You're listening to 20,000 Hertz.

We just reached 150 episodes, and I still can't believe we've made it this far.

To celebrate the occasion, I wanted to pull back the curtain a bit.

Last week, you heard a deeply personal story about my life before this podcast. This week,

you'll hear part of a discussion I had with my friend Jordan over on his podcast, The Jordan Harbinger

Show. Now, this episode is going to sound completely different than our normal show. It's a lot more

conversational and very fast-paced. But Jordan is a fantastic interviewer and does a really great job of asking thoughtful questions that people ask me about often.

In this episode, we cover a lot of different topics.

What sound design is, how it's used in movie trailers, whether analog sounds better than digital, deep fakes, sonic branding, and more.

It was a really fun interview, and I hope you'll enjoy it.

Here's Jordan.

I'm not sure people have heard of sound designers before, and if they have, they probably

in the same page I was before this, which is, oh yeah, they pick the music for a scene

in a movie.

And that's about it. Or maybe they add like a punching sound if the punch isn't loud enough in the stunt scene. But obviously, there's a lot more to it. and you're kind of part of this big magic trick.

The audience isn't thinking about what they hear, but what they see.

And if it were a drawing, you'd be shading it, right, with a pencil.

You're spot on, because I think a lot about sound design as a slight of ear,

because we're essentially putting up a smokesc screen for what it actually sounds like.

And so what a sound designer actually does is just tons of layers of stuff.

I do a lot of trailers with big bloas and bogees and things that just get you totally hyped.

But there's just like a million sound effects categories and layers to every single piece

...