. But exporting the connection, if it's not there already, will be there. : AP has been playing with twisted wave too much. That's the problem I've been playing. : Yeah, indeed. Just going to ask about port forwarding. How does that change? Or has it changed in source connect four? : I got this one. How does that change? No more port forwarding is necessary. : Yeah. Nice. : Basically. : We find a way through your connection path and make it work. You don't have to go into your router and figure out anything complicated. You don't have to call us in a panic. You decided to take a vacation, and then you get called for a job. But nothing like that. It's just gonna work. : So source stream is available. Mac and windows. And port forwarding, especially in the pro version, is available if you want to use it. It does kind of. It's the ideal path for the connection, if it's available. And if you can lay out the red carpet for source connect, it appreciates it, but it's no longer required. : Only very strict networks and, you know, corporate environments. : Yeah. : My question is directed at you, Rebecca, and I'm wondering what hand COVID played in the development of source connect four, the one we're seeing now. : You know, it's still a complicated thing to process. What happened to the world in 2020? We all changed. It was a one of major cultural shift for them, us as humans. And so, of course, that can only be reflected in technology. And the main thing that changed, I would say, for us, is that we realized we kind of know what we're doing with the Internet, which was really nice to find out. It was really, you know, it wasn't a pleasant situation at all, but it was nice to know that we were able to help. That was really satisfying. If you could have called anything in that situation satisfying. And then it said to us, hey, I think that we have an idea what's gonna be needed the next 1020 years, because we've already been doing it 20 years. You know, Robert and I, the team are all young spring chickens, and. : And I have a cane. : We've still got some ideas left. I don't know, maybe just a certain insight that we have from doing this so long. It was like, now the world's ready for us. : I think what happened in the pandemic is a. All the doubters went, oh, remote really does work. And for us, what we realize is that remote is no longer just like the talent's remote or the client's remote, but remote is everybody's remote, and they all have different roles. And how to put those roles together in the most cohesive way became more what SourceConnect four was about compared to what we thought source connect four was going to be prior to the pandemic. : If you think about source Connect, like source Connect pre COVID was something that was nice to have, and then when COVID hit, it was something you had to have, and that changed the whole game. : I thought, well, Andrew, honestly, you and I, you know, we're from the South Pacific, from Australasia. I wouldn't say that source connect was a nice to have. It was kind of a, you know, whether it was source to nature or something else, we had to have something or how on earth we were going to work internationally because plane tickets are expensive and, you know. : Yeah, that's. : I think. : I think so, yeah. But I'm thinking from my point of view, like, as a voice talent, working with studios like you, historically, you just drive it. I go to Melbourne or Sydney or whatever it was for a job. And, you know, you managed to convince people that, you know, you can actually connect with to my studio if I work with someone in Sydney or wherever. But it was kind of a luxury, really. And people would just use local talent, pull up in their car park and go into their booth. But once COVID hit, it was not like that at all. It was a different game. : I think, especially here in Australia, there was a massive resistance to home studios, to the point where owners of studios would refuse to work with remote voice actors because they figured they were trying to steal their work. So. But COVID sort of put a whole new perspective on that, I guess, really, didn't it? : Yeah, and there were people. There were people that were actually literally coming out and black banning talent for having a home set up. : Yeah, that guy's got a home studio. He's stealing my work. : Prior to, like, up to. Prior to the pandemic, or did that subside at some point? : Yeah, I think it was. Look, it was. It was softening, but it was still there. : I think what the pandemic did is kind of shift the focus from the studio to the operator to the engineers at those studios. Right. So I definitely spoke to a lot of people in those places that said they got more work because they were able to do so much of it remotely. : Well, I know that's a fact for a lot of studios where they were able to, like, have engineers at home and at the studios, or just because clients weren't in, they were able to do just more work. Like, yeah, everybody could be put to work. All you needed was more licenses of whatever it was that you were using, like. Like pro Tools and Source connect and whatnot. : Yeah. : The irony of this whole thing. When COVID hit, all of a sudden studios were calling me because they had to get out of their commercial studios and set up at home and asking if I could do tests with them to make sure their source connect was working. : Wow. : Right. Or weren't some talent going to your place just to do sessions? Because they were, you know, they couldn't go all the way to the studio, but somehow they could give you COVID. : Exactly. : I don't know how the rules were, but I seem to remember you were hosting some talent at your place. : Yeah, there was a few that came here because they got out of the city and they were living sort of coastal, so they couldn't get in there anyway. And I was asked if people could come here that were living locally, and of course I obliged. : The amount of tech that was pushed on to pretty much every operator in a remote setting was, I think, probably one of the humbling parts of the pandemic. Right. Because, you know, it was, it was once you have every role get remote, then all of a sudden, like, I know a lot of audio engineers that know nothing about networks. Yeah. You know, like, it's like literally everyone has kind of thrown this wrench of technology and different roles now I got to be it as well as engineering. Well, that's what support was here for. : Yeah, I mean, I was just thinking like literally a big part of like source connect helping in pandemic was just a huge heavy load of tech support. And it wasn't just getting talent on boarded, but it was almost teaching a lot of people like how to work remotely or how to like not just do a remote ISDN, like to freaking have everybody be remote and lots of people routing. Yes. : So you know, all that's kind of, I think that's what source connect four represents. I think a lot of the learning of that is how to streamline exist, make the UI, make it make sense for you so you don't really need to think too much. The getting rid of the eye lock and the port forwarding requirements. I don't know if we talked about ilock, that's the thing. We've experienced that probably in huge volumes right at the start of the pandemic. : What's this? : What is this Iloc thing? : I need something physical and I can't. : Go out and get it. : You didn't need it physical at the time. Another account? Is it going to cost me anything? No, it's a free account and you know, you can't verify or you can't easily set somebody up because there's just more email verifications for new accounts that are created and God forbid the account that you created in source elements, that same account name is not available in Ilog. So now you have two different account names to remember and like two different passwords and. : Yeah, and people are losing their passwords because they use one thing for one account, one thing for another account. : So that's gone. : No more eyelock. : Wow, you heard it here first. : You heard it here, folks. That's right. Exactly. : Breaking news. : Bravo did say that he would like the UI to be bigger. : Bigger, small. : Can't see shit. : Smaller the GUI. : Oh, smaller the GUI. : It would be nice to be able to scale it like I want to see. I love the size of it as it is for now, but even when you've hit that little four corner box and it squashes down to the sort of send and receive meters and then the menu underneath, for me, it still takes up a lot of space on my screen. : And you can make it smaller. Yeah, you can grab the corner and push it in. : We're in the final mile of quality of life improvements. A lot of the stuff that, you know, those sort of smaller bits are just, they're gonna get done in the next couple months and. : Absolutely, I mean, you've embarked on a massive job. But that was one of the observations that I sort of, I did say to rob, but is I wanna see it big when I'm setting up the session and when I'm getting everybody connected. But once everybody's connected, I've got three screens in front of me, I've got my edit on one, my mix on another, and then my third is dedicated to picture for video. Source connect plugins, meters, all the rest of it to keep them out of the way. So the less space that can take up for me, because I really only need to glance up and see if it's metering. If someone says they can't hear something. : Can I throw in a future feature that I don't think is a spoiler because I really wanted. Yep, we plan to separate the UI from the engine and you could run it from like another screen or an iPad. And to me that's the sweet spot there, especially for, you know, people who are running, you know, big installations. They can walk away and, you know, oh, source Kinect five is not working and they can look on their phone. Oh yeah, oh, it's working now. : Right. : Why should they have to go back. : To the machine room and what about integration with Nexus? : I think you're going to definitely see Nexus and source connect integration and just further integration across the whole product line going towards that platform. : I think because I was telling Robert on a previous episode, it wasn't all that long ago, I had a session where I had a voice talent up in Brisbane somewhere. I had a creative sitting in the airport and two guys in the agency here in Sydney, and then the client was also online from, like, Perth in Western Australia or something like that. And there was another talent in Adelaide and it was this massive session. And if you could have seen my poor old thirst screen with meters and everything else going and all the rest of it, it becomes a logistical nightmare trying to remember where you've put everything and who's on what. So combining that all together would be quite impressive. : Can't say exactly what you might see, but I think sort of connect and nexus are surely more communication. : Well, that's actually a really good advancement that you've reminded me that you've, you've put into four. Here is the fact that all your connections appear in the one place. I think that's, that's amazing. : And they cross connect for you. : Yeah. : So they all hear each other without you having to do a thing. : Right. : You can pull multiple outputs, everyone record on everyone on a separate track, and. : You can even give them different inputs. : Right. : Right. You can send them different things, but they will all send to each other. : Yeah. : Can I make it so that person doesn't send to that person? : That's the plan for sure. We want to have a more project based style where you could decide what role is everyone playing? What do they hear? What do you hear? : What do you want them to hear? Who hears what? You can make everyone hear each other in a round circle and you could really play the game of like, tell this story to the next person and when it gets back to you. That is not the story I told. : Yeah, well, it's. I mean, the way you've set it up now, it's almost a well and truly upsized source connect now, right? : I'd agree. In a simple sense, it is like source connect three and source connect now. Sort of merging together and becoming each one, giving the best of what they used to do so you get the benefits. Yeah. : The autorestore replace being like, now you actually truly have an acquisition system that's like, bit accurate, right? : Yeah, yeah, exactly. : Never mind the browser, you're not going to get that there. : We know where every sample and frame is. : Speaking of frames, we have a system called remote Overdub sync which instead of remote transport sync where you are to deal with latency on a project. If someone is singing or doing ADR, going back to ISDN, the original method is to send timecode into sync. Two timelines on either side. So one chases the other networks, but there's a lot of setup on either side. So the remote overdub sync ideas that you can send to the talent whatever they need to hear and whatever they need to see and they perform if it's ADR and they sing and that performance gets back to you and you record it. And while you're recording it using the remote over dub sync system, you hear it in sync and when you hit stop in your daw, you see the waveform and then a moment later, a couple of seconds later, you see that waveform jump back in time to be where it should have been had there been no latency between you. So you can overdub, really just connect and overdub. You don't have to tell people to load up this timeline and click this button to synchronize. : No more comments of that doesn't look right to me from the back of the room. When you're recording with the talent, are. : You thinking or is it going to happen for iOS by any chance? : Oh yeah. : Yes. : I'm a big icad fan. I really love mine. I use it mostly as a music score player to play piano and I would love to use source connect on it and it's definitely happening. : AP is only asking you because he's trying to create the world's smallest voiceover roadkit. It's a purely selfish motivation. : I get it. : He just needs to use a trrs cable. And like, if Andrew just needs to talk to me about how to make things. : Uh huh. Absolutely. You would have the world's smallest road case. Indeed. : That's not the only thing that I've got the smallest of, but that's another story for another day. Thank you guys. Thank you Rebecca. Thank you Ross. Thank you Vincent. And of course Robert. : Congratulations. Congrats. : Thank you. : Thanks Andrew. Thanks, Jorge. : Well, that was fun. : Is it over? : The pro audio suite with thanks to Tribu and austrian audio recorded using Source Connect, edited by Andrew Peters and mixed by Voodoo Radio Imaging from George the tech Wittem. 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, thepro audiosuite.com. #ProAudioSuite #SourceConnectFour #RemoteRecording #AudioProduction #Podcasting #AudioEngineering #Podcasters #VoiceOver #PodcastProduction #AudioTech

Google Shows AI Model Is Enterprise-Ready After Gemini Mishaps The Internet Archive Just Backed Up an Entire Caribbean Island FCC chair rejects call to impose Universal Service fees on broadband Talking about the old internet Jeff's paper on the California Journalism Preservation Act Twitter's Clumsy Pivot to X.com Is a Gift to Phishers Elon Musk says Tesla will unveil its robotaxi on Aug. 8; shares pop SF Giants using facial recognition tech to fast-track ticket line NYC Chicken Shop Replaces Cashier With Woman in Philippines On Zoom First look at federal privacy bill Instagram Generated Almost 30% of Meta's Revenue in Early 2022 Elon Musk's 'self-inflicted wounds' and other highlights from a newly released deposition 5 Workspace announcements from Google Cloud Next '24 Fitbit app rolling out redesigned Sleep stats Google's Nest Secure is shut down — and you've got options besides ADT Google brings AI-powered editing tools, like Magic Editor, to all Google Photos users for free The wonderful world of Taskmaster Also! A report from the teens at PS 47 Mario meets Pareto Suno music Hosts: Leo Laporte, Jeff Jarvis, and Paris Martineau Download or subscribe to this show at https://twit.tv/shows/this-week-in-google. Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit Sponsors: joindeleteme.com/twit promo code TWIT fastmail.com/twit Melissa.com/twit

Google Shows AI Model Is Enterprise-Ready After Gemini Mishaps The Internet Archive Just Backed Up an Entire Caribbean Island FCC chair rejects call to impose Universal Service fees on broadband Talking about the old internet Jeff's paper on the California Journalism Preservation Act Twitter's Clumsy Pivot to X.com Is a Gift to Phishers Elon Musk says Tesla will unveil its robotaxi on Aug. 8; shares pop SF Giants using facial recognition tech to fast-track ticket line NYC Chicken Shop Replaces Cashier With Woman in Philippines On Zoom First look at federal privacy bill Instagram Generated Almost 30% of Meta's Revenue in Early 2022 Elon Musk's 'self-inflicted wounds' and other highlights from a newly released deposition 5 Workspace announcements from Google Cloud Next '24 Fitbit app rolling out redesigned Sleep stats Google's Nest Secure is shut down — and you've got options besides ADT Google brings AI-powered editing tools, like Magic Editor, to all Google Photos users for free The wonderful world of Taskmaster Also! A report from the teens at PS 47 Mario meets Pareto Suno music Hosts: Leo Laporte, Jeff Jarvis, and Paris Martineau Download or subscribe to this show at https://twit.tv/shows/this-week-in-google. Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit Sponsors: joindeleteme.com/twit promo code TWIT fastmail.com/twit Melissa.com/twit

Google Shows AI Model Is Enterprise-Ready After Gemini Mishaps The Internet Archive Just Backed Up an Entire Caribbean Island FCC chair rejects call to impose Universal Service fees on broadband Talking about the old internet Jeff's paper on the California Journalism Preservation Act Twitter's Clumsy Pivot to X.com Is a Gift to Phishers Elon Musk says Tesla will unveil its robotaxi on Aug. 8; shares pop SF Giants using facial recognition tech to fast-track ticket line NYC Chicken Shop Replaces Cashier With Woman in Philippines On Zoom First look at federal privacy bill Instagram Generated Almost 30% of Meta's Revenue in Early 2022 Elon Musk's 'self-inflicted wounds' and other highlights from a newly released deposition 5 Workspace announcements from Google Cloud Next '24 Fitbit app rolling out redesigned Sleep stats Google's Nest Secure is shut down — and you've got options besides ADT Google brings AI-powered editing tools, like Magic Editor, to all Google Photos users for free The wonderful world of Taskmaster Also! A report from the teens at PS 47 Mario meets Pareto Suno music Hosts: Leo Laporte, Jeff Jarvis, and Paris Martineau Download or subscribe to this show at https://twit.tv/shows/this-week-in-google. Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit Sponsors: joindeleteme.com/twit promo code TWIT fastmail.com/twit Melissa.com/twit

Google Shows AI Model Is Enterprise-Ready After Gemini Mishaps The Internet Archive Just Backed Up an Entire Caribbean Island FCC chair rejects call to impose Universal Service fees on broadband Talking about the old internet Jeff's paper on the California Journalism Preservation Act Twitter's Clumsy Pivot to X.com Is a Gift to Phishers Elon Musk says Tesla will unveil its robotaxi on Aug. 8; shares pop SF Giants using facial recognition tech to fast-track ticket line NYC Chicken Shop Replaces Cashier With Woman in Philippines On Zoom First look at federal privacy bill Instagram Generated Almost 30% of Meta's Revenue in Early 2022 Elon Musk's 'self-inflicted wounds' and other highlights from a newly released deposition 5 Workspace announcements from Google Cloud Next '24 Fitbit app rolling out redesigned Sleep stats Google's Nest Secure is shut down — and you've got options besides ADT Google brings AI-powered editing tools, like Magic Editor, to all Google Photos users for free The wonderful world of Taskmaster Also! A report from the teens at PS 47 Mario meets Pareto Suno music Hosts: Leo Laporte, Jeff Jarvis, and Paris Martineau Download or subscribe to this show at https://twit.tv/shows/this-week-in-google. Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit Sponsors: joindeleteme.com/twit promo code TWIT fastmail.com/twit Melissa.com/twit

Google Shows AI Model Is Enterprise-Ready After Gemini Mishaps The Internet Archive Just Backed Up an Entire Caribbean Island FCC chair rejects call to impose Universal Service fees on broadband Talking about the old internet Jeff's paper on the California Journalism Preservation Act Twitter's Clumsy Pivot to X.com Is a Gift to Phishers Elon Musk says Tesla will unveil its robotaxi on Aug. 8; shares pop SF Giants using facial recognition tech to fast-track ticket line NYC Chicken Shop Replaces Cashier With Woman in Philippines On Zoom First look at federal privacy bill Instagram Generated Almost 30% of Meta's Revenue in Early 2022 Elon Musk's 'self-inflicted wounds' and other highlights from a newly released deposition 5 Workspace announcements from Google Cloud Next '24 Fitbit app rolling out redesigned Sleep stats Google's Nest Secure is shut down — and you've got options besides ADT Google brings AI-powered editing tools, like Magic Editor, to all Google Photos users for free The wonderful world of Taskmaster Also! A report from the teens at PS 47 Mario meets Pareto Suno music Hosts: Leo Laporte, Jeff Jarvis, and Paris Martineau Download or subscribe to this show at https://twit.tv/shows/this-week-in-google. Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit Sponsors: joindeleteme.com/twit promo code TWIT fastmail.com/twit Melissa.com/twit

Google Shows AI Model Is Enterprise-Ready After Gemini Mishaps The Internet Archive Just Backed Up an Entire Caribbean Island FCC chair rejects call to impose Universal Service fees on broadband Talking about the old internet Jeff's paper on the California Journalism Preservation Act Twitter's Clumsy Pivot to X.com Is a Gift to Phishers Elon Musk says Tesla will unveil its robotaxi on Aug. 8; shares pop SF Giants using facial recognition tech to fast-track ticket line NYC Chicken Shop Replaces Cashier With Woman in Philippines On Zoom First look at federal privacy bill Instagram Generated Almost 30% of Meta's Revenue in Early 2022 Elon Musk's 'self-inflicted wounds' and other highlights from a newly released deposition 5 Workspace announcements from Google Cloud Next '24 Fitbit app rolling out redesigned Sleep stats Google's Nest Secure is shut down — and you've got options besides ADT Google brings AI-powered editing tools, like Magic Editor, to all Google Photos users for free The wonderful world of Taskmaster Also! A report from the teens at PS 47 Mario meets Pareto Suno music Hosts: Leo Laporte, Jeff Jarvis, and Paris Martineau Download or subscribe to this show at https://twit.tv/shows/this-week-in-google. Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit Sponsors: joindeleteme.com/twit promo code TWIT fastmail.com/twit Melissa.com/twit

In this episode of The Voiceover Gurus Podcast, Linda invites Australian voice actor, Matt Cowlrick, to discuss the essential elements of a successful career in voiceover. Matt shares insights on how having a diverse range of accents and vocal ranges can help voice actors tap into a broader range of opportunities and build a long-lasting career. Listen and learn about how Matt has made it work for decades. About Matt: Matt Cowlrick has been a full-time voice actor for over a decade. He records every day from his personal Source-Connect and ISDN studio, mostly in the genres of commercial, corporate and animation/character.   He works in multiple accents and vocal ranges with some of the biggest brands in the world. Select national campaign voice work includes TD Bank, GMC, McDonalds in Canada, BabyBel, Scrubbing Bubbles, Hilton, WorkDay in the US, Trex Decks in the UK and VistaPrint in Australia. He has performed promo work for AMC, Discovery, and Paramount+. Some of his animation and video game credits are Pirate Express (TELETOON), My Little Pony: Friendship is Magic, Chuck's Choice, World of Warcraft and Littlest Pet Shop and Loki and additional characters in Marvel Super Hero Adventures.   Visit Matt's production company website: https://www.timbersound.ca/#about And consulting website: https://www.timbercreative.ca/   FOR MORE INFO ON THE SHOW, PLEASE VISIT: Coaching Website: https://voiceover.guru/  and https://learnwiththegurus.com/ Linda Bruno Voice Actress  https://www.lindabruno.com Alyssa Jayson Actress and Musician http://www.alyssajayson.com Join our Circle Community: https://the-voiceover-gurus.circle.so/home

The following question refers to Section 7.3 of the 2022 AHA/ACC/HFSA Guideline for the Management of Heart Failure. The question is asked by Palisades Medical Center medicine resident & CardioNerds Academy Fellow Dr. Maryam Barkhordarian, answered first by Hopkins Bayview medicine resident & CardioNerds Academy Faculty Dr. Ty Sweeny, and then by expert faculty Dr. Gregg Fonarow. Dr. Fonarow is the Professor of Medicine and Interim Chief of UCLA's Division of Cardiology, Director of the Ahmanson-UCLA Cardiomyopathy Center, and Co-director of UCLA's Preventative Cardiology Program. The Decipher the Guidelines: 2022 AHA / ACC / HFSA Guideline for The Management of Heart Failure series was developed by the CardioNerds and created in collaboration with the American Heart Association and the Heart Failure Society of America. It was created by 30 trainees spanning college through advanced fellowship under the leadership of CardioNerds Cofounders Dr. Amit Goyal and Dr. Dan Ambinder, with mentorship from Dr. Anu Lala, Dr. Robert Mentz, and Dr. Nancy Sweitzer. We thank Dr. Judy Bezanson and Dr. Elliott Antman for tremendous guidance. Enjoy this Circulation 2022 Paths to Discovery article to learn about the CardioNerds story, mission, and values. Question #28 Mr. Gene D'aMeTi, a 53-year-old African American man with ischemic cardiomyopathy and heart failure with reduced ejection fraction (LVEF 30-35%), is recently admitted with acutely decompensated heart failure and acute kidney injury on chronic kidney disease stage III. His outpatient regiment includes sacubitril-valsartan 97-103mg BID, carvedilol 25mg BID, and hydralazine 50mg TID. Sacubitril-valsartan was held because of worsening renal function. Despite symptomatic improvement with diuresis, his renal function continues to decline. He is otherwise well perfused & with preservation of other end organ function.   Throughout this hospitalization, he has steadily become more hypertensive with blood pressures persisting in the 170s/90s mmHg. What would be an appropriate adjustment to his medication regimen at this time? A Resume Losartan only B Start Amlodipine C Increase current Hydralazine dose D Start Isosorbide dinitrate therapy E Both C & D Answer #28 ExplanationThe correct answer is E – both increasing the current hydralazine dose (C) and starting isosorbide dinitrate therapy (D). Although ACEI/ARB therapy (choice A) has shown a mortality and morbidity benefit in HFrEF, caution should be used in patients with renal insufficiency. In this patient with ongoing decline in renal function, RAAS-inhibiting therapies (ACEi, ARB, ARNI, MRA) should be avoided. In this case, as his RAAS-I has been stopped, it would be reasonable to increase current therapies to target doses (or nearest dose tolerated), as these demonstrated both safety and efficacy in trials (Class 1, LOE A). Considering that his high dose ARNI was stopped, it is unlikely that either hydralazine or isosorbide dinitrate alone, even at maximal doses, would be sufficient to control his blood pressure (Options C and D, respectively). Interestingly, in the original study by Massie et. Al (1977), the decision was made to combine these therapies as the result was thought to be superior to either medication alone. ISDN would provide preload reduction, while Hydralazine would decrease afterload. Consequently, we do not have data looking at the individual benefit of either medication in isolation. In self-identified African Americans with NYHA class III or IV HFrEF already on optimal GDMT, the addition of hydralazine & isosorbide dinitrate is recommended to improve symptoms and reduce mortality and morbidity (Class 1, LOE A). In this case, as the patient has evidence of progressive renal disfunction, we are limited in using traditional RAAS-I, such as ACEI, ARB, or ARNI.

2023.09.16 – 0989 – The Diction-ary of Voice – I **IImpromptu (or ‘ad libbed') – a comment made ‘off the cuff' without a script or prior rehearsalInflection – the lifting or lowering of the pitch of an individual word or different parts of a word to indicate significance (see: ‘cadence')Insurance takes - when the director wants one more take, ‘just in case'Integrated loudness - the average loudness across an entire recordingInterdental (or ‘linguadental') – the speech sound when the tongue darts through the lips. Used when people say “theoretically, this third thrush threads theatre throws”Interface - hardware that connects to your computer that allows you to record audioIn the mud (or ‘muddy') – a low or distorted volume In the red (or ‘hot', ‘distorted') – a high or distorted volumeIPDTL (ipDTL) - Internet Protocol Down the Line: an IP codec running in a web browser, used for remote broadcasts in television, radio, and voice-over and a replacement and compatible with older ISDN audio codecsISDN - Integrated Services Digital Network: a system similar to the newer over the digitalised circuits of the public switched telephone network IVR – Interactive Voice Response: technology that allows phone users to interact with a computer-operated telephone system through the use of voice. A voice-over artist will record, say, movie titles on show and the screening times and ticket availability, which a caller will interactive by responding to voice promptsiZotope – a software company providing plug-ins that repair audio, doing things like removing background noise, distortion and mouth noises Hosted on Acast. See acast.com/privacy for more information.

