Theme music

I’m trying something different today. I’ve not done this before. It’s a slight experiment. Nothing radical. But, a little compare and contrast exercise. Between the pilot for a podcast and what actually happens first episode. What’s different? How did the format of the podcast evolve from the pilot to launch? Why – what was thinking that informed those changes? And, I think what intrigues me the most is the challenge the producers faced trying to figure out how to explain the podcast to listeners because it’s not the usual fare. 

It will take a while to do this. Get comfy. And listen hard.  Ready?

This is Sound School from PRX and Transom. With the backstory to great audio storytelling. I’m Rob Rosenthal. 

Theme music ends

In addition to trying something new I’m  going to start in an unusual place for a podcast about audio storytelling. Henry David Thoreau. 

You know Henry. That odd-ball resident of Concord, Massachusetts back in the 1800s who went to the woods to live deliberately by Walden Pond. Who wrote Civil Disobedience, a call for non-violent resistance still relevant today. Especially relevant to today but don’t get me started.  

Henry was also very much a naturalist. Maybe you knew that, too. 

What’s not-so-well known are his observations on forest succession. What grows back after a forest is cleared because of fire or harvesting. He was one of the first to document what grows back first, then second, then third…

I’ve been thinking about forest succession in relation to podcasting. I told you this was weird. But, think of it. In the last couple, three years, a lot of big trees were felled in podcasting. Shows going dark. Companies closing their doors. Layoffs. 

But, now, look what’s taking root, emerging. 

The Resonate Podcast Festival.

ECCO, an audio retreat based in Europe. 

The Transom workshops are back in action. 

There’s Signal Hill. An audio magazine featuring audio essay, shorts, dispatches, and a category they call “things we haven’t named yet.” 

Along with Signal Hill, two other audio magazines have sprung up: “Written in Air” and “Low Orbit.”

So, for artistic, creative audio storytelling, that’s a lot of good growth. 

Julie – I feel like there’s a bit of a movement happening, actually. 

Julie Shapiro is part of that movement. Julie co-founded yet another project taking hold these days: Audioflux. Her Audioflux partner is John Delore who says despite the challenges audio makers are encountering, he’s feeling optimistic. 

John – Yeah. The optimism came from like finding other people who are like “Well fuck it. We’re going to do it anyway, right?”

Julie’s been at the audio storytelling game for quite a while going back to co-founding the Third Coast Audio Festival in 2000. She’s also been a creative consultant for too many podcasts to mention. 

And John is similarly wired. He says “everything I do is sound.” He’s a musician and an audio engineer for all manner of projects. 

Julie and John dreamed up Audioflux in 2023. Frankly, I have a bit of trouble putting words to what Audioflux is. I find it hard to corral but let me try.  

•  John and Julie commission 3-minute audio works twice a year. They also put out an open call for pieces.  

• Each round is known as a circuit. 

• Each circuit has a new set of content guidelines for the stories with themes like “Pet Sounds” or “Creative Tension.” 

And, each circuit has a unique set of prompts like “include the sound of time passing” or “reference the color blue.” 

Julie - We didn't invent it. It's inspired by art movements of the past, like Fluxus and Ulupo, so it's in the long tradition of celebrating and finding creativity through constraint.

These themes and prompts are devised in collaboration with a creative partner – an artist who works outside the audio world. They say it’s a way to bring arts communities together.  Like for one circuit, Julie and John collaborated with a photographer to devise a theme. On another circuit they worked with an artist who paints pets. Most recently, a knitter. 

Julie - And who knew, you now, I never, I didn't have like knitting community on my bingo card. 

John – I did. 

Julie – Laughs. Yes. Yes. John, you would have. 

See? Prompts. Themes. Circuits. Knitters. “Pet Sounds.”  “Reference the color blue.”  I find it hard to say it all succinctly. 

In a minute I’ll ask John and Julie to wrap it in a bow for me. But, for now, let’s let tape do the talking. Here is a fluxwork – as John and Julie call them – a fluxwork from the very first Audioflux circuit. The theme was “Letting go.” And, there were two prompts: the story must include personal archive tape and it must take inspiration from one of three drawings: a set of keys, an abandoned gas station, and someone lying down reading. 

See what I mean? It’s complex. But this will help out. Here’s the fluxwork.  

