Podcasts about mbox

Deset měsíců se léčil s vážnými problémy se zády a chvíli to vypadalo i na možný konec kariéry. Profesionální bojovník smíšených bojových umění (MMA) David Dvořák je teď ale fit a připraven vrátit se do nejlepší organizace na světě. Spolu s Jiřím Procházkou je aktuálně druhým Čechem, který má to privilegium patřit do světa UFC. I když před zraněním absolvoval po třech výhrách tři porážky v řadě, teď, podle svých slov, nemá co ztratit a v kleci nechá už brzy všechno. Kdy to bude? A proč se před návratem do UFC porve s velitelem vojenských výsadkářů? Nejen to zjistíte v rozhovoru Martina Bartkovského s Davidem Dvořákem v pořadu Prostor X.

Bonjour à toutes et à tous ! La page facebook des avis un petit j'aime pour suivre nos actualités : https://www.facebook.com/lesavisdalexis/.Le Instagram :https://www.instagram.com/lesavisdalexis/Le lien pour retrouver mes tours en vente : https://lc.cx/cvqYVous pouvez retrouver et faire un don sur ma page Tipee : https://www.tipeee.com/les-avis-d-alexisL'épisode n°374 des avis d'Alexis est en ligne, une chronique, un tour décortiqué et évalué.Aujourd'hui, nous allons vous parler d'un tour s'appelant "M-Box" de Jimmy Fan.Pour l'acheter : https://www.marchanddetrucs.com/magasin-de-magie/close-up-et-micromagie/pieces/m-box-set-pieces-chinoises-.htmlIl a reçu la note de 4/4 coeurs et 2/5 étoiles en difficulté.N'hésitez pas à vous abonnez pour ne rien louper des prochaines vidéos !La page facebook des avis un petit j'aime pour suivre nos actualités : https://www.facebook.com/lesavisdalexis/.Si vous avez des questions, je serai ravi d'y répondre ! Contactez moi : dlf.alexis@gmail.com.Bon visionnage :)Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

