Podcasts about Robbo

Mo and Robbo look at how Liverpool players have been getting on for their countries, preview the big game with Manchester United and look back on their weekend adventures Donate to Robbo's Just Giving page here: https://www.justgiving.com/fundraising/gareth1758534925269 You can support us financially to keep the show going in two ways, either: 1. By subscribing to our Patreon show for as little as £1 per week. Just click this link and the "Join For Free" button to get a 7 day free trial that you can cancel easily at any time after watching over 40 subscriber shows: https://www.patreon.com/TheLateChallengePodcast 2. If you don't want to subscribe, you can make a one off contribution to support the show by clicking this link: https://www.buymeacoffee.com/thelatechallenge We appreciate any support, no matter how big or small, and we also appreciate that times are tough for many people so if you can't afford to support the show financially we completely understand. If you'd like to help us in another way, please like our videos, subscribe to the YouTube channel and share the podcast with your friends and family.

Ever wondered what those strange wooden grids on studio walls actually do? In this week's episode, the guys dive into diffusers — how they work, when to use them, and why your small booth might not be the best place for one. We also chat about the brand-new Austrian Audio CC8 Supercardioid — the latest addition to their small-diaphragm condenser range — and how it performs in real-world sessions. From quadratic and skyline diffusers to the mysterious Fresnel-style designs, we break down what each type does to your sound, and why diffusion is often misunderstood. George shares insights from a beautifully treated garden-shed studio (yes, really), Robbo recalls diffusers hanging as ceiling “clouds” at Foxtel, and the crew even take a detour into restaurant acoustics — because if you can't hear your dining partner, maybe they need better room treatment too! Whether you're building a home studio or just want your booth to sound a little bigger, this one's packed with real-world advice (and a few laughs along the way).

