Podcasts about Telefunken

Marc J. Seifer, PhD., is the author of more than 100 articles and a dozen books, including the acclaimed Wizard: The Life & Times of Nikola Tesla, Ozone Therapy for the Treatment of Viruses and his latest Tesla: Wizard at War. Having lectured at every International Tesla Conference held in Colorado Springs from 1984 to 1996, Dr. Seifer has also spoken at Brandeis University, Federal Reserve Bank in Boston, LucasFilms Industrial Light & Magic, at both Oxford and Cambridge Universities in England, West Point Military Academy, the New York Public Library and the United Nations. Featured in The Washington Post, Wall Street Journal, Scientific American, MIT's Technology Review and New York Times, Marc has appeared on Coast to Coast radio, the BBC, NPR's All Things Considered, and in the 5-part limited series The Tesla Files which he helped create, which has gone out to 40 countries and played on the History Channel.

Marc J. Seifer, PhD., is the author of more than 100 articles and a dozen books, including the acclaimed Wizard: The Life & Times of Nikola Tesla, Ozone Therapy for the Treatment of Viruses and his latest Tesla: Wizard at War. Having lectured at every International Tesla Conference held in Colorado Springs from 1984 to 1996, Dr. Seifer has also spoken at Brandeis University, Federal Reserve Bank in Boston, LucasFilms Industrial Light & Magic, at both Oxford and Cambridge Universities in England, West Point Military Academy, the New York Public Library and the United Nations. Featured in The Washington Post, Wall Street Journal, Scientific American, MIT's Technology Review and New York Times, Marc has appeared on Coast to Coast radio, the BBC, NPR's All Things Considered, and in the 5-part limited series The Tesla Files which he helped create, which has gone out to 40 countries and played on the History Channel.

Tres estrenos en este podcast: "Páramo", del próximo disco de Carlos Ares, "Mitología", la canción que bautiza la gira de Veintiuno y que forma parte de "La Balada de Delirio y Equilibrio", el disco que publican mañana viernes, 4 de abril, y "El Sol", la primera canción del tercer disco de Colectivo da Silva y la que da título a ese álbum, que también sale mañana. Aparte, escuchamos lo nuevo de The Beaches, de Jess Kerber y de Telefunken.  WET LEG - catch these fistANABEL LEE & Magüi - Me cago en el amorKARAVANA - Mismos VíciosBIFFY CLYRO - A Hunger in Your HauntTHE HIVES - Enough Is EnoughBÁNDALOS CHINOS - El RitmoCOLECTIVO DA SILVA - El SolTHE BEATLES - Hey JudeWISEMEN PROJECT - Mon Bébé (feat. Mira Paula)ST. VINCENT - DOA (From Death of a Unicorn)VEINTIUNO - MitologiaTHE BEACHES - Last Girls At The PartyJESS KERBER - Next to YouCARLOS ARES - PáramoTELEFUNKEN - Taxi + Rachael NobbsEscuchar audio

Kann man zuviel Rückenwind haben? Scheinbar schon, zumindest in einer Boeing 747 beim Landeanflug auf Los Angeles. Außerdem gehts in dieser Folge um die historische Szene im Oval Office ohne Ton, über von Fussbällen zerstörte Märklin Modelleisenbahnen, Braun Elektrogeräte, 911 Gags, Telefunken im humoristischen Dasein und Lachen mit Würde vor allem dann, wenn kein Gag härter ist, als die Realität.„Beisenherz und Polak – Friendly Fire“ ist ein Podcast aus den Wake Word Studios.Executive Producer: Christoph Falke & Ruben Schulze-FröhlichProjektleitung: Annabell RühlemannSounddesign & Produktion: Fabian Schäffler***ANZEIGE***

La actriz de 'Vida perfecta', 'La virgen roja' y 'La chica de nieve' repasa su trayectoria junto a Mara Torres, marcada en sus orígenes por sus lorquianas tías, las telenovelas mexicanas y la Telefunken

La actriz de 'Vida perfecta', 'La virgen roja' y 'La chica de nieve' repasa su trayectoria junto a Mara Torres, marcada en sus orígenes por sus lorquianas tías, las telenovelas mexicanas y la Telefunken

The AI Battle Mirrors Past Format Wars “History never repeats itself, but it does often rhyme.” — Mark Twain [TLDR: This week's Thursday Thought explores the ongoing battle for AI dominance among tech giants like OpenAI, Anthropic, X, Google, and Microsoft, drawing parallels to historic format wars that have shaped various industries. From the iconic VHS vs. Betamax struggle to the intense competition between gaming consoles like PlayStation, Xbox, and Nintendo, and the enduring rivalry between iPhone and Android, these conflicts reveal a recurring pattern. As AI companies follow similar paths, it's clear that, while technology evolves, the strategic dynamics remain strikingly similar.] The current battle for dominance between tech giants like OpenAI, Google, Anthropic and Microsoft is not just a race to the top — it's a modern-day format war. By examining the patterns of previous technology battles, we can gain insight into how this AI competition is likely to play out. Three key patterns emerge from past format battles that are now being mirrored in the AI space: The Power of Network Effects: Just like previous format wars, the AI battle will be heavily influenced by network effects. (A network effect occurs when a product or service becomes more valuable as more people use it, creating a positive feedback loop that can lead to rapid growth and market dominance.) The Underdog Advantage: History has shown that the winner is often not the one everyone expects — not the biggest company or even the best product. Early market leaders may fall behind as more adaptable or better-networked competitors take the lead. Ecosystem Building is Key: The final battleground is not just the technology itself, but the entire ecosystem built around it. Companies that successfully create a thriving ecosystem of developers, partners, and content will probably emerge as the ultimate winners. To understand these dynamics better, let's revisit three strategic battles that shaped the technology landscape: the VCR format war, the console wars, and the smartphone OS wars. Each of these battles offers valuable lessons for understanding the current AI competition. The VCR War: A Template for Format Battles (The also-rans in the VCR war (that I know of) included Philips and Grundig's Video 2000 (V2000), and RCA's Capacitance Electronic Disc (CED). The videotape format war between VHS and Betamax in the late 20th century stands as one of the most emblematic battles over technological dominance. Introduced in the mid-1970s, Sony's Betamax initially captivated the market with its superior video quality and compact design. However, JVC's VHS, which entered the market shortly after, quickly emerged as a formidable competitor by addressing consumer needs more effectively with longer recording times — up to two hours initially, which was soon extended to four, six, and even eight hours as the technology developed. The success of VHS was not solely because of its technical merits. JVC employed a strategic approach by licensing its VHS technology to an array of manufacturers, including heavyweights like Panasonic, Sharp, and RCA. This move flooded the market with VHS players, making the format more accessible to the average consumer. To further tip the scale in their favour, during the mid-1970s JVC established VCR supply relationships with leading national consumer electronics companies in Europe and the United States. In supplying Thomson, Thorn, and Telefunken (all independent companies at that time) as well as U.S. partners, JVC was able to gain the cash and the diversity of market experience that ultimately enabled it to outpace Philips and Sony. Philips developed videotape competencies in parallel with JVC, but it failed to build a worldwide network of OEM relationships that would have allowed it to accelerate the refinement of its videotape competence through the sale of core products. According to , by the...

