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Kevin Shaw

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Career History

How Toronto Spawned the Best Mix DJs in the World

October 30, 2024 by Kevin

I absolutely love a great DJ mix, especially one that seamlessly blends disparate genres into a cohesive mix the creates a vibe. Growing up in Toronto and hearing DJs spin at events and on the radio, it’s my opinion that Toronto DJs are the best in the world when it comes to mixing with diversity and skill—driving a party vibe in the club, at events and on the air.

Toronto’s global status as a DJ powerhouse didn’t happen by chance. The city, a vibrant mix of cultures and histories, mirrors both New York and England in its eclecticism and influence from colonial and cultural tides. Like New York, Toronto has long embraced diversity in music; like England, it has remained a cultural melting pot, with a sound shaped by Caribbean, European, African, and South Asian roots. This mix gave birth to an exceptional set of DJs who could blend genres in a way that transcends typical radio format boundaries and resonates across communities.

Defining the Best: Juggling and Selecting

What sets Toronto’s DJs apart from others is a balanced mastery of both juggling and selecting.

Juggling is the technical prowess—the skill of effortlessly cutting, scratching, beat matching, and transitioning from song to song. Today, this is accomplished with sophisticated DJ software running on a laptop holding thousands of songs. Back in the day however, DJs built their skills with two variable speed record turntables, a DJ mixer and hundreds of records carried around in milk crates..

Selecting is the artistic side of knowing exactly which song to play to get the crowd to feel and respond, whether that’s filling a dance floor or lighting up radio station phone lines. A stellar DJ was skilled at both.

Graph titled 'Ideal DJ Skillset' showing a 2x2 grid with labeled axes. The X-axis is labeled 'Juggling' with a positive sign (+) on the right and a negative sign (-) on the left. The Y-axis is labeled 'Selecting' with a positive sign (+) at the top and a negative sign (-) at the bottom. A green checkmark is placed in the upper right quadrant, representing DJs who excel in both juggling and selecting. The graph has a slight 3D effect with soft shadows, thin black grid lines, and a subtle gradient background.

In a city that values a great party vibe over technical wizardry alone, Toronto leans towards DJs who can mix as well as they can cut.

In this context, mixing is when a DJ beat matches two songs and creates a flowing, smooth transition between them. This is often done over 4 or 8 bars where both songs are playing simultaneously until the crossfade is complete. Sometimes, this overlap can create a remix where the vocals of one song are heard over the instrumental of another.

Cutting is when a DJ will sometimes beat match two songs and rapidly transition from one to the other without an overlap.

While global DJ icons like DJ Jazzy Jeff represent the “cut” style of DJing, Toronto’s party DJs have long emphasized a mixing style that flows from song to song, creating a show that’s inventive, cohesive and immersive.  Unlike pure scratch DJs, who focus on the intricacies of sound manipulation, Toronto DJs blend various genres and beats to keep crowds moving.

The Spirit of Toronto Radio

Toronto’s radio scene in the 80s and 90s played a pivotal role in creating the fertile ground for its DJ scene to emerge. The city’s AM and FM dials were among the most diverse in North America, offering top 100 hits, jazz, dance, community, rock, country, oldies and easy-listening stations. Community radio stations like CHRY, CKLN and CIUT were essential in amplifying styles like hip-hop, reggae, soca, bhangra, Bollywood, jungle, and other genres not heard on their commercial counterparts. Ethnic stations like CHIN FM and CIAO broadened musical and cultural awareness to the average Torontonian in the home of a friend or getting into a cab. The music from these radio shows became cultural threads that wove through neighbourhoods, parties, and public spaces, connecting the city’s diverse groups and building recognition.

The influence of radio brought Toronto’s culturally diverse neighbourhoods together in a way that was rare in North America. Areas like Jane-Finch, North Scarborough, Flemingdon, Malvern, Brampton, Mississauga and Eglinton West became vibrant communities where cultures and music mixed freely at school dances, house parties, family weddings, and festivals. This is where many DJs began their craft, often using home equipment—sometimes building their own speaker boxes. This gave rise to the first mobile sound systems. Basement and rent parties for extended families in various diasporas also allowed DJs to hone their craft. The children of first generation immigrants would often sleep in the coat room as adults played and mixed music in the basement or backyard late into the night.

These children grew up, learning DJ skills at home. This new generation of young DJs pooled their record collections, often made of rare records bought out of town in US cities like Detroit, NYC and Buffalo. This established the first “sound crews” and cross-cultural playlists that shaped Toronto’s unique DJ sound.

Experimentation and Innovation

Club DJs provided the hits and high-energy rhythms that defined nights out. Radio stations often broadcasted these DJ sets live from the clubs, exposing the listener to these club bangers. During the day however, Toronto radio became a playground for innovation. Daytime radio DJs mixed genres that weren’t heard in clubs or mixed together on radio. A lunch time radio set might include genres as disparate as Motown, disco, funk, yacht rock, AM classics, Bollywood, reggae, hip-hop, and soca. DJs like DJ Starting from Scratch, The Juiceman Jonathan Shaw, Jester and DJ Clymaxxx emerged, spinning genre-crossing sets that defined the unique sound of Toronto mix DJs—placing many of them in high esteem among others in their craft.

