Acceptable Audio: What Voice Actors Should Listen For

Are any be history. Welcome Hi the Pro Audio set. Those guys a professional and motivated with text. The video stars George Whittam, founder of Source Element, Robert Marshall, International Audio Engineer Darren Robbo Robertson and Global Voice Andrew Peters. Thanks to Triboo, Austrian Audio Making Passion Herd, Source Elements, George the Tech Wittam and Robbo and APS International Demo. To find out more about us, check the Pro Audio Suite dot com. Another week without ap but welcome to the Pro Audio Suite thanks to Austrian Audio Making Passion Herd. This is where we do miss Andrew, I'll be honest, but there you go. It's about the only time in the show we miss Andrew. Really is someone to do. This that's worth something. I think we certainly love the dish on his not here, I know exactly for a lot of people will miss his dulcet terms. Aren't sure us in jealous, That's. All I know. So listen. I had a quick little one that I thought was worth bouncing around this week. A couple of weeks ago I was invited, which I was kind of chuffed about for the first time ever to have a chat to a bunch of aspiring voiceover artists who are doing a voiceover course in Perth in Western Australia, and I was talking. I'd been talking about building a studio and how you know, aiming for the perfect room in a home studio is kind of impossible and probably not the benchmark really anyway that you know, I'm kind of happy for you to send me stuff that's not quite perfect as long as you've done everything you can and I can deal with that. And because I was talking about you know, please don't use plugins, please don't use gates, just send me the raw audio. And at the end, when I was taking questions, one of the kids made a really good point. It's like, well what is acceptable? So sort of like, and I guess for a newbie, that's a really good question, you know, because if you haven't, if you're just starting out and you're building your home studio, what am I listening for? What is accept what's not acceptable? I'll take a stab a little bit at this. So I don't think there's anyone like this, there's a line this is acceptable and this isn't. But I do think you want to look at what are the most important things to fix first. Okay, actually these days it is less an issue of noise and more an issue of reflections. Even though there is AI that can get rid of reflections and stuff, it's not awesome. So if you can get the room to be dead and neutral, first, next thing I think is deal with the noise, whatever it is, the humming of refrigerator or trying to isolate stuff from the outside. And those are the primary things. I'm assuming that you're starting with a decent mic. So let's make the assumption that you're starting with a mic and a preamp that if put in the proper room, those aren't mitigating factors and you're just dealing purely with the realm. Then I think you first deal with reflections and you secondarily deal with noise. That was I guess we should preface that with My talk to them was about setting up a room. Was you know, all the stuff we've always talked about. You know, find the quietest room in your house. If you've got to walk in wardrobe that's in the middle of the house, that's better than a bedroom that's got a window to the outdoors, and you know, all this sort of stuff. And I said to them, you know, you don't want the most expensive night Mike, but you probably don't also don't want the cheapest mike. We'd had that sort of conversation. So yeah, but I think you're right. I mean, my answer to him was sort of, anything that you hear that you think shouldn't be there really is what you want to try and get rid of. And the louder it is, the worst it is, you know. Yeah, but it also depends on how you get rid of stuff, you know, like using a Chaotka eyeball to get rid of reflections. It's like, you know, like we cured, we cured you, but we killed you. That's right, So. We should see why you know this product this somebody made a two hundred dollars foam ball, marketed the hell out of it, got some big artists to use it, so then everybody else wants to buy one. Good for them. But why was that invented in the first place? What problem was it actually trying to solve? So it was trying to get rid of room reflections. I believe it was this primary thing. I don't think that Kataka eyeball was necessarily selling isolation. It was trying to deal with a better version of the reflection filters. And I'll give it this, like most reflection filters in some way compromise the sound of the microphone. They usually in some way make it tubby and weird, muffy sounding. But man, the Katka Eyeball takes the prize on making the mic sound tubby and muffy. And I was going to say that that does the same a similar thing. It does actually change the sound of the mic. Yeah, right, yep. And it's like you can kind of eq your way out of that sort of. But at the same time, I don't think that the Kaka Eyeball gets rid of the worst ones in the room. When you're looking at reverb, and it's the