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Another DAM Podcast interview with Meredith Reese on Digital Asset Management

Listen to Meredith Reese talk about Digital Asset Management

Transcript:

Henrik:   This is Another DAM Podcast about Digital Asset Management. I’m Henrik de Gyor. Today, I am speaking with Meredith Reese.

Meredith, how are you?

Meredith:   I’m good, thanks for having me.

Henrik:   Meredith, how are you involved with Digital Asset Management?

Meredith:   I’m the Digital Asset Manager for the Los Angeles Philharmonic Association. I’ve been here for now just about a year. We implemented a brand new DAM right when I started and it’s been fantastic so far.

Henrik:   Meredith, how does one of the world’s top orchestras use Digital Asset Management?

Meredith:   They use it for just about everything you can think of. I personally sit in the archives department where I’m responsible for preserving all LA Phil historical records and serving requests both internally within the association and for outside users. But we also maintain a complete audio and video archive for our orchestra members to review. So we’re currently using our Digital Asset Management system, not just for historical purposes and research of all types of assets, but also for the orchestra themselves, which makes us pretty unique as far as orchestras go. And then we also support all of the affiliate groups that help out the orchestra. And we’re a nonprofit organization, I should mention. So we have a lot of volunteers, but we do have a full-time staff within the association that is responsible for all the administration of the LA Phil, planning the season, executing the season. So we have a full-time production staff who works directly with the orchestra and our music directors.

Meredith:   We have a full artistic planning staff who actually programs the seasons and we have a marketing team within who does both digital and physical marketing. And really all of those groups are constantly creating assets all the time. And they’ve seen all their assets grow just within the last five years. And also as part of the archives, we manage a museum. We managed the Hollywood Bowl Museum at the Hollywood Bowl. The LA Phil has two homes. We have the iconic Walt Disney Concert Hall in downtown LA, designed by Frank Gehry. And then we have the Hollywood Bowl. There is a lot of history to that performance as well. That’s not just, you know, classical music, but, all the pop programming that we do throughout the year. So we’re responsible for exhibiting in that space. At the Hollywood Bowl Museum and then we have a couple of spaces in the Walt Disney concert hall as well. So all of the assets that are being created by the organization are being used and shared and reused on a regular basis. It’s actually surprising that they didn’t have the Digital Asset Management system until now.

Henrik:   Meredith, What are the biggest challenges and successes you’ve seen with Digital Asset Management?

Meredith:   In general or here at the Phil[harmonic]?

Henrik:   Either. Or both.

Meredith:   Either? I would say here at the Phil, it’s been, We’re a small nonprofit on team, but we’re still people who work within those silos. That’s actually been quite surprising to me that there’s not more interaction or collaboration the teams, but that’s starting to change the culture. Starting to be more open, more transparent its definitely, our programming is a lot more dynamic. It’s not just your traditional classical shows anymore. There’s constant overlap. When our music director, Gustavo Dudamel performed elsewhere, also conducts other orchestras, but as well as his collaborations that he does here at the Walt Disney concert hall or at the [Hollywood] Bowl. And so it’s really gotten, people into more of the spirit of collaboration, but they still have a hard grasp on their assets. You know, who owns what, who can see what, who can share. And as they start to get more use of digital asset management system and we’re used to being able to search those assets, they realize first of all that metadata is really important.

Meredith:   Making their stuff searchable and, especially information around rights, how they can use these assets, how they can reuse these assets. They’re starting to get more comfortable with that process and the silos are starting to break down little by little. We haven’t definitely a new collaborative spirit around here, but it’s just starting. I think we’re just barely scratching the surface and our DAM tool really does sit as the tool to help that along. So my challenge is really change management challenges, making sure that people are comfortable with the system that’s working for them as well as, how we can innovate later on. That’s I mean innovation is a huge challenge with DAM in general, but it’s something that I believe strongly in, you know, that we have to keep, you know, making this tool better and better and meet the needs, not just why we got the tool in the first place, which was really just to solve the influx of digital assets that are here, the association, but really think about, you know, what are we going to be dealing with in the future?

