Podcasts about Sound design

Watch on YouTubeJoin us in welcoming David O. Ramirez to The Worship Keys YouTube channel for an inspiring conversation. David is a renowned keys player, producer, songwriter, and sound designer. In this episode, he shares his journey of playing with the band Leeland, his passion for sound design, and his experience touring around the world. David also breaks down the key differences between being a producer and a programmer, and opens up about the importance of keeping the right heart in both music and ministry. He talks about working with artists like CeCe Winans, Phil Wickham, and Chris Tomlin, and the incredible story behind transforming Gnome Studios into a premier recording space in Nashville.David O. RamirezDavid Ramirez InstagramFree eBookThanks for listening! Subscribe here to the podcast, as well as on YouTube and other social media platforms. If you have any questions or suggestions for who you want as a featured guest in the future or a topic you want to hear, email carson@theworshipkeys.com. New episodes release every Wednesday!

“As I heard the words come out of her mouth it brought a flood of tears to my eyes.”⁠Subscribe here to be notified when the postman's come.⁠Anne Levitt played by Brittany Sue HinesAdapted from the novel 'Dearest' by ⁠Michael London⁠Production, Editing, & Sound Design by ⁠George Drake, Jr.⁠Music Composition by Mustafa ShaheenThis series was made possible by a generous grant from the ⁠Montgomery County Arts & Cultural District⁠ with assistance from ⁠Culture Works⁠. This episode of Dearest features the following sounds from ⁠Freesound.org:acoustic guitar melody fingerstyle picking by Garuda1982, River, recording close to water flow, lapping, at... by felix.blume

⁠Subscribe here to be notified when the postman's come.⁠Dearest Voices played by Christine Brunner and Micah StockJames Cavell played by Darren BrownAdapted from the novel 'Dearest' by ⁠Michael London⁠Production, Editing, & Sound Design by ⁠George Drake, Jr.⁠Music Composition by Mustafa ShaheenThis series was made possible by a generous grant from the ⁠Montgomery County Arts & Cultural District⁠ with assistance from ⁠Culture Works⁠. This episode of Dearest features the following sounds from ⁠Freesound.org:9. opening envelope.wav by 16GPanskaVechet_Lukas, typewriter by bm3342, Morse code sample.wav by ooohyeahhh, websdr_recording_2014-07-21T07_22_13Z_7011.4kHz.wav by klankbeeld, Printing Press Mechanics by exuberate

“If you have found this note, you have read the same tale as I, sweet and sad. ”⁠Subscribe here to be notified when the postman's come.⁠Uncle Willy played by Micah StockAdapted from the novel 'Dearest' by ⁠Michael London⁠Production, Editing, & Sound Design by ⁠George Drake, Jr.⁠Music Composition by Mustafa ShaheenThis series was made possible by a generous grant from the ⁠Montgomery County Arts & Cultural District⁠ with assistance from ⁠Culture Works⁠. This episode of Dearest features the following sounds from ⁠Freesound.org:AMBBird_The Sparrows Are chirping.Morning.Rural s... by newlocknew, Stasis (music for space) by SondreDrakensson

A look inside Reed's head shows the cracks have already formed as his case progresses and the DA has him in his sights. But when he learns new information about his plea deal and the implications of not taking it, he's forced to consider what a trial would mean for those around him. • Follow [The Royals of Malibu on Patreon TODAY for upcoming scripts for purchase, and much more] (https://www.patreon.com/TheRoyalsofMalibu) • Follow [The Royals of Malibu on Instagram](https://www.instagram.com/theroyalsofmalibu/) • Follow [The Royals of Malibu on TikTok](https://www.tiktok.com/@theroyalsofmalibu) • Explore more: [emeraldaudio.com](https://emeraldaudio.net/) The Royals of Malibu is a production of Emerald Audio, an imprint of Diversion, in association with Pod People. Featuring the voices of: Alyssa McKay as ELLA SINCLAIR, Chris Cafero as REED ROYAL, Nick Cafero as EASTON ROYAL, Armen Taylor as CALLUM ROYAL, Franchesca Agramonte as VALERIE GONZALEZ, Hannah Montoya as SAVANNAH GONZALEZ, Maura Vincent as DINAH / HEADMASTER BERRINGER, Stephanie Sherry as LUCY and MARGARET SINCLAIR, Jillian Kinsey as NOVA / DETECTIVE SCHMIDT / DAY PLAYER, and Daniel Lench as STEVE / DAY PLAYER. Directed by Ashton Carter, Written by Keyanna Khatiblou, Produced by Emma DeMuth, Production Management by Ashton Carter, Production Assistance by Hannah Rae Leach, Story Development by Emma DeMuth, Editorial Direction by Scott Waxman, Casting by Lindsey Ploussard, Sound Editing, Sound Design, and Engineering by Carter Woghan and Morgane Fouse, Dialogue Editing by Carter Woghan and Adam Raymonda, Theme Music by Maty Noyes, Consulting Producers: Chris Cafero and Nick Cafero, Executive Producers: Rachael King, Alyssa McKay, and Scott Waxman Learn more about your ad choices. Visit megaphone.fm/adchoices

Penny Harold and Andy Lange tell us about their work as the re-recording mixers, on Season 2 of the hit Netflix animated series, Arcane. This is a show with intense dialog, massive sound design, soaring songs, and a bombastic score. Wranglng all of these elements into a cohesive whole, was a fun challenge. Arcane's groundbreaking artwork and visual style, made it a tall order to match that level with the series' soundscape. Penny and Andy discuss their workflows, how they work as a team on the mix stage and the importance of finding the perfect compressor! SPONSORS: Sound Ideas Annual Memberships put Sound Ideas' full range of over 600,000 sound effects, music tracks, and production elements at your fingertips with three tiers to choose from based on your Sound Design needs. The Creator's Access Plan is perfect for the independent creator working on a smaller scale, looking for high-quality sound options at a great price. With up to 100 Downloads, you'll enjoy significant savings compared to buying individual sounds, and have free rein over Sound Ideas' extensive collection. Go to www.sound-ideas.com/Collection/105/Memberships/0/2 and use the promo code TONEBENDERS50 for 50% off of any Sound Ideas' Annual Membership, to amplify your future productions. The O-MINI Microphone is a miniature omnidirectional electret microphone. Each one is hand made by Chris Trevino, a practicing field recordist, and a really engaged member of the sound community.  He puts a lot of work into making and testing each mic to ensure they live up to his high standards.  They are ultra-sonic capable, which makes manipulating your recordings with them a lot of fun.  They are extremely affordable.  At $150 American for a stereo matched pair, they offer a lot of value. Check it out at https://www.chrisatrevino.com/store/omini 
Episode Notes: 
https://tonebenderspodcast.com/309-the-mixing-team-for-arcane-season-2/ Podcast Homepage: www.tonebenderspodcast.com 
This episode is hosted by Timothy Muirhead

Join your horror hosts as they f*ck with Frendo.Find the Broads on⁠⁠ IG⁠⁠ and ⁠⁠BlueskyChapters00:00 Introduction to Clown in a Cornfield01:29 Expectations vs. Reality: The Movie Experience05:12 Nostalgia and Cultural Commentary in Horror09:25 Character Development and Set Design18:21 Teenage Dynamics and Humor in Horror22:34 Comparative Analysis with Other Horror Comedies23:41 Exploring Humor in Horror24:55 Character Depth and Trauma26:12 Sound Design and Its Impact29:08 Cultural References and Canadian Identity31:01 Stereotypes and Character Arcs33:21 The Role of Dialogue in Storytelling35:31 Sexuality and Representation38:37 Meta Commentary on Generational Trauma41:57 Final Thoughts on Character Development44:28 The Tension of Fear and Humor47:39 Technology's Role in Survival49:51 The Complexity of Character Choices52:04 Societal Commentary and Generational Themes56:22 The Climax and Resolution01:01:15 Final Thoughts and ReflectionsKeywordsClown in a Cornfield, horror, slasher, movie review, teenage dynamics, cultural commentary, humor, nostalgia, character development, set design, character depth, sound design, Canadian identity, film analysis, technology, societal commentary, generational themes, movie review, suspense

Steven Gätjen ist einer der bekanntesten Moderatoren Deutschlands. Bei “Schlag den Raab” oder “Joko & Klaas gegen Pro7” sorgt er für Spannung - und dafür, dass die Regeln eingehalten werden. In der NDR Talk Show oder am Roten Teppich bei den Oscars interviewt er deutsche und internationale Stars – von Boris Becker und Jan Delay über Tom Cruise und Nicole Kidman bis hin zu Angelina Jolie. Ich wollte von ihm wissen, was er dabei übers „berühmt sein“ gelernt hat. Und die Beobachtung, die er da geteilt hat, hat mich echt überrascht. Was ich auch vorher nicht wusste: Steven ist in Arizona geboren und hat dadurch nicht nur die deutsche, sondern auch die amerikanische Staatsbürgerschaft. Wie dieses Land ihn geprägt hat und wie sehr ihn die aktuellen Entwicklungen dort bewegen, habe ich im Laufe unseres Gesprächs an mehreren Stellen gemerkt. Außerdem haben wir darüber geredet, wie man das meiste aus dem Leben herausholt, ohne dabei zu zerreißen; was gute Freunde ausmacht und warum Steven nicht immer einer ist – und wie er die weniger erfolgreichen Phasen seiner Karriere gemeistert hat, die wir als Publikum ja oft gar nicht mitbekommen. Eingestiegen sind wir aber mit Stevens großer Leidenschaft: dem Kino. Also holt euch Popcorn und macht's euch gemütlich - wenn ihr denn einen Platz zum Sitzen findet. Das ist nämlich keine Selbstverständlichkeit, habe ich gelernt. Aber hört selbst, hier kommt ‘ne gute Stunde mit Steven Gätjen. ►►► Deutschland3000 Instagram: @deutschland3000 https://www.instagram.com/deutschland3000 Steven Gätjen Instagram: @stevengaetjen https://www.instagram.com/stevengaetjen Eva Schulz Instagram: @evaschulz https://www.instagram.com/evaschulz/ ►►► Stevens Anfänge bei OK Radio könnt ihr euch hier anschauen (ab 13:40 Min): https://www.youtube.com/watch?v=if1MaVudDWg Der falsche Ryan Gosling: Prank bei der Goldenen Kamera 2017 findet ihr hier: https://www.youtube.com/watch?v=SHWPaF10gpM Und zu “too many tabs - der Podcast“ geht es hier entlang: https://www.ardaudiothek.de/sendung/too-many-tabs-der-podcast/10766603/ ►►► Redaktion: Sabine Lebek, Merle Hömberg und Ruby-Ann Schwiethal Gäste-Management: Axel Schöning Produktion: Merle Hömberg und Axel Schöning Social Media: Kim Vanessa Schang und das Sounddesign kommt von Soundquadrat. Deutschland3000 – ‘ne gute Stunde mit Eva Schulz" ist ein Podcast von N-JOY vom NDR.

THE BLIND PRINCE - William Ormstein was an intimidating man, both in frame, in personality but also in power. A West End mogul who seemed to have it all... but it would seem.. when we heard his tale - he could have had a lot more. The game really was afoot so Sherlock and I donned disguises, whole new characters to lure in the elusive Miss Adler. Part 2 of 5 This episode contains swearing, references to child abuse, deliberate reckless endangerment. Listener discretion is advised.For merchandise and transcripts go to: www.sherlockandco.co.uk For ad-free, early access to adventures in full go to www.patreon.com/sherlockandco To get in touch via email: docjwatsonmd@gmail.com Follow me @DocJWatsonMD on twitter and BlueSky, or sherlockandcopod on TikTok, instagram and YouTube.  This podcast is property of Goalhanger Podcasts. Copyright 2025.SHERLOCK AND CO. Based on the works of Sir Arthur Conan Doyle Paul Waggott as Dr. John Watson Harry Attwell as Sherlock Holmes Marta da Silva as Mariana Ametxazurra Karim Kronfli as William Ormstein Written by Joel Emery Directed by Adam Jarrell Editing and Sound Design by Holy Smokes Audio Produced by Neil Fearn and Jon Gill Executive Producer Tony Pastor Learn more about your ad choices. Visit podcastchoices.com/adchoices

“My love for you has not left me.”[This episode contains spoilers for the full series]⁠Subscribe here to be notified when the postman's come.⁠Anne Levitt played by Brittany Sue HinesJames Cavell played by Darren BrownAdapted from the novel 'Dearest' by ⁠Michael London⁠Production, Editing, & Sound Design by ⁠George Drake, Jr.⁠Music Composition by Mustafa ShaheenThis series was made possible by a generous grant from the ⁠Montgomery County Arts & Cultural District⁠ with assistance from ⁠Culture Works⁠. This episode of Dearest features the following sounds from ⁠Freesound.org:grandfather_clock_chimes.wav by 3bagbrew,and the following SFX from Freesound user james_longleyPIANO_SONG2_7.aif, ORCHESTRAL_TREM_BED2.aif, ambientmix1.aif, WHEATHARVEST_MACHINESOUND.aif, DEEP_DRUM_25_SEC.aif, RESON_DRONE.aif, FORWARD_BARSAXECHO8.aif, reverse_beat1.aif

