Podcasts about uad

In this episode, Jim, Hal, and special guest Jared Preisler dive into the brand-new URAR and what it means for appraisers. From market analysis to the sales comparison approach, we're breaking down how appraisals are evolving (and why it's not as scary as it sounds). Plus, hear all about the exciting post-event CE opportunities at Valuation Expo, in partnership with the Appraisal Institute. If you've ever thought, “Maybe it's time to retire,” hold that thought and listen to this first!Learn more about these two new courses and register here: https://www.valuationexpo.com/#registerAt The Appraisal Buzzcast, we host weekly episodes with leaders and experts in the appraisal industry about current events and relevant topics in our field. Subscribe and turn on notifications to catch our episode premieres every Wednesday!

What is the best audio plugins subscriptions Of 2025? Was it waves audio, UAD, native instruments , Output? Should avid have more in their offering for their subscriptions? Are subscriptions advantageous to someone new coming into audio? Would you pay for a fabfilter subscription? Lets find out Follow Colossal for more info➡️https://colossal.fmhttps://www.instagram.com/colossal_apphttps://www.tiktok.com/@colossal.apphttps://www.youtube.com/@colossal-app➡️ Get Our Rosetta Plugins: https://cutt.ly/RwAEmuRF➡️ Our Site: https://www.helpmedevvon.com Please subscribe to our YouTube and rate our podcast it helps us a lot!➡️ https://linktr.ee/mystudionerdsFollow Ushttps://www.instagram.com/helpmedevvon➡️Join this channel to get access to perks:https://www.youtube.com/channel/UCGyDjbX9F9ARt_8sgv5kGDg/joinFollow The CastDevvon Terrellhttps://instagram.com/helpmedevvonLJhttps://instagram.com/prodbyljeanHere is L.Jean channel! https://youtube.com/@SweataWeathaCourtney Taylorhttps://instagram.com/officialcourtneytaylor#podcast #mixing #mastering

Big changes are on the horizon! In this episode, we're diving into the upcoming UAD updates and what they mean for the industry. And who better to break it all down than the newest Valuation Visionary, Liz Green? We'll discuss the road ahead, the challenges of industry-wide adoption, and how to get everyone on the same page. Plus, Liz shares what this prestigious recognition means to her and the impact she's had on the field. Tune in for an insightful conversation on the future of valuation.At The Appraisal Buzzcast, we host weekly episodes with leaders and experts in the appraisal industry about current events and relevant topics in our field. Subscribe and turn on notifications to catch our episode premieres every Wednesday!

Last fall, we put out a call for nominations for our first inaugural Buzzy Awards. We wanted to recognize outstanding appraisers and firms and others in the industry from around the country. In this episode, we sit down with our Buzzy Award winner for Lender of the Year!

In part one of this interview series, Bryan sits down with Lyle Radke of Fannie Mae to talk about hybrid appraisals. For parts two and three, Lyle will come back and talk about market conditions adjustments and the new report (UAD and policy). 

Send us a textWhat goes into creating top-tier appraisal education? In this episode of Beyond the Numbers, host Kevin Hecht sits down with Jo Traut, Director of Appraisal Training at McKissock Learning, to pull back the curtain on how appraisal courses are designed, developed, and refined to meet the evolving needs of the profession.From the importance of specialization to the intricate process of crafting engaging, standards-compliant coursework, Jo shares valuable insights on how education shapes an appraiser's success. Whether you're a new appraiser looking for guidance or a seasoned pro aiming to stay ahead of industry changes—like the upcoming UAD updates—this conversation highlights why continuous learning is key.

In this episode, Hal sits down with Tony Washington, aka The Giant Appraiser, to explore his unique journey into the appraisal industry. Tony shares how his unconventional start shaped his approach and why he's a fierce advocate for appraisers embracing social media to grow their businesses.Listen in as Tony discusses:The lessons he's learned firsthand from marketing online.Actionable tips for anyone hesitant to dive into social media marketing.His passion for training and empowering the next generation of appraisers.How emerging technologies and changes like UAD updates are setting up new appraisers for success.At The Appraisal Buzzcast, we host weekly episodes with leaders and experts in the appraisal industry about current events and relevant topics in our field. Subscribe and turn on notifications to catch our episode premieres every Wednesday!

In this informative episode, host Phil Treadwell welcomes Freddie Mac's Scott Reuter to discuss the myths and trends surrounding appraisals and valuations. As the Chief Appraiser and Director of Property Valuation at Freddie Mac, Scott talks about Uniform Appraisal Dataset (UAD) redesign and how to get prepared, appraisal quality, and alternative valuation options. Scott shares his knowledge on these topics and gives an inside look into the current and emerging trends of the market today. Don't miss this episode for insights on new and improved things coming from Freddie Mac and how they benefit mortgage professionals! With over 35 years of experience in appraisal and collateral risk management, Scott has held leadership roles at Bank of America, Goldman Sachs, and GE. Recently, he was honored as the 2021 Valuation Visionary by the Collateral Risk Network and received GE's Americas Award for Outstanding Contribution to the Business. 00:20 Meet Scott 01:45 Alternative Valuation Options 05:05 Property Data Report Collection Myths 09:20 ACE, PDR, UPD, and More 13:35 Not Just One and Done 15:50 Bettering Appraisal Practices 20:45 Potential Biased Words and Phrases 24:00 UAD Redesigned 29:45 Appraisals = More Objective 31:25 Thorough, Complete, and Data-Driven  35:50 Timeline to the Finished Product 39:00 Talk to Your Appraiser Check out these UAD resources: https://sf.freddiemac.com/tools-learning/uniform-mortgage-data-program/uad LEARN MORE ABOUT M1 ACADEMY COACHING If you are enjoying the MME podcast, please take a second and LEAVE US A REVIEW. And JOIN the M1A Text Community: 214-225-5696   

Join Bryan and his guest, software developer Jeff Bradford, as they discuss the end of appraisal forms and the new reports that are coming very soon. Jeff and Bryan also talk about new information recently published on Fannie Mae's website that will give you additional insight about the report. To learn more about the new UAD, see Jeff's video, "Building a Bridge to the Future."

On this week's episode, we sit down with Jake Williamson, Fannie Mae's Senior Vice President of Single-Family Collateral & Quality Risk Management, to explore the exciting advancements reshaping the appraisal industry. From the new UAD to recent tech advances, Jake shares insights on how technology and data are transforming the way appraisals are done. Discover what appraisers and lenders can expect in the months ahead and how these changes aim to streamline processes, improve efficiency, and create a more robust foundation for property valuation.At The Appraisal Buzzcast, we host weekly episodes with leaders and experts in the appraisal industry about current events and relevant topics in our field. Subscribe and turn on notifications to catch our episode premieres every Wednesday!

Does FHFA's big announcement about expanding appraisal waiver eligibility signal the end for appraisers? Join Bryan's guests, Mark Verrett and Jeff Morley, to answer these questions. They'll also talk about their new podcast, "Market Moves with Mark and Jeff," and the newly announced timed outline for UAD. They might even predict who'll win the presidential election! By the time this goes live (we recorded the episode on 11/1), we'll know how their forecasting played out.

What are the best modeling microphones for the studio? Justin Colletti shoots out the top options from Universal Audio, Antelope and Slate, including the LX, Edge, M1 and more Article Version: https://sonicscoop.com/what-is-the-best-modeling-mic-top-models-compared-uad-antelope-slate/ Microphone Links: Universal Audio Sphere: https://sweetwater.sjv.io/c/3177824/794166/11319?u=https://www.sweetwater.com/store/search.php?s=Universal%20Audio%20Sphere Universal Audio Standard: https://sweetwater.sjv.io/c/3177824/794166/11319?u=https://www.sweetwater.com/store/search.php?s=Universal%20audio%20standard Antelope Audio Edge: https://www.bhphotovideo.com/c/search?N=0&InitialSearch=yes&Ntt=Antelope%20Edge&BI=20084&KBID=13882&SID=DFF Antelope Audio Axino: https://www.bhphotovideo.com/c/search?N=0&InitialSearch=yes&Ntt=Antelope%20axino&BI=20084&KBID=13882&SID=DFF Slate VSM: https://sweetwater.sjv.io/c/3177824/794166/11319?u=https://www.sweetwater.com/store/search.php?s=Universal%20audio%20standard ►Mixing Breakthroughs: https://mixingbreakthroughs.com ►Compression Breakthroughs: https://compressionbreakthroughs.com ►Mastering Demystified: https://MasteringDemystified.com ►Become a Member! Join this channel for access to perks: https://www.youtube.com/channel/UCqEKv3KIZoZrjv2LymD3iMg/join

In this episode, we welcome back Ernie Durbin, Chief Valuation Officer at Voxtur, and a frequent guest on the Appraisal Buzzcast. Ernie has just wrapped up a highly insightful 3-part series on the upcoming UAD changes, and he's here to share some key takeaways for those who might have missed it. We dive into the potential impact of these updates on appraisers, the learning curve involved, and whether these changes could ultimately simplify your work.You can read Ernie's 3-part series at the links below:1. From Forms to Reports: A Look at the UAD Overhaul (https://appraisalbuzz.com/from-forms-to-reports-a-look-at-the-uad-overhaul/)2. The New UAD: “Don't Borrow Trouble.” (https://appraisalbuzz.com/the-new-uad-dont-borrow-trouble/)3. The New UAD: Practical Implications (https://appraisalbuzz.com/the-new-uad-practical-implications/)At The Appraisal Buzzcast, we host weekly episodes with leaders and experts in the appraisal industry about current events and relevant topics in our field. Subscribe and turn on notifications to catch our episode premieres every Wednesday!

In this episode, Bryan tackles a hot topic from a practicing appraiser: the appropriate form for final inspections on new constructions for FHA loans. He provides a detailed answer based on HUD policy and also delves into a compelling "What If?" scenario that could reshape your approach.But that's not all! Bryan also shares exciting insights from his recent visit to Fannie Mae's Headquarters in Dallas. Discover firsthand what's on the horizon, including the significant move towards the imminent new UAD, which will replace all existing appraisal forms.Tune in for essential guidance and updates that could impact your practice!

In today's episode, Hal sits down with Jake Lew from Aivre (pronounced like "ivory"). Aivre was a standout at Valuation Expo, where their innovative approach had everyone talking (even if they weren't quite sure how to pronounce it!). Jake offers insights into how Aivre is revolutionizing the process of appraisal—including how to prepare for the new UAD transition and strategies to ease into this change with confidence, even if you're hesitant about the new system.Fill out the Buzzy Awards nomination form here: https://bit.ly/Buzzy2025At The Appraisal Buzzcast, we host weekly episodes with leaders and experts in the appraisal industry about current events and relevant topics in our field. Subscribe and turn on notifications to catch our episode premieres every Wednesday!

Let's talk about change — and not the jingle in your pockets. Change is coming in the appraisal world, likely the biggest change ever for residential appraising. The new UAD is finally in sight. The train is coming. Are you getting on board or letting it pass by? Listen in as Bryan interviews someone who knows all about how we resist change and ways we can learn to adapt. In fact, he wrote the book on it.MENTIONED IN THE EPISODE:Build for Tomorrow: An Action Plan for Embracing Change, Adapting Fast, and Future-Proofing Your Career, by Jason FeiferThe Appraisal Summit 2024September 14-17, Planet Hollywood, Las Vegasappraisalsummit.net

Has back to the future died? #UaD

Orgazm olmak ya da orgazm olmamak, işte bütün mesele bu mu? Sorusunu Psikiyatr Dr. Seven Kaptan ile cevaplamaya çalıştığımız bu bölümde, orgazmın ne olduğunu; boşalma ve orgazm arasındaki farkları; orgazm esnasında yaşanan fizyolojik değişiklikleri; orgazm olamama nedenlerini; orgazmın çeşitlerini; orgazm olma yollarını; orgazm taklidini ve orgazm uçurumunu konuştuk.------- Podbee Sunar -------Bu Podcast, Hiwell hakkında reklam içerir.Hiwell'in klinik psikologlarıyla ücretsiz tanışma görüşmeleri yapmak ve terapi seanslarınızda pod10 koduyla %10 indirimden faydalanmak için. tıklayın.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In today's episode, we welcome back Shawn Telford, the Chief Appraiser and Valuation Officer for CoreLogic. Shawn takes us through his journey in the appraisal industry and his influential role at CoreLogic. Then we delve into the upcoming UAD changes, their implications for appraisers, and the timeline for these significant updates. Plus, get a sneak peek into the panel discussion Shawn will lead at Val Expo on August 21st,  alongside industry experts Lee Trice and James Heaslet. Join us for this exclusive panel by registering here: https://www.valuationexpo.com/At The Appraisal Buzzcast, we host weekly episodes with leaders and experts in the appraisal industry about current events and relevant topics in our field. Subscribe and turn on notifications to catch our episode premieres every Wednesday!

İstanbul 2 No'lu Barosu ve TBMM'den heyetler, İsrail'in özellikle kadın ve çocuklara yönelik savaş suçu ve soykırım suçları başta olmak üzere Filistinlilere yönelik saldırılarına ilişkin delilleri Uluslararası Ceza Mahkemesi (UCM) Savcılığına iletti. Peki, Türkiye hangi delilleri sundu? İstanbul 2 No'lu Baro Başkanı Yasin Şamlı ile konuştuk. 

Uzunca bir süredir uluslararası sistemin var olan krizlere çözüm üretemediği hatta yeni krizlerin oluşmasına da zemin hazırladığı yönünde eleştiriler söz konusu. Özellikle 2000'li yıllar itibarıyla Batı merkezli ekonomi-politik sorunların yanı sıra 2010'lardan bu yana sıklıkla ifade edilen ve 7 Ekim sonrasında da baskın bir şekilde gözlemlenen moral değerlerdeki kriz, yeni bir düzen için alternatifleri tartışmayı icbar etmektedir. Nitekim kriz anlarında hakim paradigmaya yönelik eleştiriler arttığı gibi alternatif paradigmalar da ortaya çıkmakta ve düşüncenin evreninde genişlemeler olmaktadır. 2. Dünya Savaşı sonrasında Birleşmiş Milletleri teşekkül ettiren paradigma bugün iflas etmiştir. Özellikle Batı'nın moral değerler açısından yaşadığı travma ve yeni çatışma alanlarının oluşumuna etkisi, 7 Ekim sonrasında çok daha belirgin bir biçimde kendisini gösterdi. İsrail'in ürettiği terör ve şiddete yönelik herhangi bir engelleyici karar almayı imkansız hale getiren Batılı devletler, Güney Afrikalı hukukçunun ifade ettiği gibi dünyanın canlı yayında bir soykırıma tanıklık etmesine neden olmaktadırlar. Sistemi inşa eden aktörlerin değişim ve revizyon taleplerine yönelik katı tavrı ise çözümsüzlüğün en önemli nedeni durumunda. Öyle olmasaydı Uluslararası Adalet Divanında (UAD) ortaya çıkan tedbir kararları uygulanır ve hiç olmazsa Gazze'de devam eden soykırım koşulları ortadan kaldırılabilirdi. Hatırlayacak olursak UAD, tedbir kararları içerisinde İsrail'in soykırımı engellemesi ve bölgede yaşayan halkın hayatlarını sürdürebilmeleri için yiyecek ve içecek noktasındaki tedariklerin temin edilmesini kararlaştırmıştır. Gelinen noktada İsrail devleti, bırakın bu koşulları sağlamayı Gazze'ye temel ihtiyaçları taşıyan tırların durdurulmasına ve yardım konvoylarının tahrip edilmesine müsaade etmektedir. Aynı İsrail, Nuseyrat kampına yaptığı saldırıda da olduğu gibi ABD'nin istihbari ve askeri desteğinden de istifade ederek rehine kurtarılması bahanesiyle yüzlerce insanı katledebilmektedir. Uluslararası hukukun hemen her ilkesini yoka sayan ve bütün kuralları ihlal etmekten imtina etmeyen İsrail'in nasıl durdurulacağı ise önemli bir soru işareti.

