Podcasts about sound production

Send us a textIn this episode, Erin shares her insights with Mark on how art mirrors society, the hidden influence of women's history, and the importance of staying curious rather than judgmental. With heartfelt stories about her pioneering grandmothers, she illustrates the power of taking risks and finding true purpose. Erin's thoughtful reflections on self-doubt, incremental progress, and the need for meaningful connection offer a refreshing perspective in a world often driven by surface-level interactions. Erin McDonald is a visionary leader, cultural strategist, and captivating speaker based in Edmonton, Alberta, advocating for equity, imagination, and resilience across Alberta's cultural landscape.With an MBA from the Australian Institute of Business and a Master of Cultural Heritage from Deakin University, Erin brings sharp analysis and heartfelt commitment to every table they sit at. An Edmonton Top 40 Under 40 recipient, Toastmasters International-certified communicator, and neuroqueer creative, Erin navigates complex systems with grace, wit, and cinematic flair.Known for their presence, expressive storytelling, and a blend of elegance and warmth, Erin is drawn to the quiet glamour of Old Hollywood and the grounded beauty of the lived experience. Whether reimagining funding models, curating inclusive celebrations, or championing underrepresented voices, Erin's work radiates integrity and intentionality.Erin founded EM Museum Consulting, bringing lived experience, humour, and fierce kindness to their leadership practice. Erin lives by the principle that reinvention is a form of resistance—and that true power lives in authenticity.Image credit: Janice Saxon-- Better pass boldly into that other world,in the full glory of some passion,than fade and wither dismally with age                                Joyce, Dubliners About Mark Laurie - Host.Mark has been transforming how women see themselves, enlarging their sense of sexy, and expanding their confidence in an exciting adventure that is transformational photography. http://innerspiritphotography.comhttps://www.instagram.com/innerspiritphotography/Sound Production by:Lee Ellis  - myofficemedia@gmail.com

Send us a textMark's chat with Krista where the values of authenticity and resilience has gotten her, how her curiosity from a young age shifted society's momentum from fear and seriousness to lightness. She explains what being a big thinker is and how she got there. Krista shares how her value of lifelong learning gave her continuous personal growth. Krista gets into her parenting style, part of which is letting her daughters make mistakes while freely exploring things. Branching into what their impact on the world might be. She shares her slowing down technique and how she controls her thoughts to tap into her valued gut instincts. She gets into her definition of success- a feeling of accomplishment and failure, “My first attempt to learn something.” We wander around her life, her revelations and her growth. This is a very fun and interesting conversation. Krista BioKrista Rabidoux is a Partner at Andersen LLP with over 23 years of experience working across Canada. She specializes in leadership and executive coaching within family businesses, guiding them through complex transitions and ensuring their long-term success. Krista recently earned the FEA (Family Enterprise Advisor) designation, further enhancing her ability to provide specialized advice to family-owned businesses. Her deep understanding of business dynamics and cross-border transactions makes her an invaluable asset in managing and safeguarding the financial health of organizations.Krista has guided businesses and individuals through the complexities of international tax obligations, ensuring compliance and optimizing tax positions across multiple jurisdictions. She continues to leverage her expertise in global mobility, assisting multinational corporations and their employees with the intricacies of working across borders. Her experience includes advising on employer and employee obligations, optimizing tax positions for expatriates, and addressing the unique challenges of international assignments.Krista also serves on the Board of Directors at Family Enterprise Canada and Contemporary Calgary, where she chairs the Finance and Audit Committee. Additionally, she is the former Chairperson of AmCham Canada West Chapter, reflecting her leadership and dedication to fostering cross-border business relationships. Her involvement in these organizations underscores her commitment to supporting family businesses and contributing to her community.Reach out to her krista.rabidoux@ca.andersen.comhttps://ca.andersen.comhttps://www.linkedin.com/in/krista-rabidoux/ About Mark Laurie - Host.Mark has been transforming how women see themselves, enlarging their sense of sexy, and expanding their confidence in an exciting adventure that is transformational photography. http://innerspiritphotography.comhttps://www.instagram.com/innerspiritphotography/Sound Production by:Lee Ellis  - myofficemedia@gmail.com

Send us a textMark's chat with Holly reveals a dynamic woman whose big blended family, with all its drama, has shaped her into an inspiring, resilient, and intuitive leader.  The universe shifted from a nursing to a bold candle business. Her rallying cry is progress over perfection. Holly talks about experimenting with a four-day workweek and then moving it company-wide. She found that even short meditations for her busy mind changed her profoundly. She has learned to trust her instincts and act decisively. Yet, people call her lucky. (Hint: It's not that that is working for her!)She challenges the idea of hustling, demonstrating that more can be achieved through trust, flexibility, and valuing everyone's need for rest. Holly shares how she turns failures into opportunities and how people can harness their energy to pursue their personal legend creation. This conversation is heartfelt, unconventional, and fully authentic, revealing the powerful force of believing in your own path. For example, she talks abour her plan to have a Praying Mantis as a pet, it is a thing. Without apology, Holly says, “Yep, this is a millennial's sensibilities."  She is not stereotypical, and she will change the world. Her passion business, Milk Jar, is the source of many of her revelations and growth. This is a blast of fresh air conversation from a clearly fun-loving, passionate woman. You will agree that this is a fascinating conversation. Holly Singer BioHolly Singer is the founder and CEO of Milk Jar, an inclusive candle company that creates job opportunities for people with and without disabilities. Milk Jar also supports inclusive spaces by donating $1 from the sale of every product to organizations that support people with disabilities to learn and grow and initiatives that create inviting spaces. In 8 years, Milk Jar has raised over $350,000 for programs worldwide, from Alberta to Ontario to the U.S. and the U.K! All areas where Milk Jar purchases come from so we can support our customer's communities to be more inviting. Holly says her employees give Milk Jar a greater purpose and a positive work culture that she will be sharing with you today. Holly plans to expand inclusive hiring in Calgary by starting a conversation around the benefits of an inclusive workplace and by connecting businesses to service providers and employees to support their inclusive hiring practices and create more inviting spaces. About Mark Laurie - Host.Mark has been transforming how women see themselves, enlarging their sense of sexy, and expanding their confidence in an exciting adventure that is transformational photography. http://innerspiritphotography.comhttps://www.instagram.com/innerspiritphotography/Sound Production by:Lee Ellis  - myofficemedia@gmail.com

Send us a textCatherine Brownlee discusses her journey from a young introvert to a successful, extroverted professional. Influenced by her father's wisdom and mentorship, she entered the oil and gas industry through volunteering. Catherine emphasizes the importance of authenticity, networking, and constant learning. She shares her beliefs in optimism, human goodness, and the search for love. Catherine's pivotal moments include her father's accident, her sister's death, and her father's guidance posthumously. She advocates for disruption, health through diet and exercise, and the significance of deep, meaningful connections.CATHERINE BROWNLEE Bio Catherine Brownlee enjoys a wide variety of responsibilities and enjoys her work with Andersen in Canada, Alberta Enterprise Group and is the President and CEO of CBI Business Solutions.  She brings over 30 years' experience in Search and marketing, and business development across all sectors. Catherine's database of over 85,000 contacts demonstrates her capacity to motivate, build and achieve results. Her peers recognized her for her outstanding leadership with a Women of Influence Award and a Paul Harris Award through the Rotary Club of Calgary. Catherine regularly presents seminars for those looking to find the job of their dreams or building their business.   Catherine is the co-author of three bestsellers. Want to Work in Oil and Gas?, Cat's Tips to Get the Job of Your Dreams and How to Sell in Any Economy. In her spare time, Catherine is committed to serving the community through the Rotary Club of Calgary Stampede Park. Her passions include business, politics, tech and AI, human rights, and serving children and disadvantaged communities.Learn More: https://cbibusiness.ca/ https://www.linkedin.com/in/catherinebrownlee/ https://www.facebook.com/catherine.brownlee.33         https://x.com/CBI_Rocks About Mark Laurie - Host.Mark has been transforming how women see themselves, enlarging their sense of sexy, and expanding their confidence in an exciting adventure that is transformational photography. http://innerspiritphotography.comhttps://www.instagram.com/innerspiritphotography/Sound Production by:Lee Ellis  - myofficemedia@gmail.com

Send us a textThe Rose of Tralee - shared by Katie Dooley the Western Canadian Chair. Any Irish blood in your veins? Even if it is a small %,  you can enter. Katie tells us about the event, from firsthand experience. It starts with a wild March weekend with the winner going to Ireland. It is a pretty big deal. Take a listen. Let anyone with some Irish blood knowAbout The Rose of Tralee, As one of the Center Coordinators for the Western Canada Rose of Tralee, Katie Dooley is passionate about empowering young women and celebrating Irish heritage. Having applied for the role of Western Canada Rose herself in her 20s, she deeply understands the excitement and honour of being part of this tradition.Katie is dedicated to creating opportunities for ambitious women to shine. She loves witnessing women connect with their culture and be recognized for their talents and achievements. Last year, she travelled to Tralee, Ireland, to experience the Rose of Tralee International Festival firsthand, a journey that deepened her appreciation for this global celebration of Irish culture.Whether mentoring potential Roses or coordinating meaningful events, Katie champions the values of community, empowerment, and heritage. She brings boundless enthusiasm and a heartfelt commitment to ensuring this tradition continues to inspire and connect women across Western Canada and beyond.https://roseoftralee.iehttps://roseoftralee.ie/apply-to-the-rose-of-tralee/https://www.facebook.com/westerncanadarose About Mark Laurie - Host.Mark has been transforming how women see themselves, enlarging their sense of sexy, and expanding their confidence in an exciting adventure that is transformational photography. http://innerspiritphotography.comhttps://www.instagram.com/innerspiritphotography/Sound Production by:Lee Ellis  - myofficemedia@gmail.com  

Send us a textJane Duncan, a 67-year-old dancer and educator, shares insights on her life and careers. She always knew she was a dancer, starting when she was 11. For her, dance was a healing and power source. While she cherished it, always seeing herself as a dancer, she changed careers, got degrees and flourished. She shares her mentors and how they changed her life.  She now volunteers with an organization that accredits fire organizations. All her life lessons she lays out. Jane Duncan: Dancer, Educator, Contributor As is the case for most dancers, we have a knowing from an early age that we are dancers. The blessing with that knowing, is that we always know who we are no matter who old, fat, or infirm we may become. I stopped trying to make my living as a dancer in my mid to late twenties but since then, I have danced on the edges of my life. In addition to dance as a primary definer, so is education. I have been an educator of adults since I was barely an adult myself beginning as a dance educator at Mount Royal College. At that time one of my students said to me, “Jane, what you are is an educator.” I was mortally offended! I thought, “I am a dancer!!” The student was right, though. I am also an educator. This understanding culminated in earning a doctorate in adult education and higher education leadership and lead me from teaching in post-secondary to administering education in emergency services to fulfill the need for a new challenge.  This experience resulted in an invitation to be appointed as a volunteer for an emergency services accreditation body. I have been contributing to that cause beginning in 2008. I have been given many gifts and giving back is what I am called to do.   About Mark Laurie - Host.Mark has been transforming how women see themselves, enlarging their sense of sexy, and expanding their confidence in an exciting adventure that is transformational photography. http://innerspiritphotography.comhttps://www.instagram.com/innerspiritphotography/Sound Production by:Lee Ellis  - myofficemedia@gmail.com

Henriette shares how being an introvert made immigrating from Holland at 35 with young children a bigger challenge than for most. She had language issues and job difficulties. Her family stepped away from religion, to the disapproval of her Holland family. She talks about how naive they were about Canada. The evolution of beliefs, personal growth and resilience. Her passion for cars. Her unique volunteer work helping new mothers care for twins and triplets. It is a unique and diverse conversation with many insights on an immigrant's view of Canada and belonging.Henriette BioI moved to Calgary from The Netherlands with my husband and 2 sons in 2002. I struggled to find a job, being strangely over-qualified yet under-educated as immigrants often are, doing all kinds of different things and even dabbling with entrepreneurship, which did not suit me at all. In 2017, I retired and started taking courses in Sociology and, later, Women's Gender studies at Athabasca University to learn about Canadian society and culture.  If I am not taking a course, I work as a volunteer with AHS to help out families with newborn twins or triplets in their homes.  I read lots of books, but also a Dutch newspaper, CBC.ca and Al Jazeera. My “motto” is: ”Explore everything, discard what is bad and integrate into your life what is good.” I am an avid traveller and Reiki Master. I love modern art. I make all important decisions using my intuition. I recently started painting after encouragement from my lovely and artistic daughters-in-law. Some words to describe me? Woman, thinker, feminist, student of and for life, introvert, reader, open-minded and fashionable.About Mark Laurie - Host.Mark has been transforming how women see themselves, enlarging their sense of sexy, and expanding their confidence in an exciting adventure that is transformational photography. http://innerspiritphotography.comhttps://www.instagram.com/innerspiritphotography/Sound Production by:Lee Ellis  - myofficemedia@gmail.com

