Apr 30, 2024
Wondering how to convert your cluttered space into a voiceover
success story? Let Anne Ganguzza and the ever-resourceful Tom
Dheere, be your personal guides in the transformative journey of
setting up a home studio that screams professionalism but whispers
in costs. Starting with the bare bones of our make-do booths
fashioned from closets and basements, we'll share how to shield
your sound from the noisy world outside, using everyday materials
to master the art of sound absorption. Our candid conversation is a
treasure trove of relatable anecdotes and practical wisdom, perfect
for any voice actor eager to refine their recording environment and
captivate their audience with crystal-clear audio.
00:01 - Intro (Host)
It's time to take your business to the next level, the boss level.
These are the premier business owner strategies and successes being
utilized by the industry's top talent today. Rock your business
like a boss, a VO BOSS. Now let's welcome your host, Anne
Ganguzza.
00:20 - Anne Ganguzza (Host)
Hey everyone, welcome to the V-O Boss podcast in the Real Bosses
series. I'm your host, Anne Ganguzza, and I am so excited to be
back again with Real Boss guest co-host Tom Dheere. Hey,
tom.
00:33 - Tom Dheere (Host)
Hey Anne, I'm feeling very bossy today, but not in a mean to tell
people what to do today. I'm just feeling bossy, but in a good
way.
00:38 - Anne Ganguzza (Host)
You got good boss colors on.
00:40 - Tom Dheere (Host)
Yeah, and I got some good boss vibes going today too. Yeah, and you
sound good, Tom. I do sound good today. It's funny, so do you, as
always Well thank you.
00:49 - Anne Ganguzza (Host)
I'm going to be speaking next week at a conference to podcasters
who are interested in becoming voice of artists. Part of my
conversation is going to include the equipment they need, the
skills they need and, of course, what's so important to us as voice
actors our environment, our studios.
01:08
And you know it's so funny because we are on opposite coasts and I
feel like we also have opposite type studios, but yet they both
work amazingly well for our businesses. So I wanted to talk to you
about your studio and our differences so that this could be a good
reference for those bosses. Just starting out that you don't
necessarily need a $20,000 recording studio, because when I first
started I certainly didn't have one, and I know that Tom has the
same story. As a matter of fact, when I first started, I was in my
basement in New Jersey, because basements are a good place where
you don't have to deal with, let's say, external noises as much
because you're half underground.
01:50
It was a closet for me that I started off with, and, tom, I mean
talk to me about when you first started. What was your first studio
like?
01:58 - Tom Dheere (Host)
Okay, my first studio was also in New Jersey, parcipany, new
Jersey. I'm sorry, where were you in New Jersey?
02:04 - Anne Ganguzza (Host)
I don't remember Northern Jersey. I was in North Haldon, oh, right,
by Wayne. Okay, I know exactly where that is.
02:10 - Tom Dheere (Host)
I was in the 20, 25 minute drive west of North Haldon, so I lived
in a garden apartment. For those of you who don't know New Jersey,
garden apartments are these sets of apartment buildings.
02:21
They're almost always red brick, they could be white or other
colors, and there's usually there's anywhere from like three to 50
of them. And I lived on a second floor and my first home recording
studio was the front closet which was over the steps that would
lean to the door that would let you go outside. So what I did was I
went to Home Depot and I got carpet remnants on the cheap. I had a
quilt that I think my mother-in-laws aunt made. It's a lovely quilt
but like oh, this is a good use for it, I wove it into, you know,
like the bar that you'd hang your coats on. Sure.
02:56
I would weave it through there.
02:57 - Anne Ganguzza (Host)
So it's like a little tent.
02:59 - Tom Dheere (Host)
Yeah, actually it was even better than a tent, because the shelf
that was above the bar rested on wooden blocks in this apartment so
you could lift it up. So I actually threaded it through, threaded
it back and folded it under so it completely encapsulated the shelf
that was above the bar and that was that. So the quilt was around
there. The carpet remnants from Home Depot were on the ground and
in front of me and behind me and I made a point to, since the
closet was a square box instead of having be an angle, I wouldn't
push the corner of the carpet remnant all the way into it, so it
would be curved.
03:32 - Anne Ganguzza (Host)
So all of the corners, so it would be like square, sharp corners
Right.