On the latest Transfer Show, Dave Davis brings you all the newest Liverpool transfer news, including the latest on Guehi's potential move to Liverpool, with discussions on other clubs entering the race for the England centre half & Andy Robbo's final season? Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week on Skip the Queue, we're stepping into the turret and turning up the tension, as we explore one of the UK's most talked-about immersive experiences.Our guest is Neil Connolly, Creative Director at The Everywhere Group, who have brought The Traitors Live Experience to life. With over 10 million viewers watching every betrayal, backstab and banishment on the BBC show, expectations for the live version were nothing short of murderous.So, how do you even begin to transform a TV juggernaut into a thrilling, guest-led experience? Let's find out who's playing the game… and who's about to be banished…Skip the Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them increase their visitor numbers. Your host is Paul Marden.If you like what you hear, you can subscribe on iTunes, Spotify, and all the usual channels by searching Skip the Queue or visit our website SkiptheQueue.fm.If you've enjoyed this podcast, please leave us a five star review, it really helps others find us. And remember to follow us on LinkedIn. Show references: The Traitors Live website: https://www.thetraitorslive.co.uk/Neil's LinkedIn: https://www.linkedin.com/in/neil-connolly-499054110/Neil Connolly is a creative leader of design and production teams focused on development, production and installation of live theatre, entertainment, multi-media and attractions for the themed entertainment industry worldwide.Neil began his career as a performer, writer, producer & artist in Londons alternative theatre/art scene. It was during this time Neil developed a love and passion for story telling through the platform of interactive playable immersive theatre.Having been at the vanguard of playable & immersive theatre since 2007, Neil had a career defining opportunity in 2019 when he devised, wrote & directed an immersive experience as part of Sainsbury's 150th Birthday Celebrations. Making him the only immersive theatre & game maker in the world to have HRH Elizabeth Regina attend one of their experiences.In a distinguished career spanning 20 years, Neil has brought that passion to every facet of themed entertainment in the creative direction and production of attractions such as; Handels Messiah, Snowman & The Snowdog, Peppa Pig Surprise Party, Traitors Live, The Crystal Maze Live Experience, Tomb Raider Live Experience & Chaos Karts, an AR go-kart real life battle. Other clients and activations include: Harrods, Sainsbury's, Camelot/The National Lottery, Samsung, Blenheim Palace, Land Rover and Warner Brothers.Neil has worked across 4 continents for many years with private individuals; designing, producing and delivering live entertainment on land, sea & air. A world without boundaries requires freethinking.Neil is currently working with Immersive Everywhere on creative development of show and attraction content for projects across U.K, Europe, North America & Asia. Transcriptions:  Paul Marden: This week on Skip the Queue, we're stepping into the turret and turning up the tension as we explore one of the UK's most talked about immersive experiences.Paul Marden: Our guest is Neil Connolly, Creative Director at The Everywhere Group, who've brought The Traitor's live experience to life. With over 10 million viewers watching every betrayal, backstab and banishment on the BBC show, expectations for the live version were nothing short of murderous. So how do you even begin to transform a TV juggernaut into a thrilling guest-led experience? Let's find out who's playing the game and who's about to be banished.Paul Marden: So, we're underground. Lots of groups running currently, aren't they? How did you make that happenNeil Connolly: Yeah, so now we're two floors under us. There's a lower basement and some other basement. So the building that we are in, there's a family in the 1890s who owned all of the land around Covent Garden and specifically the Adelphi Theatre.Paul Marden: Right.Neil Connolly: And they wanted their theatre to be the first theatre in the UK to have its lights powered by electricity. So they built their own private power station in this building. Like, literally like, all this, this is a power station. But unfortunately for these the Savoy had taken to that moniker, so they quickly built their important institution. The family had this building until the 1980s when the establishment was assumed through the important UK network.Neil Connolly: And then it was sat there empty, doing nothing for 40 years. And so the landlord that is now started redeveloping the building 10 years ago, added two floors onto the top of the building. So now what we're in is an eight-storey structure and we've basically got the bottom four floors. Two of which are ground and mezzanine, which is our hospitality area. And the lower two floors, which are all in the basement, are our experience floors. What we're looking at right now is, if you look off down this way to the right, not you people on audio, but me here.Neil Connolly: Off this side is five of the round table rooms. There's another one behind me and there's two more upstairs. And then I've got some Tretters Towers off to the left and I've got my show control system down there.Neil Connolly: On the floor above me, we've got the lounges. So each lounge is connected to one of the round table rooms. Because when you get murdered or banished, one of the biggest challenges that I faced was what happens to people when they get murdered or banished? Because you get kicked out of the game. It's not a lot of fun, is it? Therefore, for me, you also get kicked out of the round table room. So this is a huge challenge I face. But I built these lounge concepts where you go— it's the lounge of the dead— and you can see and hear the round table room that you've just left. We'll go walk into the room in a while. There's lots of interactivity. But yeah, super fun. Neil Connolly: But unfortunately for these the Savoy had taken to that moniker, so they quickly built their important institution. The family had this establishment until the 1980s when the establishment was considered through the important UK network.Paul Marden: Yeah. So we've got 10 million people tuning in to Traitors per episode. So this must be a lot of pressure for you to get it right. Tell us about the experience and what challenges you faced along the way, from, you know, that initial text message through to the final creation that we're stood in now.Neil Connolly: So many challenges, but to quote Scroobius Pip on this, do you know Scroobius Pip? Paul Marden: No. Neil Connolly: Great, he's amazing. UK rapper from Essex.Neil Connolly: Some people see a mousetrap and think death. I see free cheese and a challenge.Neil Connolly: There's never any problems in my logic, in my thinking. There's always just challenges to overcome. So one of the biggest challenges was what happens to people when they get murdered or banished. The truth of the matter is I had to design a whole other show, which happens after this show. It is one big show. But you go to the Lounge of the Dead, there's more interactivity. And navigating that with the former controller, which is O3 Media and IDTV, who created the original format in the Netherlands, and basically designing a game that is in the world and follows the rules of their game with some reasonable adjustments, because TV and live are not the same thing.Neil Connolly: It takes 14 days to film 12 episodes of The Traitors. Paul Marden: Really? Okay. Neil Connolly: So I was like, how do I truncate 14 days of somebody's life down into a two-hour experience and still deliver that same impact, that same power, that same punch?Paul Marden: Yep.Neil Connolly: But I knew from the beginning of this that it wasn't about time. There is a magic triangle when it comes to the traitors, which is time, space, atmosphere. And time was the thing that I always struggled with. I don't have a Scottish cattle show, and I don't have two weeks. No. So I'm like, 'Cool, I've got to do it in two hours.' So our format follows exactly the same format. We do a breakfast scene, then a mission, then a roundtable banishment, then there's a conclave where the traitors meet and they murder somebody. And I do that in a seven-day structure, a seven-day cycle. But it all happens within two hours around this round table.Neil Connolly: I'm the creative director for Immersive Everywhere. We're a vertically integrated structure in the sense that we take on our own venues. So we're now standing in Shorts Gardens in the middle of Covent Garden. So we've leased this building. We've got a lease that is for a number of years and we have built the show into it. But we also identify the IP, go after that ourselves, we capitalise the projects ourselves. We seek strategic partners, promoters, other people to kind of come involved in that journey. But because we're also the team that are licensing the product, we are also the producers and I'm the creative director for that company. So I developed the creative in line with while also getting the deal done. This is incredibly unusual because other producers will be like, 'Hey, I've identified this IP and I've got it.' Now I'm going to approach a creative agency and I'm going to get them to develop the product. And now I've done all of that, I'm going to find someone else to operationally put it on, or I'm going to find a venue to put it on in, and then I'm going to find my ticketing partner.  But we don't do that. We have our own ticketing platform, and we have our own database, so we mark our own shoulders.Neil Connolly: As well as other experiences too. Back, we have our own creative industry, we are the producers, we are the female workers. So we cast it, we hire all the front of house team, we run the food and beverage, we run the bars. The operations team is our operations team because they run the venue as well as the show at the same time. So that's what I mean. We're a vertically integrated structure, which means we do it, which makes us a very unusual proposition within... certainly within the UK market, possibly the world. It makes us incredibly agile as a company and makes us to be able to be adaptive and proactive and reactive to the product, to the show, to the market that we're operating in, because it's all under one roof.Neil Connolly: This show started January 24th, 2023. Right. It's very specific because I was sitting on my sofa drinking a lovely glass of Merlot and I had just watched... UK Traitors, Season One. Yep. Because it came out that Christmas. Immediately I was like, 'Oh my God, this is insane.' And then I got a text message that particular night from our head of licensing, a guy named Tom Rowe, lovely man. And he was like, Neil, I'm at a licensing event with some friends of mine and everyone's talking about this thing called Traitors. I've not watched it. Have you watched it? Sounds like it might be a good thing. And so I sat back and drank my Merlot. And about five minutes later, I text him back and I was like, Tom, get us that license.Neil Connolly: And then I sent him a bunch of other details of how the show in my head would work, both from a commercial standpoint, but also from a creative standpoint, because I'm a commercially minded creative. Right. So I instantly took out my notebook and I started writing down exactly how I thought the show was going to do, the challenges that we would face and being able to translate this into a live thing. But I literally started writing it that night. And then he watched the first episode on the train on the way home. And then he texted me the next morning and he was like, 'I love it.' What do we need to do? And I was like, 'Get us in the room.' Two days later, we were in the room with all three media who own the format globally.Paul Marden: Okay.Neil Connolly: So we sat down and then they came to see one of our other shows and they were like, 'Okay, we get it now.' And then that was like two and a half years of just building the show, getting the deal done and facing the myriad of challenges. But yeah, sometimes it just starts with the text message.Paul Marden: So they get to experience all the key parts of the TV.Neil Connolly: All the key beats. Like right now, I'm holding one of the slates. They're not chalkboard slates. Again, this is... Oh, actually, this is a good challenge. So in the TV show, they've got a piece of slate and they write on it with a chalkboard pen. This seems so innocuous and I can't believe I'm talking about this on a podcast.Neil Connolly: Slategate was like six months of my life. Not in its entirety, but it was a six month long conversation about how we do the slates correctly. Because we do... 48 shows a day, six days a week. And those slates will crack. They will bash. And they're kind of a bit health and safety standards. I was like, can't have them. Also, they write on them with chalk pens, white ink chalk pens. But in the TV show, you only do it once a night. Yeah.Paul Marden: And then you have a producer and a runner.Neil Connolly: They just clean them very, very leisurely and set them back for the next day. And I was like, no, I've got to do a whole bunch of roundtable banishments in two hours. So we talked a lot about material, about style, literal viewership, because if you take a seat at the table. Yeah. If you're sitting at the table here, you'll notice that we've got a raised bit in the middle. If I turn mine around, the other person on the other side can't see it. So I was like, 'Okay, cool.' So we had to do a whole bunch of choreography. But also, the room's quite dark. Yes. At times, atmospheric. Yeah. In that magic triangle time-space atmosphere. So anything that was darker, or even that black slate, you just couldn't read it. And then there was, and then I had to— this is the level of detail that we have to go into when we're designing this kind of stuff. I was like, 'Yeah, but I can't clean off these slates with the white ink because everyone will have to have like a wet cloth chamois. Then I've just got loads of chamois around my venue that I just don't need.' And so then we're like, 'Oh, let's use real slates with real chalk.' And I was like, 'No, because dust will get everywhere.' I'll get chalk just all over my table. It'll just ruin everything. It'll ruin the technology that's inside the table because there's lots of hidden tricks inside of it. Paul Marden: Is there really? Yeah, yeah, yeah.  Neil Connolly: There's loads of hidden tricks inside the table. So after a while, going through many different permutations, I sat down with Christian Elenis, who's my set designer and my art director. And we were, the two of us were nearly in tears because we were like, 'We need,' and this only happened like.Neil Connolly: I would say two, three weeks before we opened. We still hadn't solved how to do the slate, which is a big thing in the show. Anybody who's seen the show and loves the show knows that they want to come in, they want to write somebody's name on the slate, and they want to spell the name incorrectly.Neil Connolly: Everyone does it on purpose. But I wanted to give people that opportunity. So then eventually we sat down and we were like, Christian, Neil. And the two of us in conversation went, why don't we just get a clear piece of Perspex, back it with a light coloured vinyl. And then Christian was like, 'Ooh,' and I'll make it nice and soft and put some felt on the back of it, which is what I'm holding. And then why don't we get a black pen? And we were like, 'Yeah,' like a whiteboard marker. And then we can just write on it. And then A, I can see it from the other side of the table. Thing one achieved. Two. Every marker pen's got an eraser on the top of it. I don't know why everyone thinks this is important, but it is. That you can just rub out like that, and I'm like, 'There's no dirt, there's no mess, and I can reuse this multiple times, like dozens of times in the same show.' And I know that sounds really weird, but that's the level of design I'm going to need.Paul Marden: I was just about to say, and that is just for the chalkboard. Yeah. Now you need to multiply that. How many decisions?Neil Connolly: How many decisions in each game. But also remember that there are eight round tables in this building. Each round table seats 14 people. And we do six sessions a day. So first ones at 10 a. m. Then we do 12, 2, 4, 6, and 8 p. m. So we do 48 shows a day, six days a week.Paul Marden: I love the concept that these are shows. This is not this is not visitor attraction. This is theater repeated multiple times a day for multi audience is concurrently.Neil Connolly: And I've just spent five minutes describing a slate to you. Yeah. But like, I haven't even got— it's like the sheer amount of technology that is in the show. And again, theatrical, like, look above our heads. Yeah. You've got this ring light above every seat. It's got a pin light. There's also microphones which are picking up all the audio in the room, which again is translating to the lounge of the dead. Every single one of the round table rooms has four CCTV cameras. Can you see that one in the corner? Each one of them is 4K resolution. It's quite high spec, which is aimed at the opposite side of the table to give you the resolution in the TV. In the other room. Then you've got these video contents. This is constantly displaying secret information through the course of the show to the traitors when they're in Conclave because everyone's in blindfolds and they took them off. They get secret instructions from that. There's also a live actor in the room. A live actor who is Claudia? They're not Claudia. They're not pastiches of Claudia. They are characters that we have created and they are the host of The Traitor's Game. Right. They only exist inside this building. We never have them portrayed outside of this building in any way whatsoever.Neil Connolly: They are characters, but they live, they breathe— the game of Traitors, the world of Traitors, and the building that we have designed and constructed here. And they facilitate the game for the people. And they facilitate the game for the people. One actor to 14 people. There are no plants, even though everyone tries to tell me. Members of the public will be convinced that they are the only person that's in that show and that everyone else is a plant. And I'm like, no, because that would be insane.Neil Connolly: The only actor in the room is the host.Paul Marden: 14 people that can sit around this table. How many of them are in the same group? Are you with your friends or is it put together where there are other people that you won't know in the room? If you book together, you play together.Neil Connolly: Yes. Okay, so if you don't book 14 people... Ah, we also capped the number of tickets that you can purchase to eight. Right. So you can only purchase a maximum of eight tickets unless you do want a full table of 