Katie shares some personal insights with Mark. She tells about life advice a babysitter gave her 10-year-old self that still guides her. How a dancing instructor became a role model for a designer. Her love and advice on travelling as a single woman. Katie shares the power of being nice, giving back, and working hard. The personality traits she cherishes and those she wishes she had. Katie even talked about a plan for an extensive, well-designed obituary. This chat is funny and unexpected at times but always insightful. Katie Dooley BioShe is an award-winning branding expert and the creative force behind Paper Lime Creative. With a decade of experience in graphic design, she specializes in helping businesses craft authentic, eye-catching identities that resonate with their audiences. Her passion for bold, innovative design and strategic storytelling has earned her accolades in the industry, making her a trusted partner for clients looking to elevate their brands.In addition to her work in branding, Katie co-hosts The Holy Watermelon, a comparative religious studies podcast that explores beliefs, practices, and the fascinating stories behind the world's religions. Through this platform, she brings curiosity complex conversations, engaging listeners with humor and insight.A former competitor at the North American Irish Dance Championships, Katie has a lifelong connection to her Irish heritage. She's also an avid traveler who finds inspiration in solo adventures, discovering new cultures, and immersing herself in diverse perspectives.With creativity, curiosity, and a passion for connection at the heart of everything she does, Katie inspires others to think boldly, embrace new ideas, and celebrate what makes them unique. Reach out to Katie at:https://www.instagram.com/paperlimecreative/https://www.linkedin.com/in/katieadooley/https://podcasts.apple.com/ca/podcast/holy-watermelon/id1534587756About Mark Laurie - Host.Mark has been transforming how women see themselves, enlarging their sense of sexy, and expanding their confidence in an exciting adventure that is transformational photography. http://innerspiritphotography.comhttps://www.instagram.com/innerspiritphotography/Sound Production by:Lee Ellis  - myofficemedia@gmail.com

Mark chats with Jennifer Keable, a heart-led entrepreneur passionate about redefining success and a work-life balance that avoids burnout. Jennifer shares her journey from corporate burnout to being life-centred in her most exciting new version of her. Jennifer shares her terror and the power of saying no to reclaim control of her time and energy. Mark explores how her daily breath work and meditation opened her emotional awareness.  They chat about her core beliefs and how they have served her and matched her mentors. Mark and Jennifer get into creating meaningful connections, overcoming societal expectations while creating a life aligned with their core values.  Jennifer talks about her family support and her “aha” moment when everything changed. We think you will enjoy this conversation and have some powerful takeaways. Maybe even find your own “Aha!” moment. Bio Jennifer KeableJennifer is a highly regarded Burnout Prevention & Well-Being Expert with a BA in Psychology and a proven track record in guiding professionals through burnout prevention and well-being enhancement. Drawing from her own experiences as a two-time burnout veteran, Jennifer offers relatable, proven strategies that resonate deeply with clients. With over four years as a 1:1 coach, speaker and consultant, she has helped 85% of her clients achieve job promotions, greater work-life balance, and serious health gains. Her corporate clients describe their sessions as a refreshing space to gain perspective and strategize in ways that day-to-day demands don't allow, enabling them to build resilience and actionable plans that boost retention.Jennifer has presented for iconic industry leaders, including Shell, BMO, Cargill sharing transformative insights to elevate both personal and professional growth.___Looking to elevate your personal and professional life? Check out Jennifer's resources. They include a daily/weekly planner to help you increase your effectiveness, breathwork practices for enhanced energy, and powerful journaling prompts to fuel your personal growth. https://jenniferkeable.com/free-resources/Looking forward to wherever our conversation takes us!About Mark Laurie - Host.Mark has been transforming how women see themselves, enlarging their sense of sexy, and expanding their confidence in an exciting adventure that is transformational photography. http://innerspiritphotography.comhttps://www.instagram.com/innerspiritphotography/Sound Production by:Lee Ellis  - myofficemedia@gmail.com  

Alan Averill is best known for being the vocalist and front man for Irish Metal legends Primordial, but he is also an engaging, fascinating, intelligent, politically minded, well-read, heavily tattooed bad-ass.  Alan is a singular voice in metal, an anomaly in some ways.  I Hate Music considers him to be one of the best front men in metal, and his voice, and his band, to be one of the most unique and underrated.    With Alan we discuss the erasure of cultures, the significance of travel, the importance of heritage, and the obsessive nerdism that comes with being a lifer in the metal scene.   We also dig into a listener email, and catch up on some current happenings. **Note:  This was recorded before the American Presidential Election in 2024.   -------------------- Hosts:  Jason Walton and Nick Wusz. "I Hate Music" theme by Artificial Intelligence.  I Hate Music image by Jori Apedaile. Produced by Jason Walton for Earth in Sound Productions. Watch the video version of this podcast on our YouTube Channel -------------------- Support the podcast by becoming a Patreon member here: IHM Patreon Follow us on socials, donate to support the podcast, listen to our playlist on Spotify, and visit us online: I Hate Music Linktree Email and listener suggestions to: hate.pod.music@gmail.com #ihatemusicpodcast **I Hate Music is an Earth in Sound Production**

Buckethead has always been one of those artists that garners deep respect, and everyone knows he is a mysterious genius that prefers to lurk in the background, but until we met IHM mainstay Sebastian, we had never known anyone that would mention him when asked about favorite bands.  Buckethead is a virtuoso, no doubt, and an artist that is not content to color within the lines.  He is constantly pushing on boundaries and re-inventing himself.  So, we decided to get a passionate Bucketbot on the podcast to share his enthusiasm and knowledge about the only guitarist who was born in a coop.  Buckets up!     -------------------- Hosts:  Jason Walton and Nick Wusz with special guest Sebastian. "I Hate Music" theme by Sebastian.  I Hate Music image by Jori Apedaile. Segment intro music by Adam Stacey and R. Hunter. Produced by Jason Walton for Earth in Sound Productions. Watch the video version of this podcast on our YouTube Channel -------------------- Support the podcast by becoming a Patreon member here: IHM Patreon Follow us on socials, donate to support the podcast, listen to our playlist on Spotify, and visit us online: I Hate Music Linktree Email and listener suggestions to: hate.pod.music@gmail.com #ihatemusicpodcast **I Hate Music is an Earth in Sound Production**

Artificial Intelligence (A.I.) is a hot topic right now, especially within the arts.  This episode does not take a stance either way on the issue, rather explores it's capabilities and power.  We experience online A.I tools in real time and also discuss the positives, and the negatives, of artificial intelligence in the arts.     -------------------- Hosts:  Jason Walton and Nick Wusz. "I Hate Music" theme by Marius Sjoli.  I Hate Music image by Jori Apedaile. Produced by Jason Walton for Earth in Sound Productions. Watch the video version of this podcast on our YouTube Channel -------------------- Support the podcast by becoming a Patreon member here: IHM Patreon Follow us on socials, donate to support the podcast, listen to our playlist on Spotify, and visit us online: I Hate Music Linktree Email and listener suggestions to: hate.pod.music@gmail.com #ihatemusicpodcast **I Hate Music is an Earth in Sound Production**

"I haven't listened to Sepultura since Roots."  "I never bothered to check out any Tiamat after A Deeper Kind of Slumber."  "What does Opeth sound like these days anyway?" These are comments we've been saying to ourselves and each other for a while, and we decided to remedy it.  We check out newer material from bands we used to love that we just never kept up with.  We listen to some clips and discuss. Of course there are some great listener emails this time around and we dive headlong into a FMK as well.   -------------------- Hosts:  Jason Walton and Nick Wusz. "I Hate Music" theme by Marius Sjoli.  I Hate Music image by Jori Apedaile. Segment intro music by Jori Apedaile and R. Hunter. Produced by Jason Walton for Earth in Sound Productions. Watch the video version of this podcast on our YouTube Channel -------------------- Support the podcast by becoming a Patreon member here: IHM Patreon Follow us on socials, donate to support the podcast, listen to our playlist on Spotify, and visit us online: I Hate Music Linktree Email and listener suggestions to: hate.pod.music@gmail.com #ihatemusicpodcast **I Hate Music is an Earth in Sound Production**

Another current listening episode!  We discuss the music we've been listening to, why we are listening to these artists, and the stories around why they are hitting us hard.  Nine Inch Nails, Genghis Tron, Fen Walker, Lorde, MC Breed, Cold Sanctum, Blood Incantation, Coil, D.B.C., and more are discussed.  We each share a song that we've been vibing with as well.   -------------------- Hosts:  Jason Walton and Nick Wusz. "I Hate Music" theme by Marius Sjoli.  I Hate Music image by Jori Apedaile. Produced by Jason Walton for Earth in Sound Productions. -------------------- Support the podcast by becoming a Patreon member here: IHM Patreon Follow us on socials, donate to support the podcast, listen to our playlist on Spotify, and visit us online: I Hate Music Linktree Email and listener suggestions to: hate.pod.music@gmail.com #ihatemusicpodcast **I Hate Music is an Earth in Sound Production**

It's been a while, so we caught up on life.  Agalloch in Australia, MoonBladder mini-tour, Travellers Rest shows, Recording Academy Board meeting, concerts we've seen in the last month, and concerts we will see soon. We also spend a mighty section of this episode on listener emails.  We've been getting lots of them, with lots of questions and comments, so we decided to dive in!  There has also been some push back from listeners on bands we have mentioned we don't like.  We address some of these and listen to some bands that we've never listened to before because of it in a sort of "Virgin Listen" section of this episode. We've never had an episode quite like this one, so join us, listen, then email us and complain.   -------------------- Hosts:  Jason Walton and Nick Wusz. "I Hate Music" theme by Marius Sjoli.  I Hate Music image by Jori Apedaile. Segment intro music by Jori Apedaile. Produced by Jason Walton for Earth in Sound Productions. -------------------- Support the podcast by becoming a Patreon member here: IHM Patreon Follow us on socials, donate to support the podcast, listen to our playlist on Spotify, and visit us online: I Hate Music Linktree Email and listener suggestions to: hate.pod.music@gmail.com #ihatemusicpodcast **I Hate Music is an Earth in Sound Production**

Get a Free Trial to my Group Mentorship: https://themacpac.com/checkout/new?o=169827Personal Brand Website: http://www.michaeljmacdonald.comDive into the fascinating world of sound production with this engaging and motivational session. Welcome to my educational platform where I'm sharing my experience and insights on mastering sound production to transform your content, whether it's a podcast, video, or any digital media. We'll explore the nuances of capturing high-quality audio using various equipment, from the simplicity of an iPhone to advanced recording gear. I'll guide you through understanding and leveraging tools like Adobe Podcast to enhance your audio, ensuring your audience stays engaged with crystal-clear sound. Join me on this Mounjaro journey, focusing not only on sound but on the motivation and fitness of your creative projects. Let's make your content shine with quality and consistency. Follow me on social media to stay updated and explore more information that can help elevate your brand. Let's embark on this transformative sound journey together!CHAPTERS:00:00 - Intro to Sound Production01:12 - Importance of Sound Quality02:45 - Rodecaster Pro Overview06:34 - Using Lavalier Microphones10:34 - Benefits of Condenser Microphones13:41 - Tripod Setup for Smartphones14:04 - Utilizing Boom Microphones17:42 - Audio Interfaces Explained20:28 - Zoom H6 Recorder Features22:48 - Enhancing Your Audio Quality27:29 - Final Cut Pro Equalization Techniques31:15 - Audio Editing Tips and Tricks31:55 - Live Demo: Audio Editing35:30 - Sound Production Q&A SessionSupport this podcast at — https://redcircle.com/michael-j-macdonald-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In this episode of Fascinating Women, Mark chats with Laura Watson, a business coach, competitive ballroom dancer, and expert communicato. She shares her journey of personal growth, driven by her desire to serve and lead others. She reflects on the guiding beliefs that shape her life, including the importance of service and walking her talk, even in difficult conversations. Laura reveals how ballroom dancing and a nude portrait session with Mark stretched her comfort zone. In dancing she rose to world champion trophy holder. She also discusses the challenges of entrepreneurship, communication mastery, and balancing family life with her passions. Her insights into mental and emotional mastery provide valuable lessons for business leaders and parents alike. Laura's reflections on embracing possibility and self-acceptance offer a powerful message of transformation and growth.Laura Watson Bio: Laura is the founder and lead business coach at Venture Coaching International in Calgary, AB. With over 25 years of counselling and coaching experience, she helps business owners and executives across North America to improve their personal, communication and leadership effectiveness.Laura graduated with an MSW from the University of Calgary and received her coaching certification from CoachU and the International Coach Federation. The Calgary Association of Professional Coaches and the Universal Women's Network recognized her expertise and commitment to personal mastery.About Laura WatsonLaura has dedicated her career over the past 30 years to helping people be the best they can be! She is an award-winning coach, wife, mother and World Country Dance Champion.Laura's "secret sauce" is helping people bridge theory to practice. She takes challenging business, leadership and communication concepts and breaks them down into practical and useable ideas and action steps.Laura is also a "whole person" coach. She knows that business leaders are people first who wrestle with all sorts of issues. Laura not only helps people on the business side but also on the personal side. It's common for Laura to discuss business issues one day and addictions, parenting, and infidelity the next.Laura is an articulate speaker eager to provide audiences with value. She will ensure your audience receives value and key takeaways they can use immediately in their personal and business lives.Connect with LauraPH: 403-669-8684http://venturecoaching.calaura@venturecoaching.cahttps://www.linkedin.com/in/laurawatson/https://www.facebook.com/laurawatsons/https://www.youtube.com/@venturecoachinginternationalAbout Mark Laurie - Host.Mark has been transforming how women see themselves, enlarging their sense of sexy, and expanding their confidence in an exciting adventure that is transformational photography. http://innerspiritphotography.comhttps://www.instagram.com/innerspiritphotography/Sound Production by:Lee Ellis  - myofficemedia@gmail.com  