New Formats, New Audiences

Toronto’s DJ culture went beyond being heard in clubs and on-air. It evolved into a DJ community marked by innovation, with new outlets for new business models and methods of engagement.

This included Scratch Lab—one of Canada’s first DJ schools, Raina Music—an environmental music service providing mixed music for the hospitality sector and Xtendamix—a video remixing service for DJs.

Toronto DJs developed unique business models, and the profession became a mainstay in Toronto’s entertainment sector, branching out into streaming on platforms like Twitch and performing in new spaces. As Toronto DJ culture continues to evolve, the DJs are connecting audiences in fresh and inventive ways. One example is Grocery Store Hits, a Saturday morning mix show on Twitch featuring DJ Jay Online, who dons a Walmart vest to mix and remix soft rock and pop classics that are the staple in grocery stores. Another is Mista Jiggz who has crafted unique remixes for charity fundraisers and other events in the city.

Toronto remains a DJ powerhouse, giving rise to talent who can both juggle and select with remarkable skill, capturing the city’s unique pulse and channeling it into a blend that’s as rich and diverse as the city itself. With each performance, Toronto DJs continue to set a high standard, representing the unique power of music to bring people together across backgrounds, preferences, and generations.

GR

Career Trek: Mind Your Own Business

August 4, 2023 by Kevin

History and concept

During my time working for CNIB as the program manager for entrepreneurship and innovation, I was approached by Accessible Media Inc.. This is a national cable broadcaster in Canada with mandatory carriage on both cable and satellite. AMI TV carries TV shows, movies and original programming with both captioning and described video.

 

AMI asked me whether I’d be interested in hosting a show focused on entrepreneurs with disabilities. I said yes and then, as is typical in television production, nothing happened. In the fall of 2021, I finally got the call that I’d been matched with a production company to produce a pilot episode. This is an episode that often never makes it to air, but gives the network an overall idea of the structure , tone and look of the show. AMI approved the pilot and we began production on season 1. 

 

The concept of the show is quite simple; entrepreneurs with disabilities share their story along with a particular business challenge they’re facing. A panel of mentors advises the entrepreneur and we then follow up to see whether they have taken on the challenge. 

 

We began shooting in early 2022 with 8 entrepreneurs from a wide variety of backgrounds and in every stage of business. Along with hosting, I played a role in casting, writing and structuring the show. My cohost, Purdeep Sangha, shot the follow-up episodes with each entrepreneur. After months of shooting and editing, season 1 went on the air in the summer of 2022 and received positive reviews.

 

The show was renewed for a second season in 2023 and a third season in the same year. Season 4 is scheduled to air in the fall of 2024 on  AMI TV.

 

How I Adapted

I have a background in radio and television production having attended Toronto Metropolitan University and working at CHRY for nearly 8 years, so working in front of TV cameras was not a big adjustment for me. The hardest part of live-to-tape production is knowing your script lines and waiting around for the technical aspects of the production to be taken care of. Our production company has been fantastic to work with and I’ve had the privilege of working with top-tier makeup artists, sound technicians and directors who are all consummate professionals.

I memorized many of my opening and closing scripts, something challenging even for sighted actors to do for 8 episodes at a time. It’s a good idea to use the down time on set to work on your scripts, your vocal warm-ups and your delivery.

 

You can watch this season and prior seasons of Mind Your Own Business on the AMI website and through the fully accessible AMI TV app for both iPhone and Android.

 

Kevin on the Set of Mind Your Own Business in front of a logo for the show.

Career Trek: Digital Accessibility

August 4, 2022 by Kevin Leave a Comment

Digital accessibility touched my life soon after I lost the low vision I’d been using since birth.

I learned JAWS for Windows rather quickly after switching from a Mac to using a Windows-based PC full time. I could use the productivity apps that mattered for university—Word, Excel, e-mail, web-browsing and a calendar.

The real accessibility struggle started when I tried using JAWS with Software Audio Workshop Plus (SAW)—a PC-based multitrack audio editor we used at university. SAW was far from accessible as its controls were not seen by JAWS in its off-screen model (a database of all of the on-screen elements such as buttons and text fields).

JAWS had a powerful scripting language built into it. I attempted teaching myself how to script JAWS to work with SAW, but my high school level programming knowledge made this much more difficult. I did however learn about window classes, control types and functions—all useful building blocks to understanding digital accessibilitY. 

 

Accessibility for  Protools

After using JAWS to successfully start my radio career at CHRY, I went back to Ryerson to focus on digital accessibility in a Master of Arts program for media production. At the time, the coveted holy grail of accessibility in the sight loss community was ProTools—a Mac-based digital audio workstation (DAW)—the gold medal industry standard for working in audio production.

In late 2009, ProTools was totally unusable by a screen reader user with the only accessible buttons being Close, Minimize and Zoom. Blind audio engineer Slau Halatyn started “the ProTools Petition” which received over 1200 signatures. Slau  presented this to Avid on behalf of blind engineers, educators and enthusiasts around the world who saw ProTools as an  equalizer that could give blind people employment opportunities in the audio and music industries.

I was one of the first to test the new accessible ProTools in an academic setting. My thesis—VoiceOver in the Control Room: Usability of ProTools recording software by the blind using a screen reader—focused on examining whether a blind engineer could completely use the program in its entirety without sighted assistance to not only produce audio, but produce something of major label quality that would stand up against a modern pop or rock recording.