It started with just a select few, then it grew in popularity to become a trend, and these days, guys like our very own George "the Tech" Whittam are installing home studios at a rate of knots while others create their own acoustically treated paradise in the basement. So what's next? What does the future hold, and can we ever recoup the costs by charging our clients to use them?? 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   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 the Pro Audio Suite, the team delves into the upcoming Nexus from Source Elements, a plugin that effectively routes audio, virtual audio interfaces in and out of Pro Tools. The team also discusses novel features such as the Dim operation and incorporates talkback functionalities. The emerging future of voice-over artists working directly from one room, rather than traditional booths was examined, suggesting industry shifts. There is discussion on the need for talent to show their value in order to increase pricing, given the significant investments made in equipment and learning audio engineering. Other elements discussed included the limitations of the iPad in a pro audio production workflow, the strategic placement of preamps, and the anticipation of the passport and Nexus release. The episode rounds off with a nod towards their future plans to incorporate higher levels of control. #ProAudioSuite #SourceElementsNexus #VoiceoverTech   Timestamps [00:00:00] Intro - Meet the Pro Audio Suite Hosts [00:00:52] Discussing Nexus: The Innovation in Audio Routing [00:08:38] Efficiency of Nexus on Channels [00:09:13] The Future of Voice Over Workstations [00:12:05] Charging Reality in Voiceover Industry [00:15:19] Value of Remote Studios and its Impact on Pricing [00:22:18] Investment Expectations in Preamps, compressors and Microphones [00:28:04] Nexus Router's Flexibility in Sound Production [00:32:40] The Role of iPads in Pro Audio Production [00:37:16] The Controversy of the Preamp's Location [00:42:02] A Light-hearted Detour from Nexus Talks [00:42:20] Anticipating the Launch of Passport & Nexus [00:44:40] Pro Audio Suite's Collaboration with Tribut & Austrian audio, and a Mention of George Wittam's Tech Support Services.   Transcript Speaker A: Y'all ready? Be history. Speaker B: Get started. Speaker C: Welcome. Speaker B: Hi. Hi. Hello, everyone, to the Pro Audio Suite. These guys are professional. Speaker C: They're motivated with tech. To the Vo stars George Wittam, founder of Source Elements Robert Marshall, international audio engineer Darren Robbo Robertson and global voice Andrew Peters. Thanks to Triboo, Austrian audio making passion heard. Source elements. George the tech. Wittam and robbo and AP's. International demo. To find out more about us, check thepro audiosuite.com line up. Speaker B: Learner. Here we go. Speaker C: Welcome to another Pro audio suite. Don't forget, if you do want to buy a Tribooth, the code is tripap 200 to get $200 off your purchase. If you'd like to leave a comment, by the way, on your favorite platform, please do so. It's good for our analytics, and we might drive a bit more traffic, which is always handy. Now, something that may be out as we speak or maybe about to be released, is the new Nexus from Source Elements. You've definitely had a look at it, George. I think you've had a look at it, Robert. And Robert knows all about it because it's his baby. Speaker A: How much do you know, Robert? : Let's be honest, I'm clueless. Yeah. Speaker C: No, that's me. That's my Robert. : I know it all, but really, don't I'm just like yeah. Speaker A: Can I just say, before you dive into it, it's a very sexy beast. Seriously, it's very clever. Speaker C: You've had a look around the whole thing, haven't you? Speaker A: I have. I've sort of had a play with it. But, I mean, Robert's going to explain it the best, so we should leave it to him to run through the list of features. : I like hearing what kind of mess other people make out of it. Speaker A: Well, you know, what inspires me the most, and I think is going to be the most useful for our listeners, I think, is simple things like the Dim operation, the fact that it actually just drops your mic level. : Drops the levels. Yep. Speaker A: And all that sort of stuff. : A lot simpler than a Dugan mixer. Speaker A: The gateway from a studio point of view, from me looking at that gateway, everything's all in the box. I've got video, I've got everything there. But, I mean, you should explain it all. : Yeah. So basically, Nexus started out, oh, God, how many years ago? 2007? I don't know. But I was like, wouldn't it be nice if you could route audio, virtual audio interfaces in and out of Pro Tools? And it was like, we made that, and it was kind of a hit. And what it was primarily used for was to interface the client side of a remote voiceover session, or just a remote client side. So think of it as Source Connect was the remote connection for voice talent into an engineer setup, who then also has remote clients. And Nexus was used to empower things like zoom and hangouts. But we all know that all of those have their various issues for instance, one of them is if you're broadcasting and you've got talkback going over zoom, there's very different goals of the talkback versus the broadcast that you want to have your clients listen to, so the talkback can have echo cancellation on it. And actually that helps because many times your clients don't have headphones, but your broadcast, you don't want it to be impeded by the echo cancellation and things like this. So what Nexus is, is it still represents to me that sort of client side connection. But now we're completing more of it. Instead of saying, oh, just like throw Nexus at Zoom, or throw Nexus at whatever it is that your clients are using Microsoft teams, here's a gateway for it that does what you need as a professional audio and video person for collaborating with your clients. Instead of trying to pound Zoom into a hole. Speaker B: Here's how it was described ten years ago, you sent an email out sourcenexis is an audio application router. Record remote voiceover from Source Connect directly into Final Cut or Media Composer playback itunes to Pro Tools, even patch Pro Tools to and from Nuendo all at the same time. Route any audio application in and out of Pro Tools, even if that application does not have any plugin support. Speaker A: There you go. Speaker B: That was December 2013. : So that's like a very broad, broad strike explanation. Sort of like it's round and so it rolls, but this is a wheel for a car. So yeah, the rolling part of it is well, it pretty much is a router that was put in the Daw so that you could route external interfaces in and out and do things like that. And the primary thing that it got used a lot for was those client side connections. Speaker C: So how would it work for someone like me? What benefit would I get out of Nexus? Speaker B: So the talent side, what do they say? : I think the same thing. So just like you've got Source Connect and you're running with studios and engineers and it has that rock solid queued up connection that's going to pick up every bit. Even if the internet does its thing, as you know, voice talent are being forced to take up much more and more of the burden and you have the situation where, hey, can I get playback? So one of the things that Nexus has is it's now a suite, by the way. It's not just the plugin. So there's the original Nexus IO, which is sort of like just the raw plugin. You have to know what you want to do with it. You have to build your own template for it. Nexus Review is a Nexus plugin that now has several ins and outs going into it and out of it. So it brings your talk back over to the gateway, which is our web meeting room. It gets the gateway back into your connection so that you hear it in your headphones and it plays your playback to the connection and everybody. And it does all that without you having to even think about what the word Mix Minus is or if it even exists. Because it's done all in one plugin. So what used to need two, three Nexus plugins and a talkback plugin is now Nexus Review. Okay, straight, just drop that plugin on your master fader, your setup is complete. Speaker C: So when you do playback, it actually mutes everything else. So you don't get obviously well, it. : Doesn'T in this iteration, but there's going to be all kinds of stuff that starts to happen within the suite, within its sort of capabilities. And I think that right now, the first thing you would say is it just makes playback easy. Your question specifically, Andrew, which is like, why would a voice talent want this? It makes playback easy because really, in that sense, you're just like the engineer at that point. You're recording stuff and you're playing it back. That's kind of like what? So this just makes that setup way less daunting because all you really have to do is and also we're going to probably come out with that as a standalone app as well. So if you're using something like Twisted Wave, you can just route Twisted Wave into the Nexus review app and same thing, you don't have to be on a daw. It doesn't have to be a plugin, but it does your Mix Minus and your talkback Twisted Wave. Actually, here's a question about twisted wave. Do you have the option to monitor live through it? Speaker B: It does have a monitor mode that you can turn on, of course with a little bit of latency, but it does have that capability, right? : So you might want to do that. And funny enough, if it does create a latency with yourself, there's a handy mute button so you can mute it and you don't have to listen to it, but at least your clients can hear you monitoring through Twisted Wave. So there's little individual situations that might come. Speaker B: What would be the benefit though? Like if you don't have to monitor yourself in Twisted Wave, what would be the benefit of turning that on? : Well, the reason why is that you're either going to direct your microphone live into Nexus Review, but then if you want playback, you're going to route your Daw into Nexus Review. And if you call Twisted Wave a Daw, then you want to route Twisted Wave into it. Speaker B: Okay, so you set the output in your Twisted Wave output setting to the Nexus review plugin input. : Yes. Not the input of well, in this case it would be the input of the application, not the gotcha gotcha, because in the Daw sense, the input is taken care of. It's like whatever channel you throw it on, the input is implicit. Speaker B: Right. : And then that same ability for all you video editors out there and things like that, the review set up and integrating my talkback with a talkback button if I want all of that is just like done, whatever, I have to set up a template in Pro Tools or I have to have a mixer. All the different things that people do. Speaker B: To be able to passport vo. Speaker C: Yes. Nicely sliding there. Speaker B: Right. So just to get a little bit deeper. So I'm in Twisted Wave. I'm the actor. I've recorded myself. I hit stop, I hit play to hear playback. I want to hear the playback and I want it to also send to Nexus. If I set the output of Twisted Wave to Nexus, will I myself on the local side hear the playback also or will it be shunting the audio. : To you would hear the playback and so there is a fader for you. Speaker B: Oh, Nexus handles that for you. : Nexus has a fader with the mute on it that you could mute that if you want. Speaker B: Nice. So that solves that problem. Beautiful. Right. Speaker C: The question I've got though is it seems that we as voice over people are going to end up sitting in one room with microphones and screens and computers in there with us. So the booth is pretty well fast becoming redundant. : Well, it might be that radio style booth. Speaker A: Yeah. Do you just have it in your booth? That's right, that would be my yes. Speaker C: What I mean but it's become like a radio. Speaker A: I think that's going to happen anyway. I kind of think that for me, this thing's sort of ahead of the game because I can see that coming, I really can. The more and more I even had two sessions in the last couple of weeks canceled because the creative guys just jumped online with the voice and did it themselves. They didn't need an engineer. : We do see a lot of that. It's like the phone patch may have gone away, but the direct to client session and where it comes up and it's really funny because clients don't really save time when they do this. They think they do, but they don't. So they say, hey, let's not book a studio to record the talent. Let's pay the talent the same amount of money and make them record it and complain at them if it didn't work out the way we wanted, by the way. So now we have the talent recording everything and inevitably, no one keeps good notes. And even if someone does keep good notes, you don't know how well the talent is cutting up the files. And it's very easy if you've ever been in a session sometimes to get your take numbering off from what you're writing down and what's actually happening in a computer, especially if you as the talent, you're busy trying to do other things, like read the script and not look at the computer screen. On what file number Twisted Wave is on. And so inevitably, someone has to put humpty Dumpty back together again after the talent has recorded everything. And that's going to take just as much time as just recording the session with an engineer online who can cut everything up and do it for you. And that way the talent only reads what they need to. They're not reading a bunch of speculative takes because no one knows if A is going to edit back to take 65 or whatever. You can just hear it. You got it. Great. And it fits because we timed it out. Speaker A: You just touched exactly on the problem that came from one of these sessions the other day. And this was a well known agency, a global agency, that they did one of these sessions where they just recorded it with whoever it was locally and they were on the phone, but the creative rings me and goes, yeah, kind of. I'm really happy with this. But we did some takes. I asked the talent to do this, but of course, with no labels, no notes, no nothing, I've got to go through every single take and go to him. Is it this one? No, that's not it. What about this? No, that's not it. No, it's more like this. Oh, hang on. Okay, well, is it this one? No, it's not that. It's like if I was doing the session in Pro Tools, it would be labeled. I'd have a page full of notes as well. This edits to this, blah, blah, blah, and it's done. But it took, like half an hour to find one take for this guy. Speaker B: The pennywise found it is pennywise pound foolish. : But the other problem is that what happens is that they're all working off of flat bids, right? 1 hour for the talent. They know what their residuals are. They bid these things out. And it's really hard to get these agencies to necessarily do just, hey, we want to be creative and throw paint on the wall and pay by the hour to throw paint on the wall. Instead, they do I don't know if you've seen that. It's that thing where the guy says, like, hi, we'd like to do an advert and we want to research sound effects and do all this stuff and try two different music takes and this and that. So 1 hour. And the person in the studio is like, I think it's going to take longer than that. And then the person at the agency is like, no, we know our stuff. We know exactly what we want. We're not indecisive at all. We only need 1 hour. And then you're like, okay, now you're stuck making a commercial in 1 hour that you know is going to take longer. So even though the agency basically saddles the talent with recording the takes, they never actually face the consequences of their actions because the bid happens. Then they audition, and it's like they've already at that point with the bid, taking out the voice record. We'll just give you takes. Speaker C: Yeah. You get what you pay for. And if you don't pay him, you. Speaker B: Don'T get much, and you're going to pay later. Speaker A: It's pay now, pay later. Sooner or later, you're going to pay for it. : I really think this was that moment when the voiceover industry, they all decided that they were going to try to eat each other's lunch. And at some point, it became like, my booth doesn't cost a thing. My setup and knowledge of my booth and what to do through blood and sweat and tears, paying me figured out and literal money that is free too. Speaker B: Right? : And all that stuff never should have been free. It should have been, okay, I'm whatever. $400 an hour, and, oh, you want to use my studio even if it's $50 an hour? Speaker B: Yeah, there should be a rate attached. I totally agree. As voice actors who wanted to be providing a service and I can name names, but I don't need to who are very early on in the home studio timeline. Right. Like literally FedExing Dat tapes. Right. They wanted to be a service provider. They wanted to be ahead of the curve and create a business niche for themselves. In the meantime, they were creating a problem for the fact that home studios would eventually become the norm, and nobody was getting compensated for operating a studio and engineering a session. : It's like when you have something unique, you charge more for it. So if you're a voice talent and because you're available at home, you are available, like, instantaneously, you don't need to have a limo drive you around La. That's a perk. And it might be a perk for you, but it's also a perk for your clients. But it became part of the add in, like, a long time ago. This was in the early 2000s. This was in the days of ISDN that this happened. Speaker B: It was literally when I got into the business. Yeah. I was just being told, people need this help. And I didn't know anything about the business model. I didn't know Jack squad about who got paid what, how, what you didn't get paid for. I just was there to solve problems. So I had no idea that this was going on till much later. : Yeah, but here we are. Talent put a lot of time, effort, money, emotion into building their setup and learning this basically some aspect of the craft of audio engineering, essentially. Maybe not the whole thing, but there's. Speaker B: Like I mean, tell me this. Would there be a value I know this is off topic, but would there be a value when a talent or an agent invoices that even if the bottom line is identical, that you literally add in a line that's engineering services, so it literally shows up and they see, oh, we're paying for this. Would there be some efficacy to this? It's kind of like restaurants starting to charge a service fee or a kitchen love fee or whatever. There's been a lot of blowback to this because some people really just raise your prices and other people are like, I like the transparency. So it's kind of confusing. : I think that if you want to, you effectively want to raise your price. And the only way you're going to be able to raise your price is by showing your value. And so in that sense, you almost need to because to the point that it happens on the flip side. So not just our like there's three layers to it. It used to be that the talent went to the studio and so there's two studios and there was a lot of meat on the bone for a whole industry. Right? There was an engineer in a studio in La. There was an engineer in a studio in New York. There was a voice talent in La. Yeah, there was five creatives over in New York. It was all happening real time. And At T was like just digging into the pie, too. And now it's like the first thing that happens is voice talent or the auditions come in and they know must have ISDN or source connect, essentially, and read between the lines. And what's happening over on the bid side is there's no money for a remote studio. Only talent with home studio need apply. And George, how many times have you seen talent that have done the Voice Tracks West? Or I know a place that knows what pay out of pocket. Speaker B: I tell people do it all the time. : Voice tracks west is I'm like, if. Speaker B: You don't do these sessions that often, spending $10,000 on a soundproof booth is a massive waste of money. : Yeah. And Voice Tracks has got a tight operation. It's not like decked out in oak panels, like all the big working facility. Boom. It's like, here's a room, here's a setup. You need an engineer to set you up. We don't have staff to sit there and babysit you the whole time, but what are you going to do? That's all you need. I don't know what they charge, but I have a feeling it's pretty affordable enough. Speaker B: They do what we call talent friendly rates, right? : And it's a great idea. So you get those auditions that are basically like, bring your own studio iOS. And then the next level is like, you know what, we're not even going to hire an engineer to record it like we just talked about, right? Speaker B: It's a weird position. I've always felt weird being in the position of enabling, essentially because I'm enabling the talent buyers to charge low rates for engineering or not budget for it. And I'm enabling the talent to meet that need. At the same time, there's the plus. : That you have your talent that can go live where they want to. And there's many talent that would if charging for their studio would be a deterrent to them having the lifestyle that they want. They want all their sessions to be in house. The reason to give it away is not just because they're trying to get an edge over some other talent, but also because they're trying to direct their life the way they want it to be. And being called into a freaking city every other day for an hour session and you got to drive 2 hours is crazy. And so it makes sense. Speaker B: And let's face it, as a voice actor, you can't live the lifestyle that you would like to live and be in. Those days are mostly gone. That you can live that lifestyle and have a nice home and have all this space and blah, blah, blah and live in the city, like live in Los Angeles or Lake. Like that's unbelievably expensive. : Right. And you don't have to anymore. Speaker C: Anyways, getting back to the rate thing, though, there is a way of doing it because on my invoices I show, studio and edit and then whatever the fee is and it's usually zero zero, but you can actually put in there. Voiceover blah, blah, blah. That rate goes in studio, edit X dollars and then you can give them a discount, which actually is equivalent to the studio rate. That way the client sees that there is a fee involved in that, but you've just done them a favor and not charged them for it. Speaker B: I think that's very smart. I will invoice people for a $0 item just so they know they're getting it. The problem with like a flat rate. : Or just write the real price down and say the discount that you're getting. Speaker B: Yeah. I'll say this is $100 thing, I'm throwing it in at $0. But you need to know that it has a value attached. Speaker A: Yeah, everything we do has a value attached because it's our time. Speaker B: Right? Yeah. But it needs to be literally spelled out for them on black and black and white, I think. Speaker A: Agreed. Speaker C: But the stupid thing is I was talking to in fact, Robbo and I were talking yesterday about equipment and stuff in the studio and believe that's the stupid thing. Well, it's the stupid thing in my case because it's ridiculous. I mean, I don't need any of this stuff, really. But I was sitting here the other day, like, adding up how much the dollar value of the stuff I've got in here in preamps compressors and microphones is just completely insane. : It's ridiculous. It is, yes. Speaker C: It's fun though. : Okay. It is. People putting wings on their back of their Honda Civic. Speaker C: Yeah, thanks. : I hate to say it, but it's like we are kind of doing some. Speaker B: Of that even does that you can buy a Civic with three exhaust type tips coming on the back. Speaker C: Exactly. Yeah. Get yourself the type r boom. Look out. : Yeah, but sometimes we're just like, OOH, that thing's going to make us faster and improve my zero to 60 time that neve preamp or whatever, and I think that we get caught up. I mean, God knows I've spent a lot of money on audio gear. Speaker C: Oh, you have? You're worse than me, actually. : I need, like, the nose spray that breaks the addiction, whatever. Speaker B: But Robert's business model is a different one. His service is his studio and his skill with his know. So I feel like a service provider that's providing that type of a studio service. There's an expectation of a certain investment in that equipment and keeping it up. Speaker A: To date and keeping it serviced and. Speaker C: Keeping it's funny, though, because I did send a file off to one of the audio production guys in one of the radio networks here because he was looking at buying Austrian audio microphones for their studios, which he did. Speaker A: Salesmen. Speaker C: But he said, oh, can you send me something? You got a sample of the eight one eight? And I went, yeah, sure. So I sent him just a cold read, eight one eight through the neve. He just come back going I said, what do you think? He goes, oh, my God, I'm buying one. Speaker A: Nice. : It's so funny. The subtle stuff is really there, but it's great when either someone is completely doing the same drugs that you're doing or actually is truly hearing the same thing that you're hearing. There is this like, wow, that really is better. And at the same time, someone walks in who doesn't understand much about audio and goes like, what's the difference? Speaker B: You really get me. You really see me. Speaker C: It was really funny. It's like a guy that both Robbo and I know is also an audio guy. This is years and years and years ago. He got a voice track sent. It was a cold read from a studio in Melbourne. And he called me up and he said, do you know what microphones or what microphone they use down at this studio? And I said, no, I don't, actually. He said, man, you got to find out. It sounds unbelievable. So I went down there and I was in there doing a job, and before I got in there, I said, what mics are you using, by the way? He goes, oh, what was the session? I told him, it's like, oh, yeah, we've just bought a new U 47, the Telefunkin U 47. When they first reissued the thing, I'm like, okay, so I think they were selling for close to 20,000 Australian dollars at the time. So 15 14,000 us. I'm guessing. Sounded very nice. Speaker A: You would want to I didn't know. Speaker B: They reissued that mic. Speaker C: Yeah, the telephone U 47. Speaker B: Yeah. I never knew there was a reissue of that mic. : Yeah, that thing's been, like, homages to. Speaker B: No, I know, but I mean, it's literally in Neumann. Like, they did just the U 67. : Like, five years ago. It's telefunken, but telefunken is not the Telefunkin that Telefunken was, right? Speaker C: Correct. Yeah. : Telefunkin is like some company in Connecticut. Telefunk is really a European funky funkin. Speaker C: It was kind of weird though, because a lot of the Neumans that were re badged for America, so like Frank Sinatra's U 47 was actually badged, I think, as a Telefunken. : Right. So they were really U 47s. They were really Neumanns. Right. And then they were rebadged as Telefunken. And then the same thing happens with the AKG C Twelve because Telefunken was an importing company. They would commission things to be made or they would just say, hey, I'll buy a bunch of those. Speaker C: And there were tons of companies doing that, particularly in America, where they rebadged microphones under different brands that were made primarily by AKG or Neumann. : It's kind of like rebadging Chinese stuff in a way, happens. It's like happening again. You see the same product and it's like, oh, they just put a different name on it and called it their amplifier. Speaker C: So you're going to white label Nexus and set it off under different brands. : There's all kinds of discussions and things that pop up and then sometimes just like fizzle out. But one thing for sure, I think, is that at least on some version of the Gateway, one of the talked about features is to customize it so you can make it like Andrew's Shopahor. Speaker A: Well, one thing I wanted to touch on and something that's not in the demo though, but something you were showing me after we finished recording a couple of weeks ago is the router. Can you tell us about that? Because that's a game changer, right? : It's not going to release on the first. It might actually I don't know, but right now it's a little bit behind. It would be one of those things that certainly would take. It would be one of the things that takes longer to get out, but it's pretty much done. And it's just a desktop router. So you can set up a lot of this stuff or the rest of the stuff that you want to customize on your desktop routing, for example, if you wanted just to have something that routed. One of the things that happens with Pro Tools in particular is once you close your session, you lose all your routing. So if you're not putting all your work into one session or working on one thing and you have to open up different files while you have a group of people online and connected, when you close Pro Tools, you lose communication and possibly even different parts of those connections, depending on what platforms are on. They might lose their connections too, because some of those connections go through you. So router gives you the opportunity to be able to set up sort of like a desktop route. Similar in a way, George, to what a lot of people that you have do with the Apollo Mixer. Speaker B: Yeah, I was going. To mention that. Right, exactly. But being on a not you're now hardware agnostic, you can be on anything. Speaker A: Because the killer for that, for me, is that is exactly what you're saying, is that whole thing of, like, you're halfway through a session and the creative goes, hey, last time we did this, we did blah, blah. Can you go to the old Pro Tools session? And you got to do that whole embarrassing listen, yeah, I can do that, but you're going to lose me for a second here, guys. Okay, I'll be back in a minute. And you hear the way you go. : That whole thing changed the way I work. I have Pro Tool sessions with hundreds and possibly, I don't know, thousands of spots. Whole years of campaigns, just boom, one after the you do them all on one timeline thing of like, oh yeah, one big ass timeline. Really? Speaker B: They're not just clips in the clip viewer? : No, it's basically what ProTools lacks is any sort of like have you ever worked in Media Composer? Speaker B: A little bit. : Okay, so Media Composer, you can have sessions well, you have a bin. Yeah. Pro Tools user have been wanting folders within their bin for the last 20 years, and they still have yet to get them. Different issue, but even more so, the edit and the mixer in Pro Tools are joined at the hip. But there's many aspects of your mixer that are not part of your edit. They're just part of your studio. Speaker B: Sort of like there's a utility mixer. : This is a utility, this is your external. What used to be in a lot of early setups were like people that would have like a Mackie mixer off to the side and then they'd add Pro Tools. And what was going in and out of the Mackie mixer was like microphones and headphone feeds and connection to the tape dock probably back. Um, and so the mixer still had routing capability and some of that's daunting. And really what you need is just like a couple straight ahead patches and maybe a volume control. And that's really what Nexus router lets you do. It has an advanced mode where you can just sort of draw whatever you want from A to B and then that way you can even have different setups that you can load and save and close and open up a different setup, or you can make one massive. Speaker B: Setup forward to it. Because I'm looking forward to being more hardware agnostic and less attached to something like the Apollo in general and kind of endorsing that kind of mentality of being a little bit less attached to that system. So this will be something that'll be nice to set up for more people who do want that extra level of sophistication absolutely. : Yeah, it'll make it like if they have little special things that they need to do, even something like a talkback mic when they're outside or playback from some other device if they want to plug their phone in or have some other app. Speaker B: Let me ask you this. This is definitely going down a rabit hole in terms of features, but can you imagine that ever being on a touch screen interface like an iPad or having a controller? : I could definitely imagine. We've already got other levels of control that we're planning on, which are, I think, pretty exciting. Speaker B: You guys were talking earlier about things are moving towards the actor having to have really a full production suite in their booth, right? Speaker C: Yeah. Speaker B: It sucks, though. I mean, people don't want the day. : That someone asks an actor to not only record for them, but can you please play back picture while you record? When that happens, then it's like you're really throwing a lot at Cipriano. Speaker B: I mean, he does stuff when he. : Has to, but some people can do that. It wouldn't be that hard. Speaker B: He paid me to set up Pro Tools to do it. : Right. Speaker B: Yeah. So it would be lovely for someone who really still wants to have a feeling of I have a mic, I have a headphone, I have my script. But not having to have keyboard, monitor, mouse, that whole rig in there too and just have somewhat innocuous iPad or even if you're reading off the iPad, you can just do the four finger swipe and switch over to the mix. : The hardest thing becomes, I still think the iPad is a tough environment. There's been a lot of actors have been like, can I just do this all on the iPad? Speaker B: Yeah. No, there's a bit of a stay in your lane. The iPad has a lane to stay in. To me, it still has no place in a Pro audio production workflow except as a controller or a script reader. : Yeah, it works well as a controller. Speaker B: I've got my V controller controller and a script reader. That's what it's for. To me. It's not a pro audio. Despite the power of the thing, the hardware, the fact that it's got Thunderbolt now in the Pro model, iPad Pro, it's still just not the tool for the job. So use it what it's for, and that's what it's good for. So I would endorse having that in there just to control the Nexus monitoring and the other stuff. : Do a lot of talent. Really avoid and not want some really. Speaker B: Do avoid it as long as they can. They really despise doing that. Speaker C: I'm one. Speaker B: Yeah. It's because of the distraction. Because this is the right brain, left brain, actor, engineer, conundrum. You can't do both at the same time. I don't care who the hell you are, you can't do them both equally well. One is always suffering at the hands of the other. So the actor that really but what. : Does an actor need in the booth? Truly? They need to be able to record takes, and they need to be able to play back. Speaker B: Mean, some people like, I'll call you out, Bo Weaver, I've known you so long. He hits record, he walks into the booth. He records all of his sessions. He walks out of the booth and he sits down and he edits all the sessions. Like done. That's his workflow. Now. How often is he directed? Very rarely. Record and send. But yeah, that's what he likes. He likes to have the two separate church and state. Speaker C: Well, I'm exactly the same. I have the same workflow as Bo because a lot of my stuff is not directed. So I do exactly the same thing. I go in there, record, come back and come out of here and edit and send. : Yeah, but how many times you go back and forth? Speaker C: I save each file separately. So if I'm doing like 430 2nd spots for somebody, then I'll record a couple of takes or two or three takes. : How do you know you're in time? Are you timing yourself? Speaker C: I do a timer first. I will sit there and I'll time one with the stopwatch first read. So I know ballpark where I'm at. By the time you deep breath, you lose a couple of seconds. So if I'm doing like one, that's got to be 27 seconds and I come in at 27, then I know I've got 2 seconds up my sleeve so I can take more time with it. Once you've been doing this for that's the thing. : You guys have like atomic clocks built in. I can't tell you how many times I've had a talent and I'm like, can you take half a second off that? And they take half a second off that. Speaker B: It's like, wow, bo had an iPad one for years. He may still have it just to run the timer period. He's like, It's a great timer. It doesn't make a click. : I have an iPad one that I use for my eight faders approach. Yeah. So there's some minimal amount of control that's necessary. They at least need a door handle, probably. Do they want a mic mute? Speaker B: Yeah, I'm sure they would. Most people would like to have that, I would think. Yeah, it's pretty embarrassing when you got. Speaker C: A horrible client down the line and mic mute's. Very handy. Speaker B: Horrible client or bad cheese. Speaker C: Yeah. : How do you find the foot switches. Speaker C: For I reckon a foot switch would be great. Speaker A: You need one of those AP. You need a foot switch. Speaker C: Yes, I need a foot switch. Foot switch is great. I love it. Trouble is, I probably tread on it by accident. Speaker B: Well, the Whirlwind PPD or whatever, they have a foot switch on off switch. : The ones that don't break phantom power so that they don't pop, they just sort of short out. Speaker C: And it's also like I wouldn't want I mean, the idea is fantastic. I think it's fun, but I hate too much stuff between the microphone and the preamp. Speaker B: Yeah. Speaker C: Well, there's that one more thing that can go wobbly on you. Speaker B: Not to go completely off base here again, but I was talking earlier about what I saw podcast movement, and I saw the boss answer to the RODECaster pro because Roland's had and Roland too. Boss is like their musician wing of Roland or like the guitar pedal. : I don't know about that. Speaker B: Right. : So they had boss is the guitar wing and Roland and Roland is the keyboard wing, but they've crossed areas. Like mainly Roland has made guitar synths and the other view is that Roland is the high end and then Boss is the middle. Speaker B: Right? So I'm looking at their things and going, okay, here's another RODECaster. What's on the back? A foot pedals plug. I was like, Whoa, that's cool. What can you do with that? He's like, whatever you want. For the gamers, you can do anything you want. I was like, Well, I can see that being cool because the mixer is outside on your desk and you run a foot pedal in your booth and now you have a way to cut your mic, or it could be a way to hit record and then punch a marker when you click it again. There's a lot you could do with. : That, so whatever you want. The foot pedal can send like USB. Speaker B: Messages, as far as I can tell. I don't know how flexible it is, but it's pretty flexible. There's also air tools or AirTurn I think that's called AirTurn. And now other companies are getting into it where you can get Bluetooth pedals that go in your booth to control certain functions. So there's more you can do with foot pedals, which is kind of neat, but if I'm not wearing headphones and I don't know, my mic is truly off, I would never trust anything wireless. : So what about the preamp? I mean, the preamp should be in the booth or not, because even if you wanted to be really theoretical about it, your best signal would be by running the shortest mic line and getting it up to the preamp right line. Speaker B: If you're running, then sending it 20 foot runs, that's different, it's negligible. : But having the preamp in the booth to be able to set it is a different thing, right? Isn't that necessary? Speaker B: Yes and no. I mean, some people do. I'd say most people that have a booth that don't have the equipment in the booth don't have the preamp in the booth, but it's less convenient. : And so they're just recording conservatively and going like, I'll just hit minus twelve, I got plenty of bits, I put. Speaker B: Plenty of Avalon 737s in booth. And I just told people, like, this thing's a radiator, so it's going to get nice and toasty in here. If you really need to have this in here, I get it, but be my last choice. What, to put in the booth? Speaker C: Well, that's what I'm thinking. The more gear I was going to say about that exactly that most people's home studio booths are quite small, and you start piling gear in there, it's going to be like a furnace. Speaker B: Yeah. Gets hot in there quick. So the less the better. Even modern computer monitors are pretty low power, but they still make heat. They still radiate heat. Everything makes heat. So the less in there, the better. Yeah. It's going to be interesting when the passport Vo comes out, how people choose to use it. Whether they're going to have it in booth or outside of the booth, you can go either place. And the thing you're going to miss out on it not being in booth is that mic switch. Mic mute. That's why I think the majority are going to use it in the booth. So what we'll be testing I think so, too, how far we can run it on USB to the computer. So we'll be doing some testing around that whole workflow as well. Speaker C: Yeah, I can see the value in having the Passport Vo in the booth for sure. Maybe you're doing a zoom session or whatever. You can use that second interface to run either your phone or iPad or whatever, that you can run the zoom session. Speaker B: That's where I could see it being really useful, having the iPad in the booth for phone patch, zoom, blah, blah, blah, communications. Speaker C: Absolutely. Speaker B: And having that run into it and just that would be a really easy way to facilitate those sessions. Boy. : Well, in a way, you can have it. Sorry, you can cut all that out. Speaker B: We're really off topic now. Speaker C: This was about Nexus and I don't know where the hell we've gone. Speaker A: Oh, man, we've gone all over the place, let me tell you. This is tangent. Speaker C: I'm just waiting to see the Mad. Speaker A: Hatter pop out from behind the door somewhere. Editing nightmare. That is the Pro audio suite. Speaker B: Yeah. Wrap this one up. : I'll bring it together. What comes out first, the passport or Nexus? Speaker B: Nexus. Speaker C: Nexus. Speaker A: Nexus. : Probably. Speaker A: Right? Speaker B: Well, we'll see, because these are both but we don't know. Neither of them want to divulge a release date until it's certain because people don't. We've all learned that produced product to under Promise Over Deliver is really the best policy. : You can't give a product a C section. Speaker B: Right. Speaker A: What we can promise about the passport, though, is that when it does come out, it's going to be killer. Speaker B: It's going to be killer. We're going to make sure of it, because by the time anybody receives one in the mailbox, we have already hammered on it and proven without a shadow of a doubt that it will do what we said it's going to do. When you get one, it's going to be fully tested and vetted before that. : Yeah, I'm excited because I think you see all these USB interfaces coming out constantly and no one has one that does these. Speaker B: They're all playing out of a different playbook. Like, I got into a whole conversation on Facebook about this one person's. POV is clearly the future is firmware, software, everything. And I said, I don't think it's that clear. I said, Because we're developing the exact opposite. And his response was, I think that's not a good idea. And my response was, I think it's a very good idea because look at all the products that have come and gone and what products you can still plug into your Mac or your PC that still work 15 years later. And the Micport Pro First Gen is one of those products. You just plug it in and it works. So that's the philosophy. We're just carrying that forward. Speaker A: My old trusty two rack sitting here right next to me. How old is that now? Jesus. Speaker C: 15 years. Speaker A: Have to be something like that. Still keeps going. : A two, not even an three two rack. Speaker A: Yes, exactly. Speaker B: Yeah. Wow. : I have some ones in my garage. Speaker A: No, I don't need the double o one. Speaker C: What are they doing in the garage? Speaker A: Yes, exactly. Why are you using them, Robert? Speaker B: Unlike you, he's using his ramps to hold up his Porsche 920. Speaker C: The Pro audio suite with thanks to Tribut and Austrian audio recorded using Source Connect, edited by Andrew Peters and mixed by Robo Got your own audio issues? Just askrobo.com 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, end, suggest a topic, or just say good day. Drop us a note at our website proaudiosuite.com

