Podcasts about ntg

Por primera vez, el Programa Plurirregional de España FEDER 2021-2027 (POPE) recoge un objetivo específico para promover un desarrollo social, económico y medioambiental integrado e inclusivo, la cultura y el patrimonio natural, el turismo sostenible y la seguridad, en zonas no urbanas. El 59% de los españoles opinan que si no se actúa de forma individual contra el cambio climático se estará fallando a futuras generaciones, según el estudio 'People and Climate Change' que Ipsos publicaba este jueves. Esto supone un descenso de 15 puntos desde 2021 respecto a 2025, lo que sitúa a España entre los países europeos donde más ha aumentado la apatía y fatiga climática, junto con Polonia (18 puntos), Alemania (16 puntos) y Francia (15 puntos). El Ministerio de Agricultura, Pesca y Alimentación (MAPA) colaborará con el Centro de Investigación en Agrigenómica (CRAG) en un proyecto pionero de asesoramiento científico sobre las nuevas técnicas genómicas (NTG) y su potencial en el sector agroalimentario. El MAPA sitúa la producción global de trufa en España, durante 2024, en los 91.974 kilos, de los que 43.229 proceden de hectáreas de regadío y 48.240 de las de regadío. La comunidad autónoma que más trufa produce es Aragón. En las tres provincias aragonesas la superficie dedicada a la trufa alcanza las 10.953 hectáreas. El melón de Torres de Berrellén ha sido reconocido como Baluarte del movimiento internacional Slow Food, entrando así en la red mundial que protege productos agroalimentarios únicos, en riesgo de desaparición y ligados a una comunidad, una cultura y un territorio.

Send us a textI denne sesongen av Mellepodden har vi en serie intervju med lokale eksperter innen de store Valdres-idrettene. Her får du det beste fra to verdener: tips om idretten samt flotte turmål i dalføret der du kan utøve idretten! I denne episoden får du høre Stian Ulberg fra CK Valdres. Stian mestrer flere grener innen sykkel og har trent både store og små innen sykkelsporten. Til daglig jobber han på Norges Toppidrettsgymnas på Lillehammer. Resten hører du i episoden!Support the showMellepodden kan abboneres i din podkast-avspiller.Laget av Mellepodden Podkast Forening.Produsert i Lydkåken Rockeverkstad.Kjenningsmelodi laget av Lars Isachsen Jemterud.Mellepodden har Grasrotandel, Norsk Tipping.

La mayoría de los eurodiputados de los partidos políticos del Parlamento Europeo (PE) respaldaron este jueves la nueva hoja de ruta de Bruselas para la agricultura, pero muchos advirtieron de que exigirá un presupuesto sólido de la Política Agrícola Común (PAC) para poner en marcha las medidas previstas. España registrará sequías graves y también precipitaciones más extremas en las próximas décadas. El calentamiento del Mediterráneo es de dos a tres veces mayor que el ritmo global desde la década de 1980 y seguirá aumentando. Expertos prevén que la media de lluvias en España disminuya a lo largo del siglo XXI, pero que las precipitaciones extremas aumenten. Los montes de Aínsa-Sobrarbe son el escenario del primer proyecto piloto para la prevención de incendios forestales en el Prepirineo oscense. El proyecto Bio For Piri busca convertir la amenaza de los grandes incendios en una oportunidad de desarrollo rural. Los Estados miembros de la Unión Europea (UE) han logrado este viernes un acuerdo para negociar con el Parlamento Europeo (PE) las normas sobre plantas obtenidas a través de nuevas técnicas genómicas (NTG). El Consejo de la UE, que reúne a los Estados miembros, ha indicado en un comunicado que la nueva legislación tiene por objetivo adaptar las normas del club comunitario a los avances tecnológicos «de las décadas pasadas». Las nuevas técnicas genómicas adaptan las semillas de una manera que puede suceder en la naturaleza o mediante técnicas convencionales de cultivo. La producción conjunta de vegetales y peces, como alternativa de generación de alimentos, a análisis en el Campus de Huesca. El catedrático de Unizar José Luis Múzquiz, revisa las posibilidades de la acuaponía, que combina la acuicultura y el cultivo de plantas en el agua.El Centro de Innovación en Bioeconomía Rural de Teruel (CITAte), sede del Centro de Investigación y Tecnología Agroalimentaria de Aragón (CITA) en Teruel, ha creado la campaña “Contigo todo encaja” con el fin de concienciar sobre la importancia y el impacto que tiene el sector agroforestal en nuestra sociedad, nuestra economía y futuro.

La mayoría de los eurodiputados de los partidos políticos del Parlamento Europeo (PE) respaldaron este jueves la nueva hoja de ruta de Bruselas para la agricultura, pero muchos advirtieron de que exigirá un presupuesto sólido de la Política Agrícola Común (PAC) para poner en marcha las medidas previstas. España registrará sequías graves y también precipitaciones más extremas en las próximas décadas. El calentamiento del Mediterráneo es de dos a tres veces mayor que el ritmo global desde la década de 1980 y seguirá aumentando. Expertos prevén que la media de lluvias en España disminuya a lo largo del siglo XXI, pero que las precipitaciones extremas aumenten. Los montes de Aínsa-Sobrarbe son el escenario del primer proyecto piloto para la prevención de incendios forestales en el Prepirineo oscense. El proyecto Bio For Piri busca convertir la amenaza de los grandes incendios en una oportunidad de desarrollo rural. Los Estados miembros de la Unión Europea (UE) han logrado este viernes un acuerdo para negociar con el Parlamento Europeo (PE) las normas sobre plantas obtenidas a través de nuevas técnicas genómicas (NTG). El Consejo de la UE, que reúne a los Estados miembros, ha indicado en un comunicado que la nueva legislación tiene por objetivo adaptar las normas del club comunitario a los avances tecnológicos «de las décadas pasadas». Las nuevas técnicas genómicas adaptan las semillas de una manera que puede suceder en la naturaleza o mediante técnicas convencionales de cultivo. La producción conjunta de vegetales y peces, como alternativa de generación de alimentos, a análisis en el Campus de Huesca. El catedrático de Unizar José Luis Múzquiz, revisa las posibilidades de la acuaponía, que combina la acuicultura y el cultivo de plantas en el agua. El Centro de Innovación en Bioeconomía Rural de Teruel (CITAte), sede del Centro de Investigación y Tecnología Agroalimentaria de Aragón (CITA) en Teruel, ha creado la campaña “Contigo todo encaja” con el fin de concienciar sobre la importancia y el impacto que tiene el sector agroforestal en nuestra sociedad, nuestra economía y futuro.

Rocky Ogden has fought Muay Thai, MMA and Boxing across his career. Now focused on Boxing he is planning a big 2025. Interview details below:00:00 Introduction00:30 Recent boxing fight against Matcha Nakagawa01:23 Japan02:39 Focusing on boxing03:33 Activity in 2025 04:24 Financial situation as a pro boxer 05:04 Skill set of boxing 06:28 Head contact in boxing09:36 NTG and Nugget11:00 Real fighters 11:49 Boxing is changing 13:00 2025 plans13:43 Conclusion 

Een hele lange Waanzinbar met heel veel gasten! -Spaanse watervloed: gesponsord door de EU, uitgelegd door Nikko. -Maaike Barents over de dappere artsen van de NTG. -Menno verloot drie VRIJKAARTJES voor de Vleesorgie. -Lekker haardhangen met Marijn Poels net voordat hij weer terug gaat naar Duitsland. Nikko’s nieuwe boek is in huis en leverbaar! Bestel […]

Millioner og atter millioner af varer, pakker og alverdens dingenoter flyttes hver dag kloden rundt i et nøje samspillet net af forskellige transportører. Én af dem er danske NTG, der har haft fart på, siden selskabet i det navn blev stiftet i 2011. Hør, hvilke udfordringer og muligheder, det har bragt med sig siden da, og få et blik for den retning, selskabet har sat for fremtiden, når deres adm. direktør, Mathias Jensen-Vinstrup, møder Bodil Johanne Gantzel til en snak om alt dét, der ikke direkte kan læses af regnskabstal og aktiekurser. See omnystudio.com/listener for privacy information.

Et fulltallig panel er til stede i episoden som har følgende innhold: 02:02 Siste ukers handler med Sacam, Akh, Acc, Hav, Zaptec, Nol, Fing, DJT, Gsf, Ddril m fl 12:50 Siste ukers emisjoner: Stordeal og emisjon i Dof, Edda Wind, Norbit, Ventura og E&P bonds til høye renter 23:30: Investorene stirret på Marine Traffic mens Dolphinriggen flyktet fra Nigeria 29:55 US/UK-valg og «Trump-aksjer» 41:55 Rapporteringssesongen innledes med 2X fly profit warnings (Norse og Norwegian) 44:37 Huddly CEO går på dagen mens strategisk gjennomgang pågår 45:38 Rakettoppgang etterfulgt av crash og svanesang i EAM Solar 52:05 Kollaps i Africa Energy, politisk risiko, avkastningskrav og stranded assets 58:15 Blackout-periode 1:00:22 En oppfordring fra Farsund 1:02:04 Traderen – kommende ukes favoritter og obs'er med bla Ntg, Osun og Acc 1:09:30 Jallakongen: Fingerprint Cards, Norse, SAS 1:14:23 Nedsalg i Beerenberg – rumpekjørt trader, dement raider og Apolloprosjekt. 1:20:33 Raideren: Nol, Acc med rapport, Astrup-filosofi til etterfølgelse, Nas og Carasent.

Unlock the secrets to cost-saving and elevating your customer service through strategic supply chain optimizations and partnerships in this insightful episode of Supply Chain Now.Join hosts Scott W. Luton and Marty Parker as they sit down with industry experts Megan Bowen, Senior Director of Warehousing at Nolan Transportation Group, and David Phillips, Senior Director of Solutions at Transportation Insight. Discover how companies can navigate the complexities of logistics and supply chain management, leveraging continuous analysis, automation, and strategic partnerships to drive innovation and sustainability.Listen in as David shares how his team conducts regular network alignment analysis to achieve efficiency gains and recounts a case where optimizing inventory led to a 15% reduction in supply chain expenses without changing physical locations. Megan underscores the importance of choosing the right warehousing providers and the role of flexibility and scalability in maintaining an agile supply chain.Explore practical strategies for improving outbound shipping, such as consolidation, full truckload hauls, and leveraging warehouse partnerships, and understand why a holistic view of your supply chain is essential for handling disruptions and making informed shipping decisions. This episode is packed with actionable insights for improving supply chain operations, strengthening partnerships, and driving business success.Tune in now and take the first step towards a more efficient, resilient, and cooperative supply chain.Additional Links & Resources:Learn more about NTG: https://ntgfreight.com/ Learn more about Transportation Insight: https://www.transportationinsight.com/ Learn more about Supply Chain Now: https://supplychainnow.comSubscribe to Supply Chain Now: https://supplychainnow.com/joinCheck out Supply Chain Now's NEW Media Kit: https://bit.ly/3XH6OVkWEBINAR- Automation ROI: Solving the Top 3 Operational Challenges: https://bit.ly/3VvxTvsWEBINAR- Strategies for Aligning Business Planning with Supply Chain Design: https://bit.ly/3XvRHk7WEBINAR- Taming Logistics Complexity: How Logistics Leaders Can Optimize Operations with Emerging Technology; https://bit.ly/3XBbf6yThis episode is hosted by Scott Luton and Marty Parker. For additional information, please visit our dedicated show page at: https://supplychainnow.com/cost-savings-efficiency-supply-chains-1294

Retrouvez les passages phares de notre épisode [#98] avec Yves Bertheau, expert des OGM, biologiste et scientifique honoraire au Museum national d'histoire naturelle, anciennement directeur de recherche à l'INRA. Pourquoi les OGM divisent-ils autant, même parmi les scientifiques ? Y a-t-il des conflits d'intérêt ? 16:20 Quels sont les risques potentiels de ces OGM sur la santé ? 19:30 Quels sont leurs effets sur la biodiversité ? 23:45 Observe-t-on des conséquences sanitaires sur les animaux nourris aux OGM ? Quel impact lorsque nous mangeons nous-mêmes ces animaux ? 26:00 Pour tout comprendre aux OGM et à leurs successeurs les NTG, Nouvelles Techniques Génomiques, et en savoir plus sur le vote du Parlement Européen du 7 février 2024 en faveur de ces dernières, écoutez l'épisode en entier ! *** Sa recommandation : "Nous paysans", sur France TV *** Pour nous soutenir : - Abonnez-vous à notre podcast ; - Donnez votre avis en mettant des étoiles et des commentaires sur votre plateforme d'écoute préférée ; - Parlez d'Écotable et de son podcast autour de vous ; - Allez manger dans nos restaurants vertueux et délicieux ! *** Écotable est une entreprise dont la mission est d'accompagner les acteurs du secteur de la restauration dans leur transition écologique. Elle propose aux restaurateurs une palette d'outils sur la plateforme https://impact.ecotable.fr/. Écotable possède également un label qui identifie les restaurants écoresponsables dans toute la France sur le site https://ecotable.fr/fr.

The current market volatility is making disruptions commonplace, so how can you anticipate and navigate an ever-changing landscape?In this episode of Supply Chain Now, hosts Scott W. Luton and Allison Giddens delve deep into the turbulent waters of supply chain management with industry experts Nathan Crocker and Drew Herpich from Nolan Transportation Group (NTG). Nathan Crocker shares his decade of experience in drayage operations, offering invaluable perspectives on strategic decisions, cost understanding, and the significance of diversification in today's shipment landscape. Drew Herpich, NTG's Chief Commercial Officer, highlights the essentials of planning capacity and connections at ports, shedding light on how inflation and capital constraints impact shipping decisions.From discussing how to use historical data to predict shipping timelines to the challenges posed by fluctuating interest rates, this episode covers it all. Listen in and also gain insights into the importance of choosing the right partners to handle unpredictability in supply chain dynamics effectively. Prepare for actionable insights that could profoundly impact how you manage logistics and make strategic decisions. Additional Links & Resources:Drayage per Diem Changes Coming in 2024: https://bit.ly/3yz3nI2Stay Informed and Up to Date with the Latest Drayage News with NTG: https://bit.ly/3QNsTQoLearn more about Supply Chain Now: https://supplychainnow.comWEBINAR- Achieving Excellence in External Supply Chain Planning and Synchronization: https://bit.ly/3JzDoT6WEBINAR- Demystifying AI: A year later, from Buzz to Reality: https://bit.ly/3UtRw5FWEBINAR- How to Accelerate AI-Driven Decision Intelligence with Smart Data Fabric: https://bit.ly/3QMPmgaThis episode is hosted by Scott Luton and Allison Giddens. For additional information, please visit our dedicated show page at: https://supplychainnow.com/2024-disruption-port-challenges-drayage-shipping-planning-ahead-1276

Dans cet extrait de l'épisode [#98], Yves Bertheau, biologiste expert des OGM et scientifique honoraire au Museum National d'Histoire Naturelle, anciennement directeur de recherche à l'INRA , nous explique les incidences du vote du 7 février 2024 au Parlement Européen sur l'encadrement des Nouvelles Techniques Génomiques, considérées par certains comme des "nouveaux OGM". Les NTG sont-elles vraiment plus vertueuses que les OGM ? Pour connaître les avantages associés aux OGM et NTG, ainsi que les risques qu'ils présentent sur la santé, l'environnement et la biodiversité, écoutez l'épisode en entier ! Et abonnez-vous pour ne pas manquer de prochains épisodes passionnants. *** Sa recommandation : "Nous paysans", sur France TV *** Pour nous soutenir : - Abonnez-vous à notre podcast ; - Donnez votre avis en mettant des étoiles et des commentaires sur votre plateforme d'écoute préférée ; - Parlez d'Écotable et de son podcast autour de vous ; - Allez manger dans nos restaurants vertueux et délicieux ! *** Écotable est une entreprise dont la mission est d'accompagner les acteurs du secteur de la restauration dans leur transition écologique. Elle propose aux restaurateurs une palette d'outils sur la plateforme https://impact.ecotable.fr/. Écotable possède également un label qui identifie les restaurants écoresponsables dans toute la France sur le site https://ecotable.fr/fr.

Dans cet extrait de l'épisode [#98], nous revenons sur la définition des OGM et des NTG, ces Nouvelles Techniques Génomiques qui se veulent les successeurs des OGM, prisées par certains scientifiques et politiques. Quel est l'objectif derrière ces innovations ? Les NTG sont-elles vraiment plus vertueuses que les OGM ? Pour connaître les avantages associés aux OGM et NTG, ainsi que les risques qu'ils présentent sur la santé, l'environnement et la biodiversité, écoutez l'épisode en entier ! Et abonnez-vous pour ne pas manquer de prochains épisodes passionnants. *** Sa recommandation : "Nous paysans", sur France TV *** Pour nous soutenir : - Abonnez-vous à notre podcast ; - Donnez votre avis en mettant des étoiles et des commentaires sur votre plateforme d'écoute préférée ; - Parlez d'Écotable et de son podcast autour de vous ; - Allez manger dans nos restaurants vertueux et délicieux ! *** Écotable est une entreprise dont la mission est d'accompagner les acteurs du secteur de la restauration dans leur transition écologique. Elle propose aux restaurateurs une palette d'outils sur la plateforme https://impact.ecotable.fr/. Écotable possède également un label qui identifie les restaurants écoresponsables dans toute la France sur le site https://ecotable.fr/fr.

Tandis que les OGM, Organismes Génétiquement Modifiés, dont les principaux sont le soja, le maïs, le coton et le colza, sont décriés par de nombreuses parties, les NTG : Nouvelles Techniques Génomiques, gagnent du terrain. La méthode est différente : au lieu de recourir à la transgenèse, c'est-à-dire l'introduction d'un ou plusieurs gènes d'une autre espèce dans le génome de l'organisme, les plantes issues des NTG sont obtenues par cisgenèse, soit une action ciblée sur une partie de l'ADN. Mais les effets sont-ils si différents ? Cette question est d'actualité puisque le 7 février 2024, le Parlement Européen a voté un texte exemptant une partie des variétés issues des NTG des règles strictes encadrant les OGM. Face à cette mesure, deux camps s'affrontent. D'un côté, l'ANSES et des ONG considèrent ces NTG comme des “nouveaux OGM”, et s'inquiètent de leurs risques pour la santé, la biodiversité et l'environnement. De l'autre, la Commission Européenne et certains experts voient ces NTG comme une opportunité pour réduire la faim, améliorer les rendements des cultures, et s'adapter aux défis climatiques. Alors, qui croire ? A quel point les NTG sont-ils plus vertueux que les OGM ? Quels sont les risques sur la santé et les écosystèmes posés par ces innovations ? Pour décrypter ce sujet complexe, Fanny Giansetto reçoit Yves Bertheau, expert des OGM, biologiste et scientifique honoraire au Museum national d'histoire naturelle, anciennement directeur de recherche à l'INRA. Bonne écoute ! *** Sa recommandation : "Nous paysans", sur France TV *** Pour nous soutenir : - Abonnez-vous à notre podcast ; - Donnez votre avis en mettant des étoiles et des commentaires sur votre plateforme d'écoute préférée ;- Parlez d'Écotable et de son podcast autour de vous ; - Allez manger dans nos restaurants vertueux et délicieux ! *** Écotable est une entreprise dont la mission est d'accompagner les acteurs du secteur de la restauration dans leur transition écologique. Elle propose aux restaurateurs une palette d'outils sur la plateforme https://impact.ecotable.fr/. Écotable possède également un label qui identifie les restaurants écoresponsables dans toute la France sur le site https://ecotable.fr/fr.