When the crew flies out of town for the school's swim competition, the reality of their day-to-day life is plain for all to see. While their successes lead to celebration, the looming questions surrounding Reed's case are no match for forced proximity.  • Follow [The Royals of Malibu on Patreon TODAY for upcoming scripts for purchase, and much more] (https://www.patreon.com/TheRoyalsofMalibu) • Follow [The Royals of Malibu on Instagram](https://www.instagram.com/theroyalsofmalibu/) • Follow [The Royals of Malibu on TikTok](https://www.tiktok.com/@theroyalsofmalibu) • Explore more: [emeraldaudio.com](https://emeraldaudio.net/) The Royals of Malibu is a production of Emerald Audio, an imprint of Diversion, in association with Pod People. Featuring the voices of: Alyssa McKay as ELLA SINCLAIR, Chris Cafero as REED ROYAL, Nick Cafero as EASTON ROYAL, Armen Taylor as CALLUM ROYAL, Franchesca Agramonte as VALERIE GONZALEZ, Hannah Montoya as SAVANNAH GONZALEZ, Maura Vincent as DINAH / HEADMASTER BERRINGER, Stephanie Sherry as LUCY and MARGARET SINCLAIR, Jillian Kinsey as NOVA / DETECTIVE SCHMIDT / DAY PLAYER, and Daniel Lench as STEVE / DAY PLAYER. Directed by Ashton Carter, Written by Keyanna Khatiblou, Produced by Emma DeMuth, Production Management by Ashton Carter, Production Assistance by Hannah Rae Leach, Story Development by Emma DeMuth, Editorial Direction by Scott Waxman, Casting by Lindsey Ploussard, Sound Editing, Sound Design, and Engineering by Carter Woghan and Morgane Fouse, Dialogue Editing by Carter Woghan and Adam Raymonda, Theme Music by Maty Noyes, Consulting Producers: Chris Cafero and Nick Cafero, Executive Producers: Rachael King, Alyssa McKay, and Scott Waxman Learn more about your ad choices. Visit megaphone.fm/adchoices

The Harlem Globetrotters always beat the Washington Generals. It's just what they do. As of 1971, they’d done it 2,495 times. But for one gloriously confusing night that January, the underdogs got to raise their hands in victory. Today on Very Special Episodes, the untold story of the greatest upset in sports history. * Very Special Thanks to Israel Gutierrez for lending his voice, and Peter Coughter for production support. Izzy and Peter have a new show out on our NBA slate about the rise of the Golden State Warriors. Check out Dub Dynasty wherever you get your podcasts. * Hosted by Dana Schwartz, Zaron Burnett, and Jason EnglishWritten by Jake RossenProduced by Josh FisherEditing and Sound Design by Jonathan WashingtonMixing and Mastering by Jonathan WashingtonAdditional Editing by Mary DooeOriginal Music by Elise McCoyShow Logo by Lucy QuintanillaExecutive Producer is Jason English Got a question or comment? You can reach us at veryspecialepisodes@gmail.com.See omnystudio.com/listener for privacy information.

Today's Object Worship is a chit-chat among hosts about pedals that do "the thing." Andy has a new song he's obsessed with, there's a bit of recent pedal news discussed, but mostly they take voicemails and ponder the question: what is the thing? Buy yourself some OBNE: http://www.oldbloodnoise.comJoin the conversation in Discord: https://discord.com/invite/PhpA5MbN5uFollow us all on the socials: @danfromdsf, @andyothling, @oldbloodnoiseSubscribe to Andy's Twitch channel: https://www.twitch.tv/powereconomyLeave us a voicemail at 505-633-4647!

The Harlem Globetrotters always beat the Washington Generals. It's just what they do. As of 1971, they’d done it 2,495 times. But for one gloriously confusing night that January, the underdogs got to raise their hands in victory. Today on Very Special Episodes, the untold story of the greatest upset in sports history. * Very Special Thanks to Israel Gutierrez for lending his voice, and Peter Coughter for production support. Izzy and Peter have a new show out on our NBA slate about the rise of the Golden State Warriors. Check out Dub Dynasty wherever you get your podcasts. * Hosted by Dana Schwartz, Zaron Burnett, and Jason EnglishWritten by Jake RossenProduced by Josh FisherEditing and Sound Design by Jonathan WashingtonMixing and Mastering by Jonathan WashingtonAdditional Editing by Mary DooeOriginal Music by Elise McCoyShow Logo by Lucy QuintanillaExecutive Producer is Jason English Got a question or comment? You can reach us at veryspecialepisodes@gmail.com.See omnystudio.com/listener for privacy information.

The Harlem Globetrotters always beat the Washington Generals. It's just what they do. As of 1971, they’d done it 2,495 times. But for one gloriously confusing night that January, the underdogs got to raise their hands in victory. Today on Very Special Episodes, the untold story of the greatest upset in sports history. * Very Special Thanks to Israel Gutierrez for lending his voice, and Peter Coughter for production support. Izzy and Peter have a new show out on our NBA slate about the rise of the Golden State Warriors. Check out Dub Dynasty wherever you get your podcasts. * Hosted by Dana Schwartz, Zaron Burnett, and Jason EnglishWritten by Jake RossenProduced by Josh FisherEditing and Sound Design by Jonathan WashingtonMixing and Mastering by Jonathan WashingtonAdditional Editing by Mary DooeOriginal Music by Elise McCoyShow Logo by Lucy QuintanillaExecutive Producer is Jason English Got a question or comment? You can reach us at veryspecialepisodes@gmail.com.See omnystudio.com/listener for privacy information.

BY ROYAL APPOINTMENT - Our previous case had led us to an Opera singer by the name of Irene Adler. There seemed to be this double life at play. An esteemed stage performer with a warm social presence, versus that cool knife-wielder in Milverton's bedroom. It was time to see who was the real Irene Adler. Part 1 of 5PREVIOUS ADVENTURE INFO: Charles Augustus Milverton was a master in blackmail and had, in his property, a drive containing a trove of scandalous data that he used to build his empire. I unfortunately punched him in the face while having a fairly fraught first meeting with him. While breaking into his home for a client we hid in a closet and witnessed a woman who he referred to as 'Adler' stab him, take the drive and flee. He was then finished off with a gunshot to the head by some unknown man. This episode contains swearing. Listener discretion is advised. For merchandise and transcripts go to: www.sherlockandco.co.uk For ad-free, early access to adventures in full go to www.patreon.com/sherlockandco To get in touch via email: docjwatsonmd@gmail.com Follow me @DocJWatsonMD on twitter and BlueSky, or sherlockandcopod on TikTok, instagram and YouTube.  This podcast is property of Goalhanger Podcasts. Copyright 2025. SHERLOCK AND CO.Based on the works of Sir Arthur Conan DoylePaul Waggott as Dr. John Watson Harry Attwell as Sherlock Holmes Marta da Silva as Mariana Ametxazurra Kevin Exley as DavidMyles Le Blanque as Langdale Pike Lauren Hall as Daisy Norton Al Murray as Mark Merrilow Jasmine Kerr as Eugenia Ronder Ant McGinley as DI Tom Gregson Additional voices Adam Jarrell Joel Emery Romy Emery Written by Joel Emery Directed by Adam Jarrell Editing and Sound Design by Holy Smokes Audio Produced by Neil Fearn and Jon Gill Executive Producer Tony Pastor Learn more about your ad choices. Visit podcastchoices.com/adchoices

Valerie and Nova's story is finally told, but newfound intimacy is delicate, and that vulnerability causes questions. Ella's snooping finally reaps rewards, but the answers she finds only lead to more questions.   • Follow [The Royals of Malibu on Patreon TODAY for upcoming scripts for purchase, and much more] (https://www.patreon.com/TheRoyalsofMalibu) • Follow [The Royals of Malibu on Instagram](https://www.instagram.com/theroyalsofmalibu/) • Follow [The Royals of Malibu on TikTok](https://www.tiktok.com/@theroyalsofmalibu) • Explore more: [emeraldaudio.com](https://emeraldaudio.net/) The Royals of Malibu is a production of Emerald Audio, an imprint of Diversion, in association with Pod People. Featuring the voices of: Alyssa McKay as ELLA SINCLAIR, Chris Cafero as REED ROYAL, Nick Cafero as EASTON ROYAL, Armen Taylor as CALLUM ROYAL, Franchesca Agramonte as VALERIE GONZALEZ, Hannah Montoya as SAVANNAH GONZALEZ, Maura Vincent as DINAH / HEADMASTER BERRINGER, Stephanie Sherry as LUCY and MARGARET SINCLAIR, Jillian Kinsey as NOVA / DETECTIVE SCHMIDT / DAY PLAYER, and Daniel Lench as STEVE / DAY PLAYER. Directed by Ashton Carter, Written by Keyanna Khatiblou, Produced by Emma DeMuth, Production Management by Ashton Carter, Production Assistance by Hannah Rae Leach, Story Development by Emma DeMuth, Editorial Direction by Scott Waxman, Casting by Lindsey Ploussard, Sound Editing, Sound Design, and Engineering by Carter Woghan and Morgane Fouse, Dialogue Editing by Carter Woghan and Adam Raymonda, Theme Music by Maty Noyes, Consulting Producers: Chris Cafero and Nick Cafero, Executive Producers: Rachael King, Alyssa McKay, and Scott Waxman Learn more about your ad choices. Visit megaphone.fm/adchoices

JOE DZUBAN is a Sound Designer and Re-Recording Mixer who has worked his way up in key positions including Sound Engineer, Recordist, Dialogue Editor, Sound Effects Editor, Supervising Sound Editor, to Sound Designer and Re-Recording Mixer on over 100 movies including AQUAMAN AND THE LOST KINGDOM, THE KISSING BOOTH 1, 2 and 3; AQUAMAN, STAR TREK BEYOND, CONJURING 1 and 2, FAST AND THE FURIOUS 6 and 7 and INSIDIOUS 1 and 2. He's also been nominated for the Golden Reel Award five times.   Host Jason E. Squire is Editor of The Movie Business Book and Professor Emeritus, USC School of Cinematic Arts.Music: “The Day it All Began and it All Ended” by Pawel Feszczuk (License: CC by 4.0). 

In which Sibella has an audience with a prisoner. Necessary Evil is a miniseries set in the world of Absolutely No Adventures. It follows evil queen Sibella in her downtime between magic battles and running her seized kingdom. Episode One will premiere in the Fall. Be on the lookout for an official release date announcement! Transcript: https://anatranscripts.carrd.co/ Sibella is Blythe Renay. The Sancterran Knight is Rochelle Ibarra. Sound Design by Tal Minear. Theme music by Jakub Żerański. Written and Directed by Destiny Howell. Learn more at https://noadventurespod.com or on our Bluesky, @noadventurespod.

Η Εύη Γατίδου βρέθηκε δολοφονημένη στο σπίτι της το βράδυ της 1ης Οκτωβρίου του 1997 από τέσσερις συμφοιτητές της, οι οποίοι είχαν αρχίσει να ανησυχούν, καθώς η Γατίδου δεν είχε κανένα σημείο ζωής από το Σαββάτο στις 27 Σεπτεμβρίου. Όταν οι συμφοιτητές της μπήκαν μέσα στο διαμέρισμα με τη βοήθεια ενός κλειδαρά, αντίκρισαν ένα αποτρόπαιο θέαμα, με τη Γατίδου να βρίσκεται κάθετα στο κρεβάτι της κατακρεουργημένη μέσα σε μια λίμνη αίματος.Σύμφωνα με τον ιατροδικαστή Δημήτρη Ψαρούλη που ανέλαβε τη νεκροψία, η Γατίδου είχε δεχθεί 104 μαχαιριές, πιθανότατα από χαρτοκόπτη, με τις 48 από αυτές να είναι γύρω από την καρδιά. Στην έκθεσή του οιατροδικαστήςεκτίμησε ότι η Γατίδου δολοφονήθηκε το βράδυ του Σαββάτου στις 27 Σεπτεμβρίου 1997 με απώτερο χρόνο θανάτου το μεσημέρι της Κυριακής. Ωστόσο οι δύο ιατροδικαστές Φίλιππος Kουτσάφτης και Nίκος Kαλόγριας που κλήθηκαν στο Μικτό Ορκωτό Εφετείο Λάρισας κατέθεσαν ότι ο χρόνος θανάτου με βάση τα δεδομένα της έκθεσης Ψαρούλη, αλλά και τα στοιχεία της Εθνικής Μετεωρολογικής Υπηρεσίας για τις καιρικές συνθήκες που επικρατούσαν εκείνες τις ημέρες στη Λάρισα, εκτίμησαν ότι η Εύη Γατίδου δολοφονήθηκε την Κυριακή 28 Σεπτεμβρίου και με απώτερο χρόνο θανάτου το μεσημέρι της Δευτέρας 29 Σεπτεμβρίου.Για την άγρια δολοφονία της κατηγορήθηκε ο Γεώργιος Ζηρδέλης, ο οποίοςτότε εργαζόταν ως διανομέας στην τοπικήεφημερίδατης Λάρισας «Ημερήσιος Κήρυκας», είχε δείξει να ενδιαφέρεται για τη Γατίδου και της είχε κάνει τρεις προτάσεις γάμου,με την τελευταία να ήταν το βράδυ της Παρασκευής, 26 Σεπτεμβρίου 1997. Το γεγονός ότι η Γατίδου απέρριψε και τις τρεις προτάσεις γάμου κρίθηκε από τις διωκτικές αρχές ως το κίνητρο του Ζηρδέλη για να τη δολοφονήσει.Το 2005 καταδικάστηκεπρωτόδικα σε ισόβια κάθειρξη με ψήφους 7-0, αλλά αθωώθηκε στη συνέχεια από το Μεικτό Ορκωτό Εφετείο Λάρισας πάλι με ψήφους 7-0.ΣυντελεστέςΈρευνα - Κείμενο: Μιμή ΦιλιππίδηΑφήγηση, SoundDesign, Ηχοληψία: Δάφνη Γερογιάννη 

