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W 363. powtórkowym odcinku utrwalisz przydatne zwroty do small talku – zarówno w sytuacjach towarzyskich, jak i zawodowych. Przećwiczysz reakcje w realnych scenkach, weźmiesz udział w dialogu sterowanym oraz sprawdzisz się w mini quizie. Idealny sposób na przypomnienie sobie najważniejszych zwrotów i gramatycznych konstrukcji w lekkiej formie.------Rozdziały--------(0:19) - Intro(0:56) - Różne scenki sytuacyjne(4:51) - Dialog sterowany(9:31) - Quiz(11:03) - Pytania pośrednie(14:24) - Outro----------------------Jeżeli doceniasz moją pracę nad podcastem, to zostań Patronem KNA dzięki stronie https://patronite.pl/kwadrans. Nie wiesz czym jest Patronite? Posłuchaj specjalnego odcinka: https://kwadransnaangielski.pl/wsparcieDołącz do naszej społeczności na stronie https://KwadransNaAngielski.plLekcji możesz słuchać na Spotify albo oglądać na YouTube.Wszystkie nowe wyrażenia z tej lekcji w formie pisemnej są dostępne na stronie https://kwadransnaangielski.pl/363#polskipodcast #kwadransnaangielski #angielski----------------------Mecenasi wśród Patronów:Joanna KwiatkowskaJoannaJakub Wiśniewski - https://bezpiecznyvpn.pl----------------W odcinku wykorzystałem audio:Cafe Ambience Day - 1 - Sound Devices 702 - Senn K6.WAV by lunchmoney -- https://freesound.org/s/380202/ -- License: Creative Commons 01025 hz beep censor by Sadiquecat -- https://freesound.org/s/806096/ -- License: Creative Commons 0
In the second part of Andy's conversation with Cody Heimann of Sound Devices (part one is here), the duo rolls up their sleeves and goes deep on the company's Astral wireless platform that offers 32 channels in a single rack-unit, Optocore integration, and a handheld transmitter that can take almost any capsule on the market without any additional adapters, there's a lot to discuss. This episode is sponsored by Allen & Heath and RCF.Episode Links:Episode 290 — Cody Heimann On Large-Scale RF DeploymentSound Devices Astral Wireless & A20-HH Intro VideoEpisode 291 TranscriptConnect with the community on the Signal To Noise Facebook Group and Discord Server. Both are spaces for listeners to create to generate conversations around the people and topics covered in the podcast — we want your questions and comments!Also please check out and support The Roadie Clinic, Their mission is simple. “We exist to empower & heal roadies and their families by providing resources & services tailored to the struggles of the touring lifestyle.”The Signal To Noise Podcast on ProSoundWeb is co-hosted by pro audio veterans Andy Leviss and Sean Walker.Want to be a part of the show? If you have a quick tip to share, or a question for the hosts, past or future guests, or listeners at home, we'd love to include it in a future episode. You can send it to us one of two ways:1) If you want to send it in as text and have us read it, or record your own short audio file, send it to signal2noise@prosoundweb.com with the subject “Tips” or “Questions”2) If you want a quick easy way to do a short (90s or less) audio recording, go to https://www.speakpipe.com/S2N and leave us a voicemail there
Episode 290 goes all in on wireless as Andy is joined by Cody Heimann, RF applications engineer at Sound Devices as well as a veteran RF coordinator for large-scale events. In the first of two episodes, he talks about how his career grew and led to finding a niche as an RF coordinator for events and clients such as Coachella, New Year's Eve in Times Square, and some of the largest corporate events and conventions in the world. This episode is sponsored by Allen & Heath and RCF.In a wide-ranging conversation, Cody shares tips and advice for handling large events, making wise choices about compromises to fit hundreds of channels of RF into tight spaces, and much more!After starting his career as an audio assistant, he became a stage tech and patch master, moving through the ranks to monitor and front of house engineer, PA tech, and production manager. He's been involved in all things audio, which has allowed him to build a diverse portfolio in troubleshooting, technical skills and client relationships.Now, as an RF applications engineer, he's definitely no stranger to being agile and working in different mediums of the industry. In April of 2024, Cody joined the RF Applications Team at Sound Devices where he largely works largely in product development, technical support, education, and large-scale and complex deployments of the company's Astral wireless systems.Cody loves fitness and the outdoors; he was a part-owner of Music City Boxing in Nashville, met his wife rock climbing as well as an avid motorcycle enthusiast and self-proclaimed “once upon a time drummer.” It's no doubt that music has been a passion of his since his youth and he loves being able to help continue to be a small part in the big shows!Episode Links:Cody Heimann On LinkedInPractical Show Tech 15: RF Over Fiber, Multi-Antenna Systems & MorePractical Show Tech 23: Basics Of Frequency Coordination Using PWS IASSound Devices Astral Wireless FamilyGrownsy Baby Nasal AspiratorPowered Ear Wax RemoverEpisode 290 TranscriptConnect with the community on the Signal To Noise Facebook Group and Discord Server. Both are spaces for listeners to create to generate conversations around the people and topics covered in the podcast — we want your questions and comments!Also please check out and support The Roadie Clinic, Their mission is simple. “We exist to empower & heal roadies and their families by providing resources & services tailored to the struggles of the touring lifestyle.”The Signal To Noise Podcast on ProSoundWeb is co-hosted by pro audio veterans Andy Leviss and Sean Walker.
In this episode (Part 2 of 2) Neil and Jason talk in-depth and ‘totally technical' about the musical Wicked with the Oscar-winning Production Sound Mixer Simon Hayes and on set music editor Josh Winslade. We discuss the creative decisions behind Simon's sound recording strategy, his timing and justification for switching to digital radio mics and the low-down on how a great relationship with the Visual Effects supervisor is so important in the quest for capturing the best possible performance from artists on set. About the presenters: You can find more about Simon and his work here Josh Winslade on IMDb Details about Neil and Jason's work as dialogue editors and mixers and how to contact them is here Details of our 1-to-1, training and coaching programmes for ambitious media professionals are available at: https://www.drneilhillman.com and https://soundproducer.com.au/coaching and www.soundformovingpictures.com Technical notes: Written, produced and presented by Jason Nicholas and Dr Neil Hillman – IMDb Recorded using the CleanFeed remote recording system Programme edited by Jason Nicholas YouTube fair use disclaimer: Where copyrighted material appears in episodes of The Apple and Biscuit Show, it is used under the ‘fair use' guidelines of the Copyright Act: i.e. “Use of these clips follows Fair Use laws regarding commenting and criticizing”, where Fair Use allows for the unlicensed use of copyrighted material for purposes such as Commentary, Criticism, Parody, News reporting, Teaching, Scholarship, and Research. In instances where copyright or credit is questioned, please contact us directly to discuss receiving credit, or removing the featured content.
In this episode, (Part 1 of 2), Neil and Jason talk in-depth and ‘totally technical' to the Oscar-winning Production Sound Mixer Simon Hayes, and on set music editor Josh Winslade, about their complex and unique playback and recording arrangements for capturing live vocals and authentic performances from lead actors Cynthia Erivo and Ariane Grande; as well as providing an insight into how to keep Jeff Goldblum happy in-between takes (and it partially involves jazz…). This is the most comprehensive account of the Wicked gig and rig yet recorded, and best of all, it's in the words of Wicked's own sound wizards. About the presenters: You can find more about Simon and his work here: https://www.simonhayes.com Josh Winslade is here on IMDb: https://www.imdb.com/name/nm7016150/ Details about Neil and Jason's work as dialogue editors and mixers and how to contact them is here: https://www.theaudiosuite.com Details of our 1-to-1, training and coaching programmes for ambitious media professionals are available at: https://www.drneilhillman.com and https://soundproducer.com.au/coaching and https://www.soundformovingpictures.com Technical notes: Written, produced and presented by Jason Nicholas and Dr Neil Hillman – IMDb: www.imdb.me/neilhillman Recorded using the CleanFeed remote recording system Programme edited by Jason Nicholas YouTube fair use disclaimer: Where copyrighted material appears in episodes of The Apple and Biscuit Show, it is used under the ‘fair use' guidelines of the Copyright Act: i.e. “Use of these clips follows Fair Use laws regarding commenting and criticizing”, where Fair Use allows for the unlicensed use of copyrighted material for purposes such as Commentary, Criticism, Parody, News reporting, Teaching, Scholarship, and Research. In instances where copyright or credit is questioned, please contact us directly to discuss receiving credit, or removing the featured content.
Ryan Monette is a Production Sound Mixer, Post Audio Mixer, Sound Designer and Composer based out of Orlando, Florida. He uses a Sound Devices MixePre 10 II, Sound Devices A10 TXs and RXs, DPA 6060 lavs and a Sanken CS3e shotgun mic. Ryan also uses Tentacle Sync time code boxes. Listen as Ryan shares about his audio career working in the studio, on-stage and on-location. Check out his website at https://www.ryanmonette.com/ Each episode we talk with location sound mixers, boom ops and other industry pros about the various aspects of recording sound on-location for feature and independent films, TV commercials, interviews, anytime where dialog from actors is recorded. Whether you're a seasoned veteran or just starting out, this podcast is packed with great stories and lessons about recording on-location.
Jessie Van Der Vyver is a Production Sound Mixer based out of Kansas City, Missouri and also London, England. Jessie uses a Sound Devices 888 mixer/recorder. He also uses Sound Devices A20 wireless TXs and RXs including the A20 mini transmitters. Additional wireless includes Lectrosonics TXs and RXs. For time code boxes he likes Ambient Recording LockIt and NanoLockits. For lavs, Jessie uses DPA 6060s and 4060s. On the boom pole he has a Schoeps CMIT 5u and also uses the Schoeps Colette CMC 6u with mk41 capsules. Jessie also uses a DPA 4017c on the boom. Each episode we talk with location sound mixers, boom ops and other industry pros about the various aspects of recording sound on-location for feature and independent films, TV commercials, interviews, anytime where dialog from actors is recorded. Whether you're a seasoned veteran or just starting out, this podcast is packed with great stories and lessons about recording on-location.
Alex Haralson, production sound mixer based out of Knoxville, Tennessee, joins us again to catch up on new projects and how the strikes and industry shift has affected his work. Alex was originally on episode 92 so check that one out too. His website is https://www.sonolocus.com/ Each episode we talk with location sound mixers, boom ops and other industry pros about the various aspects of recording sound on-location for feature and independent films, TV commercials, interviews, anytime where dialog from actors is recorded. Whether you're a seasoned veteran or just starting out, this podcast is packed with great stories and lessons about recording on-location.
The team discussed a variety of topics, from personal health experiences and upcoming events to technical issues and potential business opportunities. They also shared their experiences with different mixer apps and control systems. The conversation shifted to societal concerns, including the growing violence in Las Vegas and Tampa Bay. Towards the end, they discussed the importance of networking events and the benefits of seeking professional medical advice. Holiday Activities, and AI Report: The meeting included informal conversations about various subjects, with David sharing about their holiday activities. Towards the end, David expressed appreciation for an AI report on their previous meeting. AI Summarization, Technical Issues, and Mixer Apps: The team discussed the capabilities of a new AI technology for summarizing meetings, highlighting its unique features and challenges, such as legal actions and technical resistance from various companies. They emphasized the importance of context in AI language models. Additionally, they discussed their experiences with different mixer apps and control systems, with Gregory suggesting the use of MixStation. Sound Systems: The meeting was informal in nature, with participants sharing their personal experiences and observations. The conversation shifted to the technical aspects of sound systems, with a focus on subwoofers and Clair Brothers' subharmonics. NFL Experience, Las Vegas, and Societal Concerns: The team discussed the NFL Experience construction in Las Vegas for the upcoming Super Bowl, clarifying its location at the Mandalay Convention Center. The conversation also touched on the potential of Las Vegas attracting an NBA franchise, with the Golden State Warriors being a possible target. Compact VPN Router and NAM Show Discussion: Jan introduced a compact modem or router that can establish a personal VPN when connected to hotel Wi-Fi, ensuring secure use of personal devices while traveling. The possibility of attending the upcoming NAM show in Anaheim was brought up, Gregory and Curt had a discussion about a demonstration involving Meyer Soundlabs Panther systems. The meeting discussed the gear and equipment in the audio industry, with proposals to reach out to manufacturer representatives for more information. A new wireless system from Sound Devices was mentioned, along with the influence of major players like Shure and Sennheiser. The conversation also touched on changes in streaming services, including the increasing cost and ads, and the potential for new companies to enter the market. The meeting involved discussions about an upcoming event at the Anaheim Convention Center, the NAMM Show. There was a discussion about the high cost of certain products, specifically the Wave Server. The participants discussed possible strategies for promoting their products at a show. The conversation also touched on the upcoming CES event. The topic then shifted to a concern about the potential release of names associated with Jeffrey Epstein, which was met with mixed reactions from the participants. Emergency Evacuation Procedures Discussed: The meeting focused on emergency evacuation procedures during a plane crash, highlighting the efficiency of the Major Jetliner's design to evacuate everyone within 90 seconds. The discussion emphasized the importance of not grabbing personal belongings during an emergency evacuation and the role of automated systems in emergencies. Security and Travel Tips in TSA and Airlines: The team discussed the TSA's experimentation with self-screening, with concerns raised about the potential for misuse, particularly with carry-on items. The conversation also touched on the use of biometrics for immigration control and the benefits of Clear for expedited security checks. The team shared travel tips, such as the usefulness of Priority Pass for lounge access and the best airports to fly out of. The team discussed a possible gathering at Pernelli's. Ken Porter, Spectrum Sound was congratulated for being named sound company of the year, which was met with approval. The team had a discussion about the Rock and Roll Hall of Fame ceremony, with Gregory sharing their appreciation for Robert Plant's performance. ---------- Thinking Out Loud w/Friends # 189 - Join your host Jan Landy and his amazingly knowledgeable panel of friends for an entertaining robust discussion offering opinions on current events and life in general. Good For A Few Laughs And More Satisfying Than Seeing A Therapist while sharing your opinions and learning about what is happening in our world and how it affects us.
Greg Murphy is a production sound mixer based out of Melbourne, Florida. He does a lot of work in live news and also projects for Major League Baseball, the NFL, Super Bowl and NASCAR. For news, he uses a Sound Devices 688 mixer/recorder and for smaller jobs, a Sound Devices 633. For wireless, Greg uses Lectrosonics transmitters and receivers. He likes the Sanken COS-11 lavs and also uses dpa 4060 lavs. On the boom, he prefers a Schoeps CMIT 5u and a Sennheiser 416. Greg also uses a Schoeps CMC641 for sit down interviews. Greg likes the Denecke JB-1 time code sync boxes as well as Tentacle Sync. He also likes the Lectrosonics R1a for IFBs and camera hops. Check Greg out on Instagram @soundmixer_murphy Each episode we talk with location sound mixers, boom ops and other industry pros about the various aspects of recording sound on-location for feature and independent films, TV commercials, interviews, anytime where dialog from actors is recorded. Whether you're a seasoned veteran or just starting out, this podcast is packed with great stories and lessons about recording on-location.
Michael Reed, based out of Orlando, Florida, does production sound, post audio mixing and live sound. He's worked on projects like Burt Reynolds: The Last Interview, Screwball(2018) and Movie Money Confidential. Michael uses the Sound Devices MixPre-10T, Audio Limited A10 wireless, a Lectrosonics DSR4 wireless receiver, DBSM and DBSMD transmitters and Sanken COS11-d lavs. He also uses Sennheiser G4s for camera hops, Comtek IFBs, Sennheiser 416 and Audio Technica 4053b shotgun mics, as well as Denecke JB-1 timecode sync boxes. Find out more at https://freqproductions.com/ Each episode we talk with location sound mixers, boom ops and other industry pros about the various aspects of recording sound on-location for feature and independent films, TV commercials, interviews, anytime where dialog from actors is recorded. Whether you're a seasoned veteran or just starting out, this podcast is packed with great stories and lessons about recording on-location.
For the 100th episode of the Location Sound Podcast, we've brought back our very first guest, production sound mixer Larry Williams, Jr. Larry uses Sound Devices mixer/recorders and has a 664, a 688, and MixPre-6. He's all Lectrosonics wireless with a DSR4, 822 and 411 receivers and likes the Sanken COS-11D lav mics. On the boom pole, he uses a Schoeps MiniCMIT, Sennheiser MKH-416 and MKH-50. Larry also uses Tentacle Sync and Denecke time code boxes and a Denecke TS-C slate. He has worked on the HBO original series Hard Knocks, the Super Bowl and the NFL Draft. He's also been a regular sound mixer on Military Makeover with Montel Williams. Larry shares with us his ongoing sound industry journey and offers a lot of tips and tricks along the way. Each episode we talk with location sound mixers, boom ops and other industry pros about the various aspects of recording sound on-location for feature and independent films, TV commercials, interviews, anytime where dialog from actors is recorded. Whether you're a seasoned veteran or just starting out, this podcast is packed with great stories and lessons about recording on-location.
