Podcasts about soundtrack pro

Steve Jobs returned to Apple in 1996. At the time, most people had a digital camera, like the Canon Elph that was released that year and maybe a digital video camera and probably a computer and about 16% of Americans had a cell phone at the time. Some had a voice recorder, a Diskman, some in the audio world had a four track machine. Many had CD players and maybe even a laser disk player.  But all of this was changing. Small, cheap microprocessors were leading to more and more digital products. The MP3 was starting to trickle around after being patented in the US that year. Netflix would be founded the next year, as DVDs started to spring up around the world. Ricoh, Polaroid, Sony, and most other electronics makers released digital video cameras. There were early e-readers, personal digital assistants, and even research into digital video recorders that could record your favorite shows so you could watch them when you wanted. In other words we were just waking up to a new, digital lifestyle. But the industries were fragmented.  Jobs and the team continued the work begun under Gil Amelio to reduce the number of products down from 350 to about a dozen. They made products that were pretty and functional and revitalized Apple. But there was a strategy that had been coming together in their minds and it centered around digital media and the digital lifestyle. We take this for granted today, but mostly because Apple made it ubiquitous.  Apple saw the iMac as the centerpiece for a whole new strategy. But all this new type of media and the massive files needed a fast bus to carry all those bits. That had been created back in 1986 and slowly improved on one the next few years in the form of IEEE 1394, or Firewire. Apple started it - Toshiba, Sony, Panasonic, Hitachi, and others helped bring it to device they made. Firewire could connect 63 peripherals at 100 megabits, later increased to 200 and then 400 before increasing to 3200. Plenty fast enough to transfer those videos, songs, and whatever else we wanted. iMovie was the first of the applications that fit into the digital hub strategy. It was originally released in 1999 for the iMac DV, the first iMac to come with built-in firewire. I'd worked on Avid and SGI machines dedicated to video editing at the time but this was the first time I felt like I was actually able to edit video. It was simple, could import video straight from the camera, allow me to drag clips into a timeline and then add some rudimentary effects. Simple, clean, and with a product that looked cool. And here's the thing, within a year Apple made it free. One catch. You needed a Mac. This whole Digital Hub Strategy idea was coming together. Now as Steve Jobs would point out in a presentation about the Digital Hub Strategy at Macworld 2001, up to that point, personal computers had mainly been about productivity. Automating first the tasks of scientists, then with the advent of the spreadsheet and databases, moving into automating business and personal functions. A common theme in this podcast is that what drives computing is productivity, telemetry, and quality of life. The telemetry gains came with connecting humanity through the rise of the internet in the later 1990s. But these new digital devices were what was going to improve our quality of life. And for anyone that could get their hands on an iMac they were now doing so. But it still felt like a little bit of a closed ecosystem.  Apple released a tool for making DVDs in 2001 for the Mac G4, which came with a SuperDrive, or Apple's version of an optical drive that could read and write CDs and DVDs. iDVD gave us the ability to add menus, slideshows (later easily imported as Keynote presentations when that was released in 2003), images as backgrounds, and more. Now we could take those videos we made and make DVDs that we could pop into our DVD player and watch. Families all over the world could make their vacation look a little less like a bunch of kids fighting and a lot more like bliss. And for anyone that needed more, Apple had DVD Studio Pro - which many a film studio used to make the menus for movies for years. They knew video was going to be a thing because going back to the 90s, Jobs had tried to get Adobe to release Premiere for the iMac. But they'd turned him down, something he'd never forget. Instead, Jobs was able to sway Randy Ubillos to bring a product that a Macromedia board member had convinced him to work on called Key Grip, which they'd renamed to Final Cut. Apple acquired the source code and development team and released it as Final Cut Pro in 1999. And iMovie for the consumer and Final Cut Pro for the professional turned out to be a home run. But another piece of the puzzle was coming together at about the same time. Jeff Robbin, Bill Kincaid, and Dave Heller built a tool called SoundJam in 1998. They had worked on the failed Copeland project to build a new OS at Apple and afterwards, Robbin made a great old tool (that we might need again with the way extensions are going) called Conflict Catcher while Kincaid worked on the drivers for a MP3 player called the Diamond Rio. He saw these cool new MP3 things and tools like Winamp, which had been released in 1997, so decided to meet back up with Robbin for a new tool, which they called SoundJam and sold for $50.  