Olá, eu sou Leo Lopes e está no ar o POD NOTÍCIAS, o podcast semanal que traz até você um resumo de tudo que acontece de mais importante no mercado de podcasts no Brasil e no mundo! Hoje é segunda-feira, dia 30 de setembro de 2024 e esta é a nossa trigésima terceira edição! Este episódio conta com o apoio da CONTENT ACADEMY, uma plataforma de cursos online voltada para quem quer trabalhar com criação de conteúdo que tem na plataforma cursos como True Crime com o Ivan Mizanzuk, Webjornalismo independente com Alvaro e Ana do Meteoro Brasil, Storytelling com o Kenji do Normose, Edição de vídeo para Youtube com o Will do Jogatina Maneira, o meu curso Podcast para todos (que tá com uma mega promoção por tempo limitado) e mais um monte de cursos incríveis que você acessa em contentacademy.com.br! O Pod Notícias também conta com o apoio da HostGator, um dos melhores serviços de hospedagem do mundo, onde nós hospedamos o nosso site e que dá para o nosso ouvinte a partir de 69 até 74% de desconto em planos de hospedagem, além de contar gratuitamente com a rede global da CDN Cloudflare, que tem benefícios insuperáveis e podem ser ativados em um clique nos planos de hospedagem da HostGator. Garanta já seu desconto acessando podnoticias.com.br e clicando no banner que fica no rodapé da página ou em qualquer postagem individual. 1 - Hoje, dia 30 de setembro, é celebrado o International Podcast Day, o Dia Internacional do Podcast. Essa data foi criada em 2014 como Podcast Day nos Estados Unidos por uma iniciativa de Steve Lee, do Netcast Studio. Em 2014 o Nedcast Studio tinha apenas um ano de existência mas já havia ganhado projeção global, impulsionado pelo apoio de podcasters de diferentes países. Apesar da relevância, não havia uma justificativa clara para a escolha do 30 de setembro, que acabou se tornando uma data simbólica para a mídia mundial. Aqui no Brasil muita gente celebra o dia 30 de setembro, mas você sabia que nós temos aqui o NOSSO Dia do Podcast, que é celebrado no dia 21 de Outubro? E que diferente dos americanos, nós temos uma excelente justificativa pra escolha dessa data como sendo o dia do podcast nacional, pois foi nesse dia em 2004 que foi publicado o primeiro episódio do primeiro podcast do Brasil, o Digital Minds do Danilo Medeiros? Pra contar a história por trás da escolha dessa data, nosso amigo Thiago Miro (que a partir desta edição passa a ser também um colunista do Pod Notícias, além do trabalho na pesquisa, pauta e redação) escreveu um artigo explicando como foi que nós - e eu digo nós porque eu também tive a minha parcela de participação na escolha dessa data - discutimos o assunto entre os participantes mais ativos da podosfera em 2014 e batemos o martelo talvez na única decisão unânime que os podcasters brasileiros tenham tomado até hoje em 20 anos... A partir de amanhã começa nossa contagem regressiva de 20 dias para celebrar os 20 anos de podcast no Brasil, e pra você conhecer essa história em detalhes, o link para o artigo do Miro está lá na postagem deste episódio! Link 2 - O Spotify anunciou recentemente a introdução de novas ferramentas analíticas para podcasters. Com o objetivo de melhorar a compreensão sobre como os programas são descobertos e consumidos na plataforma, a principal novidade é a visualização da jornada do público, que permite aos criadores conectar os pontos entre a descoberta e o consumo de seus conteúdos. Essa ferramenta se baseia nas análises de impressões já existentes, mostrando não apenas onde os ouvintes encontram os programas, mas também quantas dessas impressões se convertem em streams. Para aumentar o alcance e as impressões, a Spotify sugere otimizar o SEO dos episódios, acompanhar tendências e eventos relevantes, e investir em colaborações e promoções cruzadas com outros podcasters. Além disso, a empresa recomenda compartilhar links dos programas em outras plataformas e incentivar os ouvintes a seguir os programas no Spotify, o que pode aumentar significativamente a visibilidade e o engajamento. Segundo o Spotify, essa funcionalidade estará disponível nas próximas semanas para todos os criadores, independentemente de onde hospedam seus programas. Link AINDA EM NOTÍCIAS DA SEMANA: 3 - A marca brasileira Oldbox Ribbon, criada pelo músico e produtor Felipe Mafra, é uma empresa especializada em microfones de fita feitos artesanalmente, um diferencial que tem conquistado produtores em todo o Brasil. Desde a criação dos transformadores até a instalação manual das fitas, cada microfone é produzido com a atenção e o carinho do próprio Felipe. A tecnologia dos microfones de fita - ribbon microphones em inglês - foi desenvolvida pelos doutores Walter H. Schottky e Dr. Erwin Gerlach na Telefunken da Alemanha no começo dos anos 1920, e foram muito usados entre as décadas de 1930 e 1950. O som natural gerado por esse tipo de microfone, principalmente pra voz, é apreciado por muitos profissionais e locutores - eu, inclusive! Pois o Felipe anunciou a produção de seu próprio podcast, com estreia prevista para breve, que será gravado - é claro - usando os microfones da sua marca. Durante o vídeo de anúncio, o Mafra demonstrou a qualidade de som do microfone Oldbox Ativo, enfatizando sua performance impecável para gravações de voz e narrações, especialmente para podcasts. Ele explicou que o som gravado durante o vídeo não sofreu qualquer tipo de processamento, oferecendo aos ouvintes uma amostra real da qualidade acústica do equipamento. O podcast, que contará com o microfone Oldbox RIbbon Ativo tanto para o apresentador quanto para os convidados, será transmitido pelos canais da marca. Felipe também adiantou que mais novidades sobre o projeto estão por vir, deixando os seguidores como eu ansiosos pelo lançamento. Link E MAIS: 4 - Esta semana a gente publicou no nosso portal de notícias algumas matérias relacionadas ao segmento do podcast corporativo, que tem crescido muito ano após ano. Na edição de hoje nós destacamos duas dessas matérias. Você sabe que a sigla B2B - que significa "business to business" - se refere a negócios em que o cliente final de uma empresa é uma outra empresa e não uma pessoa física (que é o modelo B2C, ou "business to consumer"). Na primeira matéria, nós traduzimos um artigo do Nilay Parikh no Linkedin, que destaca que os podcasts B2B se consolidaram como uma ferramenta poderosa no arsenal de marketing das empresas em 2024. Com a capacidade única de construir relacionamentos, estabelecer autoridade e oferecer um conteúdo valioso, eles rapidamente se tornaram indispensáveis nas estratégias de marketing atuais. O Nilay destaca também quarto fortes motivos pra sua empresa investir em podcasts B2B: engajamento autêntico, autoridade de segmento, reaproveitamento de conteúdo e segmentação de nicho. Os detalhes sobre cada um desses motivos você confere lá no nosso portal, o link direto está na descrição do episódio. Link 5 - A segunda matéria é uma análise sobre as vantagens da produção própria do seu podcast (ou "in house", no caso de empresas) versus a contratação de uma empresa ou profissional especializado pra auxiliar ou mesmo produzir tudo pra você. Ambas escolhas tem vantagens e desvantagens, e é claro que eu vou resumir aqui pra você, mas tem muito mais na matéria completa do site, isso você já sabe, certo? A produção própria (ou Do It Yourself) traz como vantagens o custo reduzido e a autonomia, e como desvantagens o alto consumo de tempo, investimento em hardware e software e a qualidade inferior ao serviço profissional. Inversamente, a contratação de produção profissional traz como vantagens uma qualidade profissional, menos estresse e economia de tempo, e como desvantagens unicamente o custo. Assim, se a sua empresa está disposta a investir parte do orçamento para produzir um conteúdo dentro dos melhores padrões de qualidade do mercado, contratar um serviço especializado é sem sombra de dúvidas a melhor opção. E se esse for o seu caso, pode entrar em contato comigo através do link https://radiofobia.com.br/contato que eu mesmo vou lhe atender e nós vamos montar um projeto de alto padrão, com uma qualidade que há 12 anos é considerada referência no mercado nacional de produção de podcasts! Link 6 - Outro artigo extremamente relevante que nós preparamos esta semana foi destacando por que marca registrada e direitos autorais importam para podcasters. O podcasting é mais do que apenas apertar o botão de gravação, é sobre construir uma marca, criar conteúdo original e conectar-se com seu público. Mas à medida que a indústria de podcasting cresce, também aumentam os riscos de uso indevido da marca, roubo de conteúdo e disputas legais. Muitos podcasters se concentram em aumentar seu público, mas negligenciam os passos críticos para proteger sua propriedade intelectual. As marcas registradas e os direitos autorais são ferramentas legais essenciais que todo podcaster deve usar para proteger seu trabalho e sua marca. No artigo você vai entender a relação entre marca registrada e direito autoral, conhecer algumas armadilhas legais perigosas pra podcasters, além de entender por que você precisa de orientação legal pra proteger o futuro do seu podcast. O link para o artigo completo, é claro, está na descrição do episódio. Link HOJE NO GIRO SOBRE PESSOAS QUE FAZEM A MÍDIA: 7 - Estreou semana passada o novo podcast investigativo da Globo intitulado "Operação Prato", que revisita o fenômeno conhecido como "chupa-chupa", ocorrido em 1977 na cidade de Colares, Pará. Este fenômeno é considerado o maior caso ufológico da história do Brasil, que envolveu avistamentos de objetos luminosos no céu e relatos de ataques de luz que resultaram em queimaduras, paralisia, anemia e transtornos psicológicos nos moradores da região. Esse fenômeno chamou a atenção nacional durante o período da ditadura militar e da Guerra Fria, e levou a Força Aérea Brasileira a investigar os objetos voadores não identificados. "Operação Prato" busca explorar as diversas teorias da conspiração que cercam o fenômeno até hoje, é idealizado e apresentado pelo Andrei Fernandes e conta com direção do Ivan Mizanzuk. Com produção da Paratopia, o podcast terá dez episódios lançados semanalmente às terças-feiras e está disponível gratuitamente na globo.com/podcasts e nas principais plataformas de áudio. Link SOBRE LANÇAMENTOS: 8 - A RODE ampliou o seu portfólio de consoles semana passada com o lançamento do Rodecaster Video, um novo produto que promete transformar a maneira como criadores de conteúdo produzem vídeos, oferecendo funcionalidades profissionais em um dispositivo de mesa acessível. Equipado com um poderoso processador de 8 núcleos, o Rodecaster Video permite a troca entre até seis feeds de vídeo, com acesso rápido a sete cenas personalizáveis. Na parte traseira, o dispositivo conta com quatro entradas HDMI 1080p com conversor automático de taxa de quadros, além de duas saídas HDMI para monitoramento. O dispositivo também possui portas USB-C para conectar dispositivos de áudio da RODE e webcams, além de entradas XLR para microfones. Este lançamento da RODE vem brigar com consoles da Roland e da Blackmagic, por exemplo, e promete democratizar o acesso a ferramentas profissionais e impulsionar ainda mais a criatividade e inovação no mercado de criação de conteúdo, como já acontece na produção de áudio com a Rodecaster Pro II. O Rodecaster Video já está disponível para compra, com um preço de lançamento de $1.199! Link 9 -  Estreou semana passada o podcast "Exaustas", apresentado pelas atrizes e amigas Samara Felippo, Carolinie Figueiredo e Giselle Itié. O podcast nasceu das lives semanais que as três amigas realizavam no Instagram entre 2021 e 2022, onde discutiam questões pessoais e sociais e se conectavam profundamente com seu público. O primeiro episódio do podcast publicado na última quinta (26) tratou do sentimento de exaustão e como ele se manifesta em cada uma das apresentadoras. Durante as discussões, elas vão compartilhar experiências pessoais, incluindo traumas, relacionamentos passados, luto, machismo e a objetificação das mulheres, abordando temas como família, maternidade, trabalho e sociedade. 'Exaustas' é um videocast original da Wondery, que é o estúdio de podcasts da Amazon, e já está disponível em todas as plataformas de streaming de áudio e no canal do YouTube da Wondery, com novos episódios lançados semanalmente às quintas-feiras, às 20h. Link RECOMENDAÇÃO NACIONAL: 10 - Você aperta o PLAY e logo de cara começa a ouvir uma trilha que mistura sons do espaço, ficção e um pouco de psicodelia. Depois de uma breve apresentação você descobre que seu apresentador é ninguém menos que Ovnilton Roswelligton, pesquisador da história alienígena brasileira formado na UFO (que apesar do nome não tem nada a ver com ufologia, sendo a sigla de Universidade Federal de Olinda mesmo...). É ele que, com sua voz anasalada e direto do C.U. (o Centro Ufológico de Varginha), irá lhe acompanhar ao longo dessa jornada, enquanto busca desvendar os mistérios da U.A.I. - Unidade de Assistência Intergaláctica. O formato do podcast se inspira em “O Guia do Mochileiro das Galáxias” e mostra um espírito bem humorado e irreverente ao misturar o imaginário brasileiro com um dos temas mais fortes do momento: a ufologia! Tudo isso com um impagável sotaque mineiro! O podcast conta com as vozes originais de profissionais como Jussara Marques, Diego Marques e Dláigelles Silva e com a produção de Bruno Luvizotto, João Bley e Pedro Penna, da Beleléu Núcleo Criativo. U.A.I. estreou dia 21 de setembro e já está disponível nas principais plataformas de áudio e também no YouTube. Link E se você, assim como a HostGator e a Content Academy, quiser anunciar a sua marca, produto ou serviço com a gente aqui no Pod Notícias – tanto no podcast como no nosso site – e atingir um público qualificado que se interessa pelo podcast aqui no Brasil, manda um e-mail pro contato@podnoticias.com.br, que nós vamos ter o maior prazer em conversar com você sobre as nossas opções de publicidade. E caso você queira colaborar com o Pod Notícias com texto, sugestão de pauta ou envio de notícias, também vai ser muito bem-vindo e pode fazer isso através do mesmo e-mail. E assim a gente fecha esta trigésima terceira edição do Pod Notícias. Acesse podnoticias.com.br para ter acesso à íntegra das notícias com todas as fontes e a transcrição completa do episódio, além dos artigos dos nossos colunistas e todos os links relacionados. Acompanhe o Pod Notícias diariamente:- Canal público do Telegram- Instagram- Page do Linkedin Ouça o Pod Notícias nos principais agregadores:- Spotify- Apple Podcasts- Deezer- Amazon Music- PocketCasts O Pod Notícias é uma produção original da Rádiofobia Podcast e Multimídia e publicado pela Rádiofobia Podcast Network, e conta com as colaborações de:- Camila Nogueira - arte- Eduardo Sierra - edição- Leo Lopes - pesquisa, pauta, redação final, direção geral e apresentação- Thiago Miro - pesquisa e redação Publicidade:Entre em contato e saiba como anunciar sua marca, produto ou serviço no Pod Notícias.See omnystudio.com/listener for privacy information.

Send us a textSingles Going Around- Telefunken Hound Dog Taylor- "See Me In The Evening"Dick Dale- "Let's Go Tripping"The Kinks- "Picture Book"Screamin' Jay Hawkins- "What That Is"The Rolling Stones- "Shattered"Neil Young- "Star Of Bethlehem"The Clash- "The Leader"Jimi Hendrix- "Midnight"Otis Redding- "Love Man"The Faces- "Twistin' The Night Away"Link Wray- "Tail Dragger"Led Zeppelin- "South Bound Saurez"Dr John- "What Comes Around"George Thorogood- "Who Do You Love"

From Telefunken HQ:  South Windsor, CT, July 2024 – Toni Roger Fishman, electronic visionary and founder of pioneering microphone company TELEFUNKEN Elektroakustik, passed away on July 12, 2024 at his vacation cottage near company headquarters in South Windsor, Connecticut. At press time there were no further details. The company's administrative team issued the following statement, “Toni was a visionary leader and founder, and an integral part of our company from Day 1. This news is deeply saddening for all of us here. Toni was not just the owner, but also a mentor and friend to many. His vision, passion, and dedication were the driving force behind our success, and his absence is deeply felt by all of us. Despite our loss of Toni, we will carry on. It was Toni's wish that our company continue to create the finest audio equipment in the world. Our entire team will work together to ensure that operations continue smoothly. We have a strong and capable team, and we are confident in our ability to navigate through this difficult time.” TELEFUNKEN Elektroakustik of South Windsor, CT, USA was incorporated in 2001 out of the desire to remake restoration parts to keep vintage iconic microphones in excellent working condition. This passion grew into the ambitious goal of recreating the legendary ELA M 251 in all of its original glory, both sonically and structurally. The new production 251 was first showcased at the 2002 Audio Engineering Society convention and astounded the professional audio industry with its remarkable accuracy to the original, both inside and out. The microphone won the 2003 Technical and Creative Excellence TEC Award for Studio Microphone Technology. David Goggin, longtime friend, company photographer and public relations director since its inception, stated, “I first met Toni at recording studios here in Hollywood when he was searching for the most pristine of vintage classic microphones, which he reverse-engineered and combined with historic Telefunken schematics and documentation to preserve the legacy of these unparalleled instruments used to record music. Toni was always on target and relentlessly continued his quest for sonic excellence throughout his remarkable career.” The vision of TELEFUNKEN Elektroakustik is to preserve the excellence of iconic microphones and their history, and to develop new technologies that draw inspiration from them. The company continues the tradition of producing high fidelity instruments to benefit the recording and performing world, and to continue to accurately preserve music for generations to come. Toni Fishman is survived by his wife Yuki and son Ethan. For further information, contact Alan Venitosh, Director of Operations at 860.882.5919

Wir haben den Mathematiker Prof. Bernd Ulmann besucht und uns von der Faszination des analogen Rechnens anstecken lassen.

