“With AI coming along, I sort of look at more things being added into the workflow over the last year or so. A lot of it is, like, transcription, but also, ‘how are we gonna title the podcast?’ Show notes being written, I’m a little bit leery of, but it is used to assist in the process to write better show notes. So, I think for a long time, a lot of people have skipped over that, and AI has allowed us to write better show notes. That doesn’t mean copy-and-paste them in because AI is not... AI is, it’s an absolutely horrible writer. And I think one of the things that, I know this will come up in our discussion today, is that when you see AI stuff just being copied and pasted, you know that it has been copied and pasted.” – Matt Cundall

If there’s one topic that has captured the collective psyche over the past few years, it’s AI. But while the topic is fascinating, the uses are endless, and figuring out where it best fits into your work process is another matter entirely. The group I recently assembled on Clubhouse to talk about AI in Podcasting included a lot of veterans in the area of audio, video, and podcasting. They include voice actor and owner of The Sound Off Media Company, Matt Cundill; founder of Home Studio Mastery, Junaid Ahmed; on-air host and technical producer, mastering engineer, and podcast and audiobook post-production professional at AR Media, Sean Savage; founder of Spoken Life Media, LLC and Podcast Hall of Fame Inductee Rob Greenlee; and long-time audio technology consultant and co-host of the Pro Audio Suite Podcast, George Whittam. Each one of them had valuable insights into what tools work best for them and what tools you might want to look into for your own production.

Considering where the industry is heading, it’s probably a good idea to learn as much as you can about all these new and time-saving options. I hope you find this discussion super helpful!

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 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 what the newest audio chats will be about. If you’re getting some value from listening, the best ways to show your support are to share this podcast with a friend and leave an honest review. Both those things really help – and I’d love to feature your review on future podcasts.

(0:00:00) - AI Tools in Podcast Creation

Our roundtable discussion starts as Matt introduces himself and discusses some of the strengths and weak spots of AI software, particularly when it comes to making corrections. “These tools,” he says, “have really helped, but I think if you rely on it too much, one of the things that we found out is that you can just waste as much time just by having to make corrections.” Rob joins in and shares his thoughts on the competition between cutting-edge AI startups and the major brands that are now catching up. “Some of the larger platforms,” he says, “are adding greater AI capability to them, and it’s putting a little bit in jeopardy some of the standalone AI kind of services or tools out there.”

(0:11:30) - AI Tools in Podcast Post-Production

Junaid introduces himself as well, and he tells us about some of the latest breakthroughs he’s seen in synthetic AI voices and the business boom for the voiceover artists behind them. “When they introduced the professional voice,” he says, “like, if you go in now, you can actually use some of the celebrity voices for your own stuff as well, and they’re getting paid...

“We typically think about music as a listening experience, playing an instrument, dancing. And I think that’s like a narrow view of seeing, of looking at this concept of music. And that was one of the inspirations. What I wanted to do in this book was to show that there’s another way of thinking about music that’s completely different from this, let’s say, three main ways we think about music. So if you step a little bit outside these traditional associations we have with what music is, you can find that, as we talked about, sound can affect plant development, it can influence the growth, the health of the plant. It can alter our sense of taste, enhance or diminish their own flavors. It can impact our moods. It can uplift us, calm us, energize us… and, well, audio branding uses that a lot, because emotions sell at the end of the day.” – Pavle Marinkovic

This episode is the second half of my conversation with writer and audio branding consultant Pavle Marinkovic as we discuss how music can influence our shopping habits, the latest research into sound’s effect on our cellular metabolism, and whether plants prefer Vedic chants or rock music.

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 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 what the newest audio chats will be about. If you’re getting some value from listening, the best ways to show your support are to share this podcast with a friend and leave an honest review. Both those things really help – and I’d love to feature your review on future podcasts.

(0:00:00) - The Influence of Music on Plants

As the second half of our discussion starts, Pavle tells us about sound’s effect on plants, including an experiment in India that found plants prefer Vedic chants and classical music over rock. “The plants grew taller,” he explains, “they had bigger flowers, and they had more flowers than the rock condition, and they also saw that the plants were growing towards the speaker.” He talks about the discovery that music can affect the growth of microorganisms such as E. Coli, and the dramatic difference that simply playing the right music made at a waste-treatment plant. “After a year of using this classical music,” Pavle says, “they were able to save ten thousand euros in the cost of transporting this sludge, so they reduced the amount of sludge produced by these sewage treatment plants.”

(0:16:30) - The Power of Sound and Music

We discuss the use of sound in shaping public behavior in recent years, from dispersing riots to chasing away loiterers, and how music can influence our behavior without us even realizing it. “For instance,” Pavle notes, “you can use the tempo of the music to make people either shop more, faster or slower, because they would unconsciously adapt to the sound cues that were at that moment happening.” He tells us why he believes sound is more important than we realize, and the growing research into music’s health benefits. “We think of music as a listening experience,” he observes, “playing an instrument, dancing, and I think that’s like a narrow view of looking at this concept of music.”

(0:24:24) - Exploring Music’s Impact Across Industries

Our conversation closes as Pavle tells us about his latest audio branding projects. “I’m always, always writing about music,” he says, “I’m also consulting on audio branding with people who have some, let’s say, problems with how to strategize about creating a...

“Early on in that we noticed that there are so many people in the blind and visually impaired community that are underrepresented in the respect of entertainment, both as an entertainer and as the consumer. The only products they have are descriptive videos on Netflix or something like that. And so they can’t get the exact same experience as the sighted world when they’re dealing with forms of entertainment. So we shifted our focus to the blind and visually impaired market, both as people who could assist us in making these audio dramas, our stories, more original, as well as sound-designing these things in a 360-degree or surround sound way so that those whose world is nothing but sound, they really could enjoy it in a way that was meant just for them.” -- Micah Thomas

This episode’s guest is a twenty-plus year content creator, armed with a Master’s Degree in Internet Marketing and a BA in Media Communications who’s found the right content to pour his energy into…sound. This father of six and husband of one has worked as a jack-of-all-trades in media but has become a master of audio and storytelling with his company Storymore. As a person with low vision, he has a passion for telling great stories in the best way he can, which led him to form a global group that’s disrupting the audio entertainment industry with its accomplishments. Chief among them is providing a platform that equalizes the playing field for those with visual disabilities.

His name is Micah Thomas, and our discussion covers a variety of topics, from audio dramas and music to how AI is changing both those industries. I think you’ll really enjoy his insights!

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 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 what the newest audio chats will be about. If you’re getting some value from listening, the best ways to show your support are to share this podcast with a friend and leave an honest review. Both those things really help – and I’d love to feature your review on future podcasts.

(0:00:00) – The Power of Audio Entertainment

We start things off with a trip down memory lane as Micah recalls the radio plays and adaptations that helped inspire his career in sound. “The stories captivated me,” he tells us, “because of the voice actors and how real they sounded, and I think that’s the first time via audio that it actually brought tears to my eyes.” We talk about how Storymore uses sound production to bring stories to life for blind and visually impaired listeners, and we listen to a clip from the Storymore original suspense tale Barley. “We had one guy that said the sound was so good,” he says, “that ‘I had to literally turn my head. I thought someone was entering the room because I heard a door open behind me.’”

(0:12:47) - AI Impact on Audio Entertainment

The conversation turns to AI and how it’s opening up new creative possibilities while leaving room for a human touch at Storymore, and Micah shares with us both the cover art and a sound clip of the Storymore original mystery Alibi. “There’s just no way,” Micah explains, “at this point in time, especially, that AI can reach the levels and depths of emotion and her mental state that she’s in to provide this type of performance.” We also discuss the difference between audible dramas and traditional audiobooks, and the storytelling power of sound. “It allows you the opportunity to point your own cameras,” he tells us,...

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=maMnRvJVih8

While 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...

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=zsDwFGz0Okg

Being 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...

“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 Pardavila

This 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 World

As 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 Head

Joe 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 Proud

When 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 Summary

• Joe’s most surprising interview answers and how to plan for a conversation
• How learning improv and comedy helped teach Joe to focus on the present
• Why the best podcasts are the ones that don’t sound like...

“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 Pardavila

My 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 Radio

As 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 World

Joe 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 Listening

Next, 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...

“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 Easier

As 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 Connection

We 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 Again

Our 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 Summary

• Three strategies for combining private podcasting and lead magnets
• The future of Clubhouse and the continued growth of social audio
• The pre-internet roots of social audio and its perennial value
• Hello Audio’s upcoming features and the future of private podcasts

Connect with the Guest:

Website: helloaudio.fm

Connect with Nora Sudduth on...

“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 Podcaster

We 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 Audience

Next, 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 Interrupt

As 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...

“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 Story

As 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 Show

When 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 Heard

As 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 Summary

• The best microphones and sound equipment for podcasting
• Finding your own distinctive voice as a podcaster
• Strategies for monetizing content and building a podcast brand
• The synergy between audio...

“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 Changed

We 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 Family

Next, 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...

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=IpWAOM3XC9Q

Cinematic 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=MShclPy4Kvc

One 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...

“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 Alarm

The 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 Silence

We 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 Future

As 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 Summary

• The purpose of medical alerts and whether they’re really alarms
• How pop culture helped establish our idea of the hospital "soundtrack"
• Silent devices and...

“It’s definitely an important aspect of our lives, and we can start with a small thing, just, like, when you feel that something’s odd, just pause for a second and ask yourself what exactly is off. Is it the music? Is it the feeling? Is it, is there a physical need? Like, literally just pause it for a second and ask yourself this question. And it’s important, but not a lot of us are used to it.” -- Anna Bohuslavska

This episode is the second half of my conversation with transformation coach and inner guide Anna Bohuslavska as we discuss how both positive and negative emotions can be contagious, her experience with music’s healing power, and how sound can help restore our connection to nature.

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 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 what the newest audio chats will be about. If you’re getting some value from listening, the best ways to show your support are to share this podcast with a friend and leave an honest review. Both those things really help – and I’d love to feature your review on future podcasts.

