Podcasts about overdub

Have you ever wondered how AI can boost your creativity while preserving your unique human touch?Curious about the powerful tools successful content creators are using to streamline their workflow?Want to know how to balance the efficiency of automation with the authenticity of personal connection?In this bonus episode of The Confident Live Marketing Podcast, I'll be diving into the fascinating world of AI and its impact on creativity and human authenticity. Fresh from my talk at TubeFest in Birmingham, I'll be sharing my experiences and the tools I use, like Descript and Overdub, which help me create content efficiently without sacrificing the personal flair that makes it uniquely mine.We'll uncover the benefits and ethical considerations of AI in content creation, and I'll provide practical insights into balancing automation with personal touches to maintain authenticity. Whether you're a seasoned entrepreneur or just starting, this episode is packed with valuable tips that can help you elevate your content creation game.

In this episode, I'm teaching you how to use Descript, my favourite features (like text-based editing, AI show note generator, and creating podcast social media quotes and clips). we'll explore the power and efficiency of Descript, a game-changing audio visual editing tool favored by industry experts.  One of the standout features of Descript is its text-based editing capability. By transcribing your recordings into text, Descript allows you to edit directly from the transcript, enabling seamless content rearrangement and additions with just a few clicks. Discover how Descript's AI analyzes your voice to seamlessly integrate additional pieces into your recordings through the overdub feature. Say goodbye to awkward edits and re-records as Descript simplifies the process with precision. Learn how Descript's quote and clip features revolutionize content creation by empowering creators to extract soundbites and create shareable video content effortlessly. Elevate your engagement metrics with visually appealing clips for social media and beyond. Explore how Descript automates the creation of show notes and blog posts, saving you invaluable time. Let Descript generate show notes based on timestamps and tone recognition, giving your content a professional and personalized touch with minimal effort. For YouTubers, Descript's integration with your channel is a game-changer. Edit audio and video directly, generate captions, and boost accessibility and discoverability effortlessly, all within the Descript platform. Unleash the full potential of Descript with practical tips such as learning keyboard shortcuts, training speech recognition with custom vocabulary, batch processing for efficiency, collaborative editing, and experimenting with advanced features like multi-track editing and audio effects. In our opinion, Descript stands as a versatile and innovative tool that can revolutionize your editing process, whether you're a seasoned podcaster or just starting out. Embrace Descript's features to create high-quality content efficiently and elevate your creative output.  Learn about: 00:00 Intro 00:36 Masterclass  00:54 Text based editing 01:25 Overdub feature 01:53 Quotes and clip creation 02:40 Show notes and blogs 04:02 YouTube integration 04:57 Custom vocabulary 05:10 Batch editing 05:21 Collaborating on files 05:33 How to experiment on Descript FREE RESOURCES: Podcast Recording Equipment Guide: https://www.voltproductions.co/tech-guide-freebie 7 Ways to Monetize Your Podcast: https://www.voltproductions.co/7-ways-to-monetize-your-podcast Podcast Launch Guide: https://www.voltproductions.co/launch-8-weeks-freebie Descript Freebie: https://www.voltproductions.co/descript-ai-freebie Facebook Community: https://www.facebook.com/groups/podcastsuccesscommunity MORE RESOURCES: Try Descript here: https://get.descript.com/orsams0rrlfo Podcast Success Vault Membership: https://www.voltproductions.co/podcast-success-vault Podcast Launch Kit: https://www.voltproductions.co/podcast-launch-kit   Connect with Simona here: Instagram: www.instagram.com/simona__costantini Business Instagram: www.instagram.com/volt.productions  LinkedIn: https://www.linkedin.com/in/simona-costantini-25653a30/ Pinterest: https://www.pinterest.com/SimonaCostantini_/ Website: www.voltproductions.co Happiness Happens Podcast: https://www.simonacostantini.com/happinesshappenspodcast  

In this special episode of The Pro Audio Suite, join hosts Robbo, Andrew, and George as they dive deep into the latest advancements in remote collaboration technology with Source Connect Four. Joined by special guests Rebecca, Ross, and Vincent from Source Elements, the team discusses the game-changing features and improvements that make Source Connect Four a must-have tool for audio professionals. The episode kicks off with introductions and sets the stage for an in-depth discussion on Source Connect Four. Celebrating the recent accolades and advancements in remote collaboration with Source Connect Four, the team explores the groundbreaking features, including the Auto Restore/Replace function, which has been improved and made more user-friendly. They also delve into the future integrations with Nexus and other platforms, promising further enhancements for audio professionals. Discover how Remote Overdub Sync revolutionizes the overdub process, ensuring seamless synchronization in remote recording sessions. Exciting news for iOS users! Learn about the upcoming iOS compatibility for Source Connect Four. Wrapping up with congratulations and gratitude, the team reflects on the insightful discussion and looks forward to the future of remote collaboration in the audio industry. Tune in and stay ahead of the game with Source Connect Four, the ultimate solution for remote audio production! A big shout out to our sponsors, Austrian Audio and Tri Booth. Both these companies are providers of QUALITY Audio Gear (we wouldn't partner with them unless they were), so please, if you're in the market for some new kit, do us a solid and check out their products, and be sure to tell em "Robbo, George, Robert, and AP sent you"... As a part of their generous support of our show, Tri Booth is offering $200 off a brand-new booth when you use the code TRIPAP200. So get onto their website now and secure your new booth... https://tribooth.com/ And if you're in the market for a new Mic or killer pair of headphones, check out Austrian Audio. They've got a great range of top-shelf gear..  https://austrian.audio/ We have launched a Patreon page in the hopes of being able to pay someone to help us get the show to more people and in turn help them with the same info we're sharing with you. If you aren't familiar with Patreon, it's an easy way for those interested in our show to get exclusive content and updates before anyone else, along with a whole bunch of other "perks" just by contributing as little as $1 per month. Find out more here..   https://www.patreon.com/proaudiosuite     George has created a page strictly for Pro Audio Suite listeners, so check it out for the latest discounts and offers for TPAS listeners. https://georgethe.tech/tpas If you haven't filled out our survey on what you'd like to hear on the show, you can do it here: https://www.surveymonkey.com/r/ZWT5BTD Join our Facebook page here: https://www.facebook.com/proaudiopodcast And the FB Group here: https://www.facebook.com/groups/357898255543203 For everything else (including joining our mailing list for exclusive previews and other goodies), check out our website https://www.theproaudiosuite.com/ “When the going gets weird, the weird turn professional.” Hunter S Thompson   loading Summary In this podcast, the Source Elements team celebrates their success and discusses the latest updates to Source Connect 4, including support for Dolby Atmos, improved user interface, and the Restore Replace feature. The software has been redesigned to simplify remote connections and enhance the user experience. The COVID-19 pandemic has accelerated the adoption of remote recording technology, making it a necessity in the audio industry. The podcast also explores the potential integration of Source-Connect and Nexus, as well as the benefits of Source-Connect's remote overdub sync system. Finally, the host expresses gratitude to various individuals as the show concludes. #SourceConnect4 #DolbyAtmos #RemoteCollaboration loading loading Timestamps (00:00:00) Source Elements Wins NAB Best in Show (00:01:40) Source Connect 4: Dolby Atmos Support (00:05:52) Source Connect 4: Improved User Experience (00:08:36) Recorded Files in Pro Tools (00:10:08) Port Forwarding Simplified in Source Connect 4 (00:11:10) COVID's Impact on Remote Recording Technology (00:16:11) Streamlining Remote Audio Engineering (00:20:03) The Future of Source-Connect and Nexus (00:22:27) Remote Overdub Sync in Source-Connect (00:24:27) Farewell and Gratitude Transcript : Y'all ready? Beat history. : Get started. : Welcome. : Hi. Hi, hi. Hello, everyone to the pro audio suite. These guys are professional. They're motivated. : Thanks to Tribooth, the best vocal booth for home or on the rote voice recording and austrian audio making passion heard. Introducing Robert Marshall from source elements and someone audio post Chicago, Darren Robbo Robertson from voodoo radio imaging, Sydney tech to the Vo stars, George the tech Wittem from LA and me, Andrew Peters. Voice over talent and home studio line up learner. : Here we go. : And welcome to another pro audio suite. Thanks to tributh. Don't forget the code Tripap 200 to get $200 off your tributh. And austrian audio making passion heard. Just imagine a New Zealander, an American, a Canadian, an Australian and a half Englishman walk into a podcast. It's just happened. We have, apart from Robert Marshall, we have Rebecca Wilson, we have Ross and we have Vincent from source elements. : Ooh, here we are. : Wonderful. : An Argentine too. : Can you talk from our laughter who is here? : Yeah. : And welcome to the party in Las Vegas, by the sounds of it. : Now, we should say the award winning team. : Yeah, I was going to say there's a bit of a party going on because there's a new trophy in the cupboard. By the sounds of things, there is best in show. : We're holding it up right now. It's brilliant. Shining blue and it says, nab. Best in show. And it's gonna go under Robert's trophy case. : Exactly. I don't have a trophy case, but I have a trophy shelf. : Trophy shelf, yeah. : So, Phyllis, in best in show for. : Remote collaboration, remote production. Yes. : This is the new baby source connect four. Yeah. : Yes, it does. Atmos, amongst other many cool things, source Connect used to do and more than it does now. : So go and fill us in on the atmos thing because that's a massive leap forward. : Yeah. It allows you to have all sort of the raw atmos stream, so not just a rendered mix going across a remote connection, so someone can listen, but instead it gives you the flexibility to send what's called the bed. Then all the objects, these are all separate audio channels, as many as it will be, as many as 128 and the time code. And then most importantly, the metadata that steers all these objects around so that whatever the receiver has, as Atmos does, is it just conforms it. It renders it specifically for their speaker setup. So you could have a stage mixing a film with, say, 20 speakers and a director reviewing that mix in real time over source connect with, say, twelve speakers or even ten speakers. And maybe another person's connected at the same time and they just have headphones. So they're getting it as binaural. : It takes a lot of the thinking out of the equation, right? You just let the renderer on the remote side deal with the translation. So just lets the host, or the mix host, if you will, put one stream up and have it divvy out to everyone accordingly. : So everybody's end basically decides what it's. What it wants to hear. : Exactly. : Yeah. : Right. : Well, no, they'll hear the same thing. They'll just experience it in spatialization differently. : It'll be optimized for their speaker set up because it'll be coming out of a renderer directly on their side and. : The spatialization would be compatible from what you hear in binaural or 5.1. It's what someone's hearing in nine 1.6. But just with that lesser detail, I. : Guess the end goal is sort of like listening parity, which is almost impossible to achieve because everyone's going to have different speakers and configurations. But this is the most optimized version to get closest to that. : It's not like we're dropping like, you know, one of the voice channels so you only hear one side of the conversation. : It's the purpose that Atmos was made for so that there'd be one deliverable and then whatever your speaker set up. The person with the really nice speaker setup doesn't have to compromise for the person with the really simple speaker setup. : And the other way around. : And the other way around. The other person with a simple setup is not sort of burdened, in a sense, by having something that they can't play because of someone who has a really fancy system. So Atmos is like a deliverable that lets you play back anything from stereo all the way up to, you know, huge speakers arrays and 15 and 20 speakers even at home. : I think I have kind of an alternate kind of take on this which is basically like a bit of a tangent from that, that angle of it, but it's basically like these. Getting into a really tuned listening environment is a really expensive moment. You only get so many hours in there and the ability that now you could be working on a laptop in headphones through the Dolby Atmos renderer and building a mix towards your big mix session where you're going to actually sit in that room. That's kind of like what I think is at stake. And what's really exciting about this is you could be working on 5.1 before when you were working like in a stereo setting is you weren't able to know that it was going to translate. Exactly. This is kind of, or even at. : All, you kind of use tools like I had the, the waves thing that lets you take five one and make it binaural and you'd kind of have an idea. : I think most engineers I know would say they do their best work when like they, the client leaves and they get to work on something by themselves in a bit. So now the ability that you could be working towards this grand big spatial mix in a laptop setting and then transmit that to a listening environment that you can get into or physically get there, that's the real exciting prospect. : It kind of feels like equity, really like true equity. : Let's bring it back into more of the realm of our listeners, I guess. And AP and I have been having a bit of a play around with source connect four. Thanks very much to you guys. And the biggest step forward I see is firstly the GUI. You know, it looks so much more SmIc, so much more professional, so much more user friendly. But in terms of operation wise, the biggest step forward is the old queue manager, which now becomes restore replace. In source connect four we were like. : You know, we've spent 20 years honing technology and then we thought now we need to hone the user experience. It's really an internal focus for all of us. : Now the queue manager so often was just, people never read the manual. It didn't, it didn't work automatically enough. And then people would just go, what is this thing? I don't know. Shut it down, let's get on with our session. It wasn't something that they thought to ask for because they never had anything like it before. : It's weird, I've done so many sessions where I've said, are you using Q manager? And I get the answer, no. What's that? : Yeah, we just have one extra step to go, which is to be reading your session file automatically, your pro tools or logic or other session file, whatever we can. And then you honestly wouldn't have to do anything. And you've got restore happening all the time without needing to configure anything. : For me, the other awesome one would be for it to work even after I've shut down source connect because there's so many times that you shut it down and you go, oh, I shouldn't have done that, should I? : But you know, well we have reconnection logic built in now or like a new method where you know, if somebody does shut down, you still got work to do, you can bring it back up and it'll reconnect and it will restart. But we also, you know, if you shut the program down, then it can't do it anymore. That's the same. : But as far as, like, uploading the data maybe ahead of time or right away so you don't have to wait for the talent or worry if the talent shuts their system down. : This is maybe the most important thing about source page four. We've redesigned it from scratch, completely rewritten every line of code so that we can add these features that we know everybody wants. So the plan was the very first version on the first day. It's pretty much feature to feature for source connect three because we just need to get it out. : Right? : Yeah. : With doggy connection. : Okay. All right. Some more extra cool stuff. : There's a lot of cool stuff to. : Get you to want to upgrade, but then what you're talking about, like, hey, let's upload, you know, the whole session to the cloud so that the engineer can get it later on. All of that stuff can come now because with built hooks into all of this technology. : Sure. Well, let's pick through a few of them. AP and I were talking, we were looking at that restore replace page. AP noted the recorded files area and was wondering if that was sort of a hybrid of the old source connect now where you could actually record directly to the cloud. Is that the case, or is that actually looking at my. Well, in my case, my pro tools folder going, these are the files you've recorded so far. : Exactly. Those are the files that you've recorded in Pro tools. What I would originally say the Qmanager or the auto restore. Auto replace system recognizes as ones that it knows what they are and who they were connected to. And if there's any audio to fix or replace, restore or replace that it can do it. So those are your recorded files. And then the other one you might see in there is the uploads, which are files that maybe someone else recorded that you are uploading data to, to either restore someone else's file or replace data in someone else's file. : Okay. Because I think AP, you sort of liked the idea of recording in the cloud, didn't you? : Yeah, that's one of those features you're. : Technically recording there, and we can make that recording more available. It's actually, I think source connect three had that, but it had some flaws to it. But exporting the connection, if it's not there already, will be there. : AP has been playing with twisted wave too much. That's the problem I've been playing. : Yeah, indeed. Just going to ask about port forwarding. How does that change? Or has it changed in source connect four? : I got this one. How does that change? No more port forwarding is necessary. : Yeah. Nice. : Basically. : We find a way through your connection path and make it work. You don't have to go into your router and figure out anything complicated. You don't have to call us in a panic. You decided to take a vacation, and then you get called for a job. But nothing like that. It's just gonna work. : So source stream is available. Mac and windows. And port forwarding, especially in the pro version, is available if you want to use it. It does kind of. It's the ideal path for the connection, if it's available. And if you can lay out the red carpet for source connect, it appreciates it, but it's no longer required. : Only very strict networks and, you know, corporate environments. : Yeah. : My question is directed at you, Rebecca, and I'm wondering what hand COVID played in the development of source connect four, the one we're seeing now. : You know, it's still a complicated thing to process. What happened to the world in 2020? We all changed. It was a one of major cultural shift for them, us as humans. And so, of course, that can only be reflected in technology. And the main thing that changed, I would say, for us, is that we realized we kind of know what we're doing with the Internet, which was really nice to find out. It was really, you know, it wasn't a pleasant situation at all, but it was nice to know that we were able to help. That was really satisfying. If you could have called anything in that situation satisfying. And then it said to us, hey, I think that we have an idea what's gonna be needed the next 1020 years, because we've already been doing it 20 years. You know, Robert and I, the team are all young spring chickens, and. : And I have a cane. : We've still got some ideas left. I don't know, maybe just a certain insight that we have from doing this so long. It was like, now the world's ready for us. : I think what happened in the pandemic is a. All the doubters went, oh, remote really does work. And for us, what we realize is that remote is no longer just like the talent's remote or the client's remote, but remote is everybody's remote, and they all have different roles. And how to put those roles together in the most cohesive way became more what SourceConnect four was about compared to what we thought source connect four was going to be prior to the pandemic. : If you think about source Connect, like source Connect pre COVID was something that was nice to have, and then when COVID hit, it was something you had to have, and that changed the whole game. : I thought, well, Andrew, honestly, you and I, you know, we're from the South Pacific, from Australasia. I wouldn't say that source connect was a nice to have. It was kind of a, you know, whether it was source to nature or something else, we had to have something or how on earth we were going to work internationally because plane tickets are expensive and, you know. : Yeah, that's. : I think. : I think so, yeah. But I'm thinking from my point of view, like, as a voice talent, working with studios like you, historically, you just drive it. I go to Melbourne or Sydney or whatever it was for a job. And, you know, you managed to convince people that, you know, you can actually connect with to my studio if I work with someone in Sydney or wherever. But it was kind of a luxury, really. And people would just use local talent, pull up in their car park and go into their booth. But once COVID hit, it was not like that at all. It was a different game. : I think, especially here in Australia, there was a massive resistance to home studios, to the point where owners of studios would refuse to work with remote voice actors because they figured they were trying to steal their work. So. But COVID sort of put a whole new perspective on that, I guess, really, didn't it? : Yeah, and there were people. There were people that were actually literally coming out and black banning talent for having a home set up. : Yeah, that guy's got a home studio. He's stealing my work. : Prior to, like, up to. Prior to the pandemic, or did that subside at some point? : Yeah, I think it was. Look, it was. It was softening, but it was still there. : I think what the pandemic did is kind of shift the focus from the studio to the operator to the engineers at those studios. Right. So I definitely spoke to a lot of people in those places that said they got more work because they were able to do so much of it remotely. : Well, I know that's a fact for a lot of studios where they were able to, like, have engineers at home and at the studios, or just because clients weren't in, they were able to do just more work. Like, yeah, everybody could be put to work. All you needed was more licenses of whatever it was that you were using, like. Like pro Tools and Source connect and whatnot. : Yeah. : The irony of this whole thing. When COVID hit, all of a sudden studios were calling me because they had to get out of their commercial studios and set up at home and asking if I could do tests with them to make sure their source connect was working. : Wow. : Right. Or weren't some talent going to your place just to do sessions? Because they were, you know, they couldn't go all the way to the studio, but somehow they could give you COVID. : Exactly. : I don't know how the rules were, but I seem to remember you were hosting some talent at your place. : Yeah, there was a few that came here because they got out of the city and they were living sort of coastal, so they couldn't get in there anyway. And I was asked if people could come here that were living locally, and of course I obliged. : The amount of tech that was pushed on to pretty much every operator in a remote setting was, I think, probably one of the humbling parts of the pandemic. Right. Because, you know, it was, it was once you have every role get remote, then all of a sudden, like, I know a lot of audio engineers that know nothing about networks. Yeah. You know, like, it's like literally everyone has kind of thrown this wrench of technology and different roles now I got to be it as well as engineering. Well, that's what support was here for. : Yeah, I mean, I was just thinking like literally a big part of like source connect helping in pandemic was just a huge heavy load of tech support. And it wasn't just getting talent on boarded, but it was almost teaching a lot of people like how to work remotely or how to like not just do a remote ISDN, like to freaking have everybody be remote and lots of people routing. Yes. : So you know, all that's kind of, I think that's what source connect four represents. I think a lot of the learning of that is how to streamline exist, make the UI, make it make sense for you so you don't really need to think too much. The getting rid of the eye lock and the port forwarding requirements. I don't know if we talked about ilock, that's the thing. We've experienced that probably in huge volumes right at the start of the pandemic. : What's this? : What is this Iloc thing? : I need something physical and I can't. : Go out and get it. : You didn't need it physical at the time. Another account? Is it going to cost me anything? No, it's a free account and you know, you can't verify or you can't easily set somebody up because there's just more email verifications for new accounts that are created and God forbid the account that you created in source elements, that same account name is not available in Ilog. So now you have two different account names to remember and like two different passwords and. : Yeah, and people are losing their passwords because they use one thing for one account, one thing for another account. : So that's gone. : No more eyelock. : Wow, you heard it here first. : You heard it here, folks. That's right. Exactly. : Breaking news. : Bravo did say that he would like the UI to be bigger. : Bigger, small. : Can't see shit. : Smaller the GUI. : Oh, smaller the GUI. : It would be nice to be able to scale it like I want to see. I love the size of it as it is for now, but even when you've hit that little four corner box and it squashes down to the sort of send and receive meters and then the menu underneath, for me, it still takes up a lot of space on my screen. : And you can make it smaller. Yeah, you can grab the corner and push it in. : We're in the final mile of quality of life improvements. A lot of the stuff that, you know, those sort of smaller bits are just, they're gonna get done in the next couple months and. : Absolutely, I mean, you've embarked on a massive job. But that was one of the observations that I sort of, I did say to rob, but is I wanna see it big when I'm setting up the session and when I'm getting everybody connected. But once everybody's connected, I've got three screens in front of me, I've got my edit on one, my mix on another, and then my third is dedicated to picture for video. Source connect plugins, meters, all the rest of it to keep them out of the way. So the less space that can take up for me, because I really only need to glance up and see if it's metering. If someone says they can't hear something. : Can I throw in a future feature that I don't think is a spoiler because I really wanted. Yep, we plan to separate the UI from the engine and you could run it from like another screen or an iPad. And to me that's the sweet spot there, especially for, you know, people who are running, you know, big installations. They can walk away and, you know, oh, source Kinect five is not working and they can look on their phone. Oh yeah, oh, it's working now. : Right. : Why should they have to go back. : To the machine room and what about integration with Nexus? : I think you're going to definitely see Nexus and source connect integration and just further integration across the whole product line going towards that platform. : I think because I was telling Robert on a previous episode, it wasn't all that long ago, I had a session where I had a voice talent up in Brisbane somewhere. I had a creative sitting in the airport and two guys in the agency here in Sydney, and then the client was also online from, like, Perth in Western Australia or something like that. And there was another talent in Adelaide and it was this massive session. And if you could have seen my poor old thirst screen with meters and everything else going and all the rest of it, it becomes a logistical nightmare trying to remember where you've put everything and who's on what. So combining that all together would be quite impressive. : Can't say exactly what you might see, but I think sort of connect and nexus are surely more communication. : Well, that's actually a really good advancement that you've reminded me that you've, you've put into four. Here is the fact that all your connections appear in the one place. I think that's, that's amazing. : And they cross connect for you. : Yeah. : So they all hear each other without you having to do a thing. : Right. : You can pull multiple outputs, everyone record on everyone on a separate track, and. : You can even give them different inputs. : Right. : Right. You can send them different things, but they will all send to each other. : Yeah. : Can I make it so that person doesn't send to that person? : That's the plan for sure. We want to have a more project based style where you could decide what role is everyone playing? What do they hear? What do you hear? : What do you want them to hear? Who hears what? You can make everyone hear each other in a round circle and you could really play the game of like, tell this story to the next person and when it gets back to you. That is not the story I told. : Yeah, well, it's. I mean, the way you've set it up now, it's almost a well and truly upsized source connect now, right? : I'd agree. In a simple sense, it is like source connect three and source connect now. Sort of merging together and becoming each one, giving the best of what they used to do so you get the benefits. Yeah. : The autorestore replace being like, now you actually truly have an acquisition system that's like, bit accurate, right? : Yeah, yeah, exactly. : Never mind the browser, you're not going to get that there. : We know where every sample and frame is. : Speaking of frames, we have a system called remote Overdub sync which instead of remote transport sync where you are to deal with latency on a project. If someone is singing or doing ADR, going back to ISDN, the original method is to send timecode into sync. Two timelines on either side. So one chases the other networks, but there's a lot of setup on either side. So the remote overdub sync ideas that you can send to the talent whatever they need to hear and whatever they need to see and they perform if it's ADR and they sing and that performance gets back to you and you record it. And while you're recording it using the remote over dub sync system, you hear it in sync and when you hit stop in your daw, you see the waveform and then a moment later, a couple of seconds later, you see that waveform jump back in time to be where it should have been had there been no latency between you. So you can overdub, really just connect and overdub. You don't have to tell people to load up this timeline and click this button to synchronize. : No more comments of that doesn't look right to me from the back of the room. When you're recording with the talent, are. : You thinking or is it going to happen for iOS by any chance? : Oh yeah. : Yes. : I'm a big icad fan. I really love mine. I use it mostly as a music score player to play piano and I would love to use source connect on it and it's definitely happening. : AP is only asking you because he's trying to create the world's smallest voiceover roadkit. It's a purely selfish motivation. : I get it. : He just needs to use a trrs cable. And like, if Andrew just needs to talk to me about how to make things. : Uh huh. Absolutely. You would have the world's smallest road case. Indeed. : That's not the only thing that I've got the smallest of, but that's another story for another day. Thank you guys. Thank you Rebecca. Thank you Ross. Thank you Vincent. And of course Robert. : Congratulations. Congrats. : Thank you. : Thanks Andrew. Thanks, Jorge. : Well, that was fun. : Is it over? : The pro audio suite with thanks to Tribu and austrian audio recorded using Source Connect, edited by Andrew Peters and mixed by Voodoo Radio Imaging from George the tech Wittem. Don't forget to subscribe to the show and join in the conversation on our Facebook group. To leave a comment, suggest a topic, or just say g'day. Drop us a note at our website, thepro audiosuite.com. #ProAudioSuite #SourceConnectFour #RemoteRecording #AudioProduction #Podcasting #AudioEngineering #Podcasters #VoiceOver #PodcastProduction #AudioTech

Should you use chatGPT for podcasting? I asked chatGPT this question and used Descript's Overdub feature to voice the response. Generating this episode was quicker than any other I ever created. Is it any good? Probably not. Still, it shows how quickly it is possible to generate superficial content. This might be useful for enabling … Continue reading "Should you use chatGPT?"