Episode 108 The Distinctive Electronic Music of Oskar Sala and the Mixtur-Trautonium, part 1 Playlist Oskar Sala, “Demonstration” from My Fascinating Instrument (1990 Erdenklang). Demonstration of the Mixtur-Trautonium by Sala, providing a sampling of the many various effects that he could create in real-time without magnetic tape tricks. In addition to the audio track, here is a terrific video from 1993 showing Sala playing the newer, fully transistorized version of the Mixtur-Trautonium in his home studio. Note the dexterity needed to press the little “tongues” of the instrument and press them from side to side to enable note expression. If you were only listening, you would assume that he was playing a keyboard. This view reveals why playing the instrument was quite different than any other. There are, of course, many other videos available showing Sala and his instrument over the years. But I thought this one illustrated the performance aspects of the Mixtur-Trautonium that make it a remarkable, and unique, electronic music instrument. 7:14. Paul Hindemith, Oskar Sala, “7 Triostücke Für 3 Trautonien (1930) (part 1) from Elektronische Impressionen (1980 Telefunken). Recording made in 1977 with Oskar Sala of one of the very first concert pieces composed for the original Trautonium. This later performance from 1977 used the Mixtur-Trautonium and multi-tracking of Sala as he performed all three parts of this trio. In 1930, the other two players on the three Trautoniums were Paul Hindemith and Rudolph Schmidt. This recording was made in the Bavarian Radio studios with the Munich Chamber Orchestra conducted by Hans Stadlmair. 1:21. Paul Hindemith, Oskar Sala, “Konzertstück Für Trautonium Mit Begleitung Des Streichorchesters (1931) (part 1) from Elektronische Impressionen (1980 Telefunken). Recording made in 1977 with Sala at the Mixtur-Trautonium. This recording was made in the Bavarian Radio studios with the Munich Chamber Orchestra conducted by Hans Stadlmair. 3:02. Harald Genzmer with Oskar Sala, “Konzert Für Trautonium Und Orchester” (1938-39) (excerpt) (1942 DGG). Early performance of this work for the Concert Trautonium, performed by Sala and composed by Genzmer. Performed by the Städtisches Orchester Berlin under the direction Helmuth Thierfelder. The complete work was in the vicinity of 30 minutes long. 7:00. Paul Hindemith, Oskar Sala, “Langsames Stück Und Rondo Für Trautonium” (1935) from Subharmonic Mixtures (1997 Erdenklang). A newer performance by Sala of this early work by Hindemith. Originally written for the Radio Trautonium, this version was performed on the Mixtur-Trautonium. This was recorded in 1985. 5:29. Oskar Sala, Großes Tanzorchester, Frank Fux, “Bezaubernde Melodien” (1941 Telefunken). This German popular music disc features an early solo by Sala using the Concert Trautonium. You can hear its distinctive melodies, reminiscent of a flute or clarinet, but clearly different. 2:56. Oskar Sala, “Poor Hansi” (1943). This animated short film included a singing canary, the voice of which was provided by Oskar Sala using the Concert Trautonium. The instrument also provided some miscellaneous sound effects such as the squeaking cage door. 3:04. Fritz Kreisler, Oskar Sala, “Scherzo im Stile von Carl Ditters von Dittersdorf” (1946) from Das Konzertrautonium Wandlungen (2011 Der Trautonist). Concert Trautonium, Oskar Sala; piano, Gerhard Schael. This recent recording (not Sala) was made in 2011 using the third incarnation of the Trautonium, the Concert Trautonium (1938). 3:29. Oskar Sala, “A Fleur D´eau ( In wechselndem Gefälle)” from Elektronische Filmmusik (1963 Metronome). Music and sound effects from a film, composed, performed, produced, electronics, Mixtur-Trautonium, Oskar Sala. 6:22. Oskar Sala, “Der Fluch Der Gelben Schlange” from Elektronische Filmmusik (1963 Metronome). Music and sound effects from a film, composed, performed, produced, electronics, Mixtur-Trautonium, Oskar Sala. 6:39. Oskar Sala, “Intro, The Birds” from Alfred Hitchcock – The Classic Soundtrack Collection (2021 Enlightenment). This UK collection features the electronic sounds created for the film by Oskar Sala on the Mixtur-Trautonium. Occationally, you may hear some ambient bird sounds in the soundtrack mix, but the truly eerie, intimidating bird sounds are those produced by Sala. An original “soundtrack” was never released at the time primarily because, despite the popularity of the movie, no music was orchestrated for the movie other than the eerie electronic music sounds of birds created by Oskar Sala. 1:33. Oskar Sala, “Bird's Attack/After Explosion” from Alfred Hitchcock – The Classic Soundtrack Collection (2021 Enlightenment). Electronic sounds created for the Hitchcock film The Birds by Oskar Sala on the Mixtur-Trautonium. 2:01. Oskar Sala, “The Crows Again/Annie Is Dead” from Alfred Hitchcock – The Classic Soundtrack Collection (2021 Enlightenment). Electronic sounds created for the Hitchcock film The Birds by Oskar Sala on the Mixtur-Trautonium. 0:35. Oskar Sala, “The End” from Alfred Hitchcock – The Classic Soundtrack Collection (2021 Enlightenment). Electronic sounds created for the Hitchcock film The Birds by Oskar Sala on the Mixtur-Trautonium. 4:26. Henrich Heine, Oskar Sala, excerpts from “Denk Ich An Deutschland - Eine Politische Reportage Über "Deutschland - Ein Wintermärchen" (1966 Electrola). Sala contributed music and sound effects made on the Mixtur-Trautonium for this drama production. 4:41. Oskar Sala, “Rede Des Toten Christus Vom Weltgebäude Herab, Dass Kein Gott Sei” (1986) from My Fascinating Instrument (1990 Erdenklang). Mixtur-Trautonium, Oskar Sala; narrator, Friedrich Schönfelder; words, Jean Paul (1797). 12:52. Opening background music: Oskar Sala, “Fantasie-Suite In Drei Sätzen Für Mixturtrautonium Solo” from My Fascinating Instrument (1990 Erdenklang). Composed, Performed on the Mixtur-Trautonium and produced by Oskar Sala. 10:38. Timeline of the Trautonium This timeline shows the evolution of the Trautonium and Mixtur-Trautonium, all played by Oskar Sala (1910-2002). 1929-30: Trautonium (Friedriech Trautwein). One manual. 1935: Radio-Trautonium. Two manuals, two pedals. 1938: Konzerttrautonium (Concert Trautonium, a portable model. Two manuals, two pedals. 1952: Mixturtrautonium (Mixtur-Trautonium). Two manuals, two pedals. 1988: Micro-Electronic Mixtur-Trautonium (transistorized model). Two manuals, two pedals. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For additional notes, please see my blog, Noise and Notations.  

Telefunken, Sonáta, nebo první přenosné tranzistorové přijímače vyrobené v Československu. To je krátký výčet exponátů z obsáhlé sbírky Jana Mergla, sběratele a předsedy společnosti HIFI klub Liberec.Všechny díly podcastu Host Dopoledne pod Ještědem můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

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

Chip Auchincloss is a Monitor Engineer and Backline Tech based in Brooklyn, N.Y., who's spent the last 20 years living his dream of working in the live sound industry. I met with Chip at his Brooklyn studio where we dove deep into his upbringing in Philadelphia, his obsession with concerts, and the crazy coincidence of our family connection. Over the years he has toured with artists ranging from Dirty Projectors, Silversun Pickups, The New Pornographers, Regina Spektor, and many more. He's also worked as a house engineer at several venues including Sony Hall, World Stage, Webster Hall, and B.B. King's Blues Club, where he got his start. Subscribe to the Podcast:  Apple: https://podcasts.apple.com/us/podcast/roadie-free-radio/id1115332289 Spotify: https://open.spotify.com/show/61e24ZD5A3oBTxO36WHQXq?si=38cac6d09f3f4fea

Tuesday April 18, 2023 - Guest: CEO Toni Roger Fishman You wouldn't hear us at all if it weren't for our guest tonight… CEO of TELEFUNKEN, Mics & Motorsports, Toni Roger Fishman is back in studio for the first time since 2020. His mics are used by only the greatest, top-tier talent. From SNL to Lady Gaga and now Late Night Playset? There must be some mistake. From Dreamride.org raising 3.4 million dollars for Special Olympics to restoring Frank Zappa's recording studio to the rebirth of Fairchild Recording Equipment... this is the show for tech nerds... we go deeeeep. Toni also has a classic custom-build Porsche company turning out some absolute beasts on the east coast. Find out why his new GT3 is Acid Green ;) Plus, New Life of Old Nicole & ECF! THANK YOU for being with us!

Chip Auchincloss is a Monitor Engineer and Backline Tech based in Brooklyn, N.Y., who's spent the last 20 years living his dream of working in the live sound industry.     I met with Chip at his Brooklyn studio where we dove deep into his upbringing in Philadelphia, his obsession with concerts, and the crazy coincidence of our family connection.     Over the years he has toured with artists ranging from Dirty Projectors, Silversun Pickups, The New Pornographers, Regina Spektor, and many more. He's also worked as a house engineer at several venues including Sony Hall, World Stage, Webster Hall, and B.B. King's Blues Club, where he got his start.     Subscribe to the Podcast:      Apple: https://podcasts.apple.com/us/podcast/roadie-free-radio/id1115332289     Spotify: https://open.spotify.com/show/61e24ZD5A3oBTxO36WHQXq?si=38cac6d09f3f4fea

Electric Dreams, Telefunken, Freak Scene...Cork was the Capital of Clubbing in Ireland. PJ remembers these nights with Colm Lougheed of Electric Dreams who is rebooting! Hosted on Acast. See acast.com/privacy for more information.