This week, Robbo, Robert, George, and AP dive headfirst into the digital abyss of archiving audio sessions. It's a showdown of practices, preferences, and pure paranoia that none of us want to miss. We're slicing through the magnetic tape of mystery to answer the burning question: To archive or not to archive? That is the question. Especially for voice actors like AP - is digital hoarding a necessary evil, or just a fast track to a cluttered hard drive? We're peeling back the layers on why every beep, click, and voiceover session might just be worth its weight in digital gold. Robbo, with his trusty naming convention stolen from his days at Foxtel, shares his vault-like approach to keeping every sonic snippet since Voodoo Sound's inception. That's right, folks - for a mere $25, Robbo will keep your audio safe from the digital gremlins, guaranteeing that not even a rogue magnet could erase your audio masterpiece. Then there's Robert, with his tech fortress of JBODs and RAID arrays, ensuring not even a single byte goes awry. It's like Fort Knox for soundwaves over there, proving once and for all that redundancy isn't just a good idea; it's the law in the land of post-production. But wait, there's a twist! Robbo shares a cautionary tale that's straight out of an audio engineer's nightmare - precious recordings lost to the abyss of DAT tape oblivion. A horror story to chill the bones of any audio professional, reminding us all of the fragility of our digital (and not-so-digital) creations. As for AP? He's the wild card, questioning the very fabric of our digital hoarding habits. But when push comes to shove, even AP can't deny the siren call of a well-placed backup, especially when clients come knocking for that one session from yesteryear. We also get a deep dive into the eccentricities of backup strategies, from George's cloud-based safety nets to the analog nostalgia of reel-to-reel tapes. It's a journey through time, technology, and the occasional Rod Stewart office painting gig - because, why not? So, gear up for an episode that's part backup seminar, part group therapy for data hoarders. We're dissecting the digital, analog, and everything in between to keep your audio safe, sound, and ready to resurface at a moment's notice. Don't miss this electrifying episode of The Pro Audio Suite, where the backups are plentiful, and the stories are even better. Who's backing up this podcast, you ask? Well, let's just hope someone hit record. A big shout out to our sponsors, Austrian Audio and Tri Booth. Both these companies are providers of QUALITY Audio Gear (we wouldn't partner with them unless they were), so please, if you're in the market for some new kit, do us a solid and check out their products, and be sure to tell em "Robbo, George, Robert, and AP sent you"... As a part of their generous support of our show, Tri Booth is offering $200 off a brand-new booth when you use the code TRIPAP200. So get onto their website now and secure your new booth... https://tribooth.com/ And if you're in the market for a new Mic or killer pair of headphones, check out Austrian Audio. They've got a great range of top-shelf gear.. https://austrian.audio/ We have launched a Patreon page in the hopes of being able to pay someone to help us get the show to more people and in turn help them with the same info we're sharing with you. If you aren't familiar with Patreon, it's an easy way for those interested in our show to get exclusive content and updates before anyone else, along with a whole bunch of other "perks" just by contributing as little as $1 per month. Find out more here..   https://www.patreon.com/proaudiosuite     George has created a page strictly for Pro Audio Suite listeners, so check it out for the latest discounts and offers for TPAS listeners. https://georgethe.tech/tpas If you haven't filled out our survey on what you'd like to hear on the show, you can do it here: https://www.surveymonkey.com/r/ZWT5BTD Join our Facebook page here: https://www.facebook.com/proaudiopodcast And the FB Group here: https://www.facebook.com/groups/357898255543203 For everything else (including joining our mailing list for exclusive previews and other goodies), check out our website https://www.theproaudiosuite.com/ “When the going gets weird, the weird turn professional.” Hunter S Thompson Summary In the latest episode of the pro audio suite, we dive into the world of audio archiving and discuss the various approaches and philosophies toward preserving our work. We're joined by industry professionals including Robert Marshall from source elements and Darren 'Robbo' Robertson from Voodoo Radio Imaging, as well as George 'the tech' Wittam and Andrew Peters, who share their personal strategies and experiences with archiving voiceover projects. The conversation opens with a discussion about the importance of having a naming convention for files, with insights on the methods adopted from professional entities like Foxtel. Listeners will learn the value of archiving everything, as shared by Robbo, including the practice of charging a backup fee to clients to cover the costs of maintaining archives. George introduces his once-a-year protocol of transferring data to an archive hard drive, emphasizing how affordable data storage has become. However, he also highlights the importance of staying current with technology to avoid the obsolescence of media, sharing anecdotes about DA 88 tapes and the need to keep track of archival materials. The episode touches on practical voiceover tips, like not necessitating a workstation at home and utilizing a laptop as a backup plan for voiceover recording. We also cover the worst-case scenarios such as dealing with corrupted audio and the advantages of modern backup solutions. The discussion moves on to cloud storage, specifically iCloud, and its benefits for voice actors who might otherwise become digital hoarders. The team debates the challenges of booting up from an external drive on modern Mac systems like the M1 or M2, offering insights into the workaround solutions which may require additional purchases. Listeners are reminded of the great offers from our sponsors, such as Tribooth for the perfect home or on-the-go vocal booth and Austrian Audio's commitment to making passion heard. The episode comes to a close emphasizing the professional edge of the podcast, all thanks to the contributions of Triboof and Austrian Audio, and the craftsmanship deployed using Source Connect, with post-production by Andrew Peters and mixing by Voodoo Radio Imaging. The audience is invited to subscribe to the show and participate in the conversation via the podcast's Facebook group. #VoiceOverTechTips #TriBoothTales #ArchivingAudioArt Timestamps (00:00:00) Introduction: Tributh Vocal Booth (00:00:42) Archiving Discussion with Robbo (00:07:34) Talent Experiences with Archiving (00:13:17) Digital Media Frailties (00:18:48) Tape Transfers Before Auctions (00:21:27) Backup Plans in Voiceover Work (00:27:39) Importance of Redundancy (00:31:04) Apple Silicon Booting Limitations (00:35:25) Podcast Credits & Reminder to Subscribe Transcript Speaker A: Y'all ready? Be history. Speaker B: Get started. Speaker C: Welcome. Speaker B: Hi. Hi. Hello, everyone to the pro audio suite. These guys are professional. They're motivated. Speaker C: Thanks to tributh, the best vocal booth for home or on the road. Voice recording and austrian audio making passion heard. Introducing Robert Marshall from source elements and someone audio post Chicago, Darren. Robert Robertson from Voodoo Radio Imaging, Sydney. To the Vo stars, George the tech Wittam from LA, and me, Andrew Peters, voiceover talent and home studio guy. Speaker B: Learn up, learner. Here we go. : And don't forget the code. Trip a p 200 and that will get you $200 off your tribooth. Now, Robbo and I were having a bit of a chat the other day about archiving, which is something I strangely do, and I don't know why I do it, but I do. But there are different reasons for archiving, and mine is obviously completely different to Robert's. And of course, it's completely different from Robo's. So how much do you archive and how far back do your archives go? Speaker A: Well, as I said in the conversation yesterday, I actually archive everything. I could pretty much pull out any session I've done since voodoo sound existed, which is fast approaching 20 years. But I do charge a backup fee to my clients, so they pay $25 for the privilege. And, look, to be fair, whether they pay it or not, I do archive it, but it's a built in cost covering for me to be able to go and buy a couple of hard drives every year. But I reckon if you're going to do it, the most important thing for me anyway, is having some sort of naming convention. So I actually pinched mine off Foxtel when I used to freelance there. The channels had a three letter prefix. So I give all my clients or podcasts a three letter prefix, and then I use an underscore, and then it'll be what the thing is, whether it's a program or imaging component or whatever, and then the name of it, and then the month, and then an underscore, and the date the day of that month, and then an underscore in the year, and then usually. Sometimes after that, if it's a revision, I'll do underscore r two, r three, r four. And then each year is on its own hard drive or hard drives. So if I need to go back and find something, I've just got an external hard drive player, shall we call it? I can't think of what you call them, but you just plug your hard drive in and it turns up on your Mac, and I can just go through and find what I need. But, yeah, I've got clients that are sort of expecting me to do that. As you and I were talking about yesterday, I don't know whether maybe voiceover artists are expected to or not, but as I said, I kind of thought it would be nice to be able to. : I do it only on occasions if there's any chance that they're going to come back and want to do a revision or they're going to lose something, particularly if it's a massive session or something, that I've actually done the edit myself. I'll keep it, because you can bet your life that they're the ones who are going to come back and say, have you still got that thing? Because we've lost it. Speaker A: Yes. : It's like, no, I haven't, actually. So I keep all those things, but I was keeping day to day stuff and it was like, what's the point? It's like that stuff's already been on the air and it's off the air, it's gone. So why am I storing that for other people? But, yeah. Interesting. What about you, Robert? : I have a couple perspectives on this, I guess, from just sort of a mix operation point of view. What we have is what you call, it's a JBOD, just a bunch of drives is what it stands for. And it's controlled with the raid controller. So there's eight drives in this one, and it's not that big, actually. It's only, what is it? Like maybe two terabytes or something? And across all eight drives are all of our jobs that are sort of current, essentially. And the way the JBOD works is that it's an array. And so you can literally lose any one of those eight drives can just completely go to crap and we won't lose any data. You just slide a drive back in there and it heals. Speaker B: A raid five or a raid six. : Raid six, actually. Speaker B: Right. : So you can lose two out of the eight, I believe, is what we are. And we've had it over the last ten years. When we bought it, we just bought a whole stack of the same hard drives. And we've only had to use like two in the last ten years. So that's like kind of our live job. And then what we do, we would have all of our live jobs on that drive. And then if we ran out of space, we would peel out whatever, we would just go for the jobs that aren't active. So some of these jobs that we have were on that drive and have never been. They just keep on coming back, essentially. So they're always on the active drive. Meanwhile, the people that come in and do one thing and then they're gone, you never see them again. They get moved off, and then we would make two copies of that. And what we've been doing now is like, I'll go home with one and Sean will go home with the other. But however it goes, they're just basically on dead drives, or they're not spinning anymore, they're just sitting on a shelf so we can access those and then what we have. So last for a backup of the main drive. Ray, if the building was to burn down, I was using time machine and then taking a drive home every now and then. But we started using backblaze, which is just a really good service. It's like cheap for the year, and it just backs up. As long as the drive is spinning, they don't charge you. I think by the size, it just has to be an active drive. So that's our off site backup. And then we just have a database, which is really just a spreadsheet where a job comes in. We have like a naming convention, and we name it by the job name and then a job number, and there's a database that has basically every time that job was ever touched. So to us, these are all like a bunch of little rolling snowballs that get bigger and bigger and bigger and jobs come back and they get added to, or they just never go away. And they're always on the active drive. And that's how we do the post operation, the music operation. When I'mixing a band, I just have like a hard drive that sticks around with me for a while and then eventually it gets put on a shelf. And I have a lot of these drives that are sort of just dated. And I've used source zip a lot back in the day when I was low on hard drive space. But the problem is some of these drives are 40 pin ide drives, and I keep around a one firewire case that has a 40 pin. Like I can plug in any one of these hard drives. And then others are SATA. And those are really easy with the USB slots or the USB docking for the SATA drives, but it's looser. I just basically go by date and the client will say, hey, I did something with you, and I'll just go rummaging through my hard drives and hopefully find one from that date. Every now and then you may do two hard drives in a year, but those are my two systems. One is very stringent and good. And the other one is loose. : So George, do you know any other talent who know archive their sessions? Speaker B: I think the vast majority barely are functional on a computer that I work with. So they have extremely minimal protocol. : I know a lot of talent that don't even make a backup to be honest. Speaker B: Yeah. As far as they're concerned, once they got paid they could care less, it's gone. Some people are more data processing type people like me and they like to keep everything they've recorded. So what I would tell people, which almost never comes up, but my protocol is I have an archive hard drive that I will dump things onto about once a year. So I'm basically clearing space off of my local drive, cloud drives. I use Dropbox, Google Drive and iCloud. So stuff's in different places for different reasons. My business is on Google Drive, right. So every single client folder is on Google Drive at all times. And there's something around a terabyte or so there. And that's not that much because I'm not doing multi track productions or in most cases any video. Right. It's just small numbers of files. But my client media folder is on disk anyway because it's bigger than what's on my disk. But what's on disk is about 250gb and there's roughly 32,000 items in that folder. : Wow. Speaker B: And then it's funny, I just have 26 folders, ABCD and so forth. And the biggest folder is the letter C. So statistically there are more people by the name of C and I go by first names, right? So first names with c are the most common. Then s, then j, then a, then D, then m. It's kind of funny, I have all these weird statistics about names because I have 4000 clients. So it's really interesting to see some of the names that are so common. : I've got stuff. This is how stupid it is. I think I'm actually an order. I've got files here. Like I keep a folder for each client and then every session gets put into the folder, right? I look at some of them and even looking at the folder go, God, I haven't worked with those guys for years. And then you open the folder and look at the date of the sessions. It's like that was like 15 years ago. What the hell am I keeping that for? Speaker B: It's amazing, right? Well, data is cheap. It's really cheap to store data. I mean it's never been cheaper, so it's kind of like there's no harm in doing it you just have to eventually clear house. You're eventually going to fill your cloud drive or your local drive. So you have to have some kind of protocol to then move things. : You eventually have to take it into your own domain and not have it up on the cloud. Speaker B: Right. : And there's an old thing with data, though, which is you don't have a copy unless you have two copies. Speaker B: Right. True. This is what I think is interesting. So all these cloud storage scenarios have not changed price or capacity in many years. They're all still $10 for a terabyte or two terabytes. And that hasn't changed in a long time. : The meaning of a terabyte hasn't changed. Speaker B: Right. So what they're doing is they're making progressively more money per terabyte over the years. Yes, because their cost of storage is dropping, dropping, dropping year after year, and they're just keeping the price the same. : But they are continuously having to reinvest. Because another thing about archive and storage is that any. And this is the problem I have. It's like an archive is not a static thing. It must be moved and massaged, and you have to keep it moving with the technology going forward. Because if not, you end up with things like, I've got archives. I mean, I've got analog reel to reel tapes, plenty of those with stuff on them. And I can dig up the deck to play it back. But once you don't have that deck anymore, you just don't have it. And I've got dat backups and exabyte backups. Remember those, robo? Speaker A: Yeah, I do. : And CD Roms. And then. How about this one? That happened to me. I did a whole huge. One of the biggest albums I ever did, and I backed it up to a stack of dvds, dvdrs, dvdrs, like four gigs each. Four gigs each, I think. Were they four gigs each? Is that how much they were? I think so, yeah, four. Speaker A: And then dual layer were eight or something, weren't they? : Eight, right. Okay. And these were some crappy ones. Within three years, I went to play those things. And basically. Data rot. Yeah, it's gone. That's when you learn the lesson. And so if you don't keep your data moving, you don't know what's going to happen to that physical device that's holding it. And not just what happens to it, but what happens to the ability to even use that type of device or that type of software that reads it. Speaker A: Here's the interesting thing, right? I dragged out an old laptop case that I used to store all my dats in when I used to sort of freelance. And I always had dats, especially for radio imaging of bits and pieces that I would drag around with me. And I had to pull it out the other day. And this thing's been sitting in my garage, right? So not temperature controlled, not dust controlled, nothing else. There's about 60 dats in this thing. And I've got an old. It's not even on a digital database. It's an old sort of folder that's got like each dat has its own master and all that sort of shit. So I pulled this out, right? This is stuff that I recorded when I was still at AA in Adelaide. So we're talking 1996, right? I dragged this dad out and my trusty portable Sony Walkman, the TCD D 100, dragged that out, put some batteries in, plugged it into my Mac, chucked the dad in, going, there's no way this is going to work. Hit, dialed up the track number, play, bang, spun up to it, played it back. Pristine. Absolutely pristine. Speaker B: No glitches, no static. : I've had the same thing happen where the DaP machine has been completely screwed. And then you have to get a new DAP machine, but at least you can get those. But when the dat tapes go, you're kind of sol. Exactly your sol. Maybe you can find a read pass that works, but for the most part, that part of the tape is just like screwed. But that kind of thing happens even with files. I had a road. No, not a road. A zoom road. You'd be happy to know it's a zoom. And it was like a zoom recorder. Recorded the files, full concert, got home to play it. Files, complete silence. And it turns out that basically the zoom didn't like the little SD card. It was too slow, it was too this. And every indication was everything was fine until that file got big enough for the SD card to freak out. So all these mediums, even the new ones, still have their frailties. And I know dats are really known for being frail. Like, look at it wrong and it's never going to play back. Speaker B: Well, they're really pro media, right? The pro devices that use media like solid state media usually have redundant disks. They all have