Just so happens that I've never met anyone at Apple that didn't love music. Going back to Jobs and Wozniak. So of course they would want to do something in digital music. So in 2000, Apple acquired SoundJam and the team immediately got to work stripping out features that were unnecessary. They wanted a simple aesthetic. iMovie-esque, brushed metal, easy to use. That product was released in 2001 as iTunes. iTunes didn't change the way we consumed music.That revolution was already underway.  And that team didn't just add brushed metal to the rest of the operating system. It had begun with QuickTime in 1991 but it was iTunes through SoundJam that had sparked brushed metal.  SoundJam gave the Mac music visualizers as well. You know, those visuals on the screen that were generated by sound waves from music we were listening to. And while we didn't know it yet, would be the end of software coming in physical boxes. But something else big. There was another device coming in the digital hub strategy. iTunes became the de facto tool used to manage what songs would go on the iPod, released in 2001 as well. That's worthy of its own episode which we'll do soon.  You see, another aspect about SoundJam is that users could rip music off of CDs and into MP3s. The deep engineering work done to get the codec into the system survives here and there in the form of codecs accessible using APIs in the OS. And when combined with spotlight to find music it all became more powerful to build playlists, embed metadata, and listen more insightfully to growing music libraries. But Apple didn't want to just allow people to rip, find, sort, and listen to music. They also wanted to enable users to create music. So in 2002, Apple also acquired a company called Emagic. Emagic would become Logic Pro and Gerhard Lengeling would in 2004 release a much simpler audio engineering tool called Garage Band.  Digital video and video cameras were one thing. But cheap digital point and shoot cameras were everwhere all of a sudden. iPhoto was the next tool in the strategy, dropping in 2002 Here, we got a tool that could import all those photos from our cameras into a single library. Now called Photos, Apple gave us a taste of the machine learning to come by automatically finding faces in photos so we could easily make albums. Special services popped up to print books of our favorite photos. At the time most cameras had their own software to manage photos that had been developed as an after-thought. iPhoto was easy, worked with most cameras, and was very much not an after-thought.  Keynote came in 2003, making it easy to drop photos into a presentation and maybe even iDVD. Anyone who has seen a Steve Jobs presentation understands why Keynote had to happen and if you look at the difference between many a Power Point and Keynote presentation it makes sense why it's in a way a bridge between the making work better and doing so in ways we made home better.  That was the same year that Apple released the iTunes Music Store. This seemed like the final step in a move to get songs onto devices. Here, Jobs worked with music company executives to be able to sell music through iTunes - a strategy that would evolve over time to include podcasts, which the moves effectively created, news, and even apps - as explored on the episode on the App Store. And ushering in an era of creative single-purpose apps that drove down the cost and made so much functionality approachable for so many.  iTunes, iPhoto, and iMovie were made to live together in a consumer ecosystem. So in 2003, Apple reached that point in the digital hub strategy where they were able to take our digital life and wrap them up in a pretty bow. They called that product iLife - which was more a bundle of these services, along with iDVD and Garage Band. Now these apps are free but at the time the bundle would set you back a nice, easy, approachable $49.  All this content creation from the consumer to the prosumer to the professional workgroup meant we needed more and more storage. According to the codec, we could be running at hundreds of megabytes per second of content. So Apple licensed the StorNext File System in 2004 to rescue a company called ADIC and release a 64-bit clustered file system over fibre channel. Suddenly all that new high end creative content could be shared in larger and larger environments. We could finally have someone cutting a movie in Final Cut then hand it off to someone else to cut without unplugging a firewire drive to do it. Professional workflows in a pure-Apple ecosystem were a thing.  Now you just needed a way to distribute all this content. So iWeb in 2004, which allowed us to build websites quickly and bring all this creative content in. Sites could be hosted on MobileMe or files uploaded to a web host via FTP. Apple had dabbled in web services since the 80s with AppleLink then eWorld then iTools, .Mac, and MobileMe, the culmination of the evolutions of these services now referred to as iCloud.  And iCloud now syncs documents and more. Pages came in 2005, Numbers came in 2007, and they were bundled with Keynote to become Apple iWork, allowing for a competitor of sorts to Microsoft Office. Later made free and ported to iOS as well. iCloud is a half-hearted attempt at keeping these synchronized between all of our devices.  