Great sound is an important factor in booking voice over work. In this episode, Anne is joined by audio engineer & musician Gillian Pelkonen to discuss the basics of audio for voice. Sound engineers listen for clean, crisp vocal sound. This is the kind of sound that helps you book more jobs, and it's the kind of sound that makes you stand out from the crowd. In order to get great voice over work, it's important that you have great sound. But what exactly is “great sound”? Is it the same as “high-quality audio”? The best way to solve audio issues is to address them before recording. Incorrect recording levels, too much room tone & improper mic technique are common audio issues. Feeling lost & overwhelmed with your sound? Anne & Gillian tell you all you need to know...   Transcript   It's time to take your business to the next level, the BOSS level! These are the premiere Business Owner Strategies and Successes being utilized by the industry's top talent today. Rock your business like a BOSS, a VO BOSS! Now let's welcome your host, Anne Ganguzza.   Anne: Hey everyone. Welcome to the VO BOSS podcast. I'm your host Anne Ganguzza, and I am excited to bring a very special guest to the show today, Gillian Pelkonen. Gillian is an audio engineer, musician and creative freelancer living and working in upstate New York, which is where I am from. Woohoo.   Gillian: Woo.   Anne: Uh, Gillian received her masters in audio arts from Syracuse University and has been working in audio engineering ever since. Gillian, thank you so much for joining me today. I'm so excited to talk to you.   Gillian: Anne, thank you so much for having me. It is so exciting to be on the show. Obviously I've listened to it a lot in the past few years, so --   Anne: Well, thank you. Thank you   Gillian: -- definitely trippy to be on this side of it. But yeah, thank you for having me. I'm excited to chat about audio.   Anne: Yeah, so I'm excited number one because you are from like practically my hometown. My family's still up there and I also love female engineers because that's kind of where I started as well. When I graduated from college, I went to school for engineering, not audio engineering, but engineering. And so I have uh, a soft spot in my heart for female engineers. So tell the BOSSes how you got started and what got you interested in audio engineering.   Gillian: Well, we are few and far between, unfortunately. I am a musician as well. I don't really say that, it's a weird word for me to say, but I've been playing guitar and singing and writing songs for as long as I could talk. It's been my outlet for everything. And I was working on a lot of my music in college and at recording studios on campus, and I couldn't find women to work with. I did have one female audio engineer that I worked with and that was the best experience I had, and I found her a bit later in the experience. But up until then I just didn't understand. And obviously gender is a construct. It's not really about that. But I found that I worked really well with women and people who were good listeners and who felt like they were as passionate about what I was trying to create as I was. And eventually I found that nobody was, so I just wanted to go learn it myself and just know how to do it and make music, and that's what got me into audio and now kind of in the voiceover AI sphere 'cause they're super connected.   Anne: Fantastic. So now you also sing as well?   Gillian: Yes. Yeah.   Anne: Oh wow. You are multifaceted. I love it. So let's talk a little bit about audio because for people just entering into the industry, it is I think one of the most scariest things because a lot of people are not necessarily technically adept at creating or editing audio. And so it really becomes a thing to enter in the voiceover industry. It's like, like not only do they have to learn how to perform and be authentic and real, and now all of a sudden they've gotta figure out, well, how am I going to prepare this audio to send to my client? And that just becomes a whole different thing, especially with technology.   And I've always said that to be successful in this industry, not only is it great to have that creative artistic talent in your performance, but you do have to be adept at technology because you're going to have to be able to handle that audio, edit that audio, deliver that audio to your client. And if that is not something that you're comfortable with, you need to actually get comfortable with it. So what would you say is the most important thing for people starting out in terms of their audio?   Gillian: That is a big question.   Anne: Yeah, I know, with probably an hour's worth of answers, I'm sure.   Gillian: Many hours worth of answers. I think for people starting out, the best thing you can do is, I hate to say work with a professional, but that might be a starting point just to understand what you might need because the hard part is not the audio. Everyone makes it like that's the daunting task because it's not what you're comfortable with, but I know that the acting is really difficult and the mic is just the thing that picks that up. And so if you're gonna go to a coach to work with your acting and develop that, why would you not go to an audio professional to get the right mic for you to get the right setup and get started with that? Because with audio, obviously the editing and that's a learning curve and process, which you will get comfortable with, the more you work on it, same way you get better at auditioning. But getting started with a professional will stop all those stumbles that you might find along the way with just trying to figure it out yourself. Because it's not complicated. But there's definitely a lot of ways to get lost on the path if you're not with the proper information.   Anne: Yeah. And I think too, the thing for me when I started it was all about the room, the studio. And I think you don't know what you don't know. And that's why I love that you said, you know, why wouldn't you work with a professional? Because we go to coaches for performance? Why wouldn't you go to an audio professional to get help with your studio? And I think that's fantastic advice. And it's something that I ended up doing because for me it was, oh my gosh, I have to say it was so frustrating. I remember at one point I didn't have it, and I sent some audio to a client, and they're like, Anne, it sounds like you're talking into a tube. And I was mortified, and I was like, oh my gosh, maybe I shouldn't be in this industry. And I was so frustrated, I remember like physically crying, and I don't like to admit that, but I was so frustrated.   And at the time it was hard to know because I started so long ago, the internet wasn't quite a thing where we were in community groups yet. And so I didn't even know how to reach out or who to reach out to. So I think it's wonderful now that there are lots of people that we can reach out to. And I, for one, when I have a new student, I always recommend that they talk to an audio engineer to get their environment set first, and then it becomes like, oh my, my gosh. Well, what mic? And I think you're probably gonna tell us that the environment might be a little more important than that. So let's talk about what's important in a good environment for us to record in?   Gillian: Well, there's so many things to say, and just going back one second, there is no shame in crying over figuring out audio issues.   Anne: Thank you. I feel better.   Gillian: I have to say that I have at some point because they're very frustrating. It's so easy to get your wires crossed, and I'm sure we'll have longer conversations about this, but it's definitely very frustrating 'cause your voice is coming out of your mouth. Like it's like I hear it, I hear it. Why is it not in my computer? So the frustration is real, I understand that. And the reason that I do say higher professionals is because so much of your valuable time will be wasted troubleshooting these things that someone like me or any of the other pros doing this will be able to diagnose and fix in a couple seconds.   Anne: Yeah. You have the ear. You have the ear for it, which I think most people starting out in voiceover, if you don't even know the industry, how can you expect to have an ear for it?   Gillian: Exactly. And it's funny, when I was in school, I felt that there was not a lot of sound representation. I was initially in school for TV and film. And one of the first sound classes I took, the professor on the syllabus said, sound is 50% of a picture and nobody cares about it. Like picture being a movie, and for voiceover it's a hundred percent. So it's even more essential to have it, you know, that's your introduction to a client. And like you were saying, if your audio comes in not sounding right, you don't sound as professional. Doesn't matter how your read is. So that's something.   Anne: And especially since the pandemic, right? Because we can't go to professional studios anymore. So it's more important than ever that our home studios are set up properly. And even just like, again, starting out, you don't really know. And I will say that there's a ton of information on the internet. But again, there's a ton of information on the internet. So how do newcomers to the industry discern what's the good information and what's not good information? Because I certainly didn't go to school for audio engineering and I know that that's an entire field, obviously. So again, so for our environment then, what's important, what's important for us to set that up?   Gillian: Well, I think the most important thing is, within a voice, something that I listen for is crisp, clean, natural sound. I want it to sound like we're sitting together talking, but maybe a little bit better, because you know, with all the equipment you have the ability to boost some frequencies in your voice. We're basically, with audio, we're trying to mimic what our ear hears, but there's this whole other, I'm not going to get into it, but there's something called psychoacoustics, which is how panning works and stereo. And it's basically using the computer and things we can do with audio and stereo field to trick your ear into hearing things that are not exactly as they are. So we're using plugins, EQ, all of those things to make you sound your best. But some issues that I see happen a lot is, you know, incorrect recording levels, too much room tone, too much stuff going on in your environment, improper mic placement, just not speaking into the right part of the mic or having it placed the wrong way. And then there's just textural issues of needing plug-ins or other things to manipulate your voice to get it sounding its best.   Anne: Got it. So in terms of recording levels, right, I'm still thinking about the room and, and you said things are happening -- is there such a thing -- some students have mentioned this to me -- as being soundproof so that, oh gosh, I live next to an airport or the landscapers out there -- is there a way that you can create a studio that is soundproof that you won't hear those things?   Gillian: Yes. I think that it's going to be wildly out of a regular person's budget because like when you go into a recording studio, the way that they do that is they have floating floors, and basically you build a room inside of a room, and there's a bunch of ways to do it. But when you're in an isolation booth, you know there's the building and then there's the studio which is within it. So there's gonna be acoustic paneling and other things in there that help with the reflections of the sound. But realistically you'd need to build something. But that's not the only way to get really good isolated sound. You can do DIY things. I mean people go into closets to record for a reason. They're really good. I mean, I don't know if it's sustainable, you know; you need a booth if you're gonna be doing it full-time or something. But that tiny confined space that stops any reflections of sound, which would make echoes in the background, the padding of clothing that would kind of dampen everything, and that just makes it really clear for the mic to be picking up your voice.   Anne: Got it. So then if you've got a decent environment, right, that doesn't have a lot of hard surfaces and you've got the absorption so that you're not getting echo or reflection back, what then is the next thing that we wanna look at in terms of getting great sound from our studios?   Gillian: Well, I think a really important thing is recording level. I think making sure that you're coming in at the right volume, and it's kind of like, you know, Goldilocks situation. You don't wanna be too loud, you don't wanna be too quiet, you wanna kind of be just right. And a way that I gauge this, I don't really like giving numbers as like, if you are at this number, you're perfect. You're at the, you know, that's really hard. I want everyone to learn to trust your ears. But there are a few ways to measure it. So within your DAW, there's usually gonna be like a colorful meter that's going. And when you're checking that out, I like to say to be three quarters of the way up. So you don't wanna be lower than half, you don't wanna be towards the top. And I know I work primarily in Pro Tools. I know most people don't and most voice actors shouldn't. There's no need. But it's really green at the three quarters away mark, and then it starts to go orange and red and you never wanna be in the red. That audio will become unusable. But that's how I like to look at it. And I think it's simple enough for someone to look at within their DAW and see.   Anne: Now you mentioned something that, and I don't wanna get too off track 'cause I got a couple other questions I'd love for you to answer, but you mentioned that Pro Tools wasn't necessarily something that a voice actor needed. And I remember, oh gosh, back in the day, Pro Tools Lite used to come with the audio interface and so I started using Pro Tools Lite, and it was a bear. to learn. And I think that was also another thing that scared me in terms of how am I gonna be able to succeed in this industry if I cannot figure out how to use this audio editor? So if I can just kind of divert just for a minute, tell us what kind of an audio editor or your DAW, right, it's also known as a DAW, is good for today's voice talent when they first start out?   Gillian: Yeah. So DAW is, I just throw the terms around 'cause sometimes I forget like this is my language, but it's a digital audio workstation. So that's really anything you're gonna be working in. I use Pro Tools because it's a great multi-track recorder. A lot of times when I'm working in music, we usually sit around 50 to 100 tracks going on. Maybe not at at one time eventually, but you know when you're doing voiceover you have one, it's a mono recording for the most part. So I know a lot of people use Twisted Wave. I've used Twisted Wave. I think that it's great.   Anne: I love Twisted Wave.   Gillan: I know people use Audition. Audition is great. I think that really, especially starting out, you don't need anything more than Twisted Wave. I think it's affordable, I think it's great. I spend most of my time in Pro Tools. I dabble in Logic and Audition and even Audition is a little bit complicated. I can imagine being overwhelmed by it for the functionality. I don't know if it's necessary really, but I don't wanna knock it. I know people love it. Anne: Shh. Don't tell anybody, but I totally agree with you. And the reason why is because I think I started with Pro Tools Lite and I was like, oh my God, this is too much. I don't think I need it. And I think to reiterate what you're saying, we are voice actors. Unless we're producers or audio engineers, we don't need multi-tracks. I mean unless I'm putting sound effects or music under, I don't need that capacity.   Gillian: Which you can do in Twisted Wave.   Anne: And Twisted Wave for me is so simple in terms of, it's like Audacity on crack, I always say that , because Audacity is free. You get what you pay for and it's wonderful and I think a lot of people do that. But I think if you have a Mac, Twisted Wave is the way to go. What about a PC though for your DAW? What do you think? I mean 'causeTwisted Wave doesn't run natively on PC. They have an online version if I remember correctly. Or they're coming out with, I think.   Gillian: They do have an online version and from what I know they are working on it for PC. I have not had a PC since the early 2000s, my first computer. So really, I don't know, I think maybe trying the web browser version for that would work. And you know, I'd have to get a better answer for that 'cause honestly I live in the Mac universe. That's where I work.   Anne: Well, and if we wanted to get into arguments with people that listen to this about which is better Mac or PC for audio editing, I will say my own personal story is when I started outta college, I worked on systems that were Unix based. And so I was a Unix girl, and then Windows kind of came up the ranks. And when I was working in education we started using Windows servers, and so I became a PC girl. And then ultimately when I started to go into voiceover part-time and then full-time of course, I bought a really kicked up version of a Dell laptop with the most memory and everything that I thought was gonna be my computer for audio. And my audio didn't work; it wasn't compatible. And I was so upset 'cause I spent a lot of money upgrading the RAM and upgrading the space and doing everything to have a really great computer. And it didn't work.   And so for many years people said Mac, it just works for audio and creative endeavors. And I just said, well let me try it and I'll tell you what, I haven't looked back. And that's my story and I'm sticking to it. BOSSes out there, I'm not saying that one's better than the other. However, my personal experience is that the Mac just, things just work audio wise. You hook up any particular microphone or audio interface, boom. It recognizes it. I've not had issues.   Gillian: Yeah. I mean, I lived my entire life in the Mac ecosystem. Like that's how I organize my life. Obviously I've had friends and people I know -- my boyfriend has a PC, I don't know how to work it. . I mean I'm learning, but it's just, yeah. Apples and oranges, literally it is. But I think that there's a way to do it if you have a pc, don't go out and buy a Mac because we said we like them. There's a way to to work around it. But realistically, even going back to the Audition versus Twisted Wave, it's all about the interface. And really as a voice actor, from my understanding and as I work as an engineer, speed is so important. And so if you're gonna simplify your DAW for you to be able to work in it faster, like it's basically up to you where you're the most comfortable. So that's really the moral of the story.   Anne: That's a great point. It's a great point because, guys, unless you're outsourcing people to do your audio editing, you do spend a considerable amount of time, once you've recorded something, editing that. For me, I think I started off it was like a 1:5 ratio where if I did an hours worth of recording, it would take me five hours to edit it, and then as you get better -- you know, I'm about at a one to three ratio. I can't get any quicker than that. But if you're going to be spending a, a majority of your time editing, and again, like I said, unless you're outsourcing, I mean you might as well be comfortable and really consider the speed of which you can work and things that can help you to be more efficient. Let's talk a little bit about -- I see in the forums there's always, what's your noise floor? And so what's the importance of having a low noise floor?   Gillian: So noise floor is basically the sound that your gear makes because if you think about it, voice goes into a microphone, goes through an XLR cable or maybe directly into the computer, through the interface, back into the computer. That process makes a little bit of electronic noise.   Anne: And so I didn't know that actually.   Gillian: The term noise floor describes that noise. And usually they're related to room tone because, the sound around you, those are just things that end up needing to be taken out and they're kind of like white noisy or they're not, you know, the sound of a door slamming, but they are noise that end up on your audio file. So it's really important to make sure that your gain is set properly on your interface because if my gain is really quiet and I do a recording, and I need it to be loud enough to listen to, then you're gonna be stuck boosting your clip gain. And then the noise floor, everything, like all the sound that your electronics make, are gonna be super loud and proportion to the recorded sound. So that's where it all gets related. Same with room tone. Like if there's too much going on in your room, and it's picking that up more than your voice, then there's gonna be a lot more of it to take out, if that makes sense.   Anne: And I can always tell like a beginner, because they don't have their levels set. And so what'll happen is they'll set their gain like really low and then they can play their recording and they won't hear any noise. But yet when you, let's say, normalize it or you bring the the levels up, then all of a sudden it's like got some sort of shh sound and, and then that's when people are like, well no, I didn't normalize it because it makes this noise. And I'm like, well that's the stuff that you have to get rid of. So how do you get rid of the noise? I mean, what's the effective way of getting rid of that?   Gillian: Well, there's two ways to get rid of noise. There's before, you know, fixing the problems before you hit record, which is the best way to do it. And then there's post-production stuff that you can do later. And I've had people come to me with audio issues, and sometimes they are unfixable. We are not magicians. There are some things that are just, if you record so quiet and your noise floor is so loud, there's no way to take that off and have your voice not sound distorted or wrong. So the best way is isolate yourself, make sure you're in a good environment, make sure you sound okay in your booth, your DIY booth, and make sure that your gain is set properly so you're not set up for failure later. And then in post-production, there are plug-ins that you can use to kind of remove those frequencies.   So if you're getting rid of room tone, something that I use is Spectral DeNoise by Izotope RX. I think I have 8 or 9, I'm not sure what number they're up to, but really the one that I have is great. And that just you take a little, it takes like a little audio picture of the room tone and then goes throughout the audio file and just removes that frequency and tone, which is great. That's incredible. The only thing you need to have with that is a little bit of room tone noise with no speaking before or after the clips so that you know, the generator can grab it. But that's my favorite thing to use. And it works really well for slight room tone or little wind in the background if you're outside, whatever it might be. But that's like the pro plugin.   Anne: So then there's the DAW, right? And that is really based on what you're comfortable with. And depending on your platform, you can have various DAWs. We've already established that we like Twisted Wave. You use Pro Tools because of course you're an audio engineer and, and then that makes sense. You need to have that functionality. Now we've added into the mix something called Izotope to help remove certain noises. And so is that typically what most voice actors will have to buy, Izotope? Will it work within their DAW or is that when it becomes complicated?   Gillian: It's a whole thing. We could do a whole episode about plug-ins and all of that. But for the simple answer is that Izotope, they have a bunch of plug-ins, all voice related. The two that I use the most -- I have the whole suite because, you know, I work with voices all the time, and realistically you can meet with an audio engineer like me and I would say, hey, you probably need this and you need this. You don't need to buy all of them. But I use spectral de-noise the most that gets rid of the noise. And then there's also mouth de-click, which gets rid of all the little clicky -- those noises. I use that often, but I use that for music, for everything for my singing voice. I hate hearing those, um, myself. So those are the two that I use. But you can get any variation. I haven't used them within Twisted Wave just because I haven't, but I think that you can, because --   Anne: I have.   Gillian: Oh. Yes, you can integrate them into DAWs. I've used them in Pro Tools, I've used them in Logic, I've used them in Audition, and Izotope as well has its own little audio editor. So you can import a file, render it with the effect, and then import it into your DAW if you like to work that way.   Anne: So then let's talk about, okay, if you're new to the industry and you're kind of overwhelmed with all of this, you are available. Like an audio engineer can be available to help you with all of those choices. Right? You can help in terms of, let's say, somebody doesn't know what to do to make their sound better in their booth. So they can consult with you, maybe send you a sound file, and you can evaluate and then offer suggestions on how they might be able to improve their sound, right, and get rid of some of the noise. And so that also includes, right, what microphone should I get? I mean that's the other thing, right? So we've talked about how important the environment is. We've talked about DAWs and how we can do things after, you know, we record to get rid of noise. Now, how important is a microphone in terms of the quality of your sound?   Gillian: I think having a good quality microphone is very important. I personally don't think that there is a, a voiceover microphone. I think that, I know a lot of people use 416s. Those are tricky in a lot of ways. I think any large diaphragm condenser mic works really well because it's very sensitive and it picks up your voice. I have on my website a list of gear recommendations at three different price points, low to high that I recommend. But really more important than having the most expensive mic is knowing how to use that mic. And so that has to do with placement, understanding --   Anne: What do you mean by placement?   Gillian: So for mic placement, it's really about where you're positioning yourself with the mic, and knowing a mic is circular, you gotta make sure that you're singing or talking into the right part of it.   Anne: That's what I was just gonna say. Yeah. I remember once I had purchased my TLM 103 and I had it installed backwards, and so I was not speaking into the right part of the mic and I couldn't figure out why it didn't sound awesome like everybody else. And literally I had just put it upside down in my mount and then didn't realize that I was speaking into the back of it. And so that is a very important thing. Again, that's something that you can help as well with talent. So I don't want, BOSSes, if you're just new to this, I don't want you to feel overwhelmed because an audio engineer can do amazing things from remote. They don't have to be in your studio. They can really help you to set up a great environment. They can help you with selection or I guess I would say recommendations on a mic that might be good for your voice, right? Also placement, right? And where you should be speaking into that mic. And also maybe with your editing or creating what I like to call -- I have a stack that is basically something that I apply to all of my audio after I record. And that takes out the highs, the lows, does a little bit of compression. Let's talk a little bit about stacks and how they can help in the editing process.   Gillian: Can we go back to microphones for one second?   Anne: Oh yes, I'm sorry. Yeah.   Gillian: No, it's okay. Just, it's so hysterical that you say that about the microphone because --   Anne: Being backwards?   Gillian: I mean it's hard to know. It's hard to know. And something when I was in school that I was taught very early on and I never forget, and it -- I was in school, you know, for music recording, but they're all the same. So my professor would always say sing to the bling. And that means basically when you have a microphone, wherever the logo is, that's where you should be facing. A lot of people, you know, make the mistake of going, oh, I want my Telefunken logo facing out. You would think maybe that's the way it goes. And that's how it ends up backwards. But really, and it doesn't work a 100% of the time 'cause there are a few mics that the capsule doesn't work that way. But most of the time if you see a logo, talk towards that logo. And another thing for just very simple, little explanation for voice actors, if you have an option to pick a polar pattern on your mic, which will come in the instructions, it'll be on the front. You wanna do cardioid, 'cause kind of what you were talking about. Your TLM 103 was set in cardioid and you were facing the back. So all the sound was being rejected, but I know some mics come set in omni, which will increase your room noise because that means that everything around the mic is getting picked up instead of sense, just your voice. So if there's an option for cardioid, just pick cardioid. We can talk about it later, but just pick it.   Anne: Fantastic. So then let's talk again about how we can make our editing a little bit easier on us by using what -- I call them stacks. I don't know if you call them something different, but these are processes that can be applied to your audio to help take out noises. And I would say when I first got my stack, it saved me like 50% of my editing time. Otherwise I kept going in and out of my waves and removing noise, and it just was so tedious.   Gillian: Yeah. So stacks, whatever you wanna call them, it's really just a plug-in sequence, and it's stuff that every time you open it up, you have these settings, and they will save you time. And I think that everyone should have a light one that's just, you know, fixing up a few things, and then obviously the audition one because you send an audition, you wanna sound like the final job that should be a bit more processed. But that usually comes with EQ, compression, and all of those things. You know, if, if your mouth clicks are very present with your mic or with your voice, that would be on there, which would help with removing all those noises, and yeah, those things, having them set ahead of time, those can be issues that people have with audio that are just taken care of right away. But I do think that if you feel comfortable doing them yourself and you think that you can EQ yourself, then good luck, go at it . But I do think that maybe, you know, working with someone who can help you would be helpful.   Anne: I agree. I agree. And, and I will say that just because again, I did not go to school for audio engineering, so I always highly recommend working with a professional. What is it like to work with you in terms of -- let's say, a student wanted to hire you to help them with their sound. What do you do? How do you assess that?   Gillian: So my current offering that I have, which is kind of just starting point and sort of a pipeline into us working together further is I offer an audio assessment. Because there are a lot of people that are selling and selling and selling, and sometimes they sell things that people don't really need. So the audio assessment is sort of a checkpoint. We meet, it's not together, but this is, you know, our interaction. I have some pre-written copy that you'll get. You send me an audio sample, I listen, and I either say, hey, you know, you're really set, you're great, you actually don't need anything. You sound like a pro. Or hey, here are a few things that I would fix, and I address all the things that we talked about today. You know, I think that maybe your mic placement is a little bit off. I think that maybe your gain, you know , all the things I'm hearing. I would EQ it this way. I think maybe a little compression would help your voice. Just the things that I'm hearing to kind of get an engineer's ear on what you're sending to clients and how you sound. And from there we can go on and potentially, you know, build a stack together, and I'm working on building out some courses for people to learn a bit more. But that's what I have kind of right now going.   Anne: Fantastic. So now did you say is there a cost associated with the audio assessment or?   Gillian: Yes.   Anne: Okay. Yes. Okay. So BOSSes, I do believe that we have a special offering from Gillian.   Gillian: We do, we do.   Anne: Yeah. For her to assess your audio. Tell us about that.   Gillian: So for BOSSes and everyone getting involved for the next month or so, I'm gonna be running, you know, $20 off my audio assessments. For the early bird BOSSes, we are going to, for the first five people to get on my site and purchase an audio assessment using the promo code BOSSTOP5, you'll get a free audio assessment. I will kind of go over it, and Anne and I will actually be going over them on our next episode together. So you know, proceed with caution. If you don't wanna be on the show, don't do it. But the first five people will get a free audio assessment and anonymous we will go through and just kind of talk about the issues so that you can hear what I would do, what I'm hearing, just to have it as a further explanation for educational purposes, and for anyone who's not in the first five $20 off for that.   Anne: Well fantastic. I love, love, love that because first of all, as you know, I am all about education, and so I love that we're gonna actually do this stuff in our next episodes. So yeah, bosses, the first five to purchase an audio assessment using the word BOSS Top 5, BOSSTOP5 are going to get a free audio assessment, and we're gonna be on the show. So you're gonna hear Gillian live, assessing your audio, making the suggestions, and we're gonna just be learning as we go. And I love that. So Gillian, thank you so much for that. I think that's a wonderful offer, and thanks so much for being on the show. I feel like we just --   Gillian: Just scratched surface, I know.   Anne: Yes. We have so much more to come, and so BOSSes, I'm proud to announce that Gillian and I are gonna be getting together for more episodes so that we can have an entire audio themed series. And so I'm really excited. Gillian, thank you so much for today's episode and for the BOSS top five, guys, we're gonna be sending out an email. It's also gonna be on our show notes page, so make sure that you check out our VO BOSS show notes page for that offer. And wow, Gillian, thanks so much.   Gillian: Thank you so much for having me, and everybody who's listening, if you have audio questions, get in contact, reach out via Instagram, whatever you do to get a hold of BOSS Queen, Ms. Anne, and let her know 'cause we will cover everything that you wanna know. And I'm just really excited to also, you know, educate people and teach them what they need to know, what they should be hiring people for, and just get everybody sounding their best.   Anne: Okay. And that website is?   Gillian: For me, it's gillwitheg.com. Gill with the G.com. It'll, I'll be linked in the show notes. And same with social media, that's, that's where I am everywhere.   Anne: Fantastic. All right, guys, I'd like to give a great big shout-out to our sponsor, ipDTL. You too can network and connect like BOSSes. Find out more at ipdtl.com. You guys, have an amazing week and we'll see you next week. Bye.   Join us next week for another edition of VO BOSS with your host Anne Ganguzza. And take your business to the next level. Sign up for our mailing list at voBOSS.com and receive exclusive content, industry revolutionizing tips and strategies, and new ways to rock your business like a BOSS. Redistribution with permission. Coast to coast connectivity via ipDTL.