My thesis involved recording, editing and mixing a five-piece Toronto rock band, all while keeping notes on the accessibility of each of the main activities within ProTools. During my thesis, I learned even more about accessibility and usability as a whole as well as user experience and software design. 

 

Accessibility for  VOD

After leaving school, I had a sneaking suspicion my future was going to involve digital accessibility a fair bit. I took another basic programming course through iTunes U and picked up even more fundamentals of how computer programs were constructed from the ground up. This gave me enough knowledge to venture into the startup world where I could speak to the accessibility of video-on-demand (VOD) platforms like the one I was building. Building TellMe TV required me to communicate the ideas about accessibility to engineers. Through this process, I developed more familiarity  with concepts like HTML 5, ARIA, mobile accessibility and the world of accessible media players.

 

My work for TellMe TV got the attention of the Ryerson DMZ. Startups there wanted to know how to make their digital offerings and products accessible to the widest variety of users. This led me to develop a TEDx Talk called Design the Inclusive experience which I delivered for Ryerson in 2014 at the Royal Ontario Museum.

 

 

Accessibility for Ontario

My unique knowledge and experience caught the attention of the  Government of Ontario. In 2016, I was invited to sit on a committee to review the information and communications standards for the Accessibility for Ontarians with Disabilities Act (AODA). This is legislation enacted in 2005 that mandated a fully accessible Ontario by 2025 in key sectors such as customer service, information, communications and education. Standards written in the early 2000s hadn’t caught up with the explosion of mobile technology as well as new types of information systems that were now on the market such as touch-screen kiosks, SMART devices such as thermostats and innovations in web technology. After much consultation and debate, we agreed to an updated standard in 2018. 

Amidst all of this, I was being tapped to review the accessibility of websites, mobile apps and other digital products by various companies, usually after I complained about not being able to use their service. Some of the changes I requested made their way into business planning software, a popular dating site and a local cable provider’s set-top box.

By the time TellMe TV and my work with the Government of Ontario was winding down, I joined CNIB and found myself wearing my accessibility advocacy hat once again as we built Venture Zone Game and CNIB Market. I was also taking an accessibility-first approach to building MenuVox—my latest startup.

 

Accessible Education

My latest accessibility work has been with Edsby—a K-12 learning platform. Edsby needed help in ensuring its web-based app was accessible to students, parents and teachers. Much of this work involved testing and reporting on the operability and perception of web components such as radio buttons, text fields and links. Often, the fixes involved simple changes to making web code more robust. I took a task-based approach to Edsby, mapping out the user journey through various activities and ensuring users could interact with the necessary components along the way. This culminated in a demo video Edsby has running on their site—showing off the accessibility of the platform.

 

Developing My Skill

Today, I work as the digital accessibility lead at Tangerine—one of Canada’s leading digital banks. I work with designers, developers, business analysts and other accessibility professionals to ensure the Tangerine app and website are fully accessible. A part of this work involves improving my knowledge about digital accessibility. Since starting at Tangerine, I’ve enrolled in the excellent digital accessibility courses from Deque (pronounced ‘Dq’) University. I am steadily working towards a certified professional accessibility core competency (CPACC) designation, having completed 3 exams and nearly 3 dozen courses in everything from document accessibility to customer service for people with disabilities. After this, the goal is to receive a designation as an international accessibility professional.

 

How I Adapted

Not every screen reader user can be an accessibility expert. Most screen reader users use their assistive tech to accomplish some other goal such as writing documents or tracking expenses in a spreadsheet. Others, like myself, want to know how the machine works and how we can make better software usable by more people. 

I learned the basics of programming in languages like Python, Java and Swift and understand how the building blocks of programs such as variables, arrays, strings, objects, functions, libraries and so on, fit together to make an application. In addition, I learned the fundamentals of how HTML works as well as how to speak to engineers about the type of behaviour I want specific websites to exhibit.

I also became familiar with the role accessibility plays in agile methodology. This is how most programming shops are set up today. Accessibility is best when it is thought of in the concept and design stage of a program or feature, not bolted on at the end to appease a tiny customer segment and avoid a law suit.

One of the most important things I did was become familiar with my assistive technology. Today’s off-the-shelf software builders often include accessibility as part of their packages, but it’s up to the screen reader user to know how to use this powerful tool at their fingertips. In addition to navigating efficiently and quickly with VoiceOver, I learned how to use its additional features such as hotspots, web spots, activities and custom gestures. In the case of desktop software, I made a point to teach myself the keyboard shortcuts in each program so I spent less time hunting around the screen and more time getting work done.

Career Trek: The CNIB Years

June 16, 2022 by Kevin Leave a Comment

Something from Nothing… All Over Again

After sitting down with the CEO of CNIB in the fall of 2017, I explained my decision to wind down TellMe TV. Instead of being disappointed, he got excited as he laid out the opportunity for me to join Canada’s largest blindness charity as the program manager for entrepreneurship and innovation.

There was just one problem. There was no entrepreneurship program to speak of. I’d have to create it from scratch—a task I was all too familiar with after building the production department at CHRY  and starting TellMe TV.

CNIB is hyper focused on getting Canadians with sight loss into the work force. The employment rate among those with sight loss hovers around 28% in Canada. Blind people are extremely capable of holding jobs of all kinds and many have chosen to work for themselves as entrepreneurs. 

