Lu Geremine – I’m Not Stupid EP
Out April 4, 2012

Just in time for WMC, and after a long hiatus, Clean House is proud to be back with a floor banger from Venezuela’s Lu Geremine. The original chugs along with hypnotic chord stabs and grooving bass line underneath. The vocal chops on top bring the energy in and out, making it bang on a big system. Remixes from Chemars, Fiuset, Moshun, and Black Criss.

Our third in a series, Clean House interviews label artists and related Djs by asking them 10 questions.

How did you get into House music?

I remember it always being around in the Bay Area when I was younger. Even though it still wasn’t my go to, I started listening more and more to compilations like House of Love, and United Dj’s of America – Jeno. In 97 I decided to put the computer games down and go to my first rave. I was so naive, I thought the candy some girl offered me was laced! I was 17 at the time and the next couple of years really changed my outlook on life

What’s the scene like in San Francisco?

We are really quite spoiled here. The venues tend to be open minded, with good sound. There are still a ton of outdoor parties to hit up, the most recent by Sunset and Dirtybird. Last Sunday (5/1) was the first Sunset boat party of the year and they nailed it. It didn’t hurt that the weather was unreal. The people in the scene here are very educated. They understand the music and purposely seek it out, which more often then not, translates into an amazing vibe. And our local djs are bad assess!

Where do you find your inspiration?

Sometimes other electronic music producers, sometimes random songs I hear, and sometimes just sitting around with my mind blank. I just got a new field recorder and I can’t wait to see where it takes me.

What do you use for production, and what are some of your favorite plugs?

I’m a logic guy, but mostly because its the one DAW I’ve really taken my time to learn. I get frustrated on the other options, but purely because I already know how do something in logic. My favorite plugins right now are all the D16 Group ones, Spectresonics Stylus and Rob Papen’s SubBoomBass. I’m digging the stuff from IK multimedia, specifically the Classic Studio Reverb, Pultec EQ emulation and their Opto compressor. I just picked up the DDMF EQ bundle – so far so good there.

What is your favorite and least favorite thing about producing and arranging a track?

Number one production tip?

I think the biggest tip is that really, less is more. I don’t think people get this one the first time they hear it – I know I didn’t. The point is, if each sound has its own space in time and frequency, when you get to the mastering stage, things can show their magic because there is room for it all to come out. Once you start thinking in this vein, the real magic happens.

Who are some of your favorite producers right now?

Stimming is at the top right now for me. His production quality is unmistakable, definitely someone to study. Pezzner is also someone to watch for the same reasons, and I’m also really digging Tim Green’s sounds and style.

What are you currently working on, and what can we expect in the
coming months?

Who is your favorite DJ and why?

Dj Jeno of the famed wicked crew, hands down. His musical direction and mixing style are unmatched and he’s been a huge inspiration to me for the past 15 years.

If you were stuck on an deserted island with only one track or song to listen to on your iPod, which would it be and why?

There is a Pop out & Play re-edit of Hall & Oates – I can’t go for that, that I play sometimes, and it is just amazing.

I think it would be hard to go crazy listening to that one over and over; its too damn good!

            Click image to listen

This concludes our third edition of 10 Questions. Want to see who’s up next? Subscribe to our email list or the Clean House Rss feed.

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Freaky Behaviour – Turbo Daddy EP
Out May 10, 2011

Freaky Behaviour returns with the follow up EP to their smash ‘Turn Down The Heat’ EP. Turbo Daddy is a funky, driving groove, that’s laced with catchy vocals and will surely turbo charge any dance floor into overdrive. Remixes from Jymmi James, Sascal, Miles Sound, and Mike Jules.

Our second in a series, Clean House interviews artists and related Djs by asking them 10 questions.

How did you get into House music?

I started listening to electronic music when I was 14. Artists like Daft Punk & Chemical Brothers were among my favorite artists. I realized that I was listening to same old music every time, so I started crate digging and found a Gramophonedzie mix from 2007 which really changed my life as a DJ. I instantly fell in love with Chicago House music. I started with my own Jackin’ House deejaying style, and shortly thereafter as a producer. I was fortunate to have my hard work pay off so soon.

What’s the House Music scene like in Serbia?