two slots, whether it's SD or CF or some other high speed. They'll always have a double slot because they have redundancy that's totally pro level. That's for doing like. : Because if you don't have two copies, you don't have one. Speaker B: Yeah, that's like when you're doing mission critical. You cannot afford to lose what you're doing. My daughter's a work at. : Exactly. : Yes, indeed. Speaker B: The oldest media I have still in a crate in my parents basement are DA 88 tapes, which were high eight digital tapes, and I don't have a machine anymore. I really don't recall telling my dad it's okay to sell my remaining Tascam Da 88, but apparently he did happen. : So I was just at La studios, and they still have their PCM 800 in the rack, which is a Sony version of a D 88. I still have eight at's around. And then. Speaker B: Yeah, I have no idea if those D 88. Some of them will work somewhat don't. I don't have a machine. I don't have any ide drives anymore. Everything's SATA. But one day I pulled up this Corboro box with like, 15 SATA drives, and I realized I could just go to Costco and buy $100 hard drive and literally put that entire box into one hard drive. And I could probably do that. In fact, I think three or four years ago, somebody said, hey, do you have this thing? And I went, I think I do. And I pulled out the archive drive and it wouldn't mount. I was like, okay, this is going to happen. Speaker A: But here's the other thing, right? And this is the thing that annoys me, and I've made this mistake, is you've got to keep a track of this stuff because you're always trying to sort of downsize your archives, I guess. And this is the classic mistake that I made. For years, I carried around these 15 inch reels of analog tape, right? Stereotape. My first demo of commercials and stuff was on this stuff. And when I finally landed this place called take two, which was my last sort of full time post production gig, they still had a quarter inch machine. And we're talking 2001, 2002. And I thought, right, this is probably the last time I'm going to see one of these. So I transferred it all carefully, professionally onto dats and all that. I had about three dats of stuff. And about two years later, I went looking for them. Do you reckon I've ever seen them again? I've lost them somewhere. But whereas a 25 inch reel. Sorry, a 15 inch reel, that's pretty hard to lose, you know what I mean? So it's like, you got to be careful. : Yeah, well, it's funny, when I was a kid, this is slightly off topic, but I suppose archiving in a strange way. But during summer holidays, a mate of mine, we used to go and try and get jobs. And his brother was a painter and decorator and he used to get us out, know, doing a bit of labouring for him. And he said, oh, do you guys want to earn some money? It's like, yeah. Yeah. So we jumped in his transit van and we took off down to London and ended up working in a recording studio. And we were painting Rod Stewart's office. : What, pink. : And he had above this. I can tell you exactly what color it was. Mission Brown and burnt orange. : I knew there'd be something like pink or orange. Yeah, there you go. Speaker B: Brown and orange headphones right here. : Yes, that's right. Yeah, it was pretty funny. But the recording studio downstairs, they just used to bin all this quarter inch tape, just throw it away. So it was bins full of. My dad was in electronics, so I thought I might just help myself to some of those. I mean, they're throwing them away after all. And it was just seven inch reels. So I just grabbed a whole bunch of seven inch reels out of the bin, took them home and didn't play them for some peculiar reason. We just recorded over the top of them. Speaker A: Right. : God knows what was on those tapes. Speaker B: Can you imagine? : So check it out. One of the studios that I freelance at one of the gigs they had was transferring before auctioning off these tapes that this janitor got out of a recording studio in New York. It was CBS or something. Turns out it's like the masters or some early tapes from Dylan's first. Speaker A: Wow. : So they auctioned them and then in order to prove, like, they had to have one playback, I don't know, they ended up supervising the transfer. But literally, it's, know, these tapes, they were supposed to go through the bulk erase, but not all of them would make it to the bulk erase. And this guy apparently was kind of into folk music and just happened to pull these out. And they just passed around for years and years until finally some grandparent or somebody is like, we're going to auction these. Speaker A: Do you reckon they stuck them in the microwave before they played them back? : Well, it's not the microwave. You put them in the dryer, in the dehydrator. Speaker A: I've heard stories and stories. It was always the microwave for me. We always used to nuke them. And you'd get one playback, but. Yeah, I haven't heard of the dryer. : But that's getting that tape. Because you ever seen one that does it, that you don't do that to? Yeah, well, it peels like it peels. It's the scariest thing. It goes through that pinch roller. One piece of tape comes into the pinch roller and two pieces of tape come out. One is the original tape. The other one's the oxide that briefly looks like a piece of tape until it crumbles into dust. Speaker A: Yeah. And the other is the back. : And you're just like, because it's playing. And you're like, okay, I should just let it play because this is the. Speaker A: Last playback should have been rolling on this ever. Yeah, it's crazy, isn't it? But going back to the Rod Stewart thing, was it Steve Balby on this show that was talking about. Steve was the bass player for noiseworks and his next band was what was greedy people, electric hippies. And they needed multi track to record their album. So they snuck into the archives and stole a couple of the noise works ones. : Yeah, they stole some multi track tape from somewhere. Speaker A: Yeah, it was noiseworks. They went and stole. : Over some band's archive. Speaker A: Well, his first bands. Yeah, the previous band, they stole their previous band's multi tracks and used those to record on. : Okay. At least it was theirs. : Bad archiving there. Speaker A: I know. I guess the other thing that this whole subject leads to, and I guess, George, this is more up your alley, is the thing that always terrifies me is if I've got a remote session, I'll set it up the night before and I'll test everything and I'll save it and make sure that I don't really shut anything down. I'll just leave it all working. But the thing that terrifies me as I'm walking back into the room, know what's gone wrong overnight when the computer's gone to sleep? Has something ticked over or something gone wrong? And I'm going to open up the computer and I'm just going to get into this panic that something's not working. Is there anybody out there in voiceover land, George, who has a plan b? Or who's ever thought about having a plan b? Like, okay, so if my main computer, for some reason just cocks it and I can't get a sound out of it, what am I going to, pushing a broom? Yeah, what am I going to do? Speaker B: I mean, the plan b is most people have a desktop and a laptop, so the laptop is the plan b. That's pretty much it. Home studio voice actors systems are pretty, let's face it, low end. I mean, you don't need a workstation, a $5,006 workstation to do voiceover at home. So you really just need another computer. And for most people, that's going to be the laptop. : It's the travel rig. Isn't the travel rig the backup rig, too? Speaker B: Yeah, I mean, I've had clients run and grab their travel rig when something completely goes haywire with their Apollo or whatever, and they're panicking, and I'm like, just pull out your MacBook, plug in your Micboard Pro, plug in your 416, and get the job done and move on. And the client will be happy because you're in your studio, which sounds amazing, so don't worry. Speaker A: Yeah. Speaker B: So that's the backup plan for any really true busy professional voice actor. : When I used to really panic about capturing audio that it wouldn't go wrong, I would actually have two microphones. I worked at two microphones, one going to the main computer and one going to the laptop, and I'd have them both recorded. Speaker B: Yeah, that's like BBC, remember? Wasn't like the 70s where they would literally duct tape. A second mic was for the television show and one was for the film. : You would see that many microphones. Exactly. Speaker B: That's true, because they didn't have distro boxes and splitters and stuff back in those days, I guess. But, yeah, we've never gone to that extent. In the beginning of my career, I did have clients running pro tools that had a DAT backup. That was definitely protocol. Pro Tools was so glitchy. : Yeah. You would run a dat backup with a dat tape. In fact, the way we ran the DAT backup was that you would record the talent in stereo, and then you'd put the clients on the left side so that you had both sides of the conversation. But the talent was always at least isolated on one channel. If you ever needed just the talent. Speaker A: There you go. Speaker B: Yeah, I retired. Dat backups were my clients 15 years ago. But Howard Parker had one. He had a Dat recorder, and he would just hit record every time he'd walk into the booth on the dat and rewind it, because we just didn't know if he'd walk out in a half hour later. And pro Tools had a 61, whatever the hell it is. Buffer. Speaker A: One of those fun errors that pop up that you got to go google what it means. Yeah. Speaker B: As a voice actor who's solo working at home in their closet or their booth. And at those times, we didn't necessarily have a second monitor, keyboard, and mouse in the booth. So you don't want to lose a session. You don't lose in a half an hour, an hour or 2 hours narration. That's the worst. The worst ever is when there's a nonsensical glitch during a two hour session and you don't know what's happening. You have no idea. And meanwhile, the audio is basically garbage. It's like static. : That's why sometimes in a session it is a good idea when you're like, okay, this is good. Stop and record a new file. Because computers like, if something's going to happen, it's more likely to happen to a big file. Back in the day, it wasn't uncommon for a file that was really big to be more likely to get corrupted, essentially. Speaker B: Well, I have set up a modern equivalent to the DAT backup which is getting like $100 task cam, flash recorder, real basic one. And then plugging an output from their interface or their mixer into that and then saying, listen, you're doing a phone patch. It's a two hour narration. You do not want to lose that work. Just hit record on that thing over there. Now you have a backup. You'll almost never, ever need it. But the one time that you need. : That freaking backup, if you don't make the backup, you'll need it. If you do make the backup, you won't need. Speaker B: It's like if you don't bring an umbrella. : Exactly. Speaker B: It's going to rain. : Exactly. Speaker B: That is an absolutely dirt cheap and extremely simple. You can even have a scarlet two I two. And as long as you're not using monitor speakers plugged into it, you can just use the outputs, put it in direct monitor mode and it'll just send whatever you're saying straight out the back line into your Tascam. Like I'm saying, $100 recorder. The basics, the really basic one. And record. : Yeah, it might be through like a little 8th inch connection. It might be mono, it might be analog. But you know what? It's going to be something compared to nothing. It'll probably be. No one will even know that it wasn't necessarily a digital copy. Speaker B: Yeah, it can be a 16 bit 44 or 48 wave. It's fine. I've set this up for a lot of people and when I go to their studios or I talk to them, they almost always say I haven't used it in a long time because they're so used to it being reliable until. Speaker A: It doesn't work, until the day it falls over. Yeah, exactly. Speaker B: And that's why I have clients that hire me and I work with them on a membership and like a contract and I check their systems out on a regular basis. Like, I do maintenance. I check. How much drive space do you have? Are you backing up? Is the backup working? Oh, crap. The time machine backup hasn't worked for six months. And you had no idea you filled. : Your time machine drive. Exactly. Speaker B: Or you filled your time machine, or whatever it is. It can sometimes just corrupt, get corrupt. What's my time machine right now say? It says cleaning up. I don't know how long it's been saying cleaning up. Maybe for a month. I have no idea. I just clicked on. It says cleaning up. So redundancy is really important for those big jobs that, where you're the engineer. : Essentially, the thing that starts to separate really pro operation from. It's like if you're there with a backup when someone needs it, and they're like, I didn't even expect you to have it, but you have it, you're delivering, and I think there's. Speaker B: Yeah, of course. I'm keeping everything I ever do. It's all in the cloud. At any moment, someone will email me and say, my computer crashed, I lost my stacks. I also can't find the email you sent me with the stacks or the email you sent me with the stacks. The links don't work anymore because it was another cloud based system that I don't use anymore. Right. I'm like, no problem. Within, like, ten, I can literally be on my phone, go to Google Drive, put in their name. We would just right click on that thing, and we would get the share link email to the client. I'm like, here's your folder. Here's literally everything I've ever done for you. And they're always grateful, and I never charge for it because I feel like we charge a pretty penny for what we do, and it's just one of those things that's so incredibly simple. It's not like I'm trying to keep online. I'm not trying to keep an online storage of, like, two terabytes for a client. These are not big folders. A big client folder is 2gb. Speaker A: You got to be careful what you keep, though, too, don't you? Because you can become a bit of a hoarder very quickly. You really can. Speaker B: Data hoarding, what's the problem? It's digital. Data hoarding is like, I could care less. Again, I'm not dealing in video, and I'm not dealing in big projects. So I can keep thousands of folders, which I do, and I don't care. It's no skin off my back. Speaker A: See, I used to back up all my video, too. All the videos that came in for tv commercials and stuff and the revisions. And I used to keep every video back, all that up. After a while, I just went, man, this is crazy. So I keep it for, like, it ends up two years now because I basically have two hard drives that I rotate. So when one's full, I'll take it out, stick it aside, get the other one, put it in and erase it and go again. So, I mean, I figure two years is enough. Speaker B: I feel like for any voice actor, it's an absolute no brainer to use some kind of cloud storage iCloud or Google Drive. ICloud is essentially automatic. The second you put anything into your desktop or your documents folder on any modern Mac, it is in the cloud. It just is. And so it's kind of a dirty trick to get you to upgrade your cloud, because it will fill up very quickly. But if you're not the kind of person that wants to think about another service and pay for another service and shop for one, and then think of a way to just use the dang icloud. It's built in, it's automatic, it's cheap, $10 a month for two terabytes. It'll take you a long time to fill that thing up. Just to me, it's a no brainer. And if you're on windows, there's an equivalent in the Windows side. I just don't know what it is. One drive, I think. Speaker A: Yeah, I heard you mention time machine before. Can I give a shameless plug to someone who's not a sponsor of the show, but something I've used for years and I love is carbon copy cloner, which is. : Yes, I love carbon. I use the Jesus out of that. Speaker B: I used to use it. I don't use it anymore. Speaker A: Such a good piece of software. Speaker B: Yeah, no, the beauty of that was you could have a secondary disk that was plugged into the computer that was literally an absolute copy duplicate of your computer. So you could literally have the system drive crap out, hold down, and you. : Can use that as your targeted backup. I used to point my hard drive at home to the hard drive at work so that it could get onto the back blaze at work. Speaker B: Oh, wow. Speaker A: Yeah, wow. There you go. Speaker B: That's a hack. Well, yeah, I mean, just to have. That was a nice thing. Now, here's the thing. Here's a little gotcha for all us Apple people. If you're on an m one or any of the silicon macs, they can no longer boot with a dead system drive. So if your system drive in any silicon Mac is toast. You cannot boot to an external USB drive. Speaker A: Oh really? Speaker B: There you go. Speaker A: I've got one running. I've got a backup running, so that's no good to me. Speaker B: If the internal drive system is blown away, it's unaware of any external drive. Speaker A: Why did they do that? Speaker B: I don't know. Ask Tim Apple. : It's Macintosh. That's why they did that. Speaker B: Yeah, Apple. Apple. : Because it's the slow progression of your computer into an. Speaker A: Yeah, yeah, right. Speaker B: Yeah. : That's annoying. I mean, I live and die on option. Booting the computer and having like some. Speaker B: I'll check. I will re verify that. But when the silicon Macs first came out, this was a bonus contention. People were talking. So here's just what the first search result on Google says. If you're using a Mac computer with Apple silicon, your Mac has one or more USB or Thunderbolt ports that have a type c connector. While you're installing macOS on your storage disk, it matters which of these ports you use. Okay, well, that's totally irrelevant. It has nothing to do with the answer I'm looking for. How do you start up your m one or m two from an external drive? There's another thing. It's not easy as it used to be and likely requires that you purchase. : I mean, you used to be able to boot up a Mac from the network. Speaker B: Yeah, I'm reading this article from Mac World. I'm just skimming through it. Awesome. I don't want to say something that's untrue, but this is what I recall day one when it came out. This is what somebody said. Speaker A: That's really annoying. Speaker B: So yes, you have to have a certain type of drive. Actually, this article mentions Bombich's carbon copy cloner. Speaker A: So we'll boot from that. : No, it just mentions carbon to copy your drive probably. Speaker B: Yeah, they're explaining the entire process. But that external drive has to be formatted in the correct way. Let's say you buy just a random hard drive, like a western digital, and you plug it in and then make that your clone. It will not work. : You have to be. You always had to make it like guide partition. I think it was something like that. It changed over the years. It used to be even like hfs plus. And then it's. Speaker B: Yeah, now it's apfs. : Yes, the container. Speaker B: Yeah, it's apfs. So I know we're going down a rabbit hole here, but yeah, this is the kind of thing you have to think about if you're really wanting to have redundancy and have a system that can essentially crash and be online within a minute. And for most voice actors, that's going to be just too frustrating and difficult to maintain. And for them just to have another computer that can plug in and go is really the most practical thing to do. : That is kind of like the ultimate backup. Speaker A: Yeah, I was going to get rid of my Mbox pro and my 2012 Mac Pro, but I think I might hang on to both of those and they might just be my backup. Speaker B: Well, if it's easy for you to plug those in and get back, right back to work, then it's worth keeping. Speaker A: I reckon that's the thing. I might just sit them in the garage, put them away in a box and seal it up and I can just grab them when I need them. Speaker B: Yeah, sounds good. : Sounds good to me. Speaker B: Sounds good to me. Speaker A: Well, who's backing up this podcast then? Speaker B: Oh shoot. Speaker A: Did you hit record? Speaker B: Well, that was fun. Is it over? Speaker C: The pro audio suite with thanks to Triboof and austrian audio recorded using source Connect edited by Andrew Peters and mixed by Voodoo Radio Imaging with tech support from George the tech Wittam. Don't forget to subscribe to the show and join in the conversation on our Facebook group. To leave a comment, suggest a topic, or just say good day, drop us a note at our website, theproaudiosuite.com. #AudioArchiving #ProAudioSuite #SoundEngineering #BackupStrategies #DigitalHoarding #AudioProduction #VoiceOverTips #RecordingStudioLife #TechTalks #AudioPreservation  