The Venture Zone

I went to work right away on developing what was dubbed “the Venture Zone”. It was an online portal featuring tips, tricks, hacks and other useful information for 

  entrepreneurs with sight loss. Articles on the portal included everything from how to network with sight loss, to useful and accessible apps for the iPhone that could help you run your business more efficiently. We even began highlighting local entrepreneurs with sight loss who were paving the way for a new generation of trailblazers. 

In my first year, I logged nearly 40,000 kilometres in flights traveling across Canada, meeting entrepreneurs from a wide variety of backgrounds and experiences. All of the entrepreneurs were bright, enthusiastic and loved to talk about their journeys. We began featuring many of these stories on our portal as well. 

Shane Cashin

Shane is a DJ in St. John’s, Newfoundland. My team put together a video feature on Shane that highlighted his skill as a DJ and his motivational storytelling.

The Entrepreneurs

In my travels across Canada, I met entrepreneurs doing the most impressive and amazing things from building sophisticated software for the military, to running massage clinics, to making greeting cards. Here are just some of the amazing people I met. 

  • Denise Justin is a Toronto-based entrepreneur who runs a fashion line called Say Hello 2 Blindness. Her clothing features the words “Say Hello” in both print and braille. Denise was featured in season 1 of Mind Your Own Business. Click here to watch Denise’s episode.
  • Hillary Scanlon found herself unable to differentiate which waste receptacle was garbage, recycling and organics. She invented WasteFinders—a tactile floor mat that lets anyone know which container is which. 
  • Jenna White is the founder of Jenna’s Nut-Free Dessertery—one of the only 2  certified nut-free bakeries in all of Atlantic Canada.
  • Kim Holdbrook is the founder of Hands That See—a massage clinic run entirely by massage therapists with sight loss in Montreal.

In addition to coaching, motivating and developing a shared set of resources for our entrepreneurs, we also began sponsoring students who wanted to learn what it took to run a business. 

Venture Zone Game

With articles, videos, podcasts and virtual courses, along with in-person meet-ups at CNIB hubs and offices across Canada, we thought we could do a better job of engaging potential entrepreneurs. While some people like the setting of a virtual class with lectures and quizzes, some people learn best by trial and error. What better way to do that than with a game? Games could be fun and be vehicles for learning.

We connected with a company that specialized in learning games out of the UK called Totem Learning. Working with Totem over the course of nine months, we conceptualized and built a fully accessible iPhone game that taught players how to run a production-based company.

Players chose a product, a price point and received some startup cash to get going. In the life of the game, players had to produce their product, market it, brand their company, hire staff and make sales all while keeping an eye on their brand strength, their profit and their spending.

A screen shot from Venture Zone Game

During testing, we noticed players were getting stuck in the early stages of the game. Some players didn’t know where to begin and swiping around the screen was causing players to close the game out of frustration. What we needed were a set of training wheels so the player could get comfortable with the layout of the screen. Then, they could be left on their own to play and replay the game.

I developed the concept of two characters, Jack and Liz, who would be coaches in the game. Jack would be part of a trial mode that got players up and running, while Liz hung around in the game and explained all of the screens and business terms. I found myself wearing my producer’s hat again as I directed our two stellar voice talents to get the right delivery for the game. 

Screen shot of the production screen from Venture Zone Game

After months of hard work, we launched the game on Global accessibility awareness Day, 2019 in Canada and around the world. We not only reached our download goals for the game, we exceeded them with high praise from the sight loss community and a nomination for a Golden Apple from AppleVis—a website for blind users of Apple products.

CNIB Market

At all of my meet-ups across Canada, one or two entrepreneurs would stand up and tell the group  that they were an artist, a painter, a sculptor, a crafter or someone who made hand-made goods. They all wanted to sell their products online, but feared getting lost on sites like Etsy. 

I saw an opportunity to create a philanthropic shopping destination where CNIB donors could support our entrepreneurs with sight loss by purchasing high-quality hand-made goods with the proceeds being divided up between CNIB and the entrepreneur. CNIB would handle the marketing side while the entrepreneur would focus on crafting.

With a  modest budget, we built an accessible and  fully featured e-commerce platform on Shopify in less than 3 months. CNIB Market had a soft launch in 2020, but the COVID19 pandemic forced the site to be placed on pause. There is still incredible potential for CNIB to fully flesh out this idea and see it through to completion.

My Exit

2020 was also the year I was laid off from one of the most enjoyable  and fulfilling jobs I ever had. I met amazing people from across the country and I got to bring accessible digital products to life. Given more time and with the winds blowing in my favour, I would have transitioned to being a full time developer of digital products. In addition to working with a great team, my favourite memories from CNIB will be working with one of the greatest assistants I’ll ever have. The program, the game and the market wouldn’t have been as great without her help and support.

Over the next year, I’d develop and refine the software for my current startup, begin consulting on accessible design for an education tech company and start a new position with one of Canada’s most forward-thinking banks.

Career Trek: TellMe TV

June 15, 2022 by Kevin Leave a Comment

Entrepreneurs Solve Problems

I was once asked, “How do you become an entrepreneur?” My quick response was, “Find something that irritates you so much, you are left with no choice but to solve the problem yourself.”