14, at which point you have to then purchase a VIP package because you are booking out a whole table for yourselves. The game doesn't work if there's less than 10 people at the table. So there has to be 10, 11, 12, 13 or 14 people sat at a round table for the show to actually happen, for it to work. By capping the number of tickets that you book for eight, then that guarantees that strangers will be playing together. And that is the basis of strangers. Yeah, yeah. Like, you need to be sat around a table with people you know, you don't know, that you trust and you don't trust. Yeah. Fact of the matter. And do you see people turning on the others in their own group? Every single time. People think genuinely, and I love this from the public, you would think that if you're turning up as a group of eight and a group of four and a group of two, that the bigger group would just pick everybody off to make sure that someone in their group gets through to the end game.Neil Connolly: I'm sure they think that and they probably plot and plan that before they arrive on site. As soon as this game starts, gloves are off and everyone just starts going for each other. We've been open nearly two months now. I have seen, like, children murdered of their mothers.Neil Connolly: Husbands murder their wives, wives murder their husbands. I've seen, like, three generations—like, we get, because it's so intergenerational, like our lowest, the lowest age that you can play this is 12. Right. And then it's upwards. I've seen three generations of family come in and I've seen grandkids murder their own nan.Neil Connolly: Absolutely convinced that they're a traitor. Yeah, yeah, yeah. 100%. Or they banish them. Like, it's just mental. I've also seen nans, who are traitors, murder their grandkids.Neil Connolly: Like, and this is in a room full of strangers. They're just like, 'No, I'm not going to go for Barbara, who I met two hours ago in the bar. I'm going to go for my own grandson. It's mental.'Neil Connolly: The very, very first thing that I always think about whenever I'm creating an experience or whenever I'm designing a show is I put myself in the position of 'I'm a member of the public.' I have bought a ticketNeil Connolly: What's the coolest thing that I am going to do for my money? What is my perceived value of my ticket over actually what is the value of that ticket? I wanted to give people the experience of knowing what it was like to be sitting in one of these chairs at this table and feeling their heart. The pounding in their chest and I mean, the pounding in their chest, that rush of adrenaline from doing nothing— from sitting in a chair and all you were doing was sitting in a room talking to people and your heart is going.Neil Connolly: Because you're either being accused of being a liar. And trying to defend against it. And trying to defend against it. Or you actually are lying and you're trying to whittle your way out of it. And that feeling is the most alive that you will ever feel. Not ever. Like, I'm sure they're... No, no, no. But, like, give people that opportunity and that experience, as well as, like, access to the world of traitors and the law and everything else. But also, it's like any other theme park ride. People go on roller coasters because the imminent fear of death is always there. Yeah. And you feel alive. You're like, you've got such a buzz of adrenaline. Whereas, arguably, we do exactly the same thing as roller coasters, but in a much more longer-drawn format and multiple times. Yeah. And people do feel alive. When people walk out of the show, you see them go upstairs to the bar, and they are... Yeah.Paul Marden: You've said to me already that you don't use the word 'immersive,' but you know, I'm, I'm, I'm sat. The company is called 'immersive' everywhere. I'm sat behind the scenes. Okay. I'm sat in the room and the room is hugely convincing. It's like the highest fidelity escape room type experience that I've ever sat in. It feels like I'm on set, yeah, yeah. Um, I can totally believe that, in those two hours, you can slip. I sat on a game. It was only a two-minute game at iApple, but I was being filmed by one of the team. But within 30 seconds, I'd forgotten that they were there because I was completely immersed in the game. I can believe that, sitting in here right now, you could forget where you were and what you were doing, that you were completely submerged in the reality of the land that you're in.Neil Connolly: Yeah, 100%. Like, the world does not exist beyond these worlds. And for some people, like, I have my own definition. Everyone's got a different definition of what immersive is. I've got my own definition. But... I can tell you right now, as soon as people enter this building, they're in the bar, they're kind of slowly immersed in that world because the bar is a themed bar. It's done to the same, like we designed and built that bar as well. But as soon as they start descending that spiral staircase and coming into the gameplay floors, into the show floors, they just forget the rest of the world exists. And especially when they sit down at this table, it doesn't matter. I'm sat next to you here, but you could be sat at this table with your loved one, strangers, whatever. The gloves come off and just nothing exists apart from the game that you're about to go through.Paul Marden: You've been open now for a couple of months. More success than you were anticipating, I think. So pre-sales went through the roof? Yes. So you're very happy with the results?Neil Connolly: Yeah, yeah, we were. Yeah, well, we still are.Neil Connolly: We were very confident before we'd even started building the show, like the literal structural build, because we did very well. But then that set expectations quite high because I had a lot of people that had bought tickets and I was like, 'OK, I need to put on a good show for these people. And I need to make sure that they get satisfaction relative to the tickets that they bought.' But I don't feel pressure. I do feel anxiety quite a lot. Creatively? Yeah. I mean, I meditate every day.Paul Marden: But you've created this amazing world and you're inviting people into it. And as a creative, you're opening yourself up, aren't you? People are walking into the world that you've created.Neil Connolly: Yeah, this was said to me. This is not something that I came up with myself, and I do say this really humbly, but it was something that was said to me. It was on opening day, and a bunch of my friends came to playtest the show. And they were like, 'Oh, this is your brain in a building.'Neil Connolly: And I was like, 'Yeah, I hadn't thought about that.' But yeah, it is my brain in a building. But also that's terrifying, I think, for everybody else, because I know what happens inside my brain and it's really quite chaotic.Neil Connolly: But, you know, this I am. I'm so proud of this show. Like you could not believe how proud I am of this show. But also a huge part of my job is to find people that are smarter than me at the relative thing that they do, such as the rest of my creative team. They're all so much smarter than me. My job is vision and to be able to communicate that vision clearly and effectively so that they go, 'I understand.' The amount of times that people on the creative team turn around to me and go, 'Neil, that's a completely mental idea.' If people are saying to me, 'No one's ever done that before' or 'that's not the way things are done.'Neil Connolly: Or we can do that, but we're going to have to probably invent a whole new thing. If people are saying those things to me, I know I'm doing my job correctly. And I'm not doing that to challenge myself, but everything that I approach in terms of how I build shows is not about format. It's not about blueprints. It's not like, 'Hey, I've done this before, so I'm just going to do this again because I know that's a really neat trick.' I go back to, 'I made the show because I wanted people's heart to pound in their chest while they're sitting in a chair and make them feel alive.'Paul Marden: Is that the vision that you had in your head? So you're articulating that really, really clearly. Is that the vision that you sold to everybody on, not maybe day one, but within a couple of days of talking about this? No, it was day one.Neil Connolly: It was day one. Everyone went, that's a completely mental idea. But, you know, it's my job to try and communicate that as effectively and clearly as I can. But again, I am just one man. My job is vision. And, you know, there's lighting design, sound design, art direction, there's game logic. We haven't even gotten to the technology of how this show works yet, or how this room works.Neil Connolly: Actually, I'll wander down the corner. Yeah, let's do that. But, like, there's other, like, lots of hidden tricks. Like, this is one of the games, one of the missions. In the world and the lore of the show, the round table is sacrosanct.Paul Marden: Yes.Neil Connolly: Traitors is the game. The game is in other people. I can do so many missions and there's loads of missions and they're really fun in this show. But the game is in other people. It's in the people sat on the other side of the room. But also I wanted to do a thing where people could interact directly with the set. And so I designed one of the missions to be in the round table itself.Neil Connolly: So there's a course of these moon dials, which you basically have to align through the course of it. And there are sensors built into the table so that they know when they're in the correct position. How you find out the correct position is by solving a very, very simple puzzle and then communicating effectively to a bunch of strangers that you just met.Neil Connolly: And the sensors basically read it all. And when that all gets into position, the lights react, the sound reacts, the video content reacts, the whole room reacts to you. So I wanted to give people something tangible that they can touch and they make the room react to them. Yes, it's. I mean, I've designed, I've got background in escape rooms as well, right? Um, so I've done a lot of that kind of stuff as well. So I wanted people to feel in touch, same, but like, there's more tangible props over here. Um, yeah, that is a model box of the room that we are stood in, yeah. Also, there's an exact replica of it on the other side of it. There are very subtle differences between it, and that informs one of the missions. So that is two model boxes in this roundtable room. There's one of these in every single roundtable room. So there's 16 model boxes of the show that you're stood in on the set. And again, theatre. It's a show. But it's one of the missions, because I wanted people to kind of go, 'Oh, there's a live actor in front of me.' I'm having fun. Oh, look at all these lights and all the sound. Oh, there's a model box over here. That's in theatre land and blah, blah, blah. But that is also a really expensive joke. It's a really expensive joke. And there's other, like, lots of hidden tricks.Neil Connolly: Let's go look at backstage. Yeah, yeah, yeah, absolutely.Neil Connolly: I say backstage, like how we refer to it or how I always go. I use 'I' and 'we' very interchangeably. Like right now you're on the set. Like you're on the stage. Yes. We're just wandering around a long corridor. There are round table rooms off to either side. But like, you know, there's a green room upstairs where the actors get changed, where the front of house team are, where the bar team all are. But as soon as they go out onto the show floor, they're on stage—yes, completely. We'll very quickly have a look at the gallery—yes, show control. Hi, Robbo. Do you mind if I stand in your room for the purposes of the audio? I'm talking to the technical manager, Thomas Robson. We're recording a podcast.Paul Marden: Robbo, oh yeah, okay. My mind is absolutely blown. So you've got every single room up on screen.Neil Connolly: Yeah, so that's great. There's 164 cameras—something like that. But every roundtable room has four cameras in it. Each camera is 4K resolution. So we've got cameras on all of them. We've got audio into those rooms. That's two-way, so that if show control needs to talk directly to them, they just press a button here and they can talk directly to the room itself. Mainly just like, stop misbehaving, we're watching you.Neil Connolly: We've then got cameras into all of the lounges, all of the show spaces, all the front of house, all of the bar areas, the mezzanine and back of house. And then you've got QLab running across all of the different shows. We've got backups on all of these screens. So if one... of the computers goes down, we can very quickly swap it in for a backup that's already running. We've got show control, which is, there's a company called Clockwork Dog, who, they're an amazing company. What COGS, their show control system, is doing is pulling in all of the QLab from sound, all of the QLab from lighting, and also we built our own app. to be able to run the show. So there's a whole logic and decision tree based on the decisions that the public do through the course of the game. So yes, there is a beginning, a middle, and an end in terms of our narrative beats and the narrative story of the show that we're telling people. But also that narrative can go in. Hundreds of different directions depending on the actions and the gameplay that the people do during the course of the show. So, you haven't just learned one show— you have to learn like You have to learn a world, and you have to learn a whole game.Neil Connolly: Like, there's the server, stacks, which we had to build. You had to network and cable the entire building. So we have built an entire new attraction, which didn't exist before. And also we're pulling in information from the front of house system which is also going into the show itself because again, you put your name into the iPad when you arrive on site and then you tick a box very crucially to say, 'Do you want to be selected as a trader? Yes or No.' Because in the game, it's a fundamental rule. If you say no, you cannot be selected as a traitor by the host during traitor selection. That doesn't mean you can't be recruited.Paul Marden: By the traitors later on in the game. So you could come and do this multiple times and not experience the same story because there were so many different pathways that you could go down.Neil Connolly: But also, the game is in other people. Yes. The show is sat on the opposite side of the table to you because, like, Bob and Sandra don't know each other. They'll never see each other ever again. But Bob comes again and he's now playing against Laura. Who's Laura? She's an unknown quantity. That's a whole new game. That's a whole new show. There's a whole new dynamic. That's a whole new storyline that you have to develop. And so the actors are doing an incredible job of managing all of that.Paul Marden: Thanks, Robbo. Thank you. So you've worked with some really, really impressive leading IP, Traders, Peppa Pig, Doctor Who, Great Gatsby. What challenges do you face taking things from screen to the live experience?Paul Marden: Challenges do I face? We're wandering here.Neil Connolly: So we are in... Oh, we're in the tower.Neil Connolly: Excellent. Yep, so we're now in Traitor's Tower. Good time for you to ask me the question, what challenges do I face? Things like this. We're now stood in Traitor's Tower. Paul, let me ask you the question. Without the show lights being on, so we're just stood on a set under workers, what's your opinion of the room that we're stood in?Paul Marden: Oh, it's hugely impressive. It feels like, apart from the fact you've punched the fourth wall out of the telly, it does feel like you're on set.Neil Connolly: It's a really faithful reproduction of the set. So that's kind of one of the challenges is managing the public's expectations of what they see, do and feel on site. So that I don't change the show so that people come and play the game that they're expecting to play. But making reasonable adjustments within that, because TV and live are two very, very different things. So first and foremost was making sure that we get the format right. So the game that people play, which informs the narrative of the show and the narrative structure of the show. Breakfast, mission, round table, conclave. Breakfast, mission, round table, conclave. I've designed a whole bunch of new missions that are in this, taken some inspiration from missions that people know and love from the TV shows, whether that's the UK territory or other territories around the world. And also just other stuff is just clear out of my head. So there's original content in there. paying homage and respect to the world that they've built and allowing ourselves to also play and develop and build out that world at the same time. Other challenges.Neil Connolly: This is not a cheap project. No, no. I mean, the production quality of this is beautiful. Yeah, yeah, thank you. It is stunning. When people walk in here, they're like, 'Oh my God, this is... High end.' I am in a luxury event at a very affordable price.Paul Marden: Thank you. And then we're going back upstairs again. Yes. And in the stairwell, we've got the crossed out photos of all of those that have fallen before us.Neil Connolly: No, not quite. All of the people that are in this corridor, there's about 100 photos. These are all the people who built the show.Neil Connolly: So this is David Gregory. He's the sound designer. This is Kitty, who is Immersive Everywhere's office manager. She also works in ticketing. That is Tallulah and Alba, who work in the art department. Elliot, who's our lighting designer. So all of these people are the people who brought the show to life.Paul Marden: Amazing.Neil Connolly: And we wanted to pay homage to them because some of them gave years of their lives to building the show from literally the inception that I had in 2023. Through to now and others are the people who literally spent months of their life underground in these basements building hand-building this set and so we wanted to pay homage to them so we got all of their photos we did the iconic red cross through it yeah and we stuck them all up in the corridor just because we thought it'd be a nice thing to do.Paul Marden: You're in the business of trading and experiences and that ranges from art exhibitions to touring shows. There's always going to be a challenge of balancing innovation and profitability. What is the formula? What is the magic formula?Neil Connolly: I believe, first and foremost, going back to what I was telling you earlier about us being a collaborative organisation. We are not a creative crack that has been used for the show. We are also the producers of the show. And to make my point again, I'm a commercially minded creative. So I actually sit down with the producers and go, 'Okay, cool.' There are 112 seats in the show.Paul Marden: Yep.Neil Connolly: Therefore, how many shows do we need to do per day? How many shows do we need to do per week? How many shows do we need to do per year? Therefore, let's build out a P &L. And