03:36 - Tom Dheere (Host)
So I would put it in with penny nails. And then I had, you know,
those football blankets, the kind that you roll up to take a
football game. I had one of those and I nailed that into the closet
door and that was it. And then I had a little snack tray with a
desktop mic stand and my mic was there. And then I got a monitor
which I drilled into the well, no, that back then I didn't drill it
into the wall, it was on a stand which was on the snack tray. And
then I got a splitter, so the monitor that I would sit at at my
desk would show the same exact stuff that it would show inside the
booth. And then I would bring my air mouse into the booth and sit
down and I would just, and then it's.
04:14 - Anne Ganguzza (Host)
Well, you were actually advanced because you had a monitor in your
booth and you had an air mouse.
04:20
So, for me. I'm gonna tell you, my first experience was when I
moved from one place in New Jersey to the next and I had my second
studio in the basement. Was really cool, because you don't know
what you don't know. And so for those bosses just starting out and
I've done multiple audio episodes, just a real quick recap you need
to really have a good environment before, I think, you even make a
decision on your microphone and within that environment you have to
make sure that you're not having any kind of echo or noise. So
there's internal noise of your studio and there's external noise
that might be trying to come into the studio and you certainly
don't want any of the noise that you're making, right as you're
voicing, to be echoing off of walls or hard surfaces. So it's
important to kind of have yourself surrounded with some sort of
material that can absorb that sound rather than have it be
reflected back into the microphone. So when Tom talks about having
his blankets and his carpet remnants up above him, to the left, to
the right, keep in mind you wanna have some form of absorbing
material that's in front of you, to the left, to the right, behind
and above you and that will help curb any type of reflective sounds
that might come back into the microphone. And then, of course,
there's always sounds that come in from outside of the studio that
we can't always control. I mean, studios have a recording sign for
a reason. So even in a real studio, right where this is what they
do for a living, you can't run down the hall screaming at the top
of your lungs while people are recording, because not everything is
completely soundproof.
05:53
However, getting yourself in an environment where you're not gonna
get that much reflective sound and sound that might come in is
best, and so one thing that that proves, tom, is that for both of
us, when we started, we didn't really have to invest a lot of money
into our studios to get good quality sound.
06:12
You just have to be a little bit educated about where you're gonna
place those materials, and I think it takes a lot of
experimentation. I do know when I first started, I didn't know what
kind of sound I was supposed to have, and so really helpful to me
was getting an engineer on the line and kind of assessing my sound
and assessing my studio. However, in the beginning I didn't know
anybody, and so I basically it was trial and error, trial and
error, and sometimes you can place a blanket and it doesn't do any
good. And sometimes you can put another blanket and it still
doesn't do any good, and at that point it's helpful to maybe have
somebody come and assess your studio sound. And with that I've got
multiple places that I recommend. I know, george, the Tech is one
of the best.
06:57
That's the first one came to my mind and I think both of us
recommend him and bosses will put that link in the show notes for
you. But it really can help to have a trained ear, assess what your
studio sounds like but also know that you don't have to spend
thousands and thousands of dollars. Now I remember back when I
moved right from New Jersey to California. Then I had a town home
and I was up on the second floor and then I had an office. Well, I
had a second bedroom which was right outside of the kitchen and I
had a closet and I said, oh great, I've got a closet, I'll make a
studio out of that.
07:31
Well, that closet had no clothing in it, right? And that became a
whole different set of circumstances where I thought, oh, it'll be
easy, I'll just hang carpet, or I've got some old carpet, I'll hang
some blankets. Well, it was actually more difficult to create a
good sound with an empty closet than it was to actually build. My
father actually built me a structure, so it was a little four by
four by eight foot room in a room which actually works better than
my closet which had nothing in it, like no clothes. So I feel like
a clothing closet with clothes in it is really something that can
help and can be better in a lot of cases than a clean
closet.
08:10 - Tom Dheere (Host)
Right, I think I don't remember who was it said it, but sound
functions like water and you have to understand where the sound
flows and it always has to go somewhere. It's gonna go down, it's
gonna go towards you or behind you, it's gonna get bounced around
and moved around. So, under a standing, how and where the sound
goes will help you figure it out Whether that involves getting bass
traps or whether you gotta get Aurelix.
08:35 - Anne Ganguzza (Host)
Now people are going what? Or some people buy pool noodles. What
are bass traps?