 

Several months  after completing my Master of Arts in Media Production in 2011, I found myself waiting for the next big career move to find me. I was still working at CHRY Radio and unsure on what to do with the rest of my life. 

One of the many amusing conversations among the staff at CHRY had me feeling a bit left out. We were all discussing movies and TV shows we were watching and I was clueless when it came to new  shows and classics I’d missed out on after losing my sight. I was determined to catch up by finding as many movies and TV with audio description as I could. 

 

Audio description (or described video (DV) as it is known in Canada) is narration of on-screen activity in between lines of dialog in a movie or TV show. It enables someone with sight loss to get the jokes in a comedy or emote with the story in  a drama. I demonstrated how audio description worked in a TEDx Talk for Ryerson in November of 2014.

 

I had a shelf full of DVDs at home—many of which were still in shrink wrap. Some of them had audio description tracks on them, but I didn’t feel like navigating a series of silent menus to locate and play the audio description soundtrack. I went online thinking, “Surely one of the big online VOD platforms had movies or TV shows with audio description!” I found none.

 

And that’s when the idea struck me like lightning—build a Netflix for the blind.

 

I immediately began typing furious notes as to how I’d accomplish this goal. I couldn’t code well, didn’t know anyone in software or the film & TV industries and I had no clue where to begin. Just like learning to DJ or jumping into audio production, I made the decision to just dive in and start. I asked questions and worked through the contacts I had.

Within six months, I had a working prototype and a name, Zagga Entertainment. I wasn’t sold on the name, but I wanted something with a Z in it and zagga.tv was the first domain I could get. Zagga was slated to be the first fully accessible subscription VOD service of its kind with audio description on all of its movie and TV titles.

 

The Pitches

With a functional prototype and some of my own cash, I took the idea to CNIB—Canada’s national blindness charity whose CEO loved the idea and pledged his support right away. I was also accepted to what was then known as the Ryerson Digital media Zone—a university-based startup incubator. In September of 2013, I decided to jump in with both feet. I left CHRY and pursued Zagga full time.

 

Kevin sits on a  sofa at the DMZ with his laptop

 

The Easy Part

Since I Used a screen reader full time, I knew how I wanted the website, and eventually a mobile app, to behave. I quickly learned our accessible prototype wouldn’t cut it when it came to handling the security requirements of the content providers. More on them later. After a crowdfunding campaign, we built the first  full version of Zagga running on the web and an iPad app before financial setbacks forced us to abandon those platforms for a mobile-ready website. We ran this for several months before receiving some help out of the Blu. (Pun intended.)

Blu Focus handled the quality assurance for Hollywood DVDs and digital assets. Its founder, Paulette, got in touch with me and offered me a fully turnkey VOD solution that solved all of our problems for handling security, scalability and accessibility. We changed the company name to TellMe TV and built the next version of the app on the robust VHX platform which was the best thing that ever happened to us. Thanks to Paulette, we launched in 2016 with a few dozen titles including rare content from the National Film Board of Canada, The Film Detective and Entertainment One. 

 

TellMe TV Video

We worked with Kent Parker, a great commercial producer out of Toronto, to create a video explaining TellMe TV Credits to Jeevan, her guide dog Kizzy and our excellent voice talent Susan for bringing this piece together.

 

 

 

The Hard Part

In the world of film and TV, content is king. Much like location, location, location for brick and mortar retail, content, content, content should be the motto for anyone looking to start a subscription VOD service. This one issue hamstrung us, especially as the market began to mature around us with audio description soon being offered on Netflix, iTunes and other VOD services when we launched.

 

Our customers in the sight loss community wanted top tier Hollywood content with audio description. They, like me, wanted to be included in the water cooler talk about hit movies and TV shows from the past and present. The content providers which included major studios in Hollywood, wanted their pound of flesh on behalf of the directors, writers, actors and other people who had a financial interest in the success of their films and TV shows. For a large universe of titles, the costs began adding up quickly. I was soon stuck with a dilemma: subscribers weren’t coming because we had no content and we couldn’t get the content we wanted because we didn’t have the subscribers.

 

The Hardest Part

With the  market rapidly maturing around us and with our cash running out, I had to make the tough call to pull the plug on TellMe TV in 2018. Calling it quits on a dream is sometimes the hardest thing an entrepreneur will ever have to do, but I have learned quite a bit by taking on the challenge of starting up my own company and blazing a trail into unknown territory. 

 

Lessons for the Entrepreneur

 

Share Your Idea; No One’s Going to Steal It.

You’re the one who was irritated enough to find the solution to the problem. You spent late nights jotting down notes, trying out solutions and pounding away at your code until you found something that worked. Chances are no one else is going to put in the time and effort you have to get to where you are. Attract others to your ideas and they will want to help you succeed.

 

Launch Early

Yes, your product is held together with a shoelace, some duct tape and a safety pin, but someone out there sees the same problem you do and will pay you for that solution. You can refine and iterate, but you shouldn’t wait until everything is perfect for launch, because it never will be.

 

You Don’t Have to Get It Right. You Need to Get It Done.

In my head, I pictured the launch of TellMe TV being a lot like the launch of the iPhone. The service would gleam as I showed off its features to an audience that would ooh and aah over all of the details. Much like my first point, you can’t get it perfect on the first try, but you have to show something for your efforts, especially when investors are waiting to see what you’ve been doing with their cash.

