Podcasts about whisper room

In Episode 39 we try a new game and we have a little section about Hudson's new WhisperRoom! Along with Tis Day In History!If you are new to the channel and have subscribed...Thank you and welcome! If you haven't...There's still time :)

Welcome to Episode 3 of Thrillers by the Bookclub Podcast! This week Chelsea & Olivia are joined by voice actor and audiobook narrator, Megan Tusing. Megan's Book: The Night She Went Missing by Kristen Bird (available now!) - Similar Suggestions: Big Little Lies by Liane Moriarty, The Girls in the Garden by Lisa Jewell Where to Find Megan: - Instagram, Facebook, Twitter: @megantusing - Website: www.megantusing.com Chelsea's Book: Run Time by Catherine Ryan Howard (available now!) - Similar Suggestions: After She Wrote Him by Sulari Gentill, Survive the Night by Riley Sager, Go Hunt Me by Kelly deVos Olivia's Book: Never Saw Me Coming by Vera Kurian (available now!) - Similar Suggestions: For Your Own Good by Samantha Downing, They Never Learn by Layne Fargo, You by Caroline Kepnes, Dexter by Jeff Lindsay Contact Us: Email: thrillersbythebookclubpod@gmail.com Instagram: Chelsea: @thrillerbookbabe Olivia: @oliviadaywrites Happy Pub Day! Oath of Loyalty by Vince Flynn Prisoners of the Castle by Ben Macintyre All That's Left Unsaid by Tracey Lien The Best Friend by Jessica Fellowes The Guest House by Robin Morgan-Bentley Other Books To Put On Your Radar No Bad Deed by Heather Chavez Shutter by Melissa Larsen

What does it take to write multiple books with the same characters? Is it different than writing just one? Take a listen as I interview Edgar Award nominated author, former journalist and all-around good human Thomas Kies about his latest Geneva Chase novel. He will share what his agent, publisher and editor each said when he was thinking about starting a different series and his own thoughts on it. Then we talk about life as a writer while still working full-time, branching out into other forms of writing like becoming a playwright and so much more. In January of 2022, Thomas Kies, author of the critically acclaimed Geneva Chase Mystery Series, was Edgar nominated by the Mystery Writers of America for the Sue Grafton Memorial Award.   He has a long history of working for newspapers and magazines, primarily in New England and New York and currently lives and writes on a barrier island on the coast of North Carolina. His newest novel, WHISPER ROOM is being released on Tuesday, August 2nd.  Motherly.com named WHISPER ROOM one of the Buzziest Books of 2022 and Library Journal said, “Kies's sequel to the Sue Grafton Award nominee Shadow Hill is a compelling story for readers who want to follow investigative reporters into the crime scenes.”

In this episode, David Harris, Holly Hazelwood and Eric Mellor are joined by special guest, John McEntire of Tortoise, to discuss how movies from the past predicted our difficult present. Support the show

Die OPENschool Wien hat den Klassenverband für die 7. und 8. Stufe aufgelöst, Die Schüler*innen übernehmen mehr Verantwortung für ihren Lernprozess. Mathe, Deutsch und Englisch finden im Lernbüro statt. Dafür wählt jede*r Schüler*in am Morgen, ob er/sie dafür im „Silent Office“, im „Whisper Room“ oder im „Coworking Space“ arbeiten will. Lehrerin Christa Reitermayr erklärt die Unterschiede. Die OPENschool wird derzeit an mehreren Orten eingerichtet. In Wien ist sie ein Bereich in der Offenen Mittelschule Dietmayrgasse.

They are not cheap and used ... how far are are you willing to go?  The dilemmas of a "pre made" or building out at home.  What's some of the pluses and minuses of it all and what I did to get my current space.