It's Part One of our Way Too Early 2025-26 Oscars Predictions Special, or Guarantees Special as we should have called it. Screenplays, VFX, Sound, Score, Song, the Shorts, yes - The Shorts, Make-up & Hairstyling, plus Lead Actor and Actress are all discussed. Original Screenplay reveals films where we're heavy + where Vegas leans - 3:07 Adapted Screenplay includes former winners, noms + a UFC champ - 11:37 VFX w/ Avatar & F1 + sentimental favorites & trailers that look good to us - 18:00 Sound Design w/ F1 as the favorite + other blockbusters - 23:00 Original Score has a murderers row of legendary contenders - 25:22 Original Song includes multiples by two films + the Diane Warren rule - 28:48 Documentary Short included the most research ever - 31:48 Animated Short included the least research ever - 35:09 Live Action Short is as clear a vision into the future as we've ever had - 36:44 Make-up & Hairstyling where we share 4 noms, but talk honorable mentions more - 39:26 Lead Actor has huge stars and irrational confidence levels from us in our picks - 41:05 Lead Actress - 47:07 OUTRO - 55:00 - Make sure to go back to the rest of our Oscars Year In Preview Series. We have specials to preview each section of the calendar, plus a Sundance review and a Cannes preview. Also stay locked on our feed for Part Two, where we'll predict the Supportings, Director, Casting, Best Picture and the rest of the 24 Oscar categories. And as always, let us know your thoughts, comments, questions, concerns, and your predictions via our socials. https://linktr.ee/mikemikeandoscar

“What a daze I was in when I read your last letter.”⁠Subscribe here to be notified when the postman's come.⁠James Cavell played by Darren BrownCabin Boy played by Micah StockAdapted from the novel 'Dearest' by ⁠Michael London⁠Production, Editing, & Sound Design by ⁠George Drake, Jr.⁠Music Composition by Mustafa ShaheenThis series was made possible by a generous grant from the ⁠Montgomery County Arts & Cultural District⁠ with assistance from ⁠Culture Works⁠. This episode of Dearest features the following sounds from ⁠Freesound.org:Afternoon on the Dock.mp3 by chris5s, Page Turn by IENBA, Emotional Original Soundtrack - HOME by Magmi.Soundtracks, piano_longverb_ambient.aif by james_longley, Storm by crooner, Ambi - rain on tent sail thunder with reverb from... by jaap.sijben, Canadian Horse Carriage.wav by vero.marengere

Welcome to Episode 69 of The Larry Ohh Show! In this episode, we talk to our friend Kelwin Pacheco (KelKeyz) and how he has had a ton of successdoing voiceover work through social media content.Shoing that you can do anything in the music buisness, you just have to stick with it, show up everyday, and be consistant!Check out RIME by @GeorgNeumannGmbH: https://bit.ly/4j6gySIKelwin Pacheco Reyes (KelKeyz) SocialsWEBSITE: https://www.kelkeyz.com/TIKTOK: https://www.tiktok.com/@kelkeyzINSTAGRAM: https://www.instagram.com/kelkeyz/Must Have Producer Tools: http://yahelpme.com Leave us a voicemail: 401-903-8714Join the producer community "might delete later": https://x.com/i/communities/1886169333669191933This is a weekly podcast where we talk about everything FL Studio and music production!Larry Ohh (Host):https://instagram.com/larryohhJohn Phelps (Co-Host):@ItsJohnPhelps on TikTok@ItsJohnPhelps on IGhttps://itsjohnphelps.comEdited by: https://www.instagram.com/prodkeyano/?hl=en0:00 Intro: Preview of voiceover work and sound design2:15 Kelwin's journey into music production and voiceover5:32 Back to The Lario Show: Celebrating 30 years of A Goofy Movie7:36 Playing the recreated "Eye to Eye" beat from A Goofy Movie10:03 Breaking down the beat with Steven Slate SSD drums and samples13:10 Matching the 80s/90s vibe with reverb and production16:00 Using FL Studio on Mac and workflow differences18:03 - Playing soloed vocals for "Eye to Eye" with 80s reverb21:04 Breaking down vocal harmonies and panning techniques24:02 Kelwin's multifaceted skills: Voice acting, singing, and editing27:22 Playing a video game demo with alien voiceover and sound design30:46 Success of the "I'm Still Standing" voiceover from Sing33:26 Demonstrating the voiceover process with Logic's stem splitter36:02 Suggestion: Using transcription for voiceover scripts39:27 Connecting with the voiceover community and upcoming collabs42:29 - Success with Fairly Odd Parents' Icky Vicky voiceover45:55 Playing the Shiny Teeth voiceover from Fairly Odd Parents47:03 Kelwin plugs his socials, website, and upcoming projects50:22 Final thanks and excitement for future opportunitiesThe Boiler Room Studiohttps://theBoilerRoomStudio.com#neumann #neumannberlin #rime #immersive #mixing #mixandmaster

When Reid and Maria visit Kokorov at the palace it's clear he and the Ambassador have a special relationship. Could Maria and Natsev be on course for a similar alliance but along different lines? New alliances formed and previous suspicions now confirmed, it's time for Maria to make a decision about her next steps.Maria...Sinead Keenan Reid...Kevin McNally President Kokorov..John Albasiny Maria's Father...Piotr Baumann Gilroy...Sean Rigby Natsev...Avital LvovaAll other roles by Eddie Toll, Anna Krippa, Ani Russo and Hana Zidek Written by Chris Brandon Produced by Claire Broughton Direction, Sound Design and additional production by John Wakefield The Executive Producer is Jed Mercurio.With thanks to Theresa Bubbear and Leigh Turner for their testimony and Tanya Nedashkovskaya for her translations.A Hat Trick production for BBC Radio 4

Read by Marcus Ellsworth Production and Sound Design by Kevin Seaman

We got on our motorcycle and rode around the city in No More Heroes! Developer: Grasshopper Manufacture | Publisher: Ubisoft/XSEED | Initial Release: January 22, 2008 Jacob, Travis and special guest Seth Strugill from All N Media and Carpool Gaming sit in our gross apartment, suplex fools and shake our beam katana to recharge. PLAYERS: Jacob McCourt (Bluesky) Travis Colenutt (Bluesky) SPECIAL GUEST: Seth Sturgill (Bluesky) from Carpool Gaming and All N Media Web: LeftBehindGame.Club | Twitter: @LeftBehindClub | Bluesky: leftbehindgameclub.bsky.social TIMESTAMPS: 0:00 - Intro 1:45 - Intro to Seth Sturgill 4:00 - Fast Pitch 7:30 - Gameplay Overview 15:30 - 2000s Era Open Worlds 18:10 - Suda51 and David Lynch 22:15 - Other NHM Games 25:00 - Combat 29:45 - Motion Controls 30:30 - Sound Design 32:50 - Appreciating NMH 36:40 - Destroyman 40:30 - The Spoiler Wall 41:10 - Holly Summers 47:00 - Bad Girl 49:30 - Suda51's Other Games 55:00 - Jeane 1:01:50 - Henry 1:03:15 - Side Jobs 1:05:00 - Reviews 1:11:50 Outro & PAX East 2025 RESOURCES: Review: No More Heroes & No More Heroes 2: Desperate Struggle via Destructoid No More Heroes Review via Nintendo Life DISCORD: The Left Behind Game Club is a monthly game club podcast focusing on positivity & community. To talk to members of the community, join our Discord server!

Diese Folge ist eine besondere Folge für mich, weil ich noch nie einen Gast hatte, den ich schon vor der Aufzeichnung so lange und gut kannte. Dachte ich zumindest. Hubertus Koch ist nämlich auch Journalist, auch Mitte 30, und stammt wie ich aus dem Münsterland. Darüber haben wir gebonded, als wir uns vor bald 10 Jahren bei funk kennengelernt haben. Er war Reporter beim Y-Kollektiv und hatte später auch einen eigenen funk-Kanal auf Youtube, “Einigkeit & Rap & Freiheit”, und ich hab damals gerade Deutschland3000 gestartet. Da könnte man meinen, cool, zwei sehr ähnliche Lebenswege! Aber wie ich jetzt wieder gemerkt habe, gibt's doch auch ganz schön viel, worin wir uns krass unterscheiden. Hubi hat ein paar Erfahrungen in seinem Leben gesammelt, um die ich ihn echt nicht beneide. Mit Anfang 20 war er für eine Reportage in Syrien und hat da Dinge erlebt und gesehen, die er lange nur schwer verarbeiten konnte. Außerdem hat er mir erzählt, dass es ein paar Jahre in seinen Zwanzigern gab, in denen er täglich besoffen oder bekifft war. Als “suchtveranlagt” beschreibt er sich selbst, und mich hat überrascht, dass die schlimmste von allen Drogen, von denen er abhängig war oder es sogar noch ist, nochmal eine ganz andere ist als Alkohol, Cannabis oder irgendwelche Pillen. Es ist eine, mit der ihr vermutlich auch tagtäglich in Berührung kommt.   Jetzt hat Hubi jedenfalls gerade ein Buch veröffentlicht: “Lost Boy” heißt es und handelt davon, wie er kurz vor seinem 30. Geburtstag aus seinem alten Leben ausgebrochen ist, auf eine große Reise durch Osteuropa. Und so haben wir nicht nur über Reportage-Einsätze und Drogenexzesse gesprochen, sondern auch darüber, was eine gute Reise ausmacht. Was passieren kann, wenn man sein Hobby zum Beruf macht. Und wie lost Hubi heute, fünf Jahre später, noch ist.  Also, hier kommt ‘ne gute Stunde mit Hubi Koch. ►►► Deutschland3000 Instagram: @deutschland3000 https://www.instagram.com/deutschland3000 Hubertus Koch Instagram: @hubi_koch https://www.instagram.com/hubi_koch Eva Schulz Instagram: @evaschulz https://www.instagram.com/evaschulz/ ►►► Die Deutschland3000-Folge mit Maja Göpel findet ihr hier:https://www.ardaudiothek.de/episode/deutschland3000-ne-gute-stunde-mit-eva-schulz/warum-spielt-klima-bei-der-bundestagswahl-k-eine-rolle-maja-goepel/n-joy/14168921/ Den Podcast „Die Entscheidung – Politik, die uns bis heute prägt“ gibt‘s hier: https://www.ardaudiothek.de/sendung/die-entscheidung-politik-die-uns-bis-heute-praegt/57448438/ Die Filme von Hubertus Koch findet ihr hier:https://www.youtube.com/playlist?list=PLIZ5iDLdZoOWvkwpHzS_7YMLC7YsylO5l ►►► Redaktion: Gina Maria Thoneick, Merle Hömberg und Ruby-Ann Schwiethal Gäste-Management: Axel Schöning Produktion: Merle Hömberg und Axel Schöning Social Media: Kim Vanessa Schang und das Sounddesign kommt von Soundquadrat. Deutschland3000 – ‘ne gute Stunde mit Eva Schulz" ist ein Podcast von N-JOY vom NDR.