Another current listening episode.  People seemed to enjoy the first one, Episode 81, so we asked Hunter Ginn to join us for another installment.  We each discuss music that has been floating our boats and we each share a track that has been hitting us hard lately.   -------------------- Hosts:  Jason Walton and Nick Wusz with special guest Hunter "Salad Villain" Ginn. "I Hate Music" theme by Sebastian Leonard.  I Hate Music image by Jori Apedaile. Produced by Jason Walton for Earth in Sound Productions. -------------------- Support the podcast by becoming a Patreon member here: IHM Patreon Follow us on socials, donate to support the podcast, listen to our playlist on Spotify, and visit us online: I Hate Music Linktree Email and listener suggestions to: hate.pod.music@gmail.com #ihatemusicpodcast **I Hate Music is an Earth in Sound Production**

Why do female singers sometimes sound like they've been gargling gravel? In this episode of Join the Docs, our melodious maestros, Professor Jonathan Sackier and Doctor Nigel Guest, strike a chord as they riddle on  raspy rappers and discuss distressed divas. Why might sopranos struggle to sing soulfully instead sometimes sounding far from sonorous? . They kick things off with a tuneful tour of the larynx and vocal cords, those tiny but mighty instruments that can make or break a performance. With a sprinkle of humour and a dash of puns, they explain how hormonal cycles can turn a diva's dulcet tones into a croaky chorus.Ever wondered why your favourite singer suddenly sounds like they've been shouting at a football match? The Docs delve into the various medical conditions that can cause hoarseness, from the common cold's pesky cousin, laryngitis, to the sneaky saboteur, acid reflux. They paint a vivid picture of how these ailments can transform a nightingale into a screech-owl, hooting away in distress. With anecdotes that hit all the right notes, they remind us that if hoarseness lingers longer than a three-week encore, it's time to seek medical advice.So, how do famous singers keep their voices in tip-top shape? The episode is peppered with references to iconic vocalists who have battled the dreaded hoarseness. Sackier and Guest serve up a smorgasbord of star-studded stories that add a touch of glamour to the medical mumbo-jumbo. Their witty banter and playful puns ensure that even the most complex concepts are as easy to swallow as a spoonful of honey.Is laughter really the best medicine? As the conversation crescendos, The Docs strike a perfect balance between education and entertainment. They sprinkle in just the right amount of humour, making the medical discussion as engaging as a front-row seat at a Broadway show.So, why not tune in and let Professor Jonathan Sackier and Doctor Nigel Guest serenade you with their insights on hoarseness? Thankfully without either of our two Docs bursting into song. Whether you're a singer, a fan, or just someone who loves a good laugh, this episode of Join the Dots hits all the high notes, ensuring you walk away with a smile on your face and a song in your heart.—--DISCLAIMER: The views and opinions expressed on Join the Docs are those of Dr. Nigel Guest, Jonathan Sackier and other people on our show. Be aware that Join the Docs is not intended to be medical advice, it is for information and entertainment purposes only - please, always take any health concerns to your doctor or other healthcare provider. We respect the privacy of patients and never identify individuals unless they have consented. We may change details, dates, place names and so on to protect privacy. Listening to Join the Docs, interacting on our social media, emailing or writing to us does not establish a doctor patient relationship.To Contact Us: For a deeper dive on this episode's issue, merchandise and exclusive content, head to www.jointhedocs.comFollow us on youtube.com/JoinTheDocs Follow us on instgram.com/JoinTheDocsFollow us on tiktok.com/JoinTheDocsFollow us on: facebok.com/JoinTheDocsFollow us on: x.com/JoinTheDocs

Hunter Ginn.  Canvas Solaris, Plague Psalm, Agalloch, Dolven, Sculptured, Radical Research, Deserts of Hex.. what can this man not do?  We decided to try and find out by inviting him to join us on IHM.  Hunter wanted to discuss two albums that are very special to us; Primus' "Frizzle Fry" and Prong's "Beg to Differ."  Both released in 1990, both helped usher in a new sound and new era for metal and alternative music.  We delve into these records and related subjects. Of corpse, we also indulge in a few segments, and a few listener emails.  So, call up Mike Browning and set the time machine to 1990, and join us.   -------------------- Hosts:  Jason Walton and Nick Wusz with special guest Hunter "Snack Doctor" Ginn. "I Hate Music" theme by Marius Sjoli.  I Hate Music image by Jori Apedaile. Segment intro music by Jori Apedaile and Adam Stacey. Produced by Jason Walton for Earth in Sound Productions. -------------------- Support the podcast by becoming a Patreon member here: IHM Patreon Follow us on socials, donate to support the podcast, listen to our playlist on Spotify, and visit us online: I Hate Music Linktree Email and listener suggestions to: hate.pod.music@gmail.com #ihatemusicpodcast **I Hate Music is an Earth in Sound Production**

We've been getting some comments here and there over the last few months about how listeners miss the aspect of sharing music that we've been listening to that the old format had.  When our friend Nick Loiacano texted me about it, I decided to do it.  So, here we are, the first "Current Listening" episode!  We discuss music we've been listening to, and we add it to the I Hate Music Spotify playlist.  Grimes, Autopsy, 200 Stab Wounds, Lana Del Rey, Human Barbie, and much more is on the menu for today and we each play one song that has been hitting us hard.  Join us for this new experiment and let us know what you think!   -------------------- Hosts:  Jason Walton and Nick Wusz. "I Hate Music" theme by Marius Sjoli.  I Hate Music image by Jori Apedaile. Produced by Jason Walton for Earth in Sound Productions. -------------------- Support the podcast by becoming a Patreon member here: IHM Patreon Follow us on socials, donate to support the podcast, listen to our playlist on Spotify, and visit us online: I Hate Music Linktree Email and listener suggestions to: hate.pod.music@gmail.com #ihatemusicpodcast **I Hate Music is an Earth in Sound Production**

What is nerd culture, and how does it apply to music?  In the '80's there was little worse than having a class mate call you a nerd, now they tend to be celebrated.  Are nerds cool?  How do bands like Weezer fit into this discussion?  Is a nerd simply someone who is passionate about a subject, or does the word connote a myopic obsession that comes with side effects such as ignorance and social awkwardness?     -------------------- Hosts:  Jason Walton and Nick Wusz. "I Hate Music" theme by Marius Sjoli.  I Hate Music image by Jori Apedaile. Segment intro music by Jori Apedaile and Adam Stacey. Produced by Jason Walton for Earth in Sound Productions. -------------------- Support the podcast by becoming a Patreon member here: IHM Patreon Follow us on socials, donate to support the podcast, listen to our playlist on Spotify, and visit us online: I Hate Music Linktree Email and listener suggestions to: hate.pod.music@gmail.com #ihatemusicpodcast **I Hate Music is an Earth in Sound Production**

Gate Keeping.  Why is it bad, can it be good?  Can we finally get along with the jocks?  Not when they threatened me every day for wearing Sepultura shirts in High School and then changed their tune when "Roots" came out.. I mean, F**k those guys... but yeah....  Do we want people wearing hockey jerseys at Suffocation shows?  What ever happened to the separation of sports and music?  Isn't that in the constitution?  Death Metal is MY thing, not yours...  you've never heard "Symphonies of Sickness?"  You weren't born when it came out?  That's no excuse.  Poser!  Lots of gray areas here and lots of nuance.  Just how we like it.   -------------------- Hosts:  Jason Walton and Nick Wusz. "I Hate Music" theme by Marius Sjoli.  I Hate Music image by Jori Apedaile. Produced by Jason Walton for Earth in Sound Productions. -------------------- Support the podcast by becoming a Patreon member here: IHM Patreon Follow us on socials, donate to support the podcast, listen to our playlist on Spotify, and visit us online: I Hate Music Linktree Email and listener suggestions to: hate.pod.music@gmail.com #ihatemusicpodcast **I Hate Music is an Earth in Sound Production**

Gen Z's entry into the workforce is shaking things up with their high expectations and progressive ideals. From flexible schedules and remote work to instant recognition and a strong focus on social justice, this generation is challenging the status quo. Ken sits down with TurningPoint's own Gen Zers, Cory and Katherine, to explore various topics related to job searching, leadership, and work expectations. Cory and Katherine share their perspectives on the desire for feedback, growth opportunities, and engaging workplaces while also considering the effects of social media and AI on career prospects. Are these expectations a necessary transformation or an unrealistic overreach that could lead to disillusionment? Tune in as we debate whether Gen Z's ideals will drive positive change or spark a new set of challenges in the world of work.   BONUS: Download "Leading the Gen Z Workforce: A Guide for CEOs and HR Leaders," packed with real strategies you can implement right away to understand and manage this transformative generation.  About our Guests: Cory Schmitt is a recent graduate of the Indiana University Jacobs School of Music with a Bachelor of Science in Audio Engineering and Sound Production. He has been the Head Engineer at Recording Services at Indiana University since August 2023, leading a team of engineers. In this role, Cory ensures high standards for media content and delivers precise recordings of professional recitals, leveraging his expertise in audio mixing and comprehensive knowledge of audio and visual systems.   Beyond his work at Indiana University, Cory has enhanced audio and visual experiences as a Director, Audio Engineer, and Camera Operator with the university's Radio and Television Services since 2021. He also contributes as a Podcast Production Associate at Hiring Matters, where he is responsible for building, editing, and publishing podcast episodes.   Cory is actively involved in the local music scene with his band Syzygy and serves as a Concert Attendant for TGIF Concerts at the Park. He has also previously worked as a Content Producer for the Playhard Podcast.  Instagram,LinkedIn   Katherine Rosen is currently pursuing a Master's degree in Digital Communication and Media at the University of Sydney, Australia. She has a strong background in social media management and content creation, having served as a Digital Marketing Associate at TurningPoint Executive Search, where she specialized in social media strategy, design, and video editing. During her time at UC Davis, Katherine was the Social Media Manager for the Video Game Orchestra, where she combined her passion for music and digital media to enhance the group's online presence. She also demonstrated her commitment to student development and academic success as a Peer Mentor, providing academic mentoring to freshman students. Katherine holds a Bachelor of Arts in English Language and Literature, with a double major in Cinema & Digital Media and a minor in Music from the University of California, Davis. LinkedIn   About Your Host: Ken Schmitt is the CEO and founder of TurningPoint Executive Search. He is also the author of "The Practical Optimist: An Entrepreneur's Journey through Life's Turning Points". Ken was raised in an entrepreneurial family and brings a uniquely authentic voice to his podcast, blending life, family, and business together. Ken is a seasoned expert with almost three decades of experience in executive recruiting. In his podcast, he focuses on revealing the secrets of recruiting, retention, and real HR strategies. The podcast is not preachy, academic, or theoretical. It provides authentic perspectives on the challenges, triumphs, and quirks that make the hiring game both exhilarating and unpredictable. Twice a month, Ken offers tactical advice and industry insights to empower listeners to navigate the intricate world of executive recruiting confidently. "Hiring Matters" is your go-to resource for elevating your hiring game and equipping you with the tools to build, grow, and lead truly exceptional teams. Brace yourself for Ken's "Recruiter Rant" episodes, where he shares unfiltered insights and behind-the-scenes revelations about the industry's hidden secrets. Get ready to gain more than expected from this informative and engaging podcast. Follow Ken on LinkedIn Powered by TurningPoint Executive Search: Helping business hire right.

