Podcasts about Sennheiser

On this week's Tech Jess Kelly reviews the new Momentum Bluetooth headphones from Sennheiser. The fourth-generation of the Momentum Bluetooth headphones from the renowned German audio manufacturer Sennheiser are a wholesale redesign, ditching their previous retro styling for something simpler and much more comfortable. All this with 60-hours of battery life. Weight: 293g Drivers: 42mm Connectivity: Bluetooth 5.2 with multipoint, 2.5/3.5mm, USB-C (charging and audio) Bluetooth codecs: SBC, AAC, aptX Adaptive Battery life: 60 hours (ANC on)

Gagnant du concours de podcasts 2022 "Un été en liberté" Dans le cimetière d'un petit village d'Ariège se trouve la tombe de mes parents. Heureusement, ils ne sont pas encore dedans. 1er prix du concours de podcasts 2022 "Un été en liberté"  : Le jury a été touché par cette histoire de famille cocasse et tendre, tournée en mode documentaire. Comme quoi le podcast, parfois, se passe très bien de voix off et de narration...  Le concours de podcasts des Audioblogs d'ARTE Radio a lieu chaque été. Le concours 2022 était animé par Thomas Guillaud-Bataille, coordoinateur des Audioblogs. Il était proposé par ARTE Radio en partenariat avec Télérama et Sennheiser. La gagnante Anne Defraiteur-Nicoleau pour "Rien ne presse" gagne un mix par Samuel Hirsch + une diffusion rémunérée sur ARTE Radio + une diffusion sur le site de Télérama + un abonnement papier d'un an à Télérama + un micro de reportage Sennheiser + un casque audio Sennheiser. Les 2ème et 3ème prix ainsi que l'ensemble des envois au concours sont là.  Enregistrements : été 22 - Réalisation : Anne Defraiteur-Nicoleau - Mix : Samuel Hirsch - Production : ARTE Radio

In der Folge 67 unseres Podcasts KopfKino.ruhr sprechen wir mit Alex Wunschel, einem der „Urgesteine der deutschen Podcast-Szene - seit 2005“ über (3D-) Ambisonic Sound, Deepfake im Audiobereich und springen von da aus in die Welt von AR & VR. 

 Mehr zum Gast: https://pimpyourbrain.de Nach dem LinkedIn-Live werden wir, Kreative KommunikationsKonzepte, die Aufnahme zu einem 360-Grad-Video für YouTube umwandeln, so das man im Nachgang uns auf wirklich in der "dritten Dimension" hören kann. 

(IN ARBEIT) Es gibt aber schon jetzt eine AR-Audio-Demo mit den Sprechern aus dem Podcast: https://youtu.be/MYaHfwcmcmk Wer bis zum Podcast nicht warten mag, hier ein paar frühere Folgen zum „Vorglühen“ als YouTube-Links: Folge 22: 3D-Audio für VR und 360 Video - Teil 1 (Mit Christian Sander) - Das StartUp wurde zwar m.W. inzwischen von Sennheiser aufgekauft, aber was Christian da über 3D-Audio erzählte, legt die Grundlage für modernes 3D-Audiobearbeiten. https://www.youtube.com/watch?v=xHQoSXIeqZs&list=PLIggDLmpuIxpChy-gIXh9u653w5pPBric&index=48 Folge 23: Zweiter Teil des Gesprächs mit C. Sander https://www.youtube.com/watch?v=m_2JWS3HShs&list=PLIggDLmpuIxpChy-gIXh9u653w5pPBric&index=47 Folge 60: Vom Tonstudio, übern Oscar bis zu Netflix (mit Ansgar Frerich). Über seinen beruflichen Weg als Tontechniker bis hin zum Chef einer deutschen Produktionsfirma, die für Netflix DARK umsetzte und gerade an einer neuen Horror-Serie sitzt. https://www.youtube.com/watch?v=vONvqeQ6o5A&list=PLIggDLmpuIxpChy-gIXh9u653w5pPBric&index=7 Folge 51: Vergangenes und Zukünftiges begreifbar machen: AR+VR in Museen und bei Events. Kai und Gerd im Gespräch https://www.youtube.com/watch?v=jHGs1U4OusE&list=PLIggDLmpuIxpChy-gIXh9u653w5pPBric&index=18 Weitere Links - Der Podcast bei... Apple Podcast: https://podcasts.apple.com/de/podcast/kopfkino-video-marketing-xr-ar-vr-360video/id1491316686
 YouTube https://www.youtube.com/playlist?list=PLIggDLmpuIxpChy-gIXh9u653w5pPBric 
Podcast https://www.podcast.de/podcast/633883/kopfkino-video-marketing-xr-ar-vr-360video Spotify https://open.spotify.com/show/4VEm93Fp0Ai6PL3YVJrtNq Website zum Podcast: https://kreativekommunikationskonzepte.de/kopfkino-ruhr-podcast/

In this episode, Sennheiser's Andrew Kornstein joins Nancy Lussier in The Collaboration Space. Andrew shares his top three trends in audio conferencing based on customer feedback.We discuss:1.     Audio quality: why this is a must for engagement and productivity2.     Seamless operation: how flexibility and interoperability support ease of use3.     Solving supply chain challengesLearn more about AVI-SPL and SennheiserWatch the video podcast.Learn more about Sennheiser meeting and conferencing solutions.Get collaboration and audio visual news and events via email. 

NOTE: In this episode I'm using a Sennheiser e835 microphone into my Portico 2 channel strip and using these plugins in post: KIT BB N105, Shadow Hills Class A Mastering Compressor, Saturn 2, and Aquamarine 4. Here's the summary of what I discuss on How To Handle Loudness Properly in All Stages of Your Podcast Production Workflow: Record all raw tracks at a healthy level (not too low or too hot) Set all raw tracks to the same LUFS before bringing them into your DAW. (I do this at the end of my cleanup phase after I remove background noise, plosives, hums, and other blemishes) Use Compression and/or MaxxVolume/Vocal Rider to compress/tame the loud parts as well as boost the lower volume parts. (NOTE: This step will effectively amplify any background noise, so be sure to absolutely minimize the background noise before pressing record!) Adjust the overall level of each participant so they all sound good compared to each other. (as part of your mixing phase, where you can also use other processing like EQ, saturation, etc.) After rendering the final episode audio, process this file so it adheres to the “unofficial” loudness standards of podcasting: -19 LUFS for mono episodes, or -16 LUFS for stereo episodes. Other Notes: If you ever have questions please reach out! You can sign up to receive Daily Goody's in your email a few times per week or a weekly roundup. Sign up here. The start date for the next PES semester is January 10, 2023! (fyi, the course is delivered once per quarter) If you'd like to share this show with any of your podcaster friends, feel free to send them a message saying, “Btw, here's a show about podcast audio production you may find helpful” with this link: https://podcastengineeringschool.com/subscribe/) Let me know if you have any questions or need any help with anything, ~Chris

This week on The Wrap, what did IFA reveal? We'll learn about expensive TVs as big as a wall, laser projection from Leica, and LG's bendy screens, plus new gear from Sennheiser, Lenovo, Withings, and a new pair of earphones from Jabra reviewed, all in five minutes. For more information, head to www.thewrap.com.au or www.pickr.com.auSee omnystudio.com/listener for privacy information.

Dan and Eric talk asbout Serena Williams, California, electric cars, nitrous oxide, Sennheiser, Ambeo Sound bar, Final Gilrs Support Group

Siamo quasi travolti dalle novità di IFA 2022, con moltissimi annunci, da TCL, Jabra, Amazfit, Sennheiser, Asus, mentre con un annuncio "parallelo" Sony ha presentato il suo nuovo smartphone.Una produzione: https://www.mistergadget.tech/113382/a-ifa-novita-da-amazfit-tcl-jabra-sony-e-sennheiser-podcast/

