Audio Branding

• The Power of Sound Design in Film: A Conversation with Benjamin Kapit - Part 1

  “If you have a screen that goes very bright white or if you have a screen that goes very dark, people can deal. Their eyes will adjust, or they’ll just accept that. But if you have bad sound, people will leave. They’ll turn off the movie. If they have to be adjusting the volume, if they have to adjust the volume of a video more than like two times, they’re very likely to leave. If the sound is just, like, bad audio and they can’t understand it, they won’t follow what’s going on. They’ll leave. So even from that most basic perspective, just passable good audio is more important than passable good visuals, because people can forgive bad visuals. But they cannot and will not forgive bad sound, because bad sound hurts.” – Benjamin Kapit This episode’s guest is a filmmaker, composer, and sound designer who started his production company at the age of fifteen. He’s currently in post-production for multiple short films and web shows, and he’s working on his fifth vocal album. His name is Benjamin Kapit, and our two-part conversation covers a wide range of sound-related issues when it comes to creativity. Stay tuned for more insights into, among other things, what it was like starting his sound career at such a young age, the balancing act of creating sound-based art and film in the age of AI, and his approach to movie soundtracks. 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, along with other interesting bits of audio-related news. And 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. You can leave one either in written or in voice format from the podcast’s main page. I would so appreciate that. (0:00:00) - Exploring Sound, Film & AutismAs our discussion begins, Benjamin shares his early memories of sounds and how his older brother’s musical talent inspired his own career path. “We had an upright piano,” he recalls, “and eventually got a baby grand, and my house growing up was constantly filled with music, and I look up to my brother so much because he’s the one that got me into piano.” He talks about his autism diagnosis and how being on the spectrum can be a double-edged sword when it comes to filmmaking. “I see a lot of the work that I do as a puzzle,” he explains, “and so, you know, despite the shortcomings of it, I’m able to utilize whatever’s going on in my brain to actually end up helping the work that I do.”(0:11:30) - Creativity in Sound Design and FilmThe topic turns to cinematic audio and the challenge of inventing whole new sounds that have no counterpart in the real world. “How do you approach making a sound for, you know, shooting magic out of their wand,” he says, “because that’s not a real thing. So what do you do for it? Do you go for the more realistic element, or do you head towards, like, complete synthesis?” We discuss film scores and their role in shaping not only the narrative but also the performances. “One of my shortcomings is communication,” Benjamin tells us, “and if I can’t get an idea or the feeling of a scene out verbally to an actor, I bet I can do it with music. So I’ll write pieces before I even get on set that I can hand to the actor and say, ‘This is how this scene should feel.’ Then we’ll be able to discuss it...

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• The Universal Language of Music: A Conversation with Stephen Ridley - Part 2

  “And then his youngest daughter, who’s six years old, comes up, and she’s into gymnastics and she’s kind of cartwheeling around the room while everyone else is playing. And then, ‘All right, she’s going to play you a song.’ And she comes up, and she’s all full of beans, and then she sits down and she plays the most somber Debussy song. And it was, like, there was so much soul in what she played for a six-year-old. I’m like, ‘whoa!’ Like, the amount of depth in what she did was, like, whoa! ‘You are, like, a wise young girl.’ That’s an old soul. And I looked at him, and he’s crying. And then at the end of this evening, we again get to talking about AI, and he was asking, this comes full circle, this is the reason I bring this story up, is he’s invested heavily in various different AI projects. And one of them is this company that’s gonna be, like, a prompt and then it makes music. And he said, ‘Well, you know it’s cool, but are you not worried about AI, like, taking you out?’ And I was like, ‘Well, do you think I should be? You probably know better than me.’ And he said, ‘Well, you know, AI can do exactly what she just did, just so you know, like right now, I could get AI to play that song and it can play it perfectly.’ I was like, ‘Yeah, but would it make you cry?’" – Stephen Ridley This is the 300th episode of Audio Branding: The Hidden Gem of Marketing, and my conversation with international pianist and founder of the Ridley Academy, Stephen Ridley, continues as we discuss why Stephen prefers live performances to studio recordings, the school he’s now running to help others find their own passion for music, and the one song he’s vowed to never play on the piano. 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, along with other interesting bits of audio-related news. And 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. You can leave one either in written or in voice format from the podcast’s main page. I would so appreciate that. (0:00:01) - The Future of Creativity and AIThe second half of our conversation picks up with Stephen’s illuminating discussion of AI with a billionaire tech investor, and where he sees AI leading us in the future. “There are a lot of things in life where we don’t necessarily need to put ourselves into it,” he explains. “They don’t require our imagination, creativity, any spiritual anything. Those things probably can be replaced by AI.” We discuss AI’s limitations as a way of conveying emotion, and where the new economy might lead us once machines are handling the busy work. “I actually think the future economy will be heavily into creativity, and into art,” Stephen adds, “since I think that’s exactly where culture will go.”(0:07:16) – The Unique Power of Live EntertainmentStephen recalls his brief and unexpected foray into iTunes after discovering that a record label had uploaded his music without permission. “They’re like, ‘Okay, if you don’t like it, sue us.’ And obviously I wasn’t in a position to do that, and they have all the money in the world,” he explains. “So I was like, ‘Okay, well, I can’t do that, but what I can do is remove it. So I just removed it.” He talks about why, even though he’s starting to return to social

