Podcasts about ryan there

Welcome to episode 235 of the Cloud Pod podcast - where the forecast is always cloudy! This week a full house is here for your listening pleasure! Justin, Jonathan, Matthew, and Ryan are talking about cyberattacks, attacks on vacations (aka Looker for mobile) and introducing a whole new segment just for AI. You're welcome, SkyNet.  Titles we almost went with this week:

FOCUS ON THE CHALLENGE What is your biggest challenge right now? When coaches come to me for help, they aren't looking for coaching. They are looking for solutions to their biggest challenge. If you want to succeed, don't try to solve all of your problems. Focus on your next most important challenge. Stay focused until you reach success. Distraction is the enemy of our success. How many courses and books have your started but never finished? At that time, you had a challenge you were trying to overcome. Did the challenge just go away? Or, did you get distracted by the next big thing. LOSING CLIENTS A year ago, my business hit a plateau. I wasn't gaining clients as fast as I wanted. Things really slowed. My business expenses hadn't slowed down. And my revenue wasn't growing. One day I was on a call with a long time client. She was my most tenured client at the time. We had been together for quite some time. It was time to renew our agreement, and she dropped the bomb on me. On that call, she let me know she was doubling down on her business coach and did not want to renew with me. She said she appreciated all we've accomplished, but it was time to try something new. Now, most all business relationships come to an end at some point. In sports, players get traded, cut or retire. In business, leaders leave for other opportunities, get fired for sub-par performance, or leave due to life changes. Things come to an end and this was no different. But it felt different. I was getting comfortable with our relationship, but she needed more focus. Suddenly, I lost an important stream of revenue. And my business wasn't growing. More importantly, I wasn't growing. I wasn't doing anything to intentionally grow my business. GETTING CLIENTS It suddenly hit me that my clients was trimming back to gain focus. She had an important challenge she needed to solve, and focus would help her get there. When I evaluated my situation, I realized I too was following (and paying) three different experts. They each had a different strategy to achieve a different result. That's when I decided landing more clients was my number one priority. So, I decided to not renew one of my coaches. The second mentor was trimmed back tremendously. I remained involved in the group, but not to the level I had been. And, I doubled down on the one coach that had the clearest path to helping me land more clients. That was a year ago. In Q4 of 2022, I had my best quarter ever. More clients. Increased revenue. Incredible momentum. That is the power of focus on your most important challenge. Are you ready to overcome your challenge? First, identify your most important challenge that needs to be solved today. Next, find the one person or resource that can help you overcome that challenge. Finally, focus on that one challenge until you overcome it. Don't waiver. Eliminate all other distractions. Be diligent until you succeed. Coaches recently shared with me their most pressing challenge. Let's give you a few examples of how to overcome your challenge. LONG CONTENT My biggest challenge is setting time to prepare long term content, which I am working on, but not efficiently. Janie Take time to create a process. Each quarter, I create a content calendar. This calendar maps out the topics over the next 13 weeks. By laying out the topics, I have a roadmap to see how each topic connects to the next and supports the long-term strategy. Next, I create a rough outline for each of the 13 topics. This process takes a few hours. Block out the time once a quarter and your content creation will be much easier. Now that I have the outlines, I just need to create the episodes. And I repurpose the content. Define all of the steps that need to be completed to create your episode each week. You already have the outline. Now you simply need to perform. These steps will include equipment set up, recording, editing, exporting and publishing. Finally, schedule it. What gets scheduled gets done. You don't have to do all of the steps at the same time. In fact, it's wise to split them up. Recording and performing require a different part of the brain than editing and posting. There are times of the day when you are better at performing with high energy. And there are other times of the day when you are more focused for the detailed work of editing and posting. Do the work when you're in your zone of genius for each. The most important part is scheduling. Put it on your calendar and honor it. GETTING SALES My biggest challenge in my author business right now is getting sales for my already published books and also launching myself as a Speaker. Regards, Creg Which is most important? I would think being a speaker would lead to more book sales. Many coaches spread themselves too thin. My radio general manager once gave me a great piece of advice. We were planning our television advertising. Part of that process was deciding which shows to advertise on. He told me, "It's more important to go deep rather than wide." He wanted us to get in front of a focused audience many times rather than a broad audience once or twice. Instead of buying every show, we purchased ads on a few shows that we knew our audience was watching. Then, we were on that show multiple times to ensure our audience saw the commercial. When you are working to grow your podcast audience or grow your business, find three marketing vehicles that can help you get there and go all in. Don't try to do every strategy. It will take too long to build an audience. Instead, pick the three that you enjoy most, you can do well, and you can do consistently. That might include speaking at events, daily email, and podcast appearances. It might include social media groups, YouTube advertising, and webinars with JV partners. Pick your favorite three. Focus on those three only. Don't get distracted by the shiny new strategy. Stick to your three. REBRANDING I'm rebranding my podcast to unify my business. My challenge is should I start a new podcast, or just rename the one I have? Is there a traffic/audience size tipping-point that it makes more sense to do one over the other? -Ryan There isn't really a tipping point. It all depends on the audience. Will the new show have the same audience as the previous show? If so, just change the name and keep going. When the new show has a different audience, start a new show. Cliff Ravenscraft was the Podcast Answer Man. That was also the name of his show. Podcast Answer Man launched in December 2006 to help podcasters with everything podcasting. Cliff pivoted to become a life coach rather than simply a podcast coach. After 438 episodes, he rebranded the show to The Cliff Ravenscraft Show. The new podcast is devoted to helping people take their message, business and life to the next level. The Podcast Answer Man audience could also be the Cliff Ravenscraft audience. The target just expanded a bit. However, Cliff has now released a new version of Podcast Answer Man. He launched it in August 2021. Every episode of the new Podcast Answer Man will be evergreen content on the topic of Podcasting. Unfortunately, he has only posted 14 episodes in 2 years. Many podcasts have changed the name. It's not the name that matters. It comes down to the audience. Who are you trying to attract. Does your current audience fit that description? If so, just change the name and keep going.   If you don't have a mentor who can take your hand and walk you every step of the way, go to www.PodcastTalentCoach.com/apply, click the button and apply to have a chat with me. We will develop your plan and see how I can help and support you to achieve your podcast goals.

Worried about Ai? Your emotions are your job security, and working with technology will be key to future success in voice over. In this bonus Voice & Ai episode, Anne chats with Ryan Hicks and Adam Fritz of Pozotron - an audiobook proofing service. Listen as they dive deep into the future of audiobook production, and discuss how the connections between human emotion & AI is a voice actor's greatest ally… More at https://voboss.com/voice-and-ai-pozotron-with-ryan-hicks-and-adam-fritz  Transcript >> It's time to take your business to the next level, the BOSS level! These are the premiere Business Owner Strategies and Successes being utilized by the industry's top talent today. Rock your business like a BOSS, a VO BOSS! Now let's welcome your host, Anne Ganguzza. Anne: Welcome, everyone, to the VO BOSS podcast, the AI and Voice series. I'm your host, Anne Ganguzza, and today I'm excited and honored to bring you very special guests Adam Fritz and Ryan Hicks of Pozotron, a powerful AI software that helps audiobook professionals make their audio productions more accurate, efficient, and profitable. Adam is the COO of Pozotron and leads the operations and business development arms of the company. And Ryan has a 10-year history in the audiobook industry, having spent eight of those years as a proofer and editor with Deyan before coming over to Pozotron. Gentlemen, thank you so much for joining me today. It's a pleasure. Both: Thanks for having us. Anne: So if you don't mind, I'd like to start off with serving the need for having a wonderful piece of software like Pozotron. So I'd like to ask, Ryan, since your background as an editor and proofer at Deyan probably gave you lots of reasons to want to have things that would make your job easier. So tell us a little bit about what you did on a day-to-day basis and what type of tools you use to do your job, and then what your pain points were. Ryan: Oh man. So proofing and editing at Deyan. So we, wow. How do I even turn that into something small? Anne: Well, so there were a lot of were a lot of pain points. I would imagine -- Ryan: I mean the whole thing, the whole thing is a pain point. So we would get professionally recorded material and try to make it more professional quickly, in the door, out the door. So we had a series of steps that we would go through to kind of standardize the process of editing and proofing at the absolute highest level. And we had some fantastically intricate manuals about spacing and noise floors and RMS and mastering techniques and what you had to use for all of these things. And then add that to the fact that we're just listening for everything that possibly could be going wrong. Misreads, noises, thunks in the background, wrong character voices, anything that you would have to give a note back to the narrator, that was my job for eight years was finding all of those notes and giving them back. Anne: Wow, so let's just say then for an average size audiobook, how long would it take back and forth between you and the author before you were able to resolve all of these issues? Ryan: So we were super compartmentalized at Deyan. I never talked to an author. I never talked to a rights holder. There was a production manager and a head of post that would take those projects and give them to us. And we gave those projects back to the head of post. Anne: Got it. So how long would you say, do you have an idea of how long it might take? Is there so many days of revisions back and forth or was it weeks before you would finally get the edited version that you needed? And that was correct? Ryan: So it happened a couple of different ways. If narrators were coming in house to the studios at Deyan, they would record during a six-hour session. And at the end of that session, they would send three hours of audio to the editors. And we basically had that day to try and get it done. Anne: Wow. Ryan: So three sessions from a narrator would be about a whole book. And so during that period, we would be editing, and then someone would be proofing after us. And then hopefully within a week, that would be back to that narrator to do the pickups and then finish it up. So we would have anywhere between a 14 and 21-day turnaround. Anne: Got it. Ryan: And we just kept trying to tighten that down further and further and further and make it as efficient as possible. Anne: And I think that there, this is my own experience. I am not an audiobook narrator, however I narrate corporate and long form narration. And so for me, my editing, I can only get it so efficient. There is an amount of time in terms of listening to it to make sure there's no errors as well as the time it then takes to edit those and then go back into the studio and rerecord and then come back and check it again. And so there's a certain amount of time, and I wish I could get it faster, but I just can't. And so I know it must be completely frustrating in terms of having, you know, hours of book material to be able to prove and edit. And I'm just talking, like, maybe my maximum would be, you know, an hour module at a time, and I would do maybe eight or ten modules, but still the process to me, I never got it to a point where I was as quick as I wanted it or needed it to be. And so fast forward to the future, how did you find Pozotron or how did they find you? Ryan: Jamie, my boss, and correct me if you know this part of the story, Adam, it was Jamie that found Jake, right, at a conference? Adam: I believe so, yes. Anne: And Jamie is Deb's right-hand man. And Jamie came to me and said, "oh my gosh, you have to look at this. You have to see what this company is doing." And when he showed me, I'm like, this is ridiculous. We don't need this. I've been doing this for seven years. I don't need some computer program checking my work. I'm fine at what I do. And we set it through dozens of tests. And this is early in Pozotron when they were still kind of working the kinks out. And I never beat Pozotron. I would check my work as soon as I did my foolproof, and I would run it through the software, and there was always things that I missed. Anne: Wow. Ryan: And so I finally, you know, as much as I shook my fist at it, suddenly I had a backup, right? I had a backup, and as soon as I was done, all we had to do was upload the files. And 20 minutes later, I would get a chance to scan through. And there it is, there's those three things that I missed. Anne: Wow. Ryan: There's those five things that I missed. And so we would add that onto my proofing report, and suddenly pickups that were coming back from the publisher, not just from me, but through all of our proofers were coming back in the single digits. And it was, it was awesome. That transition was great. Anne: That's incredible. So you were kind of a, you're a believer now. Ryan: Yeah. Having that safety net when you're -- Anne: Yeah. Ryan: -- when you're tired -- Anne: Absolutely. Ryan: -- when you've been working for eight hours already having that backup was fantastic. Anne: Awesome. Okay. So Adam, let's talk a little bit about Pozotron and how did the company come about? Adam: Like any good software company, you know, the, the core software is designed to solve a pain point. Anne: Yeah. Adam: So it's actually almost reversed. A lot of software companies see, okay, here's problem X, how do we create a solution to solve that problem? But in this case, it was almost backwards. Jake Poznanski, our CEO and founder, really wanted to get into AI. He'd exited a gaming, a mobile gaming company and was looking at AI and machine learning, and really liked some research going on about forced alignment. That's basically matching text and audio files together, and basically came up with the idea of the technology and then went about trying to apply that technology to a problem to solve. So he almost went around it backwards, um, came across the whole concept of audio -- he was a big listener of audiobooks and just how -- manual isn't the right word, but how time-consuming it was to prove an audiobook. Anne: Yeah. Adam: I mean, when I describe it to people who are not at all involved in the industry, you basically sit down with a PDF and headphones -- Anne: Yeah. Adam: -- and have to listen and read at the same time, which is tremendously difficult. So basically he designed it as not a way to replace a proofer, but designed this really fantastic and unique tool as a way to add that kind of extra set of eyes. So really the whole goal of Pozotron on the proofing side, that is our core technology, is to get the ratio of time spent proofing to the actual time of the audio or as close to one-to-one as possible. Anne: Yeah, right. Adam: So it should take an hour of time to proof and report on the pickups for an hour of audio. Anne: Makes sense. Adam: Without Pozotron, I think that's certainly a much higher, probably a two to one or three to one at least ratio. The goal with Pozotron is still -- Anne: Oh, absolutely. Adam: It's going to take you an hour to listen to an hour of audio, but instead of doing that, and then spending 20 minutes or half an hour putting together a pickup packet by copying things -- Anne: Yeah. Adam: -- out into an Excel spreadsheet -- Anne: Sure. Adam: -- you click two buttons, and that pickup packets ready to go, and you just email that to your narrator, and they start recording right away. So that's really the goal is to get that ratio as close to one-to-one as possible. Anne: Yeah. And I'll tell you, that's very interesting because, for as many years as I've been in the industry doing long form narration editing, I have never been able to get quicker than one to three, and I am a stickler. You know what I'm like, no, I can do it. I can, I can get better than that. And I just can't, and it's, it's frustrating. And it's time-consuming, and it's also, it's very tedious. It's one of the, I would much rather be in the booth doing the creative, doing, you know, what I like to think I do best, you know, the artistry of it all to be in the booth and do that. And many people will outsource their work to an editor, but I always like to have the first check for myself. And it's not that I wouldn't outsource it, but that still, even if I outsourced it to an editor, it would take the editor just as much time as me or probably a little less, if that's all they do. But there was always that time element. And I could never get things back as quick as I really needed them or my client wanted them to be. And also if I had like a quick pickup to do, and I had an editor and I had outsourced it to an editor, they usually put their own filters on it that they don't necessarily tell me, or they might be using a different software. And so therefore, if I needed a really quick pickup, it was one of the things where if I outsource to an editor, it became a little awkward if I couldn't get that editor like right away, you know? And a lot of times the client would be like, well, look, it's just one sentence. Why is it taking you two days to get me that sentence back? And it just might be because I'm trying to tie in the editor's time as well. So that just added to it all. So I can absolutely see the pain point of needing something, or it would be wonderful to have something that could get it down to a one-to-one ratio. So tell me a little bit about how your software does that or how it works, kind of on a step-back scale. Adam: Yeah. So basically the end goal is if you've never seen how Pozotron works, you press play, you upload your manuscript, you upload your audio, our forced alignment algorithm basically pairs the two and gives you essentially what -- to simplify it, it's kind of like a spellcheck for recorded audio. It gives you an output of what we call annotations, which are things Pozotron thinks are a missed word. So a word that you, in the manuscript, you didn't say it during the narration, an added word, which happens a lot. I have two young kids and I read them a lot of stories. And it's amazing how often I just add words for no reason -- Anne: Yeah. Adam: -- mispronounced words, as well as extra long pauses. So really the goal is what it does is it gives you an output saying, hey, you just put an hour of audio in. Here's the 32 things that Pozotron thinks are incorrect. What you need to do then is as you're going through, we recommend that people continue doing their full listen. So listen to every second recorded. Um, but what it does is allows people to decide, hey, Pozotron thinks that I mispronounced the word microphone because I'm looking at the word microphone on my computer right now. And you need to listen to that and say, yes, that's a mispronunciation or no, it's not. If you click pick up, it automatically goes onto your pickup report and eliminates all that manual time of creating those reports. But at its core, we have a forced alignment algorithm based on tens of thousands of hours of audio data that basically take the spoken word, compare that to the text word. And then using a probability matrix, says, we believe that this was correctly pronounced or incorrectly pronounced, as close to a 100% accuracy as you could ever get. Anne: Got it. How does it handle like words like names and how does it, how does it handle accents and different languages too? Adam: So I'll answer the last part first 'cause that's the easiest. Anne: Okay. Adam: Uh, we currently support English, Spanish, Swedish, and then French and German are in beta right now. Anne: Okay, okay. Great. Adam: So we do support them, but they're just not at the level of accuracy of the English or Spanish, primarily just because we don't have that volume of data -- Anne: Okay. Adam: -- to continue training our algorithm on. In terms of names, really, as long as it is a phonetically pronounced name, Pozotron will be able to handle it. In the name of like, what's a good example of -- a word that is spelled one way and pronounced something completely separate. Um, Pozotron will occasionally have trouble with that because what -- the way Pozotron works is, if it is phonetically correct, it will mark it as correct. But if it is, um -- Ryan, do you have a good example of a word, of a word like that? I can't think of one off the top of my head right now. Ryan: I mean, we keep using lagxoor as our sci-fi name. Anne: Lagxoor. Adam: So that would be spelled L-A-G-X-O-O-R, but pronounced L-A-G-Z-O-O-R. Pozotron will mark lag sewer as an incorrect pronunciation of L-A-G-X-O-O-R because phonetically it's incorrect. So that's why Pozotron a lot of the tools we have, our pronunciation analysis tool, our character voice guide is great to help narrators, authors, production managers, anyone involved do their preparation before the project even starts. So our proofing tool's designed to catch pickups after they happen. Our prep tools are designed to stop pickups from before you've even started recording. Anne: Can you train it for a specific name somehow or phonetically spell it so that it can then, I guess, mimic or figure out if that's correct or not? Adam: So there's a couple of things. One, yes, every time we retrain our algorithm, it gets more and more accurate. But what you can do is we have a -- let's say that Lagxoor, for example, say it's a main character, and Pozotron for the 200 times it's mentioned in the book -- Anne: Right. Adam: -- Pozotron thinks, "we think this is incorrect." Anne: Right. Adam: We have a filter out button that basically is like the ignore all in Microsoft word when you're doing spell check. "This is not a mistake. Pozotron, I know you think this is a mistake because it's phonetically wrong." You click filter out, and it will ignore every other mention of that word. Anne: Got it. Interesting now, okay. Here's a question just because I do a lot of work in medical, and a lot of times in medical, like, I don't know the word enough, so that each time it occurs in the instance of my script, that I can pronounce it exactly the same, unless I go, and I mark up my script, and I phonetically spell it each and every time, I might forget like that 10th time to emphasize the middle syllable, rather than the other syllable. Will it catch those? Or is that something that we have to just, you know, we're on the lookout for that? Adam: So again, two answers there. So the first one is we have a tool called scan occurrences, which we should probably rename it, something a little, a little better than that, but scan occurrence is what it allows to do. So let's say for example, "doliosolaphic," um, which I, I mispronounced, I butchered that, but I named that because it came up in a demo I did the other day. You can choose that one word and click scan, and it will play every single mention of that word in the audio, back to back to back to back to back. Anne: Nice! Adam: You can listen to that straight through for consistency. It's great for character names as well. Anne: Oh, that's fantastic! That'd make my life easy, a live. Adam: I have an example of a customer the other day, who was doing a book, and the word shaman, S-H-A-M-A-N, which could be pronounced "Shaw man" or "shay man". Anne: Right. Adam: He pronounced shaman nine times as "Shaw man" and one time -- Anne: Right. Adam: -- for "shay man." So he used that feature to catch that, and then you can select individual ones and either mark those individual examples of that, mark those as a pickup in your audio, or you can just export a DAW file to put a marker -- Anne: Sure. Adam: -- in every mention of that word in your, in your DAW file or your DAW session to help your editor. Anne: Got it. So then at the core of all of this is AI, right? Adam: Yes. Correct. Anne: That is, it's learning. So when we upload our manuscripts and we upload our audio, is that going into help the model become more intelligent, or do you have a model that exists already and you're feeding it other data? Adam: We started by bootstrapping with publicly available data, whether it's Librivox or any of those other things. Anne: Sure. Adam: But when someone uploads audio, it's very spelled out in our terms of service, and we're going to be redoing our website right around Halloween. We'll be launching a new, just explaining exactly what we're using data for. But essentially what we do is we take random snippets of audio, audio and text paired together. And we feed those into our algorithm to train it. And this is not training it to replicate the human voice. This is training it to better recognize the human voice and the exact thing that is spoken based on the text. Anne: Got it. Adam: So it's basically just, it's almost like every bit of audio is like another drop in the swimming pool. None of it is -- you can't identify a single drop of water in a swimming pool. It all gets aggregated. Yeah. That's what we do. We basically make it so it's completely non-identifiable from an individual voice or anything like that perspective or personal identified information. But what it does is it just continues as we feed more and more data in and retrain, it just makes it more and more effective because we have more examples, more different accents, more different dialects to improve the accuracy of our algorithm. Anne: Got it. So now, do you have any plans to ever like create voices at all in your software in order to like maybe help with pickups? Or is that something that you're not really looking at? Adam: So I'm going to start with what exactly what it says in our terms of service, which is we can never do that -- Anne: Okay. Adam: -- without the express written consent of the person who uploaded the audio. Anne: Got it. Adam: So currently it is not in our plans, even from, from a business perspective. Even if we wanted to, there are companies out there that have a four or five-year headstart on us. Anne: Sure. Adam: So it would be kind of a dumb, it would be a dumb business decision. Um, I could see a future where maybe there would be a feature where you could say, say, you said, Anne instead of V, you could have a, you know, basically copy and -- Anne: Paste. Adam: -- copy and paste that word. But from a, from an AI perspective, we have, we'd have to be pretty careful on how we manage that and negotiate that with our customers -- Anne: Sure. Adam: -- because we would never do it in the way that is looking to replace that customer in full. We'd just be using that -- or that narrator in full -- we'd just be using anything that we ever did, which is quite a ways out, based on the current product roadmap. Um, it would be an assist to that narrator and not be to replace that narrator. Anne: Got it. So, in terms of, let's say AI, AI in general, people fear it because I think for the most part, a lot of that fear is based on, they don't necessarily know exactly how it works or -- and they're probably very fearful that it's going to take their job away, which is not a surprise that people in the voiceover industry are afraid that AI is going to take their job away. And so what is your outlook on that? What do you, what do you say to that in terms of your software? And I know that you're not creating voices at this moment, but you are using AI technology. Adam: Yeah. So AI by itself is not Skynet from Terminator. It's not something to be feared. It's kind of like AI does what it is designed to do. So if it is designed to replace a narrator, that's what it'll do. In our case, if it is designed to be an assist to a narrator, that's what it'll do. So AI by itself is not something to fear. Reality is the companies that are creating AI voices are getting better and better. I've listened to a couple of samples lately, and some of them are really good, but the human narrator will always have that lead in terms of the humanness of the voice that -- Anne: Sure. Adam: -- no matter how much -- it's like that Tom Hanks movie, "The Polar Express" a while ago where it almost got to the -- the animation was so accurate, it got weird. It was -- Anne: Yeah, yeah, yeah. Adam: I think it's called the -- Anne: Uncanny valley, right? Adam: Uncanny valley, that's it. Anne: Yeah. Adam: It's the same thing with AI narrators is -- Anne: Sure. Adam: -- I don't think no matter -- it'll never get all the way there, but the advantages the AI narrators have over humans is they're faster, they're more accurate, and they're cheaper. So people -- we basically say, look, Pozotron is a tool. Anne: Oh wait! Say that again, please. That I, you know, how many people are going to love to hear you say that? That humans are cheap -- you know, in reality, I think they are. Adam: Yeah. So I think that's the advantage. The advantage is not that the AI narrators are better than humans, human narrators, because that's not. Anne: Exactly. Adam: But they're faster -- Anne: yeah. Adam: They're faster, they're more accurate, and they're cheaper. They're most of the time more accurate, I should say. Anne: Yeah. Adam: So using a tool like Pozotron, humans will always have that lead -- Anne: Yes. Adam: -- in the humanness of their voice -- Anne: Exactly. Adam: -- but using tools like Pozotron or many other things out there, or even just a better workflow, will help humans catch up to those AI narrators in terms of speed, accuracy and efficiency. So we kind of pitch our tool as it's almost a way for narrators to stay ahead -- Anne: Sure. Adam: -- of the AI voices that aren't going anywhere. So that's really what we're trying to do is, you know, use the same tools to help narrators rather than take over some of this stuff out there. But I will say one thing, I think, no matter how good these AI voices get, there will always be a place for human voices. Anne: Yeah. Adam: I think and a lot of these companies are saying, look, we're just narrating the backlist or, you know, it'll be great for a history textbook. Something that's a thriller or a romance that requires that human emotion -- Anne: Sure. Adam: -- to really make it a piece of art that audiobooks are rather than just something to listen to. One of -- our CEO said the other day, "look, if I wanted to listen to a cheaper, crappier audiobook, I'd say, 'Alexa, read me my book.'" Anne: Interesting. Yeah. And you expect it, and I think when you hit that uncanny valley where it becomes too human, you're right. It kind of, there's a point where you believe, you think it's human, then all of a sudden, maybe you'll hear that note that kind of doesn't sound right. And it'll be like, "ooh, did I just get duped? Is that a person? I thought that was a person." And then I think there's a whole trust factor when that hits. And so I agree that I think when you need that human element, I think we'll always need that. And I think in that respect, that is quicker than AI in terms of, you know, some of the companies that I've been talking to and what I've seen right now, out in AI, while these voices are great or they can sound pretty human, I think they're only human in one instance. So if you ever had to go back and redirect, right? Adam: Yeah. Anne: You know, that emotion that they just emoted, it's the same, no matter if you put it at the front of the script or the, in the middle of the script of the end of the script. And I think if you have a human that you can redirect and have a slightly different nuance of sad, I think that's where humans are quicker and can actually -- I don't know if you can say it can be cheaper because I think these AI voices, they're on computers. They basically are generated by engines. And so somewhere in the ethers, you know, there's a computer out there creating that job or creating that audio for the job, and there's money, you know. Adam: For sure. Anne: There's -- that costs money. And so I feel like the human will always be there. What type of audiobooks -- both, I'd like to get both of your opinions -- what type of audiobooks do you think an AI voice is appropriate for? Or is it not? Adam: Appropriate is a -- appropriate is a different word. Anne: Yeah. Adam: I think instead of using appropriate, I would say acceptable maybe. Anne: Okay. Adam: Anything that's not going to require huge conveyance of emotion or feeling. So that's where I think, you know, educational materials, textbooks, things like that, where you're just absorbing information, I think it is less problematic than if you're reading a book, and there's a scene where a family member dies, and it's really important that that narrator captures that sadness and all those emotions and the subtleness -- subtlety of emotions. Whereas, you know, an AI narrator probably -- or even if the AI narrator can do that, my understanding is currently there's a lot of manual work in the backend essentially saying on this syllable, AI narrator be sad, on this one, pick it up a little bit. Anne: Sure, sure. Adam: So my understanding is currently there is some manual stuff that needs to happen for it to work -- Anne: Yeah. Adam: -- entirely properly. Anne: Yeah. And I think that it starts to take as much time if you need to dial that emotion to a certain way or dial the speed or whatever, you're, you're changing in that AI, I think you're going to spend more time post-processing to get it to sound more human. And then it ends up taking possibly longer than a human, you know, utilizing something like Pozotron to help, right, proof and get their job done faster. Interesting. So what do you think then is the future of AI for, let's start with what would be the future of AI and how it's being used at Pozotron? And then also, how do you feel AI will ultimately be in five years or ten years? Will it take over the voiceover industry? Or what do you, what are your thoughts? Adam: I'd like Ryan to talk to his -- Ryan's got a really, I mean, we all share it, but Ryan's got an interesting vision on kind of the future of audiobook production with human, with human narrators. I'd like you to go into that, Ryan. Ryan: So as far as the future of AI in Pozotron, I don't even think of it in terms of AI, as I'm working through my day, as I'm doing my testing. That doesn't enter into much of my thought process. Having spent thousands of hours looking for misreads and doing reporting, those two things were the absolute worst part of my job. They are the hardest to do consistently. It's the easiest to make mistakes. And the fact that there's a tool, whether it's AI or not, that makes that part easier, that's my push. That's my function. The fact that AI is there helping make that part better for the proofing process, for the scanning of scripts, for all of that, it's that way to make things easier for people, and the, the AI part of it, the mechanics behind it, don't concern me all that much as a technician. And on the creative side, I would love to see AI be that tool that makes the performance go to that next level. You know that you have an AI behind you telling you when you make your mistakes. So you don't have to worry about it. Anne: Yeah. Ryan: As a narrator, okay, you have these seven pages to do and "oh, am I going to make any mistakes? How long is it going to take, you know, my engineer to get that back to me, who do I have to turn it into next? How do I note it?" All of those things are going to be in your head, but if you have a complete set of tools that look for those things, you can be absolutely peaceful and zenned out, knowing that you have this extra set of eyes and ears and knowledge behind you. And so the future to me as a performer, being able to come to their tools, their microphone and their computer, and do an entire production on their own and have it not just a one-to-one ratio with editing or proofing or -- but a one-to-one production of the whole thing, how they want it, how they love it, how it's supposed to sound. So that's what I see in a few years is a set of tools that allows you, Anne, to go up to your station and make an audiobook. Anne: I love that. Ryan: That's what I see. Anne: Yeah. Ryan: That's what I'm excited for. Anne: Yeah, it gives you the time and the peace of mind to go and be an artist -- Ryan: Yep. Anne: -- which is what you are meant to do, and not necessarily worry about how long it's going to take to edit. I love that outlook. That's wonderful. Thank you for that. Absolutely. Adam: From the AI side of that, it's really just taking either algorithms we built or algorithms we are building to basically make all of the work around audiobooks easier. So an example right now is in our next step of this character voice tool that we're using, we're building an algorithm that will score, yeah, every single mention of a character's name based on two attributes. One of them is that character. So let's take, for example, Sherlock Holmes links to a verb denoting speech also modified by an adverb. So it'll take every single mention of that character's name and the book, and give you an output of the top 20 examples of that character speaking, where there is a description about how that character spoke. So when you're putting together your character voice prep -- Anne: Wow. Adam: -- and deciding as a narrator, hey, this is the voice I'm going to use -- Anne: Yeah. Adam: -- you can use our tool scan to through the top 20 mentions saying Sherlock spoke aggressively, Sherlock spoke in a high tone, Sherlock spoke, exclaimed sadly, or something like that. Where you can basically use this tool to easily figure out all the cues from the book and then plan out your character's voice. Anne: Wow, that's great. Adam: And then the other side of it, so really instead of having to do what they're currently doing -- Anne: Yeah. Adam: -- which is reading the book with a highlighter and taking note of everything they're doing, you can parse an entire book and take all those cues in a fraction of that time while still getting the same high quality work. And then the next step of that, that we've already built into our pronunciation guide, is once you've done your work, you've created your pronunciation list. You've created your character voice guide. You can currently export that into a marked up PDF where every word in your pronunciation guide is automatically highlighted in your script with a call-out box saying this is the phonetic pronunciation -- Anne: Wow. Adam: -- or this is your note saying how, how that voice should sound. And then in the future, it's going to be a teleprompter where instead of just seeing a call-out box, you click play, and you listen to yourself speaking in that character's voice. You pause your recording, listen to yourself, and then click record again and start going. So removing all of those -- Anne: Oh, that's wonderful. Adam: -- switching between apps. Anne: Yup. Adam: And, you know, some people have their character list on their iPhone in a note -- Anne: Yup, yup. Adam: -- or something like that, everything is centralized and that takes -- gets us closer to that one-to-one recording time to finished hour of audio time. Anne: Right, so you can get right to the point in your wav file that you need to be. Because when I go back in and have to do pickups, I have to hunt for where was that? You know, where was that part in my, in my single wav file there that I said this particular thing that I have to do the pickup. So that's, that's phenomenal. I, I think what a wonderful tool. How can BOSSes out there get in touch with you, find out more about your software, maybe -- is that a subscription based model? Adam: Um, so first, uh, they can check us out at www.pozotron.com. That's P-O-Z-O-T-R-O-N.com. Um, or email us at hello@pozotron.com. Uh, we have a number of pricing plans from pay as you go, which has absolutely no subscription. You pay $10 per hour of audio you upload, all charged down to the minute, but it's easier to say $10 per hour than 16.667 cents per minute, but all the way up to, you know, we have some, some of the biggest publishers are putting six, 700 hours of audio a month, and you're getting, and you're paying a much reduced per hour rate based on whatever volume you're doing. So we have very flexible plans from literally you put in 10 minutes of audio a month up to thousands of hours of audio a month. Um, we're very flexible and our subscriptions are only ever month to month. So if you have a big, either increase in volume, you can jump up to a bigger plan. If you have a lull over the Christmas season or holiday season, um, you can go down, 'cause we never want people to be paying for something they're not using because we're a believer in, you know, we'd rather lower our revenues from a customer for a month to make a happier customer because that customer is going to stay with us over the longterm. Anne: Fantastic. And I'm going to push for anybody that does long-form narration, really. I can absolutely see this as being a tool that can really help us, so fantastic. You guys, thank you so very much for joining me today. It has been amazing, and BOSSes out there, make sure to check out Pozotron. I think it's going to really help you do your job better, and thanks again for sharing your time with us today. And I am going to give a great, big shout-out to our sponsor ipDTL that allows us to connect and network like BOSSes. Find out more at ipdtl.com. Thanks again, Ryan and Adam. It's been a pleasure. Ryan: Thank you. Adam: Thank you very much. This was, this was really fun. Anne: Awesome. Alright, BOSSes. We'll see you next week. Bye-bye. Adam: Bye! Ryan: Bye! >> Join us next week for another edition of VO BOSS with your host Anne Ganguzza. And take your business to the next level. Sign up for our mailing list at voboss.com and receive exclusive content, industry revolutionizing tips and strategies, and new ways to rock your business like a BOSS. Redistribution with permission. Coast to coast connectivity via ipDTL.