This is an essay readout using an AI voice clone of NFX general partner, James Currier. The AI revolution just ratcheted up the speed bar for startups. You think you're moving fast enough. You're not. Speed is the number one advantage of a startup. But now that generative AI here, your definition of speed has to increase 10x. Read the full essay here - https://www.nfx.com/post/speed-and-ai

What happens when an iconic band leaves a lasting impression on you? Join us and our special guest, Dan from London, as we reminisce about the Tragically Hip's fifth studio album, Trouble at the Henhouse. We explore the album's lyrical genius and discuss tracks like "Don't Wake Daddy" and "Springtime in Vienna," while also delving into the technicalities behind each track.From the anticipation leading up to its release for jD to the experience of listening to this album for the first time, we'll analyze dark, politically charged lyrics and the unique phrasing, strange tempo, and guitar work that make certain songs stand out from the rest.Step back in time with us as we appreciate the album and discuss the raw energy and chaotic elements that make it truly iconic. With Dan's perspective, we'll explore the album's success in different countries and the sense of mystery surrounding it. So tune in and join our captivating conversation about this timeless musical masterpiece.Transcript0:00:00 - Speaker 1Hey, it's JD here and I'm with Pete and Tim and we have a really big announcement we want to make. Are you strapped in Good? Mark your calendars for Friday, september 1st, as long-sliced brewery brings to you getting hip to the hip on evening for the Downey Wend Jack Fund. 0:00:22 - Speaker 2Join us at the Rec Room in Toronto for a night of music, unity and making a meaningful impact. This event is dedicated to honoring the legacy of the tragically hip, while supporting the Downey Wend Jack Fund. 0:00:32 - Speaker 3Immerse yourself in a powerful tribute performance by 50 Mission, celebrating timeless classics that have shaped Canadian rock history. We'll also wrap up the podcast in a memorable way by doing our finale live that evening, but it doesn't stop there. 0:00:48 - Speaker 1This event is all about making a difference. So we've got a silent auction with prizes. you've got to see, from Blue Jays tickets to tragically hip ephemera to kitchen appliances. If you're looking for something cool, chances are you'll find it at our silent auction. 0:01:05 - Speaker 2All proceeds for the evening will go directly to the Downey Wend Jack Fund supporting healing, reconciliation and positive changes for Indigenous communities. 0:01:13 - Speaker 1Tickets are on sale June 1st and can be picked up by visiting gettinghiptothehipcom and clicking on finale By attending Getting Hip to the Hip, you're not only enjoying a night of incredible music and comedy, but also contributing to a brighter future. 0:01:30 - Speaker 2Join a community of like-minded individuals who believe in the power of music and unity Tickets are only $40, so mark your calendars and visit our webpage to secure your spot at this unforgettable event to celebrate the hip with fellow hip fans. 0:01:45 - Speaker 3Getting Hip to the Hip. An evening for the Downey Wend Jack Fund promises to be an experience that leaves a lasting impact. Please join us at the Rec Room in Toronto on September 1st and be part of something truly meaningful. We'd love to see you there. 0:02:02 - Speaker 1For months leading up to the release of the hip's fifth studio long play, i felt a palpable sense of mystery about what the band was going to do next. One day that feeling became a reality as I logged into my York email from the hip instructing me to visit a URL. At the URL was a long road leading to a horizon and a bolt of lightning flashed through the desert sky. What the hell was this, i wondered out loud to my friends. To them, though, this was just another hip record, but to me this was an album coming from a band that was white-hot at its apex or so it seemed at the time and poised to make something memorable. I was intrigued and delighted when May 14th 1996, rolled around and I opened the beautiful gatefold CD with the mysterious cover I say mysterious because I can't say for sure if the dog on the front is the menace or the hero Thanks yawning or snarling. At any rate, from the opening strains of Gift Shop through the last notes of Put It Off, i was musically stoned. This album was like hash, putting me into a body buzz that I couldn't explain with words if I tried. That was my experience with this record. What was your experience, and do we have any idea at this point what Pete and Tim might think? Now we've also thrown a curveball at you because we've got a special guest on this episode, and that's Dan from London. What will he think? Let's get right to it on this episode of Getting Hip to the Hip. Long Slice Brewery Presents Getting Hip to the Hip. If you've ever wondered to yourself what it would sound like if two people who had never heard of the Tragically Hip before got taken on a tour through their discography in chronological order. well, it's not going to sound something like this, because today we have three people. We have a special guest, that's right. I am proud to introduce you to Dan from London. Dan, how's it going? 0:04:55 - Speaker 6Good, all good down here. Even the sun is out today. 0:05:00 - Speaker 1Oh, the sun is sort of out here, but it's cold. It's very cold, and I'm joined by my usual cohorts, pete and Tim from Portland. How you doing fellas? I'm doing good, i'm great, you know Just awesome. 0:05:19 - Speaker 7Dan has been sunnier there since the Queen pass. That's what I heard. 0:05:24 - Speaker 6No, No, the whole place is in decline at the moment. Put it that way. 0:05:32 - Speaker 2If things are not good. I thought you were going to say since Harry and Meghan left. Oh, thank you. 0:05:42 - Speaker 6Listen, listen, I am not a royalist, so don't ask me anything about any of that. It's not my concern. 0:05:49 - Speaker 2Me too, dude. I do not follow that crap at all. And people are just like did you see the thing with the, with Harry's? And I'm like who the fuck has time to follow that shit? No, really, dude. 0:06:03 - Speaker 1A lot of people apparently. Yeah, apparently. My sister, my sister, it's a whole industry for having sex, you know. 0:06:14 - Speaker 2It's like, it's like Disney, when they I don't know if you know the pin people. No. I don't know what Disney is personally. 0:06:24 - Speaker 7Well, yeah well there, yeah, there's a. 0:06:27 - Speaker 2I mean, because I grew up 15 minutes from Disney. My guys, right, but they have these pins. They're like you know those. you know those If he was my babysitter Yeah. It was actually actually, actually Donald was, but that's no. there's. there's pins that people keep like lapel pins And like you know, i don't know, And like there's like this weird subculture of people who collect these pins and trade them and like, like you can go into a store at Disney and ask them to trade one of your pins. It's very, it's like furry level. No Punks to anybody listening who's a furry? 0:07:11 - Speaker 1Not that that's, yeah, there was hopper audience. Thanks, trying to get furry. We're huge in the furry huge in the furry, in the furry demo. Oh man. Well, today we are here to discuss the band's fifth full length LP. It came out May 14th 1996. I remember it well because it was like my third year of university and we had a computer lab and the hip were one of the first bands I remember that had like a website and they had this ominous picture of a road with a lightning bolt at the end of it and trouble at the henhouse coming soon, you know, and it was like wow, i cannot wait for this record. This is going to be so good because it was coming off, you know, such a triumvirate of records road apples, then fully completely, then day for night which I adored as a teenager. So this record was highly anticipated by me. But I wasn't sure what to expect, given the sharp turn from fully completely and day for night. What was it going to be? another sharp turn? Was it going to be more of the same? Was it going to be a subtle difference? I didn't have a clue And I'm curious. This one Dan will be for just him and Pete, because they've been doing project from the go. I'm just curious what your initial thoughts were on the record in that regard. 0:08:53 - Speaker 7Or no, it was Pete's favorite, So I'm just going to click commute and take a little nap, go ahead. 0:09:01 - Speaker 2Pete, Oh, I thought you were asking Dan first. Dan, where do you go? Well, just to start off all music, that website, you pulled those ratings from JD. 0:09:18 - Speaker 1Yeah, they butchered it. Fuck those people dude. Two out of five. I didn't look it up, oh yeah, two out of five They can go. 0:09:28 - Speaker 2Yeah, i mean disgusting. This is the record that I love so much And, to be honest with you, this last week, listening to it, i even come to love it way more than I loved it before. I don't want to. I don't want to. You know, spoil the spoil the porridge, just chat, because I got a lot when we go song to song. But this fucking album made me not just be thankful that JD has allowed us to be on this journey with him, but made me really like this morning, when I was writing some notes, i was like God damn, i feel so ashamed. I never saw this band live. It's like I remember I had a chance to see David Bowie before he passed away and I blew it. I didn't do it, i just was like, eh, you know, and then he dies. That's painful, it's like this. I feel ashamed. They never saw this band live. So I mean, this record means a lot to me. 0:10:39 - Speaker 1It's very loose, fitting right. It is like live sounding And I think they recorded a lot of it. you know, again, this is the first record they recorded while they recorded it at the Kingsway again, which is where they recorded Day for Night. But they also in the interim had built a studio in a town just outside Kingston called Bath And this was the first thing that they released to us, that we got to hear that was done in that Bath studio. So there's that. 0:11:21 - Speaker 7Yeah. I felt it had, you know, next level all the way around. I think it was just the next level All the way around. Sound production I'm always, like I've said, talking about the drummer in the bass guitarist working together, and this one was next level. I think this album was really good. It was similar sentiments as you, pete, you know, with the live comment. That's happening to me more and more for sure, because there's a couple songs on here where I thought maybe as a recorded track, this one, i'd rather hear life. You know that happens. 0:11:59 - Speaker 1That kind of happens. Make sure to point those out when we get there. 0:12:03 - Speaker 7Yeah, yeah, yeah, for sure. 0:12:05 - Speaker 1Yeah, all right. so, dan, this is your. this is your first taste of the Tragically Hub. Yeah, and I'm wondering how you approached it. 0:12:17 - Speaker 6based on that, there's no approach Just listen and listen and listen and just see what forms, see what grows. I mean, i had initial impressions and then a lot of those just completely transformed. Yeah, so the journey isn't it which an album should be, but it is difficult not having a reference point with the band and the previous work And even things like you know where, where would they are in their career at this point. you know how big word A and again is. this, is this? I don't know. is this, is this a sort of offbeat turn for the band or not? I don't know. 0:12:55 - Speaker 1Oh, that's interesting Oh you can you, can you can answer a question from a previous podcast, because I was going to say, to quantify you know your your comment the record did six times platinum in Canada, which is 600,000 copies In America. Six times platinum would be 6 million copies. Is the system the same in the UK? Like did they talk about? like platinum gold, yeah, so diamond, all that shit, yeah. 0:13:27 - Speaker 6But, but as you say, i think, isn't it sort of like economies of scale? So doesn't it be based on the population, i don't know Or does it base itself on world? why, i don't know you know. 0:13:40 - Speaker 1That's why I don't, that's why I don't know, like in the UK, what's platinum? do you know? How many records do you have to sell? 0:13:47 - Speaker 6I've never sold that many records, i can tell you. 0:13:51 - Speaker 1Oh God, i don't know, we'll have to look at it, okay, yeah, again, if anybody knows info at fully and completely dot ca, that would be cool to put a put a button in this subject. Any other comments? 0:14:08 - Speaker 7The picture for us? did Yeah, yeah, it's for Dan, did you? can you paint the picture for us? Did you like listen on headphones at home, or kind of what was your, what was your first listen scenario? 0:14:18 - Speaker 6Okay, commutes to work basically here. So a lot of this has been on the road And then when I ran out of time towards the end of the week, a lot of it from home as well. But I much more appreciated listening to this on the road, and for me that is on the brand new section of London underground, the Elizabeth line, and you know that starts off going through a real, you know, urban landscape past the Olympic Park before descending into tunnels. So I get that. You know I get a subterranean vibe going on as well as passing through urban stuff. But a lot of it was great for, yeah, just traveling, especially passing through the rain, you know, yeah sure, sure Cool. 0:15:04 - Speaker 1I know that commute, dan, that's so cool You do. Well, shall we crack open this record and put on side one? 0:15:17 - Speaker 7Yeah, yeah, let's do it Yeah. 0:15:19 - Speaker 1All right, we open with the very spacious and vibey opening track. This is similar to day for night. You know an opening track that is almost built to be played live, like it just sounds like. It sounds like it almost is live. In a sense It's gift shop. Who wants to go first? I'll go. 0:15:51 - Speaker 7So I saved this album for a car ride and then it didn't listen to it again. I listened to the whole thing on two car rides and then it listened to it again until I took the Amtrak from train from Portland to Seattle. So, dan, it was, it was fun to listen to, like you did on the train. I thought this one. The first time I heard this one I thought it felt danceable, like I was happy, like it's, it's got this tempo to it, like toad happened, like it was just sounded like a good, positive opener. Yet it's like Blake, it's kind of a Blake song. So that juxtaposition to me was fucking awesome. I was like, damn there, this span reels you in and can pull you apart in a couple of different ways at the same time. The who does the synth work for them, the synthesizer, and this one's really cool. 0:16:48 - Speaker 1It's interesting. I don't know the answer to that And if I look on the, if I look on the wiki page, it's got like the band listing and it doesn't have any additional band play. I could get out the liner notes and yeah, but I but I don't know offhand. 0:17:06 - Speaker 7Yeah. 0:17:06 - Speaker 1I mean, there's great right. 0:17:08 - Speaker 7Yeah, but there's and also there's like a minute and a half build up, which I love, you know. so this, this was a banger of a of a start off. I was happy. 0:17:21 - Speaker 1Nice Yeah. What did you think? 0:17:26 - Speaker 6Yeah. so as an opener I mean it's good, It's a builder. I mean you know good, moody, atmospheric star, and then, yeah, you've got that sort of growth, that little step up into the second verse and then it goes into like the you know, fully fulfilled chorus, basically because you've already heard a downplayed chorus before. And then, yeah, from that point on it it's just going, it's great And it really feels like it's going to lead you into something next. And I like the guitar work at the end as well. He almost slidey, sort of sustained. that tricks you into thinking the guitar's going into reverse on a few occasions. Lovely. 0:18:07 - Speaker 2Cool Pete I mean, what a fucking, what an opener Dude. I mean I put myself in the in the camp of like, if I was a, if I was a young hit fan and this was just coming out and, having heard the previous records being excited, this is the record store and then just this, being the first track on the record, will lose my shit. The line. The pendulum swings when that hits. It's just fucking. And I listened to it on because I have this record courtesy of Mr JD, had this record on vinyl And so my wife's got a pretty sweet turntable that we run through. I wouldn't say it's, it's, it's, it's. It sounds really good, but listening to it in the car, listening to it on headphones, there's that oscillating. You, tim, you said it was a, was a synth, but I don't know if there. Maybe it works for that. I thought maybe there were other parts of like a guitar effect that was like this A lot of these weird guitar effects that I that. 0:19:17 - Speaker 7I yeah, yeah, that's what really layered in on this one. 0:19:22 - Speaker 2Yeah, a lot of them. And then there's like a bop that I wrote bop, bop, da bop bop. I can't remember a melody of it, but just a little something towards the end of the song. Some backup, just just yeah it's a great song, yeah, but what is wrong? And it was a single too. 0:19:43 - Speaker 7So, but I was a little nervous. I was. I was, you know, hoping Dan wouldn't be like guys. I stopped at this one. I just can't do it anymore because, I have to tell you the first, the first couple albums that you know, there were times where both Pete and I were like fuck, all the fans listening to this are going to think we're fucking assholes, you know. But so so at the start of this one I was like let's keep going. The horse is out the gate. 0:20:12 - Speaker 6Yeah, it's just opinions. We're not killing anybody with this, surely? And don't call me surely? 0:20:26 - Speaker 1Um we live, to survive our paradoxes. Springtime in Vienna. 0:20:33 - Speaker 9Springtime in Vienna. Springtime in Vienna. Springtime in Vienna. Springtime in Vienna. Springtime in Vienna. Springtime in Vienna. Springtime in Vienna. Springtime in Vienna. Springtime in Vienna. Springtime in Vienna. 0:22:04 - Speaker 4Springtime in Vienna. Springtime in Vienna. Springtime in Vienna. Springtime in Vienna. Springtime in Vienna. 0:23:00 - Speaker 9Springtime in Vienna. Springtime in Vienna. Springtime in Vienna. The bomb is just inside Territory of his own. The spinning from the new time. 0:24:19 - Speaker 4We live to survive our paradoxes. We live to survive our paradoxes. We live to survive our paradoxes. We live to survive our paradoxes. 0:24:50 - Speaker 6We live to survive our paradoxes. We live to survive our paradoxes. We live to survive our paradoxes. We live to survive our paradoxes, we live to survive our paradoxes. 0:25:50 - Speaker 1We live to survive our paradoxes. We live to survive our paradoxes. We live to survive our paradoxes. 0:26:20 - Speaker 7We live to survive our paradoxes. We live to survive our paradoxes. 0:27:01 - Speaker 2We live to survive our paradoxes. We live to survive our paradoxes. We live to survive our paradoxes. We live to survive our paradoxes. We live to survive our paradoxes. We live to survive our paradoxes. It's unlike any other U2 album It's a cool record. It's a cool record. It's a cool record. 0:28:40 - Speaker 8It's a cool record It's a cool record. 0:29:04 - Speaker 2It's a cool record. 0:29:11 - Speaker 6It's a cool record. It's a cool record. 0:29:31 - Speaker 1It's a cool record. It's a cool record. 0:29:51 - Speaker 7It's a cool record It's a cool record. It's a cool record. It's a cool record. It's a cool record. It's a cool record. 0:30:50 - Speaker 1It's a cool record. It was on the. They played New Orleans, the Synchon, and in the middle they started playing this little jam and the lyrics went as follows So like vulgar, vulgar, vulgar, put some, put some coins in the swear jar, gord, and you know, tweak this song into something that became the biggest single in Canadian history. That's got to be why they played it last, that's got to be why. But you are right, it does stump you that. The last lyric is disappointing. You's getting me down. Oh boy, that shivers down my spine. 0:32:06 - Speaker 2Pete, what were you thinking of this one? I wrote down that line to the melody line. The guitar I love the half step flat that he does. It's kind of strange on the ear, it just lands right with me. And then the vongos, the percussion. When the drums come in after the rain falls, it just Yeah, i don't know that it's Oh, it just got buzzed, man again. Anyway, i love the song. I thought it was fantastic. The last thing I'll say is that the melody line that's when the horn had stung me. That melody is just fucking so good. God damn, i wish that guy was still alive So they would see him alive. Man, sorry, i'd say. 0:33:19 - Speaker 1Mr Dan. 0:33:20 - Speaker 6Yeah, i can't really improve on much that Pete said. I mean it's, um, it's lush, you know it's, it's. It's a beautiful little track and it builds up in the right places. And, as you say, rain falls in real time. When that kicks in, i mean that's like, isn't that like kind of almost like halfway through the verse, you know? so it's another time to kick in, But when it does it's, it's emphasizing what it needs to do, and I just love technicalities like that. I think that's why I love most of the first side of this album. It's, it's full of little things like that, you know, little formal technicalities that are in the background that just get in there to build things up. But I say I had such a hard time getting past this track. This is the one that just firmly embedded itself and made me come back to this album for more, you know, but I just it's just hard to get past that track, but eventually I did, which is good news for all of us. 0:34:16 - Speaker 1Well say keep, keep. Keep the wagon real rolling then and tell us what you thought. I don't like daddy. 0:34:23 - Speaker 6Okay. So following on by yeah from that, which is the best selling single, Yeah, you'd want something that does well. And yeah, don't wait, daddy, doesn't disappoint. Yeah, Space is opening. I love all of the base on this as well. I'm not so keen on the, you know kind of the sort of slower, don't wait, daddy section, But it has its place And I just, I just love yeah, every everything else. I mean the lyrics again are fantastic. Again, the bass at the end is a really nice sort of kind of base bend in there really, with the whole, you can stuff your void of your astronaut Asteroid. Yeah, And the. I think the lyrics to this are great as well. There's some, there's some key lyrics in here as well. I like it, Love the pace. I think it's great. 0:35:29 - Speaker 1Wicked Yeah. Any other lyrical faves in this one Pete for you. 0:35:37 - Speaker 2I can concur with Dan. I like the, the chorus itself. I didn't see how don't wait, daddy, fit in, but I fucking love the song. You can stuff your void with an asteroid, That part when he goes really high. There's a part when he says you're, you're damned as he whispers it. 0:36:04 - Speaker 1Yes, It's just, and then it doesn't he go, doesn't he whisper it and then, and then it's right after that. Yeah, yeah, yeah. 0:36:15 - Speaker 2It's a fucking great band. The baseline to your there's. There's a lot of amazing bass work on this record, but this is the first song where I was like whoa. Okay. Everybody, everybody's clearly starting to master their instrument in this band at this point, am I? 0:36:38 - Speaker 6they're not just fucking you know a bar band anymore. 0:36:45 - Speaker 8Clearly. 0:36:45 - Speaker 7Yeah, jd, is this. is this truly the Kurt Cobain, song? Is this the one? In what regards sorry. Is it this song kind of have the heavy reference to Kurt Cobain's passing? 0:36:58 - Speaker 1Oh, absolutely, i mean that lyric that lyric off the top, like just imagine, just imagine the, the I don't even know the word the imagination to come up with a concept. You know that, like Kurt Cobain reincarnated is like a sled dog somewhere in the tundra, you know, Sighing and still sighing though, And then licking his face. Just what great imagery. And then I don't know how much the rest of the song is Exactly about, about Kurt Cobain, but it's got another one of my favorite lyrics in it as well, which is you teach your children some fashion sense, And they fashioned some of their own, And I fucking love that. I just love that. 0:38:05 - Speaker 7Yeah, i don't have any more to say. I think everybody has said it all It's a good, it's a good heavy one And it's there's a good gore. Fade out of even his singing, you know, like disappearing off into nothing. 0:38:20 - Speaker 6Yeah, good, good. The final lyric is sing to end all songs. To end all songs, which is again in itself as a paradoxical bit of madness. Yeah, it's great. 0:39:16 - Speaker 9And then I don't know how much the rest of the song is Don't play daddy, don't play daddy, don't play daddy, don't play daddy, don't play daddy. You can scalp your boy in the air, stirrionettes hurtling toward the air. You can drop the bomb at the stores of town when promises reverse. Don't play daddy, don't play daddy. It's the perfect time now for a plentiful joy. They're all asleep by pastels. It's time to hear your voice. I sing to end all songs, to end all songs. I sing to end all songs, to end all songs, which is again in itself as a paradoxical bit of madness. Don't play daddy. Yeah, thanks a lot. 0:43:34 - Speaker 1Well, tim, do you want to kick off Flamenco? 0:43:38 - Speaker 7Flamenco, slow, quiet, kind of this politically dark, gorgeous song, i like to sweep the air and weave the sky. Stamp for feet for everyone. If I ever have to tell one of my sons that you might need to prostitute to teach how to take a compliment, i mean, there's a hell of a line right there. Oh, my God, this song, for being, you know, a number five, slow one, which I think fits well in the cadence of what's going on so far, yeah, i like it. That has a place for sure. 0:44:24 - Speaker 2Pete Hi JD, you know I love this song. I still haven't completed the cover of this song that I was working on, but I just love this song. I think that's probably one of the coolest signs to Tim. you're right, it's so. it's so cool, it's so unique. I would say a million things about this song but just like when you go back to the first record, you can't. it's like having a child that's born on the day it's born and then immediately fast forwarding and not imagining that the child's going to one day grow up and be, you know, this amazing, influential person or cure cancer, or like an amazing whatever the hell. And like that's where we're at right now, because this song is just from what we started out, in my opinion. Damn it, i keep getting buzz man. I'm sorry. 0:45:32 - Speaker 1I don't know where I'm coming from. 0:45:32 - Speaker 2I think it's this mic. I think I have a problem with this mic, If there's something that's uh. 0:45:41 - Speaker 1I'll get it when I edit. I'll get it, though, because I'll be editing your track and I'll get all of what you got. 0:45:46 - Speaker 2Yeah, well, it's what I'm hearing, but anyway, good, good point. It's not what I'm saying Yeah. 0:45:55 - Speaker 1I love special mics. I record what you're hearing. 0:45:59 - Speaker 2Okay, yeah. 0:46:03 - Speaker 1Special act. 0:46:05 - Speaker 2You're like our government. Um, it's a great song. How do you how? 0:46:10 - Speaker 7I have to ask, pete, how does JD know how much you love the song? Do you guys call each other up and do you play it for him, usually late at night? What's going on between you guys? 0:46:23 - Speaker 1I'm on the 15th floor and one day I looked down and there was Pete with a ghetto blaster. And I was like and I was like turn it up, stupid. I'm on the 15th floor. 0:46:41 - Speaker 2Well, and I mean Flamenco music is the is the dominating genre of music. that in great tone. 0:46:50 - Speaker 1It's the dominating genre of music where I met, So that's probably what drew me to the song first was just the name you know Well, every year on the tragically hip fully and completely feed, we do a pod list and all these great tragically hip cover bands submit songs And I release that usually May long weekend. So because we released this new show May long weekend this year, i'll have to push that back and make it a birthday pod list or something like that. We'll see. We'll see how we play it out. 0:47:32 - Speaker 6But yeah, Flamenco, fucking dynamite right there, yeah, just you know, with just coming back to this song, It's, i don't know This is, this is one that I need to listen to more. I think it's just one that's kind of got lost on me. I haven't got that many notes on it. You know it's, it's, it's just weird. I don't know what I'm, what I'm, what I'm missing on this song. You know where this song gets lost on me, so can you guys explain what you love about the song? 0:48:08 - Speaker 2The, the nature of the song being. Because if you listen like I'm, tim Hads as well, obviously the previous records there's nothing, there's nothing remotely close to this type of song with the keyboards, the melody, the lyrics, the, the phrasing, which he's super unique As far as somebody who phrases their lyrics. But there's nothing like it. It's so not even left field. It's not the same. You know that Jules Winfield line? not the same fucking sport, it's not even the same. It's not even close to anything they've ever done. It's just different. So it's for me it makes me want to like listen more intently and be like what the hell are they doing? What are they thinking? This is not like what they do. 0:49:02 - Speaker 7You know, i just I just thought of fit as part of their evolution, of all the albums we've heard so far. If I would have heard something like this in an earlier album you know, song post five it might have felt like it was a little bit more, it might have felt a little more unusual, but to me, for the era you know, this was what was it 96? 96. Yeah, for the style of music coming out then and a lot of bands having these slower quiet songs, you know, even even some of the harder grunge bands were still doing slower quiet songs. It wasn't always my favorite thing, but this one just fit in the fit in the peg. well, for the slot. I didn't have a ton of notes either, dan. I just thought, you know, let's keep moving. The songs are working still. Let's keep going. 0:49:51 - Speaker 1And to me, like I'll comment, I just think it's one of his greatest lyrical achievements, Like I just that line alone. You know, maybe a prostitute could teach you how to take a compliment, But then the way he phrases it like it's so strange. So if you, you know, if you write it out like, but it just works, And Yeah, I really appreciate that. 0:50:20 - Speaker 2You know, you asked Dan another thing, just to give you a little bit more context too, at least for me and JD. You alluded to it right there. As simple as the song sounds, it's not at all simple. It's one of those things like tapping your stomach and rubbing your belly and tapping your head or whatever. That seems easy, but it's not. The tempo of that song and playing it on like a guitar is odd. The phrasing is really odd. To try to sing it you'd have to sing it exactly like he does, otherwise you can't find where the words go. There's no. Do you know what I'm saying, dan? Like it's-. 0:51:10 - Speaker 6No, I completely understand that. yeah, Yeah, there you go. I'll go back and listen to that with that in mind. 0:51:16 - Speaker 1yeah, Maybe we'll check in with you later on in the season. 0:51:22 - Speaker 7Maybe Pete'll show up and serenade him, who knows? 0:51:29 - Speaker 1Pete has to feel about Yeah, okay, Yeah how'd you feel about 700 foot ceiling, Pete? This was a single. 0:51:35 - Speaker 2I really liked the guitar work, which was just random like no rules. I thought the bridge was a little strange in the song. Wouldn't be my first choice of it. I'm just kind of the way they approached it. The this note is on a lot of songs on this record, but I definitely got some Alanis vibes on this, the Overdub vocals, a lot of what she did on the first track on Jagged Little Pill what I really want, i think Maybe that's not the first track anyway Really cool. Love the ending I would say probably of all the songs, and I love this record. My least favorite song on the record, perhaps one of the- Cause. 0:52:34 - Speaker 3The other ones are just like everything else he typed in first. 0:52:39 - Speaker 1Well, we were on try to ride, though too right, like almost the full side of the record that is-. Yeah, yeah, that is. You know there's not like. You can definitely put that side on and rest easy. Dan's nodding his head. So what do you have to say about that young man? 0:52:59 - Speaker 6Yeah, it's a bit of a banger, isn't it? Straight from the get-go? good, as we were saying, that guitar stuff, great, kind of bendy sort of riff as well. But in my notes I've got nothing. Nothing is overplayed here, everything's just right, you know. But when he's doing the whole seven foot ceiling bit, the guitar really holds back and it's almost like a sort of you know, intentional sort of drop out which you know gives it a completely different vibe. But then you get the whole it's part hard bit with, as you were saying, all of the backing singing, which is just fantastic. Yeah, that really, i don't know, just kicks into another dimension as well. But with this I can't get into the lyrics. The lyrics don't like. They seem quite throwaway for this and I don't really get any kind of visualization of scenes or anything. I mean the references to Flood in. I mean, what is all that about? 0:53:55 - Speaker 1Well, yeah, it's definitely like Flood in the Ice is like to build like an ice rink, So like somebody's building an ice rink that you could skate on and play ice hockey likely, you know, out in the middle of the woods somewhere. So it's, the water is sort of got that darkened color from the birch, from the bark that has fallen off the trees and colored the water a little bit. So there's a nice visual there, right Like. but if you, if you're not vibing it, then it flies right over your head, Like you said, and it can sound very throwaway. I don't think this is his strongest lyrical effort on the record by any stretch, but I'm not ready to say it's throwaway either, you know. 0:54:39 - Speaker 7Guys, i thought this one it almost had kind of a celebratory start like song one. but I agree, pete, like the guitar seems like maybe it was mixed in too many times after the guys were done recording. It's kind of a winter angry song, so it made it feel kind of like a staple single for the hip. Just, you know, didn't didn't grab me or pull me in any direction, whether good or bad, was just like okay, this song six feels kind of like maybe a little bit of filler song. Let's keep moving and see what's next on the album. That's how it felt for me. 0:55:18 - Speaker 1So then you're flipping the record over and you're getting butt-swiggling. To start ["Sweet Sound of Patent Approval"]. 0:55:39 - Speaker 8The sweet sound of patent approval coming down in a not quite far Sweet sound of patent approval coming down in powdery sparks. The sweet sound of patent approval coming down with holiday concern. The sweet sound of patent approval coming down in a world of hurt. In my opinion, the drug is ready. In my opinion, the drug is ready. The warm hand of abject approval coming down with throaty veins. The warm hand of abject approval coming down to the fingerboard. In my opinion, the drug is ready. In my opinion, the drug is ready. In my opinion, the drug is ready. ["sweet Sound of Patent Approval"]. ["sweet Sound of Patent Approval"]. The cold-eyed constant approval coming down to freeze the blood. The cold-eyed constant approval coming down to look real close. In my opinion, the drug is ready. In my opinion, the drug is ready. In my opinion, the drug is ready. In my opinion, the drug is ready. In my opinion, the drug is ready. 0:59:02 - Speaker 1["sweet Sound of Patent Approval"]. And, if I'm not mistaken, butz Wigglin. Yes, butz Wigglin comes from the Kids in the Hall, brain Candy. When the Kids in the Hall released their feature film Brain Candy, this song was the not the theme song, but it was the featured song in the film. I'm guessing it was written after having seen Brain Candy and knowing roughly what it's about. Not able to tell you right now because my memory is so poor, but I can see bits and pieces And I'm guessing they wrote it after having watched you know, watched the movie because of the subject matter. Did you get into the subject matter at all, or did you just get into the song, or did you not get into the song? Where were you, dan? 1:00:06 - Speaker 6Yeah, not totally into it. I mean, the contrast between the verses in the chorus is, you know, the verses are all pretty noodly and a bit weird and then it's a very distinctive chorus And it just doesn't kind of work for me. It just doesn't feel cohesive. I mean, i don't mind it, you know, i'm not saying it's bad, but for me, yeah, it doesn't sound fully formed. 1:00:38 - Speaker 1You've heard better on the record, right, yeah, at this point. Yeah, yeah, you've got some context. 1:00:43 - Speaker 6We've come from a greater place than this on the record so far. 1:00:46 - Speaker 1Yeah, yeah. 1:00:49 - Speaker 7Tim, for all those reasons, i liked this one. Oh, okay, i like that. Yeah, like I. I heard that too. I heard that too You went out. 1:01:03 - Speaker 2Tim, you went out. I didn't hear it, like I could barely hear you, and then I just I got zapped. Sorry guys. 1:01:15 - Speaker 8I was in love with it. 1:01:17 - Speaker 7I promise I'll continue with this one. Did anyone hear Lou Reed on this song? Come on, no, i can Go back and listen and think about Lou Reed singing this song because it's there. But this song to me has kind of this locomotive just trying to get the engine going and it struggles a little bit. But I like that about it. It's more raw, like there's this intermittent keyboards in there that seem kind of out of pace with it. Honestly, it reminds me of Paintman a little bit, because it's just scrappy. And oh, let's add this in Does this song have enough? I don't know. Like it just felt different than their other songs. There was just more. It was a little more chaotic, whereas the songs on this album so far seemed pretty polished. I like the ending. You know I like this one. This one caught me off guard and it was maybe briefly, with kind of the Lou Reed reference. Oh, you guys got to hear this. 1:02:30 - Speaker 2What's that? I can't hear anything. 1:02:33 - Speaker 7Can you hear that? Damn it. I have a naval bass, our view is of a naval bass, and the trumpet goes off every morning. 1:02:43 - Speaker 8Oh, It's a wake us up, I guess. 1:02:45 - Speaker 7It's like a pre-recorded fucking trumpet. Yeah, god. 1:02:49 - Speaker 2Cut and call. Can't even afford the trumpet to hear. 1:02:52 - Speaker 7Yeah, i dug this one. This one was the fucking dog you see on the street, and you finally get it to come to your house and you can start feeding it. That's what this song was for me. It was good. There's so much Lou Reed there, though Go back, you'll hear it. You hear Lou. 1:03:10 - Speaker 1Reed, do you hear Lou Reed? I'll read it. 1:03:14 - Speaker 2JD, could you say that again? Do you hear Lou Reed? Yeah, i know I pick up what Tim's put down in that respect. And, dan, i also feel what you're saying about it. I took this record in a lot of different places. Obviously, i have it on vinyl, which, by the way, jd, you've got to make a quick correction. You've been saying this mistake throughout the whole show. We don't flip the record, because this record actually came on two discs. 1:03:49 - Speaker 1That's right, it's a three sided record. 1:03:52 - Speaker 2So just go back and edit it out. Let's go back and edit it all out. I listen to this on the vinyl. I listen to it with my headphones, my computer, with my phone in the car, with what you know, daniel I don't know if you know, but I have a pretty nice, like a premium sound system in my car, so driving and listening is quite enjoyable. No, but I took this album running a lot And this song just burrowed its way in. I loved it, absolutely loved it. Just the line. In my opinion, the drug is ready. It's just so cool. Warm hand of abject approval. And this is, if you again go back to the Europa reference, there's a song on there called Dirty Day. This is that song. It's like, it's almost like they kind of took pieces of that song and made this song, but it's just like that. It's super weird. Lugerty and for sure Tim, for sure, loved it Absolutely fucking love this song. 1:05:15 - Speaker 1Yeah, all right. Okay, well, did that love stick around for a parmint song? 1:05:23 - Speaker 2Oh, most definitely. The opening is amazing, The vocal melody. She's the horrible estate. Am I pronouncing that correctly? Maybe not the way it Canadian? Yeah, Yeah Again. Super big Alanis vibes on this. I love the shit out of this song. It's the fact that Let's clarify. 1:05:56 - Speaker 1Let's clarify In the last episode you mentioned that you heard a lot of production in Alanis, more set first record Jack and Little Pill on Day for Night, and now you're saying it's here on on on the hand house. 1:06:15 - Speaker 2Which is after Jack and Little Pill now, because that was in between. Jack and Little Pill was in between. Oh, I felt like the hip influenced her, and then now she's kind of in turn, return in favor, right, and this song it's it's Tim, tim and Jade. You know this, dan, but I'm taking this, this songwriting class, right now. Laugh me all you want, it's fine, but it's with Scott McMicken from Dr Dogg, and it's awesome because I love Dr Dogg And he's a great songwriter. But they do prompts And this song sounds like. Gord Downey took songwriting class and they gave him a prompt and they said write a song about your apartment. And he, fucking, he destroyed the entire class with it Because this fucking song like the line about like, um, just what our apartment does when we're not around does not concern us, like talking about the plates in the cupboard or something or whatever It's just fucking so cool, dude. It's so cool. And it's not even about that too, i know, in so many ways. 1:07:29 - Speaker 7I can hear the national anthem. Okay, now we're going to try. Yeah, now we're going to try. 1:07:34 - Speaker 1I could hear it. 1:07:37 - Speaker 7This is what we have every morning at this Airbnb, which has the most light bulbs of any any house I've ever been. 1:07:43 - Speaker 1I've heard an Airbnb Yeah that's a lot of light bulbs. You are very well lit. Sorry, sorry, sorry, i was going to say we just take them all, Fucking hell. 1:07:59 - Speaker 7God damn, Nothing like ruining a boner, but the US national anthem Fuck, Sorry honey. Oh, I'm sorry honey. God damn it. We have to try it. Do they do it on it's Sunday morning? Oh, that's why I mean church bells. I think maybe I could keep a boner during church bells, but not the goddamn national anthem. 1:08:25 - Speaker 2Maybe, not. 1:08:26 - Speaker 7That's weird too, maybe not. 1:08:28 - Speaker 2And then, okay, anna comes on your legs. I'm back at it, baby. 1:08:35 - Speaker 7God damn it. It's noon. There's like three more bells still. 1:08:44 - Speaker 1Where did you land on apartment, song Tim. 1:08:49 - Speaker 7You know, i thought maybe it was a bit long. I loved it Overall. I thought maybe it was a bit long and I thought what would this song be live Like? I went through kind of all those questions in my head. I agree with you, pete, that it's kind of a given, a prompt to go right about it, and that's maybe that's in part the simplicity of it for that reason made me kind of not super fall in love with it. Perhaps The idea of pursuing excessive beauty is the comment he made, pete, i love that reference. I kind of dove into that one and thought about all the people that kind of fit that goal. They're, like you know, famous famous actors, or my own asshole self every once in a while. So it kind of gave me some things to think about. But yeah, it's fine, it's fine. 1:09:53 - Speaker 1Where did you land Dan? 1:09:56 - Speaker 6In an apartment, definitely, yeah, i mean, on my notes I've got one of those tracks where you're immediately placed in a scenario. Yeah, this track, when I'm listening to it on the way to work, is always the one that I'm coming up the escalator into the tube station to get out. I've resurfaced And, yeah, it's mellow, i think, like Tarmac. It could be a little bit shorter for me, i think, but it's okay. I mean, i'm not normally used to listening to this kind of track, where it's you know it sort of chugs along a little bit. It's maybe a bit more traditional. Obviously, the structure is traditional as well, but I don't mind it at all. Yeah, yeah, i like it. 1:10:45 - Speaker 1All right, yeah, it's definitely one of my favorites, but you're right at 357,. You know, it's just shy of four minutes. You know, maybe, maybe This is the first record that they produced, like their last record was Howard Vreakin and the Tragically Hip. This one is the Tragically Hip and Mark Vreakin, so, like I think this is sort of their baby in a way, and their baby was perhaps formed in a steady 40 foot stream of coconut cream, wouldn't you say, dan? Oh yeah. 1:11:31 - Speaker 6Yeah, no one saw that one come in, did they? Yeah, i mean yeah. Well, you know, as the fashion dictates, i'm going to like this one because it's a banger. But it's a big banger And, as all bangers should be, it should have, you know, totally nonsensical lyrics. you know think of song two and things like that as well. So it's good. But again, this, you know this really lifts you up after those last two songs. you know I needed this to be in it, i needed the energy, basically, and again, you know it's on here. you know I've just got like. you know there's a, there's a plane taking off at the end and it kind of personifies the track. It's a sonic lift off that does not lose pace. Yeah, interesting. 1:12:22 - Speaker 1All right Tim. 1:12:27 - Speaker 7Tim, i heard pretty quickly in this one, the, the guitar tempo, and it was a little bit, you know, more specific to the era, rock and roll wise, for me, had this kind of indie punk feel and it threw me straight in straight to this band that I was listening to at the time in 94, 95, era 96, probably two from North Carolina. They're called Super Chunk And if you, if you go back and listen to their album here's where the strings come in I would be shocked if anyone from the hip didn't listen to that album during this time, because I went back and listen to that album. There's such good similarities, you know, like I don't want to do another food metaphor, but but yeah, this, this song, it had gripped me a little bit more. I loved it. I loved it, i. When it got to the ending and it kind of cut, and then the fucking jets. I'm like, ok, this is unusual, but I love shit like that. I love hearing sounds, you know, juxtaposed in layers. But when I read about it it was when they record. When they were recording, the power went out in the studio, in the building. At the end of this song, the power went out. So that's why it cuts out And that's why you have this little added tiny guitar layer in there, i believe. But it's, it's the fucking Blue Angels. Here I am sitting across from a Navy shipyard And it's the Blue Angels. That's who's passing? They're like. They're like the US Navy's show team. They travel around and do all their aerial acrobats and hopefully don't crash into the crowd and cost us cost And they cost us you know like one million dollars per second while flying or some shit. But yeah, it's the Blue Angels at the end of this. So you know what the hell is that reference? And they were that recording of the, that recording of the flyover of the Blue Angels was. you know, somebody in the band did it while they were in San Francisco. It's like, oh fuck, here comes the Blue Angels, Start recording and they fucking blended it into the song. So that just made me like an even more I love, I love shit like that. 1:14:43 - Speaker 1So that won me over, very cool. 1:14:46 - Speaker 7Yeah, very cool, very cool recovery from power outage during recording. 1:14:54 - Speaker 1Right, especially if you feel like he just got it. You know like, yeah, what the fuck. 1:15:00 - Speaker 7What do we do now? Yeah, here comes the Blue Angels. 1:15:08 - Speaker 2Yeah I, that's, crazy I mean, i don't know, it does blow my mind. 1:15:14 - Speaker 7That blow your mind. I mean, come on, they're fucking Canadian band. It's not like we're flying the Blue Angels across Canada. They'd hopefully get you know. shot down the bow and arrow, whoa. 1:15:24 - Speaker 1Whoa Hey now. We have cross moves, we have cross. 1:15:29 - Speaker 2All of Canada, sorry, just hold the breath right there Choked on their teeth. 1:15:39 - Speaker 7You can edit that one out. 1:15:42 - Speaker 8I'm you know I'm trying to develop. 1:15:45 - Speaker 1I'm trying to develop some things Good. I love. 1:15:51 - Speaker 2I'm not a big fan of it. I'm not really a fan at all. In the United States military, not those who serve, but the you know. Let's just leave it there. That was that. The apparatus. The apparatus if you will. But I love watching airplanes fly and I do love watching the Blue Angels because it's just cool, It's just and yeah, that's part of the stress out to you And it's like you know it's like watching them watching a thriller film. You know why do people do that. But anyway, this song I do. Like the song, The words, the lyrics just go. Can shooting coconut cream? Okay, all right, there's knowledge you can leave into the imagination there. But the only thing I will say, because I think everybody summed it up pretty well the airplane thing. the same thing happened to me again. If you remember I don't know what record it was There was another airplane sound on the recording. Do you remember JD? 1:17:05 - Speaker 1That's right, you talked about it. You talked about it because you thought you're driving near the airport and you thought it was. 1:17:12 - Speaker 8And so. 1:17:13 - Speaker 2I don't remember what it was. Maybe the first or second record, i forgot, but I took this one out running And I had the record going in the background with a guided run, you know where there's somebody telling you where to how fast to go and slow down and go fast school And I didn't know. I was like is this the fucking recording of the guy to run? And then I take my headphones out and I look up as I'm running. There's no airplane. And then I stopped the guy to run and I was like it's the fucking recording again. And it was the only reason why I said that trick happened to you before when I was driving by the airport And it was because of the fucking hip. How random is that? Like second time lagging strikes twice in the same place. 1:18:08 - Speaker 1Fuck, Pretty random man. 1:18:11 - Speaker 7Pretty random. 1:18:14 - Speaker 1Any other thoughts on coconut cream? 1:18:17 - Speaker 7Great, great track. 1:18:20 - Speaker 1All right, you guys have. you guys have potentially changed my mind on both, but Swiglin and coconut cream Those are those always rank up in my lower tier, which is tough for me to reconcile, because this is maybe my favorite record, like maybe my favorite record, so it's it's. you know it's. it's tough for me to reconcile that it's got two songs I don't like out of 12. How can that be your favorite record then? But now, now I'm going to go back and listen to the butt Swiglin with Blue Reed on my brain, and coconut cream, like, just the idea of like, like, when you said song two, it's like. yeah, okay, there they're just having. it's just fun. It's just, and maybe I'm a little too into flamenco and not enough into the fun that I need to back it down a little bit. But that takes us to track 10. Let's stay engaged. 1:19:17 - Speaker 2Stay on, stay engaged by talking about staying engaged. Let's stay engaged. I love the track. Man, i thought I was banger It's and if you notice that the airplane comes into this track, the airplane from the previous track comes into this one, which I think is really is really cool. The lyrics lies over time. The chords are super simple but really complex. Again, a lot of Alanis vibes, love the solo and a lot of weird guitar effects. The bass is just the bass is really what shines in this song. Just the rolling bass. That's just great. Love the song, really joy. 1:20:19 - Speaker 1Cool. How are you Dan? 1:20:22 - Speaker 6Yeah, well, you know, from the whole jet thing that goes into it, as Pete was saying, you know the lyrics start off pretty much sort of airport referential, don't they? We've sort of latent departures and things like that as well. I mean I like this track but I just wish it went somewhere. I just wish it built towards the end. That's the only thing it's missing really. You know, i think this deep into the album to have something that sits a little bit level. You know, you really feel it. You really feel like maybe you're chugging towards the end rather than accelerating to the end with a great kind of crescendo. So I just wish it had. I just wish it had some other elements, a few more layers had it in at the end. But I did notice towards the end that there is like a layer of weird fuzz towards the end of it that cuts off before the end And then, if anybody didn't notice that, then there's some. I don't know what that was. 1:21:16 - Speaker 7Yeah, i did notice that And I thought that I don't know, this one didn't really have any surprises for me. I agree with both of you guys in general This, it just felt like the placement of it was okay. let me start over. if the ending, dan your comment if the ending had some slight tweaks to it, it could have been drawn out a little bit more, not much. I feel like this song could have been the end of the album, like I was. I was hearing, you know, i knew where it was in the placement of the recording of the album, but hearing like the last one minute of it, i thought if the drums, the drums have kind of this I don't know prehistoric kind of feel and it just feels like if it just fade out and the song could be the end of the end of the whole album for me. but it isn't. 1:22:07 - Speaker 1I'm glad it isn't, because if it wasn't, then we wouldn't get Sherpa. 1:22:35 - Speaker 9I'm glad it isn't, because if it wasn't, then we wouldn't get Sherpa. I'm glad it isn't because if it wasn't, then we wouldn't get Sherpa. I'm glad it isn't because if it wasn't, then we wouldn't get Sherpa. I'm glad it isn't because if it wasn't, then we wouldn't get Sherpa. We were hard, we were Sherpa hard. We conspired against old friends. We said we must live with friends of dark and we died a thousand times since then. We were hard, we were hard, we were hard, we were hard, we were hard. I'm glad it isn't, because if it wasn't, then we wouldn't get Sherpa. Download wwwcdc bringing more video To Share this parts with other 2 people. We can write it down and obliterate it. And the laughter far. let me hear, the love I hear. We can lay down and obliterate it. 1:27:30 - Speaker 1And I fucking love Sherpa. So I have questions. Somebody let me down if you need to, but what do you think, tim? What are you saying? 1:27:45 - Speaker 7I thought the line we must be friends or die. I needed to announce that lyric as applicable for our foursome right now. At the end of this. If you guys were like fuck that guy, tim, what the hell was up with him on that recording, i would have to kill you so we have to be friends, or die. But it made me wonder with this album is this when the guys J&A? did you ever read anything about them doing hallucinogenics? 1:28:14 - Speaker 1Did they ever? 1:28:15 - Speaker 7comment about it. 1:28:17 - Speaker 1I'm sure they must have, because this is the track. This is wonderful. It's wonderful to listen to on a marijuana high. It's wonderful to listen to totally straight as well. It's lull, it's spooky. 1:28:38 - Speaker 7It had this acid trip feel to me, which was a little bit different. Then previous songs, this quiet guitar and the piano in there. The piano, i thought I'm kind of wanting more key type sounds in general to keep adding in layers. It's this new topping that we haven't had much of. So I thought Sherpa was pretty great, but I wanted to know. I couldn't find much. So is this when one of the guys went on this epic journey of a trip, or like? how was this song written? 1:29:15 - Speaker 1Yeah, i've just had it, If anyone out there knows. 1:29:18 - Speaker 7Write in to send JD an email at. 1:29:23 - Speaker 1JD at gettinghiptothehipcom. Dan, where are you at? 1:29:30 - Speaker 6Yeah, it's good, I've got it down as the high point on site too. Again, as you're saying, everything about it spaced out in every way, lyrically, spatially, vibrally, But then it does. I just get the feeling that at the end, after the point where we're, at the point where we love and hate it, It does fly off into sounding like something off the bends by Radiohead. It's just got that vibe to it. The final layer of guitar, the single note, higher guitar stuff, is very much Bend sort of related, which was released a year before, I think 1995. But it's all put together so well and love it all good. 1:30:19 - Speaker 7See, yeah, it's just got beeped again. The electricity in Spain is. You might be having some surge happening. 1:30:34 - Speaker 2That might be a point I don't know. All jokes aside, but this song I mean. You guys summed up most of it for me. I absolutely fucking dig this song. I don't know what was going on, the imagery in it. I was picturing a Sherpa when I was listening to it. Just by virtue of the name It just stuck in my head. And the bendy guitar riff. It's disorienting to the ear. It made me confuse listening to it. It was really cool. I've been thinking of it now because I've heard it so many times the last couple of days. It's that Jeff Bechtoun from The Artbirds. He bends it. You know what I'm talking about. They've been playing a lot of Jeff Bechtoun because he died. Anyway, that guitar riff in the song is very fucking cool. We dug it the line and we spoke languidly. When that hits right after that line, it's so fucking cool. There's piano reverb. That is just. Tim, you mentioned pavement earlier. I can't think of a B-side tune that reminded me of, but I heard it on here too with that piano reverb. We've died a thousand times since then. Super, at the very end of the song the chords go to major. I think it's definitely the best song on side two or side three. I guess we're saying Side four, but it's side four. 1:32:33 - Speaker 1No side. Four no side four, it's up there. No, there's no side four. Yeah, that's right, because the fourth side's blank. Yeah totally It's like why was Alley Totally? 1:32:45 - Speaker 7There you go. Okay, Great, very strong. 1:32:51 - Speaker 1Put it off. This is where we wind the record down and get ready to put it away, regardless of whether you're listening to it on a CD or MP3s or albums. This is it. This is what you get from 1996. We have to wait another two years for the next long play. Does put it off. Do the job of an ending track in your estimation, tim? 1:33:23 - Speaker 7Yeah, i think so. This one got me. It kind of had all the fixings for the recipe. There's definitely some storytelling. This album, i think, musically, gripped me more than storytelling compared to past albums, lyrically But this one had it. This one checked the box Talking about how There's a whole reference with how the Nazis stole art across Germany and created this Traveling art show to show all the degenerate artwork and they had museums that they graffitied the walls of And hung these paintings that they stole from all these fucking liberals or whoever they fucking plucked them from. This song is kind of like the dog off the street and you realize how that it's beautiful. Anyways, there's a reference to Eric's trip, which is, i think, the second Sonic Youth reference I've picked up, which is fucking cool that they're referencing Sonic Youth. 1:34:31 - Speaker 1Well, it's a reference of a reference, that's right, that's right. Because it's referencing the Canadian band Eric's trip, who's named after the Sonic Youth. Okay, yes, true. 1:34:42 - Speaker 7Okay, double, double one there. Anyways, you know that I love to hear there's some fucking sitar going on, totally yeah, right, in the background. 1:34:51 - Speaker 1That's what that is, isn't it? 1:34:52 - Speaker 7Yeah, yeah. So I'm sure we'll hear that again. Like this album just based on Sherpa, i was like, okay, who's doing a little acid and writing some of the songs? Because that's coming out a bit, i hope, because I just love the experimental part. It's a big closer. It turns down into this beautiful quiet ending. It was the closer I needed. It was a great tune. It was a loaded hip closer of a track for sure. 1:35:32 - Speaker 1How about you Dan? 1:35:36 - Speaker 6Well, one of the phrases I've used to describe this track is heavy menace. It's foreboding isn't it? It's stark. You've got these mystic sitar vibes. You've got this intensity there. It's up and down. It's probably a great live track for everybody to hang on to. That tension and release and then tension back on again. I don't know whether I like it as the end of the album. I don't know, because it's like getting somewhere and then being hit over the head with a mallet. It's like a kind of blunt third, almost. You know You sort of live through part of it and then you kind of get a little bit overwhelmed. But yeah, i don't dislike that, i've just got to get my head around it. Really, i'll say this build up to the end of the albums. If Let's Stay Engaged has that little bit of a rise up there, i think that would do it for me. But no, it's good, it's good. I need to listen to it more definitely. 1:36:55 - Speaker 1Yeah, you should always listen to it more, but it still might be where you land, you know, and that's cool. 1:37:02 - Speaker 6Yeah, but I'll say this is an album that I will be buying. 1:37:04 - Speaker 1Yeah, I will be getting hold of this for repeat listens. 1:37:09 - Speaker 7Excellent. It was a good one for Dan to come in on. I think you know Yeah. For sure sounds good. Lucky you Yeah yeah, thank God. 1:37:22 - Speaker 1What did you think of putting it off Pete? 1:37:25 - Speaker 2I definitely feel Dan's vibes on i