In this week's episode of The Pro Audio Suite, we've got something right out of left field! Our guest, Matt Cowlrick, an Aussie voice actor living in Canada, has done something pretty remarkable—transforming his Tesla into a rolling recording studio. Yes, you heard that right! Tune in as Matt reveals how he converted his Tesla into an innovative mobile recording space, complete with a built-in mic stand. Hear about the nuts and bolts of mobile recording setups, from the gear choices to the unique challenges of recording in a car. Matt shares his experience using the Mic Port Pro 2 and a Sennheiser 416, all rigged up to record straight onto his iPhone with Twisted Wave. We dive deep into the acoustic challenges of a car's interior, particularly a Tesla's glass-heavy design, and Matt's creative solutions involving pillows and moving blankets to achieve the best sound. For those who can't wait to see it in action, Matt has also shared a video tour of his Tesla studio on our website. Check out this link to watch the magic happen: Matt's Tesla Studio Tour Join us as we explore how necessity drives innovation and how you can apply some of these tricks to your own mobile recording endeavors. 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 Y'all ready to be history? Get started. Welcome. Hi.   Hi. Hi. Hello, everyone.   To the pro audio suite. These guys are professional, they're motivated. (0:09) Thanks to Tribooth, the best vocal booths 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. (0:22) Darren Robert Robertson from Voodoo Radio Imaging.   Sitnik to the VO stars. George the Tech Whittem from LA. And me, Andrew Pinkers, voiceover talent and home studio guy.   (0:37) And welcome to another pro audio suite. Thanks to Tribooth, the golden handcuffs can be removed. And Austrian Audio, making passion heard. (0:44) Today, we have a special guest. Matt Calrich is joining us because Matt and I've been having a little conversation about setting up a rig in your car, which was something I played around with a few weeks ago now. (0:56) But Matt, you've done your thing as well.   What have you done? (0:59) Well, I changed it up from what I've done in the past, which quickly is using the Apollo Solo and a laptop and usually the 416. (1:11) Now for being at home in Canada and not actually, you know, traveling on holiday, I just wanted to have something easy to get going at any given moment, just pull over on the side of the road. (1:25) And so I use the Mic Port Pro 2, still the 416, and recording on the iPhone.   So just really nimble and mobile. (1:36) Are you using Twisted Wave on your mobile? Yes. Yes, until further notice.   (1:43) Yours is very similar to mine because that was my experiment with the iPhone 15 because it's got the USB-C and using the Twisted Wave app. It's fantastic. (1:53) And you can actually use their kind of Twisted Wave Dropbox as well off the iPhone, which is really, really handy.   (2:00) But the only difference between you and I, I think, is that you use the 416 and I've been playing around with the CC8 from Austrian Audio. (2:07) Well, he uses the 416 and you use the 416 sometimes and now. (2:15) And the other big difference is that you have a Tesla, which has a lot of glass.   (2:21) Has that become an issue for you? (2:23) Yeah, well, I'm still still in the early days of, you know, finding my feet with it. (2:27) I only set up this new rig, so to speak, on the weekend, got all the required parts, which was the idea of being able to have a mount in the car that I can just attach the mic and the... (2:43) How did you feel about drilling into your Tesla or is that glued in there? (2:46) I didn't. It's glued.   And I also just kind of drive my Tesla like a piece of shit. So I don't really care. (2:54) I just drive it like a car, so sticking something on the inside.   (2:58) It's not precious. It is no longer precious. It is now a utility vehicle and it's used for what it was designed for.   (3:06) Yeah. I mean, let's be honest, putting double sided adhesive tape on the inside of my Tesla is probably not the worst thing that I've done to it. (3:13) So you're not going to mount a M49 from that thing.   (3:18) Since it's now technically a recording studio, does that mean your car's a tax deduction? (3:21) You say that like I don't already try to claim as much as I can. (3:29) Yeah, that's a good point, Robert. Yeah, I wonder how much else I can squeeze out.   (3:32) Yeah, exactly. My new recording studio just happens to be on four wheels, that's all. (3:36) Yeah, exactly.   (3:37) Hey, if anyone can play it, George, if you can, I don't know. Now would probably be a good time to have a listen to the audio, Matt Sentis. (3:45) I can do playback over here if I... (3:46) Can you? Okay, yeah, cool.   (3:47) Okay, here's me recording in the car on a 416, the Mic Port Pro 2. (3:57) There's a windsock on the mic and there's a pretty significant humming sound, which I'm sure you can hear. (4:08) That's the car. I don't know how to turn it off.   It's an electric car, so that's something to work with. (4:16) But the setup is nice and it's convenient, so now I just have to work on... (4:24) And so here's the treated one. (4:26) But the setup is nice and it's convenient, so now I just have to work on fixing things, like the car sound and the whirring.   (4:40) But I like the concept. I just have to try to get it sounding as good as possible. (4:47) So I'm guessing you were pretty close to the mic there.   (4:50) Yeah, pretty close. And then what I added later was a pillow in one take and then I brought in a moving blanket on the other. (5:06) But I was pretty close to try and offset the carriness.   (5:11) Were you putting the pillow behind you someplace? (5:14) The pillow was wedged. It was two pillows actually, because they were small pillows. (5:18) Wedged in the front screen.   And then the moving blanket I had just draped over me like a villain. (5:31) It was not comfortable, but more for like a testing perspective to see what had changed. (5:37) Do you have one without all that extra stuff? (5:39) That was the first one.   They're remarkably similar. (5:44) You know what makes me laugh though is if this takes off, if this becomes a trend, you'll be able to go to the local mall and realise who's a voice-over artist and who's not because the car of the voice-over artist is going to have blankets and pillows (5:56) and cut those one on the back seat. (5:58) Although they're just living in their car, which is an understatement.   (6:00) Yeah, exactly. (6:02) And a really weird iPhone mount for a stick. (6:05) Yes.   (6:07) It's going to look entirely nefarious. (6:10) I love the gooseneck attached to the ceiling. (6:13) Finding adhesive that would mount that strongly enough to hold the weight of the mic and the mic port and the gooseneck itself.   (6:20) It's a decent amount of weight. (6:23) Do you put the mic port right on the mic port? Do you use a little adapter like we got for like Andrew got? (6:31) Oh no, I just assumed that Andrew's was directly plugged in. (6:36) No, I think the 416 and the 41.6 and the OC8, they're all too thick at the base to fit into the newer mic port.   (6:44) The 41.6 fits and the NTG5 fits. (6:50) And only the OC8. (6:52) The CC8 does not.   (6:53) Sorry, CC8. What a stroke of work. (6:56) And I also have the Rode NTG5, which Andrew and I were talking about when I was in Australia.   (7:02) And so I'd be interested to try that in the same situation. (7:06) I used the NTG5 in the back of my car, the first test I did before the CC8 got here. (7:12) And yeah, it sounded great.   (7:13) You probably get the same result as the 41.6, I would suggest. (7:17) There's a bit more bottom end to it. That's the only thing.   (7:20) I also found the NTG5, it seemed more sensitive than the 416. (7:29) I don't know. (7:30) Oh yeah.   (7:31) It has a much higher output. (7:33) No, because I was in Mexico hanging out with Dustin Eboar. (7:39) And we had my tri-boot there and kind of our gear combined.   (7:43) And we tried both the 41.6 and the NTG5 with exactly the same gear, just switching the mic. (7:53) And it was quite different. (7:55) Yeah, yeah, yeah.   (7:56) That's a huge amount of output on the NTG5. (7:59) Right. (7:59) My NTG5 is at the mailbox waiting to be picked up because they replaced it.   (8:04) Oh wow, that's cool. (8:06) I'm the only one left with one that didn't blow up, I think. (8:09) Mine blew up? (8:10) Yeah, mine didn't blow up.   (8:14) No. (8:15) Don't use it. It won't blow up.   (8:18) I had a sphere mic blow up in Australia. (8:22) Yeah, I took it all the way to Australia thinking how great it was going to be having that mic with me. (8:28) And then I got there and was absolutely perplexed for a while why it wasn't working.   (8:32) And it turned out to be a busted capsule. (8:34) And this was a brand new sphere. (8:35) You know the problem with that, mate.   (8:36) It was actually a northern hemisphere and you're in the southern hemisphere. (8:41) That was the problem. (8:42) Oh my God.   (8:44) You are, I will. (8:47) David Kay traveled with the sphere to Japan, you know. (8:50) And I just thought it was risky because it is a much more fragile mic than any small diaphragm, you know, shotgun or pencil mic, you know.   (8:58) Small diaphragm, shotguns, and pencils are a much, much better travel mic companion. (9:03) Well, the shotguns are made for like, you know, like one of the things about the 416 is go record in the wind. (9:09) Well, in a rainforest.   (9:10) In a rain, right. (9:11) You can take a 46 in a rainforest. (9:14) Right.   (9:14) Because it's working like as a RF microphone instead of directing it off the... (9:20) Yeah. (9:21) Well, as does the NTG-5, you know. (9:23) The NTG-5 is RF? (9:24) Yeah.   (9:25) Really? (9:26) So any mic with an RF design is basically completely impervious to moisture. (9:33) Yeah. (9:34) So that's why they're used.   (9:36) But as for the capsule blowing up, what was the outcome? (9:39) Is that mic still sitting in the box or... (9:43) Yeah, I haven't replaced it yet because replacing it in Australia when it was all happening was just silly business. (9:49) So I've waited until I go back to Canada and then promptly didn't do it. (9:54) It is a secondary sphere because I recently got a new Apollo unit and they threw in one of the new ones for free.   (10:03) And I thought... (10:04) Oh, was it the DX? (10:05) Yeah. (10:06) They threw in the small one? (10:08) Yeah. (10:08) So it's a bit small.   (10:09) How do you find it compares? (10:10) It has less of a capsule working. (10:14) I like the smaller size. (10:17) I mean, it's not hugely noticeable, but yeah, I'm excited to try it.   (10:22) Oh, so the one that you traveled with was this new smaller addition. (10:26) Yeah. (10:27) Yeah.   (10:28) And I have a pretty good travel bag. (10:30) Like, I hear you on the durability of those large diaphragm mics. (10:35) But yeah, I've managed to find this.   (10:39) It's a camera bag and it's got a good hard shell and it's a backpack. (10:44) And to the chagrin of my engineer took an exacto knife and just cut out the foam in the sphere it comes with. (10:56) And I just shoved it in this camera bag and it feels really well protected.   (11:00) But then again, maybe I smashed a capsule when I was traveling and it's not as protected as I thought. (11:07) Oh, any dents? (11:08) No, no dents. (11:10) Is this like the torque? (11:11) I'm expecting them to replace it.   (11:12) Like, it just sounds like vaulty. (11:15) But it'll be interesting because I picked up the different microphones, the ocean way and the main one, I think. (11:22) I did those two.   (11:23) I forget, but... (11:25) The sphere models. (11:25) The sphere models, but I'll just use it with the 818. (11:28) How's that working out? (11:29) I haven't touched it yet.   (11:31) Oh yeah, I haven't even. (11:32) It's just color. (11:33) But I figure it'll just be, you know, like color, you know, even if the sphere mics are somehow accurate.   (11:38) I would imagine. (11:39) I mean, that is something we have not done yet. (11:41) We haven't done an OC818 versus sphere mic sound.   (11:45) You know, how do they sound compared to each other? (11:48) How different is the OC818 through the sphere 47? (11:53) Right. (11:53) Can you swap in an OC818 if you don't have a sphere or you just don't want to bring the sphere because it's so physically large? (12:02) Can you just plug it in, you know? (12:04) It would work with any truly dual output large diaphragm mic, you would think. (12:10) Yeah, because there's a couple others out there.   (12:12) Not that many, but Sennheiser has the new MKH. (12:15) I think it's the Assault at NAB. (12:18) I believe it's called the 800.   (12:20) And it's a dual output mic. (12:22) And then Aladdin has one, and Pearl has one. (12:26) It's becoming a thing.   (12:27) It is. (12:28) I was thinking that when they can get them to the size of something like, you know, an NTG5 and shorter, (12:34) that'll be a huge game changer to have a modeling mic that you can travel with, (12:38) especially if it has the tech that the sphere has where you can kind of mitigate problems with the room in real time with those sets. (12:47) Oh, the sphere has like the reflection filter built in.   (12:50) George can probably explain it better than I can. (12:52) Yeah, I don't get it. (12:54) Oh, yeah.   (12:54) Well, they have a set of these filters in the sphere plug-in itself that are designed to compensate for acoustical flaws. (13:06) With using those reflections. (13:08) Okay, that's what it's for.   (13:09) And so they're just little curves they came up with. (13:14) But they made it very user friendly. (13:16) Instead of having it be a variable knob, you know, (13:19) they just have a whole bunch of like, click on this picture.   (13:22) If it looks kind of like what you're sitting in front of, then try this. (13:26) Which is cool because it's just one less thing to have to think about. (13:31) But the thing is, there's just a setting for booth.   (13:34) Which clearly is not going to work because everybody's booth is a different size. (13:38) Although I'd love to see the EQ curve for the chaotic eyeball. (13:46) Well, I did look at the MKH 800 Twin, it's called, the 800 Twin.   (13:52) And it's a bit spendy at $3,200. (13:55) But if you want a very small two capsule microphone to travel with, that one could fill the bill. (14:01) It is very small.   (14:03) A very old microphone that few people know about is the Neumann KM86. (14:09) It's a small diaphragm or smallish diaphragm. (14:12) But dual-sided, full polar pattern selection.   (14:17) It looks like a tiny U87, I think, kind of thing. (14:22) I believe, if I remember right. (14:24) But it's a small diaphragm, multi-pattern.   (14:24) It looks like a German hand-grinder. That's what it looks like. (14:27) The KM86.   (14:29) But it's a multi-pattern small diaphragm. (14:31) So you could, if someone modded it to have more than one output. (14:34) Well, have you thought about, or even wanting to bother with using... (14:38) Did you say you tried using your Sphere Apollo combo in your Tesla or in your car? (14:44) You've done that now or in the past? (14:46) Not in the Tesla.   (14:49) Yeah, I have taken the Sphere and a Solo. (14:54) And my laptop is the travel rig to Australia. (14:58) You did that in the Ferrari, right? (15:01) Or was it the Lamborghini? I can't remember which one? (15:03) Yeah, the Ferrari has this humming noise thing all the time.   (15:07) I guess it just does that. (15:08) And unfortunately, the people at the dealership didn't like it, (15:11) that I took my gear and just sat in their car and started taking photos. (15:16) I wasn't pretty sure for some reason.   (15:20) Nor the guy whose Tesla I stole this afternoon. (15:26) And glued a mouth-mouth. (15:30) The only thing the guy did is he glued this thing.   Is it attractive? (15:33) I brought him some alcohol swabs. He'll be right. (15:37) I've worked out what the humming noise is in the Tesla.   (15:40) Oh, really? (15:40) It's the Musk hydroponic mode. You've got to turn that off. (15:46) I drove on in the screw mode.   (15:48) I think Robert's on the hydroponic mode right at the moment. (15:51) I am. Hold on.   (15:54) Fantastic. (15:55) Well, I was asking because I rigged it up for David Kay. (15:59) We did the Sphere on a mount arm.   (16:02) I got him this crazy over-engineered cobbled-together arm. (16:06) It's basically, if anybody from lighting knows what a baby arm is. (16:10) But it's basically, you know, it's an arm with a clamp on each end.   (16:14) So one clamp clamps to the steering wheel or a yoke or whatever it is in that car. (16:19) And then the mic mounts to that. (16:21) And it also has a place to mount your phone or tablet to read your script.   (16:26) And that whole thing rigs off your steering wheel with that huge mic. (16:29) And then we put the mic sideways. (16:30) That's what we found worked best was, because it's so large, (16:33) to get the capsule in the ideal spot.   (16:36) We just have it literally sideways. (16:39) And he's running a U67 model. (16:42) Because that's the mic he would typically use at home.   (16:45) And the clients were more happy with it. (16:47) I was amazed. (16:48) I didn't think it was going to work with that.   (16:50) Because we didn't put a pillow or anything up against the windscreen. (16:54) And it worked out. (16:55) And that's a Model X, which is physically larger inside.   (16:58) So that helps. (16:59) I don't know if it's because the windshield is so long. (17:02) Because the windshield is facing down.   (17:05) It's not really facing you. (17:06) It's not going to hit the microphone. (17:07) Exactly.   (17:08) The sound is going to go down to the dash. (17:12) It's directly behind and directly in front of the mic. (17:15) I would think that's the first sort of issue.   (17:19) I guess with my setup that I did most recently in the Tesla, (17:22) I am more like talking across to the passenger seat, (17:26) rather than directly at the windshield. (17:30) So pillows stuffed into the windshield opposite the mic. (17:35) Yeah.   (17:35) That would be one spot. (17:37) And I was thinking of taking some of the tri-booth blankets (17:41) and hanging them from the coat hooks (17:47) or the handlebars on the side (17:50) and seeing how that works out. (17:52) They're quite long though, the tri-booth ones.   (17:55) Yeah, they're big. (17:56) You could nail gun them to the roof. (18:00) Or staple them or something.   (18:02) Super glue. (18:04) 3M will just laugh gleefully as they see me coming. (18:09) Some of these guys send me sticky squares.   (18:12) But it's funny, isn't it? (18:12) How different your environment in the Tesla is to my car, (18:16) which is a smaller car, two doors, tiny in the back. (18:20) And I just squeeze in the back because I've got my glass roof. (18:24) So I don't have to worry about that.   (18:26) How the Vespa setup worked? (18:29) It's hard getting your head under the seat. (18:32) But I'm working on that. (18:35) No glass roof to worry about.   (18:37) Yeah, you're starting with a difficult proposition with the glass ceiling, aren't you? (18:43) It's a killer to begin with. (18:45) So what do you do to the audio after you record raw files? (18:48) And do you just raw record raw files and send? (18:51) Or do you do any cleanup? (18:53) Well, yeah, herein lies the problem that I don't have access to a door. (18:58) It's just Twisted Wave Mobile.   (19:02) But I also tried to think about what I actually wanted this setup to do or to achieve. (19:08) And it really is just for the ants in the pants stuff that people can't wait for, (19:15) and for auditions and quick turnaround jobs. (19:17) But when I'm here in Victoria, and I'm not at my home studio, (19:23) I'm about a 40-minute drive to downtown.   (19:26) And in downtown Victoria, I do have a small commercial studio that I own. (19:32) And it has a StudioBricks in there. (19:34) So it's not too far to get to either one of those.   (19:37) So I didn't want to go overboard with the car rig. (19:43) And if I'm proper traveling, then I'm usually taking the Triboose. (19:47) But also, to be fair, mate, as an engineer, (19:49) I'm guessing Robert would agree with me on this.   (19:51) He said, if you sent me that file, I'd have no issue. (19:55) Sure. (19:55) Yeah, I'd have no problem.   (19:56) Even with that hum, Cevox seemed to take it out pretty well. (20:02) I don't know how much artifact do you got after that. (20:07) It wasn't too artifacty, yeah.   (20:09) The twist of a knob on clarity, that'd be gone. (20:12) So really, that's no issue. (20:13) Yeah, absolutely.   (20:14) That's another good question, because I was talking to a client about Cevox today. (20:18) And I said, you know, Cevox does make it sound really good to you. (20:21) The question I guess I have, really, is does it make it sound good to the engineer? (20:26) And how much time, I mean, Robbo and Robert, (20:28) how much have you heard audio through Cevox that you've received on your end? (20:33) If I've gotten it, I don't know that I've gotten it.   (20:35) I wouldn't know. (20:37) It's pretty transparent. (20:40) It is really transparent.   (20:42) That is the magic of that plugin. (20:44) If you go all the way to the walls, you might start picking up some, you know, go 100%. (20:49) You might pick up some very small artifacts, but it's amazingly transparent.   (20:55) Yeah, and more dynamic outside sounds as well. (21:00) I was recording at my parents' house in Australia, (21:04) and some inconsiderate person was mowing their lawn. (21:10) So like the one of your parents? (21:12) Yeah, one of my parents.   (21:16) And yeah, Cevox really made a pretty good show of the recording, (21:23) even with it kind of like moving around different areas. (21:25) I guess like a mower is still that, you know, lower frequency. (21:31) It's kind of droning.   (21:32) Yeah, and it's a consistent sound that's easier to hear. (21:34) There's not too much doppler with it unless you have like the fancy writing lawn mower. (21:40) There is two laws in life that if you wash your car, it will rain.   (21:44) And if you open a microphone, the neighbors are going to start doing something noisy. (21:48) So, you know, it's two guarantees in life, right? (21:51) That's right. (21:54) Have you ever had anyone pick up? (21:56) Are you putting anything across their audio? (21:58) No, not for a long time.   (22:00) Even running the modeling preamps in the Apollo unit, I keep it all very sparing. (22:08) I just want to get the color and the tone of the preamp and just bring in that difference (22:15) rather than engaging any of the hectic EQ or compression. (22:23) I like to think that I follow a lot of the principles of what you guys say on this show.   (22:27) Just keep it simple, send it on clean, and start with a really good bass. (22:32) Obviously, that's harder to do in the car and when we're traveling, (22:35) but I still just try to... (22:38) When I travel, I want to as closely mirror what I have here as possible. (22:44) Which is tricky.   (22:45) You're not running through like a bunch of boutique outboard gear at home. (22:52) And the preamp is just the Apollo pre, right? (22:56) This is Solo or...? (22:57) That's right, yeah. (22:58) Yeah, I have all Apollo units.   (23:00) I used to have a 6176, the UAD, the numbers are right. (23:07) Yeah, I had that and I ended up selling it because it felt like too many moving parts (23:15) and modeling it in the Apollo unit was so impressive that I felt like I'm going to sell this thing. (23:22) So are you using more than just the mic models? Are you using the preamp models as well? (23:26) Yeah.   (23:27) Actually, at the moment, I'm just using the twin preamp. (23:32) But generally, I will run... (23:35) I'll do a lot of my recording on the sphere and either... (23:41) What's your go-to emulation on the sphere? What sort of default? (23:45) The 416. (23:47) And then I have a couple that I dial into for different types of reads.   (23:53) Like if I'm doing trailer or something grittier. (23:58) You know how they came with some presets from Jordan Reynolds made some and then Brent Allen-Hagel? (24:05) Yeah, I heard that. (24:05) Yeah, I like one that Brent did for trailers and it's actually a combo.   (24:13) I suppose I can switch to it now. (24:17) By the way, how they got onto the preset list of that company, I'm wondering... (24:22) It pulled that off. (24:25) Because I've been dealing with them for so many years and I've never gotten anything like that.   (24:31) That's crazy. (24:32) I'm not jealous. (24:32) No, I'm just very glad that service is available.   (24:35) I would like to see you on that. (24:37) At least he's given away his presets for free. (24:41) Yeah, well, I mean, no props to them.   (24:43) I think it's cool that they're available. (24:46) What's something you're using? (24:48) This is the trailer setting from Brent Allen-Hagel and I don't actually know the proper brands (24:56) because they can't list it, but it's the LD800. (25:01) So that's the Sony? (25:02) But then it's combined with the 47K.   (25:07) So you have 47K caps, I guess, something like that? (25:10) Yeah, the K47, is it? (25:12) K47? (25:13) That's cool. (25:14) So that's what we're hearing now? (25:16) Yeah, that's right. (25:16) And I should be... (25:17) I think I'm printing this.   (25:18) Yeah, yeah. (25:19) Yeah, it riches... (25:20) It riches... (25:21) Richens in Richens? (25:23) That's it. (25:23) Adds more richness.   (25:25) Have you taken the 416-416, put it in the second channel with no preamp or no emulation (25:32) and just put it right next to this one and record the exact same thing? (25:37) I have meant to try that. (25:38) No, I haven't yet. (25:40) But to my ears, my simpleton ears, they are really, really close.   (25:45) And I do have two 416s, obviously the one that's in the car now. (25:52) And I have a sentimental 416, which I'll never sell. (25:58) But I mostly am using the 416 setting on the sphere.   (26:02) And then I have a U87 AI just next to me here. (26:07) And I've hung on to that mostly for workflow purposes. (26:11) I kind of have one mic that is hooked up for, I guess, like quick auditions and quick rip (26:21) and reads.   (26:22) And then I have this sphere that I'm talking to you guys on. (26:26) It's over here with a music stand looking out the window. (26:30) It's just like a nice little zone.   (26:33) Yeah, big creative spaces. (26:35) We're actually talking about our next episode now, aren't we? (26:38) Oh, sorry. (26:38) We're drifting to the next episode.   (26:38) We have. (26:39) I wonder how they do the polar pattern, because if you think about it, the 416 being a shotgun, (26:48) you can really only get that polar pattern from the physical shape. (26:53) And they can recreate any polar pattern with the large diaphragm.   (26:57) But you'll notice a large diaphragm never has a shotgun. (27:01) I mean, you kind of have a hypercardioid. (27:03) Do you find the 416 emulation to be a little bit more forgiving in the movement, like the polar pattern? (27:13) Can you move around the mic and it doesn't sound quite as phasy and weird? (27:16) Yeah.   (27:16) So I've switched now. (27:18) Now I'm on the 416 emulation. (27:21) I just did the click of the mouse.   (27:24) And it's on... (27:25) Which pattern is it on? (27:29) The cool thing with the... (27:31) It's on cardioid, on a cardioid pattern. (27:34) And now it's on a hypercardioid. (27:38) So now I'm talking off axis.   (27:40) And you can hear how it jumps forward, even on the... (27:44) Put it on an omni. (27:45) Put it on an omni? (27:46) Sure thing. (27:47) There you go.   (27:48) Oh, yeah, there we go. (27:49) So that's omni. (27:50) That's an omni 416.   (27:52) Anybody wonder what that sounds like? (27:54) It's a huge curve of a 416 without the... (27:57) I mean, acoustics in the booth are fantastic. (27:59) So even when you're on the omni, it still sounds really... (28:02) It actually sounds nice. (28:03) Like focused.   (28:03) Yeah, right. (28:04) So here's me kind of doing like direct address. (28:08) My mic is above hanging from the roof and from the ceiling.   (28:15) And it's tilted maybe... (28:19) What is that? (28:21) Forty... (28:21) A little over 40 degrees down towards me. (28:24) More vertical than horizontal? (28:27) Or more horizontal? (28:28) More vertical than horizontal, I would say. (28:30) Oh, okay.   (28:32) Interesting. (28:33) Yeah. (28:33) That's a pretty steep angle.   (28:34) Yeah, I've been meaning to play around with it. (28:36) Just to see what different sounds I get out. (28:38) This one is set up partially for... (28:42) Yeah, the way I am at the music stand, (28:44) although I guess I could change it.   (28:46) But then the U87 that I have just over here is... (28:51) That's more horizontal than vertical. (28:54) I think it just shows how the room acoustics are. (28:57) So important.   (28:58) So big. (28:59) Because if you'll notice when you switch through those patterns (29:01) and try different mics, they all sound really good. (29:05) So it just comes down to these shades of mauve.   (29:08) Yeah. (29:09) Yeah, yeah, yeah. (29:10) Who consulted on this booth? (29:11) Who was that? (29:12) Oh, I'm not trying to plug myself.   (29:14) No, I'm plugging you. (29:18) But yeah, that is the point. (29:19) I think it would have been funnier if you dogged it.   (29:22) Yeah, exactly. (29:24) Exactly. (29:25) It's just great hearing a booth that I helped design out of... (29:29) Just hearing it years later or months later, whatever.   (29:32) Just hearing it used in this pair of headphones (29:35) that I'm wearing in this situation (29:36) and going, wow, it sounds good in there. (29:39) That's just so important, everybody. (29:40) Get those acoustics nailed (29:42) and then you can really enjoy the variety of microphones.   (29:48) It's like getting a taste for wine (29:50) and now you can enjoy different kinds of wine. (29:52) And I don't have that. (29:55) I do.   (29:55) I'm not saying I do. (29:57) But once you do, then you can enjoy a ton of... #ProAudioSuite #AudioEngineering #VoiceActing #MobileRecording #StudioOnTheGo #TeslaStudio