08:39 - Tom Dheere (Host)
Aurelix is a form of acoustic foam. I don't even know if I can
properly define bass traps are. They're usually in the corners of
the room, corners of the room, padding the corners there.
08:47 - Anne Ganguzza (Host)
I think what you're trying to do is not have any. The other thing,
if you can, because of reflection, right, Sound bouncing If you
have walls that are perpendicular to one another or
parallel.
08:59 - Tom Dheere (Host)
Right, you don't want angles, you want curves.
09:01 - Anne Ganguzza (Host)
Curves or angles, or if you do and I'm gonna get to our studios in
just a moment if you do, you wanna make sure that you've got
adequate coverage for sound absorption in there.
09:11 - Tom Dheere (Host)
Right, but at the same time you don't want a dead space either. Too
much acoustical treatment can be a bad thing, because your space
has to have some kind of texture too. Not like a signature texture
that is like oh, I could tell I listened to that commercial. I know
Ann did it in her booth. It's not like that, but just something
that doesn't sound like you're talking in a safe. You know what I
mean.
09:29 - Anne Ganguzza (Host)
Absolutely, absolutely so. Ultimately, tom, it wasn't until I moved
and this is after 14 years of actually being a full time doing
voiceover and making money and so I had to have a booth that
created good audio that people didn't reject. And, trust me, I did
have a time when people rejected my audio, and that was when I
didn't have an ear for what I needed to know, and that was very
distressing.
09:53
By the way, all I can say is that once you figure out how to get
your sound where it needs to be, it is a big load off your
shoulders. But once I decided to move, I actually was able to kind
of plan and really think because, okay, I'm 13, 14 years into my
full time business, I wanna actually have a space that is created
just for recording. And so I was fortunate and I researched, I
researched a lot of different things. I thought, well, I can't
bring the booth. My father had constructed a booth for me at my
town home in Irvine and I couldn't really deconstruct it and
reconstruct it again to have the same properties and everybody. I
love that booth, by the way, and it was really wonderful and I had
had that assessed and blessed by George the Tech, by the way, at
the time. But now that I had an opportunity to actually have some
time to sit down and think about it, I decided and I looked into
researching, I looked into buying a Studio Bricks and it was gonna
be really expensive at the time and at the time they were shipping
it from Spain, I believe. There was no timeframe as to when I would
get it and I thought, oh God, I can't move to a new home and not
have a place to record, and so I said, well, let me look into
something different. I spoke to George the Tech, who said you know,
you might consider having this built for you a custom booth built
for you and I started looking into that and fortunately I was able
to find someone and, of course, everybody that's ever followed me
or I definitely have a podcast on this with Tim Tippetts who
designed and built my booth a custom built booth for me and I'm
going to tell you that it was a luxury, but it was also something
that it was great, because everything was custom tailored just for
me and I'm sitting in it now. So if you're watching this podcast on
YouTube, you can see my studio.
11:36
I've got sound panels in here. I actually have something that's not
quite 90 degrees to one another, but you wouldn't know it by
looking at it. It's just very slightly angled, but I do have
ceiling acoustic tiles. I have acoustic tiles on my left, to my
right, behind me, and I've got a double door, and so that cost me
some dollars. I'm gonna say my first studios were a few hundred.
Once I upgraded the studio that my father built for me, I would say
that cost me about $1,000 with all the treatment and improvements
to that, and this one was in the thousands of dollars.
12:09
But it's kind of set it and forget it and done, and so,
comparatively, I live in a very quiet area to you, tom, and we'll
make that comparison Cause, right, I'm West Coast. I live in a
home, I'm in a studio that is dedicated and built custom for me,
with double walls, green glue, acoustic panels. I live in it over
55 retirement community, on a cul-de-sac. There's not people racing
around here. Well, if there are, that's some other issue. And so I
have all the blessings of being able to sit in here and very rarely
have to stop recording because there's something noisy happening
outside. But, tom, tell me about yours because, again, mine cost
thousands of dollars and I'm not saying it was super expensive,
because I think for a custom built booth I got a really great deal.
But, tom, talk about your studio because, again, you have an
amazing studio that you've been working out of for years and just
producing broadcast quality like beautiful stuff, one after the
other.
