Podcasts about izotope rx

Send us a textIn this episode, I take you on a step-by-step walkthrough of how I edit a podcast using Pro Tools. I'm breaking down my exact process—from importing audio into my custom template, to cutting filler, cleaning up breaths, applying effects, and delivering a polished final mix. Whether you're new to editing or just curious how it's done at a professional level, this episode gives you a behind-the-scenes look at a typical podcast editor's workflow.I'll also touch on tools like iZotope RX, Riverside.fm, and how I manage my plugin chain to get crisp, broadcast-ready audio.This episode is sponsored by  Riverside.fm - With Riverside you can record high quality audio and video podcasts remotely. Use promo code CLIPPED for 20% off.This episode is perfect for:Aspiring podcast editorsPodcasters looking to DIY their editingClients who want to understand what editing actually involvesAnyone curious about Pro Tools or my setup

I'd write more here, but I've got places to be. Becky, Jeremy, and I are going to engage in some holiday festivities. We have a couple gingerbread houses to make and a tree to trim. And no nog to speak of. Really, that's all you get by way of show notes this time as a result, deal with it. Send your complaints to podcast@searls.co and they will be read on air. Some bullet points below the fold: My 90-minute, outdated guide to setting up a Mac Aaron's puns, ranked Jim Carrey is 62 and can't even retire I bought my 8 year old a switch and didn't realize how much games cost Teen creates memecoin, dumps it, earns $50,000 Startup will brick $800 emotional support robot for kids without refunds Install the Mozi app (manifesto here | app here) Vision Pro getting PSVR2 controllers The 2024 Game Awards news roundup Intergalactic: The Heretic Prophet looks badass, but is it too inclusive for The Gamers? We don't talk about Luigi An invisible desktop app for cheating on technical interviews (HN comments) Sora is out, but it's not good yet Indiana Jones and the Great Circle is out, and it is good yet Emudeck is so great it shouldn't be legal, and some people probably think it isn't Pikmin Stay tuned to my YouTube channel for upcoming LIVE streams Transcript: [00:00:00] Thank you. [00:00:29] Good morning, internet. [00:00:32] I started speaking before I realized, as an asynchronous audio production, it's actually pretty unlikely that it's the morning where you are. [00:00:43] Although, if it is the morning, coincidentally, please feel free to be creeped out, check over your shoulder. [00:00:51] Today was, I woke up with Vim and Vigor this morning, super excited to take on the day, thinking maybe I've got what it takes to record an audio production today. [00:01:07] And then we have an elderly coffee pot. [00:01:11] I don't want to completely put the blame on it because we were using it wrong for several years. [00:01:24] And it's a long story that I will shorten to say, any piece of consumer electronics or appliances in America, the half-life keeps decreasing. [00:01:37] And so when I say elderly coffee pot, I mean that we bought this coffee pot post-COVID. [00:01:42] And it's already feeling like, oh, we should probably get a new coffee pot, huh? [00:01:45] What happens is, from time to time, heat will build up in the grounds dingus. [00:01:55] I'm just realizing now that I'm like, you know, I'm not a coffee engineer. [00:01:58] Some of you are. [00:02:00] But, you know, of course, we all know that the dingus is connected to the water spigot, which is above the craft. [00:02:09] And what happens, as far as I can tell, is once in a while, you get all that hot water and grounds swirling around. [00:02:20] And if it clogs at all, like if it doesn't release just so, the whole little undercarriage, again, this is a technical term, just stay with me. [00:02:30] And we'll pop forward like three millimeters, which is just enough for the water to kind of miss its target on the craft and then spray all who's he what's it's, as well as for the spigot to start just kind of like splurring, you know, this water coffee slurry everywhere. [00:02:49] And so I went after, you know, but then you still get the triumphant ding dong sound that the coffee is ready. [00:02:56] So I walked over to the coffee expecting like, yes, it's the best, best way to start my day or whatever. [00:03:06] Pull out the coffee. [00:03:07] And the pot is too light. [00:03:10] And I had a familiarity of like what that means. [00:03:13] It means like there is water somewhere. [00:03:17] And it's not in this pot. [00:03:19] And so it's just like, you know, this big, big machine we actually have we've put because of our Mr. [00:03:26] Coffee's, you know, elderly onset incontinence. [00:03:33] We have we have put the entire coffee pot on a tray, like a rimmed silicone tray that you would use for like, I guess, a dog feeding bowl, right? [00:03:45] A dog, you know, messily eats food and slaps water around and stuff. [00:03:49] And you don't want it all over your hardwood. [00:03:50] Like you'd put this underneath that and it would catch some of the water. [00:03:53] So we I spent the first 30 minutes of my waking life today getting my hopes up that I was going to have coffee, followed by, you know, painstakingly carrying this entire cradle of of of coffee pot full of hot brown liquid. [00:04:10] That would stay in all of my clothes and, you know, get on the cabinets and stuff with a silicone underbelly thing. [00:04:18] And just kind of like, you know, we've got one of those big we're very fortunate to have one of those big farmers, farmer house, farmhouse. [00:04:25] I never know what to call it. [00:04:27] Steel, basically a double wide sink. [00:04:30] So what's nice about a double wide sink is that if you've got a problem in your kitchen and you're only a few steps away, whether it's the coffee pot part of the kitchen or the fridge or the freezer or the God forbid, the range or the oven, you can just sort of strategically hurl whatever it is you're holding just about into the into the sink. [00:04:51] And then once it hits the sink, it's, you know, the the the potential damage is limited. [00:04:57] So I gently hurled my coffee apparatus. [00:05:02] Is that the plural of apparatus? [00:05:04] One wonders into the into the into the sink and then spent the next 20 minutes, you know, scrubbing them and all to make another pot. [00:05:13] And Becky, of course, walks down the minute that the second pot is about to be finished. [00:05:18] And I'm like, I've already seen some shit and I'm going to go record a podcast now. [00:05:22] And that swallow you just heard was me having a sip of coffee that was not disgusting, but not great. [00:05:31] But I'll take it over where I was an hour ago. [00:05:39] Thank you for for subscribing as a as a true believer in breaking change. [00:05:47] We're coming up on one year now. [00:05:49] It's hard to believe that it's already been a year, not because this has been a lot of work or a big accomplishment, but just because the the the agony of existence seems to accelerate as you get older. [00:06:03] It's one of the few kindnesses in life and so as we whipsaw around the sun yet again, we're about to do that. [00:06:11] This is the 26th edition version 26 of the podcast. [00:06:17] I've got two names here to release titles and I haven't picked one yet. [00:06:22] So as a special. [00:06:24] Nearing the end of the year treat. [00:06:29] I'm going to pitch them both to you now, right? [00:06:31] So so we're in this together. [00:06:33] I like to think this is a highly collaborative one person show. [00:06:37] Version 26 rich nanotexture. [00:06:42] And that's a nod to the MacBook Pro has a nanotexture anti-glare screen coding option. [00:06:52] It's a reference to the rich Corinthian leather that was actually it's a Chrysler reference. [00:06:58] It's a made up thing. [00:06:59] There is no such thing as Corinthian leather, but like that's what they called their their seating. [00:07:03] And Steve Jobs referenced that as being the inspiration for I think it was the iPad calendar app. [00:07:13] With the rich Corinthian leather up at the top during the era of skeuomorphic designs back in 2010, 2009, maybe I can't remember exactly when they I think it's 2010 when he had his famous actually leather chair demonstration of the iPad. [00:07:28] Maybe the reason that that stood out to me was the car reference because it is it is an upsell. [00:07:34] The nanotexture $150 if you want to have a don't call it matte finish. [00:07:41] The other one, so that's option one, rich nanotexture. [00:07:46] And I didn't love it because I couldn't get texture. [00:07:49] I couldn't get the same Corinthian, right? [00:07:53] Like you want that bite, the multisyllabic bite that adds the extra, you know, the gravitas of a luxury good. [00:08:04] Yeah, texture just didn't have it for me. [00:08:06] But then if you change that word, it doesn't make sense. [00:08:08] So I mean, the other option two that came to mind version 26 don't don't by the way, don't think I'm going to edit this in post and fix it. [00:08:19] I will not. [00:08:20] I will ultimately land on one of these and that will be the title that you saw on your podcast player. [00:08:25] Or maybe some third thing will come to mind and then this conversation will be moot. [00:08:29] I do not think of this collaborative exercise. [00:08:32] Just imagine it's a it's a it's a quantum collaboration. [00:08:37] So by observing it, that's you actually took part. [00:08:41] You opened your podcast player and then the yeah, the entangled, you know, bits just they coalesced around one of these two names or some third name. [00:08:58] It's all just statistics version 26 Luigi's Mansion, which is a nod to two things at once. [00:09:05] I'm going to talk a little bit about GameCube, but also I'll probably not escape mentioning Luigi Manjoni Manjoni man. [00:09:15] You know, I haven't been watching the news. [00:09:17] I don't know how to pronounce his name, but it looks enough like mansion that I was like, oh, man. [00:09:21] I bet you there's a Nintendo PR guy whose day just got fucking ruined by the fella who is a overnight folk hero. [00:09:30] More attractive than most assassins, I would say. [00:09:35] Great hair. [00:09:36] Good skin. [00:09:37] Apparently, skincare Reddit is all about this fella who murdered in cold blood the CEO of UnitedHealthcare. [00:09:45] If you haven't caught the news, if you're even less online than I am. [00:09:51] And yeah, so I'm trying to decide. [00:09:53] I think Luigi's Mansion is probably going to win. [00:09:56] It's more timely. [00:09:57] It's the first time the name Luigi has come up in the last year. [00:10:00] And I may have mentioned nanotexture before when discussing Apple's very compromised studio display. [00:10:11] So I'm leaning Luigi's Mansion, but, you know, don't tempt me. [00:10:15] I might switch. [00:10:18] I'm going to just keep drinking coffee because I got to power through this. [00:10:21] Let's talk about some life stuff. [00:10:24] I so when we last talked that way back in the heady days of version 25, I had just gotten off a plane from Japan. [00:10:34] I was still a little bit jet lagged. [00:10:36] I recorded later in the evening. [00:10:38] I was tired. [00:10:39] You know, I was still overcoming. [00:10:41] I listened to the episode, realized I was overcoming a cold. [00:10:44] You know, then Becky shortly thereafter, after recording, she developed a pretty bad cough. [00:10:51] And so we've both been sleeping relatively poorly. [00:10:53] And I can't complain about this cough because her having a cough for four nights is nothing like me snoring on and off for over a year. [00:11:02] And I think the fact that her cough is consistent is actually a kindness compared to the sporadic nature of my snoring, where it's like I might go a week without it. [00:11:11] And then all of a sudden there's like, bam. [00:11:14] So she doesn't, you know, it's like sneaks up on her and that's not fair. [00:11:17] So so she's got a cough and I haven't been sleeping particularly well. [00:11:20] Maybe that's it. [00:11:22] I also, you know, I wanted to dry out because I was living on shoe highs, you know, canned cocktails in Japan for way too long. [00:11:30] Just drinking, you know, five whole dollars of alcohol every day, which is an irresponsible amount of alcohol. [00:11:36] It turns out. [00:11:40] Yeah, that's one nice thing about living in Orlando and theme park Orlando is that the average price of a cocktail here is seriously $20. [00:11:49] I think it is. [00:11:51] I am delighted and surprised when I find a cocktail under $20. [00:11:55] That's any good. [00:11:55] In fact, the four seasons right around the corner, their lobby bar has a some of the best bartenders in the state of Florida. [00:12:05] Like they went all kinds of awards. [00:12:06] And so when you say a lobby bar, you think it sucks. [00:12:09] But it's actually it's like it's a it's a restaurant with a room if you're ever around and they still do a happy hour with like $4. [00:12:18] It was $4 beers. [00:12:19] I think they finally increased to $5 beers draft beer. [00:12:23] And it's all craft. [00:12:25] You know, it's all fancy people stuff. [00:12:27] And they do it's I think it's $10 margaritas, French 75s, and they got some other happy hour cocktail. [00:12:37] It was highballs for a while. [00:12:39] Whiskey highballs was like probably centauri toki or something. [00:12:43] I gotta say like that $10 margarita. [00:12:47] They'll throw some jalapeno in there if you want some tahini rim, you know, they do it up. [00:12:52] They do it well. [00:12:54] But that might be the cheapest cocktail I've had in all of Orlando is at the Four Seasons. [00:13:01] Famous for that TikTok meme of the Four Seasons baby, if you're a TikTok person. [00:13:06] Anyway, all that all all this drinking talk back to the point. [00:13:11] I've been not drinking for a week. [00:13:12] And I, you know, I'm back to tracking my nutrients every day. [00:13:17] The things that I consume and adding up all of the protein and carbohydrate and realizing [00:13:21] if you don't drink, it's actually really easy to blow past one's protein goals. [00:13:25] And so I had one day where I had like 240 grams of protein, which is [00:13:28] enough protein that you'll feel it the next morning if you're not used to it. [00:13:34] And I still was losing weight. [00:13:38] I lost like five or six pounds in the last week. [00:13:43] And to the point where it was like, you know, I was feeling a little lightheaded, [00:13:47] a little bit woozy because I wasn't drinking enough is the takeaway. [00:13:52] So so thank God we got to go to a Christmas party last night. [00:13:57] It was it was great Gatsby themed. [00:13:58] And I dressed up like a man who wanted to do the bare minimum to not get made fun of at the party. [00:14:05] So I had some some suspenders on instead of a belt, which was the first time I ever put on suspenders. [00:14:13] They were not period appropriate suspenders simply because they had the, you know, the [00:14:18] little class B dues instead of how they had some other system for I don't I don't fucking know. [00:14:25] Like I, I had chat GPT basically helped me through this. [00:14:28] And it's like, hey, you want these kinds of suspenders? [00:14:30] I'm like, that sounds like an ordeal. [00:14:31] How about I just get some universal one size fits all fit and clip them in? [00:14:36] I also had a clip on bow tie. [00:14:37] So that worked. [00:14:39] When you think clip on bow tie, I guess I'd never used one before, but like it, I always [00:14:45] assumed it would just be like, you know, like a barrette clip that would go in front of the [00:14:49] front button and look silly for that reason. [00:14:51] And maybe that's how they used to be. [00:14:53] But it seems these days, if you want to spend $3 on a fancy clip on bow tie with a nice texturing, [00:14:58] I'll say, uh, it's just pre it's a pre tied bow with a still wraps around your neck. [00:15:04] It's just, it has a class mechanism, which seems smart to me, right? [00:15:08] I don't know what. [00:15:09] Look, if you're really into men's fashion, uh, there's this weird intersection or this tension [00:15:19] between I'm a manly man who, who ties my own shoes and, you know, kills my own dinner and [00:15:25] stuff. [00:15:25] And I, I, for fuck's sake, tie my own bow tie from scratch every day. [00:15:29] Right? [00:15:29] Like there's a toxically masculine approach to bow ties, but at the same time, it is such [00:15:35] a foofy accoutrement. [00:15:37] It's like an ascot, um, that the idea of like a manly man, like a man trying to demonstrate [00:15:43] his manliness by the fact that he doesn't use a clip on bow tie, uh, came to mind yesterday [00:15:50] when I was, uh, struggling even with the clasping kind. [00:15:54] I was like, man, I wish I could just get this to anyway. [00:15:58] Um, I had a vest at a gray vest. [00:16:03] This is all brand new territory for me. [00:16:05] Uh, yeah, I, I've, I've leaned pretty hard into the t-shirt and shorts and or jeans life [00:16:10] for so long. [00:16:12] Uh, the, the fella in front of us when we, when we were checking in, cause they took little [00:16:16] photos of you, uh, all of the women had the same exact flapper dress from Amazon, you know, [00:16:22] with the, the, the, the hairband thing with the, you know, fake, the polyester peacock tail. [00:16:28] Becky's looked the best. [00:16:29] I'm not gonna, I'm not even lying. [00:16:32] Uh, uh, her dress actually fit. [00:16:35] He had some, uh, very ill fitting flapper costumes that these women couldn't even move in. [00:16:40] Um, it was interesting. [00:16:42] Uh, but the, the fella in front of us at check-in was wearing a, a, a full blown, you know, tuxedo [00:16:48] get up that he brought from home. [00:16:50] And he was talking about, Oh yeah, well he's got two of them and his wife, you know, ribbed [00:16:54] him a little bit that he could only fit in one. [00:16:55] I was like, man, owning a tuxedo, that's nuts. [00:16:58] Like, and then it like turns out he's like got all these suits and these fancy clothes and [00:17:02] he's an older gentleman. [00:17:05] Uh, but my entire career only the first few years did I have to think about what I was [00:17:10] wearing and, and it never really got beyond pleated, you know, khakis and a starched shirt. [00:17:18] And, and I had, I had to wear a suit maybe on two sales calls. [00:17:22] Um, and they were always the sales calls that were just, uh, there were certain sales demos [00:17:30] when I was a, a, a baby consultant, these really complex bids. [00:17:39] I remember we were at cook County once, uh, uh, the, the county that wraps Chicago and it [00:17:44] has a lot of functions and facilities that operate at the county level. [00:17:48] So, but of course we're in Chicago in some, you know, uh, dystopian office building. [00:17:54] That's very Gothic, I should say. [00:17:57] And the, the solution that we were selling was a response to a bid around some kind of [00:18:05] document, electronic document ingestion and, and, and routing solution. [00:18:09] And so what, what that meant was it was like a 12 person team. [00:18:14] It was a big project working on this pitch. [00:18:18] And most of the work and most of the money came from the software side at the end of the [00:18:23] process. [00:18:23] It's like, you're going to get IBM file net and you're going to get all these different, [00:18:26] uh, enterprise tools. [00:18:28] And we're going to integrate, uh, with all your systems and, and build these custom integrations [00:18:32] that you've asked for here and here and here. [00:18:33] But the, the, the hard part is the human logistics of how do you get all of their paper documents [00:18:41] into the system. [00:18:42] Uh, and that was my job was I had to get paper and then scan it, uh, with a production, big [00:18:50] Kodak funkin fucking scanner. [00:18:52] Uh, and then use, what was it? [00:18:54] Kofax capture or something like a, like an OCR tool of the era. [00:18:59] And the thing about it is that scanning is not, was not ever a science and neither is [00:19:07] OCR, the OCR stuff and OCR stands for optical character recognition. [00:19:10] So you'd have a form and you'd write on the form, like, you know, uh, uh, uh, uh, some, [00:19:15] some demo address and name and all this. [00:19:19] I spent. [00:19:22] So like the people doing the software, like they, they could just like click a button and [00:19:26] like, they could even just use fakery, right? [00:19:29] Like, Oh, the API is not really there, but I'll always return this particular, like, let's [00:19:33] call it an XML soap message. [00:19:34] And so the, the software guys clocked in, clocked out, got back to their billable work. [00:19:39] I, because the stakes were so high in this particular, uh, and I'm here right now explaining [00:19:46] all of this nonsense because I had to wear a suit and that was also really bad, but I [00:19:51] was in Chicago late at night with a group of like, at that point it was like 9 PM and it [00:19:54] was just me and two partners. [00:19:56] Cause the partners had a sickness called avoid family, stay at work. [00:20:02] And, uh, I, I was just running over and over and over again where I'd like, you know, [00:20:09] I'd take the paper, I'd put it through the scanner and it would get 90% of the OCR stuff [00:20:13] done, or I'd get it perfect. [00:20:15] And it would scan everything just right, which would result in the downstream, you know, after [00:20:21] the capture, like all of my integrations, like would route it to the right thing. [00:20:24] So that like, it was basically a game of mousetrap or dominoes where like my task was both [00:20:29] the most important to being able to demonstrate, but also the most error prone, but also the [00:20:37] least, uh, financially like, um, valuable to, to our services company. [00:20:42] And so I had no support, uh, on top of that, they, the, our fucking it people pushed out some [00:20:49] kind of, um, you know, involuntary security update security and bunny quotes that, that [00:20:57] slowed my system down dramatically in the course of just like a day. [00:21:01] And I had, I had no way to test for this. [00:21:04] So I remember I was up at like 11 PM at that point, trying to make this work consistently [00:21:10] and realizing that the only way to get it to run it all required me to, um, install a virtual [00:21:16] machine, put windows in the virtual machine, install all this software inside that virtual [00:21:22] machine, and then run it there because only in the black box of an encrypted virtual machine [00:21:27] image or, uh, you know, a virtual machine, like disc image, could I evade all of the accountant [00:21:33] bullshit that was trying to track and encrypt and, and, and muck with files and flight and [00:21:38] so forth. [00:21:39] And so it was only around like probably one 30 or two that I got to bed and our, our demo [00:21:46] was like at seven in the morning and I had to wear a suit. [00:21:47] So if you ever wonder, Hey, why is Justin always just in a, a t-shirt and shorts? [00:21:54] Uh, I would say childhood trauma, fuck suits. [00:21:59] The only, the only time I associate like nice clothes, you know, having a lot of [00:22:03] having to dress up is church shit. [00:22:05] I didn't want to go to. [00:22:06] And usually it's like the worst church shit. [00:22:09] Like there's some cool church shit out there, you know, youth group where everyone's a horny, [00:22:14] right. [00:22:15] And singing pop songs to try to get people in. [00:22:17] That's as church shit goes, that's above average. [00:22:21] But when you're talking about like, Hey, you know, this aunt you've never heard of died and [00:22:27] we got to go all the way to goddamn Dearborn to sit in a Catholic mass, that's going to [00:22:32] be in Latin. [00:22:33] And they're going to, you know, one of those, you know, you should feel bad for him because [00:22:39] he's abused. [00:22:39] But one of the altar boys, he's going to be waving that little like incense thingy, [00:22:43] the jigger back and forth and back and forth like a metronome. [00:22:46] And, uh, you're going to get all this soot in your face, all of that, you know, frankincense [00:22:51] and myrrh and whatever the fuck they burn. [00:22:52] And, uh, yeah, then they're going to play some songs, but they're not going to be songs you [00:22:57] want to hear. [00:22:57] And you're going to be uncomfortable because I bought you this suit at JC Penny when you [00:23:01] were like nine and you're 12, you're 12 now, and you've gained a lot of weight, but [00:23:06] here we are. [00:23:07] And then you got to go and, you know, like, don't worry because after the service, there's [00:23:12] a big meal, but it's mostly just going to be, you know, styrofoam plates and plastic forks [00:23:16] and, uh, cold rubbery chicken. [00:23:19] And then a whole lot of family members who want to pinch your cheeks, uh, had an aunt that [00:23:24] always wanted to, um, put on a bunch of red lipstick and kiss me and leave kiss marks. [00:23:30] And she thought that was adorable and everyone else thought it was funny. [00:23:33] And for whatever reason, I wasn't a fan, uh, that's the kind of, uh, yeah, so anyway, moving [00:23:45] right along the, uh, the, the other than having to dress up, the, the Christmas party was really [00:23:50] nice because it had an all you can drink martini bar. [00:23:52] So that, that helped that took the edge off a little bit since I hadn't been drinking for [00:23:57] the previous week. [00:23:57] Uh, and it was, you know, uh, they, they had a great bartender, the, the, I assume that [00:24:07] that people drank gin martinis back in the day of Gatsby, but it seemed to be a vodka forward [00:24:12] martini bar, which I appreciated. [00:24:15] Uh, as I get older and my taste buds start dying, uh, I found myself going from dry martinis [00:24:23] to martinis with an olive to martinis with two olives to me asking for like a little bit of [00:24:30] olive juice and then drinking the martini and realizing that wasn't quite enough olive juice. [00:24:34] So that's just disgusting, but, um, it's where, uh, it's one of the signs of age, I guess. [00:24:43] Uh, so the martini bar was good. [00:24:46] Uh, they also had an aged old fashion that they'd made, you know, homemade, um, with like nutmeg [00:24:51] and cinnamon in there. [00:24:52] That was impressive. [00:24:53] Uh, so yeah, had a, had a big old Christmas party last night, had a couple of drinks, uh, [00:25:00] and, and, uh, because of the contrast, whenever I go, you know, go a week without any alcohol [00:25:06] and then I have some alcohol and then I wake up the next morning and I'm like, oh yes, I [00:25:11] know what people mean now that alcohol is poison. [00:25:13] And it's a mildly poisonous thing because I feel mildly poisoned. [00:25:19] Um, and, and I just usually feel that most days until I forget about it. [00:25:23] So it's a data point, uh, to think about, uh, uh, I, I, I had a good, good run for, [00:25:30] for a while there, just cause like when you live in a fucking theme park and there's nowadays [00:25:34] alcohol everywhere that I go and every outing, I had a good run for a few months. [00:25:40] Um, not last year, the year before where I just didn't drink at home as a rule to myself. [00:25:46] I was like, you know, I'm not going to pour any liquor for myself at home unless I'm entertaining [00:25:49] guests. [00:25:50] And, uh, even then go easy on it because I I'm, I'm, I'm going to just the background radiation [00:25:56] of existence in when you live in a bunch of resorts. [00:25:59] Uh, I'll, I'll get, I'll get, I'll get plenty of alcohol subcutaneously. [00:26:05] Um, a contact tie. [00:26:07] So maybe I'll, maybe I'll try that again. [00:26:10] I don't know. [00:26:11] It's the stuff you think about in mid December when you're just inundated with specialty food [00:26:17] and drink options, uh, do other life stuff that isn't alcohol or religion or clothing [00:26:27] related. [00:26:28] Oh, uh, uh, I've been on a quest to not necessarily save a bunch of money, not necessarily. [00:26:35] Uh, I was going to say, uh, tighten my belt, but, uh, I don't know what the suspender equivalent [00:26:43] is because I did not wear a belt last night. [00:26:45] I just wore suspenders. [00:26:46] Uh, I've been interested in, in not budgeting either. [00:26:52] Just, I think awareness. [00:26:54] Like I want, I know that a lot of money flies through my pockets every month in the form of, [00:27:01] um, SAS software subscriptions and streaming services. [00:27:05] I mentioned this last, uh, last go round that I was recommending, Hey, let's say, go take a [00:27:11] look at like our unused streaming subscriptions of those. [00:27:14] Uh, yesterday I did cancel max. [00:27:16] Cause I realized that, uh, if I'm not watching a lot of news, I'm not going to watch John Oliver [00:27:20] and, and they frankly, a lot of HBO's prestige shows haven't been besides they cut a Sesame [00:27:28] street and it just so happened that I canceled that day. [00:27:31] So maybe there's a, some data engineer at HBO who's like, Oh man, people are canceling because [00:27:37] we got rid of Sesame street. [00:27:38] Uh, that would be good. [00:27:40] That would be good for America to get that feedback. [00:27:43] Uh, yeah. [00:27:44] I just want awareness of like, where's the money going and in what proportion and does that sound [00:27:50] right to me? [00:27:50] Uh, and I've, there are software tools for this. [00:27:53] Uh, they are all compromised in some way. [00:27:57] For example, we just, uh, we'd used lunch money in the past, which is a cool app. [00:28:02] And it has the kind of, you know, basic integrations you would expect. [00:28:06] I don't know if it uses plaid or whatever behind the covers, but like you, you connect your, your, [00:28:11] your checking accounts, your credit card accounts. [00:28:14] It lists all your transactions is very, um, customizable in terms of rules that you can [00:28:21] set. [00:28:21] It has an API. [00:28:22] Jen is a solo co-founder and she seems really, really competent and lovely and responsive, [00:28:27] which are all great things. [00:28:29] But the UI is a little clunky for me. [00:28:32] I don't like how it handled URLs. [00:28:33] It was like, once you got all the transactions in there and, and set up, it didn't feel informative [00:28:41] because there wasn't like a good reporting or graphs that just kind of at a glance would [00:28:45] tell you, this is where your money's going. [00:28:46] At least for me. [00:28:47] Uh, additionally, like it, it can't do the Apple card. [00:28:51] That's the, that's become the crux for a lot of these services is that, um, Apple card [00:28:55] only added support for reading. [00:28:59] Uh, well now you can read, uh, uh, so I, Apple added away on iOS and specifically iPhone [00:29:07] OS to read, uh, transactions from Apple card, Apple savings and Apple cash. [00:29:14] And this was like nine months ago, if that, but copilot, uh, money is one of two apps maybe [00:29:22] that supports this. [00:29:23] And so if you, if you have, we have, we each have an Apple card and we use it for kind of [00:29:29] our silly stuff whenever we're, you know, using a tap to pay. [00:29:33] So, so if, if you want to track transactions and you don't want to manually export CSVs [00:29:40] from your wife's phone every 30 days, which is the process that I'd fallen into with, with [00:29:44] lunch money, then you, you basically have copilot money. [00:29:50] And then there's another one, maybe Monarch, uh, the copilot money. [00:29:53] People are always talking about this other app called Monarch. [00:29:55] I haven't checked it out. [00:29:55] I don't know if that's why they like it or if it's just the other one that's being developed [00:29:59] right now in this post mint apocalypse, as we all grapple with the fact that mint was [00:30:04] always bad, uh, but people got into it and I don't copilot money is like nice, but like [00:30:11] it, like, for example, like if I'm, uh, if I buy a, uh, if I put $10, the equivalent of [00:30:19] $10, so 1000 yen on my Starbucks card in Japan, which is totally separate because of course it [00:30:25] is there's two Starbucks cards. [00:30:27] There's the one in Japan and then the one in the rest of the world. [00:30:30] So you open the Japanese only app, you put a thousand yen on it. [00:30:33] Uh, you pay for that with Apple pay. [00:30:36] So which goes to my Apple card and copilot money will read that transaction. [00:30:40] But if you read like the text in the merchant description, it's literally like [00:30:44] staba day and it's like all no spaces. [00:30:47] It's just like 40 characters in a row to, and