The House music scene in Serbia is coming up. There’s a small label called Disko Zoo, which is growing real fast, and the Disko Zoo crew is trying to promote a quality sound. There’s many names from all around the world, more or less famous, signed with this label already, so I personally think it will have a bright future. But like everywhere nowadays, people would rather listen to commercial, than real House music. Simply because popular radio stations and the media in general are promoting mostly cheesy stuff.

Where do you find your inspiration?

Listening to legendary House DJ’s like Derrick Carter, Mark Farina, Sneak, and listening to all the new stuff coming out lately… So much talented cats around!

What do you use for production, and what are some of your favorite plugs?

Ableton Live 8 is the DAW that I am using and I’m loving it! My favorite instrument plugins would be Trilian, Novation V-Station, and Sylenth1. For effects, anything from Waves is amazing. I mostly use those along with Kjaerhus plugs, which are free but sound great.

What is your favorite and least favorite thing about producing and arranging a track?

My favorite thing is getting a good drum loop going, starting a new track & then I could dance to that loop in my chair forever! My least favorite thing is finalizing If I don’t get it done by 2-3 weeks after I have a rough idea, I don’t think I’ll ever get back to it.the track, there’s a bunch I’ve almost done few a months ago. If I don’t get it done by 2-3 weeks after I have a rough idea, I don’t think I’ll ever get back to it. I think that’s a problem because some of those tracks don’t deserve to be unfinished and forgotten.

Number one production tip?

EQ your single hits and mess around with layering. Oh, and… make your own beats!!! Everyone is using the same old drum loops, so be different – make your own style!

Sonny Fodera killed it in 2010 – gotta say one of my favorites. Gramophonedzie, Scrubfish, Hector Moralez, Phil Weeks, TBF, Ramon Tapia, Romano Alfieri… there are too many! I would also like to mention my boys from the Disko Zoo crew – Mark Funk, Wise D, and Kobe. They have some great stuff coming out this year!

What are you currently working on, and what can we expect in the coming months?

I’m switching my style a little bit. I’m doing some Tech-House and House lately. I have a collaboration with Mark Funk coming out later in the year on Disko Zoo, along with some solo stuff. I also have the “Superman Lover EP”, which should be out in February on Sutra Sounds. I’m going to work harder this year for sure.

Who is your favorite DJ and why?

Derrick Carter is definitely my hero. He always impresses me with his crazy mixing skills. Gramophonedzie too, he never fails to make a great party!

If you were stuck on an deserted island with only one track or song to listen to on your iPod, which would it be and why?

Young & Company – I Like What You’re Doing To Me.

I never get tired of it. Whenever I’m feeling happy or sad, I could just listen to it forever.

            Click image to listen

This concludes our second edition of 10 Questions. Want to see who’s up next? Subscribe to our email list or the Clean House Rss feed.

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This coming Winter Music Conference has everyone befuddled. It falls on the first week of March – right in the middle of Spring Break. Historically it usually falls on the last week of March, in conjunction with the renowned Ultra Music Festival. This left early planners frustrated, confused, and many of us asking why? Louis Puig, owner and resident Dj of Club Space in Miami gives us his perspective on why the change of dates, and why not the same week as Ultra.

This year and once again, Ultra is trying to monopolize WMC by engaging exclusive contracts with all major DJs which will not allow them to perform at your favorite dance clubs. Last year they got Tiesto, Dead Mau, Guetta, Carl Cox, Armin…) to sign Ultra exclusives…once again, Ultra is trying to monopolize WMC by engaging exclusive contracts with all major DJs… and this year they are going after everyone else. What this means to the consumer is that you will no longer be able to enjoy your favorite DJ for extended sets after midnight at your favorite clubs, instead you will be forced to listen to them for a one hour set before midnight in a crowded field of dust, mud and ravers. You can also forget about seeing them at your favorite pool parties. You either pay the overpriced Ultra admission or you don’t get to see and dance to your favorite DJ at all, so much for democracy and your rights as a consumer. Now, I love Ultra and what they bring to the game but I do not agree with their greedy strategy to manipulate and monopolize Music Conference. This is just not good for anyone.