Christopher Charles, an expert in Light and Sound Mind Machine technology has been involved in the field since the 1980s. He discovered the technology while in high school and was introduced to it by an old Inter Quest brain machine. Charles was interested in the mechanics of the brain-machine and learned from it through reading and talking to people. He has worked with various manufacturers and researchers in the industry. Join Dr. Naomi and David we they talk more about neurotechnology specifically, Electroencephalogram (EEG) with Christopher in this episode of Locked up Living Podcast. TIMESTAMPS [02:36]Biofeedback Machines [04:22]Early Electroencephalogram testing [05:57] The First Light and Sound Machine [10:10] A Flickering Campfire and Shamanistic Activities. [13:44] Calming the Nervous system with Lights and Sounds [16:08] Music Production and Software Development [19:23] RoshiWave Glasses [28:26] Long-Term Benefits of EEG Devices [31:24] Clinical Research on Light Machines. [33:37] Warnings and Safety: Epileptic Seizures Caused by Photosensitivity. [39:09] The difference between using Roshi and other similar technology. [44:24] Light and Sound Devices and Psychedelic Drugs. [51:08] Closing Remarks RESOURCES MENTIONED Roshi anthology by Dr. Victoria Erick - Researchgate Into The Void by Zoe Seven - Amazon Back from The Void by Zoe Seven - Amazon Connect with Christopher Charles Connect with Dr. Naomi Murphy on LinkedIn Connect with David Jones on Linkedin Thanks for tuning in!
Paul Isaacs and Gary Trenda from Sound Devices join us to talk about the new A20-RX two channel true diversity receiver and it's new features and the A20-Mini Digital Wireless Transmitter with GainForward and SpectraBand Technologies. https://www.sounddevices.com Each episode we talk with location sound mixers, boom ops and other industry pros about the various aspects of recording sound on-location for feature and independent films, TV commercials, interviews, anytime where dialog from actors is recorded. Whether you're a seasoned veteran or just starting out, this podcast is packed with great stories and lessons about recording on-location.
We are joined by Paul Isaacs and Gary Trenda - wireless technology experts at Sound Devices - who tell us all about the latest developments in the Sound Devices wireless range. Prod. Sound Mixer John Rodda is also with us to provide his professional insight as a Sound Devices user with decades of experience in the field. www.sounddevices.com https://www.sounddevices.com/spectraband-explained/
This episode features Barry L from Southern Minnesota. Barry has been sober since October 29, 1988Barry's story starts with his identification as an alcoholic while fulfilling his pastoral duties. He found some very understanding and helpful people early on that allowed him to build his foundation. As a result of establishing a firm constitution for his step work and cultivating relationships, he has transitioned to being a counselor to help other alcoholics and addicts. His journey also prompted a calling to write a book called Mastering Recovery.=============================Reading Recommendation from Barry L.Man's Search for Meaning by Viktor FranklBreathing Under Water: Spirituality and the Twelve Steps by Fr. Richard RohrMastering Recovery by Barry Lehman=============================Use the link below if you would like to contact the show.https://www.seasonsofsobriety.com/contactA special thanks to Sound Devices (https://www.sounddevices.com) for donating the MixPre-6 used to record portions of this episode.
“El Dorado” by Edgar Allan Poe – Poe provides a gold mine of sound devices in Eldorado. Instruct students to identify ‘o' sounds in the poem and analyze their purpose. In addition, “Eldorado” serves as an excellent example of a poem with repetition.“Anabel Lee” by Edgar Allan Poe – Poe's deft use of repetition, assonance, consonance, repetition, and internal rhyme make “Anabel Lee” a classic love poem.“The Eagle” by Lord Alfred Tennyson – the repetition of the hard k sound mirrors the harshness of the eagle's habitat. The Eagle makes a great poem for poetry speed analysis.“Travel” by Edna St. Vincent Millay – Millay uses assonance to replicate the mingled voices on a train. Instruct students to write a poem about an ordinary place that they enjoy–the school cafeteria, the halls during passing period, the school bus, for example. Require them to use assonance in addition to other appropriate sound devices.“Beat! Beat! Drums” by Walt Whitman – I've never in my life used the phrase “Tour de Force.” It's a cheesy, trite expression whose meaning is unclear. That being said, Walt Whitman's “Beat! Beat! Drums!” is a Tour de Force: it's got consonance; it's got assonance; it's got internal rhyme; it's got alliteration. It captures the war pulse like no other piece of writing can.LinksPoetry Collections at ELACommonCoreLessonPlans.comSound Devices in Poetry PostSound Devices in Poetry Lesson Plan
This episode features Kami S from Lakewood New Jersey. Kami has been sober since September 7, 1981.Kami's story reveals the sinister nature of that voice inside that tells us we are enough and how she overcame all the negative messages she gave herself about her learning disability. She also has a little twist regarding an amend that has allowed her to live and forgive.Her story demonstrates the willingness to dig deep into the emotional disruptions of life and how best to heal from them after decades of recovery,=============================Reading Recommendation from Kami S.The Four Agreements: A Practical Guide to Personal Freedom by by Don Miguel Ruiz=============================Use the link below if you would like to contact the show.https://www.seasonsofsobriety.com/contactA special thanks to Sound Devices for donating the MixPre-6 used to record portions of this episode.
Ted Hogeman is a Production Sound Mixer and Boom Op based out of the Washington, D.C. area. He has experience on all kinds of shoots, from run and gun documentaries and indie features, to high end short films and commercials. Ted uses a Sound Devices 833 mixer/recorder, Lectrosonics wireless with DPA 4061s and Sanken COS-11d lavs. Ted also uses a DPA 4017b, Sennheiser MKH-50, Schoeps CMC641 and Sennheiser MKH-8050 shotgun mics. For time code, Ted uses Tentacle Sync E and some of the original first generation units. He also uses a Betso SB-1 timecode box. For IFBs, Ted likes using some older G3 & G2 IEMs. Each episode we talk with location sound mixers, boom ops and other industry pros about the various aspects of recording sound on-location for feature and independent films, TV commercials, interviews, anytime where dialog from actors is recorded. Whether you're a seasoned veteran or just starting out, this podcast is packed with great stories and lessons about recording on-location.
Stephen Harrod is a Production Sound Mixer and Boom Op based out of Los Angeles, California. He uses a Sound Devices 633 mixer/recorder, Lectrosonics wireless and Sennheiser G3s for camera hops. Boom mics are the Sennheiser MKH-416, MKH-50 and MKH-60. Stephen also uses a MixPre-10T in a second bag. Deneke and Tentacle Sync for timecode. https://www.stephenharrodsound.com/ Each episode we talk with location sound mixers, boom ops and other industry pros about the various aspects of recording sound on-location for feature and independent films, TV commercials, interviews, anytime where dialog from actors is recorded. Whether you're a seasoned veteran or just starting out, this podcast is packed with great stories and lessons about recording on-location.
Just in case you were wondering, you definitely wear all the hats now. In today's modern at-home recording world, you're the voice, engineer, customer service department, and tech wizard of each session; and some of those hats can get pretty cumbersome. In this episode, Anne and Laya discuss what it takes to be a BOSS in the booth, and how to maximize your potential success with tools, tech, and processes that work. It's not enough to just have a great voice or be an excellent performer anymore, but being a #VOBOSS in your booth is achievable. Learn how in this episode, jam-packed with ideas from these savvy bosses… Transcript >> It's time to take your business to the next level, the BOSS level! These are the premiere Business Owner Strategies and Successes being utilized by the industry's top talent today. Rock your business like a BOSS, a VO BOSS! Now let's welcome your host, Anne Ganguzza. Anne: Hey everyone. Welcome to the VO BOSS podcast. I'm your host Anne Ganguzza along with my very special guest co-host BOSS Laya Hoffman. Hey Laya, how are you? Laya: I'm great. Anne. How are you? Anne: I'm doing good. It's been a hectic week in the booth here, which is a good thing. I'm very grateful about that, but hectic in terms of I had clients who are asking a lot of me. Laya: Oh yeah? Anne: Not just voicing. Laya: Aren't they always? Anne: Yeah. Not just voicing in the booth, but they wanted playback. They wanted to invite the client in. And so I thought it would be a good day to talk about how to be the BOSS in the booth and handle these, handle the tech, handle these situations when a lot is being requested of us these days. Laya: So much, you know. Gone are the days of just stepping into the studio and all you have to do is focus on your acting -- Anne: Remember that? Laya: -- the copy and what it feels like to deliver, you know, the message. Now you have to have all the hats on -- Anne: Yup. Laya: -- simultaneously while keeping your cool and still delivering an outstanding performance. And it is harder than we realize -- Anne: Oh my gosh -- Laya: -- especially when the going gets tough. Anne: Yeah. And shout-out, okay, before anything else, a big shout-out to all the studios out there -- Laya: Yes. Anne: -- and pre-pandemic too. Like I always appreciated studios and sometimes even more so now, you never realized what a luxury it is to walk into a studio and to be directed. Laya: Yes, I miss it. Anne: Right? It is a wonderful thing. And I think there's always a place for studios, but during the pandemic, when we had to kind of up our game and get our tech in place and be able to engineer and do all that, oh, that was tough. So thank you to all of those studios. Some of my favorite studios shut down, and it's so sad, and I hope that they, you know, we're now coming back to a different place. I'm so glad when I see people in studios, and they're like, oh my gosh, I'm so happy to be back in studio, seeing people, so. Laya: Well, and it's true because even the engineers -- Anne: Yeah. Laya: -- like I have great respect for these engineers and the sound designers that are manning the board and the client in one ear. Anne: Yup. Laya: And they've got another client patched in from somewhere else. And they have really been the lead for all these years -- Anne: Oh yeah. Laya: -- to really help craft a comfortable setting for -- Anne: Yeah. Laya: -- so many of us that are dealing with our own insecurities or -- Anne: Sure. Laya: -- our own demands or our own needs that are happening on every angle of the table or the studio. And so I have a whole new respect having really had to shift that in house, but now it's, you know, it's a new skill learned, and I really haven't seen anywhere where you can learn the art of how to be your own BOSS in the booth -- Anne: Right? Laya: -- so this should be an interesting conversation. Anne: Well, I think, first of all, you have to educate yourself on some of these technologies that are -- Laya: Yep. Anne: -- that may be required of you. So number one, first of all, you've got to connect to a studio if you're doing a live direct, right? Or you have to be able to connect a client to be able to hear you. And so -- Laya: Yeah, your studio, right? Anne: Yeah. There are a lot of ways to do that. I know that prior to the pandemic, we were doing, a lot of people were doing stuff via Skype, and then Zoom kind of became a thing. I've had people connect via Zoom. Laya: Yeah. Anne: And I'm going to give a shout-out to, you know, our sponsor ipDTL, because I've always been able to connect other people to me via ipDTL and a very easy -- Laya: Yeah, flawlessly. Anne: Flawlessly, seamlessly, in a wonderful -- and the cool thing is, is that I even have a phone number, like my ipDTL, somebody can call a phone number and connect up with me via ipDTL. So on the other end, if you've got a client who's not technical -- Laya: Yep. Anne: -- at the very least, just give them a phone number and they can connect. Laya: Always. Anne: Now -- Laya: That's awesome. I didn't realize that about them. Good share, for sure. Anne: Yeah. Laya: For sure. Anne: But even before that, if you want to get even more elementary, right -- Laya: Of course. Anne: -- I used to have people connect to me in the studio by having my phone and earbuds. And so I'd have them call my cell phone, put my earbuds in my ear, and then my headphones over, right, my ears. Laya: Oh wow. Anne: And they would be in my ear. And it was like before you had to do a complicated -- there were people that would talk about having complicated phone patch in to your studio. And then thank goodness for cell phones with earbuds. Laya: Right. We still call it phone patch -- Anne: Right? Laya: -- but it's like, we're actually, we've upped the tech a little bit. Right? Anne: Yup. Laya: It's not necessarily a phone, but yeah, you're right. There's so many clients and partners out there that need to pass it on to somebody that isn't used to this program, you know, is used to just going into a studio and letting somebody else handle it. So you gotta make it easy for them with something as simple as a phone number -- Anne: Yeah. Exactly. Laya: -- or a Zoom link or something that they're used to. You got to meet them where they are. Anne: Yeah. I think that's your client non-technical person that needs to be able to hear what you're doing with their copy -- Laya: Yeah. Anne: -- is a phone patch, the cell phone number, the Zoom connection, Skype connection. And that's just something that you want to make sure that as a talent, when they are connected, they are either muted when you are obviously voicing the copy or, you know, you are muting them so that you're not getting the feedback. Or even if they're in your ear, you don't want that to bleed through. So -- Laya: Yeah. Anne: -- make sure that you have a good mute system or you know how to mute clients when you are speaking the copy. Laya: Yeah. Anne: And that I would say the very elemental client connect to us in our studio, those are some viable methods. Now what about connecting to studios? We have a couple of different options here. Laya: Yeah, we do. And I even want to go back a step if, if that's all right with you, Anne. Anne: Sure. Laya: Because I found that more and more of my clients who are used to into a studio may not be used to connecting now virtually with a studio. And so they're just coming straight to me as the voice talent saying like, how do we get this done? And so I offer a few solutions, right? I say, you know, um, I have multiple connectivity options. You can connect with me via the digital methods, which would be Skype, Google Hangouts, Zoom -- funny story as a side, I offered just to Zoom and Skype to a client that works with Google. And so they were like -- Anne: Oh wow. Laya: -- oh no, we do Google Hangouts. And I was like, oh yeah, of course -- Anne: Got to offer that. Laya: That's now, don't want to offend Google. So of course that's in the mix or phone patch, you know, I say, if you've got a conference line -- Anne: Sure. Laya: -- but right from the jump I say, you know, or I would prefer to connect with a studio of your choice, or I can recommend one for SourceConnect or ipDTL -- Anne: ipDTL. Laya: -- or anything like that that makes it easy on them. So I first put it in their court when approached with it, because I do find that so many times, they're like, uh, how do we do this? You know, at least that was the case in the very beginning. Anne: Well, I want to add to that list, in addition to your visual hangouts, if they just need an audio hangout, there's also Bodalgo Call. There's also -- Laya: Yes. Anne: Right? That they can just connect up audibly. And by the way, I had some international clients that Zoom did not work. And so they had to use Skype. And that was the only thing that -- Laya: Skype is another one, yeah. Anne: -- will work. Really depends on certain protocols, I know, of security. Laya: Yep. Anne: And so one was Skype. Another person could only connect via Zoom. The other, if it's audio only, it could be, but Bodalgo Call. There's also Open Connection. I'm trying to think what else is -- I think now, um, I'm just trying to think. There is a new capability of I -- maybe it's Mac iOS that you can connect an audio call. I'm gosh, I'm now, I'm going to, I'm going to go crazy trying to think of it. But anyways, there are those other options where if you just need an audio connection where they listen in, you can offer that, where they don't have to dial a number, but they can join in via computer. Laya: Yes. Anne: And there's audio options for any of these. Laya: Oh for sure there is. Anne: Yeah. So obviously if you don't have to have video, which I recommend, to be honest with you. I don't know if I really want people that in my booth, you know, when I'm performing -- Laya: I agree with you. Anne: -- like you don't have to look at me. Laya: I agree with you. In fact, I want to touch on that a little bit, because in addition to that, like I hear Zoom and I'm like, oh my gosh, I got to like, look presentable. Anne: Gotta do my hair. Laya: But a couple of key points there for me have been, well first, I'll ask them what their preferred connectivity, but I'll asterisk with, if you find that playback during our session is going to be essential -- Anne: Oh yes. Laya: -- for decision-making with your client -- some clients are just like, no, just send me -- I just want to listen in. And they're very low hassle, I don't know. Anne: Yep. Laya: They're easy to deal with. And so that you've worked with them in the past. It's no big deal. They just want to listen in. And sometimes they've got a lot of people on the line, and a lot of personalities and they definitely want playback. And I said, well, hey, unless we're connecting to a studio, which can absolutely engineer that -- Anne: Sure. Laya: -- the only way that my capabilities are going to allow playback are through Zoom. I haven't found any other playback capabilities, albeit I haven't looked very hard, but I'm like you, have an Apollo. I use Adobe Audition. And I have found that the only thing I can do playback on is through Zoom, if they're not using SourceConnect, of course. What are your options? Have you found any? Anne: So that's really interesting because I have an Apollo, and I use Twisted Wave. So my Apollo acts as a virtual audio output device -- Laya: Interesting. Anne: -- because I can play it within Twisted Wave, and they'll be able to hear it, which is something I didn't have until I got the Apollo. Other interfaces, they did not act as that. There's some software that you can load on your computer that can act as a virtual audio output device, like Sound Flower. The other thing too, if I need to play back for a client or a studio, I use ipDTL, which allows me to -- Laya: Right, perfect. Anne: -- play it back. But it's always like, oh, can we get playback? And I'm like, all right, but it's the raw audio. Laya: Yeah, I haven't cleaned it. Anne: I haven't edited anything out. But that's my paranoid, non-engineer, you know -- Laya: Yeah. Anne: -- going, oh my God, all right, I can play it back, but you're going to hear that mouth or something. Laya: And those curveballs can really throw you off your performance games. Anne: Yeah, yeah. Laya: So it's important to know all these avenues. And I'm so glad you pointed out those playback options. It might just be in my lack of knowledge or education -- Anne: ipDTL. Laya: -- on the matter. So I'm going to look that up, but yeah, of course. So I'm going to offer that. They're my partner now too. Anne: But if I had my choice, if I had my choice, if I am on the line with a studio, and I'm connected via ipDTL, SourceConnect, Connection Open, and I think there's another high quality audio connection option out there right now. Forgive me that I can't think of it right now, but ipDTL and SourceConnect are the two big ones, but I -- Laya: And SessionLink, I think I've done -- Anne: Oh, SessionLink. Laya: Yep. Anne: That's it. That's the one I was thinking of. So those are options when you want to connect up to a studio, and when that happens, I love it because the studio engineer can typically do the playback. Laya: Same, same. Anne: Yeah. Laya: I'm like, yes, I can finally just focus on me -- Anne: Being an actor. Laya: Yes. Uh, I wish buyers knew what a better performance they probably get -- Anne: Right? Laya: -- and a smoother transition when they get, when you're dealing with a studio and an engineer. It really does take the pressure off. So let's talk about what happens when it doesn't go so well. Anne: You're flustered. Laya: Yeah. Anne: So number one, I'm going to say this, just from experience and just from a tech experience as well. Not just voice over, but being, being a techhead for 20 years, always have a backup plan -- Laya: Always. Anne: -- because things can fail. Connections can fail. I've been noticing recently there's been some conversations about one of the providers not working so well. I've had my days where, you know, things just happen. Like ipDTL is slow or weird or something doesn't connect, or SourceConnect, right? It's just not working the way -- maybe SourceConnect Now. Oh, that's the other one, by the way, they can do playback, probably, SourceConnect Now. Laya: Okay. Anne: So those things, what do you do if one thing doesn't work? You always have to have your backup. And you know, in the heat of the moment when the client is there, and you don't know when you can reschedule that session, you certainly don't want your interface failing. You don't want your Internet network to fail. So if you can have backup points all along the way, meaning what if your microphone, I don't know. All of a sudden your microphone like dies, right? Do you have another microphone? Can you swap it out quickly? Do you have another audio interface? Do you have another network, Internet network, like