Audio Branding

“And it surprised me that it took so long for people to adopt the on-demand aspects of audio. It’s been a very, it’s been kind of a slow adoption curve is what I’ve seen. I think that the on-demand side of video grew much quicker, which I think is an interesting case, even as it applies today as we look at the podcasting space. We’re still, you know, we’re still chipping away at it, as they say.” -- Rob Greenlee This episode’s guest is the CEO of Spoken Life Media and host of the Spoken Life Show. He’s also the co-founder and advisor to PodcastEZ.com, and has worked in senior roles with Podbean.com, Libsyn, and Advertisecast. He’s a well-known public speaker, technologist, evangelist of the podcasting industry and its potential, and a trainer for podcasting globally. And he’s a founding Board of Governors member, and former founding chairperson of the Podcast Academy (which is responsible for the Ambies Awards). In 2017 he was inducted into the Academy of Podcasters Hall of Fame, and is a current chairperson of the Induction Committee for the eight-year-old “Podcast Hall of Fame.”Along with Todd Cochrane, who’s also been on this podcast, he co-hosts the 10+ year running New Media Show at NewMediaShow.com and hosts the “Spoken Life Show” at podpage.com/spokenlife/. His accolades are numerous, and his background, extensive. He’s even a former college basketball player at Pacific Lutheran University and is also a Guinness Book of World Record holder for building the World’s Largest Glass of Orange Juice for the State of Florida.His name is Rob Greenlee, and I’ve been looking forward to this discussion for a number of reasons. The state of podcasting is currently in flux, considering what’s happening with AI, podcast hosting, RSS, and a whole host of other considerations. It’s still going strong, and there’s still a sizable audience out there – my listeners being a case in point. But there’s definitely a lot to talk about.As always, if you have questions for my panelists, you’re welcome to reach out through the links in the show notes.  If you have questions for me, visit www.audiobrandingpodcast.com where you’ll find a lot of ways to get in touch. Plus, subscribing to the newsletter will let you know when the new podcasts are available. And if you’re getting some value from listening, feel free to spread that around and share it with a friend, along with leaving an honest review. Both those things really help – and I’d love to feature your review on future podcasts. You can leave one either in written or in voice format from the podcast’s main page. I would so appreciate that. Embracing the TimeshiftAs the episode starts, Rob recounts his early memories of sound and one of his first forays into the audio industry back in 1999. “I asked this radio station,” he recalls, “it was a small market radio station at the time, if they had a technology talk show. And I said ‘I’ve got some friends, we can come in and do one.’” He tells us about the pioneering days of digital audio and podcasting, well before smartphones and streaming content existed, and how online shows changed the audience’s expectations when it came to radio. “The audience,” he says, “was starting to more and more embrace kind of time-shifting. That’s a term that I used early on, time-shifting of the consumption of radio.” Everybody Has a VoiceAs we continue, the topic shifts to the democratization of sound and how it competes with the commercialization of podcasts and online audio spaces. Rob wonders if the combination of these two factors has worsened streaming audio’s signal-to-noise ratio. “Is it possible that everyone should have a voice?” he reflects. “I think it’s an interesting question. I think the industry would love it if everybody had a voice, but is that what’s really good for the listener or good for the content side?” Podcasting’s Wild CardWe also talk about the leaps in technology the industry’s seen in just the last few years, and how it’s brought podcasting and a global audio market to the world. “The last three years,” Rob notes, recounting his work with international podcasters, “we’ve seen a big explosion of interest outside of the United States for podcasting.” He also considers what the future might hold for a media industry that’s so far been slow to evolve, whether it’s from audio hardware breakthroughs or from AI and generated voice content. “We’re seeing technology innovation come into the medium increasingly,” he notes, “with spatial audio and software solutions that are using AI technology and things like that that are starting to have an impact on the medium and the quality of what we’re seeing. And AI is one of those wild cards that I don’t think any of us really know how significant it’s going to be.” It’s Always Been ComplicatedThe conversation touches on YouTube’s recent entry into the podcasting market, and whether the “video podcasts” it promotes truly count as podcasts. “It’s always bee

“I think, you know, in terms of quality and even the manufacturing, I’ve been very pleased with what I’ve been seeing from quote-unquote competitors. And as far as competing, I think the Pod Mobile is kind of different in the application and though there’s a lot of overlap and one can choose to, for certain applications, it can choose from multiple options, the packaging and the range of things that Power Mobile does is quite different.” -- Fernando Eid Pires This episode's the second half of The Power of Sound Clubhouse chat with panelists Steve Irby and Fernando Pires as we talk about condenser mics vs dynamic mics, Fernando's priorities when it comes to designing audio equipment and comparing technical numbers to real-world performance.As always, if you have questions for my panelists, you’re welcome to reach out through the links in the show notes.  If you have questions for me, visit www.audiobrandingpodcast.com where you’ll find a lot of ways to get in touch. Plus, subscribing to the newsletter will let you know when the new podcasts are available. And if you’re getting some value from listening, feel free to spread that around and share it with a friend, along with leaving an honest review. Both those things really help – and I’d love to feature your review on future podcasts. You can leave one either in written or in voice format from the podcast’s main page. I would so appreciate that.Changing Up Your GearThe second half of our Clubhouse discussion starts as we continue to talk about audio specifications, the math behind decibel ratings, and whether condenser mics or dynamic mics offer the best bang for your audio buck. Fernando offers an example of how what seem to be ideal numbers on paper can sometimes fail to account for practical reality and a podcaster's unique circumstances. "My advice for the consumer," he tells us, "is that if you go with the numbers and you're about to change up your gear with hopes to improve it that much... get the product from a place that it can be returned." Publishing the TruthGeorge Whittam joins the conversation with a question to our panelists about the latest buzz surrounding 32-bit float audio, just what that phrase really means, and how useful it might be for a device as versatile as Fernando’s PodMobile. Fernando and Steve share their thoughts about balancing cost and efficiency in audio equipment, and whether it’s more important to compete with the numbers across the industry or with the user experience. “We’re at the point,” Steve explains, “where we want to say, what we publish is true, you know, and there is a lot of pressure to publish a certain number, maybe with a certain type of a measurement that doesn’t really matter. So you get the pressure to do that.” A Life TransformedWe wrap up the conversation with a more in-depth look at some of the design decisions that went into the PodMobile's audio ports and interfaces, how early user feedback led to Fernando adjusting his original plans to make it more robust, and the unique "blend mode" he designed to offer spatial-audio recording. As we close, he looks back at the circumstances that led to his meeting Steve and joining Kicker. "My life has been transformed entirely top to bottom in every way," Fernando says. "And that's amazing. Like, gosh, like how far it goes when, when you, you know, aiming for the long haul. And I don't see how that could have been the case if you had compromised on your values." Episode SummaryCondenser mics, dynamic mics, and getting the best soundHow essential 32-bit float audio recording is to audio hardwareWeighing technical specifications against user feedbackThe lessons Fernando learned while perfecting the PodMobile Connect with the PanelistsKicker Website: https://www.kicker.com/Connect with Steve Irby on LinkedIn: https://www.linkedin.com/in/steve-irby-aab79613/AudioSigma Website: https://audiosigma.com/Follow Fernando Pires on Facebook: https://www.facebook.com/fernando.eidpiresConnect with Fernando Pires on LinkedIn: https://www.linkedin.com/in/pireseid/Follow Fernando Pires on Twitter: https://twitter.com/PiresEid Connect with the Audio Branding Podcast:Book your project with Voice Overs and Vocals https://voiceoversandvocals.comTweet with me on Twitter - https://twitter.com/JodiKrangleWatch the Audio Branding Podcast on YouTube - https://www.youtube.com/c/JodiKrangleVOConnect with me on LinkedIn - https://www.linkedin.com/in/jodikrangle/Leave the Audio Branding Podcast a written review at https://lovethepodcast.com/audiobranding or leave a spoken review at https://voiceoversandvocals.com/talktome/ (Thank you!)Share your passion effectively with these Tips for Sounding Your Best as a Podcast Guest!https://voiceoversandvocals.com/tips-for-sounding-your-best-as-a-podcast-guest/Get my Top Five Tips for Implementing an Intentional Audio Strategyhttps://voiceoversandvocals.com/audio-branding-strategy/Editing/Production by Humberto Franco -

“Well, if you want sound to go further, you don’t... Some people say it throws sound or something like that. It doesn’t, sound moves on its own. It’s a wave, but what you can do is control the dispersion of it. So if you’ve got your garden water hose and you put it on spray, it’s the same amount of water coming out, but it goes, it sprays out in all different directions, or at least quite a bit. And then if you twist it and make the setting where it goes straight out, okay, it will be more concentrated in that area. So basically what you do is you just take that acoustical power and you funnel it into different directions. So you might think it goes further, but it just makes it louder in that particular area.” -- Steve Irby Each Wednesday at 2 PM Eastern Time I host a weekly Clubhouse called The Power of Sound, where we talk about everything related to sound, such as music, podcasting, voiceovers, public speaking, audio branding, voice interfaces, social audio, and, of course, digital audio. If you’d like to drop by, just check the schedule for The Power of Sound to see what’s coming up. Just lately we had a conversation (and everyone here knew that the room was being recorded so I do have permission) called Audio Electronics Explained, where we discussed the science of sound and audio equipment.My fellow panelists in this discussion are Kicker’s founder and president Steve Irby, and audio engineer and AudioSigma founder Fernando Eid Pires. They answer questions about how our audio experiences are crafted through the innovation of the hardware we use. If you’ve ever wondered how speakers create the sound you love, or have questions about how audio interfaces work, or want to understand what audio specifications are really saying, they can help you. Both of them understand the nuts and bolts of audio gear and are sure to have the answers you’re looking for!As always, if you have questions for my panelists, you’re welcome to reach out through the links in the show notes.  If you have questions for me, visit www.audiobrandingpodcast.com where you’ll find a lot of ways to get in touch. Plus, subscribing to the newsletter will let you know when the new podcasts are available. And if you’re getting some value from listening, feel free to spread that around and share it with a friend, along with leaving an honest review. Both those things really help – and I’d love to feature your review on future podcasts. You can leave one either in written or in voice format from the podcast’s main page. I would so appreciate that.A Thing of Its OwnThe Clubhouse chat starts off with Steven and Fernando introducing themselves and telling us how they got their start, and about Kicker’s role in the audio industry.  “GM is our biggest customer,” Steve explains. “We build for a number of other automakers: Toyota, Subaru, Ford, and different ones as well.” Fernando talks about his firsthand experience with digital audio, from his early days as a student in Brazil to his work today on the PodMobile device. “It’s quite different engineering for audio than anything else,” he says, “robotics, or industrial computing applications. Audio is quite of a thing of its own: I love it because it’s a blend of art with those exact engineering-type things.” The Illusion of SoundSteve goes on to explain how sound works, and how everything from modulation to subtle volume shifts plays into the illusion of 3D audio in the car. “If you were sitting at a concert or in a club or you’re listening to a band,” he explains, “they’re generally in front of you. So a lot of the things that we do is designing for the sound to appear to come from the front of the car.” Fernando gives us an example of how, with the right processing, speakers can trick the ears and brain into hearing sound come from a variety of directions that might have nothing to do with where the speakers are installed. Tying the Senses TogetherThe conversation continues with its focus on the senses and how they can be manipulated, and we talk about my previous guest Steve Keller’s surprising research into the connection between sound and the sense of smell (in the case of a Dove campaign created at Studio Resonate). Fernando recalls a book by Dr. Daniel Amen that tied the senses together and helped change his life. “I remember one of the recommendations he had,” he tells us, “for, like, you just had like a really bad day or kind of in a difficult place is an immersion of what sounds good, smells good, temperature of the water... deliberately using as many of the senses as you can to get you to like, feel better. And of course, that, you know, will interfere with your state of mind.” What the Numbers MeanAs the first half of our Clubhouse discussion wraps up, the topic turns to audio equipment, technical specifications, and just what all those impressive-looking numbers on the back of a microphone box are really saying. Fernando gives us a vivid illustration of ju

“The interesting thing about Napster was, you know, they built this really cool community and everyone had to upload their music to a server. So they controlled the servers. And because the music business doesn’t understand it and because it wasn’t their thing, they killed it. So the people who had designed that software were like, okay, then let’s just make every computer a server. And then like Gnutella and LimeWire came out and it was like, it almost destroyed the industry. They were able to take that technology and bring it back into like, well, ‘let’s just stream it to you now. We’ll stream it to you back from our servers.’ But then the artists paid the price on that.” -- Randy Sosin This is the second half of my conversation with filmmaker, music video producer, and visual storyteller Randy Sosin as we talk about how artists can engage more successfully with their fans, how he’s working to overcome the bad reputation that NFTs have given blockchains, and his work in reinventing everything from music videos to concert performances for the digital-audio era.As always, if you have questions for my guest, you’re welcome to reach out through the links in the show notes.  If you have questions for me, visit www.audiobrandingpodcast.com where you’ll find a lot of ways to get in touch. Plus, subscribing to the newsletter will let you know when the new podcasts are available. And if you’re getting some value from listening, feel free to spread that around and share it with a friend, along with leaving an honest review. Both those things really help – and I’d love to feature your review on future podcasts. You can leave one either in written or in voice format from the podcast’s main page. I would so appreciate that. A Whole Other WorldThe second half of our discussion starts with a look back at file-sharing apps like Napster and Limewire, and how the music industry missed an early opportunity to engage listeners and connect them more directly to the artists. He tells us how he’s using the blockchain to create just that sort of connection now: “As an artist, if you do something and sell it, like if somebody buys something, it goes directly to your wallet. It’s a fifteen-second transaction thing. And if you’re selling it for a hundred dollars or two dollars or whatever, you don’t have to wait.” We talk about the hit NFTs have taken in the news lately, and how he’s working to separate the pioneering technology and potential behind them from their mixed reputation “So I’m trying to make it more like digital scrapbooks,” he says, “and clips from videos and stems, because there’s a whole other world that I feel that’s out there.” Wow, That’s CheapOur conversation turns to audio jingles, logos, and the industry’s ongoing reliance on licensed music from decades past. “They’re trying to tap into the familiarity,” Randy explains, “so that you’re watching that, you’re like ‘oh, I love Stevie Wonder and I love the Beatles.’ They’re just trying to get you to engage with the brand.” We also talk about the limitations of this strategy, especially since more than one company might license the same song for a commercial. “People are like ‘oh, you know that song and it was in this commercial?’” he tells us. “It’s like ‘no, it was in this commercial,’ and then they Google and it’s in both commercials. And then they’re like, oh, wow, that’s cheap.” The Fan ExperienceAs our conversation comes to a close, we talk about the growing role of audio branding in the future of digital music, from fans interacting with music video elements to concerts where fans can use tokens to interact with the performance. “That’s the thing,” Randy says, “the band can easily engage with that because it’s not going to change anything for them. They can play their song and do their thing. But the fan experience is like, it’s worth everything to me.” We talk about the tensions between producers and artists, and how he believes the breakthroughs of Web 3.0 are on the side of the artists and their fans, from proof of attendance protocols to dynamic digital royalties. “The gatekeepers are not thrilled with the idea,” he tells us. “But I’m not giving up. I believe in it. I really believe in it.” Episode SummaryHow the digital-audio revolution has left music artists behindOvercoming the hurdles of NFTs and embracing the blockchainThe advantages and challenges of licensed-music brandingThe future of digital audio, from musical bots and Metaverse concertsConnect with the GuestWebsite: https://linktr.ee/randysosinConnect with Randy Sosin on LinkedIn: https://www.linkedin.com/in/randysosin Connect with the Audio Branding Podcast:Book your project with Voice Overs and Vocals https://voiceoversandvocals.comTweet with me on Twitter - https://twitter.com/JodiKrangleWatch the Audio Branding Podcast on YouTube - https://www.youtube.com/c/JodiKrangleVOConnect with me on LinkedIn - https://www.linkedin.com/in/jodikrangle/Leave the Audio

“One of the biggest problems that we have in the world today is that we’ve devalued music to, it’s basically free. And, you know, I keep seeing these articles like, well, ‘what if Spotify charged you $14.99 a month?’ That isn’t going to fix the problem. Getting another billion dollars in the system so that Universal or Sony can get another $800 million into their coffer... it’s not going to the artists.” – Randy Sosin This episode’s guest is a groundbreaking filmmaker who has been at the helm of some of the most important music videos, concert films, and livestream events, driving the sales of millions of albums, downloads, streams, and concert tickets. From Eminem to Pink Floyd, from Sarah Silverman to the Electric Daisy Carnival, he has been at the forefront of music visual storytelling for over twenty-five years. He’s currently focused on Music and Entertainment blockchain projects: he’s a blockchain Shaman and can help anyone understand and embrace the new Web 3.0 reality.His name is Randy Sosin, and this discussion will definitely be looking to the future. What’s new under the sun for musicians, and for all of us who appreciate good art when it comes to sound? What does Randy recommend and what does the future look like to him? Listen in to find out.As always, if you have questions for my guest, you’re welcome to reach out through the links in the show notes.  If you have questions for me, visit www.audiobrandingpodcast.com where you’ll find a lot of ways to get in touch. Plus, subscribing to the newsletter will let you know when the new podcasts are available. And if you’re getting some value from listening, feel free to spread that around and share it with a friend, along with leaving an honest review. Both those things really help – and I’d love to feature your review on future podcasts. You can leave one either in written or in voice format from the podcast’s main page. I would so appreciate that. A Changing IndustryAs our conversation starts, Randy tells us about his early memories of sound. “I remember the first time hearing the Beatles,” he says, “and that was something that really changed my life. You know, like, just the sound that came out of the radio, the harmony, and the whole thing.” We go on to talk about the music industry and the changes the digital age has brought about, and how those changes sometimes don’t get as much attention as they should. “Oh, you’ll see articles like vinyl outsold CDs,” Randy tells us. “and that may be true. Vinyl may have outsold CDs in 2022, but if you go back to 1985, there were hundreds of millions of units sold. Now you’re talking about a million units sold.” The Music of MySpaceRandy tells us about social media’s current role in brand promotion, and how blockchain technology can help cut out the middleman between bands and their audience. “All that data and all that information goes to the other platforms,” he explains. “You can use it and you hope your algorithm works, but coming soon will be the direct-to-consumer where they’ll be able to connect to you directly in your world.” We also talk about how MTV once held, and then lost, the cultural influence that social media now holds, and how today’s platforms haven’t focused on music the way MySpace once did. “And it was, people loved it, you know?” he says. “But then it’s gone away. I’m shocked that there is, I guess TikTok is what people say to me, but it’s not necessarily about music.” Moving Beyond RoyaltiesWe discuss the challenges of making money as a musician in the digital era, and how utilizing the blockchain can ensure that the artists are being rewarded for their effort. “If they know that they can get money quicker and more efficiently,” he says, “and it’s coming directly to them, I think there’s going to be a sense of like ‘I don’t need to make a hundred million in order to make twenty million. I can make twenty million and I actually made twenty million.’” The topic turns to the traditional record industry and to royalty payments, a concept that, in his view, became obsolete a long time ago.  “When you buy a record,” Randy tells us, “when I bought an album or if you bought a CD, you don’t pay a royalty every time you listen to it in your house, you know? But in theory, you should.” Everything’s DigitalAs the first half of our discussion comes to a close, we talk about augmented reality, VR, and the audio transformation that virtual performances can bring. As Randy puts it, “why do we have to have a stage in one place with two points of sound? You know, it’s 2023, like, you can have twenty, thirty points of sound very easily. Everything’s digital.” We also talk about AI and machine learning, and how they’re going to change everything from listener playlists to composing the songs to concert performances. “Even with music,” he says, “it’s going to figure stuff out. It might not be perfect at first, but it’s going to figure things out and it learns, it’s machi

“If you were thinking more towards the sonic branding aspect of finding a specific sound or a musical tone that represents the company, the way that I like to approach it is, what don’t you sound like? Because sometimes that’s too obtuse of an idea to think about. But like, if you know of something that’s your competition, maybe they have a sound and you go, I’m not this sound because I don’t like this. I don’t know. I just wanted to put that out there, that recognizing your competition, and also to Ahmed’s point, asking your customers, what sounds do you portray? So again, I’m going into the more of the sonic branding element of it, but I just wanted to put that out there.” -- Jeanna Isham This episode’s the second half of my discussion with panelists Ahmed Bouzi, Jeanna Isham, Audrey, Arbeeny, and Steve Keller in The Power of Sound Club on Clubhouse about the Power of Digital Audio, as we discuss what voice AI might mean for voiceover artists, where companies looking to take advantage of sonic branding might want to start, and how social media and marketing algorithms are making reaching out to customers both easier and more of a challenge than ever before.As always, if you have questions for my guest, you’re welcome to reach out through the links in the show notes.  If you have questions for me, visit www.audiobrandingpodcast.com where you’ll find a lot of ways to get in touch. Plus, subscribing to the newsletter will let you know when the new podcasts are available. And if you’re getting some value from listening, feel free to spread that around and share it with a friend, along with leaving an honest review. Both those things really help – and I’d love to feature your review on future podcasts. You can leave one either in written or in voice format from the podcast’s main page. I would so appreciate that. Your Brand is Your BrandThe second half starts off with a question from Xavier, a voiceover artist and actor who's looking to utilize his talent for AI and synthetic voices. We talk about the Open Voice Network and innovative voice-cloning companies like Respeecher, and our quartet of panelists offer their advice. "At the end of the day,” Steve says, “your brand is your brand. So any and all of these things that you're doing that become part of a resume could potentially make you bankable.” Audrey adds “the one thing that I would say that I'd be a little careful with is like, let's say you're associated with one brand and you're on camera for them. And then you're on all of their media, your their voice. That might limit you from being somebody else's voice because you're too associated, you know what I mean?” Knowing Your ToolsJeff takes the stage for the next question, as he’s curious about where a company that hasn’t invested in audio branding before might start. We talk about the different resources that are available, and which forms of sonic marketing are the best fit for particular industries. “My general guidance,” Ahmed explains, “is to educate yourself about the space, but always start with your customers and ask yourself the question, how do I use this tool? And that's why the education comes in, is you need to know what tools are out there. How do you use these various tools or one of these tools just to start?" How Are We Using Sound?Another observation comes from Cheryl, who notes how easy it is, in an online world driven by algorithms and metrics, for advertisers to alienate their customers with clumsy marketing. Ahmed agrees with her and shares his thoughts on the importance of diversifying ad campaigns to reach out to different categories of clients, and Steve notes that it all starts with considering how your brand intersects with your customers' lives and how they actually relate to it. “Just take your brand,” he adds, “and start thinking about what are all the places where a consumer can hear your brand and then start asking yourself, how are we showing up there? How are we using sound right now?” Episode SummaryHow voiceover artists can take advantage of the voice synth revolutionThe key to owning and protecting your voice as an audio brandWhere companies should start when it comes to creating a sonic logoReaching out effectively to your customers through digital audio Connect with the PanelistsWitLingo Website: https://witlingo.com/digitalaudio/Connect with Ahmed Bouzid on LinkedIn: https://www.linkedin.com/in/ahmedbouzidFollow Ahmed Bouzid on Twitter: https://twitter.com/didou/ Dreamr Productions Website: https://www.dreamrproductions.com/Follow Jeanna Isham on Facebook: https://www.facebook.com/DreamrProductions/Connect with Jeanna Isham on LinkedIn: https://www.linkedin.com/in/jeannaisham/Follow Jeanna Isham on Twitter: https://twitter.com/Jeanna_Isham Audiobrain Website: https://www.audiobrain.com/Connect with Audrey Arbeeny on LinkedIn: https://www.linkedin.com/in/audrey-arbeeny-9b62761Follow Audrey Arbeeny on Twitter: https://twi