There are a lot of changes coming up that will be effecting appraisers with the new UAD from the GSEs. How can we prepare for these changes? Why is it so important to start practicing NOW? Today, host Hal Humphreys speaks with Joel Baker, Senior Professional of Product Solutions at A la mode. Joel is one of the biggest voices in the industry through his podcasts and instructing with A la mode.We're partnering with CoreLogic / a la mode to offer LIVE continuing education! Joel will be teaching on the very topic we've discussed in this podcast to help appraisers get prepared.Join us in Oklahoma City in August for 14 hours of live, in-person CE (or join virtually via Zoom, if you can't make it out to OK). We've got two courses on the docket:Friday, August 2: Appraiser's Guide to Appraisal Inspections with Bryan ReynoldsSaturday, August 3: Scan to Sketch - Practical Application of Mobile Appraising with Joel BakerRegister ASAP! These classes are likely to sell out fast: https://appraiserelearning.com/product/ael-and-corelogic-education-series-bundle-in-person-class-oklahoma-city-august-2nd-and-3rd-2024/?goal=0_ea97ed434d-325688b91a-15996429&mc_cid=325688b91a&mc_eid=65b5f3af00

Au menu de cette matinale, Red Led vous parle de Softube qui sort une suite de plug-in pour le mastering, de UAD qui sort LA-6176 Signature Channel Strip, de Harrison Audio qui présente la version plug-in de sa console analogique et de Toontrack qui annonce la date de sortie de EZ MIX 3.

Au menu de cette matinale, Red Led vous parle de Softube qui sort une suite de plug-in pour le mastering, de UAD qui sort LA-6176 Signature Channel Strip, de Harrison Audio qui présente la version plug-in de sa console analogique et de Toontrack qui annonce la date de sortie de EZ MIX 3.

This week, host Hal Humphreys sits down with Liz Green, Head of Digital Solutions for Candescent, and affectionally known around the industry as "Miss MISMO". Liz fills us in on her history in the industry and her involvement in MISMO (Mortgage Industry Standards Maintenance Organization). A lot will be changing with the UAD for both lenders and appraisers. We hone in on what some of these changes will mean for the lending industry, as well as how the technology changes will affect appraisers as we get closer to the live date.At The Appraisal Buzzcast, we host weekly episodes with leaders and experts in the appraisal industry about current events and relevant topics in our field. Subscribe and turn on notifications to catch our episode premieres every Wednesday!

Defalarca yerinden edilmiş insanların son sığındığı çadırlarda bombalanması, dünya devletleri arasındaki hukuk düzeninin sorgulanmasına yol açıyor. Peki bu düzen Gazze'ye nasıl bakıyor? İstanbul Medipol Üniversitesi Öğretim Üyesi Dr. Abdullah Musab Şahin ile konuştuk.