Skip the Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them increase their visitor numbers. Your host is Paul Marden.If you like what you hear, you can subscribe on iTunes, Spotify, and all the usual channels by searching Skip the Queue or visit our website SkiptheQueue.fm.If you've enjoyed this podcast, please leave us a five star review, it really helps others find us. And remember to follow us on Twitter  or Bluesky for your chance to win the books that have been mentioned in this podcast.Competition ends on 21st May 2025. The winner will be contacted via Bluesky. Show references: Museum Wales website: https://museum.wales/Big Pit National Coal Museum: https://museum.wales/bigpit/Catherine Pinkerton LinkedIn: https://www.linkedin.com/in/catherine-pinkerton-b1905a110/Catherine Pinkerton is the Group Retail Manager at Amgueddfa Cymru - Museum Wales.Having worked in senior management positions for some of the high street's most recognisable brands such as Harrods, Selfridges, Dior and Guerlain to name but a few, Catherine spent 20+ years in London building her management career. Catherine is now the Group Retail Manager for Amgueddfa Cymru (Museum Wales). She is responsible for the management of all aspects of retail operations and development, across the national museums of Wales. Catherine is currently leading on a transformation project to create immersive retail experiences in each of the museum shops, reflecting the visitor experience and collections of each of the varied museums.Guests Also Featured in This Episode:Anya Kirkby, Freelancer - Anya Kirkby Ltd – Product Development and Graphic Design anyakirkby@gmail.comArantxa Garcia, Freelancer - Exibeo VM Creative Studio – Shop Design and Visual Merchandising Arantxa@exhibeovm.co.ukNia Elias, Director Relationships and Funding, Amgueddfa Cymru nia.elias@museumwales.ac.ukGuy Veale, Freelancer – Freelancer - Sound artist/designer - gbveale@gmail.comAmy Samways, Shop Supervisor, Amgueddfa Cymru - amy.samways@museumwales.ac.ukKate Eden, Chair, Amgueddfa Cymru - Members of Board | Museum Wales Transcriptions: Paul Marden: Welcome to Skip the Queue. I'm your host, Paul Marden. So today you join me on the top of a mountain in Blaenavon in Wales at Big Pit, the National Mining Museum. I'm here today for a really special event. I've been invited to the opening of Big Pit's new Museum Retail experience, which is a programme of work that's being done by the Museums Wales Group to improve the sense of place and the sense of feeling for what could be a blueprint for the rest of the group. We're going to be joined by a number of different people that have taken part in the project and without further ado, let's get started on our tour of Big Pit. Catherine Pinkerton: Morning, everybody. Hello, welcome. It is my absolute pleasure to welcome you all today and I know there's been a lot of you'd have travelled far and wide, so thank you so much for your time. I really appreciate you coming to see the amazing store that we've created and I hope you love it. We're just going to cut the river now. Paul Marden: First up I've got Catherine Pinkerton, Group Head of Retail at Museum Wales. Catherine, welcome to Skip the Queue. Catherine Pinkerton: Thank you very much. Thank you so much for having me. Paul Marden: Absolute pleasure. And this is a corker of an episode. I think everybody is going to be really interested in finding out about the retail, the gift shop experience that you guys have introduced at Big Pit and then you're going to go wider into. Into Museums Wales. This is a really weird episode because you and I are recording the morning after the day before. So yesterday was the big launch event and I was with you at Big Pit and I've met lots and lots of people and we're going to cut to them throughout the episode and hear from those people that were taking part in the project. But you and I have got the benefit of having enjoyed yester today's event and we can look back on what that experience was like and talk a little bit about the project. Paul Marden: Before we do that, I think it would be really lovely for you to introduce yourself and tell us a little bit about Museums Wales and Big Pit specifically. Catherine Pinkerton: Absolutely. Okay. So I'm Catherine Pinkerton. So I head up all of the retail stores within Amgueddfa Cymru, which is National Museums of Wales. I've been with the museum just under three years and I'm good that Cymru hosts seven sites. It's an incredible establishment to be part of and I think, you know, coming from a very commercial background, this is very different for me, but I think it's given me lots of insights into bringing kind of. Lots of. Kind of different skill sets, I guess, to this cultural sector. I think when I first initially joined Amgueddfa Cymru, there were lots of challenges. And that's not to say that we still have those challenges as they are in many of our museums. And I think coming from a retail background, it's. It's looking at something that's not. That's commercial, Paul.Catherine Pinkerton: That's key. But actually, how can we make it very collection and story based on our amazing assets that we hold within our museums? And I think that I felt was probably the biggest thing that was missing because I thought we've got these amazing exhibitions, these amazing collections, amazing, you know, opportunities, and how are we putting that into the retail structure and how do we offer that to us, you know, to our visitors? And I think. I think sometimes it may be. Have forgotten that you go around these amazing spaces and it's very based on that visitor focus and how can we make that visitor feel very happy and engaged. But actually the end part of that process is nearly always coming through, exiting through the retail space. Right. Catherine Pinkerton: And if they've had this amazing opportunity to go and, you know, a lot of investment in these amazing spaces, and then they come through that retail space which has some elements, but not all of what our collections hold, there's a confusion there. You know, that end piece. And for me, customer service and visitor experience is absolutely key to how they. How they finish and how they end their day. And if they're ending their day with something, oh, okay, I'll just have a magnet then. Because there's nothing really else here. Yeah, that pains me. That really hurts me. I think, come on, guys, we can do better than this. We are in an element of. We have our own assets, our own elements to be able to kind of display that. Catherine Pinkerton:  And I think very much it would be very easy and to take the kind of easy road of having, you know, let's. Let's pop a dragon on a mug and yeah, we're a Welsh museum. No, we're not. We have assets here. We have beautiful exhibitions, we have beautiful spaces. And actually looking from further afield into. In terms of an emotional connection. And I think, you know, for me, from all of my past kind of previous work, I'm working with Amgueddfa Cymru. It's probably been the most challenging to get perhaps senior management to understand a crazy way of Catherine Pinkerton working into a. What's emotional retail? What does emotive selling mean? This lady is crazy. What's she talking about? But actually, it's really basic, isn't it? Catherine Pinkerton: Because for me, if I take my daughter or my husband to any kind of day trip, I want to take something emotional that I've connected with home with me, and that's so simple. But actually, sometimes it's not thought about in that way. And, you know, for me, I'm all about the emotional connection. And I think we put so much investment in curatorial teams to kind of give that to our visitors. We need to end that. That end part is so important for them to finish, you know, that journey with that emotional connection that they can take home as a souvenir. So, yeah, I've probably said more than I needed to there, Paul, but.Paul Marden: Absolutely. So I think you're capturing the need to curate the. The ending experience because, you know, the nature of. The nature of people's memory is they remember the beginning and they remember the end and the bit that is in the middle is hugely important to the storytelling experience they have whilst they're at the attraction. But if you don't end on a high, then their emotional connection to you and the space and the stories they've heard is not going to be as impactful for them. Catherine Pinkerton:  Absolutely, totally agree. I think it's really key, and not just in the kind of, you know, the cultural sector, but in any sector, really. I think it's really important that connection is instant, really, because that is what you need to. That's the hook, isn't it, of getting that person, you know, and. And actually understanding what the visitor needs. I mean, it's very easy for me to say on a personal level, I'd love to have this collection of products within the shop, but actually, that's not what data tells us. That's not what our demographic tells know, you know. And they are the ones that are important. Our local communities, our demographic is key for us to be successful. Paul Marden: You know, so one of the things that I took from yesterday was the importance that you were moving away from being just any other generic Welsh gift shop to being a gift shop associated with the place. Yeah, that. That's the. That was the nub of I think, what you were trying to get to how do you go about doing that? How did you make it feel so much like a gift shop? About Big Pit? Catherine Pinkerton: It's taken a process of really pulling everything back and getting under the skin, what is the detail and the personality of the site. But actually it's talking to people and being humour. And Paul, you know, I think, very much, as I say, it'd be very ignorant for me to say this is what I think will work. And that's absolutely not what we want. What we want is for the visitors to say, I really. I mean, what was really interesting, actually, is that we did quite a lot of data analysis in terms of the demographics of customers that come through our sites. But also what was really key is areas of the sites that were really kind of, you know, three key areas that they really enjoyed or they really loved. Catherine Pinkerton:  And actually, one of the top ones was the pit ponies that they all love the pit ponies, they love talking about it, they love the stories that the mining team would talk about. It was a really inspiring, you know, inspirational moment for them to think, oh, my gosh, the pit ponies lived underground. This is really so, you know, I think in some respects that was probably missed in terms of our retail offer, because what we did after that is that we had a workshop with all our retail team and we almost did a little bit like a Dragon's Den effect. We said, right, these are the products that we have, right? Can you pick up out of these products, which products represent the pit ponies? Which products represent the shower rooms? Catherine Pinkerton: And actually, when you're talking to the teams in kind of a literal sense, there wasn't a lot within our retail offer that we already had. And I think it was a bit of a light bulb moment, really, for the retail team and said, “Oh, Kath. Right, I see, Yeah, I understand what you mean.” That's not represented in our retail offer. So what's represented currently was wonderful things and lots of Welsh kind of products. But actually, what. What makes that relatable to our site? And so I think what I wanted to do originally is just go on a journey and to kind of really, from a very basic stage, is understand what the site's POS was and actually understand what their personality was and what the curatorial team were trying to push forward as being their identity. Catherine Pinkerton:  And I think once we got the identity, we then broke that down into themes in terms of there's pit ponies. That's a huge part of the, you know, the exhibition. The other huge part of the exhibition were the canaries. So, you know, that was something that was talked about. There's a huge story around that. And then, you know, the kind of mining history and the community was massive. And actually that element was so important to me and the retail team to make sure that we got right. Because this is history, right? And this is. I come from both my grandparents were miners. So for me it was very much a, you know, a very emotional time for me to make sure that we got it right and that it was respectfully done. Catherine Pinkerton:  So that was really key in terms of how do we deliver this. That's really. That we are not stepping on people's toes. We're not profiting from something that was, you know, the strike range is very significant within what we've offered, but we really wanted to make sure that was respectful and that it was done in a tasteful way that people felt they could take a souvenir away, but know that was actually part of the exhibition. So it was those kind of areas that we really wanted to work. So once we have those themes in place in terms of what those looked like, it was then developing that and how do we develop that into an actual concept? Paul Marden: Yeah, and you've drawn in lots of people. You've already mentioned the kind of wide team that you brought in from Big Pit itself, but from the wider team in the group. Talk a little bit about what that experience has been like as a team. Who have you brought into this? Catherine Pinkerton:  So originally, when we wrote the retail concept and the retail strategy, you obviously have to kind of involve quite a lot of internal candidates to be able to allow them to believe that this journey and vision is a good one. And I'm super thankful. I've got the most amazing manager, Marc Simcox. He's the head of enterprises and he is incredible. He's very commercial, but very trusting in terms of understanding what the business should look like and actually giving that freedom to say, yeah, I think this can work. Kath. So you, you go ahead and that. That's huge. Right. We're not talking about a small project here. So that firstly was great for me. And then I think having the, you know, the opportunity to be able to get some key people. Catherine Pinkerton: And Matthew Henderson we've worked with previously and we've, you know, I knew straight away, for me, Matthew Henderson has gotten. Got a very unique way of working and we work very well together. We've got quite similar kind of ways of working, but I think that development and concept phase is really key and I think it really got to the point where we just sat in a room and kind of really understood what are we trying to achieve here, how can we achieve that? And really just making it very basic in terms of the key themes. And then in terms of product development, we brought on Anya Kirkby. So she is an illustrator and a very clever lady indeed. And we have worked with lots of illustrators and lots of suppliers over the years. Catherine Pinkerton: But what we wanted something for Big Pit was to be quite different in terms of the illustration and the product development. Because what we wanted to deliver with Big Pit was something that had been my vision since the very beginning when I started with Amgueddfa Cymru. And that is, you know, going into the shop and having those guidelines, you know, pricing guidelines, information guidelines, those small details which would probably mean nothing to the average person walking through, but actually a price ticket on something that's been illustrated pains me to see, because the work that's gone on behind that is so key. Catherine Pinkerton: And, you know, for most people not understanding that a price ticket on that is so I think those details are really key, Paul, and I think she really worked stringently with me to make sure that was, was, that was kind of a massive aspect of that role. And then Arantxa Garcia, who is just the most incredible designer. She's, she's a genius in what she does. She's incredibly creative and sometimes you have to kind of pull her back and say, okay, you want this? Okay, can you deliver this rancher? Paul Marden: Yeah. Catherine Pinkerton: And what was really interesting with a rancher is that, you know, she's got a huge, amazing CV of working with lots of people within the cultural sector and designing amazing, incredible pieces. But I think were very nervous because the, the original kind of renders that she sent through to us were quite amazing and impressive. And I said, arantha, are you able to deliver this under the kind of, you know, the budget? We've got a tight budget here. Paul Marden: That's the challenge, isn't it? Catherine Pinkerton: I mean, isn't it? Paul Marden: You do not want to be paying, you don't want to be offered the picture of a Maserati when you have got a Ford Fiesta budget, do you need to know that you can afford it. Catherine Pinkerton: Absolutely. And I think with Aranta, she was very, again, super creative lady. And I think I, as soon as I saw that image, I did say to her, right, you need to deliver this now. You've, you've committed to it, Arantia, so this needs to happen. And then finally, Richard Evans, who has, is hugely respected in the cultural sector and he really supported in terms of project management and the, you know, I hate to say this, and you won't mind me saying this, but the kind of boring kind of financial Gantt charts and keeping me in line actually. Right, Cath, we haven't got a budget for that. You can't spend that. Come on, Richard, make it work. Move some things around, you know. Catherine Pinkerton: So I think that was kind of the main area and then internally, Tracy Lucas, who was kind of my right hand woman, is our operations manager within Amgueddfa Cymru and she really supported me along with Amy, the shop manager, shop supervisor to really look at the product development. So I think, you know, and I think it was really nice actually to have them on board because I think it gave an opportunity for them to see what could be. And I think, you know, definitely in terms of retail, it's been an opportunity for us to be able to say, look, this, the impossible can be possible. Catherine Pinkerton: Actually this is an amazing project and I think what was really incredible is that when we decided to work on Big Pit, the Big Pit team and all of the mining team actually just came on board, Paul, they took it on board and I think the reason why they did that is that one of the mining teams said to me, he said, kath, you know, we never get any funding here. It's always in this big cities, you know, we, the Cardiff and it's never here, you know, we're just in the middle of nowhere. And I was like, absolutely not. That is not what this is about. It's about, you know, making sure that the community in that area is solid. Catherine Pinkerton: And I think the mining industry and they're very proud of that in terms of who works there, they're incredibly proud of what they do. And so because we chose that as our first project, they were so helpful in terms of, yeah, we're going to make this work, let's make it a success. Cath, how can we do that? What do you need from me? I mean at one point we had two of the mining staff pulling one of the drums which we upcycled out of it was like a lake or, yeah, I suppose a lake with a tractor. And I was like, this is crazy. This is crazy but just amazing that these team members are willing to do above and beyond to kind of go and help and support.Catherine Pinkerton: Dwayne Smith, finally I have to mention him because he went above and beyond. He, he's an electrical engineer for Amgueddfa Cymru and no feat was kind of Too hard for him. He helped us massively. He's got a huge team of people and anything that we needed done, I'm not, you know, I'm not a trades person, so anything Trady. I was like, Dwayne, yeah, I'm on it, Kath, I'll do it. Which is great because I was like, okay, yes, that was massively helpful, but huge learning curve, Paul. I feel I've never been so excited about drums in my entire working career as I am now. Paul Marden: And I never heard of one until yesterday. But what I found interesting was you see them all the way through the underground experience. I went down in the. The cage to the bottom of the pit head, did the whole tour. You talk about these drams and the importance of them and the transportation of the coal from throughout the mine back up to the top. And then you walk into the shop and it's subtle. The way that you've blended the museum into the shop is a subtle experience. It doesn't feel, it doesn't feel crude. But you've got a dram in the middle of the workshop. Now, I know it's a real one because we talked about it yesterday and I know the pains that you went through, but it's very subtle placed in there so that it doesn't feel crude. Paul Marden: It doesn't feel like you're trying to overwork the metaphor of the mine in the shop. It's very cleverly done. Catherine Pinkerton:  Oh, that's great, great, great to hear. Because that's absolutely what we did not want. And I think in terms of visual merchandising, actually, and picking up on your point there, is that it's very easy for us and this is something that we're doing in a different shop. It's very easy for us to look at some of our assets and pop them on a tote bag and say, there you go, that's done, we'll sell that. But actually, no, what can we do that's different? That's more kind of innovative? That's more creative. That is a hint or perhaps an opportunity for us to show and display something that is. Is then part of the visitors question. So when they're coming into store and they're speaking to our retail teams, they're questioning, is this a real drum? Catherine Pinkerton:  You know, and that is a conversation opener, isn't it? You know, and I think Kerry Thompson, who is the curator for Big Pit, he's a really inspiring man. I could listen to him all day. And he told me lots about kind of the drums and the history of Big Pit and the strikes. He's such an interesting man, but I think having the inspiration from him allowed us to make sure that we did it not in a crude way, actually, Paul, but that it was representative of the site, but not in a way that's, I guess, too obvious, you know. Paul Marden: Look, Kath, we could carry on talking for ages, but let's cut at this point to hear about some of the voices from the team that you worked with, your internal team, some of the partners that you worked with, about the experiences that they've had on the project. Paul Marden: So let's hear from some of the internal team members involved in the project. Firstly, we have Amy Samways, the retail supervisor at Big Pit, followed by Kate Eden, the chair of Museum Wales. And lastly, Nia Elias, the Director of Relationships and Funding at the Museum of Wales. Hey, Amy, how you doing? Lovely to meet you. What's your role at the museum, Amy? Amy Samways: I'm the shop supervisor for Big Pit. Paul Marden: What have you been doing in this whole project? I guess you've been integral to the whole kind of making it all about the place. Amy Samways: Yeah, so I've worked with Anya, who did all the products for the new shop. So we walked around all the exhibitions. We did a lot of underground visits and a lot of museum visits and just put things together. I've done a lot of work before this project for the last two years to try and get things more relevant to us and not just a Welsh souvenir shop. So a lot of those products stayed and then we just expanded them then. Paul Marden: So how do you go about looking for those products that make it local to here? Amy Samways: Well, we've got a fantastic exhibition at the top of the hill. We've got obviously our ex miners and we also have a lot of events through the times as well. So this year was a lot about the strike because obviously it's the 40th anniversary and we've got a massive exhibition down in Cardiff and also there's a smaller one up year as well. So we just walked through the museum and obviously, you know that disasters are obviously a big issue. We didn't want to make a big issue about those, but obviously they need. They're part of history, aren't they? So more books. We made sure we had books around that. And as you walk through, there's a lot of signs that the staff liked as well, because a lot of our guys have been done about the new projects with those as well on. Paul Marden: So do you then go looking for local suppliers to help you with that? And where do you find those? Amy Samways: Etsy, Facebook. Paul Marden: Oh, really? Amy Samways: Yeah, a lot of them. And also online. And then we've also. Because we work with a lot of suppliers as well, I'll say we need this and then they'll say, oh, you should ask so and so, and then we'll go and ask both. Paul Marden: Brilliant. So one of the things that's really interested me this year is talking to people that are running museum retail and that kind of process that goes from you as a buyer, having an idea, what do you want? How do you stock the shop? I think is really interesting process to go through, but flip it on the other side, as a local creator, you've got your thing and you want it in the shop. How do you get it found? Well, yeah, sticking it on Etsy is something that they're going to do, but then that might help them get into the museum. Amy Samways: Even if there is something that we want. Like at the minute, we're looking for NCB soap. Paul Marden: For what? Amy Samways: NCB soap. Paul Marden: What's that? Amy Samways: It's either bright green or bright pink and they used to buy it in the canteen shop and it's just imprinted with NCB. The guides have been asking and asking for it, but we have actually found a supplier now who's going to be working on it. So that should be coming this summer. Paul Marden: Wowzers. Amy Samways: Yeah. That's really exciting for you. Paul Marden:  What was the highlight? What's the one thing about this space, about the whole experience of the project. Amy Samways: That jumps out for me is seeing all the stock we've worked on and somebody actually buying it. Paul Marden:  And what is it that people are picking up? What are they walking in and gravitating to? Amy Samways: Anything Big pet, really. The little enamel little mugs have gone really well. I think the wording on those are great because it says they must not be removed from the premises. So our guides are loving those. And also our retro sign, which we had for our 40th anniversary and three years ago, but we kept it because it's such a brilliant design. It was the original from 1983 and it was on the original road sign as you drove in. So we've had that recreated and that sells really well. Paul Marden:  That's really interesting. So my wife with the family about 25, 30 years ago, came on a family holiday and they had the original guidebook that they picked up when they were here with the kind of the retro. Retro signage on there. Amy Samways: Yeah, we're back selling it again. Kate Eden: Yes, So my name's Kate Eden. I'm chair of the board of Amgueddfa Cymru. Paul Marden:  Tell me a little bit about your involvement in this project. Kate Eden:  As the board, we've been tracking the development of commercial and enterprises over the past year. Really. And really thrown our way, weight and support behind what the team has been trying to do here as a kind of flagship, really, for what we would all like the new benchmark to be across all of the seven sites of anger for Cymru. So seeing it all come together this morning has just been such a special experience. It's absolutely fantastic. I'm going to bring the rest of the board here as soon as I can so the trustees can see this and see the reaction of staff and of visitors as well, because it's a fabulous achievement and it shows us what we can do now as a national museum. Paul Marden: How well does it tie back into the original pitch at trustees? So I'm a trustee of a charity as well. The pressures that we're all under in terms of reducing funding and having to generate our own