Neil Cowling, Founder at Fresh Air Production, speaks to Audio Media International about the continued rise of podcasts and how the pandemic has shaken things up…

What’s the back story behind Fresh Air Production?
For many years, Fresh Air was a radio production company. We were one of many providers of programming to the BBC, which for a long time was really the only buyer in town. Then about five or six years ago, podcasting became much more mainstream. This meant we were able to gain good audiences from being on Apple and Spotify, and those companies also started commissioning work. We made a variety of shows for Audible, and they became a client in the same way that the BBC had been for many years.

We then made a strategic decision to concentrate very squarely on branded podcasts. One of the issues with the main model of making podcasts is that it tends to be ad funded. That means you don’t know whether it’s going to pay for itself or not, which is why we decided to work directly for brands.

What attracted you to Tileyard?
We really wanted somewhere with character and somewhere that we could call home. We wanted a location with a creative vibe to it, rather than just an anonymous office space in central London. Tileyard also offers us the chance of doing lots of collaboration and meeting interesting people in audio.

What makes Fresh Air unique?
Because we come from a broadcast radio background, we all live and breathe audio and have done for a long time –  I’ve been in audio for 25 years. We didn’t get into podcasting because it was cool. We got into this because we love what audio can do and how it can tell stories, how it can capture the imagination and bring engagement that other media can’t.

We’ve grown from being a one-man-band three years ago to a team of more than 20 people now. And every single one of the team has a background in broadcast radio so, more than anything, we’re a team of audio storytellers. And I think that’s what sets us apart from most other people in the game.

What audio equipment can’t you live without?
A smartphone. The smartphone is virtually a broadcast quality microphone that everybody owns. The danger is that people might think podcasting is really easy, cheap and quick because you can do it on your phone. We’re always having to stress that you can’t just knock out a podcast by pressing record on your phone and talking. It takes a lot of research, structure and other elements and skills.

We tend to do most of our editing on Adobe Audition, or Pro Tools and we also use Riverside.fm. which helps people record HD video at the same time as recording the audio podcast. The most user-friendly way of making a podcast is via Zoom, recording the audio on a smartphone.

Has the pandemic affected the company and your way of working?
We were largely remote anyway, so the shift to remote working didn’t really affect us. We gained a lot of work from companies who had been planning to do video but had their plans disrupted by the pandemic. Not only has the last year or so opened up clients who probably wouldn’t have considered podcasts before, it has also made the guests and presenters more available, because we’re not asking them to come into central London to record anymore.

How has the pandemic affected the podcast market in general?
The initial worry was that, because so much podcast listening was done during commute time, the pandemic would have a really bad effect on listener numbers. But actually what happened is that people found new ways of listening. So, from a listeners point of view there has been a positive impact.

There’s also been quite a lot of people who’ve tried out podcasting for the first time. A lot of podcasts have emerged as a result of presenters, comedians and writers, looking for creative projects when there was no TV work happening, but also just because of the growth in podcasting in general. 

What are your favourite podcasts?
Taking Apart Terror, which is one of our own, where we dig into the details of what it takes to run a terrorist organisation – how they’re financed, how they organise themselves, what they want, why we should be scared and why we shouldn’t be scared. I also love a comedy series called Beef and Dairy Network, which is ridiculously surreal and stupid, but a brilliant half hour diversion. 

Another one of ours is The Case Files which is essentially a true crime series that we created for the law firm Slater & Gordon. We tell stories through the eyes of victims and we also talk to their lawyers. You wouldn’t really know it’s brought to you by a law firm just by listening to it. Another old favourite of mine is Dear Joan and Jericha which is a brilliant comedy by Julia Davis [and Vicki Pepperdine].

Is there a podcast that you hold up as a ‘gold standard’ reference?
The reference that we use all the time, as do our clients, is This American Life. Obviously it’s extraordinarily well resourced and it’s got an enormous team behind it, but in terms of audio storytelling, creating new stories every week, holding people’s attention, and the quality of the writing and presentation, it really is the gold standard.

