Original Resource is Part-Time Audiophile https://parttimeaudiophile.com/2020/08/01/bowers-wilkins-formation-duo-review/
Toronto, Canada (July 23, 2020)—The Yorkville Sound Podcast is a new monthly downloadable program created by pro audio manufacturer and distributor, Yorkville Sound. Taking a monthly discussion format, the podcast is geared toward Music & Pro Audio enthusiasts and is available on Apple, iHeartRadio and Spotify, along with a video version on Yorkville’s YouTube channel.
The Yorkville team drew from in-house resources and know-how to see the idea through from concept to final product. “Everything used to create the podcast, down to the last cable, is an item currently available in the Yorkville catalogue,” says James Greenspan, marketing and communications manager at Yorkville Sound. “We used the ART Tubemix and HeadAmp 4, Apex headphones, two Aston Stealth mics and a variety of Yorkville cables and stands to make it happen. “
Each podcast is a hosted session with a special guest from the MI & Pro Audio field. “We look forward to in-depth discussions with sound engineers, producers, touring musicians, retailers and more,” says Jeff Cowling, Yorkville Sound’s VP of Sales & Marketing. “We have some outstanding conversations ahead of us.”
The first episode is an interview with Yorkville Sound’s head loudspeaker designer, Todd Michael. Hosted by Yorkville’s Dave Lawrence, Todd recounts the story of his journey from building furniture to designing Yorkville’s Synergy Array Series.
Cowling adds, “The old saying ‘If these walls could talk’ is the best way to describe the podcast. On one hand, we have a tremendous well of expertise within the building to impart tips, advic, and behind the scenes insight to the Yorkville catalogue. On the other hand, we have over 50 years of contribution to music history.”
Yorkville Sound • www.yorkville.com
Original Resource is ProSoundNetwork.com https://www.prosoundnetwork.com/business/yorkville-sound-launches-pro-audio-podcast
Langjährige Apple-Nutzer erleben gerade ein Déjà-vu: Vor 15 Jahren verabschiedete sich das Unternehmen vom Power-PC-Prozessor und wechselte zu Intel. Nun lässt Apple die Intel-Phase hinter sich und setzt auf selbst entwickelte Prozessoren auf ARM-Basis. Das bedeutet: Alle Mac-Anwendungen müssen über kurz oder lang umgeschrieben werden. Für eine Übergangszeit wird es aber wieder eine Software namens „Rosetta 2“ geben, die vorhandene Programme auf dem neuen Prozessor zum Laufen bringt. Und wie damals wird es wieder „Universal Apps“ geben, also Anwendungen, die auf beiden Plattformen laufen, auf Intel und auf dem neuen ARM-basierten Prozessor, der sich „Apple Silicon“ nennt. Die neue macOS-Version „Big Sur“ soll Entwicklern zudem die Umstellung auf die ARM-Plattform erleichtern. Ende dieses Jahres soll der erste Mac mit dem ARM-Prozessor auf den Markt kommen, und in etwa zwei Jahren soll die Umstellung auf die neue Plattform abgeschlossen sein. Apple werde aber auch weiterhin neue masOS-Versionen für Intel-basierte Macs veröffentlichen, und zwar „for years to come“. Warum tut Apple sich und seinen Kunden abermals diesen Kraftakt an? Man wolle mit den selbst entwickelten Prozessoren „industrieführende Leistung“ bieten, begründet Apple-Chef Tim Cook die Umstellung. Vor allem aber geht es dem Unternehmen um eine gemeinsame Architektur für alle Produkte, von der Apple Watch über iPhone und iPad bis zum Mac. Denn auf Macs mit dem neuen Prozessor sollen iOS-Apps ohne jede Modifikation laufen.
Original Resource is STEREO-Newsticker RSS-Feed https://www.stereo.de/news/apple-bye-bye-intel
New York, NY (June 4, 2020)—“One of the goals was to make this sound like a very big production and have it feel cinematic in its scope and sound,” says Henry Molofsky, producer of the hit podcast, Wind of Change. Capturing the vibe of a big-budget spy thriller was crucial for a podcast that asks an intriguing but potentially dangerous question: What if the U.S. Central Intelligence Agency wrote “Wind of Change,” the enormously successfully 1991 power ballad by hard rockers Scorpions, in a bid to bring the Cold War to an end?