funding is so hugely important. This must be integral to the conversations that you were having as trustees. Did you have this in mind when you were signing off the agreement to spend the money? Kate Eden: Yeah. So I don't think anybody realised just how successful this could be. We'd had some mock ups and we'd had a presentation, so there was a lot of excitement and there was sort of the fledgling idea years. So we've got a sense of what it could be. But I think importantly for us, it's about that marriage of financial sustainability because it's got to wash its face, it's got to provide a working profit that can go back into the running of Big Pit here.Kate Eden: But it's got to be authentic to this place. It can't be the add on the visitor should shop that you walk through at the end. And it's a bit of a tedious thing to get back to the car park. It's got to be an integral part of the whole visitor experience in this place. And I think that's what they've achieved. Paul Marden: It's so impressive. So impressive. You know, just the structure that they've built to give you the impression of the mine in a really subtle way. The product that they've chosen, the way that they've laid out that, the shop is amazing. I think they've done an amazing job. Kate Eden: That's it. I mean, this is my local site. Paul Marden: Okay. Kate Eden: I live about three miles over the mountain there. So I bring my friends and family here. This is our go to place when I've got visitors. And I think just the way they've opened up the room, they've removed the barriers, which is really important. It's a small thing, but really important so that people feel welcome. They can walk in or they can walk ground. Paul Marden: Yep. Kate Eden: And it's. And it just feels a little bit more inclusive. It feels a bit more kind of, you know, we're here, it's easy to come and see us, you know, and spend time and then spend a little. Paul Marden: A little bit of money. Yeah. So where do we go from here as trustees? Are you fully behind rolling this out now? Kate Eden: Yeah, I mean, I think now that we've seen what we can do and the type of data that's coming through from sales, this is now the new. This is the bar. Paul Marden: Oh. So it has made a discernible difference to say. Kate Eden: So early data from Easter is really promising. Yeah. So this is the benchmark now from all of the other sites. Nia Elias: Hi, Paul. Hi, I'm Nia. Paul Marden: Lovely to meet you. Tell me about your role at the museum. Nia Elias: I am Director of Relationships and Funding. It basically means I get to work with all of the teams across the museum that work on the reputation, the reach, but also the revenue of this wonderful charity and national museum that we are. Because as well as getting funding from Welsh government, we raise our own income so it can be invested.Paul Marden: What sort of split? Nia Elias: What sort of split? So the majority of the money that comes to us does come from Welsh government because we're a public service, we're here free of charge for the people of Wales and we look after the national collection, which is over 5 million items across seven museums and a collection centre. Nia Elias: But there's a proportion then of money that we raise ourselves about sort of 30%, which is from our cafes and our car parks and the experiences that people have, and most importantly, our shops. Paul Marden:  So what was the inspiration for this project? Why kick off a strategy project around the whole retail experience? Nia Elias:  Well, this whole project, in essence started three and a half years ago when the museum decided that it would bring a strategy together for all of its self generated income. So that means our philanthropic income generation and through our enterprise, including our retail. And from a retail perspective, we knew that what we wanted to achieve with all of the money that we raise ourselves is that it's really rooted in the collection, because we have an amazing collection. It tells the story of Wales and it's owned by the people of Wales. Paul Marden: Right. Nia Elias: And from a retail perspective, we knew if people could engage with that and could take away something from the wonderful experience that they've had on site, that it would be something that they would want and it would make it unique that it's only possible to have here. Developing a project like this is quite challenging. You need the time, you need the teams and expertise, some of which are on your permanent team, some of which are naturally not. And also you need investment. And so by starting the thinking and the route of where we wanted to get to three and a half years ago, it meant when we had the funding and the opportunity to do so here at Big Pit, we knew exactly what to do. Paul Marden: Okay, so you. You put all of those pieces together and then came here and did the first cookie cutter stamp. But what's interesting is it's not a cookie cutter stamp, is it? This totally feels like the gift shop for this museum, doesn't it?. Nia Elias:  Yeah. So we feel really strongly that we wanted the balance of knowing that you're at a National Museum Wales site, knowing that you're somewhere unique, but equally that it has a sense of a place. Because all of our seven museums together tell the holistic story of Wales, but you really get a sense of personality on all of those sites, not just from the collection and the buildings and the items, but also from the colleagues that work here as well. Paul Marden: Right. Nia Elias: They're very much a part of that in terms of the stories that they tell, their lived experiences, and we had a sense of responsibility and fun to bring that through in the shop. Not just the ambiance, but also the products themselves, so much of them, the majority of them actually, are grounded in being inspired by the collection in some way, and also has a really strong Welsh and local profit as well. What we think that will come through to our customers and visitors and guests is that because we've worked across all of the teams in the museum, so curators and people who care for the collection, our colleagues here at Big Pit, many of whom are former miners, and our colleagues front of house, it means that everybody will be able to speak about the product. Nia Elias: So as you're walking around picking things up, imagining them in your home or as gifts, our colleagues can talk about what they mean to the place. And that brings something additional that you can't really buy. Paul Marden: Yeah. There's a story to it. There's a background to it that roots it. Yeah. Lovely. For you, what's the standout experience from the whole project? What have you enjoyed the most? Nia Elias: Two things I think in terms of the way that it's been done, the fact that so many teams have worked together behind the scenes to make it happen. That means that as we want to change things or tweak things or improve things, we'll have all of the knowledge and expertise already baked in, especially learning from other suppliers who've come along and helped us. So we've got that baked in now, which is really exciting. And the second thing is that I can stand here knowing that this is the standard of a national museum that our guests and visitors expect and want to see. Paul Marden: And now let's hear from a few of the external partners that Kath brought into the project. Arantxa Garcia was the shop designer and visual merchandiser. Anya Kirkby was responsible for product development. And Guy Veal was responsible for sound design. Tell me about your involvement in the project. Arantxa Garcia: Sure. So I'm the shop designer and visual merchandiser. It's a freelance role, so. So I worked with the team, Matthew, Richard, Anne and Guy. Paul Marden: Excellent. Arantxa Garcia: So we kind of all came as part of a team and each one of us looked after different areas of the project. And my involvement was to kind of reinvent and reimagine what was already here. And the idea was to create a space that was connected to the experience and to the site itself. So we've basically ripped the space apart. We've kind of kept the structure, obviously, but we've opened up the space as well. Before the shop, it would be very separate. You'd have admissions and then you have the shop area, which meant that you were only really accessing the shop if you came to visit the site. But as a local, you wouldn't be able to come, for example. Or you could, but maybe not in such an open way. Paul Marden: Yeah, you wouldn't feel welcome. Arantxa Garcia: Exactly, exactly. You may not want to just because you didn't know, whereas now you can just come in and basically hang around and also browse the shop. Exactly. We took inspiration from life underground, from the mine itself. So before the building was white, the units were white, so it could be a shop anywhere. You know, it didn't really have a DNA, so to speak, or an identity that related it directly to the site. So when visiting down to the underground and King Call as well, the exhibition that we've got just up the hill, we took inspiration from basically sort of like the. The cladding that you've got on the walls. Cladding is not the right word. So if one of the miners hears me saying that, they'll be. Arantxa Garcia: That's not the word that we told you, but the idea is that all the materiality that we're using, it's really evocative of. Of the site and it's the materials that have been used underground. So even, like the safety lamps, they'll set authentic safety lamps. And the team on site, Dwayne Smith, has electrified them. So it means that now they work, obviously, as a normal light, but it's a safety. Paul Marden: But they are the original safety. Arantxa Garcia: They are the original safety. Paul Marden: Wowsers. And what about these styles? Arantxa Garcia: So, yes, I always like going for a hunt on the side. So basically the team took me to different rooms and we just found stuff, if you like. So they're like the pressure gauges, you know, we're gonna use them just to add, again, like, references to the site and the authenticity, of course. So you also find loads of tools that would have been used underground as well. Paul Marden: I would imagine that this has been a really enjoyable project for you. I can see it on your face, how much you've enjoyed it. Arantxa Garcia: It has. And I think for designers, sometimes there's projects that take a bit longer to emerge and you keep changing things because you just don't feel probably quite right. There's something. But with this one, it kind of. After the site visit, it was just. Paul Marden: I clicked immediately.Arantxa Garcia: It just clicked immediately. So we darkened the wall. So we've kind of given that sort of grey background just to kind of creating more of like a cosy and shrinking the space. Paul Marden: But you. It pops the orange. Arantxa Garcia: Exactly. And the orange is everywhere. So, like, we've also changed the lighting, so it's a lot warmer. So again, that hint of orange. Yeah, orange on the back, orange on the miners on here. And then it comes also from the products. So the identity is there, but without going fully corporate, if that makes sense. That's the colour that you remember, isn't it? You've just been on the ground. All our guides and miners wear the orange overalls and the sort of, like the blue jackets over it, whether it's a donkey jacket in the winter or then they wear the soft shells as well. So, yeah, it's all those details, like those hints to the experience that kind of are embedded in the design. And these are regional as well. The drums are regional, all the flatbeds. Arantxa Garcia:  So the team here took the metal sides off and then sort of like left the skeleton of the drum, varnished it. And then our shop fitters aren't here. They did all the sort of the cladding using reclaimed scaffolding boards. But the original Drums would have been made out of wood. Paul Marden: Beautiful. It's so tactile, isn't it? Arantxa Garcia:  It's tactile. Again, we're looking at the DNA all the time. And shops can be more than just shops. Shops can tell stories. You just connect with it in a very different way. And just having the time the team on site involved has been absolutely incredible. Like the sense of pride and belonging and provenance that this kind of has awakened, it's been great. It's your job done really as a designer. When you just feel like everyone owns it, that's your job, that's when you can walk away. Paul Marden: What an amazing testimonial for you and the work that everyone feels like that. Anya, lovely to meet you. Tell me, what was your involvement in the project? Anya Kirkby: So I mainly focused on product development. So we looked at where we could get inspiration from the site and how we could translate that really from the site experience into the shop experience as well. Paul Marden: Okay, so you're coming, you're experiencing what's going on and then looking to the outside world as to how you can source your products. Where do you go for the inspiration for the products? Anya Kirkby: Working with the team a lot. So Amy was a huge help on guiding us on what things would be very useful for visitors, what they really enjoyed when they were on site, what were their key take home messages that they experienced. And then working with Amy and Tracey as well to look at what products people like when they're in the shop anyway and how we can kind of marry those two up. Paul Marden: So what is it that people like when they come to Big Pit? Anya Kirkby: Well, unsurprisingly, the mine, they enjoy the mines, the mining experience. So that was just something that we already had in the shop. So we just expanded on that more if possible. But then we've also taken inspiration from signage. So they already had the original Big Pit signage and we looked at that and kind of again expanded on it. So then we've kind of expanded that to signage that you find in some of the other exhibits. So up in the showers, for example, in the canteen, signage, some of the original pieces from collections. We then translated that into products. So you'll see we've got the designs across mugs, original little metal signs, moved that across to prints, notebooks, postcards. Paul Marden: You've been developing a lot of the products yourself, so bringing that kind of the unifying feel to everything. Anya Kirkby: Yeah. So along with product development and making all the kind of the new things that we can have it's just bringing across the branding through the AC brand really strongly across everything. It's got such a strong message that we may as well have that on as many products as we possibly can do. Paul Marden: And how much of the stuff is actually locally sourced? Anya Kirkby: Oh, it's huge amounts. And the exciting thing is after speaking to Amy, the things that she needs to reorder are the local suppliers, which is so nice. So a lot of the confectionery that's locally sourced candles, soap, the coal figures, the wooden spoons, chocolate boxes, the biscuit boxes. So as much as possible. And then we've worked with local suppliers as well to do photography, to do some of the signage, to do the original signwriting in the shop as well. So beyond products, we've looked at the POS points like elements of the shop as well. So thankfully we've used as many local spires as we possibly can. Paul Marden: You've enjoyed this project, haven't you? Anya Kirkby: I absolutely loved it, yeah. It's fantastic to see it's absolutely amazing. Paul Marden: Yeah. Anya Kirkby: So yeah, it's really special. Paul Marden: And then from here you springboard on to the other seven sites. How do you, how do you come up with the ideas then? Anya Kirkby: Exactly the same process. So working with the teams to find out what it is that visitors absolutely love about their sites and bringing that into the shop experience. So again I get very lucky. I get to go around a lot museums and experience it. Paul Marden: It's a tough job, isn't it?Anya Kirkby: It's tricky. But basically finding out what they love and bringing that through the really things that visitors take home with them anyway and just making it into a product that they can actually physically take a piece of the museum home with them as well. Paul Marden: It's great because there are some pocket money items here because I take kids on school visits and it's a very expensive experience. You know, if they catch take a fiver with them, often they can't get anything with a fiver but they can walk in and they've got pencils, they've got rubbers and they'll walk out happy with those little bits. But at the same time you've got some beautiful stuff that the grown ups can come and pick up and really enjoy. Anya Kirkby: It's the same as any museum visitor. You kind of have to look at who's going to be visiting. It's all types of people that come and just gauging it from that as well. So having an offer for everyone that they can enjoy. Someone said to me once that children for the first time. It's often their first time having a transaction monetary wise. Is that a museum on a school trip? So it's just lovely to kind of have something for them to experience that as well. Paul Marden: Never thought of it like that. They're out on their own. They're not with mum and dad. So they've got the money themselves and they've got to make the decision. So we are at. I took some kids to the science museum last year. Anya Kirkby: Oh. Paul Marden: And the amount of time we took in the shop because of the indecision that they had. Anya Kirkby: It's the indecision decision and then the queue of all them having a five pound note and having all the change come back or not having quite enough. But I think it's such an important. If you can't do that in a museum, where can you do it? Paul Marden: Guy. Hi. Guy Veale: Hi. Paul Marden: I just wanted to talk to you a little bit about what was your part of the project? Guy Veale: I was sound designer for the soundscape which we can't hear when everyone's chatting. Paul Marden: I can hear some birds in the background. Is that. Guy Veale: Is that canaries? Living canaries. Not dead gas. Paul Marden:  Coal mine canary. Guy Veale: So I did a little bit of research sort of towards the end of the project after lots of stuff had been built in, when they decided that some low level sound would be a good part of the experience. And looking at the brief and the shape of the room, the acoustics, a lot of this new ducting that's gone in that was not then easy to put cables into. We had to go for a wireless solution. Paul Marden:  Okay. Guy Veale: As part of that I found a Swedish company that had a system that creates its own network which is like a weird dream because normally you've got to go the IT guys and then something goes wrong and there's some sort of address problems or. Bluetooth is not always reliable. This has been a revolution just in terms of. Guy Veale: Don't if you can see them. There's little. They look like light fixtures that are centrally over these panels. Paul Marden: Oh right. Guy Veale: And they're quite. Paul Marden: Oh. And so they're speaking speakers pointing down onto the panel to separate it. So what. What. The other kind of sound pictures that you're painting. We've got the canary. What else have you got? Guy Veale: So the whole idea is that you're trying to represent the industrial heritage of the site and have as many authentic sounds from the site as possible. Paul Marden: Right. Guy Veale: So we've reused some of the really high quality recordings that also feature at different parts of the site already. Paul Marden: Yep. Guy Veale: But then, also sourced about another 70 or 80 sound from the BBC archive. Paul Marden: Oh, wow. Guy Veale: Paid for. And so. But if you think about those sounds, they're quite punctuated and aggressive. You think of any industrial sound and like chipping away or different tipples working. You know, the idea is that you don't want to surprise someone that while they're shopping and leaning over next to a speaker and hearing. So it needed to be softened in some way. And you know, traditionally the way I've done work is music and sound design is using different textures and tonal design and like a drone, I suppose, is this as a sort of basis that can be moving and organic, not totally static? Paul Marden: Yeah. Guy Veale:  And the idea was to sort of try and include fragments of relevant songs using the male voice choir.Paul Marden:  Really.Guy Veale: And we tried several things and I looked at it and I realised that you might catch someone coming in for five minutes here and they catch a snippet and it's all well and good for them, but the staff and you've got to hear this eight hours a day, every day, you know, four weeks, a month, so forth. So even just one little identifiable recurring melody starts to get too much, even on quite a long five. Paul Marden: Oh, really? Guy Veale: And I found that it wasn't sustainable. So I, in the end, I ended up using the. Almost like the vocal warm ups and breaths of the choir artificially extended out so they're not breathing, just this constant low level, breathy sort of expulsion. I mean, if went quiet now, we'd hear it as the. As a backdrop and it's embedded with a few other little musical elements that just sort of try and soften and support. I think of it like the vowels of the track and then the consonants. Paul Marden: Or the industrial chipping noises and the harsher noises. Guy Veale: So they're harsher but they're there and they're a bit removed and reverberate and in the background. Paul Marden: But it's really interesting how you describe it in that kind of. Using the metaphor of the letters. Guy Veale: Yeah, that's what it felt like. Just trying to find something that was like a vocabulary of work that has to tick so many different boxes, including like a therapeutic retail experience. People leaving the site with a sense of well being. Also like summarising what they've been through, not sort of projecting them out the door with, you know, a completely new thing or somewhere that they haven't been through yet. So, you know, fair few things to try and fit in there and, you know, hopefully it works and we'll see how things are in a year's time. Paul Marden: Yeah. Cath, the last point I wanted touch on before we finish today is oh my God, how happy everybody was at that event yesterday. How positive the experience was for all of the team members. What was for you the big standout moment for the entire project? Catherine Pinkerton: I mean, there's so many, Paul. But I think for me it's an opportunity to see what can be achieved when people collaborate. And I think, you know, joining the museum three years ago is really collaborating with lots of different departments to achieve something as a team.Catherine Pinkerton: Teamwork is absolutely the key to kind of success and I think you can only achieve that by having that really product professional kind of embodiment with all of the collaborative teams to work together for the same goal. And I, I was really proud yesterday that it took a lot of work, but actually without a team of 40 people as well as the wider organisation, it would not have been, it was no mean feat, but it was certainly wasn't just down to one person saying this is my project because it was a team effort. Catherine Pinkerton: And I was so proud of everybody that was there to kind of thank them along the way to say, this is, we've done this and now onwards and upwards. Paul Marden: Yeah, absolutely. You should be so proud. It really was. Catherine Pinkerton: Thank you. Paul Marden:  It's a demonstration of what a museum gift shop experience can really be like when you work together like that, when you collaborate. So well done to all of you. It was such a lovely experience yesterday. Thank you for inviting me. Catherine Pinkerton: Thank you so much for coming, Paul. I appreciate it. Paul Marden: Before we go though, I always ask for a book recommendation from our guests. Now it would have bankrupted me to have asked everybody yesterday for book recommendations. So you have to take the responsibility of a recommendation on behalf of everybody. What have you got for me? Catherine Pinkerton: The secret for me is, you know, that that book seems to be. I always go back to that book very often and I think it's a key one for lots of areas. So that's definitely a takeaway for me. But the other one I'm reading at the moment called A Monk's Guide to Happiness. I'm not sure if you've had enough to read it. Yeah, it's a 21st century take on A Monk's Guide. It's written by Gelong Thubten and he had a very high powered job and he had a burnout and interestingly he changed his whole mindset in terms of what makes him happy and really making it quite basic. Right. Catherine Pinkerton: So it's a, it's a real eye opener in terms of just pulling things back sometimes, you know, at the end of the day, come on, let's just live life and be happy but, you know, not stress out about things. I'm quite easy to do that. So this is very much a. Just breathe, Kath, get through it. But it's a good one. If you want to just strip it back and just kind of understanding the basics of being happy, then, yeah, he's great. Paul Marden: Oh, Cath, that's a great recommendation. If you go over to Bluesky and repost the show message that Wenalyn put out and say, I want Kath's book, then the first person that does that will get a copy of the book sent to them. Kath, it was absolutely delightful. I enjoyed my day wandering around Big Pit yesterday no end. Given that half my family is from the valleys and most of them were miners, I feel like I should have done this a very long time ago. But it was lovely. And to enjoy the experience of the celebration that you had yesterday, it was a real privilege. So thank you. Catherine Pinkerton: Oh, huge privilege to have you there. Paul. Thank you so much. I'm really appreciative. Did you purchase? Paul Marden: I did purchase on my way out. Catherine Pinkerton: Yay. Great, great, great.Paul Marden: Deal. Catherine Pinkerton: Deal. Thank you so much. Paul Marden: So after my trip 90 metres down to the bottom of the mine shaft, where I of course couldn't take microphones, I'm now back up on the surface, microphones back in hand and enjoying myself, wandering around currently in the winding house, which is where all the machinery is for lifting the cages that 90 metres down to the bottom of the pit head. I've had an amazing day here at Big Pit. It's been so interesting to see this museum and to talk to many of the amazing staff that have taken part in this big project to redesign their gift shops. Highly recommend a day trip to Big Pit. Really has been very enjoyable, if for no other reason, to see that amazing new gift shop experience. Paul Marden: Now, as always, if you'd like a copy of Catherine's book, head over to Blue sky and repost the show notice that Wenalyn will post out and say, I want a copy of Catherine's book and the first person to do that will get that copy sent over to them. So all that remains for me to say is thank you to Catherine for inviting me here to Big Pit today. And I'll see you again soon. Take care. Bye Bye. Paul Marden: Thanks for listening to Skip the Queue. If you've enjoyed this podcast, please leave us a five star review. It really helps others to find us. Skip The Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them to increase their visitor numbers. You can find show notes and transcripts from this episode and more over on our website, skipthequeue fm.  The 2024 Visitor Attraction Website Survey is now LIVE! Dive into groundbreaking benchmarks for the industryGain a better understanding of how to achieve the highest conversion ratesExplore the "why" behind visitor attraction site performanceLearn the impact of website optimisation and visitor engagement on conversion ratesUncover key steps to enhance user experience for greater conversionsDownload the 2024 Rubber Cheese Visitor Attraction Website Survey Report