“I mean there’s a foundation that needs to be put into place. You don’t just say I want this, I want that, you know send me this, send me that. And then you have the people that are very sophisticated and they want like crazy experiences within their marketing and their advertising. So it’s kind of like two ends of the spectrum. You’ve got the people that know so much and wanna take advantage of every new technology. And then you’ve got the people that didn’t even want a sound logo and now they’re behind the times a bit. And they want to get caught up and they want to get caught up today. And I think that it’s that balance to show them that it’s a very iterative process.” -- Audrey Arbeeny As some of you know, I host regular weekly Clubhouse rooms on Wednesdays at 2 PM Eastern Time. We talk about all sorts of things related to sound, including voiceovers, public speaking, podcasting, music, audio branding, voice AI, sound in social media, and especially digital audio. If you’d like to drop by, you can check out the schedule for my House, The Power of Sound, to see what’s coming up. We recently had a fascinating discussion (and everyone here knew that the room was being recorded so I do have permission) called The Power of Digital Audio, where talked about what digital audio means, how it’s reshaping our online lives, and how AI fits into the voiceover industry.My fellow panelists in this episode are WitLingo founder and CEO Ahmed Bouzid, podcaster and Dreamr Productions founder Jeanna Isham, sound branding professor and Audiobrain founder Audrey Arbeeny, and audio alchemist and sonic strategy director Steve Keller.  We start things off by getting to the heart of what we mean by “digital audio” and talk about the marketing push into podcasting and social audio spaces, how digital audio hardware from smart speakers to custom vehicle soundscapes are changing the role of sound in our lives, and how the role of machine learning can be as subtle as speeding up recording sessions or as dramatic as creating whole new voices from scratch.As always, if you have questions for my guest, you’re welcome to reach out through the links in the show notes.  If you have questions for me, visit www.audiobrandingpodcast.com where you’ll find a lot of ways to get in touch. Plus, subscribing to the newsletter will let you know when the new podcasts are available. And if you’re getting some value from listening, feel free to spread that around and share it with a friend, along with leaving an honest review. Both those things really help – and I’d love to feature your review on future podcasts. You can leave one either in written or in voice format from the podcast’s main page. I would so appreciate that. Hearing the AuthenticityAs we start the Clubhouse chat, Ahmed introduces himself and tells us how he defines digital audio. “For example, podcasting that you can listen to from your desktop or from your mobile smartphone,” he explains. “I think, that would be an example of digital audio.” We talk about how digital audio can foster a greater sense of connection and listener engagement than traditional audio and mass media. “When you hear that, you can hear their enthusiasm. You can hear their authenticity.” Talking to the CompaniesJeanna introduces herself next, and we talk about how COVID helped change the way people relate to sound in a way that, for Jeanna, seems oddly familiar. “We actually went back to an original idea,” she says. “going back to having just that radio in our kitchen or in the living room and everybody would gather around and listen to the radio. So it’s kind of like, in my opinion, it’s a full circle thing.” She tells us about her podcast Sound in Marketing, and how it’s focusing now on the business side of audio branding. “I’m speaking to companies that actually are implementing it,” she explains. “I’ve done a lot of peer suggestions, peer conversations, but now I’m actually talking to the companies.” Blending Sound Science and ArtWe then hear from Steve, who explains the nuts and bolts of being a sonic strategy director: “The easiest way I’ve come up with it to describe my job is that I’m blending sound science with sound art to help our clients make sound decisions.” We talk about how digital audio is changing the sonic landscape, particularly when it comes to next-generation vehicles. “You’ll see automobiles becoming spaces,” Steve tells us, “not just for transportation, but spaces for entertainment, spaces to work in, even spaces for health and wellness. And there’s a huge audio component that’s a part of that.” Leveraging Voice and SoundUp next is Audrey, and she tells us how she’s helping companies that are behind the audio branding curve as well as the ones trying to stay ahead of it. “I notice one thing is that they are paying more attention and they are doing more in their advertising,” she notes, “like they’re reviewing the voices more and they’re getting a little

Mobile Audio Technology & Podcasting On the Go: A Conversation with Fernando Eid Pires - Part 2“Eyesight's probably the first sense most prioritized by the brain but right behind it is hearing and it can influence your state of mind, your emotions. You know, if you put the right music to work, you work better. If you put the right music to work out, you work out better, you know. If you want to have a romantic date, there's a very different kind of music you'll want to play there. Well, needless to say, it's amazing, and if you're cognizant of what you're choosing to hear it, will have an effect on you." -- Fernando Eid Pires This episode’s the second half of my interview with entrepreneur, audio engineer, and Audiosigma founder, Fernando Eid Pires as we discuss his inspirational book Jumpstart, the ins and outs of developing the PodMobile, and his perspective as a newcomer to the voice industry.As always, if you have questions for my guest, you’re welcome to reach out through the links in the show notes.  If you have questions for me, visit www.audiobrandingpodcast.com where you’ll find a lot of ways to get in touch. Plus, subscribing to the newsletter will let you know when the new podcasts are available. And if you’re getting some value from listening, feel free to spread that around and share it with a friend, along with leaving an honest review. Both those things really help – and I’d love to feature your review on future podcasts. You can leave one either in written or in voice format from the podcast’s main page. I would so appreciate that. The Extra MileThe second half of our conversation starts with a closer look at the creative and engineering process behind PodMobile and how Fernando’s using feedback from his contacts within the voice and audio industry to continue developing and expanding the mobile tool into an audio Swiss army knife for every occasion. “The idea of the PodMobile,” he explains, “is that it solves your problems. So if you have to go the extra mile... then I think my equipment is not doing the job that it could do.” Getting Your Life TogetherHe also tells us about his book Jumpstart and the lessons that it drew from his early life and struggles to help others follow their own path to success. "It's about getting your life together," he says. "It's very much self-help." Fernando acknowledges that this can be easier said than done and that he had to overcome his own struggle with shyness to be able to offer advice to others. "It's very difficult for somebody to just take days to just lay out that plan," he tells us. "It's not easy. It's easy to tell someone to do it, but it's not easy to overcome the resistance to do it yourself." The Right MusicOur discussion concludes with the role sound plays in our well-being, and how the power of music, from jazz playlists to classic rock to lofi hip hop, helped him persevere through some of his most difficult struggles. “If you put the right music to work,” Fernando observes, “you work better. If you put the right music to work out, you work out better. You know, if you want to have a romantic date, there’s a very different kind of music you’ll want to play there. Well, needless to say, it’s amazing and if you’re cognizant of what you’re choosing to hear, it will have an effect on you.” Episode SummaryThe process of expanding PodMobile’s versatility and audio compatibilityHow Jumpstart aims to help guide other entrepreneurs in their journeyThe beloved grandfather whose life has been an inspiration to FernandoHow music can influence our mental health without our realizing it Connect with the Guest:Website: https://fpires.com/Audio Sigma: https://audiosigma.com/Jumpstart by Fernando Eid Pires: https://fpires.com/jumpstart/Connect with Fernando Eid Pires on LinkedIn: https://www.linkedin.com/in/pireseid/Connect with Fernando Eid Pires on Facebook: https://www.facebook.com/fernando.eidpiresFollow Fernando Eid Pires on Twitter: https://twitter.com/PiresEid Connect with the Audio Branding Podcast:Book your project with Voice Overs and Vocals https://voiceoversandvocals.comTweet with me on Twitter - https://twitter.com/JodiKrangleWatch the Audio Branding Podcast on YouTube - https://www.youtube.com/c/JodiKrangleVOConnect with me on LinkedIn - https://www.linkedin.com/in/jodikrangle/Leave the Audio Branding Podcast a written review at https://lovethepodcast.com/audiobranding or leave a spoken review at https://voiceoversandvocals.com/talktome/ (Thank you!)Share your passion effectively with these Tips for Sounding Your Best as a Podcast Guest!https://voiceoversandvocals.com/tips-for-sounding-your-best-as-a-podcast-guest/Get my Top Five Tips for Implementing an Intentional Audio Strategyhttps://voiceoversandvocals.com/audio-branding-strategy/Editing/Production by Humberto Franco - https://humbertofranco.com/This podcast uses the following third-party services for analysis: OP3 - https://op3.dev/privacy

Mobile Audio Technology & Podcasting On the Go - Putting Audio to Work“I get a bigger satisfaction working with things that has a constraint in terms of budget, you know, cannot be overly expensive. You have to deliver a ton of value for the money. I think this is so cool to work with that and like kind of, you know, work a miracle out of the parts that you have. Then, you know, go super fancy and, oh, this is the best thing ever. And you should pay, you know, ten grand for this. And then you can basically use anything. I think this is sort of like the movies that when, you know, the budget is short, sometimes the movie is a lot better and then the sequel, when you have a lot more budget, much more money to make the movie, maybe it’s not as good.” -- Fernando Eid Pires This episode's guest is a relentless entrepreneur and a highly skilled electrical engineer with five patents and an inspiring history to share. His name is Fernando Pires and I first came across him and his expertise when a fellow VO reviewed a wonderful audio interface he'd come up with. It's currently called the PodMobile, but he may change that name in the future. It's a useful new tool to help voice actors and podcasters alike, get the best sound for their recordings: I've tried it myself and can tell you it is an excellent piece of equipment. We talk more about where his love of sound started, his electrical engineering, his current interest in sound, and where he thinks it'll end up. So stay tuned!As always, if you have questions for my guest, you’re welcome to reach out through the links in the show notes.  If you have questions for me, visit www.audiobrandingpodcast.com where you’ll find a lot of ways to get in touch. Plus, subscribing to the newsletter will let you know when the new podcasts are available. And if you’re getting some value from listening, feel free to spread that around and share it with a friend, along with leaving an honest review. Both those things really help – and I’d love to feature your review on future podcasts. You can leave one either in written or in voice format from the podcast’s main page. I would so appreciate that. Between Toys and SoundThe interview starts with Fernando’s memories of listening to music in the car as a child, and we talk about how audio became a passion for him early on. “I was between toys and sound equipment,” Fernando explains. “But when I was twelve years old, it became pretty much all about audio.” He tells us about growing up in São Paulo and how its music scene helped cultivate his love of music. “If you want to listen to jazz on a Tuesday night,” he says, “you got it. If you want to listen to blues, you got it. Bossa nova, you got it. Samba, you got it. Anything. So rock and roll? Plenty.” An Expensive LessonFernando talks about his first patent, a beautifully designed and ingenious custom audio mixer that turned out to be hopelessly impractical. “It was a wooden cabinet painted silver,” he says, “like automotive paint. It was like the iPod of professional audio. It worked great. It was a pleasure to use, but to build it? Oh my goodness.” We talk about the hours of work he poured into each one of the hundred devices he eventually sold, and the lessons he learned from that project. “Honestly, that patent resulted in nothing,” he admits. “It was just extremely expensive. It wasn’t a good idea.” Entrepreneurs from BirthThe conversation turns to his success with the PodMobile and the entrepreneurial spirit that carried him through those early setbacks, a spirit he thinks many people possess without realizing it. “I believe that most people have that in them when they’re young,” he explains, “and it kind of, it never gets reinforced basically, unless your parents, one of them are an entrepreneur.” He talks about how his early jobs supported him while he developed the PodMobile, and his desire to help create jobs for other people who might also be starting out as entrepreneurs. As Fernando puts it, “I think there’s, personally, I think there’s a moral duty. I feel a sense of obligation to at least try to do it.” Me Helping YouWe talk about his storied career as an inventor, and how those early mixed results nonetheless helped him reach his goals today. "As I made errors and invested money in this prototype and that patent and then a hundred units that turned no profit whatsoever," he tells us, "I kept recycling that money. I never spent that money personally. But I recycling it and putting on the next thing and then the next thing" Fernando talks about how his work with audio technology and podcasting clients brought him into the voiceover industry, and how welcoming and supportive a community it's turned out to be. "The VO world is not like me versus you. It's me helping you, and the mindset was beautiful." Episode SummaryFernando’s early memories of sound and experiences as a guitar playerHow a surprise friendship helped him learn the importan

“I’ve said this quite a few times, but it still rings true: I think that the superpower of sound is that people think about what they see, but they feel what they hear. And that is magic, I mean, that is transformative. That is what turns audiences into fans.”-- John Taite This week's the second half of my interview with content entrepreneur, keynote speaker, and Made Music Studio EVP John Taite as we talk about his work for such clients as Turner Classic Movies and Panera Bread, the future of social audio, and finding the emotional core of a sonic brand.As always, if you have questions for my guest, you’re welcome to reach out through the links in the show notes.  If you have questions for me, visit www.audiobrandingpodcast.com where you’ll find a lot of ways to get in touch. Plus, subscribing to the newsletter will let you know when the new podcasts are available. And if you’re getting some value from listening, feel free to spread that around and share it with a friend, along with leaving an honest review. Both those things really help – and I’d love to feature your review on future podcasts. You can leave one either in written or in voice format from the podcast’s main page. I would so appreciate that. Your Brand on MuteAs we start off the second half of our interview, John talks about how digital audio, social audio, and even the metaverse are changing sonic branding. “There’s been such a seismic shift,” he says, “to, you know, sound on social platforms, or audio-first platforms, or audio-only platforms, and the conversation we have is ‘is your brand on mute?’” He tells us how he works with clients to understand the essence of their brand and how that brand can be expressed through sound: “you really do have to go through a sort of peeling back of the onion to understand what a true core brand sound is.” Oboes and Death Metal“We often say that we're an emotional connection company," John explains. "That's at the heart of everything we do: how do we make human beings actually feel something about a brand?" We discuss Made Music's approach to helping people express their ideas in music and finding their sonic brand. "You're not sort of putting somebody who's not musical," he says, "in an awkward position of saying, like, 'I think my car sounds like, you know, oboes and death metal.'" He talks about his inspiration and the creative process behind Turner Classic Movies' award-winning "Where Then Meets Now" audio branding campaign, and what AI and the Metaverse might mean for the future of audio. "It's bringing personality and emotional connections," he says, "to, you know, a purely digital space." Keeping It InterestingAs our interview comes to a close, we talk about how much more competitive the audio industry's become over the past few years. "Sound and music are always going to have, you know, an important role to play," John notes. "I think everybody is looking to have an element of that enhanced emotional connection." He tells us what he's working on now and some of his most memorable projects. "There are never two jobs that are the same," he says. "there's never a client that's the same, never a challenge that's the same, and that's what keeps it interesting and keeps us looking to the future." Episode SummaryHow digital audio, social audio, and audio-first apps are changing the industryJohn’s approach to working with clients and creating their unique soundHis award-winning work on reinventing Turner Classic Movies’ sonic brandingHow audio branding is becoming an essential part of brand recognition Connect with the GuestWebsite: https://www.mademusicstudio.com/Connect with John Taite on LinkedIn: https://www.linkedin.com/in/johntaite/ Connect with the Audio Branding Podcast:Book your project with Voice Overs and Vocals https://voiceoversandvocals.comTweet with me on Twitter - https://twitter.com/JodiKrangleWatch the Audio Branding Podcast on YouTube - https://www.youtube.com/c/JodiKrangleVOConnect with me on LinkedIn - https://www.linkedin.com/in/jodikrangle/Leave the Audio Branding Podcast a written review at https://lovethepodcast.com/audiobranding or leave a spoken review at https://voiceoversandvocals.com/talktome/ (Thank you!)Share your passion effectively with these Tips for Sounding Your Best as a Podcast Guest!https://voiceoversandvocals.com/tips-for-sounding-your-best-as-a-podcast-guest/Get my Top Five Tips for Implementing an Intentional Audio Strategyhttps://voiceoversandvocals.com/audio-branding-strategy/Editing/Production by Humberto Franco - https://humbertofranco.com/This podcast uses the following third-party services for analysis: OP3 - https://op3.dev/privacy

“There are so many things where it's about that emotional connection to brand experience or product, and, as we're creating that, you mentioned earlier, we're operating in an area which is very very heavily connected to the subconscious reaction to sound. You have to be very responsible about that, I mean, it is that 'with great power comes great responsibility.’” -- John Taite My guest for this episode is an award-winning content entrepreneur, keynote speaker, and the EVP of Global Brand Partnerships & Development at Made Music Studio. He began his career as a music journalist and documentary filmmaker before working as a senior programming and brand executive at MTV, AMC Networks, and the BBC. He's been featured in several major publications, including Fast Company, Muse by Clio, Marketing Brew, and Business Desk, and he's captivated audiences at the Forbes CMO Summit, Adweek, Brand Innovators, LE Miami, and the Audio Intelligence Summit.At Made Music, he leads an award-winning marketing, content, and partnerships team responsible for a 400% jump in revenue. His growing list of brand partners includes Mercedes-Benz, AT&T, PepsiCo, Amazon, Verizon, Target, Dunkin', Subaru, Warner Media, General Mills, American Express, Lexus, BMW, and the David Bowie Estate. His name is John Taite and if you're still wondering how effective audio branding can be after having listened to this podcast for a while, I have no doubt that this will be a fascinating conversation!As always, if you have questions for my guest, you’re welcome to reach out through the links in the show notes.  If you have questions for me, visit www.audiobrandingpodcast.com where you’ll find a lot of ways to get in touch. Plus, subscribing to the newsletter will let you know when the new podcasts are available. And if you’re getting some value from listening, feel free to spread that around and share it with a friend, along with leaving an honest review. Both those things really help – and I’d love to feature your review on future podcasts. You can leave one either in written or in voice format from the podcast’s main page. I would so appreciate that. Invisible BrandsAs we start the interview, John tells us about his early memories of sound, and listening to his father's upcoming interviews with musicians like Bob Marley, the Sex Pistols, and Talking Heads. "It was quite an interesting life growing up,” he tells us. “I grew up with not your average nursery rhymes and things like that.” He goes on to tell us how his career and experiences all over the world led to his insights about audio branding and the lack of a cohesive marketing strategy in many industries. “The thing that really struck me,” he explains, “was a lot of brands are invisible in this space. They put so much time and energy to create the visual identity systems and visual branding, but there was a real gap.” Coming Around the CampfireWe talk about Made Music’s approach to branding, and its integration of sound, music, and story to speak to the audience. “It’s really about the story, you know,” John says. “For us, it's really about putting the stories out there." As he puts it, “we want to find something that couldn’t possibly sound like anybody else.” He gives us an example with their famous Tostitos campaign, which took inspiration from everyday life to create a memorable audio connection between the snack brand and its consumers.  “With Tostitos in particular,” John explains, “their whole thing is about coming around the campfire. It’s about togetherness, it’s about just, you know, those moments.” The Lens of Sound and MusicOur discussion turns to the power of conscious and unconscious branding, and the subliminal impression sound can make even apart from the industry's more famous jingles.  "It really is a case," John says, "of steering people I suppose in a way where they begin to consider their brand through the lens of sound and music." We talk about conscious branding and the art of engaging consumers on a personal level through the power of sound and story. “It answers questions,” he explains, “like does this brand see me? Does this brand accept me? Does this brand invite me into its world?” The Magic of ItJohn talks about some of Made Music’s most famous marketing campaigns and the behind-the-scenes process for creating them. “We probably have a higher success rate in terms of launching,” he tells us, “and that’s really because we spend a lot of time doing it.” A story that engages the listener is critical, he says, and “making sure that it’s embedded in the work.” The challenge and goal, he explains is to use the power of sonic branding to forge a deeper relationship with customers, to elevate them into, as he says, “fans of shows, fans of events, fans of brands. That’s really the magic of it.” Episode SummaryJohn’s early memories of such famous sounds as Bob Marley and the Sex PistolsHow John sought to close the sonic bra

AI and Podcasting - Talking to Computers“Branded podcasting was one of the first things that I thought this would be perfect for, and I still personally believe that branded podcasts are one of the biggest untapped opportunities in podcasting because there are just so many companies out there that don’t yet have a podcast. And podcasting really is, you know, on the up. Soon it will be ‘you have to have a podcast,’ it’s not just a nice-to-have, and I think voice technology will spur that on as well. We’re already asking for a lot more audio on demand, so I feel like more and more companies just need to have more content on demand through voice interfaces, you know, as a catalyst.” -- Carl Robinson This episode’s the second half of my interview "AI and Podcasting" with podcast host, AI data scientist, and Rumble Studio CEO, Carl Robinson, as we talk about what podcasting’s growth means for businesses, balancing digital convenience with a human touch, and just how intelligent is artificial intelligence.As always, if you have questions for my guest, you’re welcome to reach out through the links in the show notes.  If you have questions for me, visit www.audiobrandingpodcast.com where you’ll find a lot of ways to get in touch. Plus, subscribing to the newsletter will let you know when the new podcasts are available. And if you’re getting some value from listening, feel free to spread that around and share it with a friend, along with leaving an honest review. Both those things really help – and I’d love to feature your review on future podcasts. You can leave one either in written or in voice format from the podcast’s main page. I would so appreciate that. An Untapped OpportunityAs the second half of our interview begins, Carl tells us how Rumble Studio’s conversational AI is particularly suited for branded and company podcasts. “Branded podcasts,” he says, “are one of the biggest untapped opportunities in podcasting because there are just so many companies out there that don’t yet have a podcast.” We discuss podcasting as a labor of love vs a business necessity as well as the role sound quality plays in our listening habits, and whether there’s a happy medium to be found. “If I turn on a podcast,” Carl explains, “and it’s at all difficult to listen to I’ll just turn it off immediately but I don’t think I’ll listen to a podcast just because it has fantastic sound quality.” The Human QualityNext, we talk about how software tools like Auphonic and Resound have made professional audio quality easier to attain than ever, and whether over processing might remove something vital and human from the end result. “If you remove the human quality from the voice,” Carl tells us, “that’s the same as it becoming unintelligible.” We also take a look at the ease of digital voice transformation and how its misuse could add to our skepticism toward online media.  “If nobody believes in the information they're seeing on these platforms,” he notes, “the platforms will die a quick death.” Like a Digital ParrotAs our interview comes to a close, we take a deeper dive into the future of AI, just how authentic it might become, and what that might mean. “If you train it long enough,” Carl observes, “with enough data, it sounds incredible... but it's so far from being sentient it's not funny” He explains how machine learning algorithms work and how, like a digital parrot, chatbots emulate human speech and interaction without truly understanding what it is they’re saying. “Those models that you create,” he observes, “don't understand anything that you're saying. There is no understanding of the information and the context, it's just repeating what it's already been exposed to in terms of the data.” Episode SummaryThe future of podcasting as both an art form and business strategyHow breakthroughs in sound processing are changing the role of digital audioThe evolution of conversational AI and how machine learning really worksRumble Studio’s upcoming projects and opportunities for listeners Connect with the Guest:Website (and a 7-day free software trial): http://www.rumble.studio/Vocie Tech Podcast: https://voicetechpodcast.com/Follow Carl Robinson on Facebook: https://facebook.com/rumblestudioConnect with Carl Robinson on LinkedIn: https://www.linkedin.com/in/carlrobins0n/Follow Carl Robinson on Twitter: https://twitter.com/VoiceTechCarlAsync Podcast Masterclass (PDF & Webinar) teaches you how to create podcasts ten times faster. Subscribe to Rumble Studio’s newsletter for more: https://rumble.studio/masterclass  Connect with the Audio Branding Podcast:Book your project with Voice Overs and Vocals https://voiceoversandvocals.comTweet with me on Twitter - https://twitter.com/JodiKrangleWatch the Audio Branding Podcast on YouTube - https://www.youtube.com/c/JodiKrangleVOConnect with me on LinkedIn - https://www.linkedin.com/in/jodikrangle/Leave the Audio Branding Podcast a written review at