El pequeño Sean nació en Edimburgo el 25 de agosto de 1930, (Virgo). Sus padres fueron Joseph Connery, un conductor de camiones católico de origen irlándes, y Eufemia McLean, una protestante de origen escocés que trabajaba en “Limpiezas el Sol”. En 1938 nació su hermano pequeño Neil, con tó la mala suerte de sacar la cara de la madre. En casa todo el mundo lo llamaba Tom, pero en su pandilla había otro niño que se llamaba Séamus y en vez de seguir llamándolo Tom para diferenciarlos, empezaron a llamarlo Sean porque a los Escoceses les encanta vivir al límite. Y borrachos. Borrachos también. En primaria Sean era como Arévalo, pero a los 12 años la madre le compró Actimel y dio el estirón hasta alcanzar con 18 años el 1,89. En 1944, con 14 años, dejó la escuela y trabajó de pulidor de ataúdes porque los Nasis habían dejao Glasgow como si tó los edificios los hubiera diseñado Calatrava. Dos años después, en 1946, se alistó a la Marina Real, cuando ya había pasao tó, la cagona. Pero duró menos que la moda del Spinner porque le salió una úlcera duodenal y lo tuvieron que licenciar a la bulla, como a Pablo Casado. Al regresar de la Marina trabajó de peón de granja, camionero y albañil, pero le salían ronchitas cada vez que cogía un palaustre y acabó de modelo artístico por 15 chelines/hora. En 1948, a los 18 años, se mete a culturista usando el apodo “BIG TOM”, que lo mismo sirve pa un culturista, que pa una hamburguesa que pa 1 dildo. Sean tenía cuerpo pa haber hecho un muñeco y haberlo puesto al lao de la gitana encima del Telefunken, LAS COSAS COMO SON. En 1951, para ganar un dinerillo extra, trabajó en un teatro encargándose de la Tramoya y le cogieron DE ACTOR OCASIONAL. En 1953 se presentó a Mr.Universo y sólo consiguió el 3er puesto en la categoría “Hombres Altos” porque el jurado NO TENÍA NI PUTA IDEA. Connery también era muy buen centrocampista y ese mismo año 1953 casi lo ficha el Manchester United, pero lo rechazó pq antes los futbolistas a los 30 se tenían que volver a casa de la madre y él ya tenía 23. Se ganó en su pueblo la fama de “hombre duro” el día que fue atacado por 6 miembros de la pandilla “Valdor Gang” pa robarle el Xiaomi, y el cogió a dos por el pescuezo y chocó sus cabezas a lo Bud Spencer. En 1957 empezó en el cine con películas mojoneras como “No Road Back” (“No, Solo Ida”) en el que interpretaba a Spike, un gánster tartaja. No está ni puntuá en Filmaffinity. Un año después rodaría “Brumas de inquietud” interpretando a Mark Trevor, un periodista atrapado en un trío amoroso con Lana Turner. El novio de Lana, el mafioso Jhonny Stompanato, se puso celoso y se presentó en plató apuntando a Connery con una pistola de mistos (al otro no, pq era feo). Sean le dio una guantá que llegó la pistola a Cincinnati. Hasta que en 1962 le llegó la oportunidad de interpretar a James Bond. En verdá la prueba le salió regulá, fue la mujer del director que dijo que se movía como una pantera, porque POR LO QUE SEA, lo estuvo mirando hasta que se montó en el coche. La primera película de la serie fue el Dr. No, que se ahorraron un montón de dinero en vestuario porque a Úrsula Andrews sólo le dieron un bikini y una camisa mojá. Siguió haciendo pelis de James Bond hasta que se cansó de ser tan guapo y le pasó el testigo a Roger Moore, que tenían que tener cuidado, porque si tú ponías a Roger Moore cerquita de un foco, se te derretía. De 1962 a 1973 estuvo casado con la actriz Diane Cliento, con quien tuvo a su hijo Jason Connery, que le pasó lo mismo que a su tío, sacó tó la cara de la madre. Luego se casó en 1975 con Micheline Roquebrune y nunca más se tuvo q preocupar de las ruedas del coche. En 1965, rodando “Operación Trueno, por poco se lo come un tiburón porque los americanos son mucho de fallar con cosas y morirse los actores. Y en 1983, en el entrenamiento para “Nunca digas nunca jamás”, Steven Seagal le partió la muñeca, porque Sean se puso chulo y Seagal le dijo, “A mi no, ¿eh?” Desvinculado del personaje “James Bond”, rodó películas de gran éxito como la adaptación de “El nombre de la rosa”, que pueden ustedes disfrutarla audiodescrita en el programa 238. En 1987 ganó el Oscar a mejor actor de reparto por “Los intocables” y en 1989 fue elegido el hombre vivo más sexy del mundo. En esta época ya tenía en la calva los tres pelitos como Homer Simpson, el bigote que sólo le queda bien a Sean Connery y la ceja izquierda como Zapatero. 10 años despúes volvió a ser elegido, desbancando a Brad Pitt, Mel Gibson y Paul Newman, otro que qué tal. En el 2000, el gobierno británico lo nombró caballero y Sir, aunque políticamente era como Rufián, independentista flojito de sobremesa. PEEEEEERO, Sean Connery era un poco personita de mierda, porque hasta el final justificó que pegarle una guantá a una mujer pa que entrara en verea no era malo. MAL, Sean, MAL. Connery murió en 30 de octubre de 2020 en Bahamas, porque lo de pagar impuestos también lo llevaba regular, aunque ustedes siempre podrán recordarlo cuando conozcan a alguien que se merezca que Steven Seagal le rompa una muñeca.