if you really squint, you can kind of see [00:30:52] Starbucks, Japan, um, you know, app store payment, which is, you know, like I want to [00:31:00] change that to Starbucks, Japan, and then set up a rule to just like always change that. [00:31:05] So I don't have to like memorize these random ass merchant names. [00:31:08] Uh, apparently like after, after two hours of setting up copilot money yesterday, I realized [00:31:13] that there's like both no way to set up that kind of rule. [00:31:16] The only rule that it supports is categorization of, of spending fine, but then if you set [00:31:22] up a rule and you don't like it, there's no way to edit the rules cause there's no UI for [00:31:25] rule editing. [00:31:26] And so then, you know, where do you go, but read it and you're like, okay, well there's [00:31:30] a subreddit. [00:31:30] And then like, what's half the post in the subreddit? [00:31:32] It's about, Oh, of course it's a bunch of dads who are like, I can't see my rules and I have [00:31:36] to contact support. [00:31:37] And it's been nine months. [00:31:38] And I was like, Oh God. [00:31:39] So that's, uh, if anyone's got any great budgeting software that supports Apple card, you let me [00:31:46] know. [00:31:47] Uh, and also isn't a part-time job. [00:31:50] I'm not gonna, I'm not gonna spend all day on this. [00:31:52] I'm not, I'm not gonna, I'm gonna check in on this, uh, the four times a year that I, that [00:31:58] I wake up in a cold sweat wondering, Oh my God, how many subscriptions do I have? [00:32:02] Which is, uh, I, I really missed my calling by not being a dad, I guess. [00:32:07] But it did land me on looking at rocket money. [00:32:11] Uh, so, so, so there was an app called true bill that marketed heavily with like a lot of [00:32:19] other DTC apps where the pitch was, we will negotiate your bills for you. [00:32:26] And by bills, I think that one of the reasons why this, this, this business probably struggled [00:32:31] is that there's really only two that they could reasonably negotiate on your behalf. [00:32:37] You know, you, you imagine they've got a call center or they've got people who've, who [00:32:40] are trained, who have scripts that they follow, who, who will doggedly keep calling back until [00:32:44] they get what, you know, the discount, the, just the steps that you would have to go through [00:32:48] if you wanted to call Comcast or Verizon, they, they, they, they can basically could basically [00:32:57] only really negotiate your ISP and your cell phone carrier. [00:33:01] Cause those are the two sort of, you know, that are, that are transactional enough that [00:33:08] are regionalized or nationalized enough that they, that they could train on. [00:33:11] And then of course, like they, they're the ones that like get you in with a teaser rate and [00:33:15] then gradually turn up the heat over the course of a couple of years. [00:33:19] Well, Quicken Loans bought, they rebranded as rocket and then rocket fill in the blank [00:33:26] with other products. [00:33:26] And they bought true bill around the same time. [00:33:29] And I, my understanding from a distance is that true bill, uh, uh, that became rocket money [00:33:36] in order to be an entree into other rocket star services. [00:33:41] So like you, you now, when you install rocket money, it's still got the negotiation thing. [00:33:46] Cause that's what they market it on, but you have to slog through so much like, no, I'm actually [00:33:52] all set with credit and, and, and, and debt repayment services. [00:33:57] And I'm, I'm already all set with financial advisors and retirement goals. [00:34:00] I just get me to the, to the thing where I can pay you 35% of whatever you save me on [00:34:06] my ISP bill. [00:34:07] And so of course, you know, like I, I, I signed up for the first time, went through the app [00:34:12] onboarding. [00:34:13] I was not impressed with the bugginess of the app, but I was able to soldier on through [00:34:19] it. [00:34:19] And where I landed was I was, uh, following its little setup wizard for first. [00:34:27] Spectrum, which is my internet provider. [00:34:28] And I was, I'd initially paid a hundred dollars when I moved here in 2021, uh, a month for, [00:34:36] for one gig down, call it 30 megabits per second up. [00:34:40] And I can't get a, another ISP here. [00:34:43] They had an exclusive agreement. [00:34:44] They're building neighborhoods bullshit. [00:34:47] Uh, and I, I, so I can't get higher upstream and that really gets in my crawl. [00:34:53] Nevertheless, they have increased prices about $15 a year. [00:34:59] Each time I'm here to the point now where I think my monthly, you know, debit is like $150, [00:35:05] $145 and you fill it out and you give them your pin number. [00:35:11] You got this customer pin that like, you know, is secures your account. [00:35:14] I'm like, eh, all right, well, that's four digits, you know? [00:35:17] And besides I'm already on like this one dead simple plan. [00:35:20] It's just their normal plan. [00:35:22] And it's, you know, like I'm paying top dollar for it. [00:35:26] So what's the worst that they could do if they, if somebody else were to call and change [00:35:30] my plan up, you know, like it, it wouldn't cause that much lasting damage. [00:35:34] Cause it's not like I'm on some teaser rate. [00:35:36] It's not like I've got a great deal as it is. [00:35:38] So I let them do it. [00:35:39] And three days later, I had low expectations, right? [00:35:42] Cause you go on Reddit, speaking of Reddit, you go on and you, you search other people's [00:35:46] experiences and people will say, oh yeah, well like the, you know, I, some of them are [00:35:52] pretty hyperbolic. [00:35:53] It's like, you know, like they, they changed my plan to this and now I'm stuck with this, [00:35:57] you know, TV subscription for the next four years. [00:35:59] And then they charged me a thousand dollars in imagined savings that never materialized. [00:36:03] I'm like, shit. [00:36:04] All right. [00:36:04] Well, that's, that's not good. [00:36:06] But I, I gave them a shot. [00:36:08] They came back three days later and they said, congratulations. [00:36:12] We saved you $859. [00:36:14] I was like, what the, excuse me over the next 12 months. [00:36:18] And it turned out that they got me from $142, $145 down to 70 flat. [00:36:25] You multiply that by 12 and then indeed comes out to eight something. [00:36:28] And I was like, damn. [00:36:29] All right. [00:36:30] And so I've been, I've been looking for the other shoe to drop like ever since, like something [00:36:36] is fishy here. [00:36:37] Like I, they didn't sign me up for other services. [00:36:39] I did receive, I'm looking over at it now. [00:36:43] I did receive a relatively large box that has a, you know, one of those wifi modem router [00:36:50] combo units in it. [00:36:51] That was partly like apparently part of the deal. [00:36:54] I don't know if they canceled my service and then in one fell swoop also signed me up for [00:36:58] service. [00:36:58] But now I've got this gigantic fucking wifi thing that wouldn't even fit in my patch box [00:37:02] if I wanted it, which I don't. [00:37:04] So I'm, I'm, I'm currently in this ether of like, well, if my modem that I rent is still [00:37:11] going to work, I rent for $0. [00:37:14] It's one nice thing about spectrum. [00:37:15] If my modem that I rent is still going to work, uh, maybe I can just keep this wifi thing in [00:37:20] the box and not call anyone. [00:37:22] And maybe everything will keep working and I'll pay the $70 a month, or maybe I should send [00:37:27] the other one back, but then that might trigger some other thing. [00:37:30] Right. [00:37:30] I, so look like, do I recommend the service? [00:37:36] I don't really, I don't, we'll see. [00:37:38] Right. [00:37:39] Like call me in a year. [00:37:40] I should set a reminder. [00:37:41] Oh, I'm sure if something bad happens, I'll, I'll be right on the airwaves screaming about [00:37:47] it. [00:37:47] Like I, like I do, but even after this experience, saving me a lot of money, like what I trust [00:37:53] them with my T-Mobile account, right. [00:37:54] Where I have been grandfathered in on what was called the one choice plus plan in 2014 [00:38:01] or whatever. [00:38:02] And it's genuine, honest to God, unlimited data without any real throttling. [00:38:08] As far as I can tell, until you get to some absurdly high number where you can watch your [00:38:12] videos in HD on your, you know, like, like it's, it's, it's a good one. [00:38:16] It's better than their magenta crap. [00:38:18] Um, and a lower price than their magenta max thing. [00:38:21] Well, we got three lines. [00:38:22] You got, you know, the watches and I would love to pay less for that, but I just don't [00:38:27] try like you, you, you fill out the rocket money form, uh, with the, uh, the, the, it wants [00:38:34] your T-Mobile, like login information. [00:38:36] And that's, that was a bridge too far for me. [00:38:40] I got there and I was like, you know, I could just imagine this going poorly. [00:38:44] You know, these plans are so complicated and feels like even when I call T-Mobile and I [00:38:48] ask, Hey, how's the weather? [00:38:49] Like they click a button and it fucks up my shit for two weeks. [00:38:52] So I'm, I'm, I'm good. [00:38:55] I can probably afford a cell phone bill. [00:38:57] Uh, I just, I just would prefer not to have to pay it. [00:39:01] Only one other life item in the last week, I was given a special opportunity. [00:39:11] Um, I've talked about massages a couple of times on this program and the, uh, I mentioned, [00:39:15] uh, the one I went, uh, the one I had most recently in a previous episode, I, I, I was, I was wrapping [00:39:29] up my massage with a human like you do. [00:39:31] And the human said, have you, have you tried our robot massage? [00:39:36] And, uh, I didn't know how to take that. [00:39:38] And I said, I, I've heard of it. [00:39:41] I know Becky tried it. [00:39:43] If you check Becky's, um, Becky Graham, you'll see, uh, there's a video of her, uh, getting [00:39:48] felt up by a robot. [00:39:50] Uh, I forget the name of the company, but it's, it's, uh, it's like a robot that tries to simulate [00:39:59] the experience of a human massaging you. [00:40:02] So it's, uh, you're on a bed, you're face down. [00:40:06] It's, uh, got arms that kind of go back and forth, uh, on a track and they, they push and [00:40:13] whatnot. [00:40:13] And it kind of reminds me of the white birthing robot from star Wars episode three at the end [00:40:21] when, when Luke and Leah are being born, it does everything short of make the cooing [00:40:26] sounds to get the babies to calm down. [00:40:28] You know, like I, you do have a tablet and you can, you can pick out these pre-baked Spotify [00:40:34] playlists while it's pushing on you. [00:40:36] Anyway, all that to say, I signed up, um, mostly cause it was free. [00:40:41] So I had a 30 minute trial and, uh, the fact is trying to imitate humans was really interesting [00:40:49] to me because I had just spent a month in Japan, uh, getting, uh, what'd you call it? [00:40:54] Uh, massage chairs, our hotel chain that we stay at has always has massage chairs and even [00:41:01] bad massage chairs in Japan are pretty intense. [00:41:03] Uh, uh, but, but good ones are just like, you know, you go in there and it's just like, [00:41:09] I'm sure there's been, you've probably seen a horror movie image, right? [00:41:13] Where it's like, you sit in a chair and then like 25 hands grab all the parts of your body [00:41:18] simultaneously and that is meant to be horrific. [00:41:20] But if those hands, if there was some nice music playing and it was illuminated and those [00:41:25] hands were massaging you simultaneously all over your body, maybe it would be pretty, pretty [00:41:29] great. [00:41:29] And so that's what a Japanese massage chair is like. [00:41:33] Cause they, they don't have this arbitrary conceit that a massage must happen in a format [00:41:39] that resembles how it would happen if a single human on a bed surface was rubbing your tiddly [00:41:45] bits, which is what this robot is. [00:41:49] Right. [00:41:49] And so it's trying to think of another analog, right? [00:41:55] Like where we, we kind of retain the artifice of the way that it used to be before we automated [00:42:00] it. [00:42:00] And, and in some, sometimes we do that to keep people being comfortable like that rich [00:42:05] Corinthian leather. [00:42:06] It's like, we wanted to look like a traditional calendar. [00:42:08] So people know what they're looking at instead of just a bunch of boxes. [00:42:11] It's like, Oh yeah, this looks like a placemat style calendar that I would have had on my desk. [00:42:15] And then eventually that ages out. [00:42:16] And the younger people are like, I've never seen a calendar on a desk, even though my dad [00:42:20] grew up with one, you know? [00:42:24] So maybe that's it, right? [00:42:25] Like, like sometimes that's why we would have a robo massage that like, you know, pressures [00:42:31] and needs you, you know, kind of with just the two arms up and down in particular points, [00:42:35] sometimes at the same time, sometimes just one arm, you know, it's, it's, it's less efficient [00:42:41] is my immediate frustration. [00:42:43] Cause it's like, you could have 45 fucking arms going to town all over my body and I'd [00:42:49] get way more work done in 30 minutes. [00:42:52] Right. [00:42:52] Cause I'm just trying to min max my existence, but instead by, by, by, by imitating a human [00:42:59] massage, like nothing is really gained because I can't see it. [00:43:03] I'm facedown. [00:43:04] I'm looking at a silly tablet and watching imagery, imagery of forests and, and, and ocean waves [00:43:10] and whatnot, and I'm kind of getting a, you can look at a weird overhead view of what [00:43:14] your body is looking at, looking like right then, you know, like it scans your body and [00:43:19] then has like a little illustration of like, here's where I'm pushing you. [00:43:21] Here I go. [00:43:22] It's, it seems more to me like they designed this, you look at this unit and it's just like, [00:43:31] this has got to cost at least 15 grand. [00:43:34] This is an expensive, complicated piece of equipment. [00:43:38] It feels like a lack of imagination, uh, to, to somebody had the idea, let's take human [00:43:47] masseuses out of the equation and just make a robo masseuse thing that we could put in spas [00:43:53] when, uh, you'd actually have a better experience. [00:43:56] It would be cheaper. [00:43:57] And there's like more prior art at Panasonic or these other companies in Japan. [00:44:01] If you just made a, you know, massage chair, but that would be boring, I guess. [00:44:08] Uh, and massage chairs, like you, you hear the word massage chair right now as you're listening. [00:44:13] And if you haven't had like a real one, you know, at a Japanese Denki-yasan on the third [00:44:17] floor, where all the salary men on their way home tell their wives, oh, I got a, I got a big meeting [00:44:24] with the boss and then they go to, they go to Yamada Denki or they go to Yodabashi camera. [00:44:28] And then they just, you know, they take their briefcase and they set it down next to one of the [00:44:33] trial units of the massage chair. [00:44:34] And then they, they, they, they, they go into this little like sensory deprivation pod and [00:44:39] they get all their bits smushed simultaneously and they got a remote control and they can [00:44:45] say, just do it hard. [00:44:46] And then they can forget their worries for, for 15 minutes until, uh, one of the staff has [00:44:52] to remind them that, uh, they don't live there and that they have to go home now. [00:44:56] If you haven't had that experience, uh, you probably, when you hear a massage chair, think [00:45:02] of like those $2, you know, leather chairs that are, you know, just like our just normal [00:45:08] fucking chairs that may be vibrate, like the vibrating bed equivalent that you see at an [00:45:12] airport. [00:45:12] Um, this is not what I'm talking about. [00:45:15] So get your head out of there and, and go Google, you know, for high end Japanese massage [00:45:22] chair, and you might get some idea. [00:45:24] Uh, also I, uh, in the course of a 30 minute massage, I encountered so many fucking Android [00:45:32] tablet bugs. [00:45:33] I, I didn't, I gave them a lot of feedback cause they, this is sort of a trial that they're [00:45:37] doing. [00:45:37] They wanted to want to know how, what I thought. [00:45:40] And I gave them a lot of this perspective and feedback about like, well, you know, this [00:45:44] skeuomorphic design, yada, yada. [00:45:45] But I didn't even touch any of the software stuff. [00:45:49] Cause like there's an absolutely nothing that they're going to be able to do with that much [00:45:52] less like they won't even be able to communicate this back to the company in a way that's helpful, [00:45:55] but it was, you know, it would freeze or the display would become non-responsive. [00:46:01] One time I had the music just turn itself all the way up. [00:46:05] The, um, the, so many things about this design are meant to make you feel comfortable are [00:46:13] meant to make you feel safe. [00:46:14] Like if, if you, it moves at all, or if it detects anything is off at all, it basically [00:46:20] like will, will disengage entirely and reposition itself. [00:46:23] And then you have to actively resume the massage. [00:46:26] And then it's got to put the little flappy doos back over you. [00:46:30] Like it's really worried about people flipping out about this robot pressing up against them. [00:46:36] And it extends to, to like, you know, you pick your firmness, like light, medium firm. [00:46:41] And I clicked firm. [00:46:42] And then there, you could see there was like a little like pressure bar on the right. [00:46:47] And that even though I'd clicked the firm preset, I wasn't at a hundred percent pressure. [00:46:52] And I was like, well, that, that won't do. [00:46:54] And so I jacked it up to a hundred percent right out of the gate. [00:46:56] And the whole time, 30 minutes, like you could, uh, [00:46:59] Hmm. [00:47:01] It, I knew that a massage was happening. [00:47:05] Like I knew when contact was being made, but like, it was not a massage. [00:47:08] It was, it was somebody kind of like, like, like back rub would be generous. [00:47:14] It was like somebody like took an open palm hand and just pressed it. [00:47:18] Just, just, just an obnoxiously against different parts of my body and no firmness beyond that. [00:47:26] So you got a robo massage. [00:47:29] It's limited in what it can do. [00:47:33] Cause it's trying to imitate a human. [00:47:34] It's very worried about liability, which is why I imagine the max firmness is light pressure. [00:47:39] Uh, and it's fussy and it's buggy. [00:47:42] And of course it can only do very limited regions of the body. [00:47:45] Like if I was a massage therapist, I'd be like, Hey, sweet. [00:47:49] You know, I'm going to keep having a job longer than all these programmer juckle fucks. [00:47:52] You're going to get replaced by a Claude and open AI. [00:47:56] So I'm, I'm, I'm, I'm confident that a massage therapist is going to be a, a lucrative, you [00:48:03] know, going concern as a career for a little while programming. [00:48:08] I'm not so sure of, but most of us listening have already made our choice, whether we're [00:48:14] going to be massage therapists or programmers. [00:48:16] So we're just going to have to see how this, how this plays out. [00:48:19] All right. [00:48:20] Well, that's all, that's everything going on in my life. [00:48:23] So let's, uh, well, let's follow up on stuff that had been going on in my life and is now [00:48:30] continuing or is once again, I started to realize that there's a, there's a certain theme to this [00:48:37] show. [00:48:37] Hmm. [00:48:38] All right. [00:48:46] There's basically two major areas of follow-up today. [00:48:51] Um, but somehow the two of them take up 11 bullet points in my notes. [00:48:59] So I'll try to be expeditious. [00:49:02] The first is I bought a, uh, M4 pro MacBook pro, I guess an Apple nomenclature, a MacBook pro [00:49:13] left parentheses, 2024, right parentheses with M4 pro. [00:49:19] I think is probably maybe the 2024 is at the end. [00:49:22] Maybe they don't put the date now that they have the chip name. [00:49:25] In any case, I needed a computer that was built for Apple intelligence, which is how they also, [00:49:32] they crammed that in the fucking name. [00:49:34] Um, and like the, every subheader says Apple intelligence on it, which, you know, I mean, [00:49:40] if you're, if you're a marketing dude, it's the thing that, you know, like you gotta, every [00:49:48] year is a struggle to goose people into, to buying computers. [00:49:51] And, uh, it's been a while since they've had anything new to say that your computer can do. [00:49:56] So it makes sense, but come on. [00:49:59] It can't even make Genmoji yet. [00:50:02] Uh, just if you've, if you've downloaded it, used 18.2 iOS or iPadOS, uh, go turn on the, [00:50:13] um, you know, the AI feature, if it's available in your region and language, and then you open [00:50:19] the image playground app and you click through there and let it download all of the image [00:50:24] playground shit, uh, in particular, the image playground itself, where you can take a person [00:50:30] and a place and kind of like, you know, create sort of a, uh, a witch's brew of bad imagery [00:50:35] and then, and then have a keep swiping to the right as, as they just all look bad that I have [00:50:43] no, no need for, but Genmoji, or at least the promise of Genmoji, I like quite a lot. [00:50:49] I enjoy, you know, um, typing in little like name, like, so we were at the parks, uh, with [00:50:57] our friends last week and it was a Jollywood Knights event, which is also Gatsby themed. [00:51:06] There's a reason why ordering 1920s era costumes on Amazon in Orlando was like not an overnight. [00:51:13] It was like a two, three day leg because this, this Jollywood Knights 1920s era themed, uh, [00:51:21] ticketed event at Hollywood studios has been going on. And it was one of those nights. And so some [00:51:26] flapper lady in line, she had a purse that had a phone handle on it. And her husband, who now that [00:51:34] I think back on this was dressed very similarly to how I dressed myself last night. So something tells [00:51:39] me he was sort of a long for the ride in this, she picked up the phone handle off of her purse and [00:51:46] handed it to Becky. And then he, you could sort of see him on the phone being a bad ventriloquist [00:51:53] and talking to her on the phone. So like his cell phone was somehow communicating to the purse phone. [00:51:59] It was very, it reminded me of get smart, you know, like that spy TV show from the sixties that was on [00:52:05] Nick at night in the eighties or nineties when I would have watched it. Uh, of course it didn't [00:52:10] work. And then we were just in line and it was like, sorry, we're in line. It didn't work. And then, [00:52:14] and then of course the way that lines work, right. As you turn left, turn right. And now it's up, [00:52:18] here's the same people again. And so they're like, all right, try again. So she picks up the purse [00:52:23] phone and here's the guy talk. And she's like, yes, this is indeed a telephone. That is a purse. [00:52:28] My reaction, my contribution to this experience was to try to generate a Genmoji for the group [00:52:35] that I was with. That was like purse phone. And, uh, wouldn't you know it, uh, it struggled to like, [00:52:43] I was like purse with a phone handle on top. And it was, it gave me like one with like a, [00:52:49] like a locker combination lock instead of a rotary dial in the middle. It was all, it was not, [00:52:54] not good. And, and I think like a lot of these Genmoji, in addition to being bad and not good, [00:53:01] they are when they, there's, they have to be so detailed because usually it's people mashing up [00:53:07] different concepts. They have to be so detailed that when in line with texts, you have to squint [00:53:12] and you can barely see what they are. And then if they're as a tap back, you have no hope of knowing [00:53:16] what they are. Like if it's of a person, for example, like it's, you're going to get like 80% shirt [00:53:21] and then like 10% head. So you're not going to be able to tell who's what. Uh, so those need work [00:53:27] and no one wants my Genmoji. My, my brother has formally requested. I stopped sending them and, [00:53:32] uh, I will, I will take that request under advisement. Anyway, uh, bought a MacBook pro. Um, [00:53:42] Oh, I've got a, I've got a parenthetical as a C notes. All right, well, here's eight more bullet [00:53:50] points. I'm going to rattle through these. So Becky, actually, it was her idea. She wanted to [00:53:54] get me this. We were in Japan. She's like, Hey, you know, I heard you talking about the nanotexture [00:53:57] display. And like, of course, you know, the, the, the brighter screen and us being in Orlando, [00:54:01] you never use a computer outside or out of the house. So she wanted to buy it. And she said, [00:54:06] it was just really complicated. I didn't want to fuck up. I didn't want to get you the wrong set of [00:54:09] options. I asked Aaron and Aaron didn't know either. He said he hadn't really been on top of it. [00:54:16] Uh, and I was like, honey, that's so I didn't say like, bless your heart. I, it was a such a sweet [00:54:23] gesture. And it is true that I've been curious about it. Um, but I didn't feel like, uh, I had [00:54:30] to get one right this minute. Uh, and, and honestly, the, the, the 14 inch MacBook pro is still too heavy. [00:54:36] I, I, I, I lifted tonal my, my weightlifting robot, uh, reported in my tonal wrapped because [00:54:46] everything has to do a goddamn wrapped dingus to try to share in social media as if like, you know, [00:54:52] one assumes that all these wrapped posts just go to the goddamn bottom of every algorithm because [00:54:57] they're all the same. But in any case, it showed me a little wrapped video and it said, I wait, [00:55:02] I, I lifted one and a half million pounds last year or over the course of 2024. And I was like, [00:55:07] that's a lot of weight that I lifted. I, yesterday I did the equivalent of like, you know, 250, [00:55:12] 275 pound deadlift barbell deadlift. And that was hard, but not too hard. It's the max weight that, [00:55:20] that tonal can do. Um, I, I, I, I like to think I'm pretty strong now. Uh, that four pound fucking [00:55:31] MacBook pro is backbreakingly heavy, no matter where I am, I'll pick it up and like, that is denser than [00:55:40] it looks. It's a, it's like when you pick up a baby, that's like a little bit too dense, you know, [00:55:46] and you're just like, Oh wow. I was expecting this to be more fun. This is just going to give [00:55:51] me pelvic floor problems. If I do this for more than exactly 30 seconds and then hand it back to [00:55:57] its mother who surely has pelvic floor issues. Um, I don't want to be carrying around this MacBook pro. [00:56:05] I don't want to carry it with my arms. I don't want to carry it in a bag. I don't want to carry it [00:56:09] into the car. I don't want to carry it, you know, uh, in a Starbucks. I want to hire a Porter to [00:56:16] bring it around to me, you know, from place to place. Maybe, maybe they could also saddle up and [00:56:23] have a, uh, vision pro. So that's what I really want. Uh, at least until, and unless Apple releases [00:56:30] the 12 inch MacBook pro, uh, that we were promised in our early years. [00:56:34] Anyway, when Becky said that it was hard to configure and figure out what she'd want to order [00:56:43] or what I would want her to order. And as a result would have made a pretty lousy gift because [00:56:49] the likelihood of her getting it right. Where if you look at the number of configurations for these [00:56:53] seeing this thing, like astronomically small, I actually spent, I sat down, I look, I, I said, [00:57:01] I didn't need the thing. And then I come home and then within a day and a half, uh, my MacBook air is [00:57:07] crying because it's out of storage to the point where like I composed an email and I hit send on the email [00:57:12] and then Apple mail reported, yo, we just barfed on all this and just deleted all your shit. Cause we [00:57:17] ran out of disk space, no warning. And in modern day Mac OS, you don't get to know how much disk space [00:57:23] you have because all of it is like optimized storage. So like whether it's your iCloud drive [00:57:29] or it's your Apple photos, once the system is under any sort of, um, storage stress, it'll, [00:57:35] it's supposed to detect that and start deleting shit. Your phone does this too. So sometimes like [00:57:41] you're like, like I was importing a bunch of raw images on the phone and it said, Oh, you're out of [00:57:45] storage. And then I knew, because I know how it works under the hood, even though it exposes zero [00:57:49] controls or visibility as to what is going the fuck on. I knew that when it ran out of storage, [00:57:54] the right solution was sit and wait for 30 seconds while it deletes shit in the background and then [00:57:59] just hit import again. Right. Well, I, that didn't work in this case. Like I actually went and deleted [00:58:05] like a hundred gigabytes of garbage. It's a small SSD. It's a 512 gigabyte MacBook air. I deleted all this [00:58:11] stuff, but, um, from my iCloud drive on another computer, because this one was finder was completely [00:58:17] unresponsive. Uh, and it never got better because it had suspended all iCloud drive syncing as a, [00:58:24] probably like some sort of like memory safeguard or storage safeguard to like make sure I didn't, [00:58:27] it didn't fuck up anything in the cloud. And so like even going, I'm not going to, [00:58:33] most of that storage was in my iCloud drive, which is how it got full while I was overseas. [00:58:38] And when I came back, I, I didn't have like, I could, I could have gone through and like run [00:58:47] RM dash RF from the terminal and deleted stuff from the iCloud drive to like as a, as an emergency break, [00:58:52] like get, get this SSD empty enough that the operating system can run and then figure it out. [00:59:00] But then of course it would have synced all of those deletions up to the cloud and deleted the [00:59:03] same things off of my other computers. So this is a tractable problem. And I, I, I ultimately did solve [00:59:10] it, but I, I realize now why Apple markets so much of its pro devices to photos and video people, [00:59:20] because photos and videos take up a shit ton of space. Uh, they have different performance [00:59:26] characteristics than programming and, and the, their needs in many ways are higher than what you need. [00:59:33] If you're just writing Ruby code, right? Uh, it just so happens that Swift, the programming language [00:59:38] that they wrote is also like, we'll, we'll take advantage of all of these cores during compilation [00:59:42] in a way that like a lot of local development in other languages won't. [00:59:45] But in my last year of doing a lot more video work, doing a lot more audio work, I can definitely [00:59:52] understand now like, Oh yeah, like the, the MacBook air actually is inappropriate for a lot of the [00:59:57] workflows of the things that I do. So that experience, I came to Becky and I was like, look, I know I said [01:00:05] I didn't need this, but I think I might need this. Um, where need is in very, you know, very gentle [01:00:12] text. It's, it's a thin font variant to say, I need this. What I mean to say is like, I, it would save [01:00:19] me a lot of time and stress and headache and, uh, uh, rework to have a better computer, a more [01:00:26] capacious computer. And of course you can't upgrade the storage and your existing max. So here we are. [01:00:32] Um, but anyway, I was in the configurator for the new MacBook pro. And the first decision you got to [01:00:36] make is do I want a regular M4 chip, which I did not, or one of the pro ones, which is a, you know, [01:00:43] 12 or 14 core. I want to say a chip, uh, which is a huge upgrade over the M3 pro the M3 pro had a way [01:00:53] more efficiency cores and the M4 pro has more performance score. So it's like a, it's doing [01:00:57] much better in synthetic benchmarking that that's impressive. It's a big year over year change or the [01:01:02] M4 max, which is, you know, uh, an incremental improvement over the M3 max, but to the extent [01:01:10] that it's better than the pro it's like, you know, got another meat and quote unquote media [01:01:14] e