short, super short room reflections, the bounce right off the wall and those things. You can't separate a long tail reverb. You can start to diminish it and cut around it, and AI is pretty good at getting rid of that stuff. But those those short, super close reflections, it's really hard to separate that from the actual signal that you do want. And it's almost azy sound, isn't it. It's yes, it creates what it's called a comb filter. So like when you have waves that are piling on top of each other. They're called in a small space, it's called a room mode. So when you have modes, that's like the room is resonating like an instrument that's specific frequencies based on its size. So you can't get away with that. I mean, you can't get away from it. There's always going to be modes, So all we can do is try to control them the best that we can. If we don't, and we're really unlucky, then MIC will end up in an anti noode, which is where two of those sounds hit each other and resonate together. And then right next to it they resonate opposite. So you get a spike in one place and a huge dip in the other one. And that's why they call it comb filtering, because you get a whole series of those and you're wayfarm spectrum loting. And cutting frequencies arbitrarily. It's not arbitrary, it's based on the room size, but there is all throughout, and it's really hard to go in and eque those out, and I've done it many times. I've tried my best, but it's very hard to solve multiples of those. So you can sometimes find one or two that really stand out, but it's really hard to get rid of them well. And so that's one of the biggest problems that we can't solved well yet. There's lots of plugins that are trying to do it, but it's a pain. And once you sound like you're in a box, you just always kind of sound like you're in a box, exactly. Know. Clients will eventually get used to it, or they'll be like, well, it's good enough, it's fine, but you know the terms between tell me, like a decent amateur and a real prose when you can make your booth not sound like it's a box, right, that's a biggie and how to do that. There's a lot of ways to do it, but it's not that straightforward, and a lot of the companies that make the products themselves don't know how to do it. Like the booths or the products themselves create more problems even though they get rid of the big obvious one. I don't hear the long tail, but you've now just like ripped your sound into a giant comb sounding thing, and. So I keep going back to do your best to get rid of coloring your sound and what's hard for people if they don't know what they should sound like, they don't have a reference. So unless you've gotten lucky enough to get recorded properly, you've gotten to go to a studio and recorded, well, you know. I'll give you a way of people out. We'll go to these studios and then think the reason they sound like that is they think it's because they're talking into a three thousand dollars you ety seven plugged into a focus right whatever channel strip. They think it's because they're in a studio with a million dollar I'm like, no, it's because the room that you're standing in is twelve feet ceiling. It's this massive space. So here's what I was gonna say, George, Like, you can't get into a room like that, but you can if you're lucky enough to live in the place that has one of those moments where you're outside but it sounds dead quiet. I've had this before, being on a mountain, for example. Okay, that's the sound. There's nothing around you for miles. Snow on the ground. There's this right, So then you sound like there's nothing that your voice is interacting with except for the voice goes out and it never bounces back, and that's the sound of nothing messing with it. If you want to try to hear yourself, if you can find a quiet place outside, go record yourself and see how that. Ss someplace, go out in the mountains. And if you have the word, if you have the thought, close your eyes and stop and just listen. And then I have someone talk to you or your friend, your wife, whatever, starts talking. Listen what that sounds like. That is a room devoid of reflections and reaver and echo and resonance. So that's the hard part to do. So you have to you have to start to learn about what that sounds like. And then when you start learning what it sounds like, then you start going, oh jeez, if I get a little closer to the mic, that seems to go away. But if I get too close to the mic, then it sounds kind of like this, yeah, like I'm in someone's head. Like that's weird too. That's what's weird about mic technique, because it's not the difference between the different sound you get by changing your mic position is drastic when you only move it a few inches, and the closer you are to them, the less you have to make a change to make a bigger difference. Well, because it's all in ratio. Yeah, so if you have to work your mic four inches away to get a good sound, you're now stuck in that sweet spot that is where you get to play four inches from the mic. It's restrictive, it's