 

Find Your Customers, Then Listen To Them.

As much as you know about your product, your customer may have an insight that simplifies or improves your product in ways you can’t see because of your perspective. 

 

Build A Stellar Team

The vision of TellMe TV attracted several key people to my team including the former CEO of Lion’s Gate Entertainment, a two-time Emmy Award winner and the lady who launched the xbox in Canada.

 

Develop Tough Skin

Conflict, confrontation and hearing the word ‘no’ come with the territory. Learn to lick your emotional wounds quickly and move forward with the mission.

 

Fail Fast

You will fail. Your code will break. You will introduce a feature and realize it was a bonehead decision. You will hire the wrong person. Cut your losses and move forward.

 

Never Give Up

While I had to make the hard decision to wind down TellMe TV, it came after seven years of hard work. There were some days I felt like giving up and many where I wondered if I would have been safer, happier and more satisfied working in audio. Even when the going gets rough, remember all you need to do is take one step forward.

 

Something from Nothing

If I had to choose one regret from my journey with TellMe TV, it would be not launching faster with the content I could easily get. In some ways it would have been easier to build a loyal audience with customers who believed in the vision, but after a couple of years of promising vapourware, it’s hard to build trust and loyalty when the market movers are offering your service as a feature. Aside from that, I regret nothing. I learned a lot, especially about the world of business, accessibility and the often colourful world of tech startups.

By the time I wound down TellMe TV, I had been invited to join CNIB in building a national entrepreneurship program for other Canadians with sight loss. It was an opportunity to build something from nothing all over again and I couldn’t say no to the prospect.

My Radio Production Philosophy

June 11, 2022 by Kevin Leave a Comment

This is an excerpt from Memoirs of CHRY Production—a collection of my thoughts and learnings after a nearly 8 year-long run as the Technical/Production Coordinator for CHRY Radio in Toronto.

Alternative ≠ Mediocre

I never wanted alternative to be synonymous with mediocre. I managed to shift the sound of CHRY Radio because I brought a major market production aesthetic to my work. This is a brief look into my production philosophy I left with the station upon my departure.

When I started my radio career, campus/community radio was synonymous with mediocrity, poor technical execution, bad sound and unskilled volunteers using amateur equipment to produce programming that was easy to ignore. Ads and promos sounded as if they were recorded on a consumer tape deck in a noisy basement by a college student who wasn’t fully awake.
The falling costs of technology and computer processing power put the tools of the major market movers into the hands of the lowly community radio producer. Now, with a quiet room, an inexpensive condenser microphone and multitrack recording software, producers could make radio that rivalled and even exceeded their commercial counterparts.

Creative Writing Strategies

The foundation of building a solid radio spot is recognizing and respecting the limit of time. A 30 second ad should be 30 seconds long, not 27, 31, 33 or 47 seconds.
Once you have a time limit, write to that limit and write creatively.
Every spot should have a good hook that catches the listener’s attention. Develop this skill by playing word games, Pictionary, brainstorming, building mind maps, doing improv comedy and so on. Create pictures in the mind of the listener and write well.

Edit your script. Can you shorten things? Reword them? Use better words? More descriptive words? No words at all?

Allow room for music, sound effects and the personality of the voice talent.

The Jerk Food Festival

One of the announcers I worked with, Clive, had a great bass-heavy voice and could pull off the smooth, sultry “Barry White” vibe. It was the perfect match for the line, “Do you like it hot?” To advertise a jerk food festival.  The rest of the ad came together off of the marriage of Clive’s voice and the opening line.

https://kevin-shaw.com/wp-content/uploads/2022/06/Jerkfest.m4a

A fully stocked library of sound effects and production music is a huge help. Certain music or sound effects will trigger ideas for great scripts.
The simpler the idea and the more succinct, the better the execution.
Avoid writing laundry list scripts or scripts with too much detail. Listeners will miss it completely.

 Radio is a bad place for phone numbers. Direct the listener to a website if you can.
Boil the spot down to a single idea and create around that idea.
If you have 3 great ideas for a script, write 3 great scripts.

Subodh Sharma Real Estate Campaign

Subodh Sharma was a regular advertiser on CHRY. With a long term advertiser like Subodh, the challenge was how to keep her real estate firm fresh in the listener’s mind. For Subodh, the strategy was to remind the listener that although he or she wasn’t buying a house now, there were benchmarks in life where you would need the services of a real estate broker. When those benchmarks came around, Subodh was the real estate broker to call. I  developed concepts around a wedding and having a baby, two concepts that were easy to write to. I included the line, “Subodh Sharma is the real estate broker who’ll be there when you’re ready to take life’s next big step.”
Subodh also brought the problem to us that people didn’t know she was a woman. Again, a simple problem I could solve with one line of script.

http://kevin-shaw.com/wp-content/uploads/2022/06/SUBODH-SHARMA-WEDDING-FINAL.m4a

Running Recording Sessions

I usually try to keep things moving in the studio by having everything prepped for voice talent when they arrive.
Eliminate as much background sound as possible. Pay attention to jewelry, phones and clothing as possible sources for noise.
Monitor your talent, always. Talent should always wear headphones.
I prefer talent stand while delivering their scripts as they can get more air into their lungs and project their voices.
Coach talent if you require a specific kind of read. Emulate the type of delivery you hear on TV or commercial radio. Microphones tend to flatten vocal energy, which is why voice talent may sound like they’re overdoing it when they read live. The recording should sound confident, heartfelt, honest and real.
Be sure the voice matches the tone of the script.
Always listen back to your recordings with talent in the room!