What happens when an iconic band leaves a lasting impression on you? Join us and our special guest, Dan from London, as we reminisce about the Tragically Hip's fifth studio album, Trouble at the Henhouse. We explore the album's lyrical genius and discuss tracks like "Don't Wake Daddy" and "Springtime in Vienna," while also delving into the technicalities behind each track.From the anticipation leading up to its release for jD to the experience of listening to this album for the first time, we'll analyze dark, politically charged lyrics and the unique phrasing, strange tempo, and guitar work that make certain songs stand out from the rest.Step back in time with us as we appreciate the album and discuss the raw energy and chaotic elements that make it truly iconic. With Dan's perspective, we'll explore the album's success in different countries and the sense of mystery surrounding it. So tune in and join our captivating conversation about this timeless musical masterpiece.Transcript0:00:00 - Speaker 1Hey, it's JD here and I'm with Pete and Tim and we have a really big announcement we want to make. Are you strapped in Good? Mark your calendars for Friday, september 1st, as long-sliced brewery brings to you getting hip to the hip on evening for the Downey Wend Jack Fund. 0:00:22 - Speaker 2Join us at the Rec Room in Toronto for a night of music, unity and making a meaningful impact. This event is dedicated to honoring the legacy of the tragically hip, while supporting the Downey Wend Jack Fund. 0:00:32 - Speaker 3Immerse yourself in a powerful tribute performance by 50 Mission, celebrating timeless classics that have shaped Canadian rock history. We'll also wrap up the podcast in a memorable way by doing our finale live that evening, but it doesn't stop there. 0:00:48 - Speaker 1This event is all about making a difference. So we've got a silent auction with prizes. you've got to see, from Blue Jays tickets to tragically hip ephemera to kitchen appliances. If you're looking for something cool, chances are you'll find it at our silent auction. 0:01:05 - Speaker 2All proceeds for the evening will go directly to the Downey Wend Jack Fund supporting healing, reconciliation and positive changes for Indigenous communities. 0:01:13 - Speaker 1Tickets are on sale June 1st and can be picked up by visiting gettinghiptothehipcom and clicking on finale By attending Getting Hip to the Hip, you're not only enjoying a night of incredible music and comedy, but also contributing to a brighter future. 0:01:30 - Speaker 2Join a community of like-minded individuals who believe in the power of music and unity Tickets are only $40, so mark your calendars and visit our webpage to secure your spot at this unforgettable event to celebrate the hip with fellow hip fans. 0:01:45 - Speaker 3Getting Hip to the Hip. An evening for the Downey Wend Jack Fund promises to be an experience that leaves a lasting impact. Please join us at the Rec Room in Toronto on September 1st and be part of something truly meaningful. We'd love to see you there. 0:02:02 - Speaker 1For months leading up to the release of the hip's fifth studio long play, i felt a palpable sense of mystery about what the band was going to do next. One day that feeling became a reality as I logged into my York email from the hip instructing me to visit a URL. At the URL was a long road leading to a horizon and a bolt of lightning flashed through the desert sky. What the hell was this, i wondered out loud to my friends. To them, though, this was just another hip record, but to me this was an album coming from a band that was white-hot at its apex or so it seemed at the time and poised to make something memorable. I was intrigued and delighted when May 14th 1996, rolled around and I opened the beautiful gatefold CD with the mysterious cover I say mysterious because I can't say for sure if the dog on the front is the menace or the hero Thanks yawning or snarling. At any rate, from the opening strains of Gift Shop through the last notes of Put It Off, i was musically stoned. This album was like hash, putting me into a body buzz that I couldn't explain with words if I tried. That was my experience with this record. What was your experience, and do we have any idea at this point what Pete and Tim might think? Now we've also thrown a curveball at you because we've got a special guest on this episode, and that's Dan from London. What will he think? Let's get right to it on this episode of Getting Hip to the Hip. Long Slice Brewery Presents Getting Hip to the Hip. If you've ever wondered to yourself what it would sound like if two people who had never heard of the Tragically Hip before got taken on a tour through their discography in chronological order. well, it's not going to sound something like this, because today we have three people. We have a special guest, that's right. I am proud to introduce you to Dan from London. Dan, how's it going? 0:04:55 - Speaker 6Good, all good down here. Even the sun is out today. 0:05:00 - Speaker 1Oh, the sun is sort of out here, but it's cold. It's very cold, and I'm joined by my usual cohorts, pete and Tim from Portland. How you doing fellas? I'm doing good, i'm great, you know Just awesome. 0:05:19 - Speaker 7Dan has been sunnier there since the Queen pass. That's what I heard. 0:05:24 - Speaker 6No, No, the whole place is in decline at the moment. Put it that way. 0:05:32 - Speaker 2If things are not good. I thought you were going to say since Harry and Meghan left. Oh, thank you. 0:05:42 - Speaker 6Listen, listen, I am not a royalist, so don't ask me anything about any of that. It's not my concern. 0:05:49 - Speaker 2Me too, dude. I do not follow that crap at all. And people are just like did you see the thing with the, with Harry's? And I'm like who the fuck has time to follow that shit? No, really, dude. 0:06:03 - Speaker 1A lot of people apparently. Yeah, apparently. My sister, my sister, it's a whole industry for having sex, you know. 0:06:14 - Speaker 2It's like, it's like Disney, when they I don't know if you know the pin people. No. I don't know what Disney is personally. 0:06:24 - Speaker 7Well, yeah well there, yeah, there's a. 0:06:27 - Speaker 2I mean, because I grew up 15 minutes from Disney. My guys, right, but they have these pins. They're like you know those. you know those If he was my babysitter Yeah. It was actually actually, actually Donald was, but that's no. there's. there's pins that people keep like lapel pins And like you know, i don't know, And like there's like this weird subculture of people who collect these pins and trade them and like, like you can go into a store at Disney and ask them to trade one of your pins. It's very, it's like furry level. No Punks to anybody listening who's a furry? 0:07:11 - Speaker 1Not that that's, yeah, there was hopper audience. Thanks, trying to get furry. We're huge in the furry huge in the furry, in the furry demo. Oh man. Well, today we are here to discuss the band's fifth full length LP. It came out May 14th 1996. I remember it well because it was like my third year of university and we had a computer lab and the hip were one of the first bands I remember that had like a website and they had this ominous picture of a road with a lightning bolt at the end of it and trouble at the henhouse coming soon, you know, and it was like wow, i cannot wait for this record. This is going to be so good because it was coming off, you know, such a triumvirate of records road apples, then fully completely, then day for night which I adored as a teenager. So this record was highly anticipated by me. But I wasn't sure what to expect, given the sharp turn from fully completely and day for night. What was it going to be? another sharp turn? Was it going to be more of the same? Was it going to be a subtle difference? I didn't have a clue And I'm curious. This one Dan will be for just him and Pete, because they've been doing project from the go. I'm just curious what your initial thoughts were on the record in that regard. 0:08:53 - Speaker 7Or no, it was Pete's favorite, So I'm just going to click commute and take a little nap, go ahead. 0:09:01 - Speaker 2Pete, Oh, I thought you were asking Dan first. Dan, where do you go? Well, just to start off all music, that website, you pulled those ratings from JD. 0:09:18 - Speaker 1Yeah, they butchered it. Fuck those people dude. Two out of five. I didn't look it up, oh yeah, two out of five They can go. 0:09:28 - Speaker 2Yeah, i mean disgusting. This is the record that I love so much And, to be honest with you, this last week, listening to it, i even come to love it way more than I loved it before. I don't want to. I don't want to. You know, spoil the spoil the porridge, just chat, because I got a lot when we go song to song. But this fucking album made me not just be thankful that JD has allowed us to be on this journey with him, but made me really like this morning, when I was writing some notes, i was like God damn, i feel so ashamed. I never saw this band live. It's like I remember I had a chance to see David Bowie before he passed away and I blew it. I didn't do it, i just was like, eh, you know, and then he dies. That's painful, it's like this. I feel ashamed. They never saw this band live. So I mean, this record means a lot to me. 0:10:39 - Speaker 1It's very loose, fitting right. It is like live sounding And I think they recorded a lot of it. you know, again, this is the first record they recorded while they recorded it at the Kingsway again, which is where they recorded Day for Night. But they also in the interim had built a studio in a town just outside Kingston called Bath And this was the first thing that they released to us, that we got to hear that was done in that Bath studio. So there's that. 0:11:21 - Speaker 7Yeah. I felt it had, you know, next level all the way around. I think it was just the next level All the way around. Sound production I'm always, like I've said, talking about the drummer in the bass guitarist working together, and this one was next level. I think this album was really good. It was similar sentiments as you, pete, you know, with the live comment. That's happening to me more and more for sure, because there's a couple songs on here where I thought maybe as a recorded track, this one, i'd rather hear life. You know that happens. 0:11:59 - Speaker 1That kind of happens. Make sure to point those out when we get there. 0:12:03 - Speaker 7Yeah, yeah, yeah, for sure. 0:12:05 - Speaker 1Yeah, all right. so, dan, this is your. this is your first taste of the Tragically Hub. Yeah, and I'm wondering how you approached it. 0:12:17 - Speaker 6based on that, there's no approach Just listen and listen and listen and just see what forms, see what grows. I mean, i had initial impressions and then a lot of those just completely transformed. Yeah, so the journey isn't it which an album should be, but it is difficult not having a reference point with the band and the previous work And even things like you know where, where would they are in their career at this point. you know how big word A and again is. this, is this? I don't know. is this, is this a sort of offbeat turn for the band or not? I don't know. 0:12:55 - Speaker 1Oh, that's interesting Oh you can you, can you can answer a question from a previous podcast, because I was going to say, to quantify you know your your comment the record did six times platinum in Canada, which is 600,000 copies In America. Six times platinum would be 6 million copies. Is the system the same in the UK? Like did they talk about? like platinum gold, yeah, so diamond, all that shit, yeah. 0:13:27 - Speaker 6But, but as you say, i think, isn't it sort of like economies of scale? So doesn't it be based on the population, i don't know Or does it base itself on world? why, i don't know you know. 0:13:40 - Speaker 1That's why I don't, that's why I don't know, like in the UK, what's platinum? do you know? How many records do you have to sell? 0:13:47 - Speaker 6I've never sold that many records, i can tell you. 0:13:51 - Speaker 1Oh God, i don't know, we'll have to look at it, okay, yeah, again, if anybody knows info at fully and completely dot ca, that would be cool to put a put a button in this subject. Any other comments? 0:14:08 - Speaker 7The picture for us? did Yeah, yeah, it's for Dan, did you? can you paint the picture for us? Did you like listen on headphones at home, or kind of what was your, what was your first listen scenario? 0:14:18 - Speaker 6Okay, commutes to work basically here. So a lot of this has been on the road And then when I ran out of time towards the end of the week, a lot of it from home as well. But I much more appreciated listening to this on the road, and for me that is on the brand new section of London underground, the Elizabeth line, and you know that starts off going through a real, you know, urban landscape past the Olympic Park before descending into tunnels. So I get that. You know I get a subterranean vibe going on as well as passing through urban stuff. But a lot of it was great for, yeah, just traveling, especially passing through the rain, you know, yeah sure, sure Cool. 0:15:04 - Speaker 1I know that commute, dan, that's so cool You do. Well, shall we crack open this record and put on side one? 0:15:17 - Speaker 7Yeah, yeah, let's do it Yeah. 0:15:19 - Speaker 1All right, we open with the very spacious and vibey opening track. This is similar to day for night. You know an opening track that is almost built to be played live, like it just sounds like. It sounds like it almost is live. In a sense It's gift shop. Who wants to go first? I'll go. 0:15:51 - Speaker 7So I saved this album for a car ride and then it didn't listen to it again. I listened to the whole thing on two car rides and then it listened to it again until I took the Amtrak from train from Portland to Seattle. So, dan, it was, it was fun to listen to, like you did on the train. I thought this one. The first time I heard this one I thought it felt danceable, like I was happy, like it's, it's got this tempo to it, like toad happened, like it was just sounded like a good, positive opener. Yet it's like Blake, it's kind of a Blake song. So that juxtaposition to me was fucking awesome. I was like, damn there, this span reels you in and can pull you apart in a couple of different ways at the same time. The who does the synth work for them, the synthesizer, and this one's really cool. 0:16:48 - Speaker 1It's interesting. I don't know the answer to that And if I look on the, if I look on the wiki page, it's got like the band listing and it doesn't have any additional band play. I could get out the liner notes and yeah, but I but I don't know offhand. 0:17:06 - Speaker 7Yeah. 0:17:06 - Speaker 1I mean, there's great right. 0:17:08 - Speaker 7Yeah, but there's and also there's like a minute and a half build up, which I love, you know. so this, this was a banger of a of a start off. I was happy. 0:17:21 - Speaker 1Nice Yeah. What did you think? 0:17:26 - Speaker 6Yeah. so as an opener I mean it's good, It's a builder. I mean you know good, moody, atmospheric star, and then, yeah, you've got that sort of growth, that little step up into the second verse and then it goes into like the you know, fully fulfilled chorus, basically because you've already heard a downplayed chorus before. And then, yeah, from that point on it it's just going, it's great And it really feels like it's going to lead you into something next. And I like the guitar work at the end as well. He almost slidey, sort of sustained. that tricks you into thinking the guitar's going into reverse on a few occasions. Lovely. 0:18:07 - Speaker 2Cool Pete I mean, what a fucking, what an opener Dude. I mean I put myself in the in the camp of like, if I was a, if I was a young hit fan and this was just coming out and, having heard the previous records being excited, this is the record store and then just this, being the first track on the record, will lose my shit. The line. The pendulum swings when that hits. It's just fucking. And I listened to it on because I have this record courtesy of Mr JD, had this record on vinyl And so my wife's got a pretty sweet turntable that we run through. I wouldn't say it's, it's, it's, it's. It sounds really good, but listening to it in the car, listening to it on headphones, there's that oscillating. You, tim, you said it was a, was a synth, but I don't know if there. Maybe it works for that. I thought maybe there were other parts of like a guitar effect that was like this A lot of these weird guitar effects that I that. 0:19:17 - Speaker 7I yeah, yeah, that's what really layered in on this one. 0:19:22 - Speaker 2Yeah, a lot of them. And then there's like a bop that I wrote bop, bop, da bop bop. I can't remember a melody of it, but just a little something towards the end of the song. Some backup, just just yeah it's a great song, yeah, but what is wrong? And it was a single too. 0:19:43 - Speaker 7So, but I was a little nervous. I was. I was, you know, hoping Dan wouldn't be like guys. I stopped at this one. I just can't do it anymore because, I have to tell you the first, the first couple albums that you know, there were times where both Pete and I were like fuck, all the fans listening to this are going to think we're fucking assholes, you know. But so so at the start of this one I was like let's keep going. The horse is out the gate. 0:20:12 - Speaker 6Yeah, it's just opinions. We're not killing anybody with this, surely? And don't call me surely? 0:20:26 - Speaker 1Um we live, to survive our paradoxes. Springtime in Vienna. 0:20:33 - Speaker 9Springtime in Vienna. Springtime in Vienna. Springtime in Vienna. Springtime in Vienna. Springtime in Vienna. Springtime in Vienna. Springtime in Vienna. Springtime in Vienna. Springtime in Vienna. Springtime in Vienna. 0:22:04 - Speaker 4Springtime in Vienna. Springtime in Vienna. Springtime in Vienna. Springtime in Vienna. Springtime in Vienna. 0:23:00 - Speaker 9Springtime in Vienna. Springtime in Vienna. Springtime in Vienna. The bomb is just inside Territory of his own. The spinning from the new time. 0:24:19 - Speaker 4We live to survive our paradoxes. We live to survive our paradoxes. We live to survive our paradoxes. We live to survive our paradoxes. 0:24:50 - Speaker 6We live to survive our paradoxes. We live to survive our paradoxes. We live to survive our paradoxes. We live to survive our paradoxes, we live to survive our paradoxes. 0:25:50 - Speaker 1We live to survive our paradoxes. We live to survive our paradoxes. We live to survive our paradoxes. 0:26:20 - Speaker 7We live to survive our paradoxes. We live to survive our paradoxes. 0:27:01 - Speaker 2We live to survive our paradoxes. We live to survive our paradoxes. We live to survive our paradoxes. We live to survive our paradoxes. We live to survive our paradoxes. We live to survive our paradoxes. It's unlike any other U2 album It's a cool record. It's a cool record. It's a cool record. 0:28:40 - Speaker 8It's a cool record It's a cool record. 0:29:04 - Speaker 2It's a cool record. 0:29:11 - Speaker 6It's a cool record. It's a cool record. 0:29:31 - Speaker 1It's a cool record. It's a cool record. 0:29:51 - Speaker 7It's a cool record It's a cool record. It's a cool record. It's a cool record. It's a cool record. It's a cool record. 0:30:50 - Speaker 1It's a cool record. It was on the. They played New Orleans, the Synchon, and in the middle they started playing this little jam and the lyrics went as follows So like vulgar, vulgar, vulgar, put some, put some coins in the swear jar, gord, and you know, tweak this song into something that became the biggest single in Canadian history. That's got to be why they played it last, that's got to be why. But you are right, it does stump you that. The last lyric is disappointing. You's getting me down. Oh boy, that shivers down my spine. 0:32:06 - Speaker 2Pete, what were you thinking of this one? I wrote down that line to the melody line. The guitar I love the half step flat that he does. It's kind of strange on the ear, it just lands right with me. And then the vongos, the percussion. When the drums come in after the rain falls, it just Yeah, i don't know that it's Oh, it just got buzzed, man again. Anyway, i love the song. I thought it was fantastic. The last thing I'll say is that the melody line that's when the horn had stung me. That melody is just fucking so good. God damn, i wish that guy was still alive So they would see him alive. Man, sorry, i'd say. 0:33:19 - Speaker 1Mr Dan. 0:33:20 - Speaker 6Yeah, i can't really improve on much that Pete said. I mean it's, um, it's lush, you know it's, it's. It's a beautiful little track and it builds up in the right places. And, as you say, rain falls in real time. When that kicks in, i mean that's like, isn't that like kind of almost like halfway through the verse, you know? so it's another time to kick in, But when it does it's, it's emphasizing what it needs to do, and I just love technicalities like that. I think that's why I love most of the first side of this album. It's, it's full of little things like that, you know, little formal technicalities that are in the background that just get in there to build things up. But I say I had such a hard time getting past this track. This is the one that just firmly embedded itself and made me come back to this album for more, you know, but I just it's just hard to get past that track, but eventually I did, which is good news for all of us. 0:34:16 - Speaker 1Well say keep, keep. Keep the wagon real rolling then and tell us what you thought. I don't like daddy. 0:34:23 - Speaker 6Okay. So following on by yeah from that, which is the best selling single, Yeah, you'd want something that does well. And yeah, don't wait, daddy, doesn't disappoint. Yeah, Space is opening. I love all of the base on this as well. I'm not so keen on the, you know kind of the sort of slower, don't wait, daddy section, But it has its place And I just, I just love yeah, every everything else. I mean the lyrics again are fantastic. Again, the bass at the end is a really nice sort of kind of base bend in there really, with the whole, you can stuff your void of your astronaut Asteroid. Yeah, And the. I think the lyrics to this are great as well. There's some, there's some key lyrics in here as well. I like it, Love the pace. I think it's great. 0:35:29 - Speaker 1Wicked Yeah. Any other lyrical faves in this one Pete for you. 0:35:37 - Speaker 2I can concur with Dan. I like the, the chorus itself. I didn't see how don't wait, daddy, fit in, but I fucking love the song. You can stuff your void with an asteroid, That part when he goes really high. There's a part when he says you're, you're damned as he whispers it. 0:36:04 - Speaker 1Yes, It's just, and then it doesn't he go, doesn't he whisper it and then, and then it's right after that. Yeah, yeah, yeah. 0:36:15 - Speaker 2It's a fucking great band. The baseline to your there's. There's a lot of amazing bass work on this record, but this is the first song where I was like whoa. Okay. Everybody, everybody's clearly starting to master their instrument in this band at this point, am I? 0:36:38 - Speaker 6they're not just fucking you know a bar band anymore. 0:36:45 - Speaker 8Clearly. 0:36:45 - Speaker 7Yeah, jd, is this. is this truly the Kurt Cobain, song? Is this the one? In what regards sorry. Is it this song kind of have the heavy reference to Kurt Cobain's passing? 0:36:58 - Speaker 1Oh, absolutely, i mean that lyric that lyric off the top, like just imagine, just imagine the, the I don't even know the word the imagination to come up with a concept. You know that, like Kurt Cobain reincarnated is like a sled dog somewhere in the tundra, you know, Sighing and still sighing though, And then licking his face. Just what great imagery. And then I don't know how much the rest of the song is Exactly about, about Kurt Cobain, but it's got another one of my favorite lyrics in it as well, which is you teach your children some fashion sense, And they fashioned some of their own, And I fucking love that. I just love that. 0:38:05 - Speaker 7Yeah, i don't have any more to say. I think everybody has said it all It's a good, it's a good heavy one And it's there's a good gore. Fade out of even his singing, you know, like disappearing off into nothing. 0:38:20 - Speaker 6Yeah, good, good. The final lyric is sing to end all songs. To end all songs, which is again in itself as a paradoxical bit of madness. Yeah, it's great. 0:39:16 - Speaker 9And then I don't know how much the rest of the song is Don't play daddy, don't play daddy, don't play daddy, don't play daddy, don't play daddy. You can scalp your boy in the air, stirrionettes hurtling toward the air. You can drop the bomb at the stores of town when promises reverse. Don't play daddy, don't play daddy. It's the perfect time now for a plentiful joy. They're all asleep by pastels. It's time to hear your voice. I sing to end all songs, to end all songs. I sing to end all songs, to end all songs, which is again in itself as a paradoxical bit of madness. Don't play daddy. Yeah, thanks a lot. 0:43:34 - Speaker 1Well, tim, do you want to kick off Flamenco? 0:43:38 - Speaker 7Flamenco, slow, quiet, kind of this politically dark, gorgeous song, i like to sweep the air and weave the sky. Stamp for feet for everyone. If I ever have to tell one of my sons that you might need to prostitute to teach how to take a compliment, i mean, there's a hell of a line right there. Oh, my God, this song, for being, you know, a number five, slow one, which I think fits well in the cadence of what's going on so far, yeah, i like it. That has a place for sure. 0:44:24 - Speaker 2Pete Hi JD, you know I love this song. I still haven't completed the cover of this song that I was working on, but I just love this song. I think that's probably one of the coolest signs to Tim. you're right, it's so. it's so cool, it's so unique. I would say a million things about this song but just like when you go back to the first record, you can't. it's like having a child that's born on the day it's born and then immediately fast forwarding and not imagining that the child's going to one day grow up and be, you know, this amazing, influential person or cure cancer, or like an amazing whatever the hell. And like that's where we're at right now, because this song is just from what we started out, in my opinion. Damn it, i keep getting buzz man. I'm sorry. 0:45:32 - Speaker 1I don't know where I'm coming from. 0:45:32 - Speaker 2I think it's this mic. I think I have a problem with this mic, If there's something that's uh. 0:45:41 - Speaker 1I'll get it when I edit. I'll get it, though, because I'll be editing your track and I'll get all of what you got. 0:45:46 - Speaker 2Yeah, well, it's what I'm hearing, but anyway, good, good point. It's not what I'm saying Yeah. 0:45:55 - Speaker 1I love special mics. I record what you're hearing. 0:45:59 - Speaker 2Okay, yeah. 0:46:03 - Speaker 1Special act. 0:46:05 - Speaker 2You're like our government. Um, it's a great song. How do you how? 0:46:10 - Speaker 7I have to ask, pete, how does JD know how much you love the song? Do you guys call each other up and do you play it for him, usually late at night? What's going on between you guys? 0:46:23 - Speaker 1I'm on the 15th floor and one day I looked down and there was Pete with a ghetto blaster. And I was like and I was like turn it up, stupid. I'm on the 15th floor. 0:46:41 - Speaker 2Well, and I mean Flamenco music is the is the dominating genre of music. that in great tone. 0:46:50 - Speaker 1It's the dominating genre of music where I met, So that's probably what drew me to the song first was just the name you know Well, every year on the tragically hip fully and completely feed, we do a pod list and all these great tragically hip cover bands submit songs And I release that usually May long weekend. So because we released this new show May long weekend this year, i'll have to push that back and make it a birthday pod list or something like that. We'll see. We'll see how we play it out. 0:47:32 - Speaker 6But yeah, Flamenco, fucking dynamite right there, yeah, just you know, with just coming back to this song, It's, i don't know This is, this is one that I need to listen to more. I think it's just one that's kind of got lost on me. I haven't got that many notes on it. You know it's, it's, it's just weird. I don't know what I'm, what I'm, what I'm missing on this song. You know where this song gets lost on me, so can you guys explain what you love about the song? 0:48:08 - Speaker 2The, the nature of the song being. Because if you listen like I'm, tim Hads as well, obviously the previous records there's nothing, there's nothing remotely close to this type of song with the keyboards, the melody, the lyrics, the, the phrasing, which he's super unique As far as somebody who phrases their lyrics. But there's nothing like it. It's so not even left field. It's not the same. You know that Jules Winfield line? not the same fucking sport, it's not even the same. It's not even close to anything they've ever done. It's just different. So it's for me it makes me want to like listen more intently and be like what the hell are they doing? What are they thinking? This is not like what they do. 0:49:02 - Speaker 7You know, i just I just thought of fit as part of their evolution, of all the albums we've heard so far. If I would have heard something like this in an earlier album you know, song post five it might have felt like it was a little bit more, it might have felt a little more unusual, but to me, for the era you know, this was what was it 96? 96. Yeah, for the style of music coming out then and a lot of bands having these slower quiet songs, you know, even even some of the harder grunge bands were still doing slower quiet songs. It wasn't always my favorite thing, but this one just fit in the fit in the peg. well, for the slot. I didn't have a ton of notes either, dan. I just thought, you know, let's keep moving. The songs are working still. Let's keep going. 0:49:51 - Speaker 1And to me, like I'll comment, I just think it's one of his greatest lyrical achievements, Like I just that line alone. You know, maybe a prostitute could teach you how to take a compliment, But then the way he phrases it like it's so strange. So if you, you know, if you write it out like, but it just works, And Yeah, I really appreciate that. 0:50:20 - Speaker 2You know, you asked Dan another thing, just to give you a little bit more context too, at least for me and JD. You alluded to it right there. As simple as the song sounds, it's not at all simple. It's one of those things like tapping your stomach and rubbing your belly and tapping your head or whatever. That seems easy, but it's not. The tempo of that song and playing it on like a guitar is odd. The phrasing is really odd. To try to sing it you'd have to sing it exactly like he does, otherwise you can't find where the words go. There's no. Do you know what I'm saying, dan? Like it's-. 0:51:10 - Speaker 6No, I completely understand that. yeah, Yeah, there you go. I'll go back and listen to that with that in mind. 0:51:16 - Speaker 1yeah, Maybe we'll check in with you later on in the season. 0:51:22 - Speaker 7Maybe Pete'll show up and serenade him, who knows? 0:51:29 - Speaker 1Pete has to feel about Yeah, okay, Yeah how'd you feel about 700 foot ceiling, Pete? This was a single. 0:51:35 - Speaker 2I really liked the guitar work, which was just random like no rules. I thought the bridge was a little strange in the song. Wouldn't be my first choice of it. I'm just kind of the way they approached it. The this note is on a lot of songs on this record, but I definitely got some Alanis vibes on this, the Overdub vocals, a lot of what she did on the first track on Jagged Little Pill what I really want, i think Maybe that's not the first track anyway Really cool. Love the ending I would say probably of all the songs, and I love this record. My least favorite song on the record, perhaps one of the- Cause. 0:52:34 - Speaker 3The other ones are just like everything else he typed in first. 0:52:39 - Speaker 1Well, we were on try to ride, though too right, like almost the full side of the record that is-. Yeah, yeah, that is. You know there's not like. You can definitely put that side on and rest easy. Dan's nodding his head. So what do you have to say about that young man? 0:52:59 - Speaker 6Yeah, it's a bit of a banger, isn't it? Straight from the get-go? good, as we were saying, that guitar stuff, great, kind of bendy sort of riff as well. But in my notes I've got nothing. Nothing is overplayed here, everything's just right, you know. But when he's doing the whole seven foot ceiling bit, the guitar really holds back and it's almost like a sort of you know, intentional sort of drop out which you know gives it a completely different vibe. But then you get the whole it's part hard bit with, as you were saying, all of the backing singing, which is just fantastic. Yeah, that really, i don't know, just kicks into another dimension as well. But with this I can't get into the lyrics. The lyrics don't like. They seem quite throwaway for this and I don't really get any kind of visualization of scenes or anything. I mean the references to Flood in. I mean, what is all that about? 0:53:55 - Speaker 1Well, yeah, it's definitely like Flood in the Ice is like to build like an ice rink, So like somebody's building an ice rink that you could skate on and play ice hockey likely, you know, out in the middle of the woods somewhere. So it's, the water is sort of got that darkened color from the birch, from the bark that has fallen off the trees and colored the water a little bit. So there's a nice visual there, right Like. but if you, if you're not vibing it, then it flies right over your head, Like you said, and it can sound very throwaway. I don't think this is his strongest lyrical effort on the record by any stretch, but I'm not ready to say it's throwaway either, you know. 0:54:39 - Speaker 7Guys, i thought this one it almost had kind of a celebratory start like song one. but I agree, pete, like the guitar seems like maybe it was mixed in too many times after the guys were done recording. It's kind of a winter angry song, so it made it feel kind of like a staple single for the hip. Just, you know, didn't didn't grab me or pull me in any direction, whether good or bad, was just like okay, this song six feels kind of like maybe a little bit of filler song. Let's keep moving and see what's next on the album. That's how it felt for me. 0:55:18 - Speaker 1So then you're flipping the record over and you're getting butt-swiggling. To start ["Sweet Sound of Patent Approval"]. 0:55:39 - Speaker 8The sweet sound of patent approval coming down in a not quite far Sweet sound of patent approval coming down in powdery sparks. The sweet sound of patent approval coming down with holiday concern. The sweet sound of patent approval coming down in a world of hurt. In my opinion, the drug is ready. In my opinion, the drug is ready. The warm hand of abject approval coming down with throaty veins. The warm hand of abject approval coming down to the fingerboard. In my opinion, the drug is ready. In my opinion, the drug is ready. In my opinion, the drug is ready. ["sweet Sound of Patent Approval"]. ["sweet Sound of Patent Approval"]. The cold-eyed constant approval coming down to freeze the blood. The cold-eyed constant approval coming down to look real close. In my opinion, the drug is ready. In my opinion, the drug is ready. In my opinion, the drug is ready. In my opinion, the drug is ready. In my opinion, the drug is ready. 0:59:02 - Speaker 1["sweet Sound of Patent Approval"]. And, if I'm not mistaken, butz Wigglin. Yes, butz Wigglin comes from the Kids in the Hall, brain Candy. When the Kids in the Hall released their feature film Brain Candy, this song was the not the theme song, but it was the featured song in the film. I'm guessing it was written after having seen Brain Candy and knowing roughly what it's about. Not able to tell you right now because my memory is so poor, but I can see bits and pieces And I'm guessing they wrote it after having watched you know, watched the movie because of the subject matter. Did you get into the subject matter at all, or did you just get into the song, or did you not get into the song? Where were you, dan? 1:00:06 - Speaker 6Yeah, not totally into it. I mean, the contrast between the verses in the chorus is, you know, the verses are all pretty noodly and a bit weird and then it's a very distinctive chorus And it just doesn't kind of work for me. It just doesn't feel cohesive. I mean, i don't mind it, you know, i'm not saying it's bad, but for me, yeah, it doesn't sound fully formed. 1:00:38 - Speaker 1You've heard better on the record, right, yeah, at this point. Yeah, yeah, you've got some context. 1:00:43 - Speaker 6We've come from a greater place than this on the record so far. 1:00:46 - Speaker 1Yeah, yeah. 1:00:49 - Speaker 7Tim, for all those reasons, i liked this one. Oh, okay, i like that. Yeah, like I. I heard that too. I heard that too You went out. 1:01:03 - Speaker 2Tim, you went out. I didn't hear it, like I could barely hear you, and then I just I got zapped. Sorry guys. 1:01:15 - Speaker 8I was in love with it. 1:01:17 - Speaker 7I promise I'll continue with this one. Did anyone hear Lou Reed on this song? Come on, no, i can Go back and listen and think about Lou Reed singing this song because it's there. But this song to me has kind of this locomotive just trying to get the engine going and it struggles a little bit. But I like that about it. It's more raw, like there's this intermittent keyboards in there that seem kind of out of pace with it. Honestly, it reminds me of Paintman a little bit, because it's just scrappy. And oh, let's add this in Does this song have enough? I don't know. Like it just felt different than their other songs. There was just more. It was a little more chaotic, whereas the songs on this album so far seemed pretty polished. I like the ending. You know I like this one. This one caught me off guard and it was maybe briefly, with kind of the Lou Reed reference. Oh, you guys got to hear this. 1:02:30 - Speaker 2What's that? I can't hear anything. 1:02:33 - Speaker 7Can you hear that? Damn it. I have a naval bass, our view is of a naval bass, and the trumpet goes off every morning. 1:02:43 - Speaker 8Oh, It's a wake us up, I guess. 1:02:45 - Speaker 7It's like a pre-recorded fucking trumpet. Yeah, god. 1:02:49 - Speaker 2Cut and call. Can't even afford the trumpet to hear. 1:02:52 - Speaker 7Yeah, i dug this one. This one was the fucking dog you see on the street, and you finally get it to come to your house and you can start feeding it. That's what this song was for me. It was good. There's so much Lou Reed there, though Go back, you'll hear it. You hear Lou. 1:03:10 - Speaker 1Reed, do you hear Lou Reed? I'll read it. 1:03:14 - Speaker 2JD, could you say that again? Do you hear Lou Reed? Yeah, i know I pick up what Tim's put down in that respect. And, dan, i also feel what you're saying about it. I took this record in a lot of different places. Obviously, i have it on vinyl, which, by the way, jd, you've got to make a quick correction. You've been saying this mistake throughout the whole show. We don't flip the record, because this record actually came on two discs. 1:03:49 - Speaker 1That's right, it's a three sided record. 1:03:52 - Speaker 2So just go back and edit it out. Let's go back and edit it all out. I listen to this on the vinyl. I listen to it with my headphones, my computer, with my phone in the car, with what you know, daniel I don't know if you know, but I have a pretty nice, like a premium sound system in my car, so driving and listening is quite enjoyable. No, but I took this album running a lot And this song just burrowed its way in. I loved it, absolutely loved it. Just the line. In my opinion, the drug is ready. It's just so cool. Warm hand of abject approval. And this is, if you again go back to the Europa reference, there's a song on there called Dirty Day. This is that song. It's like, it's almost like they kind of took pieces of that song and made this song, but it's just like that. It's super weird. Lugerty and for sure Tim, for sure, loved it Absolutely fucking love this song. 1:05:15 - Speaker 1Yeah, all right. Okay, well, did that love stick around for a parmint song? 1:05:23 - Speaker 2Oh, most definitely. The opening is amazing, The vocal melody. She's the horrible estate. Am I pronouncing that correctly? Maybe not the way it Canadian? Yeah, Yeah Again. Super big Alanis vibes on this. I love the shit out of this song. It's the fact that Let's clarify. 1:05:56 - Speaker 1Let's clarify In the last episode you mentioned that you heard a lot of production in Alanis, more set first record Jack and Little Pill on Day for Night, and now you're saying it's here on on on the hand house. 1:06:15 - Speaker 2Which is after Jack and Little Pill now, because that was in between. Jack and Little Pill was in between. Oh, I felt like the hip influenced her, and then now she's kind of in turn, return in favor, right, and this song it's it's Tim, tim and Jade. You know this, dan, but I'm taking this, this songwriting class, right now. Laugh me all you want, it's fine, but it's with Scott McMicken from Dr Dogg, and it's awesome because I love Dr Dogg And he's a great songwriter. But they do prompts And this song sounds like. Gord Downey took songwriting class and they gave him a prompt and they said write a song about your apartment. And he, fucking, he destroyed the entire class with it Because this fucking song like the line about like, um, just what our apartment does when we're not around does not concern us, like talking about the plates in the cupboard or something or whatever It's just fucking so cool, dude. It's so cool. And it's not even about that too, i know, in so many ways. 1:07:29 - Speaker 7I can hear the national anthem. Okay, now we're going to try. Yeah, now we're going to try. 1:07:34 - Speaker 1I could hear it. 1:07:37 - Speaker 7This is what we have every morning at this Airbnb, which has the most light bulbs of any any house I've ever been. 1:07:43 - Speaker 1I've heard an Airbnb Yeah that's a lot of light bulbs. You are very well lit. Sorry, sorry, sorry, i was going to say we just take them all, Fucking hell. 1:07:59 - Speaker 7God damn, Nothing like ruining a boner, but the US national anthem Fuck, Sorry honey. Oh, I'm sorry honey. God damn it. We have to try it. Do they do it on it's Sunday morning? Oh, that's why I mean church bells. I think maybe I could keep a boner during church bells, but not the goddamn national anthem. 1:08:25 - Speaker 2Maybe, not. 1:08:26 - Speaker 7That's weird too, maybe not. 1:08:28 - Speaker 2And then, okay, anna comes on your legs. I'm back at it, baby. 1:08:35 - Speaker 7God damn it. It's noon. There's like three more bells still. 1:08:44 - Speaker 1Where did you land on apartment, song Tim. 1:08:49 - Speaker 7You know, i thought maybe it was a bit long. I loved it Overall. I thought maybe it was a bit long and I thought what would this song be live Like? I went through kind of all those questions in my head. I agree with you, pete, that it's kind of a given, a prompt to go right about it, and that's maybe that's in part the simplicity of it for that reason made me kind of not super fall in love with it. Perhaps The idea of pursuing excessive beauty is the comment he made, pete, i love that reference. I kind of dove into that one and thought about all the people that kind of fit that goal. They're, like you know, famous famous actors, or my own asshole self every once in a while. So it kind of gave me some things to think about. But yeah, it's fine, it's fine. 1:09:53 - Speaker 1Where did you land Dan? 1:09:56 - Speaker 6In an apartment, definitely, yeah, i mean, on my notes I've got one of those tracks where you're immediately placed in a scenario. Yeah, this track, when I'm listening to it on the way to work, is always the one that I'm coming up the escalator into the tube station to get out. I've resurfaced And, yeah, it's mellow, i think, like Tarmac. It could be a little bit shorter for me, i think, but it's okay. I mean, i'm not normally used to listening to this kind of track, where it's you know it sort of chugs along a little bit. It's maybe a bit more traditional. Obviously, the structure is traditional as well, but I don't mind it at all. Yeah, yeah, i like it. 1:10:45 - Speaker 1All right, yeah, it's definitely one of my favorites, but you're right at 357,. You know, it's just shy of four minutes. You know, maybe, maybe This is the first record that they produced, like their last record was Howard Vreakin and the Tragically Hip. This one is the Tragically Hip and Mark Vreakin, so, like I think this is sort of their baby in a way, and their baby was perhaps formed in a steady 40 foot stream of coconut cream, wouldn't you say, dan? Oh yeah. 1:11:31 - Speaker 6Yeah, no one saw that one come in, did they? Yeah, i mean yeah. Well, you know, as the fashion dictates, i'm going to like this one because it's a banger. But it's a big banger And, as all bangers should be, it should have, you know, totally nonsensical lyrics. you know think of song two and things like that as well. So it's good. But again, this, you know this really lifts you up after those last two songs. you know I needed this to be in it, i needed the energy, basically, and again, you know it's on here. you know I've just got like. you know there's a, there's a plane taking off at the end and it kind of personifies the track. It's a sonic lift off that does not lose pace. Yeah, interesting. 1:12:22 - Speaker 1All right Tim. 1:12:27 - Speaker 7Tim, i heard pretty quickly in this one, the, the guitar tempo, and it was a little bit, you know, more specific to the era, rock and roll wise, for me, had this kind of indie punk feel and it threw me straight in straight to this band that I was listening to at the time in 94, 95, era 96, probably two from North Carolina. They're called Super Chunk And if you, if you go back and listen to their album here's where the strings come in I would be shocked if anyone from the hip didn't listen to that album during this time, because I went back and listen to that album. There's such good similarities, you know, like I don't want to do another food metaphor, but but yeah, this, this song, it had gripped me a little bit more. I loved it. I loved it, i. When it got to the ending and it kind of cut, and then the fucking jets. I'm like, ok, this is unusual, but I love shit like that. I love hearing sounds, you know, juxtaposed in layers. But when I read about it it was when they record. When they were recording, the power went out in the studio, in the building. At the end of this song, the power went out. So that's why it cuts out And that's why you have this little added tiny guitar layer in there, i believe. But it's, it's the fucking Blue Angels. Here I am sitting across from a Navy shipyard And it's the Blue Angels. That's who's passing? They're like. They're like the US Navy's show team. They travel around and do all their aerial acrobats and hopefully don't crash into the crowd and cost us cost And they cost us you know like one million dollars per second while flying or some shit. But yeah, it's the Blue Angels at the end of this. So you know what the hell is that reference? And they were that recording of the, that recording of the flyover of the Blue Angels was. you know, somebody in the band did it while they were in San Francisco. It's like, oh fuck, here comes the Blue Angels, Start recording and they fucking blended it into the song. So that just made me like an even more I love, I love shit like that. 1:14:43 - Speaker 1So that won me over, very cool. 1:14:46 - Speaker 7Yeah, very cool, very cool recovery from power outage during recording. 1:14:54 - Speaker 1Right, especially if you feel like he just got it. You know like, yeah, what the fuck. 1:15:00 - Speaker 7What do we do now? Yeah, here comes the Blue Angels. 1:15:08 - Speaker 2Yeah I, that's, crazy I mean, i don't know, it does blow my mind. 1:15:14 - Speaker 7That blow your mind. I mean, come on, they're fucking Canadian band. It's not like we're flying the Blue Angels across Canada. They'd hopefully get you know. shot down the bow and arrow, whoa. 1:15:24 - Speaker 1Whoa Hey now. We have cross moves, we have cross. 1:15:29 - Speaker 2All of Canada, sorry, just hold the breath right there Choked on their teeth. 1:15:39 - Speaker 7You can edit that one out. 1:15:42 - Speaker 8I'm you know I'm trying to develop. 1:15:45 - Speaker 1I'm trying to develop some things Good. I love. 1:15:51 - Speaker 2I'm not a big fan of it. I'm not really a fan at all. In the United States military, not those who serve, but the you know. Let's just leave it there. That was that. The apparatus. The apparatus if you will. But I love watching airplanes fly and I do love watching the Blue Angels because it's just cool, It's just and yeah, that's part of the stress out to you And it's like you know it's like watching them watching a thriller film. You know why do people do that. But anyway, this song I do. Like the song, The words, the lyrics just go. Can shooting coconut cream? Okay, all right, there's knowledge you can leave into the imagination there. But the only thing I will say, because I think everybody summed it up pretty well the airplane thing. the same thing happened to me again. If you remember I don't know what record it was There was another airplane sound on the recording. Do you remember JD? 1:17:05 - Speaker 1That's right, you talked about it. You talked about it because you thought you're driving near the airport and you thought it was. 1:17:12 - Speaker 8And so. 1:17:13 - Speaker 2I don't remember what it was. Maybe the first or second record, i forgot, but I took this one out running And I had the record going in the background with a guided run, you know where there's somebody telling you where to how fast to go and slow down and go fast school And I didn't know. I was like is this the fucking recording of the guy to run? And then I take my headphones out and I look up as I'm running. There's no airplane. And then I stopped the guy to run and I was like it's the fucking recording again. And it was the only reason why I said that trick happened to you before when I was driving by the airport And it was because of the fucking hip. How random is that? Like second time lagging strikes twice in the same place. 1:18:08 - Speaker 1Fuck, Pretty random man. 1:18:11 - Speaker 7Pretty random. 1:18:14 - Speaker 1Any other thoughts on coconut cream? 1:18:17 - Speaker 7Great, great track. 1:18:20 - Speaker 1All right, you guys have. you guys have potentially changed my mind on both, but Swiglin and coconut cream Those are those always rank up in my lower tier, which is tough for me to reconcile, because this is maybe my favorite record, like maybe my favorite record, so it's it's. you know it's. it's tough for me to reconcile that it's got two songs I don't like out of 12. How can that be your favorite record then? But now, now I'm going to go back and listen to the butt Swiglin with Blue Reed on my brain, and coconut cream, like, just the idea of like, like, when you said song two, it's like. yeah, okay, there they're just having. it's just fun. It's just, and maybe I'm a little too into flamenco and not enough into the fun that I need to back it down a little bit. But that takes us to track 10. Let's stay engaged. 1:19:17 - Speaker 2Stay on, stay engaged by talking about staying engaged. Let's stay engaged. I love the track. Man, i thought I was banger It's and if you notice that the airplane comes into this track, the airplane from the previous track comes into this one, which I think is really is really cool. The lyrics lies over time. The chords are super simple but really complex. Again, a lot of Alanis vibes, love the solo and a lot of weird guitar effects. The bass is just the bass is really what shines in this song. Just the rolling bass. That's just great. Love the song, really joy. 1:20:19 - Speaker 1Cool. How are you Dan? 1:20:22 - Speaker 6Yeah, well, you know, from the whole jet thing that goes into it, as Pete was saying, you know the lyrics start off pretty much sort of airport referential, don't they? We've sort of latent departures and things like that as well. I mean I like this track but I just wish it went somewhere. I just wish it built towards the end. That's the only thing it's missing really. You know, i think this deep into the album to have something that sits a little bit level. You know, you really feel it. You really feel like maybe you're chugging towards the end rather than accelerating to the end with a great kind of crescendo. So I just wish it had. I just wish it had some other elements, a few more layers had it in at the end. But I did notice towards the end that there is like a layer of weird fuzz towards the end of it that cuts off before the end And then, if anybody didn't notice that, then there's some. I don't know what that was. 1:21:16 - Speaker 7Yeah, i did notice that And I thought that I don't know, this one didn't really have any surprises for me. I agree with both of you guys in general This, it just felt like the placement of it was okay. let me start over. if the ending, dan your comment if the ending had some slight tweaks to it, it could have been drawn out a little bit more, not much. I feel like this song could have been the end of the album, like I was. I was hearing, you know, i knew where it was in the placement of the recording of the album, but hearing like the last one minute of it, i thought if the drums, the drums have kind of this I don't know prehistoric kind of feel and it just feels like if it just fade out and the song could be the end of the end of the whole album for me. but it isn't. 1:22:07 - Speaker 1I'm glad it isn't, because if it wasn't, then we wouldn't get Sherpa. 1:22:35 - Speaker 9I'm glad it isn't, because if it wasn't, then we wouldn't get Sherpa. I'm glad it isn't because if it wasn't, then we wouldn't get Sherpa. I'm glad it isn't because if it wasn't, then we wouldn't get Sherpa. I'm glad it isn't because if it wasn't, then we wouldn't get Sherpa. We were hard, we were Sherpa hard. We conspired against old friends. We said we must live with friends of dark and we died a thousand times since then. We were hard, we were hard, we were hard, we were hard, we were hard. I'm glad it isn't, because if it wasn't, then we wouldn't get Sherpa. Download wwwcdc bringing more video To Share this parts with other 2 people. We can write it down and obliterate it. And the laughter far. let me hear, the love I hear. We can lay down and obliterate it. 1:27:30 - Speaker 1And I fucking love Sherpa. So I have questions. Somebody let me down if you need to, but what do you think, tim? What are you saying? 1:27:45 - Speaker 7I thought the line we must be friends or die. I needed to announce that lyric as applicable for our foursome right now. At the end of this. If you guys were like fuck that guy, tim, what the hell was up with him on that recording, i would have to kill you so we have to be friends, or die. But it made me wonder with this album is this when the guys J&A? did you ever read anything about them doing hallucinogenics? 1:28:14 - Speaker 1Did they ever? 1:28:15 - Speaker 7comment about it. 1:28:17 - Speaker 1I'm sure they must have, because this is the track. This is wonderful. It's wonderful to listen to on a marijuana high. It's wonderful to listen to totally straight as well. It's lull, it's spooky. 1:28:38 - Speaker 7It had this acid trip feel to me, which was a little bit different. Then previous songs, this quiet guitar and the piano in there. The piano, i thought I'm kind of wanting more key type sounds in general to keep adding in layers. It's this new topping that we haven't had much of. So I thought Sherpa was pretty great, but I wanted to know. I couldn't find much. So is this when one of the guys went on this epic journey of a trip, or like? how was this song written? 1:29:15 - Speaker 1Yeah, i've just had it, If anyone out there knows. 1:29:18 - Speaker 7Write in to send JD an email at. 1:29:23 - Speaker 1JD at gettinghiptothehipcom. Dan, where are you at? 1:29:30 - Speaker 6Yeah, it's good, I've got it down as the high point on site too. Again, as you're saying, everything about it spaced out in every way, lyrically, spatially, vibrally, But then it does. I just get the feeling that at the end, after the point where we're, at the point where we love and hate it, It does fly off into sounding like something off the bends by Radiohead. It's just got that vibe to it. The final layer of guitar, the single note, higher guitar stuff, is very much Bend sort of related, which was released a year before, I think 1995. But it's all put together so well and love it all good. 1:30:19 - Speaker 7See, yeah, it's just got beeped again. The electricity in Spain is. You might be having some surge happening. 1:30:34 - Speaker 2That might be a point I don't know. All jokes aside, but this song I mean. You guys summed up most of it for me. I absolutely fucking dig this song. I don't know what was going on, the imagery in it. I was picturing a Sherpa when I was listening to it. Just by virtue of the name It just stuck in my head. And the bendy guitar riff. It's disorienting to the ear. It made me confuse listening to it. It was really cool. I've been thinking of it now because I've heard it so many times the last couple of days. It's that Jeff Bechtoun from The Artbirds. He bends it. You know what I'm talking about. They've been playing a lot of Jeff Bechtoun because he died. Anyway, that guitar riff in the song is very fucking cool. We dug it the line and we spoke languidly. When that hits right after that line, it's so fucking cool. There's piano reverb. That is just. Tim, you mentioned pavement earlier. I can't think of a B-side tune that reminded me of, but I heard it on here too with that piano reverb. We've died a thousand times since then. Super, at the very end of the song the chords go to major. I think it's definitely the best song on side two or side three. I guess we're saying Side four, but it's side four. 1:32:33 - Speaker 1No side. Four no side four, it's up there. No, there's no side four. Yeah, that's right, because the fourth side's blank. Yeah totally It's like why was Alley Totally? 1:32:45 - Speaker 7There you go. Okay, Great, very strong. 1:32:51 - Speaker 1Put it off. This is where we wind the record down and get ready to put it away, regardless of whether you're listening to it on a CD or MP3s or albums. This is it. This is what you get from 1996. We have to wait another two years for the next long play. Does put it off. Do the job of an ending track in your estimation, tim? 1:33:23 - Speaker 7Yeah, i think so. This one got me. It kind of had all the fixings for the recipe. There's definitely some storytelling. This album, i think, musically, gripped me more than storytelling compared to past albums, lyrically But this one had it. This one checked the box Talking about how There's a whole reference with how the Nazis stole art across Germany and created this Traveling art show to show all the degenerate artwork and they had museums that they graffitied the walls of And hung these paintings that they stole from all these fucking liberals or whoever they fucking plucked them from. This song is kind of like the dog off the street and you realize how that it's beautiful. Anyways, there's a reference to Eric's trip, which is, i think, the second Sonic Youth reference I've picked up, which is fucking cool that they're referencing Sonic Youth. 1:34:31 - Speaker 1Well, it's a reference of a reference, that's right, that's right. Because it's referencing the Canadian band Eric's trip, who's named after the Sonic Youth. Okay, yes, true. 1:34:42 - Speaker 7Okay, double, double one there. Anyways, you know that I love to hear there's some fucking sitar going on, totally yeah, right, in the background. 1:34:51 - Speaker 1That's what that is, isn't it? 1:34:52 - Speaker 7Yeah, yeah. So I'm sure we'll hear that again. Like this album just based on Sherpa, i was like, okay, who's doing a little acid and writing some of the songs? Because that's coming out a bit, i hope, because I just love the experimental part. It's a big closer. It turns down into this beautiful quiet ending. It was the closer I needed. It was a great tune. It was a loaded hip closer of a track for sure. 1:35:32 - Speaker 1How about you Dan? 1:35:36 - Speaker 6Well, one of the phrases I've used to describe this track is heavy menace. It's foreboding isn't it? It's stark. You've got these mystic sitar vibes. You've got this intensity there. It's up and down. It's probably a great live track for everybody to hang on to. That tension and release and then tension back on again. I don't know whether I like it as the end of the album. I don't know, because it's like getting somewhere and then being hit over the head with a mallet. It's like a kind of blunt third, almost. You know You sort of live through part of it and then you kind of get a little bit overwhelmed. But yeah, i don't dislike that, i've just got to get my head around it. Really, i'll say this build up to the end of the albums. If Let's Stay Engaged has that little bit of a rise up there, i think that would do it for me. But no, it's good, it's good. I need to listen to it more definitely. 1:36:55 - Speaker 1Yeah, you should always listen to it more, but it still might be where you land, you know, and that's cool. 1:37:02 - Speaker 6Yeah, but I'll say this is an album that I will be buying. 1:37:04 - Speaker 1Yeah, I will be getting hold of this for repeat listens. 1:37:09 - Speaker 7Excellent. It was a good one for Dan to come in on. I think you know Yeah. For sure sounds good. Lucky you Yeah yeah, thank God. 1:37:22 - Speaker 1What did you think of putting it off Pete? 1:37:25 - Speaker 2I definitely feel Dan's vibes on i