hard, right. And depending on the mic you have that that four inch spot is like a four sixteen very narrow spot, a wider card. Size of a baseball. Maybe that's your play zone. It's small. So the better your booth is, the better it sounds, the more you can physically move around, not just because the space is bigger, but because acoustically it's bigger. And now you can physically move back from the mic. And when you move back from the mic, now you can physically move around the mic, and the sound doesn't get. Weird, and you can play the mic better. You can you can use the different sounds that the mic gives you to kind of lean in a bit and then lean out and have a natural and if it's really good, you can even use the booth to be able to sometimes you know, if you're like, hey, honey, I'm coming over home. All da da da dah and then you come up in a really well tuned booth, you can almost fake distance. But in a bad booth, you get off the mic and you hear the booth. In a good booth, you get off the mic and you hear just distance or like. It's particularly tough for video game actors, and a lot of video game work is done remotely nowadays, yep, so a lot of them are working from home, and it's probably the most demanding kind of voice acting voiceover you can do at home, right, I mean it's physically demanding. You know, you're doing You're dying a thousand different ways. You're screaming, you know, you're all sorts of crazy stuff, and you're trying to make it sound natural inside a booth that's four by four feet. So, George, what's your opinion of this? I was just having lunch with a friend of mine is a very successful voice actor, and he's moving houses and he's like, you know, should I get a booth? And I was like, actually, I know this George Whitham who's got a studio bricks, and he's like he was actually thinking about it and this and that, but and not to not sell your booth for you but I was like, you know, you really got to look at this, because you're going to spend the same money in a booth that you can move. That sounds not great. If you just hire a guy for a long weekend and get a whole lot of drywall and some metal studs and you build the booth that you want and know you can't take it with you, but it's gonna be the booth that you want, and the only price difference is that you can't take it with you. And I would argue that sometimes you don't even want to take that booth with you because they're a pain in the ass to move, and they're heavy, and they're gonna cost you money in the end to store it when you can't move it. To where I get need a conversation on a regular basis, I talk people out of building things. I talk people into building things, you know, because I I'll find out all these details. I mean, we're in a market right now we're getting anything built. It's gonna be really hard because right now we're trying to rebuild thousands of homes that. Burn all the carpenters and a half ago. So it's it's kind of a hard time. But you know, I mean going back to those crux of the conversation. Really is the hardest thing to do is to learn what it sounds, learn what you're supposed to sound like. And that takes time and practice, That takes coaching, That takes people like us to give you feedback, that takes listening to yourself recorded correctly right, have a reference. All those things matter. And it takes understanding that it's not equipment. A lot of the times it's the equipment. Is the difference between ten thousand dollars equipment and five hundred dollars equipment is probably less than ten percent of the sound quality difference. Yeah, I mean Ap wouldn't like you to say that, because he prides himself on using, you know, the best of the gear you can. It's available, and that's fine. It's it's like we always I could liken it to wine. You know, there's very good taste cheap wine, and there's you know, some very expensive, good tasting wine, and there's some very expensive, not very good tasting wine, and it all gets a drunk, yeah, and it all gets drink. So it's like if you don't have a taste for it, and you don't know what to listen for. As long as the other person who you're working with says you sound good for our job, it's probably good enough. I just I will also caution that where I get clients who send me a sound check and go, I just want to check, because I never get complaints. I do book and yet I'm still concerned. And then I'll listen to the audio and go, yeah, you know what, it could be a lot better if you would just do this right. And so a lot of people, even at a certain level, have never gotten feedback, critical really critical feedback. You know, they just never have. I'll give you another aspect that drives me crazy as an engineer, which is, okay, you got a boot that's noisy, or you got a boot that's quiet, but you do a long session this is the word with like audiobooks and things like that, and your sound changes. This thing in the background is turning on and off, and the noise floor changes, or if you're not consistent with your placement. You know, after after