Our first Season 3 Profile in Cinemania is on the pride of Puerto Rico, Raúl Rafael Carlos Juliá y Arcelay, better known as Raul Julia. Best known to Millennials as the cinematic representation of either The Addams Family's Gomez Addams or Street Fighter's M. Bison, Raul Julia's acting career saw him on stage and screens big and small.    Written and performed by Andy Slack Production and Sound Design by Ethan Ireland Music by Meteor at meteormusic.bandcamp.com Caricature art by Andy Slack Comics   Legal notice: this is a work of parody and should not be construed as making allegations or statements of fact.

THE WOMAN - Things had gotten out of control and we had remained firmly in the wardrobe as we watched Milverton and his houseguest conduct their business. Part 3 of 3This episode contains  swearing, sexual references, references to coercive behaviour, dark sexual content, violence. Listener discretion is advised.For merchandise and transcripts go to: www.sherlockandco.co.ukFor ad-free, early access to adventures in full go to www.patreon.com/sherlockandco To get in touch via email: docjwatsonmd@gmail.com Follow me @DocJWatsonMD on twitter and BlueSky, or sherlockandcopod on TikTok, instagram and YouTube.  This podcast is property of Goalhanger Podcasts.Copyright 2025.SHERLOCK AND CO. Based on the works of Sir Arthur Conan Doyle Paul Waggott as Dr. John Watson Harry Attwell as Sherlock Holmes Marta da Silva as Mariana Ametxazurra Adam Jarrell as Charles Augustus Milverton Chloe Zeitounian as The Woman Sharon D. Clarke as Lestrade Written by Joel Emery Directed by Adam Jarrell Editing and Sound Design by Holy Smokes AudioProduced by Neil Fearn and Jon Gill Executive Producer Tony Pastor Learn more about your ad choices. Visit podcastchoices.com/adchoices