we build a whole business plan based around that.Paul Marden: By having everybody— that you need in the team— makes it much easier to talk about that sort of stuff. It makes it much easier for you to design things with the end result in mind. You don't have a creative in a creative agency going off— feeding their creative wants without really thinking about the practicalities of delivering on it.Neil Connolly: Exactly. So you've got to think like, literally, from the very, very beginning: you've got to think about guest flow. You've got to think about throughput. You've got to think about your capacities. Then you've got to basically build out a budget that you think— how much, hey, how much really is this going to cost? Yeah. Then you build out an entire business plan and then you go and start raising the money to try and put that on. And then you find a venue. I mean, like the other magic triangle, like the traitor's magic triangle is, you know, time, space, atmosphere. That's how you do a show. Like with my producer's hat on, the other magic triangle is show, money, venue.Neil Connolly: The truth of the matter, like I make no bones about it, I can design shows till the cows come home, but I'm always going to need money to put them on and a venue to put them in. Also, I want to stress this really important. I use the words 'I' and 'we' very interchangeably.Paul Marden: It's a team effort.Neil Connolly: You can see that in that corridor. I am not a one-man band. I am the creative director of a company. I am a cog that is in that machine, and everybody is doing... We are, as a team... I cannot stress this enough. Some of the best in the business are doing what we do. And everyone is so wildly talented. And that's just us on the producing side. That's immersive everywhere, limited. Then I've got a whole other creative team. Then we've got operations. Then we've got... It's just mad. It's just mad, isn't it? This is a job. Who would have thought, when you were at school, this was an opportunity? Not my principal or my maths teacher.Neil Connolly: So, sorry, just to balance the kind of economies of scale. That was the question, wasn't it?Paul Marden: Well, we were talking about what is the formula for making that an investment, but you know, the authority here is the effort you've put in to do this feels high, but at the same time, you have to find this thing. There is a lot of investment that goes into the front.Neil Connolly: But that comes back to creatives. Caring and I'm not saying the creatives don't, but I care. I care about building businesses. Yeah, not necessarily like building my own CV, like there's so many projects that across our desks. I'll be like, 'Yeah, that'd be really fun to work on.' But do I think that I can make that a touring product? Can it be a long-running location-based entertainment sit-down product? Can it be an art shop? Like you've kind of got a balance with what do you think is just creatively cool versus what can we do as a company that is a commercially viable and financially stable product? And so all that comes through in terms of the creative, but also in terms of the activities of how we run the building, how this model realizes. Because if you think about it, let's make Phantom of the Opera run in the West End. Yes. The show is very obvious, with many casts on a room, away, fruit team away, terrace, it's a big activity. If they haven't sold half that away, they have to use the whole show and play all those people.Neil Connolly: But if they haven't sold half that away from one of my shows... I only have to activate four of my rooms, not eight of them. Therefore, I don't have to call in four actors. I don't have to call in a bunch of the other front of house team and I can scale in the operations on the back. It's an entirely scalable process. Flexible, yeah, yeah, yeah. Oh, 100%. But also, like, we've got eight rooms here. If we decide to take this to another territory, and that territory demands a much higher throughput, then instead of eight rooms, I can do 20 rooms, 30 rooms. As long as we know that the market is there to be able to kind of get people through it.Neil Connolly: I love this show and I'm so proud of it. The main reason why I'm proud of it is when the show finishes, let's go into one of the lounges. Have you been into one of the lounges?Paul Marden: I've had a nose around a lounge.Neil Connolly: There are different shapes and sizes. We won't go into that one. We'll go into this one down here. That one, that one. It's always such a buzz when you're stood in the bar and the shows kick out, and you see tables and tables of 14 people going up into the bar.Neil Connolly: Area and before they've even gotten a drink, they will run straight over to their friends, families, strangers, whoever they were playing with in that table of 14, and instantly be like, 'Right, I need to know everything that was going on inside your head, your heart, and your soul over the last two hours of my life because this was my experience.'Neil Connolly: And they'll just go, and they'll be like, 'And this is what I was thinking.' And then I thought it was you because you did this and you touched your nose in a weird way. And then I thought you were sending secret signals. And then everyone's like, 'No, that's not what I was doing.' I was just trying to be a normal person. And they were like, 'Well, why did you say that thing?' It sounded super weird. And they're like, 'That's just what I do.' And it's just totally mental. And then they all get a drink from the bar. And we call it the bar tab chat.Neil Connolly: It's another revenue stream.Neil Connolly: I do talk about this like it's a show. And it is a show. You've walked around, do you think it's a show? Completely. I talk to established houses all the time. Like, you know, the big theatres of the land. Organisations that are national portfolio organisations who receive a lot of Arts Council funding. The thing that they want to talk to us about all the time is new audiences. They're like, 'How do I get new audiences through my door?' What can I do? And I'm like, 'Well, firstly, make a show that people want to go and see.'Neil Connolly: Again, they're like, 'But I've got this amazing writer and he's a really big name and everyone's going to come because it's that name.' And I'm like, 'Yeah, that's wicked. That's cool.' And they can all go pay reverence to that person. That's really wonderful. Whereas when you look at the attractions landscape or the immersive theatre landscape or like anything like... Squid Game, or The Elvis, Evolution, or War of the Worlds, which has also laid reality, or any of that kind of stuff, across the landscape, it is nothing but new audiences. Yeah, yeah, yeah. It is nothing but actual ticket-buying audiences.Neil Connolly: And they come from all different walks of life. And what I love is that they do come in to this experience and we hit them with this like secret theatre.Neil Connolly: And they're like, 'Oh my God.' And often it's a gateway to them being like, 'Oh, I didn't realise that.' Maybe I'll go see a Western show or maybe I will go to the National Theatre and see something. Because that's the level of archery. Because those organisations, I love them and I've worked in a few of them, but those buildings can be quite austere, even though they're open and porous, but it's still very difficult to walk through that threshold and feel a part of it.Paul Marden: Whereas coming in here, coming into an event like this, can feel like a thing that they do.Neil Connolly: Because it's the same demographic as theme park junkies. People who love going to theme parks love going to stuff like this because it's an experience, it's an otherness, it's an other nature kind of thing. Because modern audiences want to play and do, not sit and watch. But we all exist in the kind of same ecosystem. I'm not taking on the National Theatre.Paul Marden: Gosh, no. I always talk about that. I think the reason why so many attractions work together in the collaborative way that they do is they recognise that they're not competing with each other. They're competing with sitting on your backside and watching Netflix.Paul Marden: Yeah, yeah.Paul Marden: Our job for all of us is to drag people away from their screens and drag people off of their sofas to do something. And then that's the biggest challenge that we all face.Neil Connolly: I think then that kind of answers the question that you asked me earlier, which I didn't answer. And I'm very sorry.Neil Connolly: is about identifying different pieces of IP. Like, yes, we largely exist in the world of licensing IP. And how do we identify that kind of IP to be able to translate? Not just how do we do it, but like, actually, how do we identify the right thing that's going to... How do you spot the winner? Yeah, exactly. Yeah. And that is one of the biggest challenges to your point of we're talking directly to people who consume arts, culture and media and technology in a slightly more passive way, whether that's just at home and watching Netflix and then bringing that to life. In a very, very different way. If you have a very clear marketing campaign that tells people what it is that they're buying and what they're expected to see or do on their particular night out, because that's what modern people really care about, what they do with their money. Yeah. And they want to have a good night out. And I'm in the business of giving people a good night out. We also happen to be murdering a lot of people in the course of the show.Neil Connolly: Still a good night out. Still a good night out. But I'm in a place where the dead sit. Yeah, exactly. Lounge of the dead. And like, you know, this is a really cool space. Oh, it's just beautiful. You know, we've got the telephone really works. There's lots of information that comes through that. The radio works, that does different things. The TV screen on the wall, that has the actual live feed into the round table room that you've just left. And there's other little puzzles and hints and tricks in this room, which means that after you've been murdered or banished and you come to the Lounge of the Dead, you're still engaged with the game to a degree. You just don't directly influence the outcome of the game. But you're still involved in it. You're still involved in it. It's super fun. Oh, and you can have a drink in here.Paul Marden: I don't let people drink in the round table. Even more important. What's this?Neil Connolly: The dolls, the creepy dolls. What this is, this is the void. Creatively speaking, this is where all the gold goes when people win or lose it. And the creepy dolls are from the TV show. Ydyn nhw'r un gwirioneddol o'r sioe? Felly, gafodd studio Lambert, sy'n gwneud y sioe tebyg, llawer o brops o'r sioe tebyg i ni eu rhoi ar y ddispleiddio yma. Felly, mae gennych chi'r Dolls Creepy o'r lles 3 yno. Rydyn ni'n mynd i fyny. Yn ôl yma, mae'r peintiwch Deathmatch.Paul Marden: Which is from season three.Neil Connolly: And they get the quill and they write the names and got the quill upstairs. We've also got over here, the cards that they used to play the death match with. Excellent.Paul Marden: So you began your career in theatre. How did that evolve into the world of immersive live experiences?Neil Connolly: Life story. I am the son of a postman and a cook. And if you haven't noticed already, I'm from Ireland. There was no theatre in our lives, my life, when I was growing up. And I stumbled into a youth theatre. It's called Kildare Youth Theatre. And the reason why I joined that is because there was a girl that I really fancied.Neil Connolly: She had just joined this youth theatre and I was like, 'Oh, I'm gonna join that as well' and that kind of opened the world of theatre for me. At the same time, I then got spotted by this guy, his name's Vijay Baton, his real name's Om, but he converted to Hare Krishnanism in the 90s. And he set up a street theatre company in Ireland. He just taught me street theatre. So he taught me stilt walk, he taught me juggling, he taught me how to build puppets. And so I spent years building puppets with him and going around Ireland doing lots of different street theatre while I was a teenager. And doing street theatre and doing my youth theatre and then kind of all of that kind of came to a head when I had to decide what I was going to do with my life. I applied to go to drama school. And I applied to two drama schools. One was Radha. Didn't get in. Didn't even get an audition. And the other one was Rose Bruford. And they took me. And the reason why they took me— I probably wasn't even that good. But on the day that I was auditioning to get into Rose Bruford was the same day as my maths exam for my final exams at school. You call them your A-levels, we call them the leaving certificate.Neil Connolly: And while all of my friends were back in Ireland doing their maths exam, I was in an audition room pretending to be a tree or the colour black.Neil Connolly: Who knows? And they kind of went, 'Well, if I fail my maths exam, I don't get into university in Ireland.' Like, it's just a blanket thing. And so I was like, 'I literally sat across the panel' and I was like, 'eggs, basket.' And they were like, 'cool.' So they let me in based off of that. So I got a classical training. Then what happened is I came out of university. I was living with two of my friends, Natalie and Joe. And we had our own little production company called The Lab Collective. And we just started making shows. In weird ways, we joined a company called Theatre Delicatessen. Let's get away from this. Yeah, yeah, yeah.Neil Connolly: So Theatre Deli was a company set up to take over disused spaces in London and convert them into art spaces.Neil Connolly: Basically legalised squatting. It's the same as like a guardianship. But we weren't living in the buildings. We were just putting on shows and we put on art shows, we put on theatre shows. We did Shakespeare for a while. We wrote our own work and we just did lots of really, really cool stuff. And I worked in music festivals, classically trained actor. So I was trying to do shows. I did a lot of devising. I also joined an improvisation group. And kind of through all that mix, like those years at Delhi, which was making these weird shows in these weird buildings, were very, very formative years for us. The Arts Council wouldn't support the kind of work that we were making. We were like, 'Cool, how do we get space?Neil Connolly: How do we get or make money to support ourselves? And what are the shows? There's the magic triangle all over again. Space, show, money. And that's your apprenticeship, I guess, that brings you to here. Yeah, yeah, yeah. And like, again, I make no bones about it. 10 years ago, I was selling programs on the door of the Royal Festival Hall while doing all of that stuff. So in one of the Theatre Daily buildings, we did a show called Heist, which is you break into a building and steal stuff. That's what the public do.Neil Connolly: And a bunch of us did that. I mean, it's so much fun— kind of doing it. And off the back of that, somebody else basically tried to chase down the crystal maze. And then they went away, and then they called me up and they were like, 'Hey, I've got the rights. Do you want to make the crystal maze?' And I was like, 'Yeah, sounds like fun.' So I got involved with that, did that for a while. And then, from there, this is the end of a very long story. I'm so apologised. Yeah, from there, all of those different things that I've done through the course of my life in terms of operations, designing experiences, being a creative, understanding business.Neil Connolly: Building a P&L, building a budget, talking to investors, trying to convince them to give you money. All of that stuff kind of basically came together. And over the last few years, like the wildest ride is that pre-2020.Neil Connolly: We were just a bunch of people doing a bunch of weird things, making weird shows and weird attractions in kind of different ways. And then that year happened. And I don't know what happened, but literally every single major studio, film, TV production, game designer, licensor in the world, suddenly just went— brand extensions, world extensions, and they all just started calling us. And they were like, 'Hi, I've got this thing.' Can you develop it into a thing? Because I need to extend my brand or I want to build a world and extend that for the public. And we were like, 'Yeah, okay, cool.' And we were just lucky, serendipitously, to be in the right place at the right time. To be those people that people can approach. And we're always, we're very approachable.Neil Connolly: As you can tell, I talk a lot. And, you know, so the last five years, it's just been a mad ride.Paul Marden: So look, Neil, it's been amazing. I have had the most fun. Last question for you. What's next? Are you putting your feet up now because you finished this? Or on to the next? Neil Connolly: Very much on to the next thing. So we're already in production with our new show, which is called Peppa Pig Surprise Party. And that is opening at the Metro Centre in Gateshead next year. Oh, how exciting is that? It's very exciting.Paul Marden: So quite a different demographic.Neil Connolly: The demographic for Peppa Pig is two to five year olds. It's been a really fun show to design and create. To go back to a question that you asked me very early on, there is no blueprint, there is no format. I have embraced the chaos tattooed on my arm. And always when I approach things, any new show or any new creative, I am thinking of it from a ticket buying perspective: 'I have paid my money.' What is the coolest thing that I can possibly do with that money? And so therefore, I'm now looking at families and, like, what's the coolest thing that they can do for that ticket price in the world of Peppa Pig?Paul Marden: Let's come back in the new year, once you've opened Peppa Pig, let's go to Gateshead and see that. That sounds pretty awesome to me. I reckon there's a whole new episode of Designing Worlds for two to five-year-olds that we could fill an hour on.Neil Connolly: Oh yeah, 100%. It's a totally different beast. And super fun to design.Paul Marden: Oh mate. Neil, it has been so wonderful having a wander around the inside of your crazy mind.Paul Marden: If you've enjoyed today's episode, please like it and leave a comment in your podcast app. It really does make it so much easier for other people to find us. This episode was written by Emily Burrows from Plaster, edited by Steve Folland, and produced by Sami Entwistle from Plaster and Wenalyn Dionaldo. Thanks very much. See you next week.  The 2025 Visitor Attraction Website Survey is now LIVE! Dive into groundbreaking benchmarks for the industryGain a better understanding of how to achieve the highest conversion ratesExplore the "why" behind visitor attraction site performanceLearn the impact of website optimisation and visitor engagement on conversion ratesUncover key steps to enhance user experience for greater conversionsTake the Rubber Cheese Visitor Attraction Website Survey Report

