Audio Branding Jodi Krangle

“The piano is the same way. The piano has a hammer that goes like that on the string. The harpsichord has a pintrip that is plucked, all right? What do you do on the guitar? You actually pluck the string or hit it like a hammer in a way. So, in a certain way of thinking, the guitar is not the stringed instrument that everyone thinks it is. On the other hand, what makes the guitar so difficult? The double stops, the triple stops, quadruple stops.” -- Jonathan Taylor
This episode is the second half of my conversation with musician and international concert artist Jonathan Taylor as we discuss the healing power of music, composing cinematic guitar compositions, and the surprising reason why the guitar might not be a string instrument after all.
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. You can also join regular Clubhouse chats in The Power of Sound House every other Wednesday (check the schedule for times). Plus, subscribing to the newsletter will let you know when the new podcasts are available, when new audio rooms are scheduled and what they'll be about, and it'll give you access to a resource called The Studio with lots of interesting sound-related mp3s, videos, educational pdfs, and exclusive discounts from previous guests.
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) - Power of Sound and Space Exploration
As the second half of our discussion begins, we talk about his chance meeting with the head of JPL during a music tour flight. “So we were talking,” Jonathan says, “and I didn’t rail at him, but I said, ‘You know, NASA really blew it.’ And he goes, ‘What? excuse me, sir?’” He shares more of his thoughts on the Space Race and what being a musician has taught him about holding onto an audience. “Even after two landings on the moon,” he recalls their conversation, “the viewership went like to nothing because everyone was bored. I said, ‘Well, you have to have a new project.’”
(0:05:57) - Power of Healing Through Music
Jonathan also recalls the places and events that made the deepest impression on him, including one listener at a concert whose life was literally transformed as a result. “A man had come into the auditorium,” he remembers his manager telling him, “and he was going to kill himself and he was on the brink of suicide, and he heard the concert and he decided not to kill himself.” We talk about sound’s power to reach out to people in unexpected ways, and he shares his thoughts on why the guitar isn’t necessarily a string instrument, or, at least, isn’t exactly played like one. “In executing a passage on the guitar to that exploding sound that you hear,” he says, “people ask, ‘How do you create that?’ And my answer is. ‘I release the energy.’ But it’s not enough for me to just tell you that.”
(0:18:55) - Music and Filmmaking With Jonathan Taylor
As our conversation comes to a close, Jonathan reminds us once more of the new app he’s released, which you can find a link to at the bottom of this page. “I forgot to tell you,” he jokes, “I forgot to mention that, I don’t know what’s the matter. I’m forgetting so many...

“And so the concert comes, and, about the ending piece of the concert. I didn’t know who I was. All that vanity and ego, ‘I’m a classical musician,’ all of that stuff, those labels go right out the window. And why is that? Because it’s down to survival time now.” -- Jonathan Taylor
This episode’s guest is a California native who’s currently representing the U.S. as an American Cultural Specialist in South America and the Caribbean. He’s performed sold-out concerts for such luminaries as UN delegates, American ambassadors, and foreign heads of state. During his formative years in the 1970s and ‘80s, he studied music at Chapman University and was head of the music department at the Newport Institute of the Arts in Southern California. He’s known for his virtuosity and unique transcriptions and has performed extensively throughout Europe, North and South America, and Asia. He was one of the very first artists to record digitally back in the early ‘90s and he’s set about creating a catalogue of over three hundred tracks. His music is streaming worldwide on iTunes, Spotify, Pandora, Amazon Music, Sirius Radio, and most streaming services everywhere.
His name is Jonathan Taylor, and our two-part discussion is a must-listen for anyone interested in the power of sound – and particularly the power of music. Prepare to be inspired!
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. You can also join regular Clubhouse chats in The Power of Sound House every other Wednesday (check the schedule for times). Plus, subscribing to the newsletter will let you know when the new podcasts are available, when new audio rooms are scheduled and what they'll be about, and it'll give you access to a resource called The Studio with lots of interesting sound-related mp3s, videos, educational pdfs, and exclusive discounts from previous guests.
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) – Musical Journey and Touring Adventures
The episode starts off with a look back at the start of Jonathan’s musical journey, and the grandmother who played the organ for silent movie productions. “Those things,” he says, “I’m sure, influenced me, and I started picking out tunes, you know, on the ukulele, because the guitar would have been too big for my fingers at that age.” He talks about the challenge of mastering, rather than just being proficient at, music, and the difficult promise he made to himself at age fourteen to truly master the guitar. “It is saying that you have made an oath to yourself,” he explains, “which is the only oath anyone can really make, and that it is going to require tremendous labor and work and discovery.”
(0:16:51) – Jonathan’s Encounters Around the World
Our conversation turns to the tours he’s been on all over the world, and how it’s broadened his perspective as a musician and as a person. “Once one steps out of the door of their domicile,” Jonathan tells us, “something will happen because you are now out into the world.” We talk about some of the famous people he met while touring in India and one memorable occasion at an ambassador’s house when music and politics...