a backup Internet connection? Those are things that I think as a professional, you need to have those in place. So that during an important session, usually when it's a live directed session, I'm going to say it's probably a pretty important, not that our self-directed sessions aren't important, but when it's a live directed session, there's that added pressure. You've got the client usually on the line or the studio on the line that you're trying to make a good impression. Like, hey, I got this. And you certainly don't want to seem any less than professional or prepared -- Laya: Yes. Anne: -- when something bad might happen. So that's my first, my first advice. Laya: I can't agree with you more. And let me just share from experience. Anne: Yes. Laya: First of all, it happens to all of us -- Anne: It does. Laya: -- and we're all human. So just admitting calmly and in control to whoever may be affected -- Anne: Calmly. Laya: -- you know, we're having an issue -- exactly. Oh my God, freaking out, is not the way to go with your clients. But if you can admit, hey, you know what, I'm experiencing something that's unusual right now. Give me just a few minutes. And if we can break for five, I'll get right back to you. Sometimes -- Anne: You are like the epitome of calm. I'm just saying, like the way you just said that, I just love it. I'm not quite sure I could say it so coolly, but you just -- that was awesome. Laya: You know, just give me a moment. Anne: Just a moment. Laya: Get your meditation voice on. No, so to me, I've actually had this happen on two occasions where the power surge has gone out, like a brown-out in the middle of the afternoon for no reason. There's not even -- it's like a rolling blackouts. You know, sometimes, city's done -- that has happened to me once before. And let me tell you, I had a plan and I had a backup. Now I wasn't able to use the Apollo because that's powered, but I have -- Sound Devices has another DAW system that I use. And I was able to use -- my power was backed up -- Anne: Nice. Laya: -- and flipped on a candle. And I was able to conduct a session -- Anne: Careful in the booth with that candle. Laya: Exactly. Right, right. Having a power outage. Anne: Yeah. Laya: I mean, something as crazy as that. Anne: Yeah. Laya: And of course everyone understands, but you know, they may have a lot riding on the session as well, under deadline, with a new client and what have you. So you got to have a backup. Anne: Can I just say that absolutely the power is super important, and you may not even realize until you're live, right, and with a client, your Internet connection failing -- Laya: Yes. Yep. Anne: -- or especially when you're connected wifi. And if you're connected directly to a studio or to a client, it really does help to have that dependable, reliable Internet connection that doesn't have dropouts. Laya: Yep. Anne: And wifi, I'm sorry, guys. I know wifi is convenient and easy and not a lot of people are necessarily technical or know, but it helps to be directly connected -- Laya: Definitely. Anne: -- to your router, to your Internet at all possible costs because that is going to be one less point of failure. So. Laya: Yep, hard-wired in is the way to go for sure. As soon as you can, uh, establish that connection with your studio or with your home Internet, and even upgrade to a business Internet system where you've got more bandwidth, hopefully you, you know, maybe even got fiber in your area. Anne: Sure, yeah. Laya: That's just some key stuff. And that way you can use, if -- as your backup can be your wifi hotspot on your cell phone, if need be. That's happened to me before as well. Anne: Oh yeah, that's always my second. My second Internet connection is my wifi hotspot, which is great to have that Internet connection. Now, what about, okay, mentally, right? Technically, look, you just have to be prepared with backups, and you have to understand hopefully enough to know how to disconnect, reconnect. I always, by the way, if I'm going to finish up on the technical aspect of being prepared, take a picture of your connections into your DAW and you know what I mean? And, and into, into the whole booth, right? Your monitor's connected this way, your microphones are connected here into your audio device. And so take pictures of the back of it -- Laya: Great tip. Anne: -- label your cables and -- Laya: Oh, label my cables, that's absolutely key. Anne: Label your cables. Laya: Label the cable should be like hashtag. Anne: Label the cables. Laya: I love it. Anne: And also, well, computer backup too doesn't it hurt. So always have that second. And I use my travel rig as my backup, right? So I have a laptop, and I've got a different interface, and I've got another microphone at the ready pretty much so that I can go there. And, but if you don't, make sure that you're taking pictures of how things are connected. 'Cause even me being a technical person, you know, in the heat of the moment, you want to make sure that you can react quickly. Laya: Yeah. Anne: So now mentally, I had an experience where I had a live directed session with a very large client. One of the clients that -- a client I've always -- a dream client that I've always wanted to be connected to. And I actually experienced an engineer who was trying to, I don't even know how to say it, was trying to impress the client in his own way and made me do like, I'm going to say, three takes of every single line of a fairly large medical narration project. And it became very stressful for me because every single -- and I didn't know, he had planned on doing three takes of every line, and this what should have been an hour session turned into three and a half hours. And by the time that was done, I was exhausted. And mentally I was really frustrated, and it was starting to affect my performance. So -- Laya: Absolutely. Anne: -- mentally you need to be prepared for that kind of a pressure. And sometimes I say, it's good to have a practice session with somebody. If you've got a close connection, even a voiceover talent that you are -- have an accountability group or something, do some test sessions and have things go wrong, and see how you can react. It does help at least the preparedness or feeling better, because mentally, if your performance is suffering, that's tough. What are your -- Laya: Yeah. Anne: -- do you have some suggestions, Laya -- Laya: Oh gosh, sure. Anne: -- for mental, you know, how to recover mentally? Laya: Yeah. Well, sure, and again, that happens to everybody also, right? Anne: Yeah. Laya: Even the pros of the pros, the top people -- Anne: Yep. Laya: -- there's always sometimes just somebody in the group that's either trying to establish themselves -- Anne: Yes. Laya: -- because they're posturing for whatever reason is going on for them, maybe they haven't had the best day, or they're trying to prove themselves -- Anne: Exactly. Laya: -- in the room. And you know what? You just have to remember, you're the hired gun. Anne: Yep. Laya: You're the hired -- you, you're just there to listen and just take orders -- Anne: Yep. Laya: -- and leave your ego at the door -- Anne: Exactly. Laya: -- and just try to serve them and the copy and the client to the best of your ability. But I have been in that situation several times before, and it really doesn't come down to -- if you can remember, it really is not about your performance. Sometimes it's easy to recognize these people sometimes in a session. Anne: Yep, yep. Laya: You know, first sometimes even taking a step back, there's a lot of people coming at you. And so when I'm in a self-directed session or not a self-directed, but when I'm engineering the session myself, and I'm not connected to a studio, and if I am, sometimes there's a lot of cooks in the kitchen, and there's a lot of people coming at you with all different opinions. Anne: Sure. Laya: And sometimes I'll listen to them all. If it calms down, you know, maybe it's bubbling up for a minute or two -- if it calms down, I'm able to get the focus again. I usually come back and say, okay, so-and-so, so tell me, this is how I thought I heard that. This is my translation of that. But to keep it super clear, moving forward, do you think I can get that direction from just one person? And sometimes it's a reframe, and that sets a neutral tone -- Anne: Sure. Laya: -- for all the personalities that are on the phone. Right? Anne: Yeah. Laya: And so, because that can mess with you mentally as well. Anne: Oh yeah. Laya: And so I think establishing that and like re-getting control of the session, that can help when all those personalities are chiming it, or they're asking for multiple retakes, and you're just, you're like, well, but I'm doing it. You know? You start to second guess yourself. Anne: That's the thing that's such an -- I'm glad you brought that up because it's so important when they're asking for a different take. And sometimes the people that are asking for it, they don't know how to ask for it. Laya: Yep. They don't know the language to use. Anne: They don't know the language. Laya: Right? Anne: And hey, sometimes even people that do know the language don't know how to ask for that. And so you have to be very aware that this is something that will happen to you. And at one point, if they're asking you for so many retakes, then your confidence level starts to really fluctuate. Laya: Yeah. Anne: And I like in my head, I'm like, oh my God, did I not give them what they want? Well, I just gave them that. What, how did that not work? Really? And so that sort of conversation that you have in your head, that can really start to affect your performance. My go-to is breathing, just breathe, you know, in through the nose and exhale. I just heard my nose [phonetic]. Laya: Yeah. Anne: Breathing in deeply. And that helps a lot. Laya: Even on top of that shaking, like sometimes it's okay to say, hey, you know what? Anne: I need a minute. Laya: I needed just a moment. If you can take a break for just a few minutes, let me shake it off real quick -- Anne: Yup. Laya: -- and come right back to you with a fresh set of ears on my own, you know, in my own headphones. Anne: Yup. Laya: And maybe that will help. Anne: Yeah. Laya: 'Cause I want to make sure that you're getting exactly what you want out of this session. Anne: Exactly. Laya: And as long as you continue to put it back on them, but are humble and human enough to say, you know what? I just need a moment. Um, let me get some water, step out for just a second. And I'll be right back with you. Anne: Yeah. Laya: And sometimes that's enough to break up even them in their own headspace. Maybe they didn't even realize that's like a good way to send a signal. Like, you're overdoing it. Anne: Yup. Laya: And the talent needs to regroup. And that's a very professional thing to do. Anne: Yeah. Laya: And it's totally acceptable. Anne: And sometimes, sometimes they'll either say too much or they won't say anything and you'll be like, oh, okay. Or they'll just, you'll do a number of retakes. And then there'll be like, okay. And then you'd be like, oh my God, I didn't give them what they need. That's it. I'm done. They're never hiring me again. That's the other kind of like, self-deprecating language that might happen -- Laya: Oh, for sure. Anne: -- in your head, is like, oh, okay. They didn't react. And so what are they thinking? And so that can make it a little bit scary -- Laya: Yeah. Anne: -- in your head. So just, you know, for me, I love how, you know, let's take a moment. That always helps me and the breathing, and understand that sometimes you may be giving them exactly what they need, and they're just not responding. Laya: Yeah. Maybe they're distracted. They're something else. Anne: That's right. Laya: They're scrolling on their phone or another email's come through. Anne: That's right. Laya: That can be a challenge -- Anne: Yeah. Laya: -- when you're working virtually like this, you don't know what the other person is experiencing. Anne: Yeah. Laya: I remember one time recently I was on a call with two producers that were partners in two different states, and they clearly did not gel up. They were neck and neck. Anne: Yup. Laya: One of the producers had her kids screaming in the background. So it's in those moments that you have to kind of quickly empathize and identify where the energy source is and the chaos that may be happening for them. Anne: Sure, absolutely. Laya: Bring the calm to the mic and say, you know, what, what I'm hearing from you is this, what I'm hearing from you is this. Would you agree that it's more like this, and you want -- this is the end result here? And then also, like you said, kind of command the room to the best of your ability. You know? Anne: Yeah. Laya: Sometimes it's easy to say, to get the best performance today and I want to deliver what you want, I'm going to need everybody to mute their microphones, and let me get one source of direction or feedback going. And if they don't give it to you, like you're saying, say, okay, so can I get some feedback? You're welcome to ask the questions. And I think sometimes we forget that we can take control of those sessions. Anne: Yeah. Laya: It's one of the most empowering things to feel when you finally feel confident enough to do so. Anne: And the other thing too is just to know that these things do happen, right? It's so hard to predict what can happen in the booth when you have multiple people, what kind of like -- did you mention -- what kind of day they're having, too many people like that are hearing it differently than their head. Remember that we all hear the copy differently in our heads. The best thing you need to do is try to align that sound to what the client wants, right? And that client can differ. You could have a, I don't know, you could have a one, a marketing director or the, that hears it one way. And you could have a producer that hears it a different way. And as you mentioned, the two are clashing, and they might be at the same time directing you or even not. Let's say you've done the session. And then they come back and ask you for something different. So understand that that's absolutely something that can happen. And it has nothing to do with your performance. Laya: Right. Anne: And you could have given them exactly what they asked for. And a lot of times, I say this all the time, the way that you got the job is not always the way that you'll be directed to do the job once called upon to do it. Laya: So much so. Anne: Right? Laya: Right? That happens all the time. Anne: Because you have a different director, you have a different set of ears, and you have somebody that hears it differently directing you. So it is always very subjective to the person that is directing. And also, I'm just going to say, if you get the check, that's it. Consider it an amazing day. Laya: Yep. Anne: Consider you've given the client what they've wanted. It may not be what you agree or think is the way it should be. Right? But you've given the client what they wanted. And that's the most important thing. Laya: Yeah. And I would say that the -- in the end, no matter how the session goes, I always like to close with a big thank you. Thank you. I -- first of all -- Anne: Yes. Laya: -- I write, and I forgot to say this in the very beginning, but I've always got a notepad with me. As people are making their introductions, I always write down everyone's name so that I -- Anne: Good idea. Laya: -- call of them by name throughout the session, to the best of my ability I can call the director or the producer, whoever's calling the shots by their name, repeat their names again and again so they know that you're very focused on who you're dealing with, even though you're not in the same space. Anne: Sure. Laya: And then at the end close by being, you know, thank you very much for having me. I'm so proud that you selected me for this project. I really hope to have the opportunity to work with you again in the future. Anne: Absolutely. Laya: Good luck on your project and thanks again. Anne: And bam. Laya: And then I think the engineer, if there is one and, you know, wrap it in a nice bow -- Anne: Yep, yep. Laya: -- so they know no matter what, you left with a big smile -- Anne: Sure. Laya: -- and very grateful for their time -- Anne: Yes. Laya: -- and for selecting you. And then, you know, maybe they'll remember, you know, it, wasn't just an awkward, like, okay, thanks. Thanks, guys. Bye. Anne: Yeah. End it professionally gracefully, and you know, again, it's one of those things, then don't stay too long either at the very end. Laya: No, yeah. Anne: Don't expect -- there should be nothing, except thank you. It was a pleasure working with you and good luck with the project. They do not owe you anything else. They don't owe you praise. They don't owe you, hey, well, you know, we'll contact you for the next job. They owe you nothing -- Laya: Yeah. Anne: -- because that is a job. And ultimately, if you've done it to their satisfaction, you'll get paid for it. And so don't be, don't be emotionally affected by any of it at the end. Just close it warmly with a nice little bow. I like that. Wrap it up with a bow and onto the next one. Laya: Yep. And I would say the other thing, and I've -- I made this mistake early on. I realized very quickly it was inappropriate, but the end of the session is not a good time to say, hey, I'd love a copy of that spot when you're done. Anne: Yeah. Oh gosh. Yes, yes, exactly. Laya: Unless you really know the person -- Anne: Good point. Laya: -- or like, it's just, you one-on-one, I'd love to see what you come up with. You know, when this is thing is done. Anne: Yep. Laya: If it's not that easy and comfortable, that is not the time to be asking for anything. Just bow out gracefully. Anne: I totally agree with you right there. Totally. That makes you look a little bit, I don't know, desperate, maybe? Laya: Hungry. Yeah, a little hungry. Anne: And I would say it's a good opportunity for you maybe a month or two down the road when you know the spot's been released to maybe reconnect and then say, hey, thanks so much. Just wanted to say it was a wonderful opportunity. And by the way, if, at that point, if, hey, if you wouldn't mind, is there a way that I might be able to see the finished product? I love it when engineers and producers send me the -- that's the best when they send it to me when it's done. And I'm like, oh my God, like too few people do that. Laya: Yeah. I wish they knew how valuable that was, that currency is. Anne: Yeah. Laya: You know? Anne: I have a couple of really awesome producers that I work with who will just send me the spot, like on, I don't have to ask for it. They send me the spot when it's done. And I'm like, oh, this is so awesome. So that gives you that permission to share it. And just, it's just a good thing to see your finished product. But -- Laya: Yes. Anne: -- yeah. Laya: And I would like to mention too, that part of that follow-up process, only when appropriate -- Anne: Yes. Laya: -- but it helps to write down those names because a -- Anne: Sure. Laya; -- few weeks later, or even a few days later, in some instances -- you got to feel it out and trust your gut -- if it was appropriate for you to make contact, meaning your agent didn't book that for you -- Anne: Right. Laya: -- and there's not a middleman or anything like that -- Anne: Yeah. Laya: -- having their name or their studio affiliation, it'll at least allow you to find them or follow their studio on Instagram. Sometimes we are given the name of the studio or their production company that's working with it or the agency that's creating the piece -- Anne: Sure. Laya: -- not necessarily the client. Great time to make a followup connection, be it LinkedIn, Instagram, YouTube, and follow their work, continue to champion them and cheer them on. Anne: Yes. Laya: Or just drop them a line on LinkedIn and say, hey, I had a great session with you last week. Just wanted to say and take care of yourself. Hope all is well. Anne: Yes. Laya: I look forward to keeping an eye on your creative output, you know, in the months to come or something like that. It's a great way to follow that up too. Anne: Excellent point about if you get this work through an agent, and I just want to reiterate this, if you get work through your agent, I strongly recommend reconnecting with your agent first, before. Laya: Yes. Anne: Like don't connect the client directly -- Laya: No. Anne: -- connect to the client directly after the job or at any point, really, if it came through your agent, because that's a relationship that that agent has worked probably for a number of days, months, years, whatever, to connect and to secure. And you don't want to just kind of go in between that. So handle that professionally. Always go through your agent if the agent is the one that set that up for, if you have any questions or if you want to connect or say, do you think it would be okay if I sent them a thank you or ask for a copy of it? So excellent point. Wow. It was a great discussion today, Laya. Laya: Yeah, love these BOSSes in the booth. Anne: BOSSes in the booth. Laya: I know our listeners are going to be able to take control of those situations -- Anne: Yeah. Laya: -- because all of them can crop up. But in this day, this modern times, you really need to wear multiple hats -- Anne: That's right. Laya: -- in the booth. And that comes down to client relations, to engineering, to tack -- Anne: Yep. Laya: -- to being your actor, your best performance self, all those things with eloquence and grace, and then you'll win. Anne: There you go. Laya: You know, you'll be the BOSS in the booth. Anne: Modern BOSSes in the booth. All right, I'm going to give a great, big shout-out to my modern connectivity -- Laya: Yes. Anne: -- through ipDTL, our sponsor. We love them. Thank you so much, ipDTL, for always connecting me with BOSSes like Laya. You too can be a BOSS connected ipDTL person. Find out more at ipdtl.com. All right, guys, have an amazing week. Laya: Thanks, everybody. Anne: We'll see you next week. Bye. Laya: Bye-bye. >> Join us next week for another edition of VO BOSS with your host Anne Ganguzza. And take your business to the next level. Sign up for our mailing list at voboss.com and receive exclusive content, industry revolutionizing tips and strategies, and new ways to rock your business like a BOSS. Redistribution with permission. Coast to coast connectivity via ipDTL.