In this week's episode of The Pro Audio Suite, we've got something right out of left field! Our guest, Matt Cowlrick, an Aussie voice actor living in Canada, has done something pretty remarkable—transforming his Tesla into a rolling recording studio. Yes, you heard that right! Tune in as Matt reveals how he converted his Tesla into an innovative mobile recording space, complete with a built-in mic stand. Hear about the nuts and bolts of mobile recording setups, from the gear choices to the unique challenges of recording in a car. Matt shares his experience using the Mic Port Pro 2 and a Sennheiser 416, all rigged up to record straight onto his iPhone with Twisted Wave. We dive deep into the acoustic challenges of a car's interior, particularly a Tesla's glass-heavy design, and Matt's creative solutions involving pillows and moving blankets to achieve the best sound. For those who can't wait to see it in action, Matt has also shared a video tour of his Tesla studio on our website. Check out this link to watch the magic happen: Matt's Tesla Studio Tour Join us as we explore how necessity drives innovation and how you can apply some of these tricks to your own mobile recording endeavors. 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     George has created a page strictly for Pro Audio Suite listeners, so check it out for the latest discounts and offers for TPAS listeners. https://georgethe.tech/tpas 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 Y'all ready to be history? Get started. Welcome. Hi.   Hi. Hi. Hello, everyone.   To the pro audio suite. These guys are professional, they're motivated. (0:09) Thanks to Tribooth, the best vocal booths for home or on the road voice recording.   And Austrian Audio, making passion heard. Introducing Robert Marshall from Source Elements and someone audio post Chicago. (0:22) Darren Robert Robertson from Voodoo Radio Imaging.   Sitnik to the VO stars. George the Tech Whittem from LA. And me, Andrew Pinkers, voiceover talent and home studio guy.   (0:37) And welcome to another pro audio suite. Thanks to Tribooth, the golden handcuffs can be removed. And Austrian Audio, making passion heard. (0:44) Today, we have a special guest. Matt Calrich is joining us because Matt and I've been having a little conversation about setting up a rig in your car, which was something I played around with a few weeks ago now. (0:56) But Matt, you've done your thing as well.   What have you done? (0:59) Well, I changed it up from what I've done in the past, which quickly is using the Apollo Solo and a laptop and usually the 416. (1:11) Now for being at home in Canada and not actually, you know, traveling on holiday, I just wanted to have something easy to get going at any given moment, just pull over on the side of the road. (1:25) And so I use the Mic Port Pro 2, still the 416, and recording on the iPhone.   So just really nimble and mobile. (1:36) Are you using Twisted Wave on your mobile? Yes. Yes, until further notice.   (1:43) Yours is very similar to mine because that was my experiment with the iPhone 15 because it's got the USB-C and using the Twisted Wave app. It's fantastic. (1:53) And you can actually use their kind of Twisted Wave Dropbox as well off the iPhone, which is really, really handy.   (2:00) But the only difference between you and I, I think, is that you use the 416 and I've been playing around with the CC8 from Austrian Audio. (2:07) Well, he uses the 416 and you use the 416 sometimes and now. (2:15) And the other big difference is that you have a Tesla, which has a lot of glass.   (2:21) Has that become an issue for you? (2:23) Yeah, well, I'm still still in the early days of, you know, finding my feet with it. (2:27) I only set up this new rig, so to speak, on the weekend, got all the required parts, which was the idea of being able to have a mount in the car that I can just attach the mic and the... (2:43) How did you feel about drilling into your Tesla or is that glued in there? (2:46) I didn't. It's glued.   And I also just kind of drive my Tesla like a piece of shit. So I don't really care. (2:54) I just drive it like a car, so sticking something on the inside.   (2:58) It's not precious. It is no longer precious. It is now a utility vehicle and it's used for what it was designed for.   (3:06) Yeah. I mean, let's be honest, putting double sided adhesive tape on the inside of my Tesla is probably not the worst thing that I've done to it. (3:13) So you're not going to mount a M49 from that thing.   (3:18) Since it's now technically a recording studio, does that mean your car's a tax deduction? (3:21) You say that like I don't already try to claim as much as I can. (3:29) Yeah, that's a good point, Robert. Yeah, I wonder how much else I can squeeze out.   (3:32) Yeah, exactly. My new recording studio just happens to be on four wheels, that's all. (3:36) Yeah, exactly.   (3:37) Hey, if anyone can play it, George, if you can, I don't know. Now would probably be a good time to have a listen to the audio, Matt Sentis. (3:45) I can do playback over here if I... (3:46) Can you? Okay, yeah, cool.   (3:47) Okay, here's me recording in the car on a 416, the Mic Port Pro 2. (3:57) There's a windsock on the mic and there's a pretty significant humming sound, which I'm sure you can hear. (4:08) That's the car. I don't know how to turn it off.   It's an electric car, so that's something to work with. (4:16) But the setup is nice and it's convenient, so now I just have to work on... (4:24) And so here's the treated one. (4:26) But the setup is nice and it's convenient, so now I just have to work on fixing things, like the car sound and the whirring.   (4:40) But I like the concept. I just have to try to get it sounding as good as possible. (4:47) So I'm guessing you were pretty close to the mic there.   (4:50) Yeah, pretty close. And then what I added later was a pillow in one take and then I brought in a moving blanket on the other. (5:06) But I was pretty close to try and offset the carriness.   (5:11) Were you putting the pillow behind you someplace? (5:14) The pillow was wedged. It was two pillows actually, because they were small pillows. (5:18) Wedged in the front screen.   And then the moving blanket I had just draped over me like a villain. (5:31) It was not comfortable, but more for like a testing perspective to see what had changed. (5:37) Do you have one without all that extra stuff? (5:39) That was the first one.   They're remarkably similar. (5:44) You know what makes me laugh though is if this takes off, if this becomes a trend, you'll be able to go to the local mall and realise who's a voice-over artist and who's not because the car of the voice-over artist is going to have blankets and pillows (5:56) and cut those one on the back seat. (5:58) Although they're just living in their car, which is an understatement.   (6:00) Yeah, exactly. (6:02) And a really weird iPhone mount for a stick. (6:05) Yes.   (6:07) It's going to look entirely nefarious. (6:10) I love the gooseneck attached to the ceiling. (6:13) Finding adhesive that would mount that strongly enough to hold the weight of the mic and the mic port and the gooseneck itself.   (6:20) It's a decent amount of weight. (6:23) Do you put the mic port right on the mic port? Do you use a little adapter like we got for like Andrew got? (6:31) Oh no, I just assumed that Andrew's was directly plugged in. (6:36) No, I think the 416 and the 41.6 and the OC8, they're all too thick at the base to fit into the newer mic port.   (6:44) The 41.6 fits and the NTG5 fits. (6:50) And only the OC8. (6:52) The CC8 does not.   (6:53) Sorry, CC8. What a stroke of work. (6:56) And I also have the Rode NTG5, which Andrew and I were talking about when I was in Australia.   (7:02) And so I'd be interested to try that in the same situation. (7:06) I used the NTG5 in the back of my car, the first test I did before the CC8 got here. (7:12) And yeah, it sounded great.   (7:13) You probably get the same result as the 41.6, I would suggest. (7:17) There's a bit more bottom end to it. That's the only thing.   (7:20) I also found the NTG5, it seemed more sensitive than the 416. (7:29) I don't know. (7:30) Oh yeah.   (7:31) It has a much higher output. (7:33) No, because I was in Mexico hanging out with Dustin Eboar. (7:39) And we had my tri-boot there and kind of our gear combined.   (7:43) And we tried both the 41.6 and the NTG5 with exactly the same gear, just switching the mic. (7:53) And it was quite different. (7:55) Yeah, yeah, yeah.   (7:56) That's a huge amount of output on the NTG5. (7:59) Right. (7:59) My NTG5 is at the mailbox waiting to be picked up because they replaced it.   (8:04) Oh wow, that's cool. (8:06) I'm the only one left with one that didn't blow up, I think. (8:09) Mine blew up? (8:10) Yeah, mine didn't blow up.   (8:14) No. (8:15) Don't use it. It won't blow up.   (8:18) I had a sphere mic blow up in Australia. (8:22) Yeah, I took it all the way to Australia thinking how great it was going to be having that mic with me. (8:28) And then I got there and was absolutely perplexed for a while why it wasn't working.   (8:32) And it turned out to be a busted capsule. (8:34) And this was a brand new sphere. (8:35) You know the problem with that, mate.   (8:36) It was actually a northern hemisphere and you're in the southern hemisphere. (8:41) That was the problem. (8:42) Oh my God.   (8:44) You are, I will. (8:47) David Kay traveled with the sphere to Japan, you know. (8:50) And I just thought it was risky because it is a much more fragile mic than any small diaphragm, you know, shotgun or pencil mic, you know.   (8:58) Small diaphragm, shotguns, and pencils are a much, much better travel mic companion. (9:03) Well, the shotguns are made for like, you know, like one of the things about the 416 is go record in the wind. (9:09) Well, in a rainforest.   (9:10) In a rain, right. (9:11) You can take a 46 in a rainforest. (9:14) Right.   (9:14) Because it's working like as a RF microphone instead of directing it off the... (9:20) Yeah. (9:21) Well, as does the NTG-5, you know. (9:23) The NTG-5 is RF? (9:24) Yeah.   (9:25) Really? (9:26) So any mic with an RF design is basically completely impervious to moisture. (9:33) Yeah. (9:34) So that's why they're used.   (9:36) But as for the capsule blowing up, what was the outcome? (9:39) Is that mic still sitting in the box or... (9:43) Yeah, I haven't replaced it yet because replacing it in Australia when it was all happening was just silly business. (9:49) So I've waited until I go back to Canada and then promptly didn't do it. (9:54) It is a secondary sphere because I recently got a new Apollo unit and they threw in one of the new ones for free.   (10:03) And I thought... (10:04) Oh, was it the DX? (10:05) Yeah. (10:06) They threw in the small one? (10:08) Yeah. (10:08) So it's a bit small.   (10:09) How do you find it compares? (10:10) It has less of a capsule working. (10:14) I like the smaller size. (10:17) I mean, it's not hugely noticeable, but yeah, I'm excited to try it.   (10:22) Oh, so the one that you traveled with was this new smaller addition. (10:26) Yeah. (10:27) Yeah.   (10:28) And I have a pretty good travel bag. (10:30) Like, I hear you on the durability of those large diaphragm mics. (10:35) But yeah, I've managed to find this.   (10:39) It's a camera bag and it's got a good hard shell and it's a backpack. (10:44) And to the chagrin of my engineer took an exacto knife and just cut out the foam in the sphere it comes with. (10:56) And I just shoved it in this camera bag and it feels really well protected.   (11:00) But then again, maybe I smashed a capsule when I was traveling and it's not as protected as I thought. (11:07) Oh, any dents? (11:08) No, no dents. (11:10) Is this like the torque? (11:11) I'm expecting them to replace it.   (11:12) Like, it just sounds like vaulty. (11:15) But it'll be interesting because I picked up the different microphones, the ocean way and the main one, I think. (11:22) I did those two.   (11:23) I forget, but... (11:25) The sphere models. (11:25) The sphere models, but I'll just use it with the 818. (11:28) How's that working out? (11:29) I haven't touched it yet.   (11:31) Oh yeah, I haven't even. (11:32) It's just color. (11:33) But I figure it'll just be, you know, like color, you know, even if the sphere mics are somehow accurate.   (11:38) I would imagine. (11:39) I mean, that is something we have not done yet. (11:41) We haven't done an OC818 versus sphere mic sound.   (11:45) You know, how do they sound compared to each other? (11:48) How different is the OC818 through the sphere 47? (11:53) Right. (11:53) Can you swap in an OC818 if you don't have a sphere or you just don't want to bring the sphere because it's so physically large? (12:02) Can you just plug it in, you know? (12:04) It would work with any truly dual output large diaphragm mic, you would think. (12:10) Yeah, because there's a couple others out there.   (12:12) Not that many, but Sennheiser has the new MKH. (12:15) I think it's the Assault at NAB. (12:18) I believe it's called the 800.   (12:20) And it's a dual output mic. (12:22) And then Aladdin has one, and Pearl has one. (12:26) It's becoming a thing.   (12:27) It is. (12:28) I was thinking that when they can get them to the size of something like, you know, an NTG5 and shorter, (12:34) that'll be a huge game changer to have a modeling mic that you can travel with, (12:38) especially if it has the tech that the sphere has where you can kind of mitigate problems with the room in real time with those sets. (12:47) Oh, the sphere has like the reflection filter built in.   (12:50) George can probably explain it better than I can. (12:52) Yeah, I don't get it. (12:54) Oh, yeah.   (12:54) Well, they have a set of these filters in the sphere plug-in itself that are designed to compensate for acoustical flaws. (13:06) With using those reflections. (13:08) Okay, that's what it's for.   (13:09) And so they're just little curves they came up with. (13:14) But they made it very user friendly. (13:16) Instead of having it be a variable knob, you know, (13:19) they just have a whole bunch of like, click on this picture.   (13:22) If it looks kind of like what you're sitting in front of, then try this. (13:26) Which is cool because it's just one less thing to have to think about. (13:31) But the thing is, there's just a setting for booth.   (13:34) Which clearly is not going to work because everybody's booth is a different size. (13:38) Although I'd love to see the EQ curve for the chaotic eyeball. (13:46) Well, I did look at the MKH 800 Twin, it's called, the 800 Twin.   (13:52) And it's a bit spendy at $3,200. (13:55) But if you want a very small two capsule microphone to travel with, that one could fill the bill. (14:01) It is very small.   (14:03) A very old microphone that few people know about is the Neumann KM86. (14:09) It's a small diaphragm or smallish diaphragm. (14:12) But dual-sided, full polar pattern selection.   (14:17) It looks like a tiny U87, I think, kind of thing. (14:22) I believe, if I remember right. (14:24) But it's a small diaphragm, multi-pattern.   (14:24) It looks like a German hand-grinder. That's what it looks like. (14:27) The KM86.   (14:29) But it's a multi-pattern small diaphragm. (14:31) So you could, if someone modded it to have more than one output. (14:34) Well, have you thought about, or even wanting to bother with using... (14:38) Did you say you tried using your Sphere Apollo combo in your Tesla or in your car? (14:44) You've done that now or in the past? (14:46) Not in the Tesla.   (14:49) Yeah, I have taken the Sphere and a Solo. (14:54) And my laptop is the travel rig to Australia. (14:58) You did that in the Ferrari, right? (15:01) Or was it the Lamborghini? I can't remember which one? (15:03) Yeah, the Ferrari has this humming noise thing all the time.   (15:07) I guess it just does that. (15:08) And unfortunately, the people at the dealership didn't like it, (15:11) that I took my gear and just sat in their car and started taking photos. (15:16) I wasn't pretty sure for some reason.   (15:20) Nor the guy whose Tesla I stole this afternoon. (15:26) And glued a mouth-mouth. (15:30) The only thing the guy did is he glued this thing.   Is it attractive? (15:33) I brought him some alcohol swabs. He'll be right. (15:37) I've worked out what the humming noise is in the Tesla.   (15:40) Oh, really? (15:40) It's the Musk hydroponic mode. You've got to turn that off. (15:46) I drove on in the screw mode.   (15:48) I think Robert's on the hydroponic mode right at the moment. (15:51) I am. Hold on.   (15:54) Fantastic. (15:55) Well, I was asking because I rigged it up for David Kay. (15:59) We did the Sphere on a mount arm.   (16:02) I got him this crazy over-engineered cobbled-together arm. (16:06) It's basically, if anybody from lighting knows what a baby arm is. (16:10) But it's basically, you know, it's an arm with a clamp on each end.   (16:14) So one clamp clamps to the steering wheel or a yoke or whatever it is in that car. (16:19) And then the mic mounts to that. (16:21) And it also has a place to mount your phone or tablet to read your script.   (16:26) And that whole thing rigs off your steering wheel with that huge mic. (16:29) And then we put the mic sideways. (16:30) That's what we found worked best was, because it's so large, (16:33) to get the capsule in the ideal spot.   (16:36) We just have it literally sideways. (16:39) And he's running a U67 model. (16:42) Because that's the mic he would typically use at home.   (16:45) And the clients were more happy with it. (16:47) I was amazed. (16:48) I didn't think it was going to work with that.   (16:50) Because we didn't put a pillow or anything up against the windscreen. (16:54) And it worked out. (16:55) And that's a Model X, which is physically larger inside.   (16:58) So that helps. (16:59) I don't know if it's because the windshield is so long. (17:02) Because the windshield is facing down.   (17:05) It's not really facing you. (17:06) It's not going to hit the microphone. (17:07) Exactly.   (17:08) The sound is going to go down to the dash. (17:12) It's directly behind and directly in front of the mic. (17:15) I would think that's the first sort of issue.   (17:19) I guess with my setup that I did most recently in the Tesla, (17:22) I am more like talking across to the passenger seat, (17:26) rather than directly at the windshield. (17:30) So pillows stuffed into the windshield opposite the mic. (17:35) Yeah.   (17:35) That would be one spot. (17:37) And I was thinking of taking some of the tri-booth blankets (17:41) and hanging them from the coat hooks (17:47) or the handlebars on the side (17:50) and seeing how that works out. (17:52) They're quite long though, the tri-booth ones.   (17:55) Yeah, they're big. (17:56) You could nail gun them to the roof. (18:00) Or staple them or something.   (18:02) Super glue. (18:04) 3M will just laugh gleefully as they see me coming. (18:09) Some of these guys send me sticky squares.   (18:12) But it's funny, isn't it? (18:12) How different your environment in the Tesla is to my car, (18:16) which is a smaller car, two doors, tiny in the back. (18:20) And I just squeeze in the back because I've got my glass roof. (18:24) So I don't have to worry about that.   (18:26) How the Vespa setup worked? (18:29) It's hard getting your head under the seat. (18:32) But I'm working on that. (18:35) No glass roof to worry about.   (18:37) Yeah, you're starting with a difficult proposition with the glass ceiling, aren't you? (18:43) It's a killer to begin with. (18:45) So what do you do to the audio after you record raw files? (18:48) And do you just raw record raw files and send? (18:51) Or do you do any cleanup? (18:53) Well, yeah, herein lies the problem that I don't have access to a door. (18:58) It's just Twisted Wave Mobile.   (19:02) But I also tried to think about what I actually wanted this setup to do or to achieve. (19:08) And it really is just for the ants in the pants stuff that people can't wait for, (19:15) and for auditions and quick turnaround jobs. (19:17) But when I'm here in Victoria, and I'm not at my home studio, (19:23) I'm about a 40-minute drive to downtown.   (19:26) And in downtown Victoria, I do have a small commercial studio that I own. (19:32) And it has a StudioBricks in there. (19:34) So it's not too far to get to either one of those.   (19:37) So I didn't want to go overboard with the car rig. (19:43) And if I'm proper traveling, then I'm usually taking the Triboose. (19:47) But also, to be fair, mate, as an engineer, (19:49) I'm guessing Robert would agree with me on this.   (19:51) He said, if you sent me that file, I'd have no issue. (19:55) Sure. (19:55) Yeah, I'd have no problem.   (19:56) Even with that hum, Cevox seemed to take it out pretty well. (20:02) I don't know how much artifact do you got after that. (20:07) It wasn't too artifacty, yeah.   (20:09) The twist of a knob on clarity, that'd be gone. (20:12) So really, that's no issue. (20:13) Yeah, absolutely.   (20:14) That's another good question, because I was talking to a client about Cevox today. (20:18) And I said, you know, Cevox does make it sound really good to you. (20:21) The question I guess I have, really, is does it make it sound good to the engineer? (20:26) And how much time, I mean, Robbo and Robert, (20:28) how much have you heard audio through Cevox that you've received on your end? (20:33) If I've gotten it, I don't know that I've gotten it.   (20:35) I wouldn't know. (20:37) It's pretty transparent. (20:40) It is really transparent.   (20:42) That is the magic of that plugin. (20:44) If you go all the way to the walls, you might start picking up some, you know, go 100%. (20:49) You might pick up some very small artifacts, but it's amazingly transparent.   (20:55) Yeah, and more dynamic outside sounds as well. (21:00) I was recording at my parents' house in Australia, (21:04) and some inconsiderate person was mowing their lawn. (21:10) So like the one of your parents? (21:12) Yeah, one of my parents.   (21:16) And yeah, Cevox really made a pretty good show of the recording, (21:23) even with it kind of like moving around different areas. (21:25) I guess like a mower is still that, you know, lower frequency. (21:31) It's kind of droning.   (21:32) Yeah, and it's a consistent sound that's easier to hear. (21:34) There's not too much doppler with it unless you have like the fancy writing lawn mower. (21:40) There is two laws in life that if you wash your car, it will rain.   (21:44) And if you open a microphone, the neighbors are going to start doing something noisy. (21:48) So, you know, it's two guarantees in life, right? (21:51) That's right. (21:54) Have you ever had anyone pick up? (21:56) Are you putting anything across their audio? (21:58) No, not for a long time.   (22:00) Even running the modeling preamps in the Apollo unit, I keep it all very sparing. (22:08) I just want to get the color and the tone of the preamp and just bring in that difference (22:15) rather than engaging any of the hectic EQ or compression. (22:23) I like to think that I follow a lot of the principles of what you guys say on this show.   (22:27) Just keep it simple, send it on clean, and start with a really good bass. (22:32) Obviously, that's harder to do in the car and when we're traveling, (22:35) but I still just try to... (22:38) When I travel, I want to as closely mirror what I have here as possible. (22:44) Which is tricky.   (22:45) You're not running through like a bunch of boutique outboard gear at home. (22:52) And the preamp is just the Apollo pre, right? (22:56) This is Solo or...? (22:57) That's right, yeah. (22:58) Yeah, I have all Apollo units.   (23:00) I used to have a 6176, the UAD, the numbers are right. (23:07) Yeah, I had that and I ended up selling it because it felt like too many moving parts (23:15) and modeling it in the Apollo unit was so impressive that I felt like I'm going to sell this thing. (23:22) So are you using more than just the mic models? Are you using the preamp models as well? (23:26) Yeah.   (23:27) Actually, at the moment, I'm just using the twin preamp. (23:32) But generally, I will run... (23:35) I'll do a lot of my recording on the sphere and either... (23:41) What's your go-to emulation on the sphere? What sort of default? (23:45) The 416. (23:47) And then I have a couple that I dial into for different types of reads.   (23:53) Like if I'm doing trailer or something grittier. (23:58) You know how they came with some presets from Jordan Reynolds made some and then Brent Allen-Hagel? (24:05) Yeah, I heard that. (24:05) Yeah, I like one that Brent did for trailers and it's actually a combo.   (24:13) I suppose I can switch to it now. (24:17) By the way, how they got onto the preset list of that company, I'm wondering... (24:22) It pulled that off. (24:25) Because I've been dealing with them for so many years and I've never gotten anything like that.   (24:31) That's crazy. (24:32) I'm not jealous. (24:32) No, I'm just very glad that service is available.   (24:35) I would like to see you on that. (24:37) At least he's given away his presets for free. (24:41) Yeah, well, I mean, no props to them.   (24:43) I think it's cool that they're available. (24:46) What's something you're using? (24:48) This is the trailer setting from Brent Allen-Hagel and I don't actually know the proper brands (24:56) because they can't list it, but it's the LD800. (25:01) So that's the Sony? (25:02) But then it's combined with the 47K.   (25:07) So you have 47K caps, I guess, something like that? (25:10) Yeah, the K47, is it? (25:12) K47? (25:13) That's cool. (25:14) So that's what we're hearing now? (25:16) Yeah, that's right. (25:16) And I should be... (25:17) I think I'm printing this.   (25:18) Yeah, yeah. (25:19) Yeah, it riches... (25:20) It riches... (25:21) Richens in Richens? (25:23) That's it. (25:23) Adds more richness.   (25:25) Have you taken the 416-416, put it in the second channel with no preamp or no emulation (25:32) and just put it right next to this one and record the exact same thing? (25:37) I have meant to try that. (25:38) No, I haven't yet. (25:40) But to my ears, my simpleton ears, they are really, really close.   (25:45) And I do have two 416s, obviously the one that's in the car now. (25:52) And I have a sentimental 416, which I'll never sell. (25:58) But I mostly am using the 416 setting on the sphere.   (26:02) And then I have a U87 AI just next to me here. (26:07) And I've hung on to that mostly for workflow purposes. (26:11) I kind of have one mic that is hooked up for, I guess, like quick auditions and quick rip (26:21) and reads.   (26:22) And then I have this sphere that I'm talking to you guys on. (26:26) It's over here with a music stand looking out the window. (26:30) It's just like a nice little zone.   (26:33) Yeah, big creative spaces. (26:35) We're actually talking about our next episode now, aren't we? (26:38) Oh, sorry. (26:38) We're drifting to the next episode.   (26:38) We have. (26:39) I wonder how they do the polar pattern, because if you think about it, the 416 being a shotgun, (26:48) you can really only get that polar pattern from the physical shape. (26:53) And they can recreate any polar pattern with the large diaphragm.   (26:57) But you'll notice a large diaphragm never has a shotgun. (27:01) I mean, you kind of have a hypercardioid. (27:03) Do you find the 416 emulation to be a little bit more forgiving in the movement, like the polar pattern? (27:13) Can you move around the mic and it doesn't sound quite as phasy and weird? (27:16) Yeah.   (27:16) So I've switched now. (27:18) Now I'm on the 416 emulation. (27:21) I just did the click of the mouse.   (27:24) And it's on... (27:25) Which pattern is it on? (27:29) The cool thing with the... (27:31) It's on cardioid, on a cardioid pattern. (27:34) And now it's on a hypercardioid. (27:38) So now I'm talking off axis.   (27:40) And you can hear how it jumps forward, even on the... (27:44) Put it on an omni. (27:45) Put it on an omni? (27:46) Sure thing. (27:47) There you go.   (27:48) Oh, yeah, there we go. (27:49) So that's omni. (27:50) That's an omni 416.   (27:52) Anybody wonder what that sounds like? (27:54) It's a huge curve of a 416 without the... (27:57) I mean, acoustics in the booth are fantastic. (27:59) So even when you're on the omni, it still sounds really... (28:02) It actually sounds nice. (28:03) Like focused.   (28:03) Yeah, right. (28:04) So here's me kind of doing like direct address. (28:08) My mic is above hanging from the roof and from the ceiling.   (28:15) And it's tilted maybe... (28:19) What is that? (28:21) Forty... (28:21) A little over 40 degrees down towards me. (28:24) More vertical than horizontal? (28:27) Or more horizontal? (28:28) More vertical than horizontal, I would say. (28:30) Oh, okay.   (28:32) Interesting. (28:33) Yeah. (28:33) That's a pretty steep angle.   (28:34) Yeah, I've been meaning to play around with it. (28:36) Just to see what different sounds I get out. (28:38) This one is set up partially for... (28:42) Yeah, the way I am at the music stand, (28:44) although I guess I could change it.   (28:46) But then the U87 that I have just over here is... (28:51) That's more horizontal than vertical. (28:54) I think it just shows how the room acoustics are. (28:57) So important.   (28:58) So big. (28:59) Because if you'll notice when you switch through those patterns (29:01) and try different mics, they all sound really good. (29:05) So it just comes down to these shades of mauve.   (29:08) Yeah. (29:09) Yeah, yeah, yeah. (29:10) Who consulted on this booth? (29:11) Who was that? (29:12) Oh, I'm not trying to plug myself.   (29:14) No, I'm plugging you. (29:18) But yeah, that is the point. (29:19) I think it would have been funnier if you dogged it.   (29:22) Yeah, exactly. (29:24) Exactly. (29:25) It's just great hearing a booth that I helped design out of... (29:29) Just hearing it years later or months later, whatever.   (29:32) Just hearing it used in this pair of headphones (29:35) that I'm wearing in this situation (29:36) and going, wow, it sounds good in there. (29:39) That's just so important, everybody. (29:40) Get those acoustics nailed (29:42) and then you can really enjoy the variety of microphones.   (29:48) It's like getting a taste for wine (29:50) and now you can enjoy different kinds of wine. (29:52) And I don't have that. (29:55) I do.   (29:55) I'm not saying I do. (29:57) But once you do, then you can enjoy a ton of... #ProAudioSuite #AudioEngineering #VoiceActing #MobileRecording #StudioOnTheGo #TeslaStudio