WMC used to be about free parties with DJs and industry folks sharing and enjoying new music. Now, it is about greed and money with Ultra and all the clubs fighting over talent, hotels charging 4 times what they are used to and agents and DJs banking on the demand. As the owner of Space, I like all the demand and the high prices as it allows us to raise our prices and make more money and Space will be packed regardless of what DJ is performing and what decision you make. In fact, the better Ultra does, the better we do as we are right across the street and at midnight everyone comes our way. However, as a 35 year supporter of Electronic Music I cannot consciously stand back and see this shit take place. This is not what EM is about and it surely is not what I want to see WMC turn into. In fact, for the past 5 years I have made it a point to stop the door cover at a certain price knowing that we could easily charge double the cover. Our presales discount tickets even start at half of the door cover charged on the day of the event. This Industry has been very good to me and I for this I am eternally grateful. Thanks and thanks again.

Now what does this mean to you? Well, unfortunately the consumer is the one that ends up paying for everything. As long as there is just one music festival and one weekend as long as you keep supporting and feeding the greed you will keep suffering the high This year you have a chance to make a difference and bring back what Music Conference and Electronic Music used to be about.prices. This year you have a chance to make a difference and bring back what Music Conference and Electronic Music used to be about. You can either come to Miami on the last week of March, support the greedy monopoly, keep taking it up the ass and lose your right to seeing your favorite DJ at your favorite club or you can come the second week of March, claim back your wallet and your nightlife. It is really all up to you… your life, your music, your choice. The good folks at WMC have taken a brave step towards bringing saneness and normality to this over populated and overpriced chaos by choosing a separate week from Ultra for you to hold their parties and events. Now, if we could just get someone to start another music festival during WMC week things would really stabilize. Gordon Gekko once said, “greed is good” but I truly believe competition is even better. Humm… if I were you I would not book your tickets just yet.

Finally, a good friend pointed out something which we are all overlooking and that is that “without WMC there would not be an Ultra Music Festival.”

See you the second week in March.

“We were blindsided by Ultra’s last minute announcement,” said WMC organizers of UMF’s supposed noncompliance. The WMC post alleged that UMF management breached their contract with WMC, claiming “a signed October 15, 2009, contract between the two entities [stating] that the 2011 Ultra Music Festival would be presented during the five-day period in February, March or April 2011 designated and promoted by WMC as the ‘WMC week.’ ” While the specific legalities officially associated with this possible breach are unclear, it is rumored that UMF was unable to secure permitting in Miami’s Bicentennial Park for the weekend of March 11-13 due to the annual Calle Ocho Carnival, which is expected to draw a crowd of more than 1 million to downtown Miami on March 13. A lack of municipal resources are being tagged with the blame.

Puig — who also heads up the WMC’s famed Surfcomber Pool Parties — spoke to MTV News last night and argued that neither artists nor party promoters will even have the ability to properly sustain a pool-party-laced, faux-WMC week centered around the UMF dates. “The City of Miami Beach only issues Pool and Beach Party permits during the week of the official WMC,” he maintains. If this is indeed true, then one of the most alluring and popular elements of a potential “UMF Week” would be pushed to the wayside.

Later in the evening, WMC owner and co-founder Bill Kelly spoke exclusively to MTV News and further corroborated the points in Puig’s manifesto, exclaiming, “Louis nailed it on the head!” Kelly, however, does admit that the departure of UMF from WMC week will absolutely affect his longstanding operation negatively. “We’re going to be hurt a little bit,” he says, noting that more than 25 percent of those who buy the official WMC registration pass — which currently costs $275 — do so to take advantage of the complimentary UMF ticket (now selling at $179 for the three-day pass). However, Kelly goes on to speculate that the separation of the two entities might actually open up new doors for both parties, including one scenario that might even entail the creation of WMC’s own exclusive “festival style” performance centerpiece.

“The possibility of doing a smaller, more intimate festival on the beach is a real possibility now,” says Kelly. “Because of Ultra Music Festival’s size, they have been banned from [having their event] on [Miami] Beach.” Some would agree that Puig, who recently pulledThe possibility of doing a smaller, more intimate festival on the beach is a real possibility now…off the Miami permutation of the Swedish House Mafia’s “Masquerade Motel” to a crowd of nearly 10,000, is perfectly suited to take on that challenge.

In addition to Puig’s WMC endorsement, many others seem to be at least silently preparing to publicly do the same, including promotional groups such as BMF/Auriela, who last year played host to the popular Belevedere VIP Lounge at the W Hotel, which also has announced its pairing with the official WMC dates, likely returning its base of operations to the W.