Apple had been attacking the creative space from the bottom with the tools in iLife but at the top as well. Competing with tools like Avid's Media Composer, which had been around for the Mac going back to 1989, Apple bundled the professional video products into a single suite called Final Cut Studio. Here, Final Cut Pro, Motion, DVD Studio Pro, Soundtrack Pro, Color (obtained when Apple acquired SiliconColor and renamed it from FinalTouch), Compressor, Cinema Tools, and Qmaster for distributing the processing power for the above tools came in one big old box. iMovie and Garage Band for the consumer market and Final Cut Studio and Logic for the prosumer to professional market. And suddenly I was running around the world deploying Xsan's into video shops, corporate taking head editing studios, and ad agencies Another place where this happened was with photos. Aperture was released in 2005 and  offered the professional photographer tools to manage their large collection of images. And that represented the final pieces of the strategy. It continued to evolve and get better over the years. But this was one of the last aspects of the Digital Hub Strategy.  Because there was a new strategy underway. That's the year Apple began the development of the iPhone. And this represents a shift in the strategy. Released in 2007, then followed up with the first iPad in 2010, we saw a shift from the growth of new products in the digital hub strategy to migrating them to the mobile platforms, making them stand-alone apps that could be sold on App Stores, integrated with iCloud, and killing off those that appealed to more specific needs in higher-end creative environments, like Aperture, which went ended in 2014, and integrating some into other products, like Color becoming a part of Final Cut Pro. But the income from those products has now been eclipsed by mobile devices. Because when we see the returns from one strategy begin to crest - you know, like when the entire creative industry loves you, it's time to move to another, bolder strategy. And that mobile strategy opened our eyes to always online (or frequently online) synchronization between products and integration with products, like we get with Handoff and other technologies today.  In 2009 Apple acquired a company called Lala, which would later be added to iCloud - but the impact to the Digital Hub Strategy was that it paved the way for iTunes Match, a  cloud service that allowed for syncing music from a local library to other Apple devices. It was a subscription and more of a stop-gap for moving people to a subscription to license music than a lasting stand-alone product. And other acquisitions would come over time and get woven in, such as Redmatia, Beats, and Swell.  Steve Jobs said exactly what Apple was going to do in 2001. In one of the most impressive implementations of a strategy, Apple had slowly introduced quality products that tactically ushered in a digital lifestyle since the late 90s and over the next few years. iMovie, iPhoto, iTunes, iDVD, iLife, and in a sign of the changing times - iPod, iPhone, iCloud. To signal the end of that era because it was by then ubiquitous. - then came the iPad. And the professional apps won over the creative industries. Until the strategy had been played out and Apple began laying the groundwork for the next strategy in 2005.  That mobile revolution was built in part on the creative influences of Apple. Tools that came after, like Instagram, made it even easier to take great photos, connect with friends in a way iWeb couldn't - because we got to the point where “there's an app for that”. And as the tools weren't needed, Apple cancelled some one-by-one, or even let Adobe Premiere eclipse Final Cut in many ways. Because you know, sales of the iMac DV were enough to warrant building the product on the Apple platform and eventually Adobe decided to do that. Apple built many of these because there was a need and there weren't great alternatives. Once there were great alternatives, Apple let those limited quantities of software engineers go work on other things they needed done. Like building frameworks to enable a new generation of engineers to build amazing tools for the platform! I've always considered the release of the iPad to be the end of era where Apple was introducing more and more software. From the increased services on the server platform to tools that do anything and everything. But 2010 is just when we could notice what Jobs was doing. In fact, looking at it, we can easily see that the strategy shifted about 5 years before that. Because Apple was busy ushering in the next revolution in computing.  So think about this. Take an Apple, a Microsoft, or a Google. The developers of nearly every single operating system we use today. What changes did they put in place 5 years ago that are just coming to fruition today. While the product lifecycles are annual releases now, that doesn't mean that when they have billions of devices out there that the strategies don't unfold much, much slower. You see, by peering into the evolutions over the past few years, we can see where they're taking computing in the next few years. Who did they acquire? What products will they release? What gaps does that create? How can we take those gaps and build products that get in front of them? This is where magic happens. Not when we're too early like a General Magic was. But when we're right on time. Unless we help set strategy upstream. Or, is it all chaos and not in the least bit predictable? Feel free to send me your thoughts! And thank you…