What does fifteen 1176s at once to vinyl sound like? Bobbi talked about cutting direct to disk for Tyler Bryant and The Shakedown, choosing the best compressor, pure analog mastering, speakers vs headphones, recording a Broadway cast, and iZotope RX. Get access to FREE mixing mini-course: https://MixMasterBundle.com My guest today is Bobbi Giel, a mastering engineer based out of Nashville, TN. She made the move to Nashville in October 2017 and spent four years at Georgetown Masters under the direction of Chief Mastering Engineer Andrew Mendelson before joining the team at Welcome to 1979. Bobbi began her career at University of Hartford's The Hartt School where she earned a Bachelor of Music degree in Music Production and Technology with a concentration in Classical Piano and a minor in Business Administration. Following graduation in 2015 she spent two years working at various recording and post-production studios in New York City including MSR Studios (now Sound on Sound Studios in Montclair, New Jersey), the new Atlantic Studios at Atlantic Records, and LVLY Studios. In addition to mastering, Bobbi is a member of the Audio Engineering Society and a member of the Producers & Engineers Wing of the Recording Academy. In 2016 she was also featured on Humans of New York, a popular photo blog and book of street portraits and interviews collected on the streets of New York City. Thank you to Chris and Yoli Mara for the introduction! THANKS TO OUR SPONSORS! http://UltimateMixingMasterclass.com https://www.adam-audio.com https://www.native-instruments.com Use code ROCK10 to get 10% off! https://www.izotope.com Use code ROCK10 to get 10% off! https://gracedesign.com/ https://RecordingStudioRockstars.com/Academy  https://www.thetoyboxstudio.com/ Get your MBSI plug-in here! https://www.makebelievestudio.com/mbsi  Listen to this guest's discography on Spotify: https://open.spotify.com/playlist/40N46UoiBjaKbDyrRh5Xlr?si=6def631eb7ee4909 If you love the podcast, then please leave a review: https://RSRockstars.com/Review CLICK HERE FOR COMPLETE SHOW NOTES AT: https://RSRockstars.com/469

In this insightful episode of Inside the Recording Studio, Chris and Jody tackle one of the most common challenges faced by audio engineers and producers: cleaning up unwanted noise in recordings. From vocal artifacts to background hums, noise can detract from the clarity and impact of your mixes if left unchecked. Join us as we explore the four main types of audio noise—non-musical noise, vocal noise, instrument noise, and audio editing noise—and dive into practical solutions for eliminating them before the mixing stage. Episode Highlights: Understanding the Four Types of Audio Noise: We break down the four main categories of noise that can creep into your recordings. Non-musical noise, like background hums or ambient sounds, vocal noise such as breaths and mouth clicks, instrument noise including squeaks and finger slides, and audio editing noise like clicks and pops from poorly executed edits. Learn how to identify each type of noise and understand the impact they can have on your overall mix. How to Clean Up Non-Musical Noise: Discover effective techniques for reducing or eliminating non-musical noise in your recordings, from HVAC hums to environmental sounds. We'll discuss the use of noise reduction software, including the popular iZotope RX suite, and explore how spectral editing can help you surgically remove noise without harming the musical content. Addressing Vocal Noise: Dealing with vocal noise like breaths, sibilance, and mouth clicks is a critical step in achieving a polished vocal performance. Chris and Jody offer tips for reducing vocal noise using both software solutions and manual editing techniques. Learn how to use tools like iZotope RX's De-click, De-breath, and De-ess modules, as well as manual editing in a DAW for more precise control. Cleaning Up Instrument Noise: Instrument noise, such as fret squeaks on guitars or mechanical sounds from pianos, can sometimes add character but often need taming. We'll discuss when to keep or remove these noises and how to use tools like EQ, gating, and even destructive editing to clean up tracks while preserving the musicality. Eliminating Audio Editing Noise: Poor audio edits can introduce unwanted clicks, pops, or abrupt changes in sound. We'll explore best practices for avoiding editing noise, from proper crossfading to using fade-ins and fade-outs, ensuring your edits remain seamless. Learn how to identify and correct problematic edits using iZotope RX's Click Removal or traditional DAW tools like crossfades. Destructive Audio Editing vs. Non-Destructive Editing: Delve into the debate between destructive and non-destructive editing in audio restoration. We discuss when destructive editing (editing the original file) can be useful for deep noise removal, and when non-destructive editing (editing with the option to revert) might be safer. Find out which workflow suits your projects best, based on the level of noise and the complexity of the session. Whether you're an experienced audio engineer or just starting out, this episode provides invaluable insights and techniques for cleaning up your recordings before mixing. From software tools like iZotope RX to manual DAW workflows, we've got you covered. Tune in now to Inside the Recording Studio and make sure your mixes are noise-free and professional-sounding from the start!   Audio noise reduction, iZotope RX tutorial, Vocal noise removal, Destructive vs. non-destructive editing, Cleaning up instrument noise, Spectral editing for noise, Click and pop removal, De-noising audio recordings, Noise cleanup techniques, Audio editing tips for clean mixes

I've lost count of the number of recordings I've had to pause or abandon because a lawnmower, siren, or enthusiastic dog has fancied getting in on the act.Back when we ran our podcast production service, clients regularly sent over audio that was full of distracting background noises. Not the ongoing hum of an AC unit or the gentle ambience of a cafe, but things like door slams, annoying desk tapping, or phones ringing.Then came the inevitable question, “Can you just edit that out?” followed by a patient explanation from our end that the noise was happening underneath the vocals, so if one was cut out, the other would be, too.Sure, spectral view tools and earlier iterations of iZotope RX were still exceptionally powerful. But I could never truly strip out a noise from underneath a conversation without it sounding like it was recorded underwater.And this isn't just about noise. Reverb has always been notoriously hard to remove from voice recordings. On top of that, if one person sounded very obviously off-mic, it was impossible to bring them “on-mic” in post.But in 2024, audio software has suddenly evolved to the point where almost anything is possible. Reverb is no longer a huge issue, it can correct poor mic technique, and most background noise – even the intermittent stuff – can be removed without many folks being able to tell it was ever there in the first place.The beauty of this, too, is that the software often does it automatically. There's no need to tweak any settings or go through the trial and error of more traditional Noise Reduction tools. Experienced audio pros might consider this lack of control, but remember – most podcasters are not audio pros.A great real-world example of this sorcery in action was our recent Podcraft episode on Podcasting 2.0 with Sam Sethi. I recorded the conversation outside The Podcast Show event in London, and several fire engines hurried past as we talked. I'm not sure what was going on, but maybe they took the LIT tag a bit too literally…Anyway, this wasn't a deal breaker for the audio – the conversation was still audible. It could have been briefly distracting, but this is often the nature of on-location audio in urban areas. In a moment of curiosity rather than expectation, I ran it through Alitu, and was amazed to hear that the software had completely stripped out all the background noise. On top of that, you definitely couldn't tell we were sharing a mic or even recording outdoors at all!Sam commented on this in episode 81 of the Podnews Weekly Review and was kind to credit me for my production skills. But in truth, all I did was upload the source file. It's incredible to hear how far audio software has come. So many recordings that would once have been considered unfixable now have the capability to be transformed into studio-quality conversations.So, does that mean we can finally drop the ‘silk purse sow's ear' metaphor? Is “you can't fix it in the post” obsolete advice? Is striving to record good, clean source material just an unnecessary barrier to content creation?You can probably make convincing arguments about the above, but before folks throw out their foam tiles, shock mounts, and general audio standards, here's a countercase.Why You Should Still Record Good Clean Source Material (When Possible)If software can probably fix it, why worry about it in the first place?Good Enough Audio, or Great Audio?Whilst modern audio software can remove, repair, and rebuild bad audio, it can also enhance, polish, and optimise good audio. Taking some care to feed in the best source material possible can help your show become one of the best-sounding in your niche.Check out this case study from Lindsay's piece on What Podcasts Do for Your Brain:Study participants listened to two-to-three-minute interviews from NPR's Science Friday with altered sound quality. Co-author Eryn Newman said, “As soon as we reduced the audio quality, all of a sudden, the scientists and their research lost credibility.” Newman and Schwarz found that as soon as material required extra effort on the part of the participants, they trusted it less. Respondents rated clear information as more reliable. Software Isn't FoolproofAudio software can do increasingly amazing things, but don't rely on it to fix everything. Just because you have a smoke alarm in your house doesn't mean you'll rely on it to tell you if the toast is burning (though, if you do, at least you know you can probably edit the noise out of your recordings!).Recording Clean Source Material Isn't Difficult…says the guy who recorded a podcast interview on the set of Backdraft. But this isn't about perfectionism, and you definitely have a lot more grace when recording in the great unpredictable outdoors.Good practices are as simple as choosing a room with a decent amount of soft furnishings, getting close enough to your mic, and logging out of Slack or Discord. Don't be that podcaster recording in their bathroom, six feet away from their Omnidirection-set Blue Yeti. Software might make it sound a little better, but that's nothing to be proud of.The Danger of Slipping StandardsIf you no longer care about the quality of your source material, what message does that send to the part of your brain that insists, “I take podcasting seriously”? What other corners might you then start to cut in the planning and content side of things? One day you're dropping a crisp packet in the street; the next day, you're fly-tipping a mattress. Beware the slippery slope, is all I'm saying.Summary: Software as a Safety NetIt's brilliant that audio software can fix so many issues for us now. It makes podcasting so much more accessible. There's no getting around it that you'll make mistakes with your audio in the early days. Ten years ago, some of these mistakes would've warranted complete re-records, but not now.Even more experienced creators aren't immune to the odd suboptimal recording. Sometimes, I'm not as diligent as I could be. Other times, I'm at the mercy of an outdoor environment and all the sounds that come along with it. It's great to know that, with one click, I can fix it in post. I'll never rely on it to do my job for me, but I'm glad to know it has my back.If you'd like to check out Alitu, which was the software used in this case study, you can sign up for a free trial and begin using it right away. Of course, other great podcast editing tools are available, too, so check out our roundup if you'd like to do some shopping around.

Welcome to the first interview episode of Secret Sonics 2.0! We're kicking off our revamped format with a bang, pulling back the curtain on the art and science of live band recording with engineer extraordinaire Nick Nagurka.Known for his work with Theo Katzman and Vulfpeck, Nick brings a fresh perspective to the age-old challenge of capturing lightning in a bottle.Nick's approach turns conventional wisdom on its head, embracing the chaos of bleed and prioritizing the vibe over technical perfection. He shares his unique methods for achieving that elusive "band in a room" sound, from unconventional mic placements to the strategic use of cutting-edge technology.This episode is a masterclass in balancing old-school techniques with modern tools, demonstrating how to capture the raw energy of a live performance while maintaining the polish expected in professional recordings. Whether you're a bedroom producer or a seasoned studio vet, Nick's insights will challenge your assumptions and inspire you to push the boundaries of your craft.Topics we discuss:Techniques for recording drums in a live setting⁠Microphone choices and placement strategiesBalancing musician comfort with technical requirements⁠The use of modern tools like iZotope RX in conjunction with traditional recording techniques⁠The importance of committing to sounds during trackingTo learn more about Nick - https://www.nicknagurkamusic.com/Download our free guide: "The Future-Proof Mixing Engineer: 8 Essential Skills for 2024 and Beyond" - https://mpe-ebook.benwallick.com/future-proof-mixingConnect with us:Secret Sonics - https://www.instagram.com/secretsonicsBen - https://www.instagram.com/benwallickmusic/Carl - https://www.instagram.com/carlbahner/Nick - https://www.instagram.com/thenickThanks to our sponsors!Progressions with Travis Ference - https://www.progressionspodcast.com/listen“The Platinum Pitch: Proposals Clients Can't Refuse” FREE CLASS Register today: https://branding.carlbahner.com/offers/eL9EmmUL/checkoutLearn more:https://www.benwallick.com/https://www.carlbahner.com/This episode with edited by Gavi Kutliroff - https://www.instagram.com/pleasant_peasant_music/

Don't sweat the noise too much! Harold talked about derressering masters, iZotope RX ninja tips, phase aligning mixes, how to use mid side eq, mastering Moogs, bass wins in big vs small control rooms, LUFS targets, and why linear eq + hip hop = bad. Get access to FREE mixing mini-course: https://MixMasterBundle.com My guest today is Harold LaRue, a GRAMMY-winning mastering engineer in Houston, Texas. Harold's recent clients include contemporary jazz masters: The Wayne Shorter Quartet, Terri Lynn Carrington, and Joey Alexander — synth sorceress: Lisa Bella Donna, and R&B legend: Jeffrey Osborne. Harold has worked as a software developer, pro-audio service manager, theatrical sound engineer, and restaurateur and was the monitor engineer for the Houston Symphony Orchestra before leaving to focus on his growing mastering business. As an audio educator, Harold has developed and taught studio production and mastering courses at universities and recording schools across the country. He continues to present public workshops and teach privately. He is a Voting Member of the Recording Academy's Producers & Engineers Wing, Audio Engineering Society, and the International Alliance of Theatrical Stage Employees. Check out our previous interview on episode RSR225 to learn more about Harold's backstory. I want to dedicate this episode to the late great audio designer and engineer Glenn Coleman whom Harold introduced me to at NAMM 2020.  THANKS TO OUR SPONSORS! http://UltimateMixingMasterclass.com https://www.adam-audio.com https://www.native-instruments.com Use code ROCK10 to get 10% off! https://www.izotope.com Use code ROCK10 to get 10% off! https://gracedesign.com/ https://RecordingStudioRockstars.com/Academy  https://www.thetoyboxstudio.com/ Listen to this guest's discography on Spotify: https://open.spotify.com/playlist/58TfiVHWwU5CSfNoamAErb?si=55dc63a967b24511 If you love the podcast, then please leave a review: https://RSRockstars.com/Review CLICK HERE FOR COMPLETE SHOW NOTES AT: https://RSRockstars.com/463

Fredrik is again joined by Malin Sundberg and Kai Dombrowski for a review of attending this year’s WWDC, working with “AI”, and more. The experience of attending - a lot about the great community. News from the conference - a Snow leopard year, in a good way. Lots of nice fixes and additions - Swiftui, fun widgets, and of course lots of question marks around whatever Apple intelligence will grow up to be. And of course a little side of the ongoing story of Apple versus the EU. Apple intelligence also leads naturally into a discussion on how everyone works with language models, copilots, and so on. There is also some discussion of summer development plans, localization, and the snobbiest coffee country in the world. Thank you Cloudnet for sponsoring our VPS! Comments, questions or tips? We a re @kodsnack, @tobiashieta, @oferlund and @bjoreman on Twitter, have a page on Facebook and can be emailed at info@kodsnack.se if you want to write longer. We read everything we receive. If you enjoy Kodsnack we would love a review in iTunes! You can also support the podcast by buying us a coffee (or two!) through Ko-fi. Links Support us on Ko-fi! Malin Kai Previous episodes with Malin and Kai Uppleva Izotope RX Deep dish Swift Slices - the Deep dish Swift podcast Auphonic Adobe’s podcast enhance WWDC The WWDC keynote and other videos Infinite loop - used to be Apple’s main campus Apple park - Apple’s current main campus Apple design awards iOS dev happy hour One more thing Altconf The talk show live James Dempsey and the breakpoints James Dempsey on Slices Snow leopard Swift charts UIKit Live activities Apple versus EU:s digital markets act Meta’s Ray-ban glasses Fika Gemini Apple Mail Apple intelligence Intents Intents domains Apple private cloud compute Dynamic island Claude 3.5 sonnet Jack Cheng, author and developer of Bebop Apple localizations website Bankid Swish Kanban Firestore Pixelmator Quick notes Orbit Mimestream Swift island on Texel, the Netherlands Core coffee Titles Talking about IKEA furniture The biggest watch party in the world Essentially run by the community The community aspect The best Apple stories Open-ended on purpose A Snow leopard year Pop to the root view (Further) Into the view hierarchy Forgotten behavior Crisis averted Spiteful of the EU Grab a coffee together More spiteful than necessary Embrace fika culture Often not where people live All the timelines Lots of different laters Playful but also elegant I know what I want to convey Add small things to your home screen I said no bears I can not generate app icons that do not contain bears Plain Mail again The snobbiest coffee country in the world

Will Ai ever understand emotion in music? Bobby talked about writing the Musician's Ai Handbook on how to write lyrics, chords, melodies, and beats, generate vocal tracks, mixing and master, create lyric videos, and market your music easily using Ai. Get access to FREE mixing mini-course: https://MixMasterBundle.com My guest today is Bobby Owsinski a Producer/engineer and one of the best-selling authors in the music industry with 24 books that are now staples in audio recording, music, and music business programs in colleges around the world, including The Mixing Engineer's Handbook, Social Media Promotion For Musicians, and now The Musician's Ai Handbook.  He's also a contributor to Forbes as a category expert on the new music business, his long-running production and music industry blogs have won numerous industry awards, and he's appeared on CNN and ABC News as a music branding and audio expert. Bobby's highly-rated Inner Circle podcast is now in its 10th year, with more than 500 episodes that feature mover and shaker guests from all parts of the music industry.  He's also recently produced and mixed albums that appeared at #2 on the Billboard Blues Chart and #5 on the Apple Music Rock Chart. Bobby has been a guest on the podcast on episode RSR010 and RSR395 and is back today to share how Ai can help us create, complete, publish, and promote our music from all the cool stuff he learned writing The Musician's Ai Handbook. THANKS TO OUR SPONSORS! http://UltimateMixingMasterclass.com https://www.adam-audio.com https://www.native-instruments.com Use code ROCK10 to get 10% off! https://www.izotope.com/en/deals.html iZotope RX 11 is here! https://www.lewitt-audio.com/ray https://gracedesign.com/ https://RecordingStudioRockstars.com/Academy  https://www.thetoyboxstudio.com/ Listen to this guest's discography on Spotify: https://open.spotify.com/playlist/35qyOhVhDyTtol0MGSyCjf?si=c36b293c0e6e4582 If you love the podcast, then please leave a review: https://RSRockstars.com/Review CLICK HERE FOR COMPLETE SHOW NOTES AT: https://RSRockstars.com/458

The best ad for mixing was "Leave the door open!" Glenn talked about mixing at the Power Station and Sigma Sound, recording Madonna, Springsteen, U2, Talking Heads, Ziggy Marley, the birth of remixing, and renewing Fame Studios in Muscle Shoals. Get access to FREE mixing mini-course: https://MixMasterBundle.com My guest today is Glenn Rosenstein a Multi Grammy-winning producer, engineer, and mixer who began his music career at the legendary Power Station Recording Studio in NYC, assisting alongside some of the best producers, engineers as well as at New York's historic Sigma Sound Studios where Glenn became a mixer and remix engineer, creating work for such artists as U2, Madonna, Talking Heads, The Ramones, Ziggy Marley, Lisa Lisa & Cult Jam, James Brown, Miles Davis and many others. Glenn's music production & mixes continue to be highly visible & diverse, from Whitney Woerz, Carly Simon and Earl “Chinna” Smith to James Taylor, Black Uhuru, Wes Sheffield and Bif Naked. He produced Benedictines Of Mary project for Decca/Universal which was Billboard Magazine's #1 Classical release for the 2012 to 2013 holiday season. As a producer, mixer, & engineer, Glenn's projects have won 3 Grammy Awards, 5 Grammy nominations, an Oscar and a Golden Globe Award. His work is responsible for record sales well in excess of 300 million units. His music production & mixing credits for film & television include The Sopranos, Celebrity Circus, The Last Emperor, Blown Away, Married To The Mob, Charmed, Beverly Hills 90210, All My Children and Buffy The Vampire Slayer. As both songwriter & producer, Glenn's work with reggae artist Snow led to a chart-topping single in Canada. In addition, Glenn has overseen production of a landmark multi-DVD project for Saturday Night Live‘s 25th Anniversary, producing the surround remixes and audio for 60 unique music performances, as well as 60 musical comedic sketches. This project features the live performances of Mariah Carey, Sting, Aretha Franklin, Metallica, Nirvana, Paul McCartney, Snoop Doggy Dog, Paul Simon, Alanis Morissette, James Brown and Bruce Springsteen, to name just a few. Glenn has also partnered in the renovation and restoration of the historic Fame Recording Studios in Muscle Shoals AL, where he maintains a residence and studio and where we join you today.  And last but not least I consider Glenn a longtime friend and mentor here in Nashville. THANKS TO OUR SPONSORS! http://UltimateMixingMasterclass.com https://www.adam-audio.com https://www.native-instruments.com Use code ROCK10 to get 10% off! https://www.izotope.com/en/deals.html iZotope RX 11 is here! https://www.lewitt-audio.com/ray https://gracedesign.com/ https://RecordingStudioRockstars.com/Academy  https://www.thetoyboxstudio.com/ Listen to this guest's discography on Spotify: https://open.spotify.com/playlist/7hJRXvS4M6FURuZurWyWth?si=3bd7089aa93e4e1b If you love the podcast, then please leave a review: https://RSRockstars.com/Review CLICK HERE FOR COMPLETE SHOW NOTES AT: https://RSRockstars.com/457

As MEMODEMO, Kobe Anthony creates music for video games and inspired by video games. In this episode, we learn about Kobe's creative process for composing music. He also shares a bit about how he uses his DAW (digital audio workstation) to capture sounds and convert them into melody and beats. Also featured in this episode: memes, rhythm games, and three seconds of terrible beatboxing.Creative Process & Workflow for MusicAudioIzotope RX 11 (audio repair toolkit)XO by XLN Audio2 MelloNot in the Groove (game)Sideshow Bob Stepping On Rakes Compilation - Cartoon Vids, YouTubeRolling Sampler777 - RoughSketch, YouTube"Never attribute to malice that which is adequately explained by stupidity." - Hanlon's razor, WikipediaKobe Anthony (aka MEMODEMO)GuestKobe is on Bandcamp, YouTube, Soundcloud, Ko-Fi & more. Here's his Linktree!From a student spotlight piece by the University of Oregon:Kobe came from a musical home, so his love for making music started when he was very young. “My first memory of noticing music in video games was when I played Sonic Heroes for the first time as a three-year-old. I remember hearing the theme song and it was, quite literally, life changing,” Kobe explains. From there, he started playing with GarageBand and, eventually, as he got older, started making original music on a much more advanced system MIDI. Kobe published his first song at eight years old called “Chaos Angel Error Emerald,” a remix of the theme song to Zone 7 of Sonic Advance 3, “Chaos Angel.”Under the pseudonym MEMODEMO, Anthony has over 5,200 monthly listeners on Spotify, over 4,500 followers on Soundcloud, and over 370,000 subscribers on YouTube.

Was Elvis the real phantom of the Opry? Bill talked about songwriting with artists over Zoom, writing for Mojo, the Brill Building in 1961, confederate ghosts, Crowded House, Jill Sobule, Tin Pan Alley, and finding inspiration in artwork & cartoons. Get access to FREE mixing mini-course: https://MixMasterBundle.com My guest today is Bill DeMain, a successful author, songwriter, journalist, tour guide, and musical historian who has been on the podcast previously for episode RSR200. As one half of the pop duo Swan Dive, he has released ten acclaimed albums with his singing partner Molly Felder, enjoying several Top 5 singles and tours of Japan, Thailand and Korea. He's also written songs for and with many other artists, including Curtis Stigers, Marshall Crenshaw, Teddy Thompson & Kelly Jones,  David Mead, Bleu, Kim Richey, Jill Sobule and Boo Hewerdine. His songs have appeared on TV shows like Sons of Anarchy, Private Practice, Felicity and The L Word, and in commercials for Laneige Cosmetics, Unicef and Sky Mobile. Bill is also a much-published music journalist, who's written for MOJO, Uncut, Entertainment Weekly and Classic Rock. He has written five books, including 2017's Amazon best-seller Sgt. Pepper At 50, and two of collections of interviews with noted songwriters such as David Bowie, Stevie Nicks, Ray Charles, Dolly Parton, Barry Gibb, Kate Bush and Smokey Robinson.  In addition, he is the owner of the music history walking tour Walkin' Nashville, a radio correspondent for BBC Glasgow and a cartoonist whose work has been published by Reader's Digest and Funny Times. THANKS TO OUR SPONSORS! http://UltimateMixingMasterclass.com https://www.adam-audio.com https://www.native-instruments.com Use code ROCK10 to get 10% off! https://www.izotope.com/en/deals.html iZotope RX 11 is here! https://www.lewitt-audio.com/ray https://gracedesign.com/ https://RecordingStudioRockstars.com/Academy  https://www.thetoyboxstudio.com/ Listen to this guest's discography on Spotify: https://open.spotify.com/playlist/7bB32vult4uY4TTaLa6X08?si=6fafbae7c9834d61 If you love the podcast, then please leave a review: https://RSRockstars.com/Review CLICK HERE FOR COMPLETE SHOW NOTES AT: https://RSRockstars.com/456

Uboats will float your Atomic Instruments! Joe talked about his new mastering studio Garage Masters, how to get loudness right for streaming, set up your mastering session in Presonus Studio One, do song spacing, and choose limiters, eq, and plugins. Get access to FREE mixing mini-course: https://MixMasterBundle.com My guest today is Joe Hutchinson, a mastering engineer at Garage Masters in Nashville, TN where Joe has been providing mastering services for over 10 years.  Joe works in a well-designed room built in 2022 and uses a combination of analog and digital tools to give each song or project what it needs. Every project is different, and what happens in mastering can vary from heavy-handed processing to being almost transparent. Often mastering will catch little things missed in the production/mixing process since a mastering engineer offers a fresh set of ears, and in that sense acts as the quality control at the end of the recording process. Joe was my mastering engineer at the Hay Bale Studio at Bonnaroo for many years and has been a guest on the podcast for episode RSR013 where you can hear his backstory. Today we will talk about what's new in mastering and see what we can learn for our own studios as well. THANKS TO OUR SPONSORS! http://UltimateMixingMasterclass.com https://www.adam-audio.com https://www.native-instruments.com Use code ROCK10 to get 10% off! https://www.izotope.com/en/deals.html iZotope RX 11 is here! https://www.lewitt-audio.com/ray https://gracedesign.com/ https://RecordingStudioRockstars.com/Academy  https://www.thetoyboxstudio.com/ Listen to this guest's discography on Spotify and Apple Music: https://open.spotify.com/playlist/350G63oGE5wvg0nj8372lB?si=070311db68c440ce If you love the podcast, then please leave a review: https://RSRockstars.com/Review CLICK HERE FOR COMPLETE SHOW NOTES AT: https://RSRockstars.com/454

We're always reviewing and streamlining our processes as the landscape changes. Here are the tips, tools, and processes that are working in 2024.Episode Notes: https://podcasteditorsmastermind.com/episode/pem092-2024-podcast-editor-best-practices Follow the Podcast Editors MastermindRate and Review the Podcast Editors MastermindLeave text or voice feedbackHey there, welcome back! We're diving deep into the nitty-gritty of our podcast editing businesses today. As you know, it's not all about slicing and dicing audio - there's a lot of business sense and a bit of madness that comes into play. Join me as I guide you through our latest shenanigans and strategies for navigating the ever-changing world of podcast editing.Today, we have updates on adjusting our processes, pricing, and tools to keep up with growing demands. Jennifer will explain how she occasionally transfers shows to someone else when she's not in the mood to edit, and why she's considering increasing my prices. Spoiler alert: it's not just for kicks!We will also discuss how Daniel is improving his client interactions using tech tools, and how Bryan is excited about his new software toys and considering making big decisions like hiring employees.And because we love to keep you on your toes, we'll touch on the more techie side of things, debating the virtues of various AI tools and audio repair gizmos that promise to make our lives easier. From Adobe's enhancer to the mysterious MacWhisper, we've got the lowdown on what's hot and what's not.Key Discussion PointsHow the changing business landscape affects how we get our work doneThe tools we're using to manage our businessHow Bryan is breaking away from iZotope RX (and what Jennifer and Daniel are using)Getting local help instead of investing in an internet "business guru"Links And ResourcesGoogle Meet: Online Web and Video Conferencing Calls | Google Workspace - Bryan is using this as a Zoom replacement for most of his prospect and client calls.DaVinci Resolve 19 | Blackmagic Design - Bryan is still talking about DaVinci Resolve. He's using it for some editing, but not all.Nextcloud - Open source content collaboration platform - Nextcoud was mentioned in the chat as a collaboration tool. Might be worth checking out.Minvo - Turn your videos into clips for social media | AppSumo - The tool that Daniel recently found to help him pull out short videos for Shorts and Reels.Castmagic - 10x Audio Content With AI - All three of us use Castmagic to help us quickly come up with titles, descriptions, and more. Bryan used it on this episode. (This is an affiliate link. Qualifying purchases benefit Bryan.)Capsho - The Fastest Way to Repurpose & Market Your Expert Content - Jennifer uses Capsho to help put together show notes, titles, and social content. Bryan and Daniel have used it as well.AutoMixer, one of Leandro's plugins on Github - Daniel likes the AutoMixer for ReaperFresh Air - Daniel uses Fresh Air.DeRoom - Reverb Removal - Accentize - Daniel likes Accentize DeRoom for reverb reduction.

