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DIY School Holiday Activities

Guest Post by Moreton Bay Regional Libraries

MAKEIT Workshops banner

Last school holidays, Moreton Bay Library staff dusted off their facilitator skills and provided local kids with an opportunity to create kaleidoscopes and periscopes, using The Edge’s MAKEIT Workshop Plans and Light Box kit.

Overall, 75 kids were engaged with the STEAM programs and feedback was very positive, including the one that brought music to everyone’s ears – “And it works too!”

Burpengary Library further extended their participant’s experience in the Periscope Workshop by adding a viewing challenge after the creation of their periscope. Each child’s finished product was used to view items located in cardboard boxes with small periscope sized openings.

After viewing each item, children wrote the name of each object on a challenge sheet and then took the first letter from each object’s name to create a special word.

The objects used were; sand, umbrella, boat, map, apple, ring, iPad, Nutella, and egg.
The special word was; Submarine.

MAKEIT Activity

MAKEIT- Periscope - Using a Periscope sml




More about Moreton Bay Libraries

Moreton Bay Regional Libraries received a 2015 National Science Week MAKEIT Light Box, made and delivered by The Edge.

If you’d like to know more about the Light Boxes, you can read about them here:



AUXILIARY is calling for applicants for AUXILIARY PLUS – a six week foundational Industrial Design course that teaches sketching, lo-fi prototyping and CAD. It is open to students, professionals and creatives wanting to supercharge their design skills.

AUXILIARY PLUS is also a preparatory primer for the client sponsored AUXILIARY X programme. Students from the inaugural AUXILIARY X programme recently won big in The Australian Good Design Awards’ Young Australian Design Awards category providing a shining representation of innovative Queensland design.

After almost 50 students entered and 9 finalists selected, the winners were announced at the Good Design Awards Gala Night in Sydney on May 27th. Three AUXILIARY finalists took away 3 awards on the night from the 5 available – an outstanding achievement considering competition from prestigious institutions such as UTS, UNSW and Monash.



Angelina Kwan’s Air-O Pan project won the Technology Award. Air-O Pan combines the cooking technologies of an induction fry pan, air fryer, wok, steamer and even a steam oven into one easy to use appliance.


Thomas Costello’s Botany project won the Sustainability Award. Botany is a vertical aeroponic garden designed to be a simple and attractive micro-farming solution for high density urban homes and apartments where home grown food is either inconvenient or impossible, which meets an ever growing current market trend.


David Chapman’s Essence  project won People’s Choice. Essence unlocks natural properties found in household plants; to preserve food and repel insects through air oxidisers and fragrances and even includes a self-watering system.


The 14 week AUXILIARY X programme where the above work was created saw students produce innovative and high resolution concepts for client Sunbeam Australia. Throughout the programme students were armed with the tactical, practical and strategic skills needed to meet the demands of a real world client, and the outcome speaks for itself. The entire design process behind each of these amazing projects was realised in The Edge’s Fabrication Lab, which provided all the necessary tools and resources under the one roof to enable the next generation of designers bring their ideas to life.

The deadline for AUXILIARY PLUS applications is Friday, June 24. Details of the forthcoming AUXILIARY X programme will be announced over the coming months.

For more information visit or contact AUXILIARY at

Catching a Joule Thief in the act…



The Edge Programming team has been exploring ways to make use of the Joule thief circuit, which as the name suggests dangles a tantalizing prospect of getting energy out of systems that usually want to keep it to themselves. Think squeezing the last drops of power from an apparently dead battery, or harvesting the trickle of electricity that comes out of a recycled computer fan you hang off your bicycle, or using finger power to light an LED (which is our latest project, currently being road tested by willing workshop participants and pictured above).