With the intro music from Akashaane check him on all platforms watch NTG and the RR talk this 3 king of rap foolishness and talk on these kids in today world

Comisia Europeană a lansat un ghid online care prezintă oportunitățile de finanțare pentru zonele rurale disponibile la nivelul Uniunii. 26 de fonduri, de la politica agricolă comună la fondurile de coeziune, Orizont Europa și Mecanismul de redresare și reziliență, pot răspunde nevoilor locale de dezvoltare, informează un comunicat al executivului european. Prin intermediul portalului, utilizatorii pot explora o gamă largă de exemple și studii de caz care îi pot inspira și pot descoperi modul în care fondurile și mecanismele de sprijin ale Uniunii au fost deja utilizate cu succes în zonele rurale europene.Poveștile de succes sunt afișate pe o hartă și pot fi accesate. Comisia oferă câteva exemple în comunicatul său, printre care o fabrică de jucării din lemn înființată în România cu sprijin european, care exportă acum în întreaga lume și a creat mai multe locuri de muncă. Regulamentul SUR se întoarce la ComisiePreședintele Comisiei Europene, Ursula von der Leyen, a anunțat săptămâna trecută, în sesiunea plenară a Parlamentului European, că va propune colegiului comisarilor retragerea inițiativei care urmărea reducerea cu 50% a utilizării pesticidelor până în anul 2030, așa-numitul Regulament SUR.„Propunerea SUR a devenit un simbol al polarizării. A fost respinsă de Parlamentul European și nici în Consiliu nu se mai înregistrează progrese. Așa că trebuie să facem ceva”, a spus von der Leyen în discursul său adresat eurodeputaților, sugerând că o nouă propunere ar putea fi elaborată de Comisie, cu participarea mai amplă a părților interesate. „Desigur, subiectul rămâne”, a precizat von der Leyen, adăugând că „ pentru a avansa, este nevoie de mai mult dialog și de o abordare diferită”. Noile tehnici genomice au trecut de Parlamentul EuropeanParlamentul European și-a adoptat poziția de negociere cu statele membre referitoare la propunerea Comisiei privind noile tehnici genomice (NTG). Majoritatea deputaților europeni a votat în favoarea creării a două categorii diferite și două seturi de norme pentru plantele NTG. Cele considerate echivalente cu plantele convenționale (plantele NTG 1) ar beneficia de o derogare de la cerințele legislației privind organismele modificate genetic, în timp ce celelalte, din categoria NTG 2, ar trebui să respecte în continuare norme mai stricte, inclusiv în privința etichetării obligatorii și a autorizării.Deputații au convenit că toate plantele reproduse prin tehnici genomice trebuie să rămână interzise în producția ecologică. De asemenea, Parlamentul European dorește interzicerea brevetelor pentru plantele NTG, pentru „a evita incertitudinea juridică, creșterea costurilor și crearea de noi dependențe pentru fermieri”.Forma finală a legii va rezulta în urma negocierilor cu statele membre ale Uniunii Europene, negocieri care vor putea începe după adoptarea unei poziții comune din partea acestora. „Sper că statele membre își vor adopta curând poziția, astfel încât să putem aproba noile norme înainte de alegerile europene și să le dăm fermierilor instrumentele de care au nevoie pentru tranziția verde”, a declarat raportoarea Jessica Polfjärd, citată în comunicatul Parlamentului European. 900 de milioane de euro pentru activități de cercetareUniunea Europeană investește aproape 900 de milioane de euro în 135 de proiecte noi de cercetare în domeniile alimentației, bioeconomiei, resurselor naturale, agriculturii și mediului, informează Agenția Executivă Europeană pentru Cercetare. Proiectele, finanțate prin programul Orizont Europa, urmăresc atingerea angajamentelor Uniunii Europene prezentate în Pactul verde și se așteaptă să livreze soluții inovatoare și durabile care să contribuie la reducerea degradării mediului, la stoparea și inversarea declinului biodiversității și la o mai bună gestionare a resurselor naturale, asigurând în același timp securitatea alimentară și a apei.Unele dintre proiecte sunt deja în derulare, pentru altele cercetările vor începe în curând, precizează agenția europeană. Comisia cedează, fermierii continuă să protesteze, solicitând protecție mai mare și subvenții mai multeComisia Europeană a făcut o serie de concesii, răspunzând la manifestările de protest ale fermierilor care s-au mobilizat în mai multe state membre în ultimele săptămâni. A suspendat cerința de a lăsa necultivate 4% din terenurile agricole ale fermierilor, printr-o propunere de derogare parțială de la normele de mediu GAEC 8, a anunțat retragerea regulamentului privind utilizarea durabilă a pesticidelor, a consolidat protecția unor alimente în propunerea de prelungire a suspendării barierelor vamale în comerțul cu Ucraina, a exclus obiectivele sectorului agricol din planul climatic pentru 2040. De asemenea, în încercarea de a calma nemulțumirile agricultorilor, Comisia a anunțat că în prezent condițiile pentru încheierea acordului de liber schimb între Uniunea Europeană și statele Mercosur nu sunt îndeplinite.Cu toate acestea, fermieri din mai multe capitale europene au continuat protestele săptămâna trecută. Presa europeană le-a trecut în revistă. EFE Agro scrie că, în Spania, grupurile de fermieri au blocat zeci de drumuri, multe dintre ele autostrăzi, și că organizațiile de fermieri consideră esențial să obțină succes în revendicările lor. Fermierii spanioli cer mai puține restricții de mediu, protecții comerciale mai solide, reducerea birocrației și accelerarea ajutoarelor de stat pentru a face față obstacolelor precum seceta.În Polonia, agricultorii au reluat săptămâna trecută protestele împotriva suspendării taxelor de import și a cotelor la exporturile ucrainene, considerând că mecanismul de protecție propus este prea slab în raport cu nevoile lor, relatează euractiv.com.Producătorii bulgari de cereale cer compensații pentru pierderile suferite în urma scăderii prețurilor mondiale la cereale în 2023 și subvenții suplimentare care să le aducă venituri similare cu cele din 2022, un an bun pentru ei, precum și derogări de la cerințele de mediu și introducerea de taxe la importurile agricole din Ucraina. Fermierii greci au blocat granița pe unde în mod obișnuit trec camioane încărcate cu mărfuri din import.În Franța și Germania manifestațiile s-au atenuat, însă au câștigat în intensitate în Italia săptămâna trecută, protestatarii reînviind tema falsă conform căreia Bruxelles-ul intenționează să-i oblige pe italieni să mănânce carne cultivată în laborator și făină de insecte. Ei mai reclamă taxele în creștere, costul ridicat al motorinei, importurile ieftine, prețurile scăzute la supermarket și restricțiile de mediu impuse de obiectivele Uniunii Europene, potrivit publicației Politico.  

NTG and the RR finally are back and listen

Ep 7. On this episode we sit down with Sarah Marlette, MS, CNS, a licensed functional medicine nutritionist and founder of Nourish Thrive Glow, a realistic nutrition approach for women and female hormones that is rooted in nourishment not deprivation.Sarah dives deep into things all women should know: how we might be sabotaging our hormones without even realizing it, aligning our lifestyle choices with our body's natural rhythms, and debunking myths surrounding restrictive diets and extreme protocols. We explore the profound impact of circadian rhythms, detoxification pathways, and stress management on overall well-being, and how we can better support our hormones with tangible habit + nutrition tweaks, cycle-syncing, and so much more.With her holistic approach, Sarah empowers women to nourish their bodies, embrace their unique feminine biology, and cultivate sustainable habits for long-term vitality. Whether you're seeking hormonal optimization, a nutrition approach that finally feels attainable, or a deeper understanding of your intricate physiology, this episode offers a wealth of practical strategies to thrive from the inside out.*Resources Mentioned:Follow @nourishthriveglow on InstagramVisit nourishthriveglow.com to subscribe to the NTG newsletterFree Hormone Guide: The Art of NourishmentWork with Sarah: waitlist for NTG's 6-Week Glow Up program Purchase the Thyroid Guide or Gut Reset*Some of Sarah's favorites:10% off Root + Bones Marine CollagenAs always, don't forget to rate, review, and subscribe for more insightful conversations on optimizing your well-being! Hosted on Acast. See acast.com/privacy for more information.

durée : 00:08:03 - La Question du jour - par : Marguerite Catton - Le 7 mars, l'Agence nationale de sécurité alimentaire a publié un rapport visant à évaluer les risques de mise sur le marché et de circulation à large échelle des "NTG" les nouvelles techniques génomiques. Face aux risques, l'ANSES préconise une évaluation des organismes "au cas par cas". - invités : Céline Druet directrice adjointe de l'évaluation des risques à l'Anses

Les eurodéputés souhaitent des procédures simplifiées pour les végétaux NTG, les nouvelles techniques génomiques que les détracteurs appellent les «nouveaux OGM». Ouest-France a fait le point sur ce dossier avec l'eurodéputé socialiste Christophe Clergeau dans l'émission Europe du Mur des Podcasts.Bonne écoute.

Aslak Paulsen är generalsekreterare för norska tennisförbundet. Aslak är lärare i grunden men har jobbat för norsk tennis i över 20 år i olika roller.   I dagens avsnitt pratar vi bland annat om:   ·     Hur viktig Casper Ruud är för tennisen i landet? ·     Varför Norge inte har fler internationella tävlingar? ·     Hur den generella spelnivån på norska juniorer är ·     Hur man arbetar för att bredda tennisen utanför Oslo-området ·     Ifall det är många olika klubbar som producerar bra spelare ·      Ifall det är positivt med både Wang och NTG som gymnasiealternativ ·     Banbristen i Norge ·     Hur viktig elittennis är i Norge och hur stor del av budgeten som läggs på det ·     Hur stöttningen av Nicolai Budkov Kjaer ser ut från tennisförbundet   ⁠www.baslinjen.com⁠⁠⁠ är platsen för mer reportage, videos, intervjuer och krönikor om tennis. * Zenniz – The Smart Tennis Solution: ⁠⁠⁠www.zenniz.com⁠⁠⁠ * Lehnhoff Tennis International: ⁠⁠⁠www.lehnhofftennisinternational.com⁠ * House of Bontin – Smarta destinationen för tennis och padel. ⁠⁠⁠www.houseofbontin.se⁠⁠⁠ (Använd koden ”Baslinjen” för 10% på hela sortimentet förutom på Slinger Bag eller redan nedsatta priser.) * Ár functional: ⁠⁠⁠www.arfunctional.com⁠⁠

Mais de 20 anos depois de adoptada a legislação sobre organismos geneticamente modificados (OGM), a Comissão Europeia voltou a pôr o tema em cima da mesa apresentando a sua proposta sobre plantas geneticamente modificadas produzidas com recurso às novas técnicas genómicas (NTG). Depois de vários meses de análise, os eurodeputados da comissão de Ambiente, Saúde Pública e Segurança Alimentar subscrevem a criação de duas categorias diferentes para estas plantas produzidas com NTG, cada uma com o seu conjunto de regras, e propõem ainda acabar com todas as patentes de plantas NGT, de forma a “evitar incertezas legais, custos acrescidos e novas dependências para agricultores e criadores”. Neste episódio do podcast Azul, ouvimos Jorge Canhoto, professor associado da Faculdade de Ciências e Tecnologia Universidade de Coimbra e presidente do Centro de Informação de Biotecnologia (CIB), que explica o que está em causa na regulação da edição genética e por que motivos tantos investigadores defendem que esta regulação seja concretizada. No podcast Azul, falamos de assuntos complexos de forma simples, do clima à biodiversidade, da atmosfera aos oceanos, dos glaciares à poluição, da energia à sustentabilidade. Siga o podcast Azul no Spotify, Apple Podcasts, SoundCloud ou outras aplicações para podcasts. Conheça os podcasts da Rede PÚBLICO em publico.pt/podcasts. Tem uma ideia ou sugestão? Envie um e-mail para podcasts@publico.pt.See omnystudio.com/listener for privacy information.

In this enlightening episode of IDD Health Matters, Dr. Craig Escude welcomes Dr. Seth Keller, a neurologist specializing in the care of adults with neurological complications, including those with intellectual and developmental disabilities (IDD). The episode, recorded at the American Academy of Developmental Medicine and Dentistry conference in Denver, Colorado, delves into Dr. Keller's journey in the field, his insights on health equity, and his extensive work on dementia, particularly in individuals with Down Syndrome. Key Topics Covered Dr. Keller's Background and Evolution in IDD Care: Dr. Keller shares his transition from a general adult neurologist to an expert in complex epileptic care in developmental disabilities. He reflects on his early years in institutionalized care and his growing awareness of the social and medical needs of individuals with IDD. Healthcare Disparities and Advocacy: The conversation highlights the unfortunate reality of healthcare disparities faced by people with IDD. Dr. Keller discusses the challenges in training healthcare providers to understand and effectively treat individuals with IDD, emphasizing the importance of behavior as a form of communication. Dementia in Down Syndrome: Dr. Keller provides a detailed explanation of the increased risk of early-onset Alzheimer's disease in individuals with Down Syndrome. He discusses the importance of understanding baseline functioning to diagnose dementia and the development of tools to track changes in daily living activities. The National Task Group on Intellectual Disabilities and Dementia Practices (NTG): As co-president of the NTG, Dr. Keller talks about the organization's role in addressing aging-related issues in people with IDD. He explains the use of tools like the Early Detection Screen for Dementia (EDSD) to identify changes in individuals with IDD. Experience in Ukraine: Dr. Keller shares his poignant experiences in Ukraine, where he observed the state of institutionalized care for individuals with IDD. He discusses the cultural and systemic challenges in these settings and the impact of the ongoing conflict on people with disabilities. Future Directions in Neurology and Dementia: The episode concludes with a teaser for a future discussion on the latest developments in neurology and dementia, particularly relating to Down Syndrome.

In this enlightening episode of IDD Health Matters, Dr. Craig Escude welcomes Dr. Seth Keller, a neurologist specializing in the care of adults with neurological complications, including those with intellectual and developmental disabilities (IDD). The episode, recorded at the American Academy of Developmental Medicine and Dentistry conference in Denver, Colorado, delves into Dr. Keller's journey in the field, his insights on health equity, and his extensive work on dementia, particularly in individuals with Down Syndrome. Key Topics Covered Dr. Keller's Background and Evolution in IDD Care: Dr. Keller shares his transition from a general adult neurologist to an expert in complex epileptic care in developmental disabilities. He reflects on his early years in institutionalized care and his growing awareness of the social and medical needs of individuals with IDD. Healthcare Disparities and Advocacy: The conversation highlights the unfortunate reality of healthcare disparities faced by people with IDD. Dr. Keller discusses the challenges in training healthcare providers to understand and effectively treat individuals with IDD, emphasizing the importance of behavior as a form of communication. Dementia in Down Syndrome: Dr. Keller provides a detailed explanation of the increased risk of early-onset Alzheimer's disease in individuals with Down Syndrome. He discusses the importance of understanding baseline functioning to diagnose dementia and the development of tools to track changes in daily living activities. The National Task Group on Intellectual Disabilities and Dementia Practices (NTG): As co-president of the NTG, Dr. Keller talks about the organization's role in addressing aging-related issues in people with IDD. He explains the use of tools like the Early Detection Screen for Dementia (EDSD) to identify changes in individuals with IDD. Experience in Ukraine: Dr. Keller shares his poignant experiences in Ukraine, where he observed the state of institutionalized care for individuals with IDD. He discusses the cultural and systemic challenges in these settings and the impact of the ongoing conflict on people with disabilities. Future Directions in Neurology and Dementia: The episode concludes with a teaser for a future discussion on the latest developments in neurology and dementia, particularly relating to Down Syndrome.