an hour of reading, you don't realize that you've changed from here to hear YEA. That is so annoying to have to chase down and try to make consistent after the fact, even. With whatever it is, even if it's not perfect, even. With flaws, make it consistent. Flaw it consistently flawed. Right, your engineer will thank you. Yes, that is so much more important than it varying from good to bad. And I will I will also talk about mic gain settings. I will venture to say. I will say I would much rather anybody records themselves at much too low of a level. Leave then to do some stuff loud, some stuff soft. All now I'm going to do the loud lines. Now I'm gonna do the quiet lines and mess with the gain. I think that's I don't think that's a good idea for the actors to. Keep the pre amp low. Record it twenty four bit. Let the math work in your favor, because it does. It does. Like I really will get a file from someone that's coming in and say under twenty, under minus twenty peak or something that is unusable. Almost never, I'll always tell them, yes, you could record a little hotter. I like to see it between minus twelve and minus six for peaks. It doesn't need to be it's fine, you know, just don't clip. You know, that's really the big thing. So yeah, so those are the things that are really important to all of us. And do everything you can to stop random noises from ruining takes. But we all know you're in home studios and it is you know, you do the best you can and we know that we can edit it out. Have the right shirt, don't wear your oh there's a plastic button up shirt that sounds like nothing. Yeah, nothing at all, synthetic, nothing leather. Especially if you're one of the voice actors. It's very animated, you know, like like like you know how the actors are who sometimes move their hands a lot, and it's like, man, it's like everything's like I'm not even wearing the clothes to do it, but man, that's annoying. I had a client just the other day. I was helping herround her studio. She's got a lot of years in radio but not voiceover, and she would clasp her hands and talk with Bracelet's gesture. Well yeah, not even Bracelet's just like clasping her hands, moving her hands sort of like doing this motion. And she's on a teel on one of three and I'm like, I'm hearing, I'm hearing every time you do that, you're gonna have to sit on your hands, or you're gonna have to just put a post and note that's in the pocket. If you have long hair, sometimes your hair on your shoulders and you move and it can do that. Wow, I've never had that one. I've had. I've had someone who had just the right right hair length and the right shirt and just turning their heads side to side and you'd hear it every time they turned their head. Yes, what Mike was that on? Just out of interest? That was the VIP fifty at another country where I worked at, which was a my Lab VIP fifty. If you know, just a really nice condenser. It's a rectangular diaphragm condenser. So supposedly the small with is the best of a small diaphragm and the long side is the best of a large diaphragm. And whatever residences, no residences, I don't know. The the my labs all had rectangular diaphragms and that was their thing. And it's a good mic. I mean, it is a very cool mic. You never hear about them anymore, but I mean, ap. Oh, look who's decided to turn up? Yes, and welcome to the pro audio suite. Who did the intro ve. Been stuck with me doing it. Oh, I'll be checking that one out. Geek. Yeah, funky Mike, because you you and I are both mic geeks. My lab VIP fifty. Do you know of this mic? Does it look like a dog? It looks like a trapezoid and it's got a rectangler? Yes, yep, I've heard of that one. Yep. Yeah. Have you got one? No, I don't own one, but I used to use one for probably ten or fifteen years because that was before we switched to forty one six's. That was the mic at another country. And I'll tell you what, I had a lot of voice talent, especially when I did the bud light stuff and the guy told me, he is like, what is the chain? I want that chain at home, and he was just you just loved it, and it's like it's funny because I thought it's okay, Mike. It's quiet, it's neutral, it's not like Holy cow. But you know, is it the fifty or the sixty? I think they just reissued it, so the ones we had were the original ones. It's the VIP fifty. I'm sorry, VIP fifty. Yeah, yeah, it's it's a funky mic. The high pass filter is four hundred hurts, but it's super gentle. That's the seven I had like a three hundred. Yeah, but no weird couple that it must be like like super gentle because because it's just like a first order, no weird interaction at the curve at the cross point, you know, that was the idea. Yeah, here's that my Lab fifty ZM pro audio and it has a five hundred two hundred or flat roll off. Yeah, that's the I think ours was four hundred was the lowest. I think, yeah, switchable pattern. So this MIC is like their version of a U ety seven. Yeah, and I think back in the day there were twelve hundred bucks. I think they've kind of gained a little bit of Jina