  Tiffany Hendren is a full-time FOH Engineer currently based out of St. Louis. Performing and being in a band is what initially drove Tiffany into live music, but she realized that the combination of that passion and her interest in computers and engineering might just hold other options for her. After a few years in the military, she moved back to St. Louis and began searching for the right job in the industry. Finally, in 2015,Tiffany joined veteran Monitor Engineer Karrie Keyes as the co-director of Soundgirls.org, who's mission is to inspire and empower young women and girls to enter the world of professional audio and music production while expanding opportunities for girls and women in these fields, and to share resources and knowledge through cooperation, collaboration, and diversity. Subscribe to the Podcast: Apple: https://podcasts.apple.com/us/podcast/roadie-free-radio/id1115332289 Spotify: https://open.spotify.com/show/61e24ZD5A3oBTxO36WHQXq?si=38cac6d09f3f4fea  

Tiffany Hendren is a full-time FOH Engineer currently based out of St. Louis. Performing and being in a band is what initially drove Tiffany into live music, but she realized that the combination of that passion and her interest in computers and engineering might just hold other options for her. After a few years in the military, she moved back to St. Louis and began searching for the right job in the industry. Finally, in 2015,Tiffany joined veteran Monitor Engineer Karrie Keyes as the co-director of Soundgirls.org, who's mission is to inspire and empower young women and girls to enter the world of professional audio and music production while expanding opportunities for girls and women in these fields, and to share resources and knowledge through cooperation, collaboration, and diversity.   Subscribe to the Podcast: Apple: https://podcasts.apple.com/us/podcast/roadie-free-radio/id1115332289 Spotify: https://open.spotify.com/show/61e24ZD5A3oBTxO36WHQXq?si=38cac6d09f3f4fea

  Anthony Cioffi is a founder/partner in Boulevard Carroll Entertainment Group, one of the largest, full-spectrum backline and production companies in the country. The New York City location alone boasts a full 17,500 square foot facility, and seven state of the art production/rehearsal studios, dance-friendly mirrored/wood-floored rooms, production offices, comfortable lounges, all to meet the needs from anything from an acoustic duo to a full orchestra with room for choreography. Anthony started in the business with his twin brother, James, as successful musicians, playing up and down the East coast before realizing they could make more money supplying musicians with great backline gear and comfortable, professional environments to rehearse in. The long list of clients over the years includes U2, Bruce Springsteen, Southside Johnny, Kate Pierson, Dave Mason, Jorma Kaukonen, Keith Richards, Ronnie Spector, and many, many more. FULL Episode HERE: https://open.spotify.com/show/61e24ZD5A3oBTxO36WHQXq?si=942224c5aa644a05  

In der aktuelle Folge von Stay Forever Technik sprachen Chris und Henner über das Eingabegerät der Eingabegeräte: die Maus. Mit ein paar O-Tönen kam dabei Rainer Mallebrein zu Wort, einer der deutschen Pioniere der Rollkugeltechnik: Rainer Mallebrein wurde 1933 in Karlsruhe geboren, 1957 beendete er sein Studium als Diplom-Ingenieur und begann bei Telefunken in Konstanz zu arbeiten, wo er sich mit der Speicherung von Radarsignalen befasste, mit Fernsehkameras und Datensichtgeräten für die Flugsicherung. 1962 übernahm er die Leitung der Gruppe »Datenendgeräte für Rechenanlagen«. Dort vollbrachte er Großes im Kleinen: Er entwickelt die erste Maus, die je auf den Markt kommt. Hier dokumentieren wir das komplette Interview mit Herrn Mallebrein, bei dem wir uns herzlich für die Teilnahme bedanken! Das Gespräch führte Henner Thomsen, den Schnitt übernahm Lars Rühmann, die redaktionelle Bearbeitung Christian Schmidt.