Anna Khromova is a production sound mixer and boom op based out of New York City. Anna uses a Sound Devices 833 mixer/recorder and a Sound Devices MixPre-6 as a backup and audio interface. For wireless, she uses Lectrosonics 411a receivers and 400 series transmitters as well as Lectrosonics SSM transmitters. Anna has a K-Tek Stingray Junior sound bag and harness. She likes using Sanken COS-11D lavalier mics, Sennheiser MKH-416 shotgun mics and a Sennheiser MKH-50. Anna also likes Tentacle Sync timecode boxes. Follow her on Instagram @annasoundny. Each episode we talk with location sound mixers, boom ops and other industry pros about the various aspects of recording sound on-location for feature and independent films, TV commercials, interviews, anytime where dialog from actors is recorded. Whether you're a seasoned veteran or just starting out, this podcast is packed with great stories and lessons about recording on-location.
This episode features Ed M. from Southern New Jersey. Ed has been sober since October 19, 2008.Ed's journey as a former coach and teacher has been a tremendous asset to his recovery. His snippets of wisdom at meetings has earned him the nickname of “The Bumper Sticker Guy” among his local fellowship.He has been able to maintain a wonderful relationship with his ex-wife and children despite the many layers of alcoholic behavior.His story demonstrates that getting sober later in life has its benefits of the wisdom of life cycles coupled with the working of the twelve steps.============================Reading Recommendation from Ed M.The Red Road by Anna HylénThe Daily Ponderables Collection=============================Use the link below if you would like to contact the show.https://www.seasonsofsobriety.com/contactA special thanks to Sound Devices for donating the MixPre-6 used to record portions of this episode.
L'émission lundimadaire en live avec toute l'équipe et Airwave. Plus d'infos sur Ariwave : https://airwave-music.com Participez au concours en nous rejoignant sur Discord : https://lessondiers.com/discord Cette semaine, AAS Multiphonics CV-1 : https://www.applied-acoustics.com/multiphonics-cv-1/ Sound Devices : https://www.sounddevices.com/ Korg OPSIX V2 : https://www.youtube.com/watch?v=HUUGGUTydgA Sonicware LIVEN BASS&BEATS : https://sonicware.jp/pages/liven-bassandbeats Behringer EDGE : https://www.youtube.com/watch?v=mJ8t0L8FZrY Editeur pour Roland TR6S et TR8S : https://www.youtube.com/watch?v=kiUYrnqjOj8 ---- SOUTENEZ NOUS ---- Offrez nous un café, ça nous met la patate ! https://tipeee.com/les-sondiers D'autres moyens de nous soutenir : https://lessondiers.com/soutien TOUT SAVOIR SUR LES SONDIERS : https://lessondiers.com/links Pour vos besoins en matériel, vous pouvez passer par notre lien affilié chez Michenaud, un super magasin pas cher, sérieux et sympa : https://lessondiers.com/michenaud Les Sondiers - Une émission live lundimadaire Et en podcast via http://lessondiers.com Suivez nous sur Twitch : https://twitch.tv/lessondiers Twitter : https://twitter.com/lessondiers Instagram : https://instagram.com/lessondiers Facebook : https://facebook.com/lessondiers YouTube : https://youtube.com/lessondiersFR 00:00 Intro 01:08 Début de l'émission 06:30 AskSondiers (sound design) 16:20 AskSondiers (gain staging synthés) 27:20 Concours AAS 33:00 Audiotonix rachète Sound Devices 51:10 KORG OPSIX Firmware V2 57:48 Sonicware Liven Bass & Beats 01:05:45 Behringer EDGE 01:09:00 Résultats du concours 01:16:02 Editeur pour TR6S et TR8S
This episode features Hope A. from North CarolinaHope has been sober since September 14, 1981.Some of the insights in Hope's story are following:She realized that AA could help someone who was as damaged as she saw herself.Every time she survived something difficult in sobriety her rachet of optimism would increaseShe realized she was avoiding AA due to some shameful behavior that resulted from an undiagnosed bipolar disorder.She has grown in effectiveness as a sponsor over the past 40 years.The importance of revisiting our illnesses other than alcoholism and addiction and the effects of medications as we get olderShe has been able to use her story to help others in a book she has written called How to Remodel a Life. ===========================================Book Recommendation from HopeThe Power of Your Subconscious Mind: Unlock the Secrets Within by Joseph MurphyClick here to find Hope's Book - How to Remodel a Life===========================================Use the link below if you would like to contact the show.https://www.seasonsofsobriety.com/contactA special thanks to Sound Devices for donating the MixPre-6 used to record portions of this episode.
Mikah Sargent and Ant Pruitt showcase their work-from-home studio setups that they've used over the past year to produce their shows on the TWiT network. Get the products shown off here: Logitech C920 - https://amzn.to/3dwASxl Heil PR-40 - https://amzn.to/3hfCtbS LIFX Lightstrip - https://amzn.to/3jCCh9o Philips Hue Go - https://amzn.to/3xa75Cr Nanoleaf Lightbulb - https://bit.ly/3dufQzF Anker Nylon USB-C to Lightning Cord - https://amzn.to/3dvqbLB Reincubate Camo - https://reincubate.com/camo/ Shure SE425 - https://amzn.to/3dxJ54r Comply T400 Memory Tips - https://amzn.to/3hjBPKM Sony WH1000XM3 - https://amzn.to/3houDNq Elgato Stream Deck - https://amzn.to/3hqN1VV Sound Devices MixPre-3 II - https://bhpho.to/3juq1rz Rolls MS111 Mic Switch - https://bhpho.to/3h4v3tc Elgato Key Light - https://amzn.to/2Th6fW2 Elgato Key Light Air - https://amzn.to/3dwCmYr ECamm Live (Mac Software) - https://www.ecamm.com/mac/ecammlive/ Godox SL-60 LED Light - https://bhpho.to/3AaMksn Flashpoint 10' C-Stand - https://bit.ly/3jsljL1 Blackmagic Pocket 6K Camera - https://bhpho.to/3dswxLC Glow EZ Parabolic Softbox - https://www.adorama.com/glsbez38.html Canon EOS M200 Digital Camera - https://amzn.to/3js8BMb Anwenk Grey & White Balance Card - https://amzn.to/3hjbs7z Blackmagic ATEM Mini Pro Switcher - https://bhpho.to/3dsAWhw Edifier 1280T Speakers - https://amzn.to/3y4sb5a Wacom Tablet CTL4100 - https://amzn.to/361KEDJ SoundAsured Acoustic Foam Panels - https://www.soundassured.com Hosts: Leo Laporte, Mikah Sargent, and Ant Pruitt Download or subscribe to this show at https://twit.tv/shows/hands-on-tech Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit Find more products we recommend at https://www.amazon.com/shop/twitnetcastnetwork
Mikah Sargent and Ant Pruitt showcase their work-from-home studio setups that they've used over the past year to produce their shows on the TWiT network. Get the products shown off here: Logitech C920 - https://amzn.to/3dwASxl Heil PR-40 - https://amzn.to/3hfCtbS LIFX Lightstrip - https://amzn.to/3jCCh9o Philips Hue Go - https://amzn.to/3xa75Cr Nanoleaf Lightbulb - https://bit.ly/3dufQzF Anker Nylon USB-C to Lightning Cord - https://amzn.to/3dvqbLB Reincubate Camo - https://reincubate.com/camo/ Shure SE425 - https://amzn.to/3dxJ54r Comply T400 Memory Tips - https://amzn.to/3hjBPKM Sony WH1000XM3 - https://amzn.to/3houDNq Elgato Stream Deck - https://amzn.to/3hqN1VV Sound Devices MixPre-3 II - https://bhpho.to/3juq1rz Rolls MS111 Mic Switch - https://bhpho.to/3h4v3tc Elgato Key Light - https://amzn.to/2Th6fW2 Elgato Key Light Air - https://amzn.to/3dwCmYr ECamm Live (Mac Software) - https://www.ecamm.com/mac/ecammlive/ Godox SL-60 LED Light - https://bhpho.to/3AaMksn Flashpoint 10' C-Stand - https://bit.ly/3jsljL1 Blackmagic Pocket 6K Camera - https://bhpho.to/3dswxLC Glow EZ Parabolic Softbox - https://www.adorama.com/glsbez38.html Canon EOS M200 Digital Camera - https://amzn.to/3js8BMb Anwenk Grey & White Balance Card - https://amzn.to/3hjbs7z Blackmagic ATEM Mini Pro Switcher - https://bhpho.to/3dsAWhw Edifier 1280T Speakers - https://amzn.to/3y4sb5a Wacom Tablet CTL4100 - https://amzn.to/361KEDJ SoundAsured Acoustic Foam Panels - https://www.soundassured.com Hosts: Leo Laporte, Mikah Sargent, and Ant Pruitt Download or subscribe to this show at https://twit.tv/shows/hands-on-tech Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit Find more products we recommend at https://www.amazon.com/shop/twitnetcastnetwork
Mikah Sargent and Ant Pruitt showcase their work-from-home studio setups that they've used over the past year to produce their shows on the TWiT network. Get the products shown off here: Logitech C920 - https://amzn.to/3dwASxl Heil PR-40 - https://amzn.to/3hfCtbS LIFX Lightstrip - https://amzn.to/3jCCh9o Philips Hue Go - https://amzn.to/3xa75Cr Nanoleaf Lightbulb - https://bit.ly/3dufQzF Anker Nylon USB-C to Lightning Cord - https://amzn.to/3dvqbLB Reincubate Camo - https://reincubate.com/camo/ Shure SE425 - https://amzn.to/3dxJ54r Comply T400 Memory Tips - https://amzn.to/3hjBPKM Sony WH1000XM3 - https://amzn.to/3houDNq Elgato Stream Deck - https://amzn.to/3hqN1VV Sound Devices MixPre-3 II - https://bhpho.to/3juq1rz Rolls MS111 Mic Switch - https://bhpho.to/3h4v3tc Elgato Key Light - https://amzn.to/2Th6fW2 Elgato Key Light Air - https://amzn.to/3dwCmYr ECamm Live (Mac Software) - https://www.ecamm.com/mac/ecammlive/ Godox SL-60 LED Light - https://bhpho.to/3AaMksn Flashpoint 10' C-Stand - https://bit.ly/3jsljL1 Blackmagic Pocket 6K Camera - https://bhpho.to/3dswxLC Glow EZ Parabolic Softbox - https://www.adorama.com/glsbez38.html Canon EOS M200 Digital Camera - https://amzn.to/3js8BMb Anwenk Grey & White Balance Card - https://amzn.to/3hjbs7z Blackmagic ATEM Mini Pro Switcher - https://bhpho.to/3dsAWhw Edifier 1280T Speakers - https://amzn.to/3y4sb5a Wacom Tablet CTL4100 - https://amzn.to/361KEDJ SoundAsured Acoustic Foam Panels - https://www.soundassured.com Hosts: Leo Laporte, Mikah Sargent, and Ant Pruitt Download or subscribe to this show at https://twit.tv/shows/hands-on-tech Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit Find more products we recommend at https://www.amazon.com/shop/twitnetcastnetwork
Mikah Sargent and Ant Pruitt showcase their work-from-home studio setups that they've used over the past year to produce their shows on the TWiT network. Get the products shown off here: Logitech C920 - https://amzn.to/3dwASxl Heil PR-40 - https://amzn.to/3hfCtbS LIFX Lightstrip - https://amzn.to/3jCCh9o Philips Hue Go - https://amzn.to/3xa75Cr Nanoleaf Lightbulb - https://bit.ly/3dufQzF Anker Nylon USB-C to Lightning Cord - https://amzn.to/3dvqbLB Reincubate Camo - https://reincubate.com/camo/ Shure SE425 - https://amzn.to/3dxJ54r Comply T400 Memory Tips - https://amzn.to/3hjBPKM Sony WH1000XM3 - https://amzn.to/3houDNq Elgato Stream Deck - https://amzn.to/3hqN1VV Sound Devices MixPre-3 II - https://bhpho.to/3juq1rz Rolls MS111 Mic Switch - https://bhpho.to/3h4v3tc Elgato Key Light - https://amzn.to/2Th6fW2 Elgato Key Light Air - https://amzn.to/3dwCmYr ECamm Live (Mac Software) - https://www.ecamm.com/mac/ecammlive/ Godox SL-60 LED Light - https://bhpho.to/3AaMksn Flashpoint 10' C-Stand - https://bit.ly/3jsljL1 Blackmagic Pocket 6K Camera - https://bhpho.to/3dswxLC Glow EZ Parabolic Softbox - https://www.adorama.com/glsbez38.html Canon EOS M200 Digital Camera - https://amzn.to/3js8BMb Anwenk Grey & White Balance Card - https://amzn.to/3hjbs7z Blackmagic ATEM Mini Pro Switcher - https://bhpho.to/3dsAWhw Edifier 1280T Speakers - https://amzn.to/3y4sb5a Wacom Tablet CTL4100 - https://amzn.to/361KEDJ SoundAsured Acoustic Foam Panels - https://www.soundassured.com Hosts: Leo Laporte, Mikah Sargent, and Ant Pruitt Download or subscribe to this show at https://twit.tv/shows/hands-on-tech Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit Find more products we recommend at https://www.amazon.com/shop/twitnetcastnetwork
Mikah Sargent and Ant Pruitt showcase their work-from-home studio setups that they've used over the past year to produce their shows on the TWiT network. Get the products shown off here: Logitech C920 - https://amzn.to/3dwASxl Heil PR-40 - https://amzn.to/3hfCtbS LIFX Lightstrip - https://amzn.to/3jCCh9o Philips Hue Go - https://amzn.to/3xa75Cr Nanoleaf Lightbulb - https://bit.ly/3dufQzF Anker Nylon USB-C to Lightning Cord - https://amzn.to/3dvqbLB Reincubate Camo - https://reincubate.com/camo/ Shure SE425 - https://amzn.to/3dxJ54r Comply T400 Memory Tips - https://amzn.to/3hjBPKM Sony WH1000XM3 - https://amzn.to/3houDNq Elgato Stream Deck - https://amzn.to/3hqN1VV Sound Devices MixPre-3 II - https://bhpho.to/3juq1rz Rolls MS111 Mic Switch - https://bhpho.to/3h4v3tc Elgato Key Light - https://amzn.to/2Th6fW2 Elgato Key Light Air - https://amzn.to/3dwCmYr ECamm Live (Mac Software) - https://www.ecamm.com/mac/ecammlive/ Godox SL-60 LED Light - https://bhpho.to/3AaMksn Flashpoint 10' C-Stand - https://bit.ly/3jsljL1 Blackmagic Pocket 6K Camera - https://bhpho.to/3dswxLC Glow EZ Parabolic Softbox - https://www.adorama.com/glsbez38.html Canon EOS M200 Digital Camera - https://amzn.to/3js8BMb Anwenk Grey & White Balance Card - https://amzn.to/3hjbs7z Blackmagic ATEM Mini Pro Switcher - https://bhpho.to/3dsAWhw Edifier 1280T Speakers - https://amzn.to/3y4sb5a Wacom Tablet CTL4100 - https://amzn.to/361KEDJ SoundAsured Acoustic Foam Panels - https://www.soundassured.com Hosts: Leo Laporte, Mikah Sargent, and Ant Pruitt Download or subscribe to this show at https://twit.tv/shows/hands-on-tech Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit Find more products we recommend at https://www.amazon.com/shop/twitnetcastnetwork