What’s next on the agenda for Fresh Air?
We’ve just announced a new global partnership with Pacific Content, which is the largest branded podcast production company in North America. Their clients include top brands like Facebook, McAfee and Slack, and they’ve really been our template for what we want to create over here. Going into a partnership with them means we can work together on podcasts that speak to global audiences.

We’re also bringing in Richard Blake as our new Director of Marketing and Growth. What Richard allows us to do is to have properly quantifiable conversations about how our podcasts should be promoted and what benefits they bring to the brands. He’s been working with us for the last year on a contract basis but now he’s coming on as staff. The combination of bringing his expertise in house and what we’ll gain from our new collaboration with Pacific Content is a really big step up for us.

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Part of the Tileyard group, Tileyard Education is based out of the brand’s original London campus in King’s Cross and offers carefully crafted learning opportunities for those who want to break into the music business. 

Audio Media International recently spoke to Harry Leckstein, Managing Director at Tileyard Education about the evolution of the unique learning hub and where it’s going next. 

Here are just a few of the success stories to come out of Tileyard’s education arm so far…

Adam Wedd 

Adam took Tileyard Education’s MA Commercial Songwriting & Production course, studying both remotely and on site. He now works at  Abbey Road Studios as General Assistant and is also a Musical Director of Events for a London canal boat company. He continues to write, write, produce and release music.

Why did you choose to study with Tileyard Education?
I chose Tileyard Education because the courses are taught by passionate, current industry professionals.

How did the course prepare you for what you’re doing now and whatever comes next? 
The course prepared me for the realities and the harshness that is the entertainment industry.

What’s your advice for anyone thinking about taking a course with Tileyard Education?
Go and spend a day on site, meet people – find a student or alumni to talk to and see if you can imagine a year there yourself. Be prepared for everything you thought you knew the music industry to be, to be turned on its head.

Andre Steed (Cloud Klaus)

Creating music under the name Cloud Klaus, Andre began Tileyard’s MA Commercial Music Producer Online course in January 21 and is now in his final term. 

Why did you choose to study with Tileyard Education?
I chose Tileyard mainly because of the practical knowledge I knew I’d gain here. I had come to some A&R nights before and gotten good feedback on my music but knew I was lacking a few things that I knew I’d find at Tileyard. Also I knew I needed to expand my network and this was the perfect place to do so.

How did the course prepare you for what you’re doing now and whatever comes next?
The course allowed me to find a whole bunch of collaborators who I’ve now worked with and gotten a few placements with. I’ve learned how to correctly write to brief and also improved on my weak points so much so that they’ve become my strongest. I also found someone who I can call a musical partner and we are working together on some very exciting stuff.

What’s your advice for anyone thinking about taking a course with Tileyard Education?
Do it. There is no better place to develop your skills and meet people you can form great bonds with and make great stuff with. Networking is important as you never know who you might meet.

Emma Horan 

Emma took Tileyard’s MA Commercial Songwriting and Production course on site, starting in 2019 and completing her studies in July 2022. She is now creating music full time – working on a pop project, writing with other artists and briefs from Tileyard, while also immersing herself in the Trance scene, and flying back and fourth to Amsterdam to write and record. 

Why did you choose to study with Tileyard Education? 
When I found out about the course I instantly knew it was for me. Tileyard Education is amazing and the support there is immeasurable. I knew it was what I needed to propel me into songwriting in the music industry. Tileyard is definitely the place to network and gain amazing connections. 

How did the course prepare you for what you’re doing now and whatever comes next? 
I am loving life at the moment. I am living in Northern Ireland but I have continued to do Tileyard songwriting camps online and have reaped the rewards by signing many songs to big labels such as BMG and Felt Music. I am so excited to hopefully move back to London again in the new year and work with other creatives and have fun with my own pop project too.

What’s your advice for anyone thinking about taking a course with Tileyard Education? 
Do It! You will LOVE it! It has done more than I could ever imagine for my career and the opportunities I gained whilst doing the course, and after, have been amazing. One of my goals was to sign songs for sync and Tileyard Education has helped me achieve that. If I could go back and start it all over again, I would.