In this captivating episode of *Fascinating Women*, Mark Laurie sits down with his long-time friend, Lara Jickles, for a heartfelt and inspiring conversation. Lara opens up about the profound experiences that have shaped her, including the tragic loss of her baby sister and how it fueled her rebellious spirit. From her adventures as an international nude model and high-wire suspension worker to her current role as a personal trainer and district manager for Arbonne, Lara's journey is anything but ordinary. She shares her insights on the importance of self-acceptance, a positive mindset, and the power of vulnerability combined with fearlessness. Lara's ability to connect deeply with others shines through as she discusses the lessons she's learned and the resilience she's cultivated. This episode is a must-listen for anyone seeking inspiration from a woman who has truly lived life on her own terms.It is a remarkable conversation. Lara BioHello, my name is Lara Jickels, a wild child who is trying to find the best version of herself while navigating being a wife, stepmom and new mom. I come from an adventurous past, which has made me the unique individual I am today! I am unfiltered, spicy, and definitely see the world differently than most.Like what you hear? Feel free to follow me on Instagram @theprettykittylifeYou can DM on Instagram for information on Arbonne products or sales opportunities. About Mark Laurie - Host.Mark has been transforming how women see themselves, enlarging their sense of sexy, and expanding their confidence in an exciting adventure that is transformational photography. http://innerspiritphotography.comhttps://www.instagram.com/innerspiritphotography/Sound Production by:Lee Ellis  - myofficemedia@gmail.com  

"Talent" is a word that is used a lot in the arts, but does it discredit the years of hard work and dedication that people put into their craft?  Does it discourage people to pursue their interests if they are not masterful immediately?  It's a word that has been stuck in my throat for years, and a descriptor I have been hesitant to use for a long time.  Does talent exist?  Are people born naturally adept to be good at certain things?  We discuss this and try to get to the bottom of our feelings on the subject. We also have some great listener emails, we do a couple of segments, and announce our new Patreon membership program as well as announce a fun new contest!  As a side note, the IHM drinking game is now official.  Every time we mention Gwar, Sebastian, or a Kyle, drink up!  We encourage hydration, not inebriation, so alcohol is optional.   -------------------- Hosts:  Jason Walton and Nick Wusz. "I Hate Music" theme by Marius Sjoli.  I Hate Music image by Jori Apedaile. Segment intro music by Jori Apedaile and Adam Stacey. Produced by Jason Walton for Earth in Sound Productions. -------------------- Support the podcast by becoming a Patreon member here: IHM Patreon Follow us on socials, donate to support the podcast, listen to our playlist on Spotify, and visit us online: I Hate Music Linktree Email and listener suggestions to: hate.pod.music@gmail.com #ihatemusicpodcast **I Hate Music is an Earth in Sound Production**

For the unfamiliar, Body Count is lead by rapper Ice T, and their debut album stirred a lot of controversy in the early '90s.  Most famously, the song "Cop Killer" landed the band in the public eye and garnered the scorn of the PMRC, the Police, and parents everywhere.  Body Count married hip-hop and metal in a way that had never been done before and inspired generations of musicians to become more socially aware. We always have time for listener emails, a segment, and we also talk about Death and Death To All, a lot.  So, join us in the I Hate Music drinking game, and take a sip every time we mention Gwar, or a Kyle, or Sebastian, and enjoy this episode.   -------------------- Hosts:  Jason Walton and Nick Wusz. "I Hate Music" theme by Marius Sjoli.  I Hate Music image by Jori Apedaile. Segment intro music by Jori Apedaile. Produced by Jason Walton for Earth in Sound Productions. -------------------- Follow us on socials, donate to support the podcast, listen to our playlist on Spotify, and visit us online: I Hate Music Linktree Email and listener suggestions to: hate.pod.music@gmail.com #ihatemusicpodcast **I Hate Music is an Earth in Sound Production**

MDF!  Maryland Deathfest!  When Baltimore, Maryland becomes a seething mass of humanity clad in black clothes and wristbands.  MDF returns after two years to host a million and a half bands over five days, and I Hate Music is there, recording on location, day by day, to give everyone the updates.  We know you are dying to know which breweries we hit, what food we consumed, what bands we watched -- so secure your day pass, put those foam insoles in your shoes, and strap in cause this one is a doozy.  We discuss performances by Dismember, Mayhem, Arcturus, Broken Hope, Primordial, Spirit Possession, Gorguts, Atheist and many more. Of course we don't ignore listener emails, and we find time for one segment as well.  Do it up!   -------------------- Hosts:  Jason Walton and Nick Wusz. "I Hate Music" theme by Marius Sjoli.  I Hate Music image by Jori Apedaile. Segment intro music by Adam Stacey. Produced by Jason Walton for Earth in Sound Productions. -------------------- Follow us on socials, donate to support the podcast, listen to our playlist on Spotify, and visit us online: I Hate Music Linktree Email and listener suggestions to: hate.pod.music@gmail.com #ihatemusicpodcast **I Hate Music is an Earth in Sound Production**

Why would I care about The Grammys?  What the hell is The Recording Academy?  What do they even do?  Vinyl albums are made by little magicians and wizards, right?  It's pure magic and no one knows how it's done, right? In this episode our good friend, and all around bad-ass, Amy Dragon joins us to discuss these topics and shed some light on these misunderstood subjects.  We talk about attending The Grammys, how they can be important, and discuss the real-world good that The Recording Academy does outside of the awards show, helping musicians with healthcare, education, and networking.  She also explains what she does for a living; vinyl pre-mastering.  She gets a bit technical and explains how a record is made, from mix to final press. Amy also joins us for some listener emails, some segments, and we don't hear from any Kyles or mention Gwar once.  Join us.   -------------------- Hosts:  Jason Walton and Nick Wusz with guest Amy Dragon. "I Hate Music" theme by Marius Sjoli.  I Hate Music image by Jori Apedaile. Segment intro music by Jori Apedaile, Adam Stacey, and Nathanael Larochette. Produced by Jason Walton for Earth in Sound Productions. -------------------- Follow us on socials, donate to support the podcast, listen to our playlist on Spotify, and visit us online: I Hate Music Linktree Email and listener suggestions to: hate.pod.music@gmail.com #ihatemusicpodcast **I Hate Music is an Earth in Sound Production**

Guest: Tiffany P. Williams, Ph.D., CCC-SLP - In this episode, Dr. Williams discusses the professional skills needed to treat and assess speech sound disorders in the telepractice setting. She will discuss assessing, treating, and facilitating the generalization of learned skills into other settings. Dr. Williams will provide actionable strategies and resources for clinicians.

I Hate Music travels down south to Houston, Texas to catch a Texas-sized load of bands during Hell's Heroes Fest 2024.  Each day we recorded from our hotel room, recapping the previous night's bands and events, then once back home we discuss day three and wrap up the entire festival as a whole.  We discuss highlights, lowlights, what makes this festival great and the general ups-and-downs of attending music festivals.  Bands and performances we ruminate on include Candlemass, Solitude Aeturnus, Forbidden, Autopsy, Twin Tribes, Helstar, and many more.   Join us for all the tales of ripped shorts, spilled beers, BBQ lines, battle vests, bathroom lines, Lyft rides, cask beers, cramped planes, loud guitars, mud, sun, and heavy metal. -------------------- Hosts:  Jason Walton and Nick Wusz. "I Hate Music" theme by Marius Sjoli.  I Hate Music image by Jori Apedaile. Segment intro music by Jori Apedaile. Produced by Jason Walton for Earth in Sound Productions. -------------------- Follow us on socials, donate to support the podcast, listen to our playlist on Spotify, and visit us online: I Hate Music Linktree Email and listener suggestions to: hate.pod.music@gmail.com #ihatemusicpodcast **I Hate Music is an Earth in Sound Production**

From the About the Author section of Alex Stupak's "Tacos: Recipes and Provocations: A Cookbook."  "Alex Stupak earned recognition as one of the world's most innovative pastry chefs while leading teams at progressive cuisine icons Clio, Alinea, and wd-50. But innovation only counts, he figured, if you push yourself out of your comfort zone, and so he left that world to cook Mexican food, a cuisine that captured his head and his heart. His restaurant Empellón Cocina earned him a James Beard nomination for Best New Restaurant in the country, and Food & Wine magazine named him a Best New Chef in 2013." Alex is also a metalhead.  In this episode we speak with Alex about the parallels between food and music, and the similarities between creating both of these art forms.  Alex tells us about his journey going from one of the world's most celebrated pastry chefs, to opening his first Mexican restaurant.  We discuss the challenges of being a restaurateur, and the importance of pushing boundaries and pushing yourself.   Of course we read some listener emails, do a couple of segments, and mention Gwar, yet again.   -------------------- Hosts:  Jason Walton and Nick Wusz. "I Hate Music" theme by Marius Sjoli.  I Hate Music image by Jori Apedaile. Segment intro music by Jori Apedaile, and Adam Stacey. Produced by Jason Walton for Earth in Sound Productions. -------------------- Follow us on socials, donate to support the podcast, listen to our playlist on Spotify, and visit us online: I Hate Music Linktree Email and listener suggestions to: hate.pod.music@gmail.com #ihatemusicpodcast **I Hate Music is an Earth in Sound Production**

Mass Media and Sound Production majors Stephen Voight and Ismil Ward, two student photographers for The Montgazette newspaper, were assigned to take photos of President Biden's campaign stop at Blue Bell Campus. The two reflect on their experience covering the event and share with us a little bit about their time here at Montco and what they plan to do after graduating. Recorded by Matt Frankl and edited by Nate Leslie.from the College's Sound Recording and Music Technology Program

Eddie, Vic Rattlehead, Snaggletooth, Korgull the Exterminator, The Not Man, Sargent D. -- what is the purpose of a mascot in music?  What makes a mascot good, and what makes one bad?  Why does it seem like mascots only appear in metal music?  In this episode we examine a few mascots in metal and try to figure out why they exist, and if they are an important part of the bands they represent. We also dive into some listener emails and delve further into what is now being called "The Vader Epidemic," as well as reveal a major twist in the story of the multiple Kyles.     -------------------- Hosts:  Jason Walton and Nick Wusz. "I Hate Music" theme by Marius Sjoli.  I Hate Music image by Jori Apedaile. Segment intro music by Jori Apedaile, and Adam Stacey. Produced by Jason Walton for Earth in Sound Productions. -------------------- Follow us on socials, donate to support the podcast, listen to our playlist on Spotify, and visit us online: I Hate Music Linktree Email and listener suggestions to: hate.pod.music@gmail.com #ihatemusicpodcast **I Hate Music is an Earth in Sound Production**

We are back once again, this time to reminisce about metal fests we've attended, compare notes on fests we would like to attend, and look forward to fests we will attend in the future.  What are our favorite festivals, and our favorite festival experiences?  What makes a good festival and what lead to the popularity of fests in America and Europe?  Which festivals are run the best, which ones have access to the best food?  We talk about indoor versus outdoor festivals and share stories of our festival experiences at Roadburn, Northwest Terror Fest, Wacken, Milwaukee Metal Fest, Maryland Death Fest, Migration Fest, Party San, and more. As usual we do a couple of segments to wrap up the show, plead for listener emails, and beg for purchases on the webstore.   -------------------- Hosts:  Jason Walton and Nick Wusz. "I Hate Music" theme by Marius Sjoli.  I Hate Music image by Jori Apedaile. Segment intro music by Jori Apedaile, and Adam Stacey. Produced by Jason Walton for Earth in Sound Productions. -------------------- Follow us on socials, donate to support the podcast, listen to our playlist on Spotify, and visit us online: I Hate Music Linktree Email and listener suggestions to: hate.pod.music@gmail.com #ihatemusicpodcast **I Hate Music is an Earth in Sound Production**

In this episode we dive into the complicated world of collecting, and of course, record collecting to be specific.  Purchasing physical media from artists we love is very important to us, but how do you manage all of it financially and logistically?  Where do you draw the line and when has it gone too far?  We discuss, contemplate, and pontificate on the mechanics of being a die-hard music fan and record collector. Right after that, we tackle a few segments, read some listener email, and finish with a semi-exhaustive piece on Napalm Death's classic and divisive track, "You Suffer."  We gathered clips and comments from friends and luminaries in the scene, each one offering their thoughts on the song, interspersed with live versions and covers of the infamous two second song.  See below for the break down of who and what you are hearing in this piece, in order of appearance. "We Suffer, but Why": Casey C-P Napalm Death Live (Unknown) Ione Walton Johan J.J Jonasson "You Suffer" Orchestral Cover Jon Rosenthal (Invisible Oranges and Decibel Magazine) Ione Walton Ellory Walton Napalm Death Live (Unknown) Napalm Death Live (Unknown) Napalm Death Live on 1989's "What's That Noise?" BBC Ione and Ellory Walton Nick Wusz (Dolven) Don Anderson (Agalloch, Sculptured) j_shima "You Suffer" Jazz Instrumental Version Dylan Neal (Thief) Don Anderson Chris Dick (Music Journalist, Decibel Magazine) Don Anderson Hunter Ginn ( Canvas Solaris, Sculptured) Don Anderson Jori Apedaile (Eneferens, Hyalithe) Opeth "You Suffer" Cover Live Helsinki, Finland 2017 Andy Whale (Bolt Thrower, DeathCollector) Adam Stacey (Secret Chiefs 3, Estradasphere) with Sage Stacey ------------------- Hosts:  Jason Walton and Nick Wusz. "I Hate Music" theme written by Marius Sjoli, performed by Billy Smear.  I Hate Music image by Jori Apedaile. Segment intro music by Jori Apedaile, and Adam Stacey. Produced by Jason Walton for Earth in Sound Productions. -------------------- Follow us on socials, donate to support the podcast, listen to our playlist on Spotify, and visit us online: I Hate Music Linktree Email and listener suggestions to: hate.pod.music@gmail.com #ihatemusicpodcast **I Hate Music is an Earth in Sound Production**