In this episode, Anne is joined by special guest Tom Dheere, the Vo Strategist. With over 25 years of experience, Tom knows how to ride the waves of ever-changing technology and market shifts. Discover the secrets to driving traffic to your website through social media, blogging, and top-notch content to keep you ahead of the pack. They share how old-school tactics like cold calling and email marketing might not be cutting it anymore. Boost your confidence with Tom's killer advice on negotiating rates like a BOSS and flipping your approach to snag the rates you truly deserve. Plus, we unveil the controversial truth about Fiverr and how this billion-dollar beast can actually help you charge industry-standard rates… Transcript 0:00:01 - Anne Hey, hey everyone, Welcome to the VO Boss podcast. I'm your host, Anne Ganguzza, and today I am excited to welcome voiceover business and marketing consultant and VO strategist, Tom Dheere, to the show. As a voice actor with over 25 years of experience, Tom brings a wealth of voiceover knowledge to the table In his one-on-one strategy sessions, diagnostic sessions those sound interesting and his mentorship program, As well as speaker appearances at industry conferences. Tom, I am so excited to have you here today. Thanks for joining me.    0:00:34 - Tom Thanks for having me. It's always a pleasure to chat with you, Anne.    0:00:37 - Anne Tom, you know it's chaotic out there.    I'll tell you what there's disruption, There's, I say, mass panic, and I think that today more than ever, as entrepreneurs and business owners, we need a strategy more than ever. So I am super duper glad that we are here talking to you about that. So let's get a feel for your take on the industry, because you've been in the industry for gosh over 25 years and I'm sure you've seen it evolve, kind of like myself. Talk a little bit about your experience in this industry and how it's evolved over the years.    0:01:20 - Tom Okay, well, i decided I wanted to be a voice actor in 1994, so I was a graduate school dropout, so I got my. I decided in late 94, got most of my. I got my training in my voiceover demo in 95, which is a cassette tape. I still have it here in the drawer. And then when I got that demo, my coach gave me a little certificate and gave me a stack of Xerox copies of production company listings and said you know, start your good, your cold calling good luck. Because in 1995, there was I mean there was an internet and some websites, but there was no.    0:01:57 - Anne Yeah, there was no social media.    0:01:59 - Tom There was no online casting sites, there was no home recording, there was no digital delivery of audio files, there was no phone patch, there was ISDN. But like, who had that besides? like the, the, the rate, you know the major TV networks, you know. So you had to buy cold called and I called, called for a year until I got my first gig, so until I joined voice 123 in 2006,. That was pretty much, that was pretty much the only way to do it, and also I was going into New York city once a week. Voiceover is unlimited and you'd pay whatever was $35 for a 10 minute meet.    Meet up with a casting director or an agent or a manager which is how I got my, my first manager, who I still have to this day, 17, 18 years later. So my cassette turned into a CD which I was duplicating, burning you know. Oh God, the my post office hated my guts.    0:03:04 - Anne Now mail. Yes, cause.    0:03:06 - Tom I had a long a lawn bag of padded mailers and they'd be like, oh geez, here comes Tom again and like, all right, everybody just gets to the side and just tick, tick, tick, tick, tick, tick, tick, tick, tick, tick you know cause?    0:03:15 - Anne I was just constantly sending it out, yeah, and then that evolved into MP threes. So let's, let's, let's start. I think that there's, there's something, there's a parallel here, a disruption right. Some disruption in the industry right. So it evolved from a tape into a CD, into today, which is all digital right.    0:03:36 - Tom Right And then and then pay a voice bank and voicescom and voice 123 disrupted the voiceover again, again and you know, and now AI is disrupting the voiceover industry. But this is what I say and all my students.    0:03:52 - Anne A pattern Tom. A pattern Tom. Yes, there is a pattern throughout the years, so I don't think that disruption is going to stop anytime soon.    0:04:00 - Tom No, it's going to keep going, and what I like to say is that when the light bulb was invented, it disrupted the candle making industry and nobody cared about the candle makers, except for the candle makers.    0:04:13 - Anne People were saying Oh good I can.    0:04:15 - Tom I can read a book at night without my house burning down. Like that's where everybody was coming from. It's like okay. So the candle makers had a choice They could go to Congress to try to get light bulbs outlawed, they could go la, la, la, la la which a lot of voice actors have been doing especially literally today, this week, on the voiceover groups. Or they could adjust to their candle making industry to accommodate certain parts of the light bulb industry, or they could convert their candle making factory into a light bulb making factory.    So, you can either fight it, ignore it, adapt to it or embrace it. And the voice actors that are going to still be standing for lack of a better term on the other side of AI and whatever the next disruption is, the ones that are adapting, evolving learning, growing, operating from a position of abundance as opposed to a position of scarcity, and not shouting at the rain. They're the ones that are still going to have a viable voiceover career. Yeah.    0:05:08 - Anne Yeah, i'll tell you, it has really it has really wreaked havoc, and I think that you know, gosh, you know, and I've been following it and following it And you know, two years ago on the VO Bus podcast, i mean, i think that you and I can both agree to do due diligence and educate yourself on, you know, evolving technologies or disruptive technologies that can affect your business, and that is so very important that we, you know, truly educate ourselves. And I had done a series of interviews, of which I'm still doing periodically, with you know, large companies, people that are working in synthetic voices, ai companies to kind of get to ask those tough questions like Hey, what's happening here? And are you, you know, is there transparency? You know, what are your ethics? You know, do you have, you know, objectives in terms of protecting?    you know, voices as you go, and I think it's been an educational journey for not just me as a business owner and a voice artist, but for the AI companies as well. I think we are all learning and evolving with technology as we go, and I've had experience doing that myself, you know, working in technology for over 20 years, and I still consider myself working in technology. So, in terms of you know your, your students and and your clients. What is your? what is your biggest tip now for, let's say, people coming into the industry, how to get a handle on this industry and be successful.    0:06:43 - Tom Do as much research as you possibly can. Work with professional coaches who are boots on the ground blue collar voice actors as well like who are actively engaged in the voiceover industry. That's not to say that there's not genre coaches out there, like Mary Lynn Wissner, for example, who is not a voice actor but is an amazing coach.    There are only a handful of people like that, as you know and but people who are actively, who have to continue to grow and evolve with the industry to maintain relevance in the industry And be better than the AIs on a storytelling level as quickly as you possibly can.    0:07:23 - Anne Yeah.    0:07:24 - Tom Because they are getting better and better almost daily. Are they going to completely take over the entire voiceover industry? No, Are they going to. you know, take away a percentage of certain jobs of certain genres, mostly for entry level voice actors Yes, yeah. The trick is how do you get good enough that, when you're starting your voiceover journey, that you're already better than the AIs, so you can kind of leap over?    that hurdle and be a human narrator as quickly as possible. That's going to be the challenge. What I think that means is the people that are more naturally talented, the people who have theater training, the people who have on-camera film and TV training, improv training, those people coming into the industry which are all parts of what defines a better actor are going to have a better chance than people just coming at it from other sectors. Frankly, i mean, a registered nurse has every right to stop being a nurse and try to do medical narration for a living, and I encourage that. I've trained people like that, you've trained people like that over the years, but it's going to get harder and harder if they don't have natural storytelling billing, natural storytelling ability, or they haven't been trained in non-voiceover storytelling. So get as many acting classes as you can under your belt. Get as many improv classes under your belt so you can learn how to make strong choices quickly, which is a key to being a good narrator. Understand the technology and maybe get your voice cloned as quickly as possible.    0:09:05 - Anne That's very interesting. I'm finding that I do have some people, because I did the series and I've been investigating and educating myself with AI companies for the past few years, i've had people ask me, and not all of them want to shout the rafters saying, oh, i'm out there trying to figure out how to get my voice cloned or how to get a synthetic voice. But what's interesting is that synthetic voice, the companies that are creating synthetic voices. They're also evolving and changing on a daily basis, and so it's really important that, as voice actors, you keep up with that, and I'm always a big proponent of if you have a business, you want to understand the market in which you're selling And so part of that market. If the market is changing. And, tom, as a business person, you're all about researching and looking at the market as it evolves over the years. And where do you see the market heading in terms of voiceover casting? Where are we going to be able to get these jobs, or where can voiceover talent find work? And I know that's the golden question, right.    People like they expect a five-minute answer from me. Where can I get voiceover work? But where do you see that evolving and heading as we move on in the future?    0:10:27 - Tom That's a great question, Anne. There will still always be a place for needing agents, managers and casting directors for high end work, class A national commercials, high end video games and cartoons, high end promo, high end in show narration. I don't think that's ever. I don't think that's ever going to change. Casting sites are going to continue to be as relevant as ever and is still the the most effective way for new voice actors to onboard into the industry. Because you can. All you need is a credit card and you could just join the casting site and start auditioning immediately.    The interesting part is going to be the direct marketing part which. I learned the hard way when all of my direct marketing strategies, which worked like gangbusters in 2013, 14, 15, 16, all of a sudden stopped working because, so many of those production companies recording studios that I had worked with through direct marketing strategies have moved to online casting sites just because it's easier for them to curate a roster, manage talent, manage projects.    So, um, ai is going to take a chunk out of online casting sites. It's going to take a chunk out of direct marketing clients the low end stuff and stuff that would never normally get like there's audio books out there that will never get produced unless it's an AI voice.    0:11:51 - Anne It's going to do it out of interest or ergonomics or just sure, whatever that sure whatever the rights holder can, um, can afford.    0:11:57 - Tom So you also new students, when it comes to this kind of strategies, need to figure out what. How does what a success look like for them, Which genres do they want to be successful in And which portals do they need to access to become successful in said genres? So if you want to be on the next Pixar film or be in the next fallout video game, you need to get a lot of training, you need to get a top notch demo, you need to get high end agents and you're going to eventually need to join SAG-AFTRA. That's not. That's not changing for everybody else. You know the pendulum is going to swing, stuff's going to move or stuff's going to move around, but you're still going to need you're still going to need the aforementioned good training, good demo good website, good home recording.    Um, and the ability to keep up with industry's trends by reading blogs, watching podcasts like this um, working with coaches like, like you and me. Um, it's going to what, what percentage of what genre is going to get lost and where you're going to need to go for each of it. I mean, who can? who can say, but if you have, if, if online casting sites stigmatize you, get over it get in there develop your skills develop your auditioning skills.    0:13:10 - Anne That was it. That was the nugget of the day. That was awesome Sound right of the day. Yeah.    0:13:14 - Tom Because online casting sites like I'm. I know because I'm on voice 123. I audition every day and I regularly see clients that are posting casting notices that I used to work with five, six, seven, eight, 10 years ago, who won't take my phone calls anymore because they're on casting sites. That's the only way they'll talk to me And I'm totally fine with that, because you said you got to go where the buyers are. you got to go where the market is going. That's where they are. That's where you need to be.    0:13:41 - Anne I think there's something to say If we just tell every boss out there, you know, first of all, um, be a boss, right And understand that you really have to stop. And I think, take a uh, uh, take a look at the bigger picture. The bigger picture is we're providing a product, uh, to a market, the market. You have to evolve with the market. It's not about you know, uh, oh, my gosh, it's, it's, it's you know your voice over business and your craft and your and your art, which I completely, yes, it is. But honestly, you know, at the end of the day, right, i want to pay my mortgage, right, and if I want to have a business, it always amazes me, tom, how you know you go to conferences and I know you know when, when, cause I used to, i used to teach business classes as well. Whenever you go to see which classes fill up first, it's always the performance classes, it's always the cartoon and video game.    Always those because, well, okay, so they're fine, they they allow the creativity. But, honestly, you know, beyond the fun and the creativity in the booth, you've got to be able to run a business that will make a profit. If you want to write, if you want to do this as a business and you want and you're serious about it I mean, if it's you know, if it's a hobby, that's a difference, that's a different podcast. Sure, you know, and I think that you know what you offer, you know, to people as a, a VO strategist or even just a business strategist, is invaluable. And I truly think, bosses out there, you've got to step back.    Um, and yes, of course you know, create the product that the market is demanding Right, and and also know how to run your business right. And so I love your story that you know the people that used to take your calls no longer will take your calls. You know your calls and now you have to work with them on the platform, and mostly because it's easy and more convenient And I will be the first person to ask any of you bosses out there if you're using any form of AI to do anything. Let's say, create a blog post or, you know, maybe play around and change your headshot And you're using the technology to make your jobs better, more efficient, then you cannot be the person that gets upset if you're not, let's say, evolving along with the synthetic voice aspect of it.    0:16:06 - Tom You know, absolutely.    0:16:08 - Anne I mean. So, as we talk to peer to peer, i think, or pay to play platforms, i think online casting is absolutely. What about Tom? let's talk about what about your website, your online platform, your online storefront? What do you think about that in terms of being able to market your business?    0:16:29 - Tom Okay, it's funny because people coming into the industry, you know most of them realize they need some kind of training and then they realize, oh, i need to record from home. You know I need a demo. And then almost all of them think, well, i need some kind of website. But they don't know why they need a website. They don't know how to build a website and they don't know what is necessary to create an effective website. What I tell my students is that no one is gonna find your website nobody.    There are literally tens of thousands of voice actor websites out there. The odds of them typing in some stuff on Google, bing, yahoo and finding you is virtually impossible. I mean, tomdeercom is over 20 years old and I've been blogging for 14 years, so I've got really good SEO and I rarely get found on it. Anyway, the point is, your job as a voice actor is to drive traffic to your website, and you do that by being on social media, blogging, creating a presence, creating conversations, creating quality content to get them to notice you. And then there's email marketing and cold calling, which I'm sure you realize that they don't work a fraction as well as they used to, because why should they answer the phone of some voice actor trying to talk about themselves, when they're just gonna go to an online casting site to cast their next project. They're already more than halfway down the sales funnel anyway on an online casting site, as opposed to trying to get them into the sales funnel through cold calling and all that.    So driving traffic to your website is extremely important, and then get them to do the most important thing, which is download your demos.    0:18:12 - Anne Everything else, is irrelevant Or click it back. I mean, everything else is secondary to downloading the demo. Right, yeah, but now downloading the demo? now we've got there's the fear. There's now there's some fear that if we allow our audio, you know, freely out there and I, you know I have podcast, you have podcast. Anybody can download this podcast I've been doing it for six years and potentially turn it into a voice.    0:18:40 - Tom Okay, Look everybody. I've been doing this for 25 years. I have done thousands and thousands of voiceover projects. I've probably done tens of thousands of auditions over the years, I guarantee my voice has been cloned without my knowledge many times over.    I guarantee that auditions that I have you, that I have done, has been used for broadcast without my consent or without compensation. Every website that exists is going to get hacked at some point. None of our data is safe, it's just not. All you can do is do the best you can to mitigate your risk. try to be secure. I can't worry about submitting my demo and worrying about it getting cloned.    I mean if I, if I was worried about that, i wouldn't have a career. I would. I'd be quadruple bolting the door and hiding in the bathtub. There's just nothing you can do about it. So don't worry about don't worry about that. Put the demo out there. I mean because the the the odds of it happening are extremely slim, but the longer you're here, the more likely it's going to happen. It's just you know well.    0:19:45 - Anne Tom, i mean, i think I think really again, we we talk about that bad actors, um, which is so interesting in our industry. Now, the term bad actor, right. Had I not really delved in deep to talking to people outside of my own industry, i would not have known what the bad actor meant. Um, outside of, like the literal meaning of it, right, but the bad actors meaning those companies, right, or those people that may take advantage, unfair advantage, um, with the in in clone voices, without permission, create deep fakes, all of those things. There's always that possibility And I had such an interesting conversation the other day with Shyamala Praga, who is very well known in the AI industry.    Um, regarding, you know, laws and regulations and and instead of being reactive which is what we typically are right, reactive, something bad happens and then a law or you know some sort of policy is is established that then, you know, takes care of it. Um, really trying to again educate all of us, not just in our industry but everywhere, that, um, these things could potentially happen and we need to protect ourselves from bad things. Um, you know, what are your thoughts about? I mean, i, like, i really love your, your, your perspective on you can't be worrying about that all the time, but are there any steps that you would recommend to to, let's say, to protect um or to be cautious about that? I mean, i certainly am not going to make my demo not downloadable because I want it to be convenient for people to listen and buy.    0:21:20 - Tom You have to have it. It has to be downloadable because, when it comes to your direct marketing strategies and driving traffic to your website, the odds of them having a voiceover project for you right now, at the time that you have marketed to them successfully and they've actually gone to your website to review your demos, the odds of them actually having a gig for you is infinitesimally small. I can count, i think, on two fingers in 25 years that that's actually happened. Representation and online casting insights are for opportunities now. Direct marketing, driving traffic to your website is for opportunities.    later They're not going to remember you once they leave that website of yours You need to have. They need to walk away with the demo, so they stick it in a folder somewhere in their cloud or on their desktop, so when an opportunity comes along that you may be right, for your demo was right there for them to review, or if again another thing that I always like- to say is that, no matter what in a marketplace and I'd love to hear your thoughts on this, there are I will pay for things that make my life easier and make my life more convenient.    0:22:25 - Anne So, for example, i hate, i always use this my lipstick. So my lipstick is reliable, dependable, stays on all day, i don't have to put it on again And I you know I use that as an example product. I pay a lot of money for this lipstick. Now I certainly feel that no matter. Look AI, you know pay to play sites, you know driving down, you know rates. I no matter what. If somebody likes and gangooza right and likes her product, they're going to pay the money and they're going to remember me and they're going to buy it again and again. I'd love to hear your thoughts.    0:22:58 - Tom You go to a department store and there's five pairs of shoes on on the shelf and four of them cost, you know, $75 and one of them cost $800.    Everybody immediately goes and looks at oh, what's this? What's the value of this? Why is it worth $800? Well, if they says it's worth $800, then clearly it must be worth $800. So I will happily spend $800 on this pair of shoes. So most people coming into the voiceover industry are broke and perceive themselves as an employee or a starving artist. They are already immediately devaluing themselves and training voice seekers to devalue them.    So it's a systems of, it's a systems of thought problem. And I'm not going to sit here and blow sunshine up everybody's butt and say you're special, you're wonderful, you're, you're going to. All your dreams are going to come true, because that's not what the VOStratigist does. This VOStratigist does not sell dreams. The VOStratigist sells reality.    My job is to give you objective data so you can set, you can make informed decisions about your voiceover career. But you want to do everything you can to set yourself up for success And the first step one is mindset. Know your worth. Know your worth based on your pure talent, know your worth based on your training, know your worth based on your experience. And know your worth based on what the industry standards are.    Sag After over here GVAA over there, Know what your worth is and comport yourself And it's maybe it's a little fake it till you make it. I don't. I'm not sure you can do that. Having confidence and being confident in your training and your talent and your understanding of the rates, That should empower you to make sure that people aren't buying stuff from you that are shopping in the wrong aisle.    0:24:56 - Anne And also, i would say, as a as a talent just coming in, i don't think you can expect to get into or to become a top tier you know, professional without making an investment. I mean, that's the other thing too. I cannot tell you how many people they'll be like. You know, i really need coaching, but I just I don't have any. You know, they don't have the budget they don't have And, and so in reality, there has to be those things in place. You can't expect to go in and make a ton of money without investing in yourself and investing in that, in that coaching that's going to help you to be the most human voice actor that you can be.    0:25:37 - Tom Patience is one of the most important skills that you need to have as a new voice actor. Everyone wants to start talking for money as quickly as possible and using their funny cartoon voices that their dentist told them is hilarious And that's all. That's all great, but if you can't afford the training yet, build a budget create a savings plan.    be patient, find community theaters or summer theater programs that have free acting and improv training, and develop your foundation of storytelling skills while you're saving money to work with a professional coach like Anne, or work with a VO strategist you know a business marketing consultant like me. There's a ton of things that you can do. But if you dive in when you're not ready or you go with the first demo coach that you can afford and submit to that demo to those agents for the first time, it's not gonna go well.    It's not gonna go well. So I'll never tell anybody not to pursue their dreams, but I will tell everybody to be smart about pursuing their dreams by having. This is what I like to say no matter what you're doing in life, do it with both hands and on a flat surface. Be smart about it, i learned that when I tried to open an Amazon box with a pair of open scissors like this, which we've all done, Oh, yeah, yeah, not yeah. Both hands flat surface.    0:26:58 - Anne Very guilty of that. So then, let me talk a little. let's talk a little bit about rates, because what is your best advice for those actors who might be struggling to find work at their desired rates when you know there is this perceived? you know, race to the bottom, with technology disrupting What, how can they pivot their approach to succeed and get rates that they deserved?    0:27:21 - Tom Learn how to negotiate. And it's not like a Middle East Bazaar where you're haggling over the price of, you know, a goat or something.    It's just the better that you can understand the rate structure of voiceover on a session level and on a usage level, the better, the more empowered you are to educate your clients or potential clients, because for so many casting notices that I see, or so many emails hey, i found you on Google, whatever they've never cast a voiceover in their life.    They haven't the faintest idea what the ergonomics are, what project management is involved or what the rate structure is. Being experienced it's not necessarily a correlation between being professional and experienced. You don't have to be experienced to be professional To understand there is a rate structure. I understand what the rate structure is and I'm able to articulate it to somebody who has no idea how the voiceover industry works. The more that you can do that, the more empowered you are to get industry standard rates and the more empowered you are to educate voice seekers to value you and not let them use cheap rates. Well, i paid this guy five bucks. I'm gonna leverage it to get you to pay you five bucks where you say no, you don't do that You gotta think long term.    You have to value yourself and your fellow voice actors, because every time you accept a ratty rate, you're making it harder for everybody else. Every time you accept an industry standard rate, you're making it easier for everybody else.    0:28:51 - Anne Now, but okay. So then here's the question. Yes, i agree that there should be the thought process about the industry as a whole. However, you will always have those voice actors that it is their business, right? I'm a big proponent of saying mind your own business. That means, don't worry about how other people get their business. In that respect, though, do you know what I'm saying? I truly believe I want people to understand their worth in order to make a bold and take the challenge to actually negotiate that worth with a potential client. So, speaking of five bucks, i know that you had talked to me a little bit about an experiment that you had conducted using the online pay to play the F word, fiverr.    And I personally, i'm one of those people that thinks we need to talk about this because it is a viable marketplace in the well viable it exists in our industry. Let's put it that way you may not agree with it and you may not feel that it values your worth, but what were your findings? What do you think about Fiverr?    0:29:58 - Tom Okay, it had been coming up so much in conversations with my students, with my fellow voice actors, fellow coaches, producers, panelists at conferences And, like I said, my job as a video strategist is to collect objective data so I can help my students make thoughtful, informed decisions about how to move their voiceover business forward. Fiverr is real, it is here. It's a billion dollar company. There are thousands and thousands of voice actors on it. So I needed to understand what exactly it is, why it is and how it works. So I created an account, I followed the tutorials, i looked at YouTube videos, i built a profile and then you build what are called gigs And a gig is basically broken down by genre.    I will narrate I'm an American voice actor who will narrate your explainer video or e-learning module or whatever And then what you do is you build the rate, but you're breaking it down bit by bit. So This is what really fascinated me about it is if someone said to you and I've got an explainer video, how much do you charge? and you probably charge what? 400, 500, whatever sometime around there But if you actually broke down by dollar, how much it costs for you to record the video, how much it costs to edit the video, to clean up, process, format, save, deliver. Do retakes give you permission to use the video in a certain way on a certain platform? if you chop up that $400 into all those little individual things, that's basically what you're doing on Fiverr. So it could say base price $5, but then if you add deliver as a wave file, deliver it within 24 hours you know, we'll only get two retakes.    Mvp, I'll move you up to the front of the line, If you, then if you go da-da-da-da, then the total can be $400. It can be an industry standard rate. Fiverr saying oh, we get everything's for five bucks.    0:32:05 - Anne It's more of a marketing position than anything else. And if you think about that in reality, right, if they're going for that market for the people who don't right, who don't have a lot of money to spend and they want to go for lower priced, saying Fiverr and marketing themselves as Fiverr, get affordable, then absolutely I mean as a business they built for a market where there was a hole And yeah, and now of course, because they have so many voice artists on it right.    that increases their SEO value, which increases, you know, ease, convenience, of use, and so that's what makes them you know the force that they are in the industry.    0:32:49 - Tom Right. So there's three levels on Fiverr And if you earn a certain amount of money and a certain amount of timing, get a certain amount of ratings in a certain amount of time, then you go to the next level and then the top level and the people at the top level charge industry standard rates and they do fine. The trick is kind of punching through that membrane from the first level to the second, in the second to the third. I feel like that's where it can be challenging.    0:33:12 - Anne Yeah, and I feel like you'd have to work that, because I think you have to earn that right, you have to get so many ratings, and I feel like you'd have to actually work the platform for a bit so that you could get up the ratings, so that you could climb up the ladder, so that you could charge industry rates. But, although not impossible, it's a very interesting concept. And because we are talking about it, bosses, doesn't necessarily mean we are condoning that platform, i mean. But if you look at it from a business standpoint, it absolutely, you know it covered a hole in the market and logically I can see how that works.    I absolutely can see how that works Now, do I love that? it makes voiceover seem cheap? No, not at all. And I think to each and everyone out there, it is up to you to make that decision whether you want your brand associated with that brand, because that's a whole other way of doing business, right? So, again, you're almost working for the platform And then that platform represents your brand versus, let's say, for me, i've always been let's do it myself, and you know, seo for me.    I've been online for years and it's worked in my favor And I've built up a great clientele list And I'm very fortunate that I'm able to continue on that. And while I am a member of a lot of pay to place, i don't have time to actually audition. And you know, for me, email marketing well, it's probably not quite as effective. Well, it's hard to say. I still believe that there's effectiveness in email marketing if you've got the right message and you have the right subject line, because people have less and less of an attention span. But it's one of the reasons why I built the VO Boss Blast. It was a way to help direct market talent, so that they didn't, you know, and I basically started it for myself. Isn't that like every company.    0:35:05 - Tom Right, if you create a product you want, help You do it to serve your needs.    0:35:09 - Anne I did it because I was like I don't have time. I want to do the podcast, i want to do VOPs, i want to be you know, i'm coaching, so I don't have a ton of time, so let me just create a direct marketing product that I can use. And then, of course, i shared that.    0:35:24 - Tom I do want to say for the record I have not booked anything on Fiverr. I set up my gig, i made adjustments to my rates because you're supposed to refresh it and try to feed the algorithm. I couldn't. I also did the same exercise on Upwork and it worked similarly and I got the same results. I could not. I could not book anything. I guess that just means I'm not a particularly good voice actor.    0:35:47 - Anne No, I think it's because you didn't have 100% of your right time to really devote to it. I mean, that's what. I think That's a part of it.    0:35:55 - Tom And the other thing is understanding the economies of the voice seekers, absolutely.    0:35:59 - Anne Diversify the economies and understanding of you know, money and how it works, of the country of origin of the voice actor too, absolutely, and Tom, i'll be the first one to say I mean, we've been in this business a long time. If you were on Voice 123 in 2006, right, you remember? Freelancer.    0:36:17 - Tom Oh, i was on Freelancer. Oh good, so was I. And Elanzen and Guru, yeah, i was on all of them.    0:36:22 - Anne So all of those evolved into Fiverr.    Really, that's really it was that it was like who could bid the lowest right? And I will tell you that, as a you know, entering into the online space, i mean that's where I did get some jobs. Now, did I take jobs that were probably not what I was worth? Yeah, I did, i did, but I learned quickly, you know, and it was a tough, it was a tight, it was frustrating because it was always people under bidding And so you get that type of client, but what you do is you learn about where those clients right, those are the clients that don't value your product Not necessarily you but they don't value the product enough to pay the price right.    0:37:01 - Tom They want to pay the cheapest, the biggest of the pain they are.    0:37:04 - Anne Exactly, exactly So. Wow, what a great conversation, tom. This has been so wonderful and enlightening for the bosses out there. I'm quite sure, tom, how can people get in touch with you and work with you?    0:37:17 - Tom Oh, go to vostrategistcom. I encourage you to book a free 15 minute consult. We can talk about any part of the voiceover industry that you want. I also have a video shop where I've got closing in on 30 different videos covering everything in the voiceover industry, from time management to workflow to genre exploration to managing your finances. I also have a great mentorship program where you can do 30 minute check-ins with me once a week, once a month or twice a month. It also gives you access to some of those videos for free. But, yeah, book a session with me, free session with me at vostrategistcom, and I'd love to chat with you.    0:37:50 - Anne Good stuff, tom. Yeah, bosses, today more than ever we need a strategy for moving forward in our business. So go to it, tom. Thank you again. I would like to talk to you bosses about. As individuals, you know, it can seem difficult to make a huge impact, but as a group, we can contribute to the growth of our communities in ways that we never thought possible. Visit 100voiceswhocareorg to learn how And a big shout out to our sponsor, ipdtl You too can connect in network like bosses like Tom and myself. Find out more at IPDTLcom. You guys have an amazing week and we'll see you next week. Bye-bye.    Transcribed by https://podium.page