Episode 78 Strange Synths Little Heard Sounds from Unique Synthesizers Playlist David Behrman, “Pools Of Phase Locked Loops,” from My Dear Siegfried (2005 XI Records). Synthesizers (homemade), David Behrman, Katharine Morton Austin. Recorded live at Radio Bremen in May 1972 and commissioned by Hans Otte. At a time when commercial models of analog synths were widely available, Behrman and other musicians such as Gordon Mumma and David Tudor insisted on creating purpose-built instruments using the same principles. Behrman explains, “The homemade synthesizers had 32 voltage-controlled triangle-wave generators built around a chip utilizing a circuit design called the Phase Locked Loop. The chip made smooth glides possible from one pitch to another. The homemade synthesizers also had voltage-controlled amplifiers, rows of small knobs and frequency counters with the aid of which the performers could retune individual oscillators during a performance.” 14:00 John Ridges, “Fugue In G” (Bach) from Computer Controlled Synthesizer Performances (1977 Tesseract Records). This work was made using a computer-controlled music synthesizer which its makers dubbed Mesmerelda. It was comprised on 200 integrated circuits that could create 96 different pitches assigned to six separate channels. Only one waveform was used, a square wave, and there was no envelope control. Hence, the simple organ-like tone of the piece. 4:49 John Ridges, “Ruffles” (Ridges) from Computer Controlled Synthesizer Performances (1977 Tesseract Records). From the same album comes “Ruffles” performed by composer John Ridges. This track featured a slightly more advanced computer music synthesizer they called the AD8. It featured up to eight synthesis boards each one relating to a single channel. So, eight pitches could be played at a time and there was filtering, waveform generation other than square waves, and simple envelope generation to provide a slightly more advanced sound. As Ridges wrote in the liner notes, with pride, “these pieces are generally free of the bizarre noises usually found on electronic synthesizer albums.” The pieces were recorded in real time without overdubs. 2:36 Patrick Gleeson, “Star Wars Theme (Luke's Theme)” (Williams). (1977 Mercury). Recorded and mixed at Different Fur, San Francisco, July 1977. The piece showcases various beds, rhythms, and sounds made using the E-mu modular synthesizer, also known as an Eµ synthesizer (it's original name). "Selections from the film performed on the world's most advanced synthesizer." Drums, Billy Cobham, Harvey Mason, James Levi, Ronnie Beck; Lyricon, Lenny Picket; Vocals, Sarah Baker; keyboards, performer (Breath Controller), engineered, produced, arranged, and conducted by Patrick Gleeson. 5:36 Bennie Maupin, “Crystals” from Moonscapes (1978 Mercury). Eµ synthesizer (E-mu Modular Synthesizer) programmed by Patrick Gleeson, who owned Different Fur Studios in the San Francisco area and owned an Eµ modular synthesizer (see the earlier Star Wars album which also featured this same synth.) Here, we have a different treatment of the same instrument by jazz woodwind player Maupin, who played Soprano Saxophone, Tenor Saxophone, Bass Clarinet, Flute, Marimba, Glockenspiel, Eµ Synthesizer, and Computone Synthesizer Winddriver on this album. I picked this track because this is most stripped-down arrangement featuring only Maupin playing the Eµ synthesizer and other instruments. 1:19 Sylvester, “You Make Me Feel (Mighty Real)” from Step II (1978 Fantasy). One of the few albums to feature EML (Electronic Music Laboratories) Modular Synthesizers. String synthesizer, Electro-comp 101 synthesizer and 200 expander unit, Oberheim DS-2 Sequencer, Effects , Pat Cowley; organ, Electric piano, Clavinet, Michael C. Finden; Percussion, David Frazier; Producer, Lead Vocals, Piano, Sylvester. EML was a Connecticut-based synth maker that was around from about 1970 to 1984. They were best-known for their Electro-comp modular synths. The 101 was a duophonic semi-modular 44-note synth and the model 200 was an expander unit that added ring modulation, spring reverb, and high and low filters to the setup. It was interesting to hear this Moroder-like pulsating synth sound coming from something other than a Moog. 6:34 Pere Ubu, “I Will Wait” from Dub Housing (1978 Chrysalis). This second album from this Ohio group always figured high on my playlist of favorites. I was mostly fascinated by the synthesizer fills and hijinks by Allen Ravenstine that punctuated much of the group's music with the quirkiest of sounds, all blended and mixed to provide many weird hooks and twists. This is another example of the EML, Electro-comp duphonic modular synthesizer although almost used in a polar opposite way than Sylvester. This is a unique sound from the time. Performers, Allen Ravenstine, David Thomas, Scott Krauss, Tom Herman, Tony Maimone. Engineered by Ken Hamann at SUMA Studios, Painesville, Ohio, 8-9/78. Ravenstine is still active and an electronic musician although he has left the EML for other synthesizer frontiers. He remains very much the experimental improviser. 1:45 Pere Ubu, “Navvy” from Dub Housing (1978 Chrysalis). Performers, Allen Ravenstine, David Thomas, Scott Krauss, Tom Herman, Tony Maimone. Engineered by Ken Hamann at SUMA Studios, Painesville, Ohio, 8-9/78. Features sounds of the EML Electro-comp modular synthesizer by Allen Ravenstine. 2:40 Pere Ubu, “On the Surface” from Dub Housing (1978 Chrysalis). Performers, Allen Ravenstine, David Thomas, Scott Krauss, Tom Herman, Tony Maimone. Engineered by Ken Hamann at SUMA Studios, Painesville, Ohio, 8-9/78. Features sounds of the EML Electro-comp modular synthesizer by Allen Ravenstine. 2:37 Pascal Languirand, “O Nos Omnes” from De Harmonia Universalia (1980 Polydor). I am featuring a track that uses, among other instruments, the Farfisa Synthorchestra, the famous Italian's company entry into the string synthesizer fray. The Syntorchestra was split into two keyboard sections, strings (polyphonic), and mono synth voices. It was a hybrid organ and synthesizer and used much by Klaus Schulze and other German electronic musicians for the short time that it was available from 1975 to 1978. Nine slider controls were positioned next to a 3-octave keyboard and provided some “chaotic” control episodes for this much beloved and rare keyboard. 7:16 Moebius, “Clone Zone” from Moebius (1979 Plastic Poison). Yes, a progressive rock group that utilized the modular synthesizers developed by Serge Tcherepnin, Rich Gold, and Randy Cohen at CalArts in late 1972. By the mid-1970a, Tcherepnin left CalArts and began to manufacture his instruments in Hollywood. Serge modules were designed to bring many elements of the circuits controllable by the performer, patching them in unusual ways beyond what was considered normal for a given module. The model used on this album probably had a 16-stage sequencer introduced by the company, and I think you can hear such patterns in this song. Listen for the bubbling, sequenced sounds that are contrasted to the monophonic solos of the Minimoog and patch sounds of the ARP Odyssey. I think the track opens with the Serge pattern. Drums, Evan Kaplan; Minimoog synthesizer, Bruce Courtois; Roland Sh3a, AP 2600 synthesizers, Steve Roach; Serge modular, Minimoog synthesizer, vocals, written by, Bryce Robbley; Serge modular synthesizer, Doug Lynner. 4:55 Moebius, “Song For Lya,” from Moebius (1979 Plastic Poison). Serge, Oberheim, and Minimoog synthesizers, vocals, written by, Bryce Robbley; Serge, Oberheim synthesizers, written by, Doug Lynner; Violin, John Stubbs. Listen closely to tune-out the parts by the Odyssey and Minimoog and you will experience a lovely bed laid down by the Serge. Moebius had three members, one a violinist, heard in this tune blending with the Serge. Although the group used a Sennheiser vocoder on another track, the vocal distortion on this track may have actually been the voice processed with the Serge. 3:15 Henry Kucharzyk, “Play Dot Sam” from Walk The Line - Three New Works By Henry Kucharzyk (1985 Artifact Music). This work is performed at the Samson Box at the Center for Computer Research in Music and Acoustics (CCRMA), Stanford University, Palo Alto, California. This track is an escapee from the 1970s but nonetheless fills a void in that period when commercial synthesizers were moving to digital technology and were quite expensive. The Samson Box was a computer-based digital synthesizer created in 1977 by Peter Samson, who worked at the university. Samson stands for the “Systems Concepts Digital Synthesizer. It was a one-off special-purpose dedicated audio computer designed for use by student composers at Center for Computer Research in Musical and Acoustics (CCRMA) at Stanford University. 3:06 Salvatore Martirano, “The SalMar: Part One” from The SalMar Construction (2014 Sub Rosa). Another escapee from the 1970s was this performance at IRCAM in Paris in 1983. Salvatore Martirano, an American composer, invented the one-of-a-kind Sal-Mar Construction designed for real-time performance of electronic music. It was created from 1969 to 1972 at the University of Illinois. The analog synthesizer looked like a large drawing table with an array of 291 touch-sensitive connections to enable the sound generating circuits. Behind it all were some computer circuits salvaged from the Illiac II computer music system and they generated random sequences with which the performer could interact while managing four parallel processes governing the 16 oscillators, applying pitch, timbre, amplitude and envelope parameters to the sound. Martirano toured the world with the performing/composing music machine and described his live performances in the following manner: “The composer, in performance, interacts with the machine as it composes, creating spontaneously four melodic lines which move throughout the concert space via a network of 24 overhead speakers.” This performance was by Martirano while in Paris at IRCAM. 18:59 Herbie Hancock, “Rough” from Future Shock (1983 Columbia). Hancock was well known as an experimenter of new synthesizer technology. During the early stages of the home computer revolution, Hancock used an AlphaSyntauri synthesizer as part of his ensemble of instruments. The AlphaSyntauri was an add-in synth for the Apple II computer, with its own sound-generating circuit board. The company was around from about 1980 to 1985. Its claim to fame what that it was much more affordable than the digital synthesizers made by New England Digital and Fairlight, each of which cost in the $30,000 to $50,000 range. The AlphaSyntauri was $1500. At this price you got 16-voice polyphony, 16 digital oscillators, and envelope generator, keyboard, and a sequencer capable of storing up to 7000 notes. It's affordable sequencing was a major attraction. This was before the Apple Macintosh was introduced, and with that the AlphaSyntauri was made immediately obsolete. But not before Hancock was able to work it into some of his electronic jazz tracks. If you listen carefully you can pick-out the sounds of the AlphaSyntauri because of all of the other synths and instruments on this track. Backing Vocals, Bernard Fowler, Grandmixer D.ST., Nicky Skopelitis, Roger Trilling; Bass, Bill Laswell; Drums, Sly Dunbar; Lead Vocals, Lamar Wright; Fairlight CMI Synthesizer, AlphaSyntauri Synthesizer, Emulator Synthesizer, Herbie Hancock; Prophet-5 Synthesizer, Michael Beinhorn; Turntables, Voice, Grandmixer D.ST. 6:55 Opening background music: P.F.M. (Premiata Forneria Marconi), “Storia In "LA"” from Jet Lag (1977 Asylum Records). Italian progressive rock band founded in 1970. Album recorded at Kendun Recorders, Burbank, California, January, 1977 and Scorpio Sound Studio, London, February, 1977. Mixed at Scorpio Sound Studio, February 1977. Mastered at RCA Studio, London. Bass, Moog B12 Synthesizer, Patrick Djivas; Drums, Percussion, Franz Di Cioccio; Electric Piano, Organ, Moog Synthesizer, Flavio Premoli. 6:28 Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog, Noise and Notations.

Deze week in de Schaal van Hebben: het nieuwe topmodel in de noise-cancelling koptelefoonlijn van het Duitse Sennheiser. Het kenmerkende retro-design is ingeruild voor een wat brave look, maar de geluidskwaliteit is van het niveau dat we van ze gewend zijn. Bas en Connor bespreken de Momentum 4 Wireless uitvoerig in een extra lange Schaal van Hebben.  Ook in de Tech Update:  LastPass, met 25 miljoen klanten één van de grootste spelers op de markt voor wachtwoordmanagement, is gehackt. De inbreker zou zelfs de broncode hebben buitgemaakt. Duiding van Dave Maasland, directeur van cybersecuritybedrijf ESET Nederland.  See omnystudio.com/listener for privacy information.

Apple will hold it's anual event on September 7 in Cupertino, the company announced. There is little doubt we will see a new iPhone at the event, but we could see a few other products too. Regardless of what else is announced, Appple will want to the focus on iPhone. What happens when you take pictures of your naked toddler for your doctor and those pictures get uploaded to the cloud. One unfortunate father found out. Dave and I are back talking about how useless Siri is, this time with setting timers—now it can't even do that reliably. Brought to you by: Zocdoc: NOW is the time to prioritize your health. Go to Zocdoc.com/DALRYMPLE and download the Zocdoc app to sign-up for FREE and book a top-rated doctor. Many are available as soon as today. LinkedIn Jobs: LinkedIn Jobs helps you find the candidates you want to talk to, faster. Did you know every week, nearly 40 million job seekers visit LinkedIn? Post your job for free at LinkedIn.com/DALRYMPLE. Terms and conditions apply. New Relic: Use the data platform made for the curious! Right now, you can get access to the whole New Relic platform and 100GB of data per month free, forever – no credit card required! Sign up at New Relic.com/dalrymple. Show Notes: Apple event official for Sept 7 A Dad Took Photos of His Naked Toddler for the Doctor. Google Flagged Him as a Criminal Shazam Turns 20 Apple Watch and timers That handy little “Fn” key Apple expands Self Service Repair to Mac notebooks Sennheiser's $350 Momentum 4 ANC Headphones Boast 60-Hour Battery Life Former Apple engineer accused of stealing automotive trade secrets pleads guilty

Conoce las características sobresalientes de los nuevos audífonos de Sennheiser, los MOMETUM 4 que presumen tener... ¡60 horas continuas en modo inalámbrico! 