Do you have the courage to invest in yourself? In this episode, Anne and Laya share how they built their dream booths and how you can too! From soundproofing to equipment, they cover picking the right recording space, investing in quality materials & technology, and taking that financial leap of faith to up your bookability + professionalism like a #VOBOSS! 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 today, and for the last few sessions, I have been so happy to be co-hosting with special guest Laya Hoffman. Laya! How are you? Laya: Hi. I'm so good, Anne. Loving this, and we've got more cool stuff to talk about. I feel like I could talk to you for hours and hours. Anne: I know. Right? Well, speaking of which, you know, I met you, Laya, when I first met you, I actually didn't meet you. I saw an amazing booth tour of your new booth. Laya: Oh yeah. Anne: Now I think you had just moved, and you built a booth -- is it downstairs? Laya: Yes, I would -- I would like to say it's an entire studio, if I may, because -- Anne: Yes, you built an entire studio. Yes, you did. Laya: It was a dream come true. Let me tell you, and it's because I came out of a booth, but we can go even further back then. Anne: I was so impressed. Laya: Thank you. Anne: I was so impressed with your booth tour that I thought, oh my gosh, that is like the coolest video booth tour I've ever seen. Laya: Thank you. Anne: And I absolutely loved your space. And you were sharing that space also with your daughter doing your podcast. And I just, I reached out to you, and that's basically how we met. And I'm so glad that we did, because now here we are doing a podcast series, so I'm absolutely loving it. And I thought let's talk about our booths because we've had some really wonderful experiences in building our booths. And I'll tell you what, my booth experiences, they've just been an evolution of my business, and coming from, you know, being in the closet -- and there's nothing wrong with recording in your closet. It's all about, you know, the sound that you're getting, but I'll tell you what, there's something to be said for graduating to a booth that's kind of like a custom beautiful place that you can sit -- Laya: It's a big girl booth. Anne: Yeah, a big girl booth, I love it -- when you can sit and just do what you love. And I just absolutely love my new booth. Let's talk about our booths 'cause we're booth babes. Let's do it. Laya: Booth babes. I love it. Yes. The modern mindset is to create space that you feel good in. Anne: Yeah. Laya: And so to be, whether it is your closet or your you've created a new studio, or you've got a custom booth or a Whisper Room or any one of those things, a Studio Bricks, there's so many beautiful options out there. No matter what space you're working in, I think it's important to just feel good in this space. So like you said. Anne: Agreed. Laya: You know, no matter where you are in the stage of your career or your journey, as long as you feel good there, and there's something that connects you to your surroundings and your atmosphere, that's when you're going to feel your best and to deliver your best. Exactly. Anne: And you know what's so interesting is I've been through a few booths. I don't mean that to like, oh, I got one booth after the next, after the next, but one of my first actual booth-booths instead of being in my closet was built by my dad. And there's something to be said -- Laya: That's awesome. Anne: -- about being in a space that you feel good about. My dad built me that booth out of love. Laya: Yes! Anne: I mean, my dad has always supported me, never once asked me a question about what I was doing. He didn't necessarily understand voiceover, but when I said, Dad, I need to build a booth. That gives me some good sound. And so my dad was like, okay, let's do it. And my dad bought me this booth. And every time I stepped in that booth, and I'm going to get a little bit like probably teary because I just felt his love every single time. Laya: Yes. Anne: And I, I used that for years. Laya: That's so beautiful. Anne: I used that booth for years and every time I stepped in there, I felt my dad's love and confidence in me and just his support. And it was a wonderful, wonderful thing. And I'll tell you about -- Laya: What a beautiful experience for you. Anne: Yeah. And with my new booth, I also made sure because now he's older, I also made sure that he was involved in the booth, and he was here for the building of this booth too, which I'm so, so proud of. Laya: I bet he took great pride in that, you know, so doing something with his hands that he could create to give his daughter this gift is so beautiful, Anne. Good for you. What a nice story. Anne: It is, it is awesome. Laya: I have a different story, but -- Anne: That's what -- let's hear it. Let's hear it. I'm ready. Laya: We moved into a new house a few years ago, and we're in the northwest suburbs here of Atlanta. And, uh, the basement was unfinished. So, you know, when basements are unfinished and weird, there's like cement, dusty floors and two by fours and insulation that's just like rotting off the walls? Yeah. It's just full of probably terrible pollutants. Well, that was my first booth. Um, we call it Skid Row studios. I used a bunch of mattresses. Anne: I love it. Oh my gosh, you had mattresses. I love it. Laya: It was a mattress factory booth. It was disgusting. I'm not proud of the mites and the weirdness that I was probably consuming in that box. But you know, that just goes to show you work with what you got, you know, and if you really love this work, and you can get through that, you can carry on through and have a pretty solid career, I'm pretty sure. If that didn't break me, that mattress factory Skid Row studio. Anne: Skid Row studio. Laya: It really was. That was my first studio. And then after that, I invested in a custom booth, and I won't even give the brand because unfortunately this situation was a super negative one for me, and the booth arrived on a pallet. You know, you can imagine how excited you are. You invested -- Anne: Oh yeah. Laya: -- this giant chunk of change in your business. It was like my last dollar, but I knew that the space was not secure -- Anne: Yeah, sure. Laya: -- and it wasn't healthy to be in that space for me. And my daughter was working with me at the time. So, you know, she's six years old. I didn't want to breathing her all of that and making the experience less than enjoyable. So I invested, and this thing came on a pallet as they do broken into a million pieces. Anne: Oh man. Laya: And so it was really, I can't even tell you how my heart sunk into my stomach. Anne: Yeah, I bet. Laya: Like, was this a bad decision for my business? I mean, we, uh, gosh, it really almost broke me, but it was that learning experience of building it back together, dealing with the manufacturer, who's not kind, and it was really unfortunate to make me realize, like, I do really want this, and I'm going to work towards creating space one day that I can achieve that feels good. Anne: Oh yeah, and that you are deserving of. Laya: And is every bit the essence. Anne: Right? You absolutely -- that was my big thing is when I built the studio, what well, both studios, it was, it was a space that I was deserving of, you know, and a space that I needed, and I needed to be able to feel good to perform well. And that was a huge part. Laya: And making the investment sometimes, while it seems like a bit of a gut punch, especially if you don't have it, it all goes back to the mindset of building your voiceover business, right? Anne: Oh yeah. Laya: You have to invest and you have to spend the money to make the money. Anne: True. Laya: And in a way that was my brick and mortar investment, right? Which, I didn't have a storefront and didn't have to create a shop, buy a bunch of merchandise. My business was that space. And so making that investment, while I just knew it would pay off eventually, but it had to feel right around me to get there. Anne: Oh yes. Laya: And that gave me the confidence to continue on. And now here we are, we're in a custom-made studio, and I couldn't be more proud of this space. So, and feel, feel, I couldn't feel more amazing in here too. Anne: Oh yeah, yeah. Laya: So yeah, let's get into that. Anne: Well, so I'll tell you about, I'll go back to my first built booth. I mean, because I, you know, I, myself was in -- I was in a closet, and it was a, it was a closet that was like a storage closet. And what I didn't realize, I thought, well, everybody, you know, everybody starts in their closet. It wasn't a clothes closet. Right? So there were a lot of hard surfaces. And in my early years, I don't know anything about sound or, you know, creating a good space for, for my recording. And so, no matter what I did, had carpet in there, I tried to hang blankets, no matter what I did, it sounded horrible. And so ultimately that was when I talked to my dad and I said, Dad, I need a space. And he built it. And it just was wonderful. And I will, I'm going to give a big plug for George Whittam, who was an amazing help, who helped us really kick that up another notch and make it sound amazing. And that was just, it was a homemade booth. You know, we went and got lumber and drywall, and at the time we had installation. We didn't use Rockwool, but George was able to help us really add panels that had Rockwool in it and make things sound really amazing and also give me a set of filters, you know, that always helps. Laya: Presets, yeah. Anne: I always recommend presets, get those stacks to, to really just make that sound amazing. And it was a wonderful thing. I've got it all documented. I'll put links, you know, on our page so you guys can see it links with the materials we used. But this past couple of years, when I moved, I had an extra office space, and I too had almost come to the decision where I was going to order a pre-built booth. And it was going to be very expensive. It was going to take a long time to get to me. And I, you know, was kind of going back and forth between, should I get this pre-built booth because I want to make sure my house is, you know, resale, I'm already thinking resale, even though I haven't moved into it yet, but I'm thinking -- Laya: Yeah, you have to think about that, for sure. Anne: -- I don't want to build a booth in my house because it might affect resale value. So I'm thinking pre-built booth. And then by the time -- Laya: And you can take it with you, right, if you, if you were to move. You could break it down, you know, and that's great, great theory. Anne: But I was floored, I was floored by the expense -- Laya: Yes. Anne: -- of the booths. Laya: Yes. Anne: And then I thought, gosh, I'm going to have to hire somebody to install it for me. And then, and then I came to find out that yet you needed to add stuff on the inside of the booth. And I'm like -- for voiceover, then there was a whole other thing where, oh, okay. So then I've got to treat it. And I think that's the case with a lot of prebuilt booths where people don't always realize that you, sometimes you do have to add to the inside of that booth -- Laya: Oh yes, oh yes. Anne: -- to make it an acoustic space that is, you know, worthy. And then I ended up just looking around thinking, what else can I do? Because this just seems, there's no guaranteed date as to when it's going to get there. And I need to be able to continue my work. You know, in the meantime, I'm in an apartment or a rental, you know, until my house, my house was being built, until it was ready. And I thought, I just, there's no way to guarantee the delivery on a certain day without having to wait a whole long time. And I said, let's look into a custom built booth. Laya: Yeah. Anne: And I contacted a good friend of mine. And I think someone that you also know, and -- Laya: Drumroll, please. Anne: -- everybody loves, Mr. Tim Tippets, who -- Laya: Tim Tippets. Anne: -- was just an amazing, amazing instrument in creating the space that I have now. And I absolutely love it. From start to finish, he helped me design it. He actually came here and literally he left the day or the day before lockdown in California. Laya: I remember that. I remember watching that unfold on social media -- Anne: Yup. Laya: -- and thought, I mean, he's my audio angel also. Anne: Isn't he, right? Laya: I have a heart for, for Tim. Anne: Yep. Laya: And the fact that he kind of brought us together. Anne: Absolutely. Absolutely. Laya: I watched that whole build go down. You guys did an amazing job -- Anne: Yup. Laya: -- of tracking it in real time. Anne: Yup. Laya: And just how many hands were involved in the process -- Anne: Yeah. Laya: -- and the complexity of building a studio into the walls, into the fabric of your home. It really takes it to a different level. And there are so many nuances, right? Anne: Well, yeah, absolutely. Laya: So it was fascinating to see your process. I loved it. Anne: And you know, what's really cool is that it's not really built into the room. It's actually a booth within the room. Laya: Okay, cool. Anne: So it just looks like it's a part of the room, which is really a really cool thing. So if I ever moved from here, all I've got to do is take down a couple of the walls, and I've not really destroyed. I mean, the walls that he's put up around this booth. Laya: Oh, that's so cool. I didn't realize that. Anne: So, yeah, so I haven't destroyed, yeah, I haven't destroyed any of the original construction, which is -- Laya: Very cool. Anne: -- really cool. And you, again, I've got an extensive blog on that creation and how wonderful it was. We -- it did take at least three to five people on a day-to-day basis, and it is perfectly custom built, and it actually ended up being more efficient cost-wise than a prebuilt. Believe it or not. Laya: It's kind of -- no, I believe it. I believe it wholeheartedly in fact. Anne: Yeah, yeah. Laya: I had a similar experience with mine, so it's nice to hear that you felt the same way too, because I think the misconception can be, if you build a studio space in your home or a booth within a room situation like you did, oh, it's gotta be totally crazy expensive. Or you get all these crazy quotes from contractors -- Anne: Exactly. Laya: -- who might be considering what it takes to build a theater room, which is acoustically very different -- Anne: Oh yeah, absolutely. Laya: -- than a voiceover specific room. Anne: And I'm not saying that in all instances, is it going to be cheaper than this or -- that really depends on what booths you're looking at, but I will say -- Laya: Know what you're using, yeah. Anne: -- completely customized to me. Laya: Yeah. Anne: I don't think I could have gotten a pre-built booth that was custom the way this is. Like, literally they measured like how tall I was to where to mount the monitor, the height of the desk, where to put the electrical, understanding where I'm putting lighting, just amazing. I have two mics in here and the third mic outside of the booth, just connecting everything. There's no way I could have gotten something equivalent with a prebuilt situation. Laya: Yeah, yeah. Anne: And for that, I am eternally grateful, and I just, I come in this booth and I love it. I love it. And my father, he's so funny because my father, it -- this actually has -- it's double-walled, right? Green-glued, Rockwool everywhere and Rockwool panels. Laya: Same, same. Anne: And it's got two doors. So not just one. I'm all proud of the fact that I have two doors to get into this booth. And my father, love him, love him, love him. He was like, okay, it's -- their actual, you know, like doors that you would use -- Laya: Solid core doors, solid core. Anne: -- like solid core doors. And they have a lock on them. And my father's like, no, you will take that lock out because we don't want Anne to ever, you know, possibly lock herself in, or, you know, God forbid, somebody, you know what I mean? God forbid somebody breaks in the house in -- Laya: Yeah, you gotta think about the safetiness. Sure. Anne: Oh, he's all about my safety. And he was just adamant. So we -- Laya: I love your dad. Anne: I know! We had to remove the locks. Laya: Never met him, I love him. Anne: So there's no