Mikah Sargent and Ant Pruitt showcase their work-from-home studio setups that they've used over the past year to produce their shows on the TWiT network. Get the products shown off here: Logitech C920 - https://amzn.to/3dwASxl Heil PR-40 - https://amzn.to/3hfCtbS LIFX Lightstrip - https://amzn.to/3jCCh9o Philips Hue Go - https://amzn.to/3xa75Cr Nanoleaf Lightbulb - https://bit.ly/3dufQzF Anker Nylon USB-C to Lightning Cord - https://amzn.to/3dvqbLB Reincubate Camo - https://reincubate.com/camo/ Shure SE425 - https://amzn.to/3dxJ54r Comply T400 Memory Tips - https://amzn.to/3hjBPKM Sony WH1000XM3 - https://amzn.to/3houDNq Elgato Stream Deck - https://amzn.to/3hqN1VV Sound Devices MixPre-3 II - https://bhpho.to/3juq1rz Rolls MS111 Mic Switch - https://bhpho.to/3h4v3tc Elgato Key Light - https://amzn.to/2Th6fW2 Elgato Key Light Air - https://amzn.to/3dwCmYr ECamm Live (Mac Software) - https://www.ecamm.com/mac/ecammlive/ Godox SL-60 LED Light - https://bhpho.to/3AaMksn Flashpoint 10' C-Stand - https://bit.ly/3jsljL1 Blackmagic Pocket 6K Camera - https://bhpho.to/3dswxLC Glow EZ Parabolic Softbox - https://www.adorama.com/glsbez38.html Canon EOS M200 Digital Camera - https://amzn.to/3js8BMb Anwenk Grey & White Balance Card - https://amzn.to/3hjbs7z Blackmagic ATEM Mini Pro Switcher - https://bhpho.to/3dsAWhw Edifier 1280T Speakers - https://amzn.to/3y4sb5a Wacom Tablet CTL4100 - https://amzn.to/361KEDJ SoundAsured Acoustic Foam Panels - https://www.soundassured.com Hosts: Leo Laporte, Mikah Sargent, and Ant Pruitt Download or subscribe to this show at https://twit.tv/shows/hands-on-tech Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit Find more products we recommend at https://www.amazon.com/shop/twitnetcastnetwork
Mikah Sargent and Ant Pruitt showcase their work-from-home studio setups that they've used over the past year to produce their shows on the TWiT network. Get the products shown off here: Logitech C920 - https://amzn.to/3dwASxl Heil PR-40 - https://amzn.to/3hfCtbS LIFX Lightstrip - https://amzn.to/3jCCh9o Philips Hue Go - https://amzn.to/3xa75Cr Nanoleaf Lightbulb - https://bit.ly/3dufQzF Anker Nylon USB-C to Lightning Cord - https://amzn.to/3dvqbLB Reincubate Camo - https://reincubate.com/camo/ Shure SE425 - https://amzn.to/3dxJ54r Comply T400 Memory Tips - https://amzn.to/3hjBPKM Sony WH1000XM3 - https://amzn.to/3houDNq Elgato Stream Deck - https://amzn.to/3hqN1VV Sound Devices MixPre-3 II - https://bhpho.to/3juq1rz Rolls MS111 Mic Switch - https://bhpho.to/3h4v3tc Elgato Key Light - https://amzn.to/2Th6fW2 Elgato Key Light Air - https://amzn.to/3dwCmYr ECamm Live (Mac Software) - https://www.ecamm.com/mac/ecammlive/ Godox SL-60 LED Light - https://bhpho.to/3AaMksn Flashpoint 10' C-Stand - https://bit.ly/3jsljL1 Blackmagic Pocket 6K Camera - https://bhpho.to/3dswxLC Glow EZ Parabolic Softbox - https://www.adorama.com/glsbez38.html Canon EOS M200 Digital Camera - https://amzn.to/3js8BMb Anwenk Grey & White Balance Card - https://amzn.to/3hjbs7z Blackmagic ATEM Mini Pro Switcher - https://bhpho.to/3dsAWhw Edifier 1280T Speakers - https://amzn.to/3y4sb5a Wacom Tablet CTL4100 - https://amzn.to/361KEDJ SoundAsured Acoustic Foam Panels - https://www.soundassured.com Hosts: Leo Laporte, Mikah Sargent, and Ant Pruitt Download or subscribe to this show at https://twit.tv/shows/hands-on-tech Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit Find more products we recommend at https://www.amazon.com/shop/twitnetcastnetwork
Mikah Sargent and Ant Pruitt showcase their work-from-home studio setups that they've used over the past year to produce their shows on the TWiT network. Get the products shown off here: Logitech C920 - https://amzn.to/3dwASxl Heil PR-40 - https://amzn.to/3hfCtbS LIFX Lightstrip - https://amzn.to/3jCCh9o Philips Hue Go - https://amzn.to/3xa75Cr Nanoleaf Lightbulb - https://bit.ly/3dufQzF Anker Nylon USB-C to Lightning Cord - https://amzn.to/3dvqbLB Reincubate Camo - https://reincubate.com/camo/ Shure SE425 - https://amzn.to/3dxJ54r Comply T400 Memory Tips - https://amzn.to/3hjBPKM Sony WH1000XM3 - https://amzn.to/3houDNq Elgato Stream Deck - https://amzn.to/3hqN1VV Sound Devices MixPre-3 II - https://bhpho.to/3juq1rz Rolls MS111 Mic Switch - https://bhpho.to/3h4v3tc Elgato Key Light - https://amzn.to/2Th6fW2 Elgato Key Light Air - https://amzn.to/3dwCmYr ECamm Live (Mac Software) - https://www.ecamm.com/mac/ecammlive/ Godox SL-60 LED Light - https://bhpho.to/3AaMksn Flashpoint 10' C-Stand - https://bit.ly/3jsljL1 Blackmagic Pocket 6K Camera - https://bhpho.to/3dswxLC Glow EZ Parabolic Softbox - https://www.adorama.com/glsbez38.html Canon EOS M200 Digital Camera - https://amzn.to/3js8BMb Anwenk Grey & White Balance Card - https://amzn.to/3hjbs7z Blackmagic ATEM Mini Pro Switcher - https://bhpho.to/3dsAWhw Edifier 1280T Speakers - https://amzn.to/3y4sb5a Wacom Tablet CTL4100 - https://amzn.to/361KEDJ SoundAsured Acoustic Foam Panels - https://www.soundassured.com Hosts: Leo Laporte, Mikah Sargent, and Ant Pruitt Download or subscribe to this show at https://twit.tv/shows/hands-on-tech Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit Find more products we recommend at https://www.amazon.com/shop/twitnetcastnetwork
Mikah Sargent and Ant Pruitt showcase their work-from-home studio setups that they've used over the past year to produce their shows on the TWiT network. Get the products shown off here: Logitech C920 - https://amzn.to/3dwASxl Heil PR-40 - https://amzn.to/3hfCtbS LIFX Lightstrip - https://amzn.to/3jCCh9o Philips Hue Go - https://amzn.to/3xa75Cr Nanoleaf Lightbulb - https://bit.ly/3dufQzF Anker Nylon USB-C to Lightning Cord - https://amzn.to/3dvqbLB Reincubate Camo - https://reincubate.com/camo/ Shure SE425 - https://amzn.to/3dxJ54r Comply T400 Memory Tips - https://amzn.to/3hjBPKM Sony WH1000XM3 - https://amzn.to/3houDNq Elgato Stream Deck - https://amzn.to/3hqN1VV Sound Devices MixPre-3 II - https://bhpho.to/3juq1rz Rolls MS111 Mic Switch - https://bhpho.to/3h4v3tc Elgato Key Light - https://amzn.to/2Th6fW2 Elgato Key Light Air - https://amzn.to/3dwCmYr ECamm Live (Mac Software) - https://www.ecamm.com/mac/ecammlive/ Godox SL-60 LED Light - https://bhpho.to/3AaMksn Flashpoint 10' C-Stand - https://bit.ly/3jsljL1 Blackmagic Pocket 6K Camera - https://bhpho.to/3dswxLC Glow EZ Parabolic Softbox - https://www.adorama.com/glsbez38.html Canon EOS M200 Digital Camera - https://amzn.to/3js8BMb Anwenk Grey & White Balance Card - https://amzn.to/3hjbs7z Blackmagic ATEM Mini Pro Switcher - https://bhpho.to/3dsAWhw Edifier 1280T Speakers - https://amzn.to/3y4sb5a Wacom Tablet CTL4100 - https://amzn.to/361KEDJ SoundAsured Acoustic Foam Panels - https://www.soundassured.com Hosts: Leo Laporte, Mikah Sargent, and Ant Pruitt Download or subscribe to this show at https://twit.tv/shows/hands-on-tech Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit Find more products we recommend at https://www.amazon.com/shop/twitnetcastnetwork
Mikah Sargent and Ant Pruitt showcase their work-from-home studio setups that they've used over the past year to produce their shows on the TWiT network. Get the products shown off here: Logitech C920 - https://amzn.to/3dwASxl Heil PR-40 - https://amzn.to/3hfCtbS LIFX Lightstrip - https://amzn.to/3jCCh9o Philips Hue Go - https://amzn.to/3xa75Cr Nanoleaf Lightbulb - https://bit.ly/3dufQzF Anker Nylon USB-C to Lightning Cord - https://amzn.to/3dvqbLB Reincubate Camo - https://reincubate.com/camo/ Shure SE425 - https://amzn.to/3dxJ54r Comply T400 Memory Tips - https://amzn.to/3hjBPKM Sony WH1000XM3 - https://amzn.to/3houDNq Elgato Stream Deck - https://amzn.to/3hqN1VV Sound Devices MixPre-3 II - https://bhpho.to/3juq1rz Rolls MS111 Mic Switch - https://bhpho.to/3h4v3tc Elgato Key Light - https://amzn.to/2Th6fW2 Elgato Key Light Air - https://amzn.to/3dwCmYr ECamm Live (Mac Software) - https://www.ecamm.com/mac/ecammlive/ Godox SL-60 LED Light - https://bhpho.to/3AaMksn Flashpoint 10' C-Stand - https://bit.ly/3jsljL1 Blackmagic Pocket 6K Camera - https://bhpho.to/3dswxLC Glow EZ Parabolic Softbox - https://www.adorama.com/glsbez38.html Canon EOS M200 Digital Camera - https://amzn.to/3js8BMb Anwenk Grey & White Balance Card - https://amzn.to/3hjbs7z Blackmagic ATEM Mini Pro Switcher - https://bhpho.to/3dsAWhw Edifier 1280T Speakers - https://amzn.to/3y4sb5a Wacom Tablet CTL4100 - https://amzn.to/361KEDJ SoundAsured Acoustic Foam Panels - https://www.soundassured.com Hosts: Leo Laporte, Mikah Sargent, and Ant Pruitt Download or subscribe to this show at https://twit.tv/shows/hands-on-tech Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit Find more products we recommend at https://www.amazon.com/shop/twitnetcastnetwork
Mikah Sargent and Ant Pruitt showcase their work-from-home studio setups that they've used over the past year to produce their shows on the TWiT network. Get the products shown off here: Logitech C920 - https://amzn.to/3dwASxl Heil PR-40 - https://amzn.to/3hfCtbS LIFX Lightstrip - https://amzn.to/3jCCh9o Philips Hue Go - https://amzn.to/3xa75Cr Nanoleaf Lightbulb - https://bit.ly/3dufQzF Anker Nylon USB-C to Lightning Cord - https://amzn.to/3dvqbLB Reincubate Camo - https://reincubate.com/camo/ Shure SE425 - https://amzn.to/3dxJ54r Comply T400 Memory Tips - https://amzn.to/3hjBPKM Sony WH1000XM3 - https://amzn.to/3houDNq Elgato Stream Deck - https://amzn.to/3hqN1VV Sound Devices MixPre-3 II - https://bhpho.to/3juq1rz Rolls MS111 Mic Switch - https://bhpho.to/3h4v3tc Elgato Key Light - https://amzn.to/2Th6fW2 Elgato Key Light Air - https://amzn.to/3dwCmYr ECamm Live (Mac Software) - https://www.ecamm.com/mac/ecammlive/ Godox SL-60 LED Light - https://bhpho.to/3AaMksn Flashpoint 10' C-Stand - https://bit.ly/3jsljL1 Blackmagic Pocket 6K Camera - https://bhpho.to/3dswxLC Glow EZ Parabolic Softbox - https://www.adorama.com/glsbez38.html Canon EOS M200 Digital Camera - https://amzn.to/3js8BMb Anwenk Grey & White Balance Card - https://amzn.to/3hjbs7z Blackmagic ATEM Mini Pro Switcher - https://bhpho.to/3dsAWhw Edifier 1280T Speakers - https://amzn.to/3y4sb5a Wacom Tablet CTL4100 - https://amzn.to/361KEDJ SoundAsured Acoustic Foam Panels - https://www.soundassured.com Hosts: Leo Laporte, Mikah Sargent, and Ant Pruitt Download or subscribe to this show at https://twit.tv/shows/hands-on-tech Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit Find more products we recommend at https://www.amazon.com/shop/twitnetcastnetwork
Mikah Sargent and Ant Pruitt showcase their work-from-home studio setups that they've used over the past year to produce their shows on the TWiT network. Get the products shown off here: Logitech C920 - https://amzn.to/3dwASxl Heil PR-40 - https://amzn.to/3hfCtbS LIFX Lightstrip - https://amzn.to/3jCCh9o Philips Hue Go - https://amzn.to/3xa75Cr Nanoleaf Lightbulb - https://bit.ly/3dufQzF Anker Nylon USB-C to Lightning Cord - https://amzn.to/3dvqbLB Reincubate Camo - https://reincubate.com/camo/ Shure SE425 - https://amzn.to/3dxJ54r Comply T400 Memory Tips - https://amzn.to/3hjBPKM Sony WH1000XM3 - https://amzn.to/3houDNq Elgato Stream Deck - https://amzn.to/3hqN1VV Sound Devices MixPre-3 II - https://bhpho.to/3juq1rz Rolls MS111 Mic Switch - https://bhpho.to/3h4v3tc Elgato Key Light - https://amzn.to/2Th6fW2 Elgato Key Light Air - https://amzn.to/3dwCmYr ECamm Live (Mac Software) - https://www.ecamm.com/mac/ecammlive/ Godox SL-60 LED Light - https://bhpho.to/3AaMksn Flashpoint 10' C-Stand - https://bit.ly/3jsljL1 Blackmagic Pocket 6K Camera - https://bhpho.to/3dswxLC Glow EZ Parabolic Softbox - https://www.adorama.com/glsbez38.html Canon EOS M200 Digital Camera - https://amzn.to/3js8BMb Anwenk Grey & White Balance Card - https://amzn.to/3hjbs7z Blackmagic ATEM Mini Pro Switcher - https://bhpho.to/3dsAWhw Edifier 1280T Speakers - https://amzn.to/3y4sb5a Wacom Tablet CTL4100 - https://amzn.to/361KEDJ SoundAsured Acoustic Foam Panels - https://www.soundassured.com Hosts: Leo Laporte, Mikah Sargent, and Ant Pruitt Download or subscribe to this show at https://twit.tv/shows/hands-on-tech Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit Find more products we recommend at https://www.amazon.com/shop/twitnetcastnetwork
Mikah Sargent and Ant Pruitt showcase their work-from-home studio setups that they've used over the past year to produce their shows on the TWiT network. Get the products shown off here: Logitech C920 - https://amzn.to/3dwASxl Heil PR-40 - https://amzn.to/3hfCtbS LIFX Lightstrip - https://amzn.to/3jCCh9o Philips Hue Go - https://amzn.to/3xa75Cr Nanoleaf Lightbulb - https://bit.ly/3dufQzF Anker Nylon USB-C to Lightning Cord - https://amzn.to/3dvqbLB Reincubate Camo - https://reincubate.com/camo/ Shure SE425 - https://amzn.to/3dxJ54r Comply T400 Memory Tips - https://amzn.to/3hjBPKM Sony WH1000XM3 - https://amzn.to/3houDNq Elgato Stream Deck - https://amzn.to/3hqN1VV Sound Devices MixPre-3 II - https://bhpho.to/3juq1rz Rolls MS111 Mic Switch - https://bhpho.to/3h4v3tc Elgato Key Light - https://amzn.to/2Th6fW2 Elgato Key Light Air - https://amzn.to/3dwCmYr ECamm Live (Mac Software) - https://www.ecamm.com/mac/ecammlive/ Godox SL-60 LED Light - https://bhpho.to/3AaMksn Flashpoint 10' C-Stand - https://bit.ly/3jsljL1 Blackmagic Pocket 6K Camera - https://bhpho.to/3dswxLC Glow EZ Parabolic Softbox - https://www.adorama.com/glsbez38.html Canon EOS M200 Digital Camera - https://amzn.to/3js8BMb Anwenk Grey & White Balance Card - https://amzn.to/3hjbs7z Blackmagic ATEM Mini Pro Switcher - https://bhpho.to/3dsAWhw Edifier 1280T Speakers - https://amzn.to/3y4sb5a Wacom Tablet CTL4100 - https://amzn.to/361KEDJ SoundAsured Acoustic Foam Panels - https://www.soundassured.com Hosts: Leo Laporte, Mikah Sargent, and Ant Pruitt Download or subscribe to this show at https://twit.tv/shows/hands-on-tech Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit Find more products we recommend at https://www.amazon.com/shop/twitnetcastnetwork