(0:00:00) - Power of Music and Voice Healing

The second half of our talk begins with Anna’s reflections on how music can spread emotions and connect us to one another. “The same happens at the concert,” she explains, “because, like, there’s a crowd and everyone really is in their emotions and you pick up on this emotion, and it’s like becoming one huge human being instead of every single one.” We also talk about the surprising impact vocal exercises can have on everything from building confidence to overcoming negative thought patterns, and her firsthand experience with its benefits. “Most of our way,” she says, “how we talk, our intonations, our high or low, everything is connected to the people around us, and it’s basically the habits that we picked up early in childhood and that we carry on in the life.”

(0:06:01) - Finding Connection Through Sound & Music

Anna also shares how her own experience with music and dance has guided the way she helps clients reconnect with themselves. “I took the dance classes,” she recalls, “I did all the moves, but when I now look at those old recordings, I see that I didn’t feel the music.” She explains how the power of sound can help guide our lives. “Ask yourself what exactly is off,” she explains. “Is it the music, is it the feeling? Is there a physical need? Literally, just pause it for a second and ask yourself this question.”

(0:18:35) - Inner Potential

Our discussion comes to a close as Anna shares her upcoming projects and community developments, and how we can get in touch with her. “I’m focusing on building my community,” she says, “and I’m working on launching my group program because I know that one-on-one is important for a lot of people, but there are a lot of people who need this sense of community.” She also tells us how sound can help us become our best selves: “I’m a strong believer that every single one of us has this inner potential to be the best person they dream of, and all it takes is to create the right surroundings.”

Episode Summary

• How music and voice can influence our emotions and help foster deeper relationships.
• Connecting with ourselves through voice training and discovering our inner music.
• Sound’s link to the natural world, and some of Anna’s current and upcoming...

“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 Alarms

We 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 Sound

Dr. 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 Shift

The first question for our group concerns the resistance...

🎤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...

“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 Innovation

As 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 Voice

Colleen 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 Language

As 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 Summary

• Helping companies innovate and find their own sonic DNA
• How small businesses are embracing audio branding and advertising
• The evolving role of voice and music in sonic marketing
• Creating inventive sound campaigns and distinctive audio brands

Connect with the...

“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 Idea

The 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 Brand

Next 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 Ears

We go on to talk about mood boards, what exactly they are, and how they helped

“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 Bratis

This 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 Mind

The 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 Best

We 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 Summary

• Nicolae’s process for crafting jingles and composing original melodies
• How everything from website colors to ambient sounds can shape an audio brand
• The best microphones and sound setups for both studio and remote podcasting
• The future of podcasting and challenges of producing visual podcasts

Connect with the Guest

Website:

“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 Ear

We 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 Complexity

Nicolae 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 Gems

We 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 Learning

Nicolae offers some recording tips, including his advice...

“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 AI

The 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 Voices

Ron 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 Ride

As 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 Summary

• Negotiating and protecting voiceover rights when it comes to virtual assistants
• How the human ear distinguishes between human and artificial voices
• Engagement numbers when it comes to utilizing voice and audio interfaces
• The exciting future of voice, audio, and the virtual sound industry

Connect with the Guest

Website:

“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 Radio

We 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 Option

Ron 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 Decade

The 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 Keyboards

As 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...

“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 Grow

Dr. 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 Voice

As 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 Summary

• The stories behind some of the most famous sonic brands
• Working for hire vs commission

“It certainly adds another sense to sight, you know, and most of the people that I talk to, you can see a logo, but sound really helps you to feel a logo.” -- Dr. David Allan

My next guest is a professor of marketing at Saint Joseph's University in Philadelphia, Pennsylvania. He has a BA in communications from American University, an MBA in marketing from St Joseph's, and a Ph.D. in Mass Media & Communication from Temple University, and is currently pursuing a master's degree in Legal Studies in Entertainment Law from the University of Southern California. He's a prolific writer with three books – Super Sonic Logos & This Note’s for You, both on Business Experts Press, and Hit Play, on Sentia Publishing – as well as three book chapters about music, advertising, and marketing, six music case studies, and a multitude of journal articles.

He also hosts two podcasts, Marketing Musicology and The NFT PHD, and spent over twenty years in radio as a DJ, program director, and general manager.  His name is Dr. David Allan and he knows a thing or two about sound marketing.  Stay tuned, because you and I are about to be schooled.

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.

This is Your Classroom

We start the episode with a look back at Dr. Allan's childhood memories of sound and the radio DJs who helped inspire him. He tells about his very first stint as a college DJ and how a storied radio career took an unexpected turn towards academia. “He hands me a textbook and a syllabus,” David recalls a surprise conversation one morning with a college department head, “and he says ‘this is your classroom. Good luck.’” The opportunity inspired him to go back to school and earn his Ph.D., and he explains how some of his friends at the time questioned his decision to trade a high-paying radio career for a new start as a marketing professor. “’I make a lot of money,’” he remembers telling them, “but I'm not going to make it for a long time, and on some level, it's not going to be worth it."

A Perpetual Learner

Dr. Allan tells us about the process of writing his latest book Super Sonic Logos, and how the early days of the COVID pandemic turned out to be an unlikely blessing, from drawing his attention to smart speakers, audio logos, and the prevalence of sound in our online lives to the practical issue of being able to find and interviewing so many audio experts. “Everybody was home,” he recalls the process of interviewing famous industry composers and sound gurus, “and everybody had a lot of time to talk.” He reveals the one interview question that always gets a surprising answer from his guests, and how much he learned from them about the audio industry.  “I'm a perpetual learner and I'm highly intellectually curious,” he explains, and then adds, “more curious than intellectual.”

Getting Better Every Day

Just what sort of companies need a sonic identity and branding strategy? “Most of the people that I talk to that are in the business,” Dr. Allan recounts from those interviews, “think everyone needs one, and then they're very quick to point out that they shouldn't have one if they think it's just a logo.” We talk about the evolving role of sound in modern media, from the vital role...

“If you play on an instrument for a while, for example, every day for a week, for example, or something like that, you will start noticing that you have your own melody that you will play over and over again. And it could be that the melody changes while your emotion changes. It can be that, just the speed of the melody will change. But basically, you will have your own melody, and it’s interesting to see how it evolves through the time.” -- Anna Bohuslavska

This episode’s guest is a transformational coach and inner guide who’s helping women bring joy and fulfillment to their everyday lives. She’s a mother of two, a craft maniac, and a dance lover. She’s been passionate about psychology for as long as she can remember, and she’s been fortunate enough to learn from some of the greatest minds of our day while employing her own holistic approach to well-being. She seamlessly blends together coaching techniques, art therapy, mindfulness, and more.

Her name is Anna Bohuslavska, and our conversation is all about using sound for healing. If this is an interest of yours, I hope you’ll give this one a listen – it’s a very inspirational discussion!

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 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 what the newest audio chats will be about. If you’re getting some value from listening, the best ways to show your support are to share this podcast with a friend and leave an honest review. Both those things really help – and I’d love to feature your review on future podcasts.

(0:00:00) - Inner Work and Music Therapy Evolution

As our discussion starts, Anna talks about how the birth of her son inspired her to learn more about the psychology of sound, and how her work led to a community of like-minded women. “That’s why I started searching for other sources of information,” she explains, “and I was happy to find an online community that was all about parenting, and I felt like this is what will help me.” We discuss sound’s ability to tap into our deepest emotions and memories, and music therapy’s role in boosting our mood and broadening our perspective. “It’s about listening,” Anna says, “it’s about moving under the sound, it’s all this spectrum. But it helps a lot, and the simplest thing that I advise every single of my clients is to just, like, know what different types of music move you in different directions.”

(0:16:44) - Musical Evolution and Personal Expression

We continue with the story of Anna’s journey from Ukraine and around the world to her home in Texas, and her secret to getting in touch with our own inner melody. “If you play on an instrument for a while,” she tells us, “you will start noticing that you have your own melody, that you will play over and over again, and it could be that the melody changes while your emotion changes... basically, you will have your own melody, and it’s interesting to see how it evolves through the time.”

Episode Summary

• Music’s influence on our lives, and how it can help us overcome past traumas.
• Anna’s journey from Ukraine to Texas, and the cognitive impact of creating music.

Tune in for part two of my conversation with Anna as we discuss how background sounds, even the sound of our own voice in our ears, can influence our daily lives, how vocal exercises can help forge a deeper connection with ourselves, and her advice for...

Advertising’s come a long way from the television jingles and old-fashioned radio spots of decades past. In the age of social media and targeted algorithms, the ads you see and hear online are very often tailored to your particular user profile. Of course, that’s just when you’re online. But what if it wasn’t? What if, while you’re out shopping or walking down a crowded street, you heard an ad aimed specifically at you, an ad that nobody around you could hear?

It might sound like something out of a particularly surreal science-fiction movie, but directional audio technology’s already being used in everything from billboard ads and street kiosks to grocery stores and museum exhibits. Some of the most surprising audio breakthroughs over the past few years have involved sound perception, the art of controlling just who hears a particular sound and where that sound seems to be coming from. For sonic branding, directional audio can mean the difference between just hearing an ad as a listener and engaging with it on a more personal level.

One of the very first uses of directional audio in advertising was back in 2007, and it gave pedestrians in New York quite a start. It was a billboard for the spooky reality TV show Paranormal State, and people who walked directly in front of the billboard would hear ghostly voices whispering in their ears. Anyone else who wasn’t in just the right spot, no matter how close by they might be standing, couldn’t hear anything. The directional audio portion of the campaign only lasted a week, but that week made headlines.

Just a month later the same technology was featured in the Brooklyn Historical Society’s exhibit “In Our Own Words: Portraits of Brooklyn’s Vietnam Veterans,” allowing visitors to hear a recording of each veteran’s personal story by standing directly in front of their portraits, without anyone else being able to hear them. It ran for a year, and since then directional audio’s been used for other museum exhibits, convention booths, and even to sell bananas in New Zealand supermarkets, where sales increased by over 130%.