Fairchild construction

Kathryn was a young voice talent I worked with who could easily take direction and deliver a stellar read in one or two takes. 

http://kevin-shaw.com/wp-content/uploads/2022/06/FAIRCHILD-CONSTRUCTION-FINAL.m4a

Your recording session is where proper asset management begins. I record as much as possible by over recording beginnings and ends. You’ll hear a lot of slop if you listen to my raw recording files. You may get magic while someone is warming up, so be sure to capture that. 

Session admin

Label your files and tracks correctly. As a rule, I typically organize sessions in industry standard dialogue, music and effects (DME) layout. This makes it easy to group, move, edit and manipulate your regions/clips in an orderly fashion.
Use effect presets and save your own! Presets save time and frustration in sessions as they minimize mouse clicks. I typically use presets as a starting point and will fine tune for each voiceover.
If you’re manipulating many clips in the same session, learn how to use the Batch Converter function in your DAW.

Editing and Mixing

Show off!!!
Make brilliant edits. Splice like a surgeon. Remove noise, breaths and tiny mouth clicks. Compress and gate like a pro. Put Abbey Road and Gateway Mastering to shame with your EQ-ing and compression. Your final voiceover should be ready to air on network TV during the Super Bowl or the Olympics. Compress and EQ the way you’d EQ for a major label album. Mix the same way. Each spot should contain the same sonic signature as a well-recorded pop record.
My voiceovers sound the way they do because I remove room sound, clicks, breath and mouth noises and piece together 3 or 4 takes to get the read. This may involve splicing phrases and even parts of words together, especially if the talent is great and records a safety take or two.
I record at a safe level, adjust volumes by hand, then triple compress. By the time the vocals are finished, they should sound full and be easily heard on a small speaker at low volume. This is my “clock radio” reference and guides me in darkness.
Familiarize yourself with DSP effects as they can save a noisy VoiceOver.

Take your time with the mix and monitor on everything you can. High volumes, low volumes, every kind of speaker.
You cannot mix on headphones! It’s an inaccurate representation of what is happening in the air when you’re listening to studio monitors. Use headphones as a reference when mixing, but don’t rely on them as being accurate, no matter how good they are.
When mixing high energy night life spots, you will be required to shorten music beds, splice music and create montages. In terms of editing music, you should know how to edit beats and bars, create loops, match bpm and perform music crossfading.
If you don’t know how to scrub audio, learn. This is what will make your editing much faster and more precise. I don’t know any full-time commercial engineer who uses waveforms to edit.

Jeffery Osbourne concert

An example of a night life ad for Jeffery Osbourne in concert requiring mixing, crossfading and sound effects. Danae Peart, the voice talent in this spot, has a great TEDx Talk on radio and media.

http://kevin-shaw.com/wp-content/uploads/2021/07/Jeffery-Osborne-Concert-Updated.wav

Mastering

This is what truly set my spots above those of other campus/community stations.
Become familiar with companders, multiband compressors, volume maximizers, mastering plug-ins, mastering EQs, stereo expanders and harmonics generators. This is the big secret I don’t usually give away, but every ad on the air has gone through some type of multiband mastering.
There should be no difference from spot to spot in terms of volumes or EQ signatures. I tend to go for a bright, ear-pleasing sound with articulate bass, a bump between 3 and 5 kHz and added air above 10 kHz with moderate compression. I use long decay times and faster attacks to get the material to sound pretty flat once it goes on air.

Roshé Clear Water

Another highly produced ad that brings together great voice talent, production and scripting. The amazing voice talent enthusiastically repeating, “I’m drinking Roshe!” is a lovely Toronto-based singer/songwriter named Mel Dube.

http://kevin-shaw.com/wp-content/uploads/2021/07/ROSHE-CLEAR-WATER.wav

Effects

If you listen to ad agency radio spots you’re not going to find a lot of reverb and delay, especially for commercials for products and services. I tend to mix fairly dry as I find reverb distracting and it’s very easy to abuse.
There are obvious times where you will use reverb and delay, such as recreating environments like a train station, kitchen or sports stadium.
In high energy and night life ads, effects should be used carefully. It’s easy to fall in love with delays and reverbs. It’s harder to know how much is enough. As a general rule, pick 3 effects for an ad and vary the effects throughout the script.

Career Trek: The Radio years

June 9, 2022 by Kevin Leave a Comment

My Early love Affair with Radio

When I started high school, I thought I wanted to be an accountant. In Grade 10, I joined the A/V Crew and fell in love with the technical arts. In grade 11, I won a local radio contest and got to sit in on the production of a major market morning radio show—limo ride and all.
While the antics of the hosts, Jesse & Gene, had me in stitches, I was paying wrapped attention to Perry, the show’s producer as he flew around the studio, cutting audio tape, jamming commercials into cart decks, running the board, cuing the hosts, playing CDs and being the proverbial glue that held the show together. I was sold; THIS is what I wanted to do for the rest of my life.
Just over a year later, I started a closed-circuit radio station at my high school before leaving to pursue a degree in Radio & Television Arts at Ryerson (now Toronto Metropolitan) University. After graduating and working freelance for several years, I had enough material to assemble a small demo which I sent to a tiny radio station in North York, Ontario in the fall of 2005.
I had applied to be the station’s creative producer, writer, audio engineer and technical coordinator—in other words, the entire production department. The salary was less than a living wage today, but it was a start.