Meredith:   What type of assets are we going to be seeing from both a technological standpoint and being able to describe them with good metadata and being able just to share them with the best way to share our information. We’re going to be seeing a lot more audio and video content is my guess and we’re going to be seeing a lot more data around that content. That’s going to be really important and we’re also going to have to open our doors to the general public. We’ve got a lot of demand to make audio recordings available to researchers and just music enthusiasts. So we’ll see if we can meet that demand too. That’s on the horizon. Launching a DAM system that the musicians could access as a pretty big success that just happen. So having a team of orchestra, you know, full-time world-class musicians that rarely really interact with the administrative folks and now they’re working in one system is pretty amazing. That definitely has broken down the two biggest silos here in the association and that took a lot of planning just to roll that out, to configure it correctly. I mean, streaming audio from a DAM system. Our DAM is off the shelf. You know we have a software as a service model. So technologically it wasn’t that challenging, but getting people comfortable, training them, making sure that it would meet the needs and that it was compliant with our union contracts and how we treat the musicians. How musicians treat restoration was really, really important. And we’ve got more on the horizon. Another big plan that we’re rolling out is a project management tool to sit within our DAM that will help the marketing group, basically, bring assets in and organize them and share them in a more streamlined way. And it’s also gonna help with scheduling our entire orchestra season.

Meredith:   I come from the entertainment industry and so I’m used to TV seasons and film schedules and tentpole projects. And so working with an orchestra, it’s really all about the concert season for that year. And LA Phil is demanding, we have two seasons, we have the winter season and the summer season at the Bowl. And so being able to schedule that and make sure everybody’s slotted in the right space is a day to day. yeah, it’s just taxing on so many people. So we’re trying to move those processes internally and really associate them to all of the content that people are making along with the performances. Our whole taxonomy, if I can dive into the metadata kind of Geeky side of what I do is based off of performances. We have a hierarchy that’s based on the season. And then the locations that are venues and then the performance dates and then all of the works associated to that date.

Meredith:   And we work directly with our music librarians who actually prepare the music for every single performance that the orchestra does. And then we have guest artists come in and that has its own challenges too. Yeah, it’s all built on the back of how the season is scheduled. So we really needed a system that would address that. And so we’re calling it project management, but really it’s project management and plus scheduling plus asset wrangling plus work in progress collaboration all under one system. It’s going to give our users that one stop shopping experience that I think most people are looking for

Henrik:   Meredith, what advice would you like to share with DAM professionals and people aspiring to become DAM professionals?

Meredith:   I would say just get as much experience as you possibly can and don’t be afraid to take risks and don’t be afraid to try new things and all of your failures are going to be just as valuable learning opportunities as your successes. My past experience definitely taught me that. And so I entered in the LA Phil. I was, you know, just about prepared for anything. And so it’s been nice that I haven’t, you know, had to have as many struggles in previous places and the adoption process has been really, really smooth so far, but I would definitely inspire people to keep at it and be persistent and try new things and dive into your metadata and your data models and really understand them. I think the biggest skills I’m seeing for DAM professionals, you know, are really those that match a data scientist, you know, the analyzing and the ability to, you really get down to good, you know, data model building and good taxonomy structures and, you know, really rich metadata and how that’s mapped, how that all fits together. But then being able to, you know, explain that to all your general users. And I think that’s the biggest skill someone can bring to DAM today.

Henrik:   Well thanks, Meredith

Meredith:   Thank you

Henrik:   For more on this, visit anotherdampodcast.com. If you have any comments or questions please feel free to email me at anotherdamblog@gmail.com. Thanks again.

Listen to Another DAM Podcast on Apple Podcasts, AudioBoom, CastBox, Google Podcasts,  RadioPublic, RSS, Spotify or TuneIn

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Another DAM Podcast interview with David Iscove on Digital Asset Management

Transcript:

Henrik de Gyor: This is Another DAM Podcast about digital asset management. I’m Henrik de Gyor. Today I’m speaking with David Iscove. David, how are you?

David Iscove: I’m good, thanks, Henrik. How are you?

Henrik: Great. David, how are you involved with digital asset management?

David: I started in the video game industry, organizing undervalued audio assets of original master recordings for the Guitar Hero franchise. From there, I moved over to direct and reorganized the physical archives of a major music label. Then started focusing my efforts on optimizing digitally born content through production process for that same label, with the ultimate goal being discoverability and accessibility of all assets through the archives phase.

Henrik: How does a global music leader use digital asset management?