Melisa Aydınalp'ten “caddede yürüyen çıplak kız” diye bahsedildiğini görmüş olabilirsiniz, Melisa kadın hakları ve özgürlükleri için yürüyor ve memelere özgürlük protestoları yapıyor. Şimdiye kadar altı kere gözaltına alınan Melisa Aydınalp ile maruz kaldığı cinsel çifte standartları, yürüyüş ve eylemlerine nasıl başladığını, kadın hakları ve özgürlüklerine dair taleplerini, eylemlerine yönelik müdahaleleri, ona yöneltilen teşhircilik ve müstehcenlik ithamlarını konuştuk.------- Podbee Sunar ------- Bu podcast, GetirAraç hakkında reklam içerir. GetirAraç'ı indirmek ve ilk kullanımda 500 TL indirimden faydalanmak için, tıklayın. Bu podcast, Hiwell hakkında reklam içerir. Hiwell'i indirmek ve "pod10" koduyla %10 indirimden faydalanmak için tıklayın. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

“BDSM ilişkilerinde açık ve şeffaf bir iletişim her iki tarafın zihinsel ve fiziksel olarak özgürleşebileceği bir alan yaratır. Aslında bu, ilişkilenmenin temelidir ve hayatımızın her alanına yayılması kişinin faydasınadır” diyor uzun zamandır beklenen BDSM bölümünün konuğu ressam, performans sanatçısı ve profesyonel dominatrix Özlem Ünlü. Bu b,d,s,m harfleri neleri ifade ediyor? Fetiş ve kink'in farkları neler? İnsanlar BDSM'e ilgi duyduklarını nasıl farkediyorlar? BDSM neden açık iletişim ve onay temellidir? BDSM aktivitelerinde güç dinamikleri nasıl ortaya çıkıyor? Popüler BDSM oyunları neler? BDSM'in medyadaki temsilinde neler görüyoruz? Aftercare nedir? sorularını ve daha fazlasını Özlem Ünlü ile cevapladık. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Tecavüz kültürü, tecavüzün yaygın olduğu, cinsel şiddetin medyada ve popüler kültürde normalleştirildiği ve mazur görüldüğü bir ortamdır. Bu bölümde tecavüz kültüründen başlayarak mağdur suçlayıcılık, slut-shaming ve orospufobiden konuşuyoruz. İçerik uyarısı: Cinsel şiddet------- Podbee Sunar -------Bu podcast, Cambly hakkında reklam içerir. Cambly'de yılın en büyük indirimi %60'dan podcast6 koduyla faydalanmak için tıklayınız. Bu podcast, TAKK hakkında reklam içerir. TAKK hakkında daha detaylı bilgi almak için tıklayınız. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

“İdeal” vulva algımızı neler şekillendiriyor? Vulvalarımızın nasıl görünmesi gerektiğine kim karar verdi? Pembe vulva takıntısının kökeninde neler var? Mental Klitoris'in bu bölümünde, Jinekolog Irmak Saraç, Dermatolog Bengisu Özarslan, Psikiyatrist ve Cinsel Terapist Seven Kaptan ve Akademisyen Gizem Sivri'den aldığım görüşlerle pembe am takıntısını ve son dönemlerde popülerliği gittikçe artan vulva ağartma uygulamalarını konuştuk.------- Podbee Sunar -------Bu podcast, Cambly hakkında reklam içerir. Cambly'de yılın en büyük indirimi %60'dan podcast6 koduyla faydalanmak için tıklayınız. Bu podcast, TAKK hakkında reklam içerir. TAKK hakkında daha detaylı bilgi almak için tıklayınız. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Zayıflama sektörünün dünya tarihinde başarısızlığa uğramış en kârlı sektörlerden biri olduğunu söyleyebiliriz. İnceliği yücelten, zayıflığı sağlık ve erdemle özdeşleştiren ve belli besin gruplarını düşman ilan eden bir diyet kültürünün içerisinde yaşıyoruz. Diyet kültürü, işin ucunda zayıflamak varsa bozulmuş yeme davranışlarını ve yeme bozukluklarını bile normalleştiriyor. Yiyecek kısıtlamaları ve diyet yapmak bizi kilo alıp verme döngüsünün içinde tutuyor. Sağlıklı olmak ve kendini iyi hissetmek istemekte herhangi bir sorun yok. Sorun, sağlıklı olmanın ince olmakla eşanlamlı sayılmasında. İçinde yaşadığımız diyet kültürünü, anti diyet yaklaşımı benimseyen uzman diyetisyen Begüm Beste İlgün ile konuştuk. ---Hazal Sipahi'nin +90 YouTube kanalı için hazırladığı diyet kültürü videosunun linki:https://www.youtube.com/watch?v=alKWWxk57lU&t=3s------- Podbee Sunar -------Bu podcast, Cambly hakkında reklam içerir. Cambly'de yılın en büyük indirimi %60'dan podcast6 koduyla faydalanmak için tıklayınız. Bu podcast, TAKK hakkında reklam içerir. TAKK hakkında daha detaylı bilgi almak için tıklayınız. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Özellikle cinsel sağlık söz konusu olduğunda ya da mesele cinsel sağlığa dokunduğunda var olan sağlık hizmetleri hakkında birçok zararlı yanlış anlamanın, mitin ve sıkıntılı sağlık hizmeti yaklaşımlarının ortalıkta kol gezdiğini biliyoruz. Bunlardan en az konuşulanlarından biri de pelvik taban. Minik istisnalar dışında, cinsel organımız veya cinsiyetimiz ne olursa olsun, hepimizin bir pelvisi ve dolayısıyla bir pelvik tabanı var. Bugün pelvik sağlığı ve o meşhuuuur Kegel'i bu bölümde fizyoterapist doktor Alime Büyük ile konuştuk. Sizlerden gelen soruları da cevapladık.------- Podbee Sunar -------Bu podcast, Cambly hakkında reklam içerir. Cambly'de yılın en büyük indirimi %60'dan podcast6 koduyla faydalanmak için tıklayınız. Bu podcast, TAKK hakkında reklam içerir. TAKK hakkında daha detaylı bilgi almak için tıklayınız. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

At Valuation Expo last week, Fannie Mae and Freddie Mac unveiled their game-changing UAD redesign. We've got the inside scoop for you. In this episode, Bryan offers his take on the redesign. He also pulled aside some practicing appraisers right after the session broke and asked for their real-time reactions. Listen in to hear what fellow appraisers had to say about these groundbreaking changes in appraisal reports.

Vulvaların orgazmı ve boşalması yıllardır geri plana atılıyor, görmezden geliniyor ve önceliklendirilmiyor. Böyle bir dünyada, squirting yani fışkırtma "acaba sadece pornolarda gördüğümüz bir kurgu mu?" sorusu pek çok kişinin aklına gelebiliyor. Bazılarının en çok merak ettiği de ÇİŞ Mİ?Fışkırtmaya dair sorularınızı Jinekolog ve Seksolog Selcen Bahadır'a sordum.------- Podbee Sunar -------Bu podcast, Cambly hakkında reklam içerir. Cambly'de yılın en büyük indirimi %60'dan podcast6 koduyla faydalanmak için tıklayınız. Bu podcast, TAKK hakkında reklam içerir. TAKK hakkında daha detaylı bilgi almak için tıklayınız. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

OnlyFans nasıl bir platform? Dijital içerik üreticileri ve kullanıcılar neden OnlyFans'i tercih ediyor? Kullanıcılar ve içerik üreticileri açısından OnlyFans'i yetişkinler için içeriklerin yer aldığı diğer platformlardan ayıran özellikler neler? Peki bu kişilerin platforma eleştirileri neler? OnlyFans'e erişim engeli ne anlama geliyor, yansımaları nasıl olacak? gibi soruları yanıtlamaya çalıştığımız bu bölümde OnlyFans içerik üreticileriyle, kullanıcılarla ve bu konuyu çalışan kişilerle görüştük.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Legendary Recording Engineer, Studio Owner, Speaker Design, Record Producer & Businessman Allen Sides sits down with Drew Dempsey in Studio 2 at Sunset Sound as well as special guests, 10x Grammy Winning Recording Engineer & Producer Joe Chiccarelli as well as Sunset Sound studio owner Paul Camarata. Allen began his Ocean Way Recording in a garage in Santa Monica, California, in 1968, as a place to showcase his custom monitors. From these humble beginnings the empire expanded to include partnering with Bill Putnam and acquiring his United Recording Studio in Hollywood, and building state of the art recording facilities in Nashville, St. Barths, and nearby Sherman Oaks. The Ocean Way "brand" also includes Allen's high-end (and excellent sounding) monitors, a unique and affordable microphone, excellent UAD plug-ins, drum samples, and even an iPad/iPhone app. Allen is also well known for being a meticulous engineer/producer, having worked with such artists as Phil Collins, Green Day, Eric Clapton, Faith Hill, Wynonna Judd, Beck, Mary J. Blige, Ry Cooder, Joni Mitchell, Frank Sinatra, Ray Charles, John Williams, Jerry Goldsmith, André Previn, Michael Jackson, and Frank Zappa. He's also well known for leading the charge on reclaiming classic tube mics and gear that was being abandoned in the '80s; he has probably listened to, and evaluated, more microphones than most of us ever will. Having owned Record One Studio in the hey-day of recording, Allen was very open about the Michael Jackson sessions as well as selling the establishment to Rap Mogul Dr. Dre Allen has since sold Ocean Way Recording Studio as well and is now fully engulfed in the speaker game. Producer/Host: Drew Dempsey: https://www.instagram.com/dfdproducti... Co- Host: Joe Chiccarelli https://www.instagram.com/joechiccare... Audio: Farokh Shroff Sunset Sound Merchandise: www.sunsetsoundstore.com Sunset Instagram: https://www.instagram.com/sunsetsound... Sunset Facebook: @sunsetsoundrecorders Sunset Sound Website: www.sunsetsound.com #recordingstudio #audioengineer #recordingengineer

On today's episode of the Appraisal Buzzcast, host Hal Humphreys talks with Heather Sullivan, Head of Operations Training Programs at Aloft, about the upcoming changes to UAD. What can appraisers expect from the UAD and Forms Redesign?  How will this affect our work and how we communicate?Want to learn more? At Valuation Expo on August 7-9th, representatives from Fannie Mae and Freddie Mac will share the latest appraisal-related policy updates, focusing on the latest in valuation modernization, Appraiser Independence Requirements, and more. Find out more or register here: https://valuationexpo.com/register/At The Appraisal Buzzcast, we host weekly episodes with leaders and experts in the appraisal industry about current events and relevant topics in our field. Subscribe and turn on notifications to catch our episode premieres every Wednesday!