The AI Episode Like so many, I have been fascinated by the emergence of ChatGBT, an accessible AI that can write poetry, recommend travel plans and yes generate text for a Podcast. Combining this with other tools, such as Descript and Pictory, I created this AI Mental Health Podcast. This is a total experiment and I would love your feedback, good or bad and what these kinds of tools will mean going forward. In addition to the audio podcast, you can watch the video here on another platform. Here are the Steps I used to Create this Podcast. Access ChatCBT to generate the Text I Entered the Following text: I want to create a new 15 minute episode of my podcast. Here is the show description. Can you generate topics and copy for a new episode? Most conversations around mental health can seem kind of heavy. Is there a way to promote our mental and emotional well-being in a fun and entertaining way? Join Sean Bloch each week as he explores the FUN side of mental health by digging into simple hacks and fun tips to make your mental health journey more enjoyable and your brain a little happier. Access Pictory to paste the text from ChatGBT to create the video. https://pictory.ai?ref=sean72 Access Descript to generate my AI Overdub Voice by pasting the text from ChatCBT. Return to Pictory to add the Overdub voice to the video. Create the final video. In summary, I created an entire episode of Happy Brain with no original though and no use of my voice except for the introduction. Resources ◼️ Happy Brain Mental Wellness Tips and Resources ◼️ ChatCBT ◼️ Pictory ◼️ Descript Connect with us! ---- ◼️Instagram: http://www.instagram.com/seanstevebloch ◼️Show Instagram:http://www.instagram.com/happybrainfm ---- Subscribe to the Happy Brain Podcast ◼️ITUNES