AI and Podcasting - Talking to Computers“I’m sure one day you won’t be able to tell the difference, and maybe it’s not a bad thing, because everybody wants to be at their best. You know, we wear nice clothes and put on makeup and everything else, and, you know, maybe one day you’ll do the same for your voice, so you won’t sound tired or hung over or whatever...” -- Carl Robinson This episode's guest is the co-founder and CEO of Rumble Studio, a startup that helps creators, agencies, and brands create podcasts ten times faster and easier using cutting-edge voice technology. Rumble Studio is the first and only company to record asynchronous guest interviews using conversational AI, which allows anyone to create audio content at scale, no skills required. He's the host of the Voice Tech Podcast and has interviewed more than one hundred experts in the field of voice technology. Earlier in his career, he led a product team at a chatbot startup and became a published voice AI data scientist.  His ambition is to democratize audio content creation so that businesses large and small can establish a presence on the audio channels of the future.His name is Carl Robinson and you’ll want to hear what he has to say about podcasts and the state of audio in general.  The future of sound is already here, so, let’s get to it!As always, if you have questions for my guest, you’re welcome to reach out through the links in the show notes.  If you have questions for me, visit www.audiobrandingpodcast.com where you’ll find a lot of ways to get in touch. Plus, subscribing to the newsletter will let you know when the new podcasts are available. And if you’re getting some value from listening, feel free to spread that around and share it with a friend, along with leaving an honest review. Both those things really help – and I’d love to feature your review on future podcasts. You can leave one either in written or in voice format from the podcast’s main page. I would so appreciate that. The People Behind the CurtainOur interview starts with Carl's earliest memories of sound, the video-game chiptunes and sound effects that helped define his childhood. He tells us how his career began with voice technology and, as a result, soon segued into podcasting. We discuss his early work with healthcare chatbots at a time when they relied much more on human guidance: as he puts it, "I was one of the many people behind the curtain." Carl tells us how the idea came to him that podcasting could be automated to scale using voice technology, and how underutilized it was at the time. "That was around the time," he says, "when Alexa and everything was taking off so it was a great time to have that realization." Wearing Your Best VoiceCarl tells us how he finished his work in Beijing and moved to France to help develop machine learning models in the earliest days of voice interface. He spent much of his time, he says, talking to computers – or, as Carl explains, "dreaming of talking to computers because there wasn't that much talking to them." He tells us about the pioneering research into simulated emotional tones and how he's working these days on voice transformation, apps that process and change a person's inflections, accent, and even who their voice belongs to, in real-time. We talk about some of the companies that are on the leading edge of that process, such as Sanas.AI, Veritone, and Respeecher, and how one day we may see choosing our best digital voice as casually as picking an outfit to wear to an interview. Robots on the PhoneWe talk about all the exciting possibilities, and some worrying potentials for misuse, when it comes to voice transformation, and about how audio chatbots might be received once they're indistinguishable from humans. "If they were pretending that it was real," Carl notes, recalling the controversial launch of Google Duplex and its AI phone-concierge service a few years ago, "and it wasn't, I think that really gets people's backs up." He tells us how Rumble Studios is now working with this sort of technology and integrating it into the podcast production process in new and exciting ways. Taking the Stress OffCarl shares his experience creating his new series Audio Leads, which utilizes voice chatbots and AI to reinvent podcast production. He explains how the interviews are delivered by AI and customized both before and after the recording process to create a natural conversation, and how that system’s been received by podcast guests. “They have to think about the answer, plan it, and then that’s it,” he says. “But what Google found is that some guests prefer that.” We discuss the flow of a real-time podcast, how it compares to a chatbot-guided podcast, and how Rumble Studios recreates that flow through its unique editing process. “It is different from a standard podcast process,” he explains. “I can get people to leave a little bit more of a concise answer, and it takes the stress o

“And that is also something you asked before about common problems with new podcasters, and this is true of companies and organizations. They can be very large, very well-funded organizations, it doesn’t really matter. They’ll say ‘we want to have a podcast.’ Well, why do you want to have a podcast? ‘Well, because everybody has a podcast’ or ‘because we want to get our message across well.’ That’s not a podcast, that’s an ad. Go buy ads on somebody else’s time. Or they simply don’t really know. They think it would be a good vehicle, but they don’t really know, and, um, and therefore it’s very hard to make it succeed.” -- Elaine Appleton Grant This episode’s the second half of my interview with award-winning journalist, audio producer, and Sound Judgment host Elaine Appleton Grant, as we talk about the challenge of building an effective audio brand from scratch, how an increasingly diverse audio industry has helped give more people a voice than before, and our experiences with Twitter alternatives Mastodon and Post.As always, if you have questions for my guest, you’re welcome to reach out through the links in the show notes.  If you have questions for me, visit www.audiobrandingpodcast.com where you’ll find a lot of ways to get in touch. Plus, subscribing to the newsletter will let you know when the new podcasts are available. And if you’re getting some value from listening, feel free to spread that around and share it with a friend, along with leaving an honest review. Both those things really help – and I’d love to feature your review on future podcasts. You can leave one either in written or in voice format from the podcast’s main page. I would so appreciate that. Way More than MusicThe second half of our interview begins with a look at Elaine’s experiences with large companies that try to follow the trends and enter the podcasting space without entirely understanding their goal or reason for wanting a podcast. “They think it would be a good vehicle,” she explains, “but they don’t really know, and therefore it’s very hard to make it succeed.” We talk about audio branding and the holistic approach it requires: as she puts it, “it's way more than the music, that's just a tiny piece of it.” The discussion turns to how a bad strategy can end up being worse than no strategy, and the lessons we’ve both learned over our years in the voiceover and voice production industries. Voices That Speak to UsOur discussion turns back to the question of hostiness and just what it is that brings some hosts to life for their audience, and Elaine shares her thoughts on the sense of safety and trust that forms the foundation of a successful podcast, no matter the topic. “The quality,” she says, “the need to build that relationship appears to be universal.” We talk about our increasingly young and diverse population and how more people than ever before are being represented in podcasting, advertising, and other forms of mass media. “More and more,” she explains, “we want to hear voices that speak to us.” Getting a Fresh PerspectiveAs the interview comes to a close, Elaine tells us about an NPR study on just why people listen to podcasting and streaming audio, and how, while the number one reason is multi-tasking, a close second is getting a fresh perspective. We discuss what that means, and how much voiceover representation has improved since our careers began, As she says, "there's a sense of 'I'm in the community with you,' that we're a part of and I feel seen, that someone understands who I am. They sound like me. They talk about what I'm interested in. That was, just, it gives me chills to think about it." Episode SummaryThe challenges large companies can face when trying to build an audio brandWhat hostiness really means and what audiences value most in a podcastHow a more diverse audio industry is helping more people feel seen than beforeThe importance of empathy and humanity when it comes to podcastingConnect with the GuestWebsite: https://www.podcastallies.comFollow Elaine Appleton Grant on Facebook: https://www.facebook.com/elaine.a.grant/Connect with Elaine Appleton Grant on LinkedIn: https://www.linkedin.com/in/appletongrant/Follow Elaine Appleton Grant on Twitter: https://twitter.com/elaineagrant Connect with the Audio Branding Podcast:Book your project with Voice Overs and Vocals https://voiceoversandvocals.comTweet with me on Twitter - https://twitter.com/JodiKrangleWatch the Audio Branding Podcast on YouTube - https://www.youtube.com/c/JodiKrangleVOConnect with me on LinkedIn - https://www.linkedin.com/in/jodikrangle/Leave the Audio Branding Podcast a written review at https://lovethepodcast.com/audiobranding or leave a spoken review at https://voiceoversandvocals.com/talktome/ (Thank you!)Share your passion effectively with these Tips for Sounding Your Best as a Podcast Guest!https://voiceoversandvocals.com/tips-for-sounding-your-best-as-a-podcast-guest/Get my Top Five Tips for

What makes a good podcast host? That's a question many of us ask!  What gives a Podcast its "hostiness" and makes you want to come back for more again and again?“There's almost nothing about hosting and really by implication producing and that, that quality – I did not coin the term 'hostiness,' that comes from I believe PRX many years ago – but it's, it's this ineffable quality that makes us go 'oh, I love listening to Ira Glass,’ or Jad Abumrad of Radio Lab, or Anna Sale, or Brené Brown, or whoever we connect with, and different people obviously connect with different hosts. But what is that makes us connect?”-- Elaine Appleton GrantMy next guest has actually been on this podcast before. She's an award-winning journalist, audio producer, and on-air talent who worked for three NPR affiliates before founding Podcast Allies, LLC in 2019. She hosts the podcast Sound Judgment, a master study in great podcast hosting, and I’m certainly honored to have her here. In fact, you might have heard her review of this podcast read out on a recent show. Her show features today's best hosts, and producers, including Glynn Washington, host of Snap Judgment, John Barth, founding producer of Marketplace, Ann Bogel of What Should I Read Next, and Stephanie Wittels Wachs of Last Day. Her production company, Podcast Allies, develops narrative and conversation podcasts for social impact organizations, such as the Environmental Defense Fund and the American Academy of Pediatrics, so her background in audio is pretty extensive.Her name is Elaine Appleton Grant, and I’m looking forward to getting her take on what she feels makes a good podcast and a great host. With all the interesting people she’s interviewed, she’s bound to have a very informed opinion.As always, if you have questions for my guest, you’re welcome to reach out through the links in the show notes.  If you have questions for me, visit www.audiobrandingpodcast.com where you’ll find a lot of ways to get in touch. Plus, subscribing to the newsletter will let you know when the new podcasts are available. And if you’re getting some value from listening, feel free to spread that around and share it with a friend, along with leaving an honest review. Both those things really help – and I’d love to feature your review on future podcasts. You can leave one either in written or in voice format from the podcast’s main page. I would so appreciate that. The Voice of GodAs we start the episode off, the discussion turns straight to podcasting, its storytelling strengths, and the powerful role it plays in audio branding. We talk about her work with John Barth, developer of the famous Moth Radio Hour, and Elaine and I discuss audio trends in everything from television commercials to movie trailers, and how modern audiences have outgrown the classic "voice of God" Hollywood voice-overs. As Elaine puts it, "it's like the end of the newscaster voice." Ways to Get AttentionOur conversation continues with a look at how multi-tasking and our always-on-the-go lifestyle have changed the tone and purpose of advertising. "We're all trying to find ways to get attention," she says. "There are effective ways, there are good ways, there are ways with integrity, and there are ways that you and I might argue are less so." We talk about how this very podcast got its start and the audio trends, both good and not-so-good, that helped inspire its focus on sonic branding. An Ineffable QualityElaine tells us about the start of her podcast Sound Judgment and her search for the true meaning of “hostiness,” a word she borrowed from Jay Bear to describe that perfect chemistry with a host that brings the audience back week after week. “It's this ineffable quality,” she explains, “that makes us go 'oh, I love listening to Ira Glass,' or Jad Abumrad of Radiolab, or Anna Sale, or Brené Brown, or whoever we connect with, and different people obviously connect with different hosts. But what is it that makes us connect?” How can we be a good podcast host? We talk about some of the common pitfalls new hosts encounter, and how that personal link between the host and their listeners can make or break a podcast. Finding Your VoiceWe talk more about how hosts can tap into that wellspring of sincerity and authenticity, from relating to the material in a personal way to rewriting it to better suit their performance, and how many newly successful voice talents with a gift for impressions have to work to find their own distinctive voice. “What's interesting about that," Elaine says, "is that there may be many you's in a way." As she puts it, voiceover is about "learning the range of who you can be sincerely and convincingly." Episode SummaryDefining audio branding and its relationship to commercial podcastingMarketing, movie trailers, and the new advertising rule of “show, don’t tell”How a lifestyle podcast paved the way for The Hidden Gem of MarketingThe early days of Sound Judgment and h

What color is a piano note? How loud is purple? What’s the brightness of a melody? If these questions are leaving you a little confused, that just means you don’t have synesthesia, a rare sensory condition that’s estimated to affect just one out of twenty people. If you do have it, then your answer to those questions might be very different from anyone else’s, since it affects each person in a unique way. Synesthesia means “joined senses” in Greek, and that’s exactly what it is: a mixture of different senses within the brain so that people can taste the words they read on a page, feel numbers as if they were building blocks, or literally see time flowing around them.The most famous kind of synesthesia might be chromesthesia, a neurological link between sound and color that allows people with this condition to see each note as a separate color. The result can be both beautiful and a little dizzying to watch, and it reveals a deeper link between the senses, and between sound and light themselves, than most of us realize.You can find a link on my blog to a short video from Great Big Story and chromesthetic artist Melissa McCracken as she shows us how she turns the songs she hears into paintings:https://www.youtube.com/watch?v=zbh7tAnwLCYWhile synesthesia is a neurological condition that seems to have a genetic component, it isn't technically a disorder or a disability, and it definitely isn't a disease. If anything, it seems to help some of the people who have it. There are reports of "synesthetes"  having better memory and creativity than average, and for people with chromesthesia, the ability to see sound can make them more successful as musicians or artists. Leonard Bernstein famously wrote about his ability to see timbre as color and would often notice and correct changes in timbre without anyone else being able to tell the difference. Some historians suspect Isaac Newton may have also had chromesthesia, given that he devoted much of his life to exploring the relationship between musical notes and color.The cause of synesthesia is still a mystery, but it runs in families and seems to develop in early childhood while the brain's learning how to process language and symbols. One theory is that extra neurological connections are formed between different senses and the parts of the brain that process them, which might explain why having it seems to have other benefits like boosting memory and problem-solving skills. Another is that the connections are the same, but the boundaries between those different parts of the brain are weaker. That could explain why some brain injuries, and even certain hallucinogens, can also cause it. But no one's sure if that's really the same kind of synesthesia, or if all the different kinds out there are related to each other. It's still a very mysterious topic.Want to see a classical violin piece through the eyes of someone with chromesthesia? Check out my blog for a link to a YouTube 360° video of Kaitlyn Hova, a neuroscientist and musician with chromesthesia, who’s created a real-time VR simulation of how she sees music:https://www.youtube.com/watch?v=obrBAysVef0Most of us can't see music for ourselves, but that doesn't mean sound and color don't have a lot in common. Each one is a broad spectrum of wavelengths much larger than the part we can perceive, and both light and sound have certain wavelengths that are more comfortable than others. For light, we're most sensitive to a wavelength of 555 nanometers, which is bright green. The color our eyes are least sensitive to is blue, which is one reason why LED displays strain our eyes. On the other hand, blue light also helps us relax, so it's becoming a popular choice for street lamps.Sound also has certain frequencies that our ears pick up better and that we find more relaxing than others. The human ear’s most sensitive to a frequency of 2,500 Hz, which sounds like a shrill, high-pitched smoke alarm – for good reason, since smoke alarms are supposed to wake us up and grab our attention. A sound frequency of 400 Hz, a soft steady hum, is the most relaxing.These similarities come together in the "noise spectrum," a way of describing audio noise precisely the same way that we'd describe the color of light. White noise is made of every frequency mixed together, the same as white light. Blue noise and indigo noise have their peaks in the higher wavelengths just like blue and indigo light. Brown noise is a rumbling mix of lower frequencies and pink noise, perhaps the most soothing noise frequency for our ears, sounds like a waterfall. Just like the name suggests, its mixture of high and low frequencies is exactly the same as pink light.If you’d like to hear some of these noise colors and decide which one you like best, there’s a link on my blog to a short Scientific American video that demonstrates each of them:https://www.youtube.com/watch?v=moEgZYrazdcEven if most of us won’t ever be able to recognize a song by its color, at lea

“I remember the electricity of being and speaking in front of fifty thousand people or something like that which I’ve done in one of those rooms, and just seeing the little icons of everyone who’s there, and the numbers are amazing as well as, just, you know, hanging out with ten people and talking to your friends. I think those two experiences are extremely different from podcasting and also very compelling, but perhaps more of a sign of a moment that we were all going through, sort of being inside and having the desire to connect that I think, you know, has passed a little bit. Even if there’s longevity to the app, I think it's certainly not going to be taking over podcasting anytime soon.” -- Mike Kadin This episode’s the second part of my interview with RedCircle's founder and CEO, Mike Kadin, as we talk about his tips for a successful podcast, how social media and podcasting can complement rather than compete with one another, and some of RedCircle's exciting upcoming projects.As always, if you have questions for my guests, you’re welcome to reach out through the links in the show notes.  And if you have questions for me, visit www.audiobrandingpodcast.com where you’ll find a lot of ways to get in touch. Plus, subscribing to the newsletter will let you know when the new podcasts are available. And if you’re getting some value from listening, feel free to spread that around and share it with a friend, along with leaving an honest review. Both those things really help – and I’d love to feature your review on future podcasts. You can leave one either in written or in voice format from the podcast’s main page. I would so appreciate that. Creating Compelling ContentWe start the second half off with a look at just which surprising podcast topic makes the most money in Mike’s experience, and he makes the distinction between the most overall and the most per download. “If you look at the podcasts that are making the most money per download,” Mike explains, “in other words, the most money for their audience size, those are actually just shows that monetize with listener payments where they collect a couple of bucks from their friends.” This simple approach can be very successful, Mike says, “if you can create compelling content that people are willing to pay for.” The Resilience of PodcastingThe conversation shifts to streaming media, the prospect of real-time podcast purchases, and what a "cookie-less" world might be like from a privacy and podcasting perspective. We also talk about how much COVID-19 has changed the podcasting landscape, creating both a quick boom in new podcasts and an increase in listeners. “A lot of them churned out,” Mike says of the flurry of new shows, “a lot of them didn't stick with it... Now, I think we're in a new space.” He reflects on how podcasting has grown alongside streaming media and exceeded more traditional markets like real estate: “What's amazing to me is the resilience of this medium through all kinds of economic change” Carve Out Your NicheAs our interview comes to a close, Mike gives us a sneak peek at some of the new features in the works at RedCircle and offers his advice as a technical guru on podcasting. “It's super important,” he explains, “to make sure that your title of your show is unique,” so that it’ll come up quickly in a search without any other shows getting in the way. He also recommends finding an under-served niche and sticking with it from the start rather than trying to find your voice as you podcast. “You need to be strategic,” he says when it comes to podcasting, “about which territory you're going to chase after.” Episode SummaryWhich genres and monetization approaches have seen the most successHow the pandemic helped create the podcasting boom and social audioThe strength of podcasting in the face of uncertainty and a shifting marketMike’s practical advice on giving your podcast a successful startConnect with the GuestWebsite: https://redcircle.com/Connect with Mike Kadin on LinkedIn: https://www.linkedin.com/in/michael-kadin-a341571bFollow Mike Kadin on Twitter: https://twitter.com/mkadin/ Connect with the Audio Branding Podcast:Book your project with Voice Overs and Vocals https://voiceoversandvocals.comTweet with me on Twitter - https://twitter.com/JodiKrangleWatch the Audio Branding Podcast on YouTube - https://www.youtube.com/c/JodiKrangleVOConnect with me on LinkedIn - https://www.linkedin.com/in/jodikrangle/Leave the Audio Branding Podcast a written review at https://lovethepodcast.com/audiobranding or leave a spoken review at https://voiceoversandvocals.com/talktome/ (Thank you!)Share your passion effectively with these Tips for Sounding Your Best as a Podcast Guest!https://voiceoversandvocals.com/tips-for-sounding-your-best-as-a-podcast-guest/Get my Top Five Tips for Implementing an Intentional Audio Strategyhttps://voiceoversandvocals.com/audio-branding-strategy/Editing/Production by Humberto Franco - ht

“A lot of folks start businesses and they just kind of look at what's hot right now, like, ‘we're going to start like a bitcoin’ or ‘we're going to start a mobile gaming company’ when that was popular, or whatever, and I think I can tell you from starting a business and growing it to twenty-six people, if you're not in love with the thing that you're doing it's going to be super-duper hard to get through it. Because there’s, you know, there’s certainly highs but there’s also tremendous lows, so if you’re not passionate about the thing, you’re going to struggle.” -- Mike Kadin This episode’s guest is the founder and CEO of RedCircle, a platform that equips podcasters with strong tools to support their efforts to advance, make money, and gain attention. Through his experience building RedCircle's technology and growing its customer base, he’s had the unique experience of working with thousands of podcasters and advertisers, from the smallest marketers to the largest publishers in the space.  He brings his technical background and expertise in the podcasting industry together to help move the audio advertising space forward for independent creators.His name is Mike Kadin, and while this might sound a little meta (we’ve covered this subject before), I think it’ll be really useful and encouraging for you if you have a podcast of your own.  And if you don’t yet have a podcast, maybe you should consider it.  Come on in – the water’s nice!As always, if you have questions for my guests, you’re welcome to reach out through the links in the show notes.  And if you have questions for me, visit www.audiobrandingpodcast.com where you’ll find a lot of ways to get in touch. Plus, subscribing to the newsletter will let you know when the new podcasts are available. And if you’re getting some value from listening, feel free to spread that around and share it with a friend, along with leaving an honest review. Both those things really help – and I’d love to feature your review on future podcasts. You can leave one either in written or in voice format from the podcast’s main page. I would so appreciate that. You’ve Got to BuildWe start things off with a look back at Mike's most enduring memory of sound, the music and sound effects from the video games he played as a child. "I don't remember what color my shoes were when I was seven," he recalls, "I don't remember the stories that we read in class, but this music is burned-in in a very special way." He tells us how a coding project in his spare time led to his career in podcasting and the rewards and challenges of working in such a fast-growing industry. "If you want to earn money, or whatever your goals on it, to achieve that you've got to build, and that takes time." Where the Listening HappensMike tells us about the advantages of podcast advertising, the differences between host-read ads and announcer ads, and how each one has its own role to play in podcasting. "There's lots of reasons why you might not want to do [a] host read," he explains. "Host read's great, but all podcast advertising is great" Mike shares some surprising statistics about which kinds of podcasts are attracting most of the audience, and his perspective on how indie podcasters fit into it all.  "Our view," he says, "is that these middle-class creators are deserving of being rewarded just as much as everyone else." Growing Your PodcastNext, we discuss the different features and services RedCircle offers to both podcasters and advertisers, and what sets his company apart from the competition. "Host read," he explains, "is really what makes us unique and different in the game" He also offers his advice for successful monetization and reminds us that there aren't any shortcuts when it comes to effectively building a podcast audience. "The first thing for growing your podcast," Mike says, "the most important, is that it needs to be good. People need to want to listen to it, and they need to want to come back and listen again." The Value You’re Creating“Tons of studies,” Mike notes as the first half of our interview comes to a close, “have shown that the primary vector for podcast growth is just word of mouth.” We talk about the most effective placement strategies for ads and he shares his positive experience with introducing listeners to both monetization and other alternatives for helping the show. “I think people get it,” he says. “I think they understand that you’re putting a lot of hard work and energy into the thing and you’re hoping to get some value back.” As he puts it, “it’s not out of line to ask for value back out of the value you're creating.” Episode SummaryThe unforgettable impression video game melodies made on MikeMike’s journey from part-time coding to full-time podcasting expertHow to best utilize host-read vs. announcer-read podcast adsBuilding an audience and knowing when monetization’s worth the costGrowing your podcast and working pro

“And I parked my car, I jumped out of the car, and this happy dog is springing around, and I laid down on the sidewalk because I know that they want submissive approaches. So I sat down and then I laid down, and then kind of did stuff so he’d come over and sniff me, and then I lightly grabbed the pup named Jazz, which was funny, and right as I was, like, laying on the sidewalk sprawled out, sprawled out like I’d just been hit in the head with a bat, this cop drives by. And he looks out and he sees me and he sees this dog, and he just keeps driving by. He didn’t even stop, didn’t say nothing, was like ‘not today, mm mm, not dealing with that weirdness.’” -- Van Gunter This week’s the second half of my interview with voice artist, DJ, and sound engineer Van Gunter as we talk about some of Van’s spookier experiences with sound, the value of social media when it comes to building a brand, and why he always keeps emergency dog treats and leashes in his car.As always, if you have questions for my guests, you’re welcome to reach out through the links in the show notes.  And if you have questions for me, visit www.audiobrandingpodcast.com where you’ll find a lot of ways to get in touch. Plus, subscribing to the newsletter will let you know when the new podcasts are available. And if you’re getting some value from listening, feel free to spread that around and share it with a friend, along with leaving an honest review. Both those things really help – and I’d love to feature your review on future podcasts. You can leave one either in written or in voice format from the podcast’s main page. I would so appreciate that. Keeping Everything MovingThe second half of our interview starts with Van’s account of some of the spooky audio phenomena that the acoustics of his studio, a converted church, can create. “It creates a lot of silence and weird pockets of sounds. There’s so many times that I thought there were people here in the building, and it’s totally empty.” Van offers his voiceover advice as a sound engineer and how he works to ease anxieties and helps sessions go more smoothly. “It’s the respect and the simplicity of keeping communication,” he says, “but that's also teamwork... it’s just keeping everything moving and flowing.” A Puppy Studio“I am a firm believer,” Van says, “in the power of the puppies.” We talk about how he and his wife work with rescue dogs and some of his most memorable adventures when it comes to helping animals, and he shares their volunteer work has taught him about “speaking canine,” a skill that’s just as useful with humans as it is with dogs. "I love to speak canine because it does sweet things and we're a puppy studio," he explains. "Things melt away, anxiety melts, and people become whole again." Teamwork With a VengeanceAs our interview comes to a close, Van tells us about his latest projects, including what he calls a dangerously catchy new jingle. “We need to remember this time right now,” he playfully warns us, “because in a few weeks when this hits the air, you're going to want to hit me with a bat.” We also talk about his work at the Sidewalk Film Festival, which he calls a "teamwork with a vengeance experience.” Van credits his wife and their sixteen years of marriage for keeping him sane and talks about the important role social media plays in this day and age when it comes to branding. “I think we all need to get a little bit more active, if you want to, on social media. I certainly need to.” Episode SummaryHow building acoustics can create unsettling audio effects and illusionsVan’s advice as an audio engineer when it comes to voiceoverHow “speaking canine” can be a valuable skill for working with humansBoutwell’s latest projects, including DIY Science Time’s new season Connect with the Guest: Website: https://boutwellstudios.comConnect with Van Gunter on LinkedIn: https://www.linkedin.com/in/van-gunter-4bb4048/Follow Van Gunter on Twitter: https://twitter.com/vansayword/ Connect with the Audio Branding Podcast:Book your project with Voice Overs and Vocals https://voiceoversandvocals.comTweet with me on Twitter - https://twitter.com/JodiKrangleWatch the Audio Branding Podcast on YouTube - https://www.youtube.com/c/JodiKrangleVOConnect with me on LinkedIn - https://www.linkedin.com/in/jodikrangle/Leave the Audio Branding Podcast a written review at https://lovethepodcast.com/audiobranding or leave a spoken review at https://voiceoversandvocals.com/talktome/ (Thank you!)Share your passion effectively with these Tips for Sounding Your Best as a Podcast Guest!https://voiceoversandvocals.com/tips-for-sounding-your-best-as-a-podcast-guest/Get my Top Five Tips for Implementing an Intentional Audio Strategyhttps://voiceoversandvocals.com/audio-branding-strategy/Editing/Production by Humberto Franco - https://humbertofranco.com/This podcast uses the following third-party services for analysis: OP3 - https://op3.dev/privacy