LEDS are fiendishly efficient devices for turning a small voltage into light, and the least power hungry forms (red or green) only need 1.2 to 1.5 volts to work. But what if your device only puts out 1.0 volt? You run into an unforeseen pothole while riding your bike in the dark, with unfortunate results. Enter the Joule thief, which has the ability to capture small amounts of energy, stack them up and let them loose in a rush of 1.5 volt LED brightening goodness – and at about 200 thousand times a second, which is fast enough that your eye can’t tell that the LED is flickering at all.

Using the time worn analogy of electricity as water flowing through a pipe… think about when you are out watering the garden, and the water is only coming out of the hose at a trickle (not enough to reach your petunias, or to light an LED, anyway). If you squeeze the hose for a bit, the water pressure will build up, and when you let go, a burst of water will shoot out, reaching further than before (and with enough energy to fire up the LED). Keep doing this very, very fast, and it looks like the water now magically reaches further than it should – just as the Joule Thief seems to magically make more energy appear where there wasn’t enough before.

Nerd Alert: detailed technical explanation likely to provoke flaming comments follows…


The illustration above is the simplest form of a Joule thief we have found.

It only has three parts …

  • A transistor (the blue thing), which is like a tap – when it is on, electricity can go through it
  • A resistor (the brown thing), which just regulates the flow of power a bit, and
  • A toroid (the green thing), which is a doughnut shaped magnet with two parallel wires wrapped around it, with the end of one wire attached to the beginning of the other. This is the magic bit.

The red and black wires are where the power comes in and out, and the orange bits are where you attach the LED.

So, how does this technicolour marvel work? Thanks to Colin Mitchell (who lives in Dingley – which is in Victoria, and not the dell), this is as good an explanation as I have found (it might help to remember that energy flows from red to black in electrical circuits, and that changing magnetic flux can induce a voltage in a nearby wire, as well as vice versa):

  • A small amount of power flows into the green wires, and turns on the transistor
  • This changing current interacts with the magnetic field of the toroid, and induces an increasing voltage in the solid green wire, which feeds back to increase the voltage in the wire that turns on the tap in the transistor. This process continues as the transistor is turned on more and more until…
  • The transistor can’t turn on any further, and the voltage stops increasing in the solid green wire. No increase means no voltage induced in the other wire, the voltage starts to fall, and the tap starts to turn off
  • The magnetic flux whizzing around in the toroid starts collapsing, and as it does, the tap turns off completely.
  • The magnetic flux continues to collapse, and now induces a high voltage in the solid green wire – but in the opposite direction to before (remember these wires are connected top to tail)
  • This voltage gets high enough for the energy to flow through the LED (because the transistor is switched off, now), and light is emitted as a result
  • Once the voltage coming from the collapsing magnetic flux in the toroid is no longer enough to jump through the LED, you are back where you started, and the transistor begins to turn on again….



So, what are we doing with the Joule Thief… as it’s a simple circuit that only requires a small amount of energy (even finger power), its perfect to use in workshops where we don’t want get bogged down in the finer details of circuitry (you can very easily end up in a worm hole), and where everyone walks away with a working prototype. We’ve used the Joule Thief circuit it to run workshops at the Woodford Folk Festival earlier this year, and it’s also being delivered as part of the Independent Schools Queensland, Maker Spaces Roadshow where we’re delivering a ‘Making STEM’ workshop for educators. Also, before the year is out we’ll have done more testing and development, refining the learnings and outcomes and packaging it into an Edge MAKEIT Kits.

NIME Unconference Interview with Kate Thomas

Live instrumentation doesn’t stop at guitar, bass and drums. In addition to acoustic instruments there are an increasing number of performers making use of DIY controllers and unique hardware in their performances. NIME (New Interfaces for Musical Expression) is the premier conference in designing human-computer interfaces and interactions for musical performance.

In 2016 NIME comes to Brisbane gathering researchers and practitioners together around lectures, installations, concerts, demonstrations and workshops at Queensland Conservatorium Griffith University. The Unconference will be held at The Edge featuring workshops, demonstrations, panels and performances open to the public.