If you’d like to see a short video of such a display in action, and the dramatic difference that standing just a few inches off to the side can make, just check out the link on my blog:

https://www.youtube.com/watch?v=sXxIApwIiqM

As for just how directional sound technology works, it’s a fascinating subject: you could almost call it a sonic laser beam. Ultrasound beams are created and aimed at the precise spot where the sound should be heard, and they’re so intense that they distort the air itself as they move through it, creating lower frequency sound waves that our ears can detect. Like a laser, the effect only works along the beam’s path, so only the people who are meant to hear the sound will notice it. For everyone else, it’s just silence.

Ultrasound isn't the only way to trick the brain into hearing sounds that seem to come from nowhere. Another startling form of directional sound delivery is binaural audio, a technology that's more than a century old but has only come into its own over the past decade. Unlike surround sound, which relies on the listener setting up an array of speakers, binaural audio uses a simple pair of headphones to simulate a three-dimensional soundscape that seems to surround the listener. Sounds can come from in front of them, behind them and all around them in ways that might seem impossible.

For a spooky demonstration of binaural audio’s ability to immerse the listener, you can find a link here to a short audio journey through a haunted hospital. There’s nothing too scary or graphic to worry about, but you’ll want to wear headphones to truly appreciate the 3D audio effect. And you may want to keep an eye on the volume: some of the sound effects can get pretty loud:

https://www.youtube.com/watch?v=MytAOmbnLpg

Binaural audio is created by using two microphones covered by a...

“It's about doing something that's relevant to that brand that makes people, you know, have intrigue and then go either search for it or find out more information.” -- Aaron Matthews

This episode's the second half of my interview with audio branding expert and creative director Aaron Matthews as we talk about how Creative Fix goes about crafting the perfect brand sound, the secret to hosting a successful branded podcast, and the surprisingly retro future of audio branding.

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.

Open to Everybody

We begin the second half of our interview with a look at Creative Fix’s process for working with clients and guiding them through the creative process, at the role audio mood boards play in the brainstorming process, and how long it might take for all the different elements to come together. The conversation turns to audio branding, and its untapped potential, particularly on a local level “I think brands are at the start of waking up to it. Very few brands do it well, to be honest, but I think it's open to everybody.”

Bringing Jingles Back

The topic shifts to both the past and future of audio branding, and to how jingles, the hallmark of audio branding in the '80s and '90s, might make a comeback in the digital age. "I think there's an opportunity," Aaron says, "and I think we can do it in a 2022 way." As he jokes, "I think it's time to bring back the jingle. I'm going to start a campaign." Aaron explains that the key to audio marketing is to do the unexpected: “Let's do less copy in those ads and more sound design, let's do the jingles and the sonic identities and the stuff no one else is doing because that's how you stand out.”

The Tip of the Iceberg

As the episode comes to a close, we talk more about branded podcasts and the role they play in company branding and the tricky balance of creating brand recognition without selling a product. "There's a lot of opportunities," Aaron says, "and I think there are a lot more branded podcasts coming, and I think we're just at the very, very tip of the iceberg." We wrap things up with a look at social audio apps like Twitter Spaces and Clubhouse, and the role they might play in the future of audio branding and marketing on social media. As he puts it, "it's the idea that it's meant to be for everyone, and that everyone can jump in and have that conversation and that's the important thing about it."

Episode Summary

• The process of creating an audio brand from start to finish
• The rise and fall of jingles and how they could make a comeback
• Branded podcasts and how to successfully market without selling
• How social audio is opening the media landscape to everyone

Connect with the Guest

Creative Fix Audio: https://creativefixaudio.com/

Connect with Aaron Matthews on LinkedIn: https://www.linkedin.com/company/creative-fix-audio/

Connect with the Audio Branding Podcast:

Book your project with

“Production companies make these amazing videos and then go ‘oh, we need to think about some music and stuff,’ and it sort of like becomes a bit of a rush. But actually, when you think about it at the same time as pre-production and you start planning out how the sound's going to work with the visuals, it elevates the video so much. And you'll know this if you've ever watched some of the latest prints, like the new James Bond trailer, and if you listen to the actual sound design on that and what's included over the top, it just takes to another level.” -- Aaron Matthews

This week’s guest is an audio branding expert who’s worked for some of the biggest media brands in the UK, including BBC Radio 1, Global Radio, and Bauer. He’s fine-tuned his understanding of how consumers interact with brands at a content level, and the company that he founded, Creative Fix, develops unique audio advertising content that’s relevant, distinct, and memorable.

His name is Aaron Matthews, and he has a lot to share with us in this interview about the current state of the advertising industry, especially when it comes to effective audio branding.

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.

Altering Your Emotions

Regular listeners know that we usually start the interview off with a look back at my guest's earliest memories of sound, and Aaron shares the '80s music that his parents listened to with him as a child, from INXS to George Michael, and how, as a teenager, a CD of Gustav Holst's The Planets opened his eyes to the power of music. “What an amazing sound,” he describes it, “and you know how emotional that music is and how it moves you, and I remember hearing this as a teenager and thinking ‘wow, I've never heard anything like that before and it's amazing.’” He tells us how he went on to become a DJ, and how that experience taught him the profound connection between music and its listener. “At the simplest form,” he explains, “you're altering someone's emotions through music.”

Doing Things Digitally

We talk about the differences between traditional radio advertising and digital audio, and how digital audio’s more personal podcasts have created a new kind of audio market. “Radio,” Aaron tells us, “from its conception, is a shared listening experience... and advertising hasn't really changed in radio because of that." He explains that over eighty percent of digital audio is heard through headphones, and how new audio technology like 3D audio opens up unique branding possibilities. “That presents lots of really interesting opportunities for us,” he says, “in what we can do with sound generally, and we can actually do things with sound that we never could in radio because you'd miss them.”

Transporting the Listener

“There's so much more we can do with sound than we can do in radio,” Aaron continues as we talk about digital audio marketing. “You can put people in different places using really great soundscapes.” He tells us how silence is an underused but particularly effective tool in digital audio, and how binaural audio effects have helped transform such diverse soundscapes as ambient horror movie tracks to a recent New Zealand tourism campaign. “Before you even speak one word of copy or the voiceover even starts speaking,” he says,...

“People don't forget that stuff. They remember people that blow their minds. They won't necessarily remember the music, people won't remember the thing that you did, but they'll remember the way that you made them feel, whether that's by your actions or by the actual emotion that you've imparted to them via your music, or your sound, or whatever it happens to be.” -- Nick Morrison

This episode's the second half of my interview with bestselling author, professional musician, teacher, session artist, and composer Nick Morrison, as we talk about the process of turning imagery and emotion into sound, the importance of networking and building relationships, and about the most valuable advice he has to offer about navigating a freelance career in the digital age.

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 More Purple

As the second half begins, Nick and I talk about some of his memorable experiences with building an audio brand, including one particularly tricky suggestion. “His last note,” Nick recalls, “and this drove me crazy, was 'can you make it sound more purple?” He reveals the answer to that mysterious request and we discuss a study, linked below, that showed how it’s audio, not video, that plays the biggest role in making or breaking a viewer’s experience. “Once you get better,” he explains as we talk about advances in audio technology, “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.”

Always Say Yes

We also look at the role networking and building a positive reputation in the industry can play, and how online resources such as Taxi.com can help. “Places like that can get you a lot further, faster,” he says, “than just trying to put your stuff on one of the numerous websites that are just a repository of the world's garbage. And that sounds harsh, but it's like a needle in a haystack.” He also tells us his approach to forging lasting relationships with clients who are just starting out. “If I have a job offer or an opportunity that comes up, as long as it doesn't hurt me financially or embarrass myself or my family in some way, shape, or form, I will say yes. Say yes to as much as you can.”

The World at Our Fingertips

Nick also offers advice on navigating the financial aspects of freelance audio based on his own experiences as a musician, and we talk about his bestselling, and unorthodox, instructional books on playing the guitar. “One of the biggest problems that I find,” he explains, “is that music is taught the same way as it was written down in the late 1700s.” Our interview concludes with Nick’s advice to anyone who’s looking to follow their dreams and make a living online. “We've got the internet and the world at our fingertips. There is no need to box yourself in and say ‘I am only this.’”

Episode Summary

• The importance of sound in building a mood and creating a positive impression
• Meeting the challenge of online networking and building client relationships
• Financial tips about audio revenue and royalty income
• How Nick’s working to bring music training into the 21st century

Connect with the...

“One of my Berklee professors, one of my favorite things that has stayed with me from my time there, said 'you know, Nick, a bad day playing music is still better than a good day doing just about anything else.'" -- Nick Morrison

This episode's guest is an Amazon #1 bestselling author and a professional musician, composer, teacher, voice actor, YouTube creator, actor, and a music and media consultant from Calgary Alberta. He's toured throughout the United States, Canada, and Japan as a guitarist, worked as a session musician, and as a writer and composer for Warner Bros, Universal Studios, Sony, MTV, ABC, NBC, HGTV, and HBO, among others. He was educated at the Berklee College of Music in Boston, Massachusetts, where he studied guitar performance and music business management.

In 2021 he began writing guitar instructional books and continues to bring his love of the instrument to as many people around the world as possible. His name is Nick Morrison, and our discussion runs the gamut from music, to sound design, to audio branding and everything in between.

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.

Getting into Sound

We start things off with a look back at Nick’s earliest impressions of sound, and he tells us about his mother’s lifelong love of music and his happy memories of growing up in a musical family. He talks about the surprising influence the original Super Mario Bros. had on his lifelong career and how it inspired him from an early age to devote himself to music. “It was at that point that I really decided,” he tells us, “that I was like ‘I'm going to do something with music.’ I didn't have the vocabulary then to know specifically what I wanted to do, but I knew that I wanted to get into sound.”

The Cat and the Piano

“A cat can jump on a piano," Nick jokes as we talk about his early music lessons, from the violin to the piano to his first guitar, "and it'll sound good." He tells us about the unique musical challenges and rewards that each instrument offers and how he's come to embrace his role as a teacher and focuses now on helping people who might be returning to their love of music after a long career elsewhere. "What can I give to those students," he says, describing his approach to teaching new musicians, "that in those fifteen minutes they can get the most out of the time they have with their instrument as possible?"