“Winter Music Conference is a weeklong cultural celebration and they have our full support,” says Aurelia Group president Lainie Copicotto. “From VIP Music Lounges to huge nightclubs to small ‘in-stores’ and poolside performances, WMC is not about one event or one DJ. WMC is the bigger picture.”

With these key WMC endorsements, those historically involved have now been prompted to take sides in the matter. Ultra Records, which carries no affiliation to UMF, and the online-EMD-music store Beatport have both told MTV News that they will issue statements and event plans for Miami in the coming days. MTV News is also tentatively scheduled to speak with the official UMF concert promoters later this afternoon.

Which is it? You be the judge.

    VS    
    Ultra Music Festival                               Winter Music Conference

Source: mtv.com

Our first in a series, Clean House interviews label artists and related Djs by asking them 10 questions.

How did you both get into House music, and who are your influences?

Mark: I got into House music by accident really. I designed some flyers for my brother’s friend’s night and had to venture into the club one night when it was in full flow! I couldn’t believe what i was witnessing! The Music, The people, The atmosphere! I wanted in and have never looked back! The first ever DJ i saw, and will always be one of my biggest influences, was ‘Ralph Lawson’ (2020Vision). Over time I became resident deejay all over my home town, until I started a night with my mates called Twisted Grooves. We had the best of the best play for us including DJ Mes, Inland Knights, Joshua Heath, DJ Sneak, Slum Science, and Groove federation to name just a few… ALL these guys being massive influences on me!!

Joey: I got into Underground House purely by going to watch Mark and the Twisted Grooves events. Watching Crumbs and the crew play Underground House was different to the other styles of House that I had heard up until that point, and I was a groupie for quite a while! I knew I wanted to be part of this sound as it has more heart and soul than any other dance music in my opinion. Influences are of course my partner Crumbs, Bert, Neil Bainbridge, and Stoop – all the Hull Lads that got me into this music! The Inland Knights are a massive inspiration to us both; both their production and Dj skills are second-to-none! I also think we both agree that Joey Youngman has pioneerd a sound in house that will grow for a long time; and to see him play live is an inspiration to any DJ.

How did you come to work together, and how do you like working as a team?

We have known each other for about eight years! Wow…where does the time go? We met at many parties and became close friends through making each other laugh, and a mutual love for the same music. Anyone who works as part of a production team will know that youIf we ain’t dancin’ in the studio to the tracks, then it ain’t workin’!! both cant sit in front of the same computer all the time, as personal ideas conflict and its hard to project two minds into one project! However, working together on the Freaky Behaviour stuff seems to work very well for both of us, and we have great fun making the tracks from start to finish. If we ain’t dancin’ in the studio to the tracks, then it ain’t workin’!!

Where do you find your inspiration?

Everywhere. Each other, films, comedy, most genres of music, sex, love, pain, tears, anger… Life and it’s challenges!

What do you use for production, and what are some of your favorite plugs?

We use a combination of software really, and just see what works best for the track. We mainly stick to Reason, Logic, and Acid. Our favorite plug-in has got to be “Glade” (Vanilla) – it gives the studio a lovely aroma, and masks the smell of cigarettes and brandy.

What is your favorite and least favorite thing about producing and arranging a track?

Mark: My favorite part of making a track is getting that sound down, you know?! When everything just sits right and you can’t stop shakin’ that ass! My downfall however, is that I never seem to completely finish anything. I come away for a break, then go back and something else seems to find its way out! I tons of unfinished tracks.

Who are some of your favorite producers right now?

There are too many to mention. We love the South of Roosevelt guys! Groove Federation, Jackin’ Box, Spirit Catcher, AudioJack, The Revenge… the list goes on and on! We get in touch with all of the producers that we love, as i think it’s important to be in touch with like-minded people.

What are you currently working on, and what can we expect from you in the coming months?

We are currently pushing and trying some different ideas. We love all elements of sound and grooves, and will be hopefully getting a lot of different styles of music out there in the near future. We have tracks on Guesthouse and Drop records to be released in the coming We’ll also be launching our new label, Real Good Musicmonths, and we’ve been in talks to do something for Joshua Heath’s label, Golden State.

We’ll also be launching our new label, Real Good Music, July of next year. There will be a collective of some great artists, along with some serious House and Disco grooves! (So watch this space peeps)

What do you like about working with Clean House, and what are some other favorite labels of yours?