Czym jest i jak powstał MBox: wewnętrzna platforma server-driven UI dla aplikacji mobilnych w Allegro?  Skąd wziął się pomysł na to rozwiązanie i na jakie bolączki odpowiada? Dlaczego zdecydowaliśmy się na budowanie tego typu rozwiązania in-house i z jakimi wyzwaniami mierzyliśmy się w procesie tworzenia?  Co wyróżnia zespoły pracujące nad tym narzędziem i jak pracuje im się bez Product Ownera? Posłuchajcie siódmego odcinka Allegro Tech Podcast z udziałem Pauliny Sadowskiej i Tomasza Gębarowskiego - Managerów w obszarze Technical Platform Services w Allegro. Paulina Sadowska - Manager, EngineeringPaulina jest menadżerką zespołu pracującego nad MBoxem – narzędziem server-side rendering, które umożliwia tworzenie funkcjonalności w natywnych aplikacjach na Androida i iOS po stronie backendu. Lubi czytać, ćwiczyć i dzielić się wiedzą na swoim blogu i kanale YouTube. Blog: https://medium.com/@PaulinaSadowska Kanał YT: https://www.youtube.com/c/PaulinatalksAndroid Tomasz Gębarowski - Manger, EngineeringEngineering Manager i pasjonat programowania. W Allegro wprowadza server-driven UI do świata e-commerce. Wcześniej zajmował się bankowością mobilną, bezpieczną komunikacją i rozproszonymi usługami VoIP. Interesuje go skalowanie rzeczy i ulepszanie procesów. Ma doświadczenie w utrzymywaniu dużych baz kodu i w projektach długoterminowych. Prywatnie ojciec dwójki dzieci, miłośnik automatyki domowej i konstruktor LEGO.

In this conversation, 7investing Lead Advisor Matthew Cochrane once again sits down with Ryan Krueger, the co-founder and CEO of Freedom Day Solutions, a family-owned and operated financial advisory firm located in Houston. Krueger is also the founder of the Freedom Day Dividend ETF (NYSE:MBOX).  The Freedom Day ETF is designed, as Krueger explains, to give investors growth of income, not growth or income. Krueger believes the ETF can accumulate a stable of quality companies that pay a rising dividend while avoiding many of the common pitfalls often associated with income investing, namely:  Not investing in companies with the highest yields; Avoiding companies that nominally raise their dividends every year to please income investors; Not investing in companies with unsustainable payout ratios. Cochrane listens to Krueger as he explains why he believes there's a problem with the 4% rule, which suggests retirees can safely withdraw 4% of their retirement savings balance every year. Krueger believes a much safer bet is holding a portfolio of financial instruments that pay dividends in excess of one's expenses.  Along the way, Cochrane and Krueger discuss several of MBOX's holdings. Williams Companies (NYSE:WMB) and Enterprise Products Partners (NYSE:EPD) are two pipeline operators that transport and store natural gas. If global conditions don't change, the two operate profitable companies that pay a nice dividend to shareholders. However, natural gas provides much cleaner energy than coal, and Krueger believes there is a real chance both can experience significant growth as the rest of the globe transitions from coal in the coming years.  Nexstar Media Group (NASDAQ:NXST) is the largest domestic television station owner and operator with almost 200 stations. Even as the world consumes more media via streaming apps, live sports and news still command more viewers than any other type of content. At just 12 times next year's earnings and sporting a 3% dividend yield, Krueger believes Nexstar is undervalued as an operator of attractive and profitable assets.  As a father of five kids involved in youth sports, Krueger is well aware of the allure of Dick's Sporting Goods (NYSE:DKS), a retailer that sells atheletic apparel and equipment. But Dick's also owns the GameChanger app that allows little league games to be watched online, giving the big box store a digital growth channel.  To see all of Matt Cochrane's top dividend stocks, subscribe to 7investing Premium. Krueger can be found on Twitter @RyanKruegerROI and you can find more information on his advisory firm (and excellent blog) at freedomdaysolutions.com. For more information on the Freedom Day Dividend ETF, you can visit freedomdaydividend.com.  --- Send in a voice message: https://podcasters.spotify.com/pod/show/7investing/message

How Chris wasted three months tracking down a Wi-Fi problem, plus we debate if immutable distros need to be simplified.

「アビッド、Media Composer 2022.12リリース。「Avid MBOX Studio」を完全サポート」　Avid MBOX Studioオーディオインターフェイスをサポート。Avid MBOX StudioをUSBで接続すると、macOSとWindows両方でマルチチャンネルの「サラウンドサウンド」再生を含む、最大8チャンネルの入出力 が可能になった。

Would a custom bespoke instrument make more of an impact with a relative beginner or a seasoned veteran?This week the buds dive deep into some fresh gear and some fresh gear thoughts, but what else is new?Also discussed: Warm Audio's new Centavo and Zendrive clones, Avid with a major refresh to the Mbox, a new Tech21 Geddy Lee signature SansAmp, Danelectro Longhorns and baritones having a moment, Motley Crue news, vintage Martins in New Zealand, Moogerfooger updates, Gibson suing Dean (again), and Spacehog.Time for a nightcast, a Gearbuds nightcast.

In this week's podcast Julian is joined by Audrey Martinovich and Steve DeMott. They discuss setting up headphone mixes in the studio and the newly announced MBOX Studio from Avid.Finds Of The WeekJulian - MBOX STUDIOAudrey - Abbey Road De-mixSteve - SoundSkulptor MP-AB528 EMI style 500 series preamp 

If you're not into audio right now, you're missing out. So, if you're not, you should start doing this. The digital innovator, Gal Klein, today's co-CEO at AI-based Voice Search platform Audioburst, and his recommendations to everybody who wants to find their digital product or who doesn't even suspect of various opportunities such tools can give. Gal Klein started his career with mechanics serving for six years in the army as a mechanical engineer. In addition, he had some tech background. Then, he worked for a company computerizing it, creating technical manuals and catalogues for aircraft in the IAF. In 2000 Gal established his own company, which started providing solutions in the media world, e.g. personalized CDs, and there was also worked as CTO in mBox for international companies on creating technology to cut songs, video clips into short pieces of audio. After that Gal founded another company PLYmedia. It allowed users to create layers on top of videos, like a speech or thought bubble, live captioning for such companies as Intel, Cisco, Microsoft, IBM, and big events like Oprah Winfrey. - Blitz story of Gal's journey - How Audioburst came to birth - Challenges of the product development process - Product market fit: how to outline your audience, your segment of the market - Bevelop their own digital product - How the audio content can help other business - Getting investments for your digital product

We got a rootin' tootin' podcast here. Darn tootin'. Can you both rootin'- and darn'- something that's tootin' in the same paragraph like this? I don't know. I really don't know. I might be going to podcast jail. Before that happens, though, here's me and jessamyn chattering about MetaFilter, the nature of daylight, representation vs. allusion in crappy old Sierra erotic comedy adventures, MetaFilter, the concept of (for some reason) No Nut November, "Meta", and who knows what else because we're both still getting used to the time change. It runs exactly, precisely, to the second 90 minutes.Helpful LinksPodcast FeedSubscribe with iTunesDirect mp3 downloadMisc - Jessamyn is a bee - I got a tattoo and literally everyone guessed right - remember, remember, the No Nut November, the Poe's Law'd Sienfeldian plot - Jess recently enjoyed reading Finna - I recently enjoyed rereading Dune, I don't have a link or anything, I just did is all - also Sierpinski Triangles - okay, on review I totally recognize that yodel breakdown in Focus' Hocus Pocus Jobs - Property project management and maintenance by Barbara Spitzer - Drop off a document at the PA Secretary of State in Harrisburg by Sheydem-tants Projects - The Worst House On The Internet by missjenny (MeFi Post) - Are You a Clickbait Genius? by malevolent - Saturday Afternoon Ikea Trip Simulator by dng (MeFi Post) - Mini-Project: Convert exported Metafilter comments to HTML, JSON, or MBOX by Kadin2048 - Mystic Paths - A new word board game! by meinvt MetaFilter - anyone who enjoys wild birds is a birder! birding is for everyone! by jessamyn - Aspirational rhetorical loquaciousness by simmering octagon - The United States Postal Service: "Non oficialis motto!" by not_on_display - Uh oh by Cookiebastard - Fractal vise by clawsoon - Welp, there goes my evening ... by dancestoblue - Off, dud, over, under, upon, hot, ono, oof, hi, lo, etc. by tss Ask MetaFilter - help me find more podcasts by jessamyn - HBTY HBTY HBD* HBTY by QuakerMel - How fast/reliable is TSA's lost and found? by LSK - What's a good name for an office can crusher? by box - Programming/computer science/IT terms that refer to obsolete tech? by potrzebie - Burying ethernet cable (or wireless??) by wenestvedt - I want to learn art by Brittanie - Donated to take a campaign over its goal. Goal changed afterwards. wtf? by scruss - Have Jazz Hands, Will Jazzercize by meese MetaTalk - MeFi Mall 2021 by hippybear - MetaFilter Gift Swap 2021 Signups by curious nu - MeFi Holiday Card Exchange by needlegrrl - NaNoWriMo 2021 by womb of things to be and tomb of things that were - Roll, Truck, Roll by lauranesson

In this conversation, 7investing Lead Advisor Matthew Cochrane sits down with Ryan Krueger, the co-founder and CEO of Freedom Day Solutions, a family-owned and operated financial advisory firm located in Houston. Krueger believes that there are countless and confusing ways to plan for retirement. Even at their best, a withdrawal rate based on a projected return is a guess, sometimes based on just a little more than hopes and prayers. Krueger thinks there's a better way to plan for retirement, built around a portfolio of assets that pay income to the investor. Investors then realize their “Freedom Day” is when the cash flow coming in exceeds their costs (needs and wants) going out. To help investors reach this goal, Krueger has launched the Freedom Day Dividend ETF (NYSE:MBOX). The MBOX ticker is a tip of the hat to dividend checks that used to hit investors' mailboxes at regular intervals when invested in quality companies that paid dividends. The Freedom Day ETF is designed, as Krueger explains, to give investors growth of income, not growth or income. Krueger believes the ETF can accumulate a stable of quality companies that pay a rising dividend while avoiding many of the common pitfalls often associated with income investing, namely: Not investing in companies with the highest yields; Avoiding companies that nominally raise their dividends every year to please income investors; Not investing in companies with unsustainable payout ratios. Along the way, Cochrane and Krueger discuss several of MBOX's holdings, including EOG Resources (NYSE:EOG), Domino's Pizza (NYSE:DPZ), Broadcom (NASDAQ:AVGO), and Tractor Supply Co (NASDAQ:TSCO). Krueger can be found on Twitter @RyanKruegerROI and you can find more information on his advisory firm (and excellent blog) at freedomdaysolutions.com. For more information on the Freedom Day Dividend ETF, you can visit freedomdaydividend.com. --- Send in a voice message: https://anchor.fm/7investing/message Support this podcast: https://anchor.fm/7investing/support