The ‘Hometown Triumvirate' is a rare occurrence in the world of radio. A collector's item, some might say. Well today, completists got their wish, with Carmarthen, Bristol and ‘the north' being the respective locations of Elis, John and Producer Dave, as the BBC's world-beating broadcasting infrastructure was pushed to its very limits, all in the name of cross country content. Ethernets, modems, ISDN lines and the internet (general) all played their part as features old and new were rolled out. Episode 2 of new audio drama DI Robbyns once again left listeners on the edge of their seats, the lightboards switched up as our fleet-footed hosts juggled a plethora of text topics, plus the dulcet tones of Adrian Chiles made for an unforgettable Made Up Game. Enjoy!

An airhacks.fm conversation with Richard Fichtner (@richardfichtner) about: the jcon.one conference, the cinedom and thunderdome, Digital Crafts Day, 80485 Intel with ISDN router, starting with Turbo Pascal, the ISDN extension card, prehistoric and Prince of Persia, Wing Commander, starting with SUSE Linux, ISDN router and asterisks, lilo the Linux loader, geocities and myspace, Internet Cafes and resetting the computers, Netscape Composer and Netscape Navigator, Netscape Mail, teaching HTML at school, xpage is a WYSIWYG, Florian Habermann the god of programming, xdev the low code / nocode environment, xdev is Java 21 compatible, xapi the framework, moving from Swing to Vaadin, the extended persistence context and EntityManager, PersistenceContextType.EXTENDED and interactive applications, Vaadin flow and WebComponents, GWT and Vaadin, xdev the Vaadin IDE, xdev a no-code IDE, SqlEngine a custom DSL for SQL with xdev, RapidClipse and Eclipse, Eclipse performance significantly improved in recent releases Richard Fichtner on twitter: @richardfichtner

In this episode, Anne and Gillian stress the importance of having a high-quality home studio for voice actors. The hosts discuss the technical aspects of setting up a studio, such as having a good computer, fast internet, and a reliable microphone. They also emphasize the need for soundproofing, with Anne sharing her DIY approach to creating acoustic panels for her studio. Additionally, the hosts talk about the importance of isolation and how it can be achieved through building panels or using reflection filters. Overall, the episode provides valuable insights for anyone looking to set up a professional-grade voiceover studio.   Transcript   It's time to take your business to the next level, the BOSS level! These are the premiere Business Owner Strategies and Successes being utilized by the industry's top talent today. Rock your business like a BOSS, a VO BOSS! Now let's welcome your host, Anne Ganguzza.   Anne: Hey everyone, welcome to the VO BOSS podcast. I'm your host Anne Ganguzza, and I'm excited to welcome back to the show audio engineer, musician and creative freelancer Gillian Pelkonen for another episode in our BOSS audio series. Hey Gillian.    Gillian: Hello Anne. How's it going today?    Anne: I'm doing good. Gillian, I love talking all things audio with you, especially because for a voice actor, our home studios are so very important. And I work mostly out of my home studio, and I know that you kind of do both. You work out of professional studios and your home studio. So I thought we should discuss the important aspects of what voice actors really need and how they can fine-tune their home studio to sound their best, 'cause that's an important component of today's voice actor. We need to have great sound.    Gillian: Yeah, I definitely agree. And I'm home. This is like my working station, but when I'm really working I'm always just bopping around to different studios. So I understand why your booth is so important. It's like your second home or --   Anne: Yeah. (laughs).   Gillian: You know, you spend all your time in there.   Anne: We spend — oh yeah, we spend a lot of time in our booth. So first of all we have to be confident that it sounds amazing, that we can deliver amazing sound to our clients. And then also it's gotta be someplace where it's comforting for us because we do spend an awful lot of time in here.    Gillian: I definitely agree with my personal setup that I have here. I have like all my little mementos that I wanna see, and I have my mic of course for just meetings and talking. But really professional studios are so different than a home studio, because for me I'm always going different places. There's a ton of different gear, a ton of different stuff that we swap in and out for different uses, different clients, but really you guys are just focusing on your voice.    Anne: Yeah.    Gillian: A lot of the work that I do is just to get creative sounds, different sounds, but with voice acting you want it to be consistent and you wanna show up in the booth to do, I guess, revisions for something that you did six months ago and you need to be the same Anne that you were, which is so crazy to me.    Anne: Yeah. And even longer than that, actually I had a client just the other day that I had to provide pickups on something that I had done close to five years ago. And interestingly enough, I've actually transitioned from one studio to the next. So having I think the good bass sound, right, that you can get out of your studio area and also your mics make a big difference too in terms of the sound. And so I had to make sure that I could match it because I literally moved from my studio in Irvine, which was a different setup, a studio that my father built, to a custom studio that Tim Tippetts built here right before the pandemic. Oh, and in between I had a temporary studio, I forgot to mention that set up at an apartment that we were staying at until our new house was built and ready. So that was a different studio.    So all through those three different studios, thankfully I had the same mic, so I at least knew that I could get the same sound as long as I had a decent environment to record that in. And then also I will give props to myself because I had the audio files from five years ago. So I'm a big proponent of backing up your stuff and keeping an archive of it so you can listen and see what your performance was like, see what you sounded like and then be able to match it.    Gillian: Yeah, that's crazy. And so incredible that you have those files and I think that's one of the most important things for me personally too, just to keep everything backed up and know what's going on. But enlighten me, because I really don't know, like did you spend a lot of time working in studios before the pandemic? Like what was your experience like?    Anne: Oh, good question. So I started, gosh, I started back in the early 2000s doing voiceover, and that was when a home studio was like just a thought. It was not a requirement, it was just a thought. And you used to go to local studios to record things, and you would get your jobs based upon auditioning with either studios, or you could audition and then you would select a studio and you would rent space there, or you might be on a roster for a studio. So it's very interesting because as technology evolved and online became a thing and online casting became a thing, then all of a sudden home studios became a thing. Actually back in the day with Don LaFontaine, right, having to travel LA traffic all the time, he became, I think one of the first proponents of doing things remotely in a studio using ISDN technology.    So that I think really spurred everybody else on to start to get home studios because there's so many variables when you record in a studio. But the good thing about recording in a studio is that you go there and everything is beautiful, everything is sound -- everything is, well maybe not sound proof, but everything is optimized for recording so you didn't have to worry about it. And so for me, all of a sudden having to create a home studio or a space for me to record and sound good -- I'm not an audio engineer by trade, I didn't really study it in school. So for me that was a big hurdle in the beginning of my voiceover career. And I know it still is for voice talent that are coming up through the ranks, because that's not necessarily what we studied. We didn't study audio engineering. And of course it's a whole field.    So (laughs), it's not an easy field. And to set up a space in your home so that it can sound as good as a professional studio is really tough. So in the beginning when I went to studios to record and do my jobs, it was great, except for there was always the stress. Can I book the time in the studio? And if I had the time booked for me in the studio, that was great. All I had to do was make sure I got there on time. And then that became a stressful thing for me because of possible traffic. And back in the day, I didn't live in the LA area, but I did live in the New York area. And so traffic anywhere, just the stress of getting to the studio on time, 'cause that's the last thing. You know, that was the one piece of advice that everybody gave to starting voice talent was that don't be late, don't be late to your studio time. You wanna make sure that you show up and you're professional.    But you certainly didn't have to stress about anything other than just performing in front of the mic. And I think that was a big plus for going into studios. And people still go into studios today. And I know I love it when, even if I'm remotely connecting to a studio, I have the engineer taking care of all the sounds and levels and the files, and there's just so much to think about when you are at your home studio. And I'm rambling on here, but it's also a thing that when we are in our home studios, we have to think about things like, okay, well, it's our time to open those files, save the files, upload the files, send the files to our client, edit those files. And so that's something that when you don't go to a studio is now the responsibility of the voice actor.    Gillian: Well, that's crazy (laughs). I mean obviously a lot of these things I know to some extent and it seems like there's so many pros and cons for both. I mean, just hearing you talk about it, obviously we know showing up to record and not having to record yourself, it takes a burden off of it.    Anne: Yeah.    Gillian: Because I record myself. I mean, I'm not a voice actor by any means, not at all. But I've been working on my music for my whole life, and I think when I was like 12 or 13 I got a little ProTools CD and like a tiny interface and that was what started it and the convenience of being at home. But really it is such a treat to go into a studio.   Anne: It's a luxury. I think I consider it a luxury.    Gillian: But also hearing you talk about it, I feel performance-wise, it's gotta be easier to deliver when you're not stressed about getting there on time, you're not stressed about, you know, needing to be in front of other people. I know for myself, I love recording myself, especially when I'm doing singing or vocals because it's super vulnerable and sometimes I don't wanna have to do that in front of somebody else, especially someone I don't know, a stranger. Like, it's a little bit more difficult. But it is interesting because I work at a lot of music studios, so we don't do a ton of voiceover, but whenever we do, we always apologize to the voice talent, 'cause we have this entire gigantic beautiful studio, and we're like, okay, we're gonna give you one mic, we're gonna stick you in the corner 'cause it has the best isolation and close the door, and that's where you're gonna get to go.    'Cause it really is true. You need a good mic, you need a good setup. But voice actors don't need that whole setup. And so I guess the question or conversation is gonna be about how do you take the pros of a pro studio and incorporate them into your home studio setup and make it so that you don't wish you were at the studio. You have everything you need right there.    Anne: Yeah, yeah. It's a journey, for sure, for a voice actor, because again, I don't have the audio engineering education that you do. I know how to perform behind the mic. And so I just remember for me setting up my initial home studios --and I didn't have an ear either for it. I think when you first begin, you just don't have an ear for what good sound sounds like, and I would record and I didn't think anything of it and sent my file off to someone and they're like, mm, yeah, no Anne, that's not gonna do, that's not acceptable. And I was mortified and then it was like, wow. So what do I have to do to make my studio produce sound that is viable for my client?    Gillian: Yes, definitely an interesting conversation and thought just because it's true, like voice actors, they do have to fill the role of the audio engineer. I do believe that. But I also don't think that all voice actors need to be audio engineers.    Anne: Yes. Yeah. Yeah. I agree.    Gillian: You need to know how to record yourself. You need to know how to see if you're clipping, if you're too quiet to hear, a little bit of distortion or hear if your voice just isn't sounding right. And obviously, you know, with auditions you have to edit, you have to make it sound comparable to the other auditions and maybe a final product. But really I feel like if you tell someone who's not an audio engineer, or if you told me five years ago before I was really an audio engineer, you have to do this, it's so overwhelming. So I feel like talking about what people actually need to know, versus what you hire a professional for, or what you just kind of say, okay, this is a setting within my DAW that does not pertain to me. I don't need to be using this to get proper file delivery -- I feel like that's really important for people to just, I think make peace with. Because if you spent all your time trying to learn how to be an audio engineer, you would have no time to be a voice talent or to be doing what you actually wanna be doing.    Anne: So true, so true. So then I think maybe starting from square one, if BOSSes out there are just getting started, and I know I work with people who are just getting started in the industry, and they'll connect to me for their sessions in an office with a headset, and there will be no studio whatsoever, and they will be okay, I'm building my studio. So for me, I will always say to them, well, I certainly have a ton of people that I can recommend to you that can help you build that studio.    But there are certain principles that I know, like I can now hear if they have good sound or not. And I think the first thing to consider is, in your home, like where is a quiet area? And I know that's such a lofty question to ask, but in reality what I've learned is that if you can go somewhere inside your home that's maybe on an inside wall, maybe something that's not necessarily externally connected or near windows or near doorways or near sounds that can turn on — I mean I thought I was really great in the beginning going into my office closet, but unfortunately I found that it was very close to where I would hear water when the toilet flushed upstairs. So it was like one of those things I kept hearing noises. And so I think the first thing is to find that spot in your home that is quiet and also yet convenient to a place where you can put a microphone and also your computer, 'cause you do need your interface, your computer and your microphone.    So where can you put that and set that down so that you can record in a space and also have the functionality of being able to record into your computer, and then obviously hit the start record, stop, record, and all that stuff. And also wear a pair of headphones in the beginning so that you can kind of find out what your sound is like. All those things that people don't think about, they're like, well, I'm gonna put my studio here in my closet, but then all of a sudden their desk is like at the other side of the room, and they don't have a long enough cable.    It could be that simple, right? (laughs) They don't have a long enough cable for their headphones, and then they're like, well what do I do? Or they don't have a long enough cable for their interface is sitting on desk completely across the room, and then well do they bring the interface into the room? So it becomes all these different questions. But I think understanding that your spot in your home I think needs to be in a quiet area first. Maybe not near a window or not near anything that's within a wall that could be making noise like a heater or air conditioning or a generator, that kind of thing. What are your thoughts on that, Gillian?    Gillian: It's so funny 'cause the like doing vocals in a closet or whatever, it's a cliche because it works. Having the padding of the clothing and typically that ends up being a quiet spot in your house, but it's not sustainable to work in your closet forever. And all those things that you mentioned are totally important. You have to have a computer, all of those things. And don't take me for an example if anyone's watching the video; I'm in my office. I don't do recording in here, but I'm like by a window by a ton of noise. It's terrible. But I think finding the right spot to get set up in is totally important.    But the most important thing I think, and you can let me know what you think, but for the most part for doing voiceover work, obviously you need a microphone, but your computer, your internet connection, those are like hugely important things because how fast your computer is, how good it is at processing audio speeds, how well it connects to your interface — like all of those super technical things within — I know I have like a brand new MacBook — those are gonna really matter for how your audio sounds when you deliver it to clients. And you can have the nicest setup in the world, but if you don't have internet, or I know a lot of people also do like ethernet connections, you're not gonna make it to the job. Obviously if you're just auditioning and sending it later, that's a different scenario. But I mean, how important is it to you to obviously be able to connect to clients? That's like the number one.    Anne: Well, I think that's probably one of the most overlooked aspects of being a successful voice actor is your internet. And especially now with needing to have high capacity audio recording features like Source Connect or ipDTL or whatever connection you might be using to get to a studio — that's if you're connecting to a studio -- you need to have a reliable internet connection. And I remember I very much was adamant when I came to my new place here, because it was being built, I specified that there were three specific ethernet jacks placed on the wall, on each wall. So literally I made sure that I had ethernet hardwired, connected before I moved in because I knew it was gonna be easiest to do it then.    Because the people who move into homes, and they don't have ethernet connections, then they usually have to hire an electrician or somebody that can find out that they can run the wire through the wall to get to their modem or their router, or they have to move the router into their office and then other things become a problem. So ethernet and your hardwire connections are so important. And I don't see the technologies advancing anytime soon. Like wireless technology is great and convenient, but it's still not as great as a straight wired connection. I mean you cannot beat an ethernet connection or a fiber connection to your router that gets your data there fast.    Gillian: I think it's just sturdiness. It's true, wifi goes out or it's finicky sometimes. So those are are really important things. And obviously having the foresight to know that you need to have ethernet and all those things installed is really important. But for the people that didn't think about this, are already living somewhere, don't know what to do, find a spot where you feel comfortable, find a spot that's kind of away from extraneous noise. And I personally don't think, if you're just starting out in voiceover, you need to splurge on a booth or anything right away. I think there's a ton of DIY options that we can talk about, but I think that's also a lot of pressure, or at least from what I'm hearing. I'm also like half in the voiceover world, half out of it. So there's a lot of questions that I'm probably gonna have for you about like why people say certain things. And I know kind of random but kind of on the conversation is a lot of audio people that I know are very adamant about not updating your computer or having really, really old hardware. I understand the processes --   Anne: To support the equipment, right?   Gillian: -- behind it. Yeah. But I personally don't live that way. I update my computer. I have new stuff and there are times, like when I, I updated to a newer version of ProTools or a new version of Mac, like the Mac OS that was not supportive of ProTools, and I had a couple weeks where it was having a little bit of bugs, which is frustrating. But definitely for security of myself and all of the other things going on in my life, I don't think that you need to be using a 2010 computer.    Anne: Well, I agree. Normally I would agree with you 'cause I worked in technology for like 20 years. I would always say --   Gillian: No, no, tell me.    Anne: Update. Update.    Gillian: I'm not saying that right. This is just the way that I work. (laughs)    Anne: Update, and I love being updated to the latest and the greatest 'cause I figure it's getting rid of a lot of bugs. However, sometimes when Apple doesn't update, because I work with Apples, it's not conducive to working with my hardware for my studio. So my Apollo, which is my interface, and I have backup interfaces, but right now the latest release of Mac OS is not compatible with it. And I can't afford to struggle for two weeks. I need to have something that allows me to connect and record. And so I will wait on the update until I find out -- I usually check all the -- there's a lot of great groups out there on the internet that talk about should you update your hardware for this new release? Is it compatible with the latest release for the Apollo? And I think it's wise to keep your eyes on that.    I don't think you should be 10 releases behind for sure. But (laughs), I do think that before you upgrade, to just take a look and ask around to see if things are compatible. That's important, especially if you're required to record every day in your studio, and you don't wanna have to go to your backup recording. And that's the other thing too is that I'm very much into having a backup recording setup, because I've had things happen to me enough times. But people just starting off getting into voice acting, they probably don't even have their first setup (laughs) set up, let alone a backup set of equipment.    Gillian: So let me just talk to you on that for a second. I personally don't have any Apollo, Apollo or UAD stuff for that reason because I'm so nervous to be stuck without it. And I totally agree with you, because when I updated my computer without realizing that ProTools -- I mean I'm fortunate enough that I have five or six other places that I can go use ProTools. It wasn't like -- and it was working. It just, there were certain plug-ins that weren't working. But that's not the end of the world.    Anne: Right.    Gillian: But the lesson that I learned from that was, oh my gosh, never update without checking because it's true all the programs that you're using -- and I think within Apple they will say what is compatible and what's not compatible with these new releases, and that is totally smart person way to do it. And you get burned to realize that you can't do it, which is what happened to me and I'm sure has happened to you.    Anne: You only have to get burned once. Right?    Gillian: You get burned once and then you're like, this sucks. I'm so dumb, I have my features and now I can't do my job.    Anne: Yeah.    Gillian: Which is sucky.    Anne: Exactly.    Gillian: So learn from our mistakes, don't make your own. But there are some people, and I've met them, people that I work with too -- I mean one of these studios, we had a 10 years old ProTools rig, and when you get into the large professional studios, they are upwards of like $10-, $20-, $30,000 for new ProTools rig like expensive.    Anne: Oh yeah. And I'm sure that's why they don't upgrade to the latest and greatest all the time.    Gillian: Well, the old system was super sturdy, was working really well. And then we upgraded and there were some glitches and bugs and things that come with updating. I don't know why. I just heard people that I work with grumbling like, ah, you know, the old system was so great, now we have the new system and it keeps crashing. And so the, there is this conversation about not upgrading for like 10 years. I don't know if you've heard that within audio engineers.    Anne: That's a long time. Yeah.    Gillian: So if anyone is giving you that advice, I'm just gonna give you the counter-advice so that you can take both of them and make an educated choice about what you wanna be doing. You don't need to be doing what I'm doing and have the newest stuff. If you have an Apollo, you definitely can't always have the most updated, because it's a little bit behind and everything that's not within Apple will always be a little bit behind. But just make your own choices, people. (laughs) Listen to us, gather the info and make a good choice.    Anne: Yeah. Make an educated choice. And I, and I agree like there's always that fine line of when do you update your technology, like when does that happen? And I'm very used to just from my previous jobs -- I mean I was always living on the edge. I was always trying the new stuff. And so I'm very bold when it comes to trying new stuff. But I'm also smart enough, I've been burned enough times to know that I need backups of everything and then backups of the backups. And so I'm actually really thankful for that experience. And BOSSes out there, I say backups of backups, backups of your files, backups of your equipment, backups of your internet connection, because the one time will come when you really need it, and you won't have that backup. And that only has to happen once. I'm so old, it's happened to me multiple times.    So I feel good that I've learned from it. And so while I feel as though I'm really close to the edge on everything I possibly can be, I'm also smart about when to get on that edge with equipment and stuff that I need on a day-to-day basis. So yeah, absolutely. So when you're looking for that space in your home, that quiet space, that space that's comfortable for you and also hopefully quiet for you, right, for that home studio, then you start preparing it, right, acoustically. So Gillian, what can people do to prepare their home studios acoustically? What sorts of things can they do to have sound absorption? Like if they're in a closet, obviously they can have their clothing which is a great absorber of sound. What other things can they use?    Gillian: There are a ton of things that you can use. I know there's a few DIY boots in the sense that they're not thousands and thousands of dollars. They're like some PVC pipe and some packing blankets that will kind of isolate you, which is great.    Anne: Sure.    Gillian: I think the issue with the way that homes are built versus how sound works is you get the windows, you get all the boxy walls, and you have all these parallel surfaces, and you talk, and all the sound just bounces from side to side to side. So the whole point of having treatment on the walls and treatment around you is to stop all of that reverberation --   Anne: Reflection.    Gillian: Yeah. And the reflections. And just capture it. And really a lot of studios will be built with like diagonal walls and all of these things to just go against it. I have never built a studio, so I can't say that I've done it, but I've been in a lot of places where I'm like, that wall's really weird. Why is it like that?    Anne: Yeah.    Gillian: And of course it's not for aesthetic, it's for sound. So just making, making sure that you are blocking yourself from any windows are really reflective, just any sort of padding on the walls would be really -- I mean I see yours, all of your stuff in the background. For anyone who's watching, Anne has all those nice little --   Anne: Panels.    Gillian: Yeah. The sound panels that just absorb everything. And there's also these things that we use in studios that I haven't seen any voice actors use, so I'm gonna have to ask you about it. They're like reflection filters. Have you ever heard of them?    Anne: Does that go on a mic?    Gillian: It goes on a mic stand.    Anne: Yes, I have. I have.   Gillian: Have you seen I them?    Anne: Yeah, I have seen them and I have not had good success with them, and I actually hate them. I hate them with a passion.    Gillian: Okay, tell me about it because I'm just curious.    Anne: I think that they can work nicely in a studio that already has some acoustic absorption built into it. And then if it's in a large area, if it's in a large space and you need a little bit more, I think that they can work nicely. However, what most voice actors try to do is use it for their studio and then it just becomes the only thing that is used, and it becomes very close to the mic. And first of all, they're really bulky on the stands. I had something called a reflection filter and I paid a good amount of money for it. And like 300 some odd dollars and that was 10 years ago.    Gillian: Wow.    Anne: And it was very bulky. It weighted my microphone stand in a way that kept falling over. And then also it did not create the kind of sound absorption that I liked because it wasn't enough. It just wasn't enough. And then it became inhibitive in a way because I felt like I had something like right here in front of my face. It was very close, and I feel like it just didn't do a good enough job 'cause I think your absorption material needs to be thick.    Gillian: Yeah.    Anne: And so when they make the reflection filters, it's either thick or even if it's not thick, then it's not enough absorption, I don't believe. One thing that I learned through the years of going through, I'm gonna say, three or four different versions of a home studio is -- and by the way, the window, believe it or not, my studio right now is built in an office. It's a room within a room and right in in front of me.    Gillian: Great.    Anne: A room in a room is great.    Gillian: Yeah.    Anne: Right in front of me is a wall that had a side window on it. And we actually, before we built the studio, we frosted the window so it wouldn't look silly because we had a studio in front of it, and people would just look at a piece of plywood or (laughs), you know, so it wasn't attractive. So we frosted the window and then we actually put Rockwool insulation and then a drywall on the out. So we created a whole encasement for the window.    Gillian: Wow.    Anne: So that that blocked any potential sound that could potentially get in. And then we put the studio right up against it. And so that's how we blocked our window. So we made sure there was absolutely no way that sound could get in from the outside on these walls. So it's a room within a room. And so my acoustic panels are four inches thick. And they have Rockwool insulation and that's something you can get at Home Depot. It's awesome. It's really cost effective. It's not expensive. And these were all DIY panels that were made. And I'm gonna give a big shout out to Tim Tippetts. He's got a great YouTube video on how to make them. They're all four inches thick and they sit just slightly off the wall.    Gillian: Yeah.    Anne: So that way you have a little bit of spacing in between the panels and the wall for the sound to kind of just -- if it bounces on that wall, it'll come back in through the panel, which is four inches thick. So that you get I think the highest amount of sound absorption that you can using the panels. And if they aren't using the panels and they're using blankets, again, those blankets are giving you a certain level of absorption. Not quite as much I think as the four inch thick panels with Rockwool in there, but again, it's your choice. And I hang them everywhere. I have a ton of them in here. I also have clouds that are up above me with the same kind of thing. And then outside of my studio, because I want the outside of my studio to be quiet as well, I also have panels hung out there as well.    Gillian: See, that is just like an impressive setup, and thank you, Tim Tippetts. I know he was the previous BOSS audio guest, and that's awesome that he did all of those things for your studio. And that's just what I would say the difference between a Pro VO setup and a beginner VO setup. You gotta start somewhere, and I think that isolation is really important. And obviously, any advice we give, and this will be what I keep saying on the series, is just take what we say and apply it to your situation. Because unless we're working one-on-one, like either Anne or I working with you, there's no way to know exactly what your situation is.    But when you're starting out, I think that — I mean even if a few people built those things that Tim has a video on it and built those panels and just had them in your home office, behind you, around you, it'll help. You don't need to start with a room within a room, even though that's an amazing setup and it sounds great. And all studios are built with rooms within rooms and floating floors so that there's no sound coming from the outside world. But yeah, I think we got a really good foundation of home studio verse pro studio, how to get your space set up. And I think on the next episode, we should really dive in for the BOSSes on like what you need for a beginner home studio setup. What do you think?    Anne: Absolutely. So guys, when you are thinking about getting into voice acting, you must also think about where in your home is a good place for that studio, because you can have an amazing voice, but if you can't deliver the audio, a good quality audio to your client, you're not gonna be a very successful voice actor. So absolutely very important. But one thing I will say to give you all hope, in case you're overwhelmed at this point, is that once you get a home studio setup, like I have a home studio setup, you're pretty much good to go. I mean, your stress is over. You don't have to worry about it much after that, outside of your equipment failing, but your space, if your space is set up, it's set up, right?    Gillian: The investment is forever.    Anne: Right? Yeah. Foregoing any kind of natural disaster, right, or emergency, it stands and it will absorb your sound appropriately, and you won't have to worry about it again. So that's what I love (laughs).    Gillian: Yeah. And I love, Anne, all you shared with me because obviously I work in all these big studios, but I can't say that I've been given a tour of anyone's booth yet (laughs). So you know, hearing how you set it up and all of those things, I think it'd be great for BOSSes to know, and you taught me a little bit today too.    Anne: Awesome. Well, Gillian, thank you so much. I'm looking forward to our next episode. BOSSes, simple mission, big impact, 100 voices, one hour, $10,000 four times a year. BOSSes, visit 100Voiceswhocare.org to join in. All right. Also, a big shout-out to our sponsor, ipDTL. You too can connect and network like BOSSes, like Gillian and I; find out more at ipdtl.com. Thanks so much, guys. We'll see you next week. Bye.    Gillian: Bye.   Join us next week for another edition of VO BOSS with your host Anne Ganguzza. And take your business to the next level. Sign up for our mailing list at voBOSS.com and receive exclusive content, industry revolutionizing tips and strategies, and new ways to rock your business like a BOSS. Redistribution with permission. Coast to coast connectivity via ipDTL.