Anthony Cioffi is a founder/partner in Boulevard Carroll Entertainment Group, one of the largest, full-spectrum backline and production companies in the country. The New York City location alone boasts a full 17,500 square foot facility, and seven state of the art production/rehearsal studios, dance-friendly mirrored/wood-floored rooms, production offices, comfortable lounges, all to meet the needs from anything from an acoustic duo to a full orchestra with room for choreography. Anthony started in the business with his twin brother, James, as successful musicians, playing up and down the East coast before realizing they could make more money supplying musicians with great backline gear and comfortable, professional environments to rehearse in. The long list of clients over the years includes U2, Bruce Springsteen, Southside Johnny, Kate Pierson, Dave Mason, Jorma Kaukonen, Keith Richards, Ronnie Spector, and many, many more. FULL Episode HERE: https://open.spotify.com/show/61e24ZD5A3oBTxO36WHQXq?si=942224c5aa644a05

  PEEKING BEHIND THE CURTAIN: ROCK ‘N' ROLL LIFE ON THE ROAD Join me as I take the stage with legendary Audio Engineer, Robert “Nite Bob” Czaykowski, and veteran Tour Manager Rich Nesin, as we take a look at two extraordinary careers in the music business spanning the last fifty years. Both Rich and Nite Bob have deep roots in the industry that start against the backdrop of the late ‘60's, early ‘70's, and include such artists as Bob Dylan, Aerosmith, Steely Dan, Iggy Pop, Steel Pulse, New York Dolls, Rich Robinson, Kiss, Ace Frehley, and Blue Oyster Cult. This episode was recorded on Saturday, December 8, at Lagond Music in Elmsford, NY. FULL Episode HERE: https://open.spotify.com/episode/2M8ssxFWfSZ0b5cMj5DZJv?si=2MvWAgUMTnemM-rCkWh_Rw  

PEEKING BEHIND THE CURTAIN: ROCK ‘N' ROLL LIFE ON THE ROAD Join me as I take the stage with legendary Audio Engineer, Robert “Nite Bob” Czaykowski, and veteran Tour Manager Rich Nesin, as we take a look at two extraordinary careers in the music business spanning the last fifty years. Both Rich and Nite Bob have deep roots in the industry that start against the backdrop of the late ‘60's, early ‘70's, and include such artists as Bob Dylan, Aerosmith, Steely Dan, Iggy Pop, Steel Pulse, New York Dolls, Rich Robinson, Kiss, Ace Frehley, and Blue Oyster Cult. This episode was recorded on Saturday, December 8, at Lagond Music in Elmsford, NY. FULL Episode HERE: https://open.spotify.com/episode/2M8ssxFWfSZ0b5cMj5DZJv?si=2MvWAgUMTnemM-rCkWh_Rw

Charles Twilling is an industry veteran with over twenty-five year's of experience as a touring professional. He's been a Tour Manager, Production Manager, Stage Manager, Systems Tech, venue owner, artist liaison, and more. His zero-tolerance policy for bullying, sexism, racism, or negativity of any kind on his tours has not only earned him the respect of his peers but also the seal of approval from many of the A-list artists he has served, including the Teskey Brothers, Beats Antique, Jackie Greene, The Motet, Bob Weir, the Mother Hips, and John Mayer. FULL Episode HERE: https://open.spotify.com/episode/2M8ssxFWfSZ0b5cMj5DZJv?si=2MvWAgUMTnemM-rCkWh_Rw  

Nasceu em Jaguaruna, mas cresceu e viveu boa parte da vida em Criciúma. Filho de comerciantes, com o passar dos anos, o pai tornou-se representante comercial, ofício que desempenhou por 32 anos. Seguindo o exemplo do pai, assumiu o negócio da família e deu sequência ao trabalho de representante comercial da marca alemã Telefunken, rádios, televisores e componentes eletrotécnicos. Nesse cargo, teve a oportunidade de conhecer diversas cidades do estado. Ficou no cargo por alguns anos, até que aceitou o convite para trabalhar nas empresas do Grupo Fidelis Barato, pertencentes a família da esposa Astrid. Há 12 anos, fixou residência em Lauro Müller onde atualmente exerce atividade ligada ao setor pecuarista, com criação de gado de corte e outros animais. Na edição #127 do Bate Papo, que foi ao ar nesta terça-feira, dia 13, o empresário Carlos Alberto Mendonça, o Grilo, como é popularmente conhecido, contou um pouco de sua trajetória de vida. A rotina como representante comercial, a carreira como piloto de alta velocidade, o acompanhamento dos trabalhos para reabertura da mineração em Lauro Müller, política e as atividades pecuaristas, foram alguns temas abordados durante o programa. Ouça abaixo a íntegra do programa:

durée : 00:57:23 - Disques de légende du vendredi 09 septembre 2022 - Le violoniste Christian Ferras et le pianiste Pierre Barbizet une amitié sans faille

Charles Twilling is an industry veteran with over twenty-five year's of experience as a touring professional. He's been a Tour Manager, Production Manager, Stage Manager, Systems Tech, venue owner, artist liaison, and more. His zero-tolerance policy for bullying, sexism, racism, or negativity of any kind on his tours has not only earned him the respect of his peers but also the seal of approval from many of the A-list artists he has served, including the Teskey Brothers, Beats Antique, Jackie Greene, The Motet, Bob Weir, the Mother Hips, and John Mayer.   FULL Episode HERE: https://open.spotify.com/episode/2M8ssxFWfSZ0b5cMj5DZJv?si=2MvWAgUMTnemM-rCkWh_Rw

Unterwegs in Schleswig-Holsteins Schallplattenstadt. In vierzig Jahren produzierte das Werk in Nortorf hunderte Millionen von Tonträgern. Das Aus kam 1989. Nun kehrt die Schallplatte auf das Gelände der einstigen Teldec-Press Schallplattenfabrik zurück. Wir trafen Dr. Thomas Perkuhn vom Deutschen Schallplattenmuseum in Nortorf.

  Arica Rust is a live sound engineer specializing in Front-Of-House systems engineering based in the San Francisco Bay Area. Her expertise lies in designing, deploying, and optimizing sound reinforcement systems tailored to the client's or artist's needs. She is an expert in L-Acoustics and advanced user in d&b audiotechnik systems. She also has extensive experience as a monitor engineer, mix engineer, stage tech, RF coordinator, and communications specialist. Born in Oakland, California, Arica came into audio with a passion to shape how the audience experiences music. Her love of music and technology led her to receive trade certificate in Live Sound and Sound Recording from City College of San Francisco as well as a Bachelor's Degree in Broadcasting and Electronic Media Arts with a focus in Audio Production from San Francisco State University. Arica currently works for Sound On Stage, Inc., providing audio production services for a wide range of events from high profile corporate entertainment to large-scale music festivals. Full Episode here: https://open.spotify.com/show/61e24ZD5A3oBTxO36WHQXq?si=2727433f968248d5 The Following links are affiliate links! Each sale helps our channel out at no additional cost to you. My VLOG & Streaming camera: https://amzn.to/3nEuIh2 The VLOG Lens: https://amzn.to/2y4Zrjd The ALL PURPOSE lens: http://amzn.to/2vPGayB My OTHER lens: https://amzn.to/38OVlfb My MAIN PODCAST mic: https://roswellproaudio.com/products/mini-k87 My OTHER podcast mic: https://amzn.to/3nK9oGQ Create ‘n Cast Bundle from SHURE & Focusrite: https://amzn.to/2LTUTTv The camera CAGE I use: http://amzn.to/2fWUwI2 My DESKTOP mixer: https://amzn.to/39yiSzZ My AUDIO interface: https://amzn.to/2LRF53W BEST FIELD recorder: http://amzn.to/2wfzCYI My FAVORITE mic stands: http://amzn.to/2xnBn6d Roadie Free Radio Merch: http://www.roadiefreeradio.com/merch/ RFR Website: http://www.roadiefreeradio.com  

6 years ago this week I launched the podcast ROADIE FREE RADIO and it's changed my life! Thank you for listening, watching, subscribing, and supporting! Subscribe to the Podcast: Apple: https://podcasts.apple.com/us/podcast/roadie-free-radio/id1115332289 Spotify: https://open.spotify.com/show/61e24ZD5A3oBTxO36WHQXq?si=38cac6d09f3f4fea Roadie Free Radio Podcast Bundle: Code: roadiefreeradio https://one-of-one-productions.myshopify.com/products/the-roadie-free-radio-audio-kit

ROADIES!! Dropping a special episode today to give some support to one of the roads best; STEVE WALSH, monitor engineer for Tool, Moby, Blink 182, The Black Crowes, Foo Fighters, and many more. Steve has been diagnosed with stage 3 colon cancer and there is a Gofund me page set up. Here's the link: https://gofund.me/24e25386 Also, from now until April 30th, 2022 all sales of our merch will be donated to the Gofund me to help Steve and his family. Grab a sticker, button, magnet, or keychain to show your support: http://www.roadiefreeradio.com/merch Thanks for listening, stay safe out there!

Peter Kurz is a patent attorney from Germany who fulfilled a lifelong dream by writing a technological thriller set in the early days of the radio industry. The Marconi-Patent weaves together historical events and people into a tale of intrigue, danger, and romance. What's even better, it features the Telefunken transmission site in West Sayville! On today's episode we discuss Peter's background and the state of radio circa 1914 when Britain was at war with Germany in Europe and the British Marconi Company was at war with the German Telefunken Company in a courtroom in New York. Peter's book is currently only available in German but he is working on an English translation so stay tuned! Links: Das Marconi-Patent by Peter Kurz Grimeton Radio Station, Sweden

Arica Rust is a live sound engineer specializing in Front-Of-House systems engineering based in the San Francisco Bay Area. Her expertise lies in designing, deploying, and optimizing sound reinforcement systems tailored to the client's or artist's needs. She is an expert in L-Acoustics and advanced user in d&b audiotechnik systems. She also has extensive experience as a monitor engineer, mix engineer, stage tech, RF coordinator, and communications specialist. Born in Oakland, California, Arica came into audio with a passion to shape how the audience experiences music. Her love of music and technology led her to receive trade certificate in Live Sound and Sound Recording from City College of San Francisco as well as a Bachelor's Degree in Broadcasting and Electronic Media Arts with a focus in Audio Production from San Francisco State University. Arica currently works for Sound On Stage, Inc., providing audio production services for a wide range of events from high profile corporate entertainment to large-scale music festivals. Full Episode here: https://open.spotify.com/show/61e24ZD5A3oBTxO36WHQXq?si=2727433f968248d5 The Following links are affiliate links! Each sale helps our channel out at no additional cost to you. My VLOG & Streaming camera: https://amzn.to/3nEuIh2 The VLOG Lens: https://amzn.to/2y4Zrjd The ALL PURPOSE lens: http://amzn.to/2vPGayB My OTHER lens: https://amzn.to/38OVlfb My MAIN PODCAST mic: https://roswellproaudio.com/products/mini-k87 My OTHER podcast mic: https://amzn.to/3nK9oGQ Create ‘n Cast Bundle from SHURE & Focusrite: https://amzn.to/2LTUTTv The camera CAGE I use: http://amzn.to/2fWUwI2 My DESKTOP mixer: https://amzn.to/39yiSzZ My AUDIO interface: https://amzn.to/2LRF53W BEST FIELD recorder: http://amzn.to/2wfzCYI My FAVORITE mic stands: http://amzn.to/2xnBn6d Roadie Free Radio Merch: http://www.roadiefreeradio.com/merch/ RFR Website: http://www.roadiefreeradio.com