Three defeats in a row for the Champions, two injury-time winners against, the media bullshit ramping up and Manchester United at Anfield next. So how does Arne Slot rediscover the winning formula the other side of ANOTHER international break? Robbo and Mo get into it all. You can support us financially to keep the show going in two ways, either: 1. By subscribing to our Patreon show for as little as £1 per week. Just click this link and the "Join For Free" button to get a 7 day free trial that you can cancel easily at any time after watching over 40 subscriber shows: https://www.patreon.com/TheLateChallengePodcast 2. If you don't want to subscribe, you can make a one off contribution to support the show by clicking this link: https://www.buymeacoffee.com/thelatechallenge We appreciate any support, no matter how big or small, and we also appreciate that times are tough for many people so if you can't afford to support the show financially we completely understand. If you'd like to help us in another way, please like our videos, subscribe to the YouTube channel and share the podcast with your friends and family.

Levels mysteriously rising and falling with no changes in your setup? In this episode of The Pro Audio Suite, we go hunting for those dreaded signal-chain gremlins. From flaky TRS connections that drop a balanced leg and cause sudden 6 dB losses, to patchbay switches that “moved themselves,” to the quirks of send/return jacks on interfaces like the Audient iD series—we unpack the common culprits behind random level swings. We also share a practical, step-by-step troubleshooting method called binary reduction: change one thing at a time, ideally from the middle of the chain, and halve your suspect list with every move. What you'll learn: Why XLR usually outperforms TRS for reliable, balanced connections How to “exercise” or clean jacks to stop intermittent dropouts How the Return jack on the Audient iD bypasses the preamp (and why the Send is half-normalled) Why patchbays and inserts can be both lifesavers and headaches The simple logic of binary reduction for solving audio mysteries fast Mentioned: Grace m101, Audient iD22/iD44, Mackie inserts, Apogee Duet, phantom power quirks, Behringer patchbay switches. Sponsors: TriBooth — use code TRIPAP200 for USD $200 off your TriBooth Austrian Audio — Making passion heard. Credits: Recorded via Source-Connect. Edited by Andrew Peters. Mixed by Robbo. Tech support by George “The Tech” Whittam. theproaudiosuite.com