Anne & Gillian continue their discussion on Boss Equipment Necessities, providing even more valuable insights on what essential audio equipment you need in your booth. They discuss the importance of selecting studio headphones that offer both comfort and accuracy. They also delve into the convenience and limitations of USB microphones, as well as providing a comparison of costs and quality of audio interfaces. Additionally, they share tips on where to get tech support and test gear in person. You definitely don't want to miss this conversation...   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'm excited to bring back to the show today creative freelancer, audio engineer, musician Gillian Pelkonen for another episode in our BOSS audio series.    Gillian: Hello (laughs).    Anne: Hey, Gillian.    Gillian: How's it going?    Anne: It's going great. So we've had some really intense conversations about our home studios. First of all, talking about where to locate your home studio in your home, where good place is, a little bit about sound absorption. Then we had a really cool, interesting episode, I think, on all the equipment that people don't think about that's required to run our voiceover business. Now we're gonna talk about all the obvious ones that I think people always, they love to talk about these, and --   Gillian: This is the exciting stuff.    Anne: I think the other stuff is exciting. I think actually people don't get excited enough about the other kind of technologies. So --   Gillian: I mean, (laughs), we know you're gonna marry the internet.    Anne: Yes.    Gillian: I have a spiritual connection to unboxing Apple products.    Anne: Yes, there you go.    Gillian: But the air quotes exciting stuff that everyone loves to harp on. Yes.    Anne: I dare say that I have a spiritual connection to my headphones, (laughs) to my headphones, and, and I know that people are always asking me, what are your headphones that you wear? Because I love wearing colorful headphones because it's part of my brand. And I actually have like all different colors of headphones right here with me.    Gillian: Wow.    Anne: I've got a lovely deeper blue here.    Gillian: You guys, if you're not watching, go to YouTube right now and you gotta see this.    Anne: Then we've got the royal blue here, which I love, and then of course I've got black. I actually have an alternate pair of the red ones and okay. So I think, can we talk about headphones (laughs)?    Gilliann: Yeah. I mean, let's start.   Anne: I've already started.    Gillian: So we talked computer, you have your computer, you have your internet connection, you have your isolated space, and it's soundproofed to whatever fits your budget and what you need right now to be isolated.    Anne: And your internet connection and website.    Gillian: Oh yes.    Anne: Right?    Gillian: Yes. Oh, and website. Yes.    Anne: And website.    Gillian: That is definitely important. Headphones. So important because you can't, you can't be playing out loud while you're recording (laughs).    Anne: Now here's the thing, there's reasons why we wear headphones. Okay? So what are the primary reasons you wear headphones, Gillian?    Gillian: Well, just in my everyday life, there's the convenience of being able to listen to whatever I want and to be able to hear that. But for recording, when you're recording voice, if you are playing out loud what you are recording, you will get feedback. And I don't think you will on the scale of a small computer, but there are a few studios that I've worked in, and when I was very new and prone to making mistakes -- obviously continue to make mistakes and learn from them — but when we had big speakers and we were recording in the same room, you definitely get a nice ear cleaning with that high pitch feedback. Because having an open source, you're DAW, armed and ready to record, and that -- it just creates a loop of sound, if you think about it, what's going into the mic, coming outta the speaker, into the mic, outta the speaker, and that just ruins it.    Anne: So well, okay. So there's a big debate in the voiceover world about, do you need headphones while recording? Because there's a lot of people that say you do not. It helps you to sound more natural. Okay? And of course you don't wanna have your speakers on either or your monitors.    Gillian: Oh yeah. That's what I'm thinking of. But this is interesting.    Anne: Yeah. So do you have your headphones on while you're recording? Because a lot of times, it's distracting listening to yourself, what you sound like in your headphones. So for me, okay — some people adopt the whole, I'm not gonna wear my headphones at all because it makes me sound more natural. I'm not listening to what I sound like in my ears. Some people do one ear on, one ear off to help that as well while they're recording. And some people wear them. Now I, years ago, started wearing them because I had a lot of sound outside of my studio. And I needed to be able to put my headphones on to hear if it was going to come through in the recording. And some things like my naked ears couldn't hear like the vibration of the truck that was a mile away coming down the road, and somehow vibrationally it came up through my studio. And the jackhammer that was maybe not right outside my door, but down the road because they were constructing new homes.    So for a long time I got used to wearing my headphones just to make sure I could step in the studio to make sure that I couldn't hear those sounds coming through my microphone. And then I just continued to wear them. Now I've done both, take them off when I'm recording or keep them on. A lot of times, if you think of it this way, (laughs), and this is not a popular opinion, I will have my headphones on while I'm recording because I feel that whatever you hear in your headphones is just you amplified. And if you are an accomplished actor that can act like you, without paying attention to what you sound like in your headphones, you can wear headphones.    And for me it's something that, it's kind of on a day-to-day basis. I'll probably wear my headphones more often than not, just because I've been doing this for a very long time, and all I do every day when I coach is tell people not to listen to what they sound like and to just be themselves. And so I wear my headphones. Plus I do a ton of editing, I do a ton of coaching, and so I need to, and I don't have monitors, number one for the very technical reason is honestly I just don't have space. I don't have space to put a nice pair of monitors on my desk. So I wear my headphones when I edit.    And so headphones to me have to be comfortable. And they have to be studio headphones of course. And that should be a given. Anybody, any BOSSes out there that are just starting in the industry, make sure they're studio headphones, and they're not any other type of headphones that's gonna add more base or more treble or that adds prettiness to it. You just need studio headphones so you can hear the raw output.    Gillian: Yeah, it's definitely an interesting conversation. I think my advice is gonna be the same as always. My advice is just try 'em all and see what works. I personally, when I am singing, I do one ear on, one ear off, mostly for pitch, because how you sound in your head, it's all relative and different. I think that there are some things to be concerned about. Obviously if there is extraneous noise coming on your recording, you wanna be aware of that. But if you're connecting to a client, really if there's an engineer on the session, they should catch that. Like, that's my job when I'm working with talent. Another issue, sometimes I hear the movement of headphones, but I've never really asked talents what they're doing. And maybe it's putting them on and off, but there are a lot of moments functionally during a session when a director is gonna wanna get your attention. And so if you're just rocking without headphones, that's something to just consider.    Anne: Yeah. You'll have to hear them. And you just said something, I don't mean to interrupt, but you just said something that made me think the physical sound of your headphones. Believe it or not, if like -- these headphones, the exterior is, there's some plastic components here. As they get older, believe it or not, if I move my head, because we're very physical as voice actors behind on the mic, as I move my head, they make noise. And that noise comes in through my recording. And I, I remember for the longest time there was this tiny little click, and I was like, I don't have a mouth click. Where's that coming from? It was coming from my headphones. And so for me, I found a way to, I actually had bought a new pair of headphones so that they didn't -- they weren't really squeaking, but they were making plasticy noises. And I know that's not a technical term, but it's a noise where like if I do this (clacking nails on headphones) --   Gillian: Yeah.   Anne: — you can hear that. It wouldn't be that loud, but it would be something similar to that. And so --   Gillian: Interesting.    Anne: Yeah. For those of you guys listening to that, I was simply just squeezing the headphone earpiece with the headpiece together --   Gillian: To get that plasticy --   Anne: To get that plasticy sound.   Gillian: — noise sound. Well, there's another thing that I've noticed with headphones that's important to note -- just this is more function than which headphones to get. But, and it could be 'cause people are taking them off. But a lot of times I'll be working with the talent's audio from a session we just did, and through their recording I can hear everyone else talking. And this doesn't really happen during the recording, but I can hear myself slating things not recorded. So I don't know, if you're taking your headphones off and you're putting them down, you gotta think about, okay, if someone starts talking or if there's other noises, those are gonna get directly into the mic. Or if your headphones are too loud, there's gonna be too much bleed. So just things to think about when we're talking about headphones.    Anne: Two good points. I wanna actually go back on that, right? If you put your headphones down and obviously you're not hearing (laughs) other things, right, other noises can come through them. And also you mentioned bleed. Bleed is important because right now I'm really, really close to my microphone. And depending on the volume that you have your headphones turned up to, and I'm a little older so I might need a little higher volume. And so sometimes you have to be careful that the sound coming through your headphones doesn't bleed back through your mic. And for that reason I have closed headphones. And that's why I recommend closed headphones for most voice actors, if that's the case. If you're gonna be sitting out just doing editing all the time, I don't think they need to be closed backed. If you're just gonna use 'emfor editing.    Gillian: If you're watching us, I have open back headphones. But I just got these recently, these are like the Sennheisers, I think the HD 600s. That's what I thought. And I have these mostly for mixing and I I listen through them 'cause they're really comfortable. But my closed headphones, I also have AudioTechnicas. They were my first headphones, like pro headphones; they're amazing. The pair that I had was under a $100. I've had 'em for years. They're amazing. So whoever is saying that you need really expensive headphones for amazing sound, you don't. There's lower models that are great and then you can upgrade. There's a whole range of AudioTechnicas that get more precise or, or just have different features that you can invest in if you wanna spend more. But there should be no barrier to getting, I think they're $70 or something like that, which --   Anne: Well, I'll have to tell you about mine that have the color. because people are always asking me. And I do have, I do have a studio gear page off of AnneGanguzza.com and as well as the VO BOSS page studio gear that I recommend. And by the way, I don't put anything on this page that I don't use or have not owned. And I will say that I love AudioTechnica headphones as well. And of course before this turns into an AudioTechnica podcast -- which it's amazing, there's lots of great headphones out there. The one thing that I love about AudioTechnicas is for me they're super comfortable. I literally wear my headphones when I'm on coaching days and I'm coaching eight hours at a shot. I have them on my head eight hours. Because again, like I said, I don't have monitors in my room and plus my husband works upstairs, and so I wanna be able to keep things at a minimum. And so they have to be super comfortable. I have to be able to hear the talent, right, to be able to direct them.    So for me, they are amazing. They're a little more than $100 because of the color, the special additions they are the MX 50s and in whatever color -- I don't believe they make the red anymore, but if you're lucky you can find them somewhere, somewhere out there. There'll be an extra pair that somebody has that's still new in the package. I've bought three pairs of red 'cause red is discontinued. My royal blue has been discontinued. Every year they come out with a new color. And so every year I find it necessary to buy another color just because I'm on the camera a lot and I love -- and they make me happy. Right? If you're gonna have on your head for a long time, they should make you happy.   Gillian: And comfortable, most important.   Anne: Yeah, and they should be comfortable.   Gillian: -- don't need a headache.    Anne: — be accurate as well. Right? So for that reason, the AudioTechnics are my faves, and I do own a pair of Paradynamics. I've owned the Sony, oh gosh, I think it was the 7507s, I believe. And the one thing that I didn't love about the Sonys, although I love the sound, was the actual cable that connects was a twisted cable. And what happened is they never traveled well. They became entangled within themselves. And if you've ever had a coiled wire get tangled in itself, and you try to pull it apart, it's horrible. It just gets twisted onto itself. And so I love the AudioTechnicas 'cause they always have the straight cable that you can use and it doesn't get twisty. And that may seem like a very silly reason to love the AudioTechnicas, but that's one of many reasons why I love that. But it's a viable reason because the twisty turn coiled cables, they're not fun to get them untangled when they get tangled, especially when you travel with them and you're trying to wrap them around --   Gillian: No.   Anne: — the headphones.   Gillian: Definitely not. And something to think about when we're talking, all of these things are essentials. And I'll just tell a brief, brief story, but the other day I was doing a session with a voice talent, and we were having all of these issues. I still don't know -- I was on the session, but I wasn't the head engineer of it. So I don't know exactly what happened. But we think that between when we were testing with the talent to when we pulled the client in, their headphones broke because they magically could not hear us.    Anne: Oh wow.    Gillian: And you need to have an extra pair because you can't be on a session without having an extra pair of headphones. It's super — and I'm sure we'll say, and I know, Anne, you've said before in the past, you need backups of your backups. But definitely even if you have your splurge pair and you have a less expensive pair just to use in case of an emergency, there could be a chance that you're on a session, and in the middle it breaks, and you can't continue the session without the pair of headphones. So just don't forget about having some, a little insurance on your sound.    Anne: Yeah. And you know that, it's interesting that you mentioned that, and I talk about headphones so much because when I'm connecting with students through ipDTL -- and this would be just like me, I would be the studio and they would be connecting through Source Connect or ipDTL — you have to have headphones to avoid that feedback. when you're connecting via those methods. And simply earbuds are not the best because sometimes they don't fit your ear properly. There's bleedthrough and honestly closed back headphones are probably the best for any kind of studio session you're going to have.    And I just say yes, I totally agree with you, Gillian, about the backup. Because I have had people who like all of a sudden they're like, oh, I can't hear you. And I'll be like, do you have another pair of headphones? And at that point if you even have a backup like set of EarPods works but in a pinch. But really have an extra set of headphones in case that happens. Because the last thing you want is for you to lose connectivity with your client to be able to hear what they're saying and to do your job. I mean it is part of your job. So have a backup, and honestly most headphones are not expensive. I, I'm going to tell you the AudioTechnicnas, even these, the new versions that they come out with are about 160 some-odd-dollars. The navy blue ones I just bought were like $169. So they're not tremendously expensive at all. And I know you can get some fabulous head phones for less than $100 for $99. I think that's what my Sonys were that I bought. So well worth the investment.    So in terms of headphones, make sure that they're studio headphones. Make sure -- I like to say close back if you're gonna be using them for any kind of recording at all 'cause you don't want the bleedthrough. If you're gonna sit there and edit all day, yeah, maybe open back or others will work fine for you. Make sure they're comfortable for your head. And especially if you wear glasses 'cause you don't want them to push in on the glasses and then have the glasses give you a headache. That's the last thing.    Gillian: Yeah.    Anne: All right.    Gillian: Okay. Should we lightning round a little bit the rest of some of the other things that we might need?    Anne: Yes.    Gillian: Because I know, I know what I'm thinking.    Anne: Microphone.    Gillian: Microphone. Yes. And we'll do a whole episode on microphones about the different types and and what kind you might need. I personally always say large diaphragm condensers for voice actors. There are amazing -- you know, everyone knows the TLM 103 that's upwards of $1000. There's also amazing mics that if you're a beginner, and you're not ready to invest that much money, that will not sound exactly the same but will be a large diaphragm condenser mic and will do the job, will make you sound great.    Anne: Absolutely. I used an NT1, a Rode NT1 for at least six years of my career full-time before I bought a 416. Actually I bought the TLM 103 and then I bought a 416 as well. So now I have both of those in my studio. But guess what? Also sitting on my desk here, I have a USB AudioTechnica AT 2020, and that works for some of my other connections. Believe it or not, that works for my Clubhouse connections because my Club Deck software doesn't like my audio interface so I have to use a USB mic and it makes me sound a whole lot better. And so those USB mics, they come in handy for lots of applications. Maybe not for your professional recording but for other applications that help enhance the sound of your voice.    Gillian: Yeah. And here's the -- I'm not going to say that people shouldn't use USB mics. I mean the audio engineer and me, always, I love an interface and a mic just because. It's so funny, I wrote a whole blog post on this so if you're interested you can go read my blog about the core differences between like the functionality of what a USB mic or like a USB and interface does, and the pros and cons of both, 'cause there's pros and cons of both. When you have the interface, there's more things to know, there's more things that can go wrong. There's just —   Anne: One more thing in the chain    Gillian: — sensitivity. Yeah, exactly. But if you are interested and you want a USB mic, there's definitely options that will make you sound as good as you need to sound to start out. And I don't wanna get on here and say that you can't book a job or get started in voiceover using a USB mic, because there's so many uses for it. And once you upgrade, if you choose to upgrade to an interfacing mic, then you have that other option to use for things like, like --   Anne: Any mic.   Gillian: Yeah.    Anne: That's what I love about. I think really if you've got, I say for any voice talent in a pinch if you have to, you can use a USB, if you've got a good recording environment, in a pinch, but it's not recommended. I would say even if you're traveling, I've tried it all. I do have, I've got a great Tula mic, which is a USB mic and it's amazing. So if I have a good space, you know, my little Tula can hook up USB, and I can get a decent audition. I wouldn't necessarily use it for any type of work that you wanna send to your client, broadcast type work, but in a pinch, like absolutely.    But for every day kind of voiceover I recommend condenser with an audio interface. And again, you don't have to have the $1000 mic. There's lots of great mics and there's so many discussion rooms and forums on what mic should I get? But I also have recommendations that I think work. It really depends on your voice and your comfort level, and work with a vendor that you can send it back if you don't love it.    Gillian: So important that you can either -- I mean I know in big cities -- I'm not entirely sure ‘cause I haven't done this in a while, but I know I'm in Guitar Center, I went there all the time growing up to play the instruments, and I know that they have a mic room where you can try stuff. I know that -- I'm pretty sure it'd B and H in New York City, you can try mics there, but I love Sweetwater. You can chat with agents there, you can talk to them. I'm pretty sure they have a great return policy because if you get the mic and you're investing all this money and you don't love it for your voice, even though everyone on the forums is saying it's top VO mic, don't keep it. Find something that makes you sound great because no one in the end is gonna know what mic you're using. They're just gonna know how you sound.    Anne: Well, exactly. And I also think though it's worth mentioning that if you get a mic and you want an assessment of what you sound like, Gillian, my goodness, like what you do all the time, the sound assessments, right?    Gillian: Yes.    Anne: Gillian can absolutely give you an assessment of how your voice sounds with that particular mic in your environment. I think there's a lot of things at play here. It's your environment and also the mic, and there will be a difference. So for me, I can say, you know what, I like the way this mic makes me sound, but I haven't recorded a file with it and sent it to somebody. Because again, sometimes if you're just starting, it's very difficult. You don't necessarily have an ear yet. Sending it to someone like Gillian is very important, who is, you know, this is what Gillian does; she's an audio engineer. She listens to sounds all the time and every day so she can make an accurate assessment and also tell you if this suits your voice or this doesn't suit your voice.    And I really believe that you also have to be happy with it. And don't forget, there's some people who mistakenly think that, well, I can use this mic and then I can process my voice to make it sound even better. And in reality as a voice actor, that's not what we wanna do. I mean, we simply wanna be able to give the cleanest recording that we can, and maybe our mic should, like what sorts of things should mics do for our voice? You know what I mean? They shouldn't change our voice, but they should enhance our voice.    Gillian: Yeah, they should -- I think I said this in the first episode we did together, but microphones are microscopes picking up your voice. And so every mic has a different capsule in it. It has a different way of processing, whether you're using dynamic mic or ribbon mic, all the different types of mics, they all react differently to sound. And so some people love singing on ribbon mics because it's quieter, it's more sensitive. I have a super cardioid condenser microphone that I, I love using on my voice and I tried the U87, all these other things. So it's really about, and this is a difficult answer because it's like you need to find what works for you because the mic that makes Anne sound great might not make me sound great. And all the processing in the world — obviously you can EQ it and change it a little bit, but really it's like finding a pair of jeans. Like you gotta find one that fits you and makes you look and feel your best. Maybe not look but jean analogy sound like you.    Anne: Yeah.    Gillian: You know?    Anne: Yeah, exactly. Exactly. I don't think that there's any mic that will make you sound better than you. I mean your whole goal is really to make you sound the best that you can sound. And there's lots of mics -- and again, you could have a really like inexpensive mic in a great environment and sound amazing. You can also have a very expensive mic in a poor environment and sound horrible. I remember back in the day before I really had secured my environment sounding as best as it could, I purchased a shotgun mic, and it wasn't a 416, but I purchased one of the knockoffs and I actually hated it. I hated the way it made my voice sound. But I found that once I got the 416 and I had my environment, I love the way it sounds now.    And it's really interesting because before I was like, well I held off getting a -- it's why I got the TLM 103. And for me now I realize for my voice, the TLM 103 is a little bit of a brighter sound. And the 416 will pick up a little more of the bass sound, and that's typically true for most voices. But again, until you try it, you're not gonna really know, and it really has to be up to you. And again I think sending sound audio files to engineers who have the ear, who this is what they do, like Gillian, is really worth an investment to get the overall assessment on yes, this mic is good for you. Or also it will help you to determine if maybe (laughs) like how many times, I think we talked about this, Gillian, somebody might have had the installation of their mic backwards, and they were speaking into the back of the mic versus the front of the mic.    Gillian: Yeah.    Anne: A lot of times people don't sidedress their mic, right? They're speaking right into it. So there's a lot of plosive. So there's a lot of things that, Gillian, you can help talent to assess with their sound. And most people think it might be a mic problem, it may not be a mic problem.    Gillian: Yeah. Sometimes it's really simple stuff. Your room sounds really loud because your gain is up too high and you're not close enough to the mic. So it's picking up everything. Or it's on omni when it should be on cardioid, or you're facing the wrong way. There's so many things that someone listening could hear if you have a trained ear. Before we go, I know we have to go very soon, but don't forget your pop filter for your plosives.    Anne: Ah yes.    Gillian: So important.    Anne: Oh my gosh.    Gillian: I know you have like the pop filter shield sort of thing. That's what it looks like. Looks like you have, if you're using an interfacing mic, you need an XLR cable to connect the two. So important 'cause how are you gonna get from mic to interface from point to the other? So you get your mic, you get your interface, you don't have an XLR cable, you can't work. A mic stand. So important. What are you gonna do do without a mic stand? (laughs) You can't hold it.    Anne: Well, exactly. You really can't. And I think that again, more equipment besides your mic stand, I actually prefer --and this is just me, I always tell my students for me and my studio, I like the boom arms that can be mounted on the wall. Because a mic stand to me, I can't tell you how many times I've heard talent like trip over the tripod-like feet.    Gillian: Oh my gosh. Lemme show you my cute little stand.    Anne: With their mic. Yeah.    Gillian: I have this like, everyone watching, this like cute little baby stand that I just put on my desk. I think that those are really smart, the ones that clip right on. This little guy just sits on my desk and I can take 'em wherever.    Anne: Okay. Well, that's if you're sitting at a desk. But if you're standing and you have one of those tripod-like standing mic stands…    Gillian: They're hard to maneuver. Yeah.    Anne: They're hard. They're hard to fit in a lot of studios. I used to trip over mine all the time, so I basically have boom arms that I mount on the wall in my studio. They save a lot of space at my feet when you don't have a ton of space. And also, like you said, you can't hold it. And then we do need to mention the most important thing from the mic, right, that goes into your audio interface, your audio interfaces, and then everybody has questions. What's the best audio interface? Now I have been through the gamut of audio interfaces, but the main job of your audio interface is to translate the analog signal that comes from your microphone into a digital signal before it goes into the computer. Correct, Gillian?    Gillian: That's what it does. And typically it does both. It does the analog to digital conversion and then most audio interfaces have a headphone jack. So really we monitor off our computers, but you can monitor off of there where it goes digital right back to analog for you to listen to.    Anne: Oh right. Absolutely. I wasn't even thinking of that. You're right, because that's where my headphones are plugged in all the time. I started, gosh, I started with the Personas. And I'm trying to remember, I think I probably at one time had a Scarlet Focusrite, which I don't love those interfaces -- and I know we had a conversation in one of our podcasts about interfaces. I then, when I bought my studio here, I have a Mackey because I was intending to be able to do talk back to people in this booth to rent this booth. And ended up having a technical issue with that, which I sent it, it got fixed, it was under warranty that is now my backup interface.    And then I purchased an Apollo. And my Apollo, I have a mostly love relationship with my Apollo because of the plug-ins that work with it, which I absolutely love. But however, when we talked in our last episode about computer and keeping your computer up to date, well the (laughs) latest version of Mac OS is not up to date with the latest version of the Apollo. So you just have to make sure that you are aware of what's happening. The one that I recommend in terms of like a really great price, and I think works for the majority of people is the Steinberg UR22. And that is like about a hundred and — I wanna say $170. And I had one that I used for years, and it was just a workhorse and I love it. And that does all of the conversion, versus Gillian, if I'm correct, in saying with a USB mic, the conversion happens at the base of the microphone, right? So converting analog to digital. So there's a chip there that's doing that conversion.    Gillian: The biggest difference between the two is that when you use an interface, the mic just gets to be a mic, but within the USB mic it's all happening. And usually you'll see a little headphone jack too. It does A to D and then D back to A conversion.    Anne: Yeah.    Gillian: You pay less and you get everything is gonna be slightly lower quality because you're paying for --   Anne: You gotta fit into a tiny, little --   Gillian: — a microphone — all of the conversion, all of those things in one small device versus, you know, separating them out. So that's kind of where don't use USB mic comes from just because you can get higher quality with the separate.   Anne: You have so many more choices. Right? Because you can have a Focusrite or a Steinberg or an Apollo.   Gillian: You get to mix and match.   Anne: And you can have whatever microphone you want (laughs) connecting up to it.    Gillian: The other thing that I love about that is that there's room to upgrade. So let's say you wanna splurge on a really expensive mic and you're, just, you know, oh, I wanna start with this interface. Or vice versa. You wanna splurge on an Apollo for $1000, but you wanna use a $200 microphone and then say I'm gonna wait a couple years and then upgrade. Personally I've used Apollos, I've used UAD. I kind of struggle with the software issue even though I've used the plugins. They're awesome. I like Focusrite stuff. I like the Scarlets. I think it's great. I think voice actors really only need one input, possibly two. If you wanna have two mics set up just to switch between, you know, a shotgun and a large diaphragm condenser, if you want 'em at the same time. I like Apogee as well. The Apogee Solo and the Duet, those are great too. Those work really well. So those are my faves.    Anne: I'll just disagree with you on the Scarlet only because I've just had a lot of voice talent that have had bad luck, and I think mostly it's -- and I myself have thrown away two of them. And I think mostly a few years back, I think they used a bad chip set. I'm not sure what it was. Or they created these bundles where you got headphones, microphone, and interface all in the same package. And I think they used lower quality parts. And what would happen is voice actors would find, all of a sudden they'd get some sort of a noise or hissing, and nobody knew what it was, and it ended up being the interface. So for me that just kind of, I tossed that one to the side and said, I'm not gonna recommend that one anymore. But Scarlet, typically Focusrite had an impeccable reputation there for a while until I ran into bad luck with it past few years.    I think if you buy a bundled package, (laughs) meaning from a manufacturer or something, especially at Costco, as much as I love Costco, right, there are packages made, packages that are made for Costco. Sometimes they use cheaper parts in those, and sometimes you'll find that the quality won't last as long. Sometimes though you'll buy stuff at Costco, not necessary technical equipment, but you'll find things at Costco that's better (laughs) than you would find at other stores. But that's just my personal experience.    Gillian: I see. I've never had any bad experiences with Focusrite. I've used the larger hardware as well, the professional studio models of stuff. And those sound amazing. I think I've had a lot of friends and myself who've used the Scarlet interfaces and haven't had issues. So, that's my experience. And it's so funny, I've been wondering why people don't recommend bundles because I wouldn't buy audio gear from Costco (laughs). But there's a few places, like Sweetwater is my favorite place to buy gear.   Anne: Yeah, but they'll bundle individual pieces together. Now, I'm talking about manufacturers that create whole bundled sets of things together.    Gillian: Well, Sweetwater is awesome. And B and H, they also have some great bundles. And with Sweetwater specifically, if there's a bundle you like, but there's a piece of gear you don't like, you can reach out to them personally and swap it around and get a discount from sort of buying in bulk. And they have some pre-made stuff so that if someone was trying to set up their home studio, didn't know where to start, it gives you a little place to get started.    Anne: And one thing I will say before we go, one thing that I love about Sweetwater is you get tech support. Oh my God, that is like unheard of these days. Like if you don't know, if you're having a problem installing the interface, you can call them up and get help. And that to me is invaluable.    Gillian: They're amazing,    Anne: They're wonderful to work with. So.   Gillian: Yeah. Very knowledgeable. I love Sweetwater. It's my favorite place to put my money. I have a few friends that work there as well, and all of their employees are highly trained and they know --   Anne: Very educated --   Gillian: — about the gear. It's like a prerequisite to work there.    Anne: Wow. We could go on forever, but, uh…   Gillian: We could.    Anne: Good stuff, Gillian, thank you so much.    Gillian: Thank you. And for anybody who is interested to get your audio assessed by me, I know we did a few episodes about it, but if you missed them, you can just head to my website, GillwiththeG.com. It'll, I'll be linked down here and I have some audio assessments. I have a little free course on, on setting up your home studio and a few blog posts or a bunch of blog posts just talking about different audio things if you're interested in learning more.    Anne: Awesome guys.    Gillian: So hungry for knowledge, (laughs).   Anne: And Gillian is a BOSS. Otherwise, she wouldn't be on the BOSS — she wouldn't be, she wouldn't be on the BOSS podcast. Anyways guys, here's a chance to use your voice to make an immediate difference in our world and give back to the communities that give to you. Visit 100Voiceswhocare.org to commit. You guys -- oh, and a big shout-out, before I forget, to ipDTL, who is our sponsor. You too can connect and network 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.