sequah now they're. More expensive thirty five hundred bucks. The sixty Yeah. I mean my Lab, who's gone through some bankruptcies, they make some no messing around MIC's as well. But well, what were we talking about? We were talking about, but we were talking about shirt Nois And this is what I wanted to ask Ap because we're talking about this we've based this episode on. I got invited to go have a chat to a bunch of aspiring voiceover artists who are doing of also over school in Perth a couple of weeks ago. And one of the questions I got asked at the end was you sort of said, look, you know, you don't expect my home studio recording to be perfect because you know, as we sort of said, that's kind of nigh on impossible. But what is acceptable and what isn't? And we were talking just before you jumped on. Robert was saying that he had someone who had long hair and he was picking up shirt noise, hair noise, try their hair on their shirt with that microphone that he was just talking about. Yeah, and I I mean, do you have you ever been set told, you know, take that shirt off or can you take. Lots of different thing, I mean asked to take the shirt off, but not anymore but only doro your pants. Yeah this won't hurt. Yeah, yeah, no I haven't because I was quite aware of that because of radio. I think like you did sort of travel around in the studio because yeah, so be conscious, don't wear leather jackets, don't have clanky jewelry, and don't have like a puffy jacket and all that kind of stuff. And if you have long hair like corduroy, put your long hair up in a ponytail if you have to, if it's gonna make noise, you know. Yeah, yeah, Well, I mean that's the thing. So I mean, I don't know if we'll ever be able to quantify what is good enough. And that's that is something I would like to try to work on. As from a technological standpoint, I don't know how to solve it, but it is something I would like to be able to help voice actors feel more confident. But I really think the only way to do it, as we alluded to early, was that they have a need. They need a reference file, and they may not be able to do that at home. You know, they might have to go to go They might have to go spook speedy at studio time. Go to a go to a reputable voiceover studio, not a music studio. Go to one where they record voiceover and get some recording samples of your voice. So you have a sample. Now you've Yeah, you can keep that on your disc, on your desktop, whatever. And if you're just not sure, listen now you may not know why you don't sound like that. That's not as much of a concern to me. It's just that you'll know there's something off right then. Now, when you know something's off, then you can like reach out to someone like me or any of us. This goes, Hey, here's what's off. You're too far from your mic, get closer, or something like that. It's the same thing as mastering. When you're approaching a mix or a master, you don't just start turning knobs. You have to have an idea in your head of where you can take it, where it needs to sound, what it needs to sound like, and then you can start doing things to get it there. But if you just start turning knobs searching for the sound, you're just gonna take it someplace else without a destination. Well. The interesting thing about mixing, though, is, especially if you're talking about music, is most mixes will have a reference track that they'll actually listen to. Yeah, and yeah, the reference mix of the original mix, which is like something like of what the artist original thought. Yeah, but you're also like a lot of mixes will all the faders, they pull all the faders down to start and then start introducing and. Start adding stuff. Yeah, absolutely, but I wanted to I just wanted to say, George, I wanted to go back on something you said that before we started recording, was when we were talking about you setting up rooms for people. Is you're not actually looking for perfection either, because perfection then becomes almost in that AI vein of my god, that's too clean. I think that's a new thing where now now if it sounds too good but it's relevant irrelevant, Yeah. I think, well that's too good. Problem is not something that really comes much with just rale recording. That usually comes with too much editing. Yeah. Yeah, and that's what I'm hearing. Voice actors are adding themselves or into a movie and problem and it's and it's it's part of it is just perfectionism being worried that they're not good enough, thinking that they have to do all the stuff in order for the audio to be usable, or it's just bad training, you know, or they just never learned how to properly edit, or they think they should remove every single breath and so they just delete where the breaths were, and now there's no space because the breaths are gone. It sounds weird. There's all sorts of things that people do wrong without touching a single plug in. They can ruin their file by just bad editing, and that's another issue. So people need to know what good editing. So please don't edit unless you have unless