Clip – Aaron Edwards -  December 26, 2021. Upstate New York. 3 grams of dried magic mushrooms. The friend who gave these to me says they're called Pink Buffalo. Here is Emmy, Grammy, Oscar, and Tony award-winning comedian Whoopi Goldberg capturing my reaction to this name. 

Whoopi -  Okay. 

Aaron - 11 a.m. Empty stomach with a thick dollop of peanut butter on a spoon. Here we go. 

Plants and music, both swaying. Emotional, erotic, tender. A journey of what matters most to me. Trust, friendship. There are two with me. Incense is burning. McDonald's double quarter pounder with an arm's length. Is my plant trying to hook up with me? Floating with a plant. I should text my friends for Jay's sh- 

Speakers -  Right, baby? Danny. Oh, yeah, wait, wait. 

Aaron -  Jasmine. I'm so stupidly hot. ] I come back to Earth with a takeaway that feels like it should be on an Instagram infographic. Life is a road, and I know how to drive. Here's Whoopi again. 

Whoopi -  Okay. 

Aaron - April 13th, 2023, New Hampshire. 3.5 grams and three microdose capsules. I walk a trail to a pond. I lay back onto the crunchy grass and forget my cares, but then remember that I'm forgetting my cares. I cast my arms to the sky and ask for silence. And I get it. 

How nice it would be for every chapter of life to have a neat end instead of one careening into the next with guts and scars and unfinished drafts strewn behind you as you slouch toward the Brooklyn Queens Expressway.

 I'm forgetting who I am, and so I yell it. I'm Aaron! I'm black, I'm Jamaican, I am kind, I can be stubborn, I have beautiful friends. 

Friend - Love you so much! 

Aaron - ] In another life, I think I was a spaceship in Galaga. I have a nice butt. 
September 24th, 2023, NRG Stadium in Houston, Texas. I don't know how much I take this time. It's a small, chewy chocolate that Ahmad hands me a few minutes before we see. 

Music

I feel the sensation of watching her, and of watching myself. She asks us to remember this moment, to remember who we're with, to release our anger, our minds, and our stress. 

When I was diagnosed with OCD three years ago, I started taking mushrooms as a way to sift through the noise in my head. The onslaught of intrusive thoughts and regrets, the replaying of every time I felt like I'd fallen short. At this concert I feel for the first time in a long time, release. 

But I realize the victory here is knowing that all feelings must come and all feelings must go, and we are rarely in control of when. 

Whoopi? Whoopi are you there? 

Whoopi – Okay. 

Aaron Edwards produced that piece. He made it for the first Audioflux circuit “Letting Go” in 2023. Aaron called the story “Grams.” 

Rob – I’m hoping you can help me with something because I’ve tried to explain Audioflux to people. 

John – Oh we thought you were going to help us do that. 

Julie – Laughs. 

Rob – Laughs. And it’s a mouthful. Because there are so many different components to the whole thing. So how do you describe what it is especially to someone who may not be familiar with the style of storytelling that’s featured in Audioflux pieces. 

John - I mean, it is, you know… it's like here, here is an assignment, here are some prompts around a theme, make a three minute piece, that's what it boils down to, um, and it's very genre agnostic… But yeah, I think like when we're trying to explain it to people, it really just boils down to, um. (pause) It's a process, it's a, what was the term? (pause) See, we struggle doing this, we struggled explaining it. 

Julie - I got it, I have it emblazoned into my psyche. Audio Flux is a home for short form audio and bold storytelling, Rob. Twice a year we invite people to make creative stories three minutes in length inspired by a theme and a set of prompts, and then we share them back with the community and our listeners. Something like that. 

No, the question is a good one, and I had a really generous friend giving us some consulting advice at the beginning, and he just kept being like: “I don't get it. What is it?” And so we just kept changing, like, the tagline till finally we went broad, general, and then you can get more specific from there. 

But we just want people to know like this is a place. This is a space and a place where the short form can be celebrated and explored and listened to and experimented with whether you're a maker or a listener.

So, while Audioflux is many things, what Audioflux hasn’t been is a podcast. Which struck me as a little odd. Why not go fish where the fish are? If audiences are listening to audio stories via podcasts, then why not distribute Audioflux fluxworks that way? 

To answer that, John remembers going to a gathering of audio makers in 2024. Given the upheaval in the audio world, this group was asking “So what’s next?” 

John - And one of the sort of terms that came out of that gathering was “beyond the feed” and how to think beyond the RSS feed. So people were talking about live shows and putting things out on physical media. 