Gretta Cohn is the founder and CEO of Transmitter Media. Gretta's experience runs the gamut of all things audio, from public radio and ringtones, to producing chart-topping podcasts. We discuss her time touring with the band Bright Eyes, being hired as the first production executive at Midroll Media and Earwolf, and starting her own podcast company with only $7,000 of savings. Subscribe to our newsletter. We explore the intersection of media, technology, and commerce: sign-up linkLearn more about our market research and executive advisory: RockWater websiteFollow The Come Up on Twitter: @TCUpodEmail us: tcupod@wearerockwater.com--EPISODE TRANSCRIPT:Chris Erwin:Hi, I'm Chris Erwin. Welcome to The Come Up, a podcast that interviews entrepreneurs and leaders. Gretta Cohn:I thought I would take the more productive path, the one where I didn't leave podcasting and I made this decision in December of 2016 to myself and then spent the next couple of months just tucking away money. And when I say I saved money before starting the business, I saved $7,000. Chris Erwin:This week's episode features Gretta Cohn, the founder and CEO of Transmitter Media. Now, Gretta's experience runs the gamut of all things audio. From being a touring cellist with the band, Cursive, to teaching radio workshops at NYU, to working in audiobooks, ringtones, and most recently podcasts. And Gretta's done some groundbreaking work along the way like turning Freakonomics Radio into an omni channel media brand, launching the number one podcast show, Beautiful Stories from Anonymous People and helping build Howl, which eventually became part of Stitcher. But Gretta's career transformed in 2017 when she decided to do podcasting on her own terms. So with only $7000 of savings, Gretta founded Transmitter Media and quickly began producing premium podcasts for clients like, TED, Spotify, and Walmart. Today, Gretta is focused on scaling her Brooklyn based team and creating more, as she describes, beautiful things. Chris Erwin:Gretta's love for her craft and team is so genuine and her story is a great example of how sheer will and passion are the ultimate enablers. All right, let's get into it. Chris Erwin:Tell me a little bit about where you grew up. I believe that you grew up in New York City. Is that right? Gretta Cohn:Well, I grew up in the suburbs, so I grew up on Long Island. My mom is from Queens and my dad is from Brooklyn and there is a sort of mythology of their meeting. My mom's dad was a butcher in Queens and my dad would always tell us that they didn't have toothpaste growing up and he'd go over to my mom's house and just eat. Yeah, they moved out to Long Island after they got married. Chris Erwin:Nice. And what part of Long Island? Gretta Cohn:Initially I grew up on the eastern end in the town called Mount Sinai and then when I was 13 in a very traumatic move at that age we moved to Huntington, which was more like smack in the middle of the island. Chris Erwin:My cousins are from Huntington. That's where they grew up, but then I think they moved to Lloyd's Neck shortly after. Why was that move so traumatic at 13? Gretta Cohn:I think it's that really formative age where you are sort of coming into yourself as a human, as a teenager and I remember writing my name on the wall in the closet because I wanted to leave my mark on that particular house that we grew up in. But then we moved and I made new friends and it was fine. Chris Erwin:Everything is scary at that age. It's like, "Oh, I have my friends and if I move to a new high school or middle school, I'll never have the same friends again." Gretta Cohn:My best friend at the time, Alessandra, never to be talked to or seen again. Chris Erwin:What was the household like growing up? Was there interesting audio from your parents? I mean, I think you mentioned, remind me, your father was a butcher and your mother was... Gretta Cohn:No, no. Those are my grandparents. Chris Erwin:Those are your grandparents. Got it. Gretta Cohn:Yeah. No. My parents were both teachers in the education system. My dad was a teacher his whole career life. He taught shop and psychology classes and computer classes. And my mom ended up being a superintendent of the school district on Long Island. She got her start as a Phys Ed teacher and then became an English teacher and worked her way up to superintendent. The sort of interest in audio they instilled in me and my two brothers extremely early. We all started learning to play string instruments at the age of three through the Suzuki method. Chris Erwin:The Suzuki method? Gretta Cohn:Yeah. Which is like an ear training style of learning music. So you essentially at three years old, you cannot possibly understand how to physically play an instrument and I remember a lot of time spent in those early group lessons just hugging the cello and singing this song, I love my cello very much, I play it every day and crawling up and down the bow with spider fingers, that's what they called it because your fingers kind of looked like spiders crawling up and down the bow and we all started playing string instruments at that age. I played cello and then the brother who came after me played violin, and the brother who came after him also played cello. Chris Erwin:Wow. And did you parents play instruments as well, string instruments? Gretta Cohn:No. My dad loves to say he can play the radio. Chris Erwin:I respect that. Gretta Cohn:I think they are educators, they are really invested in the full education of a person and so I think that they thought it was a good teaching discipline and it certainly required a kind of discipline. I can recall really fighting against practicing because I had to practice probably every day and I would rebel and not want to do it, but it was not really an option and I'm glad that ultimately I was pressed to continue to play because playing music has played such a huge part of my life. Chris Erwin:Clearly. It led you, which we'll get to, into founding a podcast production company and network and so much more. So very big impact. But, I get it. I began playing the alto saxophone in fourth grade and my twin brother was playing the clarinet and it was lessons with Mr. Slonum every week, an hour of practice every day and it was, when you're putting it on top of sports and homework and academics, it's a lot and it's intense and there's moments where you really don't want to do it and it's not fun and then there's moments where you're very thankful for it. And I think a lot of the more thankful moments came later in my life, but if you can get some of those early on, it's meaningful. When you first started playing, did you really enjoy it or was it just like, uh this is what I'm just supposed to do? Gretta Cohn:I remember enjoying it. I remember in particular being able to do little recitals every so often and I know there are photographs of myself in recital that I've seen even recently and there is such a joy in that and I think that showing off something that you've done and your family claps for you, it's a good job. Ultimately, what it feels like to play in a group, in an ensemble, it's pretty magical. I played in orchestras starting in grade school all the way up through college and there is something really amazing about the collective and your part and you can't mess up because it's glaringly obvious if you're the one out of the section of 12 cellists whose got their bow going the wrong direction or the wrong note playing. But it's also really beautiful to play in a group like that. Chris Erwin:Yeah. It's a special team sport, right? You rely on other people and people rely on you. When it comes together, it's an absolutely beautiful event, for you and the audience. Gretta Cohn:Yeah. I also played soccer growing up, speaking of team sports. Chris Erwin:Okay. What position? Gretta Cohn:I was defense. They would enlist me to run around and shadow the most powerful player on the other team. I don't know why, but I remember that. Chris Erwin:I was very similar. I started out as a recreation all-star like a forward and then got moved to right fullback, which is defense. That was my soccer career. All right. So interesting. So yeah, speaking of studying music, I think that when you went to university, you almost went to study music at a conservatory but you ended up going to Brown instead. What were you thinking, because were you going down a path where it's like, "I want to be in audio, I want to create music." What was your head space there as you started to go through advanced education, beginnings of your career? Gretta Cohn:I remember collecting fliers for conservatories. I was interested in conservatory, I think though that as I began to really think about what that would mean, I don't know that I was thinking really broadly, like oh... No one at 17 or whatever really has a full picture of what those choices ultimately mean but I'm glad that I didn't go to music school. I was always the worst player in the best section. So I remember I was in the New York Youth Symphony and I was definitely not the best player in that section, but it was really hard to get in. One summer I went and studied at the Tanglewood Institute in Boston, which is, again, extremely competitive and hard to get into but I was definitely not the best player there. Gretta Cohn:And I think that thinking about what it would mean to devote oneself entirely to that, I had other interests. I wasn't so completely focused on being a performer that it didn't ultimately feel like it would make a lot of sense because I wanted to study history, I wanted... And obviously, you go to conservatory, you have a well-rounded education ultimately, I would imagine, but it's not where I think I ultimately wanted to go. That was not the direction I ultimately wanted to go. Chris Erwin:Yeah. It's a really big commitment going from good to great, but I mean, you are great. You are getting into these elite orchestras but to be the first chair, that's a level of dedication practice that's really tough. It's funny, I actually read a David Foster Wallace article about the sport of tennis and he played and he was very good and I think he could have even gone pro, but he's like, "I'm good, I put in enough hours and I have fun with it, but for me to go to the next level..." He's like, "It's not fun to me and I don't want to do that." It's not for him. So you make a decision and you go to Brown. What's your study focus at Brown? Gretta Cohn:I ultimately was in the American Studies Department, but I had a special sort of crossover with the music department so I took a lot of music classes, I took a lot of American Studies classes which is basically like cultural history, social history, history through the lens of various social movements or pop culture, which I think is really fascinating and I wound everything together so that my senior thesis was about cover songs and the history of sort of copying and the idea of creating various versions of any original work and the sort of cultural history and critical theory lens of it, but also just I selected three songs and I traced their history over time from a performance perspective but also from like, how does this song fit into the narrative of music history? Chris Erwin:Do you remember the three songs? Gretta Cohn:I think I did Twist and Shout. Chris Erwin:Okay. Gretta Cohn:I Shall Be Released and I can't remember the third one. But I had a lot of fun writing it and I really liked the bridging between the music department and the American Studies department. And strangely, there are so many journalists who came up through American Studies. There are several producers on my staff who were American Studies students in college. I think it just gives you this permission to think about story telling in the world from just this very unique cultural vantage points. Chris Erwin:Did you have a certain expectation where you had an idea of what that story was going to be over time or were you surprised and as you saw how the narrative played out with the original song and recording and production and then the covers, anything that stands out of like, "Oh, I did not expect this, but I found this very fascinating."? Gretta Cohn:I don't really remember at this point. Chris Erwin:Sorry for putting you on the spot, it's such a long time ago. Gretta Cohn:The thing was like more than 100 pages and it's probably a door stopper now at my parents house. I remember that I put a big picture of a mushroom on the last page. John Cage wrote a lot about mushrooms and so I wove some of his work into the thesis but this idea that the mushroom takes the dirt and crap and stuff that's on the forest floor and turns it into this organic material, the mushroom. So yeah, I don't remember the specifics. Chris Erwin:Yeah, no. All good. My thesis was on the Banana Wars and that is... It's not even worthy of being a door stopper. That's just straight to the trash. But I did, for a music class, I think I did break down a song by the Sex Pistols. Gretta Cohn:Cool. Chris Erwin:I can't remember specifically which one, but I think I dove deep into the lyrics and I think I was pretty disappointed. I expected to find more meaning and have more fun with it, and I think it was maybe my young mind, I couldn't go deeper than I thought I could. Anyway... So fast forward to 2001 and as I was going through your bio, this really stood out and it hits close to home. You become a cellist for some alternative rock bands including Cursive, The Faint, and Bright Eyes. And I just remember The Faint, I think a song from 2008, The Geeks Were Right. I remember listening to that shortly after college. So tell me, what was that transition going from university to then moving, I think you moved to Omaha out of New York to play in these rock bands? Gretta Cohn:So when I was in college, I continued to play in the school orchestra, but I also met some friends who became collaborators and we would just improvise in the lounge like, bass drums, guitar and cello. And that was really freeing for me. Growing up on Long Island, I had such easy access to New York City and for whatever reason, I was really given a lot of freedom to... I would take the Long Island Railroad into Manhattan and go to concerts all through high school, like rock concerts. Chris Erwin:What was some of your earliest concert memories? Gretta Cohn:Purposely getting to an Afghan Whigs show and planting myself in the front row because I wanted to be as close as possible to the stage. So I used to go to concerts all the time and I was really, really interested in... I wasn't only a person who thought about classical music at all and so I met this group of people and formed this little group together and so I was playing music in college, eventually joining a band mostly with locals in Providence and we became the opening act for a lot of bands that were coming through. Chris Erwin:And what type of music were you playing, Gretta? Gretta Cohn:It was arty rock. Chris Erwin:Arty rock. Okay. Gretta Cohn:Yeah. Some of it was instrumental, but then some of it was like pop. I think one of the bands that I was in was called The Beauty Industry and it was probably a little bit reminiscent of Built to Spill and The Magnetic Fields and a little bit like Poppy. So in that band we would serve as the opening act for a lot of artists that were coming through and through that I was able to meet the folks from Saddle Creek from Omaha, Nebraska. And I didn't know that I made an impression on them, but I did and after I graduated I moved to New York. I didn't really know exactly where I was headed. I got a job working in the development office at Carnegie Hall and I didn't love it. We had to wear suits. And one day the folks from Omaha called my parents home phone and left a message and asked if I would come out and play on a record with them and I did. Chris Erwin:When you got that message, were you ecstatic, were you super excited or were you just confused, like, "Hey, is this real? What's going on here?" Gretta Cohn:Yeah. I think I was like, "Huh, well, that's interesting." Like, "I didn't expect this." So Cursive is the group that invited me out to record. Just sort of like come out and record on our album. And I didn't actually know Cursive. I had met Bright Eyes and Lullaby for the Working Class when I was at Brown, but I hadn't met Cursive and my best friend, who is still one of my best friends was a Cursive fan and dumped all of their CDs and seven inches in my lap and was like, "You need to listen to them, they are so good." So I did and I sort of gave myself a little Cursive education and then I started to get really excited because I felt like there was a lot of interesting potential. Yeah. Gretta Cohn:Moving out there was not an easy decision. It was very unknown for me. I love New York City and I always imagined myself here and I had never been to the Midwest so I didn't know what my expectations were and I didn't... Also at that time Cursive was a fairly well-known band but it wasn't understood that I would move out there and that would be my job, right? I was moving out there to join this community and play in Cursive and do Cursive stuff, go on tour, record records, but at that point there was no promise like, "Oh, I'm going to live off of this." And so I went to a temp agency and I did paperwork in an accountant's office and- Chris Erwin:While also performing with Cursive? Gretta Cohn:Yeah. Yeah. I will also say though, after the first year, things really took off after The Ugly Organ and I would say at that point I was no longer working in the temp office and we were going on long tours and when I came home in between stretches on tour, I was recovering from tour because it's quite exhausting and working on the next thing with the bands. Chris Erwin:Were you touring around nationally? Any international touring? Gretta Cohn:Yeah. National and international. We went all over the States, Canada and then European tour is like often... Cursive was very big in Germany so we would spend a lot of time in Germany, Scandinavia. We went to Japan once. Chris Erwin:What an incredible post university experience! Gretta Cohn:It really, really was incredible. Chris Erwin:Playing music because of a skill that you formed very early on and then working in New York at Carnegie Hall and a job that you weren't too excited about and then you just get this serendipitous phone call. And you started listening to Cursive records in seven inches and you're getting more and more excited and all of a sudden you're traveling the world. That's like a dream scenario. Gretta Cohn:Yeah. It was pretty dreamy. And I think I recognized at the time. I mean, those first tours, we were sleeping on... I had my sleeping bag and we would be sleeping on hardwood floors, end up in like a row and someone's apartment in like Arlington. And I remember some of those first tours internationally, like in Germany, you would play the show and then everyone would leave and they would shut the lights off and we would just sleep on the stage. And in the morning the promoter, like the booker would come back and they would have bread and cheese and fruit and coffee. And it was just this beautiful... But we were sleeping on the stage. Chris Erwin:I mean, you're all doing it together. So it was cool. Right. You just were a crew. Gretta Cohn:Yeah, yeah. It was great. I loved it. I really, really loved it. Chris Erwin:I look at your work timeline between 2001 to 2010, which includes, you're a touring international artist, but then you do a lot of other things in audio. Like you study with Rob Rosenthal at the Salt Institute, do some time in Studio 360, and then you go to radio and then audio books. So what are the next few years? How does this audio adventure start to transform for you? Gretta Cohn:While I was in Cursive, there were other parts of me that I felt needed feeding and so I started writing for the local alternative weekly in Omaha. And I was doing like book reviews and reviewing art shows and doing little pieces, which sort of opened up to me, this understanding that journalism was something that I was really interested in. And while I was still essentially based in Omaha and still, essentially based out of Saddle Creek, I came back to New York for a few months and did an internship at The Village Voice because I just really wanted to sort of start exploring these paths of what would potentially come next. I didn't necessarily think that I was meant to stay in Omaha like for the rest of my life. When I first moved out there, I thought, "Oh, I'll give it a few years. See how it goes and then probably come back home to New York." Gretta Cohn:And then things really took off and so I didn't want to leave. And I was really having a great time and loved it and loved everything that I was doing. And I think that at the time that chapter was coming to a close, it was sort of like naturally coming to a close and I wasn't entirely sure what I wanted to do next. I was interested in journalism, I was interested obviously in... still thinking about music and audio although I think I needed a break from music after that time. Like when you're so intensively working on something like that, you just need a minute to let everything kind of settle. Chris Erwin:Yeah. It's all encompassing. Right. You're just living, breathing, eating music and the band. It's a lot. Gretta Cohn:Yeah. So I took a couple of years and started to figure it out. Actually, something that's not on your list is I worked at a ringtone company for a bit. Chris Erwin:It is audio based. So I'm not surprised. So yeah, tell me about that. Gretta Cohn:It was just a job that I got. Actually, looking back now, I think that it was a company that was founded by two classical musicians. They mostly had contracts with major record labels and I remember turning Sean Paul's Temperature into a ringtone in particular. It was just like chopping things into little eight seconds and looping them and mastering them and- Chris Erwin:Were you doing the technical work as well? Gretta Cohn:Not really, you spend time in the studio and so you learn and you pick up things. I wasn't recording the band, but that was the first time that I got my own pro tools set up and so I had my own pro tool setup, like was using it for my own little projects at home, but I was not technically involved with the making of any of the records that was on now, except for playing on them. Chris Erwin:Yeah, you were dabbling in pro tools then pretty early on. Gretta Cohn:Yeah, yeah. I had the original Mbox, which is like this big plastic, weird alien looking object with just like a couple of little knobs on it. I finally got rid of it a couple of years ago. I held onto it for a long time and now you don't even need it. Chris Erwin:So you're dabbling and then I know that you spend time as a producer at The Story with Dick Gordon, North Carolina, and then you went to audio books. Is that when things started to take shape for you of knowing kind of what you wanted to do? Gretta Cohn:I think as soon as I went to Salt to study with Rob Rosenthal is when I knew that that's what I wanted to do. I took a few years after Cursive to kind of reset a little bit and then I started working at the ringtone company and began to have conversations with people about where all my interests collided. Like I loved working in sound, storytelling and journalism were really important to me. I don't think at that point that... There was a whole lot that I was exposed to apart from NPR, This American Life and Studio 360 were sort of the major outlets for audio storytelling that I understood and spent time with. And I just remember having a meal with someone who I don't recall his name, but he's done a lot of illustrations for This American Life and public radio outlets and he was like, "There's this place, it's called salt. You can learn how to do this there." And so I just decided that I was going to step down this path. Right. Chris Erwin:Yeah. And Salt is based in Maine, is that right? Gretta Cohn:Yeah. So I moved to Maine for six months. I was very excited. I got a merit scholarship to go there. Chris Erwin:Oh wow. Gretta Cohn:Yeah, and I basically... There's so many fundamentals that I learned there that I use every single day now still. I think Rob Rosenthal is absolutely brilliant and he has trained so many radio producers. It's insane. Chris Erwin:Of all the learnings from Rob, just like what's one that comes to mind quickly that you use everyday? Gretta Cohn:I don't know that this is one I use every day, but it's one that's really stuck with me, is he really counseled to be really mindful when thinking about adding music to a story. He used the phrase, emotional fascism. Essentially, if you need to rely on the music to tell the listener how to feel, then you haven't done your job in sort of crafting a good story. So like the bones of the story, like the structure, the content, the sort of stakes intention and the character you've chosen, like all of that have to clear a certain hurdle and then you can start thinking about adding music, but if you're relying on the music to sort of create tension or drama or emotion, then you've kind of missed something. Chris Erwin:Yeah. That's very interesting. What a great insight! I like that. Emotional fascism. Gretta Cohn:I'll never forget. Chris Erwin:So after the Salt Institute, what's next? Gretta Cohn:I got an internship at WNYC at Studio 360. At that time the internship system at New York Public Radio was like largely unpaid. I think I got $12 a day. So I interned I think three or four days a week and then I had like two other jobs. Chris Erwin:Just to make ends meet, to make it work. Gretta Cohn:Yeah. I worked at a coffee shop, like most mornings. And then I worked at a Pilates studio many afternoons and on the weekends. So it was like a lot, I was really running at full steam, but I really enjoyed the internship there. And then that was my first real glimpse into what it was like to work in a team to make impactful audio storytelling and I learned a lot there too. The team there was really amazing. Yeah. So Studio 360 was fantastic. And then a friend of mine had found out about this gig at The Story with Dick Gordon. It was a short term contract producer role, like filling in for someone who was out on leave. And I got the job and I moved down to Durham, North Carolina, and found an apartment, brought my cat and worked on that show for a few months, which I think was a pretty crucial experience to have had, which helped open the door into WNYC. Chris Erwin:Why's that? Gretta Cohn:So this was in like 2008, 9 and there weren't like a whole lot of opportunities in the audio storytelling space. Like your major opportunities were at public radio stations and public radio stations were highly competitive. It didn't have a lot of turnover. They understood that they were the only game in town if this was the career path that you were interested in going down. So having had a job at a radio station on staff on a show was such a huge opportunity. I don't know that I was like chomping at the bit to leave New York or move to Carolina, although I loved it there. And I had friends who lived there that I knew from the Saddle Creek community. So it was really great. I moved down there and I didn't have to... I can't recall ever feeling lonely. Right. Like I immediately had this community of people, which was amazing, but that gig was only three months. Gretta Cohn:And so I came back to New York and basically spent the next couple of years banging on the door to get back into WNYC, which is when I went to the audio books company where quite a few radio producers worked. Like that's how I found out about it. There were folks who had passed through Studio 360 or elsewhere. And my boss at the audio books company is David Markowitz, who is now currently working in the podcasting department at Netflix. And he previously was at Pushkin and at Headspace and he... So he and I, although our paths crossed at that moment, because our paths have continued to cross over and over again since that time working together with the audio books company. Audio books wasn't my passion, but while I was there I got the idea to pitch the podcast to the audio books company, which they agreed to let me do. And so I had this outlet to just do a little bit of experimenting and to grow some skills and also have just like an outlet to doing this kind of work that I wanted to be doing. Chris Erwin:Had you ever pitched a project or an idea before to any place that you worked at? Gretta Cohn:I pitched stories to Studio 360, but to pitch an idea for something that had not existed before, no. Chris Erwin:It becomes, I believe, The Modern Scholar podcast, is that right? Gretta Cohn:Yeah. You've done like a really deep research. Chris Erwin:Look, it helps to tell your story. Right. So you pitch, and then you get the green light, which must feel validating. It's like, okay, this is a good idea, but now it's got to be more than a pitch, you had to execute. Was that intimidating or were you like, "No, I'm ready to go I got it." Gretta Cohn:I was ready to go. They had an audio book series called The Modern Scholar. Professors would come in and record like 10 hours worth of like Italian history. And so what I did was just have a one hour interview with the professor who was the author of this series and talk about their work, go into detail on something really specific. I will say at that time that like I applied for a mentorship with AIR, the Association of Independence Radio, they gave me a mentor and I had like a few sessions with him and it was great. Like I had someone... I had an editor, right. I wasn't totally on my own kind of like muscling through. And so he really sort of helped refine the ideas for that show and that was a great help. So I'm lucky that I was able to get that. Chris Erwin:What I'm really hearing Gretta is that you moved around a lot and participated in and developed all these different music and audio communities around the US and even the world from like Omaha and international touring and Scandinavia and Europe, and then the Salt and Maine and North Carolina and New York and more, and I'm sure, as you said, with David Markowitz, that these relationships are now serving you in your current business. So it feels like that was like a really good investment of your time where the networking was great, but you also learned a lot and were exposed to a lot of different thinking and ideas. Is that right? Gretta Cohn:Absolutely. Definitely. Yeah. Chris Erwin:After dabbling around a bit for the first decade of the 2000s, you then go to WNYC and you're there for around six years, I think 2008 to 2014. And you work on some cool projects. You're the associate producer at Freakonomics and you also work on Soundcheck. So tell me about what made you commit to WNYC and what were you working on when you first got there? Gretta Cohn:At the time there weren't a lot of options for people doing this work. And WNYC obviously is an incredible place where really amazing work is done, really talented people. It basically was like the game in town, right? Like there weren't a lot of other places where you could do audio storytelling work in this way. There was a pivotal moment that I think could have gone in a different direction, but I had applied for a job at StoryCorps and I applied for the job at Soundcheck. Chris Erwin:What is StoryCorps? Gretta Cohn:They have a story every Friday on NPR that's like a little three minute edited story and it's usually like two people in conversation with each other. It's highly personal. And they're very well known for these human connection stories. It's I think influenced in part by oral history and anthropology, but it's basically this intimate storytelling. And I did not get that job, although I was a runner up and the person who did get the job is now one of my closest friends. But at the same time was an applicant for Soundcheck and I did get that job. And I think it was... That was the right path for me because I have such a passion for music. Right. My background kind of really led me to have an understanding of how to tell those stories. Chris Erwin:What is the Soundcheck format? Gretta Cohn:It changed over time. But when I joined Soundcheck, it was a live daily show about music and really open, like wide open as far as what it covered. So