Quite a few radio engineers first met Paul Jellison just outside his house on 21 acres, right next to a 747 foot Blaw-Knox diamond-shaped tower. Paul lived in the house on the WLW transmitter site for a dozen years, raised his children there, and proudly gave transmitter tours to many curious broadcasters. From 4-POTS-line remote broadcasts, to the first ISDN connections in Central Florida, to new STL and remote monitoring solutions, Paul loves to use innovative technology to make radio sound better and be more reliable. Show Notes:WLW, CincinnatiWLW’s 50,000 Watt Transmitters - YouTube videoWLW Super Power Transmitter Tour from 1985 - YouTube videoPaul Jellison shows us 50 kW leaking out of a loose screw - YouTube video Guest:Paul Jellison - Owner at Technical Media Services LLC Host:Kirk Harnack, The Telos Alliance, Delta Radio, Star94.3, & South Seas BroadcastingFollow TWiRT on Twitter and on FacebookTWiRT is brought to you by:Nautel is offering webinars, training, and the Nautel Users Group at NAB. Sign up here!Broadcasters General Store, with outstanding service, saving, and support. Online at BGS.cc. Broadcast Bionics - making radio smarter with Bionic Studio, visual radio, and social media tools at Bionic.radio.Angry Audio - with StudioHub cables and adapters. Audio problems disappear when you get Angry at AngryAudio.com. And MaxxKonnectWireless - Prioritized High Speed Internet Service designed for Transmitter Sites and Remote Broadcasts. Subscribe to Audio:iTunesRSSStitcherTuneInSubscribe to Video:iTunesRSSYouTube

Quite a few radio engineers first met Paul Jellison just outside his house on 21 acres, right next to a 747 foot Blaw-Knox diamond-shaped tower. Paul lived in the house on the WLW transmitter site for a dozen years, raised his children there, and proudly gave transmitter tours to many curious broadcasters. From 4-POTS-line remote broadcasts, to the first ISDN connections in Central Florida, to new STL and remote monitoring solutions, Paul loves to use innovative technology to make radio sound better and be more reliable.

Quite a few radio engineers first met Paul Jellison just outside his house on 21 acres, right next to a 747 foot Blaw-Knox diamond-shaped tower. Paul lived in the house on the WLW transmitter site for a dozen years, raised his children there, and proudly gave transmitter tours to many curious broadcasters. From 4-POTS-line remote broadcasts, to the first ISDN connections in Central Florida, to new STL and remote monitoring solutions, Paul loves to use innovative technology to make radio sound better and be more reliable.

✘ Werbung: https://Whisky.de/Shop Mein Buch Allgemeinbildung ► https://amazon.de/dp/B09RFZH4W1/ Heute geht es um meine #Telefone und Telefonanlagen vom ersten Wählscheibentelefon bis zur #VoIP-Telefonanlage in einer virtualisierten Serverumgebung. Es gibt eine geschichtliche Einordnung und einen #Praxisbericht mit den beiden VoIP-Telefonanlagen FreePBX und 3CX. FreePBX ► https://www.freepbx.org/ 3CX ► https://www.3cx.de/ AVM / Fritz ► https://avm.de/ 0:00 Geschichte Telefonie 6:18 ISDN Ende 7:49 Infrastruktur 10:02 Modem 11:40 SIP-Server 13:45 Fritz!Box 21:03 VoIP-Telefone 22:47 Private VoIP 26:16 Virtuelle Maschinen 27:47 FreePBX, 3CX 35:20 Weltweit kostenlos Telefonieren

Jim Dilettoso has over 100 projects and 20 years experience in CAD engineering and communications installation. He was one of the early pioneers in Computer Aided Design systems with experience in systems design and application engineering. He was a founder of the Arizona State University Computer Institute and served as it's CAD and AI Director from 1984 to 1989. While in that post he also served as the NASA Industrial Application Center Technology Director. Clients included Allied-Signal, Taliesan Associates and the Frank Lloyd Wright Foundation, where he served as CAD advisor to Dr.Joseph Rourke. Other CAD and Tele-Communications clients included Ramada Inns, Allison Turbine Engine, Holmes Shopping Center Development Group and the 1984 Olympics. Jim is currently on the Board of the CAD Institute and the University of A.C.T. In the 1970's and 80's Mr. Dilettoso produced major events for music and sports. He has Designed or Produced over 1000 music concerts including major tours for the Moody Blues and Journey, including all phases of staging, electrical, rigging, lighting, sound, and special effects. He has experience in managing all levels of stage unions, box-office, and security. In 1983 he was the site planner for the US Festival in San Bernadino, Ca. which was attended by over 500,000 people. In addition, he has designed and built production centers for television and film production. Clients include American Film Technology where Mr. Dilettoso directed the technology development of B&W Movie Colorization as well as the design and implementation of the facilities in Arizona and California. Since 1990, Mr.Dilettoso has been a leading expert in the deployment of Digital Communications including ATM, and ISDN. He has designed systems that have been employed by TRW, Sprint , USWEST, CNN, PacificBell, and Cray Computers in both the computer room and networks. Feature Films such as Lost in Space and Titanic have used Mr.Dilettoso's Animation and Rendering Technology to create realistic scenes and buildings. This Technology can be employed for realsitic walk-throughs and simulations of projects "to be built" by Bozarth CM. Recent technology and facility projects with Bozarth CM include PAXTON of Ottawa, Canada and their Patented Movies-On-Demand technology; Nebraska Educational TeleCommunications and their new Digital Storage facility and American Medical Technology and a new medical data facility in Cairo, Egypt. These projects are typical of Jim's ability to oversee both the technology and facility logistics of companies whose product is very advanced technology.For Your Listening Pleasure all the radio shows available on The 'X' Zone Broadcast Network with our compliments, visit - https://www.spreaker.com/user/xzoneradiotv.The XZBN Network Programming is brought to you by BEAUTIFUL MIND COFFEE - For the coffee that your brain will love, visit Beautiful Mind Coffee, www.beautifulmindcoffee.ca.

OK, so it's redundant technology, right? That ISDN box that served you so well for all those years is now just a door stop or boat anchor. Well, that's not EXACTLY true. Here's why... 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 PAP200. 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   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 #rode #rodemicrophones