You can't just chatter about patience. If patience moderates our sorrows, then it's ultimately a deeper spiritual virtue that can't be instrumentalized to feel better—it's more deeply connected to a joy and hope that recognizes to what and to whom we are in demand, to whom we're responsible, brings closer attention to the present moment, and acknowledges our limitations and lack of control. In this episode, Ryan McAnnally-Linz and Evan Rosa review and reflect on the six episodes that made up our series on patience: why it's so hard, what's good about it, and how we might cultivate it.These six episodes explored patience in its theological, ethical, and psychological context, offering cultural and social diagnosis of our modern predicament with patience, defining the virtue in its divine and human contexts, and then considering the practical cultivation of patience as a way of life.This series featured interviews with Andrew Root (Luther Seminary), Kathryn Tanner (Yale Divinity School), Paul Dafydd Jones (University of Virginia), Adam Eitel (Yale Divinity School), Sarah Schnitker (Baylor University), and Tish Harrison Warren (priest, author, and New York Times columnist).Show NotesModerating sorrowsJames 5:7: "Be patient therefore beloved until the coming of the Lord. The farmer waits for the precious crop from the earth, being patient with it, until it receives the early and the late rains. You also must be patient. Strengthen your hearts. For the coming of the Lord is near."The patient way to make a s'moreAn unexpected s'mores tutorialKairos vs Chronos: often overdone, it applies when you're talking about patience.Time with kids at bed time is incommensurate with work productivity time; comparing the two is a category mistake."One of the things that these conversations about patients had had started to clue me into was the importance of being attuned to the proper activity or thing for which this time is—a less uniform account of time that says for instance, you know, the bedtime routine with my children that time is for that. And so thinking of it as somehow commensurate with work productivity time would be a category mistake of a sort. It would be an unfaithfulness. And so that impatience derives from a lack of attentiveness to the temporal texture of our lives in really relation to God." (Ryan)There can be "patient hurry"Patience is like audio compression: it sets a threshold that is sensitive to the sorrow in our life and moderates or mitigates it.Episode summariesPatience Part 1, Andy Root: "To say that I'm busy is to indicate that I'm in demand."Feeling busy = feeling importantRecognitionAttending to the present, accepting a different form of "being in demand."Patience Part 2, Kathy Tanner: "There's no profit in waiting."Connecting economy to patience."Something has to hold firm in order for you to take risks."Stability and the steadfast love of God.Patience Part 3, Paul Dafydd Jones: "The Psalms of lament and complaint can get, as we know, incredibly dark, incredibly bleak. One operation of divine patience could be that God gives ancient Israel the time and space to accuse God. God is patient with expressions of trauma, expressions of guilt, expressions of deep anguish. And God is so patient with them that they get included in the Canon. Like, some of the most powerful, skeptical, doubtful, angry moments are found in the Psalms. So God's letting be at this moment and letting happen includes within it God's honoring of grief and trauma, such that those moments become part of the scriptures."Psalms of complaintPsychologist Julie Exline on anger with GodAnger with God is consistent with patiencePatience Part 4, Adam Eitel: "Moderating sorrow is not to suppress it or develop an affected callousness or disenchanted, jaded relation to the things one really loves."It's hard to chatter about patience.Patience and joyPatience Part 5, Sarah Schnitker: Identify, Imagine, and SyncNormativity and a truer cognitive reappraisal of one's emotional statePatience Part 6, Tish Harrison Warren: "God intended man to have all good, but in his, God's, time and therefore all disobedience, all sin consists essentially in breaking out of time. Hence the restoration of order by the Son of God had to be the annulment of that premature snatching at knowledge, the beating down of the hand, outstretched toward eternity, the repentant return from a false, swift transfer of eternity to a true, slow confinement in time. Hence the importance of patience in the New Testament, which becomes the basic constituent of Christianity. More central, even the humility, the power to wait, to persevere, to hold out, to endure to the end, not to transcend one's own limitations, not to force issues by playing the hero or the titan, but to practice the virtue that lies beyond heroism: the meekness of the Lamb which is led."Control and Meekness: Meekness is controlled strengthProduction NotesThis podcast featured Ryan McAnnally-Linz and Evan RosaEdited and Produced by Evan RosaHosted by Evan RosaProduction Assistance by Martin Chan & Nathan JowersA Production of the Yale Center for Faith & Culture at Yale Divinity School https://faith.yale.edu/aboutSupport For the Life of the World podcast by giving to the Yale Center for Faith & Culture: https://faith.yale.edu/givePart 1 Show Notes: Andrew RootDoubling down and the temptation to make up for lost timeHartmut Rosa and Modernity as AccelerationAcceleration across three categories: technology, social change, and pace of life"Decay rate” is accelerating—we can sense that things get old and obsolete much faster (e.g., phones, computers)Riding the wave of accelerated social change"We've become enamored with gadgets and time-saving technologies."“Getting more actions within units of time"Multi-taskingExpectations and waiting as an attack on the self"Waiting feels like a moral failure."Give yourself a break; people are under a huge amount of guilt that they're not using their time or curating the self they could have."You're screwing up my flow here, man."When I'm feeling the acceleration of time: “Get the bleep out of my way. My humanity is worn down through the acceleration."Busyness as an indicator of a good life“To say that I'm busy is to indicate that I'm in demand.""Stripping time of its sacred weight."Mid-life crises and the hollowness of timePatience is not just "go slower”Eric Fromm's "having mode" vs "being mode" of actionWaiting doesn't become the absence of somethingPixar's Soul, rushing to find purpose, failing to see the gift of connectedness to othersNot all resonance is good (e.g., the raging resonance of Capitol rioters)How would the church offer truly good opportunities for resonanceBonhoeffer and the community of resonant realityLuther's theology of the cross—being with and being for—sharing in the momentReceiving the act of being with and being forInstrumentalization vs resonanceBearing with one another in weakness, pain, and sufferingEncountering each other by putting down accelerated goals to be with and for the otherFlow or resonance in one's relationship to timeArtists, mystics, and a correlation with psychological flowPart 2 Show Notes: Kathryn TannerListen to Patience Part 1 on Time, Acceleration, and Waiting, with Andrew Root (July 24, 2021)What does patience have to do with money?Is time money?What is finance dominated capitalism?Viewing economy and our relationship to time through past, present, and future"Chained to the past”—debt is no longer designed to be paid off, and you can't escape it“Urgent focus on the present”—emergencies, preoccupation, short-term outlook, and anxietyWorkplace studiesPoverty, Emergency, and a Lack of Resources (Time or Money)Lack of time and resources makes you fixated on the presentA Christian sense of the urgency of the presentSufficient supply of God's graceThe right way to focus on the present"Consideration of the present for all intents and purposes collapses into concern about the future."The future is already embedded and encased in the present value of things.Stock market and collapsing the present into future expectationsPulling the future into the presentGamestop and making the future present, and the present futurePatience and elongating the presentFulsomeness, amplitude, expansiveness of God's graceRace, savings, and dire circumstancesPatience as a means to elongating the presentStability, volatility, and waiting“There's no profit in waiting"God's steadfast love and commitmentKierkegaard's Works of LoveAugustine's unstable volatile world and the implication of investing only in God's love and stability"Something has to hold firm in order for you to take risks."Part 3 Show Notes: Paul Dafydd JonesGod's patienceApostle Peter: “The Lord is not slow about his promise, as some think of slowness, but is patient with you.” (2 Peter 3)Tertullian and Cyprian"You need to think about who God is, and what God is doing before you think about who human beings are, and what we're called to become."Augustine: "God is patient, without any passion."Patience: Creation, providence, incarnation, TrinityCreatures are given time and space to "reward God's patience"This is not God getting out of the way; it's non-competitive between God and world.Colin Gunton: for the problem of evil, God's patience is a good place to start."God's patience occurs at a pace that is rarely congenial to us ... the world's history is not unfolding at the pace or the shape we would like.""God gives ancient Israel the time and space to accuse.  God is patient with expressions of trauma, expressions of guilt, expressions of deep anguish. And God is so patient with them that they get included in the Canon.""Some of the most powerful, skeptical, doubtful, angry moments, are found in the psalms.""God patiently beholds the suffering of God's creatures, particularly with respect to ancient Israel, that somehow the traumas of creaturely life are present to God, and God in some sense has to bear or endure them."Beholding Suffering vs Enduring SufferingGod's responsibility for the entirety of the cosmos: "There's no getting God off the hook for things that happen in God's universe."And yet God doesn't approve of everything that occurs.Confident expectancy: "Moving to meet the kingdom that is coming towards us.""God's patience empowers us to act."The patience of God incarnate; Christ is patience incarnate"Israel is waiting for a Messiah."We cannot understand Christ as savior of the world without understanding him as Messiah of ancient Israel.God's solidarity with us"The pursuit of salvation runs through togetherness with creation in the deepest possible sense."Letting Be vs Letting Happen"Jesus has to negotiate the quotidian."Crucifixion as the one moment of divine impatience with sinTheology of the cross as an imperative"Christians often are not comfortable with complexity. We want to think in terms of assurance. And we want that assurance to be comforting in a fairly quick-fire away. I think theologians have the task of exposing that as an ersatz hope and insisting that faith includes complexity. It involves lingering over ambiguity. Trying to fit together. multi-dimensional beliefs that are this lattice work—none of which can be reduced to a pithy, marketing quip.""Theologians need to be patient in order to honor the complexity of Christian faith. ... That's called intellectual responsibility.""Christianity is not going to cease to be weaponized by snake-oil salespeople."Staying with complexity and ambiguity"The capacity to tell the truth is in short supply.""Human beings are called to respond to God's patience. Human beings are called to make good on God's patience. The covenant of grace, which is fulfilled in Christ and which is animated by the spirit, makes that a possibility. It's not an easy possibility of real life. I mean, not just because of sin and finitude, but because of the complexities of the world that we live in. But learning how to respond to God's patience, both through forms of waiting, through forms of activity, and sometimes through moments of intemperate resistance is I think at the heart of Christian life.""People should not get in the way of human flourishing ... brought about by the empowering patience of the Holy Spirit. ... That's a gospel moment. That's a kairos moment."Part 4 Show Notes: Adam EitelThe context for Thomas Aquinas and his friars"The friars are on the verge of being canceled."What is a virtue? "To have them is to have a kind of excellence and to be able to do excellent things."Where does patience fit in the virtues?Matter and ObjectThe matter of a virtue is the thing it's about, and the matter of patience is sorrow.Sorrow can have right or wrong objects and can be excessive or deficient.Sorrow is elicited by evil, that is, the diminishment of good.Patience is a moderating virtue for the passions, similar to courage.Patience is connected to fortitude or courage in moderating our response to "the saddest things.""Patience moderates or constrains sorrow, so that it doesn't go beyond its proper limit. When we become too absorbed in trouble or woe, alot of other things start to go wrong. That's what Gregory the Great called patience the guardian of the virtues. .... deteriorate." (or to ... guardian of the virtues in that sense.")What does it feel like to be patient on this account?You can't experience patience without experiencing joy."Joy is the antithesis of sorrow. Its remedy."Remedies: Take a bath, go to sleep, drink some wine, talk to a friend ... and at the top of the list is contemplation of God.Contemplation for Aquinas: prayer, chanting psalms, drawing one's mind to the presence of God.Experientia Dei—taste and see"This is scandalous to most virtue theorists ... but you can't have patience, or at least not much of it, without contemplation.""Moderating sorrow is not to suppress it or develop an affected callousness or disenchanted, jaded relation to the things one really loves.""Patience never means ignoring or turning away from the thing that's genuinely sorrowful."Diminishment of sorrow by nesting it among the many other goods.Modulate one's understanding of the thing that's sorrowful.The sorrow of losing a childYou can only write about it from inside of it.What is it? "Beneath the agitation, some kind of low grade anger, is there some sorrow? What has been lost? What have I been wanting that is not here? What's beneath the anger? What is it?"What scripture anchors you? "Find that scripture that anchors you in patience, and let it become yours. Let God speak to you through it.Part 5 Show Notes: Sarah SchnitkerThis episode was made possible in part by a grant from Blueprint 1543.Why study patience from a psychological perspective?Patience as notably absentCan we suffer well? Can we wait well?David Baily Harned: Has patience gone out of style since the industrial revolution (Patience: How We Wait Upon the World)Waiting as a form of sufferingDaily hassles patience, interpersonal patience, and life hardships patienceMeasuring patience is easier than measuring love, joy, or gratitude, because it isn't as socially valued in contemporary lifeHow virtue channels toward different goalsPatience can help you achieve your goals by helping you regulate emotion, allowing you to stay calm, making decisions, persist through difficultiesPatience and the pursuit of justicePatience and assertiveness“If you're a doormat, it's not because you are patient, it's because you lack assertiveness."Aristotelian "Golden Mean” thinking: neither recklessly pushing through or giving up and disengaging. Patience allows you to pursue the goal in an emotionally stable wayUnity of the virtues: “We need a constellation of virtues for a person to really flourish in this world."Golden Mean, excess, deficiency, too much and too littleAcedia and Me, Kathleen Norris on a forgotten viceAcedia in relationship: “Even in the pandemic… monotony…"The overlapping symptoms of acedia and depressionPatience is negatively correlated with depression symptoms; people with more life-hardships patience is a strength that helps people cope with some types of depressionPatience and gratitude buffer against ultimate struggles with existential meaning and suicide riskHow do you become more patient?“It requires patience to become more patient."Three Step Process for becoming more patient: Identify, Imagine, and SyncStep 1: Identify your emotional state. Patience is not suppression; it begins with attention and noticing—identifying what's going on.Step 2: Cognitive reappraisal: one of the most effective ways to regulate our emotions. Think about your own emotions from another person's perspective, or in light of the bigger picture. Take each particular situation and reappraise it.Find benefits. Turn a curse into a blessing. Find opportunities.Step 3: Sync with your purpose. Create a narrative that supports the meaning of suffering. For many this is religious faithReappraising cognitive reappraisal: How convinced do you have to be? You'd have to find something with “epistemic teeth”—is this something you can rationally endorse and know, and can you feel it?Combining patience and gratitude practices, allowing for multiple emotions at once, and reimagining and reappraising one's life within your understanding of purpose and meaning.Provide psychological distance to attenuate emotional response.The existential relevance of faith for patience; theological background of patiencePatience and a life worth livingLove, the unity of the virtues, and "the longsuffering of our Lord is salvation" (2 Peter 3)Part 6 Show Notes: Tish Harrison Warren"Part of becoming more patient is noticing how impatient you are. ... It's so not-linear."Kids will slow you down and expose your impatiencePatience often looks like other things—"it looks like contentment, it looks like trust, it looks like endurance."Patience and humility: "We are not the President of the United States. Things can go on without us.""Our entire life is lived in a posture of waiting."Waiting for the eschaton, the return of Christ, and things set rightThe illusion of control—James 4:13-14Has Urs Von Balthasar: "God intended man to have all good, but in his, God's, time and therefore all disobedience, all sin consists essentially in breaking out of time. Hence the restoration of order by the Son of God had to be the annulment of that premature snatching at knowledge, the beating down of the hand, outstretched toward eternity, the repentant return from a false, swift transfer of eternity to a true, slow confinement in time. Hence the importance of patience in the New Testament, which becomes the basic constituent of Christianity. More central, even the humility, the power to wait, to persevere, to hold out, to endure to the end, not to transcend one's own limitations, not to force issues by playing the hero or the titan, but to practice the virtue that lies beyond heroism: the meekness of the Lamb which is led.""We are creatures in time."Robert Wilken: "singular mark of patience is hope"Activism and patience together"Patience can get a bad rap, that Christians are just wanting to become bovine."Patience but not quietism, a long wait but not gradualismThe ultimate need to discern the momentClarence Jordan and Martin Luther King Jr.The practices of discernment for individuals and communitiesSocial media trains us to be impatientThe meaning of urgent change is changingInternet advocacy and a connected world makes us less patient people"It takes real work to slow down and listen to another person's perspective, especially if you disagree with them."We often don't have the patience to even understand someone else.Real conversations with real peopleSilence, solitude"Having a body requires an enormous amount of patience.""My kids are so slow. They're the one's teaching me to be patient!"Little hardships of boredom and discomfort"Life with a body and life with real people inevitably involves patience.""Patience is something we learn our way out of through privilege and through being, you know, important adults."