Have you ever thought about how much your favorite podcasts have taught you? What lessons have truly stuck? While Marc enjoys his travels, the rest of the crew holds it down with a conversation on the podcasts that have shaped us, including our own. We talk about improving our interview skills, learning by doing, planning ahead, and the communicators who've inspired us along the way. No matter where you are in your podcasting journey, this episode is a reminder that podcasts are one of the best tools out there for learning and growth.Episode Highlights: [02:18] Why Did You Start Your Podcast?[04:11] Learning from Podcasts[08:33] Effective Storytelling in Podcasts[13:57] Leadership and Learning[18:10] The Art of Interviewing[20:04] Combining Learning and Practice[26:44] CrossFit and Podcasting: Drawing Parallels[32:30] Best Practices and Pitfalls in Podcasting[41:56] Sound Design[49:19] Providing Constructive Feedback​​Links & Resources: The Podcasting Morning Chat: www.podpage.com/pmcJoin The Empowered Podcasting Facebook Group:www.facebook.com/groups/empoweredpodcasting⁠How Leaders Lead:https://howleaderslead.com/Mel Robbins Podcast:https://www.melrobbins.com/podcastBody Electric by Manoush Zomorodi: https://www.npr.org/series/1199526213/body-electricAI for Humans:https://www.aiforhumans.show/The Wonder of Stevie: https://highergroundmedia.com/podcasts-archive/thewonderofstevieRemember to rate, follow, share, and review our podcast. Your support helps us grow and bring valuable content to our community.Join us LIVE every weekday morning at 7am ET (US) on ⁠Clubhouse⁠: ⁠⁠ https://www.clubhouse.com/house/empowered-podcasting-e6nlrk0w⁠Brought to you by⁠ ⁠iRonickMedia.com⁠⁠ and ⁠⁠NextGenPodcaster.com⁠⁠Please note that some links may be affiliate links, which support the hosts of the PMC. Thank you!--- Send in your mailbag question at:⁠ https://www.podpage.com/pmc/contact/⁠ or ⁠marc@ironickmedia.com⁠Want to be a guest on The Podcasting Morning Chat? Send me a message on PodMatch, here: ⁠https://www.podmatch.com/hostdetailpreview/1729879899384520035bad21b⁠

In this episode of Producer Points, Justin sits down with Christian Dold—better known as Diamond Pistols—for a deep dive into his explosive production style, his viral hits with bbno$ and Yung Gravy, and the mindset shifts that took him from bedroom beatmaker to in-demand hitmaker. From crafting the viral smash “edamame” to shaping Yung Gravy's “C'est La Vie,” Christian shares how he keeps his sound simple, bold, and wildly effective.They talk:

Ella devises a new way to see more of Reed, and needs Savannah's help to do so. Easton formally confesses his admiration to Nova, and Val admits she's been hiding something.  • Follow [The Royals of Malibu on Patreon TODAY for upcoming scripts for purchase, and much more] (https://www.patreon.com/TheRoyalsofMalibu) • Follow [The Royals of Malibu on Instagram](https://www.instagram.com/theroyalsofmalibu/) • Follow [The Royals of Malibu on TikTok](https://www.tiktok.com/@theroyalsofmalibu) • Explore more: [emeraldaudio.com](https://emeraldaudio.net/) The Royals of Malibu is a production of Emerald Audio, an imprint of Diversion, in association with Pod People. Featuring the voices of: Alyssa McKay as ELLA SINCLAIR, Chris Cafero as REED ROYAL, Nick Cafero as EASTON ROYAL, Armen Taylor as CALLUM ROYAL, Franchesca Agramonte as VALERIE GONZALEZ, Hannah Montoya as SAVANNAH GONZALEZ, Maura Vincent as DINAH / HEADMASTER BERRINGER, Stephanie Sherry as LUCY and MARGARET SINCLAIR, Jillian Kinsey as NOVA / DETECTIVE SCHMIDT / DAY PLAYER, and Daniel Lench as STEVE / DAY PLAYER. Directed by Ashton Carter, Written by Keyanna Khatiblou, Produced by Emma DeMuth, Production Management by Ashton Carter, Production Assistance by Hannah Rae Leach, Story Development by Emma DeMuth, Editorial Direction by Scott Waxman, Casting by Lindsey Ploussard, Sound Editing, Sound Design, and Engineering by Carter Woghan and Morgane Fouse, Dialogue Editing by Carter Woghan and Adam Raymonda, Theme Music by Maty Noyes, Consulting Producers: Chris Cafero and Nick Cafero, Executive Producers: Rachael King, Alyssa McKay, and Scott Waxman Learn more about your ad choices. Visit megaphone.fm/adchoices

Happy Cinco de Mayo! To celebrate, Zaron Burnett is here with a mini-episode about the frozen treat that is quietly and quickly taking over the world. * Hosted by Zaron Burnett, Dana Schwartz, and Jason EnglishWritten by Dave RoosProduced by Josh FisherEditing and Sound Design by Jonathan WashingtonMixing and Mastering by Jonathan WashingtonAdditional Editing by Mary DooeOriginal Music by Elise McCoyShow Logo by Lucy QuintanillaExecutive Producer is Jason EnglishSee omnystudio.com/listener for privacy information.

Read by Terry Casburn Production and Sound Design by Kevin Seaman

“White Star Line! Oceanic departing!”⁠Subscribe here to be notified when the postman's come.⁠Adapted from the novel 'Dearest' by ⁠Michael London⁠Production, Editing, & Sound Design by ⁠George Drake, Jr.⁠Music Composition by Mustafa ShaheenThis series was made possible by a generous grant from the ⁠Montgomery County Arts & Cultural District⁠ with assistance from ⁠Culture Works⁠. This episode of Dearest features the following sounds from ⁠Freesound.org:Stream Train Station Noises.wav by BobMorris1, Canadian Horse Carriage.wav by vero.marengere, citystreet2free.wav by moxobna, Fishing Pier 01.WAV by JustinBW, Mooring Rope.wav by Rmutt, Seagull on beach by squashy555

In this episode, Clay Bassford, founder of Bespoke Sound, speaks with Dr Michelle Ulor, founder of Kinos Studio, a research-led music psychology consultancy helping brands and teams use music to enhance wellbeing, connection, and impact. More:Sunday Slowdown: A Bespoke Sound Takeover with Clay BassfordHow To Use Music To Elevate Your Guest Experience - Clay Bassford, Bespoke SoundA few more resources: If you're new to Hospitality Daily, start here. You can send me a message here with questions, comments, or guest suggestions If you want to get my summary and actionable insights from each episode delivered to your inbox each day, subscribe here for free. Follow Hospitality Daily and join the conversation on YouTube, LinkedIn, and Instagram. If you want to advertise on Hospitality Daily, here are the ways we can work together. If you found this episode interesting or helpful, send it to someone on your team so you can turn the ideas into action and benefit your business and the people you serve! Music for this show is produced by Clay Bassford of Bespoke Sound: Music Identity Design for Hospitality Brands

When Reid tells Maria she is to be recalled to London she's incredulous, but he is firm, her recent injuries mean she is better off, in his opinion, back in London. When she arrives however she's met by an unexpected government official, Gilroy, who has some questions, and information, that challenges, and in some ways confirms Maria's most recent suspicions.Soon she's travelling back out of the UK to the embassy, to an unexpected welcome.Maria...Sinead Keenan Reid...Kevin McNally Adam...Declan Rodgers Gilroy...Sean Rigby Maria's Father...Piotr Baumann Natsev...Avital LvovaAll other roles by Eddie Toll, Anna Krippa, Ani Russo and John AlbasinyWritten by Davy Banks. Produced by Claire Broughton Direction, Sound Design and additional production by John Wakefield The Executive Producer is Jed Mercurio.With thanks to Tanya Nedashkovskaya for her translationsA Hat Trick production for BBC Radio 4

Today Object Worship is joined by Angelo Mazzocco and Terry Burton of Meris! Many a Meris pedal has come up in conversation on the cast, so the hosts were glad to welcome two of the company's founders to talk about their music gear journeys. We begin with Terry's Marshall 6100 amp, then discuss Angelo's Ibanez RG570 guitar, and trace various parallels of their development as musicians, tinkerers, and now engineers at the forefront of guitar pedals. Buy yourself some Meris pedals: https://www.meris.us/See the first episode of Cooking With Meris: https://www.youtube.com/watch?v=cxhGQPWQmxQBuy yourself some OBNE: http://www.oldbloodnoise.comJoin the conversation in Discord: https://discord.com/invite/PhpA5MbN5uFollow us all on the socials: @andy.pitcher, @danfromdsf, @andyothling, @oldbloodnoiseSubscribe to Andy's latest Twitch channel: https://www.twitch.tv/powereconomyLeave us a voicemail at 505-633-4647!

Read by Aaron Novak   Production and Sound Design by Kevin Seaman

When two of the most influential figures in film become the personal hostages of Kim Jong Il, they have two objectives: to elevate North Korean cinema on the world stage, and to plot their daring escape. SOURCES + FURTHER READING/LISTENING/VIEWING A Kim Jong-Il Production, by Paul FisherThe Observant, by Ravi ManglaMichelle Cho, assistant professor, University of Toronto"Are You There Godzilla? It's Me, Kim Jong Il" [Ridiculous Crime podcast]Country Reports on Human Rights Practices, U.S. State DepartmentBig Brother: North Korea's Forgotten Prince [An iHeart Original Podcast]"Kim Jong Il, the Director he Kidnapped, and the Awful Godzilla Film They Made Together" [Mental Floss Magazine]The Korean War [PBS] * Hosted by Dana Schwartz, Zaron Burnett, and Jason EnglishWritten by Adrien Behn and edited by Carmen Borca-Carrillo at Wonder Media NetworkProduced by Josh FisherEditing and Sound Design by Chris ChildsMixing and Mastering by Chris ChildsAdditional Editing by Mary DooeFact-Checking by Austin ThompsonOriginal Music by Elise McCoyShow Logo by Lucy QuintanillaExecutive Producer is Jason EnglishSee omnystudio.com/listener for privacy information.