Weronika Gabryelczyk (Veira)

Weronika, who records under the name Veira, took the MA in Commercial Songwriting and Production between 2019 and 2020, switching to remote learning halfway through due to the pandemic. She is now based in London and working as a freelance with Tileyard Education and Tileyard Impact as a songwriting camp mentor, producer, and sound enginner. She has also worked with Little Mix as a vocal arranger with Joshua Alamu (vocal coach for Little Mix, Rita Ora, and JP Cooper), creating a three-person team with more projects on the horizon. She is also working on her artist project, with her last single ‘We’re Good’ already doing well on Spotify.

Why did you choose to study with Tileyard Education?
It was suggested to me by a friend who’s a sound engineer and writer, and she said it would be a perfect place for me. So, I visited Tileyard on one of the open days, and I fell in love with the atmosphere, and the dynamic of this place. It is really and truly a magical place, I cannot even count the amount of times I’ve bumped into people from the industry who gave me work opportunities or helped me with my musical career.

How did the course prepare you for what you’re doing now and whatever comes next?
It definitely taught me how to cope with deadlines!. The amount of briefs that we had, prepared me for the real-life pace of writing, producing and in general just being on it.

What’s your advice for anyone thinking about taking a course with Tileyard Education?
As Nike says – ” Just do it!” there is no other answer. I don’t know any other more magical place than Tileyard, and the community…. once you’re here you never wanna go back!

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Robotic line array company PK Sound has formed a new partnership with West Coast audio production provider FM Systems.

The move sees FM Systems joining the PK Alliance in order to work towards a more collaborative and mutually rewarding approach to the live sound industry.

“We’re building the PK Alliance with partners that boast an unparalleled technical proficiency and are keen to be at the forefront of industry innovation,” said Arlen Cormack, PK Sound’s Chief Operating Officer. “FM Systems has decades of expertise among its staff, along with an enviable network of engineers, technicians, and other industry professionals. Together, we can leverage our strengths and lay our groundwork for the industry’s resurgence.”

The partnership will see FM Systems taking on a sizeable inventory of PK Sound solutions to service the brand’s growing demand in Western Canada and beyond.

FM will support production providers in the region with dry-hire rentals, as well as complete show services for live events.

The two companies will also collaborate on new product development, education programming and software testing.

“Innovation is at the core of what we do in our business,” said Marlin Jones, President and CEO of FM Systems. “PK products are unlike anything currently available in the market and offer incredible sound, performance, and operational efficiencies thanks to an unrivalled degree of real-time coverage control.”

With a 35-year history, FM Systems has offices in Calgary, Edmonton, and Winnipeg, and is a leading provider of audio and production services in Canada and the U.S. 

The company has provided audio, staging, and production management for everything from from major tours and festivals to sporting events and corporate functions. 

“Their expertise will be invaluable in developing our product roadmap while helping to deliver unforgettable events with PK,” said Cormack. “We’re excited to work with them and all of our Alliance partners to reshape the future of live sound – and the live sound industry.” 

Photo: (L-R) Marlin Jones, President & CEO, FM Systems; Jeremy Bridge, President & CEO, PK Sound; Arlen Cormack, COO, PK Sound

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CEDAR Audio has introduced a new system called ‘Isolate’ which is designed to isolate individual sounds in noisy environments. 

Unlike previous technologies that require large arrays of matched microphones to try to focus on individual speakers, the British audio firm’s microphone array is smaller than a beer mat, while even smaller devices from other manufacturers can also be used. 

“The human auditory system has a remarkable ability to focus on one or more sound sources in a noisy environment, which is why it’s possible for us to have a conversation in a space such as a club or a restaurant,” explained CEDAR Audio MD Gordon Reid in a LinkedIn post. “Unfortunately, some of the information that enables the brain to perform this task is lost when audio is picked up and recorded using microphones, so recording in noisy environments is often unsuccessful.

“We began to look into this problem in 2008 and, when we heard the first results of our source separation project it was clear that we were developing something with enormous potential. We even created a sister company, AudioTelligence (based nearby on Cambridge University’s West Cambridge site) to further develop the technology and to address commercial fields outside of our traditional areas of operation while, at CEDAR, we continued to develop it for the pro-audio and security markets.