Ever wonder what a podcast editor's life looks like? Patrick spills the beans on how he swapped lesson plans for audio timelines.Episode Notes: https://podcasteditorsmastermind.com/episode/patrick-keller-made-the-leap-from-education-to-podcast-editing Follow the Podcast Editors MastermindRate and Review the Podcast Editors MastermindLeave text or voice feedbackHey there! Thanks for stopping by!We're here with a fresh story from the editing trenches. We're shining the spotlight on Patrick Keller, a retired music teacher who's now orchestrating the world of podcast editing. Imagine going from teaching vocals and piano to slicing and dicing audio waves – that's Patrick for you!He started his new career by working on a lot of podcast episodes that still needed editing. He quickly learned a lot, trying out different things like organizing guests and doing live shows. But here's the catch - Patrick mostly taught himself how to edit, relying a lot on plugins that, to be honest, sometimes don't work well.With tools like RXConnect and Reaper, he now faces the challenges of audio editing without the instant feedback provided by old plugins. And talking about feedback, you won't believe where some of his adjustments originate from - a car test! Stick with us as we dive deeper with Patrick, exploring everything from audio mishaps to eerie paranormal podcasting. Whether you are an experienced editor or simply curious, there is some valuable advice for you here. Alright, let's get rolling!Key Discussion PointsHow the switch to podcast editing was a breath of fresh airHow Patrick is streamlining his workflowsThe value of structure and processesThe need for speed!Links And ResourcesPodcast Editors Mastermind Group - If you haven't already, connect with us here!The Big Séance Podcast - This is Patricks show.DaVinci Resolve + iZotope RX Integration - Alejandro shared this in the livestream chat.How to use RX Connect in Adobe Audition - This is a great way for Adobe Audition users to get the most out of iZotope RX.These tools and websites are essential for our podcast editing. They not only provide the necessary resources but also connect us with the industry's latest updates and communities. Join Us Live!We stream live to our Facebook page and to YouTube every other week. Our EditorThis episode of the Podcast Editors Mastermind was edited by Alejandro Ramirez. You can find him on LinkedIn if you're interested in talking with him about editing your show.Be a GuestIf you're a podcast editor, we'd love to see if you'd be a fit for a future episode. Fill out this form to let us know you're interested, and we'll contact you to see if it's a good fit. Your Yetis...

Guests Gaz Williams - Producer, bassplayer, music technologist Mylar Melodies youtube.com/mylarmelodies Richard Nicol - Pittsburghmodular.com For preshow and Ad free version and much more: Patreon.com/sonicstate   Things break. So does audio. Recorded sound is rarely perfect - in fact, it's often in really bad shape. That's why you need iZotope RX, the industry standard for audio repair that helps restore, clean up, and improve recordings in post-production, music, and content creation.. Don't forget the code SONIC10 to save 10% https://www.izotope.com/en/shop/rx-10-advanced/   Spark your creativity with Guitar Rig 7 Pro - an inspiration suite filled with soughT-after guitar and bass amp simulators, studio effects, and pedals. Get instant flavor with over 100 new rack presets, or mix and match modules to sculpt your own tones. Add analog warmth with four new lo-fi components, perfect for adding texture to any track. And exclusively for listeners of Sonic TALK, take 10% off your software purchase at Native-Instruments.com with the code SONIC10. Some restrictions apply. 00:00:16 SHOW START 00:01:28 AD: SonicState Patreon 00:03:11 Dom's Gear 00:15:47 Taiga Keyboard 00:20:40 AD: N.I. Guitar Rig Pro 7 00:22:07 Divkid Output Bus 00:31:27 Neutone Morpho 00:39:58 AD: iZotope RX10 00:42:40 Jacob Collier Audience Choir 00:50:30 Moby Multitrack Breakdown Where to Watch/Listen - We now stream the live show to Youtube Live,  Facebook Live as well as at  Sonicstate.com/live every Weds at 4pm UK time- please do join in. Preshow available on Twitch. You can also download the audio version from RSS FEED 

Guests Paulee Bow Magical Synth Adventurer Robin Vincent Molten Music Tech Richard Nicol - Pittsburghmodular.com Video version on Youtube: https://www.youtube.com/watch?v=duPxojTBX-Y For preshow and Ad free version and much more: Patreon.com/sonicstate Things break. So does audio. Recorded sound is rarely perfect - in fact, it's often in really bad shape. That's why you need iZotope RX, the industry standard for audio repair that helps restore, clean up, and improve recordings in post-production, music, and content creation.. Don't forget the code SONIC10 to save 10%     Spark your creativity with Guitar Rig 7 Pro - an inspiration suite filled with soughT-after guitar and bass amp simulators, studio effects, and pedals. Get instant flavor with over 100 new rack presets, or mix and match modules to sculpt your own tones. Add analog warmth with four new lo-fi components, perfect for adding texture to any track. And exclusively for listeners of Sonic TALK, take 10% off your software purchase at Native-Instruments.com with the code SONIC10. Some restrictions apply. 00:00:15 SHOW START 00:00:56 EMOM March 1st 00:01:58 AD: SonicState Patreon 00:02:58 Win a K.O. II with us 00:07:38 Syntheast 00:10:51 Rando 00:19:58 AD: iZotope RX10 00:21:18 Klevgrand One Shot 00:30:48 Tip Top ART System now out 00:44:14 AD: N.I. Guitar Rig Pro 7 00:48:14 Surprise: Wavesequencer Hyperion 01:02:31 EMOM March 1st Where to Watch/Listen - We now stream the live show to Youtube Live,  Facebook Live as well as at  Sonicstate.com/live every Weds at 4pm UK time- please do join in. Preshow available on Twitch. You can also download the audio version from RSS FEED 

Guests Rich Hilton - Nile Rodgers Studio guy, keyboards for Chic Paulee Bow Magical Synth Adventurer Robin Vincent Molten Music Tech Video version on Youtube: https://www.youtube.com/watch?v=ExY2y8MSJ9g For preshow and Ad free version and much more: Patreon.com/sonicstate   Things break. So does audio. Recorded sound is rarely perfect - in fact, it's often in really bad shape. That's why you need iZotope RX, the industry standard for audio repair that helps restore, clean up, and improve recordings in post-production, music, and content creation.. Don't forget the code SONIC10 to save 10%   Spark your creativity with Guitar Rig 7 Pro - an inspiration suite filled with soughT-after guitar and bass amp simulators, studio effects, and pedals. Get instant flavor with over 100 new rack presets, or mix and match modules to sculpt your own tones. Add analog warmth with four new lo-fi components, perfect for adding texture to any track. And exclusively for listeners of Sonic TALK, take 10% off your software purchase at Native-Instruments.com with the code SONIC10. Some restrictions apply. 00:22:00 SHOW START 00:26:02 AD: SonicState Patreon 00:32:49 Akai MPC Keys 37 00:44:13 AD: iZotope RX10 00:45:17 Moog Mirror 01:00:24 AD: N.I. Guitar Rig Pro 7 Where to Watch/Listen - We now stream the live show to Youtube Live,  Facebook Live as well as at  Sonicstate.com/live every Weds at 4pm UK time- please do join in. Preshow available on Twitch. You can also download the audio version from RSS FEED 

Guests Gaz Williams - Producer, bassplayer, music technologist Yoad Nevo - producer, mix engineer Waves Developer Robin Vincent Molten Music Tech For preshow and Ad free version and much more: Patreon.com/sonicstate Youtube video: https://www.youtube.com/watch?v=bl9dg5Ma56k Things break. So does audio. Recorded sound is rarely perfect - in fact, it's often in really bad shape. That's why you need iZotope RX, the industry standard for audio repair that helps restore, clean up, and improve recordings in post-production, music, and content creation.. Don't forget the code SONIC10 to save 10%     Spark your creativity with Guitar Rig 7 Pro - an inspiration suite filled with soughT-after guitar and bass amp simulators, studio effects, and pedals. Get instant flavor with over 100 new rack presets, or mix and match modules to sculpt your own tones. Add analog warmth with four new lo-fi components, perfect for adding texture to any track. And exclusively for listeners of Sonic TALK, take 10% off your software purchase at Native-Instruments.com with the code SONIC10. Some restrictions apply. 00:00:17 SHOW START 00:02:06 AD: SonicState Patreon 00:04:01 Sonic EMOM night 1st March 00:32:03 AD: iZotope RX10 00:47:34 AD: N.I. Guitar Rig Pro 7 Where to Watch/Listen - We now stream the live show to Youtube Live,  Facebook Live as well as at  Sonicstate.com/live every Weds at 4pm UK time- please do join in. Preshow available on Twitch. You can also download the audio version from RSS FEED 

Sound like a seasoned podcaster as audio engineer Michael Castañeda shares proven-and-tested tips on having the best audio quality for your show and making clean recordings. Press the play button to discover the tools and tactics to upgrade your podcast audio!   WHAT TO LISTEN FOR Podcasting basics you should know to have excellent audio Biggest pain points in the audio cleaning process Tips on having the ideal balance between voice and music volumes Why you should have multitrack recordings and how to do it When to use a dynamic or condenser mic   RESOURCES/LINKS MENTIONED Deity S-Mic 2 iZotope RX 10 Advanced Larry Crane Pro Tools VEGAS Pro Adobe Audition AIR Media Zoom SquadCast Shure SM58   ABOUT MICHAEL CASTAÑEDA Michael Castañeda is the owner of plasticAudio. He is an audio engineer who works in the podcast industry and is mainly based in Los Angeles. He provides location audio recordings, post-production, production, and podcast consultation. Michael has worked with NPR (KCRW & KPCC), BBC, New York Times Magazine, ESPN, LWC Studios, Western Sound, Pushkin, Neon Hum, Endeavor, Freakonomics, Think Again, Unregistered, and Private Parts Unknown.    CONNECT WITH MICHAEL Website: plasticAudio Instagram: @plasticaudio LinkedIn: Michael Castañeda X: @plasticAudio   CONNECT WITH US If you are interested in getting on our show, email us at team@growyourshow.com. Thinking about creating and growing your own podcast but not sure where to start? Click here and Schedule a call with Adam A. Adams! Upgrading your podcast equipment or maybe getting your first microphone? Get Your Free Equipment Guide! We also have free courses for you on everything you need to know about starting a great podcast! Check out our first six episodes through the links below! Identify Your Avatar - Free Course 1/6 What To Do BEFORE You Launch Your Podcast - Free Course 2/6 How To Launch A TOP Show - Free Course 3/6 Best Marketing And Growth Strategies - Free Course 4/6 How To Monetize Your Podcast - Free Course 5/6  Top 22 Pitfalls On Starting Your Own Podcast - Free Course 6/6 If you want to make money from your podcasts, check out this FREE resource we made. Our clients use a sponsor sheet, and now they are making between $2,000 to $5,000 from sponsorship!  Subscribe so you don't miss out on great content and if you love the show, leave an honest rating and review here! 

Pour cette pastille actu d'octobre 2023, j'ai reçu à mon micro Jérôme Marin, fondateur de Cafétech, la newsletter qui décrypte l'actualité tech, et Laura Pironnet, Podcast Director chez CosaVostra et animatrice d'Into The Job. De l'IA générative à l'IA personnifiée, en passant par la (non)information sur TikTok, la stratégie de diversification de Netflix et la 6ème édition du Paris Podcast Festival auquel Laura a assisté, on passe en revue l'actualité médiatique des derniers jours. Voici notre sélection : # Du 13 au 14 octobre 2023 a eu lieu la 6ème édition du Paris Podcast Festival ; l'occasion pour le CSA et Havas Paris de présenter leur baromètre 2023 sur les podcasts natifs et les Français•es. Quelques informations à retenir : Une meilleure démocratisation du format, même s'il reste une marge de progression (6 français•e•s sur 10 ne savent pas ce qu'est un podcast natif) Un nombre d'auditeur•rice•s qui augmente (37% VS 33% en 2022) et s'inscrit dans les usages Une durée moyenne d'écoute qui augmente Un lien de plus en plus fort et de confiance entre les créateur·ice·s et les auditeur·ice·s La radio, toujours très écoutée et média de confiance selon les auditeur•rice•s. # La fin de Google Podcasts au profit de YouTube Music. # L'exclusion de news et de médias par l'algorithme sur TikTok : les chercheurs Nick Hagar et Nicholas Diakopoulos ont créé des bots, intéressés par l'actualité, auxquels l'algorithme n'a proposé que 6 “actualités” sur 6500 vidéos. # L'IA générative est l'innovation la plus prometteuse en termes de gains de productivité et de création de valeur dans plusieurs secteurs. Pourtant, la majorité des initiatives lancée par Microsoft ou Open AI sont déficitaires. # Meta a lancé des IAs personnifiées : parmi elles, on trouve l'autrice britannique Jane Austen ou l'avatar Billie, inspiré de l'influenceuse Kendall Jenner sur Instagram. # L'IA ne remplacera pas les podcasteur•rice•s, mais peut aider pour automatiser ou gagner du temps sur certaines tâches répétitives et en garder sur des aspects plus créatifs. # G/O media, épinglé au courant de l'été pour l'utilisation de l'IA pour générer des articles inexacts, a annoncé reprendre l'utilisation l'IA à travers son titre sportif “Deadspin”. # La diversification de Netflix qui se lance dans l'événementiel à travers Netflix House : des espaces pour permettre aux fans de plonger dans l'univers de leurs séries et films préférés et qui propose des jeux. # HBO Max devrait arriver en France en 2024. Pour aller plus loin : # L'heure du Monde (podcast) # Normalize (podcast) # Character AI (créer son avatar) # Pré-production : ChatGPT ou Sudowrite (aide à la rédaction, relecture et optimisation des trame et questions) # Post-production : IZotope RX, Goyo (séparateur de son), Descript (outil de synchronisation pour les vidéos et les podcasts) et Adobe Podcast (outil pour nettoyer les pistes avec enregistrement de mauvaise qualité). # Visuels : Midjourney ou Adobe Firefly Pour découvrir tout ça, c'est par ici si vous préférez Apple Podcast, par là si vous préférez Deezer ou encore là si vous préférez Spotify. Et n'oubliez pas de laisser 5 étoiles et un commentaire sympa sur Apple Podcast si l'épisode vous a plu. Mediarama est un podcast du label Orso Media produit par CosaVostra. Retrouvez Mediarama sur : Apple Podcasts | Spotify | Deezer

My favorite opening line of an academic article (this week) follows:Mental illnesses are prevalent, cause great suffering, and are burdensome to society.Welcome to the Frontier Psychiatrists. It's a newsletter that I write all by myself. I'm doing a series on medications, largely (but not entirely) in psychiatry. I'm a child and adult psychiatrist, and I still see patients. I've also been a patient since I was 16 years old. Please consider subscribing and sharing widely.The first antipsychotic introduced after clozapine would be a big deal—especially if it didn't cause life-threatening side effects. Risperidone was first developed by the Johnson & Johnson subsidiary Janssen-Cilag between 1988 and 1992 and was first approved by the FDA in 1994. It's one of the very few drugs with data for bipolar disorder that I, personally, have never been prescribed.Risperidone—Risperdal as a trade name—was ready to be a huge hit.It was presented as very atypical—this was the post-clozapine branding of choice. The “second generation” label was added years later. I have a confession to make. After residency, when the attending doctors told me, as a trainee, what to prescribe, I never prescribed risperidone ever again. I think this compound—and paliperidone, the metabolite— still has an important role in managing schizophrenia and bipolar disorder. There are more formulations of long-acting injectable risperidone and related compounds than I can remember. I think those are going to be useful drugs for a long time. Oral risperidone? Nope.Clozapine was an exciting drug. No horrible motor side effects? (Plausibly) More effective? It was better than every drug that came before. It had this pesky adverse effect that could lead to death called agranulocytosis, which I addressed in my first research paper in 2011. We needed more drugs that were this atypical!We—the field of psychiatry, at least— needed things that were not gonna kill you abruptly, in a terrifying manner, like clozapine had the rare potential to do. But we didn't want more of the same old antipsychotics. After Psychiatry got a taste of not having to explain permanent tardive dyskinesia as a likely side effect of antipsychotic medication, we wanted to keep doing that. Editors note: It is still a side effect of all non-clozapine antipsychotics, and we should never have let our guard down.Risperidone was the first antipsychotic that came to market after clozapine rocked the world of psychiatry by being better. Risperidone is similar, and they even use the accidental branding of clozapine— “atypical”—for this medication. The Food and Drug Administration (FDA)-approved indications for oral risperidone (tablets, oral solution, and M-TABs) include the treatment of:* schizophrenia (in adults and children aged 13 and up), * bipolar I acute manic or mixed episodes as monotherapy (in adults and children aged 10 and up), * bipolar I acute manic or mixed episodes adjunctive with lithium or valproate (in adults)* autism-associated irritability (in children aged 5 and up). Also, the long-acting risperidone injection has been approved for the use of schizophrenia and maintenance of bipolar disorder (as monotherapy or adjunctive to valproate or lithium) in adults.The “mechanism of action” of all of the drugs that have efficacy in psychosis was presumed to be dopamine D2 receptor blockade, a mechanism shared with all of the prior medication from Thorazine (chlorpromazine) through Haldol (haloperidol). The assumption—which clozapine disproved—was motor side effects were required for the drug's efficacy in psychosis. This primacy of the D2 blockade as a mechanism of action has since been disproven. This is the mechanism that leads to gynecomastia, leading to a bevy of lawsuits from men who developed breasts. It also causes related side effects like galactorrhea—breast milk from breasts that can be on men or women who are not nursing— and erectile dysfunction. Dopamine—it does a lot of work in the brain, not just pleasure.This motor side effect profile was not true with clozapine. It had various additional receptors, particularly in the serotonergic family (5HT-2a, for example), and alpha-adrenergic, histaminic, and other receptor sites throughout the brain. This broad profile of different receptors explains the wide range of side effects. But more importantly, these are complex, “messy,” and hard-to-predict outcomes given the complexity of the brain. The complex pharmacology allowed psychiatrists like me to think—hard!—about which particular witches brew of receptors we would choose to tickle (agonize) or antagonize. It's very satisfying. I also suspect this is a story we tell ourselves that is not as closely moored to truth as we'd like. We enjoy thinking about science-ish stuff. Receptor binding profiles are seductive— because they are knowable. Our patient's heart, hope, dreams, and heartbreak? Less so.The most important feature of risperidone today—and its 1st order metabolite, paliperidone—is that is deliverable as pills, rapid-acting dissolvable tablets, and long-acting injectable formulations, lasting between 2 weeks and 6 months between doses. A psychiatric treatment that isn't an oral once-daily pill? One you have to take twice a year? Medicine that is intended for people who often—like many—feel conflicted about taking a daily pill? That is a big enough deal. That is a real innovation— it considers human frailty, ambivalence, and common failures of mind. Not because it's a magic drug. Rather, long-acting medicine that doesn't make crippling relapse easy —thanks to good design— is exactly the kind of medicine that works. My second research effort was on the acceptability of such medicines in youth. It's responsible for my presence at the academic conference where I met my now wife.Oral medicines were popular because they were easy to sell. Novel medicines and technologies will be easy to take. The story of my fascination with the risks and benefits of these medicines doesn't end there, though.I still research these medicines and their adverse effects— funded by NIMH— for identifying Tardive Dyskinesia with Machine Learning and closed-loop Internet of Things physical medication compliance tech with my team at iRxReminder and colleagues at Videra. We are enrolling in a study at Fermata in New York and other sites. Thanks for reading.This article is another in my series about one drug or another. Prior installments include Depakote, Geodon, Ambien, Prozac, Xanax, Klonopin, Lurasidone, Olanzapine, Zulranolone, Benzos, Caffeine, Semeglutide, Lamotrigine, Cocaine, Xylazine, Lithium, dextromethorphan/bupropion and Adderall, etc.Sponsored Content!One way of supporting this publication is buying stuff from Amazon, like a nifty box from Apogee that I used to record the voice-over: the BOOM. In fairness, it's just the A/D. I am also using the API 512c mic pre, plugged into an AnaMod 660 500 series compressor, nestled in a reliable RND R6 Lunchbox, and all of that plugs into the Boom into my Mac. It's a Microtech Geffel mic. Most of the audio post-processing is done with Izotope RX 10. I get money if you purchase any of these things— not a trivial amount since they upped my affiliate rewards.In case anyone was wondering if I was an audio nerd… This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit thefrontierpsychiatrists.substack.com/subscribe

Stephen Kerrison is a mastering engineer based out of his Liverpool studio, Tall Trees Audio Mastering, whose credits include work for Moshi Moshi Records, Maple Death Records, PRAH Recordings, Rocket Recordings and Human Worth Records. His many years experience as a working musician, coupled with an almost obsessive, life-long love of music has earned him a skill set that enables him to work empathetically alongside musicians with full understanding and respect for their artistic process and vision. This approach and dynamic has resulted in his reputation as a trusted mastering engineer growing steadily over the past few years. Stephen knows from personal experience how much making a record means and how much it takes, and as such treats mastering every record with nothing but the utmost care and deference. A champion of the left-field, but absolutely partial to a pop banger, the intersection between the creative and technical is where Stephen feels most at home. IN THIS EPISODE, YOU'LL LEARN ABOUT: Enjoying music as a consumer Why mastering can be easier than mixing Getting started as a mastering engineer Finding ways to force objectivity Mastering with a hybrid setup Why no one cares what gear you own Attended vs unattended sessions: What are the benefits of each? Demystifying the “dark art” of mastering Client interaction: Creating an enjoyable experience for your customers How a subwoofer will make your main monitors work and sound better To learn more about Stephen Kerrison, visit: https://talltreesaudiomastering.com/ Notable gear mentioned: iZotope RX - https://sweetwater.sjv.io/xkyR2x HA Symph EQ: https://sweetwater.sjv.io/q4AByg Neumann KH 310: https://sweetwater.sjv.io/R51WKa Neumann KH 750: https://sweetwater.sjv.io/KjJWgA To learn more tips on how to improve your mixes, visit https://masteryourmix.com/ Download your FREE copy of the Ultimate Mixing Blueprint: https://masteryourmix.com/blueprint/ Get your copy of the #1 Amazon bestselling book, The Mixing Mindset – The Step-By-Step Formula For Creating Professional Rock Mixes From Your Home Studio: https://masteryourmix.com/mixingmindsetbook/ Join the FREE MasterYourMix Facebook community: https://links.masteryourmix.com/community To make sure that you don't miss an episode, make sure to subscribe to the podcast on iTunes or on Android. Have your questions answered on the show. Send them to questions@masteryourmix.com Thanks for listening! Please leave a rating and review on iTunes!

Which audio engineering skills do new podcasters need?  In this episode, I list 20 audio engineering skills I use so that you have an idea of what you need to know if you start a podcast.  I took this directly from my newest online course, which is called A Behind-The-Scenes Look at The Pharmacist's Voice ® Podcast.  It launches in April 2023.   I help pharmacy professionals decide if they want to start a podcast by showing them behind the scenes of mine.  Checking all the boxes on my list may be just what you need to feel more confident about starting your podcast.   If you know someone who needs to hear this episode, please share it with them! Thank you for listening to episode 210 of The Pharmacist's Voice ® Podcast! To read the full show notes, visit https://www.thepharmacistsvoice.com.  Click on the podcast tab, and search for episode 210. Subscribe to or Follow The Pharmacist's Voice Podcast! Apple Podcasts Google Podcasts Spotify Amazon/Audible 20 audio engineering skills I use Patience Concentration Keyboard shortcuts Record (Start) Stop Edit (crutch words, repeats, accidents, pregnant pauses, and more) Add tracks Import files Record room  Copy/paste Adjust tracks Set start/stop markers Mixdown an .mp3 (ex: 44.1 kHz/128 kbps/constant bit rate/stereo file) Raise/lower the volume of a track  Name files Save files  Find files Create a template Advanced skills, like using iZotope RX audio repair software, adding EQ, compression, gain, an expander, etc., and altering your voice (ex: an “elf” voice).   Grace (progress over perfection!)  Links from this episode A Behind-The-Scenes Look at The Pharmacist's Voice ® Podcast launches in April 2023 at https://www.kimnewlove.com The Pharmacist's Voice Podcast Episode 13 with Dr. Bruce Berger