Mo and Robbo break down Liverpool's slip-up against Crystal Palace, and then preview a crucial Champions League clash with Galatasaray and a huge Premier League test vs Chelsea. You can support us financially to keep the show going in two ways, either: 1. By subscribing to our Patreon show for as little as £1 per week. Just click this link and the "Join For Free" button to get a 7 day free trial that you can cancel easily at any time after watching over 40 subscriber shows: https://www.patreon.com/TheLateChallengePodcast 2. If you don't want to subscribe, you can make a one off contribution to support the show by clicking this link: https://www.buymeacoffee.com/thelatechallenge We appreciate any support, no matter how big or small, and we also appreciate that times are tough for many people so if you can't afford to support the show financially we completely understand. If you'd like to help us in another way, please like our videos, subscribe to the YouTube channel and share the podcast with your friends and family.

Our ol' on air pard Rob "Robbo" Endsley on his 6x6 Montana archery bull elk: Bugling with Joey for the win! // Don't miss Three Rivers Marine's Northwest Outdoor Report! // Duckworth Wheelhouse: Steve Joyce of redsflyshop.com Cast and blast time in the Yakima Canyon at Canyon River ranch. Also winter destination angling! // Poulsbo RV's Really? Where? Hit your neighborhood RV store in Mt Vernon, Everett, Sumner or Kent and Get Rollin' into SUMMER!

Michael Roberts went down to the Brisbane rooms after 2025 AFL grand final as they clinched their second consecutive premiership! Hear from Chris Fagan, Lachie Neale, Will Ashcroft, Harris Andrews, Simon Black, Jonathan Brown and more.See omnystudio.com/listener for privacy information.

This week the guys take a quick dive into one of the biggest factors that can make or break your booth sound: the room itself. From walk-in wardrobes to DIY blanket forts and even apartments in Rome, we talk about what really matters when it comes to room size, shape, reflections, and treatment. Spoiler alert: bigger isn't always better, but dead is definitely good. Thanks to our sponsors TriBooth (use code TRIPAP200 for $200 off) and Austrian Audio – making passion heard. Edited by Andrew Peters. Mixed by Robbo. Recorded via Source Connect with tech support from George “The Tech” Whittam. Got your own audio issues? JustAskRobbo.com. Join the conversation in our Facebook group or drop us a note at theproaudiosuite.com. voiceover booth, recording booth, room acoustics, voice acting tips, home studio setup, soundproofing, Pro Audio Suite, George the Tech, TriBooth, Austrian Audio #ProAudioSuite #VoiceOver #HomeStudio #RecordingBooth #TriBooth #AustrianAudio #SourceConnect

In this episode of the REB podcast, host Liam Garman speaks with Robbo Roper, the Aussie Mortgage Guy and founder of Trusted Finance, about digital marketing in real estate and finance. Robbo, who has nearly half a million followers on Instagram, shares advice to agents who are looking to cut through online, emphasising the importance of building a personal brand and creating authentic, educational content to establish trust with potential clients. Robbo will be appearing at the upcoming REB Innovation Summit. You can find out more about how you can take your social media to the next level here. He shares his journey of posting content daily from scratch in 2021, learning through trial and error to discover what resonated with his audience. Consistency and authenticity, he notes, are more important than chasing vanity metrics, such as follower counts or flashy videos. His approach has generated over 50,000 home buyer leads and $1.2 billion in settled mortgages organically, with a social media following exceeding 1.6 million. The conversation also explores the growing role of AI in content creation, with Robbo encouraging agents to leverage technology while maintaining a personal touch. Overall, Robbo highlights that staying consistent and embracing new tools are key strategies for success in a competitive real estate market. Did you like this episode? Show your support by rating us or leaving a review on Apple Podcasts (REB Podcast Network) and by liking and following Real Estate Business on social media: Facebook, X and LinkedIn. If you have any questions about what you heard today, any topics of interest you have in mind, or if you'd like to lend a voice to the show, email editor@realestatebusiness.com.au for more insights.

Mo and Robbo reflect on another late win, and build up to a massive week against Atletico Madrid and Everton.You can support us financially to keep the show going in two ways, either: 1. By subscribing to our Patreon show for as little as £1 per week. Just click this link and the "Join For Free" button to get a 7 day free trial that you can cancel easily at any time after watching over 40 subscriber shows: https://www.patreon.com/TheLateChallengePodcast 2. If you don't want to subscribe, you can make a one off contribution to support the show by clicking this link: https://www.buymeacoffee.com/thelatechallenge We appreciate any support, no matter how big or small, and we also appreciate that times are tough for many people so if you can't afford to support the show financially we completely understand. If you'd like to help us in another way, please like our videos, subscribe to the YouTube channel and share the podcast with your friends and family.

This week on The Pro Audio Suite, the team dives into a question every engineer, producer, and voice actor has wrestled with: is outboard gear still worth the space and the spend? From vintage LA-2As and Neve compressors to Avalons, VariMus, and the rise of clones and plug-ins, we break down: Whether classic hardware really goes up in value Why collectors, commercial studios, and voice actors see things differently The surprising role of AI in modeling old gear When plug-ins are “close enough”… and when they're not Tales of gear that doubled in value (and some that didn't keep up with inflation) Join Robbo, AP, George the Tech, and Robert Marshall as they debate if that rack of gear is an investment or just taking up space. Recorded with Source-Connect, edited by Andrew Peters, and mixed by Robbo.

In this episode of The Smart Property Investment Show, host Liam Garman speaks with Robbo, the Aussie Mortgage Guy and founder of Trusted Finance, about digital marketing in real estate and finance. Robbo emphasises the importance of building a personal brand and creating authentic, educational content to establish trust with potential clients. He shares his journey of posting content daily from scratch in 2021, learning through trial and error to discover what resonated with his audience. Consistency and authenticity, he notes, are more important than chasing vanity metrics, such as follower counts or flashy videos. His approach has generated over 50,000 home buyer leads and $1.2 billion in settled mortgages organically, with a social media following exceeding 1.6 million. The conversation also explores the growing role of AI in content creation, with Robbo encouraging agents to leverage technology while maintaining a personal touch. Overall, Robbo highlights that staying consistent and embracing new tools are key strategies for success in a competitive real estate market. If you like this episode, show your support by rating us or leaving a review on Apple Podcasts and by following Smart Property Investment on social media: Facebook, X (formerly Twitter) and LinkedIn. If you would like to get in touch with our team, email editor@smartpropertyinvestment.com.au for more insights, or hear your voice on the show by recording a question below.

It's all about Robbie, Robbo and Wubbo! The Met Office has released a new list of storm names and one of them is Wubbo! Obviously, Greg's on a mission to find a genuine match! Meanwhile, Robbo has a hilarious go at Yesterday's Quiz, there are some lucky Radio 1 smart speaker owners after a disgustingly fun round of Everyone's Rubbish, and Robbie Williams has an awkward moment in All The Latest Things!