Mortiis has been an outlier and a legend in dark music for decades.  From being an original member of Norwegian Black Metal band Emperor, to his solo work as Mortiis, to the suicidal ambience of Vond, Mortiis has often been misunderstood, yet he has blazed his own path with no regard for trend or what could be deemed successful.  Now, decades later, the genre Mortiis arguably created has had an explosion in popularity worldwide.  In this episode we welcome Mortiis into our own dungeon to discuss Dungeon Synth past and present, his time in Emperor, gear, and his writing process. We also welcome Jori Apedaile of Eneferens as he joins us as a third host and helps us tackle listener Emails about download codes, meeting our musical heroes, as well as helping us keep track of all the damn people named Kyle that write in.  The three of us attack another "FMK," a "T-Shirt of the Day," and of course a "Let's Stump Nick (and Jori)."     -------------------- Hosts:  Jason Walton and Nick Wusz.  Special guest host Jori Apedaile. "I Hate Music" theme by Marius Sjoli.  I Hate Music image by Jori Apedaile. Segment intro music by Jori Apedaile, Adam Stacey, and Nathanael Larochette. Bumper music by Mortiis. -------------------- Follow us on socials, donate to support the podcast, listen to our playlist on Spotify, and visit us online: I Hate Music Linktree Email and listener suggestions to: hate.pod.music@gmail.com #ihatemusicpodcast **I Hate Music is an Earth in Sound Production**

We are fighting the Christmas spirit this year by discussing the trend of Metal bands writing about money-grubbing, lying, megachurch owning evangelists in the '80s and '90s such as the infamous battle between Deicide's Glen Benton and Christian Talk Show Host Bob Larson.  We also share our favorite albums from 2023, including picks from Spirit Possession, Frozen Soul, Phobocosm, Blood Incantation, Xysma, and more.   Listener emails bring us back to discussing Gwar again, discovering the New Mexico Metal scene, and we get another email from that one dude, Kyle.  You'll also find a few segments at the end to round out the evening.   -------------------- Hosts:  Jason Walton and Nick Wusz. "I Hate Music" theme by Marius Sjoli.  I Hate Music image by Jori Apedaile. Segment intro music by Jori Apedaile, Adam Stacey, and Nathanael Larochette. -------------------- Follow us on socials, donate to support the podcast, listen to our playlist on Spotify, and visit us online: I Hate Music Linktree Email and listener suggestions to: hate.pod.music@gmail.com #ihatemusicpodcast **I Hate Music is an Earth in Sound Production**

In this episode we are joined by Canadian composer and guitarist Nathanael Larochette (Musk Ox, The Night Watch, Solo) to talk turkey about all our favorite Thanksgiving songs and more importantly, discuss why acoustic music, and particularly acoustic guitars, are metal.  We share with each other how acoustic music has impacted us, why we think it works in a metal context, and pontificate on why we think it has become so popular within metal, and within its own metal adjacent genres. We each play a song or two that we think exemplifies acoustic music in metal, while Nick and Jason get into some segments such as "T-Shirt of the Day," "FMK," and "Let's Stump Nick."  We round out the episode with some listener emails, corrections on dumb statements and glaring omissions we've made, and give a call out to listeners to school us on New Mexican Metal bands.   *Please visit our Linktree to access our Spotify playlist featuring songs we play on the show, as well as related songs.  Playlist will be updated for each episode. -------------------- Hosts:  Jason Walton and Nick Wusz. "I Hate Music" theme by Marius Sjoli.  I Hate Music image by Jori Apedaile. Segment intro music by Jori Apedaile, Adam Stacey, and Nathanael Larochette. -------------------- Follow us on socials, donate to support the podcast, listen to our playlist on Spotify, and visit us online: I Hate Music Linktree Email and listener suggestions to: hate.pod.music@gmail.com #ihatemusicpodcast **I Hate Music is an Earth in Sound Production**

Episode 23 | Pasión Sonora Season 4: New Beginnings. A Passion for Sound  This episode was recorded in Spanish. So we will now “code switch”: Conducido por Christopher “Kit” Jackson ‘24. Sus invitados son Salvador Méndez Resto (Profesor en La Escuela Especializada de Producción de Radio y TV, Doctor Juan José Osuna y la Universidad Sagrado Corazón) y Sixto Isaac Ortiz (Gerente de Producción en sjspr.radio y Profesor de la clase de Sound Production for Media). Tres generaciones de productores de contenidos sonoros hablan sobre su pasión compartida por el sonido y cómo empezaron su incursión en la radio.  Voices of SJS es un podcast de sjspr.radio Este episodio fue producido por Pilar Álamo y Sixto Ortiz. La canción Tacco de Crowander la utilizamos bajo una licencia internacional no comercial y creativa Creative Commons 4.0. 

Shhhh... Don't tell anyone but go ahead and check out openstudiojazz.com/yhi for the BIGGEST savings of the year for our dear listeners. In this episode, Adam and Peter have the opportunity to spend time with the renowned Kiefer. From sharing anecdotes about his past experiences in production and recording to discussing his current connection with modern music, Kiefer reveals the journey that led him to his present position.↓ Links from the pod ↓All things Kiefer:https://ffm.bio/kiefer@kiefdaddysupremeSpectrasonics PerformanceHave a question for us? Leave us a SpeakPipeCheckout courses from Adam, Peter and more at Open Studio

In this episode, Logos brings on Matt Hylom to discuss creativity and music. As a part of our discussion, we mention Michelangelo, philosophy, Plato, Drake, Daniel Caeser, "thug life", and God. Yup, you read that right. As a multi-million streamed  artist, sound producer, song writer, entrepreneur, and podcaster as well as a father of five, Matt Hylom brings a lot to the table. The central question: Is being a creative a practice or a way of life? Friends, welcome Matt. #drake #badbunny #danielcaeser #peterMckinnon #music #creative #soundproducer #film #cinema #rap #r&b #funk #life #God #Christian #artist #art #creativity #PeterMckinnonTimeCode:0:00 - Matt Hylom3:00 - Art and Experience4:50 - Drake, Daniel Caeser, and Creativity6:30 - Extraordinary in Ordinary 8:00 - Inspiration 12:20 - Drake and The Pope13:00 - Art, Philosophy, and God22:30 - Creative Intuition25:20 - Creativity as Lived29:00 - How To Write a Song?33:40 - The Catholic World view36:10 - Creativity and Faith 41:50 - I DO NOT WANT TO44:05 - Art Requires Being48:00 - Money and Music50:00 - Why is Music Important?52:15 - The Role of the Creative 1:00:00 - Michelangelo, God, and Truth1:04:20 - Saints and Creativity 1:07:40 - Where to Find Matt Hylom?For more of our content or a place to support our project, follow the links attached below!Logos Website: www.logos-podcast.comSpotify: https://open.spotify.com/show/3PCPWBvNcAbptX17PzlC2x?si=BkEHS4vGSf-xmMlDFcpZ2QApple Podcast: https://podcasts.apple.com/us/podcast/logos-podcast/id1560191231TikTok: www.tiktok.com/@logospodcastYouTube: https://www.youtube.com/channel/UCqauK7TPfOwe80B-ckOeelQInstagram: https://instagram.com/logos.pod?igshid=YWJhMjlhZTc=Support the show

Nick and Jason kick off the episode by catching up a bit before getting into some fascinating and terrifying listener emails.  They then dive into the theme of Halloween in music, which of course, devolves into related themes such as Fall and Horror films.   Discussions of time traveling for the sake of witnessing historic moments in musical history and which bands took some getting used to for Jason round out the episode. A couple of new segments are introduced and we play some songs related to the discussions as well. *Please visit our Linktree to access our Spotify playlist featuring songs we play on the show, as well as related songs.  Playlist will be updated for each episode. -------------------- Hosts:  Jason Walton and Nick Wusz. "I Hate Music" theme by Marius Sjoli.  I Hate Music image by Jori Apedaile. -------------------- Follow us on socials, donate to support the podcast, listen to our playlist on Spotify, and visit us online: I Hate Music Linktree Email and listener suggestions to: hate.pod.music@gmail.com #ihatemusicpodcast **I Hate Music is an Earth in Sound Production**