Dan Shinder and Steven Shinder welcomed Craig Blundell from Steve Hackett's band on this Drum Talk TV/Yesshift simulcast. We talked about influences (a bit of Yes and Bill Bruford talk) and various aspects of his career. Along with being on tour with Mr. Hackett on the Genesis Revisited - Seconds Out + More Tour, Craig has had a very busy career! We show a great drum solo clip, but check out this pedigree: From 2015 to 2021, Craig tracked and programmed well over 100 different projects and played on over 50 albums, including 6 UK top 10 albums from Steven Wilson to Steve Hackett and contributed drums and programmed for Game soundtracks to TV and Movies, including BBC comedy Toast of Tinseltown. Craig has the full backing and support from Sennheiser, Neumann, Roland and Focusrite. Craig also composes music for TV, Radio, online magazines and websites for many clients including The BBC, The Gadget Show, Jaguar, TalkSport, KPMG, Coca Cola, Shell and many others and began performing in Genesis Revisited 2019. With Craig Blundell & Steve Hackett Mark it down! Tuesday Aug. 9 we have Steve Hackett as our guest at 7AM Pacific/10AM Eastern US, 3PM UK! You can pre-order Genesis Revisited Live: Seconds Out & More here: https://bit.ly/SteveHackett-GenesisRevisitedLive-SecondsOut-andMORE Relevant Links: facebook.com/DrumTalkTV Steve Hackett - 4/30/22 - Dance on a Volcano, Drum Solo, Los Endos, Palace Theatre, Greensburg, PA: https://youtu.be/osw6U_07eKE --- Support this podcast: https://anchor.fm/yesshift/support

森海塞尔历史系列节目第二卷，1960s-1990s。从Senn 家耳机系列之滥觞hd110 为起点，一路聊到hd414-hd430-hd540/hd250，为你梳理森海塞尔耳机产品的「近现代」部分。系列节目参考资料：Sennheiser: The 60th Anniversary Chronicle1960到1980年代，耳机作为音响器材的一部分，逐渐走出了专业工具和音响附件的领域，变成了一种重要的聆听设备。比这个支线更大的洪流，是流行音乐、摇滚乐的席卷，是个人音响和家电的不断平民化，也是CD规格逐渐取代LP，以及walkman 和各类随身听设备开始成为时代文化符号和流行风尚。Jörg Sennheiser 引领的森海塞尔，就在这样的时代里，摇身一变成为了耳机产业的世界巨头。同时，AKG、Beyerdynamic、Sony 和Koss 的产品我们也有所涉及。这期节目完全回归了发烧友聊器材的节奏，希望各位老听众能觉得亲切。时间轴： [00:00:03] BGM#1. Kraftwerk - Computer Love [00:00:36] 正式节目开始，起立鼓掌欢迎v版；关于参考书目Sennheiser: The 60th Anniversary Chronicle 的中文翻译情况； [00:03:47] Sennheiser 开始介入耳机领域；hd110 和同时间的AKG/Beyerdynamic； [00:10:58] 大杀四方的hd414；盛传的森海塞尔持有的「开放式耳机」专利； [00:27:36] TV时代与家庭娱乐方向的产品；第一代旗舰hd430；Unipolar 2000/2002； [00:38:45] BGM#2. Faust - It's a Rainy Day, Sunshine Girl； [00:39:59] 森海塞尔的「机海战术」与冷门型号若干； [00:45:25] 1980年代，耳机的黄金时代到来；为随身设备设计的小头戴式；hd540/hd540g/hd250 和同时代的其他产品；80年代老耳机的趣味； [01:11:15] BGM#3. Kraftwerk - The Model [01:12:18] 德奥系御三家中森海塞尔的特点如果你喜欢「声波飞行员」，请在「爱发电」平台为我们打赏，增加它继续飞行下去的动力，谢谢。 策划：包雪龙 录音：包雪龙 / vineland / 孟获 后期：孟获最后，这个年代的好歌实在太多了，所以我决定把节目切分一下。毕竟，做节目的乐趣就在于强迫各位听歌 :-)

One of the key elements driving the hybrid work trend is technology. Moving forward, what kind of technologies and devices in the audio and video front will play a huge role in ensuring efficiency in remote-work models?  Petteri Murto, VP Sales, Business Communication, Sennheiser, APAC shares what audio and video technologies we should lookout for in the near future. See omnystudio.com/listener for privacy information.

dear Reality hat mit Sennheiser das gratis PlugIn dear VR Micro veröffentlicht, das eine Binauralisierung von Audio-Material ermöglicht. Hier das Video sehen: https://youtu.be/7aQIHFhQPhQ Hier runterladen: https://info.dear-reality.com/en/download-dearvr-micro-for-free   Orchestra Guide - Perfekte Orchester-Mockup-Balance: https://www.sounth.de/orchestra-guide/ Hier das Episoden-Archiv als PDF runterladen: https://www.sounth.de/media/podcast/sounTHcast.pdf Facebook-Gruppe: https://www.facebook.com/groups/309751689699537/ Wenn ich Dir helfen konnte, freue ich mich über einen virtuellen Kaffee ;-) https://ko-fi.com/timheinrich Fragen und Anregungen an sounthcast@sounth.de Website Tim Heinrich: https://sounth.de

This week on The Wrap, check out two new laptops as we review the 2022 MacBook Air and Microsoft's Surface Laptop Go 2, plus dive into what's new in spatial audio from Netflix, Sennheiser, and Apple Music, all in five minutes. For more information, head to www.thewrap.com.au or www.pickr.com.auSee omnystudio.com/listener for privacy information.

Lo esencial que debes saber: Spotify se asoció con IAS para mejorar la seguridad de marca de los anuncios de pódcast. Cierra el registro para las nominaciones de los Latin Podcast Awards. Empresas y negocios están creando pódcast para aumentar su visibilidad, alcanzar nuevas audiencias o retener a sus clientes. La generalización del consumo de pódcast ya está en proceso. Sennheiser adquiere Merging Technologies y fortalece el crecimiento de Neumann. Twitter prueba su nueva función “CoTweets”. Spotify activa la opción de videopodcasts en varios países. Nuevos pódcast:Radio Nacional estrenó la ficción sonora “[Puñados de fuego. Margarita Xirgu en el exilio. Supercuidadores lanzará un pódcast en donde analizan películas y cuentos desde el punto de vista sanitario. IVoox y The Mediapro Studio lanzan Labs, un pódcast sobre creatividad para identificar el talento audiovisual del futuro. Únete a nuestro nuevo grupo en Twitter ‘Hablemos de los pódcast'. Una comunidad para que los podcasters compartan tendencias, novedades y experiencias que les ayuden a hacer crecer un pódcast. https://twitter.com/i/communities/1519312756083765251 (¡Conéctate aquí!)Pódcast recomendadohttps://interactivo.latercera.com/habitacion-106-juicio-a-nicolas-zepeda/ (Habitación 106: El juicio de Nicolás Zepeda). Hace cinco años, la estudiante japonesa Narumi Kurosaki desapareció en Francia. Todo apuntaba a su expareja, Nicolás Zepeda Contreras. Un tribunal francés lo declaró culpable del asesinato. El medio La Tercera de Chile reconstruyó la historia y la recrearon en una dramatización. El pódcast recibirá un galardón en la próxima ceremonia de los Premios Digital Media LATAM.

My guest this week is audio restoration and mastering engineer Michael Graves, who's a four time Grammy award winner and 12 time nominee. Michael's main focus is saving historical audio that was recorded on deteriorating or obsolete grooved media, as well as more recent recordings where the sound is obscured for various reasons. Michael uses a combination of physical and electronic specialty techniques designed to rescue rare, one of a kind recordings or deteriorating media. This includes old 78 rpm records clouded by surfaces noise and years of neglect, right up to digital recordings that were done on some of the earliest pioneering formats. During the interview we talked about how his hobby became a career, why a high-end turntable is his secret weapon, the surprising styli that he uses to avoid record surface noise, why a stereo needle is preferred even for a mono record, and much more. I spoke with Michael via zoom from his studio in Hollywood. On the intro I'll take a look at the latest Spotify scam using the "track linking" feature, and Netflix embraces Sennheiser's AMBEO so you can hear spatial audio from a pair of stereo speakers. var podscribeEmbedVars = { epId: 83496937, backgroundColor: 'white', font: undefined, fontColor: undefined, speakerFontColor: undefined, height: '600px', showEditButton: false, showSpeakers: true, showTimestamps: true };

In this episode, the team talks with Sennheiser Global partnership manager and fellow hockey fan Charlie Jones on how their #MicrosoftTeams products help organizations with hybrid work.  