For the 100th episode of Community Signal, we’re talking about the show itself. How it came to be, what drives it and how we make it each week. My guest is the producer of all 100 episodes, Karn Broad. Karn is my creative partner in the show, but if he does his job well, you never think about it. This episode really gives you a sense of the rapport than Karn and I have, and how we work together every week to produce Community Signal. Plus: How Karn and I met Why I ended the first community management podcast that I hosted The process of creating the show each week Our Podcast is Made Possible By… If you enjoy our show, please know that it’s only possible with the generous support of our sponsor: Higher Logic. Big Quotes “If you do your job really well as a sound engineer, you almost become invisible. If that’s the right way to put it. People don’t think about you if you’re getting your job right. Same in live sound engineering. You’ve connected the audience to the live music, they’re not thinking about you at all.” -@WebKarnage “I don’t think about my job as a sound engineer while I’m playing [music] much because I’ve got to focus on being a player. Otherwise, the job I’m doing isn’t going to be 100%.” -@WebKarnage “It’s still not a shock if I’ve done six or seven hours of editing work on a podcast, maybe more. That can happen some weeks. It really depends on how it all clicks. Sometimes I can pull things together really quickly. Sometimes the episodes are long and I find the editing tricky. Some people that you think are going to be awkward for me, actually prove to be quite easy. People that tend to leave pauses, you can take the pauses out; with a blink, they are gone.” -@WebKarnage “One of the things that makes me happy … is that a lot of people we have on are first-timers to a podcast. Out of 100 episodes, we’ve had 98 unique guests. I really want to do a survey but I would hazard a guess that for 30-45% of those people, [Community Signal is] the first podcast they’ve ever been a guest on. I always thought that’s pretty cool. What I’m saying is, we don’t go after influential people. I don’t go after people who have Twitter followers. I just want people who I actually want to talk to.” -@patrickokeefe About Karn Broad Amongst a large variety of work, Karn Broad has spent over 20 years in the audio world, and has been involved in web design for over 10 years, making websites for small businesses and working in software support for a web design package called RapidWeaver for Realmac Software. He spent several years as the producer of the SitePoint Podcast, which is where we met and built our working relationship. His direct experience in community is as a user of several forums and as a moderator for the RapidWeaver user forums. Currently, in addition to producing Community Signal, Karn works in education with children that have specific learning needs, plays bass (sometimes double-bass, sometimes electric bass) in three different live bands, and teaches both guitar and music production. He likes things busy. Related Links Sponsor: Higher Logic, the community platform for community managers Karn Broad on Twitter The first episode of Community Signal The Social Element, Higher Logic and Open Social, companies who have sponsored the show Tamara Littleton, CEO of The Social Element Hunter Montgomery, CMO of Higher Logic Mieszko Czyzyk, director and co-founder of Open Social RapidWeaver for Realmac, where Karn provides software support The SitePoint Podcast, where Karn and Patrick met The Podcast Network, where Patrick previously hosted The Community Admin Show Brad Williams, Stephan Segraves and Kevin Yank, co-hosts of the SitePoint Podcast Karn’s go-to podcasts include Click and the Royal Society SitePoint wins Podcast of the Year award from .net magazine Trivia: All episodes of Community Signal have been recorded on Skype, except for this one and this one Total Recorder, an application Patrick uses to record audio for the show Soundtrack Pro and Logic Pro X  are software tools that Karn uses to produce Community Signal Alex Embry’s episode clocks in at the longest episode of Community Signal KarateForums.com, a forum that Patrick has moderated for going on 17 years Community Signal bonus clips CommunityCo, where Patrick recently started a new role GoTranscript, which we use for transcription Transcript View transcript on our website Your Thoughts If you have any thoughts on this episode that you'd like to share, please leave me a comment, send me an email or a tweet. If you enjoy the show, we would be so grateful if you spread the word and supported Community Signal on Patreon.

