- Hold For Sound
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- Hold for Sound: An Introduction
Hold for Sound: An Introduction

INT. DIGITAL WORLD — DAY
Everything moves fast now.
News breaks, trends trend, content ships. The expectation is motion. We reward output. We reward presence. We reward noise.
But the best work I’ve ever done didn’t come from racing to keep up. It came from pausing— even briefly to listen for something underneath the surface. Not the algorithm, not the market pulse, but something quieter. Something that wasn’t asking to go viral. Just asking to land.
That’s what this space is for.
This is Hold for Sound— a personal publication, a working studio log, and a long inhale before I exhale something new. It’s where I write in public, without pretending I have it all figured out. And it’s where I’m building the foundations for Michael Hageman Media, a creative and strategic build still under construction.
Right now, this is the front door.
So, what is this, exactly?
I’m calling it a publication, but that’s a generous word. It’s not slick. It’s not automated. There’s no editorial calendar. I’m not chasing SEO or forcing weekly content drops just to prove I’m active.
This is more like a frequency check for myself, and maybe for you, too. It’s a record of what I’m thinking, building, watching, or realizing at the moment. Some posts will be short. Some will be raw. Some will get revised later and show up as something more polished, like a framework, a show, a script, or a campaign.
But here, they stay real. Unstyled. Unoptimized. Untimed.
Because everything else I’m building will be refined. This is where I let the dust collect a little.
Why “Hold for Sound”?
In production, “hold for sound” is a simple cue. It means stop talking. Pause the take. A plane flew overhead, or a siren cut through, or a neighbor slammed a car door two blocks away.
You don’t fight the noise. You wait for it to pass. Then you resume.
I’ve always loved that moment. There’s a reverence in it. A signal that sound matters. That what we’re trying to capture is worth protecting from interference.
It’s also a metaphor.
In life, in media, in business—we don’t pause enough. We don’t make room for sound to settle. We fill the air because we’re afraid of the gap.
This publication is the gap.
It’s me pressing pause, not because I don’t have things to say, but because I want to say them clearly. I want to know what I’m actually hearing before I respond. And I want to invite anyone reading to consider doing the same.

My first time as a boom operator, on set of Extinction Level Event (ELE) in post.
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