We went off on such a tangent this week I figured what better way to come up with a description than to let AI do it, so after feeding it the transcript this is what it came up with.. In this episode of the Pro Audio Suite, the hosts dive into a wide-ranging discussion covering the impact of AI on voiceover work, the intricacies of voice licensing in the digital age, and the challenges of maintaining digital identity and content integrity. From concerns about AI-generated voices and the protection of voice actors' rights to the potential theft of intellectual property and the evolving landscape of digital transactions, the hosts explore the multifaceted aspects of the audio industry and beyond. As the conversation takes unexpected turns, they touch on topics like the future of cash, online security, and the unique dynamics of holiday seasons in different parts of the world. Buckle up for a lively and insightful conversation that meanders through various aspects of the modern audio landscape and its broader implications. 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 Transcript Speaker A: Y'all ready be history, get started welcome.,Speaker B: Hi. Hi.,Speaker C: Y'all ready be history, get started welcome.,Speaker B: Hi. Hi. Hello, everyone to the pro audio suite.,: These guys are professional. They're motivated with tech. To the Vo stars, George Wittam, founder of Source elements Robert Marshall, international audio engineer Darren Robbo Robertson and global voice Andrew Peters. Thanks to Triboo, austrian audio making passion heard source elements George the tech wisdom and Robo and AP's international demo. To find out more about us, check Thepro audiosuite.,Speaker B: Com line up learner. Here we go.,Speaker C: And of course, don't forget the code. Trip a p two hundred and that will get you two hundred dollars off your tribooth. Now, we're going to talk microphones today because there's one thing I don't think we've ever discussed, or not in depth anyway. Is RF on a shotgun mic? Now I'm assuming rf is radio frequency, but for anybody like me, what does it actually really mean? And should it be something that we consider when we're buying a shotgun mic?,Speaker A: You mean the fact that the microphone uses what they call an RF technology? Is that what you're referring? Sure. I'm sure Robert would know more about the details without me having to google it. I read about RF microphones for a few times and I think one of the side effects of a mic being RF technology, which by the way, has nothing to do with transmitting a radio signal, right. It's the ability for the microphone to reject noise. I don't know if I've ever heard of a four hundred and sixteen, for example, which is using this RF technology as having an issue. Picking up radio frequency noise. If anybody else has heard of that, if you've had a mic, a four hundred and sixteen picking up RFI, let me know. But one of the advantages of that technology is it's very highly immune to humidity.,Speaker C: Yeah, that's what I heard.,Speaker A: And why that exactly is, is definitely beyond my pay grade.,Speaker C: Isn't it something to do with the way inside the microphone? Each part talks to itself, like talks to each other. It uses like a radio frequency inside the microphone to communicate with itself. That's my vague recollection of what it actually is.,Speaker A: That is certainly plausible. I just wish I was more understanding of the technology.,: So we're talking about it rejecting radio frequencies, is that what you're saying? Like a shielded cable would reject?,Speaker C: Yeah, I think that's what it does. And if anyone's listening, we should do what everybody else does on their YouTube things. Leave us a comment in the comments section.,Speaker A: Can I do story time and read it to you?,Speaker C: Yes, do story time. Oh, I'm sitting comfortably, George.,: But read it in your best bedtime story voice, George.,Speaker A: Okay, yeah, well it would have to be in a german accent.,Speaker C: I'm not going to do that.,Speaker A: A bedtime german accent?,: No, that's scary.,Speaker C: That's really scary actually.,Speaker A: But there is a whole white paper from Senheiser and it's written by Manfred Hibbing and it's Sennheiser's professor. MkH condenser microphone sorry everybody, I'm sorry, but basically what it says is that high rf frequency solves a problem. So when the replacement of electronic valves by transistors commenced at the end of the fifty s, this change was also under consideration for condenser microphones. Reduced size, low supply voltages and lower power consumption were regarded as great benefits as well as being able to use simpler microphone cables. However, there was a basic problem. Direct replacement of the valve by a transistor was not possible due to the mismatch between the high impedance of the condenser capsule and the low input impedance of the transistor. Hence, for optimal matching, the capsule impedance needed to be drastically reduced. And then they go on to explain the impedance of capsules, et cetera, et cetera. So down to the next paragraph. How does RF microphone technology actually work? The principle is simple. After all that.,Speaker C: Yeah, sure it is.,Speaker A: Sound waves deflect the diaphragm of the condenser capsule and change the capacitance between the diaphragm and the nearby back electrode, or backplate. Contrary to the more common low frequency AF condenser method, the capacitance variations are not converted directly into audio signals, but modulate a high frequency radio frequency signal generated by an oscillator inside the microphone. This signal is then immediately demodulated inside the microphone, thus recreating the audio signal, but with a very low source impedance that is well suited for driving a transistor amplifier. Thusly, an RF condenser microphone is basically comprised of a transmitter and a receiver that are directly wired together. The RF signal is therefore kept inside the microphone only the audio signal is supplied to its output just like all other microphones. So yeah, what you were saying was pretty much usual for me.,Speaker C: What happened?,Speaker A: He picked it up through osmosis somewhere along the way.,Speaker C: That's right.,: Can I just say, Robert would make that a lot.,Speaker C: Yes.,Speaker A: Yeah, sure. The thing with humidity, and here's a little paragraph about this, there is no other important benefit of the RF principle for practical use, the low electrical impedance of the capsule provides outstanding immunity against detrimental effects due to humidity, because even then, the leak resistance is very much larger than the capsule impedance. Thus, Mkh microphones, which I understand, all of those, all Mkh mics are RF mics. They're well suited for outdoor use. So this is why mkh mics, no matter whether they are the mkh four one five, forty one six, and I'm paraphrasing here, or any of the mkh stuff like the mkh forty. There's the eight thousand series, right? They have the eighty third. Eighty, twenty, eighty, thirty, eighty, forty, fifty, eighty, sixty. They have a whole new line. All of them are using this technology. And the reason for why it still persists to this day is it's excellent outside and thereby it's also excellent in a sweaty, hot, muggy voiceover booth.,Speaker C: If it's four x three x six. Yes, indeed.,Speaker A: Especially if it's four x three x six. Absolutely.,: Yeah.,Speaker C: Talk about that outdoors, though, because this was something else where I got stuck in the rabbit hole that I mentioned before we started recording. Then there was a discussion about using shotgun mics inside. Now, this is basically for drama and stuff like that. So a boom op using a mic where they wouldn't use a shotgun inside, they would use a pencil. Small diaphragm, pencil condenser.,Speaker A: Yeah.,Speaker C: Now, if that's the case, if you're a field audio guy, why would you not use a pencil condenser as a voiceover person inside?,Speaker A: I don't know. I did have a pair, and I still do have a pair of pencil condensers, the classic octava mics that are so popular. And I used to use them to try to do field recordings. And I didn't know that much about mics at the time. And I would get the dreaded, we sometimes call it motorboating. It was like this.,: Yeah.,Speaker A: Fluttering sound. And I didn't know why it was happening. I just knew it would happen. And it would always happen if I was outdoors and sometimes I was like, in a really humid environment and it would get really bad. And I was like, oh, no, the mic's bad. And then I'd bring the mic home and I'd pull it out of the box later and would be perfectly fine.,: Yeah.,Speaker A: So because with af microphones or audio frequency condensers, because they store a charge on a high impedance capsule, it's easy for that charge to find a way and leak across the insulation by riding on water molecules which cause those motorboat or crackling effects. So I don't know. I mean, I think it's just another added benefit of an RF mic is that you're just never going to have that problem. But Neumann, large diaphragm condenser mics where you have two diaphragms extremely close to each other, even if it's a cardioid, there's still two. There's the diaphragm in the front that takes the sound wave and then there's one on the back that picks up the signal, creating the changes in capacitance, blah, blah, blah. And those are so close together that water molecules actually transmit the electricity.,: Yeah.,Speaker C: It's amazing.,Speaker A: And create the static.,: Yeah.,Speaker C: Do you know anybody who does use any pencil Mic for doing voiceover in their. I do.,Speaker A: I know people that use the eighty series or the eight thousand series, but those are MKh mics. So I believe all the eight thousand series Mkh mics are also rf.,Speaker C: Is that the eighty fifty?,Speaker A: Is that like the eighty fifty? The eighty twenty, eighty thirty are tiny little stubby capsules. I mean, they're mini because I guess they have the most condensed electronics and boy, are they expensive.,: Yes.,Speaker A: This is a stereo set. So I'm looking at two thousand eight hundred for a stereo set.,Speaker C: Don't look at the chefs then.,Speaker A: Yeah, I know. Chef takes to another level, right?,Speaker C: Yes.,Speaker A: But yeah, the MKH forty is going to be about one thousand four hundred us. So if somebody's comparing mics and they look at this minuscule, laughably small mic and then they think, why would I ever use that over a four hundred and sixteen? Well, that's because it doesn't have the negative effects of a shotgun microphone.,: Yeah.,Speaker A: Doesn't have any of the negatives. It doesn't have the negatives in terms of off axis phase problems.,: Yes.,Speaker A: You get a way more accurate pattern as you go off axis. Right. So that's one reason it's certainly very nice to work with, because it's so small.,: Yeah.,Speaker A: So it's never going to get in the way. But they're going to be extremely pop sensitive. Right. Because the capsule is right there at the grille. It's right in the front. Like any pencil mic. They work great on voice, but they pop like a mofo. Yeah, they pop really bad. So you have to have good mic technique and maybe a good pop screen. But they are quite an upgrade. Some really have found them to be quite an upgrade. Like an eighty forty from a forty one six.,Speaker C: Yeah.,Speaker A: I would go with the eighty fifty because that's a super cardioid. That would be my choice if I was going this direction.,Speaker C: Yeah, it's interesting. It's funny with shotguns and we were talking about this also before we jumped on because the road kit I set my daughter up with for her travels, I gave her the NTG three and we were just doing some testing a few hours ago just to make sure.,Speaker A: That is an RF mic too.,Speaker C: I believe it is an RF mic, but also it's quite bottom end.,Speaker A: It's eqed very differently. It is a very different tone from.,Speaker C: The forty one six, which I think for location is perfect because the further you get away from the source, the sound source, the thinner the audio gets. But if they've got that sort of hype bottom end, it actually keeps some of that in there in the sound, which is great for that kind of work. But it also sounds really good on a female voice. I mean, she sounds great on that ntG three. But when I put it up in front of me, I had one for a while, mud central. It just didn't work.,Speaker A: Muddy?,Speaker C: Oh yeah, it wasn't good.,Speaker A: You lose articulation. It doesn't have a crisp attack. It's very, yeah. There's another mic that's really popular because of its price point and that's the Cinco d two. Have you heard of that one?,Speaker C: No.,Speaker A: Very cheap shotgun mic. And of course it looks a lot like a forty one six. Of course, same color, same shape, same size, same everything. So of course it gets sold all over the Amazons and stuff as a cheap forty one six. But it sounds nothing at all like a forty one six. Nothing at all. Yeah, it's a very flat mic. Very flat, very dull. So when somebody sends me that sample, I know immediately I'm going to have to help the top end. And when I do that, up comes the noise. And that's the other problem with small diaphragm mics. Making a small diaphragm pencil or shotgun mic sound as low noise as a large diaphragm mic is no small feat. No, it's very difficult to do. So. That's another problem. You're never going to get a small capsule mic to be as quiet from a self noise perspective as you will a large diaphragm mic, even a cheaper diaphragm. Well, let's look at the rode nt one four or so db self noise. You're never ever going to find a small diaphragm mic with that kind of a measurement.,: Yeah.,Speaker A: What's funny is I'm reading the specs right now from the Senheiser mkh. Eighty fifty. They don't even quote the self noise.,Speaker C: Interesting.,Speaker A: Which to me is a way of saying it ain't so great, but it doesn't matter. This is a location mic. You're going to use it outside so it doesn't need to be that quiet.,: Yeah.,Speaker A: But still, it's a one thousand four hundred dollars mic and they don't quote the spec. So I find that kind of fascinating.,Speaker C: Yeah, but if you're buying a shotgun, and I know we've banged on about this before, but I still reckon the best value, the best bang for buck in any shotgun mic is the NTG five from road.,Speaker A: Yeah, it sounds once they got over there they had some growing pains with that. They did. We definitely had a few people with some issues and it seems that that has been sorted because I haven't heard of any of those kind of complaints of noise or whatever for well over a year now. It's been more than a year or two.,: I was a victim of one of those. The first one they sent me I had problems with, but sent it back and got a brand new one and haven't had any problems with it since. Full credit to road all.,Speaker A: I never ever had a problem replacing a mic.,: Yeah, and full credit to road. All I sent back was the actual mic and I got a whole new, whole new kit when they sent me back the new one. Typical of road.,Speaker A: Really.,Speaker C: So you got a nice little shock mount for your forty one sixes?,: Yeah, I've now got two of their shock mounts, which is kind of nice.,Speaker A: Well those are cool, man. If you were to go buy those pistol grip shock mounts with the rycoat style Lyre mount and everything, those are going to be one hundred dollars plus easily.,Speaker C: Easily.,Speaker A: And then the windscreen and everything else. I mean it's like one hundred and fifty dollars kit plus the mic.,: Yeah.,: And I do like it. It's standard fare in my room here. That or the austrian audio one or.,Speaker C: The other of the two. Yeah.,Speaker A: Mine pretty much lives permanently in my kit for going on the road and traveling. I have a pelican hard case and the ten TG five lives in there. It's just always there, ready to go.,: Yeah. Well, you know what I need to figure out now, thinking about that is cutting the foam in the road kit for my english channel so that the NTG five fits in there and then I've got it all in one case that's what I need to figure out.,Speaker A: Oh yeah. It seemed that there was enough space in there to squeeze in a shotgun mic.,: Absolutely. Just pick up the bag and away you go.,Speaker A: That'd be a sick kit, wouldn't it? Oh, man.,Speaker C: Fantastic.,Speaker A: I did actually dig around and I went on the recording hacks website, which is a great database of microphones recordinghacks. Com. And while it's missing mics here and there for sure, it does have pretty much all the Neumans and Sennheisers and the bigger brands and stuff. And I found the eighty fifty and they actually do list a self noise rating of thirteen DBA weighted. So the Sennheiser four hundred and sixteen is like sixteen, I believe. Okay, so they managed to shave three db of the self noise.,Speaker C: I think the NTG three is about the same. About twelve or thirteen from memory.,Speaker A: Yeah. That's good. I mean, it's going to be hard to find a lower value than that. I haven't seen. I mean, maybe Sheps has something quieter. Possibly. I haven't looked, but. S-C-H-O-E-P-P-S. Is that how you spell.,: Am I thinking of the engineer or the. Is it double P?,Speaker A: Well, yeah, it's confusing because you have the mic called sheps.,: Yes.,Speaker A: And you have the engineer, and I.,: Can'T remember whether it's double P for the engineer or double P for the mic. One of them has two.,Speaker A: I guess I kez guessed it right. It's S-C-H-O-E-P-S. So the CMC five, which is one of the quintessential chefs shotgun mics, is. It's got one, two, three, four, five, six, seven, eight, nine, ten, eleven, twelve, thirteen, fourteen, fifteen, sixteen, seventeen, eighteen, nineteen. Different capsule options.,: Wow.,Speaker C: Bloody hell.,: Wow.,Speaker A: They have this huge array of capsules that thread onto the body depending on what you're doing. So let's look at a cardioid. Let's look at a super cardioid, the mk forty one. It does not list a noise spec.,: Right?,Speaker A: There's no noise spec listed anywhere. There.,Speaker C: Kind of old school, isn't. It's like the old cmv microphones from Neumann back in the. Would have been thirty s. Forty s where you got the bottle. And instead of having a switch to go from cardioid figure eight to omni or whatever, you unscrewed the capsule and put new capsule on the top.,Speaker A: Yeah. Right. Yeah. Well, actually my mkhs. Sorry, my octavus. Same deal. I have three capsules per mic, but that whole kit with two mics and all the capsules costs less than one of these capsules.,Speaker C: Yes.,Speaker A: You start realizing the difference in cost is pretty stark. I mean, they said the capsules are anywhere from eight hundred dollars to one thousand four hundred dollars for one capsule.,: Yeah.,Speaker C: I do like the idea of the ships. The shotgun, that's blue. I mean if you had that in the booth and as soon as you see that color, you go, oh, okay, somebody's serious.,: Yeah.,Speaker A: Have you ever seen their v four u model? It has a blue bottle and then the grille has this very cool deco style grille. It's very cool looking. Look it up sometime for you. And it's a neat looking mic and it has a quirky thing. It's that the capsule has a slightly hinged head so you can tilt the capsule forward and back a little bit. Like ten degrees, twenty degrees.,Speaker C: Oh God, that looks good.,Speaker A: But it's a cool looking mic.,Speaker C: That is very tasty. Yeah, don't Google Robbie, you'll get blow your machine up.,: Well, I'm doing it on my iPad, but it's saying there's some problem with the website and I can't get on there. So I don't know what's going on.,Speaker A: V four U is three thousand dollars retail. And then it has a pretty flat response curve. I mean it has a small presence rise at four k, which is typical, but it's only like two or to three db rise. So it's pretty flat.,Speaker C: That is insane.,Speaker A: I remember trying it at one of the nams or whatever and being like, wow, that's a cool sounding mic.,Speaker C: It looks really neat, very tasty.,Speaker A: Oh, that's how much it costs.,Speaker C: Okay. Yeah, I might get one in the next lifetime. Yeah, I was in Tokyo and I saw a dunhill store and I went in there and they had these linen bucket hats and caps and stuff. I thought, wow, they're really cool. And I was looking at the price and tried on the bucket hat and it's like, yeah, I'll get that. So I said, yeah, I'll take this one. I said, actually, I might even get the cap as well. And the guy's looking at me going, no, you don't need the cap as well. Just take this hat. That's all you need. I'm like really doing yourself out of a sale here.,: Okay, whatever.,Speaker C: So I bought the thing and I'm walking back to the hotel and then I'm doing the calculation in my head and thinking I just got a bargain of thirty five dollars. I sort of went, hang on a minute. I got the digital point in the wrong spot.,Speaker A: I just paid three off of zero.,Speaker C: Three hundred and fifty bucks for a bucket hat?,: Yeah, right.,Speaker C: Dear, oh dear, oh dear. Anyway, yeah, well, that was fun.,Speaker B: Is it over?,: The pro audio suite with thanks to tribut and austrian audio recorded using source Connect, edited by Andrew Peters and mixed by Robo. Got your own audio issues? Just askrobo. Com tech support from George the tech don't forget to subscribe to the show and join in the conversation on our Facebook group. To leave a comment, suggest a topic, or just say g'day. Drop us a note at our websiteproudiosuite. Com.     

Manipuler l'ADN des plantes, des arbres ou des animaux. C'est l'une des pistes explorées pour faire face à la crise climatique et de la biodiversité.La génétique fait des pas de géant, notamment depuis l'apparition de la technologie CRISPR ou “ciseaux génétiques”, qui rend les modifications génétiques plus faciles et moins coûteuses. Peut-elle faire partie des solutions pour faciliter l'adaptation de l'agriculture par exemple ? Est-il acceptable de modifier les gènes d'une espèce pour la rendre plus résistante ? Ce débat sera au cœur de l'actualité dès janvier autour d'un projet de règlement européen visant à assouplir les règles pour certaines semences issues de ces nouvelles techniques génomiques, les “NTG”. Mais les opposants au projet parlent de “nouveaux OGM”, non sans risques pour les écosystèmes. Des scientifiques espèrent par ailleurs donner naissance à des super coraux adaptés aux températures élevées et même exterminer des populations de rats qui menacent la biodiversité. A l'automne, la grande conférence de l'ONU sur la biodiversité se penchera sur les manipulations visant les espèces sauvages.Ce débat soulève des questions éthiques : jusqu'où l'espèce humaine peut-elle manipuler le vivant ? Bienvenus dans ce nouvel épisode de Sur la Terre, une série spéciale de l'AFP Audio, produite en partenariat avec The Conversation France. Intervenants: François Parcy spécialiste de la génétique moléculaire du développement des fleurs au Laboratoire de physiologie cellulaire et végétale (CNRS/CEA/Inrae/Université Grenoble Alpes). Agnès Ricroch, spécialiste de la génétique évolutive et amélioration des plantes à AgroParisTech. membre de l'Académie d'agriculture. Yves Bertheau, biologiste et phytopathologiste, spécialiste de la traçabilité des OGM. Anne Maina, coordinatrice nationale de l'Association kényane pour la biodiversité et la biosécurité. Virginie Courtier-Orgogozo biologiste et spécialiste de l'évolution des espèces, de la génétique et des techniques de “forçage génétique”, responsable d'une équipe de recherche à l'Institut Jacques Monod à Paris. Réalisation: Michaëla Cancela-Kieffer. Composition musicale : Nicolas Vair avec Irma Cabrero-Abanto et Sebastian Villanueva.Nous serions ravis d'avoir vos retours sur cet épisode et de savoir quels autres sujets vous souhaiteriez explorer. Alors, laissez-nous une note vocale ou un message sur WhatsApp au + 33 6 79 77 38 45 ! Sur la Terre est une série de podcasts et de textes financée par le Centre européen de journalisme dans le cadre du projet Journalisme de solutions, soutenu par la fondation Bill & Melinda Gates. L'AFP et The Conversation ont conservé leur indépendance éditoriale à chaque étape du projet. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