Emission 857 Muse + 80 Planet of Trash + Deity Guns - Alors je le dis tout de suite faire Muse dans Un Morceau d'Histoire du Rock est-ce un crime de lèse-majesté ? Car il faut bien dire qu'il est difficile de défendre ce groupe en place publique sans déclencher le courroux de toute l'assemblée... La Playlist: Muse - 02 Overdub - 03 Muscle Museum - 04 Sumburn - 05 New Born - 06 Space Dementia - 07 Citizen Erased - 08 Time is Running Out - 09 Knights of Cydonia - 10 Unsustainable - 11 Reapers - 12 Propaganda – Break It To Me - 13 Will of the People - 14 You Make Me Feel Like It_s Halloween - 80 Planet of Trash - 15 Mogwgly 15/5 - 16 Portrait de 1957 - La mort de Clamence – (J) - 17 Little Odessa – Unconfortable Weather – (J) - 18 Welcome to Marius (2001) Deity Guns - 19 Kurious... Here Today - 20 Extraits de l'album Trans Lines Appointment Bonne Ecoute... Bibliographie : Les Inrockuptibles n°211 septembre 1999 Les Inrockuptibles n°224 décembre 1999 Les Inrockuptibles n°409 octobre 2003 Télérama n°2955 – 30 août 2006 SPIN septembre 2009 Les Inrockuptibles n°722 octobre 2009 Les Inrockuptibles n°878 septembre 2012 le nouveau Dictionnaire du Rock, Michka Assayas, Robert Laffont, 2014

Futurized goes beneath the trends to track the underlying forces of disruption in tech, policy, business models, social dynamics and the environment. I'm your host, Trond Arne Undheim (@trondau), futurist, scholar, author, investor, and serial entrepreneur. I am a Research scholar in Global Systemic Risk, Innovation, and Policy at Stanford University. Join me as I discuss the societal impact of deep tech such as AI, blockchain, IoT, nanotech, quantum, robotics, and synthetic biology, and tackle topics such as entrepreneurship, trends, or the future of work. On the show, I interview smart people with a soul: founders, authors, executives, and other thought leaders, or even the occasional celebrity. Futurized is a bi-weekly show, preparing YOU to think about how to deal with the next decade's disruption, so you can succeed and thrive no matter what happens. Futurized—conversations that matter. In this episode of the podcast, the topic is: Existential Risk. Our guest is Chat GPT, the AI chatbot recently released from Open AI. Text to voice was done in Descript, using Overdub for Trond's voice and a mix of various stock voices for Chat GPT, to create a more dynamic podcast.  In this conversation, they talk about the many potential risks and uncertainties that could impact the future of humanity. If you're new to the show, seek particular topics, or you are looking for a great way to tell your friends about the show, which we always appreciate, we've got the episode categories. Those are at Futurized.org/episodes. They are collections of your favorite episodes organized by topic, such as Entrepreneurship, Trends, Emerging Tech, or The Future of Work. That'll help new listeners get a taste of everything that we do here, starting with a topic they are familiar with, or want to go deeper in. I am the co-author of Augmented Lean: A human-centric framework for managing frontline operations, and the author of Health Tech: Rebooting Society's Software, Hardware and Mindset, Future Tech: How to Capture Value from Disruptive industry Trends, Pandemic Aftermath: how Coronavirus changes Global Society and Disruption Games: How to Thrive on Serial Failure, and of Leadership From Below: How the Internet Generation Redefines the Workplace. For an overview, go to Trond's Books at Trondundheim.com/books At this stage, Futurized is lucky enough to have several sponsors. To check them out, go to Sponsors | Futurized - thoughts on our emerging future. If you are interested in sponsoring the podcast, or to get an overview of other services provided by the host of this podcast, including how to book him for keynote speeches, please go to Futurized.org / store. We will consider all brands that have a demonstrably positive contribution to the future. Before you do anything else, make sure you are subscribed to our newsletter on Futurized.org, where you can find hundreds of episodes of conversations that matter to the future. I hope you can also leave a positive review on iTunes or in your favorite podcast player--it really matters to the future of this podcast.  

Neuromancer ist ein einflussreicher Roman von William Gibson, der als Startpunkt für das Genre Cyberpunk gilt. Der Titel erschien 1984 in Amerika und (1987 in Deutschland) und war der Auftakt zu einer Trilogie. Die Geschichte, wie aus dem Roman erst ein Film werden sollte und dann unter Umwegen ein Spiel entstand, ist spektakulär – Gunnar und Chris erzählen sie mithilfe von Troy Miles und Bruce Balfour, beide zentral an der Entwicklung des Spiels bei Interplay beteiligt, nach und gehen auch auf die spielerischen Besonderheiten des ungewöhnlichen Titels ein. Hinweis: Die O-Töne im Podcast sind übersetzt und von Dennis Richarski gesprochen. Eine Version ohne Overdub gibt es auf Steady (ohne Paywall): https://steadyhq.com/de/stayforever/posts/42d250d2-ec47-4907-8000-6a8d6fe75d55 Zum Spiel gibt es auf Steady/Patreon für Unterstützer eine ganze Staffel "Stay Forever Spielt", in der sich Gunnar und Chris ohne Netz und doppelten Boden durch das Spiel rätseln, sich in Datenbanken hacken und gegen übermächtige Kisten antreten. Infos zum Spiel: Thema: Neuromancer, 1988 Nach einem Roman von William Gibson Plattform: Amiga, Apple II, Apple IIGS, Commodore 64, MS-DOS Entwickler: Interplay Publisher: Interplay Genre: Rollenspiel-Adventure Designer: Brian Fargo, Troy Miles, Bruce Balfour, Michael Stackpole Soundtrack: DEVO Podcast-Credits: Sprecher: Christian Schmidt, Gunnar Lott, O-Töne von Troy Miles, Bruce Balfour (deutsch von Dennis Richtarski Audioproduktion: Fabian Langer, Christian Schmidt Titelgrafik: Paul Schmidt Intro, Outro: Nino Kerl (Ansage); Chris Hülsbeck (Musik)

Podcast de MARK CUNNINGHAM, PASCAL DELEUZE, ABEL CROZE Zapping overdub - Nos trois musiciens ont enregistré en avant première des concerts du 17 et 18 mars 2023 à Nîmes et Marseille un overdub que webSYNradio est heureuse de donner à entendre.Ce titre pose quelques intentions musicales, entre noise et punk, et fait sonner la voix/les cris de Pascal Deleuze, comme autant d'éclats d'une expérience libératrice, encouragée et soutenue par la trompette en écho fraternel de Mark Cunningham et le filet rythmique de Abel Croze.