David: [01:00] The financial backbone of any creative organization is the exploitation of its intellectual property. Similar to a manufacturing facility in the most respectful way possible, the organization needs to produce content at a rapid rate in order to compete and keep up with market demand. In the case of the global enterprise with multiple subsidiaries, visibility of the products output by various groups is essential for the overall efficiency and cost savings of the parent. You can’t work in a siloed environment without incurring some form of redundancy or unnecessary expense.

[02:00] With an enterprise level DAM, we can partition the workflow of each subsidiary to satisfy the privacy that each demands while also assuring accountability for all assets as a whole and serving up select assets to other groups as required. Also, by incorporating a DAM with production capabilities, the goal is to utilize it as the repository as early on in the production process. Not only after the active market life cycle of an asset. If this is embraced, there’s an ease of flow between the front line creative production teams and the long term archiving of that asset, which is usually managed by a separate group.

Henrik: David, what are the biggest challenges and successes you’ve seen with digital asset management?

David: [03:00] Challenges: getting people to dedicate the time to shift their focus over to a new platform. Unfortunately a lot of production is handled via offline or disconnected communication tools, either via email or file transfer applications or even personal storage accounts. There’s so much risk associated with working this way but the processes have been established over time and so people are comfortable operating within that chaos. Adoption requires fully embracing the use of new systems. There’s definitely a period of transition in where people feel uncomfortable and confused by the new workflow, but I can’t stress enough, it’s temporary. The deeper you dive, the easier it becomes. This is true for any system or new workflow. It’s just about convincing creatives to find the time to shift their thinking. Once you get through that growth period, you never look back. You can clearly see the holes in the old way of working, and you find efficiencies come quickly.

Henrik: David, what advice would you like to share with DAM professionals and people aspiring to become DAM professionals?

David: Try to stay system agnostic as much as possible. If you can, technology will be adopted more readily. There’s something really interesting about the DAM space. Maybe this applies to software and hardware in general. People are so passionate about one platform over the other. They get emotionally tied to a particular brand or company. The client needs to make a selection. So much in fighting and pride can delay the eventual roll out. Most modern DAM systems offer very similar features. Instead of pushing one particular platform because it has certain bells and whistles, really listen to the needs of the organization and cater your recommendations to satisfy those needs. Don’t try to sell something outside of a client’s workflow.

[04:00] In general, do try to make recommendations of tools that consolidate assets over their entire life cycle in order to avoid migration or transfers to additional platforms. Any movement of an asset introduces risks, whether that be compatibility of fidelity or meta data. Obviously some risk can’t be avoided. Assets are meant to be experienced and consumed, so they need to move and be shared, even if it’s only with the eventual Martian overlords that intercolonize Earth in 200 years.

Henrik: Well, thanks David.

David: My pleasure. Thanks for having me.

Henrik: For more on this, visit anotherdamblog.com. If you have any comments or questions, please feel free to email me at anotherdamblog@gmail.com. For 180 other podcast episodes, visit anotherdampodcast.com. Thanks again.

Listen to Another DAM Podcast on Apple Podcasts, AudioBoom, CastBox, Google Podcasts, RadioPublic, Spotify, TuneIn, and wherever you find podcasts.

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Another DAM Podcast interview with Kathryn Gronsbell on Digital Asset Management

Transcript:

Henrik de Gyor:  [0:01] This is Another DAM Podcast about Digital Asset Management. I’m Henrik de Gyor. Today I’m speaking with Katheryn Gronsbell. Kathryn, how are you?

Kathryn Gronsbell:  [0:10] Good, how are you?

Henrik:  [0:11] Great. Kathryn, how are you involved with Digital Asset Management?

Kathryn:  [0:14] I’m the Digital Asset Manager at Carnegie Hall. I’m responsible for integrating our enterprise Digital Asset Management system into activities that support Carnegie Hall’s retention and use of digital assets.

[0:26] My work ranges from overseeing quality control and managing ingest procedures to helping manage and implement and collaboratively built taxonomy, but also working with staff across all of our departments, to make sure that their needs are being met by the technology that we have, but also by the policies in place to guide that technology.

Henrik:  [0:45] How does one of the most prestigious venues in the world, for both classical music and popular music, use Digital Asset Management?

Kathryn:  [0:52] To back up a little bit, in 2015 our archives completed a multi‑year digitalization project of legacy materials; so  concert programs, flyers, choral workshop recordings, radio broadcasts. Needless to say, the materials in our archives are pretty incredible.