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In this episode, Anne and Gillian stress the importance of having a high-quality home studio for voice actors. The hosts discuss the technical aspects of setting up a studio, such as having a good computer, fast internet, and a reliable microphone. They also emphasize the need for soundproofing, with Anne sharing her DIY approach to creating acoustic panels for her studio. Additionally, the hosts talk about the importance of isolation and how it can be achieved through building panels or using reflection filters. Overall, the episode provides valuable insights for anyone looking to set up a professional-grade voiceover studio.   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'm excited to welcome back to the show audio engineer, musician and creative freelancer Gillian Pelkonen for another episode in our BOSS audio series. Hey Gillian.    Gillian: Hello Anne. How's it going today?    Anne: I'm doing good. Gillian, I love talking all things audio with you, especially because for a voice actor, our home studios are so very important. And I work mostly out of my home studio, and I know that you kind of do both. You work out of professional studios and your home studio. So I thought we should discuss the important aspects of what voice actors really need and how they can fine-tune their home studio to sound their best, 'cause that's an important component of today's voice actor. We need to have great sound.    Gillian: Yeah, I definitely agree. And I'm home. This is like my working station, but when I'm really working I'm always just bopping around to different studios. So I understand why your booth is so important. It's like your second home or --   Anne: Yeah. (laughs).   Gillian: You know, you spend all your time in there.   Anne: We spend — oh yeah, we spend a lot of time in our booth. So first of all we have to be confident that it sounds amazing, that we can deliver amazing sound to our clients. And then also it's gotta be someplace where it's comforting for us because we do spend an awful lot of time in here.    Gillian: I definitely agree with my personal setup that I have here. I have like all my little mementos that I wanna see, and I have my mic of course for just meetings and talking. But really professional studios are so different than a home studio, because for me I'm always going different places. There's a ton of different gear, a ton of different stuff that we swap in and out for different uses, different clients, but really you guys are just focusing on your voice.    Anne: Yeah.    Gillian: A lot of the work that I do is just to get creative sounds, different sounds, but with voice acting you want it to be consistent and you wanna show up in the booth to do, I guess, revisions for something that you did six months ago and you need to be the same Anne that you were, which is so crazy to me.    Anne: Yeah. And even longer than that, actually I had a client just the other day that I had to provide pickups on something that I had done close to five years ago. And interestingly enough, I've actually transitioned from one studio to the next. So having I think the good bass sound, right, that you can get out of your studio area and also your mics make a big difference too in terms of the sound. And so I had to make sure that I could match it because I literally moved from my studio in Irvine, which was a different setup, a studio that my father built, to a custom studio that Tim Tippetts built here right before the pandemic. Oh, and in between I had a temporary studio, I forgot to mention that set up at an apartment that we were staying at until our new house was built and ready. So that was a different studio.    So all through those three different studios, thankfully I had the same mic, so I at least knew that I could get the same sound as long as I had a decent environment to record that in. And then also I will give props to myself because I had the audio files from five years ago. So I'm a big proponent of backing up your stuff and keeping an archive of it so you can listen and see what your performance was like, see what you sounded like and then be able to match it.    Gillian: Yeah, that's crazy. And so incredible that you have those files and I think that's one of the most important things for me personally too, just to keep everything backed up and know what's going on. But enlighten me, because I really don't know, like did you spend a lot of time working in studios before the pandemic? Like what was your experience like?    Anne: Oh, good question. So I started, gosh, I started back in the early 2000s doing voiceover, and that was when a home studio was like just a thought. It was not a requirement, it was just a thought. And you used to go to local studios to record things, and you would get your jobs based upon auditioning with either studios, or you could audition and then you would select a studio and you would rent space there, or you might be on a roster for a studio. So it's very interesting because as technology evolved and online became a thing and online casting became a thing, then all of a sudden home studios became a thing. Actually back in the day with Don LaFontaine, right, having to travel LA traffic all the time, he became, I think one of the first proponents of doing things remotely in a studio using ISDN technology.    So that I think really spurred everybody else on to start to get home studios because there's so many variables when you record in a studio. But the good thing about recording in a studio is that you go there and everything is beautiful, everything is sound -- everything is, well maybe not sound proof, but everything is optimized for recording so you didn't have to worry about it. And so for me, all of a sudden having to create a home studio or a space for me to record and sound good -- I'm not an audio engineer by trade, I didn't really study it in school. So for me that was a big hurdle in the beginning of my voiceover career. And I know it still is for voice talent that are coming up through the ranks, because that's not necessarily what we studied. We didn't study audio engineering. And of course it's a whole field.    So (laughs), it's not an easy field. And to set up a space in your home so that it can sound as good as a professional studio is really tough. So in the beginning when I went to studios to record and do my jobs, it was great, except for there was always the stress. Can I book the time in the studio? And if I had the time booked for me in the studio, that was great. All I had to do was make sure I got there on time. And then that became a stressful thing for me because of possible traffic. And back in the day, I didn't live in the LA area, but I did live in the New York area. And so traffic anywhere, just the stress of getting to the studio on time, 'cause that's the last thing. You know, that was the one piece of advice that everybody gave to starting voice talent was that don't be late, don't be late to your studio time. You wanna make sure that you show up and you're professional.    But you certainly didn't have to stress about anything other than just performing in front of the mic. And I think that was a big plus for going into studios. And people still go into studios today. And I know I love it when, even if I'm remotely connecting to a studio, I have the engineer taking care of all the sounds and levels and the files, and there's just so much to think about when you are at your home studio. And I'm rambling on here, but it's also a thing that when we are in our home studios, we have to think about things like, okay, well, it's our time to open those files, save the files, upload the files, send the files to our client, edit those files. And so that's something that when you don't go to a studio is now the responsibility of the voice actor.    Gillian: Well, that's crazy (laughs). I mean obviously a lot of these things I know to some extent and it seems like there's so many pros and cons for both. I mean, just hearing you talk about it, obviously we know showing up to record and not having to record yourself, it takes a burden off of it.    Anne: Yeah.    Gillian: Because I record myself. I mean, I'm not a voice actor by any means, not at all. But I've been working on my music for my whole life, and I think when I was like 12 or 13 I got a little ProTools CD and like a tiny interface and that was what started it and the convenience of being at home. But really it is such a treat to go into a studio.   Anne: It's a luxury. I think I consider it a luxury.    Gillian: But also hearing you talk about it, I feel performance-wise, it's gotta be easier to deliver when you're not stressed about getting there on time, you're not stressed about, you know, needing to be in front of other people. I know for myself, I love recording myself, especially when I'm doing singing or vocals because it's super vulnerable and sometimes I don't wanna have to do that in front of somebody else, especially someone I don't know, a stranger. Like, it's a little bit more difficult. But it is interesting because I work at a lot of music studios, so we don't do a ton of voiceover, but whenever we do, we always apologize to the voice talent, 'cause we have this entire gigantic beautiful studio, and we're like, okay, we're gonna give you one mic, we're gonna stick you in the corner 'cause it has the best isolation and close the door, and that's where you're gonna get to go.    'Cause it really is true. You need a good mic, you need a good setup. But voice actors don't need that whole setup. And so I guess the question or conversation is gonna be about how do you take the pros of a pro studio and incorporate them into your home studio setup and make it so that you don't wish you were at the studio. You have everything you need right there.    Anne: Yeah, yeah. It's a journey, for sure, for a voice actor, because again, I don't have the audio engineering education that you do. I know how to perform behind the mic. And so I just remember for me setting up my initial home studios --and I didn't have an ear either for it. I think when you first begin, you just don't have an ear for what good sound sounds like, and I would record and I didn't think anything of it and sent my file off to someone and they're like, mm, yeah, no Anne, that's not gonna do, that's not acceptable. And I was mortified and then it was like, wow. So what do I have to do to make my studio produce sound that is viable for my client?    Gillian: Yes, definitely an interesting conversation and thought just because it's true, like voice actors, they do have to fill the role of the audio engineer. I do believe that. But I also don't think that all voice actors need to be audio engineers.    Anne: Yes. Yeah. Yeah. I agree.    Gillian: You need to know how to record yourself. You need to know how to see if you're clipping, if you're too quiet to hear, a little bit of distortion or hear if your voice just isn't sounding right. And obviously, you know, with auditions you have to edit, you have to make it sound comparable to the other auditions and maybe a final product. But really I feel like if you tell someone who's not an audio engineer, or if you told me five years ago before I was really an audio engineer, you have to do this, it's so overwhelming. So I feel like talking about what people actually need to know, versus what you hire a professional for, or what you just kind of say, okay, this is a setting within my DAW that does not pertain to me. I don't need to be using this to get proper file delivery -- I feel like that's really important for people to just, I think make peace with. Because if you spent all your time trying to learn how to be an audio engineer, you would have no time to be a voice talent or to be doing what you actually wanna be doing.    Anne: So true, so true. So then I think maybe starting from square one, if BOSSes out there are just getting started, and I know I work with people who are just getting started in the industry, and they'll connect to me for their sessions in an office with a headset, and there will be no studio whatsoever, and they will be okay, I'm building my studio. So for me, I will always say to them, well, I certainly have a ton of people that I can recommend to you that can help you build that studio.    But there are certain principles that I know, like I can now hear if they have good sound or not. And I think the first thing to consider is, in your home, like where is a quiet area? And I know that's such a lofty question to ask, but in reality what I've learned is that if you can go somewhere inside your home that's maybe on an inside wall, maybe something that's not necessarily externally connected or near windows or near doorways or near sounds that can turn on — I mean I thought I was really great in the beginning going into my office closet, but unfortunately I found that it was very close to where I would hear water when the toilet flushed upstairs. So it was like one of those things I kept hearing noises. And so I think the first thing is to find that spot in your home that is quiet and also yet convenient to a place where you can put a microphone and also your computer, 'cause you do need your interface, your computer and your microphone.    So where can you put that and set that down so that you can record in a space and also have the functionality of being able to record into your computer, and then obviously hit the start record, stop, record, and all that stuff. And also wear a pair of headphones in the beginning so that you can kind of find out what your sound is like. All those things that people don't think about, they're like, well, I'm gonna put my studio here in my closet, but then all of a sudden their desk is like at the other side of the room, and they don't have a long enough cable.    It could be that simple, right? (laughs) They don't have a long enough cable for their headphones, and then they're like, well what do I do? Or they don't have a long enough cable for their interface is sitting on desk completely across the room, and then well do they bring the interface into the room? So it becomes all these different questions. But I think understanding that your spot in your home I think needs to be in a quiet area first. Maybe not near a window or not near anything that's within a wall that could be making noise like a heater or air conditioning or a generator, that kind of thing. What are your thoughts on that, Gillian?    Gillian: It's so funny 'cause the like doing vocals in a closet or whatever, it's a cliche because it works. Having the padding of the clothing and typically that ends up being a quiet spot in your house, but it's not sustainable to work in your closet forever. And all those things that you mentioned are totally important. You have to have a computer, all of those things. And don't take me for an example if anyone's watching the video; I'm in my office. I don't do recording in here, but I'm like by a window by a ton of noise. It's terrible. But I think finding the right spot to get set up in is totally important.    But the most important thing I think, and you can let me know what you think, but for the most part for doing voiceover work, obviously you need a microphone, but your computer, your internet connection, those are like hugely important things because how fast your computer is, how good it is at processing audio speeds, how well it connects to your interface — like all of those super technical things within — I know I have like a brand new MacBook — those are gonna really matter for how your audio sounds when you deliver it to clients. And you can have the nicest setup in the world, but if you don't have internet, or I know a lot of people also do like ethernet connections, you're not gonna make it to the job. Obviously if you're just auditioning and sending it later, that's a different scenario. But I mean, how important is it to you to obviously be able to connect to clients? That's like the number one.    Anne: Well, I think that's probably one of the most overlooked aspects of being a successful voice actor is your internet. And especially now with needing to have high capacity audio recording features like Source Connect or ipDTL or whatever connection you might be using to get to a studio — that's if you're connecting to a studio -- you need to have a reliable internet connection. And I remember I very much was adamant when I came to my new place here, because it was being built, I specified that there were three specific ethernet jacks placed on the wall, on each wall. So literally I made sure that I had ethernet hardwired, connected before I moved in because I knew it was gonna be easiest to do it then.    Because the people who move into homes, and they don't have ethernet connections, then they usually have to hire an electrician or somebody that can find out that they can run the wire through the wall to get to their modem or their router, or they have to move the router into their office and then other things become a problem. So ethernet and your hardwire connections are so important. And I don't see the technologies advancing anytime soon. Like wireless technology is great and convenient, but it's still not as great as a straight wired connection. I mean you cannot beat an ethernet connection or a fiber connection to your router that gets your data there fast.    Gillian: I think it's just sturdiness. It's true, wifi goes out or it's finicky sometimes. So those are are really important things. And obviously having the foresight to know that you need to have ethernet and all those things installed is really important. But for the people that didn't think about this, are already living somewhere, don't know what to do, find a spot where you feel comfortable, find a spot that's kind of away from extraneous noise. And I personally don't think, if you're just starting out in voiceover, you need to splurge on a booth or anything right away. I think there's a ton of DIY options that we can talk about, but I think that's also a lot of pressure, or at least from what I'm hearing. I'm also like half in the voiceover world, half out of it. So there's a lot of questions that I'm probably gonna have for you about like why people say certain things. And I know kind of random but kind of on the conversation is a lot of audio people that I know are very adamant about not updating your computer or having really, really old hardware. I understand the processes --   Anne: To support the equipment, right?   Gillian: -- behind it. Yeah. But I personally don't live that way. I update my computer. I have new stuff and there are times, like when I, I updated to a newer version of ProTools or a new version of Mac, like the Mac OS that was not supportive of ProTools, and I had a couple weeks where it was having a little bit of bugs, which is frustrating. But definitely for security of myself and all of the other things going on in my life, I don't think that you need to be using a 2010 computer.    Anne: Well, I agree. Normally I would agree with you 'cause I worked in technology for like 20 years. I would always say --   Gillian: No, no, tell me.    Anne: Update. Update.    Gillian: I'm not saying that right. This is just the way that I work. (laughs)    Anne: Update, and I love being updated to the latest and the greatest 'cause I figure it's getting rid of a lot of bugs. However, sometimes when Apple doesn't update, because I work with Apples, it's not conducive to working with my hardware for my studio. So my Apollo, which is my interface, and I have backup interfaces, but right now the latest release of Mac OS is not compatible with it. And I can't afford to struggle for two weeks. I need to have something that allows me to connect and record. And so I will wait on the update until I find out -- I usually check all the -- there's a lot of great groups out there on the internet that talk about should you update your hardware for this new release? Is it compatible with the latest release for the Apollo? And I think it's wise to keep your eyes on that.    I don't think you should be 10 releases behind for sure. But (laughs), I do think that before you upgrade, to just take a look and ask around to see if things are compatible. That's important, especially if you're required to record every day in your studio, and you don't wanna have to go to your backup recording. And that's the other thing too is that I'm very much into having a backup recording setup, because I've had things happen to me enough times. But people just starting off getting into voice acting, they probably don't even have their first setup (laughs) set up, let alone a backup set of equipment.    Gillian: So let me just talk to you on that for a second. I personally don't have any Apollo, Apollo or UAD stuff for that reason because I'm so nervous to be stuck without it. And I totally agree with you, because when I updated my computer without realizing that ProTools -- I mean I'm fortunate enough that I have five or six other places that I can go use ProTools. It wasn't like -- and it was working. It just, there were certain plug-ins that weren't working. But that's not the end of the world.    Anne: Right.    Gillian: But the lesson that I learned from that was, oh my gosh, never update without checking because it's true all the programs that you're using -- and I think within Apple they will say what is compatible and what's not compatible with these new releases, and that is totally smart person way to do it. And you get burned to realize that you can't do it, which is what happened to me and I'm sure has happened to you.    Anne: You only have to get burned once. Right?    Gillian: You get burned once and then you're like, this sucks. I'm so dumb, I have my features and now I can't do my job.    Anne: Yeah.    Gillian: Which is sucky.    Anne: Exactly.    Gillian: So learn from our mistakes, don't make your own. But there are some people, and I've met them, people that I work with too -- I mean one of these studios, we had a 10 years old ProTools rig, and when you get into the large professional studios, they are upwards of like $10-, $20-, $30,000 for new ProTools rig like expensive.    Anne: Oh yeah. And I'm sure that's why they don't upgrade to the latest and greatest all the time.    Gillian: Well, the old system was super sturdy, was working really well. And then we upgraded and there were some glitches and bugs and things that come with updating. I don't know why. I just heard people that I work with grumbling like, ah, you know, the old system was so great, now we have the new system and it keeps crashing. And so the, there is this conversation about not upgrading for like 10 years. I don't know if you've heard that within audio engineers.    Anne: That's a long time. Yeah.    Gillian: So if anyone is giving you that advice, I'm just gonna give you the counter-advice so that you can take both of them and make an educated choice about what you wanna be doing. You don't need to be doing what I'm doing and have the newest stuff. If you have an Apollo, you definitely can't always have the most updated, because it's a little bit behind and everything that's not within Apple will always be a little bit behind. But just make your own choices, people. (laughs) Listen to us, gather the info and make a good choice.    Anne: Yeah. Make an educated choice. And I, and I agree like there's always that fine line of when do you update your technology, like when does that happen? And I'm very used to just from my previous jobs -- I mean I was always living on the edge. I was always trying the new stuff. And so I'm very bold when it comes to trying new stuff. But I'm also smart enough, I've been burned enough times to know that I need backups of everything and then backups of the backups. And so I'm actually really thankful for that experience. And BOSSes out there, I say backups of backups, backups of your files, backups of your equipment, backups of your internet connection, because the one time will come when you really need it, and you won't have that backup. And that only has to happen once. I'm so old, it's happened to me multiple times.    So I feel good that I've learned from it. And so while I feel as though I'm really close to the edge on everything I possibly can be, I'm also smart about when to get on that edge with equipment and stuff that I need on a day-to-day basis. So yeah, absolutely. So when you're looking for that space in your home, that quiet space, that space that's comfortable for you and also hopefully quiet for you, right, for that home studio, then you start preparing it, right, acoustically. So Gillian, what can people do to prepare their home studios acoustically? What sorts of things can they do to have sound absorption? Like if they're in a closet, obviously they can have their clothing which is a great absorber of sound. What other things can they use?    Gillian: There are a ton of things that you can use. I know there's a few DIY boots in the sense that they're not thousands and thousands of dollars. They're like some PVC pipe and some packing blankets that will kind of isolate you, which is great.    Anne: Sure.    Gillian: I think the issue with the way that homes are built versus how sound works is you get the windows, you get all the boxy walls, and you have all these parallel surfaces, and you talk, and all the sound just bounces from side to side to side. So the whole point of having treatment on the walls and treatment around you is to stop all of that reverberation --   Anne: Reflection.    Gillian: Yeah. And the reflections. And just capture it. And really a lot of studios will be built with like diagonal walls and all of these things to just go against it. I have never built a studio, so I can't say that I've done it, but I've been in a lot of places where I'm like, that wall's really weird. Why is it like that?    Anne: Yeah.    Gillian: And of course it's not for aesthetic, it's for sound. So just making, making sure that you are blocking yourself from any windows are really reflective, just any sort of padding on the walls would be really -- I mean I see yours, all of your stuff in the background. For anyone who's watching, Anne has all those nice little --   Anne: Panels.    Gillian: Yeah. The sound panels that just absorb everything. And there's also these things that we use in studios that I haven't seen any voice actors use, so I'm gonna have to ask you about it. They're like reflection filters. Have you ever heard of them?    Anne: Does that go on a mic?    Gillian: It goes on a mic stand.    Anne: Yes, I have. I have.   Gillian: Have you seen I them?    Anne: Yeah, I have seen them and I have not had good success with them, and I actually hate them. I hate them with a passion.    Gillian: Okay, tell me about it because I'm just curious.    Anne: I think that they can work nicely in a studio that already has some acoustic absorption built into it. And then if it's in a large area, if it's in a large space and you need a little bit more, I think that they can work nicely. However, what most voice actors try to do is use it for their studio and then it just becomes the only thing that is used, and it becomes very close to the mic. And first of all, they're really bulky on the stands. I had something called a reflection filter and I paid a good amount of money for it. And like 300 some odd dollars and that was 10 years ago.    Gillian: Wow.    Anne: And it was very bulky. It weighted my microphone stand in a way that kept falling over. And then also it did not create the kind of sound absorption that I liked because it wasn't enough. It just wasn't enough. And then it became inhibitive in a way because I felt like I had something like right here in front of my face. It was very close, and I feel like it just didn't do a good enough job 'cause I think your absorption material needs to be thick.    Gillian: Yeah.    Anne: And so when they make the reflection filters, it's either thick or even if it's not thick, then it's not enough absorption, I don't believe. One thing that I learned through the years of going through, I'm gonna say, three or four different versions of a home studio is -- and by the way, the window, believe it or not, my studio right now is built in an office. It's a room within a room and right in in front of me.    Gillian: Great.    Anne: A room in a room is great.    Gillian: Yeah.    Anne: Right in front of me is a wall that had a side window on it. And we actually, before we built the studio, we frosted the window so it wouldn't look silly because we had a studio in front of it, and people would just look at a piece of plywood or (laughs), you know, so it wasn't attractive. So we frosted the window and then we actually put Rockwool insulation and then a drywall on the out. So we created a whole encasement for the window.    Gillian: Wow.    Anne: So that that blocked any potential sound that could potentially get in. And then we put the studio right up against it. And so that's how we blocked our window. So we made sure there was absolutely no way that sound could get in from the outside on these walls. So it's a room within a room. And so my acoustic panels are four inches thick. And they have Rockwool insulation and that's something you can get at Home Depot. It's awesome. It's really cost effective. It's not expensive. And these were all DIY panels that were made. And I'm gonna give a big shout out to Tim Tippetts. He's got a great YouTube video on how to make them. They're all four inches thick and they sit just slightly off the wall.    Gillian: Yeah.    Anne: So that way you have a little bit of spacing in between the panels and the wall for the sound to kind of just -- if it bounces on that wall, it'll come back in through the panel, which is four inches thick. So that you get I think the highest amount of sound absorption that you can using the panels. And if they aren't using the panels and they're using blankets, again, those blankets are giving you a certain level of absorption. Not quite as much I think as the four inch thick panels with Rockwool in there, but again, it's your choice. And I hang them everywhere. I have a ton of them in here. I also have clouds that are up above me with the same kind of thing. And then outside of my studio, because I want the outside of my studio to be quiet as well, I also have panels hung out there as well.    Gillian: See, that is just like an impressive setup, and thank you, Tim Tippetts. I know he was the previous BOSS audio guest, and that's awesome that he did all of those things for your studio. And that's just what I would say the difference between a Pro VO setup and a beginner VO setup. You gotta start somewhere, and I think that isolation is really important. And obviously, any advice we give, and this will be what I keep saying on the series, is just take what we say and apply it to your situation. Because unless we're working one-on-one, like either Anne or I working with you, there's no way to know exactly what your situation is.    But when you're starting out, I think that — I mean even if a few people built those things that Tim has a video on it and built those panels and just had them in your home office, behind you, around you, it'll help. You don't need to start with a room within a room, even though that's an amazing setup and it sounds great. And all studios are built with rooms within rooms and floating floors so that there's no sound coming from the outside world. But yeah, I think we got a really good foundation of home studio verse pro studio, how to get your space set up. And I think on the next episode, we should really dive in for the BOSSes on like what you need for a beginner home studio setup. What do you think?    Anne: Absolutely. So guys, when you are thinking about getting into voice acting, you must also think about where in your home is a good place for that studio, because you can have an amazing voice, but if you can't deliver the audio, a good quality audio to your client, you're not gonna be a very successful voice actor. So absolutely very important. But one thing I will say to give you all hope, in case you're overwhelmed at this point, is that once you get a home studio setup, like I have a home studio setup, you're pretty much good to go. I mean, your stress is over. You don't have to worry about it much after that, outside of your equipment failing, but your space, if your space is set up, it's set up, right?    Gillian: The investment is forever.    Anne: Right? Yeah. Foregoing any kind of natural disaster, right, or emergency, it stands and it will absorb your sound appropriately, and you won't have to worry about it again. So that's what I love (laughs).    Gillian: Yeah. And I love, Anne, all you shared with me because obviously I work in all these big studios, but I can't say that I've been given a tour of anyone's booth yet (laughs). So you know, hearing how you set it up and all of those things, I think it'd be great for BOSSes to know, and you taught me a little bit today too.    Anne: Awesome. Well, Gillian, thank you so much. I'm looking forward to our next episode. BOSSes, simple mission, big impact, 100 voices, one hour, $10,000 four times a year. BOSSes, visit 100Voiceswhocare.org to join in. All right. Also, a big shout-out to our sponsor, ipDTL. You too can connect and network like BOSSes, like Gillian and I; find out more at ipdtl.com. Thanks so much, guys. We'll see you next week. Bye.    Gillian: Bye.   Join us next week for another edition of VO BOSS with your host Anne Ganguzza. And take your business to the next level. 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Yine Yeni Yeniden 90'lar ve Mental Klitoris ortak yayını!2020'nin Kasım ayında bir araya gelip Mental Klitoris'te yayınlanan Sorunlu Şarkı Sözleri bölümünü kaydetmiştik. O bölümde sizden sorunlu bulduğunuz şarkı sözlerini bize yollamanızı çünkü bu konuda ikinci bir bölüm yapacağımızı söylemiştik. Bu da yaklaşık iki buçuk yıl aradan sonra gelen o devam bölümü!Cinsel Saldırı // Murat Başaran - Bir Öpücük KesmezCinsiyetçilik // Özlem Tekin - Erkekliğime Ver // Mustafa Sandal - Bu Kız Beni Görmeli (kazak falan ördürecek, gelinlik sevdası) Beden Ayıplama // Sezen Aksu - Onu Alma Beni Al Şiddet, Şiddetin Normalleştirilmesi ve Şiddet Güzelleme // Sezen Aksu - Her Şeyi Yak // Levent Yüksel - Med Cezir Namus, Slut-shaming ve Kıyaslama Kültürü // Manga - Dünyanın Sonuna Doğmuşum // Emre Aydın - Kim Dokunduysa Sana Ona Git // Çıtır Kızlar - Çıtır Kızlar // Sertab Erener - Güle Güle ŞekerimIsrarlı Takip, Israr ve Tehdit // Yonca Evcimik - Gel Gel // Neşe Karaböcek - İntizar // Belkıs Özener - Damarımda KanımsınHomofobi ve Transfobi // Ünlü - Rüya (Klip) // Fikret Kızılok - DemirbaşAllonormativite ve Çoklu İlişki Karşıtlığı // Ajda Pekkan - Üç Kalp Güzel Örnekler olarak Değiştirilen Şarkı Sözleri // Kalben - Saçlar // Spice Girls - 2 Become 1 // Nükhet Duru - Kazandım // Alanis Morissette - IronicSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Bugün 8 Mart 2023.Umarım Annem Dinlemez ve Mental Klitoris ortak yayınına hoşgeldiniz. Bu bölümde 2022 yılının 8 Mart'ından bugüne neler olduğunun özetini yapmaya çalıştık. Özeti hazırlarken Çatlak Zemin'in ‘'Patriyarkada Bu Hafta'' yayınlarından ve Bianet'in erkek şiddeti çetelesinden faydalandık ve derlememizi buralardan alıntılarla yaptık. Öfkeliyiz, yastayız patriyarkal kapitalist yıkıma karşı feminist isyandayız!Yaşasın 8 Mart!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this episode the guys discuss who has the greatest plugin company of all time. Is it waves audio and how they've been able to constantly deliver us plugins? Is it UAD with their classic emulations? Is it Fab Filter whose been able to create some of our favorite essential plugin tools? Lets find out.Please subscribe to our YouTube and rate our podcast it helps us alot! https://linktr.ee/myaudionerdshttps://www.helpmedevvon.comFollow Ushttps://www.instagram.com/helpmedevvonFollow The CastDevvon Terrellhttps://instagram.com/helpmedevvonLJhttps://instagram.com/iamlevensjeanCourtney Taylorhttps://instagram.com/officialcourtney#podcast #mixing #producers