way I can lock myself in the booth. And I have had that issue. I've read other people who've had the issue where they've locked them -- what if something happened? I mean, God forbid, I, you know, faint in the booth, and you know, nobody can get to me because it's locked. So, you know, my dad was stickler for that. And really it was lovely having him here the whole time with the crew and overseeing things. It was really lovely. Laya: Awesome. Anne: And I just, I cannot say enough wonderful things about Tim and Tim's crew who helped me to build this amazing, completely custom booth. So. Laya: Well, I had a similar experience, but very different, and of course a different outcome, but I have the same sentiment. I walk into this space every day, and I get to share it with my daughter -- Anne: Yup. Laya: -- which is also a gift. And it just pulls out this most creative, amazing feeling of love and excitement and pride for the work that we do and how far we've come doing this work. And yes, it was an investment and yes, I had that booth, but the booth always, because of how the situation was handled, always had this air of negativity -- Anne: Oh yeah. Laya: -- a bit of regret and resentment. And I could feel that energetically. And so I knew that when we remodeled our, when we finished our basement rather, that we had always planned to create space where I could work. And while I also thought about resell value and things like that, the way we built it will be ideal for the next person to create their studio or their office or their gym in, um, that kind of keeps the sound contained. As you know, there's so much work from home now. Anne: Yeah. Laya: This will create the perfect space for someone else to create their office in, in the future. But we have no plans to do that for a long time. But we worked with our general contractor who initially, like I said, had the thought that, oh, you just build it like a movie theater. You know, we'll throw up some, uh, audio seal sound barrier on the wall -- Anne: Yup. Laya: -- and then we'll, you know, play over it. And I'm like, no, no, no, no, no, no, no. Anne: And they always want that, that soundproof drywall, which is not what you want actually. Laya: Right, not what you want. Anne: There's that -- the stuff they sell at Lowe's. And I think they call it soundproof or I forget what kind of drywall they call it, but it's very heavy -- Laya: Yup. Anne: -- and it's not what you need for a booth. Laya: And so of course, I got my audio angel involved in -- Anne: Yes, Tim. Laya: -- again, this is in the height of the pandemic. And so Tim Tippets, we consulted virtually. We did an initial run through, and this was new for him. Of course he wanted to be hands on like he was for yours. Anne: Oh, he's so passionate. Laya: And you got to love that. Anne: Gosh. Laya: This was on the heels of your booth. We think we built in November. And so we were doing some consults, and I would show him the schematics. And luckily I was working with a designer on the entire basement space. So this was just a portion of it, which, and it was twofold positive because I got to write off a portion of our construction bill -- Anne: Yeah. Laya: -- and supplies on the studio and roll that into the cost of, of the overall build and renovation. So that was a plus, but Tim really worked with us to make sure my contractor knew -- Anne: Yup. Laya: -- firsthand what the right supplies were, you know, using Rockwool -- Anne: Yup. Laya: -- using Green Glue -- Anne: Yup. Laya: -- making sure to create that space in between the dry wall -- Anne: Absolutely. Laya: -- double layered walls, et cetera. The ceiling is even double layered. We were very clear about, I even have a solid core wood door, just one, but it's doing the trick, and a triple-paned glass window. Anne: Oh yes, nice. Laya: So I don't feel claustrophobic in here. I can see from a safety perspective, et cetera. And so that's been a blessing, but then we took it a bunch of steps further just because I had supplies, and we were creating the space for a multitude of reasons. We were of course doing voiceover work. So there's a specific corner in the room that has our yellow tack mic and boom arms. And I can sit at the desk and have this dead dead sound in the corner. And then the other side, which is the podcasting based, more of a lounge, it's able to be both acoustically and aesthetically sound so that I can film the show on camera. Anne: Yup, yup. Laya: And it's a beautiful lounge. Anne: Beautiful. Laya: Thank you so much and colorful -- Anne: Yeah. Laya: -- so it invokes creativity and sparks joy. And, uh, my daughter feels like this is just as much her space. In fact, she had a hand in picking everything from the colors of the acoustic panels to the couch and the Dalmatian print floor. Anne: So let's -- let's talk a bit about the famous acoustic panels that are Tim Tippets'. Laya: Yes! Anne: He's got that amazing DYI, YouTube videos -- Laya: He does. Anne: -- and I'll tell you what, and I've purchased acoustic panels before, and they're expensive. Laya: They are. Anne: And the way that Tim makes these panels, it's amazing, number one. I have throughout my booth and my room, I have 27 of Tim's custom panels. Laya: Yup. Anne: 27. Which is -- Laya: That is an obscene amount. Anne: It's obscene. Laya: But I feel like I have a lot as well. Anne: But I have a big room too. Laya: I love them. Yeah. Well pad -- padded rooms, you know, I feel safe in here. It's kind of nice. And I love his build. I, before I knew about Tim's build, I had -- and in here in our backyard in Atlanta, GIK Acoustics is in our neck of the woods, and I had purchased six panels for my four by six standalone booth. Because as you mentioned earlier, it's not good enough to have this double wall expensive custom booth. You also got to get the panels in there -- Anne: Yup, yup. Laya: -- and the foam, if you like. Anne: Exactly. Laya: I mean, whatever. So we put all that back in the room, and then I was also got really lucky. Otherwise I too would have built Tim's panels, but a good friend of mine that owns a nearby studio here was offloading some Wenger acoustic panels. They're huge. I mean, I think I have a two on the ceiling, two cloud floats. They're six foot by three foot, to give you some idea. Anne: Wow, that's great. Laya: And they are huge. Um, we recovered them, made them our own, and popped them up on the wall for fairly inexpensive because -- Anne: Excellent. Laya: -- I bought them used, you know, so you gotta do what you can do, but I love those resources Tim's made available. Anne: We, we were like a panel making shop out in the garage. Laya: Yes. Oh yeah. Anne: And you know, one thing that I'll -- I'll mention that I did not realize is that Tim is such a stickler for detail. I mean, every single part, like you could just see him on a day-to-day basis. Like just everything going on in his head, like calculating the most perfect sound to come out of -- Laya: The guy's a machine. Totally. Anne: He is -- he -- now, and I never realized this, but I have four inch thick panels. Laya: Yeah, same here. Anne: Now when I purchased my panels, yeah, when I purchased my panels before I had just purchased two inches, not thinking anything of it, like, do I need thicker? But he explained so very nicely to me why the four inches and plus he, he puts them -- Laya: Right, the air flow in the back. Right? You gotta have that. Anne: Exactly. He's got air flow in the back, which I never realized. And all of these little tiny details, which really make a huge, huge difference when you're in my booth. Laya: And it defines the sound, right? And so when we all -- we like to talk about having broadcast quality sound. Sure, sure. Here. Who knows what the barometer for that really is when it comes to home studios or your noise floor, but he was able to, and again, he wasn't onsite, but because of the way I was able to generate the 3d cads -- Anne: Yup. Laya: -- we actually had the design team take the size specs of my acoustic panels. I was very concerned about it because I was like, these things are huge. Anne: Yeah. Laya: If we put them in the walls and mount them up or I get the placement wrong -- Anne: You've lost all this space. Laya: Oh my gosh. Right. And then how do you configure furniture? I must have racked my brain about that for forever. But Tim explained it in very simple terms as he does -- Anne: Yes. Laya: -- um, for the acoustically challenged and, um, help you really maximize the space. And it sounds pristine because of it. And so I'm so grateful for that knowledge -- Anne: Yeah. Laya: -- and his support. Yeah. Anne: And I will say again, this podcast is been renamed to the Tim Tippets love fest. Laya: So he does not need to be -- how does he go anywhere? Anne: Honestly, he is probably one of the best teachers, right? Not only is he amazing at creating an acoustic space, but he also can teach you, like you said, he explains it to you in layman's terms -- Laya: Yes. Anne: -- so that it makes it easy to understand. And I really had such an education watching this booth go up with Tim and just understanding. And so I just, again, you know, kudos and, and just so grateful for Tim and his help for this booth. And I don't ever need another booth. I mean, unless of course I'm going to move again. Laya: I'm not going anywhere. Anne: But I am so happy. I am so happy in this space. And there's so much to be said for being happy in this space. You know, my father had a hand in it and Tim was just wonderful. And that just makes a huge difference because we spend a lot of time here. So you, you know, one of the modern mindset is that you, as a talent, as a creative, as an artist, you deserve a space in which you feel amazing in. Laya: Yeah, so you can give the best possible performance. Anne: Make that investment, you know, and it's, and it may be hard. I understand. There's so many people that get into this industry and they're like, yeah, but this is so expensive. Or this, that is so expensive. I think, you know, BOSSes, we need to keep in mind that this is a business, there are investments to be made. And they're not necessarily like while you can get away with a pillow fort and an ironing board and a, and a comforter, you know, ultimately in the long run you make a good investment. Had I realized, you know, so many years ago when we were talking about our VO-to-go travel rigs, that I should have just gotten a 416. I spent so much money on all those cute little other mics that I couldn't make sound good. Same thing. I think I graduated into this custom built booth, but I absolutely, it was the right time for me. And I had come to a point in my business where I said, you know what? I deserve. I deserve a -- Laya: Yeah. Anne: -- an amazing booth. I deserve that. And why have I not thought about that before? I don't need to cram myself into a little space -- Laya: No. Anne: -- or, you know, into a closet if I can reinvest that money. And I think it takes courage to invest a significant amount of money into your studio. And -- Laya: It does. Anne: You know? And this pandemic of course has heightened, right, the fact that we need good spaces. Laya: Yeah. And your audio imprint is again, your brand. It is everything. So why not make it sound the best? Anne: Yeah. Laya: I've said before in a previous podcast, but my modern mindset always goes back to the fact that I'm not trying to break the bank. I'm very frugal and very aware of the spending in the investments that I'm making. For sure. However, I don't want to spend twice. And it's -- Anne: Yeah. Laya: -- if I get it right the first time, then that sets me up for success as far as my brand, my accountability, my audio imprint. Because if you send out crap audio in this day and age, you won't get a second listen, and you can tell the difference. And so what I do, even with the studio, even having the presets dialed in, having worked with Tim often, I will often check back in with producers that I'm close with -- Anne: Yup. Laya: -- and people I've worked for before and say, hey, give me an audio check real quick. I'm always tweaking. Anne: Great idea. Laya: I'm always making sure, like I am audibly standing up to the competition. And nine times out of ten, I hear your audio stands up better than most, for sure. And definitely is a clear definitive -- you can hear it. You can hear the difference. You can hear that you're a pro by the audio you deliver. And so if that is your first impression, and that's all you got, I mean, your performance could be amazing. But if the acoustics and the sound don't have the utmost clarity, then your professionalism just kind of got knocked down a notch unfortunately. Anne: Yeah, yeah. Laya: So it is something to consider when approaching where your next steps are going -- Anne: Sure. Laya: -- in your business or where you are today. Anne: It is a package. And I, and I think, yeah, I like to bring in the modern mindset philosophy here is that, you know, you are a package of your audio, your sound, the way you present yourself online, the whole thing is a package. And the whole thing makes a difference. If you are set with putting forth your brand in a very professional way. So. Laya: Yeah, it definitely affects your bookability for sure. And one of the reasons, just going back to your how we met, the reason I created -- I hired a film company that normally does tours for homes as they go to market -- Anne: Yup. Laya: You know, if you can, you can hire somebody like that. And that's exactly what I did because I knew the cost would be more effective that way. Anne: Oh my gosh. The marketing was amazing. Laya: Yeah, thank you. And then that using that video on my website, on YouTube as part of my signature -- Anne: Part of your market. Yeah. Laya: It's the audio nerds that love that stuff. It's the engineers who book you, the creatives, that book you that see that. And they're like, oh my God, this chick knows what's up. Anne: Yeah. Laya: How cool is that? Anne: Yes! Laya: And I got a lot of work just from that video. Anne: Just from that video. And the cool thing is, is that you're not necessarily like saying, hire me, hire me, voiceover. You're not doing like, hey, this is Laya. You know, this is my voice. You're actually showcasing your, your studio, and you're passionate about it and your personality. So it becomes like, you know, we talk about our podcast, right? It's like a side benefit. People get to know you through your podcast. People get to know you through your studio tour, and they get to see that personality. And they say, you know what? I want to work with her. Laya: Yeah. Anne: She knows what's going on. Laya: And your level of commitment. Anne: Yeah, exactly. Laya: Yeah, right? Anne: And so it really becomes, it becomes that whole modern mindset. The package, here I am, the deal. I'm the real deal here. So. Laya: I'm the pro with a modern minded BOSS. Right Anne? Anne: Absolutely. Laya: I love it. Thank you. Good talk. Anne: Well, this has been so much fun talking about our booths, 'cause we love them. Laya: I hope to come to your booth one day -- Anne: That's right. Laya: and I hope you can come to mine. Anne: Me too. Laya: You know, one day we'll BOSS up that way -- Anne: Me too. Laya: -- when the world opens. Anne: So BOSSes, remember you deserve, you deserve a good space. You deserve a good space. You deserve to feel -- Laya: Feel good in it. Anne: Yeah. You deserve to feel amazing in this space where you are creating and performing and being the artist that you are. So big shout-out to ipDTL who is in the booth today. You can find out more at ipdtl.com, and you guys, have an amazing week. Laya, it's been amazing as always. Thank you. Laya: Thank you for having me, Anne. Thanks, BOSSes, for listening. It was good to be back. Anne: All right, guys. See you next week. Bye-bye. Laya: See you. Bye-Bye. >> Join us next week for another edition of VO BOSS with your host Anne Ganguzza. And take your business to the next level. Sign up for our mailing list at voboss.com and receive exclusive content, industry revolutionizing tips and strategies, and new ways to rock your business like a BOSS. Redistribution with permission. Coast to coast connectivity via ipDTL.

