Ryan Monette is a Production Sound Mixer, Post Audio Mixer, Sound Designer and Composer based out of Orlando, Florida. He uses a Sound Devices MixePre 10 II, Sound Devices A10 TXs and RXs, DPA 6060 lavs and a Sanken CS3e shotgun mic. Ryan also uses Tentacle Sync time code boxes. Listen as Ryan shares about his audio career working in the studio, on-stage and on-location. Check out his website at https://www.ryanmonette.com/

Each episode we talk with location sound mixers, boom ops and other industry pros about the various aspects of recording sound on-location for feature and independent films, TV commercials, interviews, anytime where dialog from actors is recorded. Whether you’re a seasoned veteran or just starting out, this podcast is packed with great stories and lessons about recording on-location.

Robert Egger’s latest film, Nosferatu, is loaded with dread. That feeling of dread is largely delivered by the amazing sound design created by Damian Volpe (Sound Designer, Re-recording Mixer & Supervising Sound Editor), Steve Little (Supervising Sound Editor, Dialog Editor & Supervising ADR Editor) and the rest of the sound team. Egger’s instructions were to base everything on organic sounds, so eerie ambiences were built out of the actors breathing and machines were built to create haunting winds. They also discuss the voice processing that was done to create the iconic voice of Count Orlock and lots more. Please consider donating through the M.P.S.E donation portal to California Wild Fire Relief. https://www.justgiving.com/page/mpselafirerelief If you donate now M.P.S.E. will match your donation, effectively doubling the amount that will get to those in need. Tonebenders has already donated this way, and hope that listeners will follow.
This episode is sponsored by Sound Ideas, check out their 50% off sale happening now until Jan 31st: www.sound-ideas.com Notes: https://tonebenderspodcast.com/296-nosferatu/ Podcast Homepage: tonebenderspodcast.com This episode is hosted by Timothy Muirhead

Demonic oppression was the story of this year’s UK horror film showcase – along with female survivorship, identity differences and the dangers of the internet. Hardy survivors Kim Newman, Anton Bitel and Virginie Selavy explore our latest demons in this roundtable post-mortem.

Under discussion:

Demonic conspiracies and satanic possession in
👻 For We Are Many (Lawrie Brewster, Andrew Ionides, Brad Watson, Mitch Wilson, Carlos Omar De Leon, Matthan Harris, Dane Keil, Mark Logan; UK)
👻 Porno (Keola Racela, USA)
👻 Ready or Not (Matt Bettinelli-Olpin and Tyler Gillett, USA)
👻 Daniel Isn’t Real (Adam Egypt Mortimer, USA)
👻 The Black String (Brian Hanson, USA)

The slipperiness of truth and safety online in
👻 Death of a Vlogger (Graham Hughes, UK)
👻 Deadcon (Caryn Waechter, USA)
👻 Ghost Killers vs Bloody Mary (Fabrício Bittar, Brazil)
👻 Halloween Party (Jay Dahl, Canada)
👻 The Drone (Jordan Rubin, USA)

Differences of sexuality, class and gender in
👻 Spiral (Kurtis David Harder, Canada)
👻 The Dark Red (Dan Bush, USA)
👻 Satanic Panic (Chelsea Stardust, USA)
👻 The Wind (Emma Tammi, USA)
👻 Criminal Audition (Samuel Gridley, UK)
👻 Why Don’t You Just Die! (Kirill Sokolov, Russia)

Female survivors in
👻 A Good Woman Is Hard to Find (Abner Pastoll, UK)
👻 Feedback (Pedro C. Alonso, Spain/USA)

Parental angst in
👻 Freaks (Zach Lipovsky, Canada)
👻 The Deeper You Dig (Toby Poser & John Adams, USA)
👻 Knives and Skin (Jennifer Reeder, USA)

The monstrous in
👻 Rabid (Jen & Sylvia Soska, Canada)
👻 Depraved (Larry Fessenden, USA)

You get 1400+ free sound effects at https://www.asoundeffect.com/gift/ (for a limited time!)

Just a quick heads up that we’ve teamed up with indie sound creator Nathan Moody to give you the Analogue Ordnance Lite sound effects library for free right now, featuring 1400+ sci-fi sound effects.

You also get the chance to win Nathan Moody’s full SFX catalog. The sounds can be used for commercial games too – EULA here: https://www.asoundeffect.com/license-agreement/

Best of luck and hope you enjoy the sounds!

Och kanske kan den kunskapen hjälpa yrkesfiskare att skrämma bort denna storätare

Lyssna på alla avsnitt i Sveriges Radio Play.

Sälar som förstör redskap och äter upp fångst är ett stort problem för yrkesfiskare. Hösten 2023 påbörjades därför ett treårigt forskningsprojekt som handlar om att ta fram en ny sorts sälskrämma. Det är Eva-Lotta Blom, marinbiolog vid SLU i Umeå, och Örjan Johansson professor i teknisk akustik vid Luleå tekniska universitet som arbetar med att utveckla en fungerande skrämma. Dagens skrämmor skickar ut ljud mellan 10-15 000 hertz men ny forskning visar att sälarna hör långt över det och nu arbetar Eva-Lotta och Örjan med att hitta rätt frekvens för att skapa maximalt obehag utan att skada.

Ljudvärld möter de båda för att prata frekvens, morrhår och hur man hanterar ljud i vatten.

Reporter och producent: Joseph Knevel
Slutmix: Maths Källqvist
Ljudvärld produceras för Sveriges Radio av Knevel

If you turn on the radio, there’s one thing you’re almost guaranteed to hear: a catchy, over the top jingle proclaiming the name and call letters of the radio station. But where did these little tunes come from? Who makes them? And why are they still so common? In this episode, we explore the history of radio ID jingles, and pack in so many earworms, you’re going to need an exterminator. Featuring Jeanna Isham of Dreamr Productions, Jon Wolfert of JAM Creative Productions, and Erik Huber of ReelWorld Productions.

If you know what this week’s mystery sound is, tell us at mystery.20k.org.

Follow Dallas on Instagram, TikTok, YouTube and LinkedIn.

Join our community on Reddit and follow us on Facebook.

Follow Jeanna’s podcast, Sound in Marketing wherever you get your podcasts.

Find the right doctor, right now at zocdoc.com/20k.

Get a free Netsuite KPI Checklist at netsuite.com/20k.

Get a discount on your NordVPN plan at nordvpn.com/20k.

Claim your $75 sponsored job credit at indeed.com/hertz.

Episode transcript, music, and credits can be found here: www.20k.org/episodes/radio-station-jingles

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