RF noise rejection is a pretty complicated thing. We try to make sense of it... 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 this episode of The Pro Audio Suite, professional audio experts George Wittam, Robert Marshall, Darren Robertson, and Andrew Peters explore the concept of RF technology in microphones and its benefits like noise rejection and immunity to humidity. They consider whether RF technology should factor into buying decisions when it comes to shotgun mics. The team also discuss the advantages and disadvantages of different types of mics including small diaphragm and pencil condenser mics. They share their top pick for the best value shotgun mic—the NTG 5 from Road—and discuss the impressive feats of engineering that go into manufacturing low noise mics. Lastly, they discuss the stark cost differences between mic capsules and complete kits before considering the features of the V4U model. #ProAudioSuite #ShotgunMicTechnology #RFMicrophone    Timestamps (00:00:00) Introduction (00:00:44) RF Microphone Technology (00:07:04) Shotgun Mics for VO (00:12:42) Small vs Large Mic Models (00:17:55) Mic Capsules & Their Uses    Transcript Speaker A: Y'all ready be history, get started welcome.,Speaker B: Hi. Hi.,Speaker C: Y'all ready be history, get started welcome.,Speaker B: Hi. Hi. Hello, everyone to the pro audio suite.,: These guys are professional. They're motivated with tech. To the Vo stars, George Wittam, founder of Source elements Robert Marshall, international audio engineer Darren Robbo Robertson and global voice Andrew Peters. Thanks to Triboo, austrian audio making passion heard source elements George the tech wisdom and Robo and AP's international demo. To find out more about us, check Thepro audiosuite.,Speaker B: Com line up learner. Here we go.,Speaker C: And of course, don't forget the code. Trip a p two hundred and that will get you two hundred dollars off your tribooth. Now, we're going to talk microphones today because there's one thing I don't think we've ever discussed, or not in depth anyway. Is RF on a shotgun mic? Now I'm assuming rf is radio frequency, but for anybody like me, what does it actually really mean? And should it be something that we consider when we're buying a shotgun mic?,Speaker A: You mean the fact that the microphone uses what they call an RF technology? Is that what you're referring? Sure. I'm sure Robert would know more about the details without me having to google it. I read about RF microphones for a few times and I think one of the side effects of a mic being RF technology, which by the way, has nothing to do with transmitting a radio signal, right. It's the ability for the microphone to reject noise. I don't know if I've ever heard of a four hundred and sixteen, for example, which is using this RF technology as having an issue. Picking up radio frequency noise. If anybody else has heard of that, if you've had a mic, a four hundred and sixteen picking up RFI, let me know. But one of the advantages of that technology is it's very highly immune to humidity.,Speaker C: Yeah, that's what I heard.,Speaker A: And why that exactly is, is definitely beyond my pay grade.,Speaker C: Isn't it something to do with the way inside the microphone? Each part talks to itself, like talks to each other. It uses like a radio frequency inside the microphone to communicate with itself. That's my vague recollection of what it actually is.,Speaker A: That is certainly plausible. I just wish I was more understanding of the technology.,: So we're talking about it rejecting radio frequencies, is that what you're saying? Like a shielded cable would reject?,Speaker C: Yeah, I think that's what it does. And if anyone's listening, we should do what everybody else does on their YouTube things. Leave us a comment in the comments section.,Speaker A: Can I do story time and read it to you?,Speaker C: Yes, do story time. Oh, I'm sitting comfortably, George.,: But read it in your best bedtime story voice, George.,Speaker A: Okay, yeah, well it would have to be in a german accent.,Speaker C: I'm not going to do that.,Speaker A: A bedtime german accent?,: No, that's scary.,Speaker C: That's really scary actually.,Speaker A: But there is a whole white paper from Senheiser and it's written by Manfred Hibbing and it's Sennheiser's professor. MkH condenser microphone sorry everybody, I'm sorry, but basically what it says is that high rf frequency solves a problem. So when the replacement of electronic valves by transistors commenced at the end of the fifty s, this change was also under consideration for condenser microphones. Reduced size, low supply voltages and lower power consumption were regarded as great benefits as well as being able to use simpler microphone cables. However, there was a basic problem. Direct replacement of the valve by a transistor was not possible due to the mismatch between the high impedance of the condenser capsule and the low input impedance of the transistor. Hence, for optimal matching, the capsule impedance needed to be drastically reduced. And then they go on to explain the impedance of capsules, et cetera, et cetera. So down to the next paragraph. How does RF microphone technology actually work? The principle is simple. After all that.,Speaker C: Yeah, sure it is.,Speaker A: Sound waves deflect the diaphragm of the condenser capsule and change the capacitance between the diaphragm and the nearby back electrode, or backplate. Contrary to the more common low frequency AF condenser method, the capacitance variations are not converted directly into audio signals, but modulate a high frequency radio frequency signal generated by an oscillator inside the microphone. This signal is then immediately demodulated inside the microphone, thus recreating the audio signal, but with a very low source impedance that is well suited for driving a transistor amplifier. Thusly, an RF condenser microphone is basically comprised of a transmitter and a receiver that are directly wired together. The RF signal is therefore kept inside the microphone only the audio signal is supplied to its output just like all other microphones. So yeah, what you were saying was pretty much usual for me.,Speaker C: What happened?,Speaker A: He picked it up through osmosis somewhere along the way.,Speaker C: That's right.,: Can I just say, Robert would make that a lot.,Speaker C: Yes.,Speaker A: Yeah, sure. The thing with humidity, and here's a little paragraph about this, there is no other important benefit of the RF principle for practical use, the low electrical impedance of the capsule provides outstanding immunity against detrimental effects due to humidity, because even then, the leak resistance is very much larger than the capsule impedance. Thus, Mkh microphones, which I understand, all of those, all Mkh mics are RF mics. They're well suited for outdoor use. So this is why mkh mics, no matter whether they are the mkh four one five, forty one six, and I'm paraphrasing here, or any of the mkh stuff like the mkh forty. There's the eight thousand series, right? They have the eighty third. Eighty, twenty, eighty, thirty, eighty, forty, fifty, eighty, sixty. They have a whole new line. All of them are using this technology. And the reason for why it still persists to this day is it's excellent outside and thereby it's also excellent in a sweaty, hot, muggy voiceover booth.,Speaker C: If it's four x three x six. Yes, indeed.,Speaker A: Especially if it's four x three x six. Absolutely.,: Yeah.,Speaker C: Talk about that outdoors, though, because this was something else where I got stuck in the rabbit hole that I mentioned before we started recording. Then there was a discussion about using shotgun mics inside. Now, this is basically for drama and stuff like that. So a boom op using a mic where they wouldn't use a shotgun inside, they would use a pencil. Small diaphragm, pencil condenser.,Speaker A: Yeah.,Speaker C: Now, if that's the case, if you're a field audio guy, why would you not use a pencil condenser as a voiceover person inside?,Speaker A: I don't know. I did have a pair, and I still do have a pair of pencil condensers, the classic octava mics that are so popular. And I used to use them to try to do field recordings. And I didn't know that much about mics at the time. And I would get the dreaded, we sometimes call it motorboating. It was like this.,: Yeah.,Speaker A: Fluttering sound. And I didn't know why it was happening. I just knew it would happen. And it would always happen if I was outdoors and sometimes I was like, in a really humid environment and it would get really bad. And I was like, oh, no, the mic's bad. And then I'd bring the mic home and I'd pull it out of the box later and would be perfectly fine.,: Yeah.,Speaker A: So because with af microphones or audio frequency condensers, because they store a charge on a high impedance capsule, it's easy for that charge to find a way and leak across the insulation by riding on water molecules which cause those motorboat or crackling effects. So I don't know. I mean, I think it's just another added benefit of an RF mic is that you're just never going to have that problem. But Neumann, large diaphragm condenser mics where you have two diaphragms extremely close to each other, even if it's a cardioid, there's still two. There's the diaphragm in the front that takes the sound wave and then there's one on the back that picks up the signal, creating the changes in capacitance, blah, blah, blah. And those are so close together that water molecules actually transmit the electricity.,: Yeah.,Speaker C: It's amazing.,Speaker A: And create the static.,: Yeah.,Speaker C: Do you know anybody who does use any pencil Mic for doing voiceover in their. I do.,Speaker A: I know people that use the eighty series or the eight thousand series, but those are MKh mics. So I believe all the eight thousand series Mkh mics are also rf.,Speaker C: Is that the eighty fifty?,Speaker A: Is that like the eighty fifty? The eighty twenty, eighty thirty are tiny little stubby capsules. I mean, they're mini because I guess they have the most condensed electronics and boy, are they expensive.,: Yes.,Speaker A: This is a stereo set. So I'm looking at two thousand eight hundred for a stereo set.,Speaker C: Don't look at the chefs then.,Speaker A: Yeah, I know. Chef takes to another level, right?,Speaker C: Yes.,Speaker A: But yeah, the MKH forty is going to be about one thousand four hundred us. So if somebody's comparing mics and they look at this minuscule, laughably small mic and then they think, why would I ever use that over a four hundred and sixteen? Well, that's because it doesn't have the negative effects of a shotgun microphone.,: Yeah.,Speaker A: Doesn't have any of the negatives. It doesn't have the negatives in terms of off axis phase problems.,: Yes.,Speaker A: You get a way more accurate pattern as you go off axis. Right. So that's one reason it's certainly very nice to work with, because it's so small.,: Yeah.,Speaker A: So it's never going to get in the way. But they're going to be extremely pop sensitive. Right. Because the capsule is right there at the grille. It's right in the front. Like any pencil mic. They work great on voice, but they pop like a mofo. Yeah, they pop really bad. So you have to have good mic technique and maybe a good pop screen. But they are quite an upgrade. Some really have found them to be quite an upgrade. Like an eighty forty from a forty one six.,Speaker C: Yeah.,Speaker A: I would go with the eighty fifty because that's a super cardioid. That would be my choice if I was going this direction.,Speaker C: Yeah, it's interesting. It's funny with shotguns and we were talking about this also before we jumped on because the road kit I set my daughter up with for her travels, I gave her the NTG three and we were just doing some testing a few hours ago just to make sure.,Speaker A: That is an RF mic too.,Speaker C: I believe it is an RF mic, but also it's quite bottom end.,Speaker A: It's eqed very differently. It is a very different tone from.,Speaker C: The forty one six, which I think for location is perfect because the further you get away from the source, the sound source, the thinner the audio gets. But if they've got that sort of hype bottom end, it actually keeps some of that in there in the sound, which is great for that kind of work. But it also sounds really good on a female voice. I mean, she sounds great on that ntG three. But when I put it up in front of me, I had one for a while, mud central. It just didn't work.,Speaker A: Muddy?,Speaker C: Oh yeah, it wasn't good.,Speaker A: You lose articulation. It doesn't have a crisp attack. It's very, yeah. There's another mic that's really popular because of its price point and that's the Cinco d two. Have you heard of that one?,Speaker C: No.,Speaker A: Very cheap shotgun mic. And of course it looks a lot like a forty one six. Of course, same color, same shape, same size, same everything. So of course it gets sold all over the Amazons and stuff as a cheap forty one six. But it sounds nothing at all like a forty one six. Nothing at all. Yeah, it's a very flat mic. Very flat, very dull. So when somebody sends me that sample, I know immediately I'm going to have to help the top end. And when I do that, up comes the noise. And that's the other problem with small diaphragm mics. Making a small diaphragm pencil or shotgun mic sound as low noise as a large diaphragm mic is no small feat. No, it's very difficult to do. So. That's another problem. You're never going to get a small capsule mic to be as quiet from a self noise perspective as you will a large diaphragm mic, even a cheaper diaphragm. Well, let's look at the rode nt one four or so db self noise. You're never ever going to find a small diaphragm mic with that kind of a measurement.,: Yeah.,Speaker A: What's funny is I'm reading the specs right now from the Senheiser mkh. Eighty fifty. They don't even quote the self noise.,Speaker C: Interesting.,Speaker A: Which to me is a way of saying it ain't so great, but it doesn't matter. This is a location mic. You're going to use it outside so it doesn't need to be that quiet.,: Yeah.,Speaker A: But still, it's a one thousand four hundred dollars mic and they don't quote the spec. So I find that kind of fascinating.,Speaker C: Yeah, but if you're buying a shotgun, and I know we've banged on about this before, but I still reckon the best value, the best bang for buck in any shotgun mic is the NTG five from road.,Speaker A: Yeah, it sounds once they got over there they had some growing pains with that. They did. We definitely had a few people with some issues and it seems that that has been sorted because I haven't heard of any of those kind of complaints of noise or whatever for well over a year now. It's been more than a year or two.,: I was a victim of one of those. The first one they sent me I had problems with, but sent it back and got a brand new one and haven't had any problems with it since. Full credit to road all.,Speaker A: I never ever had a problem replacing a mic.,: Yeah, and full credit to road. All I sent back was the actual mic and I got a whole new, whole new kit when they sent me back the new one. Typical of road.,Speaker A: Really.,Speaker C: So you got a nice little shock mount for your forty one sixes?,: Yeah, I've now got two of their shock mounts, which is kind of nice.,Speaker A: Well those are cool, man. If you were to go buy those pistol grip shock mounts with the rycoat style Lyre mount and everything, those are going to be one hundred dollars plus easily.,Speaker C: Easily.,Speaker A: And then the windscreen and everything else. I mean it's like one hundred and fifty dollars kit plus the mic.,: Yeah.,: And I do like it. It's standard fare in my room here. That or the austrian audio one or.,Speaker C: The other of the two. Yeah.,Speaker A: Mine pretty much lives permanently in my kit for going on the road and traveling. I have a pelican hard case and the ten TG five lives in there. It's just always there, ready to go.,: Yeah. Well, you know what I need to figure out now, thinking about that is cutting the foam in the road kit for my english channel so that the NTG five fits in there and then I've got it all in one case that's what I need to figure out.,Speaker A: Oh yeah. It seemed that there was enough space in there to squeeze in a shotgun mic.,: Absolutely. Just pick up the bag and away you go.,Speaker A: That'd be a sick kit, wouldn't it? Oh, man.,Speaker C: Fantastic.,Speaker A: I did actually dig around and I went on the recording hacks website, which is a great database of microphones recordinghacks. Com. And while it's missing mics here and there for sure, it does have pretty much all the Neumans and Sennheisers and the bigger brands and stuff. And I found the eighty fifty and they actually do list a self noise rating of thirteen DBA weighted. So the Sennheiser four hundred and sixteen is like sixteen, I believe. Okay, so they managed to shave three db of the self noise.,Speaker C: I think the NTG three is about the same. About twelve or thirteen from memory.,Speaker A: Yeah. That's good. I mean, it's going to be hard to find a lower value than that. I haven't seen. I mean, maybe Sheps has something quieter. Possibly. I haven't looked, but. S-C-H-O-E-P-P-S. Is that how you spell.,: Am I thinking of the engineer or the. Is it double P?,Speaker A: Well, yeah, it's confusing because you have the mic called sheps.,: Yes.,Speaker A: And you have the engineer, and I.,: Can'T remember whether it's double P for the engineer or double P for the mic. One of them has two.,Speaker A: I guess I kez guessed it right. It's S-C-H-O-E-P-S. So the CMC five, which is one of the quintessential chefs shotgun mics, is. It's got one, two, three, four, five, six, seven, eight, nine, ten, eleven, twelve, thirteen, fourteen, fifteen, sixteen, seventeen, eighteen, nineteen. Different capsule options.,: Wow.,Speaker C: Bloody hell.,: Wow.,Speaker A: They have this huge array of capsules that thread onto the body depending on what you're doing. So let's look at a cardioid. Let's look at a super cardioid, the mk forty one. It does not list a noise spec.,: Right?,Speaker A: There's no noise spec listed anywhere. There.,Speaker C: Kind of old school, isn't. It's like the old cmv microphones from Neumann back in the. Would have been thirty s. Forty s where you got the bottle. And instead of having a switch to go from cardioid figure eight to omni or whatever, you unscrewed the capsule and put new capsule on the top.,Speaker A: Yeah. Right. Yeah. Well, actually my mkhs. Sorry, my octavus. Same deal. I have three capsules per mic, but that whole kit with two mics and all the capsules costs less than one of these capsules.,Speaker C: Yes.,Speaker A: You start realizing the difference in cost is pretty stark. I mean, they said the capsules are anywhere from eight hundred dollars to one thousand four hundred dollars for one capsule.,: Yeah.,Speaker C: I do like the idea of the ships. The shotgun, that's blue. I mean if you had that in the booth and as soon as you see that color, you go, oh, okay, somebody's serious.,: Yeah.,Speaker A: Have you ever seen their v four u model? It has a blue bottle and then the grille has this very cool deco style grille. It's very cool looking. Look it up sometime for you. And it's a neat looking mic and it has a quirky thing. It's that the capsule has a slightly hinged head so you can tilt the capsule forward and back a little bit. Like ten degrees, twenty degrees.,Speaker C: Oh God, that looks good.,Speaker A: But it's a cool looking mic.,Speaker C: That is very tasty. Yeah, don't Google Robbie, you'll get blow your machine up.,: Well, I'm doing it on my iPad, but it's saying there's some problem with the website and I can't get on there. So I don't know what's going on.,Speaker A: V four U is three thousand dollars retail. And then it has a pretty flat response curve. I mean it has a small presence rise at four k, which is typical, but it's only like two or to three db rise. So it's pretty flat.,Speaker C: That is insane.,Speaker A: I remember trying it at one of the nams or whatever and being like, wow, that's a cool sounding mic.,Speaker C: It looks really neat, very tasty.,Speaker A: Oh, that's how much it costs.,Speaker C: Okay. Yeah, I might get one in the next lifetime. Yeah, I was in Tokyo and I saw a dunhill store and I went in there and they had these linen bucket hats and caps and stuff. I thought, wow, they're really cool. And I was looking at the price and tried on the bucket hat and it's like, yeah, I'll get that. So I said, yeah, I'll take this one. I said, actually, I might even get the cap as well. And the guy's looking at me going, no, you don't need the cap as well. Just take this hat. That's all you need. I'm like really doing yourself out of a sale here.,: Okay, whatever.,Speaker C: So I bought the thing and I'm walking back to the hotel and then I'm doing the calculation in my head and thinking I just got a bargain of thirty five dollars. I sort of went, hang on a minute. I got the digital point in the wrong spot.,Speaker A: I just paid three off of zero.,Speaker C: Three hundred and fifty bucks for a bucket hat?,: Yeah, right.,Speaker C: Dear, oh dear, oh dear. Anyway, yeah, well, that was fun.,Speaker B: Is it over?,: The pro audio suite with thanks to tribut and austrian audio recorded using source Connect, edited by Andrew Peters and mixed by Robo. Got your own audio issues? Just askrobo. Com tech support from George the tech don't forget to subscribe to the show and join in the conversation on our Facebook group. To leave a comment, suggest a topic, or just say g'day. Drop us a note at our websiteproudiosuite. Com.     

El ministro de Agricultura, Pesca y Alimentación, Luis Planas, presidirá el último Consejo de Ministros de Agricultura y Pesca bajo la Presidencia española del Consejo de la Unión Europea (UE), que se celebra el 10 y 11 de diciembre en Bruselas.El Consejo no ha alcanzado la mayoría necesaria sobre una de las prioridades españolas de este segundo semestre, la propuesta de reglamento sobre las nuevas técnicas genómicas (NTG). Además, la Presidencia presentará un informe de progreso sobre la propuesta de reglamento de uso sostenible de productos fitosanitarios.Por otro lado, sobre las normas del etiquetado de la miel los Estados miembros van a lograr un acuerdo para debatir más adelante la versión definitiva de las reglas con la Eurocámara.El acuerdo va a contemplar que en la etiqueta se mencione de qué países procede la miel utilizada para elaborar el contenido del envase y en qué porcentaje.

On this week's show MPX breaks down what was a wild week of promotors being petty, Spoiler: We loved it, because why not? If you got a company, fight for it. Big Trouble and NTG broke down each Qtr of the Tuesday Night Wars. We said who won each and why and we did it all without ever mentioning the ratings. Lastly, Nicky goes on a rant about live crowds. Stop taking video of everything. Use your eyeballs ya marks! Follow us everywhere @meatpopexpress Please subscribe on YouTube We're available on Apple and Spotify!