“It was one of those like 'this is what I wanted, wow, this is Johnny Fever, this is radio, and then it, kind of honestly, it quickly declined after that, because of, you know, changes and Napster recording things, stealing things, and the DJ really, um, for the companies I worked with, lost their importance to the corporate creative team, which was a real disappointment. I mean, there’s nothing worse than getting into something that you love to do your creative part and then, like, ‘oh yeah, welcome aboard! We don’t do creative anymore.’” -- Van Gunter My next guest has spent over twenty years as a voice actor, eight years as a radio DJ, and, for the last sixteen years, has been an audio engineer. He works with his best friends and is part owner of the studio where he began as an intern, Boutwell Studios. His name is Van Gunter.We were introduced by Kelley Buttrick many years back when he attended his first FaffCon, and I've been trying to get him on this podcast for a long time, so I'm very excited that he was able to join me for this interview. His understanding of how things work both in front of and behind the glass is bound to make for some very interesting observations and golden nuggets. And, of course, sound has been a big part of his life for a long long time. I hope you enjoy this conversation as much as I did!As always, if you have questions for my guests, you’re welcome to reach out through the links in the show notes.  And if you have questions for me, visit www.audiobrandingpodcast.com where you’ll find a lot of ways to get in touch. Plus, subscribing to the newsletter will let you know when the new podcasts are available. And if you’re getting some value from listening, feel free to spread that around and share it with a friend, along with leaving an honest review. Both those things really help – and I’d love to feature your review on future podcasts. You can leave one either in written or in voice format from the podcast’s main page. I would so appreciate that. Being Johnny FeverAs the interview starts, Van tells us about his first memories of sound, from his parents sneaking into his room to check on him as a toddler to the terrifying first impression a birthday party made on him. “And it was the sound of all these kids screaming,” he says, “and like thirty balloons popping.” We talk about how WKRP in Cincinnati helped inspire his career in radio, and how school systems at the time didn’t have a good answer for future voice artists like him. “I didn’t have a clear direction of what to do with being a disrupter,” Van tells us. “I just knew that I was loud and talked and tried to be nice.” Like a Rock StarNext, we discuss his early career as a radio DJ and the ups and downs that the 21st century has brought to the industry.  “When they say that ‘we’re not gonna do contracts this year,’” Van warns us, “[that] it ‘doesn’t matter,’ you’re next.” He recalls being a disc jockey for an alternative music station just before the switch to digital audio, and how, for a time, his dream of being WKRP’s Johnny Fever came true. “It was a brief amazing period of my life when I felt like I got treated like a rock star.” Making You MoveVan tells us how the changing industry led him to Boutwell Studios and how his role quickly expanded from a DJ to a voiceover artist and audio engineer, a success he attributes to "a lot of anxiety and a lot of kindness from the people that I worked with." He shares his vocal warm-up routine and the important role hip-hop and jazz play. "It makes you move and it gets your blood flowing," he says, "and you're excited, and all of a sudden you're smiling and you can't remember why." Because You’re Awesome“Before I go into the booth,” Van says, “I always say I am about to kill it. I am about to kill it because I’m awesome.” He tells us the advice he gives younger voice talent on how to perform with confidence and how his audio analysis of the famous Yanny/Laurel audio meme from a few years back gave him fresh insight into how our perceptions of sound can influence the way we think about the world around us. “It was just such a weird phenomenon and I totally bought into it too,” he recalls, “I thought people were messing with me.... but it really did change the way that I do my VO life.” Episode SummaryVan’s early memories of sound, from nursery footsteps to popping balloonsHow Johnny Fever helped inspire Van to become a radio DJThe changes digital and streaming audio have brought to the industryVan’s vocal warm-up routine and the importance of keeping a positive attitudeThe impact our assumptions about sound can have on our daily lives Tune in next week as Van and I talk about the power of teamwork and comradery in the voice industry, as we take a look at some of Boutwell's latest projects, including for Birmingham's Sidewalk Film Festival and the TV show DIY Science Time, and how his superpower is speaking canine. Connect with th

“Think about the young college student, first year in college. Most people have to stay in the dormitory, and whenever they do, right next to their bed is their nightstand, which actually, probably, is a mini fridge. And so, as they're leaning up against their pillow with a nightlight on from their nightstand, there is a compressor and a motor that causes this hum and vibration which the body not only feels but hears. And so you're taken away from the optimized learning environment of the person who's trying to gather in more data because you have all this stuff going on around them.” -- Alan R. Brunton This episode’s the second half of my interview with software developer, cymatics researcher, and Cymatrax CEO Alan R. Brunton, as we talk about how sound takes up a surprisingly large amount of our neural bandwidth, how our sonic environment can influence both our mental and physical health, and how cutting-edge audio treatments might revolutionize the field of medicine.As always, if you have questions for my guest, you’re welcome to reach out through the links in the show notes.  And if you have questions for me, visit www.audiobrandingpodcast.com where you’ll find a lot of ways to get in touch. Plus, subscribing to the newsletter will let you know when the new podcasts are available. And if you’d consider it, I’d love to hear what you think of the podcast! You can leave a review (that I’d love to feature on future podcasts!), either in written or in voice format from the podcast’s main page. Feeling the DifferenceAs the second half of our interview starts, Alan and I talk about how much mental real estate sound takes up without our realizing it, and he provides several practical examples of how this affects us in our everyday lives. “There is so much there,” he sums it up, “that is interfering with the cognition of the brain.” We talk about noise pollution and its effects on our health, and the benefits his clients have reported from his cymatic remastering of their audio files. As he quotes one client, a professional musician who specializes in sound therapy, “’I could feel this difference in twenty seconds.’” The Human PotentialThe topic shifts to some very cutting-edge studies on using sound to treat neurological disorders and even brain cancer. Alan tells us about the famous YouTube videos of cymatic sand vibrations and how they offer a metaphor for the unseen effects sound might have on a cellular level. “That is, in a way,” he says, “solidifying our understanding then of how the neurotransmitters could be formed also into a shape and be pushed forward to be able to move through the entire central nervous system much more efficiently.” As he puts it with his company’s motto, “we are here to raise the human potential.” Letting People Evolve“The CDC,” Alan says as our interview comes to a close, “is reporting that 85% of all disease is caused by stress.” He explains how stress weakens the immune system and how improving our soundscape, including eliminating white noise and boosting healing frequencies, could have dramatic benefits for both individuals and companies. “Over five billion people listen to digital audio every day,” he says, “I’m here to clean it up for them and let people evolve into their own potential.” Episode SummaryHow sound frequencies can both interfere with and boost our concentrationRecent studies on using the power of sound to treat illnessesThe hidden connection between sound waves, movement, and brain activityHow cymatic frequencies can lower stress and transform health care Connect with the Guest:Website: https://www.cymatrax.com/ (Anyone who creates a new account gets an entire week of processing new, healthier auditory files for free.)Follow Alan Brunton on Facebook:  https://www.facebook.com/cymatrax/Connect with Alan Brunton on LinkedIn: https://www.linkedin.com/in/alan-brunton-5ba46715/Follow Alan Brunton on Twitter: https://twitter.com/infoCymatrax/ Connect with the Audio Branding Podcast:Book your project with Voice Overs and Vocals https://voiceoversandvocals.comTweet with me on Twitter - https://twitter.com/JodiKrangleWatch the Audio Branding Podcast on YouTube - https://www.youtube.com/c/JodiKrangleVOConnect with me on LinkedIn - https://www.linkedin.com/in/jodikrangle/Leave the Audio Branding Podcast a written review at https://lovethepodcast.com/audiobranding or leave a spoken review at https://voiceoversandvocals.com/talktome/ (Thank you!)Share your passion effectively with these Tips for Sounding Your Best as a Podcast Guest!https://voiceoversandvocals.com/tips-for-sounding-your-best-as-a-podcast-guest/Get my Top Five Tips for Implementing an Intentional Audio Strategyhttps://voiceoversandvocals.com/audio-branding-strategy/Editing/Production by Humberto Franco - https://humbertofranco.com/This podcast uses the following third-party services for analysis: OP3 - https://op3.dev/privacy

“And so many people don’t pay attention to the sound that they are exposing themselves to. And, like, whenever you go to, I want to say, a large restaurant, high action, high volume, and you have to yell at the person next to you, and you have to yell your order to the server. And then finally, whenever you walk outside of the restaurant, you're finished, grab hold of yourself, you feel better because all that noise is gone. But you're thinking ‘oh, I just came out of the restaurant, so the food must have been good. We must have had a good time.’” -- Alan R. Brunton My next guest is the founder of Cymatrax Inc. He's been immersed in music for a long time and has owned and operated Allegro Data Systems, a company that archived magnetic tape recordings and remastered recordings for such clients as Southern Methodist University and Scripps Institute of Oceanography. His diverse background also includes producing a television program, being a restaurant consultant, and business administration. Now he studies epigenetics, consciousness, and quantum physics. He's focused on sound and the use of cymatics and has developed a software application to reduce stress in people's lives and raise the human potential. His name is Alan R. Brunton, and you won't want to miss all the twists and turns in this discussion.As always, if you have questions for my guest, you’re welcome to reach out through the links in the show notes.  And if you have questions for me, visit www.audiobrandingpodcast.com where you’ll find a lot of ways to get in touch. Plus, subscribing to the newsletter will let you know when the new podcasts are available. And if you’d consider it, I’d love to hear what you think of the podcast! You can leave a review (that I’d love to feature on future podcasts!), either in written or in voice format from the podcast’s main page. Christmas MelodiesAs the episode starts, Alan tells us about his earliest memory of sound and shares a heartwarming Christmas story with a surprise twist that ended up being thirty years in the making. We go on to talk about how his father's life as an inventor helped guide his own path. "I just decided," Alan says, "that I needed to challenge myself to look at and do the hardest thing that had to do with music." He credits his family's reputation for ingenuity and determination for inspiring him to find new ways of seeing the world and new uses for some of the things in our lives that we might take for granted. "That's the way I was raised," he explains, "into 'okay this is made for this, but how else can you use it?'" Music of the MindAlan tells us about cymatics and the relationship between audio frequencies, neurochemistry, and the human mind. “We understand in epigenetics,” he says, “that every single cell has receptors, and those receptors are influenced by four environmental influences: chemical, heat, light, and sound.” He explains how reducing noise pollution and adjusting the audio frequencies of a given sound can have dramatic effects on the brain, and the research he’s done with the University of New England on audio treatments for PTSD and autism. “Their head of research,” he says, “is going to be helping us with so many more grant proposals and submissions so that we can actually do clinical trials.” Everything Slows Down“The brain is much more capable and competent,” Alan reminds us as the interview continues, “than what we give it credit for.” He explains how what we call white noise in digital audio is actually filled with random audio frequencies, and how, just like a computer, the brain can struggle with trying to handle too much data at once. “And that's exactly what is in digital audio,” he explains, “with all of these white noise characteristics. It slows everything down.” We can see this happening for ourselves, Alan says, when people try to listen to digital audio and quickly find themselves becoming distracted: “So many people listening lose their focus after fifteen to twenty minutes.” Changing the WorldAs we wrap up the first half of our interview, Alan tells us about his website's service and how his software removes white noise and readjusts the audio frequency of an uploaded sound file to maximize its impact on the brain. We also talk about a study he's conducting with the University of Alabama that users can participate in through his website, and how he's working with businesses and schools to bring cymatics to a wider audience.  "We're just here to change the world," he adds, "that's all." Episode SummaryAlan’s story of a musical Christmas memory thirty years in the makingHow his father’s inventions helped inspire him as an audio pioneerWhat white noise means, and the effects noise pollution has on the brainCymatrax’s research into optimal audio frequencies for attentive listeningHow Alan’s working with university researchers on cymatic therapyTune in next week as Alan and I talk about some of Cymatrax’s most memora

“Audio has this very interesting quality of embedding itself in your head. We all know about those earworms: 'oh gosh I can't stop singing this song.' Imagine you have a nice jingle, it's a way for the brand to get into the heads of folks, I'm not saying that's a good thing necessarily, but that's an indication of the power of audio, where it just goes in. Now, let's not forget all of us, all human beings, the first nine months of our lives we're in the dark and we're just listening." -- Ahmed Bouzid This episode’s the second half of my discussion with Ahmed Bouzid and Jenn Dudley in The Power of Sound Club on Clubhouse about Easy Options for Marketing with Digital Audio, as we discuss sound’s psychological potential, the surprising audio spaces Ahmed and Jenn have helped their clients discover, and how artificial intelligence is changing the audio landscape in a variety of ways.As always, if you have questions for my guests, you’re welcome to reach out through the links in the show notes.  And if you have questions for me, visit www.audiobrandingpodcast.com where you’ll find a lot of ways to get in touch. Plus, subscribing to the newsletter will let you know when the new podcasts are available. And if you’d consider it, I’d love to hear what you think of the podcast! You can leave a review (that I’d love to feature on future podcasts!), either in written or in voice format from the podcast’s main page. Listening CreaturesAs the second half of the discussion starts, we talk about how sound sets the mood for visuals, and how some surprising movie trailer edits help demonstrate that. As Jenn describes it, it's "the idea that you can take a different track of music and put it under the same visuals and you can end up with a very different result.” Ahmed observes that our connection sound goes all the way back to before we were born, and that “we started as listening creatures more than seeing creatures.” “And I think that manifests itself,” he adds, “in many ways in our lives.” They both go on to describe how audio opens up new elements of SEO and algorithmic content and new channels of communication. “You can start with a podcast,” Jenn says, “and you can use that audio in other places, you can run a transcript, and then you have text and collect things from your audience. And there are easy ways of doing that." Delivering the MessageAhmed continues his list of top ten ways that audio is more engaging than video, and shares the story of one new audio strategy a client helped him discover. “Here's one that the customer dropped on me,” he says, “and that is an audiobook. We were talking and they were brainstorming with me an audiobook for their company." Jenn agrees with him and adds that “at the end of the day, I think anywhere that you’re sharing your message, almost always there’s an opportunity to either deliver that message in an audio format or in a companion piece so you’re giving your audience a different way to consume it.” Getting the Most Value“People tend to be really focused,” Jenn recounts from her own work with business clients, “and, again, they come to us to do a podcast, but they’ve started to branch out.” We take a look at how audio can strengthen written and visual marketing strategies, giving customers more opportunities for engagement. “It’s getting the most value out of the effort you’re putting into any of your marketing efforts,” Jenn explains. As the Clubhouse chat comes to a close, we also talk about how artificial intelligence has revolutionized audio’s ease of use, whether it’s automated translations, synthetic audio text on demand, or even summarizing written content. “Everybody’s become a commodity,” Ahmed says. “Audio is where folks can now innovate and differentiate themselves.” Episode SummaryHow audio influences our emotions and sets the mood for visual contentDigital audio’s potential to reshape SEO and user-generated contentUsing digital audio to expand the reach of traditional marketingHow OpenAI, Google, and other services are transforming online audio Connect with the Guests:Dante32 Website: https://dante32.comWitlingo Website: https://witlingo.com/digitalaudio/Ahmed Bouzid’s The Elements of Voice First Style: A Practical Guide to Voice User Interface Design: https://www.amazon.com/Elements-Voice-First-Style-Practical/dp/1098119592Connect with Ahmed Bouzid on LinkedIn: https://www.linkedin.com/in/ahmedbouzidFollow Ahmed Bouzid on Twitter: https://twitter.com/didou/Connect with Jenn Dudley on LinkedIn: https://www.linkedin.com/in/jenndudleyFollow Jenn Dudley on Twitter: https://twitter.com/JennADudley  Connect with the Audio Branding Podcast:Book your project with Voice Overs and Vocals https://voiceoversandvocals.comTweet with me on Twitter - https://twitter.com/JodiKrangleWatch the Audio Branding Podcast on YouTube - https://www.youtube.com/c/JodiKrangleVOConnect with me on LinkedIn - https://www.linkedin.com/in/jodikrangle/Le

“But often, and this is fairly universal when I talk to people, whether they’re individuals or businesses, is, on one hand, anyone with an iPhone can pick up and start a podcast. There's a very low barrier to entry, which is fantastic. And, like most things when you get into it, it’s a little more complicated than you originally thought.” -- Jenn Dudley For those of you that may not know, I host regular weekly Clubhouse rooms on Wednesdays at 2 PM Eastern Time. If you’re interested, you can check the schedule in my club, The Power of Sound, to see what’s coming up. We talk about all sorts of things related to sound, including voice overs, public speaking, podcasting, music, audio branding, voice AI, sound in social media, and of course, digital audio. This particular discussion (and everyone here knew that the room was being recorded so I do have permission), was called Easy Options for Marketing with Digital Audio, since we talk a lot about marketing and advertising through sound.My fellow panelists in this episode are Ahmed Bouzid of Witlingo, who has been interviewed on this podcast before, and the highly knowledgeable Jenn Dudley of Dante32.  We asked a lot of questions, including “what is digital audio” so we had our baseline understanding of what we meant, “why should I care about digital audio,” and “what actions can I take to begin engaging through digital audio?”  They share ten specific facts about the rapid rise of digital audio along with ten specific things that we can do to incorporate it into our engagement mix.  It’s a really interesting discussion, so settle back and listen in. I think you’ll learn a thing or two: I know I did!As always, if you have questions for my guests, you’re welcome to reach out through the links in the show notes.  And if you have questions for me, visit www.audiobrandingpodcast.com where you’ll find a lot of ways to get in touch. Plus, subscribing to the newsletter will let you know when the new podcasts are available. And if you’d consider it, I’d love to hear what you think of the podcast! You can leave a review (that I’d love to feature on future podcasts!), either in written or in voice format from the podcast’s main page. Giving Them the FactsAs the Clubhouse chat begins, we talk about the definition of digital audio and its presence in every aspect of our modern lives, from podcasts and music apps to teleconferences and user interfaces. “Media in general is such a shift,” Jenn says. “You see the patterns kind of across the space with streaming versus cable and I think you see similar patterns in the audio world.” Ahmed shares ten facts about the rise of digital audio, and how valuable they are in explaining the importance of audio branding and strategies in the corporate world. “What do you need to do to convince your CMO or CEO to give you a budget?” he explains. “First, you need to give them facts.” The Way We LiveThe chat continues with a look at the growing numbers of online listeners, and just how widespread the audience has become over the past few years. "Seventy percent of the population have listened to online audio for the past month," Ahmed tells us. "It's on the rise and it's substantial." Jenn agrees and adds that "we're just starting to see all of the different use cases for how audio is really embedded in the way that we live and the way that we interact with the world around us." Doing Things MobileThe internet's come a long way since its early days, and Ahmed talks about how mobile technology has transformed the way we think about it and use it. "The shift that mobile brought," he says, "is you're able to do things in a lot more places than simply in your home, in the lab if you're at the university, or in the office. Those were the three places where you could do things that had to do with the internet, right? With mobile, you could do them anywhere." We talk about how smartphones let us take our work anywhere, and how efficient sound can be as an interface. "Since we human beings are greedy," he jokes, "we just want to be able to do things in as many situations as possible." The Benefits of AudioSound also possesses an emotional component, a human element and authenticity that visuals alone still can’t match. “It just brings the humanity to life,” Ahmed notes, “when you hear someone talk.” We discuss his top ten list of things that makes audio more compelling than video, and Jenn adds that there are some important differences when it comes to audio branding versus other forms of marketing. “There’s a low barrier to entry,” she says, “but in order to maximize the benefits of audio, it’s really having to think about the message, and how you're delivering it a little bit differently.” Episode SummaryWhat digital audio really means and how it fits into our everyday livesAhmed’s top ten facts about the rise of digital audioHow much digital audio’s audience has grown over the past year aloneThe mob

“We always start at the same place, you know, we do not throw color against the wall. Meaning it's a non-execution-driven process. Execution-driven is 'let's get the ten best music companies in the world and then each produces a sonic logo, and then we'll pick one and then implement that globally, and then we're done, check.' And that is completely, that's the old world. The new world is 'let's do some homework, let's understand what we want." -- Uli Reese This episode’s the second part of my interview with author, composer, and audio branding expert Uli Reese as we discuss Amp’s process for developing a sound strategy, where Uli sees audio going and not going in the future, and the industry race to catch up in the field of sonic branding.As always, if you have questions for my guest, you’re welcome to reach out through the links in the show notes.  And if you have questions for me, visit www.audiobrandingpodcast.com where you’ll find a lot of ways to get in touch. Plus, subscribing to the newsletter will let you know when the new podcasts are available. And if you’d consider it, I’d love to hear what you think of the podcast! You can leave a review (that I’d love to feature on future podcasts!), either in written or in voice format from the podcast’s main page. For Decades to ComeAs the second half of our interview starts, Uli explains Amp’s strategy for developing a sonic identity, starting with making sure that the company’s own executives have a concrete grasp of their brand. “If we fail here,” he tells us, “how can we possibly develop something that's going to be valid for decades to come?” We discuss how Mercedes-Benz shook up the IAA car show in Munich with a DNA-based sonic strategy, and how they're thinking long-term when it comes to audio branding. “They’re exchanging everything with DNA-based music that is owned by the brand,” Uli says. “They said ‘we need to outright own this identity. Think, we’re 136 years old – think about the next 136 years.’” Sound by Design“What I think is highly interesting,” Uli says, “is there are so many brands where one of their main equity points of the brand is the sound.” Our interview continues with a look at brands whose sounds are such a part of their image that we take them for granted, such as automobile engines – and how electric cars have forced automakers to create artificial engine sounds to preserve their branding. “They're completely artificial,” he explains. “That sound has nothing to do with the electric motor at the wheel. Let's be real, yes, it's fake. It's being designed." When it comes to keeping up with a quickly changing world, Uli’s advice is to “be consistent. Have something that you can derive things from. Also, do not design anything for an iPhone, because it will go away, I guarantee it.” Building a Solid FutureAs our interview comes to a close, Uli reflects on the rapid growth of sonic branding and how much the world’s changed in just over a decade. “Sonic grew so fast,” he says, “in the last three, four, five years, and became so dominant so quickly, that many brands feel flat-footed. They feel like we’re too late to the party, we should have dealt with this five years ago, but we did not.” As he explains, “sonic is in the top five major brands for issues right now. That would have been impossible ten years ago.” We talk about the future of audio, and how it’s easier to say what won’t change than what will, and what it’ll take to build that future. “We need innovation in terms of sonic,” Uli adds. “I don't care if it's called sonic branding, audio branding, or whatever, but where we are will not get us to a solid future.” Episode SummaryMercedes-Benz’s new DNA-based sonic branding strategyHow evolving technology is forcing companies to rethink and rework audioWhat changes and what remains constant when it comes to sonic strategiesHow companies are working to catch up in the field of audio branding Connect with the Guest:Website: https://www.ampsoundbranding.com/Best Audio Brands:  https://www.ampsoundbranding.com/best-audio-brands101 Great Minds:  https://www.ampsoundbranding.com/101-great-minds-homeMastercard Case Study:  https://www.ampsoundbranding.com/ourwork/the-sound-of-mastercardOther Amp Case Studies: https://www.ampsoundbranding.com/ourwork/Follow Uli Reese on Facebook: https://www.facebook.com/uli.reese.5Connect with Uli Reese on LinkedIn: https://www.linkedin.com/in/uli-reese/Follow Uli Reese on Twitter: https://twitter.com/ulireese Connect with the Audio Branding Podcast:Book your project with Voice Overs and Vocals https://voiceoversandvocals.comTweet with me on Twitter - https://twitter.com/JodiKrangleWatch the Audio Branding Podcast on YouTube - https://www.youtube.com/c/JodiKrangleVOConnect with me on LinkedIn - https://www.linkedin.com/in/jodikrangle/Leave the Audio Branding Podcast a written review at https://lovethepodcast.com/audiobranding or leave a spoken review a