Making Music Online

We also take a look at remote learning, online groups, and how our post-COVID shift to virtual lessons and meetings has changed the musical landscape. "I can't think of a single industry," Nick says, "that doesn't have at least some computer animation or computer modeling or computer monitoring or computer connectivity to keep us in touch and to help us with our jobs." He gives us a few examples, such as how his Guitar Dojo Facebook group works to make learning about music fun for its members and listeners alike. "My mission statement," as he puts it, "is to make music fun again."

With Music and Sound

The conversation turns to some of the old computers we grew up with, and how MIDI controllers and digital sampling have transformed the creative process. We talk about some of the television and advertising themes he most admires, and about how licensed

“One of the wonderful things about music is that it's by and large pretty universal, you know, when almost any culture will perceive a minor chord as something that feels sad. Even my 4-year-old son can identify that as 'oh that's sad.’ But there are more subtleties too, you know, and that may affect instrument choice, it might affect tempo, and it might affect chord progression.” -- Eric Singer

This episode is part two of my interview with audio producer and creative director Eric Singer as we discuss the advantages of virtual audio presentations, the challenges independent artists face in an increasingly online industry, and some surprising new advances in advertising technology.

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.

Creating Music and Sound

We start the second half of the interview with a discussion of how the industry has changed over the past few years, and how virtual conferences and Zoom meetings have all but replaced direct presentations. Eric tells us some of the limitations, as well as a few unexpected advantages, of online audio demonstrations, and how Coupe Studios is rising to the challenge of bringing authenticity to audio branding and marketing.  “We discovered along the way,” he says, “that we really, really enjoy applying that authentic creativity, that art form of creating music and sound, to advertising.”

A Whole New World

The topic turns to the indie bands that Coupe Studios also supports, and how social media and the new sonic landscape have impacted smaller bands and artists. “It's a whole new world out there,” Eric notes, “but I think the plus side of that is that there's so much content, not just advertising, podcasts, streaming video... there is so much content that needs music. There are infinitely more opportunities to get your music heard.” He also tells us about Coupe’s strategy for localizing jingles for companies all over the world, and how collaboration is the key to a successful sound design. “We try to make it a pretty big party where we get input from anybody who has something valuable to bring to the table.”

For Your Ears Only

As the episode comes to a close, we look at the new technologies that might change the advertising industry in the near future. “One thing that I believe we're going to see much more of,” Eric tells us, “in probably the fairly near future, is hyper-targeted, out-of-home advertising,” such as directional sound technology that can send targeted audio messages to a single individual within a crowd, and new ultrasound systems that can expand its reach to cover each and every customer in a store. “Now that the cost is starting to come down,” as he puts it, “advertising is the obvious application.”

Episode Summary

• How virtual presentations have changed Eric’s approach to audio
• Coupe Studios’ journey from classic rock studio to brand compositions
• The challenge indie artists face in the digital music industry
• Directional sound technology and the future of audio advertising

Connect with the Guest

Website: https://coupestudios.com/

Connect with Eric Singer on LinkedIn:

“There are generally two things that I want to focus on when presenting the creative to a client. First, and I think the most important, is the why: what is the justification for why we have done this or why we've included this instrument, why we're including this long breakdown section, why this tempo, whatever it is.”  -- Eric Singer

My guest's first love in this episode was audio, but it took him a while to get back to it. He's been with Coupe Studios for sixteen years, and before that he spent time as a magazine editor, a photographer, and even a semi-pro football player. Now a partner at Coupe, he's focusing specifically on sonic branding and music for advertising and film. His name is Eric Singer, and I'm looking forward to hearing what he has to say about where audio branding is now and where it's heading into the future.

How does he let their clients know that their audio is important? How does Coupe Studios differentiate itself in a steadily growing audio-forward market? If you’re trying to decide why audio branding is important for your company, this discussion will give you a firsthand look.

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 Multisensory Experience

We begin the interview with Eric’s account of his earliest memories of sound, a Fischer-Price turntable that he used as a child to play the classic Beatles album Sgt. Pepper's Lonely Hearts Club Band. As he puts it, its unconventional sound design and ambient effects “planted the seed for me in terms of a love of audio.” He goes on to recount his very first experience as a radio DJ during high school. “It was this multisensory experience,” he says, “where you're looking at the album art [and] you're reading the liner notes. The center of it was the music, but I loved talking about it just as much.”

Digging in Deep

Eric tells us about how he discovered his affinity for editing and production, and how it led to his role as an audio producer. “We have this extremely talented, dedicated team of composers and sound designers,” he explains, “and my job is to stay out of their way.” We talk about how he works with clients to help them understand and navigate the sometimes overwhelming process of finding just the right creative strategy. “There's no better way, I think, to emphasize the value in what we do than working collaboratively with the client or with the agency and really digging in deep.”

Flying Below the Radar

Next, we look at the process of building a sonic brand for a client, whether it's a new company that's starting from scratch or a major brand like McDonald's with an established audio brand. Eric explains that a new brand can offer more room to create a unique sonic identity: as he puts it, "it's nice in the sense that we can often get involved before they've really thought things through." We also talk about how easily audio is overlooked, and how that can sometimes be as much an opportunity as a challenge. "It's a tricky position to be in," he says, "but it's also kind of fun to fly below the radar."

The Emotional Aspect

“The second piece of it," Eric says about the two parts of creating a sonic brand, "is the emotional and the subjective aspects of it." We discuss how individual experiences and impressions, everything...

“It bothers me so much to see companies out there that are taking advantage of people or, you know, preying on their hopes and dreams. I mean, I have never, ever told anybody that this was easy, as being a voice actor, and I never told them that it was fast. I've always said that it's a crock-pot career, it's not a microwave meal." -- Dan Friedman

This episode is the second half of my interview with audio engineer, voiceover coach, and author Dan Friedman as we talk about voice performance, the changes the pandemic has brought to the voice recording industry, and how his family helps inspire him as a voice teacher.

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 Expressive Job

We start the episode with Dan’s practical vocal advice on everything from breathing through your diaphragm to staying hydrated, and a look at the differences between voice and television acting, something he’s particularly familiar with after filming a television pilot. “It's expressive,” Dan says about voice performance. “This is an expressive job, so it doesn't really work so well on camera, but it works really well for voiceover.” Dan also talks about how he’s working to preserve some of the unique qualities of voiceover that might get lost in the age of new media and streaming video. "I'm old enough that I can certainly help teach a new generation how to be the best that they can be at this and help communicate more effectively because we really are losing a lot of that in our society."

Communicating Your Intentions

Dan tells us about some of the more memorable clients that he’s helped with communicating their intentions, and how a good performance brings the words on the page to life. “When you're not communicating that and you're just reading the words off the page,” he says, “obviously it's not really moving anybody. But when you're trying to present these things, let's present them in a way that people want to connect with it emotionally.” We also look at how the pandemic has changed the home studio market and made the technical aspects of voiceover, from soundproofing to microphones, more accessible than ever before. “Now it really comes down to talent and the environment they're in,” he explains, “and to how they ultimately sound and whether they'll be able to do all that.”

No Day is the Same

As the interview comes to a close, we share anecdotes about how, in voiceover, no two days are the same, and Dan takes the opportunity to tell us more about his family. “I've got the platform,” he jokes, “so I'm going to brag on my kids for a second.” He tells us about his wife and children, and how their support has inspired him as a voice coach, “If I can turn out kids that are this good,” he says, “I must be able to teach somebody something.” We end the show with a look at some of his upcoming projects and how you can get in touch with him. As he puts it, “I love seeing great people being successful.”

Episode Summary

• The distinctive challenges of video and audio performances
• How streaming video and social media are changing voiceover
• Effective audio communication and bringing a script to life
• How Dan’s family has inspired him and how to reach out to him

Connect with the...

“But we do have to remember that when we are communicating, when words are coming out of our mouths and reaching somebody's ears, that's a connection, that's a strong connection, and if we are not really believing in the things that we are saying, or feeling the things that we are saying, or able to create a feeling that's strong, then that connection won't be strong enough. And that's really important in both communicating and advertising and providing information, and all of the things that we do as voice people. We are communicators first and foremost, always.” -- Dan Friedman

This episode's guest has been in the voiceover industry for nearly two decades, voicing projects for Crowne Plaza Hotels, Hulu Plus, Walmart, Hardees, Aetna, and many more, and a professional audio engineer for twenty-five years.  He's produced, directed, and provided his voice to thousands of audio productions, and in 2010 he published a book called Sound Advice: Voiceover From an Audio Engineer’s Perspective. A first of its kind in the industry, the book covers audio engineering and studio session etiquette as it relates directly to voiceover talent.

He continues to write a popular blog on his website, Sound4VO.com, and he's a well-known voiceover coach, teacher, and home studio consultant., as well as a certified coach in the Roger Love Voice Method. His name is Dan Friedman, and I'm looking forward to sharing his perspective on how we can learn to better communicate. He's seen it all, from both sides of the glass, so I know he has lots of golden nuggets to share.

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.

Hearing and Getting It

We start things off with a look at Dan's earliest memories of sound. He tells us about the first song he ever fell in love with and the chills that Mary Clayton's voice in "Gimme Shelter" still gives him. He recalls his early career, and how a surprise job opportunity as an audio engineer inspired him to pursue a deeper understanding of the science of sound.  "Here I was," he says, "working for these big acts at times, and just thinking 'I get it, but I don't get it. I can hear it, but I don't get it."

An Emotional Connection

Dan tells us about his experience becoming a certified Roger Love Voice Method coach, how he discovered an unexpected talent for singing, and the further insight it gave him into the different elements of voiceover and voice performance. “All of these things,” he explains, “are interesting nuances that I can add to my repertoire of coaching and direction, and that’s just really been transformational.” But the most important aspect of voiceover is something less tangible: “To be successful,” Dan says, “you have to have an emotional connection in some way.”