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• The Power of Music: A Conversation with Stephen Ridley - Part 1

  “Chick invited me to go to this jazz club in Soho called Ronnie Scott’s in London. And it was, like, two o’clock in the morning – I was like, ‘I don’t think it’s gonna be open.’ I did not know who I was dealing with. It’s Chick Corea. He just makes a call, it’s open, and they’d set out three pianos in a room facing each other. And we walked in this room, we sat down, and Chick could play a few notes. Herbie had joined in, I’d joined in, and we kind of each took it at turns in leading the thing. This song went on for hours. It changed, it evolved, it moved. It was the most amazing thing. And Herbie said something really, really amazing. He was like, because even though we didn’t say anything to each other, I like, know these people in this moment. I know, I feel them, like there’s something happening, and so here’s the super geek moment. He said something in it, and it really resonates with me: he’s like, ‘You know, music’s not about the sound, right? The sound is carrying an intention.’" – Stephen Ridley This week’s guest is a world-renowned British pianist, composer, and visionary in modern piano education. His journey from high-flying investment banker to global musical sensation is as remarkable as his performances. He discovered his passion for the piano at age two and received formal training when he was eleven, but it wasn’t until he left the corporate world that his true artistry flourished. Starting as a London street performer, his raw talent and electrifying performances quickly garnered international attention and propelled him onto some of the world’s most prestigious stages.His name is Stephen Ridley, and our conversation ranges from how music connects us and transcends language to how it prolongs our lives. Keep listening to learn more about the power of sound! 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, along with other interesting bits of audio-related news. And 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. You can leave one either in written or in voice format from the podcast’s main page. I would so appreciate that. (0:00:00) – The Power of SoundAs our discussion begins, Stephen shares his memories of a turbulent childhood in northern England, and what he discovered about the power of sound when he found a case full of his dad’s old cassettes. “The most amazing thing of this,” he tells us, “was I saw it change my dad, and he went into this other person, a much more beautiful, calm, serene sort of English version of Elvis. He sort of became a bit Elvis and he was singing to my mom and they were sweet and romantic together and I was like, ‘What is this superpower?” He remembers how that moment, and a neighbor’s gift of a simple toy piano, sparked his love of music, and his ongoing fascination with its impact on listeners. “It’s a magic which I’ve now come to know intimately,” he explains, “and I get to go around the world and share that magic with people and I’ve seen it now just millions of times. It’s so amazing to me.”(0:07:00) - Inspirational Journey of Music and PassionStephen shares more of his early memories of sound, and how growing up in a secluded village with nothing to do proved to be a blessing in disguise for learning...

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• How Online Technology is Changing Music Collaboration: A Conversation with Rebekah Wilson - Part 2