Wind of Change, the eight-episode podcast from Pineapple Street Studios, Crooked Media and Spotify, explores how that may have actually happened, as host Patrick Radden Keefe unpacks layers of connections and coincidences among the CIA and people near to the German rockers’ inner circle.
The setup is storytelling gold: Scorpions frontman Klaus Meine has always said in interviews that he was inspired to write “Wind of Change” after playing the Moscow Music Peace Festival at Lenin Stadium in 1989 alongside Bon Jovi, Mötley Crüe and other titans of late ‘80s hard rock. But did Doc McGhee, who managed all three bands at the time, arrange the whole affair to escape drug trafficking charges so the CIA could score a cultural hit with young Soviets?
For the record, all parties deny that salacious spy-games premise—but the intrigue doesn’t end there. While Keefe and Molofsky chased leads and operatives from New York to Russia and Germany, Molofsky was tasked with capturing audio in a multitude of environments—a Scorpions stadium concert held in Russia, a boat on the Moskva River in Moscow on a windy night, telephone calls with secret agents, and even random hotel rooms with former CIA spies.
Molofsky typically tracks at Pineapple Street’s Brooklyn headquarters, in a studio outfitted with Wenger isolation and a custom-made table with spots for four Shure SM7B dynamic microphones, which run through a Universal Audio Apollo 8 into an Apple Mac Mini. That’s where he tracked one of the podcast’s most dramatic moments, which featured a former spy who is still not allowed to admit she was in the CIA.
“We had the spy, whose pseudonym is Rose, call in remotely,” Molofsky explains. “Then I left Patrick’s original track in, and had Briana [Feigon, a voice-over actor] re-read Rose’s lines in my apartment on a table-top microphone. I added a phone effect to make her sound like she was on the phone.”
Molofsky’s rig for recording audio on location around the world was a Zoom H6 recorder paired with Rode NTG-2 shotgun mics. When he had multiple speakers, he used one mic for each speaker, and made use of the Zoom’s built-in stereo mics to get a different fidelity and tone for entry and exit scenes. This same setup captured the podcast’s climactic scene, when they met Meine at a hotel in Hanover, Germany to talk about the origins of “Wind of Change.”
“We got there more than an hour early just because we were so nervous,” he says. “We set up mics, we set up the table. We got coffees for him and had everything prepared so he could just come on in. We were rolling as he walked in [and] I had my phone on just in case disaster struck and we missed our one interview.”
Luckily, he pulled off the audio that day, but the podcast soon ran into a potentially disastrous snag toward the end of the year-long production, when COVID-19 hit before they had recorded a single word of Keefe’s narration. Molofsky had to outfit the host with a home-recording setup and run trial and error remotely to get the audio as good as possible. With narration recorded, he then relied on processing in post-production to bring the audio up to par: “It was disappointing that we couldn’t do all the final tracking in a studio. At that point, my goal was basically not to kill the production that we’d put so much time into with this final step—which is most of what people are actually hearing, time-wise.”
The result is a podcast that’s become a smash hit, rewarding the podcast team after an uneasy year of production. “It was very nerve wracking at times,” Molofsky says now. “We would be texting with someone who’d spent years undercover in Moscow and say, ‘Hey, can you meet us in the room 212 at this hotel in Adams Morgan in [Washington] D.C.?’ I wouldn’t know who’s showing up. And it’s even scarier in Russia.”
Original Resource is ProSoundNetwork.com https://www.prosoundnetwork.com/post-and-broadcast/wind-of-change-podcast-sound-design-cia-spy-thriller-espionage-heavy-metal-scorpions
New York, NY (May 21, 2020)—The brainchild of host Sean Braswell, a renaissance man of sorts who holds a Ph.D. from Oxford University and a law degree from Harvard, each episode of the new Flashback: History’s Unintended Consequences podcast shows how actions that seem inconsequential can eventually lead to surprising outcomes.