Guests Gaz Williams - Producer, bassplayer, music technologist Dominic Hawken-producer, keyboard player, songwriter,developer Video version on youtube: https://youtu.be/JpalWHCHgAA For preshow and Ad free version and much more: Patreon.com/sonicstate The Future of Mastering is Ozone 10 - Master Assistant - match your mix to a reference file, Stabilizer - clarity with intelligent adaptive mastering EQ, Impact Module - micro dynamics adjustments to enhance the rhythmic content   Head over to iZotope.com  now to get a 7-day free trial and save with the code SONIC10   Babyaudio.com  - save 15% on any purchases of their range of creative effect plugins, designed to add color and depth to your mixes. When checking out, use the code ST15  00:00:16 SHOW START 00:14:25 MIDI BLASTER 00:20:37 AD: Babyaudio - save 15% with code STR15 00:22:35 Brad Pitt Miraval Studio 00:29:09 Physics Based ARVerb 00:36:26 Logic Pro Update 10.7.5 00:48:22 AD: iZotope OZone 10 00:49:31 Barbie Chêtif asks via - [youtube] - QQ what is the forthcoming behringer gear you are waiting the most ? Thanks. 00:52:58 Nick Howes asks Nvia - [youtube] - QQ Does the panel think that the 80s delivered the pinnacle of synth music? Okay we had Prodigy in the 90s 00:58:55 UAD SYNTH 00:59:46 JHVE asks via - [irc] - QQ with Mac Silicon M1s and M2s here...are UAD hardware and Waves hardware prices gonna fall through the floor ? Where to Watch/Listen - We now stream the live show to Youtube Live,  Facebook Live as well as at  Sonicstate.com/live every Weds at 4pm UK time- please do join in. Preshow available on Twitch. You can also download the audio version from RSS FEED 