“And what's interesting is the agency usually comes back and says 'this is amazing, how did you... this sounds, like, better than our music productions! This is, like, so authentic! This has grip! This seems like the Beatles in the garage!' And I said 'that's what every agency guy wants.' They want to find the Beatles in the garage, or Coldplay, or U2, or whatever, and be able to say 'I was the first one who heard this.'" -- Uli Reese This week’s guest left his hometown of Stuttgart to attend university in Los Angeles and begin his career as an orchestra conductor, composer, and orchestrator in Hollywood, working on shows like Paramount’s Star Trek: The Next Generation and Disney’s DuckTales. He's an author, scholar, and co-owner of sonic-branding consultancy Amp, a five-time Cannes Lions speaker, and he's considered one of the main thought-leaders in the audio branding industry. From a Lion to an Emmy, he's won almost every industry award possible for his work, and over the last decade, Uli's book series 101 Great Minds on Music, Brands and Behavior added a significant contribution to the education and understanding of sonic branding on both the agency and brand side.Through over two hundred conversations with the most influential leaders in marketing, his mission is to change the conversation we’re having about sonic branding. His name is Uli Reese, and I have no doubt this conversation will be as fascinating as it is enlightening. So buckle up!As always, if you have questions for my guest, you’re welcome to reach out through the links in the show notes.  And if you have questions for me, visit www.audiobrandingpodcast.com where you’ll find a lot of ways to get in touch. Plus, subscribing to the newsletter will let you know when the new podcasts are available. And if you’d consider it, I’d love to hear what you think of the podcast! You can leave a review (that I’d love to feature on future podcasts!), either in written or in voice format from the podcast’s main page. A Creator EconomyWe start off the interview by talking about Uli's thirteenth appearance at the prestigious Cannes Lions festival and his firsthand perspective on just how much it's changed over the years. "Thirty years ago," he recalls, "it was guys getting together saying I spent five million on this commercial or I got the Beatles and it was kind of an inside club. And now it's like the creator economy." We discuss the role that a stubborn piano teacher played in helping to shape his childhood love of sound and take a closer look at this century's democratization of content creation all over the world. "If you have content that people want to see," he says, "and you're in the Amazon, you scale. You call the shots." Two Seconds to Understand“I knew I wanted to write for film," Uli tells us as we recount his early career, "so I did my school, finished that, and I knew I wanted to go to the U.S. because this was where things were made." He talks about how music school in America turned out to be not at all what he'd hoped until a professor's recommendation helped him find his true calling at the Dick Grove School of Music. He tells us about his work as a composer on Star Trek: The Next Generation, and the lessons it taught him about audio branding and creating an immediate audience reaction. "You need," he says, "within two seconds to understand 'oh, Star Trek: The Next Generation is on,' or The Simpsons, or Star Wars." Owning the BodyOur talk about the future of audio branding continues as he compares Mastercard's groundbreaking new Sonic Space to other pop-cultural brands we might not normally consider. “It’s like Billy Eilish writing a Bond song,” he explains, “Adele writing a Bond song, it’s based on the sonic DNA of Bond. And we do basically that but going into 35 different consumer touchpoints.” We talk about the branding perils of stock and license music, and the advantages of a more holistic approach to sound. “Most music that’s used by brands is not owned,” Uli says. “They might own the T-shirt, but they don’t own the body that’s wearing the T-shirt.... and when you don’t own your stuff, it’s difficult.” The Entire Experience“The reality,” Uli says as the first half of our interview comes to a close, “is that there has been no evolution in sonic branding in thirty years.” He notes the prominence of the Intel sonic logo even today as proof and points out the need for a more sophisticated strategy to keep up with the changing times. “In visual branding,” he notes, “you don’t just have a business card, you have an entire experience.” We talk about the prospect of brands becoming a platform for artists and how his work on Mastercard is helping to pave the way. “I want it to be an honor for an artist to write a Mastercard song.” Episode SummaryHow the Cannes Lions festival has come to reflect a changing worldUli’s early memories of sound and childhood rebellion against musical authorityHow media franchi

“But we did a rebranding of brands that already came from a place where they actually have worked, so we work in evolutions, in rebrandings, not just like a brand from the start. So what we try to do is keep the things that are really distinctive if they’ve already made audio branding, but evolve the last bit and try to improve it. The idea is not to destroy what’s already built, the idea is to keep building up.” -- Gabriel Agüero This episode’s the second part of my interview with Gabriel Agüero, Dalmiro Lacaze, and Mauro Gonzalez of Drop Music Branding as we talk about synthetic music, noise pollution, and the future of audio in a world where machine learning can do a surprising amount of the work for us. Keep Building UpAs the second half of our interview begins, we talk about the challenge of consistently and effectively rebranding, whether it’s an update to one of Drop Music’s own sonic logos or a reimagining of an audio brand designed elsewhere.  “So what we try to do,” Gabriel explains, “is keep the things that are really distinctive if they’ve already made audio branding but evolve the last bit and try to improve it.” As he puts it, “the idea is not to destroy what’s already built, the idea is to keep building up.” Bringing Sound to LifeThe topic turns to synth music and machine composition, and the differences between human and synthetic musical styles. Drop Music incorporates them both into its services, as Dalmiro explains: "Sometimes we're playing on the synth, sometimes we're playing on the MIDI controller, and sometimes we're playing actual instruments" They go on to tell us how music with real instruments and human performers can convey a sense of spontaneity that digital perfection has yet to match. "In some ways," Mauro explains the subtle differences, and different uses, between an organic performance and a synth track, "you bring life to something that's lifeless – unless you want it to be lifeless." You Can’t Be Against ItWe conclude the interview with a deeper look at synth music, machine learning, and what they mean for the future of audio, and how that future's already becoming a part of Drop Music Branding's toolset. "At the end of the day," Dalmiro says, "it's going take lots of jobs. Like the DALL-E 2 thing, it's unbelievable for making mock-ups," "You need to try to learn how to use it as a tool," he concludes, and Gabriel agrees. "You can't be against it," he notes, "because there's no competition at all." Episode SummaryWorking with existing audio brands to revamp their sonic identityHow computers and AI software are becoming the new musical instrumentsThe dangers of noise pollution and benefits of sound-based healingWhat the rise of synth music means for the future of the audio industry Connect with the Guests:Website: https://dropmusicbranding.comFollow Drop Music Branding on Facebook: https://www.facebook.com/dropmusicbranding/Connect with Drop Music Branding on LinkedIn: https://www.linkedin.com/company/dropmusicbranding/Follow Drop Music Branding on Twitter: https://twitter.com/dropmusicbrand/ Connect with the Audio Branding Podcast:Book your project with Voice Overs and Vocals https://voiceoversandvocals.comTweet with me on Twitter - https://twitter.com/JodiKrangleWatch the Audio Branding Podcast on YouTube - https://www.youtube.com/c/JodiKrangleVOConnect with me on LinkedIn - https://www.linkedin.com/in/jodikrangle/Leave the Audio Branding Podcast a written review at https://lovethepodcast.com/audiobranding or leave a spoken review at https://voiceoversandvocals.com/talktome/ (Thank you!)Share your passion effectively with these Tips for Sounding Your Best as a Podcast Guest!https://voiceoversandvocals.com/tips-for-sounding-your-best-as-a-podcast-guest/Get my Top Five Tips for Implementing an Intentional Audio Strategyhttps://voiceoversandvocals.com/audio-branding-strategy/Editing/Production by Humberto Franco - https://humbertofranco.com/This podcast uses the following third-party services for analysis: OP3 - https://op3.dev/privacy

“I think that we are in a wonderful time to do audio branding because this situation where we need to educate people is a very good situation, right, because it’s something that is happening that we need to be strategic about it, and not so many brands are doing it. Right, so I think it’s a great place to be.” -- Gabriel Agüero This episode’s guests have known each other their whole lives. Two of them were classmates in elementary school in their hometown of Patagonia, and they met the third when they moved to Buenos Aires to go to music college. Since then, they've been classmates, bandmates, roommates, and eventually partners in Drop Music Branding. They are Gabriel Agüero, Dalmiro Lacaze, and Mauro Gonzalez, and their nicknames, which you’ll be hearing quite a bit, are Gabo, Dal, and Mow.In 2009, Dal moved to Boston to study Performance at Berklee, Gabo worked at Argentina's main TV station, and Mow worked at Disney. When Dal returned from Boston, the three of them began creating audio identities for brands across four continents, and they’ve been doing that for more than a decade now. In this two-part interview, the three of them will be offering their perspectives on innovations within the audio branding industry and where they think things are heading into the future!As always, if you have questions for my guests, you’re welcome to reach out through the links in the show notes.  And if you have questions for me, visit www.audiobrandingpodcast.com where you’ll find a lot of ways to get in touch. Plus, subscribing to the newsletter will let you know when the new podcasts are available. And if you’d consider it, I’d love to hear what you think of the podcast! You can leave a review (that I’d love to feature on future podcasts!), either in written or in voice format from the podcast’s main page. Impressions of SoundAs the episode starts, each guest talks about his earliest memories of sound. Gabriel tells us how his older brother learned to play the guitar and enlisted him, at the age of ten, as his drummer. “From that point,” Gabriel recalls, “I understood that my calling in life was to do music and make a living out of it.” Dalmiro talks about his mother’s mix tapes and cassette books and how they inspired him to record his own music as a child while Mauro recalls the various impressions that sound and words made upon him when he was young, and how understanding their hidden connections motivated him. Escaping the Comfort ZoneThe trio goes on to tell us how, after moving to Buenos Aires, they went from musical careers to a focus on audio branding, starting with their new jobs at Argentina's largest television station. "The funny thing,” Mauro says as he remembers that first foray into sonic branding, “is that we didn't have, like, tools and BSTs and instruments.” Given just a Windows computer and a single week, they rose to the occasion and learned an important lesson that’s guided their company since. “It's not an opportunity if you know how to do it,” Gabriel explains. “It needs to take you out of your comfort zone.” Sonic vs AudioThe Drop Music team goes on to tell us about their next project for a satellite operator whose service extends throughout South America, and how a Gary Vee article opened their eyes to both the potential of audio branding and to how much they'd already learned about the process. "We were really lucky to start working alongside images," Dalmiro says, “that was like the bridge.” We discuss the subtle differences between sonic and audio branding and where each term’s most likely to be heard, and how they help educate clients who might not be familiar with either one make sense of all the jargon. Everybody’s Doing ItAs the first half of our interview comes to a close, we talk about audio branding strategies and how every company creates a sonic impression, whether it's carefully planned or left to chance. Gabriel remarks that, with the opportunities that sonic branding creates in a market that doesn't always take full advantage of it, and how Drop Music Branding recognizes a job well done when it comes to branding and sonic strategies. "You know you've done it right when,” Gabriel explains, “you see the client using it and really implementing it well – that's when you know you did it right.” Episode SummaryDrop Music Branding’s early musical influences and memoriesTheir first trial-by-fire audio branding project as students in Buenos AiresHow opportunity’s usually found outside of our comfort zonesDrop Music Branding’s early transition from music to audio brandingHow sonic impressions are created even when we aren’t thinking about themTune in next week as the Drop Music team and I discuss the differences between human and “synth” music, the hidden dangers of audio pollution, and the benefits of sound-based healing.Connect with the Guests:Website: https://dropmusicbranding.comFollow Drop Music Branding on Facebook: https://www.facebook.com/dropm

“We really believe that everybody out there has an X-factor to them. Everybody has something that’s unique, that stands out, and now is the time, like, one of our mottos is ‘you have a voice and it deserves to be heard.’ And you’re a storyteller and it’s time for people to share their stories, to feel really good about what they’re doing. To make more money, of course, because it’s a business, but to really enjoy life. And we’ve gotta stop following trends, we’ve gotta stop worrying about what everyone thinks, this idea of what this company is or something. If you find your passion, your ‘why,’ right, you just do it and it resonates.”-- G. Wright This episode's the second half of my interview with producer, sound engineer, and rock star media trainer G. Wright as we talk about the differences between introverts and extroverts, the importance of knowing your worth, and how streaming sound fatigue has led to what G calls "Zoom ear."As always, if you have questions for my guest, you’re welcome to reach out through the links in the show notes.  And if you have questions for me, visit www.audiobrandingpodcast.com where you’ll find a lot of ways to get in touch. Plus, subscribing to the newsletter will let you know when the new podcasts are available. And if you’d consider it, I’d love to hear what you think of the podcast! You can leave a review (that I’d love to feature on future podcasts!), either in written or in voice format from the podcast’s main page. That Rock Star ModeAs our interview continues, G and I talk about introverts and extroverts, and how we all have different ways of building up our energy each day. “We each need different ways to recharge,” he says. “We each need to find ways to get into our inner Zen, into that pre-show, into that rock star mode.” We go on to discuss how devaluing ourselves as creators and setting too low a price point can undermine our efforts and, ironically, lead to fewer sales. “If you’re offering things for free or very cheap,” G tells us, “Their attention span isn’t there, they’re not as committed.” There’s real value in art and creative work, even if it seems intangible: as he puts it, “people will pay to see the Rolling Stones or any of those bands that have been around for a while because there’s value associated with them.” The New Business CardWe continue to talk about creative entrepreneurs and the importance of properly valuing the service that they provide. "If the car needs to be fixed,” G explains, “I take it to the mechanic, I don’t take it around to five different mechanics and find one who says ‘I'll do it for free.’” As he says, “hire professionals who do this every day and you get more out of it than putting a dollar amount on it.” The topic shifts to podcast marketing, and how, as he puts it, podcasts are becoming the new business card. “When you’re going on a podcast,” he says, “this is the best way for people to get to know you.” Connecting One-on-One“I think with all the technology we have," G says as we talk about podcasting and social audio, "it really is going to come down to people connecting one-on-one with people through sound." As the episode wraps up, we talk about "Zoom ear" and how streaming apps have left people accustomed to a subpar, even unhealthy, sound quality. "There are frequencies that are going into the ears," he says, "that are not good frequencies." It all comes down to the importance of sound, and G notes that this is a lesson he regularly finds himself teaching his clients. "People were spending so much money on cameras and lights and how they look on camera," he notes, "and I was like 'the sound is just as important, not just how you sound to the audience but protecting your own ears.'" Episode SummaryThe different strategies introverts and extroverts can use to rechargeHow underpricing content as a creator can impact the creative industryPodcasting’s growing value as a personal connection with your audienceOvercoming “Zoom ear” and presenting your X-factor through sound Connect with the GuestWebsite: https://www.allthingsrelaxstudios.com/Follow G. Wright on Facebook: https://www.facebook.com/AllThingsRelaxStudios/Connect with G. Wright on LinkedIn: https://www.linkedin.com/in/gregorygwright/ Connect with the Audio Branding Podcast:Book your project with Voice Overs and Vocals https://voiceoversandvocals.comTweet with me on Twitter - https://twitter.com/JodiKrangleWatch the Audio Branding Podcast on YouTube - https://www.youtube.com/c/JodiKrangleVOConnect with me on LinkedIn - https://www.linkedin.com/in/jodikrangle/Leave the Audio Branding Podcast a written review at https://lovethepodcast.com/audiobranding or leave a spoken review at https://voiceoversandvocals.com/talktome/ (Thank you!)Share your passion effectively with these Tips for Sounding Your Best as a Podcast Guest!https://voiceoversandvocals.com/tips-for-sounding-your-best-as-a-podcast-guest/Get my Top Five Tips for Impleme

“And I’m mixing for a hundred thousand people and I’m like ‘this is the biggest show I’ve ever mixed,’ and I went to the systems tech and I said ‘look, I’ve done arenas, I’m comfortable with arenas, but this is really intimidating.’ And he said ‘don’t worry about it, we have the system time-aligned. If it sounds great in front of house where you are, it’s gonna sound great everywhere.’ And once I realized that the science behind it is really what’s making this sound work for us nowadays, I could really just mix and enjoy the show. And everybody had a great time, and then mixing arenas was easy after that.” -- G. Wright This episode’s guest is a producer and media trainer at All Things Relax Studios. He shows coaches, creative entrepreneurs, and authors how to create a crystal-clear message and connect with their audience in the “Rock Star VIP Media Training” program.  He’s worked with many well-known artists and bands, including Aretha Franklin, the Jonas Brothers, and Cold Play, as a tour manager and sound engineer for over twenty-five years. He’s learned throughout his career what makes or breaks a great interview and can help you channel your inner rock star.His name is Gregory Wright – aka "G" – and we'll be talking about making deeper connections through communications, getting to know your own voice as an instrument, and how sound works in different environments.  I'm particularly excited to share his stories: his time as a radio DJ, his experiences as a sound engineer on the road working with some pretty famous musicians and musical tours, and also hearing about where he thinks the medium of sound is headed.As always, if you have questions for my guest, you’re welcome to reach out through the links in the show notes.  And if you have questions for me, visit www.audiobrandingpodcast.com where you’ll find a lot of ways to get in touch. Plus, subscribing to the newsletter will let you know when the new podcasts are available. And if you’d consider it, I’d love to hear what you think of the podcast! You can leave a review (that I’d love to feature on future podcasts!), either in written or in voice format from the podcast’s main page. Who Knows YouWe start things off with G's earliest memories of sound and how, at the age of five, he already knew he wanted to be a DJ. He fulfilled that dream at the age of sixteen, becoming one of the youngest licensed DJs in the country. “Sound has always been part of my life,” he explains, “and it really helped shape me as a sound engineer.” We also talk about some of how he made the transition from DJ to touring with bands and some of the famous musicians he’s worked with, from Aretha Franklin to Dolly Parton. “That's the thing about the music business, the entertainment business,” he says, recalling a surprise phone call from the Queen of Soul herself, “you never know who knows you.” Speaking with ConfidenceThe interview continues as G tells us about some of the most challenging venues for a sound engineer, from small and cozy clubs to massive stadiums. “Arenas are the toughest to mix,” he recalls, “because it’s just a big concrete room – but that’s where you rely on the science.” We talk about how he helped found All Things Relax Studios and the “Rock Star” training program, and how much effort it can take behind the scenes to sound natural. “We show authors and coaches and creative entrepreneurs how to speak with confidence and clarity,” he says, “how to have a crystal-clear method.” Just Keep Going“Think of your concert you've been to,” G says, “and the lead singer forgets the words, and he puts the mic out. ‘You sing!’” As he explains, confidence is less about never making mistakes and more about thinking on your feet to overcome them. “They fix it and move on,” he explains, “and that’s where speaking with confidence comes in.” We talk about how the lessons learned from musicians can be applied to public speaking and everyday life, and how the most important thing, whether you’re playing a concert, delivering a speech, or running a podcast, is to always keep going. “As long as you don't stop the show,” he emphasizes. “You never stop the show. You just keep going.” The Inner Rock StarWe close the first half of our interview with G’s advice on keeping cool and confident and being your authentic self when faced with a potentially massive audience. "You just focus on connecting with that one person,” he suggests, “sharing a story with that one person, and that takes away a lot of the fear.” He reminds us to keep in mind that we’re there for a reason, that our audience wants to hear what we have to say, and to lean into that fact. “There's a swagger that they have on stage,” G says, recalling the famous artists he’s worked with, “the inner rock star. That takes skill and it takes practice.” Episode SummaryG’s childhood dreams and early success as a radio DJHow his first touring gig with Dolly Parton changed his careerThe eff

This is the third episode of a three-part series about sonic tactics, and it's been quite a journey. So far, I've talked about how animals use sound in the wild, from spiders doing wasp impressions to sperm whales whose calls can be deadly at close range, and how people in the past have learned to harness the power of sound on the battlefield, such as chasing off war elephants with the help of squealing pigs. We'll be taking a look in this episode at audio conflict as it exists today, and just what the future might hold when it comes to sound's growing potential for both good and harm.One of the oldest and simplest uses of sound in modern combat is one that might seem familiar to exasperated parents: playing music too loud. When used on prisoners in captivity, such treatment can amount to torture, and it's been recognized as such by the United Nations. Loud music has also been used as a police tactic for dispersing crowds, where it's had more mixed results: protesters have proven just as likely to start singing along with "Baby Shark" or Frozen's "Let It Go" as they are to run away. There can also be a cultural element to such tactical music: South Korea spent more than two years blasting K-pop songs along the border, a move that outraged North Korea so much it threatened to launch missiles at the speakers. The music only stopped in 2018 ahead of a peace summit.Audio technology is constantly changing, though, and now it can be used to hone in on more precise targets than ever before. In 2005 Howard Stapleton patented the Mosquito machine, a crowd control device that's aimed specifically at teenagers. As adults, we gradually lose our hearing thanks to the everyday wear and tear on our auditory nerves, and the first things to go are the higher frequencies. That means there are sounds children and teenagers can hear that, for the most part, adults can't detect. The Mosquito uses one of those sound frequencies – 17.4 kHz, to be exact – at 108 decibels, the same volume as a rock concert, to drive teenagers away from storefronts and public places.But, much like those crowds singing along to the music they’re supposed to hate, the Mosquito frequency’s turned out to be just as useful to the teens it’s meant to chase off. Smartphone apps have been developed since then that use the same sound as a kind of secret ringtone, so students can use their phones in class without their teachers hearing them. Want to test your ears and find out if you have the hearing of an eighteen-year-old? Check out my blog for a link to the Mosquito tone, but be sure to use a pair of high-quality headphones. Some speakers can’t even play back such a high frequency:https://www.youtube.com/watch?v=IrewnzQYrPIAs digital sound's become more and more important in our lives, our ability to direct and use it with laser-like precision has also grown. One of the most widespread and contentious uses of sound in the twenty-first century is the sound cannon or LRAD (el-rad) system, short for "long-range acoustical device." It uses interference waves to create narrow beams of focused sound that can travel up to five kilometers and was originally meant as a substitute for radio contact between sea vessels in an emergency. LRADs can relay public broadcasts, or, by switching on the siren and setting the volume to maximum, disperse crowds or subdue targets. It's been used around the world for everything from evacuation notices to scaring off animals to repelling pirate attacks on the high seas.Over the past few years, the LRAD's potential as a sonic weapon against peaceful protesters has generated controversy, and questions have been raised about whether the sound beam – which, at up to 160 decibels on military-grade models, can be louder than a jet engine – might cause permanent hearing loss. Its merits as both an audio communication and dispersal tool are likely to be debated for years to come, and, as aging public address systems around the world are updated to modern LRAD systems, it's bound to become an increasingly familiar aspect of our everyday lives.There’s a link on my blog to the LRAD’s distinctive siren. Whether it’s used as a repellent or just a warning, I think you’ll agree it’s not something you’d want to listen to for long:https://www.youtube.com/watch?v=YGKBoHjLdYwEven if the LRAD can be used as a sound cannon, it does have a multitude of peaceful, constructive uses as well. So what about true sonic weapons, devices that are specifically designed to use sound to cause harm? Although a CIA report earlier this year concluded that “Havana syndrome,” the mysterious hearing-related illness that’s afflicted dozens of embassy workers all over the world, doesn’t seem to be related to a sonic device, its cause remains unknown. The audio technology to turn sound into a weapon does seem to exist. I’ve talked before about how directed audio is already being used to help create personalized customer sound experiences in public places, and how both ultr