I recently discovered DESCRIPT and I love it! I can't say enough amazing things about this software. I can record videos, edit and transcribe all with one tool. Previously I was using Audacity to record and edit. Then exporting the file to be uploaded to TEMI to transcribe it (which I had to pay for by the minute). None of this was garnering me a video so I didn't start a YouTube channel because I dreaded the hours of video editing time I would spend. (Not to mention I hate to wear make up. LOL) In addition to saving me time and money in podcasting, Descript has changed my life with course recordings! I can't tell you how many videos I started and stopped. How many I recorded that never got edited because the process was so lengthy! Descript has radically simplified my content creation! Visit www.Descript.com and check out a tutorial for yourself. Here are the features I love: -Word Doc style editing. Simply copy and paste words or delete mis-spoke words to edit your video. -Copy and paste one transcription into another to merge videos. -Overdub voice-over - a computer-generated voice that sounds SO MUCH like your own voice, it's actually creepy, but super helpful when you make a mistake and don't want to re-record. -Video, audio, transcription, audiograms...ALL IN ONE! -Video storage similar to LOOM.com. This software is incredible and will blow your mind. Subscribe to the podcast for more incredible tips like this. Want more episodes like this? Publer: Your Social Media Super Hero: https://player.captivate.fm/episode/1dbb618c-6010-4458-83a8-9c9287ffac71 (https://player.captivate.fm/episode/1dbb618c-6010-4458-83a8-9c9287ffac71) What is SEO and how to leverage it for your online business: https://player.captivate.fm/episode/50a160c3-b657-453d-aadd-5dbe3a31c917 (https://player.captivate.fm/episode/50a160c3-b657-453d-aadd-5dbe3a31c917) Is building a quiz funnel worth it? https://player.captivate.fm/episode/d906ca0e-a16b-4395-b8e4-79c2853f637d (https://player.captivate.fm/episode/d906ca0e-a16b-4395-b8e4-79c2853f637d) This podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy

Descript es un editor colaborativo de audio y vídeo que funciona como un documento. Incluye transcripción, grabador de pantalla, publicación y algunas herramientas de IA increíblemente útiles. Dependiendo del contenido que hagas te beneficias de unas funcionalidades y otras Podcast Descript ahorra a los creadores de podcasts el trabajo técnico de la edición de audio y vídeo, para que puedan centrarse en crear un gran contenido. Descript es lo que obtienes cuando construyes una herramienta de edición de podcasts desde cero en un mundo con IA y demás. No es necesario tener experiencia en ingeniería de sonido: sólo tienes que editar el audio editando el texto. Bajo el brillante interfaz de Descript hay un motor de producción multipista profesional muy potente, con todo lo que necesitas para hacer realidad tus impulsos creativos ¿Cómo funciona? Graba simultáneamente un número ilimitado de pistas, añade intros y outros, música y efectos. Cada pista se transcribe por separado y luego se combina en una sola transcripción con etiquetas de orador insertadas dinámicamente. Edición en directo Descript transcribe automáticamente el audio a medida que se graba, para que pueda editar el audio o limpiar las sesiones de grabación con guión en tiempo real. Agiliza el proceso de edición con las funciones de edición de audio colaborativo de Descript. Elimina al instante el ruido de fondo con Studio Sound, o corrige los errores al escribir con Overdub. . Grabación de audio en el ordenador Además de grabar desde micrófonos externos, graba el audio que se reproduce en tu ordenador, tanto Mac como Windows. Edición Edición no destructiva Cuando eliminas o editas clips, los archivos originales se conservan y son accesibles desde la biblioteca de medios del proyecto. Secuencias Utiliza las secuencias para crear grupos de pistas que se comporten y aparezcan como un único clip. Una potente herramienta para trabajar con varias pistas de voz u otros grupos de clips que deben permanecer sincronizados Biblioteca multimedia en la nube Descript guarda automáticamente todos tus activos en la nube, donde siempre están disponibles para ti y tus colaboradores. Es fácil de organizar, filtrar y buscar. Editor de línea de tiempo Todas las funciones y herramientas de edición que necesitas para editar en formato de línea de tiempo. Ajusta el recorte de los límites, añade fundidos cruzados o amplía o reduce el espacio entre las palabras. Todas las ediciones realizadas en la línea de tiempo se sincronizan con la vista de guión, y viceversa. Barra de palabras La barra de palabras de la línea de tiempo de Descript te permite ajustar de forma rápida e intuitiva el espacio entre las palabras haciendo clic y arrastrando las palabras por encima de la forma de onda. Generación automática de tonos de sala Una función basada en la inteligencia artificial que rellena los huecos de los clips con el tono de sala generado a partir del material de origen. Detección de sangrado del micrófono Descript identifica el sangrado de micrófonos en una grabación multipista en la que todos los micrófonos estaban en la misma habitación. Proyectos multicomposición Incluya varias líneas de tiempo en una sesión, organice la cinta sin procesar, incorpore nuevo material y tenga diferentes borradores, todo en el mismo proyecto.

Search and download for free our amazing complete database of amazing sounds and special effects herehttps://www.tale-teller.club/free-sfxNo sign up needed, immediate downloads.Check our free social network platform for musicians and artists www.tale-teller.club/forumCheck out our own story www.tale-teller.club/immersionauthentic-sfx #game_audio #gaming_tools #loops #reels #shorts #youtube #tiktok #sound #soundeffects #specialeffects #free #logicpro #taleteller #taletellerclub #soundrecordings #ASMR #recordings #studio #creators #creatortools #soundtracks #postedit #freedownloads #audio #audiotools #audiorecording #podcaster #podcasttools #gamedesigners #musicians #filmmakers #juicysounds #free-lessons #digital-music-school #digi-mus #ads #advertising #voiceover #vocals #taletellers #taletellerclub #soundscape #sound_designer #audio_tricks #loopmaster #juicy_loops #loopscatalogue #cubase #garageband #royalty_free #Greatdownloads #no-copyright #free_stuff #instagram_tools #facebook_video #Online_library #immersive #immersion #make_believe #story #stortellers #storytelling, #nocatch #100%free #moods #ambient #trance #ambient #imovie#music #musicpodcasts #musician #composer #digitalmusic #arranger #performer #how_to_create_soundtracks #soundtracks_fo_film, #classical #classicallytrained #contemporarymusic #recordingartists #††ç #TTC #entertainers, #apple_loops_ alternative #ringtone #ringtone_samples #create_ringtones#Live_backing_tracks #tale_teller_club #sarnia #sarnia-de-la-mare #pro_tools#makemovies, #howto #learn #learnfilmmaking #filmschool #video_art #filmsecrets#specialeffects #freetools #logicprofree #taleteller #taletellerclub #soundrecordings #ASMR #recordings #studio #creators #creatortools #soundtracks #postedit #freedownloads #audio #audiotools #audiorecording #podcaster #podcasttools #gamedesigners #musicians #filmmakers #juicysounds #free-lessons #digital-music-school #moody #mood_creation #petrifying_sounds #funny_sounds #games #game #gaming #online_filmschool #create_tension #synth #processed#electronic #electronic_sfx

Search and download for free our amazing complete database of amazing sounds and special effects herehttps://www.tale-teller.club/free-sfxNo sign up needed, immediate downloads.Check our free social network platform for musicians and artists www.tale-teller.club/forumCheck out our own story www.tale-teller.club/immersionauthentic-sfx #game_audio #gaming_tools #loops #reels #shorts #youtube #tiktok #sound #soundeffects #specialeffects #free #logicpro #taleteller #taletellerclub #soundrecordings #ASMR #recordings #studio #creators #creatortools #soundtracks #postedit #freedownloads #audio #audiotools #audiorecording #podcaster #podcasttools #gamedesigners #musicians #filmmakers #juicysounds #free-lessons #digital-music-school #digi-mus #ads #advertising #voiceover #vocals #taletellers #taletellerclub #soundscape #sound_designer #audio_tricks #loopmaster #juicy_loops #loopscatalogue #cubase #garageband #royalty_free #Greatdownloads #no-copyright #free_stuff #instagram_tools #facebook_video #Online_library #immersive #immersion #make_believe #story #stortellers #storytelling, #nocatch #100%free #moods #ambient #trance #ambient #imovie#music #musicpodcasts #musician #composer #digitalmusic #arranger #performer #how_to_create_soundtracks #soundtracks_fo_film, #classical #classicallytrained #contemporarymusic #recordingartists #††ç #TTC #entertainers, #apple_loops_ alternative #ringtone #ringtone_samples #create_ringtones#Live_backing_tracks #tale_teller_club #sarnia #sarnia-de-la-mare #pro_tools#makemovies, #howto #learn #learnfilmmaking #filmschool #video_art #filmsecrets#specialeffects #freetools #logicprofree #taleteller #taletellerclub #soundrecordings #ASMR #recordings #studio #creators #creatortools #soundtracks #postedit #freedownloads #audio #audiotools #audiorecording #podcaster #podcasttools #gamedesigners #musicians #filmmakers #juicysounds #free-lessons #digital-music-school #moody #mood_creation #petrifying_sounds #funny_sounds #games #game #gaming #online_filmschool #create_tension #synth #processed#electronic #electronic_sfx 

I have a few of these to upload today, great for ringtones and DJs.Search and download for free our amazing complete database of amazing sounds and special effects herehttps://www.tale-teller.club/free-sfxNo sign up needed, immediate downloads.Check our free social network platform for musicians and artists www.tale-teller.club/forumCheck out our own story www.tale-teller.club/immersionauthentic-sfx #game_audio #gaming_tools #loops #reels #shorts #youtube #tiktok #sound #soundeffects #specialeffects #free #logicpro #taleteller #taletellerclub #soundrecordings #ASMR #recordings #studio #creators #creatortools #soundtracks #postedit #freedownloads #audio #audiotools #audiorecording #podcaster #podcasttools #gamedesigners #musicians #filmmakers #juicysounds #free-lessons #digital-music-school #digi-mus #ads #advertising #voiceover #vocals #taletellers #taletellerclub #soundscape #sound_designer #audio_tricks #loopmaster #juicy_loops #loopscatalogue #cubase #garageband #royalty_free #Greatdownloads #no-copyright #free_stuff #instagram_tools #facebook_video #Online_library #immersive #immersion #make_believe #story #stortellers #storytelling, #nocatch #100%free #moods #ambient #trance #ambient #imovie#music #musicpodcasts #musician #composer #digitalmusic #arranger #performer #how_to_create_soundtracks #soundtracks_fo_film, #classical #classicallytrained #contemporarymusic #recordingartists #††ç #TTC #entertainers, #apple_loops_ alternative #ringtone #ringtone_samples #create_ringtones#Live_backing_tracks #tale_teller_club #sarnia #sarnia-de-la-mare #pro_tools#makemovies, #howto #learn #learnfilmmaking #filmschool #video_art #filmsecrets#specialeffects #freetools #logicprofree #taleteller #taletellerclub #soundrecordings #ASMR #recordings #studio #creators #creatortools #soundtracks #postedit #freedownloads #audio #audiotools #audiorecording #podcaster #podcasttools #gamedesigners #musicians #filmmakers #juicysounds #free-lessons #digital-music-school #moody #mood_creation #petrifying_sounds #funny_sounds #games #game #gaming #online_filmschool #create_tension #synth #processed#electronic #electronic_sfx

Kill in female vocal JapaneseSearch our amazing complete data bass of amazing sounds here and special effects https://www.tale-teller.club/100-free-sound-effects How to get this free loop/sampleyou can download it from https://www.tale-teller.club/juicy-loops-factory and the Spreaker app No sign up needed, immediate downloads.Check out our own story www.tale-teller.club/immersion#game_audio #gaming_tools #loops #reels #shorts #youtube #tiktok #sound #soundeffects #specialeffects #free #logicpro #taleteller #taletellerclub #soundrecordings #ASMR #recordings #studio #creators #creatortools #soundtracks #postedit #freedownloads #audio #audiotools #audiorecording #podcaster #podcasttools #gamedesigners #musicians #filmmakers #juicysounds #free-lessons #digital-music-school #digi-mus #ads #advertising #voiceover #vocals #taletellers #taletellerclub #soundscape #sound_designer #audio_tricks #loopmaster #juicy_loops #loopscatalogue #cubase #garageband #royalty_free #Greatdownloads #no-copyright #free_stuff #instagram_tools #facebook_video #Online_library #immersive #immersion #make_believe #story #stortellers #storytelling, #nocatch #100%free #moods #ambient #trance #ambient#music #musicpodcasts #musician #composer #digitalmusic #arranger #performer #how_to_create_soundtracks #soundtracks_fo_film, #classical #classicallytrained #contemporarymusic #recordingartists #††ç #TTC #entertainers, #apple_loops_ alternative #ringtone #ringtone_samples #create_ringtones#Live_backing_tracks #tale_teller_club #sarnia #sarnia-de-la-mare #pro_tools #makemovies, #howto #learn #learnfilmmaking #filmschool #video_art #filmsecrets #specialeffects #freetools #logicprofree #taleteller #taletellerclub #soundrecordings #ASMR #recordings #studio #creators #creatortools #soundtracks #postedit #freedownloads #audio #audiotools #audiorecording #podcaster #podcasttools #gamedesigners #musicians #filmmakers #juicysounds #free-lessons #digital-music-school #moody #mood_creation #petrifying_sounds #funny_sounds #games #game #gaming #online_filmschool #create_tension #synth #processed #electronic #electronic_sfx

In this special double-length episode (!), modular synth guru Sean Rieger talks to Carla and Brad about the many technical and electronic sound elements that Krautrock artists applied to enrich their music.If you want to know about oscillators, ring modulation, sequencers, analog synths, tape overdubs, and vocoders ...If you're asking what was in Faust's "black boxes" ...If you've ever watched Florian Schneider twiddle knobs on YouTube while simultaneously playing the flute and wondered what he was up to ...Then Sean, who writes and records electronic rock as File Transfer Protocol, is your man.  And ours, too.  Join us for Electronic Music 101 on this Episode 6 of CBK — and be sure to check out Sean's work on Instagram!  

2022 IS HERE! Elsie and Jess share their holidays debrief! And birthday gifts galore (you won't believe what gift Jess bought for herself). Harry and Megan possibly not getting the

Mark reads from a 2000 word article he wrote when asked to discuss publishing trends for 2022. Prior to the main content, Mark, using an AI voice double (Overdub) from Descript to speak the words he has typed, explains why he is using a voice double for the interstitial parts of the podcast, and also shares a word about this episode's sponsor. You can learn more about how you can get your work distributed to retailers and library systems around the world at starkreflections.ca/Findaway.   Links of Interest: The Top Eight Publishing Trends for 2022 - Article by Clayton Noblit from Written Word Media EP 148 - Voice Double Conversation with Joanna Penn The Canadian Mounted Patreon for Stark Reflections The Relaxed Author Buy eBook Direct Buy Audiobook Direct Publishing Pitfalls for Authors An Author's Guide to Working with Libraries & Bookstores Wide for the Win Mark's Canadian Werewolf Books This Time Around (Short Story) A Canadian Werewolf in New York Stowe Away (Novella) Fear and Longing in Los Angeles Fright Nights, Big City Lover's Moon   The introductory, end, and bumper music for this podcast (“Laser Groove”) was composed and produced by Kevin MacLeod of www.incompetech.com and is Licensed under Creative Commons: By Attribution 3.0 

If you can dream it, it can happen! Jay Leboeuf from Descript joins Anne to discuss the benefits of having a voice clone and how Descript can improve work-from-home potential for talent. Remove filler words with one click, adjust your audio via transcript, fix errors using an Overdub voice clone, and so much more. Use your voice beyond its in-person potential with tools that bring the power of AI editing directly to talent. More at https://voboss.com/voice-and-ai-descript-jay-leboeuf/ Transcript >> It's time to take your business to the next level, the BOSS level! These are the premiere Business Owner Strategies and Successes being utilized by the industry's top talent today. Rock your business like a BOSS, a VO BOSS! Now let's welcome your host, Anne Ganguzza. AI Voices: Welcome to the podcast. The VO BOSS podcast blends solid, actionable business advice with a dose of inspiration for today's voiceover talent. Each week host Anne Ganguzza focuses in on a specific topic to help you grow your voiceover business. Anne: All right. Hey everyone, who was that? That was some other people introducing the podcast today. So welcome again, everyone to the VO BOSS podcast. This is the AI and Voice series, and I am your host Anne Ganguzza, Anne Ganguzza. Today, I'm excited to bring you special guest Jay LeBoeuf, head of business development at Descript, a company that creates tools for new media creators. Now, Jay is also a lecturer on media technology and business at Stanford University, Carnegie Mellon, and University of Michigan, and sits on the board of advisors of numerous AI media and ed tech startups. He previously worked at some little known companies, probably to you guys out there and in the voiceover world, Avid Pro Tools and Izotope. Jay, thank you so much for joining me today. Jay: Thanks for having me, Anne. It's, uh, it's wonderful to be here with some of my AI-driven voice friends. Anne: Yeah, that was fantastic. So what we heard in the beginning was a couple of your voices on your platform, right? Jay: Indeed. One of which is my own and we were using Descript's Overdub technology. Anne: Awesome. Well, I want to definitely talk to you about that, but before we get into your role at Descript and what the company offers, first of all, let me just say, okay. Avid Pro Tools and Izotope, known to just everybody probably that listens to this podcast, and your resume is so incredibly impressive. Back in 2008, you were founder and CEO of Imagine Research where you created the first sound object recognition platform. And somehow that, I believe that that led into a patent as well as some small business research awards to you. And then somehow that became Izotope in 2012. Now, does that mean that my mouse clicks are being detected by an AI engine? Jay: So there's so many ways that AI is now integrated into the creative products that we use on a daily basis. And so the short answer is yes. So Imagine Research was based on some of what I was seeing. So I was at the, on the Pro Tools team, like you mentioned for about eight, eight and a half years before that. And I was seeing all these struggles that recording engineers, mixing engineers, voiceover talent, uh, ADR, we were seeing all these, these problems in the process that AI could solve. So we attempted to create the first set of tools where we could teach a computer how to recognize basic sounds and musical instruments, and even robustly differentiate is this a male speaker versus a female voice, and, you know, try to choose presets automatically for it. So Izotope acquired that company and that technology. I was at Izotope for about two years or so, helping to integrate all that work. And you know, you now see that Izotope products include a number of assistants -- Anne: Oh yeah. Jay: -- and things that will listen to your content and it's going to help it -- Anne: Absolutely. Jay: -- get it to the next stage. And that's the goal with all of this. Anne: And I have to say that there's a lot of people in the voiceover industry that just absolutely, that is their go-to, that is their go-to product to get rid of excess noise in their recording. So I thought that that was so fascinating. So, and now you are at Descript, and I've heard of Descript from the podcast world, and I'd heard about it a few years back where a lot of people were starting to use Descript for transcripts for their podcasts. And then wow, you guys just seem to have like catapulted with your product offerings since then. Tell us a little bit about Descript and the products that you offer, because I'm genuinely impressed with everything that you guys have going on over there. Jay: Great. Uh, thanks for using it, being familiar with it. For those that don't know De-script or Descript, we have no official pronunciations. So the choice is yours. Anne: Okay. Jay: Our team is kind of split on it. I go with De-script myself. So -- Anne: De-script. 4:30 Jay: Descript allows creators to create and edit audio and video as simply as typing. And this is this paradigm where you can drag in content that you've recorded externally, or you can record natively in the app. A transcript appears in seconds to minutes. You know, this time transcript will appear. If you have multiple people on a track, will automatically detect who they are, split them into different speaker labels. So you have this like really rich transcription going on. And a lot of people might stop right there and say, yeah, I've seen transcription tools before. Then I, you know, do a paper edit in Google docs, and then we bring it into Pro Tools and then just start cutting. But with Descript, we have all this alignment technology where the transcript is automagically aligned to the underlying audio and video. So as you are editing the text, as you are doing things like cutting out all of your ums, ahs, likes, you knows, all of that, just snips them out. And we use some AI to kind of stitch it all together. So that way you make a few cuts. And I have plenty of examples I can play of like befores and afters, where we can take a lot of great material and just make it sound so much better. So that's all you have to do, just edit text. Anne: Now I remember when I looked at it a couple of years ago, one of the things that I have today is when I record through ipDTL, because it's a high quality audio connection, people can talk over one another. And whenever I tried transcript technologies in the past, it couldn't deal with people talking at the same time, and then basically separating out who they were. But I feel like your technology has now surpassed those issues. And it's really something that I think is incredible, that it can even overlay the words on the wave form. Is that what you had mentioned? Jay: Absolutely, so you have, you have two ways of editing. You have the script view where you can actually just see the transcript. And if you just, all you want to do is select words and phrases and hit, delete, or strike through, you can edit through that. But if you are more comfortable with the wave form, we actually will overlay the words on top of each part of the wave form. Anne: Wow. Jay: And then you can make your manipulations there. So if you want to add a crossfade to a certain place, you know that, okay, yeah. Just put a crossfade between the words, voiceover and business, and no more needing to audition thousands and thousands of times to get them right. Anne: Wow. Well, that's fantastic. All right. So that's for podcasting. And now you have some other products that you offer as well that are quite powerful. Jay: Exactly. So, you know, we're most known for podcasting, I'd say. You know, the, the people in that community have probably heard of us, have probably tried it out. If you haven't, by all means, now's a great time to at least try. Drag some tape in, start cutting it up, and of course if there's anything I can help you with, let me know. But you know, we added video support in 20 -- what year are we in now -- 2020. Anne: Yep. I saw that. Jay: It's been a year. Anne: It's been a year. Jay: It's been a year. So about halfway through 2020, we -- you were always able to kind of edit the video because it was always linked to the audio, but we really doubled down. So, uh, what we ended up doing was built in all of the basic features that you would have in a typical non-linear editor, like an, an iMovie or a Final Cut or a Premiere. We built in all the basics, all the bread and butter things that you need, on top of all of the word and text editing capabilities we had. So you can now do all of your cross fades, all of your titling, arrows and annotations, and you know, very basic multicam support. All these things work great, 4k, 60 frames-a-second video. It's all synced to the cloud, so that's something that's also really wonderful about the tool, and you, and I could record something. I can invite you just like a Google Doc, and then you and I can start collaborating on this material simultaneously. We see the same doc. We have the same footage. Anne: So, wow, a video word processor. So we have the audio word processor -- Jay: Video word processor. Anne: -- and now a video word processor. That's, wow. Also, in addition to that, I think you can do screen recording as well with Descript? Jay: Exactly. So for all of us that are fully embracing the remote collaboration -- Anne: Yeah. Jay: -- asynchronous video communication life, we're sending each other a lot of quick updates or quick tutorials. So rather than have to type out those "here's all the instructions on how to connect to ipDTL for the first time," you can actually just do a quick screen recording using your own voice. And what differentiates the Descript screen recorder is again, as soon as you finish recording your screen recording, either, you know, your webcam or the screen itself, you see an instant transcript of what you said. And with one click, if you want to remove all of your filler words -- Anne: Right. Jay: -- I am a prolific ummer and ahher when I'm making stuff up. Anne: We all -- yeah, I think we all. We all are. Jay: So when -- you get to this little dialogue that pops up that says you have 35 filler words -- Anne: Wow. Jay: -- click to remove, and then you'll see the sentence where I start explaining it. And then I say, "yeah, let me try that again." I can just whack that sentence out and then send the video along. You can ask my team. I do tons of those every day,. Anne: Now does it record the screen, and also use the video cam? So it can do multiple cameras or multiple recordings at the same time? Jay: Exactly, exactly. So, so right now you can have your webcam as a bubble that you can position anywhere you want on the screen. Also, you have separate audio tracks for your mic. You have computer audio. So that's something that I use a lot where I'm demoing something and maybe sharing the output of Descript to the app or a different tool. So you can capture audio from computer audio and also your high input. Anne: Fantastic. Jay: Very nice microphones. Anne: Now I happen to read a press release the other day about a new product called Studio Sound, which allows you to remove noise [laughs] in your recording. Jay: Okay. Anne: That's pretty powerful. [laughs] Jay: So I have incredible admiration for companies that make professional noise reduction, de-reverberation restoration tools. I have a ton of friends that work at Izotope. Having worked there myself, I love the company. So -- Anne: I was going to say, you have quite a background in it. So that would make sense. [laughs] Jay: So I will say what we wanted to build was as close to a one checkbox solution where you know what, you have this audio, you either don't have the time, you don't have the skill -- Anne: Right, exactly. Jay: -- you don't have the knowledge to use the professionals. So like we're not talking about saving location recording from the deadliest catch and removing like -- Anne: Right. Jay: -- some of those conditions. We're talking about -- let me play an example. So I'm going to play you some material, and this, this is maybe what got recorded with some, you know, room tone on a not great mic. So let me just hit play. Anne: Okay. [room noise] Jay: Hey, there's the room tone. Voice: The appearance of the island when I came on deck next morning was altogether changed. Although the breeze had now utterly ceased, we'd made a great deal of way during the night and were now lying becalmed about half a mile to the southeast of the low eastern coast. Jay: Okay. So now let me click a checkbox that's called Studio Sound in Descript. Anne: And that's not uncommon for people with podcasts who have guests that are not necessarily -- Jay: Right. Anne: -- having the right recording studio. Jay: Right. No, definitely. Anne: Yeah. Jay: So now, now let me hit the space bar and now I'm playing. Voice: The appearance of the island when I came on deck next morning was altogether changed. Although the breeze had now utterly ceased, we'd made a great deal of way during the night and were now lying -- Jay: Let me turn it off. Voice: -- becalmed about half a mile to the southeast of the low eastern coast. Anne: Wow. Jay: And back on. Voice: Green colored woods covered a large part of the surface. Anne: Wow, wow! Jay: That's one checkbox. Anne: This is a product that's actually out now? Jay: This is out now. We -- Anne: Wow, that's incredible. Jay: -- have a beta tag applied to it because we're still experimenting with it -- Anne: Sure. Jay: -- but it's actually on every plans. Anne: Okay. Jay: We have a free Descript plan. So people listening to this, they're like, I want to try this out. You can try this out. It's totally free. Try it on your files, download your files when you're done with them. Anne: Right. Jay: We're really excited about this. And this is just one of these other suites of tools that we're trying to do to allow people to create professional sounding and looking content faster than ever before. Anne: Sure. Jay: You shouldn't have to spend hundreds and hundreds of extra dollars to download and learn tools when you have problems with your content. And so that's, that's some of the stuff we're trying to solve. Anne: Yeah, and that really serves a need. You know, I cannot tell you how many people -- I mean, I'm a full-time voice talent. And so for me, you know, this is part of my daily thing. I had to learn how to, or I'd had tools that helped me to remove noise, but there's so many people out and in the podcast world, or just in general, that are creating content and yeah. Stuff like this is it can be immensely helpful. So, wow. So that's an incredible suite of tools, and you also now have, well, you've had it for a couple of years now, Overdub, right, which is your -- this is how you can create an AI voice, your voice cloning technology. Talk to me a little bit about that. Jay: Absolutely. So Overdub allows anyone to create their own voice clone, and importantly, only with their own voice. And you can do that with only a few minutes of training data. And once you have this voice clone, this voice model, you can generate new sentences or correct your verbal typos. So a few ways that we see it being used, being -- really resonate with your listeners. Let's say you made a mistake in a, in an audio book or, you know, in a podcast, you mispronounced the key character's name. Anne: Right. Jay: You stated a date wrong, something like that. So you need to go back to the studio, or if you're at home, you need to kind of set up your equipment again, get it exactly how it was before. Anne: Punch and roll. [laughs] Jay: Rerecord everything, punch and roll, or even better, I have much more experience on the editor side. So as an editor, I would spend hours trying to find that word or phrase and then splice it in from elsewhere in the archives. Anne: Absolutely. Jay: It just never sounds right. Anne: Yeah, that actually makes me think of a lot of medical recordings that I do, for medical narration. If you find that you've mispronounced the word once, it's usually in the script quite a few times, if it's a product name. Jay: Right. So with Overdub, you would have created your own voice model. And so if you have the script and you knew -- you're using Descript, you can actually go in, find that one word that needs fixing or that phrase that needs fixing, or the sentence you actually forgot to say, and just type it in. And what we actually do behind the scenes -- this part is fascinating -- we don't just generate in the word in isolation. We take the text that you type in. We take basically the audio recording before your contextual edit and the audio after. And then we send that all to the cloud, and using those three inputs along with, you know, your voice model, we're able to generate the missing word or phrase to make it fit in in context. So, you know, if I was trying to resynthesize the word Overdub, sometimes it will sound like Overdub. Sometimes it'll sound Overdub, and it's just gonna depend on where it's going to fit in within the phrasing of what you were saying. Anne: Wow. So tell me again, what does it take to create your Overdub again? How long does it take? Jay: As little as 10 minutes -- Anne: Wow! Jay: -- of training data. Anne: So does that mean you have a model that's already there, that's being used for these voices? Jay: So let's go even deeper with the super behind the scenes. The way that we're able to make it so easy where all you need to do is create, you know, you basically read a training script. Anne: Okay. Jay: And you read this training scripts to us, and, you know, we have it on our website and there's, there's nothing special about it. Technically any source material would work, but we just provide this like David Attenborough voiceover stuff. It's really fun to read. Anne: Okay. Jay: So you read that, and we need as little as 10 minutes. The more you add, the better it's going to get. There's no point in going over an hour at that point. Our research has shown it's not going to sound any better. Anne: Okay. Jay: So, you know, between 10 minutes and an hour that you're willing to sit and read this script. The other thing we need of course is your voice consent statement. So this is a 30-second long blurb we also have available on our website, which you grant consent to Descript to create your own voice model. And you're just stating that, like, I and I alone have access to this voice model. If I choose to grant it with somebody else, then I'm giving people the option to use my voice. But you know, this voice is just mine. And we use that to compare against the training data to make sure that this is really you. Anne: Got it. So then let me just back up just a second. Jay: Yeah, please. Anne: So if you're using any of the material that people upload, let's say, for podcast editing or any of the, any of the products that you offer, is any of that being used for training data from Descript? Jay: No. So all of your material, all your voice data is yours and yours alone. Anne: Got it. Previous to releasing Overdub, we had actually learned from this the general speech patterns from thousands and thousands of speakers. Uh, Descript acquired a company called Lyrebird in 2019. Anne: Yes, I'm familiar with that. Jay: And they're real pioneers in this space. And they had actually learned from thousands of existing speakers. Anne: I heard the viral thing they did with politicians, so back a few years back. Absolutely. And so you've had the model for a while that's been developed with thousands and thousands of voices. Jay: Exactly. Anne: Got it. Jay: What, what the secret sauce is, is the ability to, with just a few minutes of a different person's speech, be able to identify what makes Jay or what makes Anne sound the way they do with the mic they have in the room that they do with the cadence that they're speaking? And we kind of can make this like lighter weight model to generate your speech. Anne: Okay. So what, in your opinion, or what, in your knowledge, what makes a better AI voice? Is it the person that records being, I don't know, more conversational or what makes some voices sound a little more robotic than others? Jay: The short answer is it's really going to depend on the underlying technology that's being used. So that's why Descript's Overdub technology sounds different than Alexa, than Google Wavenet, than Thimble, than, you know, than other solutions. For our approach, some of the things that we think makes it sound so good, so one thing is that we are one of the only solutions that actually we generate already 44,100 samples every second of your voice. And your listeners know what that means. If, if people don't it's, you know, CD quality sound -- you don't even know what CDs are anymore. Anne: I know! Jay: It's really good, super high resolution. And so that's one of the things that people often notice, like Alexa is nowhere even close to -- Anne: Right. Jay: 44.1 K. And so that's why she'll always sound that little bit muffled, that little bit like flat. And so by generating in, you know, what the researchers called super resolution, that's one thing that really makes a very big difference with what we're doing. From a training material standpoint, when we, you know, when we work with artists and celebrities, sometimes we'll actually coach them on, you know, the training material that they should put into the system should be read as naturally -- Anne: As possible. Jay: -- as they want the output to be. So, yeah. So, you know, we have the David Attenborough scripts, but if you're never going to be doing that in the wild and then read it in a way that's more representative -- Anne: In the wild! [laughs] Right, right, absolutely. Jay: Literally in the wild. Anne: Yup. Yup. Okay. All right. That makes sense. Now, do you have tools that allow you to change the sound of it once you've, you know, once you've typed in a script, and you change -- can you add emotion? Can you change speed? Those sorts of things? Jay: Change style is what we have. Rather than exposing 10, 15, you know, sliders, controls, checkbox, the Descript way of doing it is to allow you to actually select some source material that sounds representative of the style you want to recreate. So I would go in there, I would highlight a sentence or part of a paragraph that sounds like what I want to create. I would then right click on it, say overdub voice style, and I would say "create new voice style," and then call it whatever you want. So maybe it's happy or enthusiastic. Anne: Okay. Jay: You give it a name and then that name can be applied for Overdub generation in the future to steer the material. Anne: Are you recording that happy? Or are you recording that? Like, where are they getting that from? Where are you getting the happy from? Or the emotion from? Jay: Yeah. Anne: The style. Jay: We leave it to users. Anne: Oh, okay. Jay: That's one of the things people say like -- Anne: I got it. Jay: -- "hey, you know, I just created my voice model. Why don't you provide some templates?" I'm like, because I don't know what you sound like when you're happy. Anne: Okay, okay. Jay: So you get one default style -- Anne: Okay. Jay: -- that the system thinks is neutral Anne. This is what neutral Anne sounds like. And then it's up to you to go through, and in your training data, start finding examples of here's me being contemplative, here's me being excitable, and then give them the names -- Anne: Okay. Jay: -- that you you feel comfortable with. Anne: Do you resell these voices? Jay: No. So your voice is only your voice. You can assign it to other people that you work with on your team -- Anne: Okay. Jay: -- but you can also revoke that at any time. That's, uh, you know, it's functionality that we, we treat seriously. Now that -- the one thing we do provide to get people started out of the box, when we were playing the welcome to the VO BOSS intro, for example, we provide some stock voices. So we have eight right now, just a very limited palette, but still eight stock voices, which are pre-trained voice models of voice actors that we have an agreement with to get people get up and running. Anne: Got it. So then if I wanted to resell my voice, is that possible? Like if I create, let's say I get a script, I mean, you can hire human Anne or you can hire AI Anne. And so somebody says, well, I'm going to hire AI Anne, and I'm going to pay a certain amount. You know, probably not as much as human Anne. Could I then on Descript generate that voice and sell that? Jay: Yeah, we, you know, we don't have a marketplace or anything like that to facilitate that, but -- Anne: Interesting. Jay: -- the voice is yours. So you would come to an arrangement. You would be responsible for sharing your voice with another Descript user and overseeing how they're using it. And you know, the nice part of the voice ownership, you can turn it off at any time, so you can revoke access. Anne: So I guess my question would be, let's say I have a client, and they say, you know what? I have a bunch of material that I need to have recorded, but my budget is so much. And I say, okay, well, I can do that for you with my AI voice. 'Cause I don't have enough time to go in my studio and record that, but I could go to Descript, throw in the scripts, generate that, and then sell that to my client. I guess that's my question. Um, and that would be in agreement -- Jay: Oh, totally. Anne: -- that would be in agreement. How interesting, because I think one thing that a lot of people in the voiceover industry have been fearful of is, you know, who owns that voice, and how do I know where it's being used, and how do I, you know, is there an agreement, a contract that's been drawn up? So what that would do is it would allow us control over our own voice in selling the voice. So we would like, we normally do, we have contracts where we specify usage. So if it happens to be, let's say, in the commercial realm, and it's a commercial for McDonald's, if that's, you know, what they were looking for, we could then, you know, put in usage that would be appropriate for the job. And it would be something that we would negotiate with the company. Jay: Right. Anne: And that would be fine. You're not even a middle guy in that. That's basically we own our own voice. Jay: No. Anne: We can do whatever we want with it. Right? We can download it, right, I assume. Jay: Absolutely. This is the workflow I heard you say, Anne, is maybe we can flip it. You hire me, I'm voice talent. You give me the script. Anne: Yup, yup. Jay: But then like, oh, this is not within my budget. And you're like, how about this? I'm going to give you AI Jay. Anne: Yup. Jay: You're only interested in the final files. Maybe I can also give you the Descript file so that way, if you need to make -- Anne: Changes. Jay: -- changes and tweaks, you can, but you can't make, you can't generate new material. Anne: Well, then they'd have -- Jay: So here's AI Jay. This is Jay. I'm reading a sentence for Anne. She paid me to read this. Here you go. Anne: Oh, yup, yup. Jay: There's my material. You provide the audio files. These things are getting a lot of traction. So we actually have the ability to batch export material. And also we have API access for -- Anne: Wow. Jay: -- Overdub for if you want to programmatically do things. Anne: Sure. Jay: So a real example, there's a -- Anne: Wow. Jay: -- creative agency, and they work with one of their voice actors to do a mixture of things that are read real, but then they have a contract with Sunglass Hut. And they want to personalize it to go to your local Sunglass Hut. Anne: Right, exactly. Jay: And they get the address or the town. Anne: Sure. Jay: And so what they actually do, and Descript is not involved in this -- Anne: Right. Jay: -- but they use the tools to programmatically then create all the addresses sp this voice talent doesn't have to read 10,000 different Sunglass Hut locations. And so the voice actor consents to using their voice for that. And often they're the ones like generating on their system -- Anne: Sure. Jay: -- because they want to make sure it sounds right, and it's -- Anne: Well, yeah, exactly. So the client isn't necessarily going in -- they don't have a Descript account, and they're going in and typing it -- in addresses. It would be the talent probably, 'cause you're right. They would tweak it speed-wise or, you know, just so it sounds good. Jay: Right. And it's as super flexible. So I would encourage -- Anne: Right. Jay: -- because you know, the voice that you create, you can only create a voice with your own voice. You -- Anne: Right. Jay: We have people that try to upload a Barack Obama voice, you know, try to fake the consent statement, and AI built this. AI is kind of smarter than that. So it can detect that you're trying to fake the system. Anne: Right. Jay: We also have a human in the loop that listens to these consent statements. Make sure everything's legit. Anne: Oh, got it, got it. Jay: So we do everything we can to keep this as secure as possible. Anne: Wow. Talk to us a little bit about ethics, because I know you're one of the early adopters of putting a terms of service and an ethics statement on your website. Tell me about your policies on that. Jay: Yeah. I love that when I joined -- I joined the company at the beginning of 2020. There was already an ethics statement in place -- Anne: Mm-hmm, yup. Jay: -- which, which I was really inspired by. So you own, and you control your use of your digital voice. And this is something we strongly believe in that users can, you know, create a model that's authorized by you and controlled by you. So that's something that we unwaveringly do not budge from, and it's all based on this recorded verbal consent state, that kind of grants consent, and also helps us verify that you are a real, live, consenting person. So we will not clone voices of the deceased. Anne: Okay, okay. Jay: It's just, it's just a slippery slope. Anne: Yeah. Jay: That's an unapproved voice cloning. So unless we have a consent statement,. Anne: Oh, okay, that makes sense then why you have a verbal consent statement, yeah. Jay: We have a verbal consent statement, and, you know, uh, and again, people will try to stitch it together with -- Anne: Sure. Jay: -- with words, but it's just the system's designed to, to try to not allow that. And you know, we personally view that unapproved voice cloning -- like if we start making exceptions to this rule, then we're going to get into a world where we're making subjective judgment calls -- Anne: Yeah. Jay: -- about what's ethical and what's not ethical -- Anne: Absolutely. Jay: -- or what's a creative use case. And that's a very slippery slope. So we just want to be very clear and transparent. You have to own your voice. You have to be able to provide a consent statement. Um, we do not clone voices of children or minors. That's also against our terms of service. So if you're under 13, you can't use Descript. Our terms of service prohibit that. Anne: Okay. Jay: And we really want to stay up on what are the, the latest ethical standards? How are other companies using this? So we're talking to a lot of companies, participating in different membership organizations to try to figure out, you know, how do we ensure that content is authentic and -- Anne: Right. Jay: -- we're, we're as responsible as possible? Anne: Are you in the process of improving your model? So the AI voices will become even better and better and better with even maybe less data or, you know, even more human-like? Or is there a point where you kind of say, this is the level of -- like, how human do you want it to be? Because I think there's a level there of, if it becomes too human, then maybe there's that one note that somebody says, "wait a minute, am I being duped? Is this, you know, is this a human talking to me? Or is it an AI voice?" Do you have a level of, I guess, humanness for your AI model? Jay: We're going to keep improving it until it is indistinguishable from reality. And there's a lot of podcasts right now where you know, the sweet spot right now, Anne, is for this contextual edits where a word or a phrase has been fixed in the context of a longer recording. So we're at the point now where hosts are using that on a regular basis, and you can't tell. Like, no one's writing in and saying -- Anne: Right. Jay: -- that it sounds fake. And that's something that even a few years ago, it sounded like -- Anne: Sure. Jay: -- like voicemail phone tree systems, it would stick out. Those are just smooth. They sound great. Where we're going to be going, and what I think is going to sound better and better in the coming years is this like longer form text-to-speech. Anne: Yeah, right. Jay: So let me give you an example. So this is, this is how Malcolm Gladwell and his team at Pushkin Industries use Descript, and they use this for podcasts and audio books. So, you know, they're using Descripts, the desktop app, to transcribe dozens of interviews and, you know, archive material, and then starting to pull tape, pull selects, and getting the show in like a good rough cut. And then Malcolm Gladwell created his Overdub voice, and he assigned access to his voice to some of his editors. So they can create a draft narration for what the show would sound like with him doing the intro and kind of transitioning between different pieces. And so they can actually do a table read, and everybody can just kind of get on a call, listen to the table read with digital Malcolm, so they can hear how it sounds before anybody entered the -- Anne: Sure. Jay: Now that -- nothing's going to replace Malcolm in the zone saying and introducing his stories as himself. Anne: Right. Jay: And he's going to be like that for a while. Anne: Yeah. Jay: But there's always going to be applications, and it could be for really short commercials. Anne: Yeah. Jay: It could be for no budget audio books where, you know what, I'm just going to throw the AI voice at it. And we're gonna certainly know it's fake, but it's not going to be like listening to Alexa reading audio. Anne: Right, right, exactly. Jay: Because it's going to, it's going to actually have some, have some level of dynamics. Anne: Well, I think as long as the listener, I mean, then it becomes like the consumer, right? And you know, as long as they're aware. You know, I don't have a problem listening to Alexa 'cause I know it's Alexa, and I don't feel like Alexa is trying to dupe me into thinking she's human. And so I feel that same way. If I'm aware, I don't have a problem in certain cases, listening to it as long as know. Jay: That's it. And that's also why we want to, if anything, empower creators to have control of their voice. And if they wanna use it for editorial corrections, fantastic. If they want to use it for some longer form projects that they don't actually have the time to do or the budget -- their clients might not have the budget to do it -- Anne: Right. Jay: That that's their choice. Anne: Wow. Well, this has just been so enlightening. Woo, thank you so much for talking to me and talking to our listeners and talking about this, this amazing product that just seems to keep going. You guys keep coming up with these really wonderful things. So congratulations on that. Where do you see AI going in five years or even ten years? Jay: I'm super excited about this. Like media production is now actually entering a phase where if you can dream it, it can happen. And we don't necessarily need the expensive studio or the years and years and years of audio or video production training. We just need our laptops. So you and I both seen this in our careers with, with the move, from editing on tape -- Anne: Yup. Jay: -- to digital and then with PCs becoming so powerful with tools like iMovie and Garage Band that, you know, truly anybody can be a creator, and professionals can work from home. Well, the thing is there were a lot of advances during this time on other parts of the production process, like filming on smart phones and being able to broadcast and publish on social media, YouTube and podcast hosts, but all that stuff in between, all the editorial, all the correcting out mistakes -- Anne: Yeah. Jay: -- uh, generating small replacements, re-records, cutting, all that has been painstakingly difficult. Anne: Yeah. Jay: So this is where AI is really stepping in. And this next wave is, is huge because everybody is going to have access to these tools that make life even simpler, and the next generation of storytellers have never had it so good. Anne: Yeah. Well, that's fantastic. Oh, my goodness. Thank you so, so very much again, for spending time with us today. I'm going to give a big shout-out to our sponsor, ipDTL. You too can connect like a BOSS and find out more at ipdtl.com. You guys, BOSSes, have an amazing week, and we will see you next week. Thanks again. Bye-bye. Jay: Bye, everybody. >> Join us next week for another edition of VO BOSS with your host Anne Ganguzza. And take your business to the next level. Sign up for our mailing list at voboss.com and receive exclusive content, industry revolutionizing tips and strategies, and new ways to rock your business like a BOSS. Redistribution with permission. Coast to Coast connectivity via ipDTL.