Great sound is an important factor in booking voice over work. In this episode, Anne is joined by audio engineer & musician Gillian Pelkonen to discuss the basics of audio for voice. Sound engineers listen for clean, crisp vocal sound. This is the kind of sound that helps you book more jobs, and it's the kind of sound that makes you stand out from the crowd. In order to get great voice over work, it's important that you have great sound. But what exactly is “great sound”? Is it the same as “high-quality audio”? The best way to solve audio issues is to address them before recording. Incorrect recording levels, too much room tone & improper mic technique are common audio issues. Feeling lost & overwhelmed with your sound? Anne & Gillian tell you all you need to know...   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 am excited to bring a very special guest to the show today, Gillian Pelkonen. Gillian is an audio engineer, musician and creative freelancer living and working in upstate New York, which is where I am from. Woohoo.   Gillian: Woo.   Anne: Uh, Gillian received her masters in audio arts from Syracuse University and has been working in audio engineering ever since. Gillian, thank you so much for joining me today. I'm so excited to talk to you.   Gillian: Anne, thank you so much for having me. It is so exciting to be on the show. Obviously I've listened to it a lot in the past few years, so --   Anne: Well, thank you. Thank you   Gillian: -- definitely trippy to be on this side of it. But yeah, thank you for having me. I'm excited to chat about audio.   Anne: Yeah, so I'm excited number one because you are from like practically my hometown. My family's still up there and I also love female engineers because that's kind of where I started as well. When I graduated from college, I went to school for engineering, not audio engineering, but engineering. And so I have uh, a soft spot in my heart for female engineers. So tell the BOSSes how you got started and what got you interested in audio engineering.   Gillian: Well, we are few and far between, unfortunately. I am a musician as well. I don't really say that, it's a weird word for me to say, but I've been playing guitar and singing and writing songs for as long as I could talk. It's been my outlet for everything. And I was working on a lot of my music in college and at recording studios on campus, and I couldn't find women to work with. I did have one female audio engineer that I worked with and that was the best experience I had, and I found her a bit later in the experience. But up until then I just didn't understand. And obviously gender is a construct. It's not really about that. But I found that I worked really well with women and people who were good listeners and who felt like they were as passionate about what I was trying to create as I was. And eventually I found that nobody was, so I just wanted to go learn it myself and just know how to do it and make music, and that's what got me into audio and now kind of in the voiceover AI sphere 'cause they're super connected.   Anne: Fantastic. So now you also sing as well?   Gillian: Yes. Yeah.   Anne: Oh wow. You are multifaceted. I love it. So let's talk a little bit about audio because for people just entering into the industry, it is I think one of the most scariest things because a lot of people are not necessarily technically adept at creating or editing audio. And so it really becomes a thing to enter in the voiceover industry. It's like, like not only do they have to learn how to perform and be authentic and real, and now all of a sudden they've gotta figure out, well, how am I going to prepare this audio to send to my client? And that just becomes a whole different thing, especially with technology.   And I've always said that to be successful in this industry, not only is it great to have that creative artistic talent in your performance, but you do have to be adept at technology because you're going to have to be able to handle that audio, edit that audio, deliver that audio to your client. And if that is not something that you're comfortable with, you need to actually get comfortable with it. So what would you say is the most important thing for people starting out in terms of their audio?   Gillian: That is a big question.   Anne: Yeah, I know, with probably an hour's worth of answers, I'm sure.   Gillian: Many hours worth of answers. I think for people starting out, the best thing you can do is, I hate to say work with a professional, but that might be a starting point just to understand what you might need because the hard part is not the audio. Everyone makes it like that's the daunting task because it's not what you're comfortable with, but I know that the acting is really difficult and the mic is just the thing that picks that up. And so if you're gonna go to a coach to work with your acting and develop that, why would you not go to an audio professional to get the right mic for you to get the right setup and get started with that? Because with audio, obviously the editing and that's a learning curve and process, which you will get comfortable with, the more you work on it, same way you get better at auditioning. But getting started with a professional will stop all those stumbles that you might find along the way with just trying to figure it out yourself. Because it's not complicated. But there's definitely a lot of ways to get lost on the path if you're not with the proper information.   Anne: Yeah. And I think too, the thing for me when I started it was all about the room, the studio. And I think you don't know what you don't know. And that's why I love that you said, you know, why wouldn't you work with a professional? Because we go to coaches for performance? Why wouldn't you go to an audio professional to get help with your studio? And I think that's fantastic advice. And it's something that I ended up doing because for me it was, oh my gosh, I have to say it was so frustrating. I remember at one point I didn't have it, and I sent some audio to a client, and they're like, Anne, it sounds like you're talking into a tube. And I was mortified, and I was like, oh my gosh, maybe I shouldn't be in this industry. And I was so frustrated, I remember like physically crying, and I don't like to admit that, but I was so frustrated.   And at the time it was hard to know because I started so long ago, the internet wasn't quite a thing where we were in community groups yet. And so I didn't even know how to reach out or who to reach out to. So I think it's wonderful now that there are lots of people that we can reach out to. And I, for one, when I have a new student, I always recommend that they talk to an audio engineer to get their environment set first, and then it becomes like, oh my, my gosh. Well, what mic? And I think you're probably gonna tell us that the environment might be a little more important than that. So let's talk about what's important in a good environment for us to record in?   Gillian: Well, there's so many things to say, and just going back one second, there is no shame in crying over figuring out audio issues.   Anne: Thank you. I feel better.   Gillian: I have to say that I have at some point because they're very frustrating. It's so easy to get your wires crossed, and I'm sure we'll have longer conversations about this, but it's definitely very frustrating 'cause your voice is coming out of your mouth. Like it's like I hear it, I hear it. Why is it not in my computer? So the frustration is real, I understand that. And the reason that I do say higher professionals is because so much of your valuable time will be wasted troubleshooting these things that someone like me or any of the other pros doing this will be able to diagnose and fix in a couple seconds.   Anne: Yeah. You have the ear. You have the ear for it, which I think most people starting out in voiceover, if you don't even know the industry, how can you expect to have an ear for it?   Gillian: Exactly. And it's funny, when I was in school, I felt that there was not a lot of sound representation. I was initially in school for TV and film. And one of the first sound classes I took, the professor on the syllabus said, sound is 50% of a picture and nobody cares about it. Like picture being a movie, and for voiceover it's a hundred percent. So it's even more essential to have it, you know, that's your introduction to a client. And like you were saying, if your audio comes in not sounding right, you don't sound as professional. Doesn't matter how your read is. So that's something.   Anne: And especially since the pandemic, right? Because we can't go to professional studios anymore. So it's more important than ever that our home studios are set up properly. And even just like, again, starting out, you don't really know. And I will say that there's a ton of information on the internet. But again, there's a ton of information on the internet. So how do newcomers to the industry discern what's the good information and what's not good information? Because I certainly didn't go to school for audio engineering and I know that that's an entire field, obviously. So again, so for our environment then, what's important, what's important for us to set that up?   Gillian: Well, I think the most important thing is, within a voice, something that I listen for is crisp, clean, natural sound. I want it to sound like we're sitting together talking, but maybe a little bit better, because you know, with all the equipment you have the ability to boost some frequencies in your voice. We're basically, with audio, we're trying to mimic what our ear hears, but there's this whole other, I'm not going to get into it, but there's something called psychoacoustics, which is how panning works and stereo. And it's basically using the computer and things we can do with audio and stereo field to trick your ear into hearing things that are not exactly as they are. So we're using plugins, EQ, all of those things to make you sound your best. But some issues that I see happen a lot is, you know, incorrect recording levels, too much room tone, too much stuff going on in your environment, improper mic placement, just not speaking into the right part of the mic or having it placed the wrong way. And then there's just textural issues of needing plug-ins or other things to manipulate your voice to get it sounding its best.   Anne: Got it. So in terms of recording levels, right, I'm still thinking about the room and, and you said things are happening -- is there such a thing -- some students have mentioned this to me -- as being soundproof so that, oh gosh, I live next to an airport or the landscapers out there -- is there a way that you can create a studio that is soundproof that you won't hear those things?   Gillian: Yes. I think that it's going to be wildly out of a regular person's budget because like when you go into a recording studio, the way that they do that is they have floating floors, and basically you build a room inside of a room, and there's a bunch of ways to do it. But when you're in an isolation booth, you know there's the building and then there's the studio which is within it. So there's gonna be acoustic paneling and other things in there that help with the reflections of the sound. But realistically you'd need to build something. But that's not the only way to get really good isolated sound. You can do DIY things. I mean people go into closets to record for a reason. They're really good. I mean, I don't know if it's sustainable, you know; you need a booth if you're gonna be doing it full-time or something. But that tiny confined space that stops any reflections of sound, which would make echoes in the background, the padding of clothing that would kind of dampen everything, and that just makes it really clear for the mic to be picking up your voice.   Anne: Got it. So then if you've got a decent environment, right, that doesn't have a lot of hard surfaces and you've got the absorption so that you're not getting echo or reflection back, what then is the next thing that we wanna look at in terms of getting great sound from our studios?   Gillian: Well, I think a really important thing is recording level. I think making sure that you're coming in at the right volume, and it's kind of like, you know, Goldilocks situation. You don't wanna be too loud, you don't wanna be too quiet, you wanna kind of be just right. And a way that I gauge this, I don't really like giving numbers as like, if you are at this number, you're perfect. You're at the, you know, that's really hard. I want everyone to learn to trust your ears. But there are a few ways to measure it. So within your DAW, there's usually gonna be like a colorful meter that's going. And when you're checking that out, I like to say to be three quarters of the way up. So you don't wanna be lower than half, you don't wanna be towards the top. And I know I work primarily in Pro Tools. I know most people don't and most voice actors shouldn't. There's no need. But it's really green at the three quarters away mark, and then it starts to go orange and red and you never wanna be in the red. That audio will become unusable. But that's how I like to look at it. And I think it's simple enough for someone to look at within their DAW and see.   Anne: Now you mentioned something that, and I don't wanna get too off track 'cause I got a couple other questions I'd love for you to answer, but you mentioned that Pro Tools wasn't necessarily something that a voice actor needed. And I remember, oh gosh, back in the day, Pro Tools Lite used to come with the audio interface and so I started using Pro Tools Lite, and it was a bear. to learn. And I think that was also another thing that scared me in terms of how am I gonna be able to succeed in this industry if I cannot figure out how to use this audio editor? So if I can just kind of divert just for a minute, tell us what kind of an audio editor or your DAW, right, it's also known as a DAW, is good for today's voice talent when they first start out?   Gillian: Yeah. So DAW is, I just throw the terms around 'cause sometimes I forget like this is my language, but it's a digital audio workstation. So that's really anything you're gonna be working in. I use Pro Tools because it's a great multi-track recorder. A lot of times when I'm working in music, we usually sit around 50 to 100 tracks going on. Maybe not at at one time eventually, but you know when you're doing voiceover you have one, it's a mono recording for the most part. So I know a lot of people use Twisted Wave. I've used Twisted Wave. I think that it's great.   Anne: I love Twisted Wave.   Gillan: I know people use Audition. Audition is great. I think that really, especially starting out, you don't need anything more than Twisted Wave. I think it's affordable, I think it's great. I spend most of my time in Pro Tools. I dabble in Logic and Audition and even Audition is a little bit complicated. I can imagine being overwhelmed by it for the functionality. I don't know if it's necessary really, but I don't wanna knock it. I know people love it. Anne: Shh. Don't tell anybody, but I totally agree with you. And the reason why is because I think I started with Pro Tools Lite and I was like, oh my God, this is too much. I don't think I need it. And I think to reiterate what you're saying, we are voice actors. Unless we're producers or audio engineers, we don't need multi-tracks. I mean unless I'm putting sound effects or music under, I don't need that capacity.   Gillian: Which you can do in Twisted Wave.   Anne: And Twisted Wave for me is so simple in terms of, it's like Audacity on crack, I always say that , because Audacity is free. You get what you pay for and it's wonderful and I think a lot of people do that. But I think if you have a Mac, Twisted Wave is the way to go. What about a PC though for your DAW? What do you think? I mean 'causeTwisted Wave doesn't run natively on PC. They have an online version if I remember correctly. Or they're coming out with, I think.   Gillian: They do have an online version and from what I know they are working on it for PC. I have not had a PC since the early 2000s, my first computer. So really, I don't know, I think maybe trying the web browser version for that would work. And you know, I'd have to get a better answer for that 'cause honestly I live in the Mac universe. That's where I work.   Anne: Well, and if we wanted to get into arguments with people that listen to this about which is better Mac or PC for audio editing, I will say my own personal story is when I started outta college, I worked on systems that were Unix based. And so I was a Unix girl, and then Windows kind of came up the ranks. And when I was working in education we started using Windows servers, and so I became a PC girl. And then ultimately when I started to go into voiceover part-time and then full-time of course, I bought a really kicked up version of a Dell laptop with the most memory and everything that I thought was gonna be my computer for audio. And my audio didn't work; it wasn't compatible. And I was so upset 'cause I spent a lot of money upgrading the RAM and upgrading the space and doing everything to have a really great computer. And it didn't work.   And so for many years people said Mac, it just works for audio and creative endeavors. And I just said, well let me try it and I'll tell you what, I haven't looked back. And that's my story and I'm sticking to it. BOSSes out there, I'm not saying that one's better than the other. However, my personal experience is that the Mac just, things just work audio wise. You hook up any particular microphone or audio interface, boom. It recognizes it. I've not had issues.   Gillian: Yeah. I mean, I lived my entire life in the Mac ecosystem. Like that's how I organize my life. Obviously I've had friends and people I know -- my boyfriend has a PC, I don't know how to work it. . I mean I'm learning, but it's just, yeah. Apples and oranges, literally it is. But I think that there's a way to do it if you have a pc, don't go out and buy a Mac because we said we like them. There's a way to to work around it. But realistically, even going back to the Audition versus Twisted Wave, it's all about the interface. And really as a voice actor, from my understanding and as I work as an engineer, speed is so important. And so if you're gonna simplify your DAW for you to be able to work in it faster, like it's basically up to you where you're the most comfortable. So that's really the moral of the story.   Anne: That's a great point. It's a great point because, guys, unless you're outsourcing people to do your audio editing, you do spend a considerable amount of time, once you've recorded something, editing that. For me, I think I started off it was like a 1:5 ratio where if I did an hours worth of recording, it would take me five hours to edit it, and then as you get better -- you know, I'm about at a one to three ratio. I can't get any quicker than that. But if you're going to be spending a, a majority of your time editing, and again, like I said, unless you're outsourcing, I mean you might as well be comfortable and really consider the speed of which you can work and things that can help you to be more efficient. Let's talk a little bit about -- I see in the forums there's always, what's your noise floor? And so what's the importance of having a low noise floor?   Gillian: So noise floor is basically the sound that your gear makes because if you think about it, voice goes into a microphone, goes through an XLR cable or maybe directly into the computer, through the interface, back into the computer. That process makes a little bit of electronic noise.   Anne: And so I didn't know that actually.   Gillian: The term noise floor describes that noise. And usually they're related to room tone because, the sound around you, those are just things that end up needing to be taken out and they're kind of like white noisy or they're not, you know, the sound of a door slamming, but they are noise that end up on your audio file. So it's really important to make sure that your gain is set properly on your interface because if my gain is really quiet and I do a recording, and I need it to be loud enough to listen to, then you're gonna be stuck boosting your clip gain. And then the noise floor, everything, like all the sound that your electronics make, are gonna be super loud and proportion to the recorded sound. So that's where it all gets related. Same with room tone. Like if there's too much going on in your room, and it's picking that up more than your voice, then there's gonna be a lot more of it to take out, if that makes sense.   Anne: And I can always tell like a beginner, because they don't have their levels set. And so what'll happen is they'll set their gain like really low and then they can play their recording and they won't hear any noise. But yet when you, let's say, normalize it or you bring the the levels up, then all of a sudden it's like got some sort of shh sound and, and then that's when people are like, well no, I didn't normalize it because it makes this noise. And I'm like, well that's the stuff that you have to get rid of. So how do you get rid of the noise? I mean, what's the effective way of getting rid of that?   Gillian: Well, there's two ways to get rid of noise. There's before, you know, fixing the problems before you hit record, which is the best way to do it. And then there's post-production stuff that you can do later. And I've had people come to me with audio issues, and sometimes they are unfixable. We are not magicians. There are some things that are just, if you record so quiet and your noise floor is so loud, there's no way to take that off and have your voice not sound distorted or wrong. So the best way is isolate yourself, make sure you're in a good environment, make sure you sound okay in your booth, your DIY booth, and make sure that your gain is set properly so you're not set up for failure later. And then in post-production, there are plug-ins that you can use to kind of remove those frequencies.   So if you're getting rid of room tone, something that I use is Spectral DeNoise by Izotope RX. I think I have 8 or 9, I'm not sure what number they're up to, but really the one that I have is great. And that just you take a little, it takes like a little audio picture of the room tone and then goes throughout the audio file and just removes that frequency and tone, which is great. That's incredible. The only thing you need to have with that is a little bit of room tone noise with no speaking before or after the clips so that you know, the generator can grab it. But that's my favorite thing to use. And it works really well for slight room tone or little wind in the background if you're outside, whatever it might be. But that's like the pro plugin.   Anne: So then there's the DAW, right? And that is really based on what you're comfortable with. And depending on your platform, you can have various DAWs. We've already established that we like Twisted Wave. You use Pro Tools because of course you're an audio engineer and, and then that makes sense. You need to have that functionality. Now we've added into the mix something called Izotope to help remove certain noises. And so is that typically what most voice actors will have to buy, Izotope? Will it work within their DAW or is that when it becomes complicated?   Gillian: It's a whole thing. We could do a whole episode about plug-ins and all of that. But for the simple answer is that Izotope, they have a bunch of plug-ins, all voice related. The two that I use the most -- I have the whole suite because, you know, I work with voices all the time, and realistically you can meet with an audio engineer like me and I would say, hey, you probably need this and you need this. You don't need to buy all of them. But I use spectral de-noise the most that gets rid of the noise. And then there's also mouth de-click, which gets rid of all the little clicky -- those noises. I use that often, but I use that for music, for everything for my singing voice. I hate hearing those, um, myself. So those are the two that I use. But you can get any variation. I haven't used them within Twisted Wave just because I haven't, but I think that you can, because --   Anne: I have.   Gillian: Oh. Yes, you can integrate them into DAWs. I've used them in Pro Tools, I've used them in Logic, I've used them in Audition, and Izotope as well has its own little audio editor. So you can import a file, render it with the effect, and then import it into your DAW if you like to work that way.   Anne: So then let's talk about, okay, if you're new to the industry and you're kind of overwhelmed with all of this, you are available. Like an audio engineer can be available to help you with all of those choices. Right? You can help in terms of, let's say, somebody doesn't know what to do to make their sound better in their booth. So they can consult with you, maybe send you a sound file, and you can evaluate and then offer suggestions on how they might be able to improve their sound, right, and get rid of some of the noise. And so that also includes, right, what microphone should I get? I mean that's the other thing, right? So we've talked about how important the environment is. We've talked about DAWs and how we can do things after, you know, we record to get rid of noise. Now, how important is a microphone in terms of the quality of your sound?   Gillian: I think having a good quality microphone is very important. I personally don't think that there is a, a voiceover microphone. I think that, I know a lot of people use 416s. Those are tricky in a lot of ways. I think any large diaphragm condenser mic works really well because it's very sensitive and it picks up your voice. I have on my website a list of gear recommendations at three different price points, low to high that I recommend. But really more important than having the most expensive mic is knowing how to use that mic. And so that has to do with placement, understanding --   Anne: What do you mean by placement?   Gillian: So for mic placement, it's really about where you're positioning yourself with the mic, and knowing a mic is circular, you gotta make sure that you're singing or talking into the right part of it.   Anne: That's what I was just gonna say. Yeah. I remember once I had purchased my TLM 103 and I had it installed backwards, and so I was not speaking into the right part of the mic and I couldn't figure out why it didn't sound awesome like everybody else. And literally I had just put it upside down in my mount and then didn't realize that I was speaking into the back of it. And so that is a very important thing. Again, that's something that you can help as well with talent. So I don't want, BOSSes, if you're just new to this, I don't want you to feel overwhelmed because an audio engineer can do amazing things from remote. They don't have to be in your studio. They can really help you to set up a great environment. They can help you with selection or I guess I would say recommendations on a mic that might be good for your voice, right? Also placement, right? And where you should be speaking into that mic. And also maybe with your editing or creating what I like to call -- I have a stack that is basically something that I apply to all of my audio after I record. And that takes out the highs, the lows, does a little bit of compression. Let's talk a little bit about stacks and how they can help in the editing process.   Gillian: Can we go back to microphones for one second?   Anne: Oh yes, I'm sorry. Yeah.   Gillian: No, it's okay. Just, it's so hysterical that you say that about the microphone because --   Anne: Being backwards?   Gillian: I mean it's hard to know. It's hard to know. And something when I was in school that I was taught very early on and I never forget, and it -- I was in school, you know, for music recording, but they're all the same. So my professor would always say sing to the bling. And that means basically when you have a microphone, wherever the logo is, that's where you should be facing. A lot of people, you know, make the mistake of going, oh, I want my Telefunken logo facing out. You would think maybe that's the way it goes. And that's how it ends up backwards. But really, and it doesn't work a 100% of the time 'cause there are a few mics that the capsule doesn't work that way. But most of the time if you see a logo, talk towards that logo. And another thing for just very simple, little explanation for voice actors, if you have an option to pick a polar pattern on your mic, which will come in the instructions, it'll be on the front. You wanna do cardioid, 'cause kind of what you were talking about. Your TLM 103 was set in cardioid and you were facing the back. So all the sound was being rejected, but I know some mics come set in omni, which will increase your room noise because that means that everything around the mic is getting picked up instead of sense, just your voice. So if there's an option for cardioid, just pick cardioid. We can talk about it later, but just pick it.   Anne: Fantastic. So then let's talk again about how we can make our editing a little bit easier on us by using what -- I call them stacks. I don't know if you call them something different, but these are processes that can be applied to your audio to help take out noises. And I would say when I first got my stack, it saved me like 50% of my editing time. Otherwise I kept going in and out of my waves and removing noise, and it just was so tedious.   Gillian: Yeah. So stacks, whatever you wanna call them, it's really just a plug-in sequence, and it's stuff that every time you open it up, you have these settings, and they will save you time. And I think that everyone should have a light one that's just, you know, fixing up a few things, and then obviously the audition one because you send an audition, you wanna sound like the final job that should be a bit more processed. But that usually comes with EQ, compression, and all of those things. You know, if, if your mouth clicks are very present with your mic or with your voice, that would be on there, which would help with removing all those noises, and yeah, those things, having them set ahead of time, those can be issues that people have with audio that are just taken care of right away. But I do think that if you feel comfortable doing them yourself and you think that you can EQ yourself, then good luck, go at it . But I do think that maybe, you know, working with someone who can help you would be helpful.   Anne: I agree. I agree. And, and I will say that just because again, I did not go to school for audio engineering, so I always highly recommend working with a professional. What is it like to work with you in terms of -- let's say, a student wanted to hire you to help them with their sound. What do you do? How do you assess that?   Gillian: So my current offering that I have, which is kind of just starting point and sort of a pipeline into us working together further is I offer an audio assessment. Because there are a lot of people that are selling and selling and selling, and sometimes they sell things that people don't really need. So the audio assessment is sort of a checkpoint. We meet, it's not together, but this is, you know, our interaction. I have some pre-written copy that you'll get. You send me an audio sample, I listen, and I either say, hey, you know, you're really set, you're great, you actually don't need anything. You sound like a pro. Or hey, here are a few things that I would fix, and I address all the things that we talked about today. You know, I think that maybe your mic placement is a little bit off. I think that maybe your gain, you know , all the things I'm hearing. I would EQ it this way. I think maybe a little compression would help your voice. Just the things that I'm hearing to kind of get an engineer's ear on what you're sending to clients and how you sound. And from there we can go on and potentially, you know, build a stack together, and I'm working on building out some courses for people to learn a bit more. But that's what I have kind of right now going.   Anne: Fantastic. So now did you say is there a cost associated with the audio assessment or?   Gillian: Yes.   Anne: Okay. Yes. Okay. So BOSSes, I do believe that we have a special offering from Gillian.   Gillian: We do, we do.   Anne: Yeah. For her to assess your audio. Tell us about that.   Gillian: So for BOSSes and everyone getting involved for the next month or so, I'm gonna be running, you know, $20 off my audio assessments. For the early bird BOSSes, we are going to, for the first five people to get on my site and purchase an audio assessment using the promo code BOSSTOP5, you'll get a free audio assessment. I will kind of go over it, and Anne and I will actually be going over them on our next episode together. So you know, proceed with caution. If you don't wanna be on the show, don't do it. But the first five people will get a free audio assessment and anonymous we will go through and just kind of talk about the issues so that you can hear what I would do, what I'm hearing, just to have it as a further explanation for educational purposes, and for anyone who's not in the first five $20 off for that.   Anne: Well fantastic. I love, love, love that because first of all, as you know, I am all about education, and so I love that we're gonna actually do this stuff in our next episodes. So yeah, bosses, the first five to purchase an audio assessment using the word BOSS Top 5, BOSSTOP5 are going to get a free audio assessment, and we're gonna be on the show. So you're gonna hear Gillian live, assessing your audio, making the suggestions, and we're gonna just be learning as we go. And I love that. So Gillian, thank you so much for that. I think that's a wonderful offer, and thanks so much for being on the show. I feel like we just --   Gillian: Just scratched surface, I know.   Anne: Yes. We have so much more to come, and so BOSSes, I'm proud to announce that Gillian and I are gonna be getting together for more episodes so that we can have an entire audio themed series. And so I'm really excited. Gillian, thank you so much for today's episode and for the BOSS top five, guys, we're gonna be sending out an email. It's also gonna be on our show notes page, so make sure that you check out our VO BOSS show notes page for that offer. And wow, Gillian, thanks so much.   Gillian: Thank you so much for having me, and everybody who's listening, if you have audio questions, get in contact, reach out via Instagram, whatever you do to get a hold of BOSS Queen, Ms. Anne, and let her know 'cause we will cover everything that you wanna know. And I'm just really excited to also, you know, educate people and teach them what they need to know, what they should be hiring people for, and just get everybody sounding their best.   Anne: Okay. And that website is?   Gillian: For me, it's gillwitheg.com. Gill with the G.com. It'll, I'll be linked in the show notes. And same with social media, that's, that's where I am everywhere.   Anne: Fantastic. All right, guys, I'd like to give a great big shout-out to our sponsor, ipDTL. You too can network and connect like BOSSes. Find out more at ipdtl.com. You guys, have an amazing week and we'll see you next week. 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.

Gary talks with Don Baarns, a busy VO tech guru and instructor in all things concerning Izotope RX. In fact, Don is the “grandfather” of the well-known and widely used Mouth DeClick function in RX. In this episode, Don discusses the benefits of upgrading to later versions of Izotope RX if you’re still back on...

In this metasode (meta-episode where we talk about our own podcasting experience), Arnab and Ilya discuss how the previous recording went, how to deal with initial awkwardness, and how to fix audio quality. We go through a few most important audio repair effects in the iZotope RX software and cover things like removing echo, breaths, mouth clicks (yuck!), hums, noises, and other unwanted artifacts that make you sound like a rookie. It wouldn't have been a good metasode if we didn't go on tangents… Do you know what the Canadians call a couch? Chesterfield. Do you know what the Russians call photocopiers? Xerox. We also had a little back and forth on whether “iZotope” has a “zee” or a “zed” in it. Zed's dead bady, zed's dead. So it's a “zee.” Full show notes with links: https://newsletter.metacastpodcast.com/p/007-fix-audio-quality-izotope-rx-metasode We're always happy to hear back from our listeners, so don't hesitate to drop us a note! Email: hello@metacastpodcast.com Ilya's Instagram: @podcasthacks Arnab's Twitter: @or9ob Subscribe to our newsletter where we announce new episodes, publish key takeaways, and ramble about interesting stuff at https://newsletter.metacastpodcast.com.

After ruminating on my podcasting pet peeves (I'll share them at the end), I searched Reddit, Twitter, and Facebook to find out what bothers podcast listeners the most. There were commonalities and upvotes that we can use to improve our podcasts. It turns out that listeners do not just want to be entertained, educated, or inspired, but they want podcast creators to respect them and their time.Here's what I found.TOP 10 PODCAST LISTENERS' PET PEEVES:Uneven audio levels (especially louder ads)Too much rambling banter at the startPoor audio qualityAn interviewer who interrupts their guestMouth noises (lip smacks and clicks)Host's lack of preparationGoing off topic for too longInside jokesToo many adsMentioning books, articles, etc., but not including in the show notesWhile I've heard creators say that content quality trumps audio quality, listeners' most frequent complaints focus on uneven volume and poor audio quality. Uneven audio within a podcast episode that requires the listener to constantly adjust the volume is a big turnoff. Also, having your podcast episode too soft or too loud compared to other podcast episodes is also a problem. While commercials on television often boost the volume to make up for you heading to the kitchen for a snack, podcast listeners do not appreciate loud ads played in their earbuds. Quality is most important but do not pass on a relatively easy fix to keep your listeners happy.Solution: Manually fix audio levels in your DAW. There are also very useful plug-ins and tools that can help.Here are my favorites.Waves Vocal Rider Plugin or Waves MaxxVolume Plug-in: These are very similar and help to adjust levels on individual audio tracks or on an overall mix.Auphonic is a fantastic tool for leveling and normalization that uses AI-based audio algorithms.Izotope RX 10 Mouth De-click is a great tool for automating the removal of weird mouth noises.Listeners want a podcast episode to deliver on its promise. That means getting to the meat of the content quickly, without too much rambling or going off-topic for a long time. If you host an interview show, this requires preparation so that you ask questions that listeners want to hear answers to, not interrupting or talking over your guest, and not spending too much time on inside jokes.Solution: Follow the British Army adage: Proper Planning and Preparation Prevents Piss Poor Performance. Follow the 7 Ps and the payoff will be a stronger podcast.MY (MAYBE CONTROVERSIAL) PODCASTING PET PEEVESBig microphone – Not sure if I'm in the minority here but the proliferation of big microphones onscreen bothers me. I'm all for great audio and understand that being close to the microphone / proper technique helps a lot; but for some reason, I do not like it when the microphone dominates the visual. Perhaps I'm just realizing that I'm a podcasting pacifist and protesting against the microphone arms race. P.S. I like the Shure SM7b but do not have one. Maybe it's mic envyOpening with, “Tell us about yourself.” – This one is controversial if you do it. My rationale for not opening with this is that I have yet to find a journalist or TV talk show host that opens with this question. In my opinion, it is a weak way to start an...