For close to 30 years voicebooth.com have been creating booths for Voice Artists, Vocalists, training facilities, law enforcement and more. Anywhere you can think of that a voice (or amp for that matter) has needed to be recorded, you'll find a vocal boot that's done the job. Recently, George hooked up with the guys to talk tweaking the booths for VO, and while he was at it, took the opportunity to grab Freddie Gateley, their VP Sales and Marketing for an interview... A big shout out to our sponsors, Austrian Audio and Tri Booth. Both these companies are providers of QUALITY Audio Gear (we wouldn't partner with them unless they were), so please, if you're in the market for some new kit, do us a solid and check out their products, and be sure to tell em "Robbo, George, Robert, and AP sent you"... As a part of their generous support of our show, Tri Booth is offering $200 off a brand-new booth when you use the code TRIPAP200. So get onto their website now and secure your new booth... https://tribooth.com/ And if you're in the market for a new Mic or killer pair of headphones, check out Austrian Audio. They've got a great range of top-shelf gear.. https://austrian.audio/ We have launched a Patreon page in the hopes of being able to pay someone to help us get the show to more people and in turn help them with the same info we're sharing with you. If you aren't familiar with Patreon, it's an easy way for those interested in our show to get exclusive content and updates before anyone else, along with a whole bunch of other "perks" just by contributing as little as $1 per month. Find out more here..   https://www.patreon.com/proaudiosuite   George has created a page strictly for Pro Audio Suite listeners, so check it out for the latest discounts and offers for TPAS listeners. https://georgethe.tech/tpas If you haven't filled out our survey on what you'd like to hear on the show, you can do it here: https://www.surveymonkey.com/r/ZWT5BTD Join our Facebook page here: https://www.facebook.com/proaudiopodcast And the FB Group here: https://www.facebook.com/groups/357898255543203 For everything else (including joining our mailing list for exclusive previews and other goodies), check out our website https://www.theproaudiosuite.com/ “When the going gets weird, the weird turn professional.” Hunter S Thompson   and welcome to another Pro Audio Suite. Today we're a bit remote because George is up in Oregon looking@vocalbooth.com he's there with Freddie Gaitley and they've been working together on something. Some secret sauce, let's say. What's happening, George? Speaker B: Well, you know, at first I thought it was kind of be secret for a while. Freddie's like, hey, man, we're ready to go. We're ready to talk about this, right? Speaker C: We're nimble. Speaker B: How are you doing today, man? Speaker C: I'm doing great, George. Speaker B: We've had an interesting couple of days here. Freddie brought me up to meet up with the whole team here. There's 13 guys that work here@vocalbooth.com, and I've gotten to work and collaborate with the whole team. : Is guy still there? Speaker C: Oh, Guy. We put Guy out to pasture a few years ago. So he's enjoying his grandchildren. : Did you take him out behind the barn? Speaker C: We haven't not quite that far. But he's enjoying his grandchildren and enjoying retirement. : All right. Yeah, we liked working with Guy. Speaker C: Yeah, Guy's a great dude. Speaker B: Yeah. So the journey begins where you guys know me. I've been working with all the products that are out there. Right. I've dealt with all the booths. I know what works, what doesn't. I have my own opinion about the pros and cons of all the different products. That was three or four months ago. I reached out to really nobody, just, hey, vocal booth. Speaker C: Put it out there. Speaker B: I put it out there and I said, you guys be interested in collaborating or just chatting with me about what could be done to your booths to make them go to that extra mile, that extra 20% or that last bit that will make it go from good to great acoustically. And Freddie answered my call. He had a zoom meeting with me really quickly. We had a great chat and flash forward a couple months later, here we are. Speaker C: Here we are inside of one of these vocal booths that's all treated out. And George the tech approved. Speaker B: Yeah, we're in a four x six vocal booth. The ceiling is just under maybe just under 7ft. And typically the vocalbooth dot coms are treated with well, you tell us a little bit about the design of these booths and how they've been built and the philosophy behind them over the last 20 or so years. Speaker C: Yeah, absolutely. So we service a whole bunch of different markets. Of course, people call up that are looking to do the voiceover thing. Voice acting, long form, short form narrations. And then music and then testing or big facilities, education, industrial projects. There's all secret industrial projects that we can't talk about. : Do you have, like, defense contracts? Like, you have to sign in? Speaker C: I can't confirm or deny. We might have some boots in Guantanamo Bay, we might not. I don't know. There's a lot of companies. We waterproof it. We don't ask. What you're going to do inside your Vocal booth is your business and the CIA's business. Yeah, which is everybody's business. We never know exactly who's going to come in. So we offer all kinds of different levels of isolation, different layers of treatment. What we tried to do is kind of have a one shot fits most type of situation with, like, our Gold Series. So we offer nearly floor to ceiling pyramid, acoustic foam, silent ventilation, over 200 different sizes of booths, custom heights, anything that somebody might really need for their specific recording purposes. And then we can also scale up or down for the amount of isolation that they're going to need. So if it's just something in a really quiet room, we can go with something like a Silver Series. Normal office environment is going to be like a single wall Gold Series. Then we go up to, like, a platinum, which is our double wall. And then we've even got another platinum plus, which we start to put in layers of mass loaded vinyl and do a lot of crazy testing and things like those in those booths for really stringent use cases. Speaker B: More industrial, maybe. Yeah. So I got to know their product. I mean, I've been in and I've helped move and I've listened to and I've tuned all these booths. : I think you and I have a history with Vocalbooth.com just being here in the US. Andrew, I'm pretty sure you've never been in a specific Vocal booth.com. Speaker B: Booth? Speaker A: No, I've been in the quiet one. : Okay. Speaker A: The one with the quiet name. Speaker C: Yeah, right. : The name which we shall not say. Speaker A: Correct. Yes. : Right. Because I've owned one, which I guess I should admit I sold for a profit. Speaker C: Outstanding. That's what we do, too. That works out. Speaker A: Yes. Speaker B: You're on the same page. : Right. To me, what Vocalbooth.com is is very effective, especially for the price point and good finish. It's like a good looking booth, I guess. We won't talk specifically about others, but it's just like, obviously they hold their value plus. Speaker B: I can say what attracted me to their product. The first time, rather accidentally, I guess, is I was at a client's house and she had a I think it was a four x no, it might have been a four x six. And I was in the room setting up gear and tuning it and listening to the record, and I was like, let's do a test now with the ventilation on. And she said it's on. And I said, really? And she said, yeah. And then I reached up to the vent and put my hand up, and I was like, oh, it is on. And I was really amazed and impressed with the attention to the ventilation that was being paid, because that is where everybody else is falling short, like, very much so is ventilation. They're either running too many fans, too quick, or too slowly or not enough, or you know what it is? They don't run a big enough duct. These guys are running a six inch duct. And does that start in the Gold series? Speaker C: Yeah. In the Gold Series. Right now, the Silver series used to have it, but the Gold series and the Silver series kind of alert a little bit. And now we have a brand new Silver that's out there. It's got a little bit less airflow, but in doing a little bit less airflow, we can go down to a smaller vent, but more of like an integrated system. We've also changed the price point and stuff to be very approachable. Speaker B: The silver is brand new. They just launched a new version of it. And the ventilation is 100% integrated into the ceiling. It's a very simple but elegant solution. And there's some lighting in the ceiling, too. Very cool. But their bigger ones go with this bigger duct. And so bigger duct means slower airflow, more volume, but slower. That means quieter. And it's just a much quieter solution than everybody else. So that was always impressive to me. But really, at the end of the day, when I emailed them, they were open to talk to me. First of all, have a dialogue, we chatted. I could just tell by the vibe that we were kind of getting along on the same page. They're in Bend, Oregon, which is like, to me, a dream outdoor place to go. I've always wanted to go. So all these things came together and they're like, why don't you come up? We'll try out some things. We're going to start making some panels to test out. And I had no idea how quickly they could not only come up with ideas, but get them made. I would say, hey, we need to put one of these of this size in here. Carl would say, all right, go make me know. Or he would CAD something up and draw it up. And within an hour or two, we would have essentially a finished prototype that we could immediately start testing. Speaker C: We tried to be real nimble with everything that we're doing here. Speaker B: It was really neat. : What was the original background of Vocal Booth? Wasn't it? You guys were building houses or parts of I forget what it was. Speaker C: Yeah, actually, Vocalbooth.com started as so many businesses start in a garage. And Calvin Mann, who's the founder here, he started in his mother's garage. He was living there for a while and needed a place to record to keep doing some singing and songwriting and then built kind of a little four x four booth and then put an add online in 1997 and actually got a hit and a sale and then went, oh, my gosh. Now I got to really build one of these for somebody else. And are they even going to like it? And the funny thing is, he took off to deliver it himself to somebody over in I think it was new Jersey. And so he loaded up the u haul truck, the spray glue and the wood, and he was literally finishing the booth as he went across country and doing that in the back of the u haul. Got it to the guy, put it together. The guy was stoked. I still see him at NAB. He comes up every year and then shows me. He's like, hey, I got number one pictures and stuff. And he's been cranking with that thing for over 20 years. So then he came back and started a business and started really working at it. And then for the last 20 years, we're just always, always looking for a way to push it forward, like, whether it be finding better fans, because new fan technology is coming out all the time, so we're always staying ahead of that stuff. New acoustic materials, a better building process, more options, something that just performs better. And that's where, where, when george came up and kind of, you know, do you guys want to know what's wrong with all your well, yeah, of course. Speaker B: This is not news that is taken that well by everybody. : George had tourette. Speaker B: It's not taken as well. I mean, it's not that they'll say, f off, but they just will be like, okay, that's nice. Thank you for being a fan of our product and bye bye. But they were like, no, let's chat. Let's see what you have, what you're talking about. And then what's been really fun is being here physically on site, watching them come up with a product, putting them into play and letting them hear the difference, and they're like, whoa, there's not a subtle difference. They can immediately hear it. And it's been a fun discovery for me as well, because we've used some products I'm familiar with, as well as some other products, substrates and materials that I haven't spent much time working with and discovered some things. It was as much a learning process and like an r and d process for me personally as it was for creating something for them. So that's what's made it super cool. And now we're standing in and one of the key mics we used for all of our tests was a TLM 103. Freddie has one. We also used the rode nt one fifth gen. He also has one of those. And we used an NTG five because we wanted to have a shotgun as well. So we did extensive recording. I've probably spent three or 4 hours setting up different scenarios, different combinations of materials, and different microphones. I recorded all these files, logged it all, and I've got all the tests to prove it. So we can actually hear what these are doing. Speaker A: And I bet yeah, I bet the microphone that was least successful would have been the NTG Five fifth gen. Speaker B: I wouldn't say that's the way to no, I wouldn't say that's true. I would say when comparing those three mics, which I did the most, I was the least impressed with my final output with the NTG five. I liked the sound of the Nt one and the TLM pretty closely, equally, very similarly. And I mean, you know me, I'm big on mic placement. We all are. We always talk about proximity. We talk about being in the sweet spot. We talk about a fist and a thumb or a shock pinky thumb. Right. Right now we are in a four x six booth. We are minimum, I would say, 14 inches away from the mic. We're standing on either side of the mic, facing inward, so we're not close to this mic at all. And I don't know what you guys are picking up on your end. What do you think of the overall tonal balance? Does it sound colored? Does it sound natural? What do you hear? : It sounds pretty not overly weighted on either frequencies, but really no presence of any bumps and there's no bounces, essentially. Speaker B: And there's not really a bounce sound. Speaker A: Which mic are you on now, out of interest? Speaker B: We're on the TLM 103. Yeah. Okay. And I liked using this mic because I always consider this to be the torture test mic for a small booth unforgiving. Every time I get a recording with a 103 and a small, I'm like, oh boy, here we go. And so when Freddie said, I got one of those, I was like, that's we're going to focus on that. And when he also just happened to have the Nt one as well, I said, well, that's a great one to test as well because it's the more affordable entry mic. It's still an excellent mic, just the price point. And so it was just a no brainer to do all our tests with. Speaker C: Those two mics and kind of looking back at when we decided to work together, too. I mean, that's really been our culture and our philosophy on everything, is keep learning, keep moving forward. We're willing to have a conversation with just about anybody, even you, George. It's worked out, though. So it's been, you know, in having a booth that, for instance, the Platinum series, we don't force anybody into studio foam on those ones. It comes with basically just walls that are completely covered in like, an acoustic felt. And then we'll talk to somebody, if they're very much just starting out and they have no idea about how they're going to dress their booth out or something, then, yeah, a good snapshot is saying, okay, let's just get you a bunch of foam in that booth and then you figure it out. When I talk to professionals, somebody who's moving up to having to have that booth, that is, like George would say, the quiet on demand booth, then we'll go ahead and make up like an acoustic package for them. Or we'll just say, hey, listen, you get your booth. We're just going to make it completely covered in the felt. We'll take care of the isolation part, but you will have to work with somebody to get that tuned out to your voice, to your microphone, to whatever that you are doing. So being able to have something kind of right out of the gate that we could do, we can send out somebody confidently and know that this is like George is saying, this is most of the way down the road to being professional, being usable right out of the box. That's really what encouraged us to get together with George and get this thing produced. Speaker B: I mean, this is what I've wanted from any booth manufacturer to do. Right. I wasn't at all picky about necessarily which company it was. I just wanted somebody to pay attention. And when they were so willing to listen and pay attention and try something and then put their money where their mouth is, bring me up here, Freddie. Put me up in his personal short term rental know, so I had a place to stay. They've been feeding know, it's been a nice experience, right? But they took that chance and that risk to try something, experiment. And the results speak for themselves right now. So we have a room that we've just made improvements by simply placing two new panels on the two walls. So it's sort of like a corner we've created with the new panels as well as bolstering the ceiling with a much heavier, thicker panel. So it's like a deeper ceiling cloud on the ceiling. So there's three new panels in here. Grand total is less than two x four. Two x three ish and three ish by four five on the ceiling, something like that. But the difference was dramatic. It was a dramatic improvement. It was just really a big deal. Speaker A: Where was the difference out of interest. Speaker B: So for me, the difference is in two main areas. One of them is just the general mid range. There was still a little bit of mid range ring that you would get in this room, especially if you got too far away from the mic. Like, if you're in the sweet spot of the mic, you were fine. If you wanted to relax, get back off the mic. And this is really a big thing for video game producers and engineers that are always acting the actor to stand back from the mic, give us some more space. That's where these booths, they don't hold up well. It gets very boxy. There's too much resonance because the two inch foam on the walls can't control much energy below roughly 1000 Hz. After that, they don't do that much. So what we've done is we've now focused treatment that's broadband and now can work much below 1000. It even goes deep enough that it seems to deal with down to at least as low as my voice will go, which is roughly 80. It flattens that out. And the back of a TLM 103 is going to be sensitive at low end. Right. Because when you have low end, it's going to be essentially an omni mic, right. Like cardioid only matters for mid to high frequencies. Right. Speaker C: Robert? : Generally, microphones, even omni mics are more directional, often in more one direction, and then as the frequencies go down, they become truly omni. Speaker B: Yeah. So these mics are the back of them is always a big problem. They're going to pick up any buildup. We've killed that low end buildup with these panels. And so it changes the character of the mic to something way more linear. Like you were saying, it sounds more linear, it's not boomy, and it has just a more natural tone. And so that was the goal. The goal was to do that, but then the next goal was to make it so vocal. Booth sales guys and everybody can just say, here's the package. We know that if you do this, we have not the numbers to prove it, we have the tests to prove it. Right. We did a lot of recording so that it's hard to back this stuff up with science, I should say. With numbers. Speaker C: With numbers, yeah. Speaker B: With specs, it's just very hard to back it up. But when you literally record somebody and play it back, it's an obvious improvement. Speaker C: And that's always really been a big thing for us, is like, I mean, somebody needs to get their booth and be stoked with it. I mean, that's the beginning of our next sale. Our future sales is really the person who's getting the booth needs to be happy. It needs to do what they expect it to do, and it needs to be just like a valuable piece of their studio and of their career. I got to say, we weren't completely ignorant to who you were, and I'd followed you online and stuff for a long time, too. We all were familiar with your videos. I think we may have met briefly once at NAB or something, too, but never really got to have. And a lot of my clients and stuff, too did go and they worked with George. And so I would hear know, oh, George got this booth and he loved it, or George got this booth and he had to do some things to it and now we really love, you know, we kind of knew what was going on there when we developed these panels and stuff. After a few of our zoom calls and trading back and forth some emails, everybody kind of looked at it and went, well, is that really going to I don't know, who is this guy and is this going to work? And then we installed them, we got them up there and then everybody walked by them and then went, whoa, whoa. Like even just out in the factory went, wow, these panels are crazy. And then so it became grabbing everybody from around the factory and going, oh, you guys got to check this out, look at what this thing is doing and stuff. So everybody was super on board and really excited to put together a few booths and to get some testing going and to invite George down. And we're really thrilled with the product that we have to offer. Speaker B: And I'll say one more thing. Another thing was a client had recently gotten one and he couldn't say more about the customer service experience, how helpful you guys were. I had more than one person tell me how you really seem to get it like what's important, what the priorities are. You listen to their needs, very attentively. And that was, to me important. That was really mean. You know, we're all about service. George the Tech is all about service. We're all about working with performers. Speaker C: Right. Speaker B: And you guys do that all day. Yeah. : So the George the Tech vocal booth option, what if I have a vocal booth and I'd like to upgrade it? Is it possible to just buy the option and self install or I don't know, or what's required? Speaker C: You bet you so that's really a good question. And when we were looking at designing something like this, it had to, number one, be extremely easy to install. So we've come up with a way that you'll see that's very easy to install and depending on what height you're at, too, it doesn't require any tools and you can just get it dialed into your space, your height, your microphone. So it's not even just like it's pretty much a one size fits all because it's so adjustable. Speaker B: Right. Speaker C: And then the way that we've been building our booths for probably about the last five or six years, we could retrofit any gold series very easily with no extra tools or anything. They just call up. We could absolutely fit it right in. Speaker B: You don't have to screw anything into the wall. No, not at all. Speaker C: And then if we did our platinum series, any of our platinum series would be ready to go for that one. So again, like modularity and upgradability, it's all there in the value. No forced into any kind of a new booth and no planned obsolescence for what we've been doing. Speaker B: And these products would obviously work in other products as well. I mean, they would work. The principle is going to be the same. It works particularly well in this booth because the walls are already treated with a two inch thick pyramid foam. So what we're installing is actually over top of the existing foam. So you're getting this hybrid of material, and it ends up adding up to more than almost six inches thick. And that's another reason it's so incredibly effective. : What's the inside space? That's kind of residual left over? It's six inches thick times two, because you got two walls, so you're losing almost a foot. Speaker B: Yeah. So, like, looking directly in front of me, I got my hand on one of the panels, and that's really directly behind our mic. It's like eight inches behind the mic right now. And then to my left on the shorter wall, we're facing the wide wall. On the shorter wall is the other panel, and they're horizontal, not vertical, and they're centered right on the mic. So equidistant top and bottom, above and below the mic. So you're focusing all of that treatment where it needs to be right on the mic itself. And that's why I think it works so exceptionally well. And then the panel on the ceiling is of a similar well, essentially same design, and we're both about 6ft. And so that panel, even though it hangs down four inches, is still a good six to seven inches above our heads right now. So it doesn't feel claustrophobic or cramped. It still has a decent feeling. And that panel on the ceiling takes care of the pressure zones. I've been giving them, like, a crash course on some of the acoustic properties of spaces and chambers and dealing with pressure zones and room modes and all this stuff, because that's what it comes down to. But we don't have to all understand the science of it. It's just cool to visualize and show them on a computer, like, okay, here's where these areas are, and here's what we need to do. Speaker C: And it's been so cool to talk to somebody who has a practical understanding of that. Because I can't tell you how many times over the years we get a call from somebody who they have no idea what they're talking about. But they've read all these buzzwords or they're trying to get something for tech. Told them that they need to get this. Speaker B: Yeah, they're hung up on some they're. Speaker C: Hung up on stats. They're hung up on some things. It's like, in the end of the day, what does it really mean? And that's also, like, even just how we explain to some clients. They'll say, how much isolation? What's the NTC rating? What is the STC rating of your booth? And you're like, well, what are you dealing with? Let's just start right there. Speaker B: What's your source? Speaker C: And then showing them some videos from some clients and being like, here's a guy with some construction right outside his room. Or a leaf blower, like the nemesis of the voiceover world. It's like, oh, these people are they got leaf blowers out there. And then they walk inside their booth, and it's good to go. So that kind of real world application and also, that's really a big thing of like, you're talking about our customer service and the way that we conduct our sales is we do just see ourselves as consultants. All of our sales guys are going to have teachers hearts and we never go for the kill. I mean, it's not just about selling a booth. It's about creating a long term client. And that's worked out really wonderful for us. Speaker A: Yeah, I mean, the whole thing about all this is it really is a dark art, the whole treatment and acoustics in a booth. Half the time, if you build your own booth, you either get lucky or you don't get lucky. But I guess with your one you don't have to worry about tossing the coin and hoping you get lucky. Speaker B: Because the idea is with this improvement, there's a very predictable good. We know this works and it's just on my own. I haven't had the time and space tools, resources to do this type of experimenting. Like I could have done it over the period of time. But the fact that I could stay here for a couple days, focus on this, have people making things for me, let's make some of those boom done. It's just been an awesome experience and really a great learning process too. Speaker A: So what about shipping? If you're not in America, what's the furthest afield? Speaker C: Yeah, no, we do a lot all over the world. We do a lot of things even for know, Amazon, intel and, you know, there's things will be in Dubai, all over India. We just sent out stuff from Japan and Singapore. We do a lot to Australia. We used to do a lot more to the UK. We did lose a UK distributor out there about six, seven years ago, just to kind of an unfortunate accident. But we can ship anywhere. Yeah, we ship all over the world. We do international freight. We are confident with being able to be the importer as well for people. So we do are able to do that. We can go ocean freight, we can go air freight, and we can get usually a pretty darn good competitive rate even with doing that. Speaker A: Do you have distributors in each of these zones that you're talking about? Speaker C: No, we don't. Anybody can call up vocalbooth.com and talk to an international sales specialist anytime. And we'll just work directly with you and then see it all the way through the process as well. So things are getting ready for shipments here. We'll start talking to what's it going to go through once it gets through customs. We'll try to get ahead of all that process, get them all the paperwork that they need, and then we can even see them all the way through, even taking care of the clients duties and customs so that they don't have to have another intermediary in between. Speaker B: That's what is so great. I mean, their willingness to deal with logistics, not. Every company wants to deal with that logistics, or if they do, they do it poorly. Their handling of the logistics. And that painful part is another reason to look at these guys when you're looking at products, because it really makes the difference. Having somebody to deal with all that stuff is very frustrating at times, especially customs and port and the last mile delivery and all that stuff. It's a lot to deal with. So you guys doing that in house is really great. Speaker C: Absolutely. And it doesn't stop there. As soon as we get it in and we actually get it there, we tell people that sometimes we can't always control the very last mile of a booth like that. Something might show up. You'll have to tell people, hey, worst case scenario, a giant truck is going to show up in front of your house with a driver who may or may not speak the same language and might be frustrated and have no idea what's going on. Don't worry, that's completely normal. Just call me right away and we'll show them a little video. We'll video chat with the person and we'll help you over that one. And then once they get the pieces in there too, don't hesitate. Just give us a quick call, quick text. We can take care of something on FaceTime, even on a Saturday. And just we want you to be able to get that booth up and. Speaker B: Get you guys aren't that frustrated, so big and so busy that you can't make the time to do that. Speaker A: It's very individual work, which is really important. There's another product that I was having a look at, your website, that fascinated me as well, which was the let me think. Speaker B: I know what it is. Speaker A: You're guessing me, aren't you? Yeah, I know what it is. Speaker B: The vo one. Speaker A: Yeah, that looks really interesting. Speaker C: Yeah, the vo one. It first came out of a trip to NAB where we had our booths set up at our space. And we always had like a 20 x 20 space with several booths, but we were like, I don't think anybody knows what's in these booths. We look like another something. These could be meeting rooms or anything. So I asked Carl, our production manager, I said, hey, can you whip me up a mockup of what would be an inside corner of a booth so I can put it on the outside? I can hang up some micro phones, some guitars. It'll be pretty colors, pretty cool. It's just a cutaway. Speaker B: Exactly. Speaker C: And people can kind of get the idea before they even go inside the booth of what it is. And we had people coming up and saying, okay, yeah, that's great that you do the booth, but could I get just this? Because I just have an office and I just need this. I'm not ready to come into an entire room. I don't care. I love the way this sounds. And then they'd walk inside and it was a pyramid studio foam that was just kind of a wedge. And they'd walk up there, and even in that show environment, all of a sudden they go, whoa, the sound changes right here. This is amazing. My voice sounds better and everything. And you're like, oh, yeah, this is going to be a product that we're going to figure out and stuff. Speaker B: How long has it been shipping now? Speaker C: We did that right in I believe it was in 2020 that we started that. And that was the other thing, too, is that there's so many people were going home and needing to record from home. And the other thing is we'd always looked at, how could we possibly get away from that giant freight truck that's going to show up and create all kinds of confusion? Is there any way we can get something upsable? So we kept looking at going from those big panels that were just a mockup to finally we have this foam core and this way of putting this thing together where it just velcros together, but then it gets very rigid. It works really well. It still has, like, you would say that vocal booth sexiness to it. It has a functionality and it sounds really good. And so that's really where that one was born. We had a local guy here who's in a rock band. He was not touring at the moment. He was like, hey, do you have something I could pop up in my studio right now to do vocals? Because I don't really need a four, but I'm like, there's another client, we need to talk to him. So we got one over to him really quickly. That was Christian Martucci, and he does Stone Sour and Corey Taylor. And so in his home studio, we popped one up, he started doing his vocals, and he said immediately he was recording with an SM Seven, b all of his vocals in there. And all of a sudden he went, oh, dang. I was able to bring my nice microphones back out. Yeah, I didn't realize how much this SM Seven sucked until I was able to get my Neumann back out and start doing these vocals. Speaker B: Mic is part of the equation. It's kind of like acoustics is to photograph. Acoustics are to the microphone as lighting is to the camera. And you can use the good camera when you got the good lighting. And you can use the great mics when you have the good acoustics. Yeah. Speaker C: So that's been a great product. Again, we say it doesn't provide isolation, but if you got a quiet spot, you can pop this up anywhere. It's helped a lot of people get going on voiceover, or even, I think, Mark Preston. When his house got trashed by the hurricane, he called me up because he has been a long term vocal booth client. And he was like, oh, man. I went in there and my vocal booth is molded. I'm going to have to get a new one, and my whole house is I'm going to have to get all new gear. It's a mess. And so I said, oh, where are you right now? He's like, I'm at a hotel. And I said, I'm going to send you a vo one. So popped him one over there and he was like, popped it right on up in his hotel room and just was able to keep working and keep going. Something that's only about 80 pounds and folds down into four Ups boxes. And right now we're shipping those all across the US. At no charge. And then we can even ship them into Canada as well. Speaker B: Cool. Speaker A: Yeah, they look really good. Speaker C: Thank you. Speaker A: Very nice. Funny you should mention Mark Preston. I've been communicating with him over the last day or so. Speaker C: Yeah, mark's great. He's really built up his community over there. Just a real nice, safe place, I think also for people trying to learn a place where they're not getting hawked wares all the time. I appreciate he'll call me out every now and then on one of his groups and say, you know, I think Freddie could answer this and stuff. So I kind of wait for the invitation. But it's always a nice being able to jump in and give somebody some practical advice. And sometimes that advice is like you said, hey, just jump in your closet and get started. Speaker B: Get going. Speaker C: You don't need an $8,000 booth to begin with. You're just starting out. Get your training, get your stuff, and then kind of figure out what you need past there. Speaker B: Yeah. When you give the right advice, when you create trust, then people will keep coming back to you. Speaker C: That's important. Speaker B: That's the key. Yeah, that must be our issue. Hey, Freddie. It was awesome. I'm glad you could cop into this booth with me. Speaker C: Yeah, thanks for inviting me. Speaker B: Chat with my pals around the world. Speaker C: No, it's really great to introduce you. Speaker B: But Andrew is in Melbourne, Australia. Speaker C: Excellent. Speaker B: Sorry, Robbo is not here. Robo is in Sydney. Okay, great. Speaker C: Yeah, we just did a really big thing down there to University of Sydney. Lots of multiple diamond series boots and stuff. Speaker B: Very cool. Speaker C: You can see that on the gallery section of our website. And they have a very cool setup. Speaker B: Nice. And then Robba Marshall in Chicago. So, yeah, we wrap the globe when we do this show. Speaker C: Wonderful. Speaker B: Finding the time to do it is the hard part. Yeah. Speaker C: Well, great. Speaker B: Exactly. Speaker C: It's wonderful to be a part of it. And nice to chat with you guys. I appreciate it.  