As a warm-up to the event here’s Unconference director Lloyd Barrett talking with local musician Kate Thomas (Feet Teeth, Spirit Bunny) about her augmented instruments and re-purposing of old technology in live performance.



I’d like to you to tell me a little bit about your musical background.

I first started playing piano when I was quite young – maybe 7 or 8? I wanted to learn because my best friend was learning. Then she quit. Then I wanted to quit but Mum wouldn’t let me (on principle). So I got lessons for a few more years, and when I was in my early teens I started to learn drums. I played in a ‘percussion orchestra’ throughout High School. It was a pretty unconventional learning program, none of that formalised AMEB-type stuff, we learned songs and then we played gigs. So performance has always been a big part of what music is for me.

So how did you evolve from that towards more “experimental” live performance?

I chose to go to university to do music because I hadn’t really given life much thought and it seemed like a logical thing to do after finishing school. Due to an admin error I ended up missing out on a position in the Music course in my first year out, so I did a year of Humanities subjects. (That year was awesome and I still draw upon ideas I learned during that year for compositions today.) Studying music at university was a ripper opportunity, but not for any of the reasons that I thought it would be. It was about meeting people and learning a whole new way of listening and thinking about sound. My instrumental skills have progressed at a pretty glacial rate, but the thinking behind what I do, how I approach my performance, composition and collaborative practices is constantly evolving.



I recall seeing you perform in Joel Saunders group in the late 00s.

I met Joel while we were both studying. We didn’t collaborate much while we were at university, but have been involved in a number of bands together since then. Actually, my first gig with Joel was a ‘back-up’ singer accompanying him while he sang along to his iPod in a reading room in a Brisbane City Council library. I didn’t know any of the songs, but by the sound of it neither did he. That show definitely marked a turning point in my musical career. He’s fantastically active, and his approach to music making is inimitable. It’s a real privilege to get to work with the guy.

I understand Feet Teeth, your group with Joel and Paul Young, play improvised music?  How does the group come to a consensus about individual contribution and to what degree does the balance of instrumentation define the outcome?

We’ll have different approaches to our rehearsal process and performance frameworks depending on the context of the performance, and any potential collaborators. It’s been a great vehicle for exploration; we’ve worked with dancers, visual artists, installation artists, video artists, poets and of course, other musicians. We just released a new single from one of 2 albums we’re launching in July. Both albums have been extracted from a 10-hour recording session where we had a bunch of friends joining in at various stages of the session.

I understand you are concerned with gesture in a musical and performative sense.  Do you find building / hacking your instruments allows you more freedom to explore this area?

Freedom was the idea. It was thwarted by the realisation that there are a whole heap of steps or considerations in the process, and actually a huge body of knowledge associated with each step; e.g. designing and building the sensor interface (electronics and performance gesture transference), mapping gestures to sound (dramaturgical and practical considerations), designing and building a digital audio processing environment, composing for the system and developing a level of fluency with the system that would get me to the point of public performance. So yeah, the idea was freedom but the reality of that process was pretty daunting!



Tell us about your integration of the Commodore 64 in performance.  How did you come to use it?  How are you using it live?  What did you have to do to get it functioning as performative hardware? 

The C64s have become my primary compositional and performance tool over the last 5 years. Joel first lent me one and I had no idea what it was. It sat in the corner of my room for 6 months. But once I had figured out how to plug it in, and what it could do….
I play 2 x C64s. The both run ‘Cynthcart’ – a program on cartridge developed by Paul Slocum specifically to convert the C64 into a synth. I send a signal from each console to a small mixer and that’s sent as a single signal to an amp.