Ten years ago, Ryan Frederick, became a partner at AWH, a now 26-year-old firm that builds net new software products, solves data problems, and integrates systems across platforms and products (phones, the web, Internet of Things [IoT] devices).  The client mix is split in thirds: Funded startups building disruptive products to capitalize on unique opportunities Midmarket companies (manufacturers, distributors, or nonprofits/social enterprises) who don't have much technological knowledge or “horsepower” and a one-time or only sporadic need to build a “digital fix.” Enterprise clients that need prototypes and proofs of concept for corporate innovation initiatives (e.g.; leveraging blockchain technologies, integrating machine learning, and utilizing artificial intelligence). These companies have the resources to build the needed system but need guidance on how to approach a problem and what needs to be done. To ensure the best outcomes, AWH consults with clients and establishes advisory boards to iteratively build products that resonate with customers and provide value. Ryan started out his career as a software developer but migrated to the “business, human, and creative side of things” – because he was interested in utilizing a more complete mix of skills. In this interview, he talks about how developers have been maligned in the past for not caring about the quality of the code they wrote. He admits that a lot of bad software was written when developers were a “background assembly unit” and the practice was to “slide the requirements under the door” and direct developers to build what they were told to build.  Ryan says today's developers, designers, and QA professionals demand interesting, challenging, impactful work and need to be involved from the beginning – in defining the problem and in the planning, design, and user experience processes. Losing team members mid-project destroys process, teamwork, and collaborative continuity and chokes progress as “replacements” need “ramping up.” AWH's focus, particularly in the last 5 years, has been on creating an environment where team members feel valued for their work – in order to “get and keep the most talented, capable team” possible.  AWH often works with funded startups that often come up financially short at times where continued development is critical. To address this problem, AWH formalized an internal financing mechanism where AWH lends monies to cover continued development work in exchange for client royalties or equity. Ryan says AWH has done this 20- or 30- times, not so much by choice as by necessity. A few “loans” have “gone south” – but the company, to date, has accrued royalties or client equity of almost $2 million.  Ryan authored The Founder's Manual, an experiential exposé of things Ryan has seen work . . . and not work . . . in the development world. His second book, Sell Naked, covers his experience over the past 10 years of owning and leading a professional services firm. Ryan says a lot of service firm representatives sell “propaganda, paraphernalia, and crutches” and 999-slide capabilities decks rather than starting with an open, authentic conversation about client needs. He says, “No prospective client cares about how awesome you are until they believe that you understand their problem and that you can . . . help them alleviate the pain of the problem. He also explains the informal proposal email process his company uses to quickly and effectively close contracts. Ryan can be reached on his company's website at: AWH.net. Transcript Follows: ROB: Welcome to the Marketing Agency Leadership Podcast. I'm your host, Rob Kischuk, and I am joined today by Ryan Frederick, who is a Principal at AWH based in Dublin, Ohio. Welcome to the podcast, Ryan. RYAN: Thanks for having me. Appreciate it. ROB: Wonderful to have you here. If we're looking up AWH and what you focus on, it says “building great digital products.” But why don't you give us the big picture of AWH and what that specialty really means when you talk about building a firm around that?  RYAN: Essentially, we do one thing, and that is build net new software products for clients across the spectrum of startups to midmarket to enterprises. Around the building of net new software products, we also do a fair amount of data work, solving data problems, data plumbing to support those products, integration work – because rarely do software products now exist on their own without talking to other products and other systems – and then we do a fair amount of product consulting as part of it, too. We help clients establish customer advisory boards, for example, to be able to work iteratively in building a product to ensure that it resonates with customers and they find value from what's getting built. So some wrappers around that core of building software products, but at the core, we build net new software products that run on phones and the web and IoT devices and various places for lots of different purposes and to solve lots of different problems. That's our day job and how we butter our bread, so to speak.  ROB: Got it. Is there a typical sort of firm, a sort of client that's looking to engage you? Are we talking about seed stage funded companies, are we talking about enterprise, are we talking about all of the above and then some? RYAN: Our business is mixed in about thirds. About a third of our clients are funded startups trying to build a net new disruptive product in many cases, where they're going after a space and a problem or to capitalize on an opportunity that is fairly unique; otherwise they probably wouldn't be starting a company around it. About a third is midmarket clients. Those are manufacturing companies, distribution companies, and in some cases nonprofits or social enterprises that are trying to become more digitally capable. Often, they are digital laggers. They don't have the technology teams, if any technology teams, and they need things like customer portals built and they need design tools built and they need customer apps built, etc. So in the midmarket, it's really I would say them becoming digitally capable if not exceptional to fuel their growth. If they're a $50 million company, how are they going to get to be a $100 million company? If they're a $200 million company, how are they going to get to be a $500 million company? And that answer now is almost always digital and technological in some way. So that's where we typically play in midmarket space. Then with enterprises, most of our enterprise clients and engagements are around some sort of corporate innovation initiative, trying to figure out how they're going to leverage blockchain, what they're going to do with machine learning or artificial intelligence. Then we engage with them to build some prototypes and some concepts, and they'll then take it and run with it moving forward. We don't want to, in the enterprise space, do a lot of uninteresting work. We want to be able to stay true to our DNA and our desire to build interesting things, because frankly, that's how we keep really smart, talented people – because they want to build interesting things. So we tend to shy away from enterprise work that is just “upgrade something that's been running on a mainframe to something that's now modern.” We tend to stay away from that sort of stuff and focus more on the corporate innovation stuff inside of enterprises. ROB: Obviously, with a new company, I can certainly understand how they would look at what they need to do and say, “We don't know how to build technology. Let's call up Ryan and his team.” What do you think is the missing ingredient, perhaps – when you get to the mid-stage in an enterprise, I would imagine in a lot of these cases, you're talking about standing up a team of two, five, ten people to accomplish something that you would certainly imagine could be in the reach of such a company. What do you think it is that keeps them from sometimes even building that capability, or wanting to, when innovation is so important? RYAN: I think it's different between the midmarket and enterprise. In the midmarket space, clients will engage with us because they don't have much technological knowledge or horsepower. They also don't envision getting a substantial amount of it, either, because if you're a bolt manufacturer, there is a point where technology needs to serve you and you need to leverage it, but you also then don't need a team of 10 technologists running around that you're paying a ton of money to not do anything of consequence on a daily basis. Most of our midmarket clients build one software product that would be considered a custom software product. They build one of those in the entire history of their company. If you're a $50 million company and you need to build a customer app for ordering or what have you, it's probably the first time you've ever actually built your own software product, and you probably aren't going to have to do it again for a very long time because you're filling a gap that has now become so painful that you have to address it. But you're also probably not seeking to run around and build a bunch of new software products. That's the reason the midmarket clients often don't have their own teams and don't have a desire to implement and build out their own teams, because it's sort of a moment in time for a midmarket client. ROB: It's not as much of a sustained need, but it comes in bursts, and they need to know who they can trust to come back to it time after time, even.  RYAN: Yeah, absolutely. But they are moments in time where there's a problem that has to be addressed, and then once it's addressed, the pain has subsided for some period of time. Enterprises are a little bit different, and that's why we mostly focus on innovation work inside of enterprises. Most enterprises have IT, design, product capability, either internally or through staffed augmentation or contracting firms. They have more people and more resources than they know what to do with in most cases, frankly. That's why we don't really want to play in that area, because it's just not that interesting to us. But we will come in, and enterprises often use us as like a special projects firm, where they're trying to figure out, “We've got this problem; our existing team doesn't know how to address it. We need help figuring out how we approach this problem. What's the right technical solution? What's the right digital solution? What's going to add that value for the business, and what's going to align with our customers and our users?” We do a lot of enterprise work, frankly, where we're just helping them concept things from a design perspective and a problem statement perspective and to build out customer advisory boards. There's a lot of cases with enterprise clients where we don't write one line of code and we have no engineers from our team actually engage with enterprise clients. It's more about helping them figure out what the right thing to do and the right thing to build is in the right way than it is actually doing a lot of wrenching on the product behind the scenes, if that makes sense. ROB: For sure. Ryan, it looks to me like you just might've celebrated a 10th anniversary for the company. RYAN: I did, yeah. ROB: Which is pretty exciting. Congratulations. If we rewind 10 years, how did you end up in the direction that the firm is in now? What led you to start it in the first place? RYAN: The firm's actually been around for 26 years, and I joined 10 years ago as a partner. I was coming down off of something else, and I was looking for something to do, frankly. I reached out to my network and said, “Hey, I'm looking for something to do,” and my now-partner Chris said, “Why don't you just come here?” I said, “Oh, didn't know that was on the table.” We talked for a few weeks, discussed what that might look like, and then we came together around it. I think the biggest evolution for us as a firm has been that software and data continue to eat the world, but you have to pick and choose where you want to dig in and where you want to leverage your team's expertise and experience. For us, we could be doing lots of different things in and around technology and software products, and we've said we're going to focus on building net new products. That's surfaced well because we really want to make sure that we're adding value for our clients. We also want to make sure – and this is becoming increasingly more important – that we're adding value for our team. Our team could work anywhere besides our firm, because developers and designers and QA professionals, everybody in our team is desirous and a value to work at, I don't know, 100 million other places. So. for us, we have to be way more intentional about creating an environment that they feel valued in and that they can ply their craft in and that they can do exceptional work on behalf of our clients. That's been a significant evolution. The days when you could get a developer or designer and hang on to them forever just by virtue of staying in business and continuing to have a paycheck deposited into their account, those days are gone. If you're not doing interesting work that they find challenging but also impactful, you're probably going to have a turnstile of team members. As a services firm, a turnstile of team members is one of the worst things you can have happening and going on because you have no continuity of process, you have no continuity of teamwork and collaboration. Client projects get upended because somebody new has to come in and get ramped up, etc. So our focus, especially over the last five years, has really been on how we get and keep the most talented, capable team that we can. Everything else is a derivative of that. ROB: Any one of those sharp developers or designers can go out and get into a bidding war and they can pit Google against Amazon, and it can ring the cash register if that's their priority. So it certainly has to be something different. I am a bit curious; if I'm looking at your background a little bit, it looks like you come from, pre- and maybe even with AWH, more of a sales background. Is that fair? RYAN: Yeah, I started out as a developer and then realized I didn't want to write code every day. I then migrated over to the business side and then got fortunate and hooked up with a startup fairly early in my career. I was the third person into the company. Learned a lot about business and also how to build software products. It was a software company. We had some success with that. The company ultimately got sold, and then I started another company with the investors that were behind that one. We had that for a short period of time because we ended up getting an offer to buy that, so we sold that one. I enjoy the technology aspects of things, but for me personally, I enjoy the human side of it and the creative side of it more than the analytical bits and bytes side of it. So I migrated over to the business side because I wanted as much of each side of the brain as I could get on a daily basis because that was the most interesting to me. ROB: And that early background as a developer helps put everything in perspective. I was certainly wondering – I come from a software development background; I have a pretty good understanding of what it takes to motivate and retain software developers, and what you were expressing resonated with me and showed an empathy for that developer mindset. If you came from purely a sales background, I was going to ask how you came by that understanding, because it is deep, it is resonant with my own experience. Having your feet in the technology early on helps tie it all together. It's a really fascinating journey. RYAN: Yeah, absolutely. Developers are often maligned for not caring about what code they write and what the application is and what problem the application is solving, etc. That's true to some degree, but my experience is that most developers actually do care about what they're working on and why they're working on it and what the problem is and what the value of the software is going to be. I think coming from a developer background initially, I have a little bit of empathy for their perspective and their role. It's also been the case where in a lot of organizations, developers are treated as the assembly line in the background that “We're going to slide the requirements under the door, and you just write code against what we tell you to build.” That's how a lot of bad software products got built. And now we realize, if you're going to build great, successful products, developers need to be involved from the beginning. They need to have as much context as they can have. They need to be part of the planning process. They need to be part of the design, the user experience process. This is not you figure out what to build and then pass it off to the development for them to build it. We discovered that that really didn't work, even though that's what we kind of wanted to have happen. So development, even as a craft, has evolved too. It's certainly less cookie cutter, and it's become valued to the level that it always should've been valued and not some smarter people than developers figuring out what would need to get built. Developers are now at the table, working with the other members of a product team to figure out what should get built. ROB: I'm interested; you mentioned that a significant portion of your business is in early stage. I note that you also invest in companies at times. I think a thing a lot of services firms face when they're dealing with early stage is they get asked to invest some portion of their fees into their clients' companies, essentially. As someone who invests and has a services firm serving these companies, how do you think about those tricky conversations? They're challenging, I think, from a valuing the client well perspective, from what you communicate, how it's perceived, all that. RYAN: Absolutely. They're tricky conversations. My base position is a services firm should never discount services and should never trade services for equity unless there are special circumstances and there's awareness of the client and what they're trying to accomplish and there's good reason to do so. With that said, we got into a situation – we have formalized our work then and now because I didn't want to do it haphazardly. To your point, if you're going to have clients that are early stage companies as part of your client mix, the question around services for discounts, services for equity, services for delayed payment, etc., it's going to be a real and present thing that you're not going to be able to avoid. We got to the point with a client a few years ago – probably five years ago, maybe six now. They were a funded startup, but they were in between funding rounds, and we were working on their product, and still are their outsourced product team. They said, “We're not going to be able to raise our next round if we don't continue to work on the product, i.e. if you guys don't continue working on the product.” So we were at a crossroads. We said, well, we can either stop working and they can go out and see if they can raise more money with the product where it is. If they can't, that means the whole thing comes to a screeching halt, so that's not a really good outcome for anybody. Or we can continue to work and we can essentially finance the work until they raise their next round of funding and then we get paid back. We thought that was the better option, so we actually put a promissory note in place and we financed the work under the framework of this promissory note. It all worked out and it all played out as we hoped that it would. We've now done that probably 20 or 30 times over the last couple of years, where we've actually put a financing mechanism in place with some clients. I would rather have not done it, but I'm glad that we formalized it and we didn't treat it haphazardly, because you're talking about real money. Services firms are cash flow monsters. You pay your team to show up today, to ply their craft, to do their work, and then you collect from clients at some point in the future. By the very definition of that, every services firm is a bank. If you then pile on top of that some clients need extended terms and relationships, like we're talking about, you'd better at least treat that dynamic and those monies and that relationship as formally as you absolutely can so that everybody knows what's at stake, what's happening, who's committed to what, who's on the hook for what, etc. We now have this little financing arm inside of the firm that we've now financed and in other ways taken royalties or actually taken equity in some clients, up to at this point almost $2 million. I would rather have not done it, frankly. But we didn't really have a choice with one client, and then over time, we've now had a couple dozen clients that have gotten into a similar situation. And knock on wood, most of them have gone well and progressed well and the deals have made sense. We've had a couple that have gone south, but from a percentage perspective, it's mostly gone okay. But it was really out of necessity less than it was out of “Yeah, we're stoked to do this.” ROB: Yeah, it's challenging. It sounds like you're looking at a way to be a good partner to a company that trusts you to be a good partner in other ways. But that's a two-way street, and that's not to be trifled with either. You've been sharing all along some good lessons, but I think it would be remiss not to mention that some of these lessons, you have written down and put into book form. What led you into the path of writing and publishing? Tell us about what you've been sharing lately, book-side. I see a 2021 date on one of your books on Amazon, even. RYAN: Yeah. I was just writing notes and thoughts down, and I got to the point where there was enough of it where it seemed to be the construct for a book. That was the first book, The Founder's Manual, about providing some experiential exposure to things that I had seen work and not work. I said, “All right, there's no point in jotting these notes down over time if you're not going to do something about it.” So I then reached out to a publisher who had worked with somebody that I know, and I said, “Hey, I want to do this book.” They said, “Okay, we'll do it with you.” The first book is not a super long book. It's been relatively well-received. My publisher would like me to get better at selling books now than just writing books, so that's always an interesting conversation with them. [laughs] The second book was really the same thing. After I finished the first book, I started writing down notes about my experience as part of AWH the last 10 years. This was my first time owning and leading a professional services firm, so I learned a lot over the last 10 years. I saw some things work well that we tried, and I saw some things that were just abject failures that we tried. I've gotten to know people that also run and lead other professional services firms, and professional services firms are a tricky beast to make work. There's virtually no scalability. Your people are your product. You're selling time. To forecast where the business is going beyond like three months is almost nonexistent. And most services firms, because of a lot of the things I've just mentioned and more, have a really hard time growing and becoming what they want to become. One of the epiphanies that hit me was, it is really easy to start a services firm. All you have to do is say, “I've got a craft. I've got something that I can help people and companies with,” and you put up a site and boom, you're “in business,” so to speak. But the challenge is not starting a services firm; the challenge is, how do you grow a services firm? That's a very different animal than starting one. Super easy to start, very difficult to grow. ROB: I may have to pick up that. I can get the Kindle version. I have some credits I can use on the Kindle version of Sell Naked, and I might have to go grab this myself. What's maybe one of the key principles you'd pull out of that book as a teaser for folks who might be thinking about picking it up? RYAN: There's a couple that I would say. We titled it Sell Naked for a reason, because that's one of the chapters in the book, and the publisher felt like that was the lead chapter. The theory there is I see a lot of business development people for services firms, either leaders of or business development representatives at services firms, who sell with lots of propaganda, paraphernalia, and crutches. They've got these capabilities decks that are like 999 slides. They have these elaborate portfolios, etc. And in some services firms, I get it. Those make sense. But I think by and large, for a lot of services firms if not most, those things are just crutches because what those do is force people to focus on the tools and the propaganda and the paraphernalia rather than going in with a prospective client and sitting down and having a very open, authentic, transparent conversation about “What are you trying to accomplish? Are we a fit in any way to help you accomplish that? And if we are, now let's start peeling back the layers.” But if you go in with a capabilities deck and propaganda and all this other stuff, you're delaying getting to the crux of the matter while you pontificate about how awesome you are, and no prospective client cares about how awesome you are until they believe that you understand their problem and that you can share some insights and some value that might help them alleviate the pain of the problem. So I think people get selling services mostly wrong, I guess is the sum of that. ROB: That sounds very aligned. I can certainly understand especially how a peacocky sales culture and teams of very capable developers and designers – that's probably more oil and water than most organizations. But I think most people, outside of a very slick sales organization, appreciate that genuineness, that straightforwardness, building the connection and trust, more than building a shiny deck. RYAN: Yeah. I think the other thing we have figured out and that we do is we also don't do elaborate proposals. When a potential client says, “Yeah, we're interested in engaging with you,” then we send them – truly, and in the book I actually put some of the copy that we use, and the format – we send the client a bulleted list of the essential terms of engaging together. I call that estimating informally or proposing informally. The last sentence in that bulleted email is essentially, “If you're comfortable moving forward, let us know, and we will take this and wrap it in an SOW.” The reason we do the informal emails to engage is because there's no point in spending hours and hours and hours on an elaborate proposal when the prospective client is only interested in really two things at that point: how long and how much? If you've built enough value and enough credibility to that point, you don't need an elaborate, flowery proposal reiterating how special of a snowflake you are. Just get to the point and then engage formally by sending them an agreement to actually engage. Because if a prospective client responds to that informal proposal email saying, “I think we're good to move forward,” guess what? You just got a verbal that the deal is closed. But if you send a big, elaborate proposal asking people, “What do you think? Are we in alignment?” and all of these things, you're still trying to build value when that ship already sailed. Does that make sense? ROB: Oh yeah. They don't even know what they're saying yes to in a giant contract. They might float it over to procurement before they say yes to a dang thing in the enterprise context. There's a lot of hazards that just keeping it human – that makes complete sense to me. Ryan, when people want to connect with you and AWH, where should they go to find you and see more? RYAN: AWH.net is the easiest place because they can get to me from there and of course get to the rest of our team and the great work that our team does. That's probably the best place, and then jump off from there. ROB: Sounds perfect. Ryan, thank you so much. Congratulations to you and the team and what you're building together. We will look for more excellent digital products coming from you and the team for your clients down the line. RYAN: Thanks, man. Appreciate it. ROB: Be well. Thank you. Bye. Thank you for listening. The Marketing Agency Leadership Podcast is presented by Converge. Converge helps digital marketing agencies and brands automate their reporting so they can be more profitable, accurate, and responsive. To learn more about how Converge can automate your marketing reporting, email info@convergehq.com, or visit us on the web at convergehq.com.