Mikah Sargent and Ant Pruitt showcase their work-from-home studio setups that they've used over the past year to produce their shows on the TWiT network. Get the products shown off here: Logitech C920 - https://amzn.to/3dwASxl Heil PR-40 - https://amzn.to/3hfCtbS LIFX Lightstrip - https://amzn.to/3jCCh9o Philips Hue Go - https://amzn.to/3xa75Cr Nanoleaf Lightbulb - https://bit.ly/3dufQzF Anker Nylon USB-C to Lightning Cord - https://amzn.to/3dvqbLB Reincubate Camo - https://reincubate.com/camo/ Shure SE425 - https://amzn.to/3dxJ54r Comply T400 Memory Tips - https://amzn.to/3hjBPKM Sony WH1000XM3 - https://amzn.to/3houDNq Elgato Stream Deck - https://amzn.to/3hqN1VV Sound Devices MixPre-3 II - https://bhpho.to/3juq1rz Rolls MS111 Mic Switch - https://bhpho.to/3h4v3tc Elgato Key Light - https://amzn.to/2Th6fW2 Elgato Key Light Air - https://amzn.to/3dwCmYr ECamm Live (Mac Software) - https://www.ecamm.com/mac/ecammlive/ Godox SL-60 LED Light - https://bhpho.to/3AaMksn Flashpoint 10' C-Stand - https://bit.ly/3jsljL1 Blackmagic Pocket 6K Camera - https://bhpho.to/3dswxLC Glow EZ Parabolic Softbox - https://www.adorama.com/glsbez38.html Canon EOS M200 Digital Camera - https://amzn.to/3js8BMb Anwenk Grey & White Balance Card - https://amzn.to/3hjbs7z Blackmagic ATEM Mini Pro Switcher - https://bhpho.to/3dsAWhw Edifier 1280T Speakers - https://amzn.to/3y4sb5a Wacom Tablet CTL4100 - https://amzn.to/361KEDJ SoundAsured Acoustic Foam Panels - https://www.soundassured.com Hosts: Leo Laporte, Mikah Sargent, and Ant Pruitt Download or subscribe to this show at https://twit.tv/shows/hands-on-tech Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit Find more products we recommend at https://www.amazon.com/shop/twitnetcastnetwork
Mikah Sargent and Ant Pruitt showcase their work-from-home studio setups that they've used over the past year to produce their shows on the TWiT network. Get the products shown off here: Logitech C920 - https://amzn.to/3dwASxl Heil PR-40 - https://amzn.to/3hfCtbS LIFX Lightstrip - https://amzn.to/3jCCh9o Philips Hue Go - https://amzn.to/3xa75Cr Nanoleaf Lightbulb - https://bit.ly/3dufQzF Anker Nylon USB-C to Lightning Cord - https://amzn.to/3dvqbLB Reincubate Camo - https://reincubate.com/camo/ Shure SE425 - https://amzn.to/3dxJ54r Comply T400 Memory Tips - https://amzn.to/3hjBPKM Sony WH1000XM3 - https://amzn.to/3houDNq Elgato Stream Deck - https://amzn.to/3hqN1VV Sound Devices MixPre-3 II - https://bhpho.to/3juq1rz Rolls MS111 Mic Switch - https://bhpho.to/3h4v3tc Elgato Key Light - https://amzn.to/2Th6fW2 Elgato Key Light Air - https://amzn.to/3dwCmYr ECamm Live (Mac Software) - https://www.ecamm.com/mac/ecammlive/ Godox SL-60 LED Light - https://bhpho.to/3AaMksn Flashpoint 10' C-Stand - https://bit.ly/3jsljL1 Blackmagic Pocket 6K Camera - https://bhpho.to/3dswxLC Glow EZ Parabolic Softbox - https://www.adorama.com/glsbez38.html Canon EOS M200 Digital Camera - https://amzn.to/3js8BMb Anwenk Grey & White Balance Card - https://amzn.to/3hjbs7z Blackmagic ATEM Mini Pro Switcher - https://bhpho.to/3dsAWhw Edifier 1280T Speakers - https://amzn.to/3y4sb5a Wacom Tablet CTL4100 - https://amzn.to/361KEDJ SoundAsured Acoustic Foam Panels - https://www.soundassured.com Hosts: Leo Laporte, Mikah Sargent, and Ant Pruitt Download or subscribe to this show at https://twit.tv/shows/hands-on-tech Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit Find more products we recommend at https://www.amazon.com/shop/twitnetcastnetwork
Recorded on a Deity S-Mic2s and a Sound Devices 833.
Alex Haralson is a Production Sound Mixer based out of Knoxville, Tennessee. He likes using the Sound Devices 688 mixer/recorder and he also has a MixPre-10 II, Lectrosonics SRc wireless receivers and SMDWB transmitters and Sanken COS-11 lavaliers. For IFB, he uses Lectrosonics IFBT4 and the R1a for client monitoring and camera hops. Alex also likes the Sennheiser 8060 shotgun mic and the AKG Blue Line CK93 Hyper-cardioid. For timecode, Alex likes Betso and Tentacle Sync E for timecode. Check out his website at https://www.sonolocus.com/ Each episode we talk with location sound mixers, boom ops and other industry pros about the various aspects of recording sound on-location for feature and independent films, TV commercials, interviews, anytime where dialog from actors is recorded. Whether you’re a seasoned veteran or just starting out, this podcast is packed with great stories and lessons about recording on-location.
This episode features Seth P from Kingston Ontario. Seth has been sober since April 12 2010.Some of the insights in Seth’s story are following Creating a system of accountability for himself in early recovery was invaluableThe transformation from someone who looked at the steps and did not want a relationship with god to a man who decided to dedicate his life to god and others by becoming a pastorService work in the program allowed him to meet people who are serious about attending meetings and helping othersThe inevitable journey of grief demonstrated to him that there was an abundance of people to support him in that process.===========================================Book Recommendation from SethPastrix: The Cranky, Beautiful Faith of a Sinner & Saint by Nadia Bolz-Weber===========================================Connect with Seth on his YouTube ChannelSeth's YouTube Channel===========================================Use the link below if you would like to contact the show.https://www.seasonsofsobriety.com/contactA special thanks to Sound Devices for donating equipment used to record portions of this episode.
Phillip Perpich is a production sound mixer based out of Atlanta, Georgia. Phil uses a Sound Devices 664 mixer/recorder, Lectrosonics wireless and Sanken COS-11 lav mics. For boom mics he uses a Sennheiser MKH-60, MKH-50 and a Sanken CS-1. Phil likes to use Tentacle Sync timecode boxes and Lectrosonics IFBs. Check out his website at https://pperp8.wixsite.com/perpichprodsound Each episode we talk with location sound mixers, boom ops and other industry pros about the various aspects of recording sound on-location for feature and independent films, TV commercials, interviews, anytime where dialog from actors is recorded. Whether you’re a seasoned veteran or just starting out, this podcast is packed with great stories and lessons about recording on-location.
This episode features Andy H from Montclair New JerseyAndy has been sober since October 28th 2003Some of the valuable take-aways in Andy’s story are following Every problem has been definitional for him. He says he had the wrong definition of what to doHe learned that resentments from early childhood were lingering into adulthood and effected success in the work environment and eventually his financial securityHis long battle with giving up cigarettes and the spiritual awakening that came along with this discovery.He likes to say his wisdom comes as a result of the “awful” grace of god. ===========================================Book Recommendation from AndyThe Spirituality of Imperfection: Storytelling and the Search for Meaning by Ernest Kurtz===========================================Use the link below if you would like to contact the show.https://www.seasonsofsobriety.com/contactA special thanks to Sound Devices for donating equipment used to record portions of this episode.
Chris Welcker is a Production Sound Mixer based out of New Orleans, Louisiana. He’s worked on numerous films including Bill & Ted Face the Music, Keanu and Twelve Years A Slave. Chris uses a Sound Devices Scorpio and a Sound Devices 833, Lectrosonics wireless, DPA 4060, 4061 & 6060 lavs, DPA 4017 shotgun & 4018 capsule, Tentacle Sync for timecode with Denecke slates. Chris also has a Magliner Junior Cart and a SuperZuca audio cart. https://www.catgutsound.com/ Each episode we talk with location sound mixers, boom ops and other industry pros about the various aspects of recording sound on-location for feature and independent films, TV commercials, interviews, anytime where dialog from actors is recorded. Whether you’re a seasoned veteran or just starting out, this podcast is packed with great stories and lessons about recording on-location.
Ross Brand of Livestream Universe interviews Joel Pare of Sound Devices at Podcast Movement 2019 in Orlando. Subscribe to the podcast: https://rossbrandrecordings.com/ (https://rossbrandrecordings.com). Originally livestreamed via mobile phone to Ross' Facebook profile.
LIVESTREAM DEALS Ep17 (Sound Devices) Joel Pare discusses the sound quality and durability of the MixPre-3. Ross Brand of Livestream Universe talks audio recording, mixing and streaming with Joel Pare from Sound Devices. Joel shares the many the different features of, and uses for, the MixPre-3 and shares how it can be used by both beginners and advanced audio professionals as well as musicians. Sound Devices is a company with a strong reputation for making extremely high-quality audio gear that is portable and durable. The MixPre-3 serves as the audio hub of both my home studio and mobile rig. MIXPRE-3 The MixPre-3 is a pro audio device that serves as a mixer, recorder and audio interface. What makes it unique in comparison to other field recorders/interfaces is that it can perform both tasks, recording and working as your audio interface, at the same time. This makes it extremely useful for podcasters and live streamers who want to capture a high-quality local audio recording (in the MixPre) while streaming audio to their computer using the MixPre as an audio interface. Check out the MIxPre-3: https://amzn.to/2Q8jK3d (https://amzn.to/2Q8jK3d). FACEBOOK LIVE SHOW In addition to our conversation with Joel about the Sound Devices' MixPre-3, our November 2018 Facebook Live show features Jeremy Vest of YouTube growth software, VidIQ, and Randall Harp of Chapel Hill Media, a video production company. Look for Rob Balasabas of Thinkific wll join us on our December Facebook Live show. See info and purchase products on the LivestreamDeals home page: http://livestreamdeals.com/ (http://LivestreamDeals.com). ROSS BRAND AT VIDSUMMIT At VidSummit 2018 in Los Angeles, Ross conducted interviews with video influencers, including episodes of LivestreamDeals featuring Sean Cannel on his new book YouTube Secrets, Andrew Haley on new features in Wirecast, and Addy Saucedo on podcasting with Simplecast. Also check out Brand on Broadcasting interviews from #VidSummit2018 with Nick Nimmin, Steve Dotto, Carlos Gil, Nicole Sanchez, Dan Norton and Jason Liebman. All interviews were livestreamed to Facebook Live using the LiveU Solo. More info and special offers at http://livestreamdeals.com/ (http://LivestreamDeals.com). ROSS' RECOMMENDED RESOURCES Not sure where to start when it comes to livestreaming and podcasting gear or need a recommendation for a specific product? Our Livestream Universe Resources page has my recommendations for gear, books, courses, software and more. http://livestreamuniverse.com/Resources (http://LivestreamUniverse.com/Resources) ABOUT LIVESTREAM DEALS Livestream Deals has been a monthly Facebook Live show hosted by Ross Brand of Livestream Universe. Each of those episodes features 4 products or services for live streamers… as well as products of interest to podcasters and online content creators. On the podcast edition, we will focus on one product per episode. Some content will come from our livestream shows and some will be exclusive to the podcast. You can learn more about products featured on the show at https://livestreamdeals.com/ (https://LivestreamDeals.com). LINKS https://livestreamdeals.com/ (https://LivestreamDeals.com) http://livestreamuniverse.com/Resources (http://LivestreamUniverse.com/Resources) Livestream Deals features direct sales expert Vicki Fitch, who plans to write 12 books in 12 months. Hosted by Ross Brand of Livestream Universe. Subscribe to the podcast: https://rossbrandrecordings.com/ (https://rossbrandrecordings.com). Originally livestreamed on the Livestream Universe Facebook page (7K views)
In Episode 3 of Brand on Broadcasting with Ross Brand, I talk about audio interfaces, what they do and why they are important to the quality of your audio when recording in a computer or streaming to the internet. I also discuss Sound Devices' MixPre-3, an audio interface, mixer and recorder. What makes it unique vs competing products is not only the outstanding quality of its Kashmir preamps, but its ability to serve as both a recorder and audio interface at the same time. We wish a very happy 20th anniversary to the team at Sound Devices, a company with a great reputation for making high-quality audio products. I look forward to checking out more gear from Sound Devices at Podcast Movement in Philadelphia later this month. This review of the MixPre-6 by Daniel J. Lewis is very thorough. Sound Devices actually made an update to fix the issue causing one of Daniel's few criticisms in the otherwise strongly favorable review. Parts of this episode were recorded live on Facebook Live late at night on July 13, 2018 and early in the morning on July 14, 2018.