“Our next job was to marry the underlying source separation with our new ‘direction of arrival’ system, which makes it possible for users to choose which sounds they wish to isolate. This is completely different from beamforming – Isolate decomposes an unknown soundfield into distinct sources of interest without the user having prior knowledge of the locations of the speakers.

“It’s also totally different from noise reduction, where you’re trying to remove the noise from a signal that already contains it. With Isolate, you’re pointing the recorder at the wanted sources, stopping the unwanted sounds from reaching the recording in the first place. It’s possible that, in years to come, people will be amazed that recording audio in noisy environments wasn’t always done this way”.

Isolate will initially be available as a module in the CEDAR Trinity recording, monitoring and enhancement system. 

The latest version, CEDAR Trinity 5, is used worldwide by law enforcement and security forces for real-time intelligence gathering, evidential recording and transcription.

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Gibson has launched a record label for guitar-centric music, and is set to release an album from Guns N’ Roses legend Slash in 2022.

Gibson Records will work with Gibson artists to produce, record and promote guitar-based music across different genres.

The new label will include a strategic partnership with BMG, the world’s fourth-biggest music company.

“Launching a record label that is in service to our artists is the natural evolution of our 127 years of history. Gibson Records will work with Gibson artists to capture, record and promote their music under an artist friendly partnership,” said Cesar Gueikian, Brand President, Gibson Brands. “Gibson Records will keep all of us at Gibson focused on our artist first culture that is engaged and connected to music.”

As the first artist signed to the label, Slash will release an album featuring Myles Kennedy and The Conspirators.

“It’s an honor to be the first release on the new Gibson Records,” said Slash. “It’s a zenith in our partnership for sure and having worked so closely with Gibson for so long, I know they will be a label that genuinely supports their artists creatively. Not just me, but all the artists they choose to work with. It’s perfect.”

Last week, Gibson brand Epiphone unveiled its hotly anticipated Slash Collection of affordable guitars. Gibson also recently teamed up with High Flying Birds and former Oasis star Noel Gallagher to launch a limited-edition replica of his favoured guitar – the J-150.

And in a long overdue move, Gibson recently appointed Halestorm frontwoman Lzzy Hale as its first female brand ambassador. 

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A year on from the its inaugural report, Women In CTRL’s second Seat at the Table study has found that while female representation has increased slightly across 12 key music industry organisations, women are still woefully underrepresented. 

Women In CTRL is a not-for-profit whose aim is to empower women in the entertainment industries.

The new Seat at the Table 20201 report found that 42% of board members across 12 industry organisations in 2021 are women, compared to 34% in 2020. There has also been a slight rise in the number of Chairs who are women, with three female Chairs across these organisations in 2021, compared to just one in 2020. The number of female CEOs remains unchanged. 

The share of board seats held by Black women has doubled, albeit from a very low base, going up from five in 2020 to 11 in 2021. There are still no Black women CEOs or Chairs. 

The analysis was carried out across 12 key industry organisations: AIM (Association of Independent Music), BPI (British Phonographic Industry), FAC (Featured Artists Coalition), ISM (Incorporated Society of Musicians), The Ivors Academy, MMF (Music Managers Forum), MPA (Music Publishers Association), MPG (Music Producers Guild), Music Venue Trust, PPL (Phonographic Performance Ltd), PRS for Music and UK Music.

For the report, Women in CTRL also asked 100 women across the industry to share their thoughts on the topic. Insights from a wide range of industry experts – including Motown UK/EMI Marketing Director Afryea Henry-Fontaine, Attitude is Everything Founder Suzanne Bull MBE, and Deputy General Secretary at the Musicians’ Union Naomi Pohl – are included within the report. 

Last year, Women in CTRL published its WIC Diversity Pledge asking all 12 organisations to commit to working towards an equitable, diverse and inclusive future.