Wildhood, a new film by Mi'kmaw filmmaker Bretten Hannam was overdubbed in the Mi'kmaw language. Host Jeff Douglas spoke with Tom and Carol Anne Johnson from Eskasoni First Nation, who gained notoriety for overdubbing the animated film Chicken Run, about their involvement with the project.

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Episode 91 - It's peak summer and we are crackin' the Red Stripe and skankin' to Bob Marley's “Catch A Fire,” the album that got a lil help in the form of Blues Overdubs.   Don't worry if you don't know his songs, you can still have his poster on your wall and smoke weed about it.  Jah Bless.

The deepfakes are coming! In recent years, the growing trend of AI manipulated media has been racking up views and making everyone from Tom Cruise to Nancy Pelosi say things they've never said before. And the technology behind these AI-driven deepfake models are only getting more accurate over time, meaning that one day soon, you might need to do a double take and make sure that's actually your ‘Bestie' when divulging all the hot gossip on Facetime.  We've been altering media for decades (Hello Photoshop!), but when did deepfakes first hit the scene? In this episode of Same Same but Tech, we'll tell the story of one scrappy startup called Lyrebird, which revolutionized an audio deepfake technology called voice cloning, which takes a small sample of a person's voice and from there makes it be able to say… well… anything at all! Co-Founder and Head of Research Kundan Kumar gives the inside look at how they developed their voice clones and released them to the world. To hype up their new platform, they put out an audio deepfake of Barack Obama, Hillary Clinton and Donald Trump in 2017 casually discussing the new technology and it promptly broke the internet. From there they developed the product and signed up a bunch of users who started cloning their own voices. In 2019, Lyrebird joined up with like-minds at Descript to create even more AI-driven media manipulation tools along with Overdub, their key collaboration. But are we heading towards a future of distrust and suspicion for everyone we see and everything we do online? Can you trust everything you see? Everything you hear? Has a voice clone already taken over hosting duties for this very podcast? We might just have to run a deepfake detection program on Mauhan to find out. We'll also explore the ethical implications of the future of deepfake technology with expert insight from MIT Media Lab Professor, Pattie Maes and Research Assistant, Pat Pataranutaporn.Hosted by Máuhan M Zonoozy, Head of Innovation at Spotify, Partner-alum at BCG Digital Ventures, and NYC-based angel investor and entrepreneur.Visit our website:  https://www.samesamepodcast.com

This week on Part IV of our series on “Capturing The Magic” we discuss the art of overdubbing and punching in during tracking, and why it can be both a blessing and a curse. We also get into the history of punches and overdubs and how it has evolved across multiple recording formats. Other topics we discuss on this episode include: -The difference between overdubs, punches, and doubles-When to use layering ( and when NOT to)-Leaving room for creative mix decisions -Examples of creative doubling processes for different instrumentsFor more info, visit our website at:www.truelevelstudio.com/therecordprocess Follow us on Instagram: https://www.instagram.com/therecordprocess/https://www.instagram.com/truelevelstudio/?hl=en Show Hosts: Casey Cavaliere (Producer / Mixer / Guitarist of The Wonder Years)www.CaseyCavaliere.comwww.thewonderyearsband.comIG: https://www.instagram.com/case_rock/?hl=en Tom Conran (Audio Engineer / Producer / Acoustician )www.TomConranAudio.comIG: https://www.instagram.com/thetomconran/?hl=en Adam Ackerman (Songwriter / Recording Artist / Multi-Instrumentalist)www.AtomSonicConcepts.comIG: https://www.instagram.com/theadamackerman/?hl=en Share any thoughts, questions, comments, or suggestions with us via email at: TrueLevelStudio@gmail.com Artwork by Holly Smith ( https://www.instagram.com/_hollysmith/?hl=en ) Music: Main Theme - "Almas" by Casey CavaliereAdditional Music by Tom Conran

Sarah Ing joins Judith to explore speech synthesis, ie creating a Sarah and Judith voice. In this episode you'll hear the synthetic voices they created using Descript's new feature, Overdub, which promises "ultra-realistic voice cloning",  made by the Lyrebird team. They discuss what it took and if it's worth it. Stay tuned for the postscript by fake Judith about what it was like editing the show with descript and overdub!Sarah's Podcast: the breakup evolution - following personal stories of how people evolve from breakup, addiction and moreDescript's Overdub by Lyrebird Support the show (https://www.patreon.com/hotnewtech)

In This Episode:We get to hear from Nevyn Holmes! Nevyn is a powerful creator who doesn't give a fuck about a right way so long as they have a G-fuel in hand. This is the first part of two parter as we have another contender for longest episode.Disclaimer: There was some audio trouble and so I have executed an Overdub for that portion to sum up Nevyn's thoughts to the best of my ability.The Game:Gun & SlingerReach Out To Nevyn:WebsiteItch.ioTwitter: @ForkTwentySupport this show http://supporter.acast.com/dydpodcast. Hosted on Acast. See acast.com/privacy for more information.

What a few weeks it has been! We had our equipment finally actually die on us, it was sad. But it meant we got to replace it with better stuff! Which also then died on us.... but that brings us to this! The same new equipment but this time it works! So rather than go another week without an episode we came up with this one when we should have been working! Featuring music by Flying Raccoon Suit, Daly's Gone Wrong, Rundown Kreeps, Joystick, Sgt. Scag, Hans Gruber & the Die Hards, Harijan, The Rocksteady Conspiracy, The Resetters, Mr. Kingpin, and Tokyo Ska Paradise Orchestra.

Last week https://www.captivate.fm/blog/descript-integration (we integrated Captivate with Descript) to make your life easier as a podcaster and although integrations sound really cool on Twitter, I wanted to spend a bit of time today giving you some actual real-life insights on how you can make a better podcast by using Descript. In fact, http://www.descript.com/?utm_source=captivate&utm_medium=ALL&utm_campaign=Descript%20V8%20Launch (here's Descript) - this is the only link to it. What is Descript? Descript is a super-powerful and super-simple audio & video workstation that helps you to produce outstanding edits, video and promotional podcast content without the need to master complex tools like Audacity or Audition. Descript is good for beginner and pro podcasters and includes advanced AI tools like Overdub and Filler Word Removal which can revolutionize the way you edit - particularly how you run a first edit of your episodes. The interface works exactly like a Word document so there's no tech barrier, you can carry out much of your podcast production workflow inside Descript without the need for extra tools, subscriptions and juggling different services. Descript publishes your finished file directly to Captivate and allows you to create pretty sweet audiograms, too. There are loads of different ways to produce better podcasts in Descript, but here are my 3 cherry-picked recommendations for using Descript to produce a better podcast. There are loads of different ways to produce better podcasts in Descript, but here are my 3 cherry-picked recommendations for using Descript to produce a better podcast. 1. Use the transcription tool for more than just transcription Transcriptions are good for accessibility in podcasting and when you import your podcast to Descript, their software does a decent job of transcribing the audio into a usable transcript. You're going to have a little work to do, especially if you have a solid Northern English accent like me, but the power that you have here is not just in correcting your transcript using the Word-like editor, but in actually using the editor to tighten up your audio. Lemme explain... Descript is a non-destructive editor that allows you to edit the words on screen and that will, in real-time, edit the audio to suit what you've tweaked. Any good podcaster (any good story-teller) knows that the magic happens in the edit and removing pieces of the podcast or even rearranging the flow slightly to tighten up the narrative will give you a much cleaner, focussed resulting episode. Which leads me to... 2. Use Overdub and Filler Word Removal to tighten up your edit even further Good editing isn't just about removing content to tighten up the tale - it's also about adding what may be missing from your first run. It's why movies do reshoots (Snyder Cut anyone?!). The trouble is that as a podcaster that can be a real pain in the pop filter - firing up the mic, the recorder, stitching up the audio and making sure the transition is smoother than Kieran at a speed-dating night can be time-consuming. Until Overdub. Overdub is Descript's "killer feature" that allows you to train the app to emulate and deliver a facsimile of your voice so that you can change and add to your audio just by typing. It's crazy. And it works. Using Overdub to tweak an errant phrase, tighten up a piece of your episode or sharpen a mispronunciation means that there's no need at all to re-record anything. You can even add lengthy audio inserts using Overdub, too, but I wouldn't recommend that yet. It's still AI, after-all and while it's brill, it's not a person. Pro-tip: go through the full Descript Overdub training script if you intend on using Overdub fully. It'll take 45 mins all in, but it's well worth it. And if you and your co-host are using it, make sure they do the same. As if Overdub weren't enough, I

Laurie cracks a can of our 7.2% Black Rye IPA - Let's see what he thinks!

Join James Cridland and Sam Sethi on this week's show. We talk about Apple's proposed new subscription service and what it means for podcasters?And has Spotify's foray into podcasting failed? Citi Research said "The only thing podcasting seems to have influenced is Spotify’s valuation.” They suggest that clients sell the stock.We'll discuss whether we think they are right or premature.Also, we ponder if Clubhouse needs better room moderation to prevent hate speech and misogyny? Also on this weeks show:Brenden Mulligan, CEO Podpage talks about how podcasters can make a google SEO optimised webpage in less than 5 mins.Bradley Davis, CEO Podchaser, the IMdB of podcasting, talks about their new $4m funding round from Greycroft, and what they plan to do with the money.Jaime Ng, CEO MatchCasts talks about being the first Asian podcasting ad platform and also her thoughts on the Tencent acquisition of Lazy Audio and what it means for Himalaya.Sam Crowther, Executive Creative Director at A Million Ads talks about their use of data to create personalized advertising and how this can work for both Radio and Podcasters who use dynamic ad insertion.We also talk about how they plan to use Descript's Overdub voice synthesis service to create a million ads.Previous Episodes: https://podland.news#podlandnews #podcasting #interview Buzzsprout Podcast hosting and a whole lot more

On the 16th episode of Your Neighbor Is, Gabe and Brian talk with Spec Kay about how growing up around different cultures influenced his music, learning to embrace the setbacks on his journey as an artist, and his upcoming album, Overdub.

Stephen Colbert: Stephen Colbert pretends to get emotional about Trump on his TV show.Funny Car Crashes: Sometimes people will be driving when they shouldn't be and it ends with hilarious results!Palette Cleansers: From ladies with fake dick bulges to getting sucked into a whale's mouth, with a side of deepfakes and holograms. Let's clean this fucking palette!THE WHITE SHEET!, TRUTH SEEKERS!, HOT FOR TEACHER!, VAN HALEN!, SWEET PIECES OF ASS!, PEE AND POO!, JOHN DENVER!, TOOL!, JAMISON NEWLANDER SHIT!, WASHINGTON POST JIM!, INTERNATIONAL MEMES!, ELECTION!, IRANIAN MEMES!, OVERDUB!, TIKTOK!, BEHEADING VIDEOS!, TRUMP DANCE!, EGYPT BOILER ROOM STYLE!, GEORGIA!, EURASIAN!, COUNTRIES!, SHITTY FOOD!, STUPID HAT!, BOSS BABE!, CUCK BITCH!, CUCK CUNT!, STEPHEN COLBERT!, EMOTIONAL!, DUMB SET!, HURT!, BROKEN HEART!, PHONY!, MOST SACRED RIGHT!, WHITE HOUSE!, PRESIDENT!, COVID!, FAT BITCH!, ETHAN EMBRY!, THE DEVIL'S CANDY!, DON'T BUY IT!, SELF IMPORTANCE!, CRAZY RELIGIOUS LADY!, AFRICA REPAIRS!, DOO DOO!, PARTY BUS!, SHIT!, DOOKIE!, CELEBRATION!, SOMEONE SHIT!, YOU DOODOO?!, INVESTIGATION!, WASTED!, CRASH!, ARRESTED!, SPANISH!, GEEK OUT!, KNOT!, WALL!, ACCIDENT!, GET ME OUT OF HERE!, TOTALLED!, DAZED!, CONCUSSION!, DUDE!, DYKES!, FAKE PENISES!, WORLDSTAR!, ACCEPTABLE!, DRESS LIKE DUDES!, STUDS!, SWEATPANTS!, BODEGA!, STEALING!, SQUARE UP!, FIGHT!, CHARACTERS!, CONVENIENCE STORES!, LATE NIGHT!, EVERY CANDY BAR!, SMACKED!, TEMPERS!, BEAT UP!, WHALE!, BREACHING!, EATEN!, BAIT BALL!, HALF SWALLOWED!, KAYAK!, KIM KARDASHIAN!, KANYE WEST!, HOLOGRAM!, DEAD FATHER!, DEEPFAKE!, SCHOOL SHOOTING!, DEAD KID!, PARENTS!, PARKLAND!, UNCANNY VALLEY!You can find the videos from this episode at our Discord RIGHT HERE!

I was just playing around with Overdub and created a voice double of myself. I'll use it for editing audio on my podcast files. Have a listen! The future is grand!