The Sennheiser 416 has become an industry-standard tool. Being a  “shotgun” mic (or in tech terms a super-cardioid) the microphone is extremely sensitive in a very narrow field. For this reason, it is often used on film sets where the mic needs to be a little farther away from the actor's mouth (so it's not in the frame), and the production team wants to capture the actor's voice without capturing background noise in the room. These qualities also make it extremely versatile for use in home voiceover studios!  But who first decided a Shotgun would be great for Voice Over, and why is it now an industry standard?  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 this episode of the Pro Audio Suite, hosts George Wittam, Robert Marshall, Darren Robbo Robertson, and Andrew Peters take a deep dive into all things related to professional audio equipment. The discussion covers the technicalities of the legendary 41 six microphone, its proximity effect, and how its placement profoundly influences the output. Renowned rock and roll voiceover artist Steve Britton's microphone technique is highlighted, including how he utilizes the aggressive nature of the mic to enhance his voice. The hosts also discuss other microphones such as the eight one eight, the SM Seven, and the 4116, comparing their various characteristics and potential uses. Additionally, they touch upon potential changes in the industry due to the advent of AI voices. The podcast concludes with advice for individuals dealing with their own audio issues, encouraging listeners to explore and make the most out of their equipment like iPhone mic, acknowledging how surprisingly good it can sound when used correctly. Check out theproaudiosuite.com for more information and use the code Trip a P 200 for $200 off your tribooth. #ProAudioSuite #VoiceoverTechTips #TriboothDiscounts   Timestamps [00:00:00] Intro: Welcome to Pro Audio Suite [00:00:30] Exploring the Proximity Effect of 41 Six [00:03:33] Voiceover Pioneer: Ernie Anderson's 41 Six Influence [00:07:44] Microphone Showdown: 416 Vs. SM Seven [00:12:16] Unraveling the Versatility of Eight One Eight [00:17:56] Mic Recommendation: Small Diaphragm Shep [00:23:19] Debunking the Myth: Foam on 41 Six [00:25:32] The History of Headset Mics [00:30:25] AI Voice Realm: A Threat or a Boon?   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. Speaker C: These guys are professional and motivated with tech. To the Vo stars George Wittam, founder of Source Elements Robert Marshall, international audio engineer Darren Robbo Robertson and global voice Andrew Peters. Thanks to Triboo, Austrian audio making passion heard. Source elements. George the tech. Wittam and robbo and AP. International demo. To find out more about us, check thepro audiosuite.com line up learner. Speaker B: Here we go. Speaker C: And don't forget the code. Trip a P 200 that will give you $200 off your tribooth. Now, I've been playing around with the proximity effect of the 41 six, the legendary 41 six, and I've never really set it up to shoot straight down the barrel. Speaker B: So what's your default placement? Speaker C: Usually slightly off to the side. Speaker B: Okay. So still relatively level, but just coming pointing at you a little bit off to the side. Speaker C: Yeah. And pointing down. So pointing down but slightly side. Speaker B: Got it. Speaker C: This way is still pointing down, targeting the mouth, but going full it straight at it. And I did one read like that, then I followed it up with one slightly to the side, and then I followed that up with an eight. One eight. But I know we've talked about the proximity effects of the 41 six, but I actually couldn't believe the difference. It shocked me that it was so bright and it's how I remember the 41 six sounding. Speaker B: So what you're saying is like, you've kind of detuned the mic, you've detuned it to calm down. What makes the mic so aggressive? By using that placement and then when. Speaker C: I put it back holy crap. Speaker B: Oh, yeah, that's what that mic? Speaker A: Well, it's interesting because there's a guy who AP and I know and have both worked with a guy called Steve Britton, who's sort of the big know, rock and roll voiceover guy, and he actually uses it to his advantage because he's not so hyped. His natural voice is not so sort of steeped in those sort of high mids and highs. So he actually gets right up on it. The best way I can describe it is he pretty much swallows the thing when he does a voiceover and uses it to his advantage because it sort of obviously accentuates that part of his voice that isn't really there naturally. The only deficit is that from an engineer's point of view, that as soon as you touch anything in the highs, it just blows up. You've got to be so careful around up there with him when you're sort of mixing him. Speaker C: Well, the strange thing about his voice is you think you're going to have to play with all the lows because it's such a big, deep voice, but as soon as you touch anything, the highs just go mental. Speaker A: Well, yeah, and that's the way you've got to work with Steve's voice, is rather than sort of additive EQ, it's subtractive you've really just got to sort of balance it by taking away some of that deeper stuff that's there in bucket loads. And just leave the top alone, otherwise it will just destroy itself. I've seen people with three DS's on a track trying to get rid of it once they've started sort of trying to get that typical radio cut through, which is the biggest mistake. And as soon as you say start again, but don't touch the highs, just cut some lows, they go, yeah. : Okay. Speaker C: So my question is with the 41 Six, it was the guy who was the voice of The Love Boat. Was he the first guy to use the 41 Six for Ernie Anderson? Speaker B: I don't know if he was the first, but he was certainly the most well known for it. : I thought Don LaFontaine made it really popular. Speaker B: Well, Ernie is the one who's caught on camera using that mic on video and other things, where he's in the studio at ABC and he's literally doing know. : And I got to imagine someone just did it because, like, here's a mic. It's the one that the freaking news guy uses. But here you go. Say the word. Speaker C: The story I heard was not like I think he was a bit paranoid and he didn't like being in the booth because he thought people were talking about him. Speaker B: Right. Speaker C: And so he wanted to sit out in the control area. Speaker B: That's right. Speaker C: And he couldn't use a normal large diaphragm, couldn't use a U eight seven. Speaker B: Out there, every damn thing. Speaker C: So one of the guys on the floor came up with the idea of using the 41 Six. That's what I heard. : Why don't you use this razor blade to record your voice? Speaker B: Yeah, it's probably a 415 or whatever they had at the time. : Yeah, probably a T powered 415 at the time. Yeah, I got a couple of those. Those sound a little bit different than the four. Speaker B: Little bit less distorted. Speaker C: Yeah, exactly. Speaker B: That sound, for whatever reason, better, for worse, it's become the character of what a voiceover sound sounds like. Like when you listen to a voice recorded with a close up mic, I think we've gotten incredibly tuned what that sound is. It's become what was the word you used? Robo? Standard, but something else. Speaker A: Yeah, I did, didn't I? I used a big word printed benchmarked. It's a benchmark. Speaker B: Benchmark, yeah. Kind of a benchmark, yes. So I've been hearing that mic with my clients and promo people for so long. So when I hear another mic, right, upside of it, if it's an accurate mic with very little color, such as the OC 8118, it sounds well, it sounds like this here. Here's a 41 six of Andrew and then the eight one eight. So this is what a non accurate mic and then an accurate mic sounds like side by side. And then you did it in two different placements, right? Speaker C: Yeah. I did that was because of our discussion a couple of weeks back, where we were talking about placement with the 41 Six, which I'd never I thought, yeah, well, whatever. : Andrew, where do you like the 416? Speaker C: You'd be surprised where'd you like that. He's got a dark brown voice. No, he hasn't. Speaker A: Well, if they say that your voice is chocolatey, you can tell them why. Speaker C: Yes. Getting a bit messy now, is it? Speaker A: Yes, indeed. Speaker C: I always had the 40 116, sort of like facing down, but to the slightly to the side. So I'm sort of almost not quite side addressing, but you know what I mean? That's how I had it and I got used to that sound. And then after our discussion, I thought, I wonder if the proximity, I wonder what it really is like. So I moved the mic and went basically pointing straight at me, but slightly downwards towards my mouth, and I couldn't believe the difference. It was just like two different mic. It was two different mics and it was the old get a toothpick and stick it in your eardrum kind of sound that you get with the 41 Six. : Yeah, which is the other reason why I think engineers like it, because you get a voice recorded on that and it's just going to cut through everything and you don't have to do a lot more to it. It just sort of has this pre processing that works for a lot of that in your face advertising. Speaker B: The Hamburger Helper of microphones. : Yeah, it's just like in your face advertising. Right there, done. Speaker B: Here's what it sounded like. Here's the samples. I got them right here. Speaker C: The MercedesBenz GLE SUV is the complete package. The MercedesBenz GLE SUV is the complete package. The MercedesBenz GLE SUV is the complete package. So that's first one was straight down the barrel, second one to the side, and the third one was the eight one eight. : And you can hear it, it just gets less and less edgy, less and less. It does. Speaker A: The interesting thing about the 4116, and I guess its impact on the industry, is it's been copied a few times, probably, or tried to be copied. But I'm on an NTG five right now and it's probably the closest, I reckon, that I've heard. : I don't know. The NTG five has got more bass. I'm on an NTG five, too. I think the NTG five is a warmer mic. Yes, it does have that shotgunny in your face thing, but it's a little bit actually bigger sounding, but it's not necessarily more cuddy. I think this the eight one eight. You could take it and EQ it to do what the 416 does. Speaker B: Oh, yeah. : Pick up more room. But the 416 is just sort of like there it is, it's going to. Speaker A: Put done for you. : It's a cut. Speaker A: Yeah. Speaker B: I'm so used to the way that bright cut condenser mic sounds that I add EQ to my own mic because I want it to sound more like that bright, condenser mic sound. Right. Now I'm talking into the Earthworks Ethos, which is a very flat mic. And if I cut my what is it, ten khz? Six DB shelf, basically. It's not a shelf, but it looks like one. Then it sounds like this. Right, and it still sounds good. It just doesn't have that top end, that bright sizzle. : I think the extreme difference would be go from a 416 to an SM Seven. Speaker B: Yeah, well, the SM Seven has like this kind of this mid range thing that I've never been a big fan of the way that sounds. Speaker A: For voiceover. Speaker B: Yeah, for voiceover. : Do you like the PL 20? The Re 20 better than the SM seven. Speaker B: Yeah. Personally, radio voice, the PL 20 is the Re 20 without that big basket on it, the front, right. : No, I cannot tell you the difference between them, actually. I believe they are the exact same, just years difference. Speaker B: Oh, got you. : For this year to this year. They made the Re 20 and then they I think the PL 20 was before the Re 20 got you. Yeah. No, I think that as powerful and big of a mic. And no matter how much Rush Limbo wanted to gold plate his, I think the SM Seven beat the PL 20 in overall installations since the Pandemic, at least. It's like, holy cow. Did they get the SM Seven out there on podcast? Speaker C: Yeah, absolutely. Speaker B: I don't know who they have to thank for it, but Joe Rogan is probably high up on the list because he's been YouTubing his podcast for quite a few years now. : I mean, there's an ad campaign that I've never seen an ad for an SM Seven. That's marketing. Speaker B: Yeah, that's right. : Yeah, you need it. And I didn't even tell you. Speaker B: I mean, I just installed a podcast studio and the mic was not chosen because that's the best mic. It was chosen because that mic was seen on another podcast. Yes, exactly. Because the owner is and the 416. : Has got that, too. And so it's like, yeah, the SM Seven, you can abuse it. And it's going to be pretty consistent and whatever dark and warm. And it has that thing for radio where it's not going to pick up. It's just going to seem to pick up the voice and not the other stuff. Right. Like the 416 has got the cut. Speaker C: Yeah, the SM seven. SM Seven b basically eat the things anyway, and they're built like a tank, which is perfect. : Yeah. You can abuse the whole mic and you won't hear. I mean, I don't know how Howard Stern gets away with abusing his Neumann condenser the way he does and you never hear it. Speaker C: Can you explain that one's? Speaker B: Still a mystery. : It's like it should just be like. Speaker B: This kind of shit all over the. Speaker A: Place because it's not connected, I'm sure of it. Speaker C: I don't think it's connected. It's a fucking prop, isn't it? : It's a prop, yeah. Speaker B: Now this sounds more like an SM seven B, doesn't it? This is that it does a little. : Darker fatter, a little bit less top. Speaker B: End, a little bit more mid bump around one k, couple of DB. Now it's like an SM seven. I could go to the low frequency and boost up the bottom end. Now, they would sound even maybe a little bit more. : So in the spirit of don't send us a processed voice. Stop using 416s because they sound too processed already. Speaker B: Yeah, stop using them altogether. Speaker C: But it's kind of weird, isn't it? We're like, we get a large diaphragm mic or something and then we try and EQ it up to sound like a four one six. Just use the 41 six and be done with it. Speaker B: Really? I've caught myself doing that where somebody's like, okay, here's a sample of my 41 six, here's a sample of my TLM 103, can you make me a stack for each of these two mics? And over the time I'm just like, okay, I'm not going to touch the EQ at all on the 41 six. : Yeah. And then you're going to make their tail on 103 sound like a 41 six. Speaker B: What, did you resist the urge? I used to, I used to, but I resist the urge and now what I'm doing is I'm mostly just going to do corrective EQ. Speaker A: Yeah. Speaker B: When there's like a harshness, a nasal, some resonance in the booth, then that's it. : I think with the TLM you could give it a little bit more of a glassy sound and not so much of an upper mid, but a way airy high frequency kind of airy boost and make it nice and it'll still have some sort of I wouldn't call it cut, but presence, literally. But it'll be different than the 416, which has that frequency that every speaker has. It's like four k, eight k all packed in there. It's like your worst speaker on earth plays back those frequencies, for sure. Speaker A: Yeah, no doubt, yeah. Well, and the eight one eight, well, it's the polar opposite, isn't it? : I think eight one eight is like the TLM. You could just give it like a glassy airy sound, you're not cornered into the sound of the four six. I think the eight one eight could be more of a chameleon than the 416. The 416 does its thing and that is it. Speaker C: Yeah. It's a one trick pony, that's for sure. Speaker B: It's a one trick pony, but the way you manipulate it is by placement. Speaker C: Yeah, well, that became obvious. Yeah, absolutely. It did sound like two different microphones just by moving it. Speaker B: I mean, the first time I saw. : A 42 different voice actors sometimes, yeah. Speaker B: The first time I saw a 40 116 in an audiobook production facility, I. Speaker A: Was like, yeah, that seems like for. : A long term thing, it's like that's a harsh mic to be listening to 8 hours of the same person. You'd want nice pillowy mic? Speaker B: Yeah. So I don't know what post they were doing on the audio. I'm sure they were doing some EQ. : It's like listening to classical music on NS Ten s? Yes. Speaker A: I was going to say you'd be pulling the earbuds out halfway through mowing the lawn. You'd be going, Jesus, my ears are bleeding. Speaker B: Yeah, absolutely. : Well, maybe it's good for the lawnmower. You're mowing the lawn. It's like I can hear 4K. Speaker A: I've got Ebays in to stop going deaf, but I'm going deaf anyway. : Yeah. Speaker B: Here's a little test. Tell me what this is. Speaker C: The MercedesBenz GLE SUV is the complete package. : That is either the 416 straight on, I think, or maybe to the side. Speaker B: All that was was the eight one eight with a shelf high shelf on it. It was an eight DB shelf starting at seven. : Wow, that's a shitload. That's a lot of DB. Speaker B: It's so funny. I opened up the Au filter plugin, which is like a really simple four band EQ. And the setting I had last loaded, wasn't that's what it was? It was just like an ATP shelf at seven k. Wow. I was like, all right, let's see what that sounds like. That's what that sounds like. : Sounds like so the 416 is boost at. Boost at. Speaker B: But if you ran that EQ on the 416, well, you would get this. Speaker C: The MercedesBenz GLE make it stop. : D 416. Speaker A: Try selling a MercedesBenz with that sound. Yeah, exactly. Oh, my goodness. Speaker B: Off brand, for sure. Yeah, but it's weird, there's a lot of commercial work getting booked, especially female voice stuff. That is really bright. : Yeah, it is. I used to say a lot of the times, depending on the 414, some females didn't work as well with a 414 because their voices were already kind of airy and then you get that really top end mic on it. Yeah. And it's like they overcompensate and sometimes like a U 87 worked better because just sort of try to pick up some of those lower mids. Speaker B: I used to recommend the Rode NTG three all the time for women because it was a very dark, flat and warm mic and so it worked really to their advantage a lot of times, in fact. Speaker C: That's funny you say that, because that's the mic I got for Somerset for Interg three, because it just did not sharp and nasty. Speaker B: So, yeah, it's funny, when you have a good mic that gets all the information with no distortion, you can really EQ it. And when you have a mic that is pre filtered, pre EQed and arguably has some degree of distortion, it's much. : Harder to correct it like anything with audio, it's easy to work with a blank slate compared to trying to uncompress. Speaker B: Oh, boy. : It's impossible or unds. Speaker B: Right? : Or UN crazy 416 EQ something. Because no matter what you do, the fix that you apply will create other harms, and you'll just end up with Swiss cheese in the end. So these broader, flatter, big diaphragm mics or what's interesting is, I think, to get a really accurate voice, I've not seen anybody try to record voice with, say, like a Km 184. And sometimes you see a lot of the opera singers what's an opera singer set up, like, a nice small diaphragm away from the singer? Speaker B: Yeah. Distant placement. : Distant, right. And then you get that just like that is what it is. There's no proximity. And I'll bet you for some people's voice, maybe something like a really pure small diaphragm condenser would be pretty interesting. That's why I was curious about those rode TF. Mics. Speaker B: Yeah, TFI. : Those look pretty high end small diaphragm condenser. And I bet you those would probably. Speaker B: Wait, didn't one of you guys get the small diaphragm Austrian audio? Speaker C: Yeah, robert's got them. : I got the OC eight. I got the OC eight. And those are good. I was going to say, I don't think they're sheps killers. They're closer to 184s. They're not sheps, but they're much closer to like honestly, they're much closer to, like, 450 ones. They're a little bit less full and very good for symbols, but not necessarily the whole I think a really good small diaphragm mic like a shep would be amazing on the right person's voice. But you'd have to have the right booth, right? There's no way, you know, you can. Speaker B: Get a chef's headset microphone. I actually demoed it once. $2,400 headset mic. It was an ultrasound headphone. $600 headphone with a chef. : And the microphone is like a pencil. It's like a pencil, yeah, it was pretty big, actually. Speaker B: It had a big windscreen. It was for sports casting. It had a big gooseneck on it. And it was like this ridiculous contraption that I was able to get a demo of one time, and I used it. It's on YouTube somewhere. $2,400 headset. Headset mic. : Chefs and BNKS. Man, not cheap mic. Speaker B: No compromises. : Yeah, they are good, though, definitely. I mean, Neumann's, too, but those are like, chefs. Doesn't even try to make a 103. They're like, you're going to make $1,000 microphone. Ha. We'll make a $7,000 microphone. Our cheapest mic is $2,000. Speaker C: I would love to, at some point, find out how the 41 six did become so prevalent. : Honestly, I always hurdles, don LaFontaine. I remember I was shocked when I found out, like, really? 416? Speaker B: Just for the record, it was not the mic that was in this booth when I met him. Like, I never saw him using that booth. : The 416 was not the mic that Don LaFontaine used, not when I met him. Speaker B: I mean, I worked with him in 2005, but he'd already been recording for 20 years by that point. : Andrew, when did the 416 become all the rage, because when I started in 1998, it was like, u, people are using shotguns, but I'm just an early engineer who's like, shotguns are colored. You only use them because you have to because you have mitigating circumstances. Why would you ever use a shotgun in a perfectly clean booth? And I start working on higher end commercials, and you start finding these voice talent who are using it. And actually, come to think of it, cutters. We had VIP 50s until, like, the early 2000s VIP, and then we got these Mylabs. Okay, very interesting mic. Rectangular diaphragm. So the skinny side of the rectangle is supposed to give you the best of a small diaphragm mic, and the long side of the rectangle is supposed to give you the best of a large diaphragm mic. Speaker B: Far out. : But they were good. We even had some voicemail go like, what's that mic? Like, I need your setup. And one guy bought one. But by the early 2000s, we put 416s in all the booths, and eventually that was just the mic. Like, the VIP 50s got pushed to the side, and everyone who walked in just got recorded on a 416 by default. And that's by 2005. I feel like we were just all 416. So Andrew, I don't know. When do you feel like the 416 took over? Speaker C: Because I was in radio until 97, so I didn't really see any commercial studios because everything was done in the radio station. So there was from memory, I don't remember seeing any shotguns in any radio stations. It was usually SM seven. : You still don't true. You still don't see shotguns in radio stations. Speaker C: Well, you do here now. You do see them in the production areas. Speaker B: Really? Speaker C: Absolutely. They're all 41 sixes in the production areas of radio stations. So the first time I saw a 41 Six would have been probably late ninety s ninety seven. Ninety eight, I guess. : So that's when it started taking over, in, like, late 90s, early 2000s. Speaker C: Yeah. And then they became everywhere. And a funny story, actually, because I had to do a job when I was in La. So I had to find a studio. So I went to La Sound. Speaker B: And. Speaker C: Of course, they had the 41 Six there. But I was talking to I won't mention the person's name because he's pretty high profile and might get the shits with me, but I was talking about the 40 116 with this person and about the foamy, and he said, no one in this country would ever have the foamy on their 41 six. It just doesn't happen here. I don't know why you guys do that. That's ridiculous. That's crazy. Never seen it before. : Well, usually you just put the normal you put the normal steadman screen windscreen in front of it. Speaker C: Yeah, I sent him a photograph. There's me in the booth, La Sound with the foamy on the 41 six. So they definitely had the foamy on. Speaker A: Well, there you go. I always use the foamy. I used to, because there's plenty of people who didn't know how to use the mic, used to get up all over it and just make it. : Here's a funny one. Even Harlan Hogan's vo one A was based on an older MSL. Model. Was it based on or was it just an older MXL model? Speaker B: No one will really know except him. But they say it's, I think, a 1006 or something. : It's a 1006. Speaker B: And I have two of those and they sound amazing. : I got several. Speaker B: A really fucking good cheap mic. It's a really good cheap mic. : It was the first $100 large diaphragm mic I bought for me, too. And then I won't say who in Australia modify one. Speaker C: Yes, I know who that is. Yeah, we'll leave that bit out. Speaker B: So the chef's headset is the HSC four VXP. It's the model number, if you want to look it up, and very unique mic. And the capsule on it is what probably you're more interested in. And they make different versions, so they have a strong proximity compensation model so you can get it, like, designed to actually compensate for proximity effect. Which is interesting because, again, Sports, they want the boom right up in front of their mouth to reject background. : Let's start let's start putting, like, parabolic mics in the booth. Speaker B: I know you talked about that. That would be crazy. Well, the capsule, which is funny, I'm looking at an ad for the mic and they don't mention the capsule, but I think I did in my video. I have a video on YouTube from years ago. If you just search for Widows World episode 90 Headset Mic Roundup, you'll find this video. And I actually try out a bunch. : Of the Kip Winger headset mic roundup. Speaker B: I mean, I was trying from really cheap crappy stuff all the way up to the ships and everything. : The stuff that you start out with the mics that only pick up S's. Speaker B: Right, or have no low end response period, they just roll off below 200 something. : If you des them, they go silent. Speaker B: Yeah, exactly. Well, there's just been a tradition of bad sounding headset mics for so many years. : Sure has. I mean, do you remember that audio technica that I was playing around with? Is it the really cheap one headset mic? I think it might have been a dynamic and it didn't even have the headset. It's just a head warning mic. But it didn't even have headsets. Speaker B: I use those in many aerobics or fitness studios where budget was an issue because they could be destroyed and it wasn't a huge loss. But, yeah, those are classics. But audio Tending, it just came up with a headset mic. That where they graphed basically an at 2020 capsule onto a headset boom. And it's like a $200 headphone with a 2020 capsule. And it's pretty freaking bad. I mean, it's pretty good. Again, comparing it to what else is out there, it's pretty good, but it's. : Still well, that's the reality. Honestly, if someone gave me a voiceover recorder on a cell phone, I'd get it on the yeah, you find a way and I'd find a way, and I'd freaking bass synthesize some stuff and make it sound as good as it can go. And unfortunately, with a lot of clients, they're like, okay, sounds good. I understand the words. Sounds like a commercial to me. But we know there's a huge difference between all that stuff. I don't know. I still don't like it. But I've had a couple of voices. Now I've run into the tiny, basically rode video microphone, USB video mic. Speaker B: Go two. : Yeah, it's like your pinky. Speaker B: That's probably because I've recommended it to a bunch of people. : You can blame me for that one. Yeah, it's like it's okay. Speaker B: It's $100 mic. : Yeah. The flaws are exposed much quicker and the escape routes are smaller. Speaker B: It's probably marginally better than the phone mic in the iPhone. Just it's a shotgun, so it's a little bit more directional. Yeah. At the end of the day, I'm blown away with, when you use the iPhone mic correctly, how good it actually can sound. It's crazy. : Yeah. And especially if they start putting, like, arrays of microphones in there and doing. Speaker B: Beam forming, they're doing I don't know which vert well, they're already doing that. I mean, you don't realize it, but they are doing that. They use three capsules and it's a beam. : Oh, the microphone and the iPhone is a beam. Speaker B: They have been for quite a while. I even had an LG phone. It was like a V 40 or something. It was probably six years ago. And I could steer the microphone pickup pattern front to back, depending on who using the little slider on the screen. And I could say, make it pick up the guy in front of me and then make it pick me up, and I could go back and forth. So that's been around in cell phones for a while. But anyway, I had a lot of fun doing interviews with the new rode wireless kit with the wireless me, because the rode capture app on the phone will shoot both cameras. So I'm shooting a video of me and shooting a video of the guest. And they have a mic and I have a mic. So when I'm done, I have two videos and two audio tracks to manipulate and post. And it's amazing how good of a production you can make from that, really? : From your pocket. Speaker B: It's crazy. Yeah. I posted a couple interviews. Speaker C: Was that the one with the woman from Heil? Yeah, I saw that. : This is why we're all out of business. Speaker C: I thought you'd actually done some naughty shots, but I didn't realize you were actually live with your bits to camera as well. : What's going. On with the AI voice realm? Has that calmed down or are people still freaking out on AI taking over? Speaker C: I haven't seen much like it's less. : A little bit less discussed recently? Speaker C: I haven't seen much at all. Speaker A: What microphone do you use on an AI voice? : How many drummers does it take to change the light bulb? I'll tell you the same number of voiceovers it takes to read a book. Speaker A: None. : Because you just get an AI to do it. Speaker B: Well, that was fun. Is it over? Speaker C: The Pro audio suite with thanks to Tribut and Austrian audio recorded using Source Connect, edited by Andrew Peters and mixed by Robbo Got your own audio issues? Just askrobo.com. Tech support from George thetech 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 proaudiosuite.com.