“I commend those organisations that have taken steps towards real change, and it’s promising to see,” said Nadia Khan, Women in CTRL Founder and Chair of AIM. “But our work is far from done, the stats are still stark, and a far way off true equality. True diversity goes beyond female representation to minority groups, disability, socio-economic status, sexual orientation and education. Let’s try to fix the system and have real conversations. What is it about the system that doesn’t allow underrepresented groups to reach the top? Why don’t we see more women in Chair or CEO positions? Let’s identify the barriers and work together to break them down.”

Several of the organisations involved have already reached key milestones on the journey to a more diverse and inclusive industry, while PPL has teamed up with Women in CTRL to launch a Board development programme in August. This will include five sessions that cover topics aimed at helping attendees get a ‘Seat at the Table’, such as understanding boards, canvassing votes, and promoting themselves.

PPL CEO Peter Leathem said: “Last year’s Seat at the Table report showed we could do much better and we would like to say thank you to Nadia for contributing to the positive steps we have made since then and for asking us to support and work with her on this second edition. The gender and racial diversity of our board has increased, and we continue to consider and work on the overall diversity of our Board and Senior Management Teams. Whilst we have made progress there is a lot more to be done so PPL welcomes the second edition of Seat At The Table.”

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Lawo mixing consoles were at the heart of the audio setup for France’s ‘Concert de Paris’ for the seventh consecutive year in 2021 – delivering the famous performance to a TV audience of 10 million. 

The concert is part of the country’s traditional Bastille Day celebrations which mark the beginning of the modern French Nation on 14 July every year.

Serving both the live and broadcast sound requirements, German audio experts Lawo provided a 48-fader mc²56 production console for the orchestra mix, while a 48-fader mc²56 took over the monitor tasks. A 16-fader mc² extender was used to allow social distancing between the two operators.

The event’s Lawo mixing consoles and I/O systems were connected over an Optocore fibre optic network provided by Radio France. 

Separate preamp control for FOH and monitors and a split to the Lawo mc²66 console used for the broadcast mix enabled use of the on-air console’s own stageboxes and DALLIS mic preamps.

“It is a great honour for Lawo to be trusted, year after year, by Radio France for such a prestigious event as the provider of the audio mixing consoles for both the public address and broadcast signals”, said Joffrey Heyraud, Lawo Sales Director France. “It highlights the excellence of our equipment with uncompromising audio processing and state-of-the-art reliability.”

The annual concert is one of the largest classical music events in the world and usually draws as many as 500,000 on-site spectators. Last year’s event went ahead without a live crowd due to the pandemic. 

This year, the show – featuring the Orchestre National de France and the Chœur de Radio France, along with internationally renowned soloists – was attended on-site by an audience of 15,000 people. The concert was broadcast to a record 3.5 million TV viewers in France and an estimated 10 million audience in Europe.

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LG has expanded its Tone Free range of self-cleaning earbuds with two new models designed to support spatial audio playback, tuned by Meridian Audio.

The addition of Meridian’s Headphone Spatial Processing means that the new Free FP9 and FP8 wireless earbuds are capable of delivering sound that seems to come from all directions.

The Headphone Spatial Processing works alongside 3D Sound Stage which is designed to expand the sound stage through spatial up-mixing. 

Along with Meridian-tuned audio, the noise-cancelling earbuds feature larger, upgraded drivers and diaphragms for more detailed and powerful bass.

Three microphones in each earbud offer better call quality by making the user’s voice clear with less ambient noise. A Whispering Mode means each earbud can be used as a dedicated microphone when held close to the mouth, for greater privacy.

Offering up to 10 hours of playback time, the buds also feature a quick charge feature that gives one full hour of listening time from just five minutes charging in the case. 

The charging case sports LG’s unique auto-cleaning UVnano tech which aims to keep the eartips clean to reduce the chance of inner ear infections. The new models also feature medical-grade, hypoallergenic ear gels to reduce the risk of skin irritations in the ear canal.

Sporting an IPX4 rating, the earbuds are water resistant so can be worn in the rain or during exercise. 

By pairing with the Tone Free app, users can tweak an equaliser along with the ambient sound mode or use the Find My Earbud feature to locate misplaced earbuds. 