At the bottom of last week's Monday Morning Memo, I asked, “Does it surprise you that the multibillion-dollar investment funds that used to buy manufacturing companies and mortgages are now bidding to buy successful home service companies at record-setting prices?”Immediately following my publishing of that comment, a client of my partner Ryan Chute asked him for any insights he might be able to provide about the Private Equity firms that were trying to buy his business. Another Wizard of Ads partner, Stephen Semple, has worked with almost 100 business owners who sold their businesses. Here is what https://wizardofads.org/partner/stephen-semple/ (Steve) told https://wizardofads.org/partner/ryan-chute/ (Ryan): “There are three problems I've seen over and over. The first problem is that there is a due diligence clause in every sales contract that professional business buyers regularly use to lower the price. Here is how it works: the closing is scheduled for Friday afternoon (yes, almost always a Friday.) At noon on Friday the buyer drops the price. They tell you they have come across something that says the price is now 20-30% lower.” “These business buyers are banking on the owner having already sold the company in his heart. The champagne is on ice and the owner is not emotionally capable of walking away from the closing table. To fight this, the seller needs to remain ready to walk. Walking away is the only power the seller has.” “The second problem I have seen is this: selling a business is a slow process and the closer it gets to the closing of the sale, the more the business owner mentally and emotionally disconnects from the business. They stop investing in the business, stop growing it. This is a dangerous thing to do because if the sale falls through, they have to get the momentum going again.” “The third problem is that most business owners don't actually know what their business is worth. Knowledge is power, and you desperately need the power of knowledge when you are preparing to sell your business.” “Ryan, my best advice is that you tell your client to run their business like they are planning to own it for the next 20 years. Remind them that their business isn't actually sold until the check is cashed.” Ted Rogers owned a cable TV company. When a buyer came along, Ted negotiated the price to be based on the number of subscribers he transferred to the buyer on closing day. Ted was now prepared to spend more per subscriber to acquire new subscribers than he had ever spent before. He ran promotions and offered bonuses to drive up his subscriber count. The buyer was now motivated to close the sale quickly because the price was going up every hour. The technique that Ted Rogers employed can be used by any seller of any business. All you have to do is base the sales price on a metric that is within your control, not the buyer's control. It can be top line sales in a rolling 12-month window, or gross profits in a rolling 12-month window, or you can negotiate the closing price to be adjusted up-or-down by the same percentage the company has grown or declined during the due diligence window. Pick a metric that you control. And then start growing your business as you've never grown it before. By remaining fully engaged in your business, you have now stripped the buyer of his power to ambush you at the closing table. And then, when the deal is done, come to Wizard Academy and tell us your story and we'll help you celebrate. Aroo, Roy H. Williams

Thank you for joining us for our 2nd Cabral HouseCall of the weekend! I’m looking forward to sharing with you some of our community’s questions that have come in over the past few weeks… Let’s get started!    Ryan: Have heard recently from Ben Greenfield, Dr. Mercola, Dave Asprey, Robert Slovak (the water guy) about the potential health benefits of baking soda and/or potassium bicarbonate.It has been mentioned to work in a similar fashion to alkaline phosphatase for help with gut permeability and longevity.Thoughts on the daily consumption of a little bit of aluminium free baking soda or potassium bicarb? Ryan: There is an argument against saturated fats for their purported role in developing insulin resistance. Certainly there can be a temporary state of insulin resistance upon the ingestion of saturated fats and I'm mostly aware of how and why this happens, however there seems to be some that say this isn't necessarily a bad thing and should be differentiated from the chronic insulin resistance present in metabolic syndrome. However, my mind seems to think that regularly invoking a state of temporary insulin resistance is kind of like just being chronically insulin resistant if you know what I mean.I've read this temporary state of insulin resistance can actually be used to improve satiety and help with weight loss.Would love your thoughts on this physiologic response to saturated fats. Mke: Hi Dr. Cabral, I was wondering if it’s OK to do that CBO finisher with the mold toxicity protocol at the same time? Mike: Hi Dr. Cabral, I wanted to know if you recommend using binders daily to remove mold, heavy metals and other materials? Paul: In the study you mention neck gaiters causing water droplets to break up into smaller particles making gaiters more likely to infect others. Why would a gaiter cause a break up of water droplets any more than any other mask? Cotton masks and surgical masks couldn't do the same thing? Patrick: Hey dr Cabral absolutely love the work your doing and enjoy listening to all of your podcast multiple times. I’ve been using the sauna at my gym a few days a week for the last 2 years and love it but for the past 6 months the saunas are closed due to the virus do you know if sauna suits are a good way to help sweat out toxins or would epson salt baths be a healthier option. Keep up the good work you and your team are the best Andrew: Hello Dr.Cabral, First off I want to say thank you for your work and paying forward everything you’ve learned, studied, and experienced in your life. For the benefit of myself and others, could you tell your story and explain how you kept your health routine and eating in check while you were recovering and traveling around the world during your studies. I think this would be an interesting topic and could help a lot of us structure ourselves through this busy life! Appreciate you   Thank you for tuning into this weekend’s Cabral HouseCalls and be sure to check back tomorrow for our Mindset & Motivation Monday show to get your week started off right! - - - Show Notes & Resources:  http://StephenCabral.com/1780 - - - Dr. Cabral's New Book, The Rain Barrel Effect https://amzn.to/2H0W7Ge - - - Join the Community & Get Your Questions Answered: http://CabralSupportGroup.com - - -  Dr. Cabral’s Most Popular At-Home Lab Tests: > Complete Minerals & Metals Test (Test for mineral imbalances & heavy metal toxicity) - - - > Complete Candida, Metabolic & Vitamins Test (Test for 75 biomarkers including yeast & bacterial gut overgrowth, as well as vitamin levels) - - - > Complete Stress, Mood & Metabolism Test (Discover your complete thyroid, adrenal, hormone, vitamin D & insulin levels) - - - > Complete Stress, Sleep & Hormones Test (Run your adrenal & hormone levels) - - - > Complete Food Sensitivity Test (Find out your hidden food sensitivities) - - - > Complete Omega-3 & Inflammation Test (Discover your levels of inflammation related to your omega-6 to omega-3 levels)

Logan Ryan is one of the top NFL free agents left unsigned right now. So which NFL team could sign Ryan? There are plenty of NFL rumors around Ryan’s possible landing spots and we’ve got the top 6 Logan Ryan destinations. NFL Daily is made possible by Panda Supps! Head over to http://www.pandasupps.com and use promo code CHAT to save 30% AND get free shipping on all their products. That includes the fat burners and the Nootropics mentioned in today’s video. Ryan is coming off a productive season, statistically speaking, with 8 total takeaways and over 100 tackles. He also cranked the Top 60 of the NFL Top 100. However, those are volume stats and highlights and NFL Daily host Tom Downey explains why there’s a reason Ryan remains unsigned (cost is a part of it). Here are the top Logan Ryan Destinations: #6 Miami Dolphins #5 Arizona Cardinals #4 Carolina Panthers #3 Seattle Seahawks #2 New York Giants #1 New York Jets LOVE THE NFL? You’re at the right place! Sub to our YouTube channel for NON-STOP coverage throughout the 2020 season: https://www.youtube.com/chatsportstv?sub_confirmation=1 Follow Tom Downey on Twitter and Facebook: https://www.twitter.com/whatgoingdowney https://www.facebook.com/TomDowneyChatSports Follow Chat Sports on social media: https://www.facebook.com/chatsports https://www.twitter.com/chatsports https://www.instagram.com/chatsports

Sean Hailey is back with us for our 8th Episode of The Dad Corp. We are also joined by two more guests, Spencer Colbert who is the Vice President of Digital Lead Generation and Ryan Jor El who founded the organization Black Fathers Rock which concerns black fatherhood.The topic is focused on the trials and tribulations with raising a black son in America today. These gentlemen helped me understand about fatherhood so much with their rich though different kind of fatherhood.As Ryan said it best, you can't take someone's experiences and feeling from them. It was such a powerful discussion where we shared experiences, feelings, and discussed something that could not be more important in our country. Especially for people who may not be familiar with The Talk... These are discussions Black Fathers and Mothers have with their sons. It is incredibly sad, but something everyone should be aware of, especially those who believe we are all on equal ground today. We hope you listen in, learn, and share! Most importantly, many thanks to Sean, Ryan, and Spencer for taking the time and discussing in incredible authenticity your experiences and perspectives. The Dad Corp“It's unfortunate that it's necessary for us to continue to have to protest and/or riot in order to get people's attention.”   -Sean“In order for there to be change people have to want change.”  -Sean “If you're in a situation where you can't admit to having issues, to having any type of problems, you'll never be able to make a change in yourself.”   -Sean “One of the things you can do is work on you. Understand that you have these biases and don't act on them. Ask yourself before you make a decision.” -Sean“In order to have a conversation about race or really anything that is a hot topic you must be mature enough to listen and respond not emotionally to the fact of not being disrespectful.”   -Ryan “The things that I've learned from being a parent and the dialogue I've had with other fathers going through similar situations have helped me become the father that I am today and the man that I am today.”    -Ryan“There's a way, there is a path that you could take that still make an impact in the world based on those things that may seem unfortunate but they really could be the fuel to your destiny.” -Ryan “Be present, especially with black kids, have conversations with them, talk to them constantly, talk to them often.”  -SeanRyan's Organization Black Father's Rock:blkfathersrock in Instagram and blackfathersrock.com Book Recommendations:The Beautiful Struggle: A Memoir“Dude, You're Gonna Be a Dad!” “Between the World and Me”“The Price of the Ticket” “Fashion and Fatherhood” 

Ryan explores whether you should or shouldn’t use PPC automation tools to assist you in your paid search efforts. The answer isn’t so simple. For all your PPC needs check out: https://www.logicalposition.com/ What's covered today: What is PPC Automation? Should we use it? What are the benefits to Automation tools? What are the drawbacks to Automation tools? TRANSCRIPT Jon: All right, Ryan. Today we're going to talk about PPC automation, or pay-per-click automation. Now Ryan, I've been hearing a lot about pay-per-click automation tools. Now, this is mainly with brands who are doing one of two things. I see it when they're either trying to save a dollar by not working with an agency, and they think, "Hey, automation can help me do all of these things that my pay-per-click agency is doing for me." Or, they're just trying to scale their traffic up extremely quickly, and they see automation as the holy grail of them being able to do that. So, I'm really excited to learn about this, because I keep hearing about it, but I don't know much about it, and so I'm happy to have an expert to discuss this with. So let's just start by defining what PPC automation is exactly. Ryan: It's a big topic, and PPC automation can mean so many different things to different people. But high level, it generally means not touching certain pieces of an account, and having some type of computer system make decisions for you, within the Google or Microsoft Ads space, and it's even going into the social world as well. But basically, something gets done without a human touching it. Whatever that looks like, it's from high level computers. Jon: So, it's not an all or nothing. Because I was just looking at this as an all or nothing, like you're either using automation to run your PPC, or you're not. But you're telling me that just having some automation built in can actually be beneficial, as opposed to just going full automation. Ryan: Yeah. And there's different thoughts on that, just like everything online, even in CRO, I'm sure that it has to do with... Everybody's got an opinion, and it's different than everybody else's, on what works or what doesn't. It's based on their experiences or what they've seen, or what they've been told. And so, you've got extremes, where Google Smart Campaigns are an automation in Google Shopping, that will literally do everything. All you do is give it a budget, and what your return on ad spend wants to be, and it goes and does that. If it can be accomplished in the system, it will do it. If your return on ad spend goal was too high, for example, it's just going to sit there, and not really spend any money. If it's really low, it's going to spend a lot more money, and get you a lot more clients because the potential's there. Jon: So you're telling me automation can't solve all of my hopes and dreams. Ryan: I wish it could. There's some people that will promise you that, for sure, but if anybody is telling you that, they are lying, or they have an ulterior motive in place for you and your business. And on the other side, there are ways to use automation that help but don't necessarily do even the work in place of a human doing the work. And, as with most things, and my most common answer, which is also my least favorite answer in questions about digital marketing, is, it depends. Where should your business lie in that space around automation, specifically in the PPC realm? It's going to depend on where your business is at in the life cycle, what you're able to afford as far as agency or humans doing work, and what are the long-term goals of the business, or what are you trying to accomplish? Ryan: And so, let me take it in a few phases I guess, in kind of explaining what I believe in automation. You've got the full automation, where you're just going to either use a tool, or, for most businesses, use Google's Smart Campaigns in the e-commerce world to spend money for you in Google. I think in some spaces it does make sense, but it also comes with a very large asterisk, where you're having Google do all of this work for you to grow your business, but Google's goals, generally speaking, are different than yours. As a big, publicly traded company, they have responsibilities to their shareholders to grow their revenues and profits, just like you as a business owner have a responsibility to yourself or to your employees to grow revenues and profits. So for most businesses, Smart Campaigns and full automation in Google is not my recommendation, and it is mainly around understanding what's going on in your account and the ability to really scale. Ryan: But small advertisers, just starting up, you've never spent before, you really want to see if your business online has some legs to it if you start spending money, I do think Smart Campaigns within the Google space do have a place to play in that. And if I had to put a line in the sand, probably somewhere around $500 or less a month in ad spend to kind of prove a model. My wife, for example, would make me prove something to her before we actually jumped with both feet into a business and say, "Yeah, let's throw a bunch of money at it, and really see if it works." She'd say, "All right, let's kind of see what happens if you just kind of let Google do something on the side here to see what happens with 500 bucks over a couple months, 500 a month for a couple months." I think there's something there. Ryan: On the other spectrum, no automation, where you are 100% customized, doing everything either with an employee or an agency internally running an account on Google and Microsoft. That has a place to play, and I think that pool of companies where that makes sense is probably in more of a mid-tier type business model where you're spending a few thousand a month, maybe as high as 10,000 a month, where you're really just one person doing all the work for you, and you can do a lot of customization, because generally when you're at that spend level, you're not the biggest, you're not the smallest, but you're having to compete with some of those biggest, and you need some of that kind of surgical precision to find those specific keywords, or specific searches for specific products that really makes sense for your company, and you've seen the conversion rates that work. Ryan: And then, the vast majority of businesses fall kind of in the middle, where you do need some automation, and you do need some human strategy and somebody else, and some humans touching the account as well. And so, focusing on the middle is where it gets most complicated. So, for the majority of businesses out there, it's how much, or what parts of the account really make sense there. Is it an internal employee with some automation? Is it an agency using humans, and some automation? And what goes first? Is it the automation first, with a human checking on it, and making sure it's working? That's going to be a broad spectrum within the space. Jon: So, I'm hearing that it makes sense to prove out a business. So, prove out a new product perhaps, somewhere where you're just going to spend a little bit of money, and you want to start and see if there's a good product market fit there. And if so, then it would make sense to expand beyond just automation. But it does have its use cases, which is great to hear. So, okay. So, you've talked a lot about, there's three tiers to be thinking about, right? And that that kind of messy middle is where "it depends" is usually the answer, which makes sense. So, let's talk about some tools around this. What are the benefits to using pay-per-click automation tools? You mentioned one of them being to prove out a marketplace, but in terms of the tools themselves, can you talk a little bit about what the automation does in that sense? Ryan: Yeah, so there's a lot of different areas of PPC that you can actually automate. And a lot of PPC automation came about, let's say maybe 10 years ago it really started to get some traction, around bid management, and having some computer system actually automate the bid changes in the account, because it does get mundane. It does become difficult, in the middle of the night, for example, or around the clock, to be making changes in an account when you actually have humans working your account need some sleep. And so, bid management was really the beginning of the space. And so, that's constantly there. It's still there. Google even has automations built into their platform now around bids. They have enhanced CPC, which I believe, Jon, you had some fun with that setting when Google changed some settings around that. I believe you spent upwards of $200 per click on Google when we looked at your account together. Jon: Yes. That's where automation became dangerous. And again, I know nothing about this, right? And so, I thought, "Hey, I'll let Google handle it," and I clicked the box, and then ended up spending a lot of money. Ryan: Yep. Oops. And that, it happens. It's not, obviously, what happens all the time. But when automated systems get... be doing what they're told, I mean, they have to still have input from a human, they can do things that maybe aren't intended, and that is really the big thing you have to be aware of in using automation. They're really as good as the inputs you're giving them, or the person designing the algorithm. And so, heavy trading algorithms are really impacting stock markets all over. And so, big drops, big swings up and down can happen because of automation. So, you just need to be coming in with some concern or just awareness that that can happen, so you're watching it, no matter what level of automation you're using. Ryan: But there's bid management, there is automated campaign management. In fact, one of my competitors that's been around for even longer than us, and they actually have a really good name in the marketplace, they built some automated systems to take search queries that converted and build them into ad groups automatically, because that became some of the more mundane time-draining things that were happening, when you'd see a search for this specific product that you hadn't seen before, you're like, "Oh, that converted, that's great, let's make sure there's not more of that out there. Let's build a specific ad group for that search and capture all of it." Great strategies. And so, the main argument that a lot of agencies that are using automation and automated systems that are helping internal employees and agencies scale is you can spend more time strategizing on growth and let these automated systems do a lot of the stuff that are just sucking time away from maybe the things that are more mundane and you don't need to be spending high-powered talent on doing those things. Very logical. I mean, there's no scenario in which that sounds like a terrible idea. Ryan: What's happened with that, that I've seen over the last 10 years, is a lot of agencies have adopted this automation, and it's allowed for tremendous amounts of scale, without having to develop a bunch of humans to understand what's going on, or to know how to communicate with clients, which is in no way bad. But what's happening is as this scale is happening at a lot of agencies that I'm seeing their accounts is they're losing their touch with what's going on, and then how to strategize for actual growth because this tool is doing so much of the work, that they can't go in and say, this client may say, "I really want to start doing this," or, "I want to move my return on ad spend goal to this," or, "Should I be breaking into this market?" And because these tools are doing so much of the work, that question isn't as easily answered as if by somebody that was actually in the account all the time that saw the search queries, that was doing negative keyword reports, that was doing all these wonderful things, and bid management, that could actually respond very quickly and say, "Oh, here's what you need to be considering as a business owner or your marketing team when looking at this question." Ryan: And so, that's been one of my big concerns. I think about stupid, stupid movie, but Idiocracy, where you've got a guy that's been dead for so long, comes back and everybody's really dumb, and he was not smart back when he lived, but everybody got so much dumber because of automation and the world doing everything for them. I worry about that. I don't think it's happening across the board at agencies or internal teams, but I really have a lot of respect for groups of people, or agencies that have to be in the account regularly, and I see a lot better results, generally speaking, when somebody's in a Google Ads or Microsoft account making the changes, because they're seeing in real time what's happening in the market, and they have to have a lens where they're looking at things through and say, "Why is this happening? I have to go solve this problem or understand it a little bit more." Whereas, if a tool's doing all the work, they don't have to try to get in there and understand what's happening, or what is the competitor doing that's causing this to happen in this account. Jon: I heard you talk a lot about search and search ads and Google and, okay, so Google has some automation. Does Bing have automation? Microsoft Ads. Ryan: They do have some, and it's not as old as Google. So, I can't say that it works as good or has as many advancements because I also don't look under the hood and I don't understand all the engineers and what they're doing. Microsoft obviously has some very smart people and they're doing some great things in there. So, a lot of the same things you see in Google, Microsoft Ads also has a lot of that capability for automation, and I would use a lot of the same automation the same way depending on where you are in the business cycle and what is needed in your business. Jon: Okay. Now, what about social channels, because that falls under pay-per-click for me, right? Ryan: Yep. Jon: So, what about things like LinkedIn, Facebook, Instagram, Twitter? Is there automation built into those platforms? Ryan: There is some level of automation built into almost every platform, and I look at it almost the same no matter who or what platform it's on. It's an old example, but it still rings true. I wouldn't give all my taxes to the IRS to have them do them for me and tell me how much I owe them. We're diametrically opposed to what should be happening in that scenario. Jon: Right, success is different for each of you, right? Ryan: Exactly. Jon: Okay. Ryan: Exactly. So, if Facebook is doing everything for me and I'm just giving them a credit card and hoping that it does well, there is a piece of Facebook that wants me to succeed, but Facebook's success is more important to Facebook than my business succeeding. They know that if my business fails, another one's going to come up. Same with Google, same with Microsoft, same with LinkedIn. It's all the same. So, I, having been in this for a decade, I step a little bit away from automation whenever possible and I say, "Okay, how can I understand this better? How can I try to beat what the automation is doing?" Because what I've seen a lot of times with the engineers that build automated tools, way smarter than I am, as far as coding, math. I mean, it's not even close. But we're coming up with a strategy of maybe why this should be bid up or bid down, or maybe why this keyword should or should not be in the account. Ryan: I've still seen the humans making better decisions on that, and I think the machines and the AI is a very popular term. Artificial intelligence, everybody wants to be able to say that they do have a lot of that in their agency or in their organization, because it sounds really good. Like, "I've got this artificial intelligence that's really pushing growth and doing a lot of my thinking for me." Again, not bad at all, and I actually recommend businesses step into that space to understand it more and to use it where it's appropriate. But I still think when you have human searching and the change is constantly happening, we know that something like 15% of all searches done on Google every 90 days have never been done before. So, what is an artificial intelligence going to do with a search term that's never been done before? It can gain some insights possibly, but as we're blending in search query reports now voice search with text search, like, I type it into my computer or I search for it on Alexa or Google Home. There's a lot of different intent behind that. I've seen better results from humans looking through that and being able to filter it. Jon: Right, right. Especially working with natural language and understanding the intent behind what people are searching versus just what they say, right? Ryan: Yeah. Yep. Jon: Okay. Ryan: And so, yes, companies need to be looking at automation and considering the opportunities available, and then how is that going to compliment what they currently are doing? I don't ever look at, long-term, replacing humans... I mean, again, in the next five years that will be my long-term view. You can't predict anything in the digital space beyond five years, and really, anything longer than a year is, you're throwing darts at a dartboard way far away. But I don't foresee any time soon where I would be comfortable with my money on full automation, no human looking into that or doing it, or having a serious play within that space. I spend a decent amount of my own money on all these platforms, and I see the automation. I know the biggest players in the space. I mean, if you're in the PPC world, Marin, Kenshoo, Adobe, Acquisio. Probably hundreds of others that are doing the same thing in bid automation, in addition to Google and Microsoft, including Facebook will do some bid automation based on goals. There's no shortage of those. There's no shortage of very, very smart people working to create the next best automation. Jon: I think you made a good point earlier, and that's something I think you just touched on right now even, but it's in the favor when you do bid automation of Facebook or whoever to have that bid go up and up and up, right? So, automating means that escalation seems to happen more quickly. Is that not true? Ryan: Yeah, I mean, we saw it in your account, right? Where you were averaging in your business $20 a click, which is reasonable, based on how you spend money and the returns you get. But then all of a sudden, if everybody is on automation and everybody's using Google's automation on Google, how does Google know who's going to win? Does Google play, you know, make it socialist where everybody gets 5% because there's 20 people advertising, so we're going to even it out and make everybody little? How do you grow beyond that? And that's where logic comes into my side and says, okay, we can't all be on automation or there's just, there's no win. There's only so many ways you can look at moving bids up or down, for example. They can only move up and down, they can't move sideways, they can't move diagonal. And so, it's understanding more about the user as we add layers in from a remarking perspective, from an RLSA perspective. The more information we have about this user allows us to get more aggressive or less aggressive than maybe a competitor that doesn't have that information. Ryan: And so, all of these layers we add on add complexity and give opportunity to people that have that data. So data is actually probably, in my opinion, more valuable than some automations. The more data layers you can get, and you can get lost in data, so don't get me wrong, the idea that "Oh, big data, all you need to do is look in all these thousands of Excel sheets to figure out where that one specific customer is that you want and go find them and bid on them." It's more about using that as you're making adjustments and using the understanding and strategy behind why you may or may not be making this move. Ryan: It's fascinating, when I look at all the people I've hired in the digital marketing space and the people that have really succeeded on the backend of making the moves in an account. It's really, from a human perspective, becoming an art form in how you look at a Google Ads account, and you're kind of, I joke with the guys and girls on the team, or ladies on the team, that it's kind of like the Matrix, where you're looking at just all of these digits flying around. And the really good paid search account managers in the account really see it in a much different light than somebody like myself that would go in and say, "Yeah, okay, I see it says $200 and it says conversion." They're seeing all these different layers because of their experience. I mean, some of our people have been doing this for over a decade, 15 years actually, in the accounts, doing it, and they're so efficient and so crazy of what they can do. Ryan: And we've matched that up with people that are very good at gaming, like, the strategy piece of gaming. And so, really, we're looking at almost the gamification of digital marketing, where we're looking at these and saying, "All right, you're trying to beat these other advertisers." I'm a hyper competitive individual, as you know, and you're pretty darn competitive as well, in your basketball and marketing world. I want to win. And we find people that really want to win, and then they add their ability to see all of these moving pieces and saying, "Hey, if that competitor of our client goes out of business, that's unfortunate for that company, but it's really good for us and our client." Ryan: It becomes fun but also interesting in how you're taking that human that is really good at paid search management, and what we're trying to do is kind of make, right now my best analogy is kind of the Terminators. How are we using technology and bolting it on to them to make them more effective at what they do? Rather than replacing it, how do we give them things they can look through with weird glasses or things they can add onto their mice? What are we doing to make them more efficient as a human, and that's how we look at technology and automation. Jon: So next time I visit Logical Position, I'm going to be interacting with a bunch of cyborgs basically. Ryan: I mean, hey, if my vision comes in place. I mean, maybe two years out on that one. Jon: Dart board, right? That's one of the darts. Ryan: Yeah, one of the darts. But it's... I think the best use of PPC automation, personally, and this is my lens I look through and how we're looking at automation internally at Logical Position is, for the majority of companies in the middle, it's, how are you supplementing the humans? Instead of replacing them, how are you making them able to do more? So, we use, scripts are a great automation that a lot of people don't think about. We're using scripts to say, "All right, this ad group had a hundred impressions by 6:00 AM yesterday and it has zero today. What just happened? Something is broken there. Let's go in and see that." Replacing some of that minutia or things that just get really bored or tedious, or we just don't have the scale of a human in a large account to get to all of those pieces efficiently. How can we say, "All right, I need this to go do that"? Maybe it's not going to go through the search query reports for us and find all the negative, but it can bubble up some opportunities. Ryan: I've talked to a phenomenal technology company, Metricstory. If you haven't checked out Metricstory I think they're really cool, and they're really, man, they have some smart engineers. They're doing some automation where they're able to bubble up new opportunities based on scraping a Shopping search query report and saying, "Hey, these converted and they're actually not showing in your text ad or search portion of your account, from a search query perspective. You should put this keyword in there because it's converting on Shopping." And it can, based on their algorithm, their really smart algorithm, it can even give you an estimated return on ad spend, saying, "Hey, this keyword we think is going to get this based on ad groups around it." Ryan: So we're really looking at leveraging some of that in our efficiencies. Say, "Okay, if we have that, can we make this person able to focus more on bids on text ads because we have this filtering a search query report on Shopping?" Or we're able to find losers in the search query report on the text ad side much quicker than we could if we had to comb through it by hand. Jon: Yeah, this is a really interesting point, adding on to what people, the strategy that a human person can bring to this, with a little bit of AI, helps them to push this even further. But you still have to have the insight that somebody is bringing to the table with that experience to really pull out the meaningful changes. And I thought it was really interesting, you said earlier that aligns with this, bids and these automated bid machines, they only can go up and down. They can't go sideways or diagonal or any other dimension, right? And that's what a human is able to do. Ryan: It's a frustrating answer, but every company should be looking at kind of a backstop. And then also, if you're a company that has one person managing your account internally, I always had the worry as an agency of the bus theory, like what if they get hit by a bus? I told my team, nobody could take the public transportation because you can not be hit by a bus. We don't have enough backups. But in that scenario it's like, okay, well, who else is going to be aware of that? And it can't just be an automated system that's going to be continued going if they evaporated tomorrow, because it's unencumbered, you know, what's going on. Ryan: So, having some automation helping them, but also documenting things too so that an automation doesn't need to take all of it, but that another human could come in and replace or augment as well if somebody needs time off or pregnancy or birth or sickness, all these other things that we, at scale, with 750 employees here, we can do that automatically but a lot of companies don't have that ability. And so, they need probably a little more automation just to protect themselves but also ensure that there are some humans looking at things. Jon: Well Ryan, this has been extremely educational for me. Thank you for sharing all the knowledge around this. I am really looking forward to the day that I walk into Logical Position and I'm interacting with some cyborgs and then having you bring that skillset over to The Good so that we can continue to do the same on the conversion side. Ryan: Oh yeah. That looks fun, huh? Jon: Yes. Awesome. Well, thank you so much for educating me today. Really looking forward to not spending $200 unnecessarily on my own ads by checking a box for automation in the future. So, thank you for saving me on that earlier on. Any last words on this? Ryan: Of course, you can just send me a $200 bottle of wine and it'll be just the same. Jon: Perfect, I know what you like. It's in the mail. Ryan: No, I think it's good just to always be careful with automation. Don't assume it's going to work for you always. Just have smart humans working with you. Jon: Awesome. All right, thanks Ryan. Have a wonderful afternoon. Ryan: Thanks Jon.