“The way to get your rates up is to make them realize that you’re like the supply, and demand works in your favor if the supply is one, right? If you’re the only person doing this thing, not the only person mixing, not the only person doing, I don’t know, a Scottish Gen Z accent, I don’t know what the equivalent would be. It’s not just the only person doing that service, it’s the only person doing that service but from your set of experiences and perspectives, people are a lot more willing to pay for that. Because they’re not just getting your unique taste, your unique, like, approach to it, but it’s the peace of mind, knowing that you’ve got their back.” -- Carl Bahner
 
This episode is the second half of my conversation with musician, mix engineer, and sonic wizard Carl Bahner as we talk about the true purpose of music producers, the importance of enthusiasm when it comes to branding, and what it takes to succeed in today’s post-Spotify music industry.
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. You can also join regular Clubhouse chats in The Power of Sound House every other Wednesday (check the schedule for times). Plus, subscribing to the newsletter will let you know when the new podcasts are available, when new audio rooms are scheduled and what they'll be about, and it'll give you access to a resource called The Studio with lots of interesting sound-related mp3s, videos, educational pdfs, and exclusive discounts from previous guests.
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) – Artist’s Guide to Music Business
The episode begins with Carl’s biggest piece of advice for up-and-coming artists: “Know what you’re signing up for.” As he puts it, record labels are in the business to make money, not to necessarily make things easier for the band. “They think that having a label is going to solve all their problems,” he says. “They can just be themselves, do what they want, and everybody has to listen to us. And that’s not how business partnerships work.” We talk about building your brand and professional relationships, and being recognized for what you have to offer. “It’s not about changing who I am to try to fit what I think that they want,” “he explains. “It’s just saying, okay, the people that are going to find the most value in what I do are going to find the most value in who I am and why I do what I do.”
 
(0:13:07) – Pricing Strategy for Creative Freelancers
We discuss finding your passion as a freelancer and the importance of bringing that sense of enthusiasm and genuine interest into each project. “What is it,” Carl asks, “that I just absolutely have the most passion, just, like, pouring out of me when I’m doing it, and then ask yourself, okay, well, if there’s a market for that.” He shares what he’s learned about the value of networking and building a reputation for reliability and trustworthiness, and the new role of music in today’s digital gig economy. “Your music is no longer the product or thing that you create,” he says. “Your music is advertisement for you. The music that you make on social media, it’s the...

“It was when I started figuring out, without knowing what it was called, because I also didn’t have any marketers in my life growing up. But when I was finding gigs for myself when I was the freelancer, mercenary, playing with a bunch of different people, I had to learn what these people are looking for. How do I figure out how to let them know that I can be the good fit for them? How do I find the people that I think I’m going to be a good fit for? And how do I convince them that I’m a good fit for them? Which is ultimately what the personal branding is.” -- Carl Bahner
This episode’s guest is a mix engineer, educator, and a brand strategy super-nerd on a mission to help artists and producers make great songs and help other studio pros attract ideal clients.  Hailing from rural Pennsylvania, he’s made a name for himself internationally as a team-builder and sonic wizard, focusing his boundless enthusiasm on playful, memorable, vibrant music. Working with artists like The Wombats and Hippo Campus, he’s proven highly adept at producing earworms tailored to fit like a favorite T-shirt.  But don’t be fooled by his youthful energy – he’s a seasoned pro who’s toured extensively and opened for major acts like Walk The Moon and Charli XCX.
In addition to mixing and production, he hosts the podcast Thanks For Thinking and is a passionate educator when it comes to sharing industry knowledge through content creation: he recently released an online course called “Communicating The Care” that’s aimed at helping studio pros clarify their perspectives and connect with ideal clients seeking meaningful collaborations.
His name is Carl Bahner. and this discussion will challenge the myth of the starving artist and give creatives some comprehensive steps to make sure they get paid what they’re worth.
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. You can also join regular Clubhouse chats in The Power of Sound House every other Wednesday (check the schedule for times). Plus, subscribing to the newsletter will let you know when the new podcasts are available, when new audio rooms are scheduled and what they'll be about, and it'll give you access to a resource called The Studio with lots of interesting sound-related mp3s, videos, educational pdfs, and exclusive discounts from previous guests.
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) – Early Musical Memories and Instrument Exploration
We start things off with a look back at Carl’s early memories of sound, or, in this case, the new memories he’s creating with his six-month-old daughter.  “That’s way better than my early memories,” he jokes, “which is probably just listening to Sandi Patty cassette tapes in my mom’s car or something.” Carl shares his journey through music, from the piano to the clarinet, and how he discovered the guitar. “What drew it to me is,” he explains, “or drew me to it, was the fact that there was so much more variation in what you could do with it – and, I think, a lot more exciting possibilities.”
 
(0:12:55) – From Trumpet to Percussion
Carl shares with us his...