When two of the most influential figures in film become the personal hostages of Kim Jong Il, they have two objectives: to elevate North Korean cinema on the world stage, and to plot their daring escape. SOURCES + FURTHER READING/LISTENING/VIEWING A Kim Jong-Il Production, by Paul FisherThe Observant, by Ravi ManglaMichelle Cho, assistant professor, University of Toronto"Are You There Godzilla? It's Me, Kim Jong Il" [Ridiculous Crime podcast]Country Reports on Human Rights Practices, U.S. State DepartmentBig Brother: North Korea's Forgotten Prince [An iHeart Original Podcast]"Kim Jong Il, the Director he Kidnapped, and the Awful Godzilla Film They Made Together" [Mental Floss Magazine]The Korean War [PBS] * Hosted by Dana Schwartz, Zaron Burnett, and Jason EnglishWritten by Adrien Behn and edited by Carmen Borca-Carrillo at Wonder Media NetworkProduced by Josh FisherEditing and Sound Design by Chris ChildsMixing and Mastering by Chris ChildsAdditional Editing by Mary DooeFact-Checking by Austin ThompsonOriginal Music by Elise McCoyShow Logo by Lucy QuintanillaExecutive Producer is Jason EnglishSee omnystudio.com/listener for privacy information.

THIEVES IN THE NIGHT - Milverton had to be stopped and Sherlock had just the plan. Unfortunately that plan involved me. And a woman called Agatha. You'll see what I mean.  Part 2 of 3 This episode contains swearing, sexual references, references to coercive behaviour, dark sexual content, violence. Listener discretion is advised. For merchandise and transcripts go to: www.sherlockandco.co.uk For ad-free, early access to adventures in full go to www.patreon.com/sherlockandco To get in touch via email: docjwatsonmd@gmail.com Follow me @DocJWatsonMD on twitter and BlueSky, or sherlockandcopod on TikTok, instagram and YouTube.  This podcast is property of Goalhanger Podcasts. Copyright 2025. SHERLOCK AND CO. Based on the works of Sir Arthur Conan Doyle Paul Waggott as Dr. John Watson Harry Attwell as Sherlock Holmes Marta da Silva as Mariana Ametxazurra Adam Jarrell as Charles Augustus Milverton John Brannoch as Wiggins Thu Pham as Agatha Additional voices Chloe Zeitounian Written by Joel Emery Directed by Adam Jarrell Editing and Sound Design by Holy Smokes Audio Produced by Neil Fearn and Jon Gill Executive Producer Tony Pastor Learn more about your ad choices. Visit podcastchoices.com/adchoices

Ella heads down the PCH for lunch with Steve and Dinah, intent on finding the missing link behind Brooke's death. But, to her surprise, she's met with a more vulnerable version of Steve and Dinah. However, things take a turn when Steve learns of Reed and Ella's relationship.  • Follow [The Royals of Malibu on Patreon TODAY for upcoming scripts for purchase, and much more] (https://www.patreon.com/TheRoyalsofMalibu) • Follow [The Royals of Malibu on Instagram](https://www.instagram.com/theroyalsofmalibu/) • Follow [The Royals of Malibu on TikTok](https://www.tiktok.com/@theroyalsofmalibu) • Explore more: [emeraldaudio.com](https://emeraldaudio.net/) The Royals of Malibu is a production of Emerald Audio, an imprint of Diversion, in association with Pod People. Featuring the voices of: Alyssa McKay as ELLA SINCLAIR, Chris Cafero as REED ROYAL, Nick Cafero as EASTON ROYAL, Armen Taylor as CALLUM ROYAL, Franchesca Agramonte as VALERIE GONZALEZ, Hannah Montoya as SAVANNAH GONZALEZ, Maura Vincent as DINAH / HEADMASTER BERRINGER, Stephanie Sherry as LUCY and MARGARET SINCLAIR, Jillian Kinsey as NOVA / DETECTIVE SCHMIDT / DAY PLAYER, and Daniel Lench as STEVE / DAY PLAYER. Directed by Ashton Carter, Written by Keyanna Khatiblou, Produced by Emma DeMuth, Production Management by Ashton Carter, Production Assistance by Hannah Rae Leach, Story Development by Emma DeMuth, Editorial Direction by Scott Waxman, Casting by Lindsey Ploussard, Sound Editing, Sound Design, and Engineering by Carter Woghan and Morgane Fouse, Dialogue Editing by Carter Woghan and Adam Raymonda, Theme Music by Maty Noyes, Consulting Producers: Chris Cafero and Nick Cafero, Executive Producers: Rachael King, Alyssa McKay, and Scott Waxman Learn more about your ad choices. Visit megaphone.fm/adchoices

I love a good book about sound design or other aspects of the audio post industry. Think of this episode as a summer reading guide for the audio nerd. The authors of 3 recent publications about sound, get together to talk about their books, how they decided to write them and how to best use them as resources. Emi Paternostro talks about his book "The Pro Tools Post-Audio Cookbook", Gina Zdanowicz discusses "The Game Audio Strategy Guide" that she co-wrote (with Spencer Bambrick) and both Andrew Knight-Hill & Emma Margetson are here representing their book "Art of Sound: Creativity in Film Sound and Electroacoustic Music" SPONSOR: Sound Ideas Annual Memberships put Sound Ideas' full range of over 600,000 sound effects, music tracks, and production elements at your fingertips with three tiers to choose from based on your Sound Design needs. The Creator's Access Plan is perfect for the independent creator working on a smaller scale, looking for high-quality sound options at a great price. With up to 100 Downloads, you'll enjoy significant savings compared to buying individual sounds, and have free rein over Sound Ideas' extensive collection. Go to www.sound-ideas.com/Collection/105/Memberships/0/2 and use the promo code TONEBENDERS50 for 50% off of any Sound Ideas' Annual Membership, to amplify your future productions.
 Episode Notes: 
https://tonebenderspodcast.com/307-recent-books-about-sound/ Podcast Homepage: www.tonebenderspodcast.com 
 This episode is hosted by Timothy Muirhead

While Bill is on a research and writing sabbatical for the next 4 weeks we decided it's important to revisit the horrors we laid out in our Project 2025 podcast series, Trump's Project 2025: Up Close and Personal – and have the series author, pro-democracy advocate and the author of nine books, David Pepper, tie them to what's actually happened so far. In Chapter 5, Part one, the fictional characters Congresswoman Louise Getty (a stand-in for Liz Cheney) and Senator Wade Stiller, former rivals, meet at the World War II Memorial in Washington D.C. They reflect on their pasts and express concern over a hostile political climate under Trump's second term, feeling fear and paranoia about being surveilled and targeted by the government. Their conversation reveals a sense of vulnerability as they confront the reality that many of their colleagues have abandoned principles out of fear. Louise recalls the intense political maneuvering and betrayals leading up to and following the January 6 insurrection.In Part Two, Woody Nuxhall, the newly appointed head of the Treason and Political Crime Section of the DOJ, oversees his zealous young team of prosecutors, eager to pursue investigations and vendettas against political enemies. The group discusses tactics to surveil and undermine former colleagues and opposition figures, planning a strategy fueled by partisan loyalty and vengeance, while embracing a radical transformation of the DOJ's role in politics. While these stories are fictional, they are based on Trump's own words and Project 2025.We'd like to thank the artists who contributed their time to make this episode:Richard Schiff and Morgan Fairchild who read the chapters and Jason Kravits, Tony Michaels, Jim Hilmes, Joe Walsh and Omid Abtahi contributed character voices. Sound Design by Marilys Ernst and Jonathan Moser.Trump's Project 2025: Up Close and Personal was written by David Pepper and Produced by Pepper, Melissa Jo Peltier and Jay Feldman and is a production of Ovington Avenue Productions and The Bill Press Pod. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Reed is frustrated with Ella for launching her own investigation into Brooke's death As the ripple effects of Reed's arrest break into his personal life, though, it's clear he can't ignore what's happened. Ella visits Lucy for advice on Steve and Reed. • Follow [The Royals of Malibu on Patreon TODAY for upcoming scripts for purchase, and much more] (https://www.patreon.com/TheRoyalsofMalibu) • Follow [The Royals of Malibu on Instagram](https://www.instagram.com/theroyalsofmalibu/) • Follow [The Royals of Malibu on TikTok](https://www.tiktok.com/@theroyalsofmalibu) • Explore more: [emeraldaudio.com](https://emeraldaudio.net/) The Royals of Malibu is a production of Emerald Audio, an imprint of Diversion, in association with Pod People. Featuring the voices of: Alyssa McKay as ELLA SINCLAIR, Chris Cafero as REED ROYAL, Nick Cafero as EASTON ROYAL, Armen Taylor as CALLUM ROYAL, Franchesca Agramonte as VALERIE GONZALEZ, Hannah Montoya as SAVANNAH GONZALEZ, Maura Vincent as DINAH / HEADMASTER BERRINGER, Stephanie Sherry as LUCY and MARGARET SINCLAIR, Jillian Kinsey as NOVA / DETECTIVE SCHMIDT / DAY PLAYER, and Daniel Lench as STEVE / DAY PLAYER. Directed by Ashton Carter, Written by Keyanna Khatiblou, Produced by Emma DeMuth, Production Management by Ashton Carter, Production Assistance by Hannah Rae Leach, Story Development by Emma DeMuth, Editorial Direction by Scott Waxman, Casting by Lindsey Ploussard, Sound Editing, Sound Design, and Engineering by Carter Woghan and Morgane Fouse, Dialogue Editing by Carter Woghan and Adam Raymonda, Theme Music by Maty Noyes, Consulting Producers: Chris Cafero and Nick Cafero, Executive Producers: Rachael King, Alyssa McKay, and Scott Waxman Learn more about your ad choices. Visit megaphone.fm/adchoices

Ella's mind continues to circle as a new reality sets in, and her hopes rest on uncovering the secrets behind Brooke's death. Dinah sees Steve for the first time in a year, and Ella and Easton attend Brooke's funeral in pursuit of clues, disregarding Callum and Reed's pleas to stay away. • Follow [The Royals of Malibu on Patreon TODAY for upcoming scripts for purchase, and much more] (https://www.patreon.com/TheRoyalsofMalibu) • Follow [The Royals of Malibu on Instagram](https://www.instagram.com/theroyalsofmalibu/) • Follow [The Royals of Malibu on TikTok](https://www.tiktok.com/@theroyalsofmalibu) • Explore more: [diversionaudio.com](https://diversionaudio.com) The Royals of Malibu is a production of Emerald Audio, an imprint of Diversion, in association with Pod People. Featuring the voices of: Alyssa McKay as ELLA SINCLAIR, Chris Cafero as REED ROYAL, Nick Cafero as EASTON ROYAL, Armen Taylor as CALLUM ROYAL, Franchesca Agramonte as VALERIE GONZALEZ, Hannah Montoya as SAVANNAH GONZALEZ, Maura Vincent as DINAH / HEADMASTER BERRINGER, Stephanie Sherry as LUCY and MARGARET SINCLAIR, Jillian Kinsey as NOVA / DETECTIVE SCHMIDT / DAY PLAYER, and Daniel Lench as STEVE / DAY PLAYER. Directed by Ashton Carter, Written by Keyanna Khatiblou, Produced by Emma DeMuth, Production Management by Ashton Carter, Production Assistance by Hannah Rae Leach, Story Development by Emma DeMuth, Editorial Direction by Scott Waxman, Casting by Lindsey Ploussard, Sound Editing, Sound Design, and Engineering by Carter Woghan and Morgane Fouse, Dialogue Editing by Carter Woghan and Adam Raymonda, Theme Music by Maty Noyes, Consulting Producers: Chris Cafero and Nick Cafero, Executive Producers: Rachael King, Alyssa McKay, and Scott Waxman Learn more about your ad choices. Visit megaphone.fm/adchoices

What if you invented something the whole world knows but someone else took the credit? This week on Snap, we uncover the story of Krazy George, a shy wood-shop teacher turned professional cheerleader, who sparked a phenomenon from the bleachers of Oakland Coliseum. And -- the story of the infamous Pine Tar Game told by the bat boy.STORIESThe WaveWhat if you invented something the whole world knows but someone else took the credit? This week on Snap, we uncover the story of Krazy George, a shy wood-shop teacher turned professional cheerleader, who sparked a phenomenon from the bleachers of Oakland Coliseum.A huge thank you to the man, the myth, the legend… Krazy George Henderson for sharing your story. At 80 years young, George is still banging his drum for the Spartans at his alma mater, San Jose State. He also just celebrated his 50th season cheering professionally for the San Jose Earthquakes of Major League Soccer. To read more about the life and times of George, check out his memoir “Still Krazy After All These Cheers” Produced by Bo Walsh. Edited by Anna Sussman. Original score by Dirk Schwarzhoff. Artwork by Teo Ducot.The Bat Boy and the Pine Tar GameEvery baseball fan has heard of the superstar hitter George Brett and his infamous Pine Tar Game… but have you heard of the bat boy's version?For more info, check out Daniel Barbarisi's story in the Wall Street Journal.Produced by Davey Kim. Sound Design by Renzo Gorrio.Season 16 - Episode 15 Learn about your ad choices: dovetail.prx.org/ad-choices