We Are Communicators

We continue as Dan elaborates on the emotional core and personal connection that voice can provide between the speaker and listener. He explains how a voice coach can help with forging that connection, and talks about some of the mistakes that even highly trained professional voiceover artists can make. As he puts it, "people don't hear their own voices that way. So when you work with a coach, when you work with a director, they're able to steer all this so that it's a cohesive package."

All the Pieces

“Tap into who your consumer is, really know. And I don't mean like ‘males 25-34 years old who live in cities.’ No, it's like ‘what's important to this person, where do they spend their time,’ you know, those kinds of things, really thinking about who that person is and then what your company's role, what your brand's role, plays in their lives. And then, just naturally, you know how music can kind of work in there, and I think from there you'll start to see some natural potential opportunities. And if you brainstorm that internally with your colleagues, I think some things will just shake themselves out.” -- Sam Parvin

This episode's the second part of my interview with music supervisor and branding expert Sam Parvin as we talk about how different branding perspectives can lead to very different licensing strategies, Sam’s three best practice steps when it comes to music branding, and how a more fluid and mobile audio landscape is creating both new challenges and opportunities for musical marketing.

As always, if you have any questions for my guest, you’re welcome to reach out through the links in these 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.

What Your Music Means

We begin the second half of the interview with a look back at some of Pepsi and Coke's most famous advertising campaigns, and how their distinct marketing strategies and approaches to branding led to very different choices when it came to licensing music. "They're using music in different ways," she explains, "because of what their brand DNA is as well as the campaigns that they're working on at different times." She tells us how a famous song isn't always the best marketing choice and shares a success story that came from adapting a licensed composition to meet her client's needs.

A Living, Breathing Vessel

“Your brand is a living, breathing vessel,” Sam tells us, “and so too is your music strategy.” Music, she explains, has a more dynamic, versatile quality than more visual forms of marketing, and how there’s a much more diverse range of music and audio inspiration available out there than many companies have considered. “They're getting their music choices either from Spotify or production libraries,” she says. “But there is an entire world of amazing music in between those two.” We talk about her three best practice tips when it comes to audio branding, from finding your company’s musical point of view to making sure that you have somebody overseeing your musical brand from start to finish.

The Democratization of Music

We wrap up the interview with a look at what she calls the democratization of music, and how everything from Spotify playlists to innovations in augmented reality are changing the role music and musical branding plays in our lives. As she puts it, "brands' biggest challenge now is being flexible and being able to move quickly, because the whole world is moving quickly." We talk about the deepening connection between musical branding, marketing, and culture, and how they're only becoming more interconnected over time. "They're the ones who are telling us what's okay in the world and what's acceptable in the world," Sam notes. "It's a great responsibility that we have as marketers."

Episode Summary

• Marketing strategies and meeting a wide variety of musical needs
• The dynamic quality of music and its cultural...

“Social media, if you want to be on all of the places, it’s a best practice to have your voice be represented in those places. But, also, the content is representative for that place. People go to Instagram with an expectation, they go to YouTube with an expectation, they open up your audio podcast with an expectation of a more immersive experience. So there’s different ways and there’s different ways that you need to be putting your information in the post. And so you can’t just take something that somebody gives you and just, that’s the same content that goes into TikTok, into Instagram, into YouTube.” -- Chris Stone

This episode’s the second half of my Clubhouse chat with Livestream Universe founder Ross Brand, Cast Ahead’s Chief Content Entrepreneur Chris Stone, Favorite Daughter Media president Sara Lohse, and Red Hat Media CEO Larry Roberts, as we talk about the future of social media content creation, the most useful AI tools currently available, and whether AI can help save a marriage.

 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 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 what the newest audio chats will be about. If you’re getting some value from listening, the best ways to show your support are to share this podcast with a friend and leave an honest review. Both those things really help – and I’d love to feature your review on future podcasts.

(0:00:01) - AI Content Creation and Personalization

As the second half of our chat begins, the panelists share some of their less-than-ideal experiences with trying to coax ChatGPT into an authentic writing style. “I have never in my life said the word delve,” Sara recalls, “but ChatGPT wants me to ‘delve’ into every topic.” We also take a question from John, who shares his experience with running a 100% AI podcast from start to finish, and Larry talks about his experience writing a hybrid-AI book and the process of crafting each chapter. “I think the exercise you’re going through,” Larry says, “is what we as content creators need to do so that we understand these tools and we understand how these tools can complement what we’re doing.”

(0:08:36) - Maximizing AI in Content Creation

Chris adds his thoughts on the importance of human oversight when it comes to AI, and we discuss whether AI could eventually render human creativity obsolete. “I think everyone pretty much agrees here that using AI is something that we need to do,” Chris explains, “and I look at it more of like assistive intelligence or administrative intelligence.” We talk about the clerical work AI can handle for us while retaining our authentic voices. “I think everybody here,” Ross says, “and, and pretty much anybody who’s competitive in this space, their biggest competitive advantage is themselves.”

(0:20:01) - Content Creation Tools and Strategies

As our talk comes to a close, Chris shares how AI can help us keep up with and customize our content across a range of social media platforms. “People go to Instagram with an expectation,” he explains. “They go to YouTube with an expectation. They open up your audio podcast with an expectation of a more immersive experience.” Finally, we take a question from a listener about the best AI tools currently available, and we ponder whether AI can even improve a marriage. “It can definitely help you write poems and happy anniversary sonnets,” Larry says, “and, I mean, it can make you sound and feel like you...

“The way that advertising agencies, for example, are structured now is still based on the Mad Men era where only billboards and print existed. So we have an art director and a copywriter on every project, but we don't have a sound person, we don't have a sound director. And so much of the way that we interact with the world, or 'consume' content, is through audio. I think it's just about thinking about us as humans, and how we intake information and interact with external things in our world, and audio is just always there.” -- Sam Parvin

This episode's guest specializes in helping senior-level brand marketers use and strategically execute music to create a stronger brand that also creates value for their consumers. She's a globally-awarded music supervisor for brands like Coca-Cola, Maker's Mark, Corona, and GMC, and she's passionate about sharing her very specialized expertise in navigating the music licensing space to help people inspire the world with their marketing communications.

Her name is Sam Parvin, and if you’ve been wondering how you can use music to enhance what your brand offers to the world, this is going to be a discussion you'll definitely want to hear.

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.

Music Has Been My Path

The interview starts with a look back at the way sound shaped Sam’s earliest memories from the soothing lull of watching televised golf with her grandfather to the Bonnie Raitt concerts and her first job handing out band flyers in Atlanta. She remembers studying the business of art in college and how it connected her back to the music industry. “I didn't realize I was the person who always knew what I wanted to do,” Sam tells us, “but in retrospect, music has always been my path.”

Making an Impact

“My clients typically come to me and say ‘we've got this new project, here's what we're trying to achieve with it, we know we need music: help.’” Sam goes on to talk about how her early career led to a deeper appreciation for working directly with her clients and helping to perfect the audio identity for each one’s particular brand. “I saw an opportunity,” she recalls, “for brands to mainly structure the way that they handled music differently, to be more effective and also efficient.”

Emotional Beings

We go on to talk about the importance of sound and how deeply it influences people and emotionally connects us with them in ways that go beyond the marketing lingo. Sam tells us about the importance of knowing what the brand means to the world, and how she works with her clients to make sure that the right music is licensed, adapted, or even composed from scratch to fit their marketing needs and connect with their audience. “The people who are in charge of or own who the brand is for the world,” she tells us, “…should also be clear on what that looks like from a music and audio perspective.”

Audio is Always There

As the first half of our interview ends, Sam talks about how brands have their own personalities and, even without a jingle or slogan, sound plays a vital role in expressing that identity. We discuss the tools she uses to find a brand’s personality, from workshops and interviews to a worksheet you can download by following the link below.  “Audio is always...

“Through our research, we also found that anything beyond four notes, if we were to create a pattern that had more than four notes in it, that it started to sound too much like a jingle and just out of place for an automobile. Automobiles really just had single-tone dings, and so we knew we couldn't stray too far from that, or we would start sounding too much like a cell phone or something out of context." -- Sean Beeson

This episode continues my interview with Jon Brennan and Sean Beeson, formerly of Sonic Signatures.

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.

Keeping Your Brand Current

We begin the second half of the interview with a look at what might happen when a product or company changes, and how an existing audio brand can be impacted by something as simple as a new speaker design.  “The more specific you're intentionally creating audio for something,” Sean explains, “the more often you have to go back and fix things when something changes.” Jon tells us about the detailed audio guidelines that Sonic Signatures uses to help guide their clients through such changes and offers an important tip about making sure that your sonic branding is up-to-date.

A Human Touch

The episode continues with a firsthand look at the work Jon and Sean have done for such clients as Union Home Mortgage and KeepTruckin. We start with Union Home Mortgage’s sonic logo, how it combines technological innovation with a warm, human touch to reflect the company’s brand, and the process used to create its distinctive sound. As Sean puts it, “we continued to make the harmonics richer by layering sounds that really only serve to... add to the overall richness and brilliance.”

Listening on the Road

We then listen to samples of the audio interface Sonic Signatures designed for KeepTruckin's vehicle monitoring devices and discuss how they met the challenge of creating distinctive sounds based on chimes and mid-range tones that the fleet drivers would recognize right away without becoming distracted or irritated. “We kept having the sounds get closer and closer to the sound of a car,” Sean says, “because that's what the drivers are trained to hear.” We talk about the research that goes into such an innovative audio interface, and wrap things up with a peek at their upcoming projects.