George heads out on a time-sensitive PSA to capture wild VO lines at an actor's house — and rebuilds a lean, one-case kit on the fly. We dig into what made the rig work, why he chose an onboard recorder for redundancy, mic choices (NTG-4 vs NTG-5), and a stack of road-tested tips from our early days hauling DA-88s, DATs and Franken-booms. What we cover: Packing everything into a Pelican 1510 (laptop, interface, mic, stand, boom) Primary vs backup: PortCaster with onboard record + laptop DAW Why the NTG-4 worked (once the low-cut was off) and when the NTG-5 is nicer Quiet-room scouting at talent's home (carpet, bookshelves, sofa placement) Redundancy paranoia that saves the day (and the gig) Old-school sync and remote workflows: clapper slates, Boom Recorder, Reaper, DA-88s, DAT, Ramza/Fostex rigs Gear & software mentioned: Pelican 1510, Sentrance MicPort Pro, PortCaster, RØDE NTG-4/NTG-5, Grace Lunatec V2, Sony & Tascam DAT, Boom Recorder, Reaper, DA-88, Fostex 9624, Ramza 8-bus. Sponsors: TRI-BOOTH — use code TRIPAP200 for $200 off your Tri-Booth. Austrian Audio — Making Passion Heard. Credits: Recorded via Source-Connect. Edited by Andrew Peters. Mixed by Robbo. Tech support from George “The Tech” Whittam. Got an audio issue? JustAskRobbo.com  

Reds have two wins out of two although I am not sure we can do this 36 more times. We face Arsenal at home tomorrow and no one who isn't a Red thinks we have a chance of winning.And, it is at Anfield isn't it? Arsenal have not won here for more than 10 years.Arsenal at home in AugustMemories of 2019 - 3-1 win? And there have been other wins in August against the pretendersOh wait a minute, word on the street is that Arsenal have won the transfer window and have built a title winning squad. Gyokeres, Madueke, Eze (maybe)But jeez fellas, you've ramped up the perennial runners up in a way that I am not sure is justified.Team selection? Gravenberch, Macca, Bradley, Robbo? Set pieces and defensive frailtiesIs a point a good result? Haven't seen a single pundit make the case for a Liverpool win.We'll be back with a review of the Arsenal game. Thanks to Enrique for joining me, Paul. And most of all, thank you dear listener for joining us.If you enjoyed the pod, please share it with a friend. Follow us @FirstStateKopites on Twitter  – we only tweet and retweet from sources we think are credible. Music is courtesy of Hypenotic – they are a Welsh electro-pop band – https://hyperfollow.com/hypenotic  

Jack Robinson and Griffin Colapinto grant the Swellians unprecedented access to their sacred mind sanctums allowing us to tap the cosmic vibrations that have seen them both drop surfing that questions the very fabric of reality and has also put them in with a shot of winning this year's world title. OHMMMMMMMMMMMMMMMMMM!!!!!!!See omnystudio.com/listener for privacy information.

Naughtsie and Robbo had a wonderful, entertaining chat with former fan-favourite Jeff White, who gives Demons supporters a proper insight into why his son Kalani was so pleased with deciding to choose Melbourne over Gold Coast, while the boys also reflect on where the club is currently at and what things they need to do to improve in season 2026. Hosted on Acast. See acast.com/privacy for more information.

Ever been caught in a panic when Source-Connect 3 won't talk to Source-Connect 4? You're not alone. In this week's Pro Audio Suite, the team dives into the Source-Connect Bridge—what it is, why it exists, and how it can save your session. Robbo shares a real-world case of a talent stuck between versions, Robert explains how the Bridge works behind the scenes, and George breaks down when it's the best option (hint: travelling VO talent on Windows, we're looking at you). We also get sidetracked on long VO sessions, Apple's memo banning typewriters in 1980, and why agencies sometimes make a 10-second tag take two and a half hours. Whether you're a studio, talent, or just someone who's had “version hell” ruin your morning, this episode is a must-listen.

Super coach Matt Bemrose has played mentor and spirit animal to the Vortex Shaman Jack Robbo and World No.1 Yago Dora since they first qualified for the tour - and now both men may very likely meet in a battle royale for surfing's greatest crown. So what can he teach us about both men and how will their friendship affect a possible World Title face-off? A very pissed Vaughan Deady investigates...See omnystudio.com/listener for privacy information.

We chat about the latest Tension 11 filming session that ended badly, Buddahs new show at the Astor theatre with Della, Ben, Mitch and Cuzzy. We also chat about Robbo, UFC and escaping pets.   TENSION 11 tickets here: https://www.tickettailor.com/events/tensionmovies    Subscribe here: Youtube   For our listeners: Varsity Sports Bar! https://www.varsity.com.au   20% off Rusty TradeR work wear use code: TRADER20GRINREAPERS at www.rusty.com.au/traderworkwear 25% off New Rusty wetsuits  - use code: GRINREAPERS25 at www.rusty.com.au/wetsuits Rusty Locals Only: https://rusty.com.au/collections/locals-only Use code: REAPERS at https://au.manscaped.com/ for 20% discount Support: https://www.patreon.com/ChrisWhitey https://www.patreon.com/BrianShields Other Links:  https://www.instagram.com/chris.whitey https://www.instagram.com/brianshields_ https://www.instagram.com/grin_reapers https://www.facebook.com/GrinReapersMedia/ Web:  www.tensionmovies.com https://itunes.apple.com/au/podcast/the-grin-reapers-podcast/id1380019049

Dave Hendon looks back at a memorable Saudi Arabia Masters, gives a perspective on the tournament from someone who was actually there and hears the latest listener opinions. Email us at snookerscenepodcast@mail.com. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Mo & Robbo look back on Liverpool's late heroics in the first game of the new Premier League season, and ahead to a massive game at St. James's Park next week. You can support us financially to keep the show going in two ways, either: 1. By subscribing to our Patreon show for as little as £1 per week. Just click this link and the "Join For Free" button to get a 7 day free trial that you can cancel easily at any time after watching over 40 subscriber shows: https://www.patreon.com/TheLateChallengePodcast 2. If you don't want to subscribe, you can make a one off contribution to support the show by clicking this link: https://www.buymeacoffee.com/thelatechallenge We appreciate any support, no matter how big or small, and we also appreciate that times are tough for many people so if you can't afford to support the show financially we completely understand. If you'd like to help us in another way, please like our videos, subscribe to the YouTube channel and share the podcast with your friends and family.

This week on The Pro Audio Suite, the team open up their plug-in folders and share their favourites — from free finds to trusty old processors and some surprising new AI tools. Robbo kicks things off with TDR Nova, a free dynamic EQ/multiband compressor that's perfect for VO artists working in home studios. Robert digs back into his bag of tricks with Waves C4/C6, still unbeatable for multiband control after all these years. George brings Acon Extract Dialog to the table, showing how modern AI can pull voices cleanly from noisy recordings. Along the way, we debate noise reduction chains, “less is more” processing, and why not every AI fix is the magic bullet people think it is. If you're looking for plug-ins that actually help (without emptying your wallet), this one's for you.

Catch up on all the footy news from AFL 360, Monday the 18th of August with Gerard Whateley and Garry Lyon. On AFL 360, Gerard and Robbo break down a massive weekend of footy headlines - starting with St Kilda locking in their superstar target and how this affects their salary cap. The boys then dive into Fremantle’s nightmare loss to Brisbane and ask the big question: are their finals hopes suddenly under serious threat? They also unpack Collingwood’s heartbreaking thriller against Adelaide and the momentum shift heading into September. Plus, all the latest around the Rankine drama and what it means for the Crows and the league going forward. For more of the show tune in on Fox Footy & KAYO.See omnystudio.com/listener for privacy information.

Latency, it's that tiny, annoying delay between what you say and what you hear back. In the studio, online, or even in your own headphones, it can trip you up, wreck your timing, and make you feel like you're talking to yourself in slow motion. In this episode of The Pro Audio Suite, Robbo, AP, George, and Robert dig into: What latency really is (and why it's not just a tech buzzword) How it sneaks into your recording chain The difference between “good” latency and “bad” latency Fixes you can do right now without buying a new rig When hardware or interface upgrades actually make sense Whether you're a VO artist fighting through a remote session, a podcaster dealing with talkback lag, or a studio pro chasing perfect sync, this is your guide to killing the delay and getting back in the groove. Proudly supported by Tri-Booth and Austrian Audio, we only partner with brands we believe in, and these two deliver the goods for pro audio pros like you.

Mo and Robbo talk about the remarkable impact of teenage tyro Rio Ngumoha, and the complications surrounding Benjamin Sesko, and what it means for Liverpool signing Alexander IsakYou can support us financially to keep the show going in two ways, either: 1. By subscribing to our Patreon show for as little as £1 per week. Just click this link and the "Join For Free" button to get a 7 day free trial that you can cancel easily at any time after watching over 40 subscriber shows: https://www.patreon.com/TheLateChallengePodcast 2. If you don't want to subscribe, you can make a one off contribution to support the show by clicking this link: https://www.buymeacoffee.com/thelatechallenge We appreciate any support, no matter how big or small, and we also appreciate that times are tough for many people so if you can't afford to support the show financially we completely understand. If you'd like to help us in another way, please like our videos, subscribe to the YouTube channel and share the podcast with your friends and family.

This week on The Pro Audio Suite, Robbo and AP pull apart one of the most alarming AI voice contracts we've ever seen. An offer of $2,500 USD for perpetual, irrevocable rights to your voice? Sounds tempting… but here's why this could destroy your career. We dig into: The fine print that locks your voice away forever How AI voice deals strip away future earnings Why SAG-AFTRA and other bodies are pushing back The long-term cost of a short-term payday Before you sign anything, listen to this episode. Your career might depend on it.