Yesterday, Overdub to generate the last half of the Techmeme Ride Home episode (https://art19.com/shows/techmeme-ridehome/episodes/039e97cd-c43b-440c-b655-9f630358c37d) for that day. It was an excellent side-by-side (or first-then-second) comparison of Brian’s actual voice and the Overdub recreated voice. It was eerily good. But it wasn’t perfect. For advancements in this area, perfection is approached on an asymptotic curve, and the uncanny valley is quite deep.  But it’s good enough for podcasters to make use of today without taking us humans out of the equation. Here’s how: A New Podcast Ad Format - Beyond host-read, pre-produced, and producer-read ads, any podcast could effectively have a custom voice-over “person” ready to kick out ads at any time. Customized Canned Content - Having “canned” intros and outros save time during the production process. But there’s a tradeoff for the convenience: they can’t be customized. Uness your voice talent is made of silicon, that is. Tweak the text a bit, feed it to the system, and you have episode-by-episode customizations to your intro, your outro, and any relevant parts in between. Best of all; they sound human.  Localizing Podcast Episodes - How many more people could your podcast reach if it was available in a different language? So far, it’s taken a lot of money and time to localize podcast content. But if your voice-talent pool is silicon-based, you can spend all of your time getting the localized script perfect in that language, and leave it to the system to generate the audio. Non-Critical Narrative Bits - Sometimes, a solo-effort narrative episode would be made better if there were other voices were adding color to portions of the episode that otherwise sound “flat”. Can you give those bits to the AI to have a convincingly-human voice on those instead of yours?  Giving Voice To NPCs In Podcast Fiction - At the risk of being accused of taking money out of the mouths of hard-working voice actors, some of small, single-line parts in a podcast fiction story could be synthesized on smaller productions that lack the budget to pay for a narrator on every single part.  I have no plans of turning Podcast Pontifications over to an android anytime soon. I’d lose a big part of my daily therapy if I did that! Nor do I think you should worry (or dream) about this tech getting so good that your own voice is no longer required. But if you decide to use an AI as your co-host, I totally want to listen. ----- Read the full article and share with a friend: https://podcastpontifications.com/episode/do-androids-dream-of-being-on-your-podcast (https://podcastpontifications.com/episode/do-androids-dream-of-being-on-your-podcast) Follow Evo on Twitter (https://twitter.com/evoterra) for more podcasting insights as they come. Buy him a virtual coffee (https://buymeacoffee.com/evoterra) to show your support. And if you need a professional in your podcasting corner, please visit Simpler.Media (https://podcastlaunch.pro/) to see how Simpler Media Productions can help you reach your business objectives with podcasting. Podcast Pontifications (https://podcastpontifications.com/) is published by Evo Terra four times a week and is designed to make podcasting better, not just easier. This podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy Support this podcast

Yesterday, I listened to the Michelle Obama Podcast, a Spotify exclusive.  Full disclosure, I love the Obamas (and miss them).  Overall, I thought Episode 1 was good.  I think a few more ums could have been deleted, but that's a matter of personal preference (and hot debate), and the two interrupted each other for a bit, and there were a few times I wasn't sure who was interviewing who.  But in a good marriage, you finish each other's sentences.  I'm sure it would be similar if I did a show with my wife - if I could ever get her near a microphone.In the larger picture, the show featured music from Stevie Wonder, and if I'm not mistaken, a Beyonce beat was in the trailer.  I'd be curious to see if this was a function of Spotify, the Obamas, or both.  It would be nice to get to a point where that was available for more content creators.In terms of substance, I did enjoy the interview. Obviously, if you're Michelle Obama, your first guest is probably a no-brainer.  I find Barack and Michelle to both be very engaging speakers, and I was drawn in to their stories about how their backgrounds shaped their value systems.  And, I'll be honest, there were a few not-so-subtle digs at Mr. Obama's successor, which I smirked at.Other podcasting news this week, via Podnews, Podcast  Business Journal, and PodMov Daily:Spotify is making memes of podcasts that link back to the show. They are called "Visual Quote Cards." https://www.theverge.com/2020/7/29/21346490/spotify-visual-quote-michelle-obama-podcast?vgo_ee=MYFFchsNQquCI9pBrYt34RwUnRnlmwiuCIJkd9A7F3A%3DThere's a report that people are working around Spotify's music licensing restrictions by uploading their content as a podcast, which has much less oversight: https://www.documentjournal.com/2020/07/cant-find-your-favorite-song-on-spotify-check-the-podcast-section/?vgo_ee=MYFFchsNQquCI9pBrYt34RwUnRnlmwiuCIJkd9A7F3A%3DSpotify's earning's call had a lot of info about revenue and podcasts, claiming they have more podcasts than Apple, among other things. https://news.alphastreet.com/spotify-technology-spot-q2-2020-earnings-call-transcript/?utm_source=podnews.net&utm_medium=email&utm_campaign=podnews.net:2020-07-30Descript uses "Overdub" technology: https://blog.descript.com/descript-pro-overdub-and-more/?utm_source=podnews.net&utm_medium=email&utm_campaign=podnews.net:2020-07-29Of note to car enthusiasts (we are in Detroit after all): Ford is launching a 8 episode podcast about the story behind bringing back the Bronco. https://podcastbusinessjournal.com/podcast-part-of-fords-bronco-plan/ 

And the most popular podcast names Visit https://podnews.net/update/descript-overdub for all the links, and to subscribe.

Technology isn’t just changing our world — it’s changing the words we use to describe it. Language is evolving at breakneck speed, thanks to the internet and social media, which allow people from around the world to connect, and spread new words and ideas. But technology and language influence each other in ways beyond the internet. On this episode of the Pulse, we explore how technology and language shape each other. We hear stories about the invention of talking computers, the quest for nuance in online communications, and an unexpected culprit changing the way Scottish teens talk. Also heard on this week’s episode: Host Maiken Scott makes a copy of her own voice using a program called Overdub, and then talks voice synthesis with one of the program’s makers, developer Kundan Kumar. Reporter Todd Bookman investigates the origins of how we made machines and eventually computers talk like humans. Language is changing faster and faster thanks to the internet. We talk with linguist Gretchen McCulloch about how those changes are happening, and how she keeps up. Gretchen is the author of “Because Internet: Understanding the New Rules of Language.” A few years ago, British sociolinguist Jane Stuart-Smith noticed something strange — teens in Glasgow, Scotland using a Cockney pronunciation. Her research uncovered an unlikely culprit: an English soap opera called EastEnders. Jad Sleiman reports.

Bear with us... Ira had a rant that gets a little touchy but ends well! He totally redemmed himself. Misogyny Corner is back though in a big way!Support the show (https://www.youtube.com/channel/UCJ7ceknydhdLovNTfrlamHw)

Hackaday editors Elliot Williams and Mike Szczys stomp through a forest full of highly evolved hardware hacks. This week seems particularly plump with audio-related projects, like the thwack-tackular soldenoid typewriter simulator. But it's the tape-loop scratcher that steals our hearts; an instrument that's kind of two-turntables-and-a-microphone meets melloman. We hear the clicks of 10-bit numbers falling into place in a delightful adder, and follow it up with the beeps and sweeps of a smartphone-based metal detector. Show notes: https://hackaday.com/?p=411904

Andrew Mason (@andrewmason) started a little website called The Point. An investor friend of his gave him a million dollars in seed money. The Point failed, but Andrew then used that seed money to pivot his idea into the fastest-growing company in history. Groupon hit a $1 billion valuation in only sixteen months. For someone with no entrepreneurial experience at all, this was crazy. Yahoo! offered to buy the company for $3 billion. Google offered more than $5 billion. Early on, the media wanted to adore him. After the company went public, the media wanted to abhor him. Groupon’s current valuation: a modest $400 million. After Groupon, Andrew started a company called Detour. Once again, the idea failed. But once again, he was able to find a great clue for a new company in the company he was already building. Now, Andrew is the CEO of Descript. Descript is like a word processor for audio. If you’ve ever tried to edit spoken-word audio, you know how time-consuming and frustrating it can be. Descript makes editing spoken word audio as easy as editing a Word doc. With Descript, not only can you edit spoken-word audio by copying, pasting, and deleting text, but you can also edit by typing words. Descript’s Overdub feature can actually create audio based upon your voice. All you have to do is feed it several hours of training data. If you listened to the episodes here on Love Your Work in December, you heard my Descript Overdub voice double fill in for me on the intros. If you’re going to love your work, you have to read the signals the market gives you. Sometimes plan “B” is a billion-dollar idea. In this conversation, you’ll learn: After going from having no experience as an entrepreneur, to founding the fastest-growing company ever, how has Andrew approached building his new company differently from how he built Groupon? Andrew says at Groupon there was “more tolerance for assholes.” What has Andrew learned about building a company culture where the mission doesn’t get in the way of kindness. Andrew said he had a “useful naïveté” about the money that he first raised. How does he still hold onto this naïveté, even as a seasoned entrepreneur? Thanks for sharing my work! On Twitter, thank you to @dbarrant, @keozdev, @podcastally, and @JeffNartic. On Instagram, thank you to @frekihowl, @_imperialpurple, @daizymann, and @paych_arte. Our Weekly Newsletter: Love Mondays Start off each week with a dose of inspiration to help you make it as a creative. Sign up at: kadavy.net/mondays About Your Host, David Kadavy David Kadavy is the author of The Heart to Start and Design for Hackers. Through the Love Your Work podcast, his Love Mondays newsletter, and self-publishing coaching David helps you make it as a creative. Follow David on: Twitter Instagram Facebook YouTube Subscribe to Love Your Work Apple Podcasts Overcast Spotify Stitcher RSS Email Support the show on Patreon Put your money where your mind is. Patreon lets you support independent creators like me. Support now on Patreon »     Sponsors http://linkedin.com/loveyourwork Show notes: http://kadavy.net/blog/posts/andrew-mason/

Hablamos con otro colega colombiano especialista en audio. Radicado hace casi 20 años en la península Ibérica, David Florez nos comparte su experiencia como migrante consolidado en la industria española y europea trazando un constante camino como Técnico de sonido, profundizando en RF, Redes y Grabación en Directo; Actualmente se ha especializado en Mezcla y Ajuste de Sistemas para eventos de música electrónica, ruta que lo ha llevado a ser en los últimos años Productor de Sonido de eventos y festivales en la ciudad de Barcelona. Melómano DJ piloto del proyecto Overdub_8, inicia sus pasos laborales y formación empírica en la empresa CVilar, nuestro invitado comparte su historia para asentarse en un gremio tan competitivo, y fuera de su país; reconoce que además de los conocimientos, la actitud y el manejo de otro idioma, son dos factores importantes que le han ayudado a proyectarse profesionalmente. Casi premonitorio, toca el tema del pasado cierre de fronteras en la crisis del 2008 en Europa, menciona a Francia, España, Alemania y EEUU con relación a sus políticas de inversión en cultura y entretenimiento, también la importancia de las agremiaciones para hacer valer las jornadas de trabajo y dar garantías a los trabajadores que se traducen en calidad de los shows y el ambiente laboral. Reconoce el buen nivel que tiene Colombia en sus producciones de buen presupuesto y según lo que vivió en el pasado en su país natal, resalta la voluntad de compartir conocimiento por parte de sus colegas españoles. David explica lo que significa ser productor de sonido, el cargo de A1 y A2 para producciones internacionales, su gestión en un evento corporativo o en un festival como el mirafestival. Recuerda un show con thepinkertones en el Central Park de NY y el cierre del festereopicnic en su 6ª versión, como los dos shows más emocionantes donde ha trabajado. Finalmente nos deja dos mensajes importantes; recibir y fluir con las oportunidades o situaciones que se van dando en la búsqueda de nuestro propio objetivo así no vayan en línea con las metas que nos proponemos; y que un líder debe enfocarse en la solución y no en el problema. Sin duda un episodio que vale la pena escuchar. Gracias a David por su disposición y buena onda, y a ustedes por compartir y comentar en los diferentes canales donde nos escuchen. Hasta la próxima! LinkedIn de David La música de este podcast es creación de Jason Shaw de audionautix.com

Programme de Pascal Deleuze, Pierre Bastien, Guillaume Séguron pour webSYNradio : « Rituel » Overdub. En avant première de leur concert au théâtre de la Carreterie à Avignon, nos trois artistes offrent aux auditeurs de webSYNradio un enregistrement overdub élaboré à partir des indications artistiques de Pascal Deleuze, initiateur du projet.

Your Daily Rec: Nyoom--Subscribe now for great recommendations, Monday through Friday!

In this episode, we provide perspective and conversation on the City of Little Rock appointing the first ever Citizen Review Board and the first ever Chief Education Officer, and Little Rock being named the next top foodie destination . We also talk with Senator Joyce Elliott regarding her upcoming election to become the Arkansas' first female and the first black member of the United States Congress. --- Send in a voice message: https://anchor.fm/arktimes-rock-the-culture/message

Quando colocamos um vídeo daquele artista pra assistir, mal podemos imaginar a quantidade de pessoas que estão envolvidas em todos os processos que consistem na gravação de uma apresentação ao vivo. Tempo é dinheiro, e sendo assim, os empresários e produtores tendem a controlar ao máximo a condução desses shows para que nada dê errado. No fim, a verdade é que depois de sabermos de tudo que pode ser manipulado para que o resultado dessas gravações seja bom, parte da magia de se assistir um vídeo ao vivo vai embora. Ou será que não?Foi sobre tudo isso que João Paulo, Henrique Machado e o convidado Gustavo Garcia, técnico de áudio que trabalha diretamente com inúmeros músicos de sucesso aqui no Brasil conversaram neste episódio do Troca o Disco.

SUPPORT THE SHOW: https://glow.fm/podcastjunkies/Does your podcast app support Chapter Marks? They're included in this episode!TWEETABLE QUOTES“There’s something that we’ve learned which is when you build a tool that has elements of magic, people start expecting the entire thing to be magic.” (09:36)“‘Deep Fake’ is the broader term that people use to talk about A.I.-generated media that’s simulating a person somehow.” (13:09)“My job as a CEO is not to have ideas. I feel like I’m doing my job well when I don’t have any good ideas and they’ve all been covered by the team.” (20:21)“That’s the most fun part of the company is trying to figure out, ‘How can we make the workflow of our customers even more efficient and faster? How can we make this tool even more expressive?’” (24:59)“Let’s just say there’s a checkered history of pre-launch companies raising thirty, forty, fifty, a hundred million dollars. That would terrify me. I like the idea of doing something that’s kinda small and getting out there to get market validation before you are responsible for that much of someone’s money.” (29:57)“I’m a believer in not polluting the world with more random opinions from people who don’t matter.” (32:28)“Audio is the easiest form of content to create; you just open your mouth. But it’s probably the hardest to edit, and Overdub will change that.” (37:11)LINKS MENTIONEDLinks to all past episodesAndrew’s WebsiteAndrew’s LinkedInAndrew’s TwitterPodfest WebsitePodcast Movement WebsiteLink to KrispLink to LuminaryLink to Sandwich

Robbie Casa Blanco - Redux Inc - 1st Hour 1. Life Is A Dancefloor - The Shapeshifters feat. Kimberly Davis - Robbie Casa Blanco - Redux Inc 12 inch Recut 2019 2. Fever - Qwestlife feat. Sugarhill Gang, Siedah Garrett & GrandMaster Melle Mel & - Robbie Casa Blanco - Redux Inc 12 inch Recut 2019 3. Can't Live Without Your Love" (JN Space Disco mix) (8:46) -Remixed With Love by Joey Negro: 2019 Sampler 4. put your body into it Stephanie Mills , Tom Moulton Unreleased Promo Remix 2019 5. Real Love - Drizabone - Robbie Casa Blanco’s 2019 Remix. 6. Deja - Simon Kennedy Dubplate Disco Remix 2019 7. Heed the Message - Al McKay Allstars - (Joey Negros Extended Mix ) - Robbie - Casa Blanco’s “ba dap baa” Overdub 2018 8. Harvy Mason - Groovin' You [Dr Packer Rework] - Unreleased 9. Groove On [Remix] Umbo & Pips 2019 10. Ain’t it Bad - Ralph Rosario’s Vinyl only Disco Mix 2019 Matt Campbell , 2nd Hour 1. Moussa Davis feat Kelby, Geriel - Leave Me Lonely (Leeroy Daevis Remix) 2. Moon Rocket, Re-Tide, LauMii - Chocolate (Original Mix) 3. Horse Meat Disco feat. Kathy Sledge - Falling Deep In Love (Joey Negro 12” Disco Blend) 4. Foreal People, Joey Negro - Shake (Dr Packer Re-Shake) 5. YolaDisko - You Come Along (Original Mix) 6. Chris Willis & Lenny Fontana - Top Of The World (OPOLOPO Remix) 7. Husky feat. Brazen - Only One Way (Michael Gray Remix) 8. JKriv feat. Adeline - Vertigo (JN Spirit Of 78 Mix) 9. Soulcall feat. Angelina Caplazi - Sometimes (Original Mix) 10. Ben Smethurst feat. Barbara Tucker - Don't Wanna Lose Your Love (David Morales Def Mix) 11. Midnight Pool Party - Secret (LEFTI Remix)

Robbie Casa Blanco - Redux Inc - 1st Hour 1. Life Is A Dancefloor - The Shapeshifters feat. Kimberly Davis - Robbie Casa Blanco - Redux Inc 12 inch Recut 2019 2. Fever - Qwestlife feat. Sugarhill Gang, Siedah Garrett & GrandMaster Melle Mel & - Robbie Casa Blanco - Redux Inc 12 inch Recut 2019 3. Can't Live Without Your Love" (JN Space Disco mix) (8:46) -Remixed With Love by Joey Negro: 2019 Sampler 4. put your body into it Stephanie Mills , Tom Moulton Unreleased Promo Remix 2019 5. Real Love - Drizabone - Robbie Casa Blanco’s 2019 Remix. 6. Deja - Simon Kennedy Dubplate Disco Remix 2019 7. Heed the Message - Al McKay Allstars - (Joey Negros Extended Mix ) - Robbie - Casa Blanco’s “ba dap baa” Overdub 2018 8. Harvy Mason - Groovin' You [Dr Packer Rework] - Unreleased 9. Groove On [Remix] Umbo & Pips 2019 10. Ain’t it Bad - Ralph Rosario’s Vinyl only Disco Mix 2019 Matt Campbell , 2nd Hour 1. Moussa Davis feat Kelby, Geriel - Leave Me Lonely (Leeroy Daevis Remix) 2. Moon Rocket, Re-Tide, LauMii - Chocolate (Original Mix) 3. Horse Meat Disco feat. Kathy Sledge - Falling Deep In Love (Joey Negro 12” Disco Blend) 4. Foreal People, Joey Negro - Shake (Dr Packer Re-Shake) 5. YolaDisko - You Come Along (Original Mix) 6. Chris Willis & Lenny Fontana - Top Of The World (OPOLOPO Remix) 7. Husky feat. Brazen - Only One Way (Michael Gray Remix) 8. JKriv feat. Adeline - Vertigo (JN Spirit Of 78 Mix) 9. Soulcall feat. Angelina Caplazi - Sometimes (Original Mix) 10. Ben Smethurst feat. Barbara Tucker - Don't Wanna Lose Your Love (David Morales Def Mix) 11. Midnight Pool Party - Secret (LEFTI Remix)

En NotiPod Hoy: Descript lanza en beta ”Overdub” un nuevo servicio que con inteligencia artificial ayudará a los podcasters a replicar su propia voz y hacer correcciones en el audio, corrigiendo el texto escrito que genera el software. Agustín Espada, de la Universidad Nacional de Quilmes en Argentina aseguró a la revista Crisis, que el podcast no está llegando a un pico de consumo porque las proyecciones del negocio apuntan hacia un aumento del volumen publicitario y esto implica también un crecimiento en la producción profesional de tipo de contenidos. ”The Daily” el exitoso pódcast del The New York Times acaba de lograr las 1000 millones de descargas con casi 700 programas, desde que comenzó en febrero de 2017. El conocido bloguero estadounidense Pérez Hilton dice que el audio se ha convertido en una pasión para él, ya que el pódcast que hace desde el 2015 le ha permitido hablar de las cosas que le apasionan. Media Village explica cómo compañías (por ejemplo, NPR) promocionan sus podcasts. Sam Sanders, anfitrión del pódcast de entrevistas de National Public Radio ”It’s ‘Been a Minute con Sam Sanders” dio el discurso de apertura de la serie de eventos ”The Podcasting Revolution” con el que buscan incentivar a otros a iniciar su camino en este formato. Dan voz a los sobrevivientes de abuso doméstico y sexual a través del pódcast “I’m Not In An Abusive Relationship”, lanzado en marzo, por una organización sin fines de lucro en Michigan, Estados Unidos. 25 podcasters revelan los beneficios de crear un pódcast. Pódcast recomendado: “Mujeres que no fueron tapa”, un pódcast en el que se entrevista a mujeres que con sus ideas e historias han transforman la realidad. Lo conduce su fundadora Lala Pasquinelli, artista visual, activista y comunicadora. Su objetivo es visibilizar la desigualdad con la que muchas veces los medios muestran la imagen de mujeres y hombres para reproducir estereotipos. Más detalles y otros episodios y contenidos sobre podcasting en ViaPodcast.FM

Gravar com a banda toda tocando ao vivo como nas antigas ou gravar com overdubs? Nesse vídeo falamos sobre este tema.

I did a quick overdub for the first track in my set last Sunday at the Midway SF and it was a total hit! Got a lot of chuckles and giggles! Thank you @vlad_jet for this track. I love it! Peace & Love! Bookings: hooman@therev.me Blog: http://therev.me FB: http://www.facebook.com/therevhooman SC: http://www.soundcloud.com/therevhooman MC: https://mixcloud.com/hooman4u/ Insta: http://www.instagram.com/therevhooman

An old whore´s knowledge has always been a major threat to the heteronormative and bourgeois society. This set begins with the fabulous work of Paola Revenioti, trans activist and one of Greece´s most important heroines, where she interviews a lovely sex worker on the street asking what men ask of her. Of course the answer is that they all love to receive and to feel more female than even herself. This set is packed with tracks of Simian Mobile Disco, Ellen Allien, Jimmy Edgar, Strip Steve, Tiga and so much more, which I played or intended to play on the Queetroniqa II party in Athens. Enjoy it! Tracklist: 1. Paola Revenioti - What the men desire of Syriani 2. CSS - Let's Make Love and Listen to Death from Above (Simian Mobile Disco Remix) 3. Villeneuve - Oh No (Puzique Remix) 4. Soulwax - Essential One 5. Deepneue - He's Fresh (Lipstick Trash Rework) 6. Jennifer Cardini & Shonky - Tuesday Paranoia 7. Jimmy Edgar - Sex Drive (Jon Convex Remix) 8. Strip Steve - One Thing (Jimmy Edgar Remix) [feat. Robert Owens] 9. Ellen Allien - Call Me (Gerd Janson Remix) 10. LFO - Tied Up Electro 11. Zombie Zombie - Rocket Number 9 (Gesaffelstein Remix) 12. Handbraekes - All Nite Long 13. Myd - Again 14. Strip Steve - The Freaks 15. Tiga - Pleasure from the Bass (Subb-an Remix) 16. CHVRCHES - Leave a Trace (Four Tet Remix) 17. Shadow Dancer - It's the Everything 18. DeMarzo - When They Come For You 19. Tiga - Overtime (Motor City Drum Ensemble Tape Dub Mix) 20. Boys Noize - Overthrow (Boys Noize 303 Overdub) 21. Simian Mobile Disco - Seraphim (SMD Extended Mix)

This talk was delivered in Mexico City on February 25, 2019 as part of the Lenin Forum with Yaron Brook, Gloria Alvarez, Carlos Maurer, and Tal Tsfany. This is part 1 of 2.Like what you hear? Become a sponsor member, get exclusive content and support the creation of more videos like this at https://www.yaronbrookshow.com/support/, Subscribestar https://www.subscribestar.com/yaronbrookshow or direct through PayPal: paypal.me/YaronBrookShow.Want more? Tune in to the Yaron Brook Show on YouTube (https://www.youtube.com/ybrook). Continue the discussions anywhere on-line after show time using #YaronBrookShow. Connect with Yaron via Tweet @YaronBrook or follow him on Facebook @ybrook and YouTube (/YaronBrook).Want to learn more about Objectivism? Check out ARI at https://ari.aynrand.org.

♫ It's the most frightful time of the year ♫ Pour l'épisode 18, je vous fais découvrir les meilleurs mashups d'Halloween, provenant des films et des séries, du folklore moderne américain et je vous pousse quelques suggestions de tounes de party! (82min)

In Episode One, your host has a bizarre encounter, rustles some newspapers, gets a sponsor, offers some much-needed opinions, delves into the world of words, stumbles on some historical underhandedness, mishandles the radio dial with spectacular consequences, compares books to TV and tells a story that's sure to send the punters home with a glow in their hearts and a fire in their brains.    The ASTONISHINGSODCAST is the world's first ever podcast on Earth by the writer and fool James Thomas, a.k.a. Astonishing Sod. If you're looking for something to laugh at, then point your head at this podcast until chuckles fall out of your mouth tube. Huzzah!

Tony H (Opening Set) 1) Snap&Clap - Jam2)Matteo Gargallo, Fede Key - Alright3) Doc Martin - Monday at Old Miami feat. Lillia (Mikey Lion & Lee Reynolds' Still Trippin' Remix)4) Big Shaq - Mans Not Hot (Return of the Jaded Remix)5) Delgado, Darren Fletcher - Itches & Bitches6) Treasure Fingers, Vanilla Ace - Sweat7) Friend Within - RGB8) Ciszak - Gas Pedal Tastiest Track of the Week:Astronomar, Sage Armstrong - 100 MPH Simon Houser (Guest Mix) 1) DJ E-Clyps VS Ca$h Out - Hollup2) Amine Edge & DANCE, Sergy - Bad Influence (Jesse Perez Remix)3) Lucky T. - Holding Hands4) Tim Baresko - Beggin5) Bruno Furlan - Chicago6) DJ E-Clyps - Pleasure7) Larry Heard, Mr. White - The Sun Can't Compare (Long Version)8) Boys Noize - Overthrow (Boys Noize 303 Overdub) www.facebook.com/djtonyh507www.facebook.com/latenightmunchiesmusicwww.twitter.com/djtonyh507www.twitter.com/lnmmusic Presented and Produced by Tony H

Episode 13: This mix features tracks from:   1 Recondite-Warg (Original Mix) 2 Boys Noize-Overthrow (Boys Noize 303 Overdub) 3 Sian-Pause (Oliver Koletzki & Reinier Zonneveld Remix) 4 Marco Faraone-Spectre (Original Mix) 5 Laurent Garnier-From The Crypt To The Astrofloor (Original Mix) 6 Ghost Culture-Safe 7 Patrice Baumel-This World (Original Mix) 9 Amelie Lens-Contradiction (Original Mix) 11 Donato Dozzy-Quadra Sette 12 Robert Hood-Lockers 13 Surgeon-Search 14 Etapp Kyle-Ahora

Hoy hablamos de la serie “13 Reasons Why” que causa furor en Netflix, a raíz de esta serie hacemos un repaso de aplicaciones para emular nuestros dispositivos como viejas grabadoras de Cassettes. Apps mencionadas: Overdub https://itunes.apple.com/us/app/overdub/id460175493?mt=8 Delitape https://itunes.apple.com/us/app/delitape-deluxe-cassette-player/id501938280?mt=8 También te contamos de Audio Ninja, un juego altamente adictivo Audio Ninja https://itunes.apple.com/ar/app/audio-ninja/id656833778?mt=8 No dejes de seguimos en @BairesMac y @davicitoloco, Instagram @BairesMac, o suscribirte en: Audioboom https://audioboom.com/channel/bairesmac iTunes https://itunes.apple.com/us/podcast/bairesmac/id506757753?mt=2 Google Play Music https://play.google.com/music/listen#/ps/Iaxe45ymclhh2735xenzk5md5t4 Stitcher http://www.stitcher.com/podcast/bairesmac iHeart https://www.iheart.com/show/270-BAIRESMAC TuneIn http://tunein.com/radio/BairesMAc-p984207

Themen: Toxrox Music Productions - Harald-Ingemar Noiges Werwolf-Attacke Live! Mischen, Mixing Weitere Infos: Overdub YouTube-Channel von ToXRoX Music Production, die Produktionsfirma von Harald-Ingemar Noiges Details zur Folge

The X-Ecutioners and Ipecac Recordings.

The song "Bellarthur An Albino" and the challenge of overdubbing six trombones together. Plus goodies from Guygax and Deerhoof.

(00:10) Mammals 2012 [feat. Siddharth Basrur and Sunneith Revankar] by Spiral Mountain from Spiralmountain (BY-NC-ND) (04:37) Man vs Machine by Raze from Man Vs Machine (BY) (09:08) Ghosts by Ophyra from Post Mortem (BY-NC-ND) (15:12) Machines of War by Severed Fifth from Liberate (BY-NC-SA) (19:09) On A Chain by Overdub from Overdub (BY-NC-ND) (27:48) Electrocuted by Prajna from Lost in the Void (BY-NC-SA) (31:51) Take Me Over by Serenades from Father (BY-NC-ND) (36:38) Tennis Football Basketball by Carnaval (BY-NC-SA) Please support the bands in this show! Buy a T-Shirt, head to the shows, or buy them a dozen roses. Whatever you can do to help these bands keep making music, please do it! If you have any suggestions for Creative Commons licensed metal, send me a link at craig@openmetalcast.com. Open Metalcast #40 (MP3) Open Metalcast #40 (OGG)

We discuss music we hate, and music we REALLY hate, and giggle madly. Artwork by Audrey Flaim. All music belongs to their respective owners. Outro by Overdub, Radiohead mash up named "Five Step". You're still reading this?

In this HOW TO Pro Tools tip, we show you how to use QuickPunch to perform on-the-fly non-destructive overdubs. To check out the full length version of this HOW TO, check out HOW TO: Pro Tools-PRM.

In this HOW TO: Logic Pro Tip, we show you how to use cycle-record mode to build a drum loop. To view the full version of the HOW TO, check out HOW TO: Logic Pro PRM bundle 1 at www.TutorialDEPOT.com.