When you think about shopping, what sound comes to mind? It might be the carts rolling up and down the aisles, or maybe the beeps of the scanners when you’re standing in the check-out line. Music might not be the first thing that crosses our minds, but it’s almost always in the background of our shopping trips, and it can have a surprising impact. From how long we stay in the store and how much we spend while we’re there to how we feel about it afterward, sound plays a pivotal, and often unnoticed, role in our purchasing decisions that we’re still working to understand.
If you think about it, using music to change the way we think and feel about an experience isn’t all that surprising. Whether we’re soothing babies to sleep with lullabies or marching into battle with drums and horns, sound has always helped give shape and texture to our daily lives. In modern times, that’s meant music at work and out in public, such as the Music While You Work radio program that ran in the UK until 1967 or the “Muzak” that filled American department stores and elevators in the 1950s. But the science of sound has come a long way since those early days, and the commercial soundscape has become much more sophisticated. What does the latest research say about the influence of sound on our spending habits? Can sound even be used to turn us into more responsible shoppers?
During the heyday of elevator music and workplace radios, there was another famous – or, perhaps, infamous – approach to using sound as a marketing tool. That tool was subliminal advertising, and it only became possible over the last century, as vocal recordings and sound editing allowed secret messages to be layered beneath an audio track or “backmasked” into reversed snippets hidden within the melody. Those subliminal messages, the thinking went, could cause unsuspecting moviegoers to crave popcorn, or even turn ordinary teenagers into rebellious rock-and-roll fans.
The good news for free thinkers is that subliminal advertising never really worked that way. Reversed audio doesn’t create any sort of subconscious suggestion, and, while soft, layered words can leave a faint impression on listeners, it’s actually a weaker effect than just saying the words out loud in an ordinary commercial. If you’re curious about the rise and fall of subliminal audio, check out this short video from Cheddar about the fake study that started it all:
https://www.youtube.com/watch?v=DU-eUcXcaqk
We might not be able to use hidden messages to boost soda sales, but sound does motivate us as shoppers in ways that we hardly notice. Music can have a powerful effect on the brain, such as lowering our cortisol and stress levels when we listen to a soothing song, and a 2010 study found that music also releases dopamine in the brain. This came as something of a surprise to researchers, since it means music activates the same sense of innate pleasure as food, money, or even love.
Sound has a much deeper impact on us than we realize, and a UK study in 2022 showed that different genres of music lead to different behavior when it comes to shopping. Pop music motivates people to spend more and to make more impulse purchases: 37% more people were likely to try a new hairstyle in a salon that’s playing pop music. Other genres have their place, though, as 31% more diners ordered the most expensive menu items in a restaurant that played classical music. The only sound that didn’t have any upside for businesses is silence: according to a consumer survey conducted by Luxury Academy last year, 67% of shoppers would leave a store that isn’t playing any music.
Want to hear what shoppers think of store music? Here’s a short video by the Irish Music Rights Organization that interviews customers on the street, including a surprising number who make their shopping...

“If you take the, you know, Foley work and the soundtrack out of a movie and just show, you know, the film with just the dialogue, even a great movie, it just, it completely falls emotionally flat, right? It just it’s, you know, if George Lucas had not hired John Williams to do the score for Star Wars, it would probably be a little-remembered, B-grade science fiction movie that hardly anybody would even know. The music kind of glosses over some of the kind of tropey, pulpy shortcomings of the script.  I mean, because the music is just majestic. It’s amazing.” -- Jeff Bohnhoff
 
This episode is the second half of my conversation with musician, audio engineer, and longtime producer Jeff Bohnhoff as we discuss his firsthand experience with Dolby Atmos music production, his collaborations with a wide range of artists, and both the past and future of audio technology.
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. You can also join regular Clubhouse chats in The Power of Sound House every Wednesday (check the schedule for times). Plus, subscribing to the newsletter will let you know when the new podcasts are available, when new audio rooms are scheduled and what they'll be about, and it'll give you access to a resource called The Studio with lots of interesting sound-related mp3s, videos, educational pdfs, and exclusive discounts from previous guests.
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) – Music Production and Collaboration Experiences
Our conversation picks up with Jeff’s work with Dolby Atmos in the studio, and how it compares with traditional stereo. “It’s like, ‘I guess it’s different, yeah,’” he describes listening to a remaster, “and then I went back to the stereo mix and then it was like, ‘oh yeah, now I can really hear the difference.’” We talk about his professional and personal collaborations, and the different expectations and styles that come with each new artist. “It’s interesting, though,” he explains, “working with different people, because, you know, when you collaborate with people, everybody has their own style.”
 
(0:07:35) – Album Collaboration With Folk Musicians
Jeff also talks about his collaboration with such acclaimed filk singers as Katy Dröge-Macdonald and Steve Macdonald of Twotonic and  Dr. Mary Crowell. “The songs are so beautiful,” he says, “and the lyrics are really poignant and I just really felt like we were both kind of on top of our game for that album.” He shares snippets of such songs as “Jazz & Mai” and “I Put My Low Stat,” and we talk about the storytelling power of music, whether it’s about gaming, mythology, or even sci-fi blockbusters. “I’ve heard George Lucas in interviews,” Jeff says, “pretty much acknowledge that, when, you know, he first saw a cut of the film with the score, it was like, ‘oh wow, we have something here.’”
 
(0:19:33) – How Music Can Bring Us...