My guest this week is professional audio engineer Ryan Monette. Ryan graduated from Berklee College of Music with a degree in Music Production & Engineering. For the last 4.5 years he's been the Post-Production Audio Engineer on staff at Elevation Church, in Charlotte, NC, where he mixes their global TV show, and has many other responsibilities (boom operator, field recorder, sound designer, audio editor, etc.). You may have heard some of his work, as he sound-designed and mixed the opener video for the Circles conference for the past two years. He even had his own podcast for a short while (TheQueuecast.com). I asked Ryan to come on the show to share his journey towards becoming a professional audio engineer (a job that I've always wanted), and to get him to share some tips for anyone interested in working in audio/video professionally. Highlights, Takeaways & Quick Wins: Think long term and dream big. If you want to do anything with audio, start by getting a cheap USB microphone. Take advantage of free online courses to learn more about audio engineering. Get started with whatever you have. Your mix may sound completely different in a different environment, so listen with different headphones/speakers in different locations. Master the basics and keep going back to them. If you're mixing a podcast, make sure your levels are consistent. When mixing, always use a reference track. Show Notes Aaron: You graduated from Berklee College of Music with a degree in music production and engineering. For the last five years, you've been the post production audio engineer for Elevation Church in Charlotte, North Carolina. You have a lot of jobs there: boom operator, field recorder, sound designer, audio editor, and you mix their global TV show. Do you mix that live? Ryan: Not necessarily. We can get into that later. There's a process for that. Aaron: Some of the creative people here might have heard of some of your work. You sound designed and mixed the opening videos for the past two years of Circles Conference, which I was at. Have you been there for the past two years? Ryan: I haven't been personally, no. I have wanted to go. I love it from afar, and I want to go in person. Aaron: I wanted you to come on this show because when I first got started, I had dreams of being a professional audio engineer. I thought, “How cool would it be to work in audio and get paid for it? That'd be awesome!” I fell backwards into it by doing podcast editing as a hobby first, then for money, then I met Sean McCabe and ended up working for him full time. I edit podcasts and help out with a ton of other stuff. I asked you to come on the show to share your advice for anyone who's interested in working in audio/video professionally, and to talk about how you got there yourself. So tell me a little bit about how you got into audio. When did you first realize that this was something you wanted to do? Ryan's Journey to Becoming a Professional Audio Engineer Ryan: I love listening to your podcast, Aaron, and what I love about it is I feel like you and I have a lot of similarities in our backgrounds. You're a musician, a drummer, and I'm also a musician. I play several things. My primary instrument is bass, but along with that, I started on piano. I picked up bass, and with the bass I picked up guitar. I took some drum lessons here and there as well. I sing as well. I dabbled in a little bit of everything. I'm kind of a jack of all trades, master of none. I'm okay at a lot of things, but I'm not superb at one thing. Anyway, right around junior high or high school, I started playing the bass. I started playing in little bands here and there. When it came time for college, I had no clue what I wanted to do. All I knew was that I loved music. Aaron: Same here! Ryan: I was living in Las Vegas at the time, so I decided, well, everyone has to have that college experience, and I didn't want to go to college in the same city, so I decided that I needed that “being away from home” experience. I went to the University of Nevada, Reno. I took your basic, general classes, not knowing what I wanted to do. At this time, for my high school graduation, I had received a graduation present of a Macbook Pro. With that, of course, you get the wonderful iLife suite, including Garageband. As a musician, a whole new world was opened up to me. When I was in a band in high school, I was the gear head—I loved the PA and putting cables together. I was drawn to that. Once I had this Macbook Pro with Garageband and I had my bass and my guitar in my dorm, I was like, “I can create music!” I figured out how to work it and record myself. I bought a USB microphone, and that world was opened up. When I was there, I had a friend, and her brother went to this school where all they learned about was music. I was like, “Wait, you can do that? You can go to school for just music?” That's how I found out about Berklee School of Music. I applied, and you have to audition as well. I applied and auditioned, and the first time I tried, I actually didn't get into the music school I wanted to go to. Aaron: This sparks something in my mind. I feel like I might have read an article about Berklee or looked into it and thought, “No, they're really strict on who they accept, based on your performance.” That was intimidating to me at the time, because I never felt like I was that good of a drummer. Ryan: It was intimidating for me, too. Clearly, I wasn't up to par. Aaron: Yet you went for it. That's more than a lot of people would do. Ryan: Yeah. After I finished my first year at UNR, I moved back to Vegas and went to UNLV, the University of Nevada Las Vegas. I took all music classes, forgetting the general ed stuff you need to get a degree. I took all music classes—music theory, because I had never had actual music theory classes, so I thought I needed that. With that, there were some audio classes that I took as well. I was like, “Hey, I like this audio thing.” At the University of Nevada Las Vegas, I had my first exposure to a formal audio class, where I learned all the proper techniques. Later on that year, I applied and auditioned again for Berklee. I got accepted, and the next year, I moved to Boston and went to Berklee for about three and a half years. Then I graduated. When I went to Berklee, the only thing that drew me as a major was Music Production and Engineering. I naturally loved the gear side of things. I fell in love with recording. I was like, “This is what I want to do.” Aaron: You got to spend three and a half years there, studying and learning? Ryan: It is non-stop, 24/7, music, audio, and to be honest, I miss being in that environment so much. Aaron: That sounds fantastic. I always love setting aside time to take online classes, read books, and listen to interviews about audio. Think Long-Term Aaron: You were drawn to the audio engineering stuff, and then you graduated. Ryan: I can remember a specific time in my life, and I'm pretty sure it was my last semester at Berklee. They went by semesters instead of years. It was in one of my capstone classes. Our instructor asked us the typical, “Where do you see yourself in five years?” question. Aaron: I love that question now. I hated it when I was 22. ** Think long term and dream big** Aaron: Plan out where you want to be, because if you can envision it, then you can figure out how to get there. But you have to start by saying, “I want to do this thing someday.” For me, it was, “I want to do work from a laptop. How do I get there?” Now I'm there. So you were 22 and someone asked you, “Ryan, where do you want to be? Where do you see yourself in five years?” Ryan: At that moment, I was trying to figure that out, naturally, as you do when you're approaching the end of college. While I was at Berklee, I loved music. I loved recording music, but my absolute favorite class—they only had one of them, but it was the class I yearned for, that I wanted to take and put in all these extra hours for—was audio for visual media, audio for video. By far, that was my favorite class. The whole class, we were working toward our final project. You choose a five to seven minute clip from a well known movie, and all the audio is completely stripped. You have to recreate everything. That's all the dialogue, all the foley, all the ambient background, all the hard effects, and so on. You have to connect with a film scoring student there at Berklee, and they have to provide the score. I absolutely loved every aspect of that project and the process. When it came time to decide what I wanted to do with my life, it was between audio engineering at a recording studio, working at Disney as an Imagineer, or doing audio at a church. I have always been involved with church, playing on worship teams and whatnot, so I also saw myself doing audio for a church. Long story short, I was really privileged to dip my feet in all of those things after college. After I graduated, I moved back to Las Vegas. Eventually, I found an incredible recording studio, probably one of the top two recording studios in Las Vegas, and I landed an internship. First Audio Engineering Jobs Ryan: I say “internship” loosely, because your typical studio internship is all the stereotypical grunt work—taking out the trash, doing the coffee, and whatnot. I showed up, and they were like, “You went to Berklee? Berklee guys are cool. Here, hop in this session and help us out.” It was open to me, thrown at me, and next thing I knew, I was assisting on sessions with huge clients, I won't name drop. Aaron: You can drop a couple of names if you want. Ryan: I had a pretty fun time helping out with a session with the famous engineer Eddie Kramer, who is engineering for Carlos Santana. Aaron: Dang, man! That's awesome. Ryan: That was pretty incredible. But while I was there, I had this gut feeling inside of me saying, “This isn't it.” Aaron: It's fine, but it's not quite right? Ryan: I could see myself staying there and working my way up, but it didn't feel right. A few months after I realized that I didn't want to stay at the studio, I applied and was offered a job at Walt Disney World in Orlando, Florida. I packed my bags, moved to Orlando, and I was working as a stage technician at the Epcot park. There, they found out that I was an audio guy, so they pushed me toward the live audio side of things. I was mixing shows and bands at Epcot and what was at the time Downtown Disney, now Disney Springs, area. Same thing. Almost as soon as I got there, the same gut feeling came in. I was like, “This isn't it. I'm more of a studio engineer. I definitely don't want to do live stuff.” Although I love Disney, it just wasn't sitting right. I was only there three months before the next great opportunity came up, which is where I am right now. One of my friends told me about a job opening for this church in Charlotte, North Carolina, Elevation Church. I had actually been following them because of their podcast. At the time, I was kind of like, “I've got a job, whatever.” For some reason, I ended up on their website, looking at the job. I was reading, and I was like, “Wait a minute, they're looking for someone to do audio for video. That's what I really want to do!” On a whim, I threw out my resume. Next thing you know, I've been here going on five years. Aaron: Did you mention that you were a podcast listener when you sent in your resume? Ryan: Yeah. Aaron: The connections you can make through podcasting is really incredible. Ryan: It is. And I've been working there for 5 years now. How to Get Into Audio Engineering Aaron: I want to jump into what you do at your job at Elevation, but let's pause and do a section on what advice you would tell someone who's wanting to get started. I wrote a couple of things down here. I think it's hilarious that you got a Macbook and your first microphone was a USB microphone. Ryan: Which was the Blue Snowball, by the way. Aaron: That's the worst microphone! Ryan: I had no idea how to use it, either. If I find some of the earliest recordings I did, there are times I'm clipping to the max, square waves. Aaron: Probably bad mic technique, too. But hey; it got you started! If you want to do anything with audio, start by getting a cheap USB microphone. Any USB mics will work for getting started. I like the Blue Yeti, but it's like $100. The ATR-2100 is fine, too. You just have to get something that can record some audio and start playing with it. Start playing with Garageband. Start playing with the free programs. Learn how to enable recording on a track, how to set your input device to the microphone, how to set your output device to wherever your headphones are plugged into, whether that's your mic or your computer. It took me so long to figure that stuff out. I was like, “Why can't I hear the audio in my headphones? What is going on?” Ryan: Same here. Aaron: You have to set input and output, then you have to record enable or do the input monitoring, all that stuff. But start with the USB microphone. Take some basic classes. There are so many great online classes. If you don't have any money at all, if you're super broke like I was when I started, watch some free YouTube videos. Read a book. Ryan: If you go to Coursera.org, they're a website where you can pay to take online courses and get certifications and whatnot, but they also offer free online courses. They even offer free online courses from Berklee. I've seen a music production class there. I've taken a free online song writing class. Check out free online courses, because they can be a pool of incredible knowledge. I took a photography class on there. Coursera is a great place. They're great if you want to take free online courses. Aaron: There are places where you can learn all this stuff. You just have to invest some time. You really just have to start: Don't wait until you have $500 for an interface and $200 for some professional headphones and microphone. Whether you want to start a podcast, start recording audio for a video, or record and mix a demo for a band, start doing something. Stop spending all your time thinking about how you can't do anything because you don't have certain gear or you're not in the right place. You'll learn as you do, especially in audio. You're going to make a ton of mistakes. Ryan: That's how you learn, though! That's one of the most valuable things I've learned in life. You learn from your mistakes. Aaron: You don't really learn when everything goes well. Just Start Aaron: Any other advice you would give somebody, thinking back on how you got to where you are right now? Ryan: Honestly, you hit the nail on the head with “just start.” It's as simple and cliche as Nike, “Just do it.” There is always going to be the next latest craze, the gear, and we've all been susceptible to that. We say, “Oh, well, I could do this if I had X.” It starts with the drive and determination, wanting to do it. There's knowledge out there everywhere. You just have to dig for it. Chances are, you have at least something you can start with. Record something on your phone. Aaron: I have a friend who makes some awesome music on his iPhone. Ryan: Oh, totally. It's as simple as getting an adapter. You can plug your guitar or whatever into your phone. Aaron: Kids these days have it so easy! Ryan: You have Garageband on your phone. I remember when I was figuring this out in high school, and we actually had a four track tape recorder. That was my first start. Get started with whatever you have. Aaron: What kind of stuff do you do at the church? What's your day to day life like? Are you there every day, or is it just a couple of days a week? Ryan: Oh no, I'm definitely there every day. It has been a whirlwind for sure. In the past five years, I have probably played every audio role that there is to be played here. My main thing now is audio for broadcasts, pretty much anything that leaves the church. Our biggest output is the sermon, which goes to a lot of places. It also goes in the TV episode, which we talked about, which goes locally, nationally, and, I believe, globally as well. That's a lot of what I've done. We also create a lot of films, short films, for our worship experiences, anything you can imagine that's video and audio related. Audio post production, like we talk about. I'm constantly on video shoots using field recorders, the boom op, anything you can think of. Audio for video, I've done it. The Gear Ryan Uses Aaron: Let's talk about your gear a little bit. What kind of stuff are you using most in everyday life? I'll do a quick recap: I have the Shure Beta 87A Mic as my main podcasting microphone. It's attached to a Scarlett 18i20 USB Interface (update: I'm now using my Zoom H6 exclusively), which is plugged into a quadcore iMac that's a couple years old. Nothing super fancy, but I'm really happy with where I am. I remember wanting all this stuff back in 2011, thinking how awesome it would be to have it. I have a Zoom H6 portable recorder and a couple of SM58 microphones. I've been pairing down my gear collection because I'm planning on moving in the spring. What kind of stuff are you working with? I use Logic Pro X for editing, and then Izotope iZotope RX 5 for cleaning up background noise or fixing clipping. What about you? What's your day to day favorite gear? Ryan: We use a lot. There's a bunch of gear for field recording and then in my office, which is where I'm at right now. I'll start with my office. Right now, I'm talking into my personal mic, which is a Rode NT1A. It's very affordable. The Rode NT1A is a nice beginner mic which works and sounds great, and I use it for a lot of voiceover projects. Aaron: I like those mics. Ryan: I'm talking into that right now. We also use the Shure SM7B. We have a nice Neumann that we'll use for bigger projects. We like to use Universal Audio Interfaces, so I've got one of those. They're great. They're rock solid. You really can't beat them. At our main recording/editing audio work station, we use Pro Tools. That's very standard, and I've been using that for years and years. I use a lot of plugins. I use a lot of the Waves Plugins. I do use RX as well, and that's the bulk of it. I do a lot of processing, depending on the project. I have a really huge sound library for if I'm doing narrative pieces that involve sound design, sound effects. I have a great app called Audio Finder, which a lot of electronic musicians use to help them find sounds. I use it to help me find sounds. It's a nice way to catalogue sounds if you're a sound designer or anything like that. You can basically tag all these audio files with meta data, and you can search for sounds by their title. Or, if you type in a word in the search bar, it can pull up things based off the the metadata. If you have notes on something, it can find it. Audio Finder is a great way to find sounds. I have some other things in here. I have the Artist Mix Controller made by Avid. I use those if I'm automating stuff. I use those a lot, actually, when I'm mixing the sermons. I do a lot of automation for that. If I'm mixing a piece with a music bed or something, I like to automate the music by hand. It feels more natural, as opposed to clicking and making little dots. That's the bulk of it here in the office. All of our audio engineers have a nice pair of Focal monitors. I also have another set of monitors I built myself. When I mix TV episodes, I have an output routed to a TV here in my office so I can hear how it translates on TV speakers. Recording Audio for Video Ryan: On the front end of things, if we're doing shoots for videos, we use Sound Devices field recorders. We have three different models: the Sound Devices 788T 8 Channel Recorder, a 702 2 Channel Recorder, and then a 633 6 Channel Recorder. That last one is one of their newer models, which is great. Sound Devices are steep in price, but they are rock solid. One of the most trustworthy, well known field recorder brands on the market. That's what you'll see on pretty much every big budget shoot in some way. I do a lot of freelance on the side, which gives me the opportunity EPK shoots or BTS shoots for, recently, a show on HBO called Outcast. Aaron: Outcast? I've been seeing that (I watch Westworld). Ryan: I'm pretty sure it's the same writers or producers or something. I know it's the same writer as The Walking Dead. They shoot here in North Carolina, so with a local production company, we've done some interviews with some of the cast and crew. It's been really neat to be on set and see what they're using. It's cool to see how similar their world is to what we're doing day to day, just with more money and more resources. It's the same thing. Most of their audio guys have some sort of Sound Devices. A lot of them use the 788 as a backup recording rig, and they've got larger multitrack recorders as well, that are also made by Sound Devices. Sound Devices is a great brand. They're crazy expensive, but when you buy that, you know you've basically got it for life. Aaron: Yeah, I'm looking at the Sound Devices 788T SSD 8 Channel Portable Solid State Audio Recorder. It's almost $7,000. I love that! So fancy. Ryan: That SSD does have an internal hard drive. Ours has a hard drive as well, so it's great, because it has the internal hard drive, but you can also use CF cards. You can record on two different mediums. In case something runs out of space, you have it in two places. Aaron: This is super professional stuff. Ryan: Yeah. It is. It's top of the line. Aaron: Fantastic. For all the rest of you, just go with the Zoom H4N or the H6. Ryan: Hey, we do have a Zoom H4N, and we do use that every now and then. Before I came on staff, our first field recorder was the Zoom H4N. Aaron: If I could start over and go back to before I had any kind of interface at all, I think I would buy myself an H4N or an H6. Not only are they portable field recorders so you can walk around with them—they have little stereo condensor mics on them—but they work as audio interfaces, too. You can plug it into your computer with a USB cable and record straight to your computer if you do any kind of podcasting or stuff like that. It's good for the price. Otherwise, the little two channel interfaces are great. They're about $100 for a good one, but they aren't portable. You can't take them to a show or out to a video shoot the way you can an H4N or an H6 or something. Ryan: Speaking of Zoom, they've recently come into the more professional field recording market. About a year ago, they releases the F8, I believe, which is an 8 channel field recorder with 8 mic pres. It's $999 for something very comparable to a Sound Device. It's not quite as high-fidelity, but for anyone starting out, you're really not going to notice the difference. Mixing On Expensive Headphones or Monitors Aaron: I was going to ask you this earlier. You mentioned that you had Focal monitors. Did you listen to the episode I did a few episodes back where I talked about mixing on headphones (Episode 69: Do You Need Expensive Headphones to Mix a Podcast?)