Episode Summary

• How business and product changes can affect an audio brand
• Sonic branding and conveying the essence of a business through sound
• Vehicle interfaces and creating a safer, more pleasant user experience
• Upcoming audio projects and how to get in touch with Sonic Signatures

Connect with the Guests

Website: www.sonicsignatures.io

Follow Sonic Signatures on Facebook: https://www.facebook.com/sonicsignatures

Connect with Jon Brennan on LinkedIn: https://www.linkedin.com/in/jonbrennan/

Connect with Sean Beeson on LinkedIn:

“I think that the future of audio is one that's customized, personalized, interactive, intelligent and dynamic, you know, instead of always treating audio as on and off, we need to treat it in a way that's delivered to each person as a unique experience.” -- Sean Beeson

This episode features a rare two-for-one interview with a powerful sonic duo, Jon Brennan and Sean Beeson, formerly of Sonic Signatures. Jon Brennan's a music composer and sound designer with twenty years of experience creating sound for iconic brands and multimedia platforms. With the rise of voice, podcasts, and streaming, he founded Sonic Signatures to enable brands to effectively use branded audio across every campaign and platform. He's created audio logos, original music, and sound design for leading brands including Amazon Alexa, Tide, Southwest Airlines, IBM Security, Mercy Health, Union Home Mortgage, and KeepTruckin. His film scores include internationally distributed feature films and documentaries, and he has an MFA in Music Composition for the Screen from Columbia College Chicago. Very recently, he decided to work with Sixième Son in the US.

Sean Beeson is a composer and sound designer who's worked on hundreds of scores for video games, ads, trailers, and podcasts for clients like Google, Disney, McDonald's, Taco Bell, State Farm, Wizards of the Coast, Neoglyphic, and Sony. He helped develop the sonic identity of Google's Pixel phone, Pixel Buds 2, and Google's Home and Max speakers. He's contributed to three Emmy award-winning projects and has been nominated for multiple Game Audio Network Guild Awards. He's now doing independent music and sound design work.

If you want to understand why audio is so important to your brand, Jon and Sean have a thing or two to tell you about that.

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.

The Essence of a Project

We start off with a look at the early influences that shaped Jon and Sean's interest in sound. Jon tells us how his older brother's Depeche Mode album sparked a lifelong career in music, while Sean recalls his very first encounter with audio branding when he played Sega video games as a child.  The topic turns to the versatility of sonic branding in everything from mobile games to casino slot machines. The goal, as Sean explains it is, is "to boil down the essence of a project or product or brand to what really makes it unique and what really helps make it relate to the consumer or the user of that product."

Supporting the Brand

The interview continues with the story of how Sean and Jon met at a gaming conference, and how their combined experience in commercial music and interactive audio gave them a unique perspective when it comes to audio branding and marketing."We feel that we can best help a company through our one-on-one relationship," Jon says, "and it's through that personalization that we can come up with the most custom and creative results that are the most effective in the long run."

Everything is Interactive

Next, we talk about audio branding, what it means to them, and how video games in particular have always been ahead of the curve when it comes to dynamic audio and using sound to continually shape the listener's experience. Jon sees interactive audio, guided by machine learning, playing a more vital...

“Yes, bring in new voices. Yes, you know, do it, go for it. But if it doesn't work with the first diverse voice – non-whites, I'm talking about non-whites now – that doesn't mean it's a failure. You know, keep going, keep working on it, these are systemic problems that have been in place almost since the beginning of audio, and so it's going to take time to what I call undo the bias.” -- LaTonya J. Pegues

This week is the second half of my interview with inclusion expert, executive coach, and unconscious bias trainer LaTonya J. Pegeus as we talk about the importance of positive representation, the effort of diversifying the workplace, and her firsthand struggles with bias as a business owner.

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.

What Makes You Uncomfortable

The second half begins with a look at ways to overcome unconscious biases, such as listening to the concerns of diverse speakers and identifying the real source of our discomfort, and we talk about how positive representation in such movies as Black Panther is helping to change longstanding assumptions in Hollywood. "They could have had British accents," she says, "but they chose to go with the authentic region of that continent, and boy did that resonate with the rest of the world."

Expected to Win

“Those things that are well-funded,” LaTonya notes as we talk about the challenge of fostering workplace diversity and supporting diversity directors and departments, "are those things that are expected to win” We discuss how many companies have tried, and too often failed, to challenge the longstanding biases within their corporate culture. “I think,” she observes, “that's because they weren't supportive. They were just a box to check and the company did not take it seriously.”

Recognizing Our Bias

We conclude the interview with a look at LaTonya’s upcoming book Unconscious Bias Revealed: How to Recognize and Undo Bias, and her work as a voiceover artist in commercials and on the radio. LaTonya also shares with us some of the personal challenges that she’s faced as an African-American woman in the business world. “There've been countless times that I have not had opportunities to provide services, even as a business owner, you know, for clients, for whatever reason.”

Episode Summary

• How to recognize and overcome our unconscious biases
• The way movies and media are challenging old assumptions
• Supporting diversity departments and a more inclusive workspace
• LaTonya’s upcoming projects and experience with bias

Connect with LaTonya:

Website: www.theUBtrainer.com

Follow LaTonya J. Pegues on Facebook: https://www.facebook.com/theUBtrainer

Connect with LaTonya J. Pegues on LinkedIn: https://www.linkedin.com/in/latonya-j-pegues-unconscious-bias-trainer-2321622/

Follow LaTonya J. Pegues on Twitter:

“The ability to share information and to help other people have opportunities to provide their voice, if you will, to a read can make such a huge difference in what happens and how the audience receives it and how even the customer or the client receives what's being read.” -- LaTonya J. Pegues

For years LaTonya J. Pegues has been known as a person who can provide simple explanations for complex concepts and ideas.  With a background in the performing arts, not to mention having worked as a low-temperature physicist and satellite engineer, LaTonya is a skillful trainer who applies her knowledge and experience in facilitating and guiding clientele towards realizing, meeting, and exceeding their goals and objectives. We're going to speak particularly about how to overcome unconscious bias in audio: where it's showing up for people and how it can be overcome.

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.

What We’re Picking Up

The episode begins as LaTonya recalls her first memories of sound: the voices of her parents and the joy their excitement brought her as a child. We talk about where our unconscious biases come from, and how pervasive a part of the world they can be, particularly when it comes to audio. "It's because of these social stereotypes that we get just from the air in some instances," she explains, "what's traveling through the air, what we are picking up, and what our brains keeping."

When Bias Gets in the Way

We take a look at the reasons we hold onto our biases, and how the thought process behind them isn't always a bad thing. It's when a bias is based on misinformation, LaTonya tells us, or a perspective that's too limited, or by our own relationships, that it can keep us from seeing the world as it truly is.  "Sometimes we have these tendencies to just want to hear from certain folks," she says, "for whatever reason, and not hear from others, and that also can cause unconscious bias."

Beyond the Comfort Zone

The conversation continues with LaTonya's thoughts about how unconscious biases are reflected in the world around us, and how they limit our opportunities as well as the authenticity of the movies and pop culture we take for granted. We discuss the lost art of brainstorming, and how helpful going outside your comfort zone to seek out new perspectives and experiences can be. "My experience has been that every time that there's a brainstorming session, we're better off at the end than we were at the beginning because we've all come together and we've shared our ideas."

Popping the Bias Bubble

LaTonya tells us about what she calls "bias bubbles," the news and social media filters that surround us and often just reinforce our own opinions. She recommends seeking out other points of view, even just spending five minutes apiece on each news network instead of just our favorites, and occasionally shaking up our comfortable habits. "Listen to different music," she tells us, "go to different venues and try different foods. My goodness, go across the railroad tracks and try a different part of town." As she puts it, "when you're in a position to actually do something to make a change, do it!"

Episode Summary

• LaTonya’s childhood memory of...

“You set the tone for your podcast by how you sound and how you interact with the audience. So there are a lot of elements to it, you know, obviously preparation and planning and practice, all those things." -- Dan Friedman

This week continues our Clubhouse discussion as voiceover artist and sound engineer Dan Friedman answers questions about voice training, keeping listeners engaged, and overcoming stage fright.

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 Audio-Driven World

We continue the Clubhouse chat by talking about how subtle changes to pitch and tone can change a listener’s impression of your voice, and the challenges and successes that artists coming from different audio industries, such as radio and lecturing, can find in voiceover work. “Because we are in such an audio-driven world now,” Dan says, “it is really important that if, especially if you're running a podcast and you want more listeners, or you want listeners to stick with you, you have to be compelling enough that they are going to want to continue to listen and to tune in every week.”

Getting Out of a Rut

Dan warns us about some of the traps of voice rehearsal, how easy it can be to get stuck in a loop of negative self-criticism when listening to your own voice, and some creative ways to break out of that vicious circle. "One of the most fun and extreme things to just really get out of your rut," he suggests, "if you realize you're in a rut, is to do your script as a cartoon character." He explains that once you've done so and then immediately switch back to your regular voice, you'll probably find that the performance feels fresh again and you can jump back into it with a different energy.

They Want to Hear You

“If you think about it,” Dan says, “communication is a connection between somebody making sound and somebody listening to sound, and if you're trying to make sound and spread that connection out to a hundred people, that connection's going to be pretty weak.” We wrap the Clubhouse chat up with a look at the challenges of public speaking and different strategies for overcoming stage fright, such as imagining an individual that you’re speaking to or even focusing on one person in the audience rather than trying to talk to everyone at once. “Most of the time when you are up there speaking to a roomful of people,” he assures us, “those people are there because they want to hear you.”

Episode Summary

• How inflection can change the impression you make
• Keeping your listeners engaged
• Tips for breaking out of a voice performance rut
• Public speaking and overcoming stage fright

Connect with Dan:

Website: https://sound4vo.com/

Connect with Dan Friedman on LinkedIn: https://www.linkedin.com/in/danfriedmanvo

Follow Dan Friedman on Facebook: https://www.facebook.com/Sound4VO/

Follow Dan Friedman on Twitter:

“When we're talking about audio-only formats, it's especially important that you capture your audience using your voice and it should be impactful so that they tune in and want to continue listening. It only takes seven seconds for somebody to decide they want to change the station, whether that be a song they like or don't like or something that they're hearing that they're not liking." - Dan Friedman

Using your voice to communicate isn't as easy as it sounds. So what do you do if you feel your voice is letting you down? Would you like some personal techniques to help you improve how you sound and your confidence in speaking? Then this is the right podcast for you. I recorded an excellent Clubhouse discussion with Dan Friedman, an expert in the field of public speaking who's certified in the Roger Love Voice Method. Those of us in the voice-over industry already know Dan as an accomplished audio engineer, but he's also a singer, voice actor, and voice coach, and I'll be having a more in-depth interview with him a little later on. So settle back and let yourself be a fly on the wall as we discuss the power of using your voice for more effective communication.