[1:10] Being surrounded by this kind of material has been great and with 125 years of history, there is a lot to see and to share with people. We’ve just moved out of the project phase and into the formalized DAM program, which often includes content that is being currently produced or is in the process of being produced.

[1:29] This more sustainable and integrated approach to Asset Management is taking the requirements identified by Carnegie staff and trying to make them a reality. We expect to roll out our DAM system this summer, and we’ve just wrapped up our initial user testing with select advanced users from target departments. But our continued user testing and configuration will try to make sure that staff see the DAMs as a centralized place to not only deposit and discover content but also engage with it so anything that was created by Carnegie Hall staff or for the Hall.

Henrik:  [2:04] What are the biggest challenges and successes you’ve seen with Digital Asset Management?

Kathryn:  [2:08] The biggest challenge that I’ve seen so far is trying to have answers before you have questions. [laughs] Requirements gathering and understanding current workflows and pinpoints is really essential. It’s kind of saying, “How can I fix something, if you don’t even understand what’s broken, or not even broken, just could work better.”

[2:29] Part of the way that I tried to play down that challenge is looking at the content producers and asking, “What are they doing? What kind of questions are they asking?” That helps us to fill in the gap between providing a place to manage the version of what’s being produced, but also providing source content for those producers.

[2:47] On a positive note, the success for me has been the result of the mix of perspectives from staff members here. At Carnegie, I have a regular meeting with nearly every department, or at least every department that I can get my hands on.

[3:03] It’s a very close partnership with our IT department, who supports our DAMs initiative from a technical perspective, but also our interactive services, niche strategy, digital media, our education wing, which is called The Weill Music Institute, our PR department and our marketing creative services.

[3:22] As we get closer to staff launch I expect that list of departments to grow, maybe to the chagrin of my calendar and their calendar. Every conversation that I have with these staff members either reveals something new or reinforces a need that’s been expected from our DAM initiative. Without the input of all of these staff members, there would be no Digital Asset Management at Carnegie Hall.

Henrik:  [3:45] What advice would you like to share with DAM professionals and people inspiring to become DAM professionals?

Kathryn:  [3:49] Definitely look to how either allied fields or established fields are handling some of the same questions that we’re facing computer science, libraries and archives, traditional and emerging practices for conservation and preservation, the museum and gallery world, of course, and also community or grass roots based practices and concepts.

[4:13] One thing which I think is less of a popular opinion, maybe among the archivists and library folks, is looking at the commercial sectors, so broadcast and media entertainment companies. Money follows money, so if we have a finger on the pulse of where a lot of investment is being made in technology or structures or infrastructure, we kind of have a good idea where things are going and I think it puts us in a better position to have those conversations.

[4:43] Again, it’s not really about having the same answers as these communities, but mining their answers for something that would work for us. The additional benefit of that is that the more questions and the more conversations that you have with these communities, the more visible that we become for them, so it opens up the door for more conversation and more communication, which also translates to more inclusion in their decision‑making process, hopefully.

[5:05] There is one last thing that I wish someone had said to me when I started out. For every person who this person is usually in a position of influence that tries to exclude you from a conversation, who tries to make you feel inferior or dumb for asking questions, there are 10 people who have your back and also want to know the answers to those questions.

[5:29] The more questions that we ask, the more voices in our community and the better of we will be. If we’re lucky enough to be a person that’s in a position of power, you have the responsibility to be as inclusive as possible and lead by example. I hope that’s helpful.

Henrik:  [5:44] It is. Thanks so much Kathryn.

Kathryn:  [5:46] Thank you.

Henrik:  [5:47] For more on this and other Digital Asset Management topics, go to anotherdamblog.com. For this and another 180 podcast episodes, visit anotherdampodcast.com. If you have any comments or questions, please feel free to email me at anotherdamblog@gmail.com. Thanks again.

Listen to Another DAM Podcast on Apple Podcasts, AudioBoom, CastBox, Google Podcasts, RadioPublic, Spotify, TuneIn, and wherever you find podcasts.

Need Digital Asset Management advice and assistance?

Another DAM Consultancy can help. Schedule a call today


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Another DAM Podcast interview with Dan Piro on Digital Asset Management

Dan Piro discusses Digital Asset Management

 

 

Transcript:

Henrik de Gyor:  [0:00] This is Another DAM Podcast about Digital Asset Management. I’m Henrik de Gyor. Today I’m speaking with Dan Piro.