LISTENER TWEETS Kristina Weger @kkweger I think OC just got saved with that premiere! I’m very excited to see what next week brings and I didn’t think that once last season. Joe Vani @feelingjoevani Enjoyed it, felt fresh. Emily’s husband still a douche, I sense trouble. @chickstar77 RYAN ACT ONE Checkins Tamra pulls up on a bike to Eddie. Gina talking to a hamster. Emily yelling at her kids not to kick the dog. Shannon goes to work out with her kids.  Shannon’s recap of being overweight and how horrible her life was. Shannon looks great but I won’t forget how nasty she was.  Kids dual interviews… this is them mixing up the format.  Gina’s moving in. Her title card hair is WILD. Super bleached blind ramen hair. Thank god she’s toned down her interview looks. They were blinding last season.  Gina talks about her DUI. She was shopping for leggings at a mom event and drank wine. Gina regrets it.  KELLY IN THE CAR Kelly calls her boyfriend. Kelly and Shannon are meeting up for drinks. Kelly is in love with a new doctor who did her “Boobies.” He said he has a surprise for her and he says ‘let me be the man and let me surprise you.’ How very OC. I hope this doesn’t mean Kelly is tame this season…  KELLY ARRIVES AT SHANNON’S Shannon really does look great, and more than that she’s super upbeat. Kelly and Shannon leave for a date.  Last night on wwhl jerry o connell said that kelly dodd is an all star and shannons face!! So obviously this doesnt last  ACT TWO AT TAMRA’S Everyone is drinking Moscow mules. Tamra and Eddie joined the country club. Tamra now lives near Vicki in Coto.  Tamra wants Spencer and Ryan to resolve their political differences. Ryan is pro trump, and Spencer is the total opposite. Ryan: There’s nothing wrong with loving America. This whole scene is super uncomfortable.  Ryan wants to watch Fox news with Tamra. Ryan refuses to make up with Spencer.  AT THE QUIET WOMAN We’re back at the Q dub!!!  Shannon and Kelly discuss the DUI. Kelly is in a SHOCKING purple dress. Shannon is mad at Gina because Gina said she was self-medicating. Didn’t Shannon talk about how much she drinks..? What am I missing? How is this Gina’s fault?  Kelly wants Shannon to meet Braunwyn but is nervous that she won’t like them.  ACT THREE Shannon’s new man Babe comes over. Kelly says “You’re hot! You have hair. Do you shave your balls?”  Shannon gives him a very strange one sided kiss. For like 10 minutes and then hugs hi closely.  Braunwyn walks in and meets Shannon. It’s so loud in this bar!  They immediately start discussing breastfeeding. Within seconds.  Brauwyn talks about her mom and they cut to this crazy picture with wild hair. Shannon and Braunwyn immediately like each other.  It should be known that shannon doesnt like YOUNG new castmembers, no ones her age.  AT EMILY’S HOUSE Emily and Gina are really the outcasts. They both seem miserable. Emily talks about Shane, he’s such ana sshole.  Emily facetimes Shane. The kids are being su per annoying and asking for 10 different things.  Emily: I need you to come home and help. Shane: No you’re doing just fine.  Emily’s life stresses me out.  ACT FOUR Commercial for the Kitchen with Sonja, Leeanne, and Vicki. SEe? Vicki bounced back. Sonja really finds herself in every single one of these, with green eye makeup under her eye.  KELLY AND JOLIE GO SEE CATS Kelly talks about Pharoah cats but she means ferel and she said she wants to name it will pharoah after will ferrell. But… just name it will ferrel because they’re feral cats!!  OMG this cat lady at the desk who answers the phone ‘MEOW!!!’ and you have to sign a waiver. Kelly tells the lady she needs a pharoah cat. The lady is like ‘haha!’ like great no one cares.  Kelly should go see cats the movie. Especially because she was so weird about Jolie being in musicals.  Kelly refuses to touch a cat.  Kelly talks to Jolie about meeting Dr. Brian. Jolie calls Kelly a golddigger. They flashback to the milkman who was like tacos… burritos… taquitos… i could watch kelly date, and also be around cats forever.  EMILY AND GINA MEET UP Oh… wow they immediately start talking about the DUI. This is the first time they’ve seen each other or any other castmember. How much wine do you have to drink to get a dui? This is a serious question.  Gina says that her friend had a roadie and that’s why she got the dui. Gina said she did a breathalyzer and it didnt register so he arrested her. That doesn’t really make sense.  OMG Gina could see a guy in the next cell banging his head against the wall and bleeding. Dear god!! That’s what the drunk tank is like?!  Gina says Matt has been really supportive, and then they cut back and forth in silence. Gina: Did I disappoint you? Emily No!! I mean, yeah! Cut to commercial. What?! EXPLAIN THEORY ON GINA’S DIVORCE ACT FIVE EMILY IS DISAPPOINTED IN GINA Emily is disappointed that Gina did this and she’s lucky she’s not losing her kids.  BRAUNWYN AT HOME 7 kids: Bella, Rowan, Jacob, Caden and Curren, Koa, Hazel.  This is like a TLC show.  Braunwyn was born in a trailer park and was raised with money. I like this family, they seem to have a good vibe and her husband seems normal.  KELLY GOES TO SEE DR. BRIAN  Dr. Brian is… creepy. He talks like he’s reading from a script. And he doesn’t blink.  Dr. Brian: I can understand Michael’s concern, but when we meet he’ll feel better about the whole thing.  Kelly: I don’t think he wants to meet you.  This relaitonship will not last. He moves too slowly. This guy is like old ryan serhant.  ACT SIX Tamra and Shannon driving. UGH plastic surgery flashbacks!! I dont like plastic surgery, i dont like watching it, i dont like the hammering, bone breaking etc.  Tamra and Shannon arrive and make fun of Kelly’s car.  Dr. Brian checks out shannon. Tamra and Kelly encourage Shannon to get new boobs, and Kelly says men don’t want pancake titties.  Tamra asks Kelly while she’s getting her pictures done if she can invite Vicki to the party.  Kelly is still mad that Vicki hooked Michael up with someone. Then Vicki accused Kelly of doing coke.  Tamra invites Vicki, Vicki sends a shrug emoji. 