Are you feeling the energy of newness & hope that we do? Anne & Lau are getting ready for the new year and all that comes with it. Before you jump to goal setting, take a minute to think about what has happened this year & what you want to create next. Reflecting on your accomplishments is an empowering exercise that can help you feel successful & inspired. It is also essential to take a look at the industry as it is now & research any predictions about the near future. Understanding the demands of the industry will help you build your goals and business plans around what will serve the current market. Now BOSSES, it is time to goal set. Think big, but not unrealistic…and if you need help, listen up because Anne & Lau have your back. Transcript >> It's time to take your business to the next level, the BOSS level! These are the premiere Business Owner Strategies and Successes being utilized by the industry's top talent today. Rock your business like a BOSS, a VO BOSS! Now let's welcome your host, Anne Ganguzza. Anne: Hey everyone, welcome to the VO BOSS podcast. I'm your host, Anne Ganguzza, and today I am so happy to have back to the show the one and only Lau Lapides. Hey Lau. Lau: Hey, I love how you took a breath before you said my name. Yay. Anne: I did . You deserve that extra drama, that extra drama pause. So. Lau: Thank you. I love that. Anne: Awesome. Well, you know Lau, it is coming to a close, the year of 2022. Lau: Unbelievable. Anne: Yeah. And of course 2023, with that comes the new year, resolutions, goals, all those good things. And I think I wanna kind of take a step back and not just talk about 2023, but I wanna reimagine what your business and what the BOSSes out there, reimagine what your businesses could look like in 2023, maybe in a little different light this year. Because I think, I feel like people are feeling more comfortable now. They're getting out, they're seeing each other. I think there's a lot of hope and renewal in the air. I mean, I'm feeling it. And for me, I've taken a look at what's going on this past year and the industry and how it's shifting. And I think we really need to take a good look at our businesses to see how we can maybe shift and evolve and reimagine our businesses in the new year. Lau: Mm. No question about it. And this is the best time. I'm always saying, you're winding down. You're tying up loose ends. You're excited about any holidays that are happening. And even if you don't celebrate holidays, it gives you permission that everyone else is to just relax, be with family, take it easy, but then also to plan. Anne: Yeah. Right? Lau: To think about quarter one in the new year, where do you wanna be? Who do you wanna be? And what does your vision look like of your business? Anne: Yeah. Lau: That's exciting. I love that time. Anne: It's so exciting. I mean, and I really like to have that time to reflect. And I'll tell you what, you and I, we are soul sisters, right? We work, work, work, work, work. And the other day I literally, I had to go to a doctor's appointment. Maybe not the most fun thing in the world, but it got me into the car. And it got me on a long ride 'cause there was traffic. And I actually really like that. And I miss that in a way because whenever I would drive, I was able to think, right? Because I can't be typing at my computer. I have to just sit there and think. And I came to the realization, Lau, that I have been in business for myself for 15 years. Lau: Wow. Anne: And you think I would've thought about that before. I mean, I kind of knew it, but I just, it hit me all of a sudden. Lau: Awesome, awesome. Anne: Wow. That is something to be proud of. And I know you have been in business just about as long as I have. Lau: Mm-hmm. Anne: Full-time, your own business. And I think that number one, before any BOSSes start to think about what they are going to do next year, right, and create goals, I think you should stop, reflect, and give yourself credit and realize your accomplishments that you have so far. Because that, I think gives you a great baseline to jumpstart a new year. Lau: Absolutely. And you know, I was thinking about you saying that you were in the car, and that's that autonomic thing in your brain that you know how to drive the car. You don't have to think about it. So you can go into your imagination, you can go into processing things, and you've got the privacy. You're alone. And here's the thing, we're moving forward. Most of the time, unless we're sitting at a light or backing up, we're moving forward. So if you drive, if you bike, if you walk and you're moving forward, and you're thinking about your life, think about your business as moving forward. You've got this kinesthetic energy that's happening as you're thinking about what's to come. Anne: Mm-hmm. Lau: And we're meant to be in action. I know I'm one of those people, Anne, and I know you are as well, that I am better about working and getting things done when I'm in action. Anne: Yeah, absolutely. I agree. Lau: I'm not as good on the outside of it. I'm better on the inside of it. Anne: Well, you know what else too, when I am though, in that moment where I can be quiet and reflect, I also like to watch or listen to other creative things so that I can learn and be inspired. And so, believe it or not, I was listening to another podcast, and it wasn't anything to do with voiceover, and it didn't even have to do with business, but it was people in the creative arts. And when I listen to them banter back and forth about what they do on a day-to-day basis, or that maybe they're interviewing somebody that's in television or the movies, and it always gets me thinking outside of my bubble. I really think that most of us voice talent. We stay in this bubble, this safe, comfortable bubble of, this is my industry, this is what I know, and this is how I need to go forward. These are the steps that other people in my industry have told me. And I think that you really need to step outside of that once in a while to get creative inspiration. Like I love watching good movies. I love listening to new music. I love listening to anybody in the creative arts talking about their career or what they do to inspire themselves or to get ahead or to grow themselves or their business. That inspires me and gives my business new ideas. Lau: Mm-hmm. Absolutely. I'm right there with you. And just last night I was watching a program on PBS about the American Musical Theater. Anne: Mm-hmm. Lau: And the Jewish influence on that thematically, like the Jewish people that are coming in and influencing that. And they talked to Mel Brooks, and they talked to Stephen Sondheim and they talked, and here's the theme. They came up with. The great musicals were all revolving around hope and joy and happiness, you know, "Put on a happy face" and "Singing in the rain" and all. And I'm telling you, I was crying my eyes out with joy. I was crying my eyes out because I wanted to remember that what we do in our industry should be around joy rather than around negative. Anne: Yeah. Lau: You know, we can still have agendas, we can still have purposes that are serious, that we really care about. We wanna uplift and we want to support, but overall, I know I wanna have a joyous outlook about myself, my business, my clients. Anne: Absolutely. Lau: My world. I want, I wanna go in with the upward mobility rather than downward. Anne: Yeah. Upward. And along those same lines is really understanding what it is that you do and how you contribute to the world and society and within your business. And I think that we talk about this all the time, know your worth, know your worth. But I think we, we talk about it in terms of just knowing your worth in terms of what do I charge? Right? What do I charge for this voiceover job? I want you to think broader and grander than that. Like, how does my voice fit into the very small piece of the pie that can affect people on grand levels? Do you know what I mean? My voice that fits into a documentary or something that's uplifting, or a meditation or, or however that works in a creative, entertaining spot. How does that fit in? And how does it overall affect not just you and your business, but society and the world? And when I think you start to realize where that sits, you start to value yourself and your business even more. And that helps you to create even grander goals that can be achievable, not grand goals that are not achievable. It gives you inspiration that you can achieve this. Lau: Yes. And that there is an outcome that you are responsible for. And the outcome is surrounded by impact. Anne: Mm. Yes. Lau: Like what kind of impact and outcome does your audience, your client base, the people who surround you, what are they going to feel? What's the affect? What are they going to learn? What's your logos and education around what you bring to them? And how will they be persuaded? You know, like how will they move in a direction or a new direction based on what you're giving to them and offering them, which is you're offering them value. Anne: Yeah. Lau: You're really giving value. So it's not just about setting your rates and setting your pricing. Anne: Sure. Lau: It's about saying, take a step back. What value am I really giving to them? And how long lasting is that value? Anne: I totally agree with you. And so in looking, I think, BOSSes, before you start to make those goals for 2023, and you start reimagining, start taking a look at what you do now and start looking beyond just the surface of -- for me, for example, I don't necessarily do documentaries every day of my life or impactful commercials every day of my life, but I do voiceover every day of my life. And every single piece that I do voiceover for every single piece of copy has a meaning and has an impact to someone out there. And I think we don't often look beyond the words. Right? And the end of the job and the paycheck. I think we really have to say, what is it that we are contributing? And also, I think if you are really thinking about the overall impact, it's gonna help you with your performance as well. Your performance is gonna mean more artistically. And also, again, I think everything just falls into place because again, as I was mentioning before, if we look at the evolution of this industry and how things are changing and evolving, technology, it keeps coming. Right? It keeps coming. There is the potential for a large amount of disruption in our industry because of technology. If you remember, I think the first was home studios and then ISDN, right? Or ISDN, that was a technology that led to home studios. And then home studios led to more and more people in the industry. And then after that, I'm thinking, what else is changing in the industry? Online casting sites, right? Pay to plays. That was technology that, it disrupted our industry. And technology, by the way, doesn't just disrupt our industry. Technology disrupts every industry. And again, there's another movement for, I'm gonna say it, synthetic voices. And I know that people don't wanna hear that, but yet it is coming. And so as businesses and when we are trying to imagine our business moving forward, we need to be aware. We need to keep our eyes open. And we also need to think that if synthetic voices are coming, we need to be even more human in our craft. Right? Even more human, to make the impact to differentiate ourselves from the other product that may be coming. And also possibly consider having an additional product in your service. Right? Maybe a human voice. Well, obviously a human voice, right? But maybe think about how a synthetic voice might play into your business. I'm not gonna say that I am out there taking away jobs, but I'll tell you what, they're not gonna stop for me. . Lau: Exactly. Anne: And so for me, I wanna hone my craft so that I can give as much human Anne to my performance and make an impact with that as I can. And so that gives me lots of goals for next year, lots of goals. Lau: Tons of goals. It's never ending goals. And I think there's the nature of human beings, not just in our industry, but to sort of have resistance against change. Anne: Yeah. Mm-hmm. Lau: Like anything that looks scary, unknown, change -- will that take my job? Will that take my value away? Will that take my worth away? Well, our job, I think as human beings is to say, no, I have to re-envision what my value and what my place is, and then I have to offer that. Anne: Yeah. Lau: If I sit back and I put up the resistance wall and I become super toxic, and start low talking everything and downgrading everything -- listen, as you said, it's not gonna change because I'm upset about it. Trust me on that. Anne: Exactly. Yeah. Lau: So when in Rome -- like you have to figure out, how do I carve out my business and rearrange that to fit the new waves that are happening in the industry? And if you really look closely, there's going to be positives. There's going to be pros, there's going to be great stuff. And then there, there will be cons too. Anne: Yeah. Lau: So I always found like you, I need to stay positive about it and really do the due diligence of figuring out how do I swim in this market? What do I have to offer? And what do I need to change and re-envision in order to still fit into the industry? Anne: Right. And I think it's important, again, just to reiterate with some different words, but saying the same thing, it is the market. We are a business who provides a product to a market, and we need to pay attention to that market. I can't just be a voice actor and say, but I have an amazing voice. Hire me. Lau: Right. Anne: It doesn't matter how great my voice is if the market is not demanding it. Right? And that's just business 101. You have to understand what the market is looking for, and then as a business, offer something that will serve that market. Lau: Yeah. I mean, if it's any consolation and you view it all as a commodity, and that we are a product, in essence, go out and look at every single product on the market from an Apple computer to Tide soap to your car, to your house, whatever. It doesn't stay the same. It's all new. It's improved. Anne: Yeah. Lau: You've got new ingredients, you've got new packaging, you've got environmentally friendly, you've got da, da da, da, da. It just doesn't stay the same. Like, I'm this laundry detergent and it's good. And take it or leave it. It doesn't stay that way. It has to change with the mindset, the vision, and also the generational influences. It has to shift and change to appeal to those target demographics. And it doesn't mean that it's not good anymore. It means that it needs to move in the direction where that audience figures out what the value is. Anne: We can't, "get off my lawn!" We can't do that. Lau: No, no. Anne: We just, we just can't -- we may be getting older. And it's interesting because as I -- Lau: What are you doing on my lawn? Anne: Get off my lawn. Lau: Get off. Anne: As I mentioned, I've been in the industry for 15 years. I have seen a lot of change. Lau: Anne: Again, when I mentioned when I started home studio was just a thought. Lau: Yeah. Anne: It wasn't a requirement. Online casting sites hadn't begun yet. And really, if you're not, again, watching and looking and educating yourself, you're not gonna be able to move forward. Your business is not gonna be able to move forward. So if you're a voice artist and you love what you do, and you wanna remain a voice artist, then I think you definitely need to take some time. And this time of the year is a great time to do it. If you haven't been writing down your accomplishments -- So I'm gonna say before you write down goals, I have a wonderful planner that I write down weekly, daily accomplishments, things that I've done. And it's something that, a place that I can go to look back at. And it gives me a nice benchmark to say, oh yeah, you know what? If I'm feeling down and I feel like, oh, it's a slow week and what's going on, I don't feel like I'm making any progress -- I can go look at things that I've written down and say, wow, you know what? Like the epiphany that 15 years, wow. That's something to be proud of. Lau: Look how much you did. It's very easy to forget about it and brush it aside when you're busy and stressed about the up and coming projects. But when you really take the time to look back on everything, oh my goodness, you go, did I do that? Oh, . It's incredible. And you should be proud of that. Like you should take the time to celebrate it. Take the time to really go, oh my God, that's me. I did that. Like I always say, we're the alchemists thinking about creating a business out of nothing. Anne: Right. Lau: There's nothing there. It's air. And then you fill it with a thought and you conceive it, and then you start to plan it, and then you start to execute it. And then when you do it, you go, oh yeah, I just did it. It wasn't a big deal. Yeah. I got to do -- well, you forgot about the whole process -- Anne: It was a big deal. Lau: -- leading up to it. Anne: Exactly. Mm-Hmm. Lau: A huge deal getting there. Anne: It's interesting, as I was thinking about that, I'm also writing like, what are the biggest myths about starting a business in the voiceover industry? And one of the biggest myths is that you're born to be a business person or born to be an entrepreneur. And I think I'm the first one to negate that because I wasn't born to be an entrepreneur. I learned everything as I was going along. And so in reality, that's an accomplishment. Lau: Oh yeah. I don't even know anyone who, even if they're born into families of entrepreneurs and they're studying in an entrepreneurial, you know, MBA track, they're not naturals at it oftentimes. They have to learn, they have to absorb, they have to be in the surrounding, they have to be in the mindset, the thought process. And that's not even to say, are they brave? Like, do they, they have that risk taking, that calculated risk taking thing. Are they willing to work really hard? Are they creative? Do they have a creative brain? I mean, that's all stuff that is part of your makeup, part of your chemistry. But you have to have the exposure, the teachings, the environment to help cultivate all that. Anne: BOSSes out there, if you haven't already gotten a pen and paper and started writing down these accomplishments -- because if you are here, if you are in the industry, if you've started your business, that is an accomplishment. And that is something to jumpstart, springboard off that for reimagining your next year. And I've got some, you know, hefty plans for myself, more so than I think I did this past year. I mean, I always like to think big, but this year I'm really starting to evolve and change, and I think get off my lawn kind of talk. I have been planning for my retirement for the last five years. The wheels have been turning. I wanna make passive income so that when I retire, I can travel and I don't have to be taking my mic everywhere with me and enjoy my retirement. So I've always been planning year after year after year, what can I do? How can I evolve my business? How can I grow it? And part of that is sitting down and looking at my accomplishments and then figuring out what new things do I wanna do for this next year? And I think because I've seen a bigger change in the industry this year, more things out in the industry that are affecting the industry and trends and where they're going -- and I think next year I want to be able to offer more to my clients. And so I'm going to have to really dig deep and figure out what parts of my business do I wanna change? Do I want to upgrade? Do I want to, I can't be Anne Ganguzza more than 24 hours a day. I just don't have the time. And so now I've gotta really figure out a new way to rework the business so it's more efficient. And I can put more of my, I guess I wanna say my genuine self into it and not have to spend hours doing things that maybe I can outsource or have another method of getting them done or maybe go a different direction. Lau: Hmm. No question about it. I think that that's the way to go. And when your BOSSes are ready to do that, delegating, growing your team, going from solopreneur to really businesspreneur, entrepreneur, whatever is important when you're ready for that step. And that's a courage step. You have to have a lot of courage and faith that you've reached that certain benchmark, but you need to get to the next level up. And in order to do it, you can't be everywhere all the time. You have to have others helping you. That was hard for me, honestly, Anne, because I'm the type of person, I don't know, maybe I'm a control freak and I'll say -- Anne: No, I hear you. Lau: Maybe I'm a control freak, but I like to touch everything. You know what I mean? Anne: Yeah. Lau: I'm like a toddler. I like to touch that and touch that email and touch that. Anne: Yeah. Lau: And I'm learning that I don't always have to do that. Anne: Yeah, absolutely. Lau: And sometimes, and this was like a huge ego thing, and BOSSes, you might be able to relate to this, the idea that it won't go well or it won't be of high value if I'm not involved with it, is really not true. It's just not true. It's your insecurity potentially. Anne: Yes. Absolutely. Lau: Being worried about things going wrong versus that client really getting their value, enjoying themselves fully with another coach or with another engineer, or with another whatever you do like all the millions of jobs. I always say job number 82, you know what I mean? Anne: Yeah. Yeah. Well, there's something to be said when you do outsource. I mean, I've had, gosh, I wanna say I've had my second hired employee is still with me. Wow. She's been with me for, I'm gonna say nine years now. Lau: Wow. Anne: Think about that. Nine years. Right? Lau: Nine years. Anne: I have been employing, I mean, I have at least nine people on my team now, but they've stayed with me. And that's yet another thing to think about. If you're outsourcing, you have to manage, right? You have to manage employees, you have to delegate, you still have to delegate so you have a little bit of your piece of the pie. You have your hand, your fingers in the pie there. And it's something of an accomplishment to have an employee that is loyal, that wants to stay with you for that long, that you can hopefully motivate and inspire. And it's, it's not just about the money for them. Because I realize that if I want quality work and the type of work that I'm so control freakish myself, right? It's gotta be at a level that's way up here -- if you want your employees to perform at that level, then you have to respect them. You have to treat them well, you have to pay them well. And that also is a big challenge because we are our own business and to invest money, right, again into ourselves for performance training, for demos, for marketing, for outsourcing, it's always, I think, a scary thing for us to spend our money. Right? Our well-earned money. And so again, that's another thing that I can have on my accomplishment list to say I have been a good boss to my employees. And they have not left me in the dust. They've stayed with me. We have a wonderfully respectful, productive relationship. And I'm very proud of that. Lau: And you should be proud of that. That's amazing. And in a world where most bosses just don't care, like workers are dispensable, oftentimes they're not even recognized. It's like you're a number in a lecture classroom kind of thing -- you have built a core business built on value and warmth and a family friendly environment and really nurturing, really just nurturing your talent and your clients, and really making sure you've got a caring, watchful eye. Hard to find that. That is invaluable. Like that is priceless. You know what I mean? To be able to do something like that. We pride ourselves on that too. And I recently said what you said. I said, oh, I've been an amazing boss. Like, I'm incredible. But here's the double-edged sword. I have been the toughest boss that I have ever worked for. I'm much tougher on these than I am on the people that work with me and for me. And that's an issue. Like it's good that you're able to drive yourself. It's not good that you drive yourself crazy. Anne: Oh, I completely agree. I completely agree. And you know what's so interesting? I think that because our product is really a very personal, part of our personal brand, right? It represents our personal brand, whether we are hiring somebody to help market, for us to help engineer, for us to help communicate to potential clients for us, they are representing our brand. And so by default, I like to say, of course, I'm the most caring, warm boss out there. But part of it is also because they're representing my brand, right? And I wanna make sure that I get tip top work, right? Top-notch work. I know myself, I'm not gonna get top-notch work from workers who aren't paid enough. Right? How can I preach the value of knowing your worth if I don't pay my employees what they're worth? Right? How do I get them to care about me and my brand? Because if they write an email and say the wrong thing or come off on a different level or a different way, that is impacting me and affecting my business. And so I have to make sure that my employees are on the ball all the time. And, and I think that's part of the motivation too, for treating your employees well. And I always think you should treat your employees well anyways. Happy employees are gonna be ones that really serve your company and will stay with you for the long term. Lau: That's right. That's part of your envisioning and re-envisioning of your business, that I'm working with the best crew that I can work with. I'm inspiring them. I'm offering them the resources they need. I'm educating them. I'm taking care of them well financially and emotionally, but I'm also motivating myself in a new way and getting courageous about that. Like what's the next step? Let me be honest. How do I level up personally and professionally? How do I get to that next place? And I'm telling you, it can be a leap. I'm going through it myself. It can be, after 14 years, it is really crazy to like take a leap to go from whatever it is, whether it's the six figure to the seven figure mark. Anne: Sure. Absolutely. Lau: Or to go from this level of client to that level of client, or it's very, very unsettling to do that. Anne: And I'll tell you another thing. I always think about at this time of the year, right? Next year, am I going to raise my prices? Right? Lau: Hmm. We were just talking about that. Yeah. Anne: And I think that, Lau, that's a whole 'nother episode, but it's something, BOSSes, I want you to think about, right? Are you going to be raising your prices? And in economic times such as these, right? When there's a recession or the looming recession, how much are you going to, are you going to change your prices for new clients? Maybe your existing clients, you'll give them a grandfather clause where they get the same rate. But I do think that every time I change my prices, I have a little mini heart attack because it's scary even for us, right Lau, when we -- Lau: Oh, yes. Anne: It takes courage to do things like that, to raise your prices, to hire someone, to fire someone, anything when it comes to your business for growth, it takes courage to grow. Lau: It does. Anne: And I'll tell you what though, I have all the faith in the world for 2023 and the BOSSes that listen to this podcast, that you guys are gonna go write down those accomplishments so that you can have a springboard to really, really reimagine what your business will be like in 2023. And think big. I like to think big, but don't think unrealistic because I'm ever hopeful that I really do believe that when I do reimagine my 2023, I will always make it so it works for me. Because I certainly don't like, I don't like to fail. I mean, I do fail all the time, but I don't like it to look like a failure. So I just say, oh, I changed my mind. So . Lau: Yeah, exactly. Anne: But again, it's all about growth. Lau: Exactly. Anne: And I think that if you have done this for any amount of time, or if you're just getting into it, taking risks and having courage to grow your business -- you don't have to say, oh, I'm gonna go from $1000 a year to $100,000 a year. You don't have to make some crazy grand goal. As a matter of fact, most of my growth has come from goals that I kind of worked backwards from. And so they were step by step by step. And so each one was incremental in a realistic way, so that I never felt like I was losing or a failure or I couldn't make it. Lau: Exactly. And and you know, we have fancy terms that we use now that really justify those moves. Like changing your mind is now called pivoting. We pivot. Anne: Yeah. There you go. Lau: Because it either doesn't work or it's not what we thought it is, or it's just not panning out for whatever reason, or we no longer wanna do it. It doesn't satisfy our overall goal. So we pivot in a new direction. So as you're able to transition and pivot and move, I would say, stay in action, move forward. Keep envisioning and re-envisioning, and don't be apologetic if you need to change course, if you need to pivot like you do, Anne, like I do every single day. That's really part of the game. And if you're gonna be in it, you need to keep that action moving forward. And just go for it. Like don't hold back. Go for it. Anne: Well, I am Inspired, Lau, by you and I thank you, Lau. This is our last podcast episode of this year. We are continuing next year, which I'm so excited for. Lau: Yay. Anne: But yeah, so I have to say I am truly grateful and appreciative of having you these past few months as my co-host and absolutely love growing my business with you and growing VO BOSS. And for the BOSSes out there, I wanna say it's been an amazing year. Thank you so much for supporting us. One last thing, big shout out to our sponsor, ipDTL. You too can connect and network like BOSSes and reimagine your 2023 with ipDTL. Find out more at ipdtl.com. I have all the good feels for next year for all of you. Keep listening, we love you, and we'll see you next year. Lau: Thanks everyone. See you next year. Anne: Thanks, BOSSes. >> Join us next week for another edition of VO BOSS with your host Anne Ganguzza. And take your business to the next level. Sign up for our mailing list at voBOSS.com and receive exclusive content, industry revolutionizing tips and strategies, and new ways to rock your business like a BOSS. Redistribution with permission. Coast to coast connectivity via ipDTL.

Today, a new geo-triumvirate was born, as content proceeded to explode across the airwaves from central London (Elis), BBC Bristol (John) and Salford's Media Citeh (Producer Dave). And with a smorgasbord of content covered including (but not limited to) bean shots, Clarence Seedorf, toilet seats, Chinooks, Pokemon cards, potatoes, Roy Keane, Larkin and Scottish weather, maybe long-distance ISDN-supported broadcasting is the future for our digital-terrestrial protagonists? Either way, good show.

From telegraph to teledildonics, people have leveraged technology to cultivate pleasure and intimacy for themselves and their partners. This week Stef and Wolf talk materials science, ISDN, and the illusion of control as they explore the evolution of teledildonics. Learn how these products evolved in step with the internet and what you need to consider before bringing a bluetooth enabled toy into your bedroom and your relationships.

What does "The World's Tallest Remote Boy" know about radio remotes that WE don't know? Let's find out together! Charles Kinney with Cox Media Group, including the legendary WSB AM-FM in Atlanta, is our guest TODAY on TWiRT. We recount the way we handle remote audio and signalling for decades - before the Public Internet came along - and what techniques we’re using now to get audio from live, outside broadcasts back to our radio studios. Show Notes:Marti Electronics General Catalog from 1989The Comrex Buddy was a popular mixer/POTS frequency extenderComrex POTS codecs - a transitional technology from RPU and POTS to today’s IP codecsThe Telos xPort worked over either ISDN or POTS circuitsLive Broadcasting Is Being Catapulted Forward by Remote IP Codecs - Radio WorldA Tutorial on Audio Contribution over IP Guest: Charles Kinney - Director of Engineering at Cox Media Group Atlanta Host:Kirk Harnack, The Telos Alliance, Delta Radio, Star94.3, & South Seas Broadcasting Follow TWiRT on Twitter and on FacebookTWiRT is brought to you by:Nautel and the continuing informative live webinars. Sign up for free!Broadcasters General Store, with outstanding service, saving, and support. Online at BGS.cc. Broadcast Bionics - making radio smarter with Bionic Studio, visual radio, and social media tools at Bionic.radio.Nautel and the regular Transmission Talk Tuesday series of online engineering roundtable events.Angry Audio - with StudioHub cables and adapters. Audio problems disappear when you get Angry at AngryAudio.com. And MaxxKonnectWireless - Prioritized High Speed Internet Service designed for Transmitter Sites and Remote Broadcasts. Look for in-depth radio engineering articles in Radio-Guide magazine.Subscribe to Audio:iTunesRSSStitcherTuneInSubscribe to Video:iTunesRSSYouTube

Episode 560 Stewie is live from Quahog via ISDN, the couch potatos check in as wel. Sports - Jim Rome and the host do a segment featuring e-mails and a top 10 list about tennis players. We can relate - "Labor Day". "Come Monday" karaoke. Shane Bee checks in. Pink Floyd's "Household Objects" album. Kansas has made gambling legal, "Stewie Reacts - Desert Scene From Casino". Southwest pilot gets frustrated with passengers. Bathroom policy for a high school in Florida. Drug trafficking. Follow-up to a story covered last week. The show closes with a clip of Sam Kinison concerning the Jerry Lewis telethon. Break music - "On The Turning Away" by Pink Floyd Rejoiner music - "Brain Damage" by Pink Floyd --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/lawrence-ross9/message

Och aye the noo! John Robins is up in Edinburgh for the Fringe throughout the whole of August, so for today's show he joined Elis and Producer Dave live from Scotland via an ISDN line (think tin can and string but more advanced). To celebrate the fact he's currently staying in the centre of the comedy universe John invited comedic royalty Richard Herring along to talk about things he takes too seriously, as well as asking him to propose a law to Petty Parliament. Elsewhere, Elis tells us about how he fell victim to a scam, Producer Dave spends 120 minutes panicking about passports, there's a very painful Made Up Game and Tony Livesey shares his swimming secrets.

Jim Dilettoso has over 100 projects and 20 years experience in CAD engineering and communications installation. He was one of the early pioneers in Computer Aided Design systems with experience in systems design and application engineering. He was a founder of the Arizona State University Computer Institute and served as it's CAD and AI Director from 1984 to 1989. While in that post he also served as the NASA Industrial Application Center Technology Director. Clients included Allied-Signal, Taliesan Associates and the Frank Lloyd Wright Foundation, where he served as CAD advisor to Dr.Joseph Rourke. Other CAD and Tele-Communications clients included Ramada Inns, Allison Turbine Engine, Holmes Shopping Center Development Group and the 1984 Olympics. Jim is currently on the Board of the CAD Institute and the University of A.C.T. In the 1970's and 80's Mr. Dilettoso produced major events for music and sports. He has Designed or Produced over 1000 music concerts including major tours for the Moody Blues and Journey, including all phases of staging, electrical, rigging, lighting, sound, and special effects. He has experience in managing all levels of stage unions, box-office, and security. In 1983 he was the site planner for the US Festival in San Bernadino, Ca. which was attended by over 500,000 people. In addition, he has designed and built production centers for television and film production. Clients include American Film Technology where Mr. Dilettoso directed the technology development of B&W Movie Colorization as well as the design and implementation of the facilities in Arizona and California. Since 1990, Mr.Dilettoso has been a leading expert in the deployment of Digital Communications including ATM, and ISDN. He has designed systems that have been employed by TRW, Sprint , USWEST, CNN, PacificBell, and Cray Computers in both the computer room and networks. Feature Films such as Lost in Space and Titanic have used Mr.Dilettoso's Animation and Rendering Technology to create realistic scenes and buildings. This Technology can be employed for realsitic walk-throughs and simulations of projects "to be built" by Bozarth CM. Recent technology and facility projects with Bozarth CM include PAXTON of Ottawa, Canada and their Patented Movies-On-Demand technology; Nebraska Educational TeleCommunications and their new Digital Storage facility and American Medical Technology and a new medical data facility in Cairo, Egypt. These projects are typical of Jim's ability to oversee both the technology and facility logistics of companies whose product is very advanced technology.For Your Listening Pleasure all the radio shows available on The 'X' Zone Broadcast Network with our compliments, visit - https://www.spreaker.com/user/xzoneradiotv.Our radio shows archives and programming include: A Different Perspective with Kevin Randle; Alien Cosmic Expo Lecture Series; Alien Worlds Radio Show; America's Soul Doctor with Ken Unger; Back in Control Radio Show with Dr. David Hanscom, MD; Connecting with Coincidence with Dr. Bernard Beitman, MD; Dick Tracy; Dimension X; Exploring Tomorrow Radio Show; Flash Gordon; Imagine More Success Radio Show with Syndee Hendricks and Thomas Hydes; Jet Jungle Radio Show; Journey Into Space; Know the Name with Sharon Lynn Wyeth; Lux Radio Theatre - Classic Old Time Radio; Mission Evolution with Gwilda Wiyaka; Paranormal StakeOut with Larry Lawson; Ray Bradbury - Tales Of The Bizarre; Sci Fi Radio Show; Seek Reality with Roberta Grimes; Space Patrol; Stairway to Heaven with Gwilda Wiyaka; The 'X' Zone Radio Show with Rob McConnell; Two Good To Be True with Justina Marsh and Peter Marsh; and many other!That's The ‘X' Zone Broadcast Network Shows and Archives - https://www.spreaker.com/user/xzoneradiotv*** AND NOW ***The ‘X' Zone TV Channel on SimulTV - www.simultv.comThe ‘X' Chronicles Newspaper - www.xchroniclesnewspaper.com

It's off-season for the NFL, but this is when broadcasting's remote engineers prep for the Fall season. Robert Carroll is the Game day Engineer & Producer for the New Orleans Saints Radio Network. No matter whom you cheer for, behind-the-scenes engineering is physically demanding and requires quick, clear, and creative thinking as well. Robert Carroll joins Chris Tarr and Kirk Harnack on TWiRT. Show Notes:New Orleans Saints Radio NetworkWe mentioned IDB Communications several times. Here’s a brief history of IDB - a company that many broadcasters depended upon for remote communications.ISDN was fondly recalled in this episode. Here’s some info on this nearly-gone telco service.REMI - Remote Live Production - explained by LiveU Guest:Robert Carroll - Gameday Engineer & Producer, New Orleans Saints Radio Network Co-Hosts:Chris Tarr - Group Director of Engineering at Magnum.MediaKirk Harnack, The Telos Alliance, Delta Radio, Star94.3, & South Seas BroadcastingFollow TWiRT on Twitter and on FacebookTWiRT is brought to you by:Nautel and the continuing informative live webinars. Sign up for free!Broadcasters General Store, with outstanding service, saving, and support. Online at BGS.cc. Broadcast Bionics - making radio smarter with Bionic Studio, visual radio, and social media tools at Bionic.radio.Nautel and the regular Transmission Talk Tuesday series of online engineering roundtable events.Angry Audio - with StudioHub cables and adapters. Audio problems disappear when you get Angry at AngryAudio.com. And MaxxKonnectWireless - Prioritized High Speed Internet Service designed for Transmitter Sites and Remote Broadcasts. Look for in-depth radio engineering articles in Radio-Guide magazine.Subscribe to Audio:iTunesRSSStitcherTuneInSubscribe to Video:iTunesRSSYouTube

Jim Dilettoso has over 100 projects and 20 years experience in CAD engineering and communications installation. He was one of the early pioneers in Computer Aided Design systems with experience in systems design and application engineering. He was a founder of the Arizona State University Computer Institute and served as it's CAD and AI Director from 1984 to 1989. While in that post he also served as the NASA Industrial Application Center Technology Director. Clients included Allied-Signal, Taliesan Associates and the Frank Lloyd Wright Foundation, where he served as CAD advisor to Dr.Joseph Rourke. Other CAD and Tele-Communications clients included Ramada Inns, Allison Turbine Engine, Holmes Shopping Center Development Group and the 1984 Olympics. Jim is currently on the Board of the CAD Institute and the University of A.C.T. In the 1970's and 80's Mr. Dilettoso produced major events for music and sports. He has Designed or Produced over 1000 music concerts including major tours for the Moody Blues and Journey, including all phases of staging, electrical, rigging, lighting, sound, and special effects. He has experience in managing all levels of stage unions, box-office, and security. In 1983 he was the site planner for the US Festival in San Bernadino, Ca. which was attended by over 500,000 people. In addition, he has designed and built production centers for television and film production. Clients include American Film Technology where Mr. Dilettoso directed the technology development of B&W Movie Colorization as well as the design and implementation of the facilities in Arizona and California. Since 1990, Mr.Dilettoso has been a leading expert in the deployment of Digital Communications including ATM, and ISDN. He has designed systems that have been employed by TRW, Sprint , USWEST, CNN, PacificBell, and Cray Computers in both the computer room and networks. Feature Films such as Lost in Space and Titanic have used Mr.Dilettoso's Animation and Rendering Technology to create realistic scenes and buildings. This Technology can be employed for realsitic walk-throughs and simulations of projects "to be built" by Bozarth CM. Recent technology and facility projects with Bozarth CM include PAXTON of Ottawa, Canada and their Patented Movies-On-Demand technology; Nebraska Educational TeleCommunications and their new Digital Storage facility and American Medical Technology and a new medical data facility in Cairo, Egypt. These projects are typical of Jim's ability to oversee both the technology and facility logistics of companies whose product is very advanced technology. For Your Listening Pleasure all the radio shows available on The 'X' Zone Broadcast Network with our compliments, visit - https://www.spreaker.com/user/xzoneradiotv. Our radio shows archives and programming include: A Different Perspective with Kevin Randle; Alien Cosmic Expo Lecture Series; Alien Worlds Radio Show; America's Soul Doctor with Ken Unger; Back in Control Radio Show with Dr. David Hanscom, MD; Connecting with Coincidence with Dr. Bernard Beitman, MD; Dick Tracy; Dimension X; Exploring Tomorrow Radio Show; Flash Gordon; Imagine More Success Radio Show with Syndee Hendricks and Thomas Hydes; Jet Jungle Radio Show; Journey Into Space; Know the Name with Sharon Lynn Wyeth; Lux Radio Theatre - Classic Old Time Radio; Mission Evolution with Gwilda Wiyaka; Paranormal StakeOut with Larry Lawson; Ray Bradbury - Tales Of The Bizarre; Sci Fi Radio Show; Seek Reality with Roberta Grimes; Space Patrol; Stairway to Heaven with Gwilda Wiyaka; The 'X' Zone Radio Show with Rob McConnell; Two Good To Be True with Justina Marsh and Peter Marsh; and many other! That's The ‘X' Zone Broadcast Network Shows and Archives - https://www.spreaker.com/user/xzoneradiotv *** AND NOW *** The ‘X' Zone TV Channel on SimulTV - www.simultv.com The ‘X' Chronicles Newspaper - www.xchroniclesnewspaper.com

Episode 543 Explaining what an ISDN line is. How did Stewie and the couch potatos spend their Easter? Sports - Jim Rome gets e-mails about Mike Tyson punching a guy who was bugging him on a flight. Tampa Bay Lightning update. Book recommendation: "The Contender" by Robert Lipsyte. A clip of Mike Tyson and Snoop Dogg discussing "Mike Tyson Mysteries" leads to the question - who is on my list of people I'd like to interview and/or colaborate with? Why marijuana was made illegal. "We Can Relate - Cannabis". Stewie gives me crap over the music coming out of the break. Blind Justice - Fire fighter denied money, followed by an old clip of Anthony Weiner passionately discussing healthcare. Human trafficking. Abortion in South Decoda. Netflix. Mask and traveling. IRS is backlogged. Man gets life for killing a bus driver, leading to a personal experience I had on a public bus. Non -profit organization teaching aviation to inner city kids. CBS remembers director. The show closes with two old bits - the couch potatos commenting on "Video Killed The Radio Star" and "Stewie Reacts - Nixon's Resignation". Break music - "Aerials" by System Of A Down Rejoiner music - "Magic Bus" by The Who --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/lawrence-ross9/message

Episode 542 New Facebook like. Personal recap. Stewie and the couch potatos are live via ISDN, find out what they're Easter plans are. Bill Hicks's routine on the Easter Holiday. Sports - Jim Rome gets Easter related e-mails. The Tampa Bay Lightning are going to the playoffs! "We Can Relate - Easter". Stewie thinks I'm giving the audience a contact high by playing Pink Floyd. Blind justice - masseuse under fire, fire fighter extorted teen. Orange problems for Florida. Oklahoma bans abortions unless it's to save the Mother's life. New signal devices for the Tampa Bay Rays. The show closes with Gilbert Gottfried's telling of "The Aristocrats", considered to be the dirtiest joke in the world. Bonus, find out what happened when I met him after a show. Break music - "Comfortably Numb" by Pink Floyd Rejoiner music - "The Great Filling Station Holdup" by Jimmy Buffett --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/lawrence-ross9/message

ISDN, while an old technology, is still around in many parts of the world. When will it go away? George Michaelson joins Tom Ammon and Russ White to discuss the end of ISDN. The conversation then veers into old networking technologies, and the importance of ISDN in setting the terms and ideas we use today—ISDN is one of the key technologies around which network engineers built their mental maps of how to build and maintain networks.