Today's opening tale of terror is ‘Deep Thought', an original story by Raener Lewington, kindly shared directly with me for the express purpose of having me exclusively narrate it here for you all.  https://twitter.com/RaenerLewington Our second offering is the wonderful ‘‘The Whisper Room'' by AeSko, also kindly shared directly with me for the express purpose of having me exclusively narrate it here for you all. https://www.reddit.com/user/AeSko Our penultimate work of the weird and macabre is anonymously written story named ‘The Dripping Man':  http://www.creepypasta.org/creepypasta/the-dripping-man We round off tonight's tales of horror with the legendary ‘NoEnd House' by Brian Russell:  http://creepypasta.wikia.com/wiki/NoEnd_House http://frombriansdesk.blogspot.com/

Nos dedicamos esta semana a conocer novedades que ya se agolpan en nuestras estanterías sonoras. Conoceremos lo último de Shawn Rudiman, Pas Musique, Refectori, Sunnk, Shohei Amimori, Murcof, V4w.enko, Taibach o Whisper Room Escuchar audio

Sean Michael Lewis discusses the new move and the development of Check One Studio in Coweta, OK. This will be the first of its type podcast studio for local businesses and individuals to record and launch their own podcasts. 

CITR’s 24 Hours of Radio Art in a snack sized format. Dark Ambient. Drone. Field Recordings. Noise. Sound Art. Or something.This morning’s show features CLARICE JENSEN, WHISPER ROOM and RUTGER HOEDEMAEKERS.Starting at 1:00 AM Pacific on CITR FM 101.9, streaming at PLAYER.CITR.CA

Before the folks behind Beausoleil Books built a coffee shop or a bar to go inside their new boutique, they checked with their neighbors — the cafes and bars in Downtown Lafayette. They settled on a wine bar: something new to the fabric of Jefferson Street and something that wouldn't compete.  That's the shop local response to behemoth retail. Collaboration. Neighborliness.  Bryan Dupree and his three business partners created Beausoleil to bring new literature and ideas to Lafayette and to celebrate the French language. They stock new fiction and classic and cookbooks, in English and French. Their wine bar, The Whisper Room, is coming later.  A big part of what you get at a local shop like Beausoleil is personalized experience. There's nothing more personal than style, especially when what you wear is fashioned by hand, like a work of fine art.  Hat-maker Colby Hebert's shop The Cajun Hatter is another newcomer to Downtown Lafayette, but his hats have been in demand since he first started making them in 2016.  His brand took off in New Orleans, where he also spent time in the film industry, both as an actor and in costume production. He found his way back to Acadiana in 2020. Hat-making has seen something of an explosion recently. Four years ago, Colby was one of a few dozen hat makers in the U.S. Today, there are hundreds. Being a Cajun Hatter, makes Colby one of a kind. You can see photos by Jill Lafleur from this show at our website. There's more lunchtime conversation about the Acadiana book business here and meet local author and illustrator Denise Gallagher over lunch here. See omnystudio.com/listener for privacy information.