Enjoy this week's episode of Redolence Radio hosted by DJ INO, one of the Spanish DJs and producers who has most defended the Deep House sound since the mid-90s. His career began in Spain in 1995 with impeccable work directing different clubs such as Telefunken, House Café... Two clubs that were key at the beginning of his career. As a producer, he released his music on labels such as Seven Villas Music, Be Adult Music, KMT Records, Republic Music NYC, House Cafe Music, Objektivity, Open Bar Music, Muna Musik, Café Del Mar Music, Nordic Trax or Seasons Recordings among many others. His Discography consists of 5 Albums and more than 30 Eps on the market. His music has been remixed by artists such as DJ Vibe, Charles Webster, DJ Spinna, Vincenzo, Nickodemus, Tigerskin, Motorcitysoul, Pablo Bolivar, Luna City Express and many others. That wisdom inside a dj-booth took DJ Ino playing records around the Globe. He is considered by critics as the magician of impossible mixes, a restless mind and one of the outstanding characters in the national Clubbing scene. DJ Ino released the documentary "Jackmania - It's All About House Music" where he reviews his career told in third person, and where he has the collaboration of more than 50 DJs on the set. Something made from the deepest part of his heart. He is currently resident of Jockey Club Ibiza and Kumharas Ibiza, part of the Ibiza Sonica Radio team with his Dance Criminal Radio Show, broadcasted every Saturday afternoon. Enjoy this week's episode of Redolence Radio hosted by DJ INO, including Leo Guardo, Toshi - Sikhanyisele along tracks from Redolent Tribes Vol 1 on Redolent! Enjoy this Organic Deep musical journey with DJ INO! 01 Bodaishin feat. Shrii - Street Sleepers Feat Shrii (David Orin Remix) 02 Didje Doo feat. The Spy From Cairo - Black Sand 03 Leo Guardo, Toshi - Sikhanyisele - REDOLENT 04 Sparrow & Barbossa - Mathura - REDOLENT 05 Space Food - Miracle - REDOLENT 06 Pistolshrimp, Leo Guardo - Moments (Leo Guardo Remix) 07 LUCERO - Matafiyi 08 Band&Dos, Andres Guerra (VEN) - El Santo (DJ Ino Edit) - REDOLENT 09 Snokie, HyperSOUL-X - Love Me Hard (Instrumental Mix) 10 DJ Ino, MC Johnny Def - The Traveler This show is syndicated & distributed exclusively by Syndicast. If you are a radio station interested in airing the show or would like to distribute your podcast / radio show please register here: https://syndicast.co.uk/distribution/registration

Arica Rust is a live sound engineer specializing in Front-Of-House systems engineering based in the San Francisco Bay Area. Her expertise lies in designing, deploying, and optimizing sound reinforcement systems tailored to the client's or artist's needs. She is an expert in L-Acoustics and advanced user in d&b audiotechnik systems. She also has extensive experience as a monitor engineer, mix engineer, stage tech, RF coordinator, and communications specialist. Born in Oakland, California, Arica came into audio with a passion to shape how the audience experiences music. Her love of music and technology led her to receive trade certificate in Live Sound and Sound Recording from City College of San Francisco as well as a Bachelor's Degree in Broadcasting and Electronic Media Arts with a focus in Audio Production from San Francisco State University. Arica currently works for Sound On Stage, Inc., providing audio production services for a wide range of events from high profile corporate entertainment to large-scale music festivals. Full Episode here: https://open.spotify.com/show/61e24ZD5A3oBTxO36WHQXq?si=2727433f968248d5 The Following links are affiliate links! Each sale helps our channel out at no additional cost to you. My VLOG & Streaming camera: https://amzn.to/3nEuIh2 The VLOG Lens: https://amzn.to/2y4Zrjd The ALL PURPOSE lens: http://amzn.to/2vPGayB My OTHER lens: https://amzn.to/38OVlfb My MAIN PODCAST mic: https://roswellproaudio.com/products/mini-k87 My OTHER podcast mic: https://amzn.to/3nK9oGQ Create ‘n Cast Bundle from SHURE & Focusrite: https://amzn.to/2LTUTTv The camera CAGE I use: http://amzn.to/2fWUwI2 My DESKTOP mixer: https://amzn.to/39yiSzZ My AUDIO interface: https://amzn.to/2LRF53W BEST FIELD recorder: http://amzn.to/2wfzCYI My FAVORITE mic stands: http://amzn.to/2xnBn6d Roadie Free Radio Merch: http://www.roadiefreeradio.com/merch/ RFR Website: http://www.roadiefreeradio.com  

Austin Schroeder is a Monitor Engineer based out of San Diego, California, who is currently in rehearsals for the highly anticipated Rage Against the Machine tour. An Iowa native, Austin started on piano at a young age, setting the groundwork for a deep and lifelong understanding and appreciation of music. His teenage years saw him develop more into a bassist, which he played in several jazz bands before ultimately ending up at Full Sail University, hoping for a degree in music recording. After moving to Nashville to work at the famed Blackbird studios, Austin tired of studio life and decided that perhaps he was better suited to life on the road and the more spontaneous feel of live music. A misunderstanding during his interview process at Clair Bros led to an opportunity at a smaller Pennsylania-based company, Allusions Lighting and Sound Production. It was here, that Austin's fate was set, and his career began to flourish. Among the artists that he has worked with are Iggy Azaelia, Foo Fighters, Audioslave, Tom Morello, and Lupe Fiasco. In 2019, Austin was awarded the Parnelli award for Monitor Mixer of the year. Full Episode Here: https://open.spotify.com/episode/7BHIXX87IunFWp8jAXkv80?si=AGaAKqVQTfSVT64RyGRpXg The Following links are affiliate links! Each sale helps our channel out at no additional cost to you. My VLOG & Streaming camera: https://amzn.to/3nEuIh2 The VLOG Lens: https://amzn.to/2y4Zrjd The ALL PURPOSE lens: http://amzn.to/2vPGayB My OTHER lens: https://amzn.to/38OVlfb My MAIN PODCAST mic: https://roswellproaudio.com/products/mini-k87 My OTHER podcast mic: https://amzn.to/3nK9oGQ Create ‘n Cast Bundle from SHURE & Focusrite: https://amzn.to/2LTUTTv The camera CAGE I use: http://amzn.to/2fWUwI2 My DESKTOP mixer: https://amzn.to/39yiSzZ My AUDIO interface: https://amzn.to/2LRF53W BEST FIELD recorder: http://amzn.to/2wfzCYI My FAVORITE mic stands: http://amzn.to/2xnBn6d Roadie Free Radio Merch: http://www.roadiefreeradio.com/merch/ RFR Website: http://www.roadiefreeradio.com

Richard Dillman grew up in Westbury and was soon on track for a life pursuing radio history. After getting his ham radio license in the late 1950s, he began unravelling Long Island's radio secrets and visiting the area's important sites: WSL in Amagansett, RCA in Rocky Point, Press Wireless in Brentwood and, yes, the old Telefunken site in West Sayville. On today's episode he describes the allure of the great stations of radio's earliest days, the ship-to-shore and transoceanic stations and towers that sent Morse code through the air for profit.  His greatest achievement came on the west coast. Founding the Maritime Radio Historical Society, he went on to help save and re-open station KPH at Point Reyes to the north of San Francisco. Links Maritime Radio Historical Society An Overview of Long Island's Wireless History The Telefunken Station in Sayville Grimeton Radio Station

Today's episode is a special cross-over with the Long Island History Project as we bring you the story of the Telefunken site in West Sayville. This forgotten story in radio history involved the technological titans of the day, Tesla and Marconi, along with Germany's Telefunken company, one of the most advanced concerns in the world. The station Telefunken built in West Sayville in 1912 was unrivaled. It was embraced by the local community - until the outbreak of war in 1916. Things turned decidedly darker after that. Connie Currie describes for us her efforts, along with other radio enthusiasts, to try and save the site and existing buildings in the 1990s. Joe Sikorski joins us to discuss his new film, Invisible Threads: From Wireless to War, which documents the early days of the site and how it helped pull the US into World War I. You can catch a sneak preview of Invisible Threads this Friday, November 12th, at Lessing's Bourne Mansion in Oakdale. Tickets are only available online through the Tesla Science Center, our co-sponsors.  Hope to see you there!

Welcome to our 150th episode! Connie Currie is back to bring us the story of the Telefunken site in West Sayville and how she and a dedicated band of radio enthusiasts tried to save it back in the mid-90s, how they failed, and how out of the ashes the Long Island Radio & Television Historical Society (LIRTVHS) was formed. You'll also hear from filmmaker Joe Sikorski on his new documentary, Invisible Threads: From Wireless to War. LIRTVHS has been working with Joe to bring the Telefunken story to the big screen and that day has arrived. This Friday, November 12th, you can attend a sneak preview at Lessing's Bourne Mansion in Oakdale. (Tickets available online only here). It's a story of technological innovation, of espionage, local, national, and international politics, and more. It features Marconi, Tesla, Armstrong, the Secret Service, Suffolk County News editor Francis Hoag, and a cast of thousands. Plus - it's all narrated by the great Tony Todd. This episode is a cross-over with The Radio Tower #36, the official podcast of LIRTVHS. We hope to see you on the 12th!

Cap

Scott Adamson is a touring FOH audio engineer and the founder of The Production Academy, an online school dedicated to helping musicians and sound engineers get the technical knowledge they need to have successful shows. A California native who has been working in the music industry since the late 1990's, Scott moved to Iowa with his family in his early teens, and it was there that he started playing the drums. His musical ambitions led him to play in several bands and he slowly developed an interest in the live sound aspect of the shows as well. He was part-owner of Semaphore Recording studios in Chicago during the 2000s, but the excitement of travel and working in live music production ultimately drew him to focus on touring as a full-time career. During the past 20 years, he's toured with artists like Haim, Passion Pit, St. Vincent, Sleater-Kinney, Matt and Kim, Ingrid Michaelson, and The Hold Steady, among many more. Realizing that there was a lack of quality education in the live music industry, and discovering a love for sharing his knowledge with others, Scott gathered his resources and launched www.theproductionacademy.com. In just a few short years he's reached an international audience, and has garnered the support of many of the industry's top engineers. FULL Episode HERE: https://soundcloud.com/roadiefreeradio/135-scott-adamson-foh-founder

  Rachael Moser is a System Engineer/Crew Chief from Clair Global who is currently based out of Nashville, TN. Over the last ten years she has worked as a PA Tech, Monitor Systems Tech, RF Tech, and Monitor Mixer. Rachael attended Belmont University, and received her BS degree from the Audio Engineering Technology program while also minoring in business. After a few early gigs during school with Clair, Rachael knew that that was the company she wanted to work for. She started by working in the shop testing cables and helping out in whatever department needed her. This was valuable training and her patience would pay off over the years as she steadily moved up the ranks and learned how successful tours were put together. Full episode here: https://soundcloud.com/roadiefreeradio/181-rachael-moser-monitor  

Timothy Burkhead is a Tour Manager, Production Manager, FOH Engineer, entrepreneur and percussionist currently based out of Nashville, TN. He is the co-founder of TMinc.live, and All Access Advance, an online system for automated show advancing and tour management. The optimized system prepares and streamlines site specifications, travel & transportation, and budget settlement for touring pro's on the road. Timothy is originally from Oxford, MS. and grew up in a musical household that was also dedicated to community work and the core belief of doing what you can to stay positive and be a core member of your community. Over the last several years he has worked with Moon Taxi, Bea Miller, R.LUM.R, and The Head and The Heart.   Full Episode here: https://soundcloud.com/roadiefreeradio/183-timothy-burkhead-foh-pm-tm

Rachael Moser is a System Engineer/Crew Chief from Clair Global who is currently based out of Nashville, TN. Over the last ten years she has worked as a PA Tech, Monitor Systems Tech, RF Tech, and Monitor Mixer. Rachael attended Belmont University, and received her BS degree from the Audio Engineering Technology program while also minoring in business. After a few early gigs during school with Clair, Rachael knew that that was the company she wanted to work for. She started by working in the shop testing cables and helping out in whatever department needed her. This was valuable training and her patience would pay off over the years as she steadily moved up the ranks and learned how successful tours were put together. Full episode here: https://soundcloud.com/roadiefreeradio/181-rachael-moser-monitor

NAMM 2020 – Music Industry Big Picture – with Telefunken CEO, Toni Roger Fishman.

We were at the Sayville Public Library on Nov. 10th commemorating World War I and its effect on radio history. You'll hear from documentary film maker Joe Sikorski on his latest project chronicling the Telefunken site in Sayville. Built, owned and operated as a German radio station, Telefunken played a pivitol role in the United State's entry into the war. We also talk with LIRTVHS board member John Vuolo on a unique piece of radio equipment we recently added to our collection. Radio was one of the cutting edge technologies being adapted by the military in World War One, even to the point of bolting receivers into biplanes.