Hoy os cuento mi experiencia con ambos dispositivos, os contaré porque devolví los auriculares Sennheiser y que tal me va con las gafas VR de Oculus Quest 2. Yo tengo experiencia con la gafas de PlayStation, así que más o menos ya tengo una idea de cómo funciona. Hablaré de mis primeras sensaciones con este dispositivo, espero que os ayude a decidir si comprarlos o no, como he dicho es bajo mi experiencia. Cada uno es libre de comprarse lo que le apetece. //Enlaces https://amzn.to/3z0M0xL https://www.grover.com/es-es/products/oculus-virtual-reality-oculus-quest-2-256gb //Donde encontrarnos Canal Twitch Oficial https://www.twitch.tv/applelianosdirectos Grupo Del Podcast Telegram Privado https://t.me/+dWwwAUelYx83ODU0 Canal Calidad FLAC https://t.me/ApplelianosFLAC Mi Shop Amazon https://amzn.to/30sYcbB Twitter Oficial https://twitter.com/ApplelianosPod  Apple Podcasts https://podcasts.apple.com/es/podcast/applelianos-podcast/id993909563 Ivoox https://www.ivoox.com/podcast-applelianos-podcast_sq_f1170563_1.html Spotify https://open.spotify.com/show/2P1alAORWd9CaW7Fws2Fyd?si=6Lj9RFMyTlK8VFwr9LgoOw  Youtube https://www.youtube.com/c/ApplelianosApplelianos/featured

Shrinking spectrum, antennas, and RF training resources, oh my! Rebecca hosts 3 RF experts giving you all the answers you need about radio frequencies.  Karl Winkler is a 30-year veteran of the professional audio industry and is currently Vice President of Sales and Marketing for Lectrosonics, Inc., a leading manufacturer of professional wireless microphone systems. Karl has provided system design consultations and hundreds of frequency coordinations for theaters, TV and feature film productions, major touring acts and houses of worship. Karl has previously held positions including product manager and director of business development with his previous employer, German audio manufacturer Sennheiser. During the 1990s, Karl spent four years with the US Air Force "Airmen of Note" jazz ensemble out of Washington D.C. as their front-of-house audio engineer. Karl writes a regular column on sound reinforcement for Live Sound magazine and is an instructor for Synergetic Audio Concepts' “Making Wireless Work” two-day seminar. Greg Simon is a member of Sennheiser's Technical Applications Engineering team and Heads training for the Americas region. Greg has a degree in Music Production and Engineering from Berklee College of Music. He has been designing audio and wireless microphone systems in the Pro Audio industry for over 15 years. Projects include full A/V system design and project management for large-scale clubs, recording studios, houses of worship, and corporate environments. Greg has also completed training in Sennheiser's global RF expert program which specializes in wireless microphone technologies and applications. Brian Maddox Over a 30-year career Brian Maddox has worked with everybody from U.S. Presidents to Patti LaBelle to The Pope. Specializing in Virtual and In-Person corporate events, Brian is currently active as a freelance A1, RF Coordinator, and Comms Tech. Reach him via LinkedIn. Recorded & Produced by Rebecca Wilson Executive Producers: Beckie Campbell & Susan Williams Edited by: Fendall Fulton soundgirls.org  Sponsored by QSC https://www.qsc.com

En la emisión de hoy, el xGeek nos hablará de:・Reddit lanzó un mercado de avatares que utiliza NFT.・La FIFA usará un sistema de cámaras de Inteligencia Artificial.・Netflix se asoció con Sennheiser para reemplazar el audio estéreo. En la música:“Just The Way It Is, Baby” de The Rembrandts.“N.Y.C.A.W.” de Gwenno.“Howl” de [...] El podcast ByteTrax: Reddit NFT • FIFA AI • Netflix Sennheiser apareció primero en Defrag.mx.

India's information technology services sector will sustain double-digit revenue growth this fiscal, at 12-13 percent, driven by digitalisation, strong demand for new-age technologies, and depreciation in the rupee, rating agency Crisil said in a note yesterday. Rajeev Misra, head of SoftBank Group's giant venture-investing arm, will step back from Vision Fund 2, And you can now search for spatial audio on Netflix. Notes: India's information technology services sector will sustain double-digit revenue growth this fiscal, at 12-13 percent, driven by digitalisation, strong demand for new-age technologies, and depreciation in the rupee, rating agency Crisil said in a note yesterday. This compares with the 19 percent growth last fiscal — the highest in the past eight years — given an expected tightening of IT expenditure by corporates amid the inflationary headwinds in America and Europe, which together contribute almost 85 percent to the sector's revenue, Crisil notes. However, revenue growth was supported by the shift in various industries globally towards automation, digitalisation and digital transformation services in the wake of the Covid-19 pandemic. Also, the higher growth last fiscal had come on the back of a modest uptick of 6 percent in fiscal 2021, which was hit by the first wave of the pandemic. Operating profitability will also remain healthy, but could fall back a tad to the pre-pandemic low of 22-23 percent, compared with 24 percent last fiscal, due to rising employee costs and as travel comes back. All said, any further surge in inflationary headwinds leading to deferral of discretionary IT spending by corporates will bear watching, Crisil says. Tata Consultancy Services, India's biggest IT company, will kick off the sector's fiscal first-quarter earnings season after markets today. Rajeev Misra, head of SoftBank Group's giant venture-investing arm, will step back from his role to run a new outside investment outfit as the tech-investment giant struggles with the fallout of the tech stock crash this year, Wall Street Journal reports. Misra, who joined Softbank in 2014, will stay on in a reduced capacity, overseeing the original Vision Fund investments, while stepping back from oversight of its successor, Vision Fund 2, according to a Thursday memo to staff signed by SoftBank's founder, Masayoshi Son, the Journal reports. Son will take an even more prominent role in directly managing the funds, according to the memo, the Journal reports. Netflix is rolling out spatial audio to consumers around the world on its platform, in collaboration with Sennheiser, the video streaming company said in a press release yesterday. Spatial audio — which is an immersive surround sound experience — will roll out across Netflix's catalogue, and users can find it by typing ‘spatial audio' into the search bar to bring up shows that support the feature. Theme music courtesy Free Music & Sounds: https://soundcloud.com/freemusicandsounds

Weltstars haben sich schon mit ihnen ablichten lassen, bei Hollywood-Produktionen sind sie auch vertreten: Die Kopfhörer von Sennheiser sind international bekannt und beliebt. Wie eine Übergabe von Generation zu Generation gelingen kann, erzählt Andreas Sennheiser. >> Artikel zum Nachlesen: https://detektor.fm/wirtschaft/mittelstand-sennheiser

Weltstars haben sich schon mit ihnen ablichten lassen, bei Hollywood-Produktionen sind sie auch vertreten: Die Kopfhörer von Sennheiser sind international bekannt und beliebt. Wie eine Übergabe von Generation zu Generation gelingen kann, erzählt Andreas Sennheiser. >> Artikel zum Nachlesen: https://detektor.fm/wirtschaft/mittelstand-sennheiser

Weltstars haben sich schon mit ihnen ablichten lassen, bei Hollywood-Produktionen sind sie auch vertreten: Die Kopfhörer von Sennheiser sind international bekannt und beliebt. Wie eine Übergabe von Generation zu Generation gelingen kann, erzählt Andreas Sennheiser. >> Artikel zum Nachlesen: https://detektor.fm/wirtschaft/mittelstand-sennheiser

Uppföljning/uppvärmning Superextraspeciell gäst med många mikrofoner: Joakim Ewenson! Fläktar och Apple Pay när man har flyttat Midsommarsummeringen - hur har alla hanterat värmen? Proxmox-kluster på Raspberry Pi, del 3: ytterligare observationer Driva tunga saker som tangentbord via Raspberry Pi Tråla archive.org efter gamla bloggtexter och inse hur mycket som gått förlorat för alltid… Dieseldrama Spelmässan gr8game i Stockholm i november. Nån som vet något om den? https://gr8game.com Ämnen Joakims alla mikrofoner Joakim försöker DDOS:a Kodsnack Hur gör man så proffsiga filmer på Youtube? Alla tekniska detaljer! Joakim har provat att långköra med Polestar. Laddning av elbil låter som en soppa än så länge Film & TV Obi-Wan Kenobi S01: alldeles för kort, men bra slut trots allt.4 / 5 BMÅ (J) Things to do in Denver when you're dead. Tarantino-pastisch som inte går att hata. 3,5/5 BMÅ (J) Westworld säsong 4 har haft premiär. Mycket bra Länkar Joakim Ewenson Mistore Proxmox-kluster på Raspberry Pi, del 3: ytterligare observationer Super 8 https://gr8game.com Yeti X Yeti nano Sitemap Røde NT USB Varmilos Mactangentbord Teknik med Ewenson på Youtube Spellistan med mekaniska tangentbord Canon EOS R Sennheiser-myggor Mullvad Att långköra med Polestar Obi-Wan Kenobi Things to do in Denver when you're dead Westworld säsong 4 Fullständig avsnittsinformation finns här: https://www.bjoremanmelin.se/podcast/darth-vaders-prisbasbelopp.html

Uppföljning/uppvärmning Superextraspeciell gäst med många mikrofoner: Joakim Ewenson! Fläktar och Apple Pay när man har flyttat Midsommarsummeringen - hur har alla hanterat värmen? Proxmox-kluster på Raspberry Pi, del 3: ytterligare observationer Driva tunga saker som tangentbord via Raspberry Pi Tråla archive.org efter gamla bloggtexter och inse hur mycket som gått förlorat för alltid… Dieseldrama Spelmässan gr8game i Stockholm i november. Nån som vet något om den? https://gr8game.com Ämnen Joakims alla mikrofoner Joakim försöker DDOS:a Kodsnack Hur gör man så proffsiga filmer på Youtube? Alla tekniska detaljer! Joakim har provat att långköra med Polestar. Laddning av elbil låter som en soppa än så länge Film & TV Obi-Wan Kenobi S01: alldeles för kort, men bra slut trots allt.4 / 5 BMÅ (J) Things to do in Denver when you're dead. Tarantino-pastisch som inte går att hata. 3,5/5 BMÅ (J) Westworld säsong 4 har haft premiär. Mycket bra Länkar Joakim Ewenson Mistore Proxmox-kluster på Raspberry Pi, del 3: ytterligare observationer Super 8 https://gr8game.com Yeti X Yeti nano Sitemap Røde NT USB Varmilos Mactangentbord Teknik med Ewenson på Youtube Spellistan med mekaniska tangentbord Canon EOS R Sennheiser-myggor Mullvad Att långköra med Polestar Obi-Wan Kenobi Things to do in Denver when you're dead Westworld säsong 4 Fullständig avsnittsinformation finns här: https://www.bjoremanmelin.se/podcast/avsnitt-314-darth-vaders-prisbasbelopp.html

On the latest post-InfoComm-2022 videocast, Gary’s guest is David Missall, Sennheiser's insights manager consultants & technical application engineer manager. The two talk about the new EW-DX Wireless Mic family debut as well as the massively popular UCC-based TeamConnect family of products. We actually captured four videos in the Sennheiser booth — one included an in-depth tour of the new EW-DX. Check out […]

Buy the SM57 (affiliate Link) Amazon: https://amzn.to/3N4EPcy   Buy the Arturia Minifuse 2 (affiliate link) Amazon: https://amzn.to/3m30oOw   Buy the Sennheiser hd280 headphones (affiliate Link) Amazon: https://amzn.to/3wQ3jzi   Full Transcript Here: https://www.thinkweird.co/17   Sign Up for the newsletter (free or paid): https://thinkweird.substack.com/   Buy Me a Coffee: https://www.buymeacoffee.com/helengrace   Check out these links, too: Website: https://www.thinkweird.co/ Instagram: https://www.instagram.com/thehelengarcia/