It started with just a select few, then it grew in popularity to become a trend, and these days, guys like our very own George "the Tech" Whittam are installing home studios at a rate of knots while others create their own acoustically treated paradise in the basement. So what's next? What does the future hold, and can we ever recoup the costs by charging our clients to use them?? A big shout out to our sponsors, Austrian Audio and Tri Booth. Both these companies are providers of QUALITY Audio Gear (we wouldn't partner with them unless they were), so please, if you're in the market for some new kit, do us a solid and check out their products, and be sure to tell em "Robbo, George, Robert, and AP sent you"... As a part of their generous support of our show, Tri Booth is offering $200 off a brand-new booth when you use the code TRIPAP200. So get onto their website now and secure your new booth... https://tribooth.com/ And if you're in the market for a new Mic or killer pair of headphones, check out Austrian Audio. They've got a great range of top-shelf gear.. https://austrian.audio/ We have launched a Patreon page in the hopes of being able to pay someone to help us get the show to more people and in turn help them with the same info we're sharing with you. If you aren't familiar with Patreon, it's an easy way for those interested in our show to get exclusive content and updates before anyone else, along with a whole bunch of other "perks" just by contributing as little as $1 per month. Find out more here..   https://www.patreon.com/proaudiosuite   If you haven't filled out our survey on what you'd like to hear on the show, you can do it here: https://www.surveymonkey.com/r/ZWT5BTD Join our Facebook page here: https://www.facebook.com/proaudiopodcast And the FB Group here: https://www.facebook.com/groups/357898255543203 For everything else (including joining our mailing list for exclusive previews and other goodies), check out our website https://www.theproaudiosuite.com/ “When the going gets weird, the weird turn professional.” Hunter S Thompson In this episode of the Pro Audio Suite, the team delves into the upcoming Nexus from Source Elements, a plugin that effectively routes audio, virtual audio interfaces in and out of Pro Tools. The team also discusses novel features such as the Dim operation and incorporates talkback functionalities. The emerging future of voice-over artists working directly from one room, rather than traditional booths was examined, suggesting industry shifts. There is discussion on the need for talent to show their value in order to increase pricing, given the significant investments made in equipment and learning audio engineering. Other elements discussed included the limitations of the iPad in a pro audio production workflow, the strategic placement of preamps, and the anticipation of the passport and Nexus release. The episode rounds off with a nod towards their future plans to incorporate higher levels of control. #ProAudioSuite #SourceElementsNexus #VoiceoverTech   Timestamps [00:00:00] Intro - Meet the Pro Audio Suite Hosts [00:00:52] Discussing Nexus: The Innovation in Audio Routing [00:08:38] Efficiency of Nexus on Channels [00:09:13] The Future of Voice Over Workstations [00:12:05] Charging Reality in Voiceover Industry [00:15:19] Value of Remote Studios and its Impact on Pricing [00:22:18] Investment Expectations in Preamps, compressors and Microphones [00:28:04] Nexus Router's Flexibility in Sound Production [00:32:40] The Role of iPads in Pro Audio Production [00:37:16] The Controversy of the Preamp's Location [00:42:02] A Light-hearted Detour from Nexus Talks [00:42:20] Anticipating the Launch of Passport & Nexus [00:44:40] Pro Audio Suite's Collaboration with Tribut & Austrian audio, and a Mention of George Wittam's Tech Support Services.   Transcript Speaker A: Y'all ready? Be history. Speaker B: Get started. Speaker C: Welcome. Speaker B: Hi. Hi. Hello, everyone, to the Pro Audio Suite. These guys are professional. Speaker C: They're motivated with tech. To the Vo stars George Wittam, founder of Source Elements Robert Marshall, international audio engineer Darren Robbo Robertson and global voice Andrew Peters. Thanks to Triboo, Austrian audio making passion heard. Source elements. George the tech. Wittam and robbo and AP's. International demo. To find out more about us, check thepro audiosuite.com line up. Speaker B: Learner. Here we go. Speaker C: Welcome to another Pro audio suite. Don't forget, if you do want to buy a Tribooth, the code is tripap 200 to get $200 off your purchase. If you'd like to leave a comment, by the way, on your favorite platform, please do so. It's good for our analytics, and we might drive a bit more traffic, which is always handy. Now, something that may be out as we speak or maybe about to be released, is the new Nexus from Source Elements. You've definitely had a look at it, George. I think you've had a look at it, Robert. And Robert knows all about it because it's his baby. Speaker A: How much do you know, Robert? : Let's be honest, I'm clueless. Yeah. Speaker C: No, that's me. That's my Robert. : I know it all, but really, don't I'm just like yeah. Speaker A: Can I just say, before you dive into it, it's a very sexy beast. Seriously, it's very clever. Speaker C: You've had a look around the whole thing, haven't you? Speaker A: I have. I've sort of had a play with it. But, I mean, Robert's going to explain it the best, so we should leave it to him to run through the list of features. : I like hearing what kind of mess other people make out of it. Speaker A: Well, you know, what inspires me the most, and I think is going to be the most useful for our listeners, I think, is simple things like the Dim operation, the fact that it actually just drops your mic level. : Drops the levels. Yep. Speaker A: And all that sort of stuff. : A lot simpler than a Dugan mixer. Speaker A: The gateway from a studio point of view, from me looking at that gateway, everything's all in the box. I've got video, I've got everything there. But, I mean, you should explain it all. : Yeah. So basically, Nexus started out, oh, God, how many years ago? 2007? I don't know. But I was like, wouldn't it be nice if you could route audio, virtual audio interfaces in and out of Pro Tools? And it was like, we made that, and it was kind of a hit. And what it was primarily used for was to interface the client side of a remote voiceover session, or just a remote client side. So think of it as Source Connect was the remote connection for voice talent into an engineer setup, who then also has remote clients. And Nexus was used to empower things like zoom and hangouts. But we all know that all of those have their various issues for instance, one of them is if you're broadcasting and you've got talkback going over zoom, there's very different goals of the talkback versus the broadcast that you want to have your clients listen to, so the talkback can have echo cancellation on it. And actually that helps because many times your clients don't have headphones, but your broadcast, you don't want it to be impeded by the echo cancellation and things like this. So what Nexus is, is it still represents to me that sort of client side connection. But now we're completing more of it. Instead of saying, oh, just like throw Nexus at Zoom, or throw Nexus at whatever it is that your clients are using Microsoft teams, here's a gateway for it that does what you need as a professional audio and video person for collaborating with your clients. Instead of trying to pound Zoom into a hole. Speaker B: Here's how it was described ten years ago, you sent an email out sourcenexis is an audio application router. Record remote voiceover from Source Connect directly into Final Cut or Media Composer playback itunes to Pro Tools, even patch Pro Tools to and from Nuendo all at the same time. Route any audio application in and out of Pro Tools, even if that application does not have any plugin support. Speaker A: There you go. Speaker B: That was December 2013. : So that's like a very broad, broad strike explanation. Sort of like it's round and so it rolls, but this is a wheel for a car. So yeah, the rolling part of it is well, it pretty much is a router that was put in the Daw so that you could route external interfaces in and out and do things like that. And the primary thing that it got used a lot for was those client side connections. Speaker C: So how would it work for someone like me? What benefit would I get out of Nexus? Speaker B: So the talent side, what do they say? : I think the same thing. So just like you've got Source Connect and you're running with studios and engineers and it has that rock solid queued up connection that's going to pick up every bit. Even if the internet does its thing, as you know, voice talent are being forced to take up much more and more of the burden and you have the situation where, hey, can I get playback? So one of the things that Nexus has is it's now a suite, by the way. It's not just the plugin. So there's the original Nexus IO, which is sort of like just the raw plugin. You have to know what you want to do with it. You have to build your own template for it. Nexus Review is a Nexus plugin that now has several ins and outs going into it and out of it. So it brings your talk back over to the gateway, which is our web meeting room. It gets the gateway back into your connection so that you hear it in your headphones and it plays your playback to the connection and everybody. And it does all that without you having to even think about what the word Mix Minus is or if it even exists. Because it's done all in one plugin. So what used to need two, three Nexus plugins and a talkback plugin is now Nexus Review. Okay, straight, just drop that plugin on your master fader, your setup is complete. Speaker C: So when you do playback, it actually mutes everything else. So you don't get obviously well, it. : Doesn'T in this iteration, but there's going to be all kinds of stuff that starts to happen within the suite, within its sort of capabilities. And I think that right now, the first thing you would say is it just makes playback easy. Your question specifically, Andrew, which is like, why would a voice talent want this? It makes playback easy because really, in that sense, you're just like the engineer at that point. You're recording stuff and you're playing it back. That's kind of like what? So this just makes that setup way less daunting because all you really have to do is and also we're going to probably come out with that as a standalone app as well. So if you're using something like Twisted Wave, you can just route Twisted Wave into the Nexus review app and same thing, you don't have to be on a daw. It doesn't have to be a plugin, but it does your Mix Minus and your talkback Twisted Wave. Actually, here's a question about twisted wave. Do you have the option to monitor live through it? Speaker B: It does have a monitor mode that you can turn on, of course with a little bit of latency, but it does have that capability, right? : So you might want to do that. And funny enough, if it does create a latency with yourself, there's a handy mute button so you can mute it and you don't have to listen to it, but at least your clients can hear you monitoring through Twisted Wave. So there's little individual situations that might come. Speaker B: What would be the benefit though? Like if you don't have to monitor yourself in Twisted Wave, what would be the benefit of turning that on? : Well, the reason why is that you're either going to direct your microphone live into Nexus Review, but then if you want playback, you're going to route your Daw into Nexus Review. And if you call Twisted Wave a Daw, then you want to route Twisted Wave into it. Speaker B: Okay, so you set the output in your Twisted Wave output setting to the Nexus review plugin input. : Yes. Not the input of well, in this case it would be the input of the application, not the gotcha gotcha, because in the Daw sense, the input is taken care of. It's like whatever channel you throw it on, the input is implicit. Speaker B: Right. : And then that same ability for all you video editors out there and things like that, the review set up and integrating my talkback with a talkback button if I want all of that is just like done, whatever, I have to set up a template in Pro Tools or I have to have a mixer. All the different things that people do. Speaker B: To be able to passport vo. Speaker C: Yes. Nicely sliding there. Speaker B: Right. So just to get a little bit deeper. So I'm in Twisted Wave. I'm the actor. I've recorded myself. I hit stop, I hit play to hear playback. I want to hear the playback and I want it to also send to Nexus. If I set the output of Twisted Wave to Nexus, will I myself on the local side hear the playback also or will it be shunting the audio. : To you would hear the playback and so there is a fader for you. Speaker B: Oh, Nexus handles that for you. : Nexus has a fader with the mute on it that you could mute that if you want. Speaker B: Nice. So that solves that problem. Beautiful. Right. Speaker C: The question I've got though is it seems that we as voice over people are going to end up sitting in one room with microphones and screens and computers in there with us. So the booth is pretty well fast becoming redundant. : Well, it might be that radio style booth. Speaker A: Yeah. Do you just have it in your booth? That's right, that would be my yes. Speaker C: What I mean but it's become like a radio. Speaker A: I think that's going to happen anyway. I kind of think that for me, this thing's sort of ahead of the game because I can see that coming, I really can. The more and more I even had two sessions in the last couple of weeks canceled because the creative guys just jumped online with the voice and did it themselves. They didn't need an engineer. : We do see a lot of that. It's like the phone patch may have gone away, but the direct to client session and where it comes up and it's really funny because clients don't really save time when they do this. They think they do, but they don't. So they say, hey, let's not book a studio to record the talent. Let's pay the talent the same amount of money and make them record it and complain at them if it didn't work out the way we wanted, by the way. So now we have the talent recording everything and inevitably, no one keeps good notes. And even if someone does keep good notes, you don't know how well the talent is cutting up the files. And it's very easy if you've ever been in a session sometimes to get your take numbering off from what you're writing down and what's actually happening in a computer, especially if you as the talent, you're busy trying to do other things, like read the script and not look at the computer screen. On what file number Twisted Wave is on. And so inevitably, someone has to put humpty Dumpty back together again after the talent has recorded everything. And that's going to take just as much time as just recording the session with an engineer online who can cut everything up and do it for you. And that way the talent only reads what they need to. They're not reading a bunch of speculative takes because no one knows if A is going to edit back to take 65 or whatever. You can just hear it. You got it. Great. And it fits because we timed it out. Speaker A: You just touched exactly on the problem that came from one of these sessions the other day. And this was a well known agency, a global agency, that they did one of these sessions where they just recorded it with whoever it was locally and they were on the phone, but the creative rings me and goes, yeah, kind of. I'm really happy with this. But we did some takes. I asked the talent to do this, but of course, with no labels, no notes, no nothing, I've got to go through every single take and go to him. Is it this one? No, that's not it. What about this? No, that's not it. No, it's more like this. Oh, hang on. Okay, well, is it this one? No, it's not that. It's like if I was doing the session in Pro Tools, it would be labeled. I'd have a page full of notes as well. This edits to this, blah, blah, blah, and it's done. But it took, like half an hour to find one take for this guy. Speaker B: The pennywise found it is pennywise pound foolish. : But the other problem is that what happens is that they're all working off of flat bids, right? 1 hour for the talent. They know what their residuals are. They bid these things out. And it's really hard to get these agencies to necessarily do just, hey, we want to be creative and throw paint on the wall and pay by the hour to throw paint on the wall. Instead, they do I don't know if you've seen that. It's that thing where the guy says, like, hi, we'd like to do an advert and we want to research sound effects and do all this stuff and try two different music takes and this and that. So 1 hour. And the person in the studio is like, I think it's going to take longer than that. And then the person at the agency is like, no, we know our stuff. We know exactly what we want. We're not indecisive at all. We only need 1 hour. And then you're like, okay, now you're stuck making a commercial in 1 hour that you know is going to take longer. So even though the agency basically saddles the talent with recording the takes, they never actually face the consequences of their actions because the bid happens. Then they audition, and it's like they've already at that point with the bid, taking out the voice record. We'll just give you takes. Speaker C: Yeah. You get what you pay for. And if you don't pay him, you. Speaker B: Don'T get much, and you're going to pay later. Speaker A: It's pay now, pay later. Sooner or later, you're going to pay for it. : I really think this was that moment when the voiceover industry, they all decided that they were going to try to eat each other's lunch. And at some point, it became like, my booth doesn't cost a thing. My setup and knowledge of my booth and what to do through blood and sweat and tears, paying me figured out and literal money that is free too. Speaker B: Right? : And all that stuff never should have been free. It should have been, okay, I'm whatever. $400 an hour, and, oh, you want to use my studio even if it's $50 an hour? Speaker B: Yeah, there should be a rate attached. I totally agree. As voice actors who wanted to be providing a service and I can name names, but I don't need to who are very early on in the home studio timeline. Right. Like literally FedExing Dat tapes. Right. They wanted to be a service provider. They wanted to be ahead of the curve and create a business niche for themselves. In the meantime, they were creating a problem for the fact that home studios would eventually become the norm, and nobody was getting compensated for operating a studio and engineering a session. : It's like when you have something unique, you charge more for it. So if you're a voice talent and because you're available at home, you are available, like, instantaneously, you don't need to have a limo drive you around La. That's a perk. And it might be a perk for you, but it's also a perk for your clients. But it became part of the add in, like, a long time ago. This was in the early 2000s. This was in the days of ISDN that this happened. Speaker B: It was literally when I got into the business. Yeah. I was just being told, people need this help. And I didn't know anything about the business model. I didn't know Jack squad about who got paid what, how, what you didn't get paid for. I just was there to solve problems. So I had no idea that this was going on till much later. : Yeah, but here we are. Talent put a lot of time, effort, money, emotion into building their setup and learning this basically some aspect of the craft of audio engineering, essentially. Maybe not the whole thing, but there's. Speaker B: Like I mean, tell me this. Would there be a value I know this is off topic, but would there be a value when a talent or an agent invoices that even if the bottom line is identical, that you literally add in a line that's engineering services, so it literally shows up and they see, oh, we're paying for this. Would there be some efficacy to this? It's kind of like restaurants starting to charge a service fee or a kitchen love fee or whatever. There's been a lot of blowback to this because some people really just raise your prices and other people are like, I like the transparency. So it's kind of confusing. : I think that if you want to, you effectively want to raise your price. And the only way you're going to be able to raise your price is by showing your value. And so in that sense, you almost need to because to the point that it happens on the flip side. So not just our like there's three layers to it. It used to be that the talent went to the studio and so there's two studios and there was a lot of meat on the bone for a whole industry. Right? There was an engineer in a studio in La. There was an engineer in a studio in New York. There was a voice talent in La. Yeah, there was five creatives over in New York. It was all happening real time. And At T was like just digging into the pie, too. And now it's like the first thing that happens is voice talent or the auditions come in and they know must have ISDN or source connect, essentially, and read between the lines. And what's happening over on the bid side is there's no money for a remote studio. Only talent with home studio need apply. And George, how many times have you seen talent that have done the Voice Tracks West? Or I know a place that knows what pay out of pocket. Speaker B: I tell people do it all the time. : Voice tracks west is I'm like, if. Speaker B: You don't do these sessions that often, spending $10,000 on a soundproof booth is a massive waste of money. : Yeah. And Voice Tracks has got a tight operation. It's not like decked out in oak panels, like all the big working facility. Boom. It's like, here's a room, here's a setup. You need an engineer to set you up. We don't have staff to sit there and babysit you the whole time, but what are you going to do? That's all you need. I don't know what they charge, but I have a feeling it's pretty affordable enough. Speaker B: They do what we call talent friendly rates, right? : And it's a great idea. So you get those auditions that are basically like, bring your own studio iOS. And then the next level is like, you know what, we're not even going to hire an engineer to record it like we just talked about, right? Speaker B: It's a weird position. I've always felt weird being in the position of enabling, essentially because I'm enabling the talent buyers to charge low rates for engineering or not budget for it. And I'm enabling the talent to meet that need. At the same time, there's the plus. : That you have your talent that can go live where they want to. And there's many talent that would if charging for their studio would be a deterrent to them having the lifestyle that they want. They want all their sessions to be in house. The reason to give it away is not just because they're trying to get an edge over some other talent, but also because they're trying to direct their life the way they want it to be. And being called into a freaking city every other day for an hour session and you got to drive 2 hours is crazy. And so it makes sense. Speaker