Drop the Mic with Mike Brown — How to Podcast and Hack Creativity So You Can Share Messages That Matter

Hey! This is episode #7 of the Ember Studios Podcast, How to Request and Receive Criticism. Thanks for listening, I'm Mike Brown and this is the Ember Studios Podcast, the show to help you transform from confused to confident when it comes to launching and maintaining your podcast and other related projects. Before we jump into criticism, I wanted to talk about my 10-Day Podcast Planning Initiative! The 10-Day PPI (as I call it) is a program that will spend the next two weeks helping you zero in on your podcast format and topic.   Start Your Show: www.emberstudioscreative.com/libsyn  Be the first to know about my next course - emberstudioscreative.com/waitlist Find more at - www.emberstudioscreative.com/podcast  Contact me at michael@emberstudioscreative.com  Full Show Notes: www.emberstudioscreative.com/esp007    Thank you very much for listening. Just as a few reminders: Go to emberstudioscreative.com/esp007 to get the full show notes. If you want to start podcasting, you can get up to two months free when you go to emberstudioscreative.com/libsyn and sign up.  If you want to get a FREE PDF version of my book "The Pro Podcast Episode Planner," head to emberstudioscreative.com/podcast and while you're there you can check out more episodes of this show. If you'd prefer to buy a print copy, which is much cheaper than printing a year's worth of these on your own, jump over to emberstudioscreative.com/planner. That will take you to Amazon. It's 6 bucks, and it'll help you plan a year's worth of your show- plus, it will help you support this podcast. So don't forget to subscribe to the show and leave a 5 star review, so we can keep chatting for a long, long time. Thank you again, and don't wait to share your voice with the world. Bye!  

Hey! It's episode #6 of the Ember Studios Podcast, How to Start with What You Have w/ Jeff Crooms of #CoffeeWithCrooms   Hey- thanks for listening!  This is the Ember Studios Podcast, the show that helps you transform from confused to confident when it comes to launching and maintaining your podcast and other related projects. Related Links: Check out Coffee With Crooms for yourself: https://www.facebook.com/hashtag/coffeewithcrooms    Grab Jeff's Gear: Google Pixel 6 Pro - https://amzn.to/3LvVMfj Blue Yeti - https://amzn.to/3Lsns4B    Try the Coffee: Fairlife Coffee Flavor - https://amzn.to/3k8LgOO  Super Coffee - https://amzn.to/3MxwFbJ    Start Your Show: www.emberstudioscreative.com/libsyn  Find more at - www.emberstudioscreative.com/podcast  Contact me at michael@emberstudioscreative.com  Full Show Notes: www.emberstudioscreative.com/esp006  Thank you very much for listening. Just as a few reminders: Go to emberstudioscreative.com/esp006 to get the full show notes. If you want to start podcasting, you can get up to two months free when you go to emberstudioscreative.com/libsyn and sign up.    If you want to get a FREE PDF version of my book "The Pro Podcast Episode Planner," head to emberstudioscreative.com/podcast and while you're there you can check out more episodes of this show. If you'd prefer to buy a print copy, which is much cheaper than printing a year's worth of these on your own, jump over to emberstudioscreative.com/planner. That will take you to Amazon. It's 6 bucks, and it'll help you plan a year's worth of your show- plus, it will help you support this podcast.   Also, please feel free to email me at michael@emberstudioscreative.com if there's anything I can help you with.   So don't forget to subscribe to the show and leave a 5 star review, so we can keep chatting for a long, long time.   Thank you again, and don't wait to share your voice with the world. Bye!  

This is The Ember Studios Podcast #5 with Mike Brown and we talk about how to trick your brain into being more creative.    How to Get Paid for What You Know - https://amzn.to/36JO5CQ How to Get Paid for What You Know (Audible) - https://amzn.to/3kdzlza How to Get Paid for What You Know (Kindle) - https://amzn.to/3vFr2l3   Start Your Show: www.emberstudioscreative.com/libsyn Find more at - www.emberstudioscreative.com/podcast Contact me at michael@emberstudioscreative.com Full Show Notes: www.emberstudioscreative.com/esp005

This is The Ember Studios Podcast #4 with Mike Brown and we go over The War of Art, by Steven Pressfield. Grab The War of Art on Amazon and Audible: https://amzn.to/3uP2UND Start Your Show: www.emberstudioscreative.com/libsyn Find more at - www.emberstudioscreative.com/podcast Contact me at michael@emberstudioscreative.com Full Show Notes: www.emberstudioscreative.com/esp004 A.I. Generated Transcription: Hey, it is episode number four of the Ember studios podcast, the war of art by Steven Pressfield, identifying and overcoming resistance. Hey, before we actually get started with this, I just wanted to pop in and say, I recorded this episode a couple of weeks ago, and I've been thinking about it. I read some stuff online about the book and it is very polarizing. This book is not for everyone, the stuff I didn't like. I just kind of rolled my eyes and moved on some people aren't going to be able to do that. There's just a lot of stuff that either isn't going to jive with you or. Maybe some of this stuff even makes you feel angry. I'm not sure. I tried to extract some of the important stuff while leaving the other stuff behind. There's a lot of religious themes and a lot of shame and guilt in this book. And if you've ever seen me live, you know, that I have an entire section of, one of my presentations dedicated to how shame and guilt are garbage and they don't want. Yeah. So I just wanted to come out ahead and say that, listen to this show, decide if you want to read the book, but I'm going to try my hardest to get the most important stuff into this episode, so that if you're not the kind of person who this book is for that, you could still get the ideas from it without having to sift through all of the stuff that you're really not vibing with. Yeah, that's just my little disclaimer. I'm still gonna release the episode. I still got a lot of help from the book, but I will admit maybe the execution. Isn't great, but it's a self-help book. It's a motivational book. A lot of people in that space, like to make you feel like garbage in order to do what you say you want to do. So that's not me. So I just wanted you guys to know that that if you do pick up the book, I'm not going to do any of those parts of the book. So. Check it out. And, uh, I'll see you in the main episode. All right. So a few years ago I wrote a book on the recommendation of a content creator that I was following called the war of art by Steven Pressfield. I got it on audio book. It is a super quick listen. I'm used to hearing things faster than normal. And so the book is less than two hours on audible. For me. I listen at 1.5 speed, which is not that bad. Once you get your. And I want it to just talk about it a little bit, because I think this book has really shaped the way I think about a lot of things in terms of creation and creativity and inspiration and stuff like that. So before we get started, I do just want to say, I don't agree with every word in the book. There's some stuff that I just don't really buy into. Some of the stuff can be kind of polarizing, but as Graham Cochran says, if you're not offending anyone, you're not saying anything. Graham Cochrane author of how to get paid for what you know, and we to have the recording revolution and the grand Cochran show. Great dude, follow him. But today we're talking about the war of art. You should read this book. You, you should not consider this to be a whole entire compendium of the information in this book. Again, like I said, it's less than two hours. If you listen to 1.5, meaning it's a little under three, if you listen to normally. So you should listen to it. I would find a good price on it. I blew a whole audible credit on it. And when I found out, I mean, great content, great content. But when I found out it was only like three hours long, I was like, could have gotten something bigger for this, but yeah, very important. I don't regret it, but if you can find it for a lower price than an entire audible credit, grab it like that, I'll be including links to the audible and the Amazon version for you in the show notes to check there. If you are interested in picking this up in a. So in this book, Steven Pressfield starts out by talking about the fears we have of becoming an outcast when we succeed. And basically he's just talking about the idea that honestly, the really true idea, that the more you become successful, the more people see your success as an affront to their complacency. They're offended by your success because they're angry. It's not that. They're offended by your success because your success Buck's the norm. Right. So that's just how he kind of frames this entire book. And I think that's a really good framing to have as you're going into this listen or read. Right. So he also uses. Some of the most dramatic language I've ever heard in a nonfiction book. I mean, it's flowery, it's fire and brimstone. The dude wants to get his point across and he's willing to use any words in the English language to do so. So just be prepared for that. It's interesting. So the book in general, Is about something. He calls resistance. Now this is, I call it capital R resistance, which just to me means the idea of the resistance that he's speaking about. It's not generic, it's resistance, the idea, and he calls it the most toxic force on the planet. And he'll go on to define it in a second, but he also says a professional writer knows it's not the writing. That's hard. It's sitting down to write. And what keeps us from sitting down is resistance. So let's break into what resistance really is. The book is separated into parts, but part one starts out with resistance, defining the enemy again, back to that dramatic language. He's not playing around. The beginning of this section talks about, he calls it resistance, his greatest hits, but he's just talking about the types of activities that most commonly elicit resistance. I'm just going to say them out loud for you really quickly. And those are the pursuit of any calling in writing, painting, just artsy stuff. Any creative art, also the launching of any entrepreneurial venture or enterprise for profit or otherwise, any diet or health or regimen, any program of spiritual advancement, any activity whose aim is tighter abdominals by that? I think he means working out and stuff. Any course or program designed to overcome an unwholesome habit or addiction education in any kind, any act of political, moral, or ethical code. The undertaking of any enterprise or endeavor whose aim is to help others, any acts that entails the commitment of the heart and the taking of any principle to stand in the face of adversity. So those are the things that Steven Pressfield says will usually elicit a response from resistance. He also says resistance is never satisfied and it's nondiscriminatory it's for everyone and no amount of giving. Is enough until you give in completely resistance is infallible. And by that, what he's saying is resistance shows you where you need to go. You don't get resistance when you're thinking about doing the easy thing, the easy thing is almost, always not the best thing for you. He says resistance is universal. It's eternal. It's fueled by fear resistance. However, Only opposes you in one direction. If you have resistance, it's only opposing you in one direction. You can move any number of ways. Resistance is keeping you from moving up. Okay. Lateral moves. Fine. Downgrades. Fine. Resistance wants to stop you from moving up in the. And it recruits allies. Again, those people where you're talking about at the beginning, who see your successes in a front to their complacency, those people are going to make you feel like you are wrong for trying this. One's really hard to get over either. You're going to have to let go of these people, or you're going to have to convince. It's a come along for the ride. And that doesn't mean, you know, bring them in on your business or your podcast or whatever it just means. You're going to need to convince them to just let you do your thing. And they will seek resistance will make you choose between the instant gratification and the longterm improvement. For example, let's talk about diet. You know, when you're dieting, what you're supposed to do and you know, you want the results, but it's hard because the result is far in the future and it's a long term improvement. The cheesecake is instant gratification, right? So you grab that cheesecake. You feel better. You're you're back on the diet tomorrow. You knew the whole time what you wanted to do, how you want it to accomplish it when you want it to accomplish it. But resistance. Got you. Had you eat that cheesecake. So in essence, resistance is just going to get in your way. And then another big thing about resistance is that it ramps it up right before the finish line. The closer you are to finishing something the heavier, the resistance gets. And I know, I know some of you out there have, let's put this in the frame of podcasting. I know some of you have gotten. Gotten everything you needed, you sat down, you recorded an episode, you opened up an account on Libsyn, you uploaded your episode. And when it says release date, you kinda, you kind of freeze and you just leave it in your drafts and be like, ah, I don't know if it's ready yet. Let me sleep. Great. That's resistance giving one last push at the very end, because you are so close because once you upload and distribute that episode, now you've done it and it's easier to do the next one. And it just gets easier and easier, but resistance wants to stop you from doing it in the first place because they don't want it to be. Because resistance doesn't want it to be easier. I'm saying the word resistance a lot. I'm just trying to use the terminology that Steven Pressfield uses in his book at the very end resistance. It's just going to push harder. Now I want to back up zoom out from the book a little bi

This is The Ember Studios Podcast #3 with Mike Brown and we go over 10 Productivity Tips for your Creative Workflow. Find more at - www.emberstudioscreative.com/podcast Contact me at michael@emberstudioscreative.com Get your Freebies: www.emberstudioscreative.com/esp003 A.I. Generated Transcription: Hey, it is episode three of the Ember studios podcast, 10 productivity tips for your creative workflow. All right, thanks for listening. This is the Ember studios podcasts. The show to help you transform from confused to confident when it comes to launching and maintaining your podcast and other related creative projects. As you heard in the beginning today, we're going to be talking about productivity. Now there's a lot of, I don't want to call it misinformation, but just like bad information out there about productivity. And it's like, whoa, wash washer, clothes, and your dishes at the same time, it's more productive now. All that stuff. We're going to be talking about specific tips you can use usually in the home studio or, you know, whatever podcast is set up, you have going on. These will help you there, especially with the editing portion and oh, a little bit in the recording portion. Ah, yes, the people downstairs. So just started vacuuming. This is a great example of pushing through, because I thought about just not recording this and I could go play final fantasy seven remake, like I've been working on, and I would basically just be using this small inconvenience as an excuse, not to do anything. So I'm going to keep going. You might hear some vacuuming going on, but I want to be a good example and record. Even when the conditions aren't perfect, I think is an important thing to learn that you should do anyway. So we got 10 tips coming. I'm just going to start counting through them. Tip number one is organize your files. I can not say enough about organizing your files. Now I did not get too organized until I started editing video. Once I started editing video. All sorts of files. You need to keep organized and be able to reference whenever you want. Once I started doing that, it really made me grab a magnifying glass and look at my audio workflow. And it's so important to organize your files, because if you're sharing files between people, do you want a nice folder structure and a well-named files that nobody's going to have any questions. If they walk up to your system and need to finish a project, for example, you end up in the hospital, you still got to get your. Now, if you're not sharing with other people, that's fine. You, you still should organize your files, not only for your own sake, but, uh, what if your computer crashes? And this has happened to me, my dog basically reset everything disappeared. I needed to start again from nothing. But luckily, since I keep everything in the same place for each of my projects, I spent like three minutes having a fixed everything. And that includes like my macros and my presets and everything. They're all in specific folders as well that I could just link back up and then everything went back to pre-crash, which was super awesome. So yeah. You got to organize your files. It's it takes five seconds, but it'll save you literally hours of sorting through things playing. Oh, is this the file I want? Is that the file? Just organize your files. You'll never have another question. Tip number two is to use templates. This is a little bit of a polarizing one because I've heard a lot of people saying, well, if I use a template, it's going to sound cookie cutter. It's going to sound generic. Everything will sound the same. And that's not really true. What you're going to get out of a template is a faster workflow and consistency in your final sound. So while you might say, it's going to sound cookie cutter, I'm over here saying people are going to know what to expect when they listened to your. So I have a editing and a mixing template for every single show that I do. The mixing tablets are nice. You keep all the assets in the template, you get that all set up. So it's the correct volume and everything. You put all the plug-ins on the correct track. So you don't mess with them. You just put them where they need to go. And that way, when I have to edit a show, I drag in the files and then everything's there. I just get started looking at meters, adjusting compressors, just I just get going. I don't have. At everything one by one, and then you get like the old, do I want this compressor or this compressor? You just, you just get to work. It, it saves probably 10 to 30 minutes a show, which is awesome because that's hours a week that I'm saving by just using. They also keep you in creative mode. Right? So if you have a template, like there was a time where I was making beats every day and instead of opening it up and deciding what instrument do I want to play with today and adding it to the thing, I just had like a few instruments that I usually went for and I had them set up and they were just ready to go. So if I had a song. I could just open up a template, get started recording and lay it down as opposed to opening it up, figuring out what I want, where how to do it, blah, blah, blah, 15, 20 minutes later. I don't even remember what I was going to record in the first place. And it's just, it just keeps you in that creative zone and you don't have to worry about that. Reset. All the clerical stuff, you just get going and it's, it saves you so much time and it's just really convenient. So definitely use templates. Number three is learn your keyboard shortcuts. So almost, I can't think of an example of a popular program that doesn't have a robust keyboard short. System. They probably exist. One of you knows one of them, but most of them have keyboard shortcuts and they're designed to help you move faster. So if you know the keyboard shortcuts to everything, you can fly around this timeline, the screen, you're just jumping all over the place. It's so convenient to just know, oh, well, if I do this, this and this. The same as if I'm sifting through menus and right. Clicking on something. And just knowing that control lead, that's going to export the things that are going to file export as MP3. Just knowing the keyboard shortcuts is a huge help. And a sub tip here is if you can take all the software you use and pick one keyboard scheme and use it for all of the programs that you use that saves even more time because. Now you don't have to think. Well, I mean, pro tools now, so the keyboard shortcut is this, or I'm in premier pro now. So the shortcut is this everything's the same across all the programs, tools. Might've been a poor example because last time I looked you couldn't define your own keyboard shortcuts. Super lame, but yeah, the software I use studio one does you can just make anything, a keyboard shortcuts that you want. Tip number four is create your own macros. Now what this does, a macro is like a set of commands. So whereas a keyboard shortcut will execute one command. A macro will execute several. For example, I have a macro that selects everything in the timeline makes that the length of the export and then starts exporting the file, which is super awesome because that's like four different steps that I've just automated. And I took that macro and I decided to keyboard shortcut, and then I took that keyboard shortcut, and I assigned that to a separate macro. That is just a one button. I hit just a it's M three on my. It has some macro buttons and I hit him three. Boom. My file is printing. I can go grab whatever I need to grab in the other room. It saves, again, this doesn't sound like much but 20, 30 seconds, but over the course of a year, it's a lot of time. We're talking about hours and hours of time. You're getting back or time. You can just decompress a little bit and get yourself back in the zone that you didn't have before when you're sifting through menus. So, yeah, you, you got to create your own macros. I love them and you should try them out. And if you're looking for suggestions, hit me up and we can talk out some processes that you do and try to figure out if we can macro them. Tip number five is batch your tasks. And if you've never worked in a retail back room, let me tell you what batching is. Batching is when you have something that has multiple steps. And you have multiple iterations of it. And so instead of doing step a, B, C, D E a, B, C, D E a, B C, D E, you do all the step A's, then you do all the step BS, all the sepsis, you get it. And what this does is it keeps you in the zone again, all back into that flow. So if you're doing step a, you do step a six times in a row instead of doing step a, taking an hour break by doing the other steps, then going back and starting step. Hey, again, you just keep doing it. You get into the zone where you. You're flying around. You feel like a magician and you're just nailing it because you're just, this is what I'm doing right now and you keep doing it. So it's really awesome to batch your tasks. It just makes it so much simpler and more productive. Again, you're saving time. Like, for example, you could batch record your podcast episodes and the time you say there is just microphone setup time, right? You don't have to set up the mic six times for six different podcasts. If you just set it up once and spend the whole day banging stuff out. That's one of my favorite ways to batch tip. Number six is what I like to call the little notebook. And when I'm working, I keep a little notebook on the desk in front of me. It's like one of those. You buy them at Walmart, they're three for a dollar. They're like four inches by two and a half inches. They fit in your pocket. I just keep on open in front of me with a pen next to it. And whenever an idea comes into my head, that isn't what I'm working on. I write it down because I know that if I go do anything about that idea in like a Chrome browser or something,

This is The Ember Studios Podcast #2 with Mike Brown and we go over the specific baseline gear you need to start editing your podcast. Find more at - www.emberstudioscreative.com/podcast Contact me at michael@emberstudioscreative.com   A.I. Generated Transcription: This is Ember Studios, podcast number two. The gear, you need to edit your show. What's going on everybody. I hope you're having a great day. I am fired up right now to work on this show and I hope you are fired up to work on. So today, we're just going to talk a little bit about the gear. You need to edit your show. So we're not going to really be talking about microphones and stuff like that. Cause that's not really editing, right? That's that's tracking, that's recording and really you could be editing somebody else's show you don't need a microphone to edit somebody else's show. So we're just of going to break down the gear. You need to edit. A podcast, hardware, software, everything. This episode's probably going to be kind of on the shorter side, because you really don't need as much as you might think for real. Like I could get you editing a show for less than $150. I think probably it's really not expensive to break into it. Well, of course that's not including, you know, the computer and stuff, but we're going to go over the computer. So let's just break into it to do podcast, audio editing. Your computer really does not need to be anything special. For example, I'm looking at the minimum system requirements for studio one, which I use, and they're pretty low, I guess we could say. So the latest version of the operating system, windows 10 is a given right now. I mean, Windows 10 has been out for, I don't know how many years, but it's nice and stable. Whereas noting that it needs to be 64 bit for studio one, it's not really a good reason as far as I know, to be running a 32 bit operating system right now, unless your computer is literally ancient. So probably. The processor and Intel core I three or an AMD, a 10 processor or better. If your computer has a processor, it's less than like 10 years old, it's probably as good as, or better than the recommended processors here. Minimum four gigabytes of Ram. Again, this is absolute bare minimum. Four gigabytes of Ram I think is the lowest. Amount you can get right now. I don't think they make Ram sticks with less than two gigabytes of Ram. And so, you know, dual channel memory, it turns out to be four gigs. It says recommended eight gigs or more, again, this is absolute minimum. Most computers you buy right now, we're going to have eight gigs of Ram. Maybe a laptop might have four gigs. Eight gigs of Ram is so inexpensive right now at the end of this, I'll put together like a bare bones windows system and tell you guys what the price is. I guarantee you it's less than you think for an audio editing PC. Then it goes on to say, you need an internet connection, which I think is a little obvious just for installation and activation. Even if you just kind of. Install, everything, activate everything and then move it. You're good to go. Minimum monitor resolution 1366 by 7 68. That's the lowest resolution monitor. I think you'll find anywhere right now. So basically these programs are being. With specs that any functional computer right now is going to meet these specifications. You know, if you've got an ancient computer that's running on like windows XP, maybe it's not going to work. Probably still has four gigs of Ram, but it might not be a 64 bit operating system. You know, these specs are very minimal and they're really functional at that level. This isn't like video editing where you need so much Ram or gaming where you need like a high graphics card. It's just, you just need a bare bones. No again, that's for editing and some light mixing. If you're thinking you want to rig, that's going to scale with you and you're going to do music and maybe you're going to have like 13 instances of Melodyne on a track or something like that. Some more intensive stuff is going to require some higher power components, but you're, I mean, a minimal system is just fine for voiceover editing. If you're just editing your podcast. So that's step one. That's just a machine. To do what you want now, what do you want? You're going to do audio editing and to do that, you're going to need to hear what you are doing. And so there's pretty much two ways that you can hear. You can either use speakers or headphones. If you're on a laptop, I'm not going to lie. Your built-in laptop. Speakers are going to be okay. They are going to get the simple job done. If you're not looking to go all out or any. You'll be fine. If you're on a desktop, it's a little different, you're going to have to purchase some speakers. If you want to just use some, you know, again, $10 Amazon speakers. When you're mixing a podcast, unlike with music, you do mix with your eyes. I rely on meters more than I