13:05 - Tom Dheere (Host)
Well, it's funny because I lived in that apartment in New Jersey
for 12 years, so I was recording from that space for 12 years and
it was regularly a pain in the butt because there was landscaping
going on, there was a lot of cars driving by, there was Snow
shoveling, there was kids going to school, coming home from school
because the high school was right across the street, so there were
a lot of problems with that one. Now I live in Midtown Manhattan.
For those of you who don't know, there are certain cross streets in
New York City 9th Street, 14th Street, 23rd Street, 34th Street and
then higher. I live on 34th Street, which means it's one of the
two-way streets. Also the Lincoln Tunnel entrances just stones
throw away. So I am literally living in the second floor of an
apartment building over one of the most heavily trafficked Streets
in Manhattan, if not the country.
14:01 - Anne Ganguzza (Host)
Wow, not the world.
14:02 - Tom Dheere (Host)
Wow. So what's crazy is that when I moved in here about five and a
half years ago, there was a front closet, just like I had in New
Jersey, and I'm like, well, let's not try to reinvent the wheel,
let's just do what I did there and do it here and see what happens.
It turns out that it's even better. The sound is even better than
the one in New Jersey, and here's why is that. I'm sitting here at
my desk and the front door to my apartment is like literally right
here. I can't quite touch it, but it's pretty close and then
there's a closet front closets right here, so I sit in it. When I'm
sitting, my back is to the hallway and behind me this wall
separating the hallway from the apartment is concrete, so that's
yeah, concrete is always good.
14:45
And I using my Sennheiser 416, which is facing the concrete
now.
14:50 - Anne Ganguzza (Host)
Why is that important that it's a 416?
14:53 - Tom Dheere (Host)
the 416 is great because it has a very, very tight field. It
doesn't pick up a lot outside of here, which is why, if you get a
Sennheiser 416, your angle to the microphone makes a very, very big
difference. So you need to find that sweet spot where you're
sitting, how it's angled up like this and where it is like this,
and where you are seated In relation to it to kind of get into that
very tight Right and that's what makes that an ideal microphone
for, let's say, a less than ideal Space right and it's also one of
the reasons why I use it for travel as well, because of the pickup
pattern, is very Concentrated and you don't have to worry so much
about.
15:32 - Anne Ganguzza (Host)
Like I also have a TLM 103, which is a beautiful microphone.
However, it picks up when you breathe because the pickup pattern is
much broader than a 416. So yes, I think in terms of studio spaces,
if you have less than idea, 416 or a shotgun type of mic that has a
smaller pickup is much more ideal for that right.
15:51 - Tom Dheere (Host)
The other thing is that the windows this is a 60-something year old
apartment building here in New York City, but the windows are very
new. They're very, very tightly sealed.
16:02 - Anne Ganguzza (Host)
Are they double-pained?
16:03 - Tom Dheere (Host)
They are double-pained.
16:04 - Anne Ganguzza (Host)
I think most apartment buildings that are in in cities are
double-pained anyways, right, A lot of them are double-pained yeah
and I used the same exact carpet remnants and and Bessie's
quilt.
16:14 - Tom Dheere (Host)
From there I said everything I love it.
16:16 - Anne Ganguzza (Host)
You got Aunt Bessie with you, see I ban out Bessie's quilt. She's
with us, ann always she supports it.
16:22 - Tom Dheere (Host)
Yes, and the monitor. Actually my wife, who's actually more
mechanically inclined than I, and she actually drilled the monitor
into the wall, so we set up all the acoustical treatment. She
drilled it right in there and then it's still. It's a new set of
monitors since the ones I had in New Jersey, but they're also
networked the same way, with a splitter I bring the earmouse into
the booth and so I just scroll, scroll, scroll. So I haven't
printed a script in years, in years. And the quality it's even
better than it was in New Jersey and I attribute it to a more solid
floor and the concrete wall and better treated windows, so I
actually didn't spend anything on the new booth actually.
16:58 - Anne Ganguzza (Host)
Right. And the other thing, too, is you probably have to be
concerned A lot of times, like an inside wall or a wall that has
concrete on the other side of, or a wall that isn't near plumbing
is very helpful, and so if you're too close to a window, sometimes
you don't have the protection I mean because that's yet another
medium that can allow sound in or out or be reflective. I,
literally right outside of this door, probably five feet away, is
my front windows, and so I've got double windows there. But because
I've got double doors here, if the waste removal trucks come right,
actually I don't hear it through this, which is really fantastic,
but if I've wanted the doors open, or if I have both these doors
open, or if I'm sitting outside, yes, obviously I won't be able to
record.