  “I have a regular chat with a friend of mine in New Zealand. He’s a tetraplegic and a musician, so he invents his own music instruments that he can play with his limited motion, and he can send me his instrument over MIDI to where I am across the ocean and we can play together and we can have an engagement. It’s not possible for him to come to see me in Europe. It would be so expensive, and a lot of work. So, you know, thank God there’s the internet for him, you know. He gets to participate, he has remote concerts, he still plays with his friends. It’s really special.” – Rebekah Wilson This episode is the second half of my conversation with Source Elements CEO and remote collaboration specialist Rebekah Wilson as we discuss how physics and neurology collide when it comes to reducing latency, how the pandemic transformed online music collaboration and gave rise to today’s generation of at-home musicians, and where Rebekah sees sound, technology, and music itself heading in the future, over both the coming decades and even generations from 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, along with other interesting bits of audio-related news. And 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. You can leave one either in written or in voice format from the podcast’s main page. I would so appreciate that. (0:00:01) - Impact of Latency on Music CollaborationWe continue our talk about the science of latency, and Rebekah explains how it impacts music in ways that our brains only dimly perceive. “If you add a little bit of latency onto that,” she says, “music’s like, one, two... three… music’s not very friendly to that [sort of] latency.” She tells us more about how our brains unconsciously adapt to latency, and how technology relies both on improving speed and taking advantage of our ability to filter out information gaps. “What’s happening is that you’re anticipating it based on this model that’s in your brain,” Rebekah explains. “For example, every time you look at a wall or your surroundings, if it’s not moving, your brain’s not processing it.”(0:06:02) - Advancements in Remote Music CollaborationShe talks about how the COVID-19 pandemic’s lockdown phase led to a boom in online collaboration, some of which continues to thrive today. “There remained a group of people,” she says, “a small group of people, you know, scattered around the world… who were like, ‘You know what? Some interesting things came out of this. Some interesting artistic development is possible here and it’s worth pursuing.” We discuss the technical and creative innovations that emerged from that period, and where they might lead in the years to come as we continue to innovate. “What we love as humans,” Rebekah says, “is to seek new forms of expression. This is what we do, we’re adventurers. So we go out, we go into the desert, we go out into the oceans, and we look for where something new is. And you know, music and performance and being together on the internet is still very new for us as humans.”(0:12:42) - Expanding Music Collaboration With TechnologyOur conversation wraps up as we continue to talk about online collaboration and creative efforts that can now

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• How Music and Technology Connect Us: A Conversation with Rebekah Wilson - Part 1

  “So I’m in Chicago, I’ve quit my job, I’ve almost run out of money. You know, you’re young, you don’t care. And I met Robert, who’s now my co-founder. He had mixed a CD of mine a couple of years before through friends of friends. So we meet up, have a beer, and then he’s like, ‘Oh, you know, I’m spending all this money on IT every month,’ because he was a sound engineer. And he’s like, ‘But we’ve got this thing called the internet, right? I thought, ‘I’ve got 1 MB internet in my studio, why can’t I use that? It’s free.’ And I was like, ‘Yeah, let’s do it.’ And because I, you know, had been doing software development and the internet, it just made sense. The two of us really bonded, and I went home to New Zealand and he stayed in Chicago, and we built Source-Connect.” – Rebekah Wilson This episode’s guest is the co-founder, technical director, and CEO of Source Elements, and has worked for over twenty years with customers and industry partners like Avid and Dolby. Since the release of their pioneering remote audio app Source-Connect in 2005, she’s advocated for the benefits of remote collaboration in all sorts of areas, including sound engineering, voice acting, music performance and production, film and cinema production, and education.Originally trained as a composer, she’s now a software developer and expert in the fields of music technology and networking, and, as a New Zealand native, she understands very well how important it is to stay connected no matter where we are. Her name is Rebekah Wilson, and you’ll want to hear what she has to say about how Source Connect is making our creative lives easier, what it’s like being a woman in a male-dominated field, and where she sees this technology going in the future. 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, along with other interesting bits of audio-related news. And 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. You can leave one either in written or in voice format from the podcast’s main page. I would so appreciate that. (0:00:01) - Musical Journey to Tech InnovationWe start off with Rebekah’s early memories of her father playing the guitar, and how it helped spark her love of music. “I must have been four or five,” she tells us, “and I can see the house that we were living in at the time. So, yeah, around their age and um, just those lovely, warm feelings.” She shares her experience growing up in New Zealand and how quickly things changed as the internet began to connect the world. “I went out and told everybody,” she explains, recalling the day she learned about Princess Diana’s passing on a web forum. “I was like, ‘Oh my God, oh my God.’ And they’re like, ‘How do you know? The internet? What, that’s crazy!’ And so it was like one of those first moments of finding out that you can connect to the rest of the world with this medium.”(0:11:06) - Navigating Gender Dynamics in TechRebekah shares her journey from orchestral composer to tech entrepreneur in the ‘90s, and just how much things have changed for women since those early days. “I went in for the job interview and, uh, they, they show me where the programmers work,” she explains. “It’s a dark room in the middle of the building with no...

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