Julie - I've always had it in my head that it's similar to beyond the feed, like it's podcast adjacent. And I think personally, in my career, I've been thinking about how can I work in a space that feels gratifying and like what I was, why I got into this in the first place. And that's the audio sphere. It's not necessarily the podcast sphere. Podcast is a subset of that, but like doing something in the audio space that's adjacent to podcasting.

John - And so I think for us, when we started, when we did our first couple of circuits, one thing that we were really interested in was like the listening together… Getting a bunch of people who love audio in a group together, listening together is vastly different than listening on your own in headphones. 

Julie - It's two-way. Podcasts very one way. You receive a podcast… But this is really about a back and forth, an engagement.

Julie and John have hosted events presenting fluxworks for audiences at Resonate, On Air Fest, XMTR, and Tribeca. 

John – These are places where our audio tribe gathers. And, the podcast was like, oh yeah, we know we got to do it, but it wasn't even on the table as a priority. 

But, after they had a few public events and a couple of circuits under their belt, they put the podcast on the table. 

Julie – Bring the fluxwork to the people. 

Question is: how? 

How do you format a podcast that leans more toward the audio arts?    

Should John and Julie just put the pieces up in a feed – no host, no talk with the maker, no background on the piece? 

Or maybe they should go in the other direction – lots of hosting and talking and explaining. 

Or maybe they DJ – a quick intro and outro from a host. Sort of like a “song of the week” kinda thing. 

And then there’s the purpose of Audioflux which is radically different than the vast majority of podcasts out there. How do you explain it.? How do you help listeners understand what they’re listening to? Julie put it pretty succinctly but even she recognized the challenge. 

Or, then again, maybe you don’t explain it. Maybe you just let it rip. 

Sound – Knock on door. 

Amy Pearl - Jamie? 

To answer the question: What should an Audioflux podcast sound like, Julie and John experimented by making a pilot episode. 

Amy - Jamie? Jamie, are you awake? 

They brought on Amy Pearl as the host. A producer at New York Public Radio. I featured Amy’s podcast “10 Things That Scare Me” several years ago. It was outstanding. The perfect amount of quirk. 

Zach - Hello. 

Amy Oh, Zach, are you awake? Yeah. Are you dressed in clothes? 

Zach - Not quite. 

Amy  - Okay, I was gonna ask you a question for my podcast. Can I just really quick? 

Zach - Sure.

Amy - Um, we're working on a project and it's on the theme of letting go. 

This is how the Audioflux pilot opens. Listeners are dropped right into a scene. No explanation. No handholding. Just Amy doing her thing. 

Amy - Like what comes to mind when you hear letting go? 

Zach -] Um I think kind of like surrendering yourself to life that sort of thing. 

Amy - Well, I just like, you know, you're in law school, right? Surrendering to life was not what I expected you to say. I was thinking you were going to say something like, oh, my money is streaming out. 

Zach -  Or something. No. You caught me at an optimistic time, I guess. 

Amy - And what do you think your kitty would say if I asked her, like, what does letting go mean? 

Zach -  Um, it means catching a mouse, biting it, and then letting it go, that sort of thing. 

Amy - She's so evil. Thanks, Zach. Bye. . 

It’s worth highlighting what’s happening here – it’s hard to tell, right? I mean it’s clear someone’s having a conversation with a neighbor. But what for? Where’s this going? That’s unexplained. 

Next is the shortest of show posts. 

Amy - This is the Audio Flux Podcast. I'm Amy Pearl… I love the snow so much. (fades under) 

Then, Amy goes for a walk in the snow to get a cup of coffee. 

Amy – (fades up) This is like optimal life. I have no job. I have friends. It's snowing. It is Friday. It just great. Chagachino mushroom coffee. Wow. Do you feel like a coffee? Let's go. 

After that, Amy introduces the featured fluxwork for the episode. 

Amy - Today's fluxwork is “Grams” by Aaron Edwards. 

Again, no handholding. No explanation. What’s Audioflux? What’s a fluxwork? Nada. The audience is on a ride. 

Aaron - December 26th, 2021. Upstate New York. Three grams of dried magic mushrooms. The friend who gave these to me says they're called Pink Buffalo. Here is Emmy, Grammy, Oscar, and Tony award-winning comedian Whoopi Goldberg… (fades under) 

Aaron’s story plays. Then we’re back on the street with Amy drinking coffee. 