During my last episode about sonic tactics, I talked about the different audio strategies that animals have developed for hunting prey and escaping predators, whether they're orcas using tail slaps to stun schools of fish or moths evading a bat's sonar with their clicks. As it turns out, some of those strategies are surprisingly similar to the sound tactics we've been using on the battlefield for centuries. This week I'll be delving deeper into how those same sonic strategies have played an important role throughout the history of war, from ancient Roman war pigs to inflatable army tanks.Since animals already rely so much on sound to survive, it may be no surprise that one of the first uses of sound as a battle plan was to try and scare off the other side’s animals. Perhaps the most fearsome mount ever faced in antiquity was the war elephant: they were the tanks of the ancient world, massive and nearly unstoppable during a charge. But elephants are skittish, and it didn’t take long for their enemies to stumble upon a sound that would send even the bravest pachyderm running: the squeal of a pig. “War pigs,” as they came to be called, were sent stampeding among the approaching war elephants to make them panic and trample their own riders. To counter this gambit, elephant trainers began to raise pigs alongside their war elephants so they’d grow accustomed to the sound.The idea of using sound to evoke fear among the enemy isn't limited to animals. One of the most distinctive sounds on the battlefields of ancient Japan is the kabura-ya (kah-burr-ah-yah) arrow, which literally translates as "turnip arrow." They're often called whistling arrows because, thanks to their hollow, turnip-shaped heads, that's just what they did. The sound of a kabura-ya flying through the air was believed to dispel evil influences, and they were used as signals to announce each army's arrival on a battlefield. While their use by samurai started to fade after the twelfth century, such arrows were also used by bandits to signal their approach all the way through the twentieth century.Want to hear what one sounds like? There’s a video link on my blog so you can listen and imagine that ghostly whistle just before a battle, or while walking alone in a forest:https://www.youtube.com/watch?v=maMnRvJVih8While the sound of a kabura-ya arrow relayed honest, if unsettling, information about an approaching army or nearby bandits, wartime audio strategies often involved using sound to confuse the listeners. Just as some animals use sonic camouflage to disguise themselves, ancient armies learned to use sound to conceal their numbers and deceive their enemies. One of the oldest and most famous accounts of audio misdirection is the Biblical story of Gideon, who, around three thousand years ago, used horns, torches, and a scattered group of three hundred soldiers under the cover of darkness to trick an enemy camp into thinking they were under attack by a massive army and retreating.That’s a strategy we’re still using today, even as we’ve replaced horns and torches with speakers and spotlights. During World War II, a top-secret group of American soldiers officially known as the 23rd Headquarters Special Troops arrived in Europe. They were nicknamed the “Ghost Army,” and their ranks included artists, architects, actors, and other creative professionals who could think on their feet. Their goal was to trick the German army into thinking their thousand-man unit was, in fact, an army of more than 30,000 soldiers, and draw their attention away from the Allies’ actual targets.The Ghost Army did this by using inflatable prop tanks, trucks, and airplanes, by faking radio messages for the Germans to intercept, and through the use of sound in ways that never would've been possible before the twentieth century. They drove sound trucks equipped with massive amplifiers that could play and mix separate sound effect recordings to give any impression they liked, from marching troops to rumbling convoys. Anyone within fifteen miles could hear them, and they would assume they were hearing thousands of soldiers, not a handful of men with a loudspeaker. The Ghost Army's existence remained a secret until 1996, and just this past February its members were awarded the Congressional Gold Medal for their "unique and highly distinguished service."If you’d like to see more, including a firsthand look at the Ghost Army’s sound trucks and inflatable tanks, check out my blog for a link to a short video by CNN’s Great Big Story:https://www.youtube.com/watch?v=5A5UgFAi6p0Sonic deception has proven vital when it comes to conflict, whether it’s animals surviving in the wild or human beings using sound tactics to turn the tide of a battle. And as audio technology becomes more and more sophisticated, its importance is only growing. In the third and last episode about acoustic stratagems, we'll take a look at the future of warfare, from sound cannons to directed audio, and whether Havana s

Five years ago, the first stories broke about a mysterious syndrome affecting American and Canadian diplomats in Cuba. Each case began with the victim hearing inexplicable grating sounds that people around them couldn’t detect, which then developed into headaches, hearing loss, vertigo, and even brain damage. New cases began to appear in embassies all around the world, with the most recent reports occurring just last year, and the phenomenon came to be known as Havana syndrome.To this day, we still don't know what might be causing it. Theories range from secret government weapons to the power of mass suggestion, from exposure to harmful pesticides to the sounds of noisy tropical crickets. One of the earliest speculations was that it might be a sonic weapon, since we know that sound can be directed to a single listener without anyone else noticing, and that sound can do just as much harm as it can good. The secret behind Havana syndrome, whether it's an acoustic attack or something else, is still waiting to be uncovered, but sound's potential as a weapon is nothing new. Animals have been shaping soundscapes to their advantage for millions of years and we've used sound as a wartime strategy for just about as long as we've had wartime strategies.This episode’s the first of a three-part series where I’ll be taking a look at how sonic tactics are used by everything from sperm whales to tiger moths, from Bronze Age battles to the now-famous “Ghost Army” of World War II, and just what the future of sonic warfare might hold.We’re all familiar with the roar of a tiger, the howl of a wolf, or the hiss of a snake: animals use sound to not only communicate with each other but with their natural enemies, to warn them away and hopefully avoid a fight. But can animals use sound itself in a fight? The answer turns out to be yes, especially underwater where sound waves can be louder and more destructive than in the air. One such animal is the pistol or snapping shrimp, and I’ve talked about them before. Despite being barely an inch long, the pistol shrimp can create the loudest sound on Earth by snapping its claw to throw a literal bubble of sound at its prey, a bubble that’s as hot as the Sun and louder than a blue whale.The title for the world's loudest animal arguably goes to the sperm whale, and it might also use sound as a weapon. Its clicks, which it uses for echolocation, are 230 decibels, so loud that they can be fatal to a diver who gets too close. Check out this link for a short video from author James Nestor about a diving team's awe-inspiring encounter with a pod of sperm whales, and how one diver found his left hand paralyzed for several hours after reaching too close to one of the clicking whales.https://www.youtube.com/watch?v=zsDwFGz0OkgBeing around a sperm whale who's blasting away at full volume can be deadly for humans, but are their sounds also a weapon that they can aim and fire to stun giant squid? Biologists still aren't sure. For a long time, the answer seemed to be yes, but some more recent studies suggest that might not be the case: perhaps sperm whales are just loud because they're so big. Regardless, as one of the biggest and loudest animals to have ever lived, keeping our distance is probably a good idea.Another cetacean (seh-tay-shan) that definitely uses sound to attack its prey is the killer whale, which hunts just about everything it can eat, from sharks to seals to other whales. When it comes to feeding on large schools of fish, a pod of orcas will often surround them and use slaps of their flukes, and the shock wave the sound makes, to stun the fish and keep them from swimming away. While the fish are left reeling from the blasts, the whales are free to eat as many as they like.Here's a link to a rare underwater recording of such a feeding event, called “carousel feeding,” so you can see – and hear – their tail slaps for yourself.https://www.youtube.com/watch?v=ETL1fwcDUQ4On the land, animals use colors and shapes to camouflage themselves: leaf insects look like leaves at a glance, and owl butterflies have wings that look like owl eyes. It turns out that some animals also use sound to disguise themselves. Certain palp-footed spider species don't just look like velvet ants at a glance, they actually mimic the sounds of a velvet ant to trick geckos that'd normally prey on them into letting them go. A recent study also found that some species of clearwing moths not only look like stingless honey bees, but they buzz exactly the same way as a buzzing bee.But the most dramatic use of sonic tactics among insects might be the tiger moth. They're eaten by bats who hunt them using echolocation, and many moths use their own clicking sounds to warn each other that they've heard a bat so they can scatter. One species in particular, though, takes it further. Their clicks disrupt the bat's sonar so that it essentially goes blind when it gets too close to the moth, letting the moth fly safely away while t

“Do you know what I think makes a compelling podcast? It’s a podcast that doesn’t sound like a podcast. And I know that’s a really goofy answer, but if it sounds like two people talking or three people talking and they’re having this conversation, that there’s a genuine back and forth of information, that’s what makes the best podcast.” -- Joe PardavilaThis episode’s the second half of my interview with radio personality, producer, podcaster, and author Joe Pardavila, as we talk about unexpected interview answers, how improv training helped him learn how to live in the moment, and what makes a compelling podcast in his experience.As always, if you have any questions for my guest, you’re welcome to reach out through the links in the show notes.  If you have questions for me, just visit www.audiobrandingpodcast.com where you’ll find all sorts of ways to get in touch. Plus, subscribing to the newsletter (on the www.audiobrandingpodcast.com webpage) will let you know when the new podcasts are available. A Polarized WorldAs the second half of the interview starts, we continue our talk about some of the most surprising interview answers Joe's received, including an offhand but revealing inside look at Chris Martin's family life. The key, he says, is to care about what people have to say, and to give them an opportunity to share their stories. “A lot of people like to hear themselves talk,” he explains, “but they need the opportunity.” And, he humorously adds, “that's why I'm here Jodi, just to hear myself talk. Just that.” We also discuss how polarized the world’s become these days and how much extra effort it can sometimes take to empathize with each other’s perspectives. “We can at least try to get to know each other better,” Joe tells us, “and that just means putting ourselves in the other person's shoes.” Getting Out of Your HeadJoe goes on to tell us how he ended up learning improv from the Upright Citizens Brigade and joining a sketch comedy group, and the most valuable skill he learned from those experiences. “I was always on,” he recalls, “and just needed something to turn off, because the one thing you learn from improv is it's important to live in the moment and get out of your head.” We discuss how modern technology and social networks have made concentrating on the moment more of a challenge than ever, and the discipline it can take to keep ourselves focused and resist the urge to try and multitask. “It's so easy to be distracted,” he adds, “that we have to be really focused on not being distracted.” Make Sure You’re ProudWhen asked about the most common issues facing podcasters, Joe has a ready answer: editing and overlooking the sound quality. “Someone's dog starts barking like crazy,” he answers, “and they just keep going with the podcast... you can press pause, stop, let things pass, and then continue.” We talk about the limitations of Zoom when it comes to podcasting, ways to work around a limited audio budget, and his latest work on everything from recording audiobooks to interviewing CEOs and business leaders. As the episode comes to a close, he reflects on the staying power of podcasting, something that's often easily overlooked “The great thing about podcasts,” Joe says, “you put your podcast out there, it's going to be out there for eternity. So make sure you're proud of it.” Episode SummaryJoe’s most surprising interview answers and how to plan for a conversationHow learning improv and comedy helped teach Joe to focus on the presentWhy the best podcasts are the ones that don’t sound like podcastsPodcasting’s most common issues and Joe’s upcoming projects Connect with the GuestConnect with Joe Pardavila on LinkedIn: https://www.linkedin.com/in/joepardavila/Follow Joe Pardavila on Twitter: https://twitter.com/joepardavila/ Connect with the Audio Branding Podcast:Book your project with Voice Overs and Vocals https://voiceoversandvocals.comTweet with me on Twitter - https://twitter.com/JodiKrangleWatch the Audio Branding Podcast on YouTube - https://www.youtube.com/c/JodiKrangleVOConnect with me on LinkedIn - https://www.linkedin.com/in/jodikrangle/Leave the Audio Branding Podcast a written review at https://lovethepodcast.com/audiobranding or leave a spoken review at https://voiceoversandvocals.com/talktome/ (Thank you!)Share your passion effectively with these Tips for Sounding Your Best as a Podcast Guest!https://voiceoversandvocals.com/tips-for-sounding-your-best-as-a-podcast-guest/Get my Top Five Tips for Implementing an Intentional Audio Strategyhttps://voiceoversandvocals.com/audio-branding-strategy/Editing/Production by Humberto Franco - https://humbertofranco.com/This podcast uses the following third-party services for analysis: OP3 - https://op3.dev/privacy

“You have to create this environment that the person’s comfortable in, that’s a big part of it. And I don’t actually like to use the word interview, especially when I coach people or advise people who are starting podcasts. You don't ever want to use the word ‘interview’ because interview implies question answer, question answer, question answer, whereas a conversation is a back and forth, it’s people sharing ideas.”-- Joe PardavilaMy next guest has produced over ten thousand hours of audio content over the course of his career in podcasting and terrestrial radio. He was a radio personality and producer on the legendary New York City radio station, 95.5 PLJ, where he was part of the iconic Scott & Todd in the Morning. He studied Sketch & Improv Comedy at the Upright Citizens Brigade and was a founding member and actor in the New York-based sketch comedy group Clip Show. The group performed at the Upright Citizens Brigade Theater and the People’s Improv Theater, and their video sketches have been featured on Funny or Die and the Huffington Post. He’s also the co-director, writer, and producer of the award-winning horror satire The Witches of Bushwick and currently serves as the director of podcasts for Advantage Media Group/ForbesBooks.His name is Joe Pardavila and, as you can probably tell, he’s spent much of his life understanding good audio and good conversation. His book Good Listen talks about the secrets behind creating compelling conversations and powerful podcasts.  Sounds like he’ll fit right in here, so let’s get to it!As always, if you have any questions for my guest, you’re welcome to reach out through the links in the show notes.  If you have questions for me, just visit www.audiobrandingpodcast.com where you’ll find all sorts of ways to get in touch. Plus, subscribing to the newsletter (on the www.audiobrandingpodcast.com webpage) will let you know when the new podcasts are available.In Love with RadioAs the interview starts, we talk about Joe's early memories of sound and how he used to stay up late at night as a child to secretly listen to sports news on the radio, "I would be in my bedroom underneath my blankets," he recalls, "listening to my little radio till 3 o'clock in the morning to see what the Mets had done." That radio under the blankets, he says, was a lifeline in the days before the internet and news on demand, and it changed the way he thought about sound, media, and particularly the power of radio.  "That was sort of my connection," Joe says, "to the way I fell in love with radio." Opening Up the WorldJoe goes on to tell us how he came to work for WPLJ and Scott & Todd in the Morning, as a college internship turned into a surprise job offer. "I didn't have to think twice about it," he says. "I was like 'sure, who needs school?' And then that sort of opened my world up." He quickly progressed in his newfound career and, as he explains, "I ended up running the morning show by the time the morning show was blowing up in 2019." We talk about his mentors and how they influenced his career, and how a mentor can sometimes be just as valuable for the mistakes they teach you to avoid as the advice they offer. "One thing people don't realize about mentors and mentorship," he notes, "is it's not only the good things you can learn from your mentors. It's also the bad things." Good ListeningNext, we talk about his foray into podcasting and writing his first book. "I was like 'I want to do podcasting,'" Joe reflects, "'but I don't want to do the same thing I'm doing on the air.'" His first podcast ended up being a collaboration with renowned sex researcher Zhana Vrangalova in part, he says, "because that's something I would never be able to discuss on the radio." Podcasting soon led him to an unexpected new creative venture, his new book Good Listen. “It turns out as I was teaching folks to be podcasters,” he explains, “I was like ‘this could be useful for other people.’” A Guest in Your HouseAs the first half of our interview comes to a close, Joe tells us about a "magic moment," as he calls them in his book, that happened in his own life while running a marathon to help raise awareness of Huntington's disease. We talk about his unforgettable run through the five boroughs of New York, and he tells us how an awkward interview question with Taylor Swift early in his career taught him a valuable lesson when it comes to helping turn interviews into genuine conversations. "Create the safest place for your guest," Joe advises, "because you want them to be able to feel like they're a guest in your own house... You want to create this interview, conversation, podcast experience, what have you, to the point where that person feels comfortable to go into your fridge and grab a soda." Episode SummaryHow Joe’s childhood memories of the radio led to his broadcast careerJoe’s start in radio, from college intern to show producer and radio personalityHow radio l

“When you hear that person on the other end, you can put yourself, as a prospective client, you put yourself in their shoes. You hear what their thought process was and you feel connected to that person, you understand exactly what their struggles are because I have the same concerns, I have the same hesitations, and that's very impactful.”-- Nora Sudduth This episode continues my interview with marketing and conversion strategist and Hello Audio co-founder Nora Sudduth as we talk about sound-based lead magnets, strategies for facilitating and encouraging testimonials, and the future of social audio in a post-Clubhouse world.As always, if you have any questions for my guest, you’re welcome to reach out through the links in the show notes.  If you have questions for me, just visit www.audiobrandingpodcast.com where you’ll find all sorts of ways to get in touch. Plus, subscribing to the newsletter (on the www.audiobrandingpodcast.com webpage) will let you know when the new podcasts are available. Making It EasierAs the second half of our interview starts, we discuss the three types of lead magnets that Nora has found work well, and how private podcasting fits into each one. "You're positioning yourself as an amazing guide to help them through that workbook,” she says of one strategy, combining workbooks and private audio feeds. “So the workbook in and of itself could still be valuable, but now you're taking things to the next level as their companion.” She tells us about Hello Audio’s most popular private podcast, a collection of success stories from clients, and how private podcasting has doubled some of their conversation rates. “They didn't change anything,” Nora says, “other than adding this private podcast to make it easier for people… it's a game changer when people actually consume that content." A Desire for ConnectionWe also talk about the uncertain future of Clubhouse, and what it might mean for the growth of social audio as a trend. “That connection,” Nora assures us, “and that desire for connection, and to be able to listen to others and learn and be able to get to know them, that's not going to go away anytime soon.” She also reflects on the barriers new content creators can face and how social audio’s created more room at the table. “A lot of times,” she says, “starting as a video digital creator can be very difficult. It can create a lot of anxiety and it can prevent folks from getting themselves out there.” What’s Old is New AgainOur interview wraps up with a lighthearted look at social audio's pre-internet past, at the days of teleseminars hosted over old-fashioned party lines. “I think what is old is new again,” Nora remarks, “and we're only going to see it expand.” We talk about some of the new features that are being developed by Hello Audio, and how they’re helping companies tap into the marketing opportunities that social audio and private audio feeds now offer. “If companies don't make the shift,” she adds, “or create opportunities to connect with their audience through audio, I think they're going to struggle.” Episode SummaryThree strategies for combining private podcasting and lead magnetsThe future of Clubhouse and the continued growth of social audioThe pre-internet roots of social audio and its perennial valueHello Audio’s upcoming features and the future of private podcastsConnect with the Guest:Website: helloaudio.fmConnect with Nora Sudduth on LinkedIn: https://www.linkedin.com/in/noradannersudduth/ Connect with the Audio Branding Podcast:Book your project with Voice Overs and Vocals https://voiceoversandvocals.comTweet with me on Twitter - https://twitter.com/JodiKrangleWatch the Audio Branding Podcast on YouTube - https://www.youtube.com/c/JodiKrangleVOConnect with me on LinkedIn - https://www.linkedin.com/in/jodikrangle/Leave the Audio Branding Podcast a written review at https://lovethepodcast.com/audiobranding or leave a spoken review at https://voiceoversandvocals.com/talktome/ (Thank you!)Share your passion effectively with these Tips for Sounding Your Best as a Podcast Guest!https://voiceoversandvocals.com/tips-for-sounding-your-best-as-a-podcast-guest/Get my Top Five Tips for Implementing an Intentional Audio Strategyhttps://voiceoversandvocals.com/audio-branding-strategy/Editing/Production by Humberto Franco - https://humbertofranco.com/This podcast uses the following third-party services for analysis: OP3 - https://op3.dev/privacy

“There are so many benefits to using audio that will ultimately help people consume the content you want them to consume. You're spending all this time creating it, you're putting all this love and energy into creating it – why not put it in a format that makes it easy for them to consume?” -- Nora Sudduth This episode's guest is the co-founder of Hello Audio and is a leading marketing and conversion strategist who's helped businesses sell over $500 million worth of products and services online, and she’s designed several courses, coaching, and certification programs that have generated millions more. Her name is Nora Sudduth, and if you’re looking for ways to use audio for your business – especially when it comes to private podcasts, a concept that was new to me — this is the episode for you. As always, if you have any questions for my guest, you’re welcome to reach out through the links in the show notes.  If you have questions for me, just visit www.audiobrandingpodcast.com where you’ll find all sorts of ways to get in touch. Plus, subscribing to the newsletter (on the www.audiobrandingpodcast.com webpage) will let you know when the new podcasts are available. An Accidental PodcasterWe start with a look at Nora's early memories of sound, at the importance of family in her life, and how her dad's favorite songs helped her see him in a whole new light. “From that age on,” she reflects, “music and, just, sound, it changed everything.” The conversation turns to how her marketing work led to a focus on the advantages of audio. “For me,” Nora says, “audio was about mobility and convenience and accessibility, and being able to incorporate that into an otherwise very busy lifestyle.” As she puts it, “I'm an accidental podcaster, I guess is kind of how I thought of it.” Love and Energy“Private podcasts enable you to be more relevant with the content you’re dropping per listener,” Nora tells us, “which is something public podcasts can’t do.” She explains the difference between traditional podcasting and private podcasts, the unique ways in which our brains and even the rest of our bodies respond to sound, and the advantages of being able to reach out to clients on a more individually tailored level. “You’re spending all this time creating it,” she says, “you’re putting all this love and energy into creating it, why not put it in a format that makes it easy for them to consume?” Reaching Your AudienceNext, we talk about how private podcasts are transforming the employment sector and reshaping everything from employee handbooks to onboarding materials. "People are putting that information into audio," she explains, "and it comes to life." We discuss how social media and modern mobility, especially after the pandemic, have created new marketing challenges and opportunities. “You have to reach your audience where they're at,” Nora says, “and they're on their phones, on their mobiles.” A Pattern InterruptAs we come to the end of the first half of our interview, Nora tells us about how private podcasts can dramatically boost engagement numbers and overturn the traditional PDF lead magnet. “It can be an amazing piece of content,” she says about those old-fashioned marketing documents, “but it actually removes folks from the sale cycle.” We discuss how personalized audio feeds can replace or enhance other marketing strategies, and how audio’s often-overlooked role in marketing can turn into an advantage for companies willing to invest in it. “It’s kind of a pattern interrupt,” she says. “How many people do you know that are offering that audio private podcast version of it?” Episode SummaryNora’s memories of sound and her father’s favorite musicHow marketing led Nora to discover the potential of private podcastsThe differences between public podcasts and private podcastingPrivate podcasting’s value for new hires and company communicationsHow private podcasting can transform lead magnets and boost engagement Check back next week for the second half of our interview as we talk about different lead magnet strategies that incorporate sound, discuss some of Hello Audio’s most memorable success stories, and consider the future of private podcasting and audio-first social media like Clubhouse. Connect with the Guest:Website: helloaudio.fmConnect with Nora Sudduth on LinkedIn: https://www.linkedin.com/in/noradannersudduth/ Connect with the Audio Branding Podcast:Book your project with Voice Overs and Vocals https://voiceoversandvocals.comTweet with me on Twitter - https://twitter.com/JodiKrangleWatch the Audio Branding Podcast on YouTube - https://www.youtube.com/c/JodiKrangleVOConnect with me on LinkedIn - https://www.linkedin.com/in/jodikrangle/Leave the Audio Branding Podcast a written review at https://lovethepodcast.com/audiobranding or leave a spoken review at https://voiceoversandvocals.com/talktome/ (Thank you!)Share your passion effectively with these Tips for Sounding Yo