[0:08] Dan, how are you?

Dan Piro:  [0:09] I’m good, how are you?

Henrik:  [0:10] Great. Dan, how are you involved with Digital Asset Management?

Dan:  [0:13] I work for Turner Broadcasting. I am the Digital Asset Manager for TNT, TBS and Turner Classic Movies, on‑air, creative services department.

Henrik:  [0:23] Dan, how does a broadcast company use Digital Asset Management?

Dan:  [0:29] When a company as big as ours, we’re talking about 10 national cable networks, implemented Digital Asset Management tool, you’re really dealing with an unfathomable amount of media that’s coming in and out. DAM is really the heart of our ability to get to that media.

[0:49] We use this system to manage all the media that’s coming in, it’s going out. We’re sharing it between each other throughout the workday. We have one enterprise system that everybody in the company uses, but we all have our own instances.

[1:04] In my case, I actually manage three different instances, one for each network. My role supports these different networks based on their different business needs. We setup each one uniquely for those networks.

[1:18] For example, TNT. They deal with mostly seasonal programming. You’ll have episodic shows, they have 10, 12 episode runs. They run 10 weeks in a row. Done. That show is going to go away for six months or a year until it comes back.

[1:33] Part of what we do is use our Digital Asset Management tools to, once that season’s over, push all that content offline. Bring it back online when we’re getting ready to lauch the next season. It really increases efficiencies across the board.

[1:48] Shortly before I started there and was in the interview process, I think we had about 10 original shows on TNT. Just in about two years it’s grown to about 25. We’re dealing with different kind of shows now too. Now we’re doing unscripted shows and a lot of big blockbuster shows.

[2:07] We had ‘The Last Ship,’ with Michael Bay. There’s all these big‑time people that are coming in to put stuff on our network which is great. At the same time, for my role, it’s like “OK, so we’re going to have 60 terabytes of footage from that show, and 40 from that show. Where’s all these stuff going to go?”

[2:25] That’s really where I come in. Making sure that all these raw materials have a place to go when they come in. Have a place to go when we’re done with them. Creating retention policies to determine how long certain things need to be around. Things we don’t need to keep forever. Some stuff we do need to keep forever.

[2:41] We have to make a long term storage solution for certain media that has to be around forever, that we’re always going to go back to.

[2:49] In terms of how we use it? We use it to create a central repository of massive amounts of media files. The benefits of it are that it creates wide access, where several people can use the same media at the same time. You can search for it, you can retrieve it. You have instant accessibility. You can view proxies of files that are not online.

[3:18] Years ago, you’d have to go pull a tape off a shelf, pop it in, fast forward to the part you are looking for, “Oh! That’s not what I need,” pop it out, put it back on the shelf, get the next one. Now, you are just looking at a screen. You’re never leaving your desk. Everything is right there in front of you.

[3:33] Metadata is absolutely key to finding anything. If you put something in your deep storage without applying metadata, you’re never going to find it again. Whether it be as basic as possible, it’s from this show, it’s from this season and it’s this type of asset. Be it shoot footage, a daily, an episode.

[3:52] Even that light level of metadata is good. When you have the option to go in and really tag it with key words and whatnot, it becomes more useful. At this point, the system is still new and we’re still growing, and I think we’re going to get to more of that in the future.

[4:10] In the very early stages, we’re more worried about making sure our new stuff is getting into this system. Then grow the abilities of it once everybody’s onboard and comfortable with it.

[4:22] I think the final aspect of it would be that there’s a safe and secure storage method where nobody’s taking a tape home, it’s disappearing in the background, they accidentally recorded over it. Everything is in one place and people have access to it, but it’s not going away. I would say those are some of the most important ways of how we use Digital Asset Management.

Henrik:  [4:45] What are the biggest challenges and successes with Digital Asset Management?

Dan:  [4:49] The biggest challenge has to be putting in a new system and getting people to change their habits. It’s hard to convince people that there’s a better way than what they are already doing that works.

[4:59] The important thing as a media manager is to understand your business, how it works, and the role that DAM plays in it. It’s easy to come in and say, “I’m the Digital Asset Manager. This isn’t the way that things are supposed to work, and this is what we are going to do now.”