Kirt Graves is an audiobook narrator most known for his work in the MM Romance genre. His first audiobook (TJ Klune's Wolfsong) was featured as one of Audible's Five-Star Faves in November 2016. In addition to his work as an audiobook narrator, Kirt is a graphic artist, a podcast host, and an award-winning speech coach. He lives with his husband in Wisconsin and spends too many hours each week listening to political podcasts and watching cooking tutorials on YouTube.Kirt and I talk about everything from the creative process, to the technology involved, to the importance of having authentic gay characters and voices in media.If you’re a fan of audiobooks, this is a peek into the studio, behind the words ...If you’re an author considering transitioning into audio, this is also a frank discussion of the cost of production that Kirt shares with prospective clients.LINKS*Amazon Affiliatekirtreads.com https://www.kirtreads.com/Kirt Graves | Amazon | Audible https://amzn.to/2OEzQ6HForensics Faces podcast https://www.forensicsfaces.com/ AUDIOBOOKSWolfsong — TJ Klune https://amzn.to/2DA4p75Straight Boy — Jay Bell https://amzn.to/2DweLVDWant Me — Neve Wilder https://amzn.to/361YRyz Audio Producers Association https://www.audiopub.org/Joel Leslie http://www.joelleslienarration.com/Studio Bricks http://studiobricks.com/Whisper Room https://whisperroom.com/ACX https://www.acx.com/Tantor Media https://tantor.com/Findaway Voices https://findawayvoices.com/ OTHER AUTHORSThe Lord Won’t Mind — Gordon Merrick https://amzn.to/2OEL4YPMariaLisa Demora https://amzn.to/2R9erUPLucy Lennox https://amzn.to/33yjsbWMay Archer https://amzn.to/34Ed7gxSusi Hawke https://amzn.to/2Y3TMmgDaryl Banner https://amzn.to/2OFrUSk SUBSCRIBEApple (iOS)| Spotify| Stitcher (Android)Are you new to podcasts?How to subscribe to my podcast— free HOST LINKSSlade James sladejames.comMM Author Podcast gayromance.showSUPPORT THE SHOWPatreon patreon.com/sladejames

Panel Nell Shamrel-Harrington Lee Waylin Scott Nixon Episode Summary The panelists introduce themselves. Nell is a principal engineer at Chef, Lee runs the DevOps consulting team Fuzzy Logic Systems, and Scott runs Cloud Mechanics consulting. The topic of today’s podcast is containers. They begin by defining what a container is, with each sharing their own definition. Containers aren’t really new, they’re just a hot topic because companies like Docker made them easier to use and has brought them into the mainstream. The panelists agree that containers are not for storing data, only for running applications, but that data can be mounted to a container. This is one of the biggest beginner mistakes.  They discuss situations that are conducive to the proper use of containers. Containers are best added to mature and large scale projects. They discuss the pros and cons of Kubernetes. The panel gives advice on how to start using containers, suggesting new users start by containerizing one thing at a time rather than trying to do it all at once. They remind listeners that if you want something to stick around for each deploy, it should not be in the container itself because containers are temporary. They talk about how to create a container, good patterns and anti-patterns found when using containers. They discuss possible security concerns with anti-patterns in containers. They finish by talking about other container orchestrators and how to get traffic to Docker boxes Links Docker Container LAMP (Linux, Apache, MySQL, PHP) Kubernetes Habitat.io CICD Docker Swarm Apache Mesos Follow DevChat on Facebook and Twitter Picks Nell Sharmell Harrington: Trader Joe’s Iced Coffee Big Little Lies Lee Waylin: Magic Sandbox Fall, or Dodge in Hell Whisper Room Scott Nixon:  An Absolutely Remarkable Thing The Book of Beautiful Questions

Panel Nell Shamrel-Harrington Lee Waylin Scott Nixon Episode Summary The panelists introduce themselves. Nell is a principal engineer at Chef, Lee runs the DevOps consulting team Fuzzy Logic Systems, and Scott runs Cloud Mechanics consulting. The topic of today’s podcast is containers. They begin by defining what a container is, with each sharing their own definition. Containers aren’t really new, they’re just a hot topic because companies like Docker made them easier to use and has brought them into the mainstream. The panelists agree that containers are not for storing data, only for running applications, but that data can be mounted to a container. This is one of the biggest beginner mistakes.  They discuss situations that are conducive to the proper use of containers. Containers are best added to mature and large scale projects. They discuss the pros and cons of Kubernetes. The panel gives advice on how to start using containers, suggesting new users start by containerizing one thing at a time rather than trying to do it all at once. They remind listeners that if you want something to stick around for each deploy, it should not be in the container itself because containers are temporary. They talk about how to create a container, good patterns and anti-patterns found when using containers. They discuss possible security concerns with anti-patterns in containers. They finish by talking about other container orchestrators and how to get traffic to Docker boxes Links Docker Container LAMP (Linux, Apache, MySQL, PHP) Kubernetes Habitat.io CICD Docker Swarm Apache Mesos Follow DevChat on Facebook and Twitter Picks Nell Sharmell Harrington: Trader Joe’s Iced Coffee Big Little Lies Lee Waylin: Magic Sandbox Fall, or Dodge in Hell Whisper Room Scott Nixon:  An Absolutely Remarkable Thing The Book of Beautiful Questions

This time around, we’re doing something a little different. This episode from series one was captured from the show floor at Summer NAMM 2019. We’re going to take a walk around and speak with Chalise Zolezzi, the Director of Public Relations and Social Media for NAMM. We’re also going to dip inside a Whisper Room to talk with Trevor Nicely about how their product made two critical interviews possible despite the noise outside. Your host is Erik Matlock, senior editor of ProSoundWeb.com and Live Sound International magazine. Support the show (http://paypal.me/erikmatlock)