“My goal from the very very beginning was some are going to make take their spouse or partner to dinner money some people are going to make car payment money some people may make house payment money and some people may make life-changing money if I can get podcasters to the point of making enough money that gives them enough incentive to say yes this is possible to go bigger and grow bigger and to have the resources to pay for an editor and some of those things so I think the average podcasters now challenge unless they're a niche show or they've gown a significant audience is how do I get that initial taste of some cash and, really, the answer's going to be programmatic." -- Todd Cochrane This episode’s the second part of my interview with author, CEO, and pioneering podcaster Todd Cochrane as we discuss strategies for improving podcast sound, the keys to monetizing and building on a podcast brand, and the importance of audio branding when it comes to podcasting. As always, if you have any questions for my guest, you’re welcome to reach out through the links in the show notes.  If you have questions for me, just visit www.audiobrandingpodcast.com where you’ll find all sorts of ways to get in touch. Plus, subscribing to the newsletter (on the www.audiobrandingpodcast.com webpage) will let you know when the new podcasts are available. A Compelling StoryAs the second half of our interview starts, Todd gives us his first piece of advice for improving podcast quality: "If you’re going to invest in anything, invest in a decent mic.” We discuss microphone options for different budgets, some of the other kinds of studio equipment he recommends, and a less technical, but no less important, suggestion on starting a podcast. “Have a compelling story,” Todd says. “Don’t go chasing topics: have something that you’re excited to talk about.” As he puts it, “lots of people are chasing categories now, and if you’re not in tune with that category, why would you do that?” The Goal of the ShowWhen it comes to building a podcast, Todd has one driving question: "What is the goal of the show? Is the goal to have fun? Is the goal to have lead generation, is it to monetize?" We talk about different strategies of monetization, and he shares an account of one podcaster whose very precise niche turned out to be a gold mine. “If you’re a neurosurgeon,” he explains, “and you reach a thousand of the top neurosurgeons every episode, you can probably charge about $20,000 for that.” For most of us, however, Todd says the key is to build a wider audience: “You have to have a big audience for big money. Some people will fight me on this, but fundamentally, for most shows, that’s true.” Let Your Voice Be HeardAs the episode comes to a close, we discuss audio branding and how it intersects with the world of podcasting, such as an early opening theme that proved too much for his listeners. “I was bombarded,” he recalls. “People said ‘I stopped, I couldn’t listen any further, that intro was horrible.’ It lasted one episode.” As he puts it, “you really have to find, you know, those elements” that work best for your particular audience. We discuss some of his current projects, and Todd offers one last piece of advice: "The main thing I want people to do is to start a podcast. That's the key: let your voice be heard." Episode SummaryThe best microphones and sound equipment for podcastingFinding your own distinctive voice as a podcasterStrategies for monetizing content and building a podcast brandThe synergy between audio branding and a successful podcast Connect with Todd:Website: https://blubrry.com https://rawvoice.comhttps://geeknewscentral.com/https://www.podcastawards.com/Follow Todd Cochrane on Facebook: https://www.facebook.com/cochrane/Connect with Todd Cochrane on LinkedIn: https://www.linkedin.com/in/toddcochrane/Follow Todd Cochrane on Twitter: https://twitter.com/GeekNews/ Connect with the Audio Branding Podcast:Book your project with Voice Overs and Vocals https://voiceoversandvocals.comTweet with me on Twitter - https://twitter.com/JodiKrangleWatch the Audio Branding Podcast on YouTube - https://www.youtube.com/c/JodiKrangleVOConnect with me on LinkedIn - https://www.linkedin.com/in/jodikrangle/Leave the Audio Branding Podcast a written review at https://lovethepodcast.com/audiobranding or leave a spoken review at https://voiceoversandvocals.com/talktome/ (Thank you!)Share your passion effectively with these Tips for Sounding Your Best as a Podcast Guest!https://voiceoversandvocals.com/tips-for-sounding-your-best-as-a-podcast-guest/Get my Top Five Tips for Implementing an Intentional Audio Strategyhttps://voiceoversandvocals.com/audio-branding-strategy/Editing/Production by Humberto Franco - https://humbertofranco.com/This podcast uses the following third-party services for analysis: OP3 - https://op3.dev/privacy

“And what really struck me from that was that not only was this audience a fan of the show, they were more like family, and it really changed my appreciation for the listener, so I really took a lot of care following that to understand their value. So, even though we’re creating great audio, great content, we’re putting out consistently, I didn’t realize how tight [that connection] was until that particular episode. So I think, from my perspective, that one stands out in a big way, not only in the ability to talk about what’s happening but also, at the same time, just this whole community element that goes along with creating podcasts and the power of audio.” -- Todd Cochrane This episode's guest is the CEO of Blubrry Podcasting and the author of a book on podcasting, "Podcasting: The Do-It-Yourself Guide." He's the founder of the People's Choice Podcast Awards and the Tech Podcast Network and is credited with introducing the first advertisers into podcasting, GoDaddy. He was inducted into the inaugural class of the Podcast Hall of Fame in 2015, but perhaps his biggest influence on podcasting is Blubrry Podcasting and its parent company RawVoice, which offers a directory of more than three million shows, the number one podcasting plugin for WordPress, and much more. A United States Navy Veteran who served for twenty-five years and retired with the rank of Senior Chief Petty Officer, he now lives in Quincy, Michigan after spending the majority of the past 25 years in Honolulu, Hawaii, with his family.His name is Todd Cochrane, and I think you’ll agree he knows a thing or two about podcasting. We’ll not only be discussing that but also getting his perspective on what it takes to really make a mark in podcasting and in sound these days.  I definitely learned a thing or two from our interview, and you too might want to take notes.As always, if you have any questions for my guest, you’re welcome to reach out through the links in the show notes.  If you have questions for me, just visit www.audiobrandingpodcast.com where you’ll find all sorts of ways to get in touch. Plus, subscribing to the newsletter (on the www.audiobrandingpodcast.com webpage) will let you know when the new podcasts are available. Times Have ChangedWe start things off with a look at Todd’s formative memories of sound and his first experiences with sound and internet radio back during the turn of the millennium. “In the early days, sound was largely music,” Todd explains. “It wasn’t talk, that’s for sure. But times have changed.” The topic turns to how BBSes, FidoNet, and a brief stint as a blogger led him to find his calling as one of the first podcasters in 2004. “My introduction into podcasting was really just wanting to communicate verbally,” he says. “For me, it was the perfect venue. It just felt natural for me to pull up a mic and talk.” Forgiving Bad Audio“If you think about what was different,” Todd tells us as we continue our look back at the early days of indie podcasting, “there was no podcast host, so we were on our own for our media.” We discuss how improvements in online audio helped pave the way for podcasting as we know it today, and how his firsthand experience with the importance of editing and audio quality to an audience:  “I’ve always said that they'll forgive you for bad video,” Todd says, “but they won’t forgive you for bad audio.” More Like FamilyNext, we talk about one of Todd's most memorable podcast episodes, and how a personal tragedy gave him new insights into the bond between podcasters and their listeners. “What really struck me from that,” he notes, “was that not only was this audience a fan of the show, they were more like family, and it really changed my appreciation for the listener.” He also gives us a startling reminder that we never quite know who might be listening to a show, as he found out for himself after an episode in which he gave the Mac Mini a scathing review: “Two weeks later,” Todd recalls, “I get a phone call, and it’s Steve Jobs’ secretary who says ‘I’ve got Steve on the line for you.’” A Diversity of ContentAs the first half of the interview comes to a close, Todd tells us about his ongoing podcast New Media Show with co-host Rob Greenlee. “Kind of our tagline,” he jokes, “is that you can get a Ph.D. in Podcasting if you listen to the show." We also talk about how independent podcasters have continued to dominate the online audio landscape, providing a wealth of diverse voices and perspectives. “I never could have imagined in the early days,” Todd adds, “when it was really just a bunch of geeks... that the medium would grow into what it has grown into and the diversity of content.” Episode SummaryTodd’s first impressions of sound and music as a teenagerHis podcasting debut during the pioneering days of streaming audioHow Todd’s early experiences helped shape BluBrry and RawVoiceThe future of open-source podcasting and the indie podcast fieldThe gr

When was the last time you turned on the subtitles while watching a movie? Does it ever seem like the music and sound effects, especially the explosions, are as loud as ever, but the dialogue’s barely above a whisper? Does it seem like older movies, movies like Jaws and Star Wars, were easier to understand? Are we just getting older and losing our hearing? That’s one possibility, but if the sound quality of your last moviegoing experience resembles the “Empire Strikes Back meets Christopher Nolan” parody video posted on my blog, your ears probably aren’t playing tricks on you:https://www.youtube.com/watch?v=IpWAOM3XC9QCinematic sound has changed dramatically over the past few decades, in some ways for the better and in other ways maybe not so much. Those changes can tell us a lot about the value of sound, all the different moving parts and new technologies that can be involved in creating just the right audio experience, and how even the biggest names in Hollywood can overlook its importance. One of those big names is director Christopher Nolan, and his films in general, and the movie Tenet in particular, sparked debate about whether his distinctive use of muted dialogue and booming music is a good or bad thing. But that question didn't start with him: a Los Angeles Times article from 1996 about the teen horror movie The Craft raises some very familiar-sounding complaints about the trend of music and sound effects drowning out the dialogue, and it suggested that teenagers and new media are to blame. "New media" back then meant loud music videos and the younger generation was Generation X, which just goes to show how long this trend's been developing. Christopher Nolan is, however, something of a unique case, and his movies are often at the forefront of cinematic audio trends. According to sound editors who’ve worked with him, he believes in actively engaging the audience and focusing their attention through the use of sound, and his actors, like many Hollywood actors these days, tend to forego theatrical performances for a more soft-spoken, naturalistic style of speaking that isn’t always easy to pick up on a microphone. He’s also very enthusiastic about digital audio’s potential for crafting ambient soundscapes, and his movies often rely on a unique auditory illusion called a Shepard tone to set the pace and create tension. A Shepard tone is a sequence of tones on three octaves layered together: the highest octave seems to fade as it ascends while the middle and lowest octaves seem to grow louder. Since two out of three octaves are growing louder at any given time, our brains combine them into a single tone that seems to be getting higher and higher, or lower and lower if the tones are played the other way around, without ever really changing. Listening to it can be a dizzying experience, and there’s a link on my blog to a video that lets you hear the effect for yourself. You might also recognize it as a sound that shows up pretty often in Christopher Nolan’s movies, from The Dark Knight to Dunkirk:https://www.youtube.com/watch?v=MShclPy4KvcOne quote from the director in Tom Shone’s book The Nolan Variations, however, gives us a clue about some of the other reasons cinematic sound’s changed in recent years. “I was a little shocked to realize how conservative people are when it comes to sound,” Nolan says, “because you can make a film that looks like anything, you can shoot on your iPhone, no one’s going to complain. But if you mix the sound a certain way, or if you use certain sub-frequencies, people get up in arms.” Some of my listeners might remember a recent interview with author, guitar coach and session composer Nick Morrison. He also talked about how recent studies have shown that sound can be the most important thing to an audience: changing it affects their experience even more than changing the video. "Once you get better," he said, "you can't go back with audio. There's something in the human ear that, if you hear poor quality audio, it immediately turns off your brain and you stop listening" Sound has a way of getting lost in the shuffle, even when research tells us that it's often the most important part of a multimedia experience. As special effects have improved and filmmaking has become more dynamic, with cameras constantly on the move, it’s easy for filmmakers to lose sight of the audio aspect of a film. Sound mixers don't usually have much authority on the set, and digital audio editing has come a long way, so it can be tempting for directors to settle for an inferior audio take because they know it can be fixed in post-production. And they're right: it usually can be fixed. But that adds another layer of complexity to the processing and can mean that the dialogue’s being reworked long after it was recorded, when the editor's probably already memorized it. And once they know what they're supposed to be hearing, it's that much harder to tell how it'll sound to every

“We go through all these things and talk about all these problems with annoying sounds and how important it is for the bellows sounds to be informative. And all this just hearkens back to the point where the essential goal here of these so-called auditory ‘alarms’ isn't to alarm, it's to notify. And I think if we can use better sounds like that, whether it's those bellow sounds or some of the ones Judy came up with, for the new standards, we can accomplish the same goal, which is communication and notification without the annoyance.” -- Professor Michael Schutz This episode continues our Clubhouse discussion as Professor Michael Schutz, Professor Judy Edworthy, Dr. Elif Özcan, and Dr. Joseph Schlesinger lead a variety of questions and comments about medical alarms, hospital soundscapes, and creating a more healing auditory environment.As always, if you have any questions for my guest, you’re welcome to reach out through the links in the show notes.  If you have questions for me, just visit www.audiobrandingpodcast.com where you’ll find all sorts of ways to get in touch. Plus, subscribing to the newsletter (on the www.audiobrandingpodcast.com webpage) will let you know when the new podcasts are available. No Cause for AlarmThe second half of the discussion starts with a look at alarms, and whether we might be using the wrong word to describe them. “We call them ‘alarms,’” Mike notes, “but for the most part I don't think they’re actually intended to be alarming.” The panelists take a question from Andrea about whether industry rating systems, such as the UK-based Quiet Mark certification, might help prompt a change, and Judy talks about how deep our expectations about the way hospitals are supposed to sound can run. “It’s completely embedded in our culture,” she says, “this whole idea that pieces of equipment have to make a lot of noise and alarms have to be really loud and they have to sound a certain way.” Breaking the SilenceWe continue with a talk about how modern, silent equipment like electric hospital ventilators now use digital sound effects, such as the classic "bellows" sound of a mechanical respirator, to help reassure users.  As Judy explains, "we expect things to make a noise, and we have very particular expectations about alarms.” We also look at how individual tendencies can influence the perception of sound, and at striking the right balance between different needs. “We want people to get the most out of the work,” Dr. Özcan says, “and that they are also happy. Maybe there is some room for that as well.” Soundscapes of the FutureAs the discussion comes to a close, we take a question from Max about associating alarms with their function, and our panelists reveal that this is precisely one of the directions their research has taken. “Indeed,” answers Judy, “the new sound in the standard for the ventilation sound is the breathing sound with some adaptation and the oxygen sound is a bubbling sound.” “Not only have we done that,” Dr. Schlesinger adds, “but we’ve shown benefit.” We talk about what grown-up hospitals can learn from the ambient sound design of children's hospitals, and about the importance of considering every auditory perspective, not just the staff who work there every day. “I think it’s very interesting to look at soundscapes of the future, at hospitals,” Dr. Özcan says, “from the patient’s perspective too.” Episode SummaryThe purpose of medical alerts and whether they’re really alarmsHow pop culture helped establish our idea of the hospital "soundtrack"Silent devices and creating the sounds that we expect to hearMaking hospitals look and sound more like a healing environmentConnect with the GuestsConnect with Judy Edworthy on LinkedIn: https://www.linkedin.com/in/judy-reed-edworthy-56b88a87/Connect with Dr. Elif Özcan on LinkedIn: https://www.linkedin.com/in/elifozcanvieira/Connect with Dr. Joseph Schlesinger on LinkedIn: https://www.linkedin.com/in/joseph-schlesinger-md-fccm-ba38774b/Follow Dr. Joseph Schlesinger on Twitter: https://twitter.com/drjazz615/Professor Michael Schutz's website: https://michaelschutz.net/Connect with Professor Michael Schutz on LinkedIn: https://www.linkedin.com/in/dr-michael-schutz/MAPLE Lab: https://maplelab.net/“Death By Beep” on TEDx Talks: https://youtu.be/Ap8geRll6F0/ Connect with the Audio Branding Podcast:Book your project with Voice Overs and Vocals https://voiceoversandvocals.comTweet with me on Twitter - https://twitter.com/JodiKrangleWatch the Audio Branding Podcast on YouTube - https://www.youtube.com/c/JodiKrangleVOConnect with me on LinkedIn - https://www.linkedin.com/in/jodikrangle/Leave the Audio Branding Podcast a written review at https://lovethepodcast.com/audiobranding or leave a spoken review at https://voiceoversandvocals.com/talktome/ (Thank you!)Get my Top Five Tips for Implementing an Intentional Audio Strategyhttps://voiceoversandvocals.com/audio-branding-strategy/Editing/Production by

“Persuading hospitals and manufacturers to adopt better alarms aside from the standard is to persuade them that this is important and that it’s cool to do so, and that this is what everybody is doing and it’s a selling point for you if you’re using better alarms or more safe alarms or your false alarm rates are lower. Because that's a key problem with the whole alarm problem, it’s this very high false alarm rate, so there are a number of ways in which you can persuade people to change their practice. But they're not necessarily what you think.”-- Professor Judy Edworthy Recently I had the chance to moderate a panel in The Power of Sound club on Clubhouse about sound in healthcare called "Alarms are Killing Us," and it was quite the discussion. My panelists came from all sectors of the health industry and included Dr. Joseph Schlesinger, Dr. Elif Özcan, Professor Judy Edworthy, and Professor Michael Schutz, who’s been featured as a guest on this podcast.We talked about how sound has a profound effect on us, for better and for worse. Hospitals have been described as "beeping hellscapes,” which isn't surprising, considering how many machines there are in the typical hospital and all the noises that they make. But do they really have to make that much noise? And do they have to make the same noises that they've been making since the 1950s (when there were a lot less of them)? When does an alarm become too alarming? What effect does all that sound pollution have in an environment that's supposed to heal us? How can we fix it? Do notifications need to sound like alarms? Join my expert panelists and me as we discuss how the medical soundscape got so bad, and what we can do to change things. This is an important topic for all of us and I hope you'll get a lot from it. Let's hope that new standards are adopted widely – and soon!As always, if you have any questions for my guest, you’re welcome to reach out through the links in the show notes.  If you have questions for me, just visit www.audiobrandingpodcast.com where you’ll find all sorts of ways to get in touch. Plus, subscribing to the newsletter (on the www.audiobrandingpodcast.com webpage) will let you know when the new podcasts are available. Too Many AlarmsWe start the discussion with an introduction from each of our panelists and their thoughts about solving the medical alarm problem. “People have difficulty talking about sound,” Judy says as she tells us about her team’s early challenges in overcoming preconceptions about hospital sounds. “They have difficulty describing what the sound should be like. We didn’t have a set of metrics against which to evaluate any new set of alarms.” Dr. Özcan agrees and tells us about her hands-on research into just how many sounds, most of them false alarms, exist in a hospital setting. “We measured up to 12,000 alarms in one unit,” Elif says, “and that’s too many alarms for anyone to handle.” Sculpting a Better SoundDr. Schlesinger introduces himself next, and he relates his own firsthand experience as a doctor and how the number of false alarms can not only affect the staff but how the patients perceive the staff's response to them. "What's the perception of the quality of care,” he asks, “if we seem lackadaisical to these alarms?” Michael tells us about how he met the rest of the group, and he describes his work in researching and creating a better soundscape in hospitals. As he puts it, “what I’m doing a lot of is looking at sort of the nuance to see how we can sculpt the sound to make it better.” A Culture ShiftThe first question for our group concerns the resistance that change can bring, especially when some of the sounds involved have been around for many decades. “It's difficult to persuade people with science,” Judy tells us, “because some people will just say ‘oh yes, but I don’t believe that.’” Her solution is to go deeper than the science and appeal to people on a more intuitive level: as she puts it,  “the best way to get a change in behavior is to bring about a culture shift.” Dr. Özcan tells us about how her work with nurses helped lead to a new silent patient monitor, and the importance of involving the people who work with sound directly in understanding and improving them “Without the help of psychology,” she says, “we really cannot understand how people interact with the products.” Being Human-CenteredAs the first half of the discussion comes to a close, Dr. Schlesinger tells us about how the new sound standards that our panelists helped create are leading to change, and how the individual differences in each hospital environment, from building to building and even from one patient’s room to the next, can lead to very different acoustic results. “You have to be human-centered,” he explains, “you have to think about the guideline of it, the end user, the exposure of it to everyone involved.” Episode SummaryHow limitations in the 1950s created our current medical soun

🎤Download my Sounding Your Best as a Podcast Guest worksheet here!🎤After fifteen years in the voiceover industry, almost three years of hosting the Audio Branding podcast where I talk about the power of sound, and having been a guest on a number of podcasts myself, I've learned a thing or two about creating quality audio. I hope some of the lessons I've learned can help you find just the right sound for your own setup. I'm going to talk mostly about being a guest on podcasts, but this will give you some tips on how to improve your sound if you're a host as well.  Either can be a challenge, between all the different equipment each side might have, how far apart they might actually be, and making everything line up so that it still sounds seamless.  But here are a few tips I've learned about how to create the best sound impression – specifically as a podcast guest.The first step, and probably the most important, is to have a separate microphone. I’ll talk more about choosing the right mic for your needs in just a bit, but for now, the important thing is to just make sure that it’s separate from your computer or phone. It doesn’t have to be the most expensive mic out there: just having a dedicated device can make a world of difference in the sound quality.Just as a dedicated microphone makes a huge difference in the outgoing sound quality, headphones make the same difference when it comes to the incoming sounds and keeping the two separate. You don't need expensive headphones either, and they can be any style you like: in the ear, over the ear, either way is fine. But there's one tip I've learned through hard experience that might not be obvious, and that's to make sure that "echo cancellation" is turned off.Echo cancellation is a feature you'll find on remote recording services like Squadcast, Riverside.fm, and Zencastr. It works by cutting off your microphone when someone else is speaking so that background sounds, the sort that you'd have if you're listening through speakers rather than headphones, don't carry through your mic. That isn't necessary if you're in a quiet room and wearing headphones, and turning echo cancellation off means that your voice comes through quicker, cleaner, and much more smoothly.Speaking of keeping things quiet, the recording environment can make all the difference. Is there a lot of traffic or noise outside? Closing the door and moving away from the windows can make a bigger difference than you might think in keeping those background noises out of the recording. Is your phone turned off? Are any white noise sources like fans also turned off? We’re often surrounded by ambient sounds that we hardly notice, and it’s worth taking a moment to listen carefully and make sure the room really is silent.And what about the room itself? A lower ceiling is always better when recording, and you'll want to avoid glass, hardwood, or being in a large room that might echo. If you aren't on camera, a closet filled with clothes can make for a surprisingly simple and effective recording space: the small space, low ceiling, and layers of fabric all help absorb the room noise. If you'll be on camera, a smaller room with less hard surfaces, with rugs or carpet on the floor and a fabric backdrop like a wall curtain or blanket over a wardrobe, can help the sound quality while also making a good impression – not to mention hiding an unmade bed or laundry you haven't put away.As for choosing the right microphone, there are a few things you’ll want to consider. First, do you want to use a condenser mic or a dynamic mic? A condenser mic can be the perfect choice for a quiet, sound-treated room, and it offers a more nuanced sound for recording the human voice. But if you don’t have the option of creating such a dedicated recording space, or if you’ll be traveling and recording on the road, you might want to go with a dynamic mic instead. It’s more durable and won’t pick up as much room noise.If you're not sure, just give them both a try and see what you like best. You can also find a link on my blog to a helpful YouTube clip that lets you listen to the same voice recorded on a condenser, dynamic, and smartphone mic, so you can hear the difference:https://www.youtube.com/watch?v=5JbLDTe2ZXkMicrophones aren't always built the same way, and figuring out where the front of the mic really is can be tricky. Some of them are "side address," meaning you speak into the side of the grill, while others are "top address," so you're supposed to speak right down into the top of it. You can usually tell by looking for the company logo, but some brands are a little contrary and you may have to read the manual to be sure. You can make a test recording each way beforehand to see which sounds best.Once you've decided on the right mic, the next step is to place it in just the right spot. If it's on a desk, you'll want to make sure that there's nothing on the desk like a phone or a fan that might move or shake during

“They often have a suite of sounds. Now you still have to follow all regulations that have to do with safety and that kind of thing, but now the sound inside the car can be reflected in the marketing communications around it, so that’s a very big use of sound.” -- Colleen Fahey This episode’s the second half of my interview with author, creative executive, and sonic branding expert Colleen Fahey as we talk about her role in creating innovative sound strategies, the signs of a well-managed audio brand, and some of Colleen’s favorite brand voices.As always, if you have any questions for my guest, you’re welcome to reach out through the links in the show notes.  If you have questions for me, just visit www.audiobrandingpodcast.com where you’ll find all sorts of ways to get in touch. Plus, subscribing to the newsletter (on the www.audiobrandingpodcast.com webpage) will let you know when the new podcasts are available. And if you’d consider it, I’d love to hear what you think of the podcast! You can leave a review (that I’d love to feature on future podcasts!), either in written or in voice format from the podcast’s main page.The Sound of InnovationAs the second half of our interview begins, Colleen tells us how she helps clients innovate and find their own sonic DNA, their own audio brand identity. “We have done sounds to communicate innovation,” she explains, “but our goal is not to be innovative in our use of sound. Our goal is to help people tell their story by using sound.” We also talk about how audio branding is becoming more accessible to small businesses. “It doesn't always have to be big fat advertising budgets. It can be in your app, it can be in your hold music, it can be in your TikTok videos, your Instagram posts, your brand video on your website. This isn't just for big fancy brands with lots of advertising money.” An Authentic VoiceColleen tells us about her work with a small industrial company, and how creating a sense of sonic consistency in their internal videos helped them establish their own audio brand. “They're extremely disciplined about using their audio brand,” she says, “and it’s a beautiful one” We talk about the role of voices and audio slogans in modern sonic branding, as well as some of the most memorable brand voices in the past, from Motel Six television ads to Tony the Tiger. “People have been using voices with strong characters,” she tells us, “but not everybody, and not enough. Often, they just want the voice to sit back instead of having the voice be somebody that you can picture in your mind.” The Universal LanguageAs our interview ends, Colleen talks about an auto campaign that required a creative approach to stand out from the competition. “Everybody was using metallic sounds,” she recalls, “sounds like motors and engines, essentially functional sounds, but not emotional sounds.” We talk about some of her favorite advertising campaigns, from financial institutions to snack foods, and the integral part audio plays in connecting businesses all over the world with their customers. “As you can imagine,” she relates, talking about her experience with clients from around the world, “many international companies opt to have a fully musical sound because music is a universal language” Episode SummaryHelping companies innovate and find their own sonic DNAHow small businesses are embracing audio branding and advertisingThe evolving role of voice and music in sonic marketingCreating inventive sound campaigns and distinctive audio brandsConnect with the GuestWebsite: https://www.sixiemeson.com/Connect with Colleen Fahey on LinkedIn: https://www.linkedin.com/in/colleenfahey/Follow Colleen Fahey on Twitter: https://twitter.com/SixiemeSon/Connect with the Audio Branding Podcast:Book your project with Voice Overs and Vocals https://voiceoversandvocals.comTweet with me on Twitter - https://twitter.com/JodiKrangleWatch the Audio Branding Podcast on YouTube - https://www.youtube.com/c/JodiKrangleVOConnect with me on LinkedIn - https://www.linkedin.com/in/jodikrangle/Leave the Audio Branding Podcast a written review at https://lovethepodcast.com/audiobranding or leave a spoken review at https://voiceoversandvocals.com/talktome/ (Thank you!)Get my Top Five Tips for Implementing an Intentional Audio Strategyhttps://voiceoversandvocals.com/audio-branding-strategy/Editing/Production by Humberto Franco - https://humbertofranco.com/This podcast uses the following third-party services for analysis: OP3 - https://op3.dev/privacy