B: And let's face it, as a voice actor, you can't live the lifestyle that you would like to live and be in. Those days are mostly gone. That you can live that lifestyle and have a nice home and have all this space and blah, blah, blah and live in the city, like live in Los Angeles or Lake. Like that's unbelievably expensive. : Right. And you don't have to anymore. Speaker C: Anyways, getting back to the rate thing, though, there is a way of doing it because on my invoices I show, studio and edit and then whatever the fee is and it's usually zero zero, but you can actually put in there. Voiceover blah, blah, blah. That rate goes in studio, edit X dollars and then you can give them a discount, which actually is equivalent to the studio rate. That way the client sees that there is a fee involved in that, but you've just done them a favor and not charged them for it. Speaker B: I think that's very smart. I will invoice people for a $0 item just so they know they're getting it. The problem with like a flat rate. : Or just write the real price down and say the discount that you're getting. Speaker B: Yeah. I'll say this is $100 thing, I'm throwing it in at $0. But you need to know that it has a value attached. Speaker A: Yeah, everything we do has a value attached because it's our time. Speaker B: Right? Yeah. But it needs to be literally spelled out for them on black and black and white, I think. Speaker A: Agreed. Speaker C: But the stupid thing is I was talking to in fact, Robbo and I were talking yesterday about equipment and stuff in the studio and believe that's the stupid thing. Well, it's the stupid thing in my case because it's ridiculous. I mean, I don't need any of this stuff, really. But I was sitting here the other day, like, adding up how much the dollar value of the stuff I've got in here in preamps compressors and microphones is just completely insane. : It's ridiculous. It is, yes. Speaker C: It's fun though. : Okay. It is. People putting wings on their back of their Honda Civic. Speaker C: Yeah, thanks. : I hate to say it, but it's like we are kind of doing some. Speaker B: Of that even does that you can buy a Civic with three exhaust type tips coming on the back. Speaker C: Exactly. Yeah. Get yourself the type r boom. Look out. : Yeah, but sometimes we're just like, OOH, that thing's going to make us faster and improve my zero to 60 time that neve preamp or whatever, and I think that we get caught up. I mean, God knows I've spent a lot of money on audio gear. Speaker C: Oh, you have? You're worse than me, actually. : I need, like, the nose spray that breaks the addiction, whatever. Speaker B: But Robert's business model is a different one. His service is his studio and his skill with his know. So I feel like a service provider that's providing that type of a studio service. There's an expectation of a certain investment in that equipment and keeping it up. Speaker A: To date and keeping it serviced and. Speaker C: Keeping it's funny, though, because I did send a file off to one of the audio production guys in one of the radio networks here because he was looking at buying Austrian audio microphones for their studios, which he did. Speaker A: Salesmen. Speaker C: But he said, oh, can you send me something? You got a sample of the eight one eight? And I went, yeah, sure. So I sent him just a cold read, eight one eight through the neve. He just come back going I said, what do you think? He goes, oh, my God, I'm buying one. Speaker A: Nice. : It's so funny. The subtle stuff is really there, but it's great when either someone is completely doing the same drugs that you're doing or actually is truly hearing the same thing that you're hearing. There is this like, wow, that really is better. And at the same time, someone walks in who doesn't understand much about audio and goes like, what's the difference? Speaker B: You really get me. You really see me. Speaker C: It was really funny. It's like a guy that both Robbo and I know is also an audio guy. This is years and years and years ago. He got a voice track sent. It was a cold read from a studio in Melbourne. And he called me up and he said, do you know what microphones or what microphone they use down at this studio? And I said, no, I don't, actually. He said, man, you got to find out. It sounds unbelievable. So I went down there and I was in there doing a job, and before I got in there, I said, what mics are you using, by the way? He goes, oh, what was the session? I told him, it's like, oh, yeah, we've just bought a new U 47, the Telefunkin U 47. When they first reissued the thing, I'm like, okay, so I think they were selling for close to 20,000 Australian dollars at the time. So 15 14,000 us. I'm guessing. Sounded very nice. Speaker A: You would want to I didn't know. Speaker B: They reissued that mic. Speaker C: Yeah, the telephone U 47. Speaker B: Yeah. I never knew there was a reissue of that mic. : Yeah, that thing's been, like, homages to. Speaker B: No, I know, but I mean, it's literally in Neumann. Like, they did just the U 67. : Like, five years ago. It's telefunken, but telefunken is not the Telefunkin that Telefunken was, right? Speaker C: Correct. Yeah. : Telefunkin is like some company in Connecticut. Telefunk is really a European funky funkin. Speaker C: It was kind of weird though, because a lot of the Neumans that were re badged for America, so like Frank Sinatra's U 47 was actually badged, I think, as a Telefunken. : Right. So they were really U 47s. They were really Neumanns. Right. And then they were rebadged as Telefunken. And then the same thing happens with the AKG C Twelve because Telefunken was an importing company. They would commission things to be made or they would just say, hey, I'll buy a bunch of those. Speaker C: And there were tons of companies doing that, particularly in America, where they rebadged microphones under different brands that were made primarily by AKG or Neumann. : It's kind of like rebadging Chinese stuff in a way, happens. It's like happening again. You see the same product and it's like, oh, they just put a different name on it and called it their amplifier. Speaker C: So you're going to white label Nexus and set it off under different brands. : There's all kinds of discussions and things that pop up and then sometimes just like fizzle out. But one thing for sure, I think, is that at least on some version of the Gateway, one of the talked about features is to customize it so you can make it like Andrew's Shopahor. Speaker A: Well, one thing I wanted to touch on and something that's not in the demo though, but something you were showing me after we finished recording a couple of weeks ago is the router. Can you tell us about that? Because that's a game changer, right? : It's not going to release on the first. It might actually I don't know, but right now it's a little bit behind. It would be one of those things that certainly would take. It would be one of the things that takes longer to get out, but it's pretty much done. And it's just a desktop router. So you can set up a lot of this stuff or the rest of the stuff that you want to customize on your desktop routing, for example, if you wanted just to have something that routed. One of the things that happens with Pro Tools in particular is once you close your session, you lose all your routing. So if you're not putting all your work into one session or working on one thing and you have to open up different files while you have a group of people online and connected, when you close Pro Tools, you lose communication and possibly even different parts of those connections, depending on what platforms are on. They might lose their connections too, because some of those connections go through you. So router gives you the opportunity to be able to set up sort of like a desktop route. Similar in a way, George, to what a lot of people that you have do with the Apollo Mixer. Speaker B: Yeah, I was going. To mention that. Right, exactly. But being on a not you're now hardware agnostic, you can be on anything. Speaker A: Because the killer for that, for me, is that is exactly what you're saying, is that whole thing of, like, you're halfway through a session and the creative goes, hey, last time we did this, we did blah, blah. Can you go to the old Pro Tools session? And you got to do that whole embarrassing listen, yeah, I can do that, but you're going to lose me for a second here, guys. Okay, I'll be back in a minute. And you hear the way you go. : That whole thing changed the way I work. I have Pro Tool sessions with hundreds and possibly, I don't know, thousands of spots. Whole years of campaigns, just boom, one after the you do them all on one timeline thing of like, oh yeah, one big ass timeline. Really? Speaker B: They're not just clips in the clip viewer? : No, it's basically what ProTools lacks is any sort of like have you ever worked in Media Composer? Speaker B: A little bit. : Okay, so Media Composer, you can have sessions well, you have a bin. Yeah. Pro Tools user have been wanting folders within their bin for the last 20 years, and they still have yet to get them. Different issue, but even more so, the edit and the mixer in Pro Tools are joined at the hip. But there's many aspects of your mixer that are not part of your edit. They're just part of your studio. Speaker B: Sort of like there's a utility mixer. : This is a utility, this is your external. What used to be in a lot of early setups were like people that would have like a Mackie mixer off to the side and then they'd add Pro Tools. And what was going in and out of the Mackie mixer was like microphones and headphone feeds and connection to the tape dock probably back. Um, and so the mixer still had routing capability and some of that's daunting. And really what you need is just like a couple straight ahead patches and maybe a volume control. And that's really what Nexus router lets you do. It has an advanced mode where you can just sort of draw whatever you want from A to B and then that way you can even have different setups that you can load and save and close and open up a different setup, or you can make one massive. Speaker B: Setup forward to it. Because I'm looking forward to being more hardware agnostic and less attached to something like the Apollo in general and kind of endorsing that kind of mentality of being a little bit less attached to that system. So this will be something that'll be nice to set up for more people who do want that extra level of sophistication absolutely. : Yeah, it'll make it like if they have little special things that they need to do, even something like a talkback mic when they're outside or playback from some other device if they want to plug their phone in or have some other app. Speaker B: Let me ask you this. This is definitely going down a rabit hole in terms of features, but can you imagine that ever being on a touch screen interface like an iPad or having a controller? : I could definitely imagine. We've already got other levels of control that we're planning on, which are, I think, pretty exciting. Speaker B: You guys were talking earlier about things are moving towards the actor having to have really a full production suite in their booth, right? Speaker C: Yeah. Speaker B: It sucks, though. I mean, people don't want the day. : That someone asks an actor to not only record for them, but can you please play back picture while you record? When that happens, then it's like you're really throwing a lot at Cipriano. Speaker B: I mean, he does stuff when he. : Has to, but some people can do that. It wouldn't be that hard. Speaker B: He paid me to set up Pro Tools to do it. : Right. Speaker B: Yeah. So it would be lovely for someone who really still wants to have a feeling of I have a mic, I have a headphone, I have my script. But not having to have keyboard, monitor, mouse, that whole rig in there too and just have somewhat innocuous iPad or even if you're reading off the iPad, you can just do the four finger swipe and switch over to the mix. : The hardest thing becomes, I still think the iPad is a tough environment. There's been a lot of actors have been like, can I just do this all on the iPad? Speaker B: Yeah. No, there's a bit of a stay in your lane. The iPad has a lane to stay in. To me, it still has no place in a Pro audio production workflow except as a controller or a script reader. : Yeah, it works well as a controller. Speaker B: I've got my V controller controller and a script reader. That's what it's for. To me. It's not a pro audio. Despite the power of the thing, the hardware, the fact that it's got Thunderbolt now in the Pro model, iPad Pro, it's still just not the tool for the job. So use it what it's for, and that's what it's good for. So I would endorse having that in there just to control the Nexus monitoring and the other stuff. : Do a lot of talent. Really avoid and not want some really. Speaker B: Do avoid it as long as they can. They really despise doing that. Speaker C: I'm one. Speaker B: Yeah. It's because of the distraction. Because this is the right brain, left brain, actor, engineer, conundrum. You can't do both at the same time. I don't care who the hell you are, you can't do them both equally well. One is always suffering at the hands of the other. So the actor that really but what. : Does an actor need in the booth? Truly? They need to be able to record takes, and they need to be able to play back. Speaker B: Mean, some people like, I'll call you out, Bo Weaver, I've known you so long. He hits record, he walks into the booth. He records all of his sessions. He walks out of the booth and he sits down and he edits all the sessions. Like done. That's his workflow. Now. How often is he directed? Very rarely. Record and send. But yeah, that's what he likes. He likes to have the two separate church and state. Speaker C: Well, I'm exactly the same. I have the same workflow as Bo because a lot of my stuff is not directed. So I do exactly the same thing. I go in there, record, come back and come out of here and edit and send. : Yeah, but how many times you go back and forth? Speaker C: I save each file separately. So if I'm doing like 430 2nd spots for somebody, then I'll record a couple of takes or two or three takes. : How do you know you're in time? Are you timing yourself? Speaker C: I do a timer first. I will sit there and I'll time one with the stopwatch first read. So I know ballpark where I'm at. By the time you deep breath, you lose a couple of seconds. So if I'm doing like one, that's got to be 27 seconds and I come in at 27, then I know I've got 2 seconds up my sleeve so I can take more time with it. Once you've been doing this for that's the thing. : You guys have like atomic clocks built in. I can't tell you how many times I've had a talent and I'm like, can you take half a second off that? And they take half a second off that. Speaker B: It's like, wow, bo had an iPad one for years. He may still have it just to run the timer period. He's like, It's a great timer. It doesn't make a click. : I have an iPad one that I use for my eight faders approach. Yeah. So there's some minimal amount of control that's necessary. They at least need a door handle, probably. Do they want a mic mute? Speaker B: Yeah, I'm sure they would. Most people would like to have that, I would think. Yeah, it's pretty embarrassing when you got. Speaker C: A horrible client down the line and mic mute's. Very handy. Speaker B: Horrible client or bad cheese. Speaker C: Yeah. : How do you find the foot switches. Speaker C: For I reckon a foot switch would be great. Speaker A: You need one of those AP. You need a foot switch. Speaker C: Yes, I need a foot switch. Foot switch is great. I love it. Trouble is, I probably tread on it by accident. Speaker B: Well, the Whirlwind PPD or whatever, they have a foot switch on off switch. : The ones that don't break phantom power so that they don't pop, they just sort of short out. Speaker C: And it's also like I wouldn't want I mean, the idea is fantastic. I think it's fun, but I hate too much stuff between the microphone and the preamp. Speaker B: Yeah. Speaker C: Well, there's that one more thing that can go wobbly on you. Speaker B: Not to go completely off base here again, but I was talking earlier about what I saw podcast movement, and I saw the boss answer to the RODECaster pro because Roland's had and Roland too. Boss is like their musician wing of Roland or like the guitar pedal. : I don't know about that. Speaker B: Right. : So they had boss is the guitar wing and Roland and Roland is the keyboard wing, but they've crossed areas. Like mainly Roland has made guitar synths and the other view is that Roland is the high end and then Boss is the middle. Speaker B: Right? So I'm looking at their things and going, okay, here's another RODECaster. What's on the back? A foot pedals plug. I was like, Whoa, that's cool. What can you do with that? He's like, whatever you want. For the gamers, you can do anything you want. I was like, Well, I can see that being cool because the mixer is outside on your desk and you run a foot pedal in your booth and now you have a way to cut your mic, or it could be a way to hit record and then punch a marker when you click it again. There's a lot you could do with. : That, so whatever you want. The foot pedal can send like USB. Speaker B: Messages, as far as I can tell. I don't know how flexible it is, but it's pretty flexible. There's also air tools or AirTurn I think that's called AirTurn. And now other companies are getting into it where you can get Bluetooth pedals that go in your booth to control certain functions. So there's more you can do with foot pedals, which is kind of neat, but if I'm not wearing headphones and I don't know, my mic is truly off, I would never trust anything wireless. : So what about the preamp? I mean, the preamp should be in the booth or not, because even if you wanted to be really theoretical about it, your best signal would be by running the shortest mic line and getting it up to the preamp right line. Speaker B: If you're running, then sending it 20 foot runs, that's different, it's negligible. : But having the preamp in the booth to be able to set it is a different thing, right? Isn't that necessary? Speaker B: Yes and no. I mean, some people do. I'd say most people that have a booth that don't have the equipment in the booth don't have the preamp in the booth, but it's less convenient. : And so they're just recording conservatively and going like, I'll just hit minus twelve, I got plenty of bits, I put. Speaker B: Plenty of Avalon 737s in booth. And I just told people, like, this thing's a radiator, so it's going to get nice and toasty in here. If you really need to have this in here, I get it, but be my last choice. What, to put in the booth? Speaker C: Well, that's what I'm thinking. The more gear I was going to say about that exactly that most people's home studio booths are quite small, and you start piling gear in there, it's going to be like a furnace. Speaker B: Yeah. Gets hot in there quick. So the less the better. Even modern computer monitors are pretty low power, but they still make heat. They still radiate heat. Everything makes heat. So the less in there, the better. Yeah. It's going to be interesting when the passport Vo comes out, how people choose to use it. Whether they're going to have it in booth or outside of the booth, you can go either place. And the thing you're going to miss out on it not being in booth is that mic switch. Mic mute. That's why I think the majority are going to use it in the booth. So what we'll be testing I think so, too, how far we can run it on USB to the computer. So we'll be doing some testing around that whole workflow as well. Speaker C: Yeah, I can see the value in having the Passport Vo in the booth for sure. Maybe you're doing a zoom session or whatever. You can use that second interface to run either your phone or iPad or whatever, that you can run the zoom session. Speaker B: That's where I could see it being really useful, having the iPad in the booth for phone patch, zoom, blah, blah, blah, communications. Speaker C: Absolutely. Speaker B: And having that run into it and just that would be a really easy way to facilitate those sessions. Boy. : Well, in a way, you can have it. Sorry, you can cut all that out. Speaker B: We're really off topic now. Speaker C: This was about Nexus and I don't know where the hell we've gone. Speaker A: Oh, man, we've gone all over the place, let me tell you. This is tangent. Speaker C: I'm just waiting to see the Mad. Speaker A: Hatter pop out from behind the door somewhere. Editing nightmare. That is the Pro audio suite. Speaker B: Yeah. Wrap this one up. : I'll bring it together. What comes out first, the passport or Nexus? Speaker B: Nexus. Speaker C: Nexus. Speaker A: Nexus. : Probably. Speaker A: Right? Speaker B: Well, we'll see, because these are both but we don't know. Neither of them want to divulge a release date until it's certain because people don't. We've all learned that produced product to under Promise Over Deliver is really the best policy. : You can't give a product a C section. Speaker B: Right. Speaker A: What we can promise about the passport, though, is that when it does come out, it's going to be killer. Speaker B: It's going to be killer. We're going to make sure of it, because by the time anybody receives one in the mailbox, we have already hammered on it and proven without a shadow of a doubt that it will do what we said it's going to do. When you get one, it's going to be fully tested and vetted before that. : Yeah, I'm excited because I think you see all these USB interfaces coming out constantly and no one has one that does these. Speaker B: They're all playing out of a different playbook. Like, I got into a whole conversation on Facebook about this one person's. POV is clearly the future is firmware, software, everything. And I said, I don't think it's that clear. I said, Because we're developing the exact opposite. And his response was, I think that's not a good idea. And my response was, I think it's a very good idea because look at all the products that have come and gone and what products you can still plug into your Mac or your PC that still work 15 years later. And the Micport Pro First Gen is one of those products. You just plug it in and it works. So that's the philosophy. We're just carrying that forward. Speaker A: My old trusty two rack sitting here right next to me. How old is that now? Jesus. Speaker C: 15 years. Speaker A: Have to be something like that. Still keeps going. : A two, not even an three two rack. Speaker A: Yes, exactly. Speaker B: Yeah. Wow. : I have some ones in my garage. Speaker A: No, I don't need the double o one. Speaker C: What are they doing in the garage? Speaker A: Yes, exactly. Why are you using them, Robert? Speaker B: Unlike you, he's using his ramps to hold up his Porsche 920. Speaker C: The Pro audio suite with thanks to Tribut and Austrian audio recorded using Source Connect, edited by Andrew Peters and mixed by Robo Got your own audio issues? Just askrobo.com tech support from George, the tech Wittam. Don't forget to subscribe to the show and join in the conversation on our Facebook group. To leave a comment, end, suggest a topic, or just say good day. Drop us a note at our website proaudiosuite.com