You can register for my network troubleshooting course here. Information about the IEEE Network Softwarification Conference can be found here. Our upcoming episodes for this month are George Michaelson on the death of ISDN and old networks; an update on the FR Routing project; and Rick Graziani on college and network engineering. Thanks for listening to the Hedge!

In today's episode, Pilar talks about meeting listeners, recording and tech problems xxx and I've shared a couple of things that are happening outside the English-speaking market. The other day I went for lunch with my friend Pinar, who has a podcast in Turkish and has recently received some great feedback from listeners, asking her when she was going to release more episodes. She felt guilty... This is a great motivator isn't it? And interesting that although we do podcast for ourselves, we do feel accountable to those people out there who enjoy the content. Her wine podcast in Turkish is  Juliette'in Kadehi.It's important to find something we enjoy during the process to drive us through creation. Pick topics you love, take this into account when you plan your show. You'll need these moments to drive you through the quieter times and keep you podcasting. Pilar met a listener of the 21st Century Work Life podcast the other day, and she recorded with someone who listens to the show, and referred to what she'd learned from it during the interview. It's great to be reminded that what we put out there will be of use to someone else, that there are people who have never heard what we have to say. 07.51 Adventures with the tech (of course!)During our first recording with a guest for Gastronostalgia, my guest stopped being able to hear me. So any time I wanted to ask a question, I had to do it through my co-host Tomas, as if he was an interpreter. It was not very enjoyable. By the way, it's interesting to know what kind of interviewer you are. I'm a conversationalist, that is, I aim to have a conversation with the guest; Tomas is more of an interviewer, with questions leading the piece. We've started bringing guests in to be able to reach more listeners, and freshen up the show a bit, and reward our listeners with a bit of variety - and different kinds of recipes! As podcaster, Pilar doesn't like using video during the recordings, but it's important for some guests, and co-hosts. Ask your guests, but also communicate your preference. It was also great to go to a studio where they're not using cameras when the client is dialling in - just like in the good ol' days, when this was being done via ISDN (not Zoom or Teams) and we didn't have to worry about the camera pointing at us while we tried to immerse ourselves in the audio medium. 19.04 mins A couple of news itemsThe Ondas awards for podcasts took place in Spain, and most of them come from the big producers like Podium, Spotify, Audible... however, there was also a special award for a podcaster that's been around for a while. Here's the list: https://www.premiosondas.com/premiados_ondas_podcast_2022.php?utm_source=podnews.net&utm_medium=email&utm_campaign=podnews.net:2022-02-25 If you want to listen to some Spanish, Pilar and her friend Craig have a show that's now ended, called En clave de podcast.There's also a podcasting conference in Cairo on 5th March. Any questions and comments, do pop over to https://www.adventuresinpodcasting.com/contact/ or connect on Twitter @InpodcastingIf you're thinking of starting your own podcasting adventure, I recommend Buzzsprout as host - click here for my affiliate link, which also gets you a little discount, and Riverside FM for recording, which you can access through this other affiliate link.

This interview was recorded on 1/15/2021. Welcome back to The Joyful Toolkit. In today's episode, I am joined by my dear friend Bob Souer. You can probably guess Bob is an audiobook narrator by listening to his voice. Bob started doing audiobooks in 2006. He was first cast to narrate the entire new King James version of The Bible. Up to that point he had expressed a modest amount of interest in doing audiobooks, but he had never actually narrated one. He jumped in quite literally to the end of the pool and then just kept swimming. Bob has now done +300 audiobooks. Join us as we discuss: Bob's entire experience narrating the Old and New Testament (a rough 72 hours) and all of the key elements that helped him, including ISDN lines, a director, and an engineer. When he started doing audiobooks for independent authors and referrals. Why he finds so much joy in narrating non-fiction audiobooks. Humility and happiness: his definition of joy and why he feels it most fully when focusing on others. How leaning on faith, friends and family kept him anchored during a time of loss in his life.  Why adequate rest and hydration are crucial elements for his self-care. The advice he would give to his younger self. Some Joyful Tools: The Treasury of David by Charles Haddon Spurgeon The Holy Bible (KJV) Where can you find Bob: Website: https://bobsouer.com/ Social Media:  Facebook: @Bob Souer Linkedin: @Bob Souer Twitter: @BobSouer Instagram: @bobsouer ❤️

On this special two-part podcast, TC2's Joe Schmidt has assembled six of his favorite guests from past Staying Connected episodes for a rapid-fire review of the important ICT events of 2021. In this part one, LB3's Andrew Brown looks at the impact of E911 regulation and the continuing saga of USF, Laura McDonald reviews some predictions she made about vendor developments and security issues, and TC2's Theresa Knutson closes out the podcast with a discussion of TEM services and how the telecom companies are beginning to sunset technologies like POTS and ISDN.

Julie Berry has been one of the best-loved voices in London for over 20 years. Apart from a tremendous range of styles and characters, her voice has a natural warmth and authority, which has always been very popular with the major advertisers. She was the original voice model for BT's Directory Enquiries and is still the voice in the tubes of the Piccadilly line.She began her working life as an actress. After a long spell in the West End, a Play of the Month for the BBC and a very happy time on the Radio Drama Company making radio plays for the BBC, she opted for life behind the microphone in the world of voice overs.Recent work includes documentaries for Channel 5 (Interview with a Cannibal), Meridian (The Castle), Sci-Fi Channel (Rutger Hauer), Sky (Twins in Peril) and Crime and Investigation Network (The Real NCIS series).Please use the buttons on the left to find out more about her ISDN facilities and to see and hear some audio and video samples.Over the last 15 to 20 years, Julie has been involved in many major TV and radio campaigns. See acast.com/privacy for privacy and opt-out information.

Hint...it's not overnight! Welcome back to the Table as we begin a new string of episodes focused on breaking the MOLD of what the world tells us we need to be/do/have. Enrique Josephs Jr.'s voice is described as strong, deep, warm and friendly. Enrique works in several areas of voiceover such as Promo, Narration, Commercial, Radio Imaging and Trailers. He has voiced projects for industry leading companies such as NFL Films, Showtime,Freeform, Xfinity, FOX, ESPN, History Channel, Fandango, MLB Network, and CBS Sports. His home studio is available to you via SourceConnect, ISDN or by phone, please message him on his website https://www.enriquejmedia.comFollow Enrique on Instagram: @Enriquejmedia Follow Michaela Belle on IG https://www.instagram.com/michaelabelle/****Are you struggling with finding joy in this season of life?****  Everywhere you look, you're being reminded of everything that you DON'T have and want.If you're feeling "behind" on your desired timeline for your life?  Michaela has a resource for you where she shares her thREe shift framework that will help you find fulfillment in your right now season.  Your whole life can change in a year, let's make it this year!  Click here to watch the workshophttps://michaelabelle.mykajabi.com/ownyournow