Clean House has got to be one of the major players in the house label game at the moment! You guys throw out more and more top quality groovers, and chunk-funk monsters than we can stand – serious artists producing all styles of phat-stompers for your audio and booty shakin’ pleasure! Some other labels that we always turn to for quality House music are Drop Music, Guesthouse, Homecoming, OFF, Gruuv, Funk Mansion, Flapjack, Salted, Great Lakes Audio, Ficus Tree, Greenhouse… and loads more. There’s far too many to list!

Favorite DJ?

Joey Youngman.

If you were stuck on an deserted island with only one track or song to listen to on your iPod, which would it be and why?

Hardest question in the world!? It would have to be Alicia Meyers – I Want To Thank You.

It’s an outstanding piece of music. It’s such a beautiful, powerful track that brings a tear to our eyes whenever we hear it!

            Click image to listen

This concludes our first edition of 10 Questions. Want to see who’s up next? Subscribe to our email list or the Clean House Rss feed.

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Rio Soldierman – Chemical Attraction EP
Out November 12, 2010

Italian up-and-coming producer Rio Soldierman joins the Clean House family with his debut ep. He gives us two bumpy floor-stompers, with thick grooving basslines that are sure to get the party moving.

Most of us have become so used to suppressing noise that we don’t think much about what we’re hearing, or about how we listen. Yet our well-being is now being seriously damaged by modern sound. Here are 10 things about sound and health that you may not know:

1.) You are a chord. This is obvious from physics, though it’s admittedly somewhat metaphorical to call the combined rhythms and vibrations within a human being a chord, which we usually understand to be an aesthetically pleasant audible collection of tones. But “the fundamental characteristic of nature is periodic functioning in frequency, or musical pitch,” according to C.T. Eagle. Matter is vibrating energy; therefore, we are a collection of vibrations of many kinds, which can be considered a chord.

2.) One definition of health may be that that chord is in complete harmony. The World Health Organization defines health as “a state of complete physical, mental, and social well-being and not merely the absence of disease or infirmity” which opens at least three dimensions to the concept. On a philosophical level, Plato, Socrates, Pythagoras and Confucius all wrote at length about the relationship between harmony, music and health (both social and physical). Here’s Socrates: “Rhythm and harmony find their way into the inward places of the soul, on which they mightily fasten, imparting grace, and making the soul of him who is rightly educated graceful, or of him who is ill-educated ungraceful.”

3.) We see one octave; we hear ten. An octave is a doubling in frequency. The visual spectrum in frequency terms is 400-790 THz, so it’s just under one octave. Humans with great hearing can hear from 20 Hz to 20 KHz, which is ten octaves.

4.) We adopt listening positions. Listening positions are a useful set of perspectives that can help people to be more conscious and effective in communication — because expert listening can be just as powerful as speaking. For example, men typically adopt a reductive listening position, listening for something, often a point or solution.
Women, by contrast, typically adopt an expansive listening position, enjoying the journey, going with the flow. When unconscious, this mismatch causes a lot of arguments.

Other listening positions include judgmental (or critical), active (or reflective), passive (or meditative) and so on. Some are well known and widely used; for example, active listening is trained into many therapists, counselors and educators.

5.) Noise harms and even kills. There is now wealth of evidence about the harmful effect of noise, and yet most people still consider noise a local matter, not the major global issue it has become.

According to a 1999 U.S. Census report, Americans named noise as the number one problem in neighborhoods. Of the households surveyed, 11.3 percent stated that street or traffic noise was bothersome, and 4.4 percent said it was so bad that they wanted to move. More Americans are bothered by noise than by crime, odors and other problems listed under “other bothersome conditions.”

TED.com: Music is medicine, music is sanity

The European Union says: “Around 20% of the Union’s population or close on 80 million people suffer from noise levels that scientists and health experts consider to be unacceptable, where most people become annoyed, where sleep is disturbed and where adverse health effects are to be feared. An additional 170 million citizens are living in so-called ‘grey areas’ where the noise levels are such to cause serious annoyance during the daytime.”

The World Health Organization says: “Traffic noise alone is harming the health of almost every third person in the WHO European Region. One in five Europeans is regularly exposed to sound levels at night that could significantly damage health.”
The WHO is also the source for the startling statistic about noise killing 200,000 people a year. Its findings (LARES report) estimate that 3 percent of deaths from ischemic heart disease result from long-term exposure to noise. With 7 million deaths a year globally, that means 210,000 people are dying of noise every year.