Amy – (fades up) You know what it tastes like? Plain fucking coffee! What? This tastes just like coffee…. (fades down) 

Amy vox pops someone. 

Amy - Hi, can I ask you a question for my audio documentary? Uh... Just one word, letting go, what does it mean to you?

Pedestrian -  Coming to terms with something? 

Amy - Thank you. 

On one hand, I appreciate the lack of handholding through all of this. I like the experience of not knowing what will happen next. On the other hand, could someone help me out a little bit? We’re six minutes into the piece. What’s going on here?

Amy – Narrator - Aaron Edwards is a writer, editor, and director who works across a bunch of different mediums like audio, print, stage, TV. He's originally from Queens, but these days he lives in upstate New York. He loves all the trees. 

That’s helpful. And that’s how Amy brings Aaron on stage in the pilot but I was a little lost. Maybe you are, too. Who’s Aaron? Oh right. The person who made the fluxwork. But it took me a moment to remember that because it’s been a while since Amy mentioned his name. 

Aaron! It's Aaron Edwards. 

Speaker 3 [00:06:17] Amy Pearl, Amy Pearl 

Amy and Aaron meet on the street. After they chat about the cold weather and snow, they head over to Prospect Park in Brooklyn to talk about shrooms for several minutes. 

Amy - So basically you are taking mushrooms as a kind of therapy. 

Aaron - Yeah, yeah, when I responded really well to them the first time, I felt like something was unlocking… (fades under) 

Amy got cold. They moved the conversation to a library and talked about the piece itself. 
 
Amy - So I listened to your piece a million times. There's so many beautiful moments in it, but I just, I love the part where you said, I'm black, I'm Jamaican, I have beautiful friends. I mean, the one thing that I especially found moving is when you said I am kind. And I wondered, is that something you already knew about yourself or how did you find that out about yourself? 

Aaron - I think that I do have really great friends who constantly remind me that I am more and better than I think of myself. I am very hard on myself. I overthink things, sometimes to a benefit but often to a fault…. (fades under) 

This structure for the Audioflux podcast is intriguing but I feel like it’s meandering because after they warm up, they head back outside. 

Sound – Music and walking

Where their chat continues. 

Amy - There's actually there's this one part in your piece when you're kind of losing track of who you are and so you like yell it out. What did that do for you when you yelled out like, I am Aaron. 

Aaron - I think what was happening was like I had leaned back into the grass and it was like all the leaves and stuff were kind of coagulating…. (fades under)

Eventually, they finish the interview and make their way over to a tunnel -- to yell.  

Aaron -  I'M AARON! It's real. 

Amy [00:16:45] All right, I'm gonna do it. I am Amy! That felt great. 

This is followed by a little bit more Amy Pearl hijinx. 

Then eighteen minutes into the 20-minute-long pilot, after Amy’s random interactions with people, Aaron’s story, talking with Aaron, and a lovely moment of yelling, Amy explains what’s going on. 

Amy -  Aaron was one of six producers we commissioned to make a Flux work in our very first AudioFlux circuit. Our creative partner for the circuit was the artist and writer, Wendy McNaughton. Her book, How to Say Goodbye, inspired our theme, which was letting go. Wendy also provided three amazing illustrations….

This continues for a while where Amy invites listeners to submit fluxworks. 

Amy - Audio Flux is a new home and launchpad for independent audio. The AudioFlux podcast is produced by Julie Shapiro, John Delore, and me, Amy Pearl. The first circuit of Audio Flux was made possible by support from IMI, 

The whole wrap up at the end runs about three minutes.  

Amy - Now flux off. Okay? 

Rob – How come you made it like that? 

Julie - I have a couple of thoughts. Well, first of all, Amy's the third… leg on the stool, and we really wanted to showcase her because she's just a magical human and a wonderful presence. And so part of it is trying to figure out, like, John and I didn't want to make a podcast about us. And so how do we really lift the producers and give Amy, rightly so, she's like the queen of short form audio. So like, how do we let her shine and do her thing?...

And I think we just wanted to walk the walk and like make something that experiments a little bit and is you know is trying something new and gives people another sense of what a podcast could be that isn't so straightforward and isn't doesn't hold your hand and doesn't fall into the formats that you're very used to hearing.

So, the pilot was in the can. Next step? Share it. Seek feedback.  For one, the pilot was featured at the Tribeca Festival in 2024. Julie and John also sent it around to friends and colleagues. I was one of the lucky few who lent an ear. 