in any given episode, you could have like Yoko Ono there for an interview, you could have the author of a book about musicals from the 1920s, and then you could have like a live performance from Parquet Courts. So it was really wide ranging and varied and super interesting. And there's so much about working on a daily show that's I think extremely crucial to building up chops as a producer because every single day you have a brand new blank slate, you have to work extremely quickly and efficiently. Working in the live setting can create so much pressure because not only are you keeping to a clock, like the show went from like 2:01 to like 2:50 every day, and there had to be certain breaks and you have an engineer and you need the music to cue in a certain place. Gretta Cohn:And so you're like, "Cue the music." And you're whispering to the host like, "Move on to the next question." You're like this master puppeteer with all these marionettes and it's pretty wild. It's really fun, super stressful. You go off stage and it's like- Chris Erwin:It sounds stressful. Gretta Cohn:You can't fix it. You just have to move on and you learn a lot. Chris Erwin:It feels like something, you do that for maybe a couple of years or a few years and then it's like, ah you need a break from that. It's amazing that people who work in like live video or live radio for decades, like kudos to the stamina that they build up. Gretta Cohn:And that's exactly what happened is I needed a break from it. And that's when I went to Freakonomics. Chris Erwin:Got it. Before we go into Freakonomics, you also helped create Soundcheck into an omni-channel media brand where you were launching video and live events and interactive series. Was that something that had been happening in the audio industry or were you kind of setting a new precedent? Gretta Cohn:Our team was tapped to reinvent Soundcheck. So it had been this live daily show for quite some time and I think that WNYC wanted to reshape it for a variety of reasons. So we were sort of tasked, like we pulled the show off the air and kind of went through this like sprint of re-imagining, what the show could be, how it would sound, what it would do. And actually, I remember that I pitched this video series that was a lot of fun. I can't remember the name of it now, but we worked with a local elementary school and we would have three kids sitting behind desks and we would play them clips from pop songs- Chris Erwin:Whoa. Gretta Cohn:... and they would review them and- Chris Erwin:That's a really cool idea. Gretta Cohn:... it was awesome. It was so much fun. We did a lot of live performances and I started producing sort of like more highly produced segments and storytelling for Soundcheck at that time, because there was more space to try and figure that out. Ultimately, what it turned into was like a daily delivery of a show that I think ultimately resembled the old show in many ways, but it was not live anymore. And there were all these other tasks. I also created a first lesson type series for Soundcheck at that time where we would like stream a new album before it came out and I would write a little review. It was really fun. When we pulled the show off the air and we were tasked with re-imagining it was like a sandbox that you just kind of could plan, which was great. Chris Erwin:It's a wide open canvas that you can paint to how you desire. I get that why you were burnt out after that. So then you change it up and you become an associate producer at Freakonomics and you work with the fame, Stephen Dubner and Steven Levitt. How has that experience? Gretta Cohn:It was great. It was challenging. I think that show has incredibly high standards and there's a particular kind of brain that I think works extremely well at that show. At the time, there were two of us who were the producers of the show, myself, who has this background in music and in production. And then the other producer was an economist who had been freshly graduated from economics school. And so we were this pair and I think what ultimately happened was that where I shown where these like human stories and where he shown was like distilling econ papers into sort of understandable stories. And so I think the two of us together really complimented each other. One of my favorite episodes that I worked on was about the Nathan's hotdog contest and one of the sort of like champs who had come up with a particular system for how to win- Chris Erwin:Dunking them in water and all that stuff. Yeah. I remember watching some of those segments online. In a minute they put back like 47 hotdogs. It was something crazy. Gretta Cohn:Yeah, it's wild. Chris Erwin:After Freakonomics, you decided to depart for Midroll and Earwolf. What was the impetus for that? Gretta Cohn:My time at Freakonomics was sort of like naturally coming to a close. I think that while my strength was in this sort of human sort of storytelling, I think the show needed someone who had a little bit more of that like econ background. And so I started to look around the station at WNYC, of other places where I could land, right? Like I'd moved from Soundcheck to Freakonomics, like what would be the next place for me to go? And I couldn't find it. I spent a little bit of time in the newsroom helping to look for a host for a new health podcast and I had conversations with people around the station about various other shows. I think I talked to the folks on the media and this producer, Emily Botein, who ultimately founded the Alec Baldwin podcast and a host of other really great shows there, but it didn't seem like there was space or a role that really made sense for me as far as like the next step is concerned. Gretta Cohn:At that time, Erik Diehn who's now the CEO of the Stitcher empire was in the finance office, I think at WNYC and he left to go to Midroll/Earwolf. Chris Erwin:I didn't realize he was also WNYC. Bannon was also WNYC who's now the chief content officer over there? Gretta Cohn:Mm-hmm (affirmative). Chris Erwin:Wow. It was a feeder to that company. Gretta Cohn:Yeah. So Erik Diehn left WNYC and I remember the note that went around, he's going to this company, Earwolf/Midroll. And I was like, kind of filed that away. And then it was probably a few months later that they put a position, they were hiring for a producer. And I sort of leapt at the opportunity. I thought that the shows on Earwolf were awesome. I had not worked really in comedy. Although I think that there's so much crossover in Soundcheck. We really had a lot of license to have basically like whoever on the show, like I booked comedians, I booked authors. Like I booked anyone who had a passion to talk about music, which is like 90% of the world. And so I think that that was really of interest to them. And I had a couple of conversations with Erik and the job was mine. I mean, I went through- Chris Erwin:You make it sound very easy. Gretta Cohn:... a proper vetting and interview process. And there were other candidates, but they gave it to me. And I was really, really excited because I think I was ready for a fresh start and I was ready for something new, something a little bit unknown. I think that I tend to find... Typically, I think if you look over the course of my life, like every few years, I'm like, "Okay, what's the next thing?" And I think that I still feel that way except now I have this entity of Transmitter in which to keep iterating and playing, but I was just ready for the next thing. And it was at that time, a really small company, I was the first New York based employee, like Eric was living in New Jersey. So it doesn't count as a New York employee. There was no office. Chris Erwin:I remember that Jeff Ullrich was the founder and it was bootstrap, didn't raise any venture capital and started I think in the early 2000s, if I remember correctly. Is that right? Gretta Cohn:I don't know the dates, but that sounds right. Chris Erwin:Okay. A little context for the listeners. And Earwolf is a comedy podcast network. So there's a slate of comedy shows and Midroll was the advertising arm of the business that would connect advertisers with the podcasters. But no, please continue. So you're the first New York hire. Gretta Cohn:Yeah. Which was really exciting to me. I was the first producer hired by the company. They had a few really amazing audio engineers out in LA who ran the recordings and they did editing, but there had never been a producer on staff. So it was really this like wide open field. And Jeff at that time, I think had taken a step back from the company, but the moment that I was brought in is when the idea for Howl came into the picture and Howl was a membership subscription-based app that has now turned into Stitcher and Stitcher Premium, it was folded in, into Stitcher and Stitcher Premium. But at the time there was like this real push to create a subscription-based app with like a ton of new material. And one of my first jobs was to work extremely closely with Jeff to figure out what was going to be on this app, who were we going to hire to make material? What producers, what comedians, what actors? There was an enormous spreadsheet, like one of the most enormous spreadsheets that I've ever spent time with. Gretta Cohn:So that was my first task and alongside, which was to sort of from a producer's perspective look at this later shows on Earwolf and start to think about what would a producer bring to the network? What would a producer bring to the hosts, to the way that things were made, to new ideas to bring to the network? And so those two things were sort of happening concurrently. Chris Erwin:The producer role was not defined. You're the first producer there. So it's you coming in saying, "Here's how I can enhance the slate. Here's how I can enhance the content strategy of where we're headed concurrently with we're launching Howl, which needs a lot of content, both from partner podcasters and probably owned and operated and then filling..." So creating a new slate, that's going to fill that. That's going to make people want to buy the membership product or subscription product, which are big questions that Spotify and Netflix and the biggest subscription platforms in the world have huge teams to figure out. And it's like you and Jeff, and maybe a couple more people? Gretta Cohn:There was one developer. Chris Erwin:Wow. Gretta Cohn:It was intense. It was a lot of work. I remember because at that time too, I was the only New York based person. Eric was in New Jersey. I think Lex Friedman came along. He was either already there or came along shortly thereafter, also based in New Jersey. Chris Erwin:And Lex was running sales? Gretta Cohn:Yes. And he's now with ART19, but there was no office. I was working from my kitchen table, much like I do now. It was great. I think what really excited me was like the open field of really sort of figuring out what everything was going to be and it was like off to the races. Chris Erwin:So I actually reached out to a few people that we mutually know to just get like, oh, what are some stories I can have Gretta talk about from the early Midroll/Earwolf days. So I reached out to Adam Sachs who was also on this podcast earlier. He's a childhood friend of mine that was also the CEO of the company when it sold the scripts, as well as Chris Bannon, who I consider one of the most like delightful humans on the planet. I think he was the chief content officer while you were there and he still is now under Eric as part of this new Stitcher Midroll combined empire. And what Chris said is that, like you mentioned Gretta, no office for the first six months and that you were taking meetings, I think in sound booths as well. And that when you finally did get an office, it was so small that you were taking turns sitting down. Gretta Cohn:Yeah. Well, we put our own furniture together. I learned so much from my years at Earwolf that have completely guided and shaped a lot of how Transmitter kind of came into being. Yeah, we put all of our furniture together ourselves in this first office. Chris Erwin:That's good training for you launching Transmitter where it's lean budgets, you're funding from your savings. You probably had to set up your own furniture yourself too. So that DIY attitude persists. Gretta Cohn:Yeah, yeah. And it was exciting. Whereas a place like WNYC is this like well oiled machine, it's also like a big ship that in order to turn 30 people have to be sort of moving things around and like, is the sky clear? There are just like so many little tiny steps that have to be taken to make a decision. Whereas what working at that early stage at Earwolf meant was like you can just make decisions, you just do it. Eric and I went around to see like five different offices. We decided together, "Oh, let's take this one on Eighth Avenue." This is the furniture. All right, let's put it together. I remember walking into the office when the furniture was first delivered and it was extremely dusty and we were wearing dust masks and trying to figure out where's the studio going to go? And it was just really exciting. It's really exciting to sort of pave your way and build something from the ground up. Chris Erwin:I like what you're saying too, is that you can just get things done very quickly. And that's actually one of the things that Bannon brought up about working with you is you guys launched good shows I think in just a matter of a few months or less, like Bitch, Sash and Beautiful Stories from Anonymous People, which was a number one hit on iTunes. And that now making shows like that, if you're at a bigger company with all the bureaucracy and the approvals can take over a year, but you guys were getting stuff done fast, there was no alternative choice. Gretta Cohn:Yeah, we were working very quickly. Chris Erwin:So I'm curious to hear like Beautiful Stories from Anonymous People. That's like an iTunes topper. Was that the first big podcast hit that you had in your career? Gretta Cohn:I would say so. Yeah. I'm trying to remember what if anything came ahead of it, but I'm fairly certain that some of my first meetings after joining the team at Earwolf were with Chris Gethard and working with him on sort of early prototypes of Beautiful Stories from Anonymous People. And he's a remarkable person. He's a brilliant comedian. He's such a good human being. He's an amazing collaborator. And yeah, it was the two of us for a while just, I think the first call that we took, which was sort of just the prototype, the pilot for the show. We're like, "We don't know what's going to happen. Is anyone going to call?" And yeah, I mean, it was really awesome working on that show. And also it was such a departure from the kinds of projects that I had worked on previously, which were extremely buttoned up like very highly produced in the sense that every single step that you took in the process was regimented, right? Like making a Freakonomics episode, making an hour of Soundcheck, thinking about that live daily experience. Gretta Cohn:Like you can't have a minute on the clock that's not accounted for in making those things. And here's a show where we just open a phone line and see what happens for an hour. And it's so freeing to be sort of separated from that regimentation and working with Chris Gethard, I think taught me that you can make something that's really compelling and that's really good. And it was highly produced. Like a lot of thought went into it. There's a lot of post-production, but it didn't need to be the kind of thing where like every single minute of that hour was a line on a spreadsheet. And I love that show. I think that we're all like voyeurs of other people's experiences. Right. And I think it's super interesting the way that people are willing to call and sort of like bare their souls to Chris and working on that show was fantastic. Gretta Cohn:And it was really gratifying and really rewarding when we realized that people were paying attention and they were going to listen. And for that to be one of the first projects of my tenure at Earwolf was great. It was great. Chris Erwin:That's awesome. What a cool story! Bannon even mentioned you work on, I think Casey Holford's Heaven's Gate, which is now an HBO Max series. I think that just came out this week or something, some big projects. All right. So look, in 2015, Midroll/Earwolf sells to Scripps, EW Scripps. Then I think in 2017 is when you start Transmitter Media. I'm curious to hear that after this fun sprint at Midroll and the sale and launching the shows and launching Howl and Wolfpop and all the things, what got you thinking about becoming a founder, which is a very different experience than what you had done for the first 10, 15 years of your career? Gretta Cohn:So after the sale, I think that Adam Sachs kind of offered me the opportunity to reshape my role a little bit. So I had been overseeing the Earwolf shows, developing and producing brand new shows and Howl was in the rear view at that point for me, I believe. I think this is like a classic situation. They're like, "We're going to split your job into two, which half do you want?" And I was like, "This is great." Because it had been a lot to be developing new shows, to have this sort of slate of shows at Earwolf requiring my attention. And I picked the path of new development and that's when they went out and found someone to executive produce the Earwolf network. And in my new role, I needed to build a team and a division. Gretta Cohn:So I had to hire really quickly about six producers to form a team. And there wasn't really a human resources and so it really fell on me to read every application that came in and kind of vet all of the candidates and begin that process of selecting who to talk to. And I probably spent about six months just interviewing. I think that I learned a lot from that process and I think it developed in me like a little bit of an eye for how to spot talent and people that I want to work with, but it also was like supremely exhausting. And at the same time, I think that the company was in a real state of renewal and flux and change following the sale to Scripps, which I think is probably common in any situation where a company is acquired by a company that has a different POV, like maybe doesn't understand podcasting, has its own goals that are separate from what the goals had been at Earwolf. Gretta Cohn:So there were just a lot of strategy shifts that I did my best to kind of keep up with, but ultimately found myself thinking like, "Well, if I were setting the strategy, what would I do? If I were re-imagining sort of the direction that this company was going in, what would I do?" And I looked around and Pineapple Street had been around for a few months, maybe six months. And I went and had some chats with them about sort of like what they were doing and what they wanted to do. And I went over and had a chat with the folks at Gimlet thinking like maybe there would be a place for me there, but ultimately out of my conversations with all of those people, was this kind of clarifying feeling that there was something that I wanted to do and that I wanted to do it differently. I would say it was definitely like burnout that kind of led me to thinking about what I wanted to do next, because it felt like where I was at was like a little bit unsustainable. It was scary. Gretta Cohn:I definitely spent a month sort of quaking with fear on the couch. Like, is this something that I'm going to do? What does it take and what do I need and are there like, long-term consequences that I can't really think of yet? Because I'd always had a job, right? Like I always worked for someone else and enjoyed the freedom, frankly, that that gives you, right? Like you show up, you do the work and then you leave and you can go and take care of whatever. So I just spent a lot of time thinking about it and talking to friends, my close friend who gave me the Cursive records back in the day has run a press, a small press for nearly as long as I've known him. And it's a small non-profit, but it requires the same levels of sort of like entrepreneurship and sort of like- Chris Erwin:Discipline in a way. Gretta Cohn:Yeah. Discipline. That's exactly the word. And so I talked to him a lot about he figured out what he was doing. My brother has had his own post-production business for film for more than five years, so I went for dinner with him and talked about... His business relies on film clients who come to him with a movie that needs mixing and sound effects and sound design. So we talked about that and my husband was acquiring a business. He purchased a retail shop in our neighborhood around the same time too. So there was like a lot of this around me where I had just a lot of conversations about this and I decided to do it. I decided that like the fear was not a good enough reason to not do it. And my alternate path to be quite frank was to leave podcasting because I just couldn't see where my next step was going to be. Gretta Cohn:And so I thought I would take the more productive path, the one where I didn't leave podcasting and I made this decision in December of 2016 to myself and then spent the next couple of months just tucking away money. When I say that I saved money before starting the business, I saved $7,000. Like this is not an enormous coffer of like startup money, but it was enough to pay for an office space and to pay for myself for a couple of months to just see what would happen. And I gave extremely early notice at Midroll and I started to look for clients before I left. So I set it up so that by the time I finally left Midroll in the end of March of 2017 and walked into my office, my new office for Transmitter Media, on the 3rd of April of 2017, I already had clients. So this also gave me that added security of like, "I'm not just walking into this empty pit of like who knows what? Like I have work to do." Chris Erwin:Look, that's just like an amazing transition story, but a couple of things stand out. One it's like double entrepreneur household. A lot of couples that I talk to will say, one will start a new venture business that's risky while other has like W2 salaried income. But your husband had just bought a local retail shop in the neighborhood. You were launching Transmitter Media. So you were smart about mitigating risk of landing of clients in advance. Yeah, it's a lot to take on. And the second thing I heard that I think is really interesting is you felt that there was no path for you to stay in podcasting unless you started your own business. So it's either get out and do- Gretta Cohn:It felt that way. Chris Erwin:Yeah. Get out and do something totally different or commit and go deeper with this incredible network and skillset that you've built up for a decade and a half and start your own thing. You committed to it. And yeah, whether it was meager savings of $7,000, it was enough. And you had the confidence. And I think in the early days, confidence is everything that you need. Tell us about what is Transmitter Media or what was it at that point? Gretta Cohn:Transmitter Media was born as a full service creative podcast company, meaning primarily working for clients who needed podcasts production. And it's really 360 ideation. There's like a paragraph that explains what they want the podcast to be and then we figure it out from there. Like it's quite rare that someone comes in the door and they have like a fully fleshed out idea for a show that has all the episodes outlined and the guests and then this and then that. So it's really starting with a kernel of an idea, figuring out how to make it, what it needs, what's the format and executing it all the way up to launch and continued production. And I think that I saw what Pineapple Street was doing. I respect Jenna and Max from Pineapple Street so much. Gretta Cohn:And it felt like the right model, essentially doing what film production companies do or in a way kind of like what advertising agencies do. You have clients, your clients have a story that they want to tell and as a production company, you figure out how to tell it and how to tell it really well. And I think that for me, having a focus on craft was really important quality over quantity and taking the time to really figure out creatively, what does something need was how I stepped into it. Chris Erwin:Clearly as the industry is growing, in terms of more audio listenership, more brands wanting to figure out the space and still early, I think in 2019, the ad market for audio was like 750 million. So you started the company is like two to three years before that, when you look at the total advertising landscape, which is like over, I think, 600 billion globally. But brands are leaning in, they want to figure it out and you have a knack for audio storytelling, and then you commit. And so who are some of the early clients you work with? I think they were Walmart and Spotify. And what did those first early projects look like and had you had experience working with brands before? Or was it like, "All right, I have a skillset, but I kind of got to figure this out on the fly too."? Gretta Cohn:So it was Walmart, Spotify and TED I think were the three sort of major clients at the very beginning. I hadn't worked directly with brands. I understood working with other media institutions. I understood working with hosts. I also understood developing new shows because that's what my team did at Midroll, Stitcher, Earwolf. Before I left, an entire year of just coming up with ideas and piloting them and throwing them at the wall and kind of running them through PNLs and doing all of that. And so I understood all of that. So we have worked directly with brands, but with Walmart, it was running through an advertising agency full of really great creative people and so we were interfacing more with them. And I think that I learned through them a little bit more about how to work with a client like Walmart. Gretta Cohn:But I think also that everyone we were working with at that time was also trying to figure it out for themselves in a brand new way. So we've now been working with TED for over three and a half years, but at the time the show that we developed with them, WorkLife with Adam Grant, I think was their first sort of step into the sort of slate of podcasts that they have now. They had TED talks daily. It was sort of concurrently like I know what the steps to take and the people that I am making these podcasts for don't, they've never done it. And so I think I learned a lot in those first few projects about how to deliver, how to communicate what we're doing clearly. But it's not like I hadn't already done that before. Like I had the skills, it's just was like refining them and putting them into this really particular box. Chris Erwin:Yeah, just a little bit of a different application. Makes sense. Gretta Cohn:Yeah, exactly. Chris Erwin:When we were talking about having to build a development team at Midroll and Earwolf that you said that you had like a unique sense of how to identify good people. So then you start building your own team at Transmitter and it seems that you've built a pretty special team there. So what was your, like when you think about, if I need great people to make Transmitter a success, what type of people were you looking for and what has like your culture become at your company? Gretta Cohn:I love my team so much. I agree. I agree I think they're really special. I think independent thinkers, people who have a really unique creative spark, people who surprise me. Right. I think that what I learned in doing all this interviews at Midroll was like, I prepare a lot for interviews, kind of much like you prepared for this. I would do deep dives. I would listen to a lot of work from the people who were coming into... had applied for the roles. I also like over the years, there are certain producers who I'll just kind of keep in touch with, or follow their work and be excited by their work and hope that one day they might like to come work at Transmitter. And so I also am really keen on people who have a collaborative spirit. So an independent thinker who's down to collaborate, who doesn't necessarily need to put their fingerprints all over everything and it's like cool if their fingerprints kind of merge with other people's fingerprints and we've got this really sort of group dynamic where we're really, everyone is contributing towards something. Gretta Cohn:And people own projects, people own stories, people own episodes, but ultimately, I think that we have a very collaborative team environment. And we're also a group of people who like to celebrate our successes, even like the teeniest tiniest ones. And so we spend a lot of time like talking about the things that go well and I think that creates a lot of pride in work. And I'm interested in working with people who have that same sense of craft as I do. It's not necessarily about perfection, but it's about doing really good work, making something sound as good as it can possibly be. We have an episode that on Monday I got an email about, saying, "This is in its final edit. I'm not looking for any big edit changes. I'm only looking for a notes on music." And I listened to it and I was like, "Ah." Chris Erwin:Is this from a client? Gretta Cohn:"How did they get editorial note?" Chris Erwin:Yeah, was this a client email or internal? Gretta Cohn:No, it's internal. I have a big editorial note and here's why, and I know that you thought you were almost done, but it's going to be so much better because of this. And typically as a group, we come to that agreement very quickly that it's going to be better and our goal is to make work that sounds very, very good. Chris Erwin:I think that's how you build a great company and also become successful and are fulfilled in that. Like yesterday's win or yesterday's excellence is today's baseline and you just keep upping the threshold. My team calls me out for doing that all the time, but I always say, "Yeah, I hired you guys because men and women, you're incredible and I'm going to hold you big." And that makes for a fun work environment. And it's all in our mutual best interests. So I like hearing you say that Gretta and you just talked about celebrating wins often. What is like a recent win that you guys celebrated, big or small? Gretta Cohn:I mean, earlier today we recorded an interview where the host was in a studio in DC, our guests was in her home under a blanket fort in New Jersey. We had a little bit of a technical mishap before it started. One of the newer producers on our team was managing that. And I know that that could have been a situation where she got so stressed out that she could have been paralyzed by the overwhelming sort of urgency of overcoming this technical mishap, but she was calm and she kept us informed of what she was doing and she figured it out and the interview started late and it went long, but that was fine. And you got to give someone a thumbs up for that. Like that was hard and you figured it out. Gretta Cohn:And another recent win is we are about to launch season two of our podcast, Rebel Eaters Club and we have a promotions team working for us this time, we're making new artwork and we've got the episodes of the season in production. It's just exciting for me when all the pieces start to come together and we're like a month away from launch and it's not done and it will get done. But right now it's just this like ball of energy and that feels very exciting. Chris Erwin:This is your first owned and operated podcast where- Gretta Cohn:Yes. Chris Erwin:... your business has helped create audio stories for a variety of different brands and marketers and publishers and now you're investing in your own IP, which is really exciting. And so what is the general concept of Rebel Eaters Club for people who want to check it out? Gretta Cohn:Rebel Eaters Club is a podcast about breaking up with diet culture. Chris Erwin:Ooh. Gretta Cohn:Yeah. Our host is, her name is Virgie Tovar, and she's sort of one of the leading voices on breaking up with diet culture because it's extremely harmful. It is a huge industry. It's a debilitating thing that is, fat discrimination is something that's like not very often discussed, but such a huge sort of point of discrimination in our culture. And I have learned so much from this podcast, it's funny, it's a weird,