How does Spirit Bunny fit into all this?  Less improvised?  More electronic?  
Bam. You said it. I don’t really see the point in being in 2 bands that are making the same kind of music. Spirit Bunny can be really challenging for me. I have a hard time following ‘rules’ when it comes to music; I tend to change my lines on the fly, I don’t mind much if I make mistakes. I can’t really get away with that in SB though – plus we work on making the songs really tight. They sound better tight so I’m motivated to try and stay focussed. I also have a lot more responsibility for the ‘success’ of a song in Spirit Bunny. In a lot of the other bands I’ve played in my parts have been ornamentation; in SB if I get it wrong things get dire fast. So while it can be stressful sometimes, I really like the new challenges. And the music. The music is pretty cool too.



Din Mutations… tell us more about that.  Is it more a performative or compositional project? 

Din Mutations has been hibernating for a while now, but I hope it will reawaken one day. It’s more centred on performance practice. It’s origins date back to experiments in 2005 – feeling unsatisfied with the laptop as a performance tool I began to dabble in amateur electronics to build my own performance interfaces. It was (is?) an attempt to marry my electronic music composition with my performance practice by ‘augmenting’ acoustic instruments with sensors that control digital sound generating/processing environments.

You also have something of a history hacking hardware for art shows / installations am I right?

I have had a few installation works shown in visual art shows. I love working in different contexts; audiences can react entirely differently to same piece.

Anything else we should know about you?  Future plans?

I just started full time work as a classroom teacher in a primary school. It’s awesome and requires heaps of creativity and flexibility. It probably means that my music practice will need to be iced for a bit but I’m ok with that. Creative processes have their own seasons and if I have a lull I know that I’ll come out of that with a bunch of new ideas and experiences to draw on.

NIME conference is presented in Brisbane, Australia from 11-14 July at Griffith University South Bank with the NIME Unconference presented at The Edge on July 15.
You can book for all the Unconference talks and workshops at The Edge, via the What’s On calendar.

Kate Thomas will present as part of the Local Innovators Panel on Friday afternoon at The Edge, and perform with Feet Teeth in the evening.

A sense of place

Guest post by, Darren Harris

What does the word ‘landscape’ mean to you?

It means many things to many different people, including a beautiful place, a spiritual connection with the land, a painting, a photograph, somewhere to holiday away from the city, land to be topographically surveyed, a garden to be landscaped, a backdrop to be developed.

To me it means a sense of place. That is, a felt sense of where I feel connected to life and at home, where the land whispers a quiet authentic dignity that speaks to my heart and soul.

At its heart, Where the Land Meets The Sea explores the search for connection with the land and spirit. Up until the age of five, I grew up in Norfolk, England, at a place called Gorleston-On-Sea, and I have fond memories of the land near the water, including the woodlands, meadows, moors, the stony ‘beaches’ and the flat horizon of the sea.

North To Lennox Point

North To Lennox Point_11

Fast forward some 40 years to Brisbane, and my life has taken a sudden left turn – newly separated, living alone in rental, undergoing forced time out from work, all strong ingredients for a mid life crisis and a struggle for meaning.

Eventually, from the ashes of grief, rose in me the desire to explore, to discover, to create, to contribute on a deeper level. I wanted to bring my separate interests together, so I could live a more integrated and fulfilling life, and rediscover who I was and my sense of place. Could the music reflect what I felt and tried to capture in the photographs?  Could the photographs inspire music?

From Lennox Point To Broken Head and Cape Byron

From Lennox Point To Broken Head and Cape Byron

It was during this time that I discovered The Producer’s Club, at The Edge. The Producer’s Club really helped me to refine my music through invaluable support and feedback. It still does and is a wonderful group.

Fast forward again to 30 June 2016, and it’s opening night of my exhibition Where The Land Meets The Sea, 16 large, toned black and white landscape photographs and a 58 minute CD of landscape music that evoke the sense of place in the photographs.

Facing Island

Facing Island


The exhibition also features an interactive video “What does the word landscape mean to you?”, where participants can be recorded contributing to a broader dialogue of our understanding of perceptions of the land.