A few things to note. First, I was hearing and answering people a little ahead of when the audio was being recorded. That's why my occasional comments are slightly out of sync: it didn't sound that way at the time. And, just so you know, everyone in the room was aware that it was being recorded and would be released in a future podcast episode. To those who raised their hands to participate in the conversation: thank you. When you asked for advice, you helped everyone understand the issues better. So well done! I'll have more of these types of discussions in the future – they're on Wednesdays at 2 PM Eastern Time – so keep a lookout for the schedule of upcoming events in the Clubhouse club, The Power of Sound.

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.

The Sound of Your Voice

We begin the chat with a talk about ways to build confidence in our speaking, and how awkward just hearing our own voice can be at first. “The lack of confidence,” Dan explains, “usually comes from people hearing their recorded voice for the first time and not really realizing how they actually sound.” He suggests ways of breaking out of a monotone, such as singing just a little, and listening carefully to the natural rhythm of your voice so you’ll know how to change things up. “Everybody needs to be able to communicate effectively these days,” he says, “especially through audio only.”

Going Over the Top

“Voiceover,” Dan tells us, “is really kind of you at your very best in whatever emotion you're in.” We discuss the value of tone and pitch, and how well a monotone voice can work (or NOT work) without visual cues. Dan notes that in audio directing, emotions are often a little over the top, and he answers questions about improving your voice, becoming comfortable with it, and the trick to understanding how you’re being perceived by your listener. “Getting to like the sound of your voice really does take time.”

Imagine You’re a Balloon

Dan takes a question from Lisa about the importance of matching your listener’s tone, and tips on how to avoid the glottal stop that many of us have when it comes to vowel...

It's been over two years since the pandemic started, and for many of us, our daily lives have changed in ways we hardly imagined when this decade began. More and more of us are working from home these days, and we're staying at home even when we aren't working. We're more isolated than we used to be, and dealing with a lot more stress and uncertainty. Finding time to take care of our mental health can be a challenge, but it's just as important as ever – and sound has come to play a vital part in that effort, from guided meditation and affirmations to binaural beats and ASMR videos.

Two of the most popular and successful forms of sonic therapy are mindful meditation and positive affirmations, and they’ve both come a long way over just the past few years. Mindfulness is the art of being precisely in the moment, without worrying about the past or thinking about the future, or being distracted by anything at all. Completely clearing our thoughts can be tricky, and that’s where guided meditation, which uses sound and music to help lead the way, can help.

Studies have shown that the health benefits range from lowering stress and improving our mental well-being to bolstering the immune system and reducing inflammation. Although its roots are thousands of years old, the modern practice of mindful meditation has evolved into high-tech pods and meditation apps you can download for your smartwatch. Some of them can get a little pricey, but if you’re just starting out and want to give it a try, you can find a link to UCLA’s free Mindful app, and a separate list of guided meditation tracks that you can download, on my blog.

https://www.uclahealth.org/marc/mindful-meditations

Positive affirmations are another way to help change our mindset, to bolster our self-esteem and sense of optimism. Psychology and even MRI studies have found that they have a positive effect on our behavior and sense of wellness, although they also found that, for people with low self-esteem, affirmations in the future tense work better than the present. So if you find that starting a sentence with “I am” just doesn’t feel right, try saying “I will” instead. I’ve also included a YouTube link on my blog to a morning affirmation video presented by voice artist Prachi Chaube (Prah-chee Chau-bay).

https://www.youtube.com/watch?v=WzqFQ9J7YXQ

Binaural beats are a much more recent discovery when it comes to audio therapy, one that’s still being researched. The idea behind them, though, is fascinating. If you take a pair of headphones and play a sound through them with a slightly different frequency for each ear, your brain blends them together into a new sound that’s the difference between them. So, for example, if the left earphone plays a 300-hertz tone and the right earphone plays a 280-hertz tone, we perceive it as a 20-hertz tone. That’s almost too low for us to hear, but our brains still process it, and different frequencies might resonate with our own neural oscillations to trigger different states of awareness.

Listening to that 20-hertz tone, for instance, could cause the brain to enter a beta wave pattern, which can help us feel more awake and alert. A lower binaural beat, such as a 2-hertz tone, might lead to a delta wave pattern, the deepest stage of sleep. Do binaural beats really work? The scientific verdict's still out, but the good news is that studies have shown there's no harm to listening to them, so long as you don't turn the volume up too loud. If you want to try it out for yourself, I've included a video link on my blog. Just make sure you're wearing headphones, or the effect won't work.

https://www.youtube.com/watch?v=9TD9SM-5XSk

One of the most recent developments in sound therapy and mental wellness is ASMR: it first emerged as an online phenomenon around 2007 and has become immensely...

“Ultimately, what happens with Spotify and Apple and YouTube or any of the other platforms out there, the majors are going to set the precedent on what the licensing deals look like. That's eventually going to trickle down to the independent artists to where they just they don't get a great deal, I mean, they're never going to really see substantial money, even if they're doing millions of streams.” -- Mac McIntosh

This week is the second half of my interview with music supervisor and film producer Mac McIntosh. We talk about how social media is changing the licensing landscape, what's truly involved in building the right soundtrack, and which musical genre he’s hoping might make a cinematic comeback thanks to shows like Stranger Things.

Creative Conversations

We start the second half of the show with a closer look at his team, which includes musicians and Foley artists, and some of the series they’ve worked on. “Creatively, I had to do a lot of things that weren’t traditional to the music clearance space,” Mac explains as we look back at one project. “A lot of creative conversations had to take place to make certain things happen, and to prevent certain things from happening as well, from a licensing standpoint.”

Living by the Single

Mac talks about some of the soundtrack trends he’s seen in movies since the turn of the millennium, and how he’d like to see rock music make a Hollywood comeback. We move on to a look at how social media has made things both easier and more challenging for indie artists, and how video games and streaming shows are creating new opportunities for exposure and fame. “They realize that you live and die by the single these days,” he notes. “Artists are at the point where they're basically hustling on a daily basis, trying to figure out how to maintain their careers, while at the same time most of them have to have a full-time job to go along with that.”

Owning Your Music

We wrap things up with a growing industry trend that he advises clients looking to add a musician to their project to follow. “It's better to do a made-for-hire or paid-for-hire deal with an artist,” Mac says, “where you pay them directly to create an original piece of music for you... versus licensing something that you're not sure is a good deal or not.” He points out the advantages of owning your own audio assets, such as greater stability and potential revenue, and we discuss some of the different licensing options available and which ones might best fit a given project.

Episode Summary

• Mac's Musiclerk team and how a soundtrack is cleared.
• How social media companies have changed online marketing
• Video games, streaming shows, and the music hustle culture
• Licensing options and how to contact Mac McIntosh

Connect with Mac:

Website: https://www.musiclerk.com

LinkedIn: https://www.linkedin.com/in/mac-mcintosh-717190126/

Follow Musiclerk on Twitter: https://twitter.com/musiclerk

Get his Studio Numbers Chart Workbook: https://www.amazon.com/dp/B09SGNZ59L?ref_=pe_3052080_397514860

Connect with the Audio Branding Podcast:

Book your project with Voice Overs and Vocals

“Because a lot of podcasting was audio-only people thought, well, it's like radio, all you need is, you know, a performance license. And that's not true. It's exactly like that, and that we've all learned, you know, in time, it's kind of developed to the point where you have to sync music from a licensing perspective with podcasts the same as you do film or television. So, you know, helping people navigate that, that was one of my big goals.” -- Mac McIntosh

This episode's guest is a music supervisor and film producer based in Dallas, Texas, who's spent over twenty years in the entertainment industry, with additional experience in music clearance, music licensing, film distribution, and more. He's the founder of Musiclerk.com, a music and audio agency that provides music supervision, music clearance, post audio editing, sound design, and music composition for their film, television, podcast, and video clients. He also has experience helping filmmakers and production companies secure distribution for their projects.

His name is Mac McIntosh, and in this interview, we'll be taking a deep dive into the world of music and how important it can be to the shape of a project. Mac's perspective will offer a golden opportunity to learn more about the inner workings of this fascinating field, and how it might come into play with your own content creation.

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.

The Cadence of Cinema

We start the interview with a look at Mac's audio influences while growing up, from the rhythm of He-Man's catchphrases to the cadence of cinematic audio. “The music played a big part of it too from a dynamic standpoint for me,” he explains as he recalls how movie soundtracks helped inspire his love of music. “I think that was something I really grabbed onto at an early age,” he says, “and realized that it does affect in ways you don't even realize.”

The Willingness to Not Give Up

Mac goes on to recount how his early career as a musician led him to become a producer and music supervisor. “Growing up in Nashville and being a guitar player,” he says, “you quickly realize there are... at least a thousand other guitar players that are either better or a lot better than you are.” We talk about his first music industry blog and the young artists he met whose talent and perseverance inspired him. “I think just determination and just the willingness to not give up are the biggest things, especially for some of the artists that I interviewed at that time.”

Overcoming the Algorithms

We go on to talk about the early days of social media, the new kinds of success and exposure the internet brought to independent artists, and whether today’s older, more structured online culture can still support that sort of breakthrough success. “Because the algorithms had not reached a level,” he tells us, “that everything was, you know, kind of suppressed and you had to spend money in order for it to be seen like it is nowadays, it was very organic and real.”

Helping People Navigate

Next, we look back at how Musiclerk began, as Mac realized that both musicians and industry professionals need someone who can guide them through the complicated process of music clearance and licensing. “What a lot of directors and producers...