In what is absolutely one complete episode not recorded on different days, we stumble upon a completely missed opportunity for Snoop Dog. Collin is suffering from allergy attacks. Aaron is watching Cardinals. Brandon has new headphones. The challenge this week was to watch a gambling movie! Weather!Testing cbd treats Snoop dog cbd dog treatsCollin's allergy attackCardinals drilling for oilNew headphone day! Sennheiser 200 pro: https://en-us.sennheiser.com/studio-headphones-noise-reducing-hd-200-proBrandon's adventure to an Amazon return store Gambling movie!!What is a gamling movie?Brandon watchedSplit (2016): https://en.wikipedia.org/wiki/Split_(2016_South_Korean_film)But not this one: https://en.wikipedia.org/wiki/Split_(2016_American_film)And not this one either: https://www.imdb.com/title/tt2660118/Collin watchedVegas Vacation: https://en.wikipedia.org/wiki/Vegas_VacationAaron watchedCasino: https://en.wikipedia.org/wiki/Casino_(1995_film)Would we watch more?Check out our other episodes: ohbrotherpodcast.comFollow us on InstagramCheck us out on Youtube

In what is absolutely one complete episode not recorded on different days, we stumble upon a completely missed opportunity for Snoop Dog. Collin is suffering from allergy attacks. Aaron is watching Cardinals. Brandon has new headphones. The challenge this week was to watch a gambling movie! Weather!Testing cbd treats Snoop dog cbd dog treatsCollin's allergy attackCardinals drilling for oilNew headphone day! Sennheiser 200 pro: https://en-us.sennheiser.com/studio-headphones-noise-reducing-hd-200-proBrandon's adventure to an Amazon return store Gambling movie!!What is a gamling movie?Brandon watchedSplit (2016): https://en.wikipedia.org/wiki/Split_(2016_South_Korean_film)But not this one: https://en.wikipedia.org/wiki/Split_(2016_American_film)And not this one either: https://www.imdb.com/title/tt2660118/Collin watchedVegas Vacation: https://en.wikipedia.org/wiki/Vegas_VacationAaron watchedCasino: https://en.wikipedia.org/wiki/Casino_(1995_film)Would we watch more?Check out our other episodes: ohbrotherpodcast.comFollow us on InstagramCheck us out on Youtube

Welcome to The Nonlinear Library, where we use Text-to-Speech software to convert the best writing from the Rationalist and EA communities into audio. This is: Ceiling Air Purifier, published by jefftk on May 30, 2022 on LessWrong. Imagine a high-capacity air filter that is extremely quiet and doesn't get in the way. I think I see how to build one; here's a prototype: By putting a fan on the ceiling you can have very long blades. This is important for keeping noise down: the longer your blades are the more air you move at a given rotational velocity, which is a major determinant of noise. Testing my prototype, it has a CADR of ~180 CFM and is only 33dB. By contrast, the Wirecutter's top-recommended air purifier (Coway AP-1512HH) has a CADR of 233 CFM (31% higher) at 54 dB (21dB louder) or 110 CFM (38% lower) at 36 dB (3dB louder). With some tweaks it should be able to match the commercial purifier's performance, without being louder. Volume is very important here: people often select purifiers based on their maximum flow, but then run them on a lower setting or even turn them off because they are too loud. Note that while my purifier is an octagon of 12x20 filters around a 52" fan, a nonagon would have been better. Not only should that get you 12% more filtration, but you don't have to fill gaps between the filters. Jeff for scale One downside of using this much tape, especially some of it with the sticky side bare, is that you get an adhesive smell. The smell fell below where I could detect after about a day, but Julia could still smell it for about five days. To determine the CADR of the prototype I followed the approach I described in Testing Air Purifiers, where I created smoke by burning matches and then tracked how quickly the purifier could reduce pm2.5 levels: To determine volume levels, I used a Sennheiser 835s dynamic microphone with a foam windscreen, connected to an AudioBox 1818VSL to record samples of each purifier option and silence. Here are the samples: (Silence) (Ceiling Purifier) (AP-1512HH Medium) (AP-1512HH High) To compute the loudness of each sample I ran: This gives loudness in LUFS, which is K-weighted dB. I don't have any calibrated tooling, but I can report values in loudness units (LU) relative to silence. Trusting the manufacturer's rating of 53.8 dB for the AP-1512HH on High, however, lets us determine absolute loudness for the other options: Sample Relative Absolute Everything Off normalized to 0 LU 25 dB Ceiling Purifier High 7.3 LU 32.6 dB AP-1512HH Medium 10.8 LU 36.1 dB AP-1512HH High 28.5 LU 53.8 dB I think it ought to be possible to get even better performance out of the ceiling purifier by building a shroud. The ideal shroud is generally quite a bit narrower than I would guess: I've seen people measuring peak performance with only a 14" hole for a 20" fan. They report ~40% more airflow without increased noise, but I would want to run tests and verify that here. With ~12% improvement from switching to nine filters and ~40% from better shrouding, this ought to get us from a CADR of ~180 CFM to ~280 CFM. Even if we only get half that improvement, a CADR ~230 CFM gets us even with the commercial purifier, at far lower volumes. In terms of cost, materials for one fan are nine MERV-14 filters for $110 plus ~$5 for tape. The ceiling fan was a Hunter Mariner 52", which seems to cost $106 now, though it's not something I installed for this project. A real-product version of this would replace the tape with a frame you attach to the ceiling, into which you could slide filters. Maybe $100? If someone wanted to build and sell something I'd be pretty happy to see that! Comment via: facebook Thanks for listening. To help us out with The Nonlinear Library or to learn more, please visit nonlinear.org.

More crypto & NFT fails; proper gambling with class action cash; Uber won, we lose; Amazon delivery partners accident-prone; Starlink for RVs; Adam Neumann is back with a new scam; Meta sharing data with researchers; Walmart drones; Kids in the Hall; George Carlin; Ricky Gervais; Westworld; The Bad Guys; Sirius XM picks up Team Coco; time zones; Sennheiser; Magic Leap; gaming consolidation; the Sims; we Google it for you; USB SuperDrives; 5k iMac project; Top Gun; finding orphaned accounts; ClearView AI fined; delete versus erase; GoodWill, Hunted.Show notes: https://gog.show/555/Sponsors:ButcherBox - Sign up at butcherbox.com/GOG to receive a FREE Grilling Bundle in your first order.M365 Masterclass - Head over to m365masterclass.com and enter code GOG at checkout for 20% off your subscription for life.FOLLOW UPThe Most Famous Nft Artist Got Hacked, Ripping Off His FollowersCoinbase reportedly pauses hiring amid plummeting crypto marketIN THE NEWSUber Is Ready to Accept Failure, Sort OfThe Decade of Cheap Rides Is OverInjury rates of Amazon's delivery contractors climbed 40 percent last year, new report claimsStarlink launches satellite internet for RVs that costs $25 moreAdam Neumann-backed climate tech venture Flowcarbon raises $70 mlnMeta will share Facebook's political ad targeting data with researchersWalmart is expanding its drone delivery service across six statesMEDIA CANDYThe Kids in the Hall: Comedy PunksGeorge Carlin's American DreamRicky Gervais: SuperNature on NetflixRicky Gervais: SuperNature | Official Clip | NetflixSomebody Feed Phil Season 5Westworld | Season 4 Official Teaser | HBOThe Bad GuysSiriusXM buys Conan O'Brien's podcast and media companyAPPS & DOODADSEvery Time Zone4PCS Hand Therapy Finger Stretcher, 4 Levels Hand Resistance Bands, Hand Therapy for Arthritis, Carpal Tunnel & Post-Surgery Recovery, Finger Exerciser for Guitar and Rock ClimbingSennheiser HD 650 - Audiophile Hi-Res Open Back Dynamic HeadphoneMagic Leap is Selling Its First AR Headset for Just $550Take-Two's $12.7 billion purchase of Zynga is complete'The Sims 4' players can now customize their characters' pronounsBackground App Refresh keeps your iPhone and iPad running smoothly, but takes up battery life — here's how to turn it offWhy You Shouldn't Constantly Close Apps on Your iPhoneSECURITY HAH!The CyberWireDave BittnerHacking HumansCaveatApple USB SuperDriveMineClearview AI fined £7.5 million and told to delete all UK facial recognition dataDelete vs erase: Do you know the difference?New ransomware demands victims to donate to poorCLOSING SHOUT-OUTSJordan Harbinger LiveSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this fun, short episode of "Live with Squacky" - I chat about our upcoming MAVO2022 Conference! I highlight our Sponsors: Platinum - bodalgo, Silver: WoVO and Belair Creative, Bronze: Everett Oliver. Our in-kind Sponsors include Hindenburg, Voiceover Xtra, The Voiceover Collective, JMC Demos. Sennheiser and Neumann are our Technology sponsors!!! The Voice Acting Institute is also a supporting sponsor this year! Our Keynote Speaker this year is Marc Graue, and our guest speakers include, Elley Ray, Everett Oliver, Scott Parkin, Jason Linere White, Roy Yokelson, Laura Schreiber, Kim Hurdon, Yolanda Spearman, Johnny Heller, Tom Dheere, Jimmy Doom, Cliff Zellman. We will have a few more to announce soon too! Anyway, give a listen! There are lots of fun event details in this episode! More news coming soon! In the meantime, head to www.midatlanticvo.com for more details and head to MAVO2022 "Get Inspired" Voiceover Conference Tickets, Fri, Nov 11, 2022 at 8:00 AM | Eventbrite to register today! You can still purchase a general admission ticket on a payment plan until the end of May - so don't delay - register today! This event is going to be epic!! Don't forget to purchase your official MAVO2022 merch HERE!!"Live with Squacky" is mixed and mastered by everybody's favorite VO Tech, "Uncle" Roy Yokelson of Antland Productions."Live with Squacky" is sponsored in part by Mid-Atlantic Voiceover, LLC and Antland Productions. Buzzsprout - Let's get your podcast launched! Start for FREEDisclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.

Hear from the many people we've worked with over the years over 500 episodes and also enter to win great prizes. On this week's show: Seniors warned to stay alert against scams, Netgear unveils its new Wi-Fi 6E router, Fetch has launched its new Mighty PVR, we take a look at the 2022 Samsung 8K Neo QLED TV, we check out the 360 Smart Life robot vacuums, we take a listen to the Sennheiser Sports True Wireless Earphone and we'll answer all your questions in the Tech Guide Help Desk.