Today Kyle gives us a palate cleanser that cleanses no one's palate, and Mitch tells a lovely story about a little Canadian robot that hitched its way across multiple countries before meeting its untimely demise in Philadelphia. Also there's a weird echo we couldn't fix love you sorry! Follow us on social media!insta:@kyleandersoncomedy@mitchholleman@extremelyinternettwitter:@dangeranderson@grasstoad@mitchholleman@extremelynetpod

Amis des bons mots et du verbe haut, voici venir la dernière Méridienne de cette saison. Au menu du jour :– Samuel Retailleau nous présente le rappeur Cheeko, à retrouver dans la M Box, box de vinyles for connaisseurs– Guiom Virantin et Pascal Vion, bibliothécaires de la Bibliothèque Municipale de Tours lisent Felix Fénéon– GRRRRGNN […] L’article La Méridienne – Authentique et so good est apparu en premier sur Radio Campus Tours - 99.5 FM.

On this episode, Dan Hughley is coming to you with an interview from the 2019 AES show in New York. He’s joined by Fela Davis and Denis Orynbekov of 23dB productions, One of One Productions and The Art of Music Tech Podcast. We discuss recording vinyl to tape, keeping a work-life balance by knowing how to say no to projects and clients, growing your business, and a whole lot more. Learn more about what Fela and Denis are working on: 23dbproductions.comOneofoneproductions.comBe sure to check out The Art of Music Tech podcast with Fela and Denis. Learn more about the Focusrite Studio Console we spoke about here: https://youtu.be/bJd8606oNNkPlease subscribe and review The Focusrite Pro Podcast to let us know how we're doing. Join our conversation on social media @focusritepro 

HTH talks about old hardware preservation, crazy ways to get MBOX to O365, Windows patching, The IT Deep State (Bing), and more Pentium 4 fun with Linux. Boston accents as well. Extended show notes available at https://hthpc.com/ Boot-Up (Intro…random topics) :15 • Boston accents • Shoutout to iTunes and their Podcast directory glitch https://twitter.com/libsyn/status/1221863935680401409?s=21 • Computer start-up sounds AARPCs - Old hardware/Product Longevity Discussion 19:00 • Macs vs PCs - compare a 10 year old Mac to a 10 year old PC in terms of support ○ If both are taken care of, the PC wins • Artificial Obsolescence via end of software support ○ Android is really bad with this ○ iOS and macOS also bad when looking long term (>5 years) • Steve has several desktop/laptop PCs over a decade old that either are supported. ○ Oldest Macbook still supported is the 2013 MBP (Correction: it's the 2012) ○ 2007 iMac went until MacOS El Capitan (released 2015, final update was July 2018) ○ P4 Dell Dimension from 2004 is still capable of running a supported OS under Linux Mint • Linux (Where available) can extend the life of hardware MBOX to O365 25:10 • It's possible with Thunderbird • IMAP your Exchange account + map the MBOX • ImportExportTools-NG is the extension • Don't use Mail.app with Exchange Windows Patching and You 30:30 • https://techcommunity.microsoft.com/t5/core-infrastructure-and-security/ldap-channel-binding-and-ldap-signing-requirements-march-update/ba-p/921536/page/3#comments • What is channel binding, and ldap signing and why do you care? • What does this patch do, and what could it break? The IT DEEP STATE: The Virus formally known as Bing 36:24 • https://techcommunity.microsoft.com/t5/office-365-blog/introducing-and-managing-microsoft-search-in-bing-through-office/ba-p/1110974 • https://github.com/microsoft/PowerToys/issues/490 “Unplanned Outage” (Sponsor section - "Hope this Helps is helped by…") 43:28 • Shooting smartphone video horizontally A quick follow-up on the Pentium 4 Linux project from HTH0002 44:55 • Successful install that persists through a reboot • Solution: Move IDE SD card adapter to a slot that contained a CD drive. Power issue? • Now persists across reboots, GRUB works • XFCE > Cinnamon for the P4, performance-wise • Current challenge is overcoming a screen res issue, unplugging second monitor fixes it temporarily Ask the Stiffs: Question of the Week 48:16 • What's your method of backing up your data? Outro - "Plus Delta” 52:52 • Twitter: @HTHThePodcast https://twitter.com/HTHTHEPODCAST • We help you, you help us: Rate us on iTunes • Facebook Group: https://www.facebook.com/groups/268339020812998/ • You can watch the raw/unedited feed of the podcast at https://www.twitch.tv/hopethishelps • From all of us here, "We hope this helps!"

The guys talk about a girl that stored bags of her Oreo puke, a dude that jerked off into a shoe box for nearly 2 decades, how creepy the apartment complex James used to live in was, James knows nothing about Pokemon, Jake knows a guy that was in Ernest Goes To Camp, the best Pixar & Disney movies, how great Macgruber is, Gypsy Rose, Jose Aldo, Chael Sonnen, Urijah Faber kinda losing to a 17 year old in a Jiu Jitsu match, Xande Riberio vs Dean Lister, fake martial arts, and much more! Follow the guys on Instagram, @thestatesidepodcast The fee for you to listen to this show is to tell at least ONE person about this podcast! If you're feeling extra saucy please leave a review on iTunes! If you’re in a band, run a small company, or just have a thing you want promoted, consider sponsoring the show and we’ll promote your thing!! The Stateside Podcast is hosted by James MacMillan and Alan Ashcraft. Produced, mixed, and edited by James MacMillan. Logo design and social assets by Alan Ashcraft. Podcast recorded at Interlace Audio North. Outro song is "Her Name Is Alice" by The Days The Nights. Written by James MacMillan, Nathan Abner, Michael Draper.

The guys talk about a girl that stored bags of her Oreo puke, a dude that jerked off into a shoe box for nearly 2 decades, how creepy the apartment complex James used to live in was, James knows nothing about Pokemon, Jake knows a guy that was in Ernest Goes To Camp, the best Pixar & Disney movies, how great Macgruber is, Gypsy Rose, Jose Aldo, Chael Sonnen, Urijah Faber kinda losing to a 17 year old in a Jiu Jitsu match, Xande Riberio vs Dean Lister, fake martial arts, and much more! Follow the guys on Instagram, @thestatesidepodcast The fee for you to listen to this show is to tell at least ONE person about this podcast! If you're feeling extra saucy please leave a review on iTunes! If you’re in a band, run a small company, or just have a thing you want promoted, consider sponsoring the show and we’ll promote your thing!! The Stateside Podcast is hosted by James MacMillan and Alan Ashcraft. Produced, mixed, and edited by James MacMillan. Logo design and social assets by Alan Ashcraft. Podcast recorded at Interlace Audio North. Outro song is "Her Name Is Alice" by The Days The Nights. Written by James MacMillan, Nathan Abner, Michael Draper. --- Support this podcast: https://anchor.fm/statesidepodcast/support

Welcome to the Dead Day Job Army, a monthly Brunch & Budget series where entrepreneurs and freelancers of Color share their stories and talk about the real. It’s not easy to start your own business and it’s even harder when it feels like you have to explain to your family what you do every time […]

Working Class Audio #144 with Jack Shirley!!! Jack Shirley is a record producer, audio engineer, musician and owner of The Atomic Garden Studio located in Palo Alto, California. He is best known for his work with Deafheaven,  Loma Prieta,  Bosse-de-Nage, Punch, Whirr,  La Bella, State Faults and Frameworks. Jack is currently one year into building a new studio in Oakland, California that will become the new Atomic Garden and has been designed by Wes Lachot . About this Interview: I visit Jack at his new studio location in Oakland, California and see the building in process. We talk about Jack's humble beginnings at his parents house recording on an Mbox and Dell Computer all the way to his current setup of an API 1608 and 2 inch analog machine. Jack takes me through his progression as an engineer and businessman, laying out his approach to money, band and work. Jack is truly passionate, focused and just an all around nice guy. Enjoy,   -Matt Show notes and links: Atomic Garden - http://theatomicgarden.com/ Wes Lachot - http://www.weslachot.com/ Mix with the Masters - https://mixwiththemasters.com/

Wodist'in 20. Bölümünde Türkiye'nin ilk resmi CrossFit box'larından CrossFit 1453'ün kurucusu Emincan Papur ile beraberdik. Hem kendi hikayesini hem de CrossFit 1453'ün hikayesini Emincan'ın ağzından dinleyelim.İyi seyirler.------------------------------------------------------------------------------------------------------------------Moderatör: Bahadır KeskinBurak RendaBarış ÇağırankayaOlgun Tuna YaprakErgun SezerErkan RaşitoğluBurak Yıldız----------------------------------------------------------------------------------------------------------------Bizi Takip Edin:http://facebook.com/wodisthttp://instagram.com/wodisttrhttp://twitter.com/wodist_trhttp://youtube.com/wodisttrBize Ulaşın:wodisttr@gmail.com----------------------------------------------------------------------------------------------------------------CrossFit 1453CrossFit 1923CrossFit 216 CrossFit 2051CrossFit 34 CrossFit 35220 CrossFitAlsancak Antrum CrossfitCrossFit Andromeda CrossFit Backstreet CrossFit Balaban CrossFit Baraka CrossFit Bornova CrossFit Gang CrossFit HeavydutyCrossFiti Izmit CrossFit Mugen CrossFit Northcyprus CrossFit Pars CrossFit Quick Taxim CrossFitCrossFit Tune CrossFit Yabgu

Wodist'in 20. Bölümünde Türkiye'nin ilk resmi CrossFit box'larından CrossFit 1453'ün kurucusu Emincan Papur ile beraberdik. Hem kendi hikayesini hem de CrossFit 1453'ün hikayesini Emincan'ın ağzından dinleyelim.İyi seyirler.------------------------------------------------------------------------------------------------------------------Moderatör: Bahadır KeskinBurak RendaBarış ÇağırankayaOlgun Tuna YaprakErgun SezerErkan RaşitoğluBurak Yıldız----------------------------------------------------------------------------------------------------------------Bizi Takip Edin:http://facebook.com/wodisthttp://instagram.com/wodisttrhttp://twitter.com/wodist_trhttp://youtube.com/wodisttrBize Ulaşın:wodisttr@gmail.com----------------------------------------------------------------------------------------------------------------CrossFit 1453CrossFit 1923CrossFit 216 CrossFit 2051CrossFit 34 CrossFit 35220 CrossFitAlsancak Antrum CrossfitCrossFit Andromeda CrossFit Backstreet CrossFit Balaban CrossFit Baraka CrossFit Bornova CrossFit Gang CrossFit HeavydutyCrossFiti Izmit CrossFit Mugen CrossFit Northcyprus CrossFit Pars CrossFit Quick Taxim CrossFitCrossFit Tune CrossFit Yabgu

Episode 166, November 17, 2014 Guest: Zurek, https://soundcloud.com/zurek, founder of Voice Over Universe George is at Doug Turkel's in Florida, Dan is farther west in Buffalo! Tip of the Week: Overthinking it. 0:01:52  They begin…reversed.  And both are remoting! 0:04:00  Zurek comes on. 0:05:03  Zurek catches us up on what he's been doing since his last EWABS appearance two years ago. 0:06:44  Dan asks how VO may have changed Zurek's perspective on doing radio.  He explains and George talks about John Taylor's similar experience. 0:08:00  Zurek talks about being a morning show person on radio. 0:08:35  They talk about the Randy Thomas Voice Mastery event in Ft. Myers, Fla. 0:10:09   The event included a children's reading.  Name dropping ensues.  The program came together in two months.  It was a professional, intimate crowd.   0:14:16  Dan asks about Voice Over Universe, which Zurek founded.http://www.voiceoveruniverse.com/.  It was early in the VO social media explosion over the last six years. 0:17:55  Break.  HomeStudioMaster.   0:18:55  SpongeBob! 0:19:18  They're back.  Questions: What's your studio set up these days?  A: 416 and the MBox 3 mini, and MacBook Pro and a bunch of plugins.  He takes it all to the radio station.   0:21:58  Q: Do you do any improv and has it helped?  A: He hasn't but, he's had an acting coach. 0:22:50  Q from Paul Strikwerda: How do you see the role of VoiceOver Universe in light of Facebook and other social media?  A: It gives you your own webpage.  They talk about people who got their start at VO Universe.   0:26:15  Q: What are you favorite plugins for Pro Tools?  A: Waves.  It's got it all.  L2 Maximizer and C1 are good.  George asked about multiband compressors.   0:27:16  Q What iOS interface are you using on the iPhone?  A: He uses the iRig into the iPhone with his 416.  iTrack Solo is also a good iPhone device, though they have to be plugged into a power source. 0:28:21  Q: When did you decide it was time to uproot to follow the work?  A: Chicago is his home.   He recounts his early career in radio and voice-over.    0:30:13  Zurek introduces his fiancee, Georgia (AKA Zsa Zsa).  He proposed on the air.  She is an attorney, originally from Haiti.  She speaks French and Creole. 0:31:59  Zurek talks about recording videos in the car.  George talks about doing that while picking up people at the airport and will post.  Zurek uses iMovie on his iPhone. 0:32:57  Dan asks Zurek about his interview with President Obama.  He tells the story. 0:35:00  Zurek signs off.   0:35:10  Break.  VO Studio Tech. 0:36:35  The celestial brothers clip from The Grand Budapest Hotel movie. 0:36:59  A couple of show bumpers. 0:37:56  EWABS News.  (Jack de Golia voice) 0:38:40  Studio Suit is about gone!  Order now!  Dan may custom make them once he moves to California. 0:40:04  Q: thoughts on new virtual recording tool for  (Voice Meter Banana?).  A: Dan's view: the best substitute for a phone patch is a phone.  George shies away from software mixers.  He needs to check it out. 0:42:09  Dan gives a tour of the theater where he just did The Music Man.  He talks about stage acting compared to voice-over, lines and breaths. 0:45:48  They get letters.   0:45:58  Q about pasting in room tone in TwistedWave.  A: Generally you don't master room tone.  George goes on to explain possible exceptions.   0:48:40  Q: How do you properly store equipment in different seasons?  How do you travel with gear?  A: If you're always using your stuff, it's just there.  Dan elaborates. 0:05:32  George the only thing to watch are humidity changes with condensation on the capsule.  Keeping mics dry, clean and not dropped are key. 0:51:46  Mic cozies are discussed.   0:52:10  Time for the Tip of the Week on OVERTHINKING! 0:52:30  Tip of the Week: Overthinking. 0:56:14  They're back.   0:57:30  Break.  VoiceZam.  VoiceOver Xtra. 0:59:02  They're back, with Doug Turkel, host for George tonight.  http://dougturkel.com/ 0:59:30  Doug talks about observing “Apollo 13” moments before the show began!  George said it's called “show prep.”   1:00:25  George talks about going to the Banjo Emporium and wasting time in trying to solve a problem. 1:01:30  Harlan Hogan time: go to VoiceOverEssentials.com!  Harlan has what VO actors need!   1:04:58  Go to ewabs.com, and click on Harlan's logo at the bottom of the page to reach VoiceOver Essentials. 1:05:21  Dan shows his adapter collection.   1:06:02  Doug Turkel tells about his recent work with car and casino spots and mixed martial arts (MMA).  Lots of screaming. 1:08:00  Doug talks about his goal with auditioning—he'd rather market to people and get on short lists for gigs rather than audition on play-to-play sites.  He gets a better return on his investment.  You can make it up in volume, but it's hard to make a living that way.   1:10:10  Dan asks Doug about his view of pay-to-play sites.   1:10:43  Doug tells his opinion.   1:12:12  George joins the discussion with thoughts about the role of pay-to-play sites.  Doug comments about VO talent selling themselves short.  He sees a gradual erosion of pay rates and quality. 1:14:25  Dan feels it's like an auction.  Doug says it's a reverse auction.  They end the debate by mentioning the WoVO site that will be coming soon. 1:17:26  Thanks to Doug.  Thanks to donors.  Show addiction discussed.   1:18:55   How to donate: go to EWABS.com. 1:20:15  Subscribe to the YouTube Channel!   1:21:39  NarratorHelper.com, where you can get help with long-form work.   1:22:14  Movember.  Donate to George's MO-VO team at us.movember.com/team/1579149 1:23:25  November 24: Harlan Hogan will be the guest. 1:23:41  Another roundtable is in the works.  Let them know what topic you'd like to see: audio masters, marketing, social media, acting, demo.  Send a message to ewabshop@gmail.com with your thoughts. 1:24:29  Thanks to sponsors, Harlan Hogan, Edge Studio, VoiceOverXtra, and VoiceZam! 1:24:55  Thanks to the wives and to the staff.  See the show logs via EWABS.com, click on SHOW LOG. 1:26:50  End of show.