Show Summary: (Full Transcript Below) ROY SAMUELSON is one of Hollywood’s leading voiceover talents in film and television. Currently Roy is leading the way in the area of DESCRIPTIVE NARRATION / AUDIO DESCRIPTION, an aspect of television and filmmaking that allows Blind/Visually Impaired viewers to get audio description during a show without interruption and fills in the void as the action is not always obvious. For example, the movie Castaway is nearly silent during the first half of the movie.  This is where Roy steps in with his descriptions. Roy Samuelson is a professional Audio Describer for some of the latest Hollywood productions. Movies like First Man, Venom, Jurassic World: Fallen Kingdom, Spiderman: Homecoming, Jason Bourne, The Magnificent Seven, Get Out, Skyscraper, Atomic Blonde and television shows like Lethal Weapon, NCIS, Blue Bloods and Criminal Minds.   Join Roy and Jeff in the Blind Abilities Studio and find out how Roy got involved in Audio Description and how his voice makes it to your TV and Movie Screens across the world.   Contact: You can Follow Roy on Twitter @RoySamuelsonand be sure to check out his latest works and send in some feedback. Roy is always happy to hear from you.   Thank you for listening! You can follow us on Twitter @BlindAbilities On the web at www.BlindAbilities.com Send us an email Get the Free Blind Abilities Appon the App Store. Full Transcript: Audio Describer and Voice Artist for Hollywood Movies and TV Shows: Meet Roy Samuelson Jeff Thompson: Blind Abilities welcomes Roy Samuelson, one of Hollywood's leading voiceover, audio description, and voice narrative artists. Jeff Thompson: A sharp dressed man steps from the train, pulls out a cane, and proceeds to go towards a building. Jeff Thompson: Including films First Man, Venom, Jurassic World, Spiderman: Homecoming, Jason Bourne, The Magnificent Seven, and TV shows Criminal Minds, CIS, Blue Bloods, and Lethal Weapon. Jeff Thompson: He enters a door where the sign says Blind Abilities Studios. A young lady looks up from the desk. Speaker 2: Good morning. Jeff Thompson: Good morning. Speaker 2: You've got Roy Samuelson, Studio Three. Jeff Thompson: Okay, thanks. I'm going in. Speaker 2: All right. Blind Abilities Studios. Uh-huh. Jeff Thompson: He proceeds down a hallway. He stops at a door and reads the Braille. It's door number three. He enters and sits comfortably in his chair, reaches over, flicks a few switches, pulls his boom microphone down. He pulls on his headphones, and then reaches for the big red switch and flicks it up. From the hallway, the sign above the door now glows brightly, On The Air. Jeff Thompson: Welcome to Blind Abilities. I'm Jeff Thompson, and today in the studio, we have Roy Samuelson, who is out in Hollywood leading the way in voiceover, audio description, and descriptive narrative. How are you doing, Roy? Roy Samuelson: Hey, I'm doing great, Jeff. It's good to be on your show. Jeff Thompson: Well, thank you very much. I'm sure our listeners are excited to hear from someone who does voiceover, audio description for movies and television shows. Roy Samuelson: Yeah, I'm really passionate about it. This is really wonderful work. I really, I like it a lot, and I'm going to stop using the word really. Jeff Thompson: Now you've got me thinking about it. I'll probably be using it. Let's first tell the people what kind of movies you have been doing and television shows. Roy Samuelson: Oh sure. There's a few series that are on right now. On CBS, there's NCIS and Criminal Minds, and on Fox, I'm doing description for Lethal Weapon. Jeff Thompson: Oh, you're busy. Roy Samuelson: Yeah, it's a great season this year. There's a bunch of movies and there's another one that's coming out next month, and right now there's two movies that are out in the theaters, and they're really fun on the descriptive narration side. Jeff Thompson: Yeah, I saw the likes of, what was it, Spiderman? Roy Samuelson: That's right. Yeah, the more recent one. I was on Spiderman: Homecoming. Jeff Thompson: Wow. You even did Jurassic World. Roy Samuelson: Yeah, the most recent one, mm-hmm (affirmative). Jeff Thompson: So what do you do in your spare time? Roy Samuelson: That's a great question. The things that I love about audio description have kind of started to spill into my own personal life. Some of the connections that I'm making through social media are turning out I'm getting some more friends on that side, so it's been fun to correspond with them and some people that have been listening to audio description. As far as other things, I really enjoy hanging out with friends. There's nothing like a night out, cooking some dinner at home, and having some fun, laughs, and conversations. I'm pretty low key when it comes to that. Jeff Thompson: Yeah. Well, when it comes to audio description, there's so many different areas that people can receive their movies or television shows now that some people are cutting the cables and all that or in theaters, and now they're starting to hear your voice. What got you into giving audio description to movies? Roy Samuelson: That was a long ... I can trace it backwards. I can say from where I'm at now, I can look back and say all these steps led back to one person who introduced me to someone who introduced me to someone, and I did an audition, and I'm hesitating, because it's hard to say how it exactly happened. I think a whole bunch of things happened to come together at the right point and at the right time, and a lot of the work that I do in voiceover has certainly carried over into what I do with audio description, so I think I was kind of ready for it. Jeff Thompson: So you took to the microphone. Roy Samuelson: Yeah. My first paid job was down at Walt Disney World for the Great Movie Ride, which is no longer around, but they had a gangster take over the ride, and the ride was maybe 60 people looking at different movie scenes kind of going through the movies on a ride, so with all the distractions going on, I was on mic as a gangster, so trying to figure out what's the best way to say what I needed to say, but not get in the way of what the audience members are trying to appreciate, but still getting the message across. The more that I thought about the comparison between audio description and that first job, there's so many overlaps. It's really amazing to think about it that way. Jeff Thompson: Oh yeah. That was one of the questions I was going to ask is how do you find the space? Like you were just saying, that gap, that space, that little pocket where you can describe something without taking away from the audio itself. Roy Samuelson: That's a great question. There's a script that's given to me. I don't write it. There's some really talented describers who look at the movie sometimes four or five times or even a TV show, and what they do is use a special program that gives me the words that I say as a narrator in between audio cues and between dialogue, sometimes in between visual cues. They give me a script with any one of those things, whether it's a time code where I'm looking at a screen that shows kind of like a timer countdown or a stop watch that shows all the time code, and that time code is a cue for me to say the next line. And sometimes they'll say this line needs to be brisk. You'll hear narrators talk a little faster than they normally do just to try to get it in. Jeff Thompson: Oh yeah. You have to nail it between those two points. Roy Samuelson: Yeah. Jeff Thompson: And so by doing that, you do that in your own studio? Roy Samuelson: For the jobs that I mentioned, those are done at a studio. I guess it is possible that I could remotely do it. However, there's a few things that it's kind of to my advantage to do it in studio. First of all is having the time there at the office. I get to interact with the people there. It's not just going in and doing the job. I'm not socializing and hanging out at the water cooler, but a friendly hello to someone, these are the people that I work with, and that's pretty special. The other thing is there's a lot of legal requirements. I think with the internet, it's easy for things like content to get lost in the internet and get into some hands that might not use it for the intentions needed, not that I'd do it, but the studios as well as the networks are pretty protective of their content. Jeff Thompson: Plus they're pretty much isolated there. You've got all the equipment, the room, the booth, there you go. You're at work and you don't have the phone going off or someone knocking at the door at home. Roy Samuelson: Yeah, exactly. It's very focused. People talk about being in the flow, and I appreciate that so much, being able to go in and do my job while experiencing the movie, and it taps a lot of really good synapses in my brain. Jeff Thompson: So I have a question, and this is kind of personal for me, I guess, but I'm sure listeners might be curious too. As you're taking in the script and the movie, you are a narrator. You do a narrative to it, the audio description, but do you, like you said, you get brisk or do you go with the flow of the movie? Roy Samuelson: Yeah. I'm given the script, and then two minutes later we start recording, so there's no time to really look at what is about to happen, so it is ice cold. I can watch a trailer for a movie ahead of time or some of the series that I'm on, I get a sense of what the characters are and the kinds of things that they would normally do, but when it comes to ... let me make sure I'm answering your question correctly too. Roy Samuelson: I think when I'm doing the narration, my goal is to not be the spotlight. I don't want people who listen to audio description think, oh wow, that narrator sounded so good. If anyone thinks that, I'm not doing a good job because the attention should be on the storyline, the content that I'm sharing, whether it's the TV show or the movie. I don't want to get in the way of that. I think I want to enhance it. I don't want it to be all about me, so I try really hard to be within the tone or the genre of the film or TV show, and as that changes try to go with it so that it's not jarring or unexpected. Jeff Thompson: Oh, that makes sense. Now that I think about listening back to movies, the narrative or the audio description just wants to fill in those gaps, so you get the script and you hit the marks. Roy Samuelson: Yeah. I want to be part of the story. I don't want to be the story. Jeff Thompson: So Roy, when you're doing voiceover and work like that, did you see yourself doing audio description some day? Roy Samuelson: Maybe five or 10 years ago, I was unaware it existed. There are so many great opportunities for voiceover. There's narration for instructional videos. There's what they call voice of God where at a special event someone announces someone who's next on the stage. There's commercials, promos, all sorts of experiences, and I've done my best to enjoy those, but when I found out about descriptive narration, I've never felt so laser focused. Everything about it just rang so true to me in my experience and what I was excited about. Jeff Thompson: So what is it that you found in your voice that made you a talent? I mean, I don't know if that sounds bad or something like, but someone must have recognized something that you got the voice for doing what you're doing. Roy Samuelson: I can't speak to how I get chosen, but I will say that prior to doing descriptive narration, I spent about 10 years almost every week going to a script writing group as an actor. In this group, it was a really special group of maybe about two dozen writers, and they would bring in 25 pages of their script, and these are all produced writers, so the quality was really high. As an actor, I would go in and we'd been given a script ice cold, and I'd read 25 pages of it, and afterward the feedback would be given to the writer and not the actor. Roy Samuelson: My experience with that was the first few times I was like, oh, I need to do the best I can. I need to be an actor, and then I realized that the story was what people were focused on, so what I tried to do was when I was doing my acting, I was still acting, but I was trying to bring the story into it because I saw that that's what the writers were focused on, and I think that the combination of ... how many hundreds of times of doing scripts through the years every week, there definitely was a skill of cold reading, there was the attention to the story, the writing ... I'm sorry, I keep talking about the story, I get so excited about, story, story, story, but with all these things, I think it kind of paved the way for a nice foundation so that when the opportunity came to do descriptive narration, there's definitely a lot of nuance. There's still a lot of things that I needed to learn, but I really took to it pretty quickly. Jeff Thompson: Well, that's great because the blindness community really appreciates all the audio description that they are employing today in today's movies. It's getting to the point like when there's not one, it's like hey, hey. Roy Samuelson: Oh, that's great to hear. I saw on some website, I posted on Twitter the link, I can't recall the exact address, but I think