The new LG Tone Free FP earbuds will be available this month, though there’s no word on pricing just yet.

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BMG Production Music (BMGPM) has joined forces with renowned TV and Film composer Alan Lazar to produce the ‘Luminary Scores’ label.

The collection will comprise a premium selection of production music from a roster of A-list composers. 

Curated by Lazar, sixty albums are planned for release under the Luminary Scores label over the coming year, 15 of which are available now.

Veteran composer Lazar’s credits including everything from Emmy-nominated ‘An American Crime’ and ‘Sex and the City’, to National Geographic’s ‘Natural World’ and ‘Swamp of the Baboons’.

“When I watch films and TV shows, the score is what animates me the most,” said Lazar. “So much of the emotional impact of stories come from the scores communicating as the language of emotion, tapping into the deep-felt parts of the human vision. A fantastic score can elevate any story, so with Luminary Scores I’m proud to present a best-in-class open treasure chest to be utilised and enjoyed.

“I’ve admired what BMG has achieved over the last five years, creating an impressive presence in production music. Having a home here for Luminary Scores feels like the perfect fit and our featured composers are confident that their works are well-represented with BMGPM’s global reach. We’re going to tell a lot of wonderful visual stories.”

The first 15 titles now live on the BMGPM site include Spy Dramedy, Hi Jinks and Heists, Showdown Swagger and Wonderful World.

Along with Lazar, the label currently includes the work of composers Nathan Barr, Jeff Cardoni, Sherri Chung, Ben Decter, Matt Koskenmaki, Richard Marvin, Tony Morales, Blake Neely, Nicholas Pike and Edward Rogers.

As BMGPM develops the Luminary Scores series with Lazar, it aims to attract new film and TV composers to its roster. 

“Alan’s talent, knowledge and network in this space is exceptional,” said John Clifford, EVP & Global Managing Director BMGPM. “Through this collaboration, BMGPM’s repertoire is bolstered on a whole new level, expanding the choice of music solutions with access to premium score music from some of the best composers in this realm that have an intuition for crafting moments that seamlessly connect story, pace, plot, and character.”

BMG Production Music recently announced a partnership with educational organisation Expand Music, to provide work and development opportunities as part of its access-to-industry initiative. 

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The Hyundai Mercury Prize 2021 ‘albums of the year’ shortlist is set to be announced tomorrow (22 July). 

The 12-album shortlist will be announced live on BBC Radio 6 Music just after 11am BST by presenter Huw Stephens.

The 2021 judging panel has been confirmed to include musician and songwriter Anna Calvi, broadcaster and DJ Annie Mac, Jazz star Jamie Cullum, and musician and former Mercury Prize winner Michael Kiwanuka.

The lineup will also feature broadcasters Danielle Perry and Gemma Cairney, Lanterns on the Lake’s Hazel Wilde, music consultant Mike Walsh, Kerrang! Creative Director and Mojo Contributing Editor Phil Alexander, VICE.com Editorial Director Tshepo Mokoena and The Times’ Chief Rock & Pop Critic Will Hodgkinson. The lineup is completed by judging panel Chair and Head of Music at 6 Music and Radio 2, Jeff Smith.

“It’s been another difficult & challenging year – and we’re grateful to all the artists & labels that have supported the 2021 Hyundai Mercury Prize by entering their albums,” said Mercury Prize Chairman David Wilkinson. “Many thanks also to the hardworking & dedicated judging team who have spent the last few months listening to the entries. Creatively this is shaping up to be an exceptional year for British music – with so many outstanding albums released over the past year. So choosing just 12 Albums of the Year will be a tough decision for the judging team. We’re looking forward to the shortlist being announced on 22 July.”

The overall winner of the 2021 Hyundai Mercury Prize for ‘Album of the Year’ will be announced at the awards event on Thursday 9 September at Hammersmith’s Eventim Apollo in West London. The event will feature live performances from many of the shortlisted artists.

The overall winner of the 2020 Hyundai Mercury Prize was Michael Kiwanuka for his album ‘Kiwanuka’. 

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