Show Log Episode 145, June 2, 2014 Guest: Joe Loesch George will give tips about your work flow and efficiency Dan's Tip of the Week will be about using the EWABS clicker 0:02:06  The show begins and they succumb to “chit chat.” 0:03:40  George talks about your equipment—is it still costing you money?  Pro Tools is the example.  People stick with what they have because they paid for it and spent 3 years making it work…only they're using it poorly!  Is there a point when you need to revamp and work more efficiently.  Your equipment and products might be perfectly good; but how productive are you?  In ProTools, some folks “bounce” their audio in real time, for example.  A fast workflow is key in this business.  Sometimes a little training can improve your workflow. 0:07:28  Also, people end up settling on mic's that can be the most expensive.  Sometimes the least expensive mic can be the best for your voice.  Why keep 4-5 extra microphones?  Hold a “shoot out” of your mic and keep the best two.   0:09:18  Another way you're wasting your money is by sending out lousy sounding auditions.  Raw files aren't good enough anymore.  Send auditions in at the quality of the final product.  Some processing is needed.  Your “RMS” or volume should not be lower than the rest.  Louder things can be perceived as better.   0:11:28  One more thing: losing out on jobs on sound quality problems you aren't aware of!  Pervasive sounds you may not notice will cost you work.  So, look for an objective review of your sound.   0:12:50 Dan joins in the discussion.  Hissing and hums mean your audition won't make it past the slate.  Expensive equipment that you don't know how to use will just show how much you don't know.  Juan Carlos Bagnall said he judges equipment and recording quality in the first few seconds.   0:14:50  Break 0:16:52  They're back.  Dan has lots of Studio Suit!  Come on down. 0:18:16  Audio question from Trevor Jones.  He wants more toys.  Is there any point to aspiring to better gear?  He'd also like to get out of the closet into a booth.  Will his sound get better?  Should he sell his Sony 75-6's to an unsuspecting victim? 0:20:30  Dan on aspiring to more expensive equipment.  Get good stuff, learn how to use it, but the higher the quality of the equipment the more the quality of your recording space is important.  0:21:15  Does moving to a bigger space improve quality?  George thinks anything smaller than 5' x 8' if it's tuned acoustically, it makes no difference.  You can get better quality in a larger room.  0:22:36  About headphones—absolutely a personal preference.  If you like the sound of your headphones, go for it. 0:23:25  Tip of the Week—the EWABS clickers, a step beyond.   0:23:58  It begins.  We all make mistakes, so be good at editing.  Use sound codes, like a clicker, to mark your waveform.   0:24:50  One way is with a mouth pop.  Another a beep you make, and a third is your clicker.  Each can mean a different problem. 0:25:32  Dan records and shows how it's done.   0:26:41  He can now edit visually.  Dan uses the clicker to show the start of a slide, followed by the slide number.  He then pastes over a copied piece of audio file with a marker, with the required time for the start and end of each slide.  Dan uses pop sounds for mistakes and then more quickly delete the mistakes.  He demonstrates.  Dan names the markers as required.   0:29:25  You create a code for yourself to speed up your process. 0:30:38  Break 0:32:24  They're back with Joe Loesch, producer and voice actor. 0:33:05  Joe recounts how he got into the biz starting in the 70s.  Robert Redford inspired him.  Joe's career spans the days from tape editing to now. 0:37:00  Luck favors the prepared. 0:37:30  Joe now teaches in Nashville.  He also teaches “Booth Camp” for John Florian's “Voice-Over Xtra.” 0:38:56  Dan asks Joe his view of how the business has changed in the last 30 years.   0:41:37  Joe has written stories and other books for kids. 0:42:50  Joe has expertise in demos.  He talks about how he got into making demos. 0:45:20  Dan asks what goes into making a demo.  Joe says a lot of training.  In this market your demo is your calling card. 0:47:07  Dan comments that you shouldn't do a demo before you're really ready.  Joe advises taking baby steps.  Hone your skills.  He wants to hear confidence; it's everything. 0:48:22  A Harlan Hogan break.  Hear the VO: 1-A vs the Sennheiser 416, ElectroVoice RE20, and the Neumann U87: http://voiceoveressentials.com/content/vo-1a-voiceover-microphone.htm 0:51:00  They're back for a quick tour of Joe Loesch's studio.  He describes the sound deadening in his space. 0:53:15  George asks Joe how his air system works.  Joe describes it.  He coils the flexible duct so that the air arrives silently. 0:54:13  JS Gilbert asks what the biggest challenge is now in VO compared to 10 years ago.  Joe is just enjoying life.   0:55:29  Steve Tardio asks about Joe doing animation in Nashville, not L.A.?  He tells the story. 0:56:06  Is most of your work from local connections, LA or NYC or elsewhere?  Joe has a lot of friends in the business.  He gets work through word-of-mouth.   0:57:18  Would you advice acting lessons for animation?  Joe replied, “Absolutely,” and goes on to explain.  Improv is great for voice actors. 0:58:11  Do you coach over Skype and what genres do you teach? 0:58:58  What percentage of time do you spend preparing compared to other audiobook tasks?  Joe figures it should be 3:1.   0:59:34  To slate or not to slate?  Joe always slates. 1:00:10  Do you use ISDN?  Joe sees it going away.  He doesn't use it or need it. 1:01:00  George asks Joe as producer if he likes live sessions or for the talent to just send a file.  Joe like getting the file.  Dan says that makes making your auditions ready for use, to show the quality of your recording. 1:02:02  What do you to warm up?  Joe uses tongue twisters.  “She stood in the doorway of Burgess's Fish Store Shop inexplicably mimicking him and welcoming him in.” 1:04:49  When you send a demo to an ad agency or production house, should you include extra material or just a short note?  Joe says short note—no bio, no headshot.  What matters is your demo.  Don't ask them to look at more stuff. 1:03:38  What mic do you use: Neumann U87 in the booth and an Avlex 79 outside the studio. 1:05:05  George asks about his advocacy of slightly produced auditions, and what Joe thinks about that?  All Joe does in normalize because time is of the essence with auditions. 1:06:42  George asks if Joe does any front-end processing.  He uses MBox and wants to look at FocusRite.   1:07:30  Joe asks if George and Dan will be at Voice2014 in August in Anaheim.  Yes, both. 1:08:56  How does Joe avoid the “sore throat syndrome.”  He works out and washes his hands.   1:09:23  What do you recommend for mouth noise and clicks?  Lubricate, drink water.  Eat green apple and chew thoroughly before swallowing. 1:10:54  Joe says goodbye and they take a break. 1:11:51  They're back.  Joe's Route 66 Band will be in Kingman, Arizona, in August.  See route66kingmanfestival.com 1:13:10  Announcements.  Donate to the show, it's not free to produce!  Thanks to the donors.   1:14:45  George will be in New York City and do the show next week from Edge Studio.  He's got time Thursday and Friday next week for NYC-area VO help.  He'll be visiting at the PROMAX convention.   1:16:12  Next week's guests: Debra Deyan and Colleen Marlow from the Deyan Institute  http://www.deyaninstitute.com/home.html  1:16:29  June 16: George will be in Florida at Doug Turkel's place, doing the show and helping host a “Marketing Masters Roundtable.” 1:18:20  Thanks to the sponsors. 1:18:39  Like us on Facebook, follow us on Twitter at EWABS_Show.  Watch on YouTube at https://www.youtube.com/user/ewabsshow 1:19:04  Closing remarks.  Thanks to wives, Katherine Curriden, Anthony Gettig in the chatroom, Jack de Golia with show notes, Tim McKean for his work on EWABS Essentials, Lee Pinney for the podcasts.   1:20:30  Dan plinks a few notes on his ukelele. 1:21:31  End of show.

Someone can’t count.  By my reckoning, this is Episode 28.  Michael insists that it’s 27.  We need some forensic accounting in the office, apparently. Meanwhile, it appears my house has a Stuxnet infection. First my M-BOX malfunctioned (it developed some kind of ground-loop issue that I’ve been unable to fix), which explains the distant whine […] The post Not the Halloween Show appeared first on The Geeks and Beats Podcast with Alan Cross and Michael Hainsworth.

Für diese ganz besondere 20. Episode gibt es DEPP-ression mit Hi-Fi-Mikrofonen und wunderbare Geschichten zu den Tröpfchen Urin in der Hose, die bei Eigentoren entstehen oder wenn Kriminalpolizisten Pistolen ziehen. Ihr wollt auch Super-Aufnahmen in einem Studio?! Dann schaut mal im mBOX vorbei! Folge 20

Bill and Dan talk karate, audio interfaces, and a circuitous trip through director Tony Scott's movies. SHOW NOTES: Rick Wenner MMA Fighters Mackie Onyx Blackjack MBox mini Aaron Sorkin on Fresh Air Riff Trax Numb3rs episode with Baldwin Brothers Intro

Vicky brings the April episode of Dual Velocity with all her favourite tracks from the last month - including two of her very own!. Don't forget to check out Hayley Parson's first hour and also you can download and rate the podcast at http://www.trancemusicpodcasts.com Tracklisting for Vicky Devine's April Dual Velocity 1. Thice Santoro & Ronn Sono --- Momentum --- Flamingo Recordings 2. MaRLo --- Forward Thinking --- Spinnin Records 3. M - Box & Ciara Newell --- Easy To Love (Will Atkinson Dark Dub) --- CGI Records 4. Fei Fei --- Mosh Pit --- Feided 5. Vicky Devine & Nick Larson --- Lunar Love (Tristan D Remix) --- Forthcoming on Fraction Records 6. John O Callaghan Vs W&W --- Find Your Alpha (Dan Apicella Mashup) --- CDR 7. Steve Allen & Mr Careful --- Conduit (Vicky Devine Remix) --- Digital Upgrade 8. Leibo --- Phantomania --- Slinky Digital 9. Lee Haslam --- The Future (Brett Wood's Binaural Remix) --- Slinky Digital 10. Mike Koglin & Corderoy --- Metronomic --- Discover

Thu, 27 Jan 2011 12:00:00 +0100 https://edoc.ub.uni-muenchen.de/12617/ https://edoc.ub.uni-muenchen.de/12617/1/Mueller-Edenboern_Bjoern.pdf Müller-Edenborn, Björn

01 Deadmau5 ft Kaskade - I remember (Original mix) 02 Adam K - You're not alone (Adam K & Soha remix) 03 Three Drives - Greece 2000 (Chris Reece remix) 04 Delerium ft Sarah McLachlan - Silence (Niels van Gogh vs Thomas Gold remix) 05 Mooney - I don't know why (Jerome IsmaAe remix) 06 Sultan & Nick Shepard - Jeopardy (Original mix) 07 Deadmau5 - Clockwork (Original mix) 08 Shana - Duderstadt (Progressive dub mix) 09 M-Box & Susie Ledge - When you're gone (Original mix) 10 Kaskade & Deadmau5 - Move for me (Extended mix) 11 Deadmau5 - Arguru (EDX remix) 12 Dirty South & Axwell - Open your heart (Vocal mix)

01 Jon Fitz & Mike Anthony ft Abigail Bailey - Hesitate (Ian Carey Vocal Mix) 02 Sunloverz - Summer of love (Big room mix) 03 James Doman - Everythings gonna be alright (Original extended) 04 Gabriella Cilmi - Save the lies (Out of office remix) 05 No Halo - Put your hands on (Extended mix) 06 M-Box & Susie Ledge - When you're gone (Original mix) 07 Adele - Hometown Glory (Axwell Club Mix) 08 Bingo Players vs Chocolate Puma - Touch me (Original mix) 09 The Ting Tings - Shut up and let me go (Chris Lake UK vocal) 10 Laura Izibor - From my heart to yours (Mac Project club mix) 11 Tom Novy - Runaway (DJ Sign & Robert Heart remix) 12 Jon Cutler ft E-man - It's yours (David Penn vocal mix)

“Running From Myself” on PRX About “Running From Myself” from Louis I learned about 826NYC when their staff came to my high school to work with my English class. The goal was to publish a collection of our short stories. 826NYC approached me at the end of my senior year to ask if I would be interested in telling my story in a radio piece. I met Anthony who gave me a mini-disc recorder and a microphone and told me to record anything I thought would work for the piece. “Running from Myself” begins after I give up my negative lifestyle. I question whether my days of mugging have permanently stopped. And I look at my fear of losing many of the positive things I’ve struggled to gain since I stepped on a brighter path. The piece is my attempt to establish if I’ve legitimately changed. And so, I talk to various people about the old me. Picking the recordings that would make the final cut was time consuming. Many of the conversations were spontaneous, resulting in a mixture of both significant and unnecessary material. The passing of time made the shape of the project clearer, which made editing simpler. Piecing this together was an emotional time for me. Hearing my friend express her disappointment in me was hard to swallow. There were days where I didn’t want to hear the recordings I’d made to avoid feeling depressed. There were many cuts and changes in what I wanted to say throughout the editing process, because each time I spoke to someone, I learned something about myself. I can honestly say that working on this piece with Anthony and 826NYC was a growing process for me which I enjoyed and am grateful for. About “Running From Myself” from Anthony Mascorro I work for 826NYC, a non-profit writing and tutoring center in Brooklyn. We operate out of the Brooklyn Superhero Supply Co. The store is basically set up like a hardware store, but for superheroes. We sell all kinds of superhero supplies, like capes, cans of Anti-Matter, blobs, unstable molecules, etc. It serves to get kids inside the space and interested, and it also generates a portion of our annual budget to run the educational programming. One of the best things it does, I think, is that it lets the kids know in a very direct way that it’s possible to make kind of a lifelong practice out of honoring your imagination, being creative, and entertaining yourself as opposed to always turning to someone else for entertainment. You know, those things don’t have to end once you grow up and decide to do something productive, like run a tutoring center. It also really does get kids inside and doing homework, a lot of whom would not otherwise seek out the help that they need. We first met Louis during the In-Schools program he mentioned above. Louis wound up contributing a few personal essays that were really well written and compelling, so when we decided to try a radio project with a high school student, it seemed natural to ask him if he was interested. He agreed, and we decided to use one of his essays as a jumping off point. We got set up with an Mbox, Pro Tools, and a mini-disc recorder that Louis took with him to conduct the interviews you’ll hear in the piece. We really kind of figured everything out as we went along – not so much the technical stuff, which I was fairly familiar with, but more how to approach the story Louis wanted to tell through the medium of radio. Almost all of the radio classes we’d run at 826NYC up until now had produced fictional dramas and narratives. Neither Louis nor I had any idea how to deal with something that was, for lack of a better term, real. So, we figured, “real” means “interviews.” It was a good starting point, anyway. Over the course of several months,

“Running From Myself” on PRX About “Running From Myself” from Louis I learned about 826NYC when their staff came to my high school to work with my English class. The goal was to publish a collection of our short stories. 826NYC approached me at the end of my senior year to ask if I would be interested in telling my story in a radio piece. I met Anthony who gave me a mini-disc recorder and a microphone and told me to record anything I thought would work for the piece. “Running from Myself” begins after I give up my negative lifestyle. I question whether my days of mugging have permanently stopped. And I look at my fear of losing many of the positive things I’ve struggled to gain since I stepped on a brighter path. The piece is my attempt to establish if I’ve legitimately changed. And so, I talk to various people about the old me. Picking the recordings that would make the final cut was time consuming. Many of the conversations were spontaneous, resulting in a mixture of both significant and unnecessary material. The passing of time made the shape of the project clearer, which made editing simpler. Piecing this together was an emotional time for me. Hearing my friend express her disappointment in me was hard to swallow. There were days where I didn’t want to hear the recordings I’d made to avoid feeling depressed. There were many cuts and changes in what I wanted to say throughout the editing process, because each time I spoke to someone, I learned something about myself. I can honestly say that working on this piece with Anthony and 826NYC was a growing process for me which I enjoyed and am grateful for. About “Running From Myself” from Anthony Mascorro I work for 826NYC, a non-profit writing and tutoring center in Brooklyn. We operate out of the Brooklyn Superhero Supply Co. The store is basically set up like a hardware store, but for superheroes. We sell all kinds of superhero supplies, like capes, cans of Anti-Matter, blobs, unstable molecules, etc. It serves to get kids inside the space and interested, and it also generates a portion of our annual budget to run the educational programming. One of the best things it does, I think, is that it lets the kids know in a very direct way that it’s possible to make kind of a lifelong practice out of honoring your imagination, being creative, and entertaining yourself as opposed to always turning to someone else for entertainment. You know, those things don’t have to end once you grow up and decide to do something productive, like run a tutoring center. It also really does get kids inside and doing homework, a lot of whom would not otherwise seek out the help that they need. We first met Louis during the In-Schools program he mentioned above. Louis wound up contributing a few personal essays that were really well written and compelling, so when we decided to try a radio project with a high school student, it seemed natural to ask him if he was interested. He agreed, and we decided to use one of his essays as a jumping off point. We got set up with an Mbox, Pro Tools, and a mini-disc recorder that Louis took with him to conduct the interviews you’ll hear in the piece. We really kind of figured everything out as we went along – not so much the technical stuff, which I was fairly familiar with, but more how to approach the story Louis wanted to tell through the medium of radio. Almost all of the radio classes we’d run at 826NYC up until now had produced fictional dramas and narratives. Neither Louis nor I had any idea how to deal with something that was, for lack of a better term, real. So, we figured, “real” means “interviews.” It was a good starting point, anyway. Over the course of several months,

This is the first week of a new module where we learn how to use Avid Xpress Pro, in preparation for editing the footage we shoot a few weeks ago. Avid doesn't have the mind share among would be filmmakers as Final Cut Pro does, so I spend a little time talking about it's place in the filmmaking world.It is the premier NLE and there's always talk about how it measures up against FCP, so I've included 1, 2, 3 different articles comparing the two. A very significant difference is that the companies that produce these programs have very different missions. Apple is all about bringing the professional media experience to the consumer, Avid is focused on the production needs of professional media makers thru it's own post production systems and the many companies it has acquired, like M-box, Digidesign and Softimage.I've got some details about a project I'm involved in along with Laura, who I've worked with in the past on the genetic fingerprint documentary. We're going to shoot audience reaction to the play, The 39 Steps, that will be running at the Huntington Theater during September and October. It's a lot of work in a short time, so it should make for some interesting experiences.

I've played around with a different recording device, the Mbox 2 plus a Sennheiser mic. I think the quality is vastly improved, but now I have to deal with keeping my head in one position so that you don't get dizzy listening to my voice move  back and forth. Isn't learning fun? This week is the middle of the module on creating a non-fiction 2 minute film. I've tried to describe how we organized ourselves, developed the story and set up the shots. I think the biggest issue during our shoot was the pressure of trying to get the shooting done in time. Also still a big concern is the confidence of knowing how much coverage was necessary. Our footage ratio was 1:25, which is 25 minutes of footage for every minute of the final cut. I think that's acceptable. The best part is how well we all worked together. It was a real pleasure to be part of a focused, dynamic team. Considering how little time we had, it was a necessity.