17:42 - Tom Dheere (Host)
I've had jackhammers outside.
17:44 - Anne Ganguzza (Host)
Wow, that's fantastic.
17:46 - Tom Dheere (Host)
The only thing that really really gets through is if my upstairs
neighbor is vacuuming. That's the only thing that makes it
impossible to record.
17:53 - Anne Ganguzza (Host)
So you're talking about the closet, then your actual studio is the
closet behind you.
17:57 - Tom Dheere (Host)
Right now that I'm seeing right, there's a front closet right here
and then these other doors actually leading to the
kitchen.
18:02 - Anne Ganguzza (Host)
And how big is that closet?
18:03 - Tom Dheere (Host)
Three, by three maybe.
18:05 - Anne Ganguzza (Host)
Okay, and do you have anything else in it besides your recording
equipment and or absorption material?
18:10 - Tom Dheere (Host)
Not really. I mean, there's two shelves above it which we use for
storage of various things. This time of year I've got two winter
coats in there, but the rest of the year they're not in
there.
18:20 - Anne Ganguzza (Host)
So actually, the two winter coats actually make it even a little
more insulated, absolutely Especially if they're puffer jackets,
right, I mean you can-.
18:26 - Tom Dheere (Host)
One's puffy and then one's like a really nice one, like when we go
out out. Actually, the only thing I did buy was the cable. I needed
to make sure that the cable can run. So I'm sitting here and it
runs and it runs across the floor right all the door and then I've
got a rug that covers that and just snakes into the booth. I think
that was the only additional investment and I live it by B&H,
so it was like 20 bucks. I just went across the street, got it.
Whatever, this is a 15-20 foot cable. I think that was the only
additional expense to moving here from the old department and that
was it. I also want to say this, ann, is that I was ashamed of my
studio setup for a very, very long time. I thought that I wouldn't
be regarded as a true professional, much less the VO strategist, if
I didn't have a $5,000 booth. I am proud of my space.
19:07 - Anne Ganguzza (Host)
You should be.
19:07 - Tom Dheere (Host)
I am proud of the work that I do in it and the work that me, and
with the a lot of help from my wife, did to get it to where it is.
No, it doesn't cost a lot. No, it isn't pretty, but your job,
bosses, is to be effective as voice actors on a performance level,
on a logistical level, on a financial level and on a technical
level.
19:25 - Anne Ganguzza (Host)
So I don't care if it ain't pretty Well again, nobody's necessarily
looking, and even if they are looking at you and your studio,
really what comes out of that studio is what's important, right?
It's not what the studio looks like, and I know a lot of bosses out
there. I think it becomes complicated to them and sometimes a
pre-built studio solution or a studio solution like Studio Bricks
or Vocal to Go or LA Boos or whichever is out there, it becomes a
solution that's simple to them. Well, you don't necessarily need to
spend that kind of money. If you have it, of course I think that's
great, but I think if you're just starting out in the industry and
you're just trying to see if this is something that is going to be
good for you, and if you're going to really make a go at it and
have a successful voiceover business, I don't think you need to
invest a lot in a studio right away.
20:15
I mean, gosh, I always talk about when we are traveling and on the
road. Tom, we certainly don't have optimal recording situations in
a hotel room, because a lot of times you've got the ventilation
system, you've got fans running, you've got people out in the
hallway in your hotel room, you've got windows and what's happening
outside of windows to deal with. And so for us again, what's
important is that we protect ourselves to the front, to the left,
to the right, behind and above. And so a lot of times when we are
away and traveling, I do the old pillow fort, the non-glamorous
pillow fort, and that is literally put the pillows in front of you,
to the left, to the right, above you. I take the actual luggage
rack and put it on top of the desk.
21:01
And then I take the extra comforter and I make a tent out of it and
then I take my 416 and that's what we do. Now I also have a
tri-booth, which is great. A tri-booth, love the tri-booth, and
I've got a review of the tri-booth on my blog for any of you that
are interested in it. That is a PVC kind of put together
constructed booth with moving blankets and a stack that has been
created by George the Tech so that you can recreate your home
studio on the go, and so I absolutely love my tri-booth. If I
decide that I want to take that, I can check that right on the
plane. It comes in its own suitcase and it's super, super easy to
assemble, and so you can do that.