My guest this week is professional audio engineer Ryan Monette. Ryan graduated from Berklee College of Music with a degree in Music Production & Engineering. For the last 4.5 years he's been the Post-Production Audio Engineer on staff at Elevation Church, in Charlotte, NC, where he mixes their global TV show, and has many other responsibilities (boom operator, field recorder, sound designer, audio editor, etc.). You may have heard some of his work, as he sound-designed and mixed the opener video for the Circles conference for the past two years. He even had his own podcast for a short while (TheQueuecast.com). I asked Ryan to come on the show to share his journey towards becoming a professional audio engineer (a job that I've always wanted), and to get him to share some tips for anyone interested in working in audio/video professionally. Highlights, Takeaways & Quick Wins: Think long term and dream big. If you want to do anything with audio, start by getting a cheap USB microphone. Take advantage of free online courses to learn more about audio engineering. Get started with whatever you have. Your mix may sound completely different in a different environment, so listen with different headphones/speakers in different locations. Master the basics and keep going back to them. If you're mixing a podcast, make sure your levels are consistent. When mixing, always use a reference track. Show Notes Aaron: You graduated from Berklee College of Music with a degree in music production and engineering. For the last five years, you've been the post production audio engineer for Elevation Church in Charlotte, North Carolina. You have a lot of jobs there: boom operator, field recorder, sound designer, audio editor, and you mix their global TV show. Do you mix that live? Ryan: Not necessarily. We can get into that later. There's a process for that. Aaron: Some of the creative people here might have heard of some of your work. You sound designed and mixed the opening videos for the past two years of Circles Conference, which I was at. Have you been there for the past two years? Ryan: I haven't been personally, no. I have wanted to go. I love it from afar, and I want to go in person. Aaron: I wanted you to come on this show because when I first got started, I had dreams of being a professional audio engineer. I thought, “How cool would it be to work in audio and get paid for it? That'd be awesome!” I fell backwards into it by doing podcast editing as a hobby first, then for money, then I met Sean McCabe and ended up working for him full time. I edit podcasts and help out with a ton of other stuff. I asked you to come on the show to share your advice for anyone who's interested in working in audio/video professionally, and to talk about how you got there yourself. So tell me a little bit about how you got into audio. When did you first realize that this was something you wanted to do? Ryan's Journey to Becoming a Professional Audio Engineer Ryan: I love listening to your podcast, Aaron, and what I love about it is I feel like you and I have a lot of similarities in our backgrounds. You're a musician, a drummer, and I'm also a musician. I play several things. My primary instrument is bass, but along with that, I started on piano. I picked up bass, and with the bass I picked up guitar. I took some drum lessons here and there as well. I sing as well. I dabbled in a little bit of everything. I'm kind of a jack of all trades, master of none. I'm okay at a lot of things, but I'm not superb at one thing. Anyway, right around junior high or high school, I started playing the bass. I started playing in little bands here and there. When it came time for college, I had no clue what I wanted to do. All I knew was that I loved music. Aaron: Same here! Ryan: I was living in Las Vegas at the time, so I decided, well, everyone has to have that college experience, and I didn't want to go to college in the same city, so I decided that I needed that “being away from home” experience. I went to the University of Nevada, Reno. I took your basic, general classes, not knowing what I wanted to do. At this time, for my high school graduation, I had received a graduation present of a Macbook Pro. With that, of course, you get the wonderful iLife suite, including Garageband. As a musician, a whole new world was opened up to me. When I was in a band in high school, I was the gear head—I loved the PA and putting cables together. I was drawn to that. Once I had this Macbook Pro with Garageband and I had my bass and my guitar in my dorm, I was like, “I can create music!” I figured out how to work it and record myself. I bought a USB microphone, and that world was opened up. When I was there, I had a friend, and her brother went to this school where all they learned about was music. I was like, “Wait, you can do that? You can go to school for just music?” That's how I found out about Berklee School of Music. I applied, and you have to audition as well. I applied and auditioned, and the first time I tried, I actually didn't get into the music school I wanted to go to. Aaron: This sparks something in my mind. I feel like I might have read an article about Berklee or looked into it and thought, “No, they're really strict on who they accept, based on your performance.” That was intimidating to me at the time, because I never felt like I was that good of a drummer. Ryan: It was intimidating for me, too. Clearly, I wasn't up to par. Aaron: Yet you went for it. That's more than a lot of people would do. Ryan: Yeah. After I finished my first year at UNR, I moved back to Vegas and went to UNLV, the University of Nevada Las Vegas. I took all music classes, forgetting the general ed stuff you need to get a degree. I took all music classes—music theory, because I had never had actual music theory classes, so I thought I needed that. With that, there were some audio classes that I took as well. I was like, “Hey, I like this audio thing.” At the University of Nevada Las Vegas, I had my first exposure to a formal audio class, where I learned all the proper techniques. Later on that year, I applied and auditioned again for Berklee. I got accepted, and the next year, I moved to Boston and went to Berklee for about three and a half years. Then I graduated. When I went to Berklee, the only thing that drew me as a major was Music Production and Engineering. I naturally loved the gear side of things. I fell in love with recording. I was like, “This is what I want to do.” Aaron: You got to spend three and a half years there, studying and learning? Ryan: It is non-stop, 24/7, music, audio, and to be honest, I miss being in that environment so much. Aaron: That sounds fantastic. I always love setting aside time to take online classes, read books, and listen to interviews about audio. Think Long-Term Aaron: You were drawn to the audio engineering stuff, and then you graduated. Ryan: I can remember a specific time in my life, and I'm pretty sure it was my last semester at Berklee. They went by semesters instead of years. It was in one of my capstone classes. Our instructor asked us the typical, “Where do you see yourself in five years?” question. Aaron: I love that question now. I hated it when I was 22. ** Think long term and dream big** Aaron: Plan out where you want to be, because if you can envision it, then you can figure out how to get there. But you have to start by saying, “I want to do this thing someday.” For me, it was, “I want to do work from a laptop. How do I get there?” Now I'm there. So you were 22 and someone asked you, “Ryan, where do you want to be? Where do you see yourself in five years?” Ryan: At that moment, I was trying to figure that out, naturally, as you do when you're approaching the end of college. While I was at Berklee, I loved music. I loved recording music, but my absolute favorite class—they only had one of them, but it was the class I yearned for, that I wanted to take and put in all these extra hours for—was audio for visual media, audio for video. By far, that was my favorite class. The whole class, we were working toward our final project. You choose a five to seven minute clip from a well known movie, and all the audio is completely stripped. You have to recreate everything. That's all the dialogue, all the foley, all the ambient background, all the hard effects, and so on. You have to connect with a film scoring student there at Berklee, and they have to provide the score. I absolutely loved every aspect of that project and the process. When it came time to decide what I wanted to do with my life, it was between audio engineering at a recording studio, working at Disney as an Imagineer, or doing audio at a church. I have always been involved with church, playing on worship teams and whatnot, so I also saw myself doing audio for a church. Long story short, I was really privileged to dip my feet in all of those things after college. After I graduated, I moved back to Las Vegas. Eventually, I found an incredible recording studio, probably one of the top two recording studios in Las Vegas, and I landed an internship. First Audio Engineering Jobs Ryan: I say “internship” loosely, because your typical studio internship is all the stereotypical grunt work—taking out the trash, doing the coffee, and whatnot. I showed up, and they were like, “You went to Berklee? Berklee guys are cool. Here, hop in this session and help us out.” It was open to me, thrown at me, and next thing I knew, I was assisting on sessions with huge clients, I won't name drop. Aaron: You can drop a couple of names if you want. Ryan: I had a pretty fun time helping out with a session with the famous engineer Eddie Kramer, who is engineering for Carlos Santana. Aaron: Dang, man! That's awesome. Ryan: That was pretty incredible. But while I was there, I had this gut feeling inside of me saying, “This isn't it.” Aaron: It's fine, but it's not quite right? Ryan: I could see myself staying there and working my way up, but it didn't feel right. A few months after I realized that I didn't want to stay at the studio, I applied and was offered a job at Walt Disney World in Orlando, Florida. I packed my bags, moved to Orlando, and I was working as a stage technician at the Epcot park. There, they found out that I was an audio guy, so they pushed me toward the live audio side of things. I was mixing shows and bands at Epcot and what was at the time Downtown Disney, now Disney Springs, area. Same thing. Almost as soon as I got there, the same gut feeling came in. I was like, “This isn't it. I'm more of a studio engineer. I definitely don't want to do live stuff.” Although I love Disney, it just wasn't sitting right. I was only there three months before the next great opportunity came up, which is where I am right now. One of my friends told me about a job opening for this church in Charlotte, North Carolina, Elevation Church. I had actually been following them because of their podcast. At the time, I was kind of like, “I've got a job, whatever.” For some reason, I ended up on their website, looking at the job. I was reading, and I was like, “Wait a minute, they're looking for someone to do audio for video. That's what I really want to do!” On a whim, I threw out my resume. Next thing you know, I've been here going on five years. Aaron: Did you mention that you were a podcast listener when you sent in your resume? Ryan: Yeah. Aaron: The connections you can make through podcasting is really incredible. Ryan: It is. And I've been working there for 5 years now. How to Get Into Audio Engineering Aaron: I want to jump into what you do at your job at Elevation, but let's pause and do a section on what advice you would tell someone who's wanting to get started. I wrote a couple of things down here. I think it's hilarious that you got a Macbook and your first microphone was a USB microphone. Ryan: Which was the Blue Snowball, by the way. Aaron: That's the worst microphone! Ryan: I had no idea how to use it, either. If I find some of the earliest recordings I did, there are times I'm clipping to the max, square waves. Aaron: Probably bad mic technique, too. But hey; it got you started! If you want to do anything with audio, start by getting a cheap USB microphone. Any USB mics will work for getting started. I like the Blue Yeti, but it's like $100. The ATR-2100 is fine, too. You just have to get something that can record some audio and start playing with it. Start playing with Garageband. Start playing with the free programs. Learn how to enable recording on a track, how to set your input device to the microphone, how to set your output device to wherever your headphones are plugged into, whether that's your mic or your computer. It took me so long to figure that stuff out. I was like, “Why can't I hear the audio in my headphones? What is going on?” Ryan: Same here. Aaron: You have to set input and output, then you have to record enable or do the input monitoring, all that stuff. But start with the USB microphone. Take some basic classes. There are so many great online classes. If you don't have any money at all, if you're super broke like I was when I started, watch some free YouTube videos. Read a book. Ryan: If you go to Coursera.org, they're a website where you can pay to take online courses and get certifications and whatnot, but they also offer free online courses. They even offer free online courses from Berklee. I've seen a music production class there. I've taken a free online song writing class. Check out free online courses, because they can be a pool of incredible knowledge. I took a photography class on there. Coursera is a great place. They're great if you want to take free online courses. Aaron: There are places where you can learn all this stuff. You just have to invest some time. You really just have to start: Don't wait until you have $500 for an interface and $200 for some professional headphones and microphone. Whether you want to start a podcast, start recording audio for a video, or record and mix a demo for a band, start doing something. Stop spending all your time thinking about how you can't do anything because you don't have certain gear or you're not in the right place. You'll learn as you do, especially in audio. You're going to make a ton of mistakes. Ryan: That's how you learn, though! That's one of the most valuable things I've learned in life. You learn from your mistakes. Aaron: You don't really learn when everything goes well. Just Start Aaron: Any other advice you would give somebody, thinking back on how you got to where you are right now? Ryan: Honestly, you hit the nail on the head with “just start.” It's as simple and cliche as Nike, “Just do it.” There is always going to be the next latest craze, the gear, and we've all been susceptible to that. We say, “Oh, well, I could do this if I had X.” It starts with the drive and determination, wanting to do it. There's knowledge out there everywhere. You just have to dig for it. Chances are, you have at least something you can start with. Record something on your phone. Aaron: I have a friend who makes some awesome music on his iPhone. Ryan: Oh, totally. It's as simple as getting an adapter. You can plug your guitar or whatever into your phone. Aaron: Kids these days have it so easy! Ryan: You have Garageband on your phone. I remember when I was figuring this out in high school, and we actually had a four track tape recorder. That was my first start. Get started with whatever you have. Aaron: What kind of stuff do you do at the church? What's your day to day life like? Are you there every day, or is it just a couple of days a week? Ryan: Oh no, I'm definitely there every day. It has been a whirlwind for sure. In the past five years, I have probably played every audio role that there is to be played here. My main thing now is audio for broadcasts, pretty much anything that leaves the church. Our biggest output is the sermon, which goes to a lot of places. It also goes in the TV episode, which we talked about, which goes locally, nationally, and, I believe, globally as well. That's a lot of what I've done. We also create a lot of films, short films, for our worship experiences, anything you can imagine that's video and audio related. Audio post production, like we talk about. I'm constantly on video shoots using field recorders, the boom op, anything you can think of. Audio for video, I've done it. The Gear Ryan Uses Aaron: Let's talk about your gear a little bit. What kind of stuff are you using most in everyday life? I'll do a quick recap: I have the Shure Beta 87A Mic as my main podcasting microphone. It's attached to a Scarlett 18i20 USB Interface (update: I'm now using my Zoom H6 exclusively), which is plugged into a quadcore iMac that's a couple years old. Nothing super fancy, but I'm really happy with where I am. I remember wanting all this stuff back in 2011, thinking how awesome it would be to have it. I have a Zoom H6 portable recorder and a couple of SM58 microphones. I've been pairing down my gear collection because I'm planning on moving in the spring. What kind of stuff are you working with? I use Logic Pro X for editing, and then Izotope iZotope RX 5 for cleaning up background noise or fixing clipping. What about you? What's your day to day favorite gear? Ryan: We use a lot. There's a bunch of gear for field recording and then in my office, which is where I'm at right now. I'll start with my office. Right now, I'm talking into my personal mic, which is a Rode NT1A. It's very affordable. The Rode NT1A is a nice beginner mic which works and sounds great, and I use it for a lot of voiceover projects. Aaron: I like those mics. Ryan: I'm talking into that right now. We also use the Shure SM7B. We have a nice Neumann that we'll use for bigger projects. We like to use Universal Audio Interfaces, so I've got one of those. They're great. They're rock solid. You really can't beat them. At our main recording/editing audio work station, we use Pro Tools. That's very standard, and I've been using that for years and years. I use a lot of plugins. I use a lot of the Waves Plugins. I do use RX as well, and that's the bulk of it. I do a lot of processing, depending on the project. I have a really huge sound library for if I'm doing narrative pieces that involve sound design, sound effects. I have a great app called Audio Finder, which a lot of electronic musicians use to help them find sounds. I use it to help me find sounds. It's a nice way to catalogue sounds if you're a sound designer or anything like that. You can basically tag all these audio files with meta data, and you can search for sounds by their title. Or, if you type in a word in the search bar, it can pull up things based off the the metadata. If you have notes on something, it can find it. Audio Finder is a great way to find sounds. I have some other things in here. I have the Artist Mix Controller made by Avid. I use those if I'm automating stuff. I use those a lot, actually, when I'm mixing the sermons. I do a lot of automation for that. If I'm mixing a piece with a music bed or something, I like to automate the music by hand. It feels more natural, as opposed to clicking and making little dots. That's the bulk of it here in the office. All of our audio engineers have a nice pair of Focal monitors. I also have another set of monitors I built myself. When I mix TV episodes, I have an output routed to a TV here in my office so I can hear how it translates on TV speakers. Recording Audio for Video Ryan: On the front end of things, if we're doing shoots for videos, we use Sound Devices field recorders. We have three different models: the Sound Devices 788T 8 Channel Recorder, a 702 2 Channel Recorder, and then a 633 6 Channel Recorder. That last one is one of their newer models, which is great. Sound Devices are steep in price, but they are rock solid. One of the most trustworthy, well known field recorder brands on the market. That's what you'll see on pretty much every big budget shoot in some way. I do a lot of freelance on the side, which gives me the opportunity EPK shoots or BTS shoots for, recently, a show on HBO called Outcast. Aaron: Outcast? I've been seeing that (I watch Westworld). Ryan: I'm pretty sure it's the same writers or producers or something. I know it's the same writer as The Walking Dead. They shoot here in North Carolina, so with a local production company, we've done some interviews with some of the cast and crew. It's been really neat to be on set and see what they're using. It's cool to see how similar their world is to what we're doing day to day, just with more money and more resources. It's the same thing. Most of their audio guys have some sort of Sound Devices. A lot of them use the 788 as a backup recording rig, and they've got larger multitrack recorders as well, that are also made by Sound Devices. Sound Devices is a great brand. They're crazy expensive, but when you buy that, you know you've basically got it for life. Aaron: Yeah, I'm looking at the Sound Devices 788T SSD 8 Channel Portable Solid State Audio Recorder. It's almost $7,000. I love that! So fancy. Ryan: That SSD does have an internal hard drive. Ours has a hard drive as well, so it's great, because it has the internal hard drive, but you can also use CF cards. You can record on two different mediums. In case something runs out of space, you have it in two places. Aaron: This is super professional stuff. Ryan: Yeah. It is. It's top of the line. Aaron: Fantastic. For all the rest of you, just go with the Zoom H4N or the H6. Ryan: Hey, we do have a Zoom H4N, and we do use that every now and then. Before I came on staff, our first field recorder was the Zoom H4N. Aaron: If I could start over and go back to before I had any kind of interface at all, I think I would buy myself an H4N or an H6. Not only are they portable field recorders so you can walk around with them—they have little stereo condensor mics on them—but they work as audio interfaces, too. You can plug it into your computer with a USB cable and record straight to your computer if you do any kind of podcasting or stuff like that. It's good for the price. Otherwise, the little two channel interfaces are great. They're about $100 for a good one, but they aren't portable. You can't take them to a show or out to a video shoot the way you can an H4N or an H6 or something. Ryan: Speaking of Zoom, they've recently come into the more professional field recording market. About a year ago, they releases the F8, I believe, which is an 8 channel field recorder with 8 mic pres. It's $999 for something very comparable to a Sound Device. It's not quite as high-fidelity, but for anyone starting out, you're really not going to notice the difference. Mixing On Expensive Headphones or Monitors Aaron: I was going to ask you this earlier. You mentioned that you had Focal monitors. Did you listen to the episode I did a few episodes back where I talked about mixing on headphones (Episode 69: Do You Need Expensive Headphones to Mix a Podcast?)? Ryan: Yes, I did. Aaron: I mix on $10 Panasonics. What do you think about that? You can be totally honest with me. You can tell me that it's a stupid idea or that it's okay. Ryan: I agree to a certain extent. I agree that you should be listening to what you're making on whatever the majority of people are going to be listening to it on. For a lot of audio engineers mixing music, that's iPod earbuds, those standard earbuds you get. Something like that. When I mix TV, I have an output routed to a TV in my office, so I can hear it on TV speakers. I do also believe in mixing on something with some sort of higher fidelity type of monitoring environment, whether that's nicer speakers or nicer headphones. Naturally, you're going to hear things differently. The main thing to take away is how things translate. If you're listening to something on one source and you make it sound good there, that's great, but in a different environment, it may sound completely different. iPhone earbuds may not have the bass that a car stereo has. You want to hear how it translates from one thing to another. That's why it's good to at least listen to it on two different sources and not just narrow yourself down to one cruddy thing. That's good in theory, but again, the key takeaway is translation. Aaron: Maybe it's a little bit different for me and I can get away with it because of the consistency of the microphones and the recording environment set we use. Ryan: Yeah, totally. Aaron: I think if I was doing more stuff like you are, with videos and clients and all that kind of stuff, I would absolutely be using my higher fidelity headphones. Ryan: Very true. The bulk of your work is dialogue, podcasts. Aaron: Yeah, that's really it. Just dudes talking into a microphone. Ryan: Yeah. I have done a lot of work here where I'm working in a small studio, but a lot of my mixes have played in auditoriums and arenas. If you're working on projects like music or film that have different audio frequencies and spectrums, remember that sound will be perceived differently in different places. Aaron: How do you even test for that? Ryan: Here, I at least have a sense of how our auditorium sounds, so I've trained my ear to hear in advance and understand how it's going to translate. For something like when we did a live recording in the biggest arena here in Charlotte, we had a video opener piece. I was on point for mixing that, so basically, I had to work with tech and production to find a time after setup where I can bring my session, copy it onto a laptop, and play it through the PA. Then I can make any final mix tweaks there in the auditorium or the arena. I perfected it in my studio, and any small tweaks I was able to do in that actual environment. Granted, a lot of the times, we may not have that luxury. There are also great plugins you can buy that simulate different monitoring environments, like Sonarworks. If you have certain pairs of headphones, you can tell the program, “I have these headphones, now make my mix sound like it's coming through these headphones or these speakers,” so you can hear how it might translate. In that program, they have a final output like the Beats headphones. You can hear how it might sound on there, super bass heavy. Aaron: I hear they're getting better, but I still have never bought any Beats headphones. I probably should (just for testing purposes). Ryan: There are definitely programs out there to help you see how things translate to different monitors. On Location Gear Ryan: We were talking about the gear we use for on location recording. Sound Devices would be our main recorders. For our mics, we use Schoeps. It's a shotgun microphone, so it's a narrow polar pattern with good off axis rejection. Schoeps is a great brand. Again, you'll see this on professional movie sets. That's the mic we use. We have some Sennheiser shotguns as well, the ME66, we have a couple of those, which is more their entry shotgun mics. Recently, I rented some of the MKH416. Aaron: I would like one of those. The Sennheiser 416 is well known as the classic TV shotgun mic, right? Ryan: Exactly. I rented those out because I wanted to try it out for that reason. The Schoeps is very good and very well known on set as well, but so is the 416. I rented it to try it out. It's a trusted mic that a lot of people use for these professional things, and it doesn't really break the bank for what it is. Aaron: They're like $1,000, I think. Ryan: Yeah, and it sounded great. Aaron: The next mic I get is either going to be that or the Rode NTG 3. Ryan: I've heard a lot of great things about that. I haven't tried one myself. Aaron: That's the shotgun mics we shot my podcasting courses with. Ryan: Yeah, I know that Sean uses that for all of his videos. Aaron: I'm excited about getting to go work with those (I'm moving to San Antonio in March or April). Master the Basics Aaron: That's a pretty good run through of your gear. I'm sure you could keep going and discuss a lot more, but I don't think we need to go into that. It seems like you guys are at a super professional, high quality. You have made big investments in professional gear, which is fantastic. I encourage everyone to strive for that, to aim for that, but like we said earlier, use what you have right now. I don't have anything close to what you guys have, but I'm still doing my podcast. I'm doing the best I can with what I have. Ryan: It still sounds great. Aaron: Thanks! It's mostly just knowing how to set gain levels and not having a noisy room. It's crazy how far the basics will get you— everything else is just icing on the cake. I've been watching this video course called Zen and the Art of Work, which I really recommend to everybody. It's mindfulness training mixed with productivity training, which is such a great combination. In this course, he says, “So many of the masters continually revisit the basics.” Mastery is staying on a path. It's not reaching some final goal, it's more about being with the work and investing in getting better, but also revisiting the basics. He was talking about playing piano. He was like, “A lot of times, I just start by touching the keys, pressing the keys, and then doing basic scales over and over again.” It's true. When you get so good at the basics that you don't have to think about it, that's when you start to expand and get to that level where people say, “Wow, you're so good at that. How did you get so good?” You're like, “That was just doing the basics. It's not anything fancy.” It's so important to master the basics and keep going back to them. Learning More Aaron: What's next for you? How do you invest in yourself and improve? Or are you working so much that you always have more learning opportunities? Do you buy books or courses or follow any websites to learn more about this audio stuff? Ryan: Honestly? We had a shift at work to where my role has shifted to mainly just broadcasts. That has enabled me to have a little bit more flexibility and free time, so I've been doing a lot more freelance work. That's great, because it energizes me and keeps me engaged. It keeps me from routine. Routine is great. I love routine, that's very much my personality, but freelance work keeps things interesting. For me, it's all about where and how I can get inspired and constantly feeding that. It's about feeding my desire for creativity. We're all creatives. We like to create. We were designed to be creators, really. Everything I try to do is about how I can become a better creator and what I can create next. It's about finding things that inspire me, really. We touched lightly on a few of the resources that I like, things I've learned and places I've picked things up. If you're interested in audio for post production, there are a couple of great books by Ric Viers. I have two books by him that are really great. The first one is The Sound Effects Bible, and it's not just sound effects in there. He talks about everything from gear to microphones, basics, setting proper gains, compression, some mixing techniques, etc. He also has The Location Sound Bible. There are a lot of similarities, but there's also a lot of talk about gear, shotgun mics, lop mics, recorders, and then he also dives into some of the basics when it comes to mixing, proper gain staging, and so on. Those are a really great pool of knowledge in book form. There are a lot of other books out there, but I have found those two to be really helpful. Other than that, when it comes to audio for video, it's a very small, niche field. There isn't a crazy amount of stuff out there, like there might be for mixing music. For that, you've got tons. You've got Pensado's Place, all these people on YouTube putting out channels on mixing, mixing from home, mixing on a budget, etc. There's plenty of that. Aaron: Graham Cochrane and Joe Gilder are pretty awesome resources for anyone who wants to start a home studio. Ryan: YouTube can be a pool of knowledge for anything and everything, too. You have to dig a little bit and do some searching. On the inspiration side, for me, since I love audio for video, Sound Works Collection is a great place. They'll do mini videos interviewing the sound people that did sound for X movie. Whether it was the last Harry Potter or anything and everything, big budget films, they'll sit down with the recording people, the sound designers, the mixers… It's really cool, because they'll show footage of them doing stuff on location or the foley artists. It's cool to see their process. For me, that helps me stay inspired. It gives me ideas to do other things. They have a podcast as well, and that's great. The videos can be kind of short, maybe 10 minutes or so, but the podcast will go on at length, talking to the audio guys who have made sound for videos possible. It will also be music composers for movies as well. That's really great. I found that great not only as inspiration, but to know what and how audio professionals for big budget films get inside their minds, how they're thinking, and what their process looks like. It's neat to see stuff about sound engineers for big movies and realize that we're not so different. Dealing With a Broad Loudness Spectrum (Dynamics) Aaron: I have a nerdy question here. This is about normalizing and compression, I think. Aiya had asked, “I'm so torn about normalizing sound clips. If I'm working on a longer project in segments, would it be better to adjust my peaks manually for the sake of consistency? It's for a video project.” I'm hearing that there are differences in video volumes. How do you deal with that? Do you do compression? Do you do automation for the different parts? How do you deal with dynamics? Ryan: It depends on the project. I'll talk about how I would mix a sermon, because that's very dynamic. Our pastor will go from whispering, holding his handheld mic close to his stomach, to screaming, holding the microphone, cupping the capsule. Power and respect to him, because it creates a certain atmosphere, which has a powerful effect. That's what I'm dealing with on a weekly basis. That dynamic range is tremendous. Keep in mind, this is going to TV eventually. TV has very strict restrictions. It's not so much on level, but on perceived level. There's a difference between what you see meter and what you're hearing. I can talk at length about that, too. Aaron: Could you give us a super short version? I'm kind of aware of that, but since I just mix in Logic, I'm not sure how to measure it. Is there a way to measure it in Logic? Do you know? Is there a plugin you use? Ryan: I use a plugin from Waves. It's a loudness meter, and its just that. It has a lot of presets, so I'll use the TV standard preset. I'll use it for ATSE85, and I'll use it for a dialogue bus. They've also got one for a master bus. The standard right there is your average level around -24 dB LUFS, so that's full scale. If you have a classic meters, your peak would be zero, so that would average metering right around -10. At least for TV, I've got a hard limiter at -10 dB, to where nothing can go above that. The difference between levels on a meter vs. perceived loudness is the differences between what we hear and the actual energy. In our TV program, we'll have the sermon, but we'll also have a talking heads segments, which is dialogue and a music bed. We'll also go into segments where they'll go into worship from our live album, which had been mixed and mastered as an album. That thing is slammed. If you look at the wave form, it's a sausage. If I'm setting all that by the meters alone and they're all hitting -10, it may look right, but if I look at my loudness meter, that worship segment is going to be off the charts. There's so much more content in there. There's so much going on with all the different frequency ranges as opposed to a dialogue track, which is a narrow field in the frequency spectrum. That's the gist of it. When it comes to my technique for controlling dynamics, for something like mixing a sermon, if I'm going down my plugin chain, the first thing I naturally have is a high pass filter. I'm rolling off those unnecessary lows that are hogging energy. The next thing I'll do is use a compressor, and I'll set the attack to right in the middle, so not fast or slow, and I'll have the release time at fast. We don't want to hear it pumping, letting go. That's catching my peaks. It's not doing a crazy amount, but it kind of is. That's helping do a lot of the bulk compression. Before anything really hits the compressor, I will go through, and as I work my way through the mix, I will clip gain the wave form, so that, say, if he's whispering somewhere, I might keep that, depending on how I have my compressor set. Then, if we go up to a part where he's screaming and my wave form is huge, I will take that down and create those nodes, those dots in the wave form, and drag the actual clip volume down, that gain down. That way, it's not going into the compressor at this high gain level. It's hitting the compressor evenly as the rest of it would. That way, it's not driving the compressor crazy. Then I'll go through and do some EQ and DSing and whatnot. I might add some more compressors in there, just to grab some of those little things coming through. After that, it's subtle, just smoothing it out. Aaron: It is a little bit of both. If she has access to an audio editing program—I don't know what she's using for editing. If you can put a compressor on the track, do that. It's not exactly the same, but I did a YouTube video about how I process podcast vocals, and it's very similar. For podcast vocals, I start with a Logic noise removal plugin. Ryan: I actually have my noise suppressor, and I'll use that later on down in my signal chain. My way of thinking is that if I've got all this compression going on, the compression is narrowing that dynamic range, so it's bringing up that noise floor. I tend to do my noise suppression after the bulk of that compression, because the noise floor is higher and it's easier to work on a supressor. If that makes sense. Aaron: I've thought a lot about whether you should do the noise removal before or after you add a bunch of gain with a compressor or something, and I can't think of a good reason that it matters. You can take out the noise before you add a bunch of gain, or you can add a bunch of gain and take out the noise afterwards. Which is better? I don't know. Anyways, after the noise removal plugin, I put an EQ with a high pass filter, a peak compressor, an RMS or an average level compressor, and then a limiter. Ryan: Like I mentioned earlier, before I had my long-winded answer, it also depends on what it is you're mixing—whether it's music, or a podcast, or something for film. When it comes to dialogue for film, you want it to sound as natural as possible, but you also want to be able to hear if someone is whispering. When it comes to that, I'll still use a compressor, but it will be very, very light. If there's anything I need to do to meet loudness, that I will automate the volume on my dialogue bus. I'll bring that up. That way, it sounds a little bit more natural, instead of solely relying on a compressor to do all the work for you. Aaron: That makes sense. For podcasts, if I notice that there's a section where someone was talking much quieter, like if a guest backed away and talked like that for four or five minutes and then went back to the normal distance from the microphone, in Logic, I'll turn that into its own clip. I make a cut on either side of the quiet part, and then, in Logic, you can double click on it and change gain by hitting Control G. Then you can add 3, 4, or 5 dB to it. That works out pretty well. If it's every five seconds or I have to do it more than five or six times in an episode, I won't do the clip gain changes, I'll just use a compressor. Look at the overall audio file and see if there are long stretches where you can use automation to change the gain, or change the clip gain. Common Audio Mistakes Podcasters Make Ryan: You asked a question that I think would be good to talk about in regards to podcasting. You had asked, “What do you like about podcasts? What common mistakes do you hear people make?” Initially, I read this and thought, “I don't know,” but I spent some time thinking about it. This is great, because it piggybacks off the loudness thing. A lot of the mistakes that I hear when it comes to podcasts in regards to audio is the levels and loudness aspect. I'll listen to some podcasts that sound great, and I'll put on another podcast where the whole thing is super quiet. Then they start laughing, and it's really loud. There are some, like mine, where they have a music bed underneath the entire thing, and then sometimes the music bed is so quiet that you hardly know it's there. You're like, “What the heck is that noise in the background?” Sometimes, it's the opposite. Sometimes, the music bed is way too loud. That's a few of the things I've noticed. A lot of the fixes relate to what we just talked about. It helps to have knowledge of levels and perceived loudness. If you're mixing a podcast, make sure your levels are consistent. One of the biggest things I can recommend for anyone mixing anything, whether it's music, movies, a podcast, is the importance of having a reference track. Aaron: Yeah, I don't talk about that enough. Ryan: That is huge. Professional audio engineers who mix platinum records still do this. They will pull in a track from a different song that is mixed well and is mixed how they want theirs to sound, and they'll have it muted in their session. When they want to have a reference to listen to or train their ear, they'll un-mute it, and they'll go, “Oh, okay.” I'm sure you've done the same thing as me, where you'll be so involved in a mix, you're in it, and you think it sounds great, and then maybe you go away. You go home, sleep, and maybe you come back, and you open it up and you go, “Woah! What was I thinking!” You can get so involved in it that the blinders go up. You get tunnel vision, and you're not aware to some things. It's good to have a reference track or get an outsider's opinion on a mix. The main takeaway here is the reference track. That would help with anything, whether it's the timbre, how you're EQing, or the loudness. You pull in their track and it's far louder than yours, and you automatically know that you need to do something about it. Aaron: That's a great idea. You can kind of do this before or after. You go through and you edit your whole podcast, get everything set up the way you want, create an extra track, and then find a podcast that sounds really good—This American Life or pretty much anything by NPR—download an episode, drop it into your editing program, and play it, mute it, and see what the difference is. Maybe you need to add some gain with an adaptive limiter or with a compressor, or maybe you can tell that your track sounds way sharper or harsher. Are there are too many high frequencies or too much bass compared to your reference track? You can adjust those things. I'm so glad you mentioned that. I've never thought of that before, and that's such a good idea. Ryan: It's one of those things you don't think of much, but once you do it, you're like, “Oh my gosh!” It's really eye opening and really helpful. You can find Ryan online at ryanmonette.com, and follow him on Twitter @RyanMonette.