“People either have a vision of a Utopian wonderland out there, that we’re going to create all this amazing stuff with AI, or, on the flip side, everybody thinks it’s going to be a dystopian wasteland when we start using AI, and everybody’s going to be out of work, and the robots are going to take over... And it’s very difficult to find anybody that has that middle ground. But it’s conversations like we’re having here that’s going to allow us to establish that middle ground. And as we continue to educate the public, and as we continue to expose these tools and teach people how to use these tools and let them know the limitations of these tools as they exist today, I think more and more people are going to become more and more comfortable with the integration of AI as tools and not replacements.” -- Larry Roberts

Some discussions lend themselves to more than one perspective. That’s definitely the case with sound in social media, and recently I had a Clubhouse room full of experts with a lot to say about it. They are Ross Brand, founder of Livestream Universe and author of the 100 Livestreaming & Digital Media Predictions series; Chris Stone, Chief Content Entrepreneur at Cast Ahead; Sara Lohse, President of Favorite Daughter Media and author of Open This Book: The Art of Storytelling for Aspiring Thought Leaders; and Larry Roberts, CEO of Red Hat Media and co-host of the Branded Podcast. Our round-table discussion covered a lot of information on sound in social media, as you would expect, but we also delved into how AI is shaping that landscape, for better and worse. It made for a fascinating and fun discussion, and I’m glad to be able to share it with you now.

 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 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 what the newest audio chats will be about. If you’re getting some value from listening, the best ways to show your support are to share this podcast with a friend and leave an honest review. Both those things really help – and I’d love to feature your review on future podcasts.

(0:00:00) - Sound in Social Media

Our Clubhouse chat starts with introductions from each of our four panelists, and we focus on social media and the role sound plays in getting your message out. “Social media is interesting,” Ross says, “because sometimes you have to change it up as well, which kind of goes against some of the rules of sonic branding.” Chris tells us the simple secret to incorporating video in your audio brand, and Larry and Sara share their thoughts about machine learning and how important it is to keep pace with the growth of AI. “If we’re not aware and we don’t start making the adjustments we need to make this early in the game,” Larry notes, “we’re going to wake up in 12 months and go ‘oh my gosh.’"

(0:14:48) - AI in Audio Production Debate

Ross discusses the AI tools he uses in his studio, and Sara outlines the difference between using AI to improve content versus creating it. “What I don’t necessarily do,” she explains, “is use AI to the degree that some people do for content creation. I’ll do it for ideas, but kind of like what was said before, it’s still about those genuine stories.” We discuss the role that human stories and perspectives play in guiding AI content and the challenge of “AI proofing” the next generation. “I stress, with the people that I work with and myself,” Chris tells us, “to be excellent... at what...

“Doing audio branding very often has similarities to coaching. It's always a change management process and it's also iterative, so it's almost repeating the same procedures a couple of times until you get closer and closer to something that everybody agrees is ‘okay, that's the goal.’ And by the way, goals are the most important thing. If it's not clear where you want to go, what you need, and why you are doing this, if you just follow the next hype and say we need a sound logo just like our competitor, then you’re lost, then you're just wasting time and money.” -- Cornelius Ringe

This week continues our Clubhouse discussion as Lauri Domnick, Jeanna Isham, Steve Keller, Shez Merha, Jack Monson, and Cornelius Ringe lead a variety of questions and comments.

A Trustworthy Sound

The second half begins as our panel reveals what questions they ask clients to learn who they are from an audio perspective. Jeanna tells us about her work with REI and how she used natural sounds to focus their outdoor branding, while Lauri discusses the challenge of turning more abstract concepts like trustworthiness into something we can hear and recognize. Shez focuses on better aligning the audio to the company's brand, and Jack switches things around with a simple question that can have surprisingly candid and helpful answers: "if you and I were going to take a road trip," he asks clients, "what three artists would you want to have?"

The Voice of the Brand

Steve takes a different, more psychological approach to learning more about a client's potential sonic profile, one that sparks a discussion about the archetypes of sound, what the brand might be like if it were a person. "If the brand were to talk to you," he asks, "what would the brand's voice sound like? Is it male, is it female, is it neither of those? If the brand was going to give you a playlist, what would be on their Pandora playlist?"

The Soundtrack of Your Life

Cornelius offers a thought-provoking reply as he talks instead about focusing on the language of sound, a language that's often unfamiliar to his clients, and helping them find the right words to consider the question and develop their own answers. Alex joins in to note that clients don't always have a good answer, particularly in the business world where opinions and priorities can clash; as Steve puts it, "the work is fraught with the need for diplomacy." Cheryl, a podcaster and voice talent, takes the stage with a question she always likes to ask: if there was a soundtrack to your life, what would be on it and why? The answers, she notes, are often surprising, and always revealing.

Episode Summary

• Looking at company brands from an audio perspective
• Considering brands and sounds as archetypes
• Learning the language of both sound and business
• Listening to the soundtrack of your life

Connect with the Audio Branding Podcast:

Book your project with Voice Overs and Vocals https://voiceoversandvocals.com

Tweet with me on Twitter - https://twitter.com/JodiKrangle

Watch the Audio Branding Podcast on YouTube - https://www.youtube.com/c/JodiKrangleVO

Connect with me on

“So it's really no surprise that, you know, it's back in the driver's seat now, when everyone is really fighting and yearning for how to capture attention, even a little bit of attention, from an exhausted and overwhelmed and overstimulated population base globally. So I think it applies itself to media, to what you're eating, in a restaurant experience, a shopping experience, really across the entire 360, or integrated marketing, if you want to speak like a marketer, that whole kind of overarching back row strategy from everywhere your brand is going to live. There are likely ways to embed audio into those instances in a meaningful way without adding more 'noise' to the world.” -- Shez Mehra

For those of you who don't 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, and, of course, audio branding.  We also cover things like Voice AI, Sound in Social Media, and even Audio NFTs. This particular recording, made with the permission of everyone who participated, is from a Clubhouse room called The Power of Audio Branding in my Power of Sound club.  We had a number of stellar panelists, including Jeanna Isham, Shez Merha, Cornelius Ringe and Steve Keller, all of whom have also been guests on this podcast with episodes all their own. Lauri Domnick, from Bauer Media in Finland, and Jack Monson, from Social Geek Radio, also joined us.

The audio is presented as it was heard in the moment, so it won't be perfect, and there's a bit of a lag, so sometimes it might sound like people are taking a while to respond while other times it sounds like I'm talking over them. That isn't how it sounded at the time, and hopefully won't be too distracting for you as you listen. But this discussion should give you a good look at the fascinating world of audio branding from many different perspectives, and at why it's a topic and discipline that's becoming more important all the time. I also want to thank everyone that came up on stage to join in, ask questions, and make comments. Your participation made this discussion even better. The lesson is clear: if you aren't paying attention to the sound of your brand, you'll ultimately be missing out.

If you have any questions for the panelists, you’re welcome to reach out through the links in these 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.

What is Audio Branding?

We start off the discussion with a look at just what audio branding means for each of our panelists, and what makes it such a powerful marketing tool. Jeanna explains the subtle difference between audio and sonic branding while Lauri talks about its potential for stirring our deepest memories and feelings. Jack joins the conversation and agrees about the power of audio impressions. “There's something more magical about audio memories stimulating something from the back of your mind, from earlier in life, childhood, whatever, there's something more powerful about audio than anything visual.”

Filling the Gaps

Shez joins the group and talks about the insights his career as a DJ and musician have given him about the power of sound and how often it's neglected in the business world. “It could be a song,” as he puts it, “it could be your mother's voice, it could be the narrator from a show that you grew up on. There are so many ways in which we as human beings just...

Have you ever thought about how quiet the world of television and movies can be? If two characters are eating at a restaurant or working in an office, we don't have to worry about trying to hear them over the sound of clinking glasses or crinkling paper, or anyone else who might be making too much noise in the background. Cinematic sound tells us just as much of the story as the images, and unless they're part of the story, footsteps and rustling clothes aren't usually something we want to hear coming from the speakers.

Movies are filmed in the same noisy, unpredictable world we all live in, though, and life doesn't come with a mute button, though it'd be nice if it did. So how do they do it? The right microphone, soundproofing, and studio environment all go a long way, of course, and a talented sound editor, such as my own editor Humberto Franco, can work wonders in post-production. But there's only so much that can be cleaned up or kept away from the microphone: everything we do makes some kind of sound. That’s why prop masters also use something called "silent props," or "noiseless props," to take the everyday noise that we can't get rid of completely and turn it into a different, more soothing kind of sound.

One prop master whose TikTok videos earlier this year helped bring the idea of silent props to the public eye is Scott Reeder, who’s been working in Hollywood for over three decades. For recording a conversation during a game of pool in the show Friday Night Lights, without having the actors pausing for each shot, he came up with the idea of repainting soft plastic racquetballs to look like pool balls. When the camera needed to show one of the shots, he swapped the prop balls with the real thing and then switched them back.

If you’d like to check out Scott’s mixture of movie-making insights and punny dad jokes, you can find the link to his recent video on creating silent horseshoes here:

https://www.youtube.com/watch?v=yhv6GfDP4ok

When it comes to recording cinematic dialogue, there’s a surprising amount of unintentional sound that needs to be hidden from the microphone. UK filmmakers Robert Carr and Richard Scott, who run the YouTube channel The Film Look, talk about the challenge of filming an authentic restaurant scene, and how masking the sound of a glass being set down on a table, which is usually about the same height as the actor’s microphone, can be as simple as discreetly placing a cushion on the table, or as involved as having a stagehand hiding just below the frame to take the glass from the actor.

In a later video, they demonstrate a do-it-yourself approach to concealing sound, using neoprene rubber and glue to create and attach soundproof pads to everything from the bottom of a coffee mug to the soles of an actor's shoes. If you want to learn more about the art of indie filmmaking and cinematic audio, I have a link to The Film Look's "Indie Film Sound Guide" video here:

https://www.youtube.com/watch?v=e6MEJd_rGvI

But when it comes to bigger productions, the silent props are more likely being bought rather than built, and they're sold by pioneering prop master Tim Schulz and his company Prop TRX, the only dedicated maker of noiseless props. From paper bags made from coffee filter fabric and gift tissue that hardly makes a sound to clear rubber ice cubes that don't clink against the glass, his storefront's becoming popular not only with filmmakers but with curious people who just want to see what the fuss is about.

There’s a video link on my blog to a wonderful interview with Tim Schulz about how he creates his silent props, as well as a link to Prop TRX’s homepage so you can take a look for yourself: