Listeners feel a great sense of rapport with podcasters and as such, may reach out to us about all aspects of their lives. Many podcasters are not prepared for boundary violations from listeners and may not know the best methods for helping listeners find appropriate care. As such, I’d like to prepare podcasters to think about setting appropriate boundaries in advance of listener crises. Further, I want to help others develop a protocol (e.g., prepared emails) for helping listeners without subjecting themselves to potential ethical and legal repercussions. Workshop attendees will leave with an understanding of how to prevent crises and with a protocol that they can implement ASAP.
Dr. Julie Kinn is a clinical and research psychologist for the U.S. Department of Defense, in the Defense Health Agency. She is the executive producer of the Military Health Podcast Network, and oversees the development and implementation of mobile apps, websites and other health technology for military service members, veterans, and their families at the National Center for Telehealth and Technology. Julie’s research focuses on suicide prevention and innovative uses of health technology. She works out of Joint-Base Lewis McChord in Washington State, she can do the Charleston, and she always stops to pet dogs.
Learn more about Dr. Kinn’s Workshop at DC PodFest!
DC PodFest is privileged to welcome back, Kenn Blanchard as a keynote speaker. Kenn spoke at DC PodFest in 2016, and left podcasters with an unforgettable message about the power of one voice. As a podcaster, author, and community leader, Kenn has experienced first hand the reach and impact of a podcast created for a specific community.
Rev. Kenneth V. Blanchard, Sr. is ordained Christian pastor, an accomplished speaker and the author of several books. He is former US Marine and former federal police officer. He has spent almost thirty years fighting terrorism with the Central Intelligence Agency. He is an activist known internationally as the Black Man With A Gun.
Over the past few decades, Blanchard has been involved in almost every pro-rights event that required a person of color to show the diversity of the shooting sports around the country. He has provided commercials for TV against racist gun laws and been featured in four documentaries, one with the BBC. He has served as a columnist for New Voices Newspaper of Durham, North Carolina; He has served as a director and chaplain of the Law Enforcement Alliance of America. He has worked with the American Sport Shooting Council, the Second Amendment Foundation, the CATO Institute, Gun Owners of America, and the National Rifle Association. The first edition of Black Man With A Gun was featured in the August 2001 edition of American Rifleman. He was featured in the Washington Business Journal on Jan. 2002. He was mentioned in the Wall Street Journal (1999) as a security expert. He has lobbied and testified before the United States Congress, Texas, South Carolina, Wisconsin, Michigan, Virginia, and Maryland for an individual’s right to self-defense. He has served on the Urban Affairs, and Training committees of the NRA. He was an advisor/editor for the creation of the Refuse to Be A Victim program.
He created a training business and founded a national shooting club from African Americans called the Tenth Cavalry Gun Club. He has been the recipient of the National Rifle Association’s Carter-Knight Freedom award, CCRKBA Gun Defender Award of the month (August 1997) and the St. Gabriel Possenti award.
After discovering podcasting in 2007, he created the Black Man With A Gun Podcast to be able to reach people he has met as an activist and encourage them to stay in the fight for freedom. He uses his podcast to inspire, entertain and share parts of history that few have heard. He has had over 1.4 million downloads of the Black Man With A Gun Show formally known as the Urban Shooter Podcast.
He is a dynamic speaker that has in 2014 spoken in Las Vegas at the New Media Expo as a expert in niche marketing, at the SAFE rally in Albany, NY, sharing the stage with Donald J. Trump and others. He produces three different shows from his home studio and network called Blanchard Media Group. He has published four books, the latest is Black Man With A Gun: Reloaded, now available on Amazon.com and several on independent labels as ebooks.
Here is some of his freelance work.
DC PodFest is thrilled to announce that Sarah Fraser will be our opening keynote. Sarah has a unique experience of transitioning from terrestrial radio to a fully empowered, and self-designed, podcasting career.
Sarah Fraser, radio and TV personality, is the host of the enormously popular Hey Frase Podcast on Spotify, iTunes, and many more outlets. The podcast was downloaded over 500k times in it’s first six months alone. Sarah currently co-hosts the show with Paul Wharton. The podcast is funny, inspiring, pop-culture driven, and DC based.
Sarah was also the host of The Sarah, Ty, and Mel Show on DC’s 107.3 in Washington, DC. Notably, Sarah was a lead co-host of the only radio show in the DC-metro area that features two women’s names in the title, and appears weekly on FOX 5’s number one rated Good Day DC where she discusses her Pulse topic. Topics include: “Do Open Marriages Ever Really Work” to “Social Media Prenups.” Her spark and comedic timing also landed her the in-stadium co-host gig for the 2011 Washington Nationals. Sarah’s first talk show pilot – “Hey Frase” – was launched as a panel host show via YouTube in the spring of 2013 and made available to her 47K twitter followers, and combined 25k Facebook followers.