21:42
It's not always necessary, though. I say Create a studio, try to
get yourself acclimated to what sound it is that you're looking
for, great sound. If you are somewhat into audio today, if you're a
podcaster, make sure that that studio really does have your
acoustics properly set up and oriented, because sometimes a podcast
I mean I know that when I first started podcasting I would listen
to other podcasts and go why are they not concerned about their
room, their sound? Because I would hear echo, sometimes the sound
quality just wasn't there. But if you are coming in from another
segment of the industry or another part of the industry, understand
that your environment is important so that you can create good
quality audio Does not have to cost a lot of money.
22:29
And, tom, I love our conversation because you are proof that you
can have an amazing sounding studio and not have to invest a lot of
money. You can be in a crazy city with tons of traffic, not a lot
of space, and create an environment that you can do work and excel
at over and over again and you don't have to invest lots of money.
So thank you so much for talking to me today about your studio. Any
other tips that you have for, let's say, bosses, maybe just
starting out, or investigating what kind of studio to get or things
to do to create a great studio.
23:07 - Tom Dheere (Host)
Well, I do at vostratagescom. I also have blogs and videos that
talks about gear, and I also have a gear section on my
site.
23:13 - Anne Ganguzza (Host)
I believe you do too right, I do Absolutely Studio gear.
23:16 - Tom Dheere (Host)
Check out both, because I guarantee there are some gear
recommendations I have on my site that Ann doesn't, and then she
has some on her site that I don't. So definitely check them out.
There's different price points and I've talked about this stuff for
many, many years, just like Ann is. But do your research. Harlan
Hogan's Guide to Home Recording Studios is a great book. Sound
Advice by Dan Friedman is another great book those who can be a
very, very big help. And you can always book a free consult. I
believe George the Tech has free consults, or at least you can
contact him through the George the Tech website, because he's got
an army of great engineers and that between all of them they know
every microphone, they know all the hardware, they know all the
software, they know all the acoustical treatment secrets.
23:57 - Anne Ganguzza (Host)
I have an affiliate page with him too, so do I VO Boss can get you
a discount as well, so there you go, whether you come to Tom or VO
Boss, absolutely you can get a discount ona consult with George I
don't promote that because I am an affiliate with him, but
literally George has been with me from the beginning. I mean, he is
the one who and I have blog articles written on that who literally
took my father and my homemade booth and when we were like, okay,
what else can we do? There's something missing, he was the missing
key. He was the one that was able to take what we had done and make
it sound.
24:31
And I used to get complimented all the time by audio engineers
saying what is your studio?
24:36
It's amazing and in reality it's hysterical, because if you saw
what my studio looked like, it certainly wasn't glamorous or
elegant, but it really did the job and just like Tom's. I mean
absolutely. And I think you can be proud and it's important for you
to feel proud and feel good in the space that you're in, because it
is our personal voice and it is our performance that needs to excel
in a booth or in a space that we feel good in, and so you want to
make sure you create that space. And so if Ant and I'm sorry, your
Ant's name again, bessie, so if Ant Bessie is fully supporting you
in your booth. I mean, I cannot tell you the affection and how good
I felt being in a studio that was designed and built by my father
and my father, by the way, had a lot to do with this studio as well
and it does help. I sit in the studio and I feel good, and when you
feel good, you can produce good audio, and I think that that's
super important. And what a fun conversation today.
25:29
Tom, thank you so much for sharing your space and talking about
studios with me today. Bosses, I want to invite you to imagine a
world full of passionate and empowered, diverse individuals giving
collectively and intentionally to create a world that you want to
see. You can make a difference. Visit 100voiceshukerorg to learn
more and, of course, our sponsor, ipdtl. I love IPDTL and use it on
a day-to-day basis. I just love it. Use it for all my coaching
students. Find out more at IPDTLcom. You guys have an amazing week
and we'll see you next week. Thanks, guys, bye.
26:10 - Intro (Host)
Join us next week for another edition of VO Boss with your host,
Ann Ganguzza, and take your business to the next level. Sign up for
our mailing list at vobosscom and receive exclusive content,
industry revolutionizing tips and strategies and new ways to rock
your business like a boss. Redistribution with permission.
Coast-to-coast connectivity via IPDTL.