Special guest alert!! We're lucky to have superstar Aussie medic and University of Melbourne Ph.D. candidate Matt Wilkison-Stokes, on this episode to discuss his recent paper looking at the risk of hypotension with nitroglycerin administration in acute MI. Where is NTG really more likely to cause hypotension in AMI? When is it safest? How often do isolated RVMI's occur, and what are the correct diagnostic criteria? Dr. Patrick changed his practice based on Matt's work and knowledge. See if you might do the same. REFERENCES 1. Wilkinson-Stokes M, Betson J, Sawyer S. Adverse events from nitrate administration during right ventricular myocardial infarction: a systematic review and meta-analysis. Emerg Med J. 2022 Sep 30:emermed-2021-212294. 2. Ferguson JJ, Diver DJ, Boldt M, et al. Significance of nitroglycerin-induced hypotension with inferior wall acute myocardial infarction. Am J Cardiol 1989;64:311–4. 3. matt.wilkinsonstokes@student.unimelb.edu.au

This episode features Martin Fossli, Norway's U16 boy's National Team Head Coach and Head Coach of Frisk Asker U18/NTG! We talk with Martin about the impacts of his teacher education on his coaching, developing confidence as a coach, the environment in NTG and the National Team Programs. We also talk about how he is restructuring the NTG program in his first year there and implementing changes from his own ideas and from the federation! The Coach's Road Podcast is proud to be presented by CoachTools, a tool to improve coaching and power your club's philosophy! Start your new season off right with a free trial of CoachTools! If you are interested in using CoachTools go to www.coachtools.net and fill out the “Start Free Trial” Form and mention we sent you! Don't forget to check out the rest of the resources from our guests on our drive: https://bit.ly/t-c-r-drive. You can also catch all of the presentations from the first ever Coach's Road Conference on our YouTube channel! Thanks for Listening!

Just in time for your holiday turkey & treat food coma! In this short yet poignant holiday episode of Moving Past Murder, host Collier Landry discovers a Thanksgiving Card and Letter from Prison from his father. What starts out as a seemingly friendly holiday exchange turns dark to more narcissistic abuse, gaslighting, and victim blaming. Sadly, that is what happens when you are dealing with a psychopath! Link to YouTube episode: https://youtu.be/r5xtfox90M8 *Shop AMAZON BLACK FRIDAY DEALS & support this podcast https://www.collierlandry.com/amazon For exclusive extra content, member-only monthly meet n' greets, and more, please join my Patreon! https://www.patreon.com/collierlandry Link to this episode's sponsor: https://www.skylightframe.com/ Use code: MOVING at checkout for $15 off your purchase! Please join Collier on IG Live TUESDAY'S 11 am PT/2 pm ET on IG LIVE IG: @collierlandry Thanks for watching! Like what you see?

We had a letter from a listener asking about recording Audio Books and our thoughts on using an NTG 5 v an AT 1. Having had vast experience with both, the guys took a deep dive into the why's and wherefore's of both... A big shout out to our sponsors, Austrian Audio and Tri Booth. Both these companies are providers of QUALITY Audio Gear (we wouldn't partner with them unless they were), so please, if you're in the market for some new kit, do us a solid and check out their products, and be sure to tell em "Robbo, George, Robert, and AP sent you"... As a part of their generous support of our show, Tri Booth is offering $200 off a brand-new booth when you use the code PAP200. So get onto their website now and secure your new booth... https://tribooth.com/ And if you're in the market for a new Mic or killer pair of headphones, check out Austrian Audio. They've got a great range of top-shelf gear.. https://austrian.audio/ We have launched a Patreon page in the hopes of being able to pay someone to help us get the show to more people and in turn help them with the same info we're sharing with you. If you aren't familiar with Patreon, it's an easy way for those interested in our show to get exclusive content and updates before anyone else, along with a whole bunch of other "perks" just by contributing as little as $1 per month. Find out more here..   https://www.patreon.com/proaudiosuite   If you haven't filled out our survey on what you'd like to hear on the show, you can do it here: https://www.surveymonkey.com/r/ZWT5BTD Join our Facebook page here: https://www.facebook.com/proaudiopodcast And the FB Group here: https://www.facebook.com/groups/357898255543203 For everything else (including joining our mailing list for exclusive previews and other goodies), check out our website https://www.theproaudiosuite.com/ “When the going gets weird, the weird turn professional.” Hunter S Thompson

Artsen die het geneesmiddel ivermectine 'off-label' voorschrijven aan coronapatiënten worden daarvoor bestraft en zullen steeds hogere boetes krijgen, oordeelde de rechter onlangs. Nu boetes kunnen oplopen tot wel 150.000 euro staat de geneeskundige voor een keuze tussen financiële rampspoed enerzijds en de gezondheid van zijn patiënten anderzijds. Bedrijfsarts Alex van Walraven en apotheker Arjen Ypma, respectievelijk vice voorzitter en penningmeester van het Nederlands Teleartsen Genootschap (NTG) gaan met Shohreh Feshtali in gesprek over de zaak en de consequenties ervan. NTG staat voor onafhankelijk medisch advies (second opinion) in het belang van de cliënt. Want een vraag blijft overeind staan: gaat het echt om de volksgezondheid of spelen er andere belangen zodra het om COVID-19 gaat? --- Deze video is geproduceerd door Café Weltschmerz. Café Weltschmerz gelooft in de kracht van het gesprek en zendt interviews uit over actuele maatschappelijke thema's. Wij bieden een hoogwaardig alternatief voor de mainstream media. Café Weltschmerz is onafhankelijk en niet verbonden aan politieke, religieuze of commerciële partijen. Waardeer je onze video's? Help ons in de strijd naar een eerlijker Nederland, vrij van censuur en Steun Café Weltschmerz en word Stamgast! https://cafeweltschmerz.nl/register/ Wil je onze nieuwsbrief ontvangen in je mailbox? https://cafeweltschmerz.nl/nieuwsbrief/ Wil je op de hoogte worden gebracht van onze nieuwe video's? Klik hierboven dan op Abonneren!

with an intro from AKA Shaane listen to me the RR and NTG discuss voting, gifts from ex's and best halloween moments..

Tag 2 der D23 Expo war einfach nur wild. Max und Jessi von NTG waren für euch vor Ort und kamen aus dem Staunen kaum noch heraus. Wenn ihr wissen wollt, was da alles passiert ist, seid ihr hier genau richtig. Viel Spaß mit Tag #2 unseres D23 Tagebuchs! Wer sich dazu noch feinstes Bewegtbild wünscht, schaut auf instagram.com/rockstah und instagram.com/radionukular vorbei, in den Story-Highlights haben sowohl Max als auch Jessi alles wichtige für euch dokumentiert. Disclaimer: Wir wurden von unserem langjährigen Partner Disney zur D23 eingeladen.

Seit drei Wochen ist die Mancave im Verzug und die Frage lautet: Warum? Dieser Antwort möchte ich kurz nachgehen, damit niemand etwas falsches oder böses denkt. Kurzfassung: Das Ausscheiden meines Geschäftspartners hat mich leider ein wenig aus der Fassung gebracht und bedarf diverser administrativer Baustellen, die alle anstrengend sind und Zeit fressen. Nebenbei muss das Daily Business im Laden gehandelt werden. Privatleben kommt eigentlich aktuell in fast jeder Lage gerade zu kurz, Urlaube gibt es erstmal keine, etc. Also müssen die Dinge geregelt werden, damit ich wieder entspannter sein kann. Kurzum: Der Stress regiert und darunter leiden momentan die Podcasts, was leider auch noch im August noch so bleiben wird. Ab September sollte aber alles wieder besser sein. Ich entschuldige mich für diese nervige Unregelmässigkeit und hoffe, ihr seht es mir nach. Es ist gerade alles ein bisschen wild und das schnelle Wachstum von NTG frisst mich doch mehr auf als gedacht. Freu mich auf baldige neue Folgen!

It is with a heavy heart that I have decided to discontinue the NTG podcast. This was such a fun project and I will always cherish the people, experiences and memories that it has given me. This is not goodbye, but a see ya later, North Texas! Thank you for everything.Support the show

Nitroglycerine (NTG) is part of the MONA interventions for use in the Acute Coronary Syndrome algorithm. Nitro is indicated for use in normotensive patients experiencing ischemic cardiac pain. Nitroglycerine is contraindicated in hypotensive patients and those taking PDE inhibitors. Assessment for safe administration of NTG and its precautions. Connect with me: Website:  https://passacls.com (https://passacls.com) https://twitter.com/PassACLS (@PassACLS) on Twitter https://www.linkedin.com/company/pass-acls-podcast/ (@Pass-ACLS-Podcast) on LinkedIn Good luck with your ACLS class!

Again, we welcome the return of NTG and listen to us discuss the slap heard around the world, and our childhood memorable actors and actresses.

SHOW NOTES: Therapeutic Trials: Maalox relieves pain in 15 percent of cases of ACS. Why? The logical answer is coincidence, so before you order Maalox, ask if the pain is already improving. Do the same for NTG, and you will be less likely to get fooled by coincidences. Second Troponin: Before doing a second troponin, do a second history to nail down the timing and duration as best as possible. Otherwise, you may end up wasting time, or worse, giving yourself false reassurance. Pain Duration: Assume all cardiac chest pain is unstable angina until proven otherwise and that every chest pain patient has episodic pain lasting five-10 minutes, making the troponin and ECG useless. HEART score: Not as useful if pain has resolved because the troponin and ECG may be useless. Score grouping may also overestimate risk in a patient with a score of 0-1 and underestimate risk in a patient with a score of 3. Use the info in scores, but don't blindly follow them. Apply logic!

The return of NTG to the studio, as we get his insights on Kanye, Black History, and the NBA Allstar Weekend this week.

brushing up on a old subject from a Oct. conversation with me the RR and Ntg with more knowledge than we knew then

Lets find out meet the cast intro show! We talk intro to the team with JT , RR and NTG your hosts. Sports along with how the ''Johnson family vacation'' stole our idea! This is a witty and entertaining show. This is only part one so tune in for more!

Mr. Music & DJ Enferno hit you with more dope music from around the globe! This week's artists include Katurboi, Ace K , NTG and others. Keep it locked right here to MNTC Radio. The station designed to keep you in mind!

In this solo episode NTG goes over what it takes to enhance your presence within your everyday life when you show up. SUBSCRIBE TO THE PODCAST: (Please feel free to give us a 5 star review as it helps with getting the word out, thank you!) iTunes: https://podcasts.apple.com/us/podcast/the-roots-of-success-podcast/id1357814847 Spotify: https://open.spotify.com/show/6isw9lx9NzpBnqWZIqYzxC YouTube: https://www.youtube.com/watch?v=DpQXCvgPu2Y -- LINKS *Inquire about getting published in Forbes, Wikipedia, Bloomberg, Inc, Billboard, Business Insider, Reuters, MSNBC, Sports Illustrated, Cosmopolitan, Times Square, etc. Message @natethegreat on Instagram. Book Nate To Speak: https://natethegreatpeterman.com/request-nate-the-great/ -- FOLLOW NATE THE GREAT: Follow Nate on Instagram: https://www.instagram.com/natethegreat Follow Nate on Facebook: https://www.facebook.com/natethegreatpeterman Follow Nate on YouTube: https://www.youtube.com/natethegreatpeterman Follow Nate on LinkedIn: https://www.linkedin.com/in/nate-peterman-0944b1b5/ Follow Nate on TikTok: http://vm.tiktok.com/B2AYnC/ Follow Nate on Twitter: https://www.twitter.com/natetgpeterman Follow Nate on SnapChat: https://www.snapchat.com/natetgpeterman -- Hit that Subscribe/Follow button for more valuable content! --- Send in a voice message: https://anchor.fm/rootsofsuccess/message

In this solo episode NTG gives his thoughts on the worldwide trending Coronavirus that has everyone in panic! He also shares some information that will blow your mind and it repeats itself every 100 YEARS!! SUBSCRIBE TO THE PODCAST: (Please feel free to give us a 5 star review as it helps with getting the word out, thank you!) iTunes: https://podcasts.apple.com/us/podcast/the-roots-of-success-podcast/id1357814847 Spotify: https://open.spotify.com/show/6isw9lx9NzpBnqWZIqYzxC YouTube: https://www.youtube.com/watch?v=DpQXCvgPu2Y -- LINKS *Inquire about getting published in Forbes, Wikipedia, Bloomberg, Inc, Billboard, Business Insider, Reuters, MSNBC, Sports Illustrated, Cosmopolitan, Times Square, etc. Message @natethegreat on Instagram. Book Nate To Speak: https://natethegreatpeterman.com/request-nate-the-great/ -- FOLLOW NATE THE GREAT: Follow Nate on Instagram: https://www.instagram.com/natethegreat Follow Nate on Facebook: https://www.facebook.com/natethegreatpeterman Follow Nate on YouTube: https://www.youtube.com/natethegreatpeterman Follow Nate on LinkedIn: https://www.linkedin.com/in/nate-peterman-0944b1b5/ Follow Nate on TikTok: http://vm.tiktok.com/B2AYnC/ Follow Nate on Twitter: https://www.twitter.com/natetgpeterman Follow Nate on SnapChat: https://www.snapchat.com/natetgpeterman -- Hit that Subscribe/Follow button for more valuable content! --- Send in a voice message: https://anchor.fm/rootsofsuccess/message