rely on my ears because there's all sorts of different stuff with the different frequencies affect things differently. And just because one person sounds louder to me doesn't mean. Digitally, they are louder. And so when things get shipped out to the platforms, they do stuff to them and they're not doing stuff to them based on their ears. They're doing stuff to them based on the digital sequence that's sent to them. And so I need to consider that when I'm mixing, I tell people I can mix their show without listening to it as because I've done a billion of them, but you don't need high quality speakers to mix the show. So you. Really need high quality speakers in order to edit it. However, I will suggest using headphones more than the speakers. I like to have everything right there at my ear, so I can hear every little mouth noise, every little click, every slide, breath, everything. I want to be able to hear it right in my ears so that I know exactly what I'm doing. You know, if I make a little cut and I don't hear that the person is in the middle of a breath, then when I put compression on everything, it's going to just cut right in, in the middle of that breath that I didn't hear before, because the volume was a lot lower. And so that's why sometimes you'll hear like a, like, that kind of sound because somebody cut in the middle of a breath, didn't do a fade, didn't do anything. And just kind of, kind of threw it out there. So that's why I like headphones again. They do not have to be. You've got a pair of apple ear buds. Those are fine. You don't need crazy fancy headphones for spoken word or anything. You just need to be able to hear everything. And work on it. It's not much. And there's two more pieces of hardware. Now we have an audio interface now for this kind of thing. If you're straight up just editing and you're not going to mix it, maybe you'll send it out to get mixed, or maybe you're not worried about the mixing. In my opinion, you should be worried about the maximum, but, uh, if you're not, you don't really need to get an audio interface because your CPU's onboard sound processing is going to be okay. You're going to be. 40 to 48 K. You're going to be able to listen back and edit it 48. K. If you're going to do some stuff that needs some DSP, which is digital signal processing, then you're going to need to get a little bit of a higher power sound card. So again, this is something to think of. Upfront. I mean, I guess not because you could always upgrade later. So if you think eventually you're going to be mixing, or if you plan on mixing the whole time, you're going to need an audio interface. And again, this doesn't have to be fancy. It doesn't have to have a billion inputs or anything. I bought one with a ton of inputs because I thought, oh, what if I ended up tracking drums? This was five years ago. I haven't tracked a single thing that requires more than two. Not once. So I, you know, my main recommendation right now because the PreSonus audio box USB, there's a whole bunch of different ones, but the audio box USB 96 records in up to 96. K we'll get into that another time. I think that's a little much, but yeah, it was a hundred dollars. So now you've got a computer. You've got an interface. You already had the headphones. Now you need a keyboard and a mouse. Okay. If you're on a laptop, you already have the keyboard. I will say, do not use a track pad. Do not use a track pad. You will be miserable. If you're trying to edit audio with a track pad, there's so much clicking and dragging and you have to be so precise sometimes that. The trackpad is going to be too much. Even if you have to buy a $7 mouse on Amazon, which I did, the $7 mouse on Amazon was better for editing than the most expensive track that I could have ever purchased. It's just better to have a mouse. When we get a little bit more advanced, it's sometimes better to even have a gaming mouse. Cause they have all those extra buttons. You can map them out to your macros. And this is all down the line. Once you really have a feel for what you're doing. So that's it for the hardware. That's, that's what you need. You need a computer, you need some way to hear the sound, whether it's headphones or speakers, you need an interface. If you end up mixing and you're going to be sucking up some resources and you need a mouse. Well, I guess you need a screen too, but I kind of include that in the. So that's it. Now you have that stuff. You have the hardware, you have the physical things that you need in order to edit your show. What, now you sit down, you've installed windows for the first time. Let's just say you bought this computer just for editing. You installed windows for the first time you're connected to the internet. What do you need? Really, you just need a few more things. So first we're going to talk about audacity. Now. I talked about audacity last week and a lot of people I see online are teaching about audacity editing and just in order to bare bones, edit your show,

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