Bose, Sony, Apple, Jabra, Sennheiser, Audio-technica,... Beaucoup de marques proposent un casque audio sans fil. Vous recherchez le meilleur casque et vous ne savez pas lequel choisir en fonction de votre budget ? Voici nos recommandations pour trouver le casque sans fil qui vous convient.Merci à PP Garcia pour sa participation ! Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Do you know the difference between dubbing, ADR, walla walla, and looping? In this episode, Anne & Pilar cover it all. Since the pandemic, there has been a boom in content creation globally. Dubbing movies & TV shows into other languages, and creating audio descriptions for the visually impaired has made content much more accessible and given voice artists more work! Stay tuned for Pilar's experience with voice dubbing + Anne's tricks for lending your voice artistry to on-screen performances like a #VOBOSS. >> 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. Pilar: Hola, BOSS Voces. Bienvenidos al podcast, con Anne Ganguzza y Pilar Uribe. Anne: Hey everyone. Welcome to the VO BOSS podcast. I'm your host Anne Ganguzza along with my very special guest cohost, Pilar Uribe. Pilar. How are you today? Pilar: Hola, Anne. ¿Cómo estás? Anne: Ah, tired. I am tired. Pilar. You know, why? Pilar: Why? Anne: Because I binged watched the entire season of "Succession" last night and ah, oh my gosh. Pilar: It's so good. Anne: So good. Pilar: So many cliffhangers. Anne: I know. Oh my gosh. Pilar: Yeah. I loved it. Anne: And I'll tell you what, sometimes I stay up later than my husband, so I'm always putting on subtitles. And when I put on subtitles, it makes me think of all these shows now that are coming out in streaming media, and dubbing, and ADR and all of these techniques that are coming out and really offering a lot of jobs these days to people in the VO industry. And I thought we should talk about dubbing and ADR for a little bit. What do you think? Pilar: Yup. Dubbing is very close to my heart. Anne: Oh my goodness, and it's just since the pandemic, just an explosion of so much content and media, and you have had some experience dubbing. I personally have not had much at all. I went to a training class on dubbing, but talk to me about dubbing because that's something I think you actively do, right? Pilar: Yes. Yes. That's where I got started in voiceover. Anne: Okay. Pilar: I did like two series in Colombia. There were animated, but I actually cut my teeth on dubbing. Dubbing is a skill like any other, and it requires being a good actor. Anne: Wait, back that truck up again and say that very important, right? When you watch dubbing shows and of course, what is the latest one? When people are talking about the quality of the dubbing, there is something that was recently released, and we don't have to name it, but there was talk about how the dubbing was not great. There was not great actors. So I think acting is so, so important to be a good dubbing actor. Pilar: Well, if you want to see examples of bad dubbing, just go to the Godzilla movies. Anne: Oh yeah. Pilar: It's hysterical. Anne: You're right. Pilar: Those are so funny to watch. But since Netflix has -- and HBO as well and uh, and Amazon, since they have entered the marketplace, uh, you know, over the past couple of years, and when I started back in two thousand... I guess I started dubbing in 2010, Netflix, wasn't really doing that much. They've been doing more and more in HBO, and Netflix is just all over the place. They have so much content. So one of the things that they look for is, yes, are you a good actor? Because you have to be able to portray what is being said in whatever language it is, whether it's, you know, German or Spanish or Portuguese, you need to be able to portray those same emotions. So it's kind of like, 'cause I used to actually teach dubbing. It's kind of like, you're like a one man band stand. You remember those little, those figures of the monkey where they have -- Anne: Yes, they play the tambourine. They play the drums. Yeah, absolutely. Pilar: All at the same time. Anne: You have to do it all. Pilar: It's kind of like being a drummer because if you look at a drummer, he's got one beat going in one arm, another beat going in the other arm, and he's got two different beats going in his, with his legs. Anne: Yeah. So Pilar, just to back up just a little bit, I want to make sure that, because we are going to talk about both dubbing and ADR, what exactly is dubbing? Let's just clear up the definition. Pilar: Yes. So dubbing is when you have got a telanovela, say, or a movie in Spanish, and they are speaking in Spanish. And they want you to put your voice onto that person's body basically so it sounds -- Anne: In another language. Pilar: In another -- in English, in English. So if it's in Spanish, they want you to dub exactly what they are saying in Spanish into English. Anne: Right. Or vice versa. Pilar: Or vice versa. Anne: Or any other language. Pilar: Or any, 'cause it doesn't matter. I mean, I've dubbed in Chinese, from Chinese to English, German, Swedish. It depends on the project. Anne: Do you dub mostly in English or in Spanish? Or both? Pilar: I actually do both. Yeah. I do both. Yeah. I do more other languages to English because that's what the demand is, but I definitely do a lot of times English to Spanish. Anne: Okay. Pilar: So basically when you walk into the booth, and you are given a movie or an episode that is in whatever language it's going to be, and I will say this, just because I speak Spanish and French, that doesn't necessarily help you when you're dubbing. Sometimes it can actually be a hindrance because you're listening and you're going, wait a minute. They're not saying exactly what they're saying in English, so. Anne: Ah, yeah. There's translation there. Pilar: Yeah. You do not have to know the language that you're dubbing at all for anybody who has that kind of question. Anne: We should clarify too, you said, when you walk into the studio. Now, this is typically done in a studio, right? It's not something that we can do remotely. Pilar: Yeah. I would say when we went through the past two years, and everybody had to go inside, there was obviously, it was only remote. So I did a lot of things remotely, but ideally they want you to be in the same studio because you are recording with the same mic and in the same environment. Anne: Got it. That makes sense. Pilar: And that's when it makes it really, really makes a difference. So a lot of times they would send kits out. Studios would send kits. So everybody would have the same exact setup in their booth. Anne: Got it. And you're talking about the same mic as what was recorded in the movie? Is that what you're talking about? Or -- Pilar: No, no, because this is voiceover. So, you know, whatever, whatever the movie is, you know, they have different mix for that. Although actually -- Anne: That's what I was thinking. Like they wanted to specify what kind of mic was being used. That's what I was. Pilar: Yeah. But that was, you know, more so for, for just voiceover. Anne: Got it. Pilar: So what's ironic is that, you know, the Sennheiser, it was originally a mic used on sets, but generally for dubbing, you know, they have their own extremely high powered mics. I mean, I was in a session the other day, and I was standing very far away from the mic technically 'cause here I'm, you know, I'm standing pretty close to the mic, and that mic picks up everything. I mean that mic picks up a burp. That mic picks up a little breath, and it's, it's just amazing. So yeah, they generally want you to go into the studio, and so you get there, you walk in. And of course now with all the protocols, everything is, you know, sanitized and wiped down. And usually you're asked to bring your own headphones. You go in and you watch a piece of copy, and the dubbing director will explain. And there's also the engineer. Anne: You mean you watch a video? Pilar: Yeah. You watch a piece. Yeah. So you've got the mic in front of you. You've got the video. And so you're seeing it in the original language. So you get to see it -- now, here's the thing. Out here in LA, you actually get a dress rehearsal. The majority, I would say 99% of the time when I lived in Miami, I didn't get a dress rehearsal. It was just like -- Anne: Oh wow, go. That's tough. Pilar: Get out of the stable and go. Yeah. Anne: Because you have to match the lip. Pilar: Right. And you don't know what's coming. So when you're doing a character, but because I was doing so much of it, what I learned to do is after like an episode or two, I would see what that actor's rhythms were. So then I could mimic and kind of go with her breaths and where she did sighs and where she stopped because I was always looking at her lips. But I also -- see, that's the thing. That's why I brought in the analogy of the drummer. So what are you doing when you dub? You are watching the screen. You are acting because you're doing what the other, what that character in front of you is doing. You are voicing, you're reading, and you're adding your own breaths. So you're also usually seeing the -- I mean, at least that, that was the case in Miami, not so much out here, but you're seeing the script for the first time. Anne: Right, right. Pilar: So you're doing all these things. You're employing more than one sense, and you're doing it without a dress rehearsal. Anne: Wow. Pilar: It's kind of intense. Anne: That's a lot. And I remember my class was just like that. I mean, we did not even really know the copy that was coming up when it was coming up. And we had not really, we did not have a dress rehearsal, so it's a lot of things to do at once. And so what are the prerequisites for you as a voice actor that wants to get into dubbing? What sort of things should you do if you want to make this part of your career to get good at it? Pilar: So the most important thing is listening, and observing, and putting yourself into that character's shoes for however long you are in the booth. So I played this character a while back, and it's out on Netflix now. And it's a terror series. It's literally terrifying. I said to my mom, listen, I'm going to give you the times that my character is there because I don't want you to see anything else because it's so terrifying. It's so, so scary. Anne: Oh, I'm gonna assume that you just did this one and that you had a dress rehearsal. So you had an idea of what the whole show was about. Right? And I think that that helps, right? Pilar: Well, rehearsal means you. Yeah. You get to see the scene, but you don't really know what you're getting into because you haven't seen the moments before. You're just looking at when you are speaking as a character. Anne: Got it, got it. Pilar: So it's up to you to -- Anne: Understand the vibe. Pilar: And not just that, but that's what I mean by you really have to be completely on because you are looking and you're listening at the same time. You're evaluating what that character is doing at that moment and why -- Anne: What happened. Pilar: -- are you doing it, right. Anne: And what might've happened beforehand so you can act, right? Pilar: Exactly. Yeah. And then you have to do it and you only get one dress rehearsal. So you have to be very acutely aware. You have to be present in the booth. So what they do is you'll do a scene on, they'll give you a pass of the entire scene and then you'll go back. You'll do another take or you'll do pick-ups. They do give you headphones. But if you have really good headphones, it's great to bring those with you. 'Cause you have to hear every nuance with that character -- where are they breathing? Anne: Now, are they doing sentences at a time? Or just periods of time when this character is talking? Is there back and forth between dialogue from other characters? Pilar: Oh yes, absolutely. Yes. Anne: They will do an entire, let's say three minutes of the characters going back and forth? So you have to also watch the other character and then react. Right? Pilar: Absolutely. Yes, exactly. And so here's the thing. Back in the day, I used to get pieces of paper, and then they switched to the monitor, and now there's this thing, that's, it's a band. And it was, I think it was invented actually in France, if I'm not mistaken. And it's a band that goes at the bottom of your screen, and most of the companies that I've worked for, the studios that I've worked for, they all use this. So it's a band, and it's in your specific color for that episode. So like my character, Anna, Anna's lines are going to be in green. They're going to have the highlight green. But then I'm also listening to the other characters and their lines are there as well. Anne: But not in green, obviously. Pilar: No, they're like in purple or whatever, but I have to be very aware of who's speaking when. Anne: So you have to look at the bottom of the screen, which has the band. Plus you also have to understand where the lips are happening and when they're saying it, so you've got to go, you've got to look from the bottom of the screen to the lips. Pilar: Yes, ma'am. Anne: And so that is fast focusing I'm sure. Pilar: Totally. Anne: And total focus and it's got to be exhausting. I can't imagine like when you're doing a dubbing session, how long are you doing a dubbing session for? An hour, two hours, five hours? Pilar: The standard time is two hours. Anne: Okay. But that has got to be an exhausting two hours sometimes. Pilar: It can be exhausting, but it's really exhilarating because you're in the booth, and I always stand. Anne: I can't imagine sitting when you have to be that focused and on top of things. Pilar: Exactly. Yeah, exactly. You have to use the whole body. But I rest, like when they're doing, when they're trying to decide between the dubbing director and the engineer, you know, do we do this? Do we do that? Um, and they're rewinding and they're trying to sync it up and everything. So, so that's when I can just take a little break, drink some water. They tend to be generally two hour sessions. I've done, you know, up to four. You know, it's, it's, it is work. It's a lot of work. Anne: But so now that you have the band that's running on the screen, right, do you have a copy as well of the actual script at all in front of you? Pilar: No, nope. Anne: Because I remember when I took my class, I had both. I had the script that was down in front of me, but I also had to keep my eye on the screen as well and the lips of the actor that I was dubbing. So it was a lot, but when they were doing whatever work they needed to do in the studio, I was kind of looking at the script coming up next so I could get a little familiar with it. Pilar: Yeah. It actually depends on the studio because there was a studio that did the paper. I don't know if they still do because you know, things have evolved in the past couple of years. It kind of depends. But sometimes you do, sometimes you do get a paper, which in a way is actually worse because you have to look farther down. I'd rather have it on the screen. Anne: Yeah. Yeah. I agree. Pilar: But whatever it is that you're doing, whether you have a piece of paper in your hand, or you're looking at it on a monitor, or you're looking at the stuff on one screen and the script on another screen, 'cause that also happens, whatever it is that you do, you have to learn to read quickly. Anne: Yeah. Pilar: And so you're basically constantly evaluating and looking at getting the information. So then you can spit it out -- Anne: Yeah, right. Pilar: -- and then move on to the next moment that that character has. Anne: So dubbing is going into the studio and having the band and checking the lip movement of the actor that you're replacing, right, that you're dubbing. Now what's looping then. So that's dubbing. What's looping then? Pilar: Looping, technically it's called ADR, which is additional dialogue replacement. Like, so for example, let's say there is a scene where there are two people in a restaurant, and they're outside in a cafe, in a little restaurant cafe in New York. And you know, there are people going back and forth, and there are people walking on the street, and there are people inside. And then there's the person at the bar. All that noise, all that noise gets put in, in post. None of that is real because basically what they figured out, and sometimes you can get it, but there's so much incidental noise. So you're going to get a honking of a horn or somebody shouting that they can't control all those extra elements. So what they do is that they come back, and once the scene is done and it's ready -- or let's say the actress spoke really low. So she was looking at her food saying, "I don't love you anymore." So it's like, they didn't get that. They didn't get that from the mic, the boom that was hanging, you know, five feet above her. So the actors come back. So basically it's like background extra work but for voices. Anne: Is that not also called Walla Walla? Pilar: So Walla Walla is a type of ADR. Walla Walla is kind of like, you're just kinda like talking and it's like -- Anne: So many terms. Pilar: -- rhubarb, peas, and carrots, rhubarb, peas, and carrots. This is what I used to do on stage. You know, when you, when you weren't speaking, but you had to look like you were talking sure. Then there's something called call-outs where you say -- so each character sits there and says, "hey, I'm going to the store. I'll see you later." And so it's like, you're literally having like a pretend conversation. And so ADR has, you know, so many different -- ADR has its own genres too. Anne: So dubbing is not necessarily related to ADR and looping. Pilar: ADR, I would say it's like a, it's like a third cousin, second or third cousin, because there are aspects of it. So for example, I did a movie last year, which came out, I guess it came out at Christmas? It was called "Eternals". It was a Marvel movie. And of course, you know, when you sign up for something like that, you sign NDAs up to an inch of your life, and you can't say anything. And so the only reason I'm saying it is because I asked them -- Anne: Now you can. Pilar: - I asked them, yeah. Now you can, and now it's out. And so, you know, the person who hired me was like, yeah, it's okay. 'Cause I always check. And that's something that's really important. Whatever it is that you're doing, when it's like dubbing or, or ADR, they're going to make you sign NDAs. So in fact, at one studio, they make you put your cell phone in a little box before you walk in and lock it up because they don't want any kind of -- Anne: That makes sense. Pilar: You know, they bought the rights, it's their property. Anne: Absolutely. Pilar: And so to have some actors sit there and go, oh, I was at this studio and I was dubbing look at me is just, I mean, come on. You know, you've just ruined all their hard work. So -- Anne: Exactly. Pilar: -- in the world of dubbing, they're very, very demanding on that. You know, you can't say a word. Anne: Well, that makes a lot of sense. And I'm glad that you brought it up because how many times have we seen a voice actor, either bragging on social media, or here's a picture of me leaving and just thinking that nobody will see that, that is a big, big, big no-no. So yeah, that makes a whole lot of sense that you don't want to give away any, any secrets until they're revealed. I get that. Pilar: Because basically when you are an actor, you are lending your voice. That's what you're doing, or you're lending your acting to the project. The project isn't yours. You don't own the project. Anne: It's a great point. Pilar: You know, I remember one time I did this commercial. Magic, the big basketball player, Magic Johnson. I mean, I'm seeing him right now. And all of a sudden I had a brain fart in his name. So it was a commercial and he was, he's so adorable and he's so nice. And so we were all gathered around, and of course at the end they let us take pictures. And so of course I took my picture and I had it in my phone. And then literally a couple of weeks later, I see this actor post and like, "hey yeah, I got, I was, I was," and I was like, what are you doing? The commercial isn't out, that's not yours. That's their material. Somebody owns that material. And you have to respect that this is a situation. So for something like a Marvel movie, you know, you sign NDAs up the wazoo. Anne: Oh yeah, I've seen people get fired. Pilar: Yeah. And -- Anne: Hard. Fired Hard. Pilar: To be honest, I, I can't blame them because it's like, it's, it's not my material to come -- to go out and play with. So with ADR, and this all changed in the pandemic too, because with ADR, what you would do is that you would go with a group of people, and you would be in the same room with them. So that's where you have these things called donuts, which is you walk around and you do these sort of loops. And you talk as you pass by the microphone. And then the call-outs where you're "hey, let's go get some ice cream" kind of a thing. And "Dr. George Michael to line one in, you know, room 222," that kind of a thing. So that all went away. And so now when you go to a studio, we were all separated. So we were in the same studio, but we were all in different booths. So that's the difference. So it's all, you're not together. Anne: Right, during the pandemic. Pilar: Right during, yeah, exactly. Pilar: So they had to kind of change that the way that, that happens. Anne: Also, so not just that, there's also, if you need to replace a line, right. If they couldn't get the actor, if they couldn't get the line or they changed the line, and they could get the actor back in, sometimes there's just a line replacement. Pilar: Yeah. Right. Exactly. And that will happen, let's say, with a specific actor, but when you're talking about ADR, like when you're in that scenario that I said about the coffee shop, there are people talking. So you need to have, let's say, if you're doing a cop show, you need to have the lingo all ready to go, you know, and they encourage you to bring -- paper makes noise, but like iPads. And then you have your "Adam 24," you know, that kind of a thing or "nurse code blue," you know? So all the different genres have different language. So you have that ready. And then when you're called on, because you're just basically, it's like, okay, who wants to do this? And you just get up and you do it, and you do it in front of your mic. I don't know if it's gone back to the grouping. 'Cause I, I did something recently, and we were still in separate booths. So I don't know if that's actually gone to the group thing again, but ADR basically takes care of all that sort of subtle murmuring that goes on. And so whatever it is that you do -- and there's, there are a lot of rules. Like, you know, you never want to say, have anything to do with God. There's a lot of, since it is all improv, because you know, it is, you know, as we had mentioned before about, you want to be positive, that's another thing. That's another big thing; you want to be positive. You don't want to be negative. So there are, there are a couple of different rules you don't necessarily want to talk about the time of day. You don't want to say people's names or the actor or the characters' names in the movie itself. Anne: That makes sense. Pilar: So you're constantly improvising. And so flexibility is key in ADR. So you can just get up and, you know, in front of the mic and talk about this car that overturned in a tractor trailer and this and that. And you just, and you know, you have a little cheat sheet, so you have little sentences or, or themes that you can expound upon. Anne: So they give that to you. And you're just improv-ing off of that. Pilar: They give you the, the scene, but it's up to you to come up with the lines. It's like, they don't, they don't give you the lines. So I took a class, my very first ADR class when I got to LA was with Johnny Gidcomb. So, you know, for anybody out there who wants to do ADR, he's fantastic. And he teaches you the ropes. So we did as if we were blooping this one show that he had done, one of the many "Planet of the Apes" movies. And so, you know, we had to sit there and see, and it was sometimes it was difficult because you didn't know who was speaking. So you had to be, you know, eagle eye on these characters saying who was speaking when and, who was loud and who wasn't. So it's like a lot of, you know, observation comes in to play when you're doing ADR as well. Anne: And then if that's not enough, so there's the dubbing, there's the ADR and looping and Walla Walla. And then we also have audio description. Pilar: Yes. Anne: Audio description is something that's similar, but yet different. And that's also kind of, I feel like because there's more content out there, there's been a lot of work in this area as well with audio description. And there's just some really great instructors out there. I had Roy Samuelson is part of one of my meetups who came and talked about audio description. And there's some great groups out there that you can get involved in and learn from and lots of work out there. So let's talk about audio description now. Pilar: Yes. Let's talk about it because I will be honest with you. I am not that familiar with it. I know that it, audio description can be used for people who have trouble seeing, that that's a lot of it, but it does have many uses, correct? Anne: Yes, exactly. So audio description will be describing the scene. It kind of happens along with the dialogue, and that is something that will be describing the scene as it's happening. And so that is copy that is provided to you, but you know, it is a skill, and it is something that I think you have to be quick on your feet in order to do it well. And I think you also have to add in acting because you are really, for people who are not necessarily seeing the video in front of them, you are audibly describing what's happening in the scene, and you can't just be a robot doing that. I feel like you've got to bring the experience to the listener. And so there is definitely quality of acting for audio description as well. For sure, for sure. Pilar: Yes. And I'm looking at this. Yeah. And it is definitely for people who have low vision or who are visually impaired. So you definitely have to have acting chops because you are, you are the narrator for these people who can't see. So you are providing everything, you're being their eyes. Anne: It's like audio drama in a way. Pilar: Exactly. Anne: But you don't want to be overly, right, dramatic because -- Pilar: Yeah. Not emoting, right, either. Anne: Right. Exactly. Because obviously you're not overtaking the acting that's going on that they're listening to. You are simply describing the scenes and what's happening. So while you need to act, you may not need to act as if you are a direct character in the scene. That's for sure. Pilar: Well, and also because in -- when there are gaps in the dialogue, you will be describing visual elements. So you're going to be describing costumes, the action, the setting, the mountain in the background. And so you have to make that interesting, but you're not going to make it monotone picture. And you're also not going to go crazy talking about the mountain. Anne: Exactly. Pilar: You know, so exactly it has to sacrifice to be some kind of middle ground. So you're making it because you are the eyes for that person. So you have to be able to transmit the emotions that are going on. Anne: Yeah. So I'll tell you, all of these things that we have been talking about today really require someone who has acting experience, right, or who is an actor. And I love that because that just really broadens the scope of what we can do as voiceover artists. And it really pinpoints the importance in everything that we do, that acting is a part of it. And so there's a lot of areas in which as a performer, if you want to improve and up your game, you can have these opportunities if you just keep developing those acting skills and improv skills. And I just love that we're talking about where all these skills, we just had our episode on improv, you know, how they can help you to really grow your business as a voiceover artist. So thanks so much, Pilar, for chatting with me about this. I love you've just brought so much to the table for our listeners. So thank you for that. Pilar: No, thank you. This was so much fun. Anne: Awesome. Well, I'm going to give a great, big shout-out to our sponsor, ipDTL. You too can network and perform like a BOSS and find out more at ipdtl.com. You guys have an amazing week and Pilar and I will see you next week. Pilar: Ciao. Anne: All right, 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.