You can't deny this episode.  From protest music of the '60's, to punk, thrash metal, and grindcore, musicians and artists have been warning us about climate change for decades, but why aren't we listening?  We have no idea but we sure love the music.  We discuss politics in music and environmentally aware bands like Nuclear Assault, and D.R.I, as well as discuss climate changes within music such as the "Weirding of Norway" or when metal bands turned to alternative music in the '90's for inspiration. We play a few of our favorite songs that fit within the aforementioned topics, and discuss pressing issues like the best first date metal concerts, concert etiquette, and tolerance of bands evolving into something that they weren't initially. *Please visit our Linktree to access our Spotify playlist featuring songs we play on the show, as well as related songs.  Playlist will be updated for each episode. -------------------- Hosts:  Jason Walton and Nick Wusz. "I Hate Music" theme by Marius Sjoli.  I Hate Music image by Jori Apedaile. -------------------- Follow us on socials, donate to support the podcast, listen to our playlist on Spotify, and visit us online: I Hate Music Linktree Email and listener suggestions to: hate.pod.music@gmail.com #ihatemusicpodcast **I Hate Music is an Earth in Sound Production**

I Hate Music is back!  After a much needed vacation, we finally got sick of putting our feet up and sipping on cocktails and decided we missed this too much to retire permanently.  During our vacation we had a lot of time to reflect, and ponder our history and what we are doing.  We realized we needed something different, something to revitalize our spirits and inspire us to move further into uncharted waters.  So, we are back with a new format, new goals, new ideas - and a co-host!   Please welcome to IHM as our new co-host, Nick Wusz.  Nick is an old friend, and we have attended many concerts together, we have travelled together, raised our kids together, had many good times and hard times together and we are thrilled to have him on board.  You may know him best from heading up acoustic doom band Dolven, or from his whistling work in Sculptured, but now you can add this podcast to his resume as well.   In this episode we discuss reunions.  Why they happen, and can they be good?  We play a couple of songs from bands that did it right, and discuss other bands that maybe didn't do it so well.  So, join us for "less rock, more talk" and walk with us into this next chapter. -------------------- Hosts:  Jason Walton and Nick Wusz. "I Hate Music" theme by Marius Sjoli.  I Hate Music image by Jori Apedaile. -------------------- Follow us on socials, donate to support the podcast, and visit us online: I Hate Music Linktree Email and listener suggestions to: hate.pod.music@gmail.com #ihatemusicpodcast **I Hate Music is an Earth in Sound Production**

In this week's episode Ashley Scarlett (Dr Scarlett Smash) chats to Guilherme Frainer from Sea Search, about how dolphin produce sound. Gui explains if differences were discovered between dolphins species, and if they produce higher frequency sounds.

What is it that develops speech production in our learners? Today, Tamara Kasper, BCBA and SLP, is sharing some really great and specific information on how speech production and reinforcement differs between typical developing children versus children with autism.Speech Sound ProductionIn typically developing children, speech sounds are reinforced differentially and automatically when making sounds that sound like words. For example, they get a cookie when they make a sound that sounds like cookie or they get happy, hugging excitement when they say something that sounds like mama or dada. Naturally, typical children are encouraged by the sounds and interactions in their environment and want to match the sounds made by the people they value in their world. This is where self-correction and refinement comes in because they will notice and hear how their sounds may sound different from the adults around them. In non-typically developing children, specifically those with autism, they are more sensitive to social stimuli and are less likely to be affected by the attention of their parents or guardians in regards to their sounds. So the traditional, automatic reinforcement to make and refine sounds is not occurring. Additionally, these learners will not likely notice how their sounds sound different from those around them, leading to no self-correction as sound production continues. Therapy for Speech Sound ProductionTamra shares her assessment and criteria for determining readiness for working on speech production. She collects metrics from the VB-MAPP, indicating responses, manding rate and variety, instruction cooperation development, and echoic repertoire. The scores and data from these metrics will relay whether a Natural Environment or Structure Teaching therapy is appropriate for these students. Within these systems, Tamra discusses the programs she uses. She shares today a little bit of her rubric on how she assigns these programs based on the needs of the child and assessment criteria. If you'd like to learn more about Tamra, you can find out more about her work and some video tips at Northern Speech Services. Additionally, if you'd like access to her therapy rubric discussed today and other resources, you can reach her via email.#autism #speectherapyWhat's Inside:Acquisition of speech production in typical vs non-typical children.Do typically developing children shape sounds to match those in their environment?How do we know when an autistic learner is ready for speech sound production in therapy?Assessment and Criteria for determining therapy training for sound production.Training programs for natural environment and structured teaching therapy.Mentioned In This Episode:tkasper@centerautism.orgNorthern Speech Services ABA Speech: HomeStart Communicating Today – Waitlist – ABA Speech​​Help Me Find My Voice – EVERGREEN – ABA SpeechSeptember 13th FREE Webinar 8-9 pm EST registration linkSeptember 14th Free Webinar 8-9 pm EST registration link

The flute, and respectively the piccolo, have had a storied evolution that has taken place from since before 900 B.C. in China. The flute, created by Theobald Boehm, serves as the basis for this modern instrument. Like many other instruments the flute is not a perfectly crafted invention and has certain innate problems that musicians must overcome in order to successfully master it. In today's podcast episode we are going to identify some of the flute and piccolo's common innate problems. Want to ADVERTISE your SERVICE or PRODUCT to a highly focused Music Education audience. Then ADVERTISE HERE!  https://signup.libsyn.com/?promo_code=MUSICED Promo Code = MUSICED Do You Get Value From The Show? Consider Supporting the Show with a $3 Donation. https://glow.fm/themusiceducatorpodcast/

Today we will be identifying some common sound production problems and solutions for the clarinet. Like any instrument, the clarinet is fraught with potential problems that musicians need to overcome  in order to become a master of their craft.    Today's episode is a quick insight into Mr. Charles West's book "Woodwind Methods, An Essential Resources for Educators, Conductors and Students." I have found it to be a valuable resource as a music educator and encourage you to check it out. Want to ADVERTISE your SERVICE or PRODUCT to a highly focused Music Education audience. Then ADVERTISE HERE!  https://signup.libsyn.com/?promo_code=MUSICED Promo Code = MUSICED Do You Get Value From The Show? Consider Supporting the Show with a $3 Donation. https://glow.fm/themusiceducatorpodcast/