The New Market Skills Center offers a Digital Media Communications program that brings high school students in the creative world of website design and video production. Students learn how to use industry standard software such as Final Cut Pro, Dreamweaver, Photoshop, and Soundtrack Pro and master the basic skills and ability to work in teams that prepares them for real-work opportunities. Students must produce a TV show (AM or PM) and feature package. this example of student work is one episode of NMTV.

The New Market Skills Center offers a Digital Media Communications program that brings high school students in the creative world of website design and video production. Students learn how to use industry standard software such as Final Cut Pro, Dreamweaver, Photoshop, and Soundtrack Pro and master the basic skills and ability to work in teams that prepares them for real-work opportunities. Students must produce a TV show (AM or PM) and feature package. this example of student work is one episode of NMTV.

The New Market Skills Center offers a Digital Media Communications program that brings high school students in the creative world of website design and video production. Students learn how to use industry standard software such as Final Cut Pro, Dreamweaver, Photoshop, and Soundtrack Pro and master the basic skills and ability to work in teams that prepares them for real-work opportunities. Students must produce a TV show (AM or PM) and feature package. this example of student work is one episode of NMTV.

The New Market Skills Center offers a Digital Media Communications program that brings high school students in the creative world of website design and video production. Students learn how to use industry standard software such as Final Cut Pro, Dreamweaver, Photoshop, and Soundtrack Pro and master the basic skills and ability to work in teams that prepares them for real-work opportunities. Students must produce a TV show (AM or PM) and feature package. this example of student work is one episode of NMTV.

Here’s podcast 78 The Ocean and the Sea starring BREY MCCOY and ANTHONY WILLIAM HERNDON from the Paducah, Kentucky experimental group METRONOME THEREMIN. We recorded this synth-filled noise-fest in August of last year. This is the first podcast I mastered and edited in a program other than Soundtrack Pro. I finally put to rest my [...]

Soundtrack Pro firmy Apple, Audioteka.pl, Narrenturm Sapkowskiego, Sugar Stacks, DTE Energy i lodowki, wspanialy pomysl Amazon.com, The Station zbiera na wyposazenie studio

Soundtrack Pro firmy Apple, Audioteka.pl, Narrenturm Sapkowskiego, Sugar Stacks, DTE Energy i lodowki, wspanialy pomysl Amazon.com, The Station zbiera na wyposazenie studio

This week it all ends, at least for the current film project. I'm talking about last minute deadlines and the mixed feelings that result. There's always some vague unsatisfied feeling when you finish an all consuming project, as this one was. For me, I'm so glad to get this off my back, but also I realize that even though my mind an nerves are refilling with a sense of ease, there's still a sense of lack. Just putting a name to it is difficult, I still can't articulate it. I know that I'm looking for a response, feedback, realization, something that I wasn't looking for when I started. Not affirmation, not the satisfaction of a job well done. All those things are welcome, for sure. I think it has something to do with purpose. Either the purpose of this project wasn't realized in the finished project, or it was too small a goal. I'm just going to sound stupid trying to figure this out in a blog, so just leave it at this, that gnawing unfulfilled feeling you get when you're full, but you're still hungry. So this episode is about meeting the deadline, the client meeting and review of the finished project. I add a little commentary at the end about gleaning meaning out of the experience. Lastly I add a brief how to regarding multi-track audio editing between FCP and Soundtrack.Below are the steps I go through in the podcast: Select the File menu Select Send To Soundtrack Pro Multitrack  Project Make sure both options, Open in Sountrack Pro Multitrack Editor and Include Background Video are checked and click Save. When you work with the audio in Soundtrack you’re going to be shuffling files between the two programs quite often, so I like to name my files to indicate what program they were saved from and what program they’re to be editing in. So when I export it from FCP I might call it FilmName, then add from Final Cut Pro to Soundtrack Pro. I usually abbreviate it, like FCP-SP, or simply F-S. Exporting it from Soundtrack Pro to FCP would be the reverse, FilmName S-F. Following the export, Soundtrack Pro launches and opens the file in the Multitrack view. The stereo track from Final Cut displays as a single track in Soundtrack Pro. In Soundtrack Pro you can add additional tracks, such as sound effects, loops and other dialog. By default there’s only one track for audio. You can add more tracks by right clicking in an audio track and selecting Insert Track Before, or After. Add your audio and then Export the file, it’s an audio file, it has a .aif extension. Choose File/Export/Export Mix. Import the audio file into Final cut. It appears as a single track. Place in the video sequence. If you want to edit it, right click on the audio track and choose Open in Editor. Soundtrack Pro comes to the front and tells you that the aif file is linked to a .stmp file, a Soundtrack project and asks you if you want to open the audio file or the project file. Choose the project file to edit the individual tracks The file opens with each audio element in independent tracks. Make further changes to the different tracks, or add new tracks, then, as before, Choose File/Export/Export Mix and save it with the name you saved it as in the previous export, it supplies the same name by default. When you go back to FCP you’ll see the changes are updated. In this manner you can work between the two programs to keep you audio modifications in sync and still be able to work with each track separately. Without having to deal with a large number of separate tracks in FCP.