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什么耳机能让包雪龙对无比经典的hd600 产生了犹疑？哪个产品成了森海塞尔专业民用分家之后的第一个拳头产品？一个大品牌走向平庸之后，第一个出来救场的是谁？谁能接下来vineland 「后缀带Pro，不能瞎做」的谶语？2022年第一个针对单一产品的节目，这个殊荣给了谁？Sennheiser 抬出一个监听耳机作为新财年开场产品，是对产品力信心满满，还是「蜀中无大将，廖化作先锋」？以上疑问，让我们有请森海塞尔Pro-Line 的最新产品，民用影音产品hd560s 的换色版本，外表漆黑低调，声音朴实刚健的专业选手hd400pro 闪亮登场。 [00:00:03] BGM#1. MLA - 宋代SAD BOY [00:02:46] 节目开始，hd400pro 源流考；与森海塞尔的4、5系列民用耳机的关系； [00:12:12] 夸一夸hd400pro，「正常」就是最大的优点；与孪生兄弟hd560s 之间的异同；千元价位头戴式大耳机的尴尬； [00:23:43] 森海塞尔的新单元功底如何；高频质感作为区分单元档次的直观标志；不满主要来自线材； [00:35:08] 和#199期拜亚动力Pro 系新品的对比；森海塞尔在低频上的风格化；对hd598 一系产品的失望，hd400pro 救回来了吗；竟然和hd600 做了一系列对比； [00:50:22] BGM#2. Leonard Cohen - A Singer Must Die [00:53:10] 扩展话题，何为尼布楚，不是，何为「监听耳机」；三人对「监听」或Monitor 概念的认知；「出租车之于汽车」的类比；大牌子的良心底线在专业线上；还有拿K1000 干活的人；一期我们之前聊监听耳机的节目：#146. Monitor in Studio, in Club, in Apache feat. HFOTA； [01:06:28] 对hd400pro 的总结；波折中前行的森海塞尔；为什么飞行员没有做森海塞尔的历史回顾节目；从ie800、ie900 上看到sennheiser 业界统治力的变迁 [01:21:45] BGM#3. Mitski - Townie一句话总结：朴实的hd400pro 似乎不是一个扛旗的大将，但不影响它是个值得购买的好产品。如果你喜欢「声波飞行员」，请在「爱发电」平台为我们打赏，增加它继续飞行下去的动力，谢谢。#飞行员：地下丝贼 / vineland / 包雪龙