The Demo Spot

I was asked to produce a radio spot for CHRY’s People Powered fundraising campaign. Using my crude set-up at home, this is what I submitted.

https://kevin-shaw.com/wp-content/uploads/2022/06/CHRY-Fundraising-Spot.mp3

After two interviews and my demo, I got the call. I wasn’t selected as the candidate. I was crestfallen and figured I’d remain in the freelance world a bit longer. Two weeks later, the phone rang again. The first candidate didn’t work out and I was offered the job. I took it and started my new full time gig as the Technical/Production Coordinator at what was then called CHRY (now Vibe 105 TO).

Amplifying the Alternative

This is a production demo I submitted for a national award in 2007. It didn’t win.

https://kevin-shaw.com/wp-content/uploads/2022/06/Amplifying-the-Alternative.m4a

In 2005, the production facilities at CHRY were barebones to say the least when I walked in on my first day. Besides a slow computer and a Rode Broadcaster microphone, I had nothing—no headphones, no script stand, no licensed production music, no sound effects and no volunteer staff. My manager got the JAWS for Windows screen reader installed on my office and production computers for which I am eternally grateful. This one piece of software allowed me to independently work with advanced audio production software and keep a job for nearly 8 years.

Kevin at CHRY Master Control

At the time, CHRY’S sonic signature ranged from a noisy mix of over-compressed, reverberant and poorly equalized material to a few slickly produced jingle IDs that ran during station breaks. The overall aesthetic definitely sounded gritty, unfocused and very grass roots. I thought we could do better as a station and as a sector.

CANADA HELPS PSA

An example of the pro sound I brought to the station using tight compression, subtle effects and EQ, not to mention Talia, a stellar voice talent from Toronto.

https://kevin-shaw.com/wp-content/uploads/2021/07/Canada-Helps-PSA-Talia-2.wav

The day-to-day was about managing the chaotic and often hectic worlds of radio spot production. I wrote, recorded, edited and mixed radio ads, promos, public service announcements, station IDs and other on-air material. My production philosophy was to produce high-fidelity material using the tools I had at my disposal—a computer with audio production software and a high-quality condenser microphone. I discuss my production philosophy in this post, but sufficed to say the station’s sonic signature evolved to being indistinguishable from major market stations with bigger budgets and more resources. We became equal players, sonically speaking with no difference in audio aesthetics when sweeping the dial.

Canadian Women’s Health Network PSA

The original version of this national spot was poorly recorded with a terrible VoiceOver and bad levels when it was sent to us from the NCRA. I re-recorded with an amazing voice talent, Jayde, who brought the spot to life.

https://kevin-shaw.com/wp-content/uploads/2021/07/CWHN-FINAL-MIX.wav

Over the next eight years, the staff and I built CHRY’s production department to be recognized and envied nationally in the campus/community radio sector. Besides producing award-winning radio creative and refining the station’s sonic signature, I left a legacy of documented best-practices, policies, procedures and sage advice for the person who stepped into my shoes so we would never backslide into producing audio that made the listener cringe.

Award Winning Fundraising Spot

This spot campaign for our 20th anniversary fund drive won the award for creative Production from the National Campus/Community Radio Association in 2008. A fantastic voice talent, Greg, anchored the spot and gave us the “institute” vibe we were looking for.

https://kevin-shaw.com/wp-content/uploads/2022/06/FD-2007-20-Reasons-E.m4a

How I Adapted

Thanks to a supportive staff and volunteers, great assistive technology and the chance to prove myself, I excelled as a radio producer who happened to have sight loss. Among my colleagues, I was known as the sound engineer or the producer and never “the blind engineer” or “the blind producer”. Many of our ad clients never knew their spots were being written, recorded and mixed by someone who couldn’t see.

As mentioned prior, I used JAWS to do everything on the computer. I ran  Sony SoundForge with custom JAWS scripts, Adobe Audition and a handful of VST plug-ins. My Audio Arts console was labeled with braille and other tactile marks which help me orient myself to the board. The station itself was small and easy to navigate, however the York University campus where CHRY  was located was immense and less accessible than my alma-mater. Having a great crew of staff and volunteers helped in incalculable ways when it came to miking up remotes or getting to station events.

Working as a freelance audio producer had its perks. I got to work on projects that were of interest to me, but my first full-time gig in radio helped me refine and hone my craft. I’m convinced that working at a radio station is the coolest job in the world. For me, every day was different with new challenges, amazing people and something new to learn every time I walked into work. I left the station in 2013 to pursue my first tech startup, TellMe TV, but I was grateful to be a part of something bigger than myself.

Feature on Jazz Singer Emilie-Claire Barlow

This was a full-length radio feature on Emilie-Claire Barlow, a wonderful jazz singer formerly from Toronto. This feature came about early in my tenure and was the first really long format piece I’d edited and mixed.

https://kevin-shaw.com/wp-content/uploads/2022/06/La-La-La-and-Blah-Blah-Blah-Emilie-Claire-Barlow.m4a

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