Their big conclusion? Make it shorter. For starters, that would be practical. There were only three of them making it all happen.  Definitely part time. It’s an “at night, weekends, spare moments” kind of thing. And while they have received some funding, it’s really a labor of love. A shorter podcast would better suit their situation.   

Julie - But it wasn't just the length. I don't think we said, “oh, 20 minutes, too long.” I think we said “Is this the best version of what we want to do in a sustainable way?... 

John - And let's get 20 minutes of tape and cut it down as opposed to the Aaron Edwards pilot episode, which is probably, you know, your classic narrative podcast cutting ratio of like four hours of tape for a 20 minute piece. 

Julie - Plus, how do you explain AudioFlux? You brought this up earlier, it's kind of a mouthful. What do people need to know to appreciate the Fluxworks the most? Do they need to every detail about the prompts and the theme, and do they need to know that every time? And will that get repetitive across the season? So we're really playing with trying to crystallize, synthesize everything into the lowest amount of information that will help people get the highest degree of satisfaction or interest in the piece. 

There’s another aspect of the pilot’s format I was curious about: handholding. Or the lack thereof. 

I asked the two of them if there was a tension between letting the listener, on their own, untangle what’s happening versus having Amy hold the listener’s hand. Put another way, is there a problem with being so loose and unpredictable? 

John – I like the idea of surprise being the predictable thing. 

Julie - My North Star would be familiarity, not necessarily predictability because that sounds like something that might get tiresome… I don't mind people knowing a little bit about what they're gonna get from the podcast, and yet I don't want them to know too much. A general familiarity, and then we get to keep introducing new ways of presenting the stories, talking to the producers, you know focusing on Amy. And so I kind of like the idea of it feeling familiar season to season even, because it will sound a little bit different every season because of the particular theme and prompts.

John – Yeah, and I think the challenge for us is if we do it shorter form, how do we still have that spark? How do we still let Amy be Amy as a host? 

Clip - Amy -  Flux on! Flux off! 

They wrestled with all these questions and carved out a new format. The first of seven episodes dropped in October of 2025. Let’s dissect how they threaded the needle this time.   

Sound – Phone rings. 

Person -  Hello?

Amy -  Hi, this is Amy. Can I talk to Chloe? 

Person -  Um yeah, let me get her. Chloe! 

Amy - Oh my god, this is embarrassing. 

Chloe - Hi, this Chloe. 

Amy - Hi Chloe!

Chloe - Hi Amy! 

Amy - Have you ever eaten too many nuts? 

Chloe - Oh, honestly recently I did that. 

Amy -  Hang on a second. Mom, mom, shh, shhh. Mom. Mom. I'm on the phone. 

Chloe - Mom? 

Amy -  I'm suddenly going back in time and I'm 14 years old, okay. 

Well,  listeners are dropped into a conversation right out of the gate – just like the pilot. And, there’s Amy, right? Her unpredictable self with an out of the blue question. 

Chloe - The reason I had so many nuts is because I was on vacation with my parents and they eat so much less now that they're older…. (fades under)  

This rando moment runs very short – at least in comparison to the pilot. Under 30 seconds. And, by the way, this is how all the episodes start. A random conversation with a producer unrelated to the story.  

Speaker 2 [00:01:28] Can you just, before we continue this, just hang on one sec, I have to do this thing. I have tell the listener something, hang on, one sec.

Chloe – Okay. 

If you remember, the description of Audioflux came at the end in the pilot. Seventeen minutes in. Not in the podcast. Listeners hear a description of Audioflux less than two minutes into an episode. And, it’s succinct. It takes about third of the time it took in the pilot. What a difference! 

Amy – Hi.  I'm Amy Pearl, and this is Audio Flux, home of the coolest audio and boldest storytelling. That's right, I said it. The boldest story telling. 

Twice a year, we team up with an artist we love and they help us design a set of prompts. Then, we invite people to make really short pieces inspired by those prompts. 

For Circuit One, our creative partner was the amazing artist and graphic journalist, Wendy McNaughton, and the prompts we had were, one, producers had to use a theme, which was letting go…. (fades under)

The Fluxwork featured on this episode was made Chloe Prasinos. Amy asks her a couple of questions about the work. It’s very brief. Only 46 seconds. Remarkably shorter than the interview in the pilot. After that, the Fluxwork starts and I very much want you to hear all of it. 