In our latest episode, the lads mull over a busy week for Wrexham on the transfer front with THREE new signings following the arrivals of George Thomason, Josh Windass and Lewis O'Brien. We discuss further possible signings, including Kieffer Moore, and whether Max Cleworth could be on his way out. - Ask if the pre-season has been a success- Looks where we still need to strengthen- Pick out XI if the season were to start tomorrowPlus we're joined by former Wrexham striker Neil Roberts to reminisce about Joey Jones following the club legend's sad passing this week, including his huge influence on Robbo's career, love of cream cakes and how he once gatescrashed George Michael's album launch. We also#wxmafc #wrexham #wrexhamfc #efl #liverpool #chelsea Hosted on Acast. See acast.com/privacy for more information.

AI voices are popping up everywhere , from audiobooks to YouTube explainer videos, but SAG-AFTRA has just drawn a line in the sand. In this episode, the team dives into the union's new “no contract, no work” order against companies using AI voice replicas without being signatories. We unpack: What the new SAG-AFTRA policy means for voice actors. Why YouTube is demonetizing AI-driven “headless” channels. The growing issue of AI-generated bands and synthetic music on Spotify. The human factor: Will art survive if AI takes over the creative process? Plus, a few old-school ideas about bringing back handwritten letters and board games! Thanks to our sponsors: Tri-Booth — The portable VO booth that works. Save $200 with code TRIPAP200. Austrian Audio — Making Passion Heard. Links & Resources: Join the conversation on our Facebook group Visit us at theproaudiosuite.com Recorded using Source Connect, mixed by Robbo, and edited by Andrew Peters.

When Should You Process Your Audio—and When Should You Leave It Clean? Description: This week on The Pro Audio Suite, we're tackling a topic that trips up a lot of voice talent: processed voice over. What does “processing” really mean when a client asks for it? Should you send your files squeaky clean, lightly polished, or fully mastered? And how do you avoid overcooking your audio before it even hits the mix? George Whittam, Robert Marshall, Andrew Peters, and Robbo break it all down, including:

Naughtsie had a passionate chat with fan-favourite, Russell Robertson, who made a plea to the MFC community to get behind the club, had some lovely words to say about the late great Brian Dixon and there's an in-depth chat about how our forward line is functioning. Sign up to DeeBrief Premium to listen to the full interview

This week, the team tackles the most common myths about the Tri-Booth – the portable recording solution trusted by countless voice actors and audio pros. From misconceptions about its sound isolation, to confusion about setup and portability, we dig into what's real and what's just internet chatter. Andrew shares his first-hand experience using a Tri-Booth on the road, Robbo explains how it compares to permanent studio spaces, and George breaks down the physics of why it works (or doesn't) in certain environments. If you've been considering a Tri-Booth or wondering whether it's worth the investment, this episode will give you the clarity you need to make an informed choice. Highlights: What the Tri-Booth can and can't do for your sound How real users set it up successfully Why some people expect miracles from any portable booth The biggest mistakes people make when judging its performance How it compares to purpose-built spaces Episode Resources:

Ever watched Spider-Man swinging across the city and heard crowds gasping, yelling, or whispering in the background? Those voices don't record themselves—loopers do that. In this episode, we meet voice actors who specialize in looping and learn how they bring background scenes to life. They share stories from the studio, tips for aspiring loopers, and insights into why this small community is so important to every production.

The third major signing of the summer is in the bag as 21 year old Hungarian left back Milos Kerkez completed his long mooted move from Bournemouth to Anfield for a fee of around £40m. Chris Smith and TLW Editor Dave Usher discuss the move, his impressive first interview and what it means for the team as well as for Robbo and Kostas.

This week on The Pro Audio Suite, we're diving deep into a topic that sparks endless debate (and confusion) in VO forums everywhere: the noise floor. What does "-74 dB" even mean if you don't know how it was measured? And why are voice actors obsessing over numbers that might not matter? Join AP, Robbo, George The Tech, and Robert Marshall as they break down: What noise floor really is (and what it isn't) Why context, weighting, and window size matter RMS vs Peak vs LUFS – and why it all depends How your mic, preamp, plugins, and power can mess with your readings Whether your studio noise is actually a problem or just sounds nice We even talk about whether it's OK to use a high-pass filter, what settings to use, and why some mics (looking at you, TLM 103) are just better at hearing ghosts. If you've ever been told “your studio needs to be -60 dB or else,” this episode will save you some sleepless nights.

#LFC #Transfers #Robertson The lads look at the links to Atleti for Andy Robbo, Closing off the Wirtz & Kerkez deals plus much more! JOIN OUR PATREON - patreon.com/TalkinKopPodcast Subscribe, Like, Hit the bell icon and never miss another show! ** All views on the show are those of the individual and do not represent those of the Talkin' Kop ** lfc fan channel - liverpool fan channel - liverpool fc - lfc - lfc fan reaction - liverpool fan tv - lfc fan tv - lfc fan media - liverpool match reaction - lfc live chat - liverpool live chat - anfield reaction - liverpool live podcast - lfc live podcast - liverpool news - lfc news - liverpool free content - lfc live shows - liverpool analysis - lfc matchday - liverpool matchday - liverpool transfer news - liverpool transfer updates - lfc transfer news - liverpool live - liverpool podcast Training in the Fire by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Artist: http://www.twinmusicom.org/ Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week, it's all about the front end — microphones for voiceover. George recently ran a live webinar comparing a wide range of mics from the Audio-Technica AT875R to the mighty Austrian Audio OC818, and we're diving deep into the results. From self-noise to low-end roll-off, polar patterns to punchy midrange, we break down what makes a great mic for VO, including:

Dave Davis runs through all the latest LFC stories around Robbo, Alvarez, Gordon, exits and others, plus the latest transfer rumours and news around Liverpool. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Dave Hendrick discusses today's news as it looks like Liverpool legend Andy Robertson might be leaving for Atletico Madrid. He also discusses the Wirtz price. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week on The Pro Audio Suite, we dig into the lab-tested results of our very own PASport VO, the portable audio interface designed for voice talent and podcasters. George took it to a respected LA repair shop for an independent bench test, and the results? Minus 89 dB of self-noise. Translation: it's dead quiet. The Jasmine™ preamps inside impressed the pros, even when compared to far more expensive gear. And the design? Tough, tiny, and travel-ready. But here's the kicker: unless there's enough demand, there won't be another production run. If you missed out the first time, now's your chance to change that. We want this thing back in production, and Michael at CEntrance needs to hear it from you.

Trev Downey is here to cover everything LFC. Today we have news of Trent's unveiling and his two week crash course of learning Spanish. Also Robbo talks about his future and the links to Florian Wirtz. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week, it's just AP and Robbo flying the plane—and they're kicking around an idea that's been brewing for a while:

Mo and Robbo talk about a weekend they'll always remember, as Liverpool finally got their hands on the Premier League trophy, which they then paraded through the streets of the city.You can support us financially to keep the show going in two ways, either: 1. By subscribing to our Patreon show for as little as £1 per week. Just click this link and the "Join For Free" button to get a 7 day free trial that you can cancel easily at any time after watching over 40 subscriber shows: https://www.patreon.com/TheLateChallengePodcast 2. If you don't want to subscribe, you can make a one off contribution to support the show by clicking this link: https://www.buymeacoffee.com/thelatechallenge We appreciate any support, no matter how big or small, and we also appreciate that times are tough for many people so if you can't afford to support the show financially we completely understand. If you'd like to help us in another way, please like our videos, subscribe to the YouTube channel and share the podcast with your friends and family.

This week on The Pro Audio Suite, we're joined by Matthew Kleiman from Kit Plugins and the newly developed NoiseHub. We dive into the current plugin landscape, what makes Kit Plugins stand out, and how NoiseHub is aiming to change the way audio professionals collaborate and manage assets. Join George ‘The Tech' Whittam, Robert Marshall, Darren ‘Robbo' Robertson, and Andrew Peters as they explore the tools and trends shaping the audio post-production industry today. 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 that is 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

Bonsoy - the official milk of the Swellians Presents... The lord of True Grit Callum Robson joins us in the studio for this special edish of Brainzo focussed entirely on the recent Bonsoy Gold Coast Pro! Do you know who scored the only 10 of the event? Do you know who got the highest heat score? Do you know who Julian was flipping off in the final? Have you been paying attention? Test your knowledge of the year's best CT right here!See omnystudio.com/listener for privacy information.

Mo and Robbo pick the bones out Liverpool's draw with Arsenal, the fallout from the reception for Trent, and a look at the problems of the teams below Liverpool in the Premier League table.You can support us financially to keep the show going in two ways, either: 1. By subscribing to our Patreon show for as little as £1 per week. Just click this link and the "Join For Free" button to get a 7 day free trial that you can cancel easily at any time after watching over 40 subscriber shows: https://www.patreon.com/TheLateChallengePodcast 2. If you don't want to subscribe, you can make a one off contribution to support the show by clicking this link: https://www.buymeacoffee.com/thelatechallenge We appreciate any support, no matter how big or small, and we also appreciate that times are tough for many people so if you can't afford to support the show financially we completely understand. If you'd like to help us in another way, please like our videos, subscribe to the YouTube channel and share the podcast with your friends and family.

OnBoard Industries Presents... Blitzed: pure. Tour Nerdism. From the all Aussie Bell Ringers to the absoluter pure rail wizardry of Ethan Heeeeeyeeeewing doing the best Bowl Demo job since Occy was on tour no stone is left unturned as Smiv & Dealdly go ring-a-ding ding for the Rip Curl Pro!See omnystudio.com/listener for privacy information.

As we get ready to head to the polls let's just consider how the major parties and the fossil fuel industry - particularly coal and gas - have bent us Strayans over and had their way with our coits and natural resources without a seconds thought for our long term financial security or the health of the planet. It's a gaslighting disgrace!See omnystudio.com/listener for privacy information.