“We like to joke that he’s OZY’s in-house cool history professor,” says Flashback executive producer Rob Culos, who leads the creative direction behind original audio programs at OZY. “When you listen to an episode, it’s as if you’re sitting in Poli-Sci 506 and you are learning how a decision that was made had a ripple effect 50 years later.”
In the first two episodes of the 10-part first season, Braswell connects Henry Ford to the Oklahoma City bombing of 1995, and shows how the YMCA unwittingly helped launch the tobacco black market. Co-produced by OZY and iHeartRadio, Flashback is currently ranked No. 3 on the Apple Podcasts chart for History podcasts and hovers around the top 50 overall.
That kind of success doesn’t happen by accident—Culos and the Flashback team had the podcast series in development for six months prior to launching. Production began in January 2020, so when the COVID-19 crisis hit and people began to shelter at home, eight episodes were already completed and two were still in production for season one.
The COVID-19 pandemic has doubled the number of Americans who work remotely to nearly 60 percent of the workforce—but the team behind the new Flashback: History’s Unintended Consequences podcast series was already ahead of the game.
“We had already been working and producing this show remotely, so our workflow was largely set up,” says Culos. “Our producers are in San Francisco, Washington D.C., L.A. and Atlanta, and have at-home studios. We had already done the groundwork for it to work.”
Even so, a new production process had to be invented from the ground up. The first order of business was to firm up assets, cataloging what was needed to continue producing the show. In a typical interview situation, they provide guests with best practices on ways to record local audio, which they later sync to the host’s audio.
“Oftentimes, we’re talking to folks that have done this before and might have a handheld Zoom recorder, or they might have some little thing they got at Radio Shack 20 years ago that will do wonders,” he says. “Outside of that, we have them use their phone and tell them to do the basics like hold it up as you’re talking on the phone and go into Airplane Mode. That file is our backup.”
Luckily, the production team is accustomed to being flexible with how it sources audio. The production staff also recognize that the audio characteristics of a phone call or a VoIP app like Zencastr can be aesthetic choices in themselves. Culos says they often lean into those variables to enliven the podcast.
“We’ve actually put small telephone filters onto telephone calls so it enhances that experience, and that’s before any of this [pandemic] hit,” he says.
Where consistency is key—such as with the host mics and certain interview sources—the producers use a Shure SM7B to keep the sound and timbre uniform across a variety of voices.
“We tried out probably six, seven, eight microphones across the board,” he says, “and we just found that the SM7B highlights each one of those. We don’t have to think about it. It just gets what we want to get, and it makes it easy.”
The sound design on Flashback is a more open-ended animal, as it is for many OZY shows. Culos and Braswell begin by passing songs back and forth for ideas—on season five of The Thread, OZY’s successful precursor to Flashback, they even hired a bluegrass band out of North Carolina to record custom music. This time around, the team didn’t want to stray too far from the formula they established for The Thread, but Culos knew he wanted more “punch” and a more modern treatment.
“We relied a lot on our two producers on the team, Iyore Odighizuwa and Chris Hoff, who each have a really good ear for music, and we created a folder of production music and ideas around themes and beds and vibes and motifs,” he explains. “I wanted it to be a cool documentary style but also fun and unexpected.”
For each episode, editing and production work are done through a somewhat gated group effort, with a small group focused on the first round of edits. Once a rough cut with sound design is completed, the team leader opens the project to a larger group to get line notes. They even have a process to smoothly navigate editing over the different platforms used by the producers.
“There have been times in the past where we’ve had to export stems and sessions from Pro Tools to Logic, which can get a little bit hairy,” he says. “But as long as you know the exact way to export your sessions, you should be fine.”
Flashback • https://podcasts.iheartradio.com/ozyfb
OZY • https://www.ozy.com/
Original Resource is ProSoundNetwork.com https://www.prosoundnetwork.com/news/flashback-podcast-takes-history-to-the-top