Come along and see the exhibition, listen to the evocative music and be a part of a communal dialogue about landscape, with liked-minded people.

Thursday 30 June 2016 to Sunday 10 July 2016.
Opening Night Thursday 30 June 6pm – 8.30pm (Artist’s talk 7pm).

The Edge, State Library of Queensland, Stanley Place, Cultural Centre, Southbank.


Darren J Harris

Darren J Harris


The Design Kids

Guest post by, Chloe Anna

I’m Chloe Anna – I put my hand up to get involved with The Design Kids and host their monthly Brisbane events almost 2 years ago now and it was one of the best decisions I’ve ever made.


Before I jump into me, myself and I. I’ll start with a question many people ask me, who are The Design Kids (TDK)?

The Design Kids bridges the gap between design college students and the professional industry within the Graphic Design community. We work with second & third year students and fresh new grads, and offer them industry knowledge, exposure and opportunities in the industry vital to securing a dream job in graphic design, typography and illustration.



Now to another question I get asked a lot – who is this Frankie you speak of?

Frankie Ratford started TDK in September 2009 and she likes to do five things at once. She has worked as a print designer, lecturer, intern, blogger, freelancer, book binding and run many collaborations across Australia. She does regular speaking events, volunteers where ever she can and is now on board the #TDKusa RV cruising around the USA and Canada building the TDK empire!


While Frankie gets to live like a nomad and travel the world spreading the TDK love – the city hosts (which includes me) are livin’ it up at home building strong creative communities. I love what I do with TDK – I believe it’s important for young creatives to understand the design community and where they can potentially slot in in the future. I’m currently responsible for the Brisbane Facebook group and #TDKTuesdays (our monthly meet ups) – so if you’re ever free on the first Tuesday of the month – get involved and come and find us at #TDKTuesdays.

The next TDK event at The Edge is Tuesday 2 August > PRINT’S NOT DEAD!



Residency Journal: Linda Clark

Guest post by, Linda Clark

As the winner of the Gray Puksand Digital Art Award in the 2015 Queensland Regional Art Awards, Linda Clark received a fully funded two week residency at The Edge. Here she talks about her experiences at The Edge, where she developed the conceptual basis of a new body of work.

Initially I was impressed by the range of art making resources that hide within The Edge! My goal during the residency was to learn as many new processes as possible. Within The Edge, the instructors helped me to learn 3D printing and laser cutting techniques, and I completed inductions on those machines so that I can access them in the future.  I also chatted to Edge staff about sound recording, and about what technology I would actually need for installation work. My approach to digital recording is quite basic, which suits my work, and the staff helped me with tips to improve sound recording in everyday settings.

The venue is in a perfect location for artists, because of its proximity to GOMA, QAG, the Museum, State Library and QPAC, and enables immersion in culture. The Edge is a great venue whether you are ready to make work (because there is plenty of room and facilities to do so), or whether you are researching and experimenting because of the space to work that is available, and the facilities that surround The Edge.

After many learning experiences, I took advantage of the cultural precinct that surrounds The Edge. During the residency, I was developing the conceptual basis of a new body of work, and was able to spend time within visual research and exhibitions within the State Library, GOMA and Queensland Art Gallery.

Laser Cutting Induction at The Edge

Laser Cutting Induction at The Edge

This residency impacted my arts practice in a positive way. I was able to document my artistic process/development with intention, and recognized patterns within my practice that I can build upon in the future.

The residency helped me to recognize that I have a specific way of working that begins with a question, and is developed through visual research of images, artworks and concepts, as well as a lot of journal writing and sketching. It is only after this process that I can begin to make the work through focused experimentation with materials.

Collage Experiment,  Linda Clark

Collage Experiment, Linda Clark

Before the residency, I had tried to force myself to make work without going through this process of conceptual development, for example, I tried to collect materials and just make a work. This residency helped me to recognize that I need the conceptual development phase first!