Episode #47: Augmented Reality Innovation: Captioning the World! Augmented Reality is changing the way that we interact with the world around us & offering innovative new ways to present information. Enter XanderGlasses: Smart glasses that display real-time captions of what other people are saying. Alex Westner founded Xander, setting its vision on providing relief for the 1.5 billion people around the world who struggle with the effects of hearing loss. Xander's company mission is to CAPTION THE WORLD & they are doing it! The caption display is inobtrusive, allowing the wearer to follow conversations while looking directly at the speaker and surroundings. XanderGlasses allow people who are Deaf or hard of hearing to clearly understand who is speaking to them, whether at home, work, or in a noisy public venue. This helps people feel more confident and relaxed during conversations. Xander underscores the sentiment of 'We all have a need to understand and be understood.' About Alex Westner Alex began his career in engineering, researching microphone arrays and the “cocktail party problem” at the MIT Media Lab—getting computers to pick out individual voices in a room. He spent 18 years as a product leader in audio and music technology companies, shipping successful products that try to analyze and understand sound. One standout, “iZotope RX,” became known as the Photoshop for Sound, and earned an Engineering Emmy Award, and is an industry standard tool. In the last several years, searching for something deeper and more meaningful, he immersed himself in the most profound human problem related to audio — people who have trouble hearing altogether. He founded Xander, setting its vision on providing relief for the 1.5 billion people around the world who struggle with the effects of hearing loss. XanderGlasses is the recipient of the 2023 CES CTA Foundation Award FULL TRANSCRIPT Learn more about Xander & XanderGlasses by visiting https://www.xander.tech/ Want to support this podcast? Subscribe, leave a review/rating, share with a friend & consider becoming a monthly supporter of Coffey & Code. Thanks for listening! -Ashley Coffey

Should you buy 10 of everything you need? Larry talked about Jackpot! Recording Studio, recording and archiving Elliott Smith's music catalog, mixing on a console vs Pro Tools, recording a song quickly, and audio restoration tips in iZotope RX. Get access to FREE mixing mini-course: https://MixMasterBundle.com My guest today is Larry Crane the founder of Tape Op Magazine, and owner of Jackpot! Recording Studio, a producer/engineer/mixer, and a recording arts educator. He has been on the podcast previously to talk about starting out in a band, launching the magazine TapeOp, producing records and mixing at Jackpot! Recording Studio, Recording and curating the musical archives of Elliott Smith, and lots of other fun stuff. Today we will talk about what's new in the studio, various archival/restoration jobs, and more recording and mixing insights. THANKS TO OUR SPONSORS! https://UltimateMixingMasterclass.com https://www.solidstatelogic.com https://www.Spectra1964.com https://MacSales.com/rockstars https://iZotope.com/Rockstars use code ROCK10 to get 10% off any individual plugin https://jzmic.com use code ROCKSTAR to get 40% off the Vintage series mics https://www.adam-audio.com https://RecordingStudioRockstars.com/Academy Use code ROCKSTAR to get 10% off https://www.thetoyboxstudio.com/ Listen to this guest's discography on Spotify: https://open.spotify.com/playlist/3a4Tsqr69JFhO1nVc3hBPc?si=b0a38235b29f42ba If you love the podcast, then please leave a review: https://RSRockstars.com/Review CLICK HERE FOR COMPLETE SHOW NOTES AT: https://RSRockstars.com/385

In this week's Podcast Julian is joined by Russ and Paul Maunder. they discuss the new releases of September 2022, a month which saw new versions of Pro Tools, Studio One and iZotope RX.Finds of The WeekRuss - Toontrack Hugh Padgham's Hitmaker SDXJulian - Pro Tools 2022.9Paul - Accentize Chameleon 2 

Patreon drama ramps up, considerably - allegedly; Amazon accelerates robotics; Twitter's innovation vs Meta's; this week in Musk; Adobe's weird Figma play antitrust cough; Starbucks rewards NFTs; Merriam-Webster yeets pumpkin spice; Rings of Power; She-Hulk; Star Wars trailers; Kiki, Pose, Legendary and the power of sub-cultures; Sonos Ray; Apple OS updates generally good, kill Dark Sky bad; iZotope RX 10; Discord adds... forums; the Status Game; Chatter: the Voice in Our Head "I am a Golden God!"Sponsors:Kolide - Kolide can help you nail third-party audits and internal compliance goals with endpoint security for your entire fleet. Learn more here.Hover - Go to Hover now and grab your very own domain or a few of them at hover.com/gog and get 10% off your first purchase.Show notes at https://gog.show/570FOLLOW UPPatreon is laying off 17 percent of its workforce and closing offices / Around a week after it laid off its security teamThe Patreon Problem: Who is subscribing to these children's accounts?The Patreon Problem Vol 2: It's worse than we thought.IN THE NEWSAmazon is buying a company that makes pallet-stacking robotsTwitter shareholders approve the $44B merger Musk is trying to get out ofDrivers sue Tesla for alleged false advertising of Autopilot and FSD softwareTwitter starts rolling out podcasts to Blue subscribersMeta is spinning off the Pytorch framework into its own AI research foundationAdobe snaps up Figma for $20B, taking out one of its biggest rivals in digital designAdobe's $20 Billion Deal For Figma is More Than 50 Times the Startup's RevenueStarbucks thinks you'll want to collect NFTs to earn rewardsMerriam-Webster just yeeted a bunch of internet slang into the dictionaryMEDIA CANDYThe Lord of the Rings: The Rings of PowerShe-Hulk: Attorney At Law | Disney+ OriginalsThe first 'Mandalorian' season three trailer reunites a favorite Star Wars familyThe Mandalorian S3Star Wars: AndorTales of the JediKiki (2016 film)PoseLegendary | HBO Max OriginalsAPPS & DOODADSReview: Sonos RayiOS 16 is now availableApple Releases watchOS 9 With Medication Tracking, New Watch Faces, Sleep Updates, and MoreiOS 16's haptic keyboard is the best feature you haven't found yet | MacworldiPhone 14 Pro Camera Preview: The Hardware Changes – LuxI deleted and edited my texts with Apple's new iOS update — and it's the coolest thing the company has done in a long timeHow to remove the Search button from your Home Screen in iOS 16Apple-Acquired Weather App Dark Sky Reminding Users That iOS App Shutting Down on January 1DraftsiZotope RX 10Discord revolutionizes online conversations with... forumsAT THE LIBRARYThe Status Game: On Human Life and How to Play It by Will StorrChatter: The Voice in Our Head, Why It Matters, and How to Harness It by Ethan KrossThe Dawn of Everything: A New History of Humanity by David GraeberEyes of the Void (The Final Architecture Book 2) by Adrian TchaikovskySee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Znany producent wtyczek audio, , firma Izotope, w w swoim najnowszym pakiecie RX10 zaimplementowała nową funkcję. To Reaper Assistant, czyli combo, które ma ułatwić pozbycie się szumu, przesteru, pogłosu, oraz kilku innych negatywnych czynników, które mogą pojawić się w naszym sygnale audio. W tym odcinku materiału przygotowanego wspólnie z podcastem Dobry Poziom Dźwięku, Dariusz Marchewka prezentuje możliwości tego narzędzia. Co szczególnie warte podkreślenia to fakt, że producent zdecydował się oferować moduł w każdym pakiecie RX, również w najtańszych, oraz subskrypcyjnych.

Returning all-star guest Max Flight helps me cover 17 ways to re-evaluate your podcast this summer, and we also discuss Max's latest podcast production workflow, equipment, software and more. Max has been producing aviation podcasts since 2008: Airplane Geeks (now over 700 episodes!) The UAV Digest (looking at unmanned aircraft or drones) Check out his main site — http://thirtythousandfeet.com/ He was previously on episodes 20 and 39 of this show Check out his equipment, software, services and more below... We discuss these 17 ways in which you can re-evaluate and improve your show this summer: Update your goals Change the format Start using chapters Personal focus on eliminating verbal crutches. (A short duration of intense focus will provide years of good results) Change and/or add equipment Sell old equipment Treat yourself to that mic you've always wanted Sound absorption and diffusers Add a new segment Cover new yet pertinent subject matter topics Publish in video format as well Publish better shownotes Revamp your marketing Evaluate the shows overall effectiveness Hire a VA Bring on a cohost Decide to end your show??? Perhaps decide you want to become a professional podcast engineer/producer and earn a great living producing podcasts for clients - from home?! And here's a lot more detail on Max's production: Big changes since PES 20 and PES 39 mostly involve a simplification of the signal path: Skype and cohost multi-enders replaced by Riverside.fm Behringer mixer (still going strong since 2009!) replaced with MixPre The MixPre handles all mic pre-amplification Sound clips and pre-recorded segments played through Riverside, replacing an iOS soundboard Backup recording is handled by the MixPre Current equipment: Sound Devices MixPre-6 Also use a MixPre-3 Gen 2 for field recordings Zoom H5 for field recordings, too Heil PR40 Sennheiser MD46 interview mic Dell XPS 16 and MacBook Pro 15-inch, 2018 model, 2.9GHz i9 32 GB laptops Audio Technica ATH-M50x headphones Yamaha HS5 monitors Software: Riverside.fm (was Skype then Squadcast) Hindenburg Journalist Pro Audacity (yep!) iZotope RX 8 Advanced ID3 Editor for tagging Services: Media hosting: Blubrry and Libsyn Website hosting: Bluehost and SiteGround Notes from Max: I'm retired and traveling more which makes weekly podcast production a bit more difficult. Biggest current problem: At the home studio I mix/master with my Yamaha monitors, which I love. I can't master properly with the Audio Technica headphones when traveling. Other Notes: If you ever have questions please reach out! You can sign up to receive Daily Goody's in your email a few times per week or a weekly roundup. Sign up here. The start date for the next PES semester is Sep. 13, 2022! (fyi, the course is delivered once per quarter) If you'd like to share this show with any of your podcaster friends, feel free to send them a message saying, “Btw, here's a show about podcast audio production you may find helpful” with this link: https://podcastengineeringschool.com/subscribe/) Let me know if you have any questions or need any help with anything, ~Chris

FCPRadio 128 FCP Summit Worldwide Tour with Nick Harauz from FMC and Iain Anderson from Australia In this episode of Final Cut Pro Radio, we talk about the FCP Summit 10 City Worldwide Tour with Nick Harauz from FMC and Iain Anderson FCP Trainer from Australia. We chat all about the new Apple Certified Training and exams as well as Voice Isolation, dupe detection, iJustine, the FCP Team, NAB, will the FCP Creative Summit return to Cupertino, FCP 10.7, roles based mixer, Izotope RX, in person events, Ripple Training and lots more. Year 7 of Final Cut Pro Radio. 1.3 Million podcast downloads Buy Me A Coffee https://buymeacoffee.com/RichardTaylor Twitter @fcpradio1 FCPRadio.com Facebook YouTube.com/RichardTaylorTV facebook.com/groups/FinalCutProRadio/ ©2022 Richard Taylor

I overview 8 podcast production tips and techniques from Oct. 6 - Oct. 22, 2021 (see list below). You can sign up to receive these Daily Goody's in your email every day or a weekly roundup. Sign up here. Daily Goody posts that I discussed in this episode: Captivate's Interview Management & Guest Booking Platform Integrates With SquadCast Remote Recording Using WiFi vs Ethernet Cable Being Ready at Least 5-10 Minutes Before Each Recording Session How to Make Decisions Regarding Buying New Plugins Podcast Intro Music: How Loud Should It Be? Bad Edits Are Terrible – Don't Make Bad Edits! iZotope RX 9 Using “Room Tone” When Editing Podcasts Other Notes: If you ever have questions please reach out! The start date for the next PES semester is June 28, 2022! (fyi, the course is delivered once per quarter) If you'd like to share this show with any of your podcaster friends, feel free to send them a message saying, “Btw, here's a show about podcast audio production you may find helpful” with this link: https://podcastengineeringschool.com/subscribe/) My smaller course that I mentioned: Getting New Clients at Higher Rates Let me know if you have any questions or need any help with anything, ~Chris

Lo esencial que debes saber: La nueva plataforma Spooler promete grandes innovaciones. Opinan que a pesar de la controversia, Spotify ampliará su ventaja sobre Apple Podcasts. Seleccionan los finalistas del concurso Nebrija – Podimo. Martina Castro recibirá el premio PodWoman 2022.  NBC News, sigue creciendo en la industria de los pódcast.  En Forbes España identifican a las 50 personas, detrás de los micrófonos, que han fomentado los pódcast desde sus inicios hasta su boom durante el confinamiento. Se acerca Estación Podcast, el primer gran festival iberoamericano de podcasting. Exploran la historia de la era del pódcast. Entiende tu mente vuelve al teatro. La aplicación de audio profesional iZotope RX ha agregado soporte para “Apple Silicone”. Redes sociales TikTok ahora permitirá publicar vídeos de hasta 10 minutos para distinguirse de otras plataformas que se centran en vídeo de formato corto. Twitter está desarrollando una función de «Close Friends» similar a la de Instagram.
 Pódcast recomendado Un espacio de bienestar. En este pódcast sobre diversas herramientas para comprender y sanar la ansiedad y de desarrollo personal. Jana Fernández, autora del libro Aprende a descansar, entrevista a médicos y profesionales especializados que dan consejos para entrenar una mente saludable. 

 "My inspiration for the piece was imaging the fragmented sounds of snippets of radio chatter and music crossing the Kuwaiti desert carried by the desert winds. The voices and music fragments forming ghostly echoes as if the listener is acting as a radio tuning in and out to hundreds of unknown transmissions. "I used the original recording in a number of ways, firstly to create a number of layered drones, representing the desert emptiness as a well as the idea of a generator for an internal radio receiver. This formed the desert ambience where selections of speech and music were laid out in time for form fragmented voices. Each voice was manipulated from simple panning across the stereo field, to more intense distortions and added glitch/reverberation processing. Some of the vocal snippets were cleaned in Izotope RX to reduce the frequency content to allow for more intense processing without extraneous frequency content.  "I picked out sections from the original recording which I felt spoke to me, although hardly speaking any Arabic, I chose phrases and sections which resonated with me and spoke to me." Composition by Neil Spencer Bruce. Part of the Shortwave Transmissions project, documenting and reimagining the sounds of shortwave radio - find out more and see the whole project at https://citiesandmemory.com/shortwave

Mentioned in this episode Medipreneurs Conference for healthcare entrepreneurs Profit from Your Podcast:  Proven Strategies to Turn Listeners into a Livelihood by Dave Jackson Dave Jackson LinkedIn Profile School of Podcasting (This is an Affiliate Link) School of Podcasting Podcast Episode 803 The Pharmacist's Voice Podcast Episode 24 Why I started a podcast (Jun 26, 2020) The Pharmacist's Voice Podcast Episode 69  Are you in the market for a microphone for podcasting, pod-guesting, or online meetings?  (Nov 28, 2020) The Pharmacist's Voice Podcast Episode 79 Featuring Dave Jackson (January 15, 2021) The Pharmacist's Voice Podcast Episode 92 Online courses for VO and podcasting beginners and 7 audio recording software options (Apr 16, 2021) The Pharmacist's Voice Podcast Episode 104  Noises I struggle with and how I handle them (July 9, 2021) The Pharmacist's Voice Podcast Episode 110   10 best practices for podcast guests  (August 20, 2021) Izotope RX 8 audio repair software (removes mouth noises) Libsyn (Podcast host) Canva (Instagram Post for podcast episode artwork) Squoosh (resizes a .png file to meet Libsyn's specs) https://rphally.com (Social Network for Pharmacy Professionals)  Read the full show notes at The Pharmacist's Voice ® Podcast https://www.thepharmacistsvoice.com/podcast Subscribe to or Follow The Pharmacist's Voice Podcast! Apple Podcasts Google Podcasts Spotify Amazon/Audible

I det här avsnittet sitter vi alla tre för första gången på länge och pratar om sånt som ligger oss varmt om hjärtat. Jocke har tagit fram ett par ljudexempel på hur stor skillnad kvantisering faktiskt gör, otajt på rätt sätt kan göra att beats känns mer mänskliga och svängiga, tajt på fel sätt kan göra motsatsen. I vanlig ordning finns det inga facit men ändå en liten riktning på tankarna.Sen gör vi en sorts premiär - vi har ett sponsrat inslag! Izotope frågade om vi inte kunde tänka oss att lite mer konkret visa hur vi använder deras RX-programvara. Eftersom vi faktiskt använder pluggarna så gott som dagligen så tog vi fram ett par ljud-exempel. Vill du som lyssnar också ha paketet så gå in på vår sida hos Izotope och använd koden MPP10 för 10% rabatt ovanpå alla priser både på ordinarie och kampanjpriser!I avsnittet: Niklas Berglöf, Magnus Lindberg och Joakim Jarl See acast.com/privacy for privacy and opt-out information.

Noen ganger sitter du i miks med et opptak som ikke er optimalt. Det kan for eksempel ha dårlig teknisk kvalitet eller sjenerende bakgrunnsstøy. Heldigvis finnes det i dag smarte verktøy som kan restaurere lyden. Trond Nedberg har mange års erfaring som lydtekniker, både med post- og musikkproduksjon. Han deler sine erfaringer med Bak spakenes lyttere, og demonstrerer med lydeksempler hva du kan gjøre med iZotope RX. Episoden er laget i samarbeid med iZotope. See acast.com/privacy for privacy and opt-out information.

L'émission lundimadaire en live avec toute l'équipe et Toxic Avenger, dans laquelle on vous parle du Roland SP 404 Mkii, mais pas que. Participez au concours en nous rejoignant sur Discord : https://lessondiers.com/discord Roland SP404MkII : https://www.roland.com/global/products/sp-404mk2/ Izotope RX 9 : https://www.izotope.com/en/shop/rx-9-standard.html Nektar Impact LX Mini : https://nektartech.com/impact-lx-mini/ Cherry Audio VM 900 Collection : https://store.cherryaudio.com/bundles/vm900-collection ---- SOUTENEZ NOUS ---- Offrez nous un café, ça nous met la patate ! https://tipeee.com/les-sondiers D'autres moyens de nous soutenir : https://lessondiers.com/soutien TOUT SAVOIR SUR LES SONDIERS : https://lessondiers.com/links Pour vos besoins en matériel, vous pouvez passer par notre lien affilié chez Michenaud, un super magasin pas cher, sérieux et sympa : https://lessondiers.com/michenaud ​ ​Les Sondiers - Une émission live lundimadaire Et en podcast via http://lessondiers.com​​ ​ Suivez nous sur Twitch : https://twitch.tv/lessondiers​​ ​Twitter : https://twitter.com/lessondiers​​ ​Instagram : https://instagram.com/lessondiers​​ ​Facebook : https://facebook.com/lessondiers​​ YouTube : https://youtube.com/lessondiersFR​ 00:00 Intro 01:19 Début de l'émission 04:10 Concours Massive X 12:46 Roland SP 404 MkII 28:45 Izotope RX 9 49:48 Nektar Impact LX Mini 59:55 Cherry Audio VM900 Collection 01:07:49 Tirage au sort Massive X 01:13:20 Noise Engineering (Toxic Avenger)

La puntata AMA di oggi è in risposta all'amico Giuseppe Pugliese, che mi dà anche l'occasione di parare del mio flusso di lavoro e di come e(e perché) registro questo mio podcast in automobile.L'interfaccia iRig di IK Multimedia (per registrare su iPhone con ingresso XLR): https://amzn.to/3Ben2cZL'app che ho scritto, PoweRecorder nell'App Store: https://apps.apple.com/sc/app/powerecorder/id1450105813L'app che ho scritto per il flusso di lavoro, Supphyx: https://ulti.media/supphyx-batch-file-workflow-and-renaming-manager/iZotope RX 8, il migliore programma al mondo per la pulizia dell'audio: https://www.izotope.com/en/products/rx.html[00:01:53] La domanda[00:02:54] Perché registrare in auto?[00:09:06] La registrazione in auto[00:16:28] Arrivo in ufficio...[00:17:35] La pulizia dell'audio[00:20:51] Il montaggio (con PODucer)[00:26:10] Montaggio finito[00:30:08] Ti (ri) sento[00:32:11] Fine (?)TechnoPillzFlusso di coscienza digitale.Vieni a chiacchierare sul riot:https://t.me/TechnoPillzRiotAscoltaci live tutti i giorni 24/7 su: http://runtimeradio.itScarica l'app per iOS: https://bit.ly/runtAppContribuisci alla Causa andando su:http://runtimeradio.it/ancheio/

Enjoy my magnificent conversation with Martín Gonzalez, audio engineer at Pushkin Industries! He, of course, does a lot of podcast recording and mixing, and also scoring and sound design. He works on various shows including Broken Record, The Last Archive and Into the Zone. We discussed SO MUCH in this episode including: Neumann U87 Martín's background: Berklee College of Music, played in bands, engineered Live sound, and much more. Home setup: HP monitor with thunderbolt cable (like a docking station) ElectroVoice RE20 Grace preamps Dante network Pro Tools AKG 701 headphones iZotope RX -- voice de-noise, etc. Fabfilter plugins Ableton Live Soundtoys plugins Audio Thing - spring reverb, and one called Wires Audio Ease - Altiverb (convolution reverb), speakerphone, Descript Oeksound soothe2 Modular synths Thanks for sharing so much with us, Martín!

The phrase “authentic voice” is very overused. But when it comes to the voice listeners want to hear on your podcast, your “authentic voice” is absolutely the right terminology. But a quick caveat and a recognition that not everyone's authentic voice is a match for their authentic self. If the voice that comes out of your face does not match the voice of the person you are in your head, then please understand that I am in no way suggesting you get over it and deal with what you were given. But if that’s not you and you’re instead just minorly annoyed with certain aspects of your voice, I have some very good news: perfect voices are not required in podcasting If your accent is a part of your authentic self, then I assure you people will be perfectly happy to listen to you on your podcast sounding the way you sound. And for those who are turned off by your particular accent… well, they probably aren’t the right listener for your show anyhow. Your speech pattern is yours. The aforementioned caveats aside; don’t try to hide it. When it comes to catchphrases or odd mannerisms that are uniquely you, I say leave ‘em in.  There is no ideal rate-of-speech delivery in podcasting. And every podcast listener has speed controls at their fingertips. So speak the rate at which you speak. Let the listeners decide if they want your words faster or slower. Keep The You, Reject The NoiseWhile I am encouraging you to keep and embrace the natural “flaws” in your voice that make you uniquely you, I am exceedingly intolerant of fixable flaws in your recording environment.  Those hardwood floors that cause all sorts of unwanted sound reflections to come back into the microphone and annoy my ears? Your idea of placing an omnidirectional microphone in the middle of a big room and having all your buddies shout towards it? The noise from your overworked refrigerator, the roar from the heating/cooling system you’ve decided to sit directly under, or the whirring of air purifiers you could turn off for the 30 minutes you’re recording your VO parts… Those noises are not the authenticity listeners want. They’re getting in the way of your authentic voice. If you’re serious about your podcast, I recommend investing in https://www.izotope.com/en/products/rx/features.html#comp (iZotope RX), either as a plugin or a standalone app. And then you need to learn how to use it, either by educating yourself or taking a class offered by https://twitter.com/meonlylouder (Marcus dePaula). He’s a wizard who will blow your mind with the garbage you can remove from your tracks with just a few clicks. Your listeners will appreciate you for getting rid of all of those fixable bits so they can really enjoy your true and authentic voice.  ----- A written-to-be-read article and a full transcript of the audio of this episode can be found at https://podcastpontifications.com/episode/podcasting-like-a-pro-when-you-dont-sound-like-a-pro (https://podcastpontifications.com/episode/podcasting-like-a-pro-when-you-dont-sound-like-a-pro) https://twitter.com/evoterra (Follow @EvoTerra on Twitter) for more podcasting insights as they come. https://buymeacoffee.com/evoterra (Buy him a virtual coffee) to show your support at BuyMeACoffee.com/evoterra And if you need a professional in your podcasting corner, please visithttps://podcastlaunch.pro/ ( Simpler.Media) to see how Simpler Media Productions can help you reach your business objectives with podcasting. Evo Terra produceshttps://podcastpontifications.com/ ( Podcast Pontifications) four times a week to provide ideas and ask questions every working podcaster should be thinking about. Image credit: https://unsplash.com/@bermixstudio?utm_source=unsplash&utm_medium=referral&utm_content=creditCopyText (Bermix Studio) onhttps://unsplash.com/s/photos/mute?utm_source=unsplash&utm_medium=referral&utm_content=creditCopyText ( Unsplash) This podcast uses the following third-party services for... Support this podcast

Welcome to the sixth episode of the Truth About Recording & Mixing, hosted by Crackle & Pop!'s Johnny Sangster. This week we talk to Andrew Joslyn, violinist and orchestral arranger for people like Macklemore and Michael Bolton about a range of projects from creating huge sounding arrangements from his home studio to writing orchestrations for the Seattle Symphony. 1:40 - Another Mid-Side Demo4:45 - Listener Question about recording distorted vocals11:10 - Listener question about vocal mics & 3 Dimensional sound.15:45 - Welcome to Andrew Joslyn20:00 - Curating & scoring a series of concerts with the Seattle Symphony24:00 - the one man symphony in a box and coming up in classical.28:00 - getting into improvising and playing rock music.32:00 - breaking into the Seattle scene and deciding to get a Music Business Degree from Berklee.35:00 - meeting and beginning to work with Macklemore.37:30 - about asking for songwriter credits when providing arrangements.42:00 - Andrew's solo album.50:30 - Andrew's studio and creating the one man orchestra.01:04:40 - working with the Seattle Symphony and larger orchestras.01:17:30 - Andrew's favorite arrangers & composers & the holy grails of string recording studios.01:22:30 - Remote Orchestral recording with Musiversal 1:26:50 - recording and reamping a string quartet in a gutted tugboat!   People mentioned - Macklemore, Martin Feveyear, Mark Lanegan, Jack Endino, Bronwynne Brent, Ivan & Alyosha, No Star, Danny Baker, Seattle Symphony, Barb Hunter, Michael Bolton, Duff McKagen, Shelby Earl, Eric Anderson, London Bridge Recording, David Axelrod, Jeff Saltzman, Eli Weinberger, Eric Eagle, Whitney Monge, Nelson Riddle Vince Mendoza, Melody Gardot, Dave Cambell, Rob Mathis, Paul Buckmeister, Leslie Odum Jr., Skywalker Ranch, Jesse Butterworth, Musiversal, Ben Hazlewood, Network,    Gear mentioned - AKG C422, Electrovoice 665, Spectra Sonics, Empirical Labs Distressor, Drawmer 1961 EQ, ProCo Rat Distortion Pedal, Ampeg B-12 amp, SoundToys Decapitator, SansAmp Plugin, Shure SM57, Shure Vocal Master PA, Radial Reamp Boxes, Apple Computer, Hackintosh, Celemony Melodyne, Apple Logic, Avid Protools, Vicoustic Acoustic Treatment, UAD Apollo Quad, Coles 4038, Grace M501, Neumann TLM103, Advanced Audio Mics, QL Spaces, LA Scoring Studio, UAD Ocean Way Plugin, iZotope RX, Decca Tree, Submit your questions for Johnny by sending us a voice memo or email to podcast@fretboardjournal.com. The Truth About Recording & Mixing is a bi-weekly podcast produced by the Fretboard Journal magazine, loosely based on our Truth About Vintage Amps Q&A podcast. www.johnnysangster.com www.cracklepopstudio.com www.fretboardjournal.com

For the next 8 weeks I'm going to be delivering the course, so I'm taking a break from the podcast. During that time, I'll be posting 8 of the most popular episodes from 2020 for anyone who's new around here, or as a refresher to everyone else. I'll be back with new content very soon! So when I recorded the mouth sounds episode a few weeks back, I wasn't completely honest with you... There is another tool that we use here at The Pod Farm to repair audio and remove pesky mouth sounds and other unwanted features of a recording. That tool is RX 7 from iZotope (https://www.izotope.com/en/products/rx.html). RX 7 is a powerful set of audio repair tools that enable users to easily repair audio, remove breaths, mouth clicks, reverb, noise and so much more, all for a very reasonable price! Listen to this episode to find out a bit about what this powerful set of modules can do. Visit www.thepodfarm.com to check out more of what we do and check out our other resources. www.instagram.com/thepodfarm www.facebook.com/thepodfarm www.youtube.com/thepodfarm www.twitter.com/thepodfarm Music: Sunshower - LATASHÁ

Today’s episode is about some major tech changes I made in January.  Change makes me uncomfortable, but I survived, and I grew because I challenged myself.  Here’s the short list of what I did.   I stopped drinking coffee (January 8, 2021)!! ☕️

Podcasters and broadcasters - Got a problem with your audio? Does your audio not measure up to the "pro" podcasts? Chris Curran is here for a whole hour with up-to-date advice and suggestions for clean, clear audio - always at the right volume. From your recording “space” to mic selection, to mic technique, to compression and post-processing - Chris brings the advice of a recording and podcasting pro. Show Notes:We discussed the new Shure MV7 podcast microphoneWe mentioned the ubiquitous Shure SM7B dynamic vocal micKirk mentioned his Sennheiser MKH 416 shotgun micAlso Kirk’s favorite dynamic mic, the Heil PR40We also discussed a couple of R0DE micsKirk likes his dbx 286s mic pre-amp and channel stripChris recommends iZotope RX 8 software for automated audio cleanupChris also likes the Reaper Digital Audio Workstation software We mentioned Auphonic for online file processing to “master” your podcastsAnd Descript looks very interesting for automatic speech to text and audio/video editing based on dialog Guest:Chris Curran - Founder of Podcast Engineering School and host of The Podcast Engineering Show Host:Kirk Harnack, The Telos Alliance, Delta Radio, & South Seas BroadcastingFollow TWiRT on Twitter and on FacebookTWiRT is brought to you by: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

I overview recent Daily Goody‘s from Sep.18 - Oct. 1 (see list below). You can sign up to receive Daily Goody’s in your email every day or a weekly roundup. Sign up here. And, in this episode I switch back and forth between the Heil PR 30 and Heil PR 40 for you to be able to hear the difference, which is subtle. Michelle Levitt and I discuss the difference between these two microphones in the previous episode. *SPECIAL* Focusrite has a limited time partnership with Shure offering an SM58 along with a Scarlett 2i2 and a pair of SRH440 headphones at a discount with select dealers! Find all the details of this “Create and Cast bundle” HERE! And be sure to check out the Focusrite Scarlett series of audio interfaces -- 6 different interfaces -- works with the recording software you already use -- works with any type of XLR microphone -- new unique Air feature adds brightness and presence to your voice. Thanks to Focusrite for sponsoring this episode! Daily Goody posts that were discussed in this episode: Specializing in Producing/Editing Podcasts in a Specific Niche NEW Course Announced! “Getting New Clients at Higher Rates” What is Dynamic Range Processing? Noting Down Your Hardware Settings Where To Buy Sound Absorption Blankets and Acoustic Room Treatments? iZotope RX 8’s New Loudness Control Module Other notes: The start date for the next PES semester is January 12, 2021. VIDEO: Audio Cleanup and Processing Andrew Gelina's Voice Using Various Audio Plugins Join the Podcasters’ Lounge Facebook group If you’d like to share this show with any of your podcaster friends, feel free to send them a message saying, “Btw, here’s a show about podcast audio production you may find helpful” with this link: https://podcastengineeringschool.com/subscribe/ Daniel Hager did a STELLAR job revamping the PES website! He was my guest on episode 109, he's the host of Let’s Talk Re-Touching, and he's the owner of Hager Media. THANK YOU DANIEL for making the site amazing! My other podcast -- The Mystic Show (I hope to publish new episodes soon) New plugins I bought after Black Friday / Cyber Monday: EMI TG12345 Channel Strip MaxxVolume MV2 CLA-3A Compressor / Limiter Abbey Road Chambers IR1 Convolution Reverb (we discussed this type of reverb in episode 168 with Pascal Wyse) AMEK EQ 200 Trackspacer by Wavesfactory Level Magic by Flux Jünger dearVR PRO Phil's Cascade Unfiltered Audio TRIAD bx_console N channel strip Melodyne 5 assistant by Celemony Quadravox by Eventide Decapitator by Soundtoys

Beat by Jasper Redd Made & mixed using Maschine Mk2, SP404, Serato Sample, GarageBand, iZotope Ozone 8 and iZotope RX 7

Made & mixed using Maschine Mk2, SP404, Serato Sample, GarageBand, iZotope Ozone 8 & iZotope RX 7. All verses are taken from Freddie Gibbs most recent albums and freestyles. Individual tracks are available at my BandCamp page.