there's 2200 titles available right now for audio description, and that's just unique descriptions. That's not overlaps. I thought wow, that's great, let's keep that number going up. Jeff Thompson: Oh yeah. I hope it does keep going up, especially with all these rules about the ADA and making things accessible, and it just shows that a Hollywood production that puts out a movie and takes the extra measure to put in the audio description, it just is more inclusive. It just makes people feel like hey, we matter, and I really appreciate what you're doing to bring that to light. Roy Samuelson: Ah, thanks for saying so. It's been great to be a part of that. The studios and the networks and even the streaming services are aware that yeah, this is audience. It's in everybody's ... it's such a win-win-win situation that I can't stand it. Everybody wins. Jeff Thompson: So Roy, if a movie's coming out, how soon do you get notified about working on the movie for the audio description piece, and when you're done with it, how soon does the movie get released after that? Roy Samuelson: Ah, great questions. My experience is pretty limited, so they give me sometimes a week's notice, sometimes a day or two's notice for a film that's coming out. It's usually about maybe three to five days. We set aside a day for it. It usually takes about maybe ... I can do a movie in about four hours. Sometimes it takes the full day depending on how they need to do it, and then once I'm done with it, it's pretty close to release date. The audio description is one of the last things to get done in post-production sound. Everything else is pretty much locked as far as the picture's locked and the sound is pretty much locked. Everything is kind of good to go to the theater, and then audio description is a special track that kind of lives above and beyond the whole movie. For my work to match up with what they do, as far as the dominoes falling, I think audio description has to be one of the last. And I guess the second part of your question, a movie can come out sometimes within a week of the work I do- Jeff Thompson: Oh, really? Roy Samuelson: And sometimes a few weeks to a month. Jeff Thompson: So you're one of the last guys on that assembly line. Roy Samuelson: Yeah, and they do take it seriously. The quality control, at least the company I work for, and I'm sure all the other companies, they really do take it seriously. They want to make sure all the characters are consistent and that there's not mistakes in the story. They genuinely care about what they're doing. Jeff Thompson: Oh, that's great, and who would have thought that 10 years of cold reading scripts and something of passion that you love to do, obviously you did it for 10 years, would lend into doing something like this? Roy Samuelson: Isn't it funny? I think about other people that have talked about the things that they've I'm going to say invested in for the joy of doing it. I had no intention of oh, I'm going to spend the next 10 years working on this so that I could be an audio descriptive narrator. It did happen in parallel in some ways, but for the most part, it's great to see how that seems pretty common with a lot of different businesses. I really like looking at that. Jeff Thompson: Well, it's really nice when you have a passion for doing something and then all of a sudden, it just leads into something else that someone wants you to do, and you find yourself doing it, and who would have thought? Roy Samuelson: Yeah, yeah. I think, if I could jump on that a little bit, Jeff, there's an openness, almost like a growth mindset that I think comes along. I do my best to keep a growth mindset as opposed to a fixed mindset. I think if I had the fixed mindset, I'd think oh no, I need to make sure I stay focused on just one thing, and when some opportunity like audio description would come up, I'd think oh no, that's outside of my wheelhouse. I've never done that before. I don't know enough about it. I haven't heard about that, so it could almost be dismissed, and here's this great opportunity that can come up, and I use this example. I'm kind of digging my own pit here and my point. I think what my point is that having an almost curious eye and looking at things maybe not necessarily from the most familiar way, seeing things a little differently can open up a whole bunch of new opportunities. Jeff Thompson: Mm-hmm (affirmative). Well, that's great. So I'm curious. Since your tool is the microphone and your voice, do you have your own microphone, your own recording, or a preference? Roy Samuelson: Oh yeah. I've got a whole studio set up in my house. It's called a Whisper Room, just basically a four foot by six foot building, and it's moved along with me a few times. Inside there, there's one side where I can sit down and I do audiobooks on that, because those are usually long form, and then the other side is a stand-up thing, so I've got the mic almost coming from the ceiling, and I read along either auditions on an iPad or if I need to call in for a project that I'm recording remotely, I can do an ISDN connection or even a file, FTP upload. It kind of gives me the freedom to stand and kind of play around with moving my arms around and kind of get into the story a little bit more. Jeff Thompson: Oh, I suppose, especially with the audiobook, yeah. Roy Samuelson: Yeah, mm-hmm (affirmative). Jeff Thompson: So what's your go-to microphone? Roy Samuelson: You know, at the studio where I work, they have a Neumann, and it's one of those condenser microphones. I think it's the 102. I'm trying to think. I'm pretty sure it's the ... anyway, it's a nice Neumann. Jeff Thompson: Typical thousand dollar-plus Neumann. Roy Samuelson: Yeah, and then for my home studio, I really like the Bluebird by Blue. It's just got a nice, for my purposes for auditioning, it's got a nice kind of warm open sound, and yeah, I still get a lot of sibilance though, so I have to kind of process that out a little bit. Jeff Thompson: Now when you say sibilance, can you tell our listeners what that is? Roy Samuelson: Sure. Sometimes S's can come across really hard. It's almost like the microphone is picking up a little too much on the letter S. It just makes it- Jeff Thompson: Kind of like that whistle sound. Roy Samuelson: Yeah, and the microphone just loves it, and it's like a magnet. It just sucks it right up, and so it makes it a lot louder and the experience on mic is a little too much, so that's one example of sibilance. Jeff Thompson: Yeah. Well, that's great. Yeah, the Whisper Room. I've got to remember to use that. I've got to tell my wife about making myself a Whisper Room. Roy Samuelson: Yeah, it's a brand from, if it's not Kentucky, I think it's Tennessee. They specialize in that for a lot of musicians and such, but there's other kinds of quiet rooms and all sorts of, especially in Los Angeles, a lot of voiceover actors like to have custom-made ones. Jeff Thompson: Oh yeah, I follow the Booth Junkie, and he's always building his little booth and going inside it and coming out. So the Whisper Room, you can actually break that down and move it with you. Roy Samuelson: Yeah, and there was one time, Jeff, I did it myself, and I probably need to remember to have a friend come along. That's definitely not a one-person job. Jeff Thompson: So Roy, with all the work that the studios are doing to make audio description available to them, what suggestions would you have for our listeners that appreciate the audio description that they're receiving? Roy Samuelson: Yeah, so a lot of the studios and the networks, they've got so many things on their plate. They're advertising, they're trying to put things together. It's easier for them to not gloss over, but kind of, I guess the best thing to say is if you're watching movies and TV shows and you appreciate the audio description, let the studios know and let the networks know and let the streaming services know that this is something that's really valuable, and that you want more of, and I think that kind of message will help everybody out. It gives more content to viewers who appreciate audio description. Roy Samuelson: In Los Angeles, we get a lot of traffic, and audio description is great for commuters who want to catch up on their TV shows or enjoy a movie when they're trying to fight traffic on the 405. It is kind of like an audiobook that's fully produced, so by trying to get commuters into the audio description game, that can only help audience members who also appreciate it for audio description. It's kind of a win-win for everybody, but I really think letting the studios and the networks and streaming services know how much this service is appreciated and liked, that helps everybody. Jeff Thompson: Oh, for sure, for sure. It's available to us. We use Comcast, and we have that on our phones, and it has audio description so my wife can use her phone to watch a TV show, but she has audio description so she considers it watching TV, and it's like a book like you said. Roy Samuelson: Yeah. Oh, very good, and that's the Comcast cable? Jeff Thompson: Yeah, Xfinity, Prime Video. There's [crosstalk 00:18:43]. Roy Samuelson: Oh, excuse me for the product placement there. Jeff Thompson: No, it's great. I like people to know that because it's available and it's working, and just turn it on, but everybody's a different individual here, and some people like a lot of description, some people like a little, but it's getting better, and as you said, there's what, over 2000 available titles out there with audio description. Roy Samuelson: Yeah, and that's just based on that one website I found, and who knows. There's probably some other options there too. Good to know. Jeff Thompson: You mentioned earlier when we were talking, I think this was before we started recording, your mother went to a show, a movie that just came out, and was trying to use the audio description in the theater. Roy Samuelson: Oh yeah, and it turned out great. The manager gave her and her guests a movie credit for it, but the opportunity for her was to try out the headset for audio description at the movie, and it just so happened that that morning there was an electrical glitch in the theater, so all the power went out and turned back on, and that audio description somehow got reset, and it was important for her to step out and let a manager know, but she was enjoying the movie and she didn't want to stop and interrupt her experience, but as theaters get more and more accessible, particularly with audio description, the more they understand how the ropes work, so to speak. Jeff Thompson: Yeah. It's kind of interesting that she wanted to hear her son. Not too many people get- Roy Samuelson: [inaudible] there. Jeff Thompson: Yeah, not too many people get that opportunity, but that's great. Roy Samuelson: So hopefully the next time she goes to the theater, she'll be able to hear it. Jeff Thompson: Well, that happens with technology, especially when you have like theaters that the workers are going to college or doing other things and stuff like that, and they have this device, and when they work, they work great. It's getting more and more available to people. I love that the entertainment industry is making audio description more available to people and I really want to thank you for what you're doing, creating the voice that people are listening to without interrupting the show. Roy Samuelson: Well, that's the goal, and I always strive for that. Thanks for saying so. Jeff Thompson: Sometimes being in the background is just as important as being in the limelight. Roy Samuelson: Yeah, it's definitely ... I feel like part of the team. Jeff Thompson: Well, great. I want to thank you for what you're doing and for taking the time and coming on the Blind Abilities and sharing this with our listeners. Roy Samuelson: Jeff, it's a real pleasure talking with you. Thanks for having me on. Jeff Thompson: You bet. Jeff Thompson: It was really nice to learn from Roy Samuelson what he does, how he does it, and his interest in it, and he's really motivated. Like he said, contact the studios that are putting out audio description. If you like it, let them know. Let's give them feedback, and you can follow Roy on Twitter  @RoySamuelson. That's R-O-Y-S-A-M-U-E-L-S-O-N on Twitter. Jeff Thompson: So as always, thank you for listening. We hope you enjoyed, and until next time, bye-bye. Jeff Thompson: Jeff removes his headphones, turns off his mixer, pushes his boom microphone up towards the ceiling. He sits back in his studio chair, looking satisfied. He reaches towards the red switch and flicks it down. The On the Air sign outside Studio Three fades to black. [Music]  [Transition noise]  -When we share -What we see -Through each other's eyes... [Multiple voices overlapping, in unison, to form a single sentence] ...We can then begin to bridge the gap between the limited expectations, and the realities of Blind Abilities. Jeff Thompson: For more podcasts with the blindness perspective, check us out on the web at www.blindabilities.com, on Twitter at Blind Abilities. Download our app from the App Store, Blind Abilities. That's two words. Or send us an email at info@blindabilities.com. Thanks for listening.