[5:14] You can come in with that approach, but you are going get some resistance, and have trouble getting people to work with you. The best thing that you can do when getting into a new situation, is to really empower your clients, include them in the decision making.

[5:29] If your company has gotten to the point that they need this system, they’re probably already pretty successful. You need to understand that success and know the scope of the project that you’re putting in so that you can work with these people and kind of allow them to do things the way that they like to do them, but still improve processes regularly.

[5:51] When you can recognize the history behind why things are done the way they are done and let people be a part of making this new system with you, that’s really the best way to get buy‑in from you clients. I would say that’s probably my biggest success with the network I’m supporting right now is really just being able to say that it was a team effort even though I might be managing the project myself.

Henrik:  [6:18] What about would you like to share to DAM professionals and people aspiring to become DAM professionals?

Dan:  [6:23] Whether you are a DAM professional or not, if you’re a producer, or editor, really anybody that’s looking to be in the media business, networking is probably the most important thing that you can do.

[6:34] One thing that I like to tell people is, you have all the skills in the world but they won’t get you a job. You can keep our job with one, but if you don’t have a network of people to go to, you will never get a job to apply those skills.

[6:46] The most important thing you can do these days is talk to other people that do what you. Compare notes, talk shop, go to conferences. Hopefully, you’ll be with a company that’s supportive enough to send you to them, because they can be costly if not.

[7:01] Just really see what your peers are doing. By seeing what they do, you’re going to be able to do your job better. If you’re an aspiring Digital Asset Management professional, get on LinkedIn, join discussions, ask questions. Just find other people that do what you do.

[7:15] A lot of times if you’re just approaching somebody and saying, “Hey, help me with this job,” they might not be so receptive. If you talk to people and talk to them about what they do, and why they make certain decisions, I think they’re going to be real open to discussing things with you.

[7:32] Later down the line, when you need them for that favor, you’re going to be in pretty good position because they’re going to say, “I remember this guy and he was really cool to talk to about DAM.” Or producing, or editing. Whatever it may be.

[7:44] LinkedIn is most powerful tool to anybody in my industry right now. It boggles my mind when I talk to people around the office. That are just, “I’m not on there yet,” or “I’ll get to it one of these days.”

[8:01] Don’t wait. Get on there. It can’t hurt and you are going to connect with people you worked with ten years ago, and be like “Oh, look. That person works at NBC now.” Now you have a contact with NBC. Great!

[8:12] Another thing to do, if you’re really aspiring to get into DAM, find a way to incorporate it into your personal life.

[8:20] In my case, I am a music nut. I have to have the whole discography of every artist that I love. I have 50,000 media files and they all have artwork. They all have metadata. The year that the album came out, what artist, what album. The ratings in iTunes. 3 stars, 4 stars, 5 stars.

[8:46] I can make a playlist of Rolling Stones songs from the 70s, which in my opinion are their best years. Exclude live albums, only include songs that I’ve ranked as 4 stars and 5 stars.

[8:59] Where your friend might want to make a Rolling Stones playlist, and it’ll take him three hours to go through everything, and say, “I want these songs. Maybe that one. Maybe not. I’ll come back and decide on that later.” They can work on it for three hours. At the click of a button, I have my playlist and I’m already listening to it.

[9:14] [laughs]

Dan:  [9:15] Just finding any way. Be it your personal movie collection, whatever, find a way to incorporate it to your life. If you’re not already in the field, you’re going to go on interviews and explain it to people why you’re the best person for the job. If you don’t have that past experience, at least give them something that like that.

[9:33] You have Digital Asset Managers in everyday life every day, that don’t even realized that what they’re doing with iTunes is exactly what we do with these massive media corporations.

Henrik:  [9:44] Great advice. Thanks.

Dan:  [9:45] My pleasure.

Henrik:  [9:46] For more on Digital Asset Management, log on to anotherdamblog.com.

[9:50] Another DAM Podcast is available on AudioBoom and iTunes.

[9:53] If you have any comments or questions, please feel free to email me at anotherdamblog@gmail.com.

[10:00] Thanks again.

 

Listen to Another DAM Podcast on Amazon Alexa, Apple Podcasts, AudioBoom, CastBox, Google Play,  RadioPublic, RSS, Spotify or TuneIn

 

Need a Digital Asset Management Consultant?

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