Making meaningThis is an honest effort on my part to talk about the process of creating work that says what you mean, or to put it another way, keeping your work within the boundaries you've set according to your personal values and goals.The book that sparked this introspective podcast is Darkroom to Digital, by Eddie Ephraums. The supplied link takes you to the Amazon page. Eddie's home page is still under construction.I spend a few moments talking about Socrates and his statement "the unexamined life is not worth living" because it encapsulates the need of the creative individual, if not every individual, to consider the meaning and purpose of their life. You can read a concise summary of his trial here.On page 26 Eddie’s book I look at 5 questions he asks himself as an artist, to clarify his goals. I highly recommend it, regardless of what medium you work in. His writing style is straight forward and concise. It’s the kind of writing that brings new understanding each time you read them.Taking chancesI feel like I'm still getting my bearings creating this podcast. I also feel that perhaps it was premature to wander away from concrete and technical matters, such as production issues and class schedules. And yet, I've also made a commitment to myself to experiment and take risks. That includes embracing the sure possibility of failure.A couple of quotes I often think of regarding failure are "if you're going to fail, fail boldly" and the other is "It isn't the falling down and failing that is the problem, it is the falling down and not getting up". I could do a podcast on interviews with people on failure, how they cope with it, what it means to them, failures that have shaped their lives. Not a bad idea.Introspection and soul searching are going to occur from time to time throughout this podcast as I try to figure the meaning of what people are telling me and whether it's something I can, or should integrate into my own life. Chapter TimesDiscovering Meaning in your work  :12Darkroom to Digital - about the book  :52The unexamined life  2:195 guides for creativity  3:575 guides quote  4:36What I'm saying, what are people hearing  4:55Developing your vision  8:04Sharing your vision  8:26Avoiding sidetracks  9:47Closing remarks 11:11Next week  12:55Production NotesI was having some problems with the audio going into the red in Garageband. I didn't see any distortion in Soundtrack, but it was hitting 0db continuously. I used the Levelator from Gigavox media to see if it made a difference. The audio sounded fuller and I can see it made changes, but it was still running too hot. I looked at the modified audio in Soundtrack and the levels looked fine. Maybe there's a setting in Garageband that's off.I'm going to trust Soundtrack, and by extension Levelator and put the podcast out as it is. Let me know if you think the levels are still too high. If anyone has any experience with Levelator let me know how it's treating you. I don't want to rely on a black box, I want to know how to control audio in a program like Soundtrack Pro or Pro Tools. Right now, I'm going to be satisfied knowing I'm not blowing out anyone's eardrums.Send comments or emails.

This episode features two outstanding guests: David Rumbarger, Executive Director, Community Development Foundation, Tupelo, MS Mike Clayborne, Executive Director, CREATE Foundation, Tupelo, MS The three of us gathered in Mike's conference room to discuss elements of leadership that had made the two young gentlemen as successful as they are. As you might imagine, they both were quite modest, seeming unwilling to accept the accolades I offered them. They talked about the importance of each other's organization as a key component in the North Mississippi region's growth. This is one mark of a great leader--a willingness to offer credit to others for the achievements they have engendered. During our one-hour interview, they discussed the conscious decision by CREATE to host a leadership enhancement program for young leaders in the region. Enhancement was the focus rather than mere development, because they want to make sure they build upon the successes existing in the area, already. Yet another mark of a stellar leader--concern and consideration for those around you! I asked David and Mike to name some books (or authors) that had meant the most to them. In case you would like to purchase the recommended books, here is a short list: Please send your comments and questions to me via email or you can leave them here by clicking on the "comments" link below. Also, you may call the voice mail hotline at 206.984.3136. A SPECIAL THANKS I want to offer a special word of commendation and thanks to Jeff Sewell, owner of Sewell and Associates, a local audio/video engineering firm. Jeff spent several hours helping me figure out some new equipment I had bought. Plus, he loaned me some new microphones to test. But, the most help came when, after I recorded the session, I couldn't believe how much hiss had been recorded (I definitely didn't have the same thing coming through my headphones as what wound up on the recorder), so he helped me figure how to diminish that with Soundtrack Pro. Please bear with me as I learn proper ways to use this new equipment and software for podcasting. I invite you to subscribe to this podcast via iTunes.