While I definitely produced new work in the form of laser cutting, 3D printing knowledge, and sound recording, which I’m sure I will utilize in future projects, I think the most significant new work was the development of my creative process.

The Edge residency, offered within its surrounding precinct, afforded me the space and time to develop this artistic process, and intentionally work within it. This has led to a more focused way of art making for me.

Over the Boundary Exhibition Architecture Forum State Library

Over the Boundary Exhibition Architecture Forum, State Library

The residency created a space for me to be alone with my own thoughts, and to focus solely on my practice. I am rarely alone because I have a family, so the week of the residency was challenging in terms of being solitary. However, this solitude led to personal growth, not only in terms of my recognition of my specific art making process, but I now recognize the value of having a period of time in which to focus solely on a conceptual premise, with no distractions. While this experience was intense for me, it was invaluable because it forced me outside of my comfort zone and into real practice.

Over the Boundary Exhibition

Over the Boundary Exhibition

Since the residency, I have been conducting further research and development of the concept that I was working on during the residency, as part of the first semester of my Doctor of Creative Arts research project. This research has included thinking, reading, writing, sketching, video documentation and journal reflection. I am now beginning to make a new video and textile installation work that is based on the concept of exploring cultural identifiers for young/teenage Australian women.  I now have a more refined direction of my arts practice, so in this way it has changed the direction to a practice based research model. This is definitely helpful because I will be conducting practice based research for the next three years.

Flying Arts Logo Colour - jpg

ArtizDIGITAL – program for high school students

It’s not often that high school aged artists get to engage with cutting edge technology to produce their art – especially if they come from regional and remote Queensland. Flying Arts is excited to extend that opportunity to students for the third year running in partnership with The Edge.

ArtizDIGITAL will provide students from near and far with an immersive and innovative arts program over the June/July school holidays. They’ll explore new areas of critical artistic practice, learn new skills and experiment with fresh approaches to art making.

Have you ever wondered how new media sculptures can tell if somebody has entered a room, or when to play a sound? Daniel Flood, The Edge’s own Creative Manager will introduce students to interactive media, and teach them how to create artworks that interact with the world around them.

Practicing artists, designers and scientists will take students through how to create textiles grown from microorganisms, design fashion with a technological twist, and how to hone their observational skills and focus their creativity.

Feedback from previous participants of Flying Arts’ programs at The Edge have been overwhelmingly positive, with many students excited about the new skills learned. “The workshops were amazing. I have learned so many new things regarding the application of technology and art.”

The program will run from 29 June – 1 July with options to register as either a day or residential participant. A number of travel subsidies are available to remote and regional students to attend as residential participants, with fully supervised accommodations available.

Places are limited. Registrations close 5pm, June 10.



AUXILIARY: call for applicants

Guest post by, Leon Fitzpatrick, Co-founder of AUXILIARY Design School


Auxiliary Co-Founder Leon Fitzpatrick

Auxiliary Co-founder, Leon Fitzpatrick

After returning home to Australia from studying and working the U.S., I met Neil Davidson, Carolyn Yip and Leo Yip through Brisbane’s larger-than-expected design community…

…It wasn’t long before our mutual passion for design education became regular conversations, which turned into meetings, and then into action…a design process in and of itself to address a big design problem: the growing gap between education and practical industry experience. As owners and operators of small businesses and consultancies, and as independent designers and design advocates with experience in everything from automotive, product and electronics design, starting an Industrial Design school from scratch seemed both completely crazy and totally logical at the same time. So naturally we didn’t hesitate.

As I write this, three students from our first AUXILIARY X programme, sponsored by Sunbeam Australia, have been selected as finalists in Good Design Australia’s Young Australian Design Awards, a national design competition with entries from the country’s top universities and colleges. It’s a huge honour for us and a fantastic achievement on their part to achieve this level of recognition.