TED.com: Jose Abreu on kids transformed by music

The cost of noise to society is astronomical. The EU again: “Present economic estimates of the annual damage in the EU due to environmental noise range from EUR 13 billion to 38 billion. Elements that contribute are a reduction of housing prices, medical costs, reduced possibilities of land use and cost of lost labour days.” (Future Noise Policy European Commission Green Paper 1996).
Then there is the effect of noise on social behavior. The U.S. report “Noise and its effects” (Administrative Conference of the United States, Alice Suter, 1991) says: “Even moderate noise levels can increase anxiety, decrease the incidence of helping behavior, and increase the risk of hostile behavior in experimental subjects. These effects may, to some extent, help explain the “dehumanization” of today’s urban environment.”

Perhaps Confucius and Socrates have a point.

6.) Schizophonia is unhealthy. “Schizophonia” describes a state where what you hear and what you see are unrelated. The word was coined by the great Canadian audiologist Murray Schafer and was intended to communicate unhealthiness. Schafer explains: “I coined the term schizophonia intending it to be a nervous word. Related to schizophrenia, I wanted it to convey the same sense of aberration and drama.”

My assertion that continual schizophonia is unhealthy is a hypothesis that science could and should test, both at personal and also a social level. You have only to consider the bizarre jollity of train carriages now — full of lively conversation but none of it with anyone else in the carriage — to entertain the possibility that this is somehow unnatural. Old-style silence at least had the virtue of being an honest lack of connection with those around us. Now we ignore our neighbors, merrily discussing intimate details of our lives as if the people around us simply don’t exist. Surely this is not a positive social phenomenon.

7. Compressed music makes you tired. However clever the technology and the psychoacoustic algorithms applied, there are many issues with data compression of music, as discussed in this excellent article by Robert Harley back in 1991. My assertion that listening to highly compressed music makes people tired and irritable is based on personal and anecdotal experience – again it’s one that I hope will be tested by researchers.

8. Headphone abuse is creating deaf kids. Over 19 percent of American 12 to 19 years old exhibited some hearing loss in 2005-2006, an increase of almost 5 percent since 1988-94 (according to a study in the Journal of the American Medical Association by Josef Shargorodsky et al, reported with comments from the researchers here). One university study found that 61 percent of freshmen showed hearing loss (Leeds 2001).

Many audiologists use the rule of thumb that your headphones are too loud if you can’t hear someone talking loudly to you. For example, Robert Fifer, an associate professor of audiology and speech pathology at the University of Miami Leonard M. Miller School of Medicine, says: “If you can still hear what people are saying around you, you are at a safe level. If the volume is turned so loudly that you can no longer hear conversation around you, or if someone has to shout at you at a distance of about 2 or 3 feet to get your attention, then you are up in the hazardous noise range.”

TED.com: Evelyn Glennie shows how to listen

9. Natural sound and silence are good for you. These assertions seem to be uncontroversial. Perhaps they resonate with everyone’s experience or instinct.

10. Sound can heal. Both music therapy and sound therapy can be categorized as “sound healing.” Music therapy (the use of music to improve health) is a well-established form of treatment in the context of mainstream medicine for many conditions, including dementia and autism.

Less mainstream, though intellectually no more difficult to accept, is sound therapy: the use of tones or sounds to improve health through entrainment (affecting one oscillator with a stronger one). This is long-established: shamanic and community chant and the use of various resonators like bells and gongs, date back thousands of years and are still in use in many cultures around the world.
Just because something is pre-Enlightenment and not done in hospitals doesn’t mean that it’s new-age BS. Doubtless there are charlatans offering snake oil (as in many fields), but I suspect there is also much to learn, and just as herbal medicine gave rise to many of the drugs we use today, I suspect there are rich resources and fascinating insights to be gleaned when science starts to unpack the traditions of sound healing.

I hope these thoughts make a contribution to raising awareness of sound and its effects on health. I welcome your reaction, and I will check this forum and respond.

The opinions expressed in this commentary are solely those of Julian Treasure.

Note: TED is a nonprofit organization devoted to “Ideas worth spreading,” which it makes available through talks posted on its website. Julian Treasure, the author of “Sound Business,” is chairman of UK-based audio branding specialist The Sound Agency and an international speaker on sound’s effects on people, on business and on society.

Source: cnn.com