? Ryan: Yes, I did. Aaron: I mix on $10 Panasonics. What do you think about that? You can be totally honest with me. You can tell me that it's a stupid idea or that it's okay. Ryan: I agree to a certain extent. I agree that you should be listening to what you're making on whatever the majority of people are going to be listening to it on. For a lot of audio engineers mixing music, that's iPod earbuds, those standard earbuds you get. Something like that. When I mix TV, I have an output routed to a TV in my office, so I can hear it on TV speakers. I do also believe in mixing on something with some sort of higher fidelity type of monitoring environment, whether that's nicer speakers or nicer headphones. Naturally, you're going to hear things differently. The main thing to take away is how things translate. If you're listening to something on one source and you make it sound good there, that's great, but in a different environment, it may sound completely different. iPhone earbuds may not have the bass that a car stereo has. You want to hear how it translates from one thing to another. That's why it's good to at least listen to it on two different sources and not just narrow yourself down to one cruddy thing. That's good in theory, but again, the key takeaway is translation. Aaron: Maybe it's a little bit different for me and I can get away with it because of the consistency of the microphones and the recording environment set we use. Ryan: Yeah, totally. Aaron: I think if I was doing more stuff like you are, with videos and clients and all that kind of stuff, I would absolutely be using my higher fidelity headphones. Ryan: Very true. The bulk of your work is dialogue, podcasts. Aaron: Yeah, that's really it. Just dudes talking into a microphone. Ryan: Yeah. I have done a lot of work here where I'm working in a small studio, but a lot of my mixes have played in auditoriums and arenas. If you're working on projects like music or film that have different audio frequencies and spectrums, remember that sound will be perceived differently in different places. Aaron: How do you even test for that? Ryan: Here, I at least have a sense of how our auditorium sounds, so I've trained my ear to hear in advance and understand how it's going to translate. For something like when we did a live recording in the biggest arena here in Charlotte, we had a video opener piece. I was on point for mixing that, so basically, I had to work with tech and production to find a time after setup where I can bring my session, copy it onto a laptop, and play it through the PA. Then I can make any final mix tweaks there in the auditorium or the arena. I perfected it in my studio, and any small tweaks I was able to do in that actual environment. Granted, a lot of the times, we may not have that luxury. There are also great plugins you can buy that simulate different monitoring environments, like Sonarworks. If you have certain pairs of headphones, you can tell the program, “I have these headphones, now make my mix sound like it's coming through these headphones or these speakers,” so you can hear how it might translate. In that program, they have a final output like the Beats headphones. You can hear how it might sound on there, super bass heavy. Aaron: I hear they're getting better, but I still have never bought any Beats headphones. I probably should (just for testing purposes). Ryan: There are definitely programs out there to help you see how things translate to different monitors. On Location Gear Ryan: We were talking about the gear we use for on location recording. Sound Devices would be our main recorders. For our mics, we use Schoeps. It's a shotgun microphone, so it's a narrow polar pattern with good off axis rejection. Schoeps is a great brand. Again, you'll see this on professional movie sets. That's the mic we use. We have some Sennheiser shotguns as well, the ME66, we have a couple of those, which is more their entry shotgun mics. Recently, I rented some of the MKH416. Aaron: I would like one of those. The Sennheiser 416 is well known as the classic TV shotgun mic, right? Ryan: Exactly. I rented those out because I wanted to try it out for that reason. The Schoeps is very good and very well known on set as well, but so is the 416. I rented it to try it out. It's a trusted mic that a lot of people use for these professional things, and it doesn't really break the bank for what it is. Aaron: They're like $1,000, I think. Ryan: Yeah, and it sounded great. Aaron: The next mic I get is either going to be that or the Rode NTG 3. Ryan: I've heard a lot of great things about that. I haven't tried one myself. Aaron: That's the shotgun mics we shot my podcasting courses with. Ryan: Yeah, I know that Sean uses that for all of his videos. Aaron: I'm excited about getting to go work with those (I'm moving to San Antonio in March or April). Master the Basics Aaron: That's a pretty good run through of your gear. I'm sure you could keep going and discuss a lot more, but I don't think we need to go into that. It seems like you guys are at a super professional, high quality. You have made big investments in professional gear, which is fantastic. I encourage everyone to strive for that, to aim for that, but like we said earlier, use what you have right now. I don't have anything close to what you guys have, but I'm still doing my podcast. I'm doing the best I can with what I have. Ryan: It still sounds great. Aaron: Thanks! It's mostly just knowing how to set gain levels and not having a noisy room. It's crazy how far the basics will get you— everything else is just icing on the cake. I've been watching this video course called Zen and the Art of Work, which I really recommend to everybody. It's mindfulness training mixed with productivity training, which is such a great combination. In this course, he says, “So many of the masters continually revisit the basics.” Mastery is staying on a path. It's not reaching some final goal, it's more about being with the work and investing in getting better, but also revisiting the basics. He was talking about playing piano. He was like, “A lot of times, I just start by touching the keys, pressing the keys, and then doing basic scales over and over again.” It's true. When you get so good at the basics that you don't have to think about it, that's when you start to expand and get to that level where people say, “Wow, you're so good at that. How did you get so good?” You're like, “That was just doing the basics. It's not anything fancy.” It's so important to master the basics and keep going back to them. Learning More Aaron: What's next for you? How do you invest in yourself and improve? Or are you working so much that you always have more learning opportunities? Do you buy books or courses or follow any websites to learn more about this audio stuff? Ryan: Honestly? We had a shift at work to where my role has shifted to mainly just broadcasts. That has enabled me to have a little bit more flexibility and free time, so I've been doing a lot more freelance work. That's great, because it energizes me and keeps me engaged. It keeps me from routine. Routine is great. I love routine, that's very much my personality, but freelance work keeps things interesting. For me, it's all about where and how I can get inspired and constantly feeding that. It's about feeding my desire for creativity. We're all creatives. We like to create. We were designed to be creators, really. Everything I try to do is about how I can become a better creator and what I can create next. It's about finding things that inspire me, really. We touched lightly on a few of the resources that I like, things I've learned and places I've picked things up. If you're interested in audio for post production, there are a couple of great books by Ric Viers. I have two books by him that are really great. The first one is The Sound Effects Bible, and it's not just sound effects in there. He talks about everything from gear to microphones, basics, setting proper gains, compression, some mixing techniques, etc. He also has The Location Sound Bible. There are a lot of similarities, but there's also a lot of talk about gear, shotgun mics, lop mics, recorders, and then he also dives into some of the basics when it comes to mixing, proper gain staging, and so on. Those are a really great pool of knowledge in book form. There are a lot of other books out there, but I have found those two to be really helpful. Other than that, when it comes to audio for video, it's a very small, niche field. There isn't a crazy amount of stuff out there, like there might be for mixing music. For that, you've got tons. You've got Pensado's Place, all these people on YouTube putting out channels on mixing, mixing from home, mixing on a budget, etc. There's plenty of that. Aaron: Graham Cochrane and Joe Gilder are pretty awesome resources for anyone who wants to start a home studio. Ryan: YouTube can be a pool of knowledge for anything and everything, too. You have to dig a little bit and do some searching. On the inspiration side, for me, since I love audio for video, Sound Works Collection is a great place. They'll do mini videos interviewing the sound people that did sound for X movie. Whether it was the last Harry Potter or anything and everything, big budget films, they'll sit down with the recording people, the sound designers, the mixers… It's really cool, because they'll show footage of them doing stuff on location or the foley artists. It's cool to see their process. For me, that helps me stay inspired. It gives me ideas to do other things. They have a podcast as well, and that's great. The videos can be kind of short, maybe 10 minutes or so, but the podcast will go on at length, talking to the audio guys who have made sound for videos possible. It will also be music composers for movies as well. That's really great. I found that great not only as inspiration, but to know what and how audio professionals for big budget films get inside their minds, how they're thinking, and what their process looks like. It's neat to see stuff about sound engineers for big movies and realize that we're not so different. Dealing With a Broad Loudness Spectrum (Dynamics) Aaron: I have a nerdy question here. This is about normalizing and compression, I think. Aiya had asked, “I'm so torn about normalizing sound clips. If I'm working on a longer project in segments, would it be better to adjust my peaks manually for the sake of consistency? It's for a video project.” I'm hearing that there are differences in video volumes. How do you deal with that? Do you do compression? Do you do automation for the different parts? How do you deal with dynamics? Ryan: It depends on the project. I'll talk about how I would mix a sermon, because that's very dynamic. Our pastor will go from whispering, holding his handheld mic close to his stomach, to screaming, holding the microphone, cupping the capsule. Power and respect to him, because it creates a certain atmosphere, which has a powerful effect. That's what I'm dealing with on a weekly basis. That dynamic range is tremendous. Keep in mind, this is going to TV eventually. TV has very strict restrictions. It's not so much on level, but on perceived level. There's a difference between what you see meter and what you're hearing. I can talk at length about that, too. Aaron: Could you give us a super short version? I'm kind of aware of that, but since I just mix in Logic, I'm not sure how to measure it. Is there a way to measure it in Logic? Do you know? Is there a plugin you use? Ryan: I use a plugin from Waves. It's a loudness meter, and its just that. It has a lot of presets, so I'll use the TV standard preset. I'll use it for ATSE85, and I'll use it for a dialogue bus. They've also got one for a master bus. The standard right there is your average level around -24 dB LUFS, so that's full scale. If you have a classic meters, your peak would be zero, so that would average metering right around -10. At least for TV, I've got a hard limiter at -10 dB, to where nothing can go above that. The difference between levels on a meter vs. perceived loudness is the differences between what we hear and the actual energy. In our TV program, we'll have the sermon, but we'll also have a talking heads segments, which is dialogue and a music bed. We'll also go into segments where they'll go into worship from our live album, which had been mixed and mastered as an album. That thing is slammed. If you look at the wave form, it's a sausage. If I'm setting all that by the meters alone and they're all hitting -10, it may look right, but if I look at my loudness meter, that worship segment is going to be off the charts. There's so much more content in there. There's so much going on with all the different frequency ranges as opposed to a dialogue track, which is a narrow field in the frequency spectrum. That's the gist of it. When it comes to my technique for controlling dynamics, for something like mixing a sermon, if I'm going down my plugin chain, the first thing I naturally have is a high pass filter. I'm rolling off those unnecessary lows that are hogging energy. The next thing I'll do is use a compressor, and I'll set the attack to right in the middle, so not fast or slow, and I'll have the release time at fast. We don't want to hear it pumping, letting go. That's catching my peaks. It's not doing a crazy amount, but it kind of is. That's helping do a lot of the bulk compression. Before anything really hits the compressor, I will go through, and as I work my way through the mix, I will clip gain the wave form, so that, say, if he's whispering somewhere, I might keep that, depending on how I have my compressor set. Then, if we go up to a part where he's screaming and my wave form is huge, I will take that down and create those nodes, those dots in the wave form, and drag the actual clip volume down, that gain down. That way, it's not going into the compressor at this high gain level. It's hitting the compressor evenly as the rest of it would. That way, it's not driving the compressor crazy. Then I'll go through and do some EQ and DSing and whatnot. I might add some more compressors in there, just to grab some of those little things coming through. After that, it's subtle, just smoothing it out. Aaron: It is a little bit of both. If she has access to an audio editing program—I don't know what she's using for editing. If you can put a compressor on the track, do that. It's not exactly the same, but I did a YouTube video about how I process podcast vocals, and it's very similar. For podcast vocals, I start with a Logic noise removal plugin. Ryan: I actually have my noise suppressor, and I'll use that later on down in my signal chain. My way of thinking is that if I've got all this compression going on, the compression is narrowing that dynamic range, so it's bringing up that noise floor. I tend to do my noise suppression after the bulk of that compression, because the noise floor is higher and it's easier to work on a supressor. If that makes sense. Aaron: I've thought a lot about whether you should do the noise removal before or after you add a bunch of gain with a compressor or something, and I can't think of a good reason that it matters. You can take out the noise before you add a bunch of gain, or you can add a bunch of gain and take out the noise afterwards. Which is better? I don't know. Anyways, after the noise removal plugin, I put an EQ with a high pass filter, a peak compressor, an RMS or an average level compressor, and then a limiter. Ryan: Like I mentioned earlier, before I had my long-winded answer, it also depends on what it is you're mixing—whether it's music, or a podcast, or something for film. When it comes to dialogue for film, you want it to sound as natural as possible, but you also want to be able to hear if someone is whispering. When it comes to that, I'll still use a compressor, but it will be very, very light. If there's anything I need to do to meet loudness, that I will automate the volume on my dialogue bus. I'll bring that up. That way, it sounds a little bit more natural, instead of solely relying on a compressor to do all the work for you. Aaron: That makes sense. For podcasts, if I notice that there's a section where someone was talking much quieter, like if a guest backed away and talked like that for four or five minutes and then went back to the normal distance from the microphone, in Logic, I'll turn that into its own clip. I make a cut on either side of the quiet part, and then, in Logic, you can double click on it and change gain by hitting Control G. Then you can add 3, 4, or 5 dB to it. That works out pretty well. If it's every five seconds or I have to do it more than five or six times in an episode, I won't do the clip gain changes, I'll just use a compressor. Look at the overall audio file and see if there are long stretches where you can use automation to change the gain, or change the clip gain. Common Audio Mistakes Podcasters Make Ryan: You asked a question that I think would be good to talk about in regards to podcasting. You had asked, “What do you like about podcasts? What common mistakes do you hear people make?” Initially, I read this and thought, “I don't know,” but I spent some time thinking about it. This is great, because it piggybacks off the loudness thing. A lot of the mistakes that I hear when it comes to podcasts in regards to audio is the levels and loudness aspect. I'll listen to some podcasts that sound great, and I'll put on another podcast where the whole thing is super quiet. Then they start laughing, and it's really loud. There are some, like mine, where they have a music bed underneath the entire thing, and then sometimes the music bed is so quiet that you hardly know it's there. You're like, “What the heck is that noise in the background?” Sometimes, it's the opposite. Sometimes, the music bed is way too loud. That's a few of the things I've noticed. A lot of the fixes relate to what we just talked about. It helps to have knowledge of levels and perceived loudness. If you're mixing a podcast, make sure your levels are consistent. One of the biggest things I can recommend for anyone mixing anything, whether it's music, movies, a podcast, is the importance of having a reference track. Aaron: Yeah, I don't talk about that enough. Ryan: That is huge. Professional audio engineers who mix platinum records still do this. They will pull in a track from a different song that is mixed well and is mixed how they want theirs to sound, and they'll have it muted in their session. When they want to have a reference to listen to or train their ear, they'll un-mute it, and they'll go, “Oh, okay.” I'm sure you've done the same thing as me, where you'll be so involved in a mix, you're in it, and you think it sounds great, and then maybe you go away. You go home, sleep, and maybe you come back, and you open it up and you go, “Woah! What was I thinking!” You can get so involved in it that the blinders go up. You get tunnel vision, and you're not aware to some things. It's good to have a reference track or get an outsider's opinion on a mix. The main takeaway here is the reference track. That would help with anything, whether it's the timbre, how you're EQing, or the loudness. You pull in their track and it's far louder than yours, and you automatically know that you need to do something about it. Aaron: That's a great idea. You can kind of do this before or after. You go through and you edit your whole podcast, get everything set up the way you want, create an extra track, and then find a podcast that sounds really good—This American Life or pretty much anything by NPR—download an episode, drop it into your editing program, and play it, mute it, and see what the difference is. Maybe you need to add some gain with an adaptive limiter or with a compressor, or maybe you can tell that your track sounds way sharper or harsher. Are there are too many high frequencies or too much bass compared to your reference track? You can adjust those things. I'm so glad you mentioned that. I've never thought of that before, and that's such a good idea. Ryan: It's one of those things you don't think of much, but once you do it, you're like, “Oh my gosh!” It's really eye opening and really helpful. You can find Ryan online at ryanmonette.com, and follow him on Twitter @RyanMonette.
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