From 2007 to 2013 Sarah spent her mornings co-hosting the D.C. metropolitan area’s top-rated morning drive show among adults, which boasted more than 20 million listeners in the DC metro area and on iheartradio. As the former co-host of the enormously popular “The Kane Show” of HOT 99.5 (WIHT-FM), Sarah’s voice was heard through syndication on WZFT-FM in Baltimore, Maryland, WFLZ-FM in Tampa, Florida, KISS 107 FM in Cincinnati, Ohio, Radio Now 101.9 FM in Memphis, Tennessee and 98.9 Radio Now FM in Louisville, Kentucky. Additionally, Sarah hosted the popular “The Sarah Show” on HOT 99.5, which served as the mid-day lead in program to The Ryan Seacrest Show.
Sarah uses her platform to discuss social issues, particularly concerning women’s empowerment and minority-owned businesses. She dedicates her free time to several nonprofit organizations located in the District, Maryland, and Virginia. Sarah lives in Virginia.
What is a preamplifier?
A preamplifier (preamp) is a device used to take a microphone or instrument level signal, and increase the signal to a line level signal. Generally, we want things to be at a line level signal when we record them. Preamps universally have a few different features/settings on them:
Gain is the main amplifying feature of a preamp. When you hook up a microphone or instrument to a preamp, you increase the gain of the preamp to amplify the microphone-level or instrument-level signal.
Phantom Power, sometimes referred to as +48V is a matter of powering condenser microphones.
Instrument/Mic/Line Input Switches – Most audio interfaces these days have combo jacks that you can plug a microphone, instrument or line level source into via an XLR or ¼” cable. A microphone level signal is lower than an instrument level signal which is lower than a line level signal.Toggling the switch to “microphone”, will apply more gain to your circuit than “instrument” will. Selecting “Line” bypasses any gain from the preamp being applied to the input signal. Generally, as you move up in price, the quality and quantity of these inputs on an interface increases.
How does audio get in and out?
In order to record audio digitally, you first connect the output of your microphone, instrument or other gear to an input in your audio interface. Once the electrical signal enters the analog inputs on your interface and is amplified, it needs to be translated into 1’s and 0’s (binary) so that the sound information can be recorded and manipulated in your computer. Enter the analog to digital converter. An analog to digital converter (ADC) takes the electrical signal from your microphone, instrument or external gear and converts it into a digital representation that your computer can understand.
Now your audio is in your computer and you’re ready to listen back to it. You need something that takes those 1’s and 0’s (the digital representation of your audio) and translates them back into the analog world of electricity. A digital to analog converter (DAC) does just that. It converts the digital signals in your computer into electrical signals and sends them out to your speakers, headphones or outboard gear via an output on your audio interface.
To make a long story short, the better your converters are, the better the representation of the audio you can capture and reproduce in the ADC/DAC process. The quality of converters is one of the big factors that differentiates a $100 audio interface from a $10,000 audio interface.
The simplest of audio interfaces have only one set of analog stereo audio outputs that are meant to send line-level audio to your speakers. Generally these outputs are either ¼” balanced TRS or balanced XLR connections, but sometimes can be unbalanced RCA jacks. Generally, as you move up in price, the quality and quantity of these outputs on an interface increases.
On bigger audio interfaces, more audio outputs are generally included to allow for more advanced routing of audio to external devices like EQs, compressors, gates, exciters and more. These are especially helpful for routing and processing audio in external gear after you’ve already recorded or manipulated it digitally in your computer.
Digital outputs such as S/PDIF and ADAT are also included on larger and higher-end audio interfaces. These digital outputs allow you to send audio in and out of external devices without converting them back into an analog signal, thus preserving the original quality of the signal. The other benefit of these digital inputs and outputs is that you can send multiple channels of audio using only one cable, which can certainly simplify your setup.
The last type of outputs you generally see on audio interfaces are headphone outputs. These are either ¼” or ⅛” TRS outputs designed to allow you to plug your headphones directly into them. The quality and quantity of these headphone outputs/amplifiers tends to increase as the price and size of the interface increases.
Now that you understand the basic components of an audio interface, you’re ready to start choosing the right one for you. It can be a complicated process, and the “right” audio interface for you all depends on the type of audio work you do. Luckily, our whole team of audio experts is here to help! You can get in touch with one of us by phone (301-946-8808), email (email@example.com), or live chat at www.chucklevins.com.