 Chloe - My piece is called A Study in Blue and it's a personal piece about the experience of watching my grandmother, my Yaya, slowly let go of language as her dementia got worse and worse. 

Amy - And it's full of really beautiful archival tape that takes you through a whole different series of times. 

Chloe - Yeah my cousin had like digitized a bunch of home videos so there's like tapes from the 90s and then like also like iPhone tapes that we recorded more recently. There's all kinds of stuff in there. 

Amy -  This is “A Study in Blue” by Chloe Prasinos. 

Speakers  - You're filming. 

Speaker 4 [00:03:48] Yaya's house is my favorite place. 

Speaker 3 [00:03:49] Now, if I want to stop this thing, I just press the button again, right? Yeah, you can zoom in. 

Chloe -  When we visit, I sleep in the same room that my dad slept in as a child. 

Yaya -  This is telephoto, we'll go the other way. I got it. 

Chloe - Yaya is a virtuosic baker. 

Yaya - There we go. 

Chloe - She makes trays and trays of spanakopita and Greek cookies for Easter. 

Yaya - Look at this. 

Chloe - And she's a painter. My favorite is an abstract piece, A Study in Blue. 

Yaya - What is she doing Michael? 

Chloe - She's an easy laugh. 

Yaya -  Is that a ragdoll? The life of the party. All right, Trayvon, zoom me out again. Okay now let's see. 

Chloe - The years go by. Yaya is older now. 

Yaya - What kind what kind of things we Ingana? You know who's Ingana? 

Chloe - I'm losing my words, she tells us. (fades under) (End story)

Amy – That was “A Study in Blue” made by Chloe Prasinos for Audioflux Circuit One. You can read more about Chloe and her fluxwork and see… 

After Chloe’s fluxwork, the episode moves directly to the outro. No meandering. Just an invitation to read and listen to more at the Audioflux webpage plus the credits. And, there’s this: 

Amy - Chloe, how would you answer this question? What is Audio Flux? 

Chloe - Audio Flux is radical. Audio Flix is subversive. Audio flux is art. Audio flux is revolution. I feel like I'm hiding in this. How's that? 

Speaker 2 [00:07:48] It's great, I'm clenching my fist. Flux on.. 
 
Chloe - Flux off. 

Amy - Flux out. 

Chloe - Flux out! 

All told, the episode runs a smidge over eight minutes. You’re in. You’re fluxed. You’re out. 

I think Julie and John dialed it in. The right amount of surprise with Amy at the wheel plus the pinch of support for the listener while avoiding being didactic.

Plus, the overall tone matches the Fluxworks themselves.   

As I mentioned, the first season of the Audioflux podcast is out. Featuring Fluxworks by Megan Tan, Yowei Shaw, Greg Warner and others. There’s also a slightly shorter version of the pilot. 

Here’s an idea: I think you’ll find it instructive to create your own sort of Sound School. Go listen to the entire pilot then compare it to the other episodes. 

Will John and Julie stick with the same format as they move forward? In some respects, yes. They told me each season of the podcast will present one circuit of stories. And, each episode will feature one flux maker and one fluxwork inspired by prompts and the work of an artist.  

After that? They’re not exactly sure. 

Julie – We’re experimenting in real time so people are going to hear the podcast evolve. 

John – You make the first one so you can make the next one, and the next one. And then you look at them and you say “What works? What doesn’t work? What can we do differently?”  

Julie – And how can we bring the magic, bring the joy, bring the experimentation to the shorter form.  

 How can you bring the magic to the shorter form? A new Audioflux circuit was recently announced – Circuit 7. “Trash or Treasure” is the theme. 

This round they’re collaborating with Cyrus Kabiru (ka-BEER-rew) from Kenya who turns trash into stunning sculptures. Julie and John are looking for climate change stories that include a discarded object as well as sounds Audioflux provides from Cyrus’s studio. Hurry up because the due date is April 6. 

Theme music.

I’m pretty fascinated by this idea of collaborating across artistic mediums. Where photographers and sculptors and knitters and others share their work with Audioflux to inspire audio makers. Julie and John had a lot to say about the value of doing this. Hear about it at the post for this episode Transom dot org. 

Sound School is the backstory to great audio storytelling. It’s produced by PRX and Transom. I have help from Genevieve Sponsler, Jay Allison, and Jennifer Jerrett. 

I’m Rob Rosenthal. Thanks for listening. 

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