Joining us today is Cambria Jacobs, Chief Marketing Officer of EGYM, a global fitness technology leader that uses smart gym equipment to support their members' fitness journey by providing data-based guidance for motivation and measurable results. Have you wanted to live a healthier lifestyle but felt immediately intimidated by what to do when entering a gym? Maybe you've walked over to a big hunk of gym equipment and thought to yourself, “How do I adjust the speed?” or “Where does this pin go?” If you've ever felt this way, EGYM was created to strengthen people just like you. Not only is Cambria is a rockstar at EGYM, she's also had nothing short of a remarkable career path to get here. From the start of her career as a marketing assistant after college, Cambria has used her “scrappy” talents to take the companies she works for to amazing new heights. She stresses the importance of feeling that “Friday night lights” energy to fire up the passion she needs to get work done. Cambria reminds us that it's not your performance that matters, its how you showed up, how hard you worked, and the lessons you learned along the way. With that said, what will you do with what you've learned today? In this episode, you'll learn… EGYM's gamified equipment has lead them to become a global powerhouse at the intersection of exercise and health How Cambria's childhood love of Connie Chung and Jane Pauley taught her about taking complex stories and packaging them in a digestible and meaningful way One of the biggest challenges for companies is how to communicate effectively to each other and their audiences Cambria reminisces on her youth in Newport Beach and how her development plan for the area at 15-years-old helped her realize her gift for communication When data is prevalent, look at trends and trust the experts. When the line is blurred, trust your gut Why video conferencing was exclusive to Fortune 500 companies in the age of suitcase cellphones Your first job, major in college, or your performance in either doesn't really matter. It matters how you show up and where you decide to take what you absorb.  The importance of being brave and taking the leap for your passions, even when you're diving into a whole new world When in doubt, return to the customer When dealing with a scary situation, focus on where everyone can align to foster community and build strength Push hard, but don't forget to pause and be proud as you climb each summit Resources Cambria Jacob's LinkedIn EGYM Facebook Page EGYM Instagram Quotes [17:52] “Yes, we all communicate, but very few of us do it well, and so that really became my path of being so intrigued by the words and the styles and the channels that different leaders around the world had selected throughout periods of time.”   [21:13] “You don't need to be so afraid to make sure you're always choosing the (right) words. Sometimes getting out of your own way and...really speaking from the gut and trusting what you've learned, sometimes that'll take you way farther.” [29:36] “It doesn't matter how you perform...but it's all of the lessons along the way: that you showed up, that you worked hard, the friends that you made, the families that you're having dinner with at the dinner table, how you're talking about who you are, and what you're seeing in the world is so impressionable.” [42:50] “When I wake up in the morning, I want to be fired up. I want to be excited to do better for our customers, for my teammates. I want to know what's next, I want to feel...that ‘Friday night light' energy and when I don't have it for me personally, I can't be a great leader.” [57:26] “There's nothing I love more than taking all of the amazing insights and turning that into something fresh and letting (the employees) that have put their blood, sweat, and tears into something...really walk away and be incredibly proud.”  Podcast Transcript Cambria Jacobs 0:02 I was looking to how could I perhaps marry what I was becoming more, you know, I was a mother at this time I had been married and divorced and ready to really take that, you know, maturity and try to be bold and brave and break out of what I had always known, do something different. And that was when I really was looking into how can I get into health, wellness, more lifestyle, both business to business and business to consumer marketing because to me, I had much more personal passion in that field. But I was also I didn't, that's not where my connections were. That wasn't where my network was. And so that was a bit of a brave, bold and scary time, but I decided to pursue it. Marc Gutman 0:51 podcasting, Colorado, this is the baby got backstory podcast, we dive into the story behind the story of today's money. Inspiring storytellers, creators and entrepreneurs. I like big back stories and I cannot lie. I am your host, Marc Gutman, Marc Gutman, and on today's episode of Baby got backstory. How scrappy young girl from Orange County with dreams of being in the next Connie Chung found her way West and became a global Chief Marketing Officer for a leading fitness technology company. Hey, now here's my regular ask. If you like and enjoy the show, please take a minute or two to rate and review us over at iTunes. Assuming you like the show. iTunes uses these as part of the algorithm that determines ratings on the apple charts. And ratings help us to build an audience which then helps us to continue to produce the show. Alright, with that out of the way on today's episode, we are talking to Cambria Jacobs, the global Chief Marketing Officer of EGYM This episode is a special one for me. I first met Cambria 20 years ago while we are working at a technology startup in Boulder, Colorado called rain dance, the hot tech of the time, audio and web conferencing. Go figure. anyone listening using that technology today? Well, when I met Cambria, this was New Tech. It was hot. And I can tell you, it didn't always work. But the very first moment I met Cambria, I knew she had it. I didn't know what it was then. And I really didn't even know what professional marketers and a company did back then. But I knew she was smart, and she was pivotal and helping to shape the overall company's strategy. And Cambria has had a remarkable career and marketing and she's nowhere close to winding it down. But today she's the global Chief Marketing Officer of EGYM, which is a global fitness technology leader that provides fitness and health facilities with intelligent workout solutions. Built on connected gym equipment and software, EGYM empowers gym operators to deliver a comprehensive experience through its smart gym equipment and digital solutions to support their members fitness journey and provide data based guidance to help them stay motivated and achieve their goal of a healthier life. with improved physical and mental wellness, Cambria will give us some examples of what that is specifically in this episode, so you can get a sense of what EGYM does. Together with her team. They've reinvented the EGYM brand to represent what the fitness technology company has evolved into, a global player at the intersection of exercise and health. Cambria is so smart and I could talk to her for hours. After the interview we talked about doing a follow up interview diving deep on marketing and branding specific topics. So keep a lookout for that one. But in the meantime, put on your listening ears because Cambria Jacobs is sharing 20 years of marketing experience In this is her story Cambria thanks thanks for joining us. We have a long history together, which I hope to discuss in this episode. But before we get to that, why don't you go ahead and tell us your position and the company you work with and what you guys do. What is EGYM? Cambria Jacobs 4:25 Awesome, thanks Marc. So my name is Cambria Jacobs, I'm the global Chief Marketing Officer at EGYM, EGYM I'm actually was founded right around 10 years ago. And our mission was to make the gym work for everyone, which I think right now in terms of the global pandemic is something that we all could feel safe and ready to work out into place that actually delivers that, but we really have grown from a from a small team into a multinational company. We've launched several generations of smart strength Equipment lines that really have expanded over time. And when you look at a gym, we're a global fitness technology leader. We provide fitness and health facilities with really smart and intelligent workout systems across the globe. It's designed really not about just showing up to the gym and getting your workout in, but how we can actually deliver results measurable results to the person who is working out as well as to the gym owner who's making an investment in both their hardware, their software and their total system. Marc Gutman 5:32 So command example like like where my I actually come into contact with with your technology. Cambria Jacobs 5:38 Absolutely. So in North America in particular, the YMCA is we're actually some of our early our early customers and it's perfect, especially when you look at the mission of making the gym work for everyone and then aligning that with the YMCA mission where it truly is that that perfect mix of of America. Where everyone is welcome. The alignment was pretty clear. And what was really great to see with the YMCA is, is that they were looking for a solution that if you can imagine when you go into a gym, maybe you're just coming back after having your second child. Maybe you're older and you're recovering from a stroke. And at the YMCA is that's a place that you feel pretty safe. But when you walk over to do actual strength training, looking at that whole wall and trying to remember how do I adjust that speed, how much weight can I really lift? Where did I put that pin? A lot of times people like that, which we refer to as the health seekers. So really the 80% of us here in North America, that's super intimidating. And so the YMCA is in particular have been a great place where they looked at that and saw our equipment where you actually get on a machine, you take your RFID and it knows who you are, and it'll actually do a strength test for you and it's all like that. Played Pac Man, essentially, it's all gamified. And so I'm chasing some, you know, dots on a screen while I'm pushing what I can and pulling what I can. And then it remembers it, it remembers where my seat was, was positioned, it remembers how how hard I was able to push, and then every six weeks, it will allow me to do another strength test. So essentially, when I come back, all I have to do is again, swipe my RFID. It knows exactly where I was last time I sit on and I get going. And I can go ahead and get my strength training workout accomplished in 30 minutes or less. And I instantly have all of my data about how effective I was, how much better I was, perhaps than last time how I'm progressing. I can see all of that data in real time on all of my digital devices, if you know what if I've downloaded the app, all of it is integrated. So that part is just really exciting for where you can see that at least in North America, and that's in the YMCA or the nonprofit sector. But additionally, we also are in Gold's Gym in Southern California. We also are have boutique concepts. So those concepts that are a little bit different in, in Florida. So we've got folks in all different regions, but the YMCA would be the most prevalent here in North America. Marc Gutman 8:19 And that's incredible. I feel like you just described me I didn't realize I was a health seeker but like one of my biggest one of my biggest like, issues with going to the gym or even like, like when you're like in a cycling class or whatever is truly like, where where I was I set last time, like, how do I set this up, like, I always feel like and then I'm intimidated because I feel like a idiot in the gym. Like, I don't know how to do anything and, and I don't want to be you know, seen as that person that doesn't know how to work the machine that I'm on. And so I just, I feel like that's so amazing in a in a service and a technology in a solution that that everyone truly needs. So I'm really looking forward to, to seeing that deployed a little bit more widely into some of the other things I'm a lifetime fitness person. So if you can make that happen, that'd be cool. Cambria Jacobs 9:03 Absolutely we are, we're all there lifetime fitness, that would be just such an amazing opportunity to expand that net to help. Like we said, health seekers like us that again, we're not alone. 80% of us here in North America would fall into that bucket. And we're not going after the experts because we have the peloton and someone that really expert in equipment that is dialed in, and they know how to use it. So they don't need necessarily as much guidance. So let's not try to attack that market where they're feeling like their needs are already being met. How about the rest of us that are trying to just get healthier and, and be fit for the life we want to live. Marc Gutman 9:38 And so global cmo sounds really, really awesome. And in my world, that's about as high as you go in the marketing realm. So you've done quite well, but like I have to ask, you know, when you were eight years old, was Cambria, a little Cambria? Was she dreaming of becoming a marketer? Like what was your childhood like and and would you want to be one When you're little, Cambria Jacobs 10:01 Ah, what a fun question. I would say when I was little I. So growing up in the, you know, born in the early 70s. And so being a small child in the late 70s and 80s, I would say Connie Chung and Jane Polly seemed to be a couple of my childhood heroes as strange as that sounds. So I actually always wanted to be on the Today Show or Good Morning America as a morning newscaster. And I wanted to be that since I was like six or seven years old. So no, I mean, I guess in a way communication was always something that I was drawn to I loved, complex stories that that that seemed way too complicated for the everyday person to really understand and then to see them show up, package it in a way that was digestible for I guess the rest of us always just seemed like something that was was fun and cool, and really helpful and meaningful, at least for our family. And it was also at time that I remember of just being together in the early mornings before the rest of the day ensued. Marc Gutman 11:05 That's weird. I mean, I'm, I'm a child of that era too. And you know, all my stories of bonding are over movies and things like that. I think this is part of the generation but you were growing up, I believe in Southern California. Is that right? Cambria Jacobs 11:18 Yes, I was born and raised in Newport Beach, California before I headed to college at the University of Colorado Boulder. And where I have remained ever since. Marc Gutman 11:30 Yeah, and what were your interests as you got a little older, maybe not even quite to college, but as you were in California, I mean, it was a pretty typical it was it this like kind of, you know, warm, sunset II kind of existence where you're hanging out at the beach and it's a little bit like Saved by the Bell or like, what was it like then? Cambria Jacobs 11:48 Yeah, I would say that Orange County at that time you port beach in particular was definitely I wouldn't call it a sleepy beach town because I think it had progressed from that by the time you know, the 80s and 90s. But but certainly much, much rougher around the edges than perhaps it has now where it certainly seems to be much more perfectly polished I would say. And I feel really lucky. I can't speak for the other classes that they grew up in that time. But we had a really strong group of parents and I went to Corona Del Mar High School, we had great teachers and leaders, and we were very close. My class was just a few hundred people. And so, yes, being down on the beach, tower five big Corona was the hangout and we had fun and didn't ever take it too far. For the most part, again, depends on the group you were in, but it was a it was a good it was it was definitely not 90210 and we felt supported connected. It was about Friday Night Lights, just like all cities and towns. But yeah, we had the opportunity in the amazing luxury of then ending that day, or starting that day at the beach. driving down the street to see a sunset. Catalina in the background. But yeah, I mean, I would say it was pretty similar to a lot of towns a lot of growing up just, you know, with also a lot more privilege and opportunity. So feel felt very, very fortunate. Marc Gutman 13:15 We're interested at that time, both academically and non academic. Cambria Jacobs 13:20 You know, I think for me, I mean, honestly, I was definitely that kid that, you know, socializing was was certainly a priority of mine. I didn't necessarily put a lot of thought into what was going to be next. But I always knew that obviously, I would go to college, I wanted to go out of state, I wanted to really push beyond Orange County and see what was was out there and my parents really pushed me to not take the University of Southern California path and to get out and meet people that grew up in other places. And so for me, I really appreciated and loved and felt so lucky to grow up where I did, and it's still remains one of my, my top places to go home as I still call it. But what I always knew is that I did want to travel, I did want to expand and I wanted to do something different, bigger and better. But what that looked like, especially in high school, I had absolutely no idea. Marc Gutman 14:17 And I think that that's typical, right? Like, I think most of us don't don't necessarily know what we want to do after and I think that's a big part of, of being that age and figuring it out and exploring but so you decided to go to University of Colorado at Boulder, and like why they're like, of all the places. Why? Why be above? Cambria Jacobs 14:37 Yeah, exactly. Well, I think, you know, I would love to say that I searched it out. I did all the research, I really had grown in terms of my vision of knowing what was next for me and therefore very methodically made that decision. But truth be told, it definitely was, you know, in that time the era of Southern California's Southern Californians invading Boulder, Colorado and I came out with a handful of kids from Corona Del Mar. My older brother also went to the University of Colorado was a Sigma Chi and was a gorgeous place. So that certainly had a heavy weighting on that decision. And then of course, once I started the application process and interviewing, I really became I started to create my own vision of why Boulder, Colorado and that came from kids that I met that were from back east and from the Midwest. It came from seeing these mountains that were so crystal clear and so detailed that they almost didn't even seem real to me, and then having the opportunity to start working in Boulder, Colorado through college, waitressing at one of the most famous dive restaurants in town Juanita has really expanded my colorful social network. It really started to defeat into what I was looking for which was just a little bit more of not the same of more experiences more backgrounds that I didn't have even though boulder colorado I would not say is still the the mecca of diversity. Marc Gutman 16:16 Not not quiet. It wasn't. It's not now but we're working on it. So when you were in college, like what were your interests besides the social aspect? It sounds like you had that nail but were you studying marketing? Did you start to map out a vision for your, your, your life in your career after college? Cambria Jacobs 16:36 I had a couple of really great professors at the University of Colorado, and the classes I was still taking were still pretty broad and yes, marketing, you know, as I as I entered and communication always still remained as not only something that I was drawn to but something that had been, you know, really communicated back to me that it seemed to come naturally to me and that perhaps up Something that you should lean into more. So I started to really double down in that area. And I did so in a way that I started looking really about better understanding rhetoric, the power of it. And and then as I was able to secure an internship with a new and emerging tech startup here in Boulder, right around my junior year, I realized that much of what I had been taking for granted that you know, in terms of communication, in terms of how people are, are marketing in the different strategies, something that seemed a lot like common sense to me was actually something that this company in particular, and then I would learn many, if not all companies, it's one of their biggest challenges is how do we communicate as a company with each other? And how do we communicate with our customers or shareholders all of those key stakeholders and, and while Yes, we all communicate, but very few and few of us do it well, and so that really became my my path of being so intrigued by the words and the styles and the channels that different leaders around the world had selected throughout periods of time. And then the impact that has had on so many milestones again across our world, and that really began to draw me in. And then having my first internship in the marketing team really gave me a better understanding of how that then could be applied and use to actually tie it back into measurable results beyond just what what felt like it helped alleviate some challenges or friction actually resulted in company company and customer benefits. And that was a connection that had I not had that internship. I don't know if I would have been able to make that connection at that time. Marc Gutman 18:47 Yeah, it's such a powerful connection. I mean, it's one I still struggle with today. I mean, like, I get caught up in the things that that make me in the client feel good and sometimes forget about those measurement. results and actually having the business outcome. And I think a lot of people in this space struggle with that at times, especially when you slant a little bit more towards the creative. But when you were, you know, you mentioned this, this idea that you were there was reflected back upon you that, you know, you have this gift for communication. Do you remember any moment in particular, any professor or anyone that really connected with you on that and what they told you, Cambria Jacobs 19:27 you know, I look back, actually, it would be even earlier than that, I look back at a project that we had to do in high school. And that sort of that triggered me into really thinking more about it, and it was at a time in Southern California. Irvine Company is one of the largest development firms it was at the time, Donald Bren, which is funny that you know, a child of 14 or 15, 15 would remember a developer you know, a company however, that was one of the main industries I would say in in Orange County, and looking at growth and the growth plans in Southern California at that time and our beaches and the open space. And we had a project to be able to say, you know, if you could partner with anyone, and be able to do a presentation, who would it be? And what would it look like? And I took the opportunity to really do a, a slow growth development plan that would still appeal to to one of the biggest developers in Southern California and present it in a way that would be compelling for him to invest, even though the short term revenue would be less than desirable. And as I gave that presentation to a mix panel, the amount of engagement and accolades, so definitely a celebration of a talent, and then actually some creative thinking that came out of that. You know, some well esteemed professionals was really sort of that that juice that I needed to be able to continue pursuing that. And then fast forward, you know, maybe six years later in the internship presentation where I was really pushed that you don't need to be so afraid to make sure you're always choosing the wrong words, sometimes getting out of your own way. And just, you know, really speaking from the gut, and trusting what you've learned, sometimes that'll take you way farther. And that opportunity that I finally did that it was less prescriptive was the opportunity that I really got the best grade in that class and that confidence boost to to stop really always questioning everything you're going to do and start trusting your gut as you're building up your experience continued to be something that that I followed into my my early career, Marc Gutman 21:48 and Is that how you continue to make decisions today are you typically a gut based decision maker, Cambria Jacobs 21:53 you know, I would say in the in the early days, you know, having not a lot of experience less, less So and then I'm smart enough to know also that as data becomes much more prevalent, much more aware, really looking at trends, things of that nature. But I think that comes with with just experience and visibility into those data into that did those data sets so less about less about gut unless it's a decision breaker, more about trusting the experts that are around you doing a lot of listening looking at trends, I think that is definitely much more a part of my decision making now and then gut when, when it's not super clear, the the line is, is a little bit blurred. You go back on to what do you know and and also surrounding yourself with fantastic people that ideally have more expertise in areas that you do not. Marc Gutman 22:50 Yeah, and I know that you have a daughter who is finishing high school and getting into college and so it's such a kind of an exciting time and a parallel I'm thinking about you and in your college career and so when she or not when she when you left college when you left Boulder, did you know what you were going to do? Did you have a job lined up? Are you like, Hey, I'm ready to go or what did that look like for you? Cambria Jacobs 23:16 So I always look back in that time and just feel so incredibly fortunate. I had the opportunity to connect with four amazing ex Air Force men who had created the startup link VTC, which at the time, which is in the mid 90s, was a very innovative video conferencing company and work really focused on fortune 500. So, Pfizer, Wells Fargo of the world, we're really our biggest accounts and everyone at the company was definitely 30 or younger and was that that early tech startup vibe in Boulder and I was lucky enough through university of colorado to land a marketing internship within that company and as I graduated, I was able to interview and was offered a marketing assistant role at that company so I was able to do the the six week American backpack through Europe trip and then come back to a job working with really some of the best teammates I've ever had and continue actually being some of my very dear friends and and leaders that inspired me and continue to be some of the best leaders I've I've ever worked with. Marc Gutman 24:33 It's like the American College dream You know, like you go to college and get a job it's not so common anymore. Cambria Jacobs 24:40 I it was it was one of those things that but I knew at the time I definitely did not take that for granted. I knew at the time how very fortunate I was the way things played out. Marc Gutman 24:51 Yeah, so take us back a little bit because you know, this interviews being recorded on zoom, you and I we came to our computers. We had very little issue. We just hit more button we're talking to each other seeing each other our lips are synced. It was such an easy experience today and especially in the middle of this pandemic, I mean people are living on video and and it just all seems to work but what was it like back then like like, you know, why was it just for Fortune 500 companies Cambria Jacobs 25:16 oh my gosh well back then I feel like a very old person right now back then kids It was a try to get an ISDN line installed to your your office let alone your home. So you had enough bandwidth to actually be able to have the you know, have video and audio and then they also had these incredibly complex and expensive systems that actually would have enough resolution to be able to actually capture a video that was worth anything, let alone the quality of these you know, fortune 500 companies. And then of course it would not be as simple as just clicking a button you know between the early network challenges the you know, hardware challenges software. challenges, etc. I mean, it was it was an entirely different world back then. And like anything we can think of the cell phones back in the 80s, where people had to carry around a giant suitcase, I would say it's probably similar to that experience and which now of course, it's it's a device that everyone has everyone uses, much like, how this pandemic has now, you know, allowed us to have zoom calls and hangouts with our grandparents. So really similar technology path of part of the early adopter phase where it was, you know, you need to invest hundreds of thousands of dollars in that equipment and then thousands and thousands every month for the support and then businesses like Lync BTC competex of the world that were outside of, you know, British Telecom that were also popping up so the very early telecom startups that were coming up in the in the 90s. Marc Gutman 26:53 Yeah, and why was it x Air Force like what What was that all about? The leaders Yeah. Cambria Jacobs 27:00 Yeah, I mean great question. I don't know the actual drive as to why they landed in technology. But I do know that these were were four different gentlemen that all had really different areas of expertise but what they shared was exceptional leadership, very charismatic, incredibly intelligent and technology and communication was just a natural fit for them. And it actually they started in California before they decided to move to Colorado and together they had the ability to do a lot of you know building databases themselves with Paul Brabarian and an early now CEO of Spiro right of the Gemla Jeals of the world who have taken you know, companies public sense of, you know, being able to raise funds and help an early company be really financially responsible a Joel Daly who could train the most technical skills to fresh college graduates, while also inspiring them to, to really show up and give more than they ever thought possible and then followed by Art Zaly who was the epitome of a sales and marketing leader that that made his team feels that they could accomplish the world and rewarded them every step of the way. And almost like you know, your your favorite father where you wanted to make sure that that he was proud of you as the customer was so together, they just had a really special mix of talent, leadership and incredible intelligence. Marc Gutman 28:37 Yeah, for those listening, if you go ahead and Google those names, you will see where they've all gone and they've gone on to amazing great things. It's a bit like having the all star team or the Beatles at the beginning of your career and then you know where they went after. So it's, it's pretty cool that you were able to to start your career and really get your foundational worldview in business and skills from those from the Leaders I mean, I know and you know, the things that are really still with me today are from my, my first jobs and from what I've learned from my, my first mentors and bosses. And so it's interesting how those, you know, sometimes people say your first job doesn't matter and a lot of ways it doesn't except for the fact that you're gonna, you're really impressionable, and you're really learning and it really sets you know how you're going to view and see the world going forward. So so for Cambria Jacobs 29:26 childhood, right, I mean, it's, you know, doesn't really matter what you chose, you know, you were choosing to take in high school, the friends you made the sport she played, no, it doesn't matter how you perform in that, but it's all of the lessons along the way that you showed up that you worked hard, the friends that you need, the families that you're having dinner with at the dinner table, how you're talking about who you are, and what you're seeing in the world is so impressionable. And that same thing happens I think, as you enter into college and whatever that experiences regardless of how you perform or what your major is, and that same in that first job. About how you choose to show up and then what you're observing around you and where you decide to take that. Whether you're starting as you know, the you know, and you know, the very entry level or you're getting a mid level position. It's what do you do from that point? That I think is is the opportunity that you can make of yourself and how you want to be perceived by those that can really take you to whatever is next. Marc Gutman 30:23 Yeah, for sure. Absolutely. I couldn't agree more. This episode brought to you by wild story. Oh, wait, isn't that your company? It is. And without the generous support of wild story, this show would not be possible. A brand isn't a logo or a tagline or even your product. A brand is a person's gut feeling about a product service or company. It's what people say about you when you're not in the room. Wild story helps progressive founders and savvy marketers build purpose. And brands that connect their business goals with the customers they want to serve. So that both the business and the customer needs are met. This results in crazy, happy, loyal customers that purchase again and again. And this is great for business. If that sounds like something you and your team might want to learn more about, reach out @ www.wildstory.com. And we'd be happy to tell you more. Now back to our show. So you're at link VTC and what happens with that company and where do you go next? Cambria Jacobs 31:36 So in my, you know, fond memories, I felt like I was there for you know, five years when in fact it was it was more like a couple of years. But I think we all know in startup time that that felt and really the experience was probably five plus. And you know, I was able in that that young marketing assistant position to you know, receive a promotion, start to experience In an acquisition, acquiring companies able to experience what a rebrand looked like, and not just experience it, but be part of the team that led it with, with leaders that were much more experienced than I was at that time. And being young and ambitious, you know, thinking I knew more than I absolutely did at that time, was was getting antsy for what was next. And those founders, you know, you when you're part of a startup like that, it definitely feels like family and they to through these acquisitions, and, you know, we're starting to move on to what, what was next for them? And I remember at that time, as you know, early on, when I heard that I couldn't even imagine why would they break up the band? It was like your parents saying, you know, they were leaving. And it was it was really, I remember it being really hard for the company. I mean, there definitely were tears involved. And when I look back on that to create a culture at work, that people felt that personally aligned and involved in wanting to, to deliver so much excellent that they personally just you know, devastated when there was that time to move forward was was pretty impressive. And then also it led me really separate and look back and understand that there is a lifecycle and a value. And now it's time to take what you've learned and try to replicate the the best of the best into whatever was next. And luckily, one of those partners actually two of those partners split off, started a new company, along the same lines of technology and communication. But it was right around video streaming before video streaming was a thing and like broadcast.com and Vstream at the time and had invited me to take the marketing methodology philosophies, practices that we had built at link vtc. and apply them to their new startup and and so that that past started and they actually gave me the opportunity to start building my own team, even though I was about a few years out of school and and that was was what was next Marc Gutman 34:01 And what you think about that? Were you ready to do that? I mean, I know in my career sometimes I've, you know, I've set my sights on a particular role, well above myself, and I'm like, I want that role. And I can cite examples where getting that role was really this great moment of growth. I can also say, a time where I was like, you know, what, I probably should have went, the more you know, the slower path and worked my way into that role, because I wasn't ready, or I didn't learn what I needed to learn. So how were you at that role when you took the reins of marketing for the first time and had to lead your own team? Cambria Jacobs 34:37 Yeah. So I think I think a couple of things happen. Yeah, I agree with everything you just said. I will say that because the the partners that I was working for on that side of the house came from finance and tech. I think they the way they saw marketing was we need events and we need a trade show booth. And I know Cambria was really good at doing that in the early days that link so let's have her do that. Then. So I think that they were looking at marketing at that time. As you know, we had a really limited budget, we were a scrappy startup, and she's scrappy. And so I think based on that level of expectations, it was it was a good move for me. And then what what unfolded was, together we were able to really share what is marketing? How can it be bigger, I was allowed to surround myself with other professionals that had much more experience than I did as well as other partners and agencies that then allowed me to really learn on the job and be able to then hire a good team around that. So I would say it evolved slowly as funds became available as expertise became available. And then from there, I mean, it wound up being, you know, a 15 year job through acquisitions going public, multiple rebrands. And so you know, working at a job 14, 15 years is sort of unheard of these days, but truly it was, it was like working for your six different companies, and product evolution and all of that. So I think the amount of on the job training in a startup, but having the opportunity to surround yourself by experts, and amazing agencies and organizations allows you to take maybe a less traditional path. But Wow, you can't learn any more than than that. Unfortunately, you know, sometimes that can either your employer or your own detriment, because you're not going to get it right out of the gate. And there's a lot of trial and error. Marc Gutman 36:31 Yeah. And so what was going on with streaming at that time that I take off? Was that an incredibly successful business? Cambria Jacobs 36:38 Well, I would say if you if you asked our partners in the company, I think it absolutely was really successful business. I think there were some some missed opportunities on the the b2b space and you know, I think we all know the, you know, the broadcast.com story of, you know, one brand will win and I would say they came out ahead and sort of we were not the leader, but We sure put up a good fight. And a lot of the again, early adopter technology and services that we created, we were then able to pivot into more of a continued online collaboration that was, again, less heavy lifting like was back in the video conferencing days with, you know, timely processes and heavy infrastructure and all of that. And I think we pivoted quickly at a time to allow us to really still target, you know, b2b marketplaces with virtual communication tools, but do it in a much lighter weight fashion when web conferencing like the WebEx is of the world. We're all starting to come into play. And we were again ahead of the curve on that front also. Marc Gutman 37:42 Yeah, and I think that's where our stories first intertwined, I believe now we're at the point where you're talking about Evoke which soon came to be known as RainDance. And so we worked there that was it. That's where we met and that's where I first got, you know, my taste of Cambria and was just, you know, immediately impressed. And in new that you I don't even really know what marketing was at that time, I was just kind of like, what is it? Who are these people that the smart people in the company, they're doing all this cool stuff. And we worked there for a while. And like you said, again, like always on this like leading edge, it sounds like you've been like always on the tip of the spear always kind of first in and that's super exciting. And I remember working there and now even looking back at where like all the people we worked with are today. It's just like this crazy, you know, network alumni of people who have gone on to start companies and do all these amazing things. So it was just this amazing time that I know for myself. I didn't really appreciate at the time. You know, I was I was also scrappy, as you say and trying to do different things and trying to push on my career. And so working at that company having that opportunity. That's where we met but then that comes to an end for all of us to you know, at time there was an acquisition InterCall owned by West Corp. bought that company. And you know the kind of I used to tell my friends like when I first started working at RainDance that if Homer Simpson got a job at a startup that's what it would look like. Because it Paul Burbarian and on his like Razor scooter rushing around and there's all this food and everyone's just young and fun and crazy. And but it was interesting. It wasn't total excess and waste or anything like that it was just this like it had a definite character to it and a definite profile. And then we were purchased by West and interCall. And that changed a little bit they they had a different different model a different culture. And so after that, and after working for West for a while, where'd you go after that? Cambria Jacobs 39:39 Yeah, I mean, I think that gave me I think you summed that up perfectly. And I and I think going and starting at, at startups with that, that vibe, that culture and then getting the experience to then work for the big guys for West corporation with you know, thousands and thousands of employees all over the world. Getting that taste of what global marketing looked like how having teammates and teams now in other other continents, understanding really how those messages that we were coming up with were resonating with different types of customers. That all was really exciting and it helped me really grow and formalize my career on that stand front. Also working for a really seasoned chief marketing officer that had come from Motorola, Kathleen Senado. And really learning more business acumen understanding more about becoming a data driven marketer. That was a really good side to round out more of the branding and communication side that I had, had acquired. But I also knew and was showing up not as, as someone that was, was passionate about building that brand, because the brand that we had evolved into, wasn't necessarily something that that I was passionate about, nor was I becoming too great at. And it was really hard for me to take that look and say I've been in this, you know, tech communication field and startup field for so many years now. But I don't think it's doing it for me anymore. But I knew that I still really loved marketing and I was passionate about marketing, but my interests as, as a person and a professional had really grown and I was looking to how could I, perhaps, Mary, what I was becoming more, you know, I was I was a mother at this time I had been married and divorced and ready to really take the that, you know, maturity and, and try to be bold and brave and break out of what I had always known and do something different. And that was when I really was looking into how can I get into health, wellness, more lifestyle, both business to business and business to consumer marketing, because to me, I had much more personal passion in that field. But I was also I didn't have that's not where my connections were, that wasn't where my network was. And so that was, that was a bit of a brave, bold And scary time, but I decided to pursue it. Marc Gutman 42:03 Yeah. And so you mentioned that you had lost your passion for the brand. I mean, you're showing up to work, but you weren't necessarily feeling the brand. And that happens to all of us. But why is that important? Why is that? Why is that matter? Cambria Jacobs 42:15 You know, I think it's different for everyone. And I think it depends on the path that you're on and what your, your career or your job is, is how you position that into how that reflects on your identity, how you show up in the world, and for some people showing up and getting a paycheck and getting back to all of the other demands that life is is putting on you. Sometimes that works. And that's, that's good enough. And sometimes it's good enough always for people. It just isn't how I'm wired. And hitting the the cruise button is something that we all can do for a period of time. But when I wake up in the morning, I want to be fired up. I want to be excited to do better for our customers. For my teammates. I want to know what's up Next, I want to feel, you know that Friday night light energy, and when I don't have it for me personally, I can't be a great leader, I can't be good for our customers and deliver on what I was hired to do. And then that makes me not feel proud of myself. And then that means I'm not going to do my best work. And I think for any of us that have gone through those cycles in life outside of work, where within, that's a time where, you know, if you don't change, the same thing is gonna keep happening over and over again. And when you can't break out of that it's time to do something different. Marc Gutman 43:30 For sure. And you know, if there's one thing I know about you, or at least I think I know about you is that you're passionate about food, you're passionate about cooking and and creating a experience around the dinner table and using food as a way to bring family together and to really frame the moments that matter to you. And so, what I saw in your career was that you took this passion and you went out in you, as you just outlined, you went and you Found a role that really was was built all around food with a company called door to door organics and like, how did that work out? And I guess what I'm asking is, I think that a lot of people think, oh, if I only had a job built around my passion, it would be so awesome. It would be the best. Like if I just this thing that I love If I could just find a role around that thing, whether, you know, what am I into these days? You know, I'm into wake surfing, right? So like, if I found a job around wake surfing, I just be so much happier. Like, like, what's your take on it now that you went and did it and had that experience? Cambria Jacobs 44:37 I would say it was, it was everything and more that I was looking for, in terms of, I didn't realize how much I needed to. For me, the comfort was, was not bringing out the best in what I had. And so making a shift in an industry whether it was what To what I was passionate about, or just a big shift, I think the same result would have happened, that it just sort of awakens all the senses. And those things that you had done really well or that made a difference in in one industry can be even more powerful in another. So from a business perspective, it was really rewarding to really take you know, the years of planning and rebrands and communication strategies and then applying that to a consumer industry or another emerging industry, but that was all around really natural and organic food that was married with technology and and I could not have ever envisioned that that path would have happened. But again, you know, working your networks, talking to people really following and having those coffee meetings, things present themselves and I had the opportunity to be introduced to Chad Arnold, who was the chief executive officer at door-to-door Organics at that time. Start talking about those strategies that we were using at a conferencing company, our collaboration company, and how we were really enable enabled ourselves to sell into one decision maker and then engage the masses. And how could that then apply to online grocery? And how can we start to talk about building a brand that would really resonate with with smart, well educated, busy women trying to feed their families, how in the world could those those strategies and messages even be in the same ballpark? And what we found is that we are are more alike than different. And so so to me, that was that was something that was incredibly inspiring and then being able to actually show up at at a warehouse especially in the early days of training, and being there for you know, a 5am delivery of a fresh produce from Southern California berries and artichokes and garlic and I couldn't think of anything more inspiring to wake up to today. to essentially get the juices flowing, so it was, it was not anything I could have envisioned. But something that I just really put myself out there and I was willing like in the early days to do whatever it took just to get my toe into an industry that I felt I didn't know that much about only to learn that the years of experience and strategies in certain areas would actually have more power and impact into an industry like online grocery that thanks to the pandemic is now of course you know, not not ahead of the curve. But definitely you know, the the mainstream adopters are already in there. Marc Gutman 47:37 Yeah, so even with that when you were like you were on the tip of the spear again, you were like a little ahead of your time like people were having a hard time adopting and adapting to that model and it be it was just a tough model at the time given the market conditions and one can only think that you know, where you you know, was was was door to door around right now it would be crushing it right? Cambria Jacobs 48:00 Exactly I mean, you said it perfectly and I think you are right as that with link BTC with V stream turned you know, rain dance or evoke then rain dance. All of that is just very early adopter marketing, and in setting it up for what's next and and that same thing was true with with door to door but formalizing a strategy that really aligned to who is the early adopter, why is she that way? And how can we find more of her became something that, you know, we were able to grow from when I joined up, you know, 8 million upwards of, you know, over 80 million and in just a few years. And so, seeing that kind of growth and traction, while it might not be the end game of you know, maybe getting acquired by Amazon or going public for an online brochure, and back in those days, that success that we celebrated and built together as a team, from our delivery drivers to our pickers Packers, to the logistics crew and the marketing team was There are a lot of celebrations, with, of course, lots of heartache along the way. But that passion and teamwork and brand that we created for our customers, as well as the employees was second to none. Marc Gutman 49:13 Yeah, and it's such an exciting time and a big part of your career was spent in this very like what I would what I would term Colorado centric companies like very Colorado cool tech, like door to door organics. I mean, just like very kind of wearing that Colorado badge. But now you're at a company that's global. And I believe it's based in Germany, is that right? Cambria Jacobs 49:34 Correct. Munich, Germany, Marc Gutman 49:35 Munich, Germany. And so now completely shifting the the the the pattern that you have a new challenge for you, you're working for this global company. I mean, like what's hard or what's What don't we know about being a global cmo for a company like that? Cambria Jacobs 49:54 So I would say so each and while we have been around for 10 years, and they're very well known in in Germany for sure, or, you know, in the in the doc region, really I think what's what's so interesting and again, you know, with I think all of the topics that we're experiencing as as a world right now is, again, we're in a lot of areas where we're more alike than different. But yeah, those nuances are really important to understand. And what works in one place does not necessarily replicate and others. And so understanding and building a brand that again, was was big enough, like we make the gym work for everyone, and really identifying and nailing down what we all care about in life, which is becoming healthy and becoming Fit for Life. That's something that whether you're in the UK, or you're in Boulder, Colorado or Munich, Germany, we can all rally around that concept. And to me, that's the thing that makes all of the hard parts of the time changes the various languages the different things And nuances in the marketplace, if we can all rally on, what can we align on? And what can we agree on? That then makes it a lot less overwhelming and makes it a lot more clear to our market. And really, it gets us out of our own way at a lot of times, and I think that's, that's been half the battle is, is just really aligning on what do we stand for as a company? Who are we as individual EGYMies as we refer to ourselves? And how together can we really bring the world together around finding those health seekers and making the gym work for them so they can be fit for the life that they choose to lead, and boost their immunity system and really become healthier and stronger as a world? And to me, that is what gets me out of bed every day and is the most inspiring, and I feel incredibly fortunate to be part of a movement that could not be more timely. Marc Gutman 51:52 Yeah. And so, you know, it's incredibly hard time for marketers during this pandemic in general, but I have to imagine And that for a company that's working with physical gyms and gym, you know, technology equipment that goes into those locations has to be really difficult in what's going on and I have some clients that are gym based like in the climbing climbing sector and stuff like that and it's been tough right i mean it's complete shutdown it's it's a really tough situation, how are you navigating that and what are you looking forward to in the future here. Cambria Jacobs 52:24 So it is an incredibly difficult situation right now for for gyms across the world. And I think as for a gym, you know, we also were set to launch a brand new brand roll out our brand at some of our biggest trade shows that were set to take place in March in April. So right at the beginning of the pandemic, at our the, you know, the largest fitness event in the world phoebo and then here in the United States, Ursa and then only for both of those shows to be canceled. And then the world goes on lockdown. So how do you launch a brand during a pandemic, let alone then making sure that regardless of what Hm. And our brand was doing, that we were also then putting our customers at the forefront. And that, you know, was really, it was an interesting question for all of us. You know, once you get through the Panic of Okay, this is not happening the world as we know it is shifting and changing. So what do we need to do to make sure that we're doing right by our companies, our shareholders, our employees, but also putting our customers first putting them at center stage, which is a core habit of ours at EGYM? And that allowed, again, similar to where where can we align versus what are all the scary things held us really get grounded as a company and together, we worked really hard to understand what are the biggest challenges that our customers are facing right now? And what as what as they will be looking at us as maybe they're their hardware provider, we're not selling steel. So what can we do to really rally around them and what we narrowed in on is the things that those gym owners needed most At this time was to stay close to their members to make sure that their members felt that they were still connected to that community that they had. Even though they weren't able to be in the four walls of the gym, they were still connected, that gym owner still cared about them, and they were able to still maintain their health through the scary time. So together, we worked on software packages, through our digital solutions that allowed those gym owners to then communicate through a mobile device to their members to build that kind of community to push out virtual workouts, to really for them to share competitions, even though they weren't in that gym, followed by how can they then help to reopen their gym safely to understand the rules and restrictions to be able to manage their members signing up for time slot so there weren't too many members in the gym at any one time to be able to manage there are times smartstrength circuit to be able to clean the equipment to move on to the next without being less than six feet from from someone else. So all of those tools and applications and even a program where once before you might be building for strength or weight loss, how about boosting your immunity? What can sports and science come together to actually help you have measurable outcomes on how you actually can improve your immunity as you're going back to the gym, being the health seeker that you are, so as a company, we really rallied around what can we do to help our customer through this time so when they're ready to reopen, they're better and stronger than ever before. And then prepared for you know, if and when the virus comes back and we have to shut down again so so from that time, it became all about the customer again, recommitting to the essence that we all know. It's what they say they are not we say we are really has has served us and lead us through this time of uncertainty and we're really excited to see as you know, all of German gyms are reopened. The UK is set a time Spain has set a time and is reopening In, in those countries and the way they've been handling it are seeing their curve go significantly down. So, and now we can have those conversations with gym owners about what's next. How can we not just keep doing what we did before. But now learning from all of these measurable outcomes we were able to see through this time, and actually double down and invest on that to be better and smarter in the future. Marc Gutman 56:21 I love that. And I love like this, this idea of like, when in doubt, just returned to the customer, and how can we serve them? And how can we benefit them? It's so powerful. I know. I know. We're coming to the end of our time. I just have a couple more questions for you. You know, you mentioned the rebrand there's probably nothing I love more than a good new brand or rebrand and then launching the brand so exciting, right? It's kind of like new love. It's like that you get to go out there and like it's just like really, really exciting. I mean, what do you love about that process? I mean, what excites you and I could hear it in your voice you know it modulated in changed for the better when you started talking about that rebrand. Like, why do you love that? Like, what's Why is that important to you? Cambria Jacobs 57:03 There's something really special about a rebrand because you take the best of what's been created over, you know, almost a decade and give it a fresh, shiny Polish a new face, essentially. And I love it because and I found this in my career that I'm not necessarily the person that's going to be in front of the camera all of the time. But there's nothing I love more than taking all of the, all of the amazing insights and turning that into something fresh and letting those people that have put their blood, sweat and tears into something and letting them really walk away and be incredibly proud. And I think sometimes these young companies, especially Everyone's so heads down, that you don't really see all of the amazing work and results that have been happening along the way because they haven't been packaged in a way that really makes sense to either the employees or to the industry. And so that's the thing that has been missing. most rewarding when I first flew to Munich and stood in the social area with, you know, hundreds of EGYMies, asking them about the names of all of the different products and services and features. And they came to me in multiple languages and multiple terms saying the same thing. And that confusion that was across the board for the employees was mirrored in our industries and customers. And so to be able to pull all of that together with with languages that are different, both in nationality and regions, but also in terms of just products and features, and pull them into one new economy language that was going to redefine the industry and the company as to who EGYM is what we stand for what we offer, and how we're going to change the world for the better is something that I can't imagine any marketer any person wouldn't want to be involved with, let alone help lead. So to me, that has been one of the the biggest and most exciting and the problem Moments is to give all of the economies and our customers something that they can look at and point to, and be really proud of, in addition to all of the measurable return on investment that we're able to deliver through all of our our offerings, Marc Gutman 59:15 and cameras, we come to a close here. You've accomplished so much, you've had such a quite career quite a career. Thank you for sharing that with us. If you're 20 year old self that that college age Cambria, you know, ran into you today, what do you think she'd say? Cambria Jacobs 59:32 I think she would say, You showed up. You were brave. Never settle, push harder. But be proud and happy with with where you are and make sure you take pause as you climb each of those summit's and sometimes you also pushing hard sometimes it's okay just to float for a little bit. So you can be stronger and ready for what's ahead. Marc Gutman 1:00:06 And that is Cambria Jacobs, global Chief Marketing Officer of a gym. I love how she referred to herself as scrappy. And I almost call this episode. She's scrappy, but decided to go a bit more traditional in the end. I'm always intrigued to see where Cambria his career leads. EGYM is lucky to have her and I have no doubt that EGYM will go on to greater things with her leading the marketing team. Thank you again to Cambria and the crew at EGYM. Keep making the gym easy for health seekers like me. Well, that's the show. Until next time, make sure to visit our website www.wildstory.com where you can subscribe to the show in iTunes, Stitcher or via RSS so you'll never miss an episode. I like big stories and I cannot lie, you other storytellers can't deny.