My guest this week is professional audio engineer Ryan Monette. Ryan graduated from Berklee College of Music with a degree in Music Production & Engineering. For the last 4.5 years he's been the Post-Production Audio Engineer on staff at Elevation Church, in Charlotte, NC, where he mixes their global TV show, and has many other responsibilities (boom operator, field recorder, sound designer, audio editor, etc.). You may have heard some of his work, as he sound-designed and mixed the opener video for the Circles conference for the past two years. He even had his own podcast for a short while (TheQueuecast.com). I asked Ryan to come on the show to share his journey towards becoming a professional audio engineer (a job that I've always wanted), and to get him to share some tips for anyone interested in working in audio/video professionally.Highlights, Takeaways & Quick Wins:Think long term and dream big.If you want to do anything with audio, start by getting a cheap USB microphone.Take advantage of free online courses to learn more about audio engineering.Get started with whatever you have.Your mix may sound completely different in a different environment, so listen with different headphones/speakers in different locations.Master the basics and keep going back to them.If you’re mixing a podcast, make sure your levels are consistent.When mixing, always use a reference track.Show NotesAaron: You graduated from Berklee College of Music with a degree in music production and engineering. For the last five years, you’ve been the post production audio engineer for Elevation Church in Charlotte, North Carolina. You have a lot of jobs there: boom operator, field recorder, sound designer, audio editor, and you mix their global TV show. Do you mix that live?Ryan: Not necessarily. We can get into that later. There’s a process for that.Aaron: Some of the creative people here might have heard of some of your work. You sound designed and mixed the opening videos for the past two years of Circles Conference, which I was at. Have you been there for the past two years?Ryan: I haven’t been personally, no. I have wanted to go. I love it from afar, and I want to go in person.Aaron: I wanted you to come on this show because when I first got started, I had dreams of being a professional audio engineer. I thought, “How cool would it be to work in audio and get paid for it? That’d be awesome!”I fell backwards into it by doing podcast editing as a hobby first, then for money, then I met Sean McCabe and ended up working for him full time. I edit podcasts and help out with a ton of other stuff. I asked you to come on the show to share your advice for anyone who’s interested in working in audio/video professionally, and to talk about how you got there yourself. So tell me a little bit about how you got into audio. When did you first realize that this was something you wanted to do?Ryan’s Journey to Becoming a Professional Audio EngineerRyan: I love listening to your podcast, Aaron, and what I love about it is I feel like you and I have a lot of similarities in our backgrounds. You’re a musician, a drummer, and I’m also a musician. I play several things. My primary instrument is bass, but along with that, I started on piano. I picked up bass, and with the bass I picked up guitar. I took some drum lessons here and there as well.I sing as well. I dabbled in a little bit of everything. I’m kind of a jack of all trades, master of none. I’m okay at a lot of things, but I’m not superb at one thing. Anyway, right around junior high or high school, I started playing the bass. I started playing in little bands here and there. When it came time for college, I had no clue what I wanted to do. All I knew was that I loved music.Aaron: Same here!Ryan: I was living in Las Vegas at the time, so I decided, well, everyone has to have that college experience, and I didn’t want to go to college in the same city, so I decided that I needed that “being away from home” experience. I went to the University of Nevada, Reno. I took your basic, general classes, not knowing what I wanted to do. At this time, for my high school graduation, I had received a graduation present of a Macbook Pro.With that, of course, you get the wonderful iLife suite, including Garageband. As a musician, a whole new world was opened up to me. When I was in a band in high school, I was the gear head—I loved the PA and putting cables together.I was drawn to that. Once I had this Macbook Pro with Garageband and I had my bass and my guitar in my dorm, I was like, “I can create music!” I figured out how to work it and record myself. I bought a USB microphone, and that world was opened up. When I was there, I had a friend, and her brother went to this school where all they learned about was music. I was like, “Wait, you can do that? You can go to school for just music?”That’s how I found out about Berklee School of Music. I applied, and you have to audition as well. I applied and auditioned, and the first time I tried, I actually didn’t get into the music school I wanted to go to.Aaron: This sparks something in my mind. I feel like I might have read an article about Berklee or looked into it and thought, “No, they’re really strict on who they accept, based on your performance.” That was intimidating to me at the time, because I never felt like I was that good of a drummer.Ryan: It was intimidating for me, too. Clearly, I wasn’t up to par.Aaron: Yet you went for it. That’s more than a lot of people would do.Ryan: Yeah. After I finished my first year at UNR, I moved back to Vegas and went to UNLV, the University of Nevada Las Vegas. I took all music classes, forgetting the general ed stuff you need to get a degree. I took all music classes—music theory, because I had never had actual music theory classes, so I thought I needed that. With that, there were some audio classes that I took as well. I was like, “Hey, I like this audio thing.”At the University of Nevada Las Vegas, I had my first exposure to a formal audio class, where I learned all the proper techniques. Later on that year, I applied and auditioned again for Berklee. I got accepted, and the next year, I moved to Boston and went to Berklee for about three and a half years. Then I graduated. When I went to Berklee, the only thing that drew me as a major was Music Production and Engineering. I naturally loved the gear side of things. I fell in love with recording. I was like, “This is what I want to do.”Aaron: You got to spend three and a half years there, studying and learning?Ryan: It is non-stop, 24/7, music, audio, and to be honest, I miss being in that environment so much.Aaron: That sounds fantastic. I always love setting aside time to take online classes, read books, and listen to interviews about audio.Think Long-TermAaron: You were drawn to the audio engineering stuff, and then you graduated.Ryan: I can remember a specific time in my life, and I’m pretty sure it was my last semester at Berklee. They went by semesters instead of years. It was in one of my capstone classes. Our instructor asked us the typical, “Where do you see yourself in five years?” question.Aaron: I love that question now. I hated it when I was 22.** Think long term and dream big**Aaron: Plan out where you want to be, because if you can envision it, then you can figure out how to get there. But you have to start by saying, “I want to do this thing someday.” For me, it was, “I want to do work from a laptop. How do I get there?” Now I’m there. So you were 22 and someone asked you, “Ryan, where do you want to be? Where do you see yourself in five years?”Ryan: At that moment, I was trying to figure that out, naturally, as you do when you’re approaching the end of college. While I was at Berklee, I loved music. I loved recording music, but my absolute favorite class—they only had one of them, but it was the class I yearned for, that I wanted to take and put in all these extra hours for—was audio for visual media, audio for video.By far, that was my favorite class. The whole class, we were working toward our final project. You choose a five to seven minute clip from a well known movie, and all the audio is completely stripped. You have to recreate everything. That’s all the dialogue, all the foley, all the ambient background, all the hard effects, and so on. You have to connect with a film scoring student there at Berklee, and they have to provide the score. I absolutely loved every aspect of that project and the process. When it came time to decide what I wanted to do with my life, it was between audio engineering at a recording studio, working at Disney as an Imagineer, or doing audio at a church.I have always been involved with church, playing on worship teams and whatnot, so I also saw myself doing audio for a church. Long story short, I was really privileged to dip my feet in all of those things after college. After I graduated, I moved back to Las Vegas. Eventually, I found an incredible recording studio, probably one of the top two recording studios in Las Vegas, and I landed an internship.First Audio Engineering JobsRyan: I say “internship” loosely, because your typical studio internship is all the stereotypical grunt work—taking out the trash, doing the coffee, and whatnot. I showed up, and they were like, “You went to Berklee? Berklee guys are cool. Here, hop in this session and help us out.” It was open to me, thrown at me, and next thing I knew, I was assisting on sessions with huge clients, I won’t name drop.Aaron: You can drop a couple of names if you want.Ryan: I had a pretty fun time helping out with a session with the famous engineer Eddie Kramer, who is engineering for Carlos Santana.Aaron: Dang, man! That’s awesome.Ryan: That was pretty incredible. But while I was there, I had this gut feeling inside of me saying, “This isn’t it.”Aaron: It’s fine, but it’s not quite right?Ryan: I could see myself staying there and working my way up, but it didn’t feel right. A few months after I realized that I didn’t want to stay at the studio, I applied and was offered a job at Walt Disney World in Orlando, Florida.I packed my bags, moved to Orlando, and I was working as a stage technician at the Epcot park. There, they found out that I was an audio guy, so they pushed me toward the live audio side of things. I was mixing shows and bands at Epcot and what was at the time Downtown Disney, now Disney Springs, area. Same thing. Almost as soon as I got there, the same gut feeling came in.I was like, “This isn’t it. I’m more of a studio engineer. I definitely don’t want to do live stuff.” Although I love Disney, it just wasn’t sitting right. I was only there three months before the next great opportunity came up, which is where I am right now. One of my friends told me about a job opening for this church in Charlotte, North Carolina, Elevation Church. I had actually been following them because of their podcast.At the time, I was kind of like, “I’ve got a job, whatever.” For some reason, I ended up on their website, looking at the job. I was reading, and I was like, “Wait a minute, they’re looking for someone to do audio for video. That’s what I really want to do!” On a whim, I threw out my resume. Next thing you know, I’ve been here going on five years.Aaron: Did you mention that you were a podcast listener when you sent in your resume?Ryan: Yeah.Aaron: The connections you can make through podcasting is really incredible.Ryan: It is. And I’ve been working there for 5 years now.How to Get Into Audio EngineeringAaron: I want to jump into what you do at your job at Elevation, but let’s pause and do a section on what advice you would tell someone who’s wanting to get started. I wrote a couple of things down here. I think it’s hilarious that you got a Macbook and your first microphone was a USB microphone.Ryan: Which was the Blue Snowball, by the way.Aaron: That’s the worst microphone!Ryan: I had no idea how to use it, either. If I find some of the earliest recordings I did, there are times I’m clipping to the max, square waves.Aaron: Probably bad mic technique, too. But hey; it got you started!If you want to do anything with audio, start by getting a cheap USB microphone.Any USB mics will work for getting started. I like the Blue Yeti, but it’s like $100. The ATR-2100 is fine, too. You just have to get something that can record some audio and start playing with it.Start playing with Garageband. Start playing with the free programs. Learn how to enable recording on a track, how to set your input device to the microphone, how to set your output device to wherever your headphones are plugged into, whether that’s your mic or your computer. It took me so long to figure that stuff out. I was like, “Why can’t I hear the audio in my headphones? What is going on?”Ryan: Same here.Aaron: You have to set input and output, then you have to record enable or do the input monitoring, all that stuff. But start with the USB microphone. Take some basic classes. There are so many great online classes. If you don’t have any money at all, if you’re super broke like I was when I started, watch some free YouTube videos. Read a book.Ryan: If you go to Coursera.org, they’re a website where you can pay to take online courses and get certifications and whatnot, but they also offer free online courses. They even offer free online courses from Berklee. I’ve seen a music production class there. I’ve taken a free online song writing class.Check out free online courses, because they can be a pool of incredible knowledge.I took a photography class on there. Coursera is a great place. They’re great if you want to take free online courses.Aaron: There are places where you can learn all this stuff. You just have to invest some time. You really just have to start: Don’t wait until you have $500 for an interface and $200 for some professional headphones and microphone. Whether you want to start a podcast, start recording audio for a video, or record and mix a demo for a band, start doing something.Stop spending all your time thinking about how you can’t do anything because you don’t have certain gear or you’re not in the right place. You’ll learn as you do, especially in audio. You’re going to make a ton of mistakes.Ryan: That’s how you learn, though! That’s one of the most valuable things I’ve learned in life. You learn from your mistakes.Aaron: You don’t really learn when everything goes well.Just StartAaron: Any other advice you would give somebody, thinking back on how you got to where you are right now?Ryan: Honestly, you hit the nail on the head with “just start.” It’s as simple and cliche as Nike, “Just do it.” There is always going to be the next latest craze, the gear, and we’ve all been susceptible to that. We say, “Oh, well, I could do this if I had X.” It starts with the drive and determination, wanting to do it. There’s knowledge out there everywhere. You just have to dig for it.Chances are, you have at least something you can start with. Record something on your phone.Aaron: I have a friend who makes some awesome music on his iPhone.Ryan: Oh, totally. It’s as simple as getting an adapter. You can plug your guitar or whatever into your phone.Aaron: Kids these days have it so easy!Ryan: You have Garageband on your phone. I remember when I was figuring this out in high school, and we actually had a four track tape recorder. That was my first start. Get started with whatever you have.Aaron: What kind of stuff do you do at the church? What’s your day to day life like? Are you there every day, or is it just a couple of days a week?Ryan: Oh no, I’m definitely there every day. It has been a whirlwind for sure. In the past five years, I have probably played every audio role that there is to be played here. My main thing now is audio for broadcasts, pretty much anything that leaves the church. Our biggest output is the sermon, which goes to a lot of places.It also goes in the TV episode, which we talked about, which goes locally, nationally, and, I believe, globally as well. That’s a lot of what I’ve done. We also create a lot of films, short films, for our worship experiences, anything you can imagine that’s video and audio related. Audio post production, like we talk about. I’m constantly on video shoots using field recorders, the boom op, anything you can think of. Audio for video, I’ve done it.The Gear Ryan UsesAaron: Let’s talk about your gear a little bit. What kind of stuff are you using most in everyday life? I’ll do a quick recap: I have the Shure Beta 87A Mic as my main podcasting microphone. It’s attached to a Scarlett 18i20 USB Interface (update: I’m now using my Zoom H6 exclusively), which is plugged into a quadcore iMac that’s a couple years old.Nothing super fancy, but I’m really happy with where I am. I remember wanting all this stuff back in 2011, thinking how awesome it would be to have it. I have a Zoom H6 portable recorder and a couple of SM58 microphones. I’ve been pairing down my gear collection because I’m planning on moving in the spring.What kind of stuff are you working with? I use Logic Pro X for editing, and then Izotope iZotope RX 5 for cleaning up background noise or fixing clipping. What about you? What’s your day to day favorite gear?Ryan: We use a lot. There’s a bunch of gear for field recording and then in my office, which is where I’m at right now. I’ll start with my office. Right now, I’m talking into my personal mic, which is a Rode NT1A. It’s very affordable.The Rode NT1A is a nice beginner mic which works and sounds great, and I use it for a lot of voiceover projects.Aaron: I like those mics.Ryan: I’m talking into that right now. We also use the Shure SM7B. We have a nice Neumann that we’ll use for bigger projects. We like to use Universal Audio Interfaces, so I’ve got one of those. They’re great. They’re rock solid. You really can’t beat them.At our main recording/editing audio work station, we use Pro Tools. That’s very standard, and I’ve been using that for years and years. I use a lot of plugins. I use a lot of the Waves Plugins. I do use RX as well, and that’s the bulk of it. I do a lot of processing, depending on the project.I have a really huge sound library for if I’m doing narrative pieces that involve sound design, sound effects. I have a great app called Audio Finder, which a lot of electronic musicians use to help them find sounds. I use it to help me find sounds. It’s a nice way to catalogue sounds if you’re a sound designer or anything like that.You can basically tag all these audio files with meta data, and you can search for sounds by their title. Or, if you type in a word in the search bar, it can pull up things based off the the metadata. If you have notes on something, it can find it. Audio Finder is a great way to find sounds.I have some other things in here. I have the Artist Mix Controller made by Avid. I use those if I’m automating stuff. I use those a lot, actually, when I’m mixing the sermons. I do a lot of automation for that. If I’m mixing a piece with a music bed or something, I like to automate the music by hand.It feels more natural, as opposed to clicking and making little dots. That’s the bulk of it here in the office. All of our audio engineers have a nice pair of Focal monitors. I also have another set of monitors I built myself. When I mix TV episodes, I have an output routed to a TV here in my office so I can hear how it translates on TV speakers.Recording Audio for VideoRyan: On the front end of things, if we’re doing shoots for videos, we use Sound Devices field recorders. We have three different models: the Sound Devices 788T 8 Channel Recorder, a 702 2 Channel Recorder, and then a 633 6 Channel Recorder. That last one is one of their newer models, which is great.Sound Devices are steep in price, but they are rock solid.One of the most trustworthy, well known field recorder brands on the market. That’s what you’ll see on pretty much every big budget shoot in some way. I do a lot of freelance on the side, which gives me the opportunity EPK shoots or BTS shoots for, recently, a show on HBO called Outcast.Aaron: Outcast? I’ve been seeing that (I watch Westworld).Ryan: I’m pretty sure it’s the same writers or producers or something. I know it’s the same writer as The Walking Dead. They shoot here in North Carolina, so with a local production company, we’ve done some interviews with some of the cast and crew. It’s been really neat to be on set and see what they’re using. It’s cool to see how similar their world is to what we’re doing day to day, just with more money and more resources.It’s the same thing. Most of their audio guys have some sort of Sound Devices. A lot of them use the 788 as a backup recording rig, and they’ve got larger multitrack recorders as well, that are also made by Sound Devices. Sound Devices is a great brand. They’re crazy expensive, but when you buy that, you know you’ve basically got it for life.Aaron: Yeah, I’m looking at the Sound Devices 788T SSD 8 Channel Portable Solid State Audio Recorder. It’s almost $7,000. I love that! So fancy.Ryan: That SSD does have an internal hard drive. Ours has a hard drive as well, so it’s great, because it has the internal hard drive, but you can also use CF cards. You can record on two different mediums. In case something runs out of space, you have it in two places.Aaron: This is super professional stuff.Ryan: Yeah. It is. It’s top of the line.Aaron: Fantastic. For all the rest of you, just go with the Zoom H4N or the H6.Ryan: Hey, we do have a Zoom H4N, and we do use that every now and then. Before I came on staff, our first field recorder was the Zoom H4N.Aaron: If I could start over and go back to before I had any kind of interface at all, I think I would buy myself an H4N or an H6. Not only are they portable field recorders so you can walk around with them—they have little stereo condensor mics on them—but they work as audio interfaces, too. You can plug it into your computer with a USB cable and record straight to your computer if you do any kind of podcasting or stuff like that.It’s good for the price. Otherwise, the little two channel interfaces are great. They’re about $100 for a good one, but they aren’t portable. You can’t take them to a show or out to a video shoot the way you can an H4N or an H6 or something.Ryan: Speaking of Zoom, they’ve recently come into the more professional field recording market. About a year ago, they releases the F8, I believe, which is an 8 channel field recorder with 8 mic pres. It’s $999 for something very comparable to a Sound Device. It’s not quite as high-fidelity, but for anyone starting out, you’re really not going to notice the difference.Mixing On Expensive Headphones or MonitorsAaron: I was going to ask you this earlier. You mentioned that you had Focal monitors. Did you listen to the episode I did a few episodes back where I talked about mixing on headphones (Episode 69: Do You Need Expensive Headphones to Mix a Podcast?)?Ryan: Yes, I did.Aaron: I mix on $10 Panasonics. What do you think about that? You can be totally honest with me. You can tell me that it’s a stupid idea or that it’s okay.Ryan: I agree to a certain extent. I agree that you should be listening to what you’re making on whatever the majority of people are going to be listening to it on. For a lot of audio engineers mixing music, that’s iPod earbuds, those standard earbuds you get. Something like that. When I mix TV, I have an output routed to a TV in my office, so I can hear it on TV speakers.I do also believe in mixing on something with some sort of higher fidelity type of monitoring environment, whether that’s nicer speakers or nicer headphones. Naturally, you’re going to hear things differently. The main thing to take away is how things translate.If you’re listening to something on one source and you make it sound good there, that’s great, but in a different environment, it may sound completely different.iPhone earbuds may not have the bass that a car stereo has. You want to hear how it translates from one thing to another. That’s why it’s good to at least listen to it on two different sources and not just narrow yourself down to one cruddy thing. That’s good in theory, but again, the key takeaway is translation.Aaron: Maybe it’s a little bit different for me and I can get away with it because of the consistency of the microphones and the recording environment set we use.Ryan: Yeah, totally.Aaron: I think if I was doing more stuff like you are, with videos and clients and all that kind of stuff, I would absolutely be using my higher fidelity headphones.Ryan: Very true. The bulk of your work is dialogue, podcasts.Aaron: Yeah, that’s really it. Just dudes talking into a microphone.Ryan: Yeah. I have done a lot of work here where I’m working in a small studio, but a lot of my mixes have played in auditoriums and arenas.If you’re working on projects like music or film that have different audio frequencies and spectrums, remember that sound will be perceived differently in different places.Aaron: How do you even test for that?Ryan: Here, I at least have a sense of how our auditorium sounds, so I’ve trained my ear to hear in advance and understand how it’s going to translate. For something like when we did a live recording in the biggest arena here in Charlotte, we had a video opener piece. I was on point for mixing that, so basically, I had to work with tech and production to find a time after setup where I can bring my session, copy it onto a laptop, and play it through the PA.Then I can make any final mix tweaks there in the auditorium or the arena. I perfected it in my studio, and any small tweaks I was able to do in that actual environment. Granted, a lot of the times, we may not have that luxury. There are also great plugins you can buy that simulate different monitoring environments, like Sonarworks.If you have certain pairs of headphones, you can tell the program, “I have these headphones, now make my mix sound like it’s coming through these headphones or these speakers,” so you can hear how it might translate. In that program, they have a final output like the Beats headphones. You can hear how it might sound on there, super bass heavy.Aaron: I hear they’re getting better, but I still have never bought any Beats headphones. I probably should (just for testing purposes).Ryan: There are definitely programs out there to help you see how things translate to different monitors.On Location GearRyan: We were talking about the gear we use for on location recording. Sound Devices would be our main recorders. For our mics, we use Schoeps. It’s a shotgun microphone, so it’s a narrow polar pattern with good off axis rejection. Schoeps is a great brand. Again, you’ll see this on professional movie sets.That’s the mic we use. We have some Sennheiser shotguns as well, the ME66, we have a couple of those, which is more their entry shotgun mics. Recently, I rented some of the MKH416.Aaron: I would like one of those. The Sennheiser 416 is well known as the classic TV shotgun mic, right?Ryan: Exactly. I rented those out because I wanted to try it out for that reason. The Schoeps is very good and very well known on set as well, but so is the 416. I rented it to try it out. It’s a trusted mic that a lot of people use for these professional things, and it doesn’t really break the bank for what it is.Aaron: They’re like $1,000, I think.Ryan: Yeah, and it sounded great.Aaron: The next mic I get is either going to be that or the Rode NTG 3.Ryan: I’ve heard a lot of great things about that. I haven’t tried one myself.Aaron: That’s the shotgun mics we shot my podcasting courses with.Ryan: Yeah, I know that Sean uses that for all of his videos.Aaron: I’m excited about getting to go work with those (I’m moving to San Antonio in March or April).Master the BasicsAaron: That’s a pretty good run through of your gear. I’m sure you could keep going and discuss a lot more, but I don’t think we need to go into that. It seems like you guys are at a super professional, high quality. You have made big investments in professional gear, which is fantastic. I encourage everyone to strive for that, to aim for that, but like we said earlier, use what you have right now. I don’t have anything close to what you guys have, but I’m still doing my podcast. I’m doing the best I can with what I have.Ryan: It still sounds great.Aaron: Thanks! It’s mostly just knowing how to set gain levels and not having a noisy room. It’s crazy how far the basics will get you— everything else is just icing on the cake.I’ve been watching this video course called Zen and the Art of Work, which I really recommend to everybody. It’s mindfulness training mixed with productivity training, which is such a great combination.In this course, he says, “So many of the masters continually revisit the basics.” Mastery is staying on a path. It’s not reaching some final goal, it’s more about being with the work and investing in getting better, but also revisiting the basics. He was talking about playing piano. He was like, “A lot of times, I just start by touching the keys, pressing the keys, and then doing basic scales over and over again.”It’s true. When you get so good at the basics that you don’t have to think about it, that’s when you start to expand and get to that level where people say, “Wow, you’re so good at that. How did you get so good?” You’re like, “That was just doing the basics. It’s not anything fancy.”It’s so important to master the basics and keep going back to them.Learning MoreAaron: What’s next for you? How do you invest in yourself and improve? Or are you working so much that you always have more learning opportunities? Do you buy books or courses or follow any websites to learn more about this audio stuff?Ryan: Honestly? We had a shift at work to where my role has shifted to mainly just broadcasts. That has enabled me to have a little bit more flexibility and free time, so I’ve been doing a lot more freelance work. That’s great, because it energizes me and keeps me engaged. It keeps me from routine. Routine is great.I love routine, that’s very much my personality, but freelance work keeps things interesting.For me, it’s all about where and how I can get inspired and constantly feeding that. It’s about feeding my desire for creativity. We’re all creatives. We like to create. We were designed to be creators, really. Everything I try to do is about how I can become a better creator and what I can create next. It’s about finding things that inspire me, really. We touched lightly on a few of the resources that I like, things I’ve learned and places I’ve picked things up.If you’re interested in audio for post production, there are a couple of great books by Ric Viers. I have two books by him that are really great. The first one is The Sound Effects Bible, and it’s not just sound effects in there. He talks about everything from gear to microphones, basics, setting proper gains, compression, some mixing techniques, etc. He also has The Location Sound Bible.There are a lot of similarities, but there’s also a lot of talk about gear, shotgun mics, lop mics, recorders, and then he also dives into some of the basics when it comes to mixing, proper gain staging, and so on. Those are a really great pool of knowledge in book form. There are a lot of other books out there, but I have found those two to be really helpful.Other than that, when it comes to audio for video, it’s a very small, niche field. There isn’t a crazy amount of stuff out there, like there might be for mixing music. For that, you’ve got tons. You’ve got Pensado’s Place, all these people on YouTube putting out channels on mixing, mixing from home, mixing on a budget, etc. There’s plenty of that.Aaron: Graham Cochrane and Joe Gilder are pretty awesome resources for anyone who wants to start a home studio.Ryan: YouTube can be a pool of knowledge for anything and everything, too. You have to dig a little bit and do some searching. On the inspiration side, for me, since I love audio for video, Sound Works Collection is a great place. They’ll do mini videos interviewing the sound people that did sound for X movie. Whether it was the last Harry Potter or anything and everything, big budget films, they’ll sit down with the recording people, the sound designers, the mixers…It’s really cool, because they’ll show footage of them doing stuff on location or the foley artists. It’s cool to see their process. For me, that helps me stay inspired. It gives me ideas to do other things. They have a podcast as well, and that’s great. The videos can be kind of short, maybe 10 minutes or so, but the podcast will go on at length, talking to the audio guys who have made sound for videos possible.It will also be music composers for movies as well. That’s really great. I found that great not only as inspiration, but to know what and how audio professionals for big budget films get inside their minds, how they’re thinking, and what their process looks like.It’s neat to see stuff about sound engineers for big movies and realize that we’re not so different.Dealing With a Broad Loudness Spectrum (Dynamics)Aaron: I have a nerdy question here. This is about normalizing and compression, I think. Aiya had asked, “I’m so torn about normalizing sound clips. If I’m working on a longer project in segments, would it be better to adjust my peaks manually for the sake of consistency? It’s for a video project.” I’m hearing that there are differences in video volumes. How do you deal with that? Do you do compression? Do you do automation for the different parts? How do you deal with dynamics?Ryan: It depends on the project. I’ll talk about how I would mix a sermon, because that’s very dynamic. Our pastor will go from whispering, holding his handheld mic close to his stomach, to screaming, holding the microphone, cupping the capsule. Power and respect to him, because it creates a certain atmosphere, which has a powerful effect. That’s what I’m dealing with on a weekly basis.That dynamic range is tremendous. Keep in mind, this is going to TV eventually. TV has very strict restrictions. It’s not so much on level, but on perceived level. There’s a difference between what you see meter and what you’re hearing. I can talk at length about that, too.Aaron: Could you give us a super short version? I’m kind of aware of that, but since I just mix in Logic, I’m not sure how to measure it. Is there a way to measure it in Logic? Do you know? Is there a plugin you use?Ryan: I use a plugin from Waves. It’s a loudness meter, and its just that. It has a lot of presets, so I’ll use the TV standard preset. I’ll use it for ATSE85, and I’ll use it for a dialogue bus. They’ve also got one for a master bus. The standard right there is your average level around -24 dB LUFS, so that’s full scale. If you have a classic meters, your peak would be zero, so that would average metering right around -10. At least for TV, I’ve got a hard limiter at -10 dB, to where nothing can go above that.The difference between levels on a meter vs. perceived loudness is the differences between what we hear and the actual energy.In our TV program, we’ll have the sermon, but we’ll also have a talking heads segments, which is dialogue and a music bed. We’ll also go into segments where they’ll go into worship from our live album, which had been mixed and mastered as an album. That thing is slammed. If you look at the wave form, it’s a sausage. If I’m setting all that by the meters alone and they’re all hitting -10, it may look right, but if I look at my loudness meter, that worship segment is going to be off the charts.There’s so much more content in there. There’s so much going on with all the different frequency ranges as opposed to a dialogue track, which is a narrow field in the frequency spectrum. That’s the gist of it. When it comes to my technique for controlling dynamics, for something like mixing a sermon, if I’m going down my plugin chain, the first thing I naturally have is a high pass filter. I’m rolling off those unnecessary lows that are hogging energy.The next thing I’ll do is use a compressor, and I’ll set the attack to right in the middle, so not fast or slow, and I’ll have the release time at fast. We don’t want to hear it pumping, letting go. That’s catching my peaks. It’s not doing a crazy amount, but it kind of is. That’s helping do a lot of the bulk compression. Before anything really hits the compressor, I will go through, and as I work my way through the mix, I will clip gain the wave form, so that, say, if he’s whispering somewhere, I might keep that, depending on how I have my compressor set.Then, if we go up to a part where he’s screaming and my wave form is huge, I will take that down and create those nodes, those dots in the wave form, and drag the actual clip volume down, that gain down. That way, it’s not going into the compressor at this high gain level. It’s hitting the compressor evenly as the rest of it would. That way, it’s not driving the compressor crazy. Then I’ll go through and do some EQ and DSing and whatnot. I might add some more compressors in there, just to grab some of those little things coming through. After that, it’s subtle, just smoothing it out.Aaron: It is a little bit of both. If she has access to an audio editing program—I don’t know what she’s using for editing. If you can put a compressor on the track, do that. It’s not exactly the same, but I did a YouTube video about how I process podcast vocals, and it’s very similar. For podcast vocals, I start with a Logic noise removal plugin.Ryan: I actually have my noise suppressor, and I’ll use that later on down in my signal chain. My way of thinking is that if I’ve got all this compression going on, the compression is narrowing that dynamic range, so it’s bringing up that noise floor. I tend to do my noise suppression after the bulk of that compression, because the noise floor is higher and it’s easier to work on a supressor. If that makes sense.Aaron: I’ve thought a lot about whether you should do the noise removal before or after you add a bunch of gain with a compressor or something, and I can’t think of a good reason that it matters. You can take out the noise before you add a bunch of gain, or you can add a bunch of gain and take out the noise afterwards. Which is better? I don’t know. Anyways, after the noise removal plugin, I put an EQ with a high pass filter, a peak compressor, an RMS or an average level compressor, and then a limiter.Ryan: Like I mentioned earlier, before I had my long-winded answer, it also depends on what it is you’re mixing—whether it’s music, or a podcast, or something for film.When it comes to dialogue for film, you want it to sound as natural as possible, but you also want to be able to hear if someone is whispering.When it comes to that, I’ll still use a compressor, but it will be very, very light. If there’s anything I need to do to meet loudness, that I will automate the volume on my dialogue bus. I’ll bring that up. That way, it sounds a little bit more natural, instead of solely relying on a compressor to do all the work for you.Aaron: That makes sense. For podcasts, if I notice that there’s a section where someone was talking much quieter, like if a guest backed away and talked like that for four or five minutes and then went back to the normal distance from the microphone, in Logic, I’ll turn that into its own clip. I make a cut on either side of the quiet part, and then, in Logic, you can double click on it and change gain by hitting Control G. Then you can add 3, 4, or 5 dB to it.That works out pretty well. If it’s every five seconds or I have to do it more than five or six times in an episode, I won’t do the clip gain changes, I’ll just use a compressor.Look at the overall audio file and see if there are long stretches where you can use automation to change the gain, or change the clip gain.Common Audio Mistakes Podcasters MakeRyan: You asked a question that I think would be good to talk about in regards to podcasting. You had asked, “What do you like about podcasts? What common mistakes do you hear people make?” Initially, I read this and thought, “I don’t know,” but I spent some time thinking about it. This is great, because it piggybacks off the loudness thing.A lot of the mistakes that I hear when it comes to podcasts in regards to audio is the levels and loudness aspect. I’ll listen to some podcasts that sound great, and I’ll put on another podcast where the whole thing is super quiet. Then they start laughing, and it’s really loud. There are some, like mine, where they have a music bed underneath the entire thing, and then sometimes the music bed is so quiet that you hardly know it’s there.You’re like, “What the heck is that noise in the background?” Sometimes, it’s the opposite. Sometimes, the music bed is way too loud. That’s a few of the things I’ve noticed. A lot of the fixes relate to what we just talked about. It helps to have knowledge of levels and perceived loudness.If you’re mixing a podcast, make sure your levels are consistent.One of the biggest things I can recommend for anyone mixing anything, whether it’s music, movies, a podcast, is the importance of having a reference track.Aaron: Yeah, I don’t talk about that enough.Ryan: That is huge. Professional audio engineers who mix platinum records still do this. They will pull in a track from a different song that is mixed well and is mixed how they want theirs to sound, and they’ll have it muted in their session. When they want to have a reference to listen to or train their ear, they’ll un-mute it, and they’ll go, “Oh, okay.”I’m sure you’ve done the same thing as me, where you’ll be so involved in a mix, you’re in it, and you think it sounds great, and then maybe you go away. You go home, sleep, and maybe you come back, and you open it up and you go, “Woah! What was I thinking!” You can get so involved in it that the blinders go up. You get tunnel vision, and you’re not aware to some things.It’s good to have a reference track or get an outsider’s opinion on a mix.The main takeaway here is the reference track. That would help with anything, whether it’s the timbre, how you’re EQing, or the loudness. You pull in their track and it’s far louder than yours, and you automatically know that you need to do something about it.Aaron: That’s a great idea. You can kind of do this before or after. You go through and you edit your whole podcast, get everything set up the way you want, create an extra track, and then find a podcast that sounds really good—This American Life or pretty much anything by NPR—download an episode, drop it into your editing program, and play it, mute it, and see what the difference is. Maybe you need to add some gain with an adaptive limiter or with a compressor, or maybe you can tell that your track sounds way sharper or harsher.Are there are too many high frequencies or too much bass compared to your reference track? You can adjust those things. I’m so glad you mentioned that. I’ve never thought of that before, and that’s such a good idea.Ryan: It’s one of those things you don’t think of much, but once you do it, you’re like, “Oh my gosh!” It’s really eye opening and really helpful.You can find Ryan online at ryanmonette.com, and follow him on Twitter @RyanMonette.