Auxiliary Design School, in The Edge Innovation Lab

AUXILIARY Design School, in The Edge Innovation Lab

Auxiliary Design School, in The Edge Timber Fabrication Lab

AUXILIARY Design School, in The Edge Timber Fabrication Lab

We’re excited for what’s coming next, as today we officially announce a call for applicants for two upcoming programmes that will run at The Edge: AUXILIARY ONE and AUXILIARY PLUS.

AUXILIARY ONE will run from 28 June through 2 July. Open to high school students, AUXILIARY ONE is an introduction to Industrial Design that will have you experiencing what being an Industrial Designer is really like, covering all the tools and processes from concept to engineered reality.

AUXILIARY PLUS will run from 5 July to 13 August, and is open to creatives from all disciplines; current students, graduates and professionals. AUXILIARY PLUS teaches the fundamental foundations of Industrial Design: sketching, lo-fi prototyping and CAD. It will give you a great foundation or sharpen your existing skills.

Because AUXILIARY is about quality over quantity, we keep our class numbers small ensuring a great ratio between educator and student, which means spaces will fill up fast. Get in touch with us for expressions of interest and applications here: and visit for more information about our programmes past and present.


Would you like to know more about Leon? Check out his story on the APDL blog.

Welcome to Podcasting

A guest post by Steph Dower 

January 2015, I received a phone call from a good friend who runs her own website asking if I’d like to produce a podcast with her. That began a roller coaster year of learning all about the wonderful world of podcasting. Until then, I hadn’t had much experience with podcasts, let alone producing one. Despite that, I thought it could be an interesting new project for me so I accepted her proposal and we soon got to work on nailing down what we wanted the podcast to be and what listeners would take away from it. This is most definitely step number one when creating a podcast because without a strong concept, you have nothing. In the end, our concept was discovering how every day people define success in their lives, whether it be running a million dollar company or living a healthier lifestyle. The podcast would be called Our Definition of Success.

Our definition of success logo

As said by creator of The 5am Miracle Podcast, Jeff Sanders, “There are two ways to learn how to podcast: (1) launch a show before you’re ready and figure out everything on the fly or (2) watch the professionals and learn as much from them as possible.”

Which method did we adopt? The first. While I wouldn’t recommend going this way, producing Our Definition of Success was an amazing learning experience and we managed to produce a decent show with some truly inspirational guests. Take a listen on iTunes! 

Our definition of success

That aside, I know if we had taken the time to map out the project, the podcast could’ve been even greater and become sustainable in the long run.

Where did we struggle most? Finding other local podcast producers who could show us how to create a professional sounding podcast and get the most out of it. The podcasting scene in Brisbane is, as I’m sure you can imagine, relatively small. While podcasts have exploded across the United States, Australian audiences and producers are yet to grasp what an efficient and accessible tool podcasting can be.

Why create a podcast you ask?

How about sharing your thoughts on a certain topic like the ‘Stuff You Should Know Podcast’?

Or maybe to promote your business? Check out a few successful examples here.

These are just a couple of reasons podcasts can be a great tool. People across the world are turning to podcasts to reach out because not only can they be inexpensive to create – pick up your phone’s audio recorder and you’re good to go; but with today’s social media outlets you have a pre-made audience ready to listen to whatever you want to say. Never before in history has that been possible.

Think you’re ready to get started on your own? Aaron Dowd, a.k.a The Podcast Dude has some great tips on everything you need to know when creating your Podcast from equipment to content to mixing. If you’d like a more hands on approach when developing your podcast, you should check out the workshop series I’ll be facilitating at The Edge, starting May 17! Not only does The Edge have the best facilities for recording in Brisbane but they are accessible to everyone. Throughout the workshops you’ll develop your podcast from an initial concept, learn the best method for recording them and finally, discover the most effective distribution methods available to you.

Find out more about the facilitator i.e. Me, Steph Dower at

In the words of ‘The Podcast Dude’, “Don’t just make a podcast – make an awesome podcast!”