you asked to either. I mean that would be my. Well, when you say edit, I'm talking about literally like I'm talking about cleaning out. Yeah, I'm talking yeah, or. Like taking like a do you should a voice actor comp? No three takes together the best three send me. Like normally, if I'm put it this way, if I'm doing a session and we were talking about this before, I don't always do source connects sessions. That's certainly my preference. But when we don't, I basically tell the voice over us, I want you to hit record at the beginning at the session, and I want you hit to stop at the end, and then I just want you to send me that file. Actually probly wanted to get them to hit save as well and say good idea. Hopefully they know that part. But it's funny, it depends. Like so this morning, the reason I'm late is because I had a couple of sessions. So one was a self directed one, so I just did a couple of promos which I edit myself comp together, send them off and then the one I just did was a live session, directed session, so I just sent them the full file, untouched gone. Because that's easy because then I've got everything. There's no possible need for me to come back to you for anything because they've got it all. Yeah, and breaking news. We should do another episode on this because I made a discovery yesterday and I just did a whole session doing it. You have a lisp, you shouldn't fart during a session. I'm got a leaky vowel. But no, but I used the passport vo and phone patched into the comms and did the whole session. Yeah, yeah, we think, Yeah, he made up the whole session. He dreamt it. Yeah, this is not supposed to work. I mean, if it works as a phone patch, then Apple's changed something now. And it's great that it does work, because at first it couldn't work. It didn't work because I remember last year I tried when I was in Adelaide to do a session. I plugged the phone in and it just was like hashy and garbled and weird, horrible. Like you can just about make out what they're saying, right. But this was absolutely perfect. In fact, the guy at the other end who was directing the session, and I said, look, I'm just trying this. It could all go pear shaped and die, because by all accounts this should not be working, but it is. He said, oh, it sounds great here and he was monitoring his phone and we did the whole session that was forty five minutes or forty minutes. Didn't miss a beat. It was perfect. So I did it all in the booth on the on the neo with a possible video with the phone patch into the coms, in which Mike did you use forty one six dude? And that's and that's without the software update from the passport that has no software. So yeah, that's right, so you never have to worry about the song. Go figure that one. But anyway, it works. I don't know why, but I don't care. I don't I don't need to know why. I do things to start testing. I have an older I well then IPHIM fifteen with older OS on it, So at some point I'll try upgrading the OS on it, and then I'll try that because maybe that's an OS thing, maybe they changed something in the phone. It's kind I mean, obviously it's not the passport that changed. No, No, I don't have to worry about that. That thing is locked in time. But so that's cool to see. Well. I at the end of the day, I think knowing what it's supposed to sound like is a huge part of it. My old pal Dan Leonard used to say, whistle what it's supposed to sound like? Put it all together, you get whistle. And so you need to know whistle. And once you know whistle, you can start remembering what you know, referencing that, listening to it, and when you move too far off. I mean, you can use a trick. So here's the trick that the music I use. I go into a new room that I don't know the room and film Ziggy Stardust, pull up that album, listen to that album for ten to fifteen minutes in that room, I know what that album is supposed to sound like. Once I kind of get a feel for that album in that room, I can get an idea of what whatever I'm mixing needs to sound like because I have a reference point. So it's the voiceover a coillent of that though. So I think the voiceover equivalent is get a recording of yourself that you know that. It's like maybe you went to a studio and got a proper. That's what I say, and then go play it back, go get a good reference recording and then book yourself. For me, it's one song, and for me it's Hotel California from Hell Freezes Over by the by the Eagles, because it's got it's got some some like bongos and stuff in it, so that gives me my highs. And then the bass is really nicely mixed. Who didn't and so that's my bottom end reference and yeah, everything else falls in between. Obviously my first live sound gig not working for like my family or something. I remember that guy was playing I think it was Brothers and Arms Dire Yeah, yeah, good, and it was just like on the system and he was tuning the PA at this venu. Yeah, like PA. Guys are the same thing. They have their album that they know they're going to listen to that in the room. Now I got an idea of