Been a while since we were both drunk. The time is now. We get silly.    We chat the DMV, gear storage, plug-ins, reverbs, UAD pedals/ hardware, and more!   Check out Will and Kyle's new song! Energy Weapon   You can help support the show on our PATREON for as little as $1 a month! Double down to bump it to $2 a month and you'll get an extra episode every week!   Join the fun on our Facebook group!   Follow us on the fuckin' Gram!   Subscribe to our YouTube Channel for the video version of the show, demos, vlogs, and more!   We have shirts available at The Jerk Store!   Check out our old band Plane Without a Pilot   Hosted by Brian Gower and Kyle McIntyre

This week things are looking up and the UAD boys talk about the current sentiment. tO dA mOoN!

We come to the end of the Brian vs. UAD vs. Zoom saga! We chat guitar hangers, Big Ear Pedals, Nintendo Switch, and more!   Check out The Effects Loop podcast!   You can help support the show on our PATREON for as little as $1 a month! Double down to bump it to $2 a month and you'll get an extra episode every week!   Join the fun on our Facebook group!   Follow us on the fuckin' Gram!   Subscribe to our YouTube Channel for the video version of the show, demos, vlogs, and more!   We have shirts available at The Jerk Store!   Check out our old band Plane Without a Pilot   Hosted by Brian Gower and Kyle McIntyre