My guest is Mike DelGaudio - voice actor, narrator for The NY Times, Atlas Obscura and Audible, and an absolute YouTube rockstar! Check out his Booth Junkie channel on YouTube. We go deep into: Voiceover recording Whisper Room booths Sennheiser MKH 416 mic Neumann TLM 103 mic CAD E100S mic Roles headphone amp Audient iD22 audio interface Recording into Reaper on a Mac Sennheiser HD 380 Pro headphones Shure E215 in-ear monitors Apogee Duet interface Waves X-click plugin Thanks for sharing soooo much knowledge, Mike! DID YOU KNOW........We exist for the purpose of helping you, so please comment below with any questions or remarks. Thanks for listening! Want to Start a Business or Have a Career as a Podcast Producer/Engineer? Listen and Subscribe in Apple Podcasts, Google Play, iHeart Radio, Stitcher, TuneIn Radio, Android, RSS

Geoff & Jeffrey Episode #5 Audio, Video, Content Creation, and that other stuff. ----------------------------------------------------------------- Discussion on Episode #5 ----------------------------- Cleaning your webcam for the best results Geoff prefers using the I-Mac instead of the Mac Book Pro for doing the show. Geoff has a chapter recorded for Librivox, where you can get free audio books. https://librivox.org/ The difficulty of punching in recording mistakes instead of re-recording. Gear Acquisition Syndrome or G.A.S. Having a mic with no idea what you want your show will be about. Sound treatment installation follies. Distance from the mic in different applications. Bill DeWeese voice over guy. http://www.billdewees.com/ Comparing Bill DeWees' professional Whisper Room to Jeff's homemade booth. http://www.whisperroom.com/ Each of our recording processes. Verses In Vox. http://verses.porchlightfamilymedia.com/ Zoom H5 recorder. Excellent review from Golden Spiral Media https://youtu.be/6XrPwMqfUfU Pluraleyes software. https://www.redgiant.com/products/pluraleyes/ Comparing the difficulty and expense of audio versus video. Ray Ortega video dude extraordinaire. https://www.youtube.com/user/thepodcastersstudio Record in a sound treated space with a reasonable mic. Cable TV versus internet streaming. Cell Phone useage at home and work.  -------------------------------------------- Everything Geoff Blanchard does can be found at http://geoffblanchard.com Jeffrey K. Holbrook is at http://holbrooknewmedia.com  

Published on Mar 31, 2013 Our Easter edition Google Hangout ! Happy Easter, and Passover everyone ! Hangout guests included: Dan Lenard George Whittam Lee Pinney Anne Ganguzza Anthony Gettig Steve Tardio Patrick Sweeny Jason Lawson David Kaplan and, Doug Turkel Visit George at VOStudioTech.com Or follow George's Twitter: @EWABS_Show Visit Dan at HomeVoiceOverStudio.com/ Or follow Dan's Twitter: @HomStudioMan Questions and topics discussed included: Dan's recently aquired Tannoy ribbon Mic. Dan and Anthony's recent experience with Canadian customs. Mic Port Pro quality / durability. Dan, Anthony and Pat Sweeney at Pat Sweeney's meetup group. Studio Suit's sound deadening capabilities. Traveling with your microphone. George's Rode HS1-P headset. Projects, and popular equipment George has worked on recently. ISDN fasing out ? Source connect, other options. Microphones: Charteroak........ Neumann, others. Pat Sweeney's American/Canadian pronunciation sheet. Pat Sweeney's reaction when Dan,and Anthony called from the Canadian border. David Kaplan's recent projects. ARU Studio, Chicago. Whisper Room versus Studio Bricks, and ventilation. Room size issues. Larger, or smaller booth ? David Kaplan's recent Maurice Tobias workshop. Porta-booth pro, Harlan Hogan Headphones. The hangout guest's portable setups. George shows us a prototype 416 pop screen. Thanks to Harlan Hogan and Voice Over Essentials. voiceoveressentials.com Harlan is the exclusive supplier of portable studio booths for TED. John Florian, and Voice Over Xtra. The daily resource for voice over success. http://www.voiceoverxtra.com/index.htm EWABS announces e-support membership. Just $39.95 per month. Go to ewabs.com and click on E- support. Next week's guest is Joyce Castellanos. April 14th: Anthony Mendez.(Tentative) April 21st: The long-awaited return of Dr. Joel Bernstein, Dan's otolaryngologist. Dr. Bernstein will be speaking on hearing loss. TBA: Bob Souer. WOULD YOU like to be one of our monthly sponsors??? Contact us at ewabshop.com to discuss! Join the EWABS Correspondent Contest. Make a VO or home studio related video, and send it to ewabshop@gmail.com The best way to keep track of the shows activities is to visit the EWABS Facebook page. https://www.facebook.com/eastwest.aud... EWABS Twitter: EWABS_Show Thanks again to our sponsors. Harlan Hogan's Voice over Essentials. voiceoveressentials.com Voice Over Xtra http://www.voiceoverxtra.com/index.htm Special thanks to the shows producer, Katherine Curriden, Dave Courvosier for providing the shows weekly intro, to Jason Lawson for providing our weekly show notes, and to Lee Pinney for keeping our podcast up-to-date. Send us questions, and be on our show where Dan and George will solve your home studio problems live! Call 818-47EWABS, that's 818 473-9227, and leave us your question in the voice mail box. Go to ewabs.com for details. Contributions are also welcome at shop.ewabs.com

DISC OF THE WEEK: Ghäst / Rape-X - Split CDGhäst returns, with another split, this time with the band Rape-X. On this CD two long tracks of their unique funeral doom-nioise__________________PLAYLIST003:Download Link"There Is Always The Thrill Of Just Beginning" by Pan*American from White Bird Release (Kranky)"Street" by Yellow6 from When The Leaves Fall Like Snow (Make Mine Music)"Untitled 4" by Whisper Room from Birch White (Elevation Recordings)"Blackhunter" by Thisquietarmy from Blackhaunter (Elevation Recordings)"Kundalini Tremolos" by Faust from C'est Com Com Complique (Bureau B)"Ant 10" by Boredoms from Super Roots 10"Aerosol" by Sonic Youth from Sensational Fix (Walther Konig)"The Urge To Participate In Butchery" by Gnaw Their Tongues from An Epiphanic Vomiting Of Blood (Crucial Blast)"Civil Servant: I The Cop" by Rape-X from Split Ghäst / Rape-X (Obskure Sombre Records)"Tetanos" by Ghäst from Split Ghäst / Rape-X (Obskure Sombre Records)"Hate Crystal" by Wolves In The Throne Room from Malevolent Grain 12" (Southern Lord)"VI" by Animus from Hallucinations: Ideals Surrounding Water, Sand, and Clouds of Dust (Ars Magna Recordings)