Eine Redakteurin kaperte die wichtigste Nachrichtensendung Russlands mit einem Anti-Kriegs-Poster. Sie klingt, als habe sie Nawalnys Kritik am „wahnsinnigen Zaren“ sehr genau registriert. *** Hier gehts zu unserem Abo-Angebot für unsere Morning Briefing Leser: https://www.handelsblatt.com/mehrerfahren

Pricing leaks for the latest LG TVs with new products from Arcam and a Bowers & Wilkins Panorama 3 soundbar launch. Plus we review Sky Glass and look at the latest Hi-Fi news and reviews from Ed. The movies team talk about Batman, 4K disc news, reviews and what they have been watching.

En la nueva emisión de ByteTrax:• Sony y Honda formarán una empresa conjunta.• Amazon abrió su servicio de streaming de juegos Luna.• Sennheiser anunció nuevos auriculares que están impresos en 3D. En la música:“En el Prado, un Viburnum Rojo” de Andriy Khlyvyuk y The Kiffness.“Complete Mess” de 5 Seconds of [...] El podcast ByteTrax ▴ Tecnología y Música: Sony Honda • Amazon Luna • Sennheiser apareció primero en Defrag.mx.

LEAVE US A 5 STAR REVIEW over on Spotify or Apple Podcasts or where ever you listen to podcasts! It helps so SO much! Be sure to leave your questions on our voicemail service over on https://Anchor.fm/flute we love hearing from you. We might answer them LIVE! ALSO, BOTH THE BEGINNER AND INTERMEDIATE BOOKS ARE OUT!! Find the course at https://musogy.com Join the Newsletter as well over at Musogy for more updates on products and news! Program Notes: Microphones we rotate in order of preference: * iSK Little Gem (Omni Capsule or the Cardioid Capsule / Best budget mic I've tried for in studio recording for flute ) * Audio-Technica PRO 37 ( Incredible ) * Samson C02 ( Budget plus you get 2 mics ) * iSK Pearl ( What a insane mic ) * Sennheiser e614 ( Amazing mic ) * Sennheiser me62 and me 64 ( great system warm sound ) * Audio-Technica AT2050 ( perfect with pairing any of these mics for a mid-side style recording ) We're going to try Meyers Pickup mic soon, but I've never been impressed with pickup mics for shows. Maybe this will change my mind. You can record to any audio interface or recorders that has an sdcard and most are quite good. We use tascam portable audio recorders. I wouldn't advise recording to a computer unless its another room as most pc's make noise, either from the computer itself or ever the power supply. Once your done recording you can unload to a pc and started editing. If video is involved always be sure to record in 48000khz for easy syncing up. Pick a Audio Editing software and start learning it. ie:audition, audacity, reaper etc. Play around with EQ Parameters and get your own taste. Then pick a tiny, tiny amount of reverb or go wild with it. It's all about your own taste. Develop your own secret sauce! For the first few mics. I have it elevated and pointed down at the middle of the flute about 1 to 2 feet away at a 45 degree (4-5 o'clock) We have a basement treated studio so sound is at a minimum. But not necessary. We have the mics mounted on the ceilings with magic arms so that we can just walk in and play with no wires on the floor. It can get crazy sometimes. Hope that helps. Come to our Patreon page and be a Patreon! It's only 2$ a month! https://www.patreon.com/join/theflutechannel ALSO if you're looking for a new flute or piccolo consider using FCNY, use the code TFC to get special perks like: 1. Free shipping 2. 10-day trial 3. 18-month warranty (new flutes) 4. Try 3 instruments per trial Be sure to contact https://flutecenter.com for all the info. Using the code helps us make even more great content and help all our community! Be sure to like and comment if you want us to review other flutes or piccolos! The Flute Channel Online: ✩ MERCH - https://store.theflutechannel.com ✩ Twitter - https://twitter.com/theflutechannel ✩ Instagram - https://instagram.com/theflutechannel ✩ Blog/Website - https://www.theflutechannel.com ✩ Facebook - https://facebook.com/flutechannel/ --- Send in a voice message: https://anchor.fm/flute/message

Gateway opened its doors in January of 2019 as a ‘landing' and ‘launchpad' for Scandinavian businesses, providing members with everything they need to help accelerate their success with state-of-the-art technology. The Gateway conferencing and technology space features advanced video conferencing solutions from Sennheiser, Barco, QSC, and more to provide a seamless coworking experience. On this episode, I am happy to welcome Charlie Jones, Global Alliance & Partnership Manager at Sennheiser alongside Greg Harper, President of Harpervision Associates to my CrashPad to chat about what all went into designing this highly functional workspace. Connect with Charlie Jones on LinkedIn Connect with Greg Harper on LinkedIn Full Case Study on this project from Sennheiser

Show your support for the Podcast and Shout me a Coffee!!https://buymeacoffee.com/emlyninthemixPLEASE LEAVE ME A REVIEW on THIS PODCAST!! 5 STARS BABY!!!I just set up an email to contact me on the Podcast!! - emlyninthemix@gmail.comP.S I love youCheck out Emlyn in the Mix on YouTube!!https://www.youtube.com/c/EmlynInTheMix

Techstination, your destination for gadgets and gear.   I'm Fred Fishkin.     Axel Grell…best known for his many years as a sound designer with Sennheiser…is off on his own now…and has crafted a smart looking and sound pair of true wireless eabuds in the TWS/1.   The metallic case and simple design are...

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► Today's sponsor: Drop x Sennheiser's PC37X Gaming Headset for only $99 - https://dro.ps/ufd-pc37x-holiday 0:00 - Intro 0:47 - 3090 Ti Launch Date: https://bit.ly/3EBupfz https://bit.ly/30VioUn 2:21 - Sponsor: https://dro.ps/ufd-pc37x-holiday 3:48 - More CES Cancellations: https://bit.ly/3mtVNWs https://engt.co/3ySq324 https://bit.ly/3stKzVH 5:02 - LG's Curved OLED Screens: https://engt.co/3mp3flJ 5:52 - Lickable TV: https://engt.co/3poNWLE 7:22 - Threadripper 5000 Specs: https://bit.ly/32vLVEi 7:48 - UFD Deals: https://www.ufd.deals/ https://geni.us/sWTcN https://geni.us/WHBn https://geni.us/ofaJYr 8:42 - Cryptostonks: http://bit.ly/2GkIP8y https://bit.ly/339VGVS https://bit.ly/3uUj19Q https://yhoo.it/3bFclob https://yhoo.it/bSRrxsM 9:36 - Fantasy 1 GPU is Fast-ish: https://bit.ly/3FoYcJf https://bit.ly/3pohGbJ --- Support this podcast: https://anchor.fm/ufdhotnews/support