I overview recent Daily Goody‘s from Sep.4 - Sep. 17 (see list below). Don’t forget you can sign up to receive Daily Goody’s in your email every day or a weekly roundup. Sign up here. Be sure to check out the Focusrite Scarlett series of audio interfaces, the world’s best-selling USB interface range with over 3 million units sold worldwide. Choose from 6 different interfaces with 1, 2, 4, or 8 microphone inputs. Works with the recording software you’re already using and works with any type of XLR microphone. New unique Air feature adds brightness and presence to your voice. Thanks to Focusrite for sponsoring this episode! Daily Goody posts that were discussed in this episode: iZotope RX 8 Just Released – The Complete Audio Repair Toolkit! Zencastr Video Beta Has Launched! New in Zoom: High Fidelity Audio Mode Sonarworks’ latest ebook, Get the Most from Mixing on Headphones The Main Thing Podcast Editors Are Using Descript For: Which App Do You Use To Tag Your Final Episode MP3’s? I Use… Announcements: The start date for the next PES semester is January 12, 2021. I launched a new smaller course for independent podcast editors and producers —> Getting New Clients at Higher Rates! If you’d like to share this show with any of your podcaster friends, feel free to send them a message saying, “Btw, here’s a show about podcast audio production you may find helpful” with this link: https://podcastengineeringschool.com/subscribe/ New equipment and plugins I bought on Black Friday / Cyber Monday: Elgato Stream Deck AMEK EQ 200 Trackspacer by Wavesfactory Level Magic by Flux Jünger dearVR PRO Phil's Cascade Unfiltered Audio TRIAD bx_console N channel strip Melodyne 5 assistant by Celemony Quadravox by Eventide Decapitator by Soundtoys What did you learn in this episode? Let me know by commenting below. Other notes: Next week's episode features Michelle Levitt from Heil Sound, and post-production of that episode will be done by PES graduate Jesse McCune! Daniel Hager did a STELLAR job revamping the PES website! He was my guest on episode 109, he's the host of Let’s Talk Re-Touching, and he's the owner of Hager Media. THANK YOU DANIEL for making the site amazing! Podcasters’ Lounge Facebook group My other podcast -- The Mystic Show (I hope to publish new episodes soon)

Co-host Gary MacFadden talks with voiceover technical guru Don Baarns about a piece of file post-processing software that many voiceover talent are now turning to: Izotope RX. Don himself had a role in the development of one of the software's functions most used by VO talent: Mouth DeClick.

Co-host Gary MacFadden talks with voiceover technical guru Don Baarns about a piece of file post-processing software that many voiceover talent are now turning to: Izotope RX. Don himself had a role in the development of one of the software’s functions most used by VO talent: Mouth DeClick.

My guest is Dan LeFebvre, host of Based on a True Story. Follow him on Twitter. Some of the topics we discussed: sE Electronics V7 microphone (See Bandrew’s review video: sE Electronics V7 Dynamic Mic Review / Test) RØDE boom arm Acoustic treatments in Dan's office: Moving blankets, carpet, ClearSonic baffles (6’ x 4’ foldable, free-standing panels) Zoom R16 Multi-Track Tabletop Recorder Squadcast iZotope RX 7 -- cleanup, de-reverb, etc. Mixcraft DAW iZotope Nectar - automatic EQ Adobe Audition Resampling Private RSS feed WordPress site RSS plugin Here is Dan describing his post-production workflow: After an episode is recorded, I edit it on my primary desktop. I have a folder structure that I've built over the years with templates for each step of the process. This gives me the Mixcraft project templates I need but also gives me backups of each step so I can always go back to any step later if I need to (and I've needed to a few times). Step 1 is to do generate the WAV files that I'll use to edit. I do this so I'm not editing the original audio that I recorded (again, backup everything) but also because sometimes I get multiple files that I need to cut together. For example, I recently had SquadCast cut out part-way through so I had to use my local DAW recording for a sentence or so when my guest was still talking and he didn't realize SquadCast had dropped me. In this first step, the outcome is a single audio track for my guest and myself. Step 2 is to do the core of the editing. This starts by pulling each track as its own WAV into iZotope RX to do any cleanup necessary. If I'm using SquadCast, I'll also resample the 44100 kHz WAV file from there to 48000 kHz to better conform to the rest of the audio that I record at 48000 (since I do some video with my podcast). Then, back in Mixcraft, it's to the most time consuming process all podcast editors are familiar with...going through and removing the stutters, excessive "uhs" and "ums" and so on. Step 3 is to write and record my intro & outro. I do this after editing the episode primarily because I do a "two truths and a lie" segment that requires pulling info from the episode, so it's easier for me to do that after I've edited it and it's still fresh in my mind. Step 4 is to edit the intro & outro onto the bulk of the episode. Step 5 is to add the simple intro music, my FX chains and then export a single WAV file for each track. Typically this is one WAV file for me, one for my guest and one for the music track. Step 6 is to pull those WAV files into a multitrack session in Audition where I do a match loudness. I was excited to see RX 8 has a loudness control module...but I'm not sure it's worth the cost of the upgrade yet just for that hah! So, I do that in Audition. Coming out of Audition, I mix it all down to a single WAV file. Step 7 is to take that WAV file and resample it from the 48000 kHz that I record in (because I do some video for my podcast) to 44100 kHz to export the final MP3 at 96kbps. Last, but not least, I have a private RSS feed that I set up to give the episode a listen. Every so often some family members who have access to the RSS feed will help out and give it a listen and let me know if they notice any mistakes. If so, I go back to whatever step is needed to fix it. Thanks for being a great guest and sharing so much with us, Dan! Comment below with any questions or comments.

Today we look at the new iZotope RX 8 as a tool for extracting stems from tracks for remixes and mashups. We’ll compare it with Spleeter, some free software made available by Deezer, using a couple of my songs so you can hear how the two compare. I’ve also got an update on Facebook who clarified their recent music guideline changes and what they meant by “music experiences” for live streaming.

Two new synths from Newfangled Audio, James is nonplussed about the new Maschine, iZotope RX 8 scrubs up well, and which 90s hits will be remembered for millenia to come? [Please not Chumbawumba] SHOW NOTES AND LINKS www.a4ppodcast.com SUPPORT US VIA PLUGIN BOUTIQUE AFFILIATE LINK pluginboutique.com/?a_aid=5f2b108fc97a7 SUPPORT US ON PATREON www.patreon.com/a4ppodcast

今天直接請專業的 @NiceChord (好和弦) 來跟大家分享他是怎麽處理音檔 付費軟體推薦：Reason、Logic Pro、Audition、 可以試用比較久的軟體推薦：Reaper 外挂plugin 推薦： Izotope RX 系列、YouLean Loudness Meter 處理順序： 降噪 （de-noise) - EQ - Compressor - 音量調整，最後Master track 再compress 一次

Free plugins are streaming from every orifice this episode, but we've still got time to catch up with the biggest music software news around: Native Instruments' Komplete 13 will bring Guitar Rig 6 with it, iZotope RX 8 aims for squeaky-clean new heights, Softube have released another synth, and there's a plucky little rubber sleeve waiting for denunciation. THIS EPISODE IS SPONSORED BY DISTROKID For 30% off your first year of DistroKid membership, head to www.distrokid.com/vip/a4p SHOW NOTES AND LINKS www.a4ppodcast.com SUPPORT US VIA PLUGIN BOUTIQUE AFFILIATE LINK pluginboutique.com/?a_aid=5f2b108fc97a7 SUPPORT US ON PATREON www.patreon.com/a4ppodcast

Cette semaine : Nintendo ressort un Super Mario Bros. pour les 35 ans des Game & Watch, Crusader Kings III, OnMail, Overcast balance les podcasts qui traquent, iZotope RX sort en version 8, Twitch Watch Parties, The Vow, Nvidia GeForce RTX 3070 / 3080 / 3090, OnePlus Nord, Apple met la défense de la vie privée au centre d'un pub iPhone et ZTE annonce le premier objectif photo de smartphone planqué sous l'écran. Lisez plutôt Torréfaction #144 : Crusader Kings III, OnMail, iZotope RX 8 et GeForce RTX 3070/3080/3090 avec sa vraie mise en page sur Geekzone. Pensez à vos rétines.

Guests Matt Hodson (MATTHS) artist, performer, educator Gaz Williams - Producer, bassplayer, music technologist Episode on  Youtube: https://youtu.be/j31ctnBBgkU   WIN iZOTOPE Stutter Edit 2 - Tweet #glitchedout #stutteredit2 to @sonicstate @iZotopeinc  Stutter Edit 2 lets you create the famous "stutter" editing effect with one button to slice and dice your samples, tracks, and mixes. Fire off rhythmic gestures, sweeping filters, glitchy effects, or everything at once. Please check out our new Freeze Machines Racks for Ableton Live - lush, atmospheric frozen reverb textures: 00:00 Intro 08:20 iZotope RX-8 17:45 Reason Friktion Modelled Strings 29:21 Mylar Melodies Jupiter 6 video - polysynths in general https://www.patreon.com/mylarmelodies 40:24 iZotope Stutter Edit 2 competition 42:57 Newfangled Audio Pendulate 51:10 Future Sound Systems MTX8 pin matrix 1:00:00 Acronis True Image 1:01:55 Wrap and goodbyes Where to Watch/Listen - We now stream the live show to Youtube Live, Facebook Live as well as at Sonicstate.com/live every Weds at 4pm UK time- please do join in. Preshow available on Twitch. You can also download the audio version from RSS FEED 

Last week, I blocked my calendar and was hoping for a summer getaway with my wife and dog.  Well, Rona made that less appealing, and my wife ended up having some work commitments anyway.  So I decided to turn the week into a "staycation."  Yes, I made Costco runs and other miscellaneous house stuff, but I really set out to spend some time looking "under the hood" of podcasting and honing my craft.  I did two things.  I watched a bunch of videos from this month's Podfest Global Summit - turns out buying the ticket to have all the recordings on demand was money well spent.   I also joined the Podcast Editor Academy - the new venture from the Podcast Editors Club Facebook community I'm in.   There's a wealth of current and archived knowledge there.  And I also took a class on the high-end editing software I use, Izotope RX 7, from YaYa Podcasting.  Huge thanks to people like Steve Stewart, Chris Curran, Mark Deal, Chris Krimitsos, and Carrie Caufield Arick.Side note for audio geeks - I bought several "Plugins" for Adobe Audition to adds some processing and bells and whistles to audio - Audio Engineer Chris Curran's Top 10 list of audio plugins is a great read.Podcast host Buzzsprout has a great article on how to use music in podcasts. (Spoiler: You still can't use copyrighted music, even for a few seconds, even for a review). https://www.buzzsprout.com/blog/free-music-for-podcastsSpotify's charge into the podcasting world is affecting a shift from downloads to streaming, and making ad impressions easier to measure: https://www.adexchanger.com/digital-audio-radio/podcast-measurement-is-finally-improving-as-the-landscape-consolidates/?utm_source=podnews.net&utm_medium=email&utm_campaign=podnews.net:2020-08-18If you have a Call To Action (CTA) in your podcast , consider simplifying how many things you are asking of listeners, and make sure you illustrate the benefit for them.  I also believe they should go at the end of the show, not the beginning. If you're going to ask for something, do it AFTER you've provided valuable content. https://medium.com/@awrd/why-podcast-calls-to-action-matter-43cffbfcaa9eSpotify is in some hot water over Anchor, the free podcast host they now own. Apparently Anchor was "stealing" feeds of podcasts from other hosts and posting them in their own feeds. Spotify has since apologized and taken them down - but it exposes a major flaw in protecting the intellectual property of podcasters: https://digiday.com/media/game-of-whack-a-mole-spotify-has-a-counterfeit-podcast-problem/?utm_source=podnews.net&utm_medium=email&utm_campaign=podnews.net:2020-08-24I highly, highly recommend my friend Matt Cundill's Sound Off Podcast episode with maybe the smartest guy in all of podcast research -Tom Webster of Edison Research.  I had so many takeaways from this interview - including the future for smaller and medium podcasters, radio's place in the space, and the idea to try YouTube for my podcast - just for starters.  You'll find the episode here:  https://www.soundoffpodcast.com/post/tom-websterFinally, Podcast Movement's virtual event this October will be hosted on a platform called Swapcard - hope to see you there. Here's the announcement. https://podcastmovement.com/events/learn-more-about-our-pm-virtual-platform-plus-prices-go-up-tonight/As always, if you have questions about podcasting, or need help launching (or even tweaking) your show, feel free to reach out - jag@jagindetroit.com or on social at JAGinDetroit.

So when I recorded the mouth sounds episode a few weeks back, I wasn't completely honest with you... There is another tool that we use here at The Pod Farm to repair audio and remove pesky mouth sounds and other unwanted features of a recording. That tool is RX 7 from iZotope (https://www.izotope.com/en/products/rx.html). RX 7 is a powerful set of audio repair tools that enable users to easily repair audio, remove breaths, mouth clicks, reverb, noise and so much more, all for a very reasonable price! Listen to this episode to find out a bit about what this powerful set of modules can do. Visit www.thepodfarm.com to check out more of what we do and check out our other resources. www.instagram.com/thepodfarm www.facebook.com/thepodfarm www.youtube.com/thepodfarm www.twitter.com/thepodfarm Music: Sunshower - LATASHÁ

Vienna lockdown sound reimagined by Tim Kahn. "I first used maps and street views to look and see what this place was like before the lockdown. It looked busy and noisy. I was given this recording randomly, I like the constraint of working with something that I did not choose as well as it felt appropriate for this as none of us have chosen to be so constrained in this way.  "With one exception all the sounds in my work come directly from the original recording. The one that did not originate from the recording is the "melodic" part which was added last as my touch of a mix of sadness, calmness, beauty, and hope.  "A few sounds are entirely from the original recording, such as the ticking at the end and some traffic. Most of the other parts were derived from the original recording using Izotope RX to select various frequencies. My overall aim was to create a bit of tension and uncertainty, some destruction, but also find some awe and wonder and beauty in the stillness. I hope that comes across." Part of the #StayHomeSounds project, documenting and reimagining the sounds of the global coronavirus lockdown around the world - for more information, see http://www.citiesandmemory.com/covid19-sounds

This podcast episode is about starting your own podcast!Here are some of the links, services, and products that I mention:The mega microphone review from Marco ArmentAudio-Technica ATR2100-USB Cardioid Dynamic USB/XLR MicrophoneFireside podcast hostingAcast podcast hostingAnchor podcast hosting Auphonic audio editing Izotope RX audio editing OBS screen recording softwareeCamm screen recording softwareShare video clips previews using Headliner See acast.com/privacy for privacy and opt-out information.

My guest is Marcus dePaula - audio engineer, podcast producer and website designer at Me Only Louder. We discussed podcast production in depth (see the partial list of topics below) and at the end of the episode we shared some stories from our pro-audio pasts - Marcus engineering Live concerts and me engineering music in the studio. We discussed: Two Shure SM7b’s with high-mid frequency boost enabled and Popper Blockers inserted inside the grille. Two Audio-Technica AT875R mini shotgun mics. Two Samson MBA38 mic boom arms with custom integrated Mogami 2552 mic cable and Switchcraft AAA Series Low-Profile XLR connectors Sound Devices MixPre-3 (1st gen) with limiters enabled Monoprice 4-output headphone amplifier (for guest headphones) 2019 15” MacBook Pro with LG 4K Ultrafine display Logic Pro X and Adobe Audition CC Kensington Expert Mouse trackball (right hand) Contour ShuttlePRO v2 (for left hand editing control) iZotope RX 7 Standard Softube Console 1 control surface and plugins with SSL 4000 E (gate+EQ+saturation) and British Class A Console (compressor) channel strip effects emulators iZotope Ozone 8 Elements - mostly for Maximizer on every track! Audient iD14 USB audio interface (with Burr Brown DA converters) Ultimate Ears UE7 Pro custom in-ear monitors (made in 2005) Sony MDR7506 headphones Pair of KRK Rokit 5 G3 powered monitors on foam isolation pads One KRK 10S powered sub 12 custom-built 48”x17”x3” fabric and Rockwool “Safe’n’Sound” batt insulation acoustic panels Thanks for being a great guest, Marcus! DID YOU KNOW........We exist for the purpose of helping you, so please comment below with any questions or remarks. We appreciate you listening. Want to Start a Business or Have a Career as a Podcast Producer/Engineer? Listen and Subscribe in Apple Podcasts, Spotify, Pandora, Google Podcasts, iHeartRadio, Stitcher, TuneIn, Android, RSS, Email  

My guest is Andrew Gelina - host of Underserved (a podcast aimed at the tech industry) and CEO of the software consulting firm Syrinx. We discussed so much: Shure SM7b (love/hate relationship) Shure SM58's All mics go through Cloudlifters, SM7B also goes through a dbx 286s Behringer Xenyx 1832 mostly just for mix minus to two dedicated Skype machines Zoom-Zoom setup (H6 as primary recorder of all vox on separate channels, H5 as a backup off the mixer/backup mode -12db as well) Copy 48K/24 bit WAVs off Zooms to a Dell Windows 10 PC (desktop, 4 monitors), import into Reaper WAVs rendered, converted to MP3, upload to Libsyn for distribution to everywhere, and use Libsyn for podcast website too. Backblaze for backups, Microsoft OneDrive for syncing, and a Macbook Pro laptop for working on editing mobile and experimenting with video. Started with Audacity for an episode, then learned Reaper Normalize each track separately to -23 LUFS with SWS Extension (free) Auto Trim / Split Silence 250 ms -32db (Reaper built-in) on all tracks Custom LUA script I had built by Raymond Radet (https://www.extremraym.com/) to do a Truncate Silence like Audacity, similar to Overcast’s Smart Speed Each track has iZotope RX 7 voice denoise, breath control, de-ess, mouth click, plosive, adjusted as needed (paid) Sonible Smart EQ – learn each track’s voice separately. (paid) AWESOME Dugan-style automixer script (free) https://forum.cockos.com/showthread.php?t=173289 Master channel: Ozone 8 to add a little air, Tri-Leveler 2 (free) to get to -16 LUFS, Limiter, Loudness meter Render to 48K/24 bit mono wav, watch peaks. Custom Python script watches /renders directory, converts WAVs to MP3 using ffmpeg (yes, LAME encoder, I know) and copies out to my private www server for QA. Second pass of editing I work backwards using timestamped notes to avoid shifting things out from under myself. Libsyn – I think they update tags IN the mp3 FROM their data, not the other way around. I checked in VLC. Other Audacity holdover. I would love to help you make Reaper your home – no Sound Forge or separate RX 7 needed! Multi-platform Reaper editing is interesting – use OneDrive to allow bouncing back and forth between Windows and Mac editing the same episode/files. Relative paths turned on, copy to /Media. VST paths set for both Win/Mac. Export complete configuration from Reaper (Win) to Reaper (Mac). Andrew's Favorite PES episodes/guests: Mike Delgaudio, Dan Dugan, Dan Gonzalez My kids can now recite Barry lines when they hear them drop in the car Thanks for being a great guest, Andrew! DID YOU KNOW........We exist for the purpose of helping you, so please comment below with any questions or remarks. We appreciate you listening. Want to Start a Business or Have a Career as a Podcast Producer/Engineer? Listen and Subscribe in Apple Podcasts, Spotify, Google Podcasts, iHeartRadio, Stitcher, TuneIn, Android, RSS, Email  

My guest is Scott Somerville, audio engineer and podcast producer! Here's some of what we discussed in terms of Scott's equipment, software, workflow, etc.: Wondery studio: Mac mini, UA Apollo 8 interface, Cloudlifter, RE20’s, Pro Tools. Plays theme song, adds a segment, edits it, mixes it, Art19 for hosting, etc. Headphones: Sony MDR7506 Speakers: Genelec 1029 (powered) with 4” woofers Home - SM57, UA Apollo (2 inputs) Mobile - Macbook pro, Presonus interface, various mics Plugins: Waves SSL E and G channel strips, Waves F6 Floating-Band Dynamic EQ (adaptable in itself, vocal cleaner preset), Waves WLM+ to monitor levels iZotope RX: de-click, etc. Lots of automation He chimes in on the “Ask Eliza Anything” podcast Thanks for being a great guest, Scott! DID YOU KNOW........We exist for the purpose of helping you, so please comment below with any questions or remarks. We appreciate you listening. Want to Start a Business or Have a Career as a Podcast Producer/Engineer? Listen and Subscribe in Apple Podcasts, Spotify, Google Podcasts, iHeartRadio, Stitcher, TuneIn, Android, RSS, Email

Hang out with me and Emily Prokop. She is the host of The Story Behind podcast, a podcast editor and consultant, and author of The Story Behind: The Extraordinary History Behind Ordinary Objects! We discussed Emily's equipment and workflow, and lots more: Blooper track: She copies clips onto a dedicated track for bloopers. Handling loud breaths: She moves all the loud breaths onto a dedicated track where she lowers their volume! Noise reduction Hi-pass filtering In her "studio": Moving blankets around her desk and curtains to dampen room noise, white shears Reaper and Reaper templates iZotope RX 6: De-plosive, Mouth De-click ATR2100 microphone Sony MDR-7506 Headphones Publishing a 96kbps mono MP3 for her show Auphonic leveling to -16 LUFS (! her mono track!) Hardwired to internet Previously Emily was on Dave Jackson’s show discussing structuring and presenting good content on podcasts because she has more than 10 years editing experience in print journalism. That episode is titled Journalism 101 For Podcasters. Thanks for sharing so much great info, Emily! DID YOU KNOW........We exist for the purpose of helping you, so please comment below with any questions or remarks. We appreciate you listening. Want to Start a Business or Have a Career as a Podcast Producer/Engineer? Listen and Subscribe in Apple Podcasts, Spotify, Google Podcasts, iHeartRadio, Stitcher, TuneIn, Android, RSS, Email

Episode 51: Mike Peacock Sex Dolls Poop Knives Hitler "There are people out there who probably have no business doing podcasting" Dave is joined by Mike Peacock from On the Edge podcast and we call out all podcasters with terrible audio quality. Seriously, sort your shit out or move aside for the podcasters who actually give a shit about what they’re doing. Original discussion was recorded late last year when Jay from My Worst Holiday was still talking to Dave and he had yet to fall out with Steve from Baked and Awake podcast. He can be a little much at times. Go to www.manbrainpodcast.com for all the links, kinks, stinks and pussy winks. Listen on podcoin. Sign up to our group Patreon for exclusive content like late night intimate chats with Blunt Mommy and Dave. www.patreon.com/nsflproductions Mentions: Mike Peacock’s 2 podcasts: On the Edge and Misery Point Radio, Mark & Jay My Worst Holiday, Steve Baked & Awake, Ben Small Town Mentality, Eli Not So Crazy Podcast of Blizzard the Wizard & Eli, Jason Shit Happens When You Party Naked, Phil Oakley on Twitter, Blake Noise Pollution, Kenric Spoiler Country, Doug Anthony Who’s Right, Hank’s Dirty Monoball Synopsis: Adam Carolla rants, Phil Oakley starfucks, Joe Rogan shall not be named on the show, Blink 182 Ufologist, James Bond drinks, food & drink snobbery, podcaster delusions of grandeur, crippling perfectionism, cooking show contrivances, Gordon Ramsey fuck off hysterics, Suing Man Brain for causing permanent psychological damage, handling criticism of your podcast, rage quitting offensive podcasts & getting triggered, podcasting recording hardware & software, Zencastr fucks up with some crackles and pops, the Joe Rogan Michael Jackson microphone, Izotope RX noise reduction to reduce background noise, just the right amount of alcohol for podcasting, from Barry White to Michael Jackson, Dave is a mental case with no consistency with his voice, thinking about the room where you record, Hank’s shithouse microphone technique, unbearably annoying noises on podcasts, annoying noise rage quit episode idea, Podcast Impossible with Mike Peacock and Dave, Solving audio issues for My Worst Holiday and Baked and Awake, can enthusiasm make up for technical issues, podcasters can be oversensitive little bitches, Mike sucking the Chaffey hog, dumb Dave took months to work out mix minus setup to patch calls into his mixer, don’t so much of a perfectionist that you can’t release anything, Dave can’t get along with anyone; particularly he hasn’t had a great run with stoners, disappearing Comminski file damn those chemtrails, The podcast cabal really fucks around with indy podcasters, Wes Craven’s Shocker, Steve’s cooler & blowtorch dab, Frigging stoner lingo, emotional triggering, satirising ideologically inflexible people, Skullfucker triggering people, snowflakes with no mental resilience, weeping for humanity, Family Guy, building a wall, Mike loves mic preamps; like really really loves them, throwing them dollar bills at podcasting, gear snobbery, shopping for butt loving wives, acting on constructive criticism, Dave is Stutters McGee and it’s so fucking annoying, The US is a Nation of Pussies, Mike’s mystery celebrity family members, Who’s Right suicide episode was not the usual dour presentation, Anthony Bordain, cum buckets, podcaster self-doubt, Hank will be tackling all the tough issues on his show, Daddy Issues, Miserable Pricks, pandering to the lowest common denominator, the goal of humanity, fluffers and strokers, indy podcaster delusions of grandeur, podcast unique selling propositions, feather ruffling, self-critiquing, more weeping for humanity; over-protected and coddled, Marshall Applewhite and Heaven’s Gate Cult comet suicide near miss, old fat white sitar player weirdo, Hank striking out with women, setting up a podcasting cult, Nexium sex cult, manipulating people, sending out only good vibes into the Universe

Great discussion with Allan Tépper. He is the host of Beyond Podcasting, as well as a  a Pro Audio/Video specialist, tech journalist, broadcaster, author and consultant. (and my previous guest on episode 74) *DISCLAIMER: We are not advocating for anyone to switch from MP3 to AAC (.m4a). If you're contemplating it, please do more research and decide for yourself. We discussed many aspects of MP3 vs. AAC (.m4a): Advanced Audio Coding is designed to be the successor of the MPEG-1 Audio Layer 3, known as MP3 format, which was specified by ISO/IEC in 11172-3 (MPEG-1 Audio) and 13818-3 (MPEG-2 Audio) The widespread reluctance to even THINK about publishing podcast episodes in any other format than MP3. .m4a is the most common extension, but not the only extension, used for AAC. Sound quality: AAC sounds better than MP3 especially when encoded at lower bitrates. This means that your final episode file can be smaller in size and still sound as good or better than MP3. Chris's experience: "When I convert my .WAV file to MP3 using iZotope RX 7, the resultant MP3 is 0.4 LUFS lower in volume than the original .WAV. Whereas when I convert to .m4a the resulting LUFS level of the .m4a is exactly the same as the original .WAV file. Interesting..." Compatibility with ad insertion platforms: Rob Greenlee says, "Hey Chris, Most of the platforms that utilized dynamic ad insertion technology, oftentimes require MP3 files only." TPES episodes that published in .m4a: 118 - Chris’s Goody Bag 119 - Bryan Entzminger ID3 Tags: Bryan Entzminger says, "I did a test with an episode. I didn’t like that Libsyn didn’t pull the id3 info from the file (because it’s not an MP3) but that’s not a really big deal." A few popular shows that use .m4a files: Podnews (James Cridland’s show, @ 44.1 kHz so far) 60 Sec Torah Byte (Zalman Levin / Podbean 44.1 kHz so far) Morning Mantra (Coach MK / Anchor) BeyondPodcasting (Allan Tépper’s show, @ 48 kHz) Podcast Engineering Show (Barry and Chris’s show, @ 48 kHz) Technical analysis of top podcasts - James Cridland’s post looking at bitrate. LUFS, mono/stereo, etc.: https://podnews.net/article/podcast-analysis?utm_source=podnews.net&utm_medium=email&utm_campaign=podnews.net:2019-01-17 AAC's improvements over MP3 (from Wikipedia) Blind tests in the late 1990s showed that AAC demonstrated greater sound quality and transparency than MP3 for files coded at the same bit rate. Improvements include: more sample rates (from 8 to 96 kHz) than MP3 (16 to 48 kHz) up to 48 channels (MP3 supports up to two channels in MPEG-1 mode and up to 5.1 channels in MPEG-2 mode) higher coding efficiency for stationary signals (AAC uses a blocksize of 1024 or 960 samples, allowing more efficient coding than MP3's 576 sample blocks) higher coding accuracy for transient signals (AAC uses a blocksize of 128 or 120 samples, allowing more accurate coding than MP3's 192 sample blocks) much better handling of audio frequencies above 16 kHz more flexible joint stereo (different methods can be used in different frequency ranges) Encoding: *NOTE: NONE of these lists is exhaustive. We did not investigate every single program in existence ;) Programs that can encode .m4a files: iTunes Fission (Mac only. Also can tag and create chapters. Allan Tépper’s favorite 1-track audio editor for Mac. Unique because it can also edit lossy formats without generation loss. Can’t save tag data but can copy and paste tag data. Chris was confused because Fission’s tag data doesn’t have a ‘Copyright’ field.) Hindenburg Journalist Pro (also can tag and create chapters. Allan Tépper’s favorite multitrack audio editor for conventional computers) TwistedWave (Mac and online only. Good program but no playback speed adjustment!) Amadeus Pro 3rd Party Encoder Plugins (Paul Figgiani suggested Sonnox’s Codec Toolbox ~47 USD and Pro Codec ~400 USD.) Programs that encode MP3s using the Fraunhofer MP3 Encoder algorithm: Adobe Audition iTunes (Source: Cliff Ravenscraft on October 27, 2010) Windows Media Player (Source: Richard Farrar) Programs for which you can buy an optional Fraunhofer plugin for US$339.15 Pro Tools Logic Cubase Nuendo Sequoia Wavelab Programs that DON’T use the Fraunhofer MP3 Encoder algorithm: Hindenburg Reaper RX 6, 7 Players Compatibility with players and apps: .m4a files are compatible with all podcast players we could find. Thanks for sharing so much great info, Allan! DID YOU KNOW........We exist for the purpose of helping you, so please comment below with any questions or remarks. We appreciate you listening. Want to Start a Business or Have a Career as a Podcast Producer/Engineer? Listen and Subscribe in Apple Podcasts, Spotify, Google Podcasts, iHeartRadio, Stitcher, TuneIn, Android, RSS, Email

This week is another 'experimental' episode as the guys attempt to record an episode of the show at 37'000 feet on the way to California for the namm show. Inevitably the audio is poorer than usual (although Izotope RX worked it's magic to make it listenable) and invariably this is a gear related (and gin fuelled) episode where the guys discuss the airport drama getting their axes onboard, flying as a musician in general, the upcoming namm show gear and answer questions.