“All news music doesn't have to have trumpets and trombones, and all trains don't have to just ring, you know, or honk. And all appliances shouldn't always sound like ‘beep beep beep,’ you know, chip sounds instead of having a tune that would make people remember them better and maybe like them better.” -- Colleen Fahey This week’s guest is a creative executive with deep experience in branding and marketing at multiple touchpoints. When she learned of Sixième Son, a sonic branding agency that had created over four hundred brands, she approached them about expanding to North America. She opened a sonic branding agency in Chicago at the end of 2012 and, in 2017, co-authored the book Audio Branding: Using Sound to Build Your Brand. Since those days, her team has led Sixième Son's sonic branding initiatives for Atlanta, Michelin, Huggies, Merrell Footwear, USAA Insurance, Sparkling Ice drinks, a hospital, a news network, an AIDS treatment, and many more. The North American business now operates out of New York, Toronto, and Cleveland, as well as Chicago. Throughout her career, she's been a creative director for leading brands in the US, Europe, Latin America, and Asia. Raised in Madrid, she speaks fluent Spanish, conversational French, and a courageous-but-embarrassing Portuguese.Her name is Colleen Fahey, and if you’ve always wanted to ask questions about audio branding from one of the oldest premier companies in the business, you’ll want to hear this interview.  I have no doubt Colleen will blow our minds with her observations about the audio branding landscape.As always, if you have any questions for my guest, you’re welcome to reach out through the links in the show notes.  If you have questions for me, just visit www.audiobrandingpodcast.com where you’ll find all sorts of ways to get in touch. Plus, subscribing to the newsletter (on the www.audiobrandingpodcast.com webpage) will let you know when the new podcasts are available. And if you’d consider it, I’d love to hear what you think of the podcast! You can leave a review (that I’d love to feature on future podcasts!), either in written or in voice format from the podcast’s main page. An Elegant IdeaThe episode begins with Colleen’s earliest memories of sound: she tells us about leaving the U.S. at the age of four to live in Spain, and how the sound of the ocean liner’s horn as they departed literally shook her from head to toe. “It somehow also got into my psyche too,” she tells us, “because it was almost like a book had closed with that sound.” We then talk about a pivotal moment in 2011 when she first learned about sonic branding, as she attended the Audio Branding Congress at Columbia University. “I was struck by how elegant the idea was that these people were so excited about,” Colleen explains, “how elegant the idea of having a sound that repped the brand from every angle.” The Value of Your BrandNext Colleen tells us about writing her first book, and the importance of, as she puts it, “an audio brand that fits your brand, that communicates your values, that gets attention and really becomes a brand asset that lasts for years.” We talk about the power of early audio marketing in transforming Hawaii from a little-known territory into a tourist destination, and about avoiding the cliches and sonic codes that commercials have created. “A brand needs to stand out,” she says, “be recognized and differentiate, and the music has to help you differentiate in a way that's appropriate to the value of the brand.” Using Your EarsWe go on to talk about mood boards, what exactly they are, and how they helped inspire her team at Sixième Son while creating a sonic brand for Atlanta’s tourism board. “The music,” she recalls about one brainstorming session, “instead of coming together, was layered. Everyone sounded good, but they didn't sound like they were all playing the same thing, and that was just a big a-ha moment.” There’s inspiration all around us, she explains, and she tells us about the importance of listening for it and keeping our ears open. “I'm talking about people having to really sit and use their ears,” she says. “Everyone loves doing it, and they're amazed at how exhausted they are at the end.” Hearing Without Listening“The thing that an audio brand can do,” Colleen tells us, “is access people at a very immediate level, and almost without their knowing that they're being influenced.” We talk about audio cues and sonic logos that have become an almost invisible part of our lives, and how brands have replaced intrusive advertising with a more subtle and widespread presence. As we close the first half of our interview, we talk about how classic audio brands like the State Farm jingle are changing with the times. “They kept the basic structure,” she says, “but they kept evolving it as the brand took on new meanings.” Episode SummaryColleen’s first bittersweet experience with the power of soundHow Colleen brought S

“What’s great about podcasting is there's that intimacy there. It’s just audio. It’s really fun when I listen to a podcast or I edit a podcast and I don’t know what the guest looks like, I don’t know anything about a guest, and I’m trying to imagine what type of personality that guest has. And through voice you get personality, but it’s kind of like shaped in a different way.” -- Nicolae Bogdan BratisThis episode continues my interview with musician, composer, and podcast producer Nicolae Bogdan Bratis as we talk about his process for creating distinctive jingles, how to make sure you’re getting the most out of your microphone, and podcasting’s expanding role in social media.As always, if you have any questions for my guest, you’re welcome to reach out through the links in the show notes.  If you have questions for me, just visit www.audiobrandingpodcast.com where you’ll find all sorts of ways to get in touch. Plus, subscribing to the newsletter (on the www.audiobrandingpodcast.com webpage) will let you know when the new podcasts are available.Your Whole MindThe second half of our interview starts with a look at Nicolae’s process for creating commercial jingles and sonic brands, a challenge he takes seriously. “You need to have the inspiration there because it's literally a creative work,” he says. “You have to be there with your whole mind.” One trick he relies on to create unique compositions is to start by playing truly random notes on a keyboard or guitar and then build on them. “It comes from randomness,” he tells us, “if that makes sense. It's not coming from your mind. And then from that randomness, you can really develop something that sounds original." Sounding Your BestWe then talk about microphones, audio environments, and all the hidden obstacles that might get in the way of his clients’ recording sessions. “Until they get a professional to help them,” Nicolae explains, "they can’t really nail it down because there are so many things that can play a role in destroying your recording.” We discuss different microphone brands, the difference between side-address and top-address mics, and whether he recommends a condenser or dynamic microphone for podcasting.  “Microphones nowadays,” he assured us, “are so good even the one-hundred-dollar microphone will sound good enough. Your audio will not suffer at the end of the day.” Better and Better“I think it's going to get better and better,” Nicolae says as he considers the future of podcasting. One recent trend is for podcast episodes to include visual elements, blurring the lines between audio-first content and video clips. “I have to cut quite a lot of content,” he says as we talk about the process of producing and editing visual podcasts, “just because there are so many visual references in the podcast that people may not understand because it's just audio.” He reminds us again of the power and understated importance of sound when it comes to presentation, and offers a humorous example of just how much the audio can change what we’re seeing on the screen. “If you have a horror movie with a funny track in the background,” he notes, “that horror movie may not be horror anymore.” Episode SummaryNicolae’s process for crafting jingles and composing original melodiesHow everything from website colors to ambient sounds can shape an audio brandThe best microphones and sound setups for both studio and remote podcastingThe future of podcasting and challenges of producing visual podcastsConnect with the GuestWebsite: https://sawandsine.co.uk/Follow Nicolae Bogdan Bratis on Facebook: https://www.linkedin.com/in/bratis/Connect with Nicolae Bogdan Bratis on LinkedIn: https://www.linkedin.com/in/bratis/Follow Nicolae Bogdan Bratis on Twitter: https://twitter.com/sawandsine/Connect with the Audio Branding Podcast:Book your project with Voice Overs and Vocals https://voiceoversandvocals.comTweet with me on Twitter - https://twitter.com/JodiKrangleWatch the Audio Branding Podcast on YouTube - https://www.youtube.com/c/JodiKrangleVOConnect with me on LinkedIn - https://www.linkedin.com/in/jodikrangle/Leave the Audio Branding Podcast a written review at https://lovethepodcast.com/audiobranding or leave a spoken review at https://voiceoversandvocals.com/talktome/ (Thank you!)Get my Top Five Tips for Implementing an Intentional Audio Strategyhttps://voiceoversandvocals.com/audio-branding-strategy/This podcast uses the following third-party services for analysis: OP3 - https://op3.dev/privacy

“First things first, to get a podcast to sound good is not hard. Many people think that it’s so hard to make it sound great: it’s not. The first thing they have to remember is that, if you have a good recording, I would say that you don’t even need an editor to get it done for you at the end.” -- Nicolae Bogdan Bratis This episode’s guest comes from a musical background and has had quite a lot of success as a musician in Romania, having been in the finale of X-Factor 2013.  He sings, plays several different instruments, has produced his own music, and he performed throughout the UK with his own solo project before the pandemic started. He moved to the UK in 2016 to study music production, and in 2018 he started his own podcast production company called Saw and Sine.  Now he edits podcasts, creates jingles, restores audio, and even records and produces audiobooks. He's always been in love with sound, whether it's music or spoken audio, and he’s all about helping his clients get the best audio brand possible.His name is Nicolae Bogdan Bratis, and if you want to work in sound, or if you want to improve your sound so your message can reach deeper, this interview is sure to provide a lot of great tips.As always, if you have any questions for my guest, you’re welcome to reach out through the links in the show notes.  If you have questions for me, just visit www.audiobrandingpodcast.com where you’ll find all sorts of ways to get in touch. Plus, subscribing to the newsletter (on the www.audiobrandingpodcast.com webpage) will let you know when the new podcasts are available. A Musical EarWe start the show with a look at Nicolae's earliest memories of sound, his family's musical history, and his childhood music lessons. “My teacher,” he recalls, “when I was just ten, I guess, told me that I have a musical ear, I can hear sounds, I can hear the pitch and everything.” He talks about his encounter with a teenage rock band at a music school in Romania, and how it inspired him to pursue a career in sound.  “I was always interested in the technical part of audio,” he says, “not just into the artistic part, and I loved producing music, I loved working with tracks, working with computers, all that jam.” Simplicity and ComplexityNicolae goes on to tell us about the distinctive name of his studio, Saw and Sine. “The sine wave,” he explains, “is the purest waveform you can generate with a synthesizer and the saw-tooth is the busiest, the most harmonic waveform you can generate with a simple circuit. That's kind of like simplicity and complexity at the same time." The physical aspect of sound's always fascinated him, and we talk about how sound not only surrounds us but affects us in ways we don't often consider. "Before you actually have the earthquake, you get that big rumble," he says. “That’s all sound waves.” Finding the Hidden GemsWe talk about how the pandemic, and the remote audio industry that emerged from it, helped shape his career as a podcast producer, and the hidden value of sound quality. It truly is a hidden gem, as he reminds us. “It’s there, it exists, but it's hidden,” he adds, “and if you don't pay attention to it, it can destroy your brand.” Fortunately, creating quality sound these days doesn’t have to involve a traditional recording studio. “You just need a basic microphone,” Nicolae says, “because the technology’s evolved so much. With just a few pieces of equipment, you can get something that sounds really good.” Don’t Stop LearningNicolae offers some recording tips, including his advice to turn off the echo cancellation feature when it comes to streaming audio and replace it with a simple pair of headphones. Echo cancellation “solves the effect,” as he puts it, “but it’s not solving the actual problem.” As the first half of the interview comes to a close, he tells us about the podcasts he's helped shape and transform as a producer and his advice for people who are just starting out. “If you want to start a podcast,” he says, “go ahead and do it and you’ll learn while you're doing it. But learn while you’re doing it, and don’t stop learning.” Episode SummaryNicolae’s memories of sound and childhood in RomaniaHis appearance on X-Factor and career as a musician and producerThe importance of sound quality and choosing the right equipmentWhat is echo cancellation and how does it affect streaming audioNicolae’s experiences and advice when it comes to podcasting Tune in next week for the second half of the interview as we talk about Nicolae’s approach to writing jingles and commercial compositions, discuss microphones and tips on getting the best recording sound possible, and a surprising new direction that podcasting’s already starting to take.Connect with the Audio Branding Podcast:Book your project with Voice Overs and Vocals https://voiceoversandvocals.comTweet with me on Twitter - https://twitter.com/JodiKrangleWatch the Audio Branding Podcast on YouT

“When we are listening to an audio file created by AI, we try to find where the machine got it from, but when we are listening because we just want to listen, we don't really care.” -- Ron Jaworski This episode’s the second half of my interview with Trinity Audio CEO and ad tech veteran Ron Jaworski as we talk about the future of proprietary AI voices, Ron’s vision for Trinity Audio, and some surprising statistics on just how effective sound can be when it comes to engagement.As always, if you have any questions for my guest, you’re welcome to reach out through the links in the show notes.  If you have questions for me, just visit www.audiobrandingpodcast.com where you’ll find all sorts of ways to get in touch. Plus, subscribing to the newsletter (on the www.audiobrandingpodcast.com webpage) will let you know when the new podcasts are available. Building a Better AIThe interview continues with a talk about such projects as the Open Voice Network, and their efforts to negotiate contracts that protect the intellectual property of voice artists whose voices become the template of future AI assistants. “We have enough examples of how we can go in the wrong direction,” Ron says, recalling the legal tangles that have often ensued, “that we can definitely use those examples to see how to build an AI assistant right this time.” He goes on to tell us about his driving vision for Trinity Audio: “we believe that basically, any type of textual content should have an audio version if it's relevant to be consumed in that manner." As he says, “we want to create the largest AI audio library in the world and deliver relevant content to listeners whenever they want to consume it.” Mechanical VoicesRon tells us about a test his company performed to see how well people could distinguish between human and AI voices. There was one catch, however. “The one thing that none of them knew was that all of the voices were mechanical voices,” he says, including the voices that the subjects had taken for granted as being human. “The human ear is becoming more and more tolerant to mechanical voices on one hand,” Ron explains, “and the AI solution's becoming much, much better than it was, and just getting better and better.” We go on to talk about how having audio and voice options for textual content can make a dramatic difference when it comes to online engagement. “We have one publication,” he says, “that we compared the engagement of users, and saw that a hundred times more of its subscribers tend to choose the audio solution than the general population.” Joining the RideAs we wrap up the interview, Ron tells us about the sense of excitement and optimism that surrounds the booming audio and voice industry. “It's a fruitful ground for innovation and for being creative,” he tells us. “The audio and voice group is getting bigger, and the fun part is that it feels like this group is moving forward together.” For anyone thinking about taking the plunge, he has this to say: “People that think about joining the voice and audio space, now it's a great time to join the ride.” Episode SummaryNegotiating and protecting voiceover rights when it comes to virtual assistantsHow the human ear distinguishes between human and artificial voicesEngagement numbers when it comes to utilizing voice and audio interfacesThe exciting future of voice, audio, and the virtual sound industryConnect with the GuestWebsite: https://www.trinityaudio.ai/Connect with Ron Jaworski on LinkedIn: https://www.linkedin.com/in/ron-jaworski-7a37112b/Follow Ron Jaworski on Twitter: https://twitter.com/JaworskiRon/ Connect with the Audio Branding Podcast:Book your project with Voice Overs and Vocals https://voiceoversandvocals.comTweet with me on Twitter - https://twitter.com/JodiKrangleWatch the Audio Branding Podcast on YouTube - https://www.youtube.com/c/JodiKrangleVOConnect with me on LinkedIn - https://www.linkedin.com/in/jodikrangle/Leave the Audio Branding Podcast a written review at https://lovethepodcast.com/audiobranding or leave a spoken review at https://voiceoversandvocals.com/talktome/ (Thank you!)Get my Top Five Tips for Implementing an Intentional Audio Strategyhttps://voiceoversandvocals.com/audio-branding-strategy/Editing/Production by Humberto Franco - https://humbertofranco.com/This podcast uses the following third-party services for analysis: OP3 - https://op3.dev/privacy

“In similar ways to when the first iPhone came out and then five years later, ten years later, we looked back and said to ourselves ‘oh my god, that completely changed my life,’ that's the same thing that's going to happen with audio and voice.” -- Ron Jaworski My next guest is the CEO of Trinity Audio, a unified platform that allows content owners to strategically evolve and deliver audio experiences. Some of Trinity Audio's top publishing clients and brands include Forbes, Lenovo, McClatchy, and Newsweek.  An ad tech veteran with a deep understanding of the publishing and branding landscapes, he has an extensive background in leading organizations and earned his Bachelor of Science in Computer Science, as well as an EMBA in Marketing and Marketing Management from the Recanati Business School. His name is Ron Jaworksi, and he's as passionate about voice and audio as I am.  I think you'll enjoy this interview.As always, if you have any questions for my guest, you’re welcome to reach out through the links in the show notes.  If you have questions for me, just visit www.audiobrandingpodcast.com where you’ll find all sorts of ways to get in touch. Plus, subscribing to the newsletter (on the www.audiobrandingpodcast.com webpage) will let you know when the new podcasts are available. Educated by the RadioWe start things off with a look back at Ron’s early memories of sound, and he tells us about the shiver he still gets from hearing the iconic Superman theme, and how listening to the radio program The History Hour as a soldier completely changed his view of learning. “I enjoyed listening,” he explains, “the experience of sitting there in this fortified position, you know, with my guns and my helmet and everything and listening to this professor talking about how Bismarck unified Germany." That’s when he discovered audio's unique educational potential. “For me, the option to consume knowledge and information,” he says, “to be educated by the radio, that experience really made an impact.” A Simple OptionRon tells us about the difficulties he encountered in trying to find any sort of simple on-the-go option when it came to text-to-speech conversion, and how it motivated him to become an entrepreneur. As he explains it, “I wanted to have a simple option to listen to any type of textual asset that I want.” And it turns out he wasn’t alone when it came to preferring audio. “Thirty percent of the world’s population,” he tells us, “are better at consuming content and learning in an audio manner.” The Voice and Audio DecadeThe interview turns toward Trinity Audio and his work with bringing visual media to life, and Ron tells us about a father and daughter whose email revealed the unexpected impact he’s had on people’s lives. “People are using your product,” he says, “using your solution on a day-to-day basis in a way that you didn't even imagine, and you know you're doing something good." We discuss the links between social media, news media, and voice and audio, and what it might mean down the road. “I think we are an amazing decade,” he says. “There's no doubt about it, this will be the voice and audio decade.” No More KeyboardsAs the first half of our interview comes to a close, we talk about the process of creating synthetic, proprietary voices, whether they’re media influencers, celebrities, or just local business owners reaching out to their communities. "I think the revolution is huge due to the fact that we are changing our communication with computers to voice,” he says as we discuss the future of voice operating systems. “No more keyboards, no more mouse, no more joystick. You are using your voice.” Episode SummaryRon’s memories of sound and experiences with radio and audio learning.How his search for a convenient text-to-speech solution inspired Trinity AudioThe different ways voice-and-audio technology is continuing to change livesTurning real voices into synthetic speech while preserving their identityHow the emerging industry of voice OS might reshape how we use technologyTune in next week for the second half of the interview as we talk about the professional challenges behind proprietary voices, the philosophy that guides Ron and Trinity Audio as a whole, and how there’s never been a more exciting time to jump into the voice and audio industry.Connect with the GuestWebsite: https://www.trinityaudio.ai/Connect with Ron Jaworski on LinkedIn: https://www.linkedin.com/in/ron-jaworski-7a37112b/Follow Ron Jaworski on Twitter: https://twitter.com/JaworskiRon/ Connect with the Audio Branding Podcast:Book your project with Voice Overs and Vocals https://voiceoversandvocals.comTweet with me on Twitter - https://twitter.com/JodiKrangleWatch the Audio Branding Podcast on YouTube - https://www.youtube.com/c/JodiKrangleVOConnect with me on LinkedIn - https://www.linkedin.com/in/jodikrangle/Leave the Audio Branding Podcast a written review at https://lovethepodcast.com/au

“I can't imagine – and again, I always have to preface this by saying I know it's not just about the audio logo – but I just can't imagine that when you're designing a print logo why you don't also sit there and go ‘I wonder what that thing would sound like if it could make sound,’ and then develop that too, and then present both of them at the same time, in combination, and give yourself one more, you know, one more sense to have. A lot of brands have a smell: McDonald's has french fries. A lot of them are already using that sense, so don't forget about the audio.” -- Dr. David Allan This episode's the second part of my interview with marketing professor, author, and podcast host Dr. David Allan, as we talk about famous audio brands of the past, the secret to a successful multisensory marketing campaign, and the unexpected connection between digital audio and NFTs.As always, if you have any questions for my guest, you’re welcome to reach out through the links in the show notes.  If you have questions for me, just visit www.audiobrandingpodcast.com where you’ll find all sorts of ways to get in touch. Plus, subscribing to the newsletter (on the www.audiobrandingpodcast.com webpage) will let you know when the new podcasts are available. Seeing, Hearing, and Feeling“Marketing tells you you should go look at your target demographic,” Dr. Allan explains as we start the second half of the interview, “and try to give them what they want.” We take a look at how McDonald's took a risk and challenged that conventional wisdom with its now-famous "I'm Lovin' It" campaign, and the surprising connection between Walter Werzowa, the musician behind Intel's famous sonic logo, and the legendary pop band ABBA.  We look at Apple's ad campaigns and how they evolved from tame and informative to stylish and trendsetting, and the power of audio to create a mood and sense of prestige that visuals alone can't match.  “Audio branding as a strategy will continue to grow,” he says, “not just sonic logos but everything you're hearing everywhere that's connected to a brand.” More Room to GrowDr. Allan tells us more about the musicians and audio marketing experts he’s met, and their stories about writing famous jingles and commercial campaigns that weren’t a sure thing at the time. “Most of the ones that talk to me,” he says, “realize that this is their legacy, and when they talk they want to talk about these kinds of things.” We talk about some of the new directions sonic logos can take and the industries they’ll transform. “There are lots of areas that are still underutilized when it comes to audio, supermarkets and wine stores and that kind of stuff. There's so much room to grow there.” Minting Your Own VoiceAs the episode closes, we talk about the versatility of sound in a digital age when it can be tailored for each listener, and the discussion turns to NFTs and their relationship to both music and sound in general and individual voices in particular. “A lot of the people that are in the space,” he explains, “have been thinking about it for a long time, but it's starting to get a lot more publicity.” We talk about the potential for NFTs and blockchains to create a unique audio signature, a topic he'll be exploring in his next book, The ABCs of NFTs. “It's somewhat easier for audio because it has a digital pattern already,” he tells us. “It doesn't have to be digitized because it's already digital. It just needs to be minted.” Episode SummaryThe stories behind some of the most famous sonic brandsWorking for hire vs commission in the audio branding industryPredicting which sound logos might end up making historyHow NFT technology could change the world of digital sound Connect with the Guest:Website: https://www.sju.edu/faculty/david-allan/Follow David Allan on Facebook:  https://www.facebook.com/dave.allan.127/Connect with David Allan on LinkedIn: https://www.linkedin.com/in/david-allan-1a26187/Follow David Allan on Twitter: https://twitter.com/dallan1000/Find David Allan’s Books Here: https://www.businessexpertpress.com/books/super-sonic-logos-the-power-of-audio-branding/ (Enter code MUSIC10 at checkout for 10% off)Connect with the Audio Branding Podcast:Book your project with Voice Overs and Vocals https://voiceoversandvocals.comTweet with me on Twitter - https://twitter.com/JodiKrangleWatch the Audio Branding Podcast on YouTube - https://www.youtube.com/c/JodiKrangleVOConnect with me on LinkedIn - https://www.linkedin.com/in/jodikrangle/Leave the Audio Branding Podcast a written review at https://lovethepodcast.com/audiobranding or leave a spoken review at https://voiceoversandvocals.com/talktome/ (Thank you!)Get my Top Five Tips for Implementing an Intentional Audio Strategyhttps://voiceoversandvocals.com/audio-branding-strategy/Editing/Production by Humberto Franco - https://humbertofranco.com/This podcast uses the following third-party services for analysis: OP3 - https://op3.dev