Session 30 Your questions, answered here on the OldPreMeds Podcast. Ryan again dives into the forums over at OldPreMeds.org where they pull a question and deliver the answers right on to you. Today, the questions revolves around the interview process and the feedback they received from a physician about the interview process. OldPreMeds Question of the Week: Poster had a talk with a neurosurgery resident and gave so much insight into the journey, highlighting the fact that entry to medical school is not a destination. He is in the last year of residency as a chief resident after 18 years of education and residency. Poster shares the resident's insights and the deal breaker is the actual interview where only personality matters subject to the interviewer. Poster wants to ask any other insights into the interview. Here are the insights from Ryan: There are no such things as GPA and MCAT cutoffs. If you got an interview at a medical school, they've taken the leap of faith that your scores are competitive enough to be a student at that school. Once you have your interview and matched up among everybody else that had an interview, your GPA and MCAT still might fall short. If you have a perfect interview against another perfect interview of a student and everything else is equal but the other student has a higher MCAT score or GPA, they might get the spot over you. Go into the interview thinking that the acceptance is yours to lose. You have to be there prepared and ready to go. Over the years, schools have been refining what they use to select students. The AAMC has the core competencies that medical schools look at. Then the medical schools look at your applications, secondaries, interview skills and comparing you to a core competency list which takes some subjectivity out of it. Ryan is releasing an interview book soon on Amazon as well as its print version. Go to www.medschoolinterviewbook.com to sign up and be notified when the book releases or if it's already out. Major takeaway from this episode: Personality is not the only thing that matters and that it is subject to the interview. Personality matters in everything in life and you need to be prepared for that interview. Links and Other Resources: www.medschoolinterviewbook.com

Heyang: A photo showing actor and Beijing-native Ge You slouching on a sofa has gone viral. That posture has been nicknamed "The Beijing Slouch." Now 4 younger male celebrities have inherited the mantel and have been crowned the 4 slouchers of the capital. What is the Beijing slouch? Why do Beijingers proudly proclaim it is ours?YuYang: I guess many people have watched the "Wo Ai Wo Jia". The photo was a snapshot from "Wo Ai Wo Jia", literally meaning "I Love My Family". It's one of the oldest and most famous sitcoms in China. In this picture Ge You, was always seen slouching on the sofa and had not sat up straight once. At first, the posture was called Ge You lying, later people started to call it Beijing slouch since it's a very typical posture for Beijing natives and the photo soon gained huge popularity during the weekend. A lot of people posted photo shopped versions of the picture like Ge You dressing like the American captain, or Spiderman while doing the posture. It also became a popular meme with words like "I know I am wasting my life but I just don't want to stop." It's very interesting while Heyang, as a Beijinger, can you show people how do you do a proper Beijing slouch. Heyang: Thank you for directing that question to me.YuYang: Many people would be interested.Heyang: Well, when it comes to the Beijing slouch, it's very…Ryan: Technical.Heyang: Yeah, because you have to hear me out here. It's about you're sitting there but as if you have no bone in your body and can you imagine how comfortable that is. And also it is not just 1 posture, it is a process. So, basically what you do is you sit down on a chair or on a sofa and then you sort of just lay back, and then here comes the process: you are sliding down the sofa but your back clings to the end of the chair in 120 degrees to 180 degrees. I think that is the technical side of things and you better get it right to qualify the Beijing slouch. That is what I think and also here can I please abuse my position a little bit. I am so sorry about it, but I have to do it. Listen up everyone, you have to use the Beijing slang to describe this that is: "从椅子上出溜下去". That is when you slide down and you glide down and that is what the Beijing slouch is and I think it shows a lot of attitude, it could be 3rd world war out there but I don't give a damn.Ryan: You know, looking at this, I'm going to say something that maybe Heyang won't like here that…Heyang: What is it Ryan? Be nice.Ryan: First of all, I love Beijing, I do but to call this the Beijing slouch, I think I have been doing this slouch my whole life. When I get on a couch, especially when its comfy, I first sit on the chair or sofa then after I have secured my comfiness I decide that I want to accelerate my comfiness level, so then I slowly slouch on the sofa till my shoulders are basically almost touching the back and I make the nice little triangle that you have with your Beijing slouch. So, I am just saying guys I think this is also a slouch that is done everywhere around the world by tons of people looking to be very comfy on their couch.Heyang: Ok, could be true but I beg to differ, Ryan. Because can you make sure it's the 120 to 180 degree slouch?Ryan: Can you make sure?Heyang: Oh yeah, with my fabulous abs, I can make it whatever degree and also you know what's really essential here, that is when you are maintaining the slouch, it is pretty good exercise to the abs. Also when you finish the slouch, you need to bounce up, that's like Beijing style, bounce up effortlessly like a spring or when some guys mess it up they need to put their hand on the ground for a little support to bounce up. That's not called bounce up, that is just struggling. That doesn't qualified.Ryan: Please stay tuned for Heyang's workout video called Slouch in the Abs out. YuYang: I see you guys are both trying so hard to establish your own brands right? Heyang's slouching style and Ryan's slouching style. Actually there are the Beijing 4 slouchers of the capital. Celebrities are trying hard to establish their own brands. Netizens also found 4 famous celebrities, most born in Beijing as the top 4 Beijing slouchers who gave the best demonstrations of the posture. One is Walkie Zhang (Da Zhang Wei), he was an actor, singer, and host born in Beijing, many photos showing him slouching him on sofa or chair. It looks like he wants to show that he's a genuine Beijinger. In a TV show named: "I Go To School", he even slouches down between chairs and desks in the decorated classroom.Ryan: There's many photos of me in school slouching folks well before I got on this show but let's talk about the history of the so-called Beijing slouch. The posture can date back to the Qing Dynasty (1636-1912), in case you didn't know. The Manchu people loved to lie down on the heated brick bed after dinner even including the emperor. It is said that Emperor Qianlong loved to slouch down after dinner read books and write calligraphy. Now, that sounds really nice. I think I would be doing that, and that's why I think I have done that. It's because I think slouching is one of those human necessities we have all done but I do think it's cool that people are really enjoying this here in Beijing. It does definitely have a cultural aspect to it. I am just saying guys, everybody slouches. Yu Yang: People say this slouching posture of the Qing Dynasty with Emperor Qianlong is related to his long-life. He died at 88 years old. He was regarded as the longevity emperor in the Chinese history. People say he knew how to keep himself healthy like he always took the unprotected sleep called回笼觉. Maybe the slouching always makes him feel comfortable and relaxed after long working hours. Heyang: Interesting. But I still think that the Beijing slouch we're talking about today, the type that I have described…Ryan: 120 degree angle!Heyang: Yeah. You have to get the angle right, you know and I don't think it's the same as what the emperors used to do because I don't think they're practically flat on their heated brick beds. I don't think that is the situation at all. Actually, they have a lot of support on their back so it is slouching more like half-way what we're talking about in the contemporary sense. Maybe I've given it too much thought but I think this is an interesting way to see what the Beijing local culture is about.Ryan: Maybe, just maybe, the slouching culture has evolved and especially here in Beijing to perfect the slouch to a 120 degree angle for optimal comfort on the couch. I saw a picture of the guy that's known for the Beijing slouch, and he does look so comfortable.Heyang: There's one thing I think that I do share with Da Zhang Wei. Is he a member of the 4 slouchers of the capital? Our internet users are just so intelligent and clever. I do admire you guys so much. The part that I share with Da Zhang Wei is that yeah things evolve, technology develops. Now, everybody pretty much has a laptop and I'm a busy person, a hard worker. There are a lot of things I want to do on my laptop even in my free time that could be work-related or not. What I do? I slouch and I use my fabulous abs as a table or a desk and I put on my laptop on there and as I do stuff so yes I think the Beijing slouch has many facets to it and now it's multi-functional. Yu Yang: Is it a good way to train your abs. That's a pretty creative way, I guess.Heyang: If you want fabulous abs, I think I have some authority in it. I can only say that the slouch is conducive but it doesn't determine your abs. So if you really do want those defined abs, maybe you should follow a class that maybe I will teach in the future. Yu Yang: Wow. That's very interesting. I agree that it's a fabulous way to train your abs. It is the cultural symbol and it is also a nostalgic thing in Beijing Hutongs maybe during the hot summer time. You can see a lot of people, many old Beijingers slouched on enfolding bamboo chairs in the yard or on the Hutong streets using the big fan to keep them cool and drive mosquitos away while drinking some tea and talking to neighbors. That's a typical Beijing summer night in Hutong.Heyang: Why is it that so many of our parents especially our moms when they have been teaching us our manners as we grow up always say or often call us out and say: "Don't do that!" "Don't slouch"?Ryan: Well that's what I was going to say here is that you know you have painted this picture Heyang of like 6 pack ripped guys just slouching to the best shape of their life, but when I often see someone slouching, I often think they are lazy, not lazy but just careless, relaxing and hanging out or maybe just trying to beat the heat, not so much trying to get the 6 pack abs we all really want. You want what I mean! Also, guys I think that it's bad for your backbones and your posture overall. In fact, I was doing just a little research. Slouching often does increase your chances of back problems, i.e. scoliosis, arthritis and it also might give you that image of the "double chin" You're just so comfortable that you don't care how you look. The double chin's coming out.Heyang: I have an objection to that. Basically, yeah maybe you could be seen with the double chin, that could happen but also you create an imagery that is second to none. That is, it seems as if it's all legs below your neck. Try it out. You will see what I mean.