If your audio is great people can forgive medicore video, but if it sounds bad people will turn it off. This episode we are talking with mic and preamp reviewer Curtis Judd (http://learnlightandsound.com) and podcast producer Ray Ortega (https://rayortega.com) the simple secrets to audio production for some common situations. This podcast is brought to you by Epidemic Sound (http://share.epidemicsound.com/stalmanpodcast), where creators can easily license sound effects and music for all your creative projects Audio for social media The priority for quick social media videos like Instagram stories is to keep it simple and sounding great. When you turn on the selfie camera, you‘re off to a great start because the mic is only an arm's length from you face and most phones have decent mics these days. Just be extra careful not make the biggest rookie mistake of covering the mic with your pinkie finger. Stay aware of which direction the mic is facing since phones have mics on the front, back and bottom. If you are pointing it away from you, your voice will get a lot quieter. If this is a situation, you often find yourself in, there are external mics that can help with that. Portable mics for phones Rode Video Me (https://amzn.to/2VWliRg) Shure MV88 (https://amzn.to/2FKCWBU) Audio for Vloging Similiar to a phone selfie, the vlog format has the instant advtage of mic proximity. As long as you've plugged in a half decent mic, set the levels, and put on appropriate wind protection, it's easy to get great audio. With this format, background noise isn't a huge problem since it blends in with the overall context of the story you‘re telling. What matters most is that you can be heard clearly. Mics for vlogging Rode Video Micro (https://amzn.to/2Ta81mc) Rode VideoMic Pro+ (https://amzn.to/2W1BTTU) Deity V-Mic D3 Pro (https://amzn.to/2W1QdLY) Audio in a YouTuber Studio If people are going to be watching your videos on TV, laptops or with headphones you owe it to them to keep the audio as clean as possible. When they are focused on you‘re talking head, details like echo and background noise start to matter more. So after you've taken the first steps of turning off the AC and unplugging the fridge (TIP: put your keys inside as a way to remember to plug it back in), it's time to treat the room for reverb. In real life, reverb is easy to ignore. Put a decent mic in a room and every echo is a distraction.  There are a few simple and affordable solutions, best of all is to drape sound blankets in front of any hard reflective surfaces. This will make the single biggest difference, ever more than you‘re choice in microphone. And speaking of microphones the gold standard is Sennheiser MKH416 (https://amzn.to/2FL0F56), which now used by top YouTubers like MKBHD and Johnathan Morrison, but if $1,000 is out of your budget the Deity S-Mic 2 (https://amzn.to/2CuBgsY) is incredibly similar for a fraction of the price. A favorite of Ray and Curtis is the AudioTechnica AT4053B (https://amzn.to/2CudEov). Once you've picked out your mic, choose a field recorder and plug it in. For the budget minded, the Tascam DR-60DII (https://amzn.to/2DjGZUe) is a great choice or if you want to go straight for the best pick up the SoundDevices MixPre-3 (https://amzn.to/2VYap1v). And make sure you get some good Sound Blankets (https://www.vocalboothtogo.com/shop-soundproofing-curtains-mobile-vocal-booths-accessories/) YouTube Studio mics and premps Rode VideoMic Pro+ (https://amzn.to/2W1BTTU) SoundDevices MixPre-3 (https://amzn.to/2VYap1v) or MixPre-6 (https://amzn.to/2DmaZPn) Sennheiser MKH416 (https://amzn.to/2FL0F56) Rode NTG-1 (https://amzn.to/2sBqTPC) or NTG-2 (https://amzn.to/2SXOju8) Deity S-Mic 2 (https://amzn.to/2CuBgsY) Tascam DR-70D (https://amzn.to/2ATAtSt) Tascam DR-60DII (https://amzn.to/2DjGZUe) Zoom F4 (https://amzn.to/2sCzbH2) Zoom H6 (https://amzn.to/2W5vWWa) Zoom F8N (https://amzn.to/2szNEDq) AudioTechnica AT4053B (https://amzn.to/2CudEov) Podcasting & Voice Over All the rules of in studio videos apply, but your audience is listening a lot more closely so the pressure is on to make your audio production sound amazing. Ray Ortega (https://thepodcastersstudio.com/gear/) has a great writeup on all your gear needs, but the basics are that you want decent mic that rejects background sounds, a low noise preamp and an echo free room. Sounds blankets are your best friend here, so you might want to build a little fort, or at least make sure you've got some furniture and carpets in the room.  There are many great mics to choose from, for beginners the AudioTechnica ATR-2100 (https://amzn.to/2MjbJHN) sounds shockingly good for it's price and can be plugged in via USB or XLR. If you want to step up your game, Tyler likes the Heil PR-40 (https://amzn.to/2VZGzK5) while Ray uses the Shure SM7B (https://amzn.to/2sA3JZV). Podcast mics and preamps Shure SM7B (https://amzn.to/2sA3JZV) Heil PR-40 (https://amzn.to/2VZGzK5) AudioTechnica ATR-2100 (https://amzn.to/2MjbJHN) Samsun Q2U (https://amzn.to/2FIrarK) DBX-286s (https://amzn.to/2T3jRi7) FocusRite 2i2 (https://amzn.to/2T3k7xB) SoundDevices MixPre-3 (https://amzn.to/2VYap1v) Producer's Choice Sound Blankets (http://vocalboothtogo.com) Post Production Less is often more in post production, but it is critical get the volume of your sound to match everyone else's. The easiest way is to run your final mix trough the free software Auphonic (http://auphonic.com) or if you're using Adobe Audtion, use it's match loudness feature. If you have background noise to cleanup, the absolute best is iZotope RX (https://www.izotope.com/en/products/repair-and-edit/rx.html). Special Guests: Curtis Judd and Ray Ortega.

A gift guide for podcasters like only She Podcasts can offer Yeah, TextExpander! Get 20% off of your first year! Click here and choose She Podcasts! Do you wanna work with Jess and Elsie? Now is the time to pull the plug on our 1–2 Punch and jump start your podcast marketing and monetization! Send us your feedback, email feedback@shepodcasts.com! We can’t wait to hear from you! Super Quick Re-cap! Length: 54:01 Catching up about Thanksgiving with Elsie Where in the world is Elsie? In a hallway and she has a new mic Folks, get right on your mic! Jess checks in with her Thanksgiving and how she can’t remember Jess’s new work process and you guys, she’s open to answering all your questions from Podcast Websites 12:18 Text Expander Promo! Podcasters Gift Guide! Auphonic, baby! An editor (the most requested ‘gift’) An incredibly insightful marketing and strategy team member An SEO, copyrighter person Someone to clean up and do your laundry Trello Business A boom arm Acoustic foam Quiet spaces Microphone training Elsie and Jess the random gifts Narwhal Slippers Comfy underwear Corksicle drinking mugs and water bottles Notebooks and pens Luxe Acrylic Silk sleep mask Alpaca legwarmers Space heater Links mentioned by Elsie and Jess! Leave us feedback via Speakpipe! Facebook thread that informed this episode iZotope RX 6 is no longer available but the iZotope RX 7 software is Samson Q2U the mic that Elsie used in this episode af Auphonic Adding intros and outros using Auphonic From Auphonic to Libsyn Zoom H6 or Zoom H4N af Smoko Adorable Narwhal Slippers, Unicorn of The Sea, Plush Squishy Moccasins Tomboyx Corkcicle Scribes Delivery Luxe Acrylic Lunya silk mask Alpaca leg warmers Lasko Ceramic Tower Heater with Remote Control and Oscillation Podcasters mentioned on the show! Emily Prokop from The Story Behind & E Podcast Productions Nutty Nuchtchas from Nutty Bites & Beyond the Wall Sara- Mae Tucson from The Sugar Baby Confessionals Sherry Eckert from Titanium Blond Talks Stacey Simms from Diabetes Connections Annie Sargent from the Join Us In France Travel Podcast Lena Gothberg the Shipping Podcast Jerri Williams from FBI Retired Case File Review Anna Hithersay from The Post Party Podcast Jen Hardy from The Sick Mom’s Guide Espree Devora from Women in Tech Traci DeForge from Journey To There and Produce Your Podcast Joan Patrie from Strandgeist Melissa Davis from The Mac Mommy Becket Graham from The History Chicks Liz Covart from Ben Franklin’s World Gabby Tangassi from Civilla Morgan from Childless Not By Choice Carrie Arick from Ya Ya Podcasting Jeni Stottrup from Gritty Birds She Podcasts thank-you to our Sponsors! Our editor John from Audio Editing Solutions. He is so good you need to hire him STAT! For $5 per month get exclusive access to coaching with Jess and Elsie Get special time with Jess and Elsie weekly over in the She Podcasts Supersquad! All you need to do is to sign up to be a $5 per month Patreon. We are waaaaaay worth more than a cup of coffee. Patreon Help Us Spread The Word! It would be stellar if you shared She Podcasts with your fellow women podcasters on twitter. Click here to tweet some love! If this episode got you all fired up, head on over to Apple Podcasts and SUBSCRIBE TO THE SHOW! And if you're moved to, kindly leave us a rating and review. Ways to subscribe to She Podcasts! Click here to subscribe via Apple Podcasts Click here to subscribe via RSS You can also subscribe via Stitcher Feedback + Promotion for Women Podcasters You can ask your questions, comment below, go to the She Podcasts Facebook group and even share your promos for your podcast! Let your voice be heard. Send it all to feedback@shepodcasts.com  

This episode was brought to you by Sinasoid. If you're listening to this on a Monday, then tomorrow is Tech Tuesday! Go check it out right now! This week's episode is brought to you by Gunstreet Wiring Shop. Gunstreet is made of a small team of folks that focus on quality and community. They can walk you through finding the perfect wiring harness for your guitar needs. This episode was also brought to you by Revv Amplification. Their G3 pedal is a lovely overdrive/distortion box that will fit into any rig.  Lastly this episode was brought to you by Chase Bliss Audio. Chase Bliss Audio has a whole line up of super-versatile analog pedals. By combining a digital brain with an analog heart, CBA has broken the idea that analog pedals have to be simple. In this episode Ryan talks about selling the Rhoney Lil' Stinker. At the end of the episode the guys eat hot peanuts. It's pretty rough, but the Izotope RX software made it listenable. Pictures 1. Big Muff Supply 2. Vertex Effects hangs out with Anderton's on Youtube and the internet goes crazy 3. Project Strat 4. Downsizing your pedal board 5. Ying Yang guitar This week's music was sent by Ian Ferguson and is called "Han Shot First"

Patrick ist abwesend. Die anderen Zwei nicht. Lieber Fluggast, wenn dir das Gehörte gefällt oder dir Sorgenfalten auf die edle Stirn fabriziert, dann haben wir etwas für dich: iTunes Bewertungen. Überbleibsel iZotope RX 7 GPG Mail wird kostenpflichtig JS Blocker funktioniert nicht mehr Which EFI firmware should your Mac be using? iPhones XS und XS Max Es ist groß. Jetzt wisst ihr es. Unsere Picks Andreas: Inateck 4 You Me Her (Serie) In Spenderlaune? Wir haben Flattr und PayPal am Start und würden uns freuen.

In this week’s Podcast, there is an opportunity to get an exclusive 35% off Exponential audio stereo reverbs, but you have to listen to the podcast to get the discount code! Russ, Mike and Alan discuss whether products like iZotope RX 7 Advanced and Revoice Pro 4 killing our creativity, enabling clients to say “we can fix that in the mix can’t we?” they answer your questions, share community feedback, and their finds of the week.

Riley (@raaleh), Hussein (@HKesvani), and recently returned Milo (@Milo_Edwards) speak with migrant advocate Zoe Gardner (@ZoeJardiniere ) about refugees, migrants, right-wing opposition to all forms of immigration, endless liberal equivocation on the topic, and whether or not Riley is an economic migrant (he is). This episode was recorded prior to England’s advancing in the World Cup, though by the time we have a moment to even address the fact that it’s coming home, the joke will already have been murdered by the worst people on the face of the planet. You can commodify your dissent with a t-shirt from http://www.lilcomrade.com/, and if you’re a keen chef you can acquire kitchen-related goods from our socialist cookware sponsor, Vremi (https://vremi.com/). Nate (@inthesedeserts), who lives in a country founded by some particularly enthusiastic economic migrants, produced this with Adobe Audition, iZotope RX, and iZotope Ozone.

Creative Media Recording in Cypress California.  Audio Recording & Sound Design in Orange County. Tim Keenan has an ear for audio quality and is the 3rd owner of the full-service recording studio of which, he started off as an employee of.  70% of the recording they do is the non-broadcast corporate type projects like eLearning.  And 30% is commercial recordings for TV & radio. I talked to Tim about how he goes about marketing Creative Media Recording. They’ve tried yellow pages and pay per click online ads but he says the best type of advertising is word of mouth.  And he does that by networking. “We tried all kinds of stuff but you know word-of-mouth is the best. I love live networking so I network at organizations that would use my service.  Under “meet up” you could find hundreds of different things that would be potential producers that get together and you may not be interested necessarily in their subject but you go there to meet these people and establish relationships. Because people hire people.  They want to have a relationship with somebody.  That’s what it’s really about.” Tim’s got a very interesting Twitter feed…actually 2.  He doesn’t spout off about politics and opinion pieces…or vinegar…instead he give shares information his target audience would enjoy reading about. Thus the dead squirrel quote at the beginning of the show. He really knows his audience. “I took a workshop on ‘Twitter for Business’ and I opened up a second Twitter handle that was really targeted more towards my clients and I talk to them about the stuff that they are interested in: audio, audio for video, new microphones, new technology.  That kind of thing.  Whereas with voice over people, I talk about the voice over business and I try to give my tips and advice.  But yeah, I work it.” Then we talked about his staff.  He’s got 2 studios that share 1 booth.  Over the years, they’ve downscaled and are now using a couple freelance engineers and tap into their pool of VO clients all over the country. As a voice-over guy, I am always interested in what gets the attention of people like Tim. He says, “It’s a fine line between keeping in touch with people and then overdoing it.” He talks about this being a face paced business.  If he can’t find the voice over demos on the website within 1 click…he might move on. Not everyone in this space is a “tech geek”…but he does have a favorite piece of equipment.  The iZotope RX helps reduce room echo.  It’s hum reduction, its noise reduction. He does a lot of sweetening audio in post-production, so the iZotope RX is perfect for that kind of work. What’s his pain point?  He LOVES audio.  The diminished appreciation of audio quality is something he called The Youtube-isation.  So, even though there’s plenty of good quality software and hardware for a decent price…the file then gets compressed to unnecessary lengths. One particular project he’s proud of is a documentary on his homepage, ww2 blimp hangars they did all the audio wall to wall for the project. What separates CMR from the competition?  His niche, he’s a production coordinator, so he gets hired to provide clients consistent quality.  So, whether they’re hiring VO’s from the midwest, Nashville, or anywhere around the country…he’ll vet the studio and the sound. He’ll make sure it sounds as if it was recorded at CMR.  Plus, they’ve got a vast pool of VO’s that specialize in many things.  So, if there’s a medical script, they know an RN that also does voice over. Creative Media Recording also does VO demos and complete foreign language conversion for projects. In fact, their biggest commercial client does English and Spanish versions of the same spot. So, while I wasn’t able to post this podcast beforehand, Tim was a part of the VO Atlanta 2018.  He was part of a panel for e-learning/corporate narration with Christi Bowen and Anne Ganguzza.  He planned to talk about e-learning from the client side.  Especially since he’s had so many different types of clients (insurance, medical) and so many types of VO (e-learning, IVR, audiobooks).  He seems to like that every day is something different. I asked him about living in Orange County, California if they’ve had any brushes with fame.  He said thanks to his SEO he’s been found by NPR for projects.  Plus Guy Fieri recorded a bunch of VO for Diners, Drive-Ins & Dives. But the biggest is back in the 90’s when his studio cat got featured on Pets in the Workplace, on CNN. Sam the cat when viral before there were viral videos. And if ANYONE has that footage, please send it this way!

My guest is Simon Barber - cohost and producer of Sodajerker On Songwriting, as well as musician, songwriter, academic and researcher. We discussed: Recording interviews on location, as well as the necessary post-production Apogee Duet audio interface ESI Record M. Multitrack Auphonic Amadeus Pro Audio Hijack Rode NT USB microphone (cardioid condenser w/ pop shield) Zoom H6 Shure SM 58's iZotope RX 6 Shure SM 57 with the A81WS windshield (as mentioned in our previous session with Allan Tepper) Thanks for sharing so much great information, Simon! DID YOU KNOW........We exist for the purpose of helping you, so please comment below with any questions or remarks. Thanks for listening! Want to Start a Business or Have a Career as a Podcast Producer/Engineer? Listen and Subscribe in Apple Podcasts, Google Play, iHeart Radio, Stitcher, TuneIn Radio, Android, RSS

My guest is Bandrew Scott - creator of Podcastage, a YouTube channel that provides gear reviews and tests to help you improve your podcast and YouTube audio/video. He also hosts The Bandrew Says Podcast. Enjoy listening; we discussed: Arturia AudioFuse Mac mini Logic Pro X Final Cut Pro Zoom LiveTrak L-12 Waves plugins iZotope RX 6 Shure SM7B Mogami cables Cloudlifter CL-1 dbx 286s *This session was mixed and edited by PES graduate Christopher Whittaker! Great job Christopher! And check out Bandrew's "tiny mic" video which we discussed in this session! Thanks for being a great guest, Bandrew! DID YOU KNOW........We exist for the purpose of helping you, so please comment below with any questions or remarks. Thanks for listening! Want to Start a Business or Have a Career as a Podcast Producer/Engineer? Listen and Subscribe in Apple Podcasts, Google Play, iHeart Radio, Stitcher, TuneIn Radio, Android, RSS

My returning guest is Garth Humphreys, host and producer of Audio Pizza, Aussie Mac Zone and iBlindTech. Garth and I go deep and get technical - and of course we make it practical and relevant to your podcast production, too ;) Before Garth and I got rolling, I first explained how I recently rescued some bad sounding audio using various steps: Putting it through Auphonic first (noise reduction, low end filter, leveler), then processing the resulting Flac file in iZotope RX 6 (phase, de-reverb, and de-click), then more processing in Reaper including EQ'ing and de-essing. Then we discussed: Garth's new Yamaha HS7 6.5" Powered Studio Monitors Compression: Going through all the parameters, what they mean and how they work. LUFS: Understanding how it's calculated and what it’s measuring. FLAC file format: Benefits of using it for recording and archiving. Phase trick: A cool way to hear what a plugin is actually doing to your audio. It also works for checking impact of MP3 encoding. Then I told the entire story of my recent purchase of the Rode Broadcaster microphone, and why I returned it quickly. (Note: It's NOT because it's a bad mic) I also talked about the two Fabfilter plugins I bought recently: The Pro-DS (de-esser) and the Pro-MB (multiband compressor). Thanks for hanging out with me again Garth and sharing so many tasty slices of audio pizza! DID YOU KNOW........We exist for the purpose of helping you, so please comment below with any questions or remarks. Thanks for listening! Want to Start a Business or Have a Career as a Podcast Producer/Engineer? Listen and Subscribe in Apple Podcasts, Google Play, iHeart Radio, Stitcher, TuneIn Radio, Android, RSS

My guest is Curtis Judd, creator of Light and Sound Media. Especially check out his YouTube channel where he publishes a new video every week covering lighting, sound, and camera gear to help folks produce better video and film. Audio is a vital component of video and Curtis really takes his audio seriously. We discussed: RE20 Orion Studio audio interface (Antelope Audio) Focal Solo6 Be 6.5" Powered Studio Monitors Adobe Audition ProTools Analog vs Digital limiters in recorders Using multiple passes with less noise reduction in iZotope RX 6 iZotope Ozone 7 iZotope Nectar Linear phase EQ Listen to the full episode for all the goods ;) Thank you for being a great guest, Curtis! DID YOU KNOW........We exist for the purpose of helping you, so please comment below with any questions or remarks. Thanks for listening! Want to Start a Business or Have a Career as a Podcast Producer/Engineer? Listen and Subscribe in Apple Podcasts, Google Play, iHeart Radio, Stitcher, TuneIn Radio, Android, RSS

Welcome to the NL Sketchnoting, Graphic Recording, and Visual Thinking podcast where we celebrate the lives and work of visual thinkers and allow them to showcase things they are enthusiastic about! Today, I'm talking to Brandy Agerbeck, speaker, teacher, author, graphic facilitator, and artist who at age two, started drawing and hasn't stopped yet. Brandy is the graphic facilitator's graphic facilitator, inspiring hordes of enthusiasts and professionals with her books, The Graphic Facilitator's Guide and The Idea Shapers, her signature program The Lab and her one-day visual thinking workshop The Idea Shapers Tour, and of course her legendary keynotes! You're in for a real treat with this conversation! Brandy is currently on tour in Europe, hosting her lab in The Hague (The Netherlands) and in Rungsted (Denmark), facilitating a session at EuViz in Brussels (Belgium), and hosting her Idea Shapers Tour in Copenhagen (Denmark). There are steal seats for the Idea Shapers Tour in Denmark, so if you're interested, head over there and sign up! Want to learn more about Brandy? Check out her online presence: Brandy's website: http://loosetooth.com/ The Idea Shapers: http://loosetooth.com/is/ The Graphic Facilitator's Guide: http://loosetooth.com/gf/ Brandy on Youtube: https://www.youtube.com/user/loosetoothdotcom Follow Brandy on Instagram: https://www.instagram.com/loosetoothcom/ Follow Brandy on Twitter: https://twitter.com/loosetooth Brandy's TEDx talk: https://www.youtube.com/watch?v=6bCHq1OvGR4 Books by Brandy: https://www.amazon.com/Brandy-Agerbeck/e/B0065RHT1U   The International Forum Of Visual Practitioners: https://www.ifvp.org/ Sparkol Videoscribe (affiliate link): http://www.sparkol.com?aid=816051 Want to subscribe to the NL Sketchnoting, Graphic Recording, and Visual Thinking Podcast? Subscribe via iTunes, or Stitcher. Your feedback is appreciated. Please leave your comments in the shownotes. Better yet, send in a voice message so we can put you ON the show! Credits The sounds used for podcast imaging are created by audionautix, musicradiocreative, and premiumbeat. All interviews were recorded in stereo with a Zoom H2N or in double mono with a Marantz Pro PMD661 recorder using a handheld AKG D230 dynamic mic, a Rode NTG2 condenser mic on a boompole, or a KEL HM-1 condenser mic on a mic arm resulting in a 96.0 kHz, 24-bit WAV file. Editing was done on a Macbook Pro using LogicPro with iZotope RX, Alloy, Nectar, and Ozone. Post production was done using Auphonic resulting in the final MP3 file for upload to Libsyn and distribution through iTunes and Stitcher.  

Welcome to the NL Sketchnoting, Graphic Recording, and Visual Thinking podcast where we celebrate the lives and work of visual thinkers and allow them to showcase things they are enthusiastic about! Today, I'm talking to Terese Ellnestam. Terese is a visual practitioner and owner of Grafant AB based in Stockholm, Sweden. She works with clients to communicate their thoughts and ideas more effectively through visualization. Judging from her Flickr page, she does both fast, real-time, graphic recording, as well as slow, mindful, drawing, and I'm dying to hear which of those she loves most. Want to learn more about Terese? Check out her online presence: http://www.grafant.se/ https://twitter.com/tellnestam https://www.youtube.com/user/74Terese https://www.flickr.com/photos/44198053@N07   The International Forum Of Visual Practitioners: https://www.ifvp.org/ Sparkol Videoscribe (affiliate link): http://www.sparkol.com?aid=816051 Want to subscribe to the NL Sketchnoting, Graphic Recording, and Visual Thinking Podcast? Subscribe via iTunes, or Stitcher. Your feedback is appreciated. Please leave your comments in the shownotes. Better yet, send in a voice message so we can put you ON the show! Credits The sounds used for podcast imaging are created by audionautix, musicradiocreative, and premiumbeat. All interviews were recorded in stereo with a Zoom H2N or in double mono with a Marantz Pro PMD661 recorder using a handheld AKG D230 dynamic mic, a Rode NTG2 condenser mic on a boompole, or a KEL HM-1 condenser mic on a mic arm resulting in a 96.0 kHz, 24-bit WAV file. Editing was done on a Macbook Pro using LogicPro with iZotope RX, Alloy, Nectar, and Ozone. Post production was done using Auphonic resulting in the final MP3 file for upload to Libsyn and distribution through iTunes and Stitcher.  

Welcome to the NL Sketchnoting, Graphic Recording, and Visual Thinking podcast where we celebrate the lives and work of visual thinkers and allow them to showcase things they are enthusiastic about! Today, I'm talking to Axelle Vanquallie. Axelle is a visual practitioner and member of Visual Harvesting based in Antwerp. She's very active in the international community of visual practitioners and generally aweseome! Want to learn more about Axelle? Check out her online presence: http://visualharvesting.com/en/ https://twitter.com/AxelleVQ https://www.instagram.com/vanquaillie/   The International Forum Of Visual Practitioners: https://www.ifvp.org/ Sparkol Videoscribe (affiliate link): http://www.sparkol.com?aid=816051 Want to subscribe to the NL Sketchnoting, Graphic Recording, and Visual Thinking Podcast? Subscribe via iTunes, or Stitcher. Your feedback is appreciated. Please leave your comments in the shownotes. Better yet, send in a voice message so we can put you ON the show! Credits The sounds used for podcast imaging are created by audionautix, musicradiocreative, and premiumbeat. All interviews were recorded in stereo with a Zoom H2N or in double mono with a Marantz Pro PMD661 recorder using a handheld AKG D230 dynamic mic, a Rode NTG2 condenser mic on a boompole, or a KEL HM-1 condenser mic on a mic arm resulting in a 96.0 kHz, 24-bit WAV file. Editing was done on a Macbook Pro using LogicPro with iZotope RX, Alloy, Nectar, and Ozone. Post production was done using Auphonic resulting in the final MP3 file for upload to Libsyn and distribution through iTunes and Stitcher.  

Welcome to the NL Sketchnoting, Graphic Recording, and Visual Thinking podcast where we celebrate the lives and work of visual thinkers and allow them to showcase things they are enthusiastic about! Today, I'm talking to Natalia Talkovska. Natalia is founder and owner of Natalka Design. She helps people tell their stories in creative new ways and gives them the tools to turn their communications upside down and make a lasting impact. Those tools include live sketchting, sketchnoting, videos, visual facilitation, training, and yes, even in-person consulting. Now, that is just her day-job. By night, when she's not out dancing semi professional, she furthers the cause of doodling by running a worldwide network of Doodleledo's, meetings where people that think they can't draw find out they actually can, and meet a bunch of like-minded awesome people in the process. You'll leave there with friends, not business cards. Want to learn more about Natalia? Check out her online presence: http://www.natalkadesign.com/ https://twitter.com/natalka_design http://www.doodleledo.com/ https://twitter.com/Doodleledo https://twitter.com/NatiTal https://www.instagram.com/natalia_talkowska/ https://medium.com/creative-dna/creative-dna-natalia-talkowska-cb02ad23a1ca#.p7y1hnhxm   The International Forum Of Visual Practitioners: https://www.ifvp.org/ Sparkol Videoscribe (affiliate link): http://www.sparkol.com?aid=816051 Want to subscribe to the NL Sketchnoting, Graphic Recording, and Visual Thinking Podcast? Subscribe via iTunes, or Stitcher. Your feedback is appreciated. Please leave your comments in the shownotes. Better yet, send in a voice message so we can put you ON the show! Credits The sounds used for podcast imaging are created by audionautix, musicradiocreative, and premiumbeat. All interviews were recorded in stereo with a Zoom H2N or in double mono with a Marantz Pro PMD661 recorder using a handheld AKG D230 dynamic mic, a Rode NTG2 condenser mic on a boompole, or a KEL HM-1 condenser mic on a mic arm resulting in a 96.0 kHz, 24-bit WAV file. Editing was done on a Macbook Pro using LogicPro with iZotope RX, Alloy, Nectar, and Ozone. Post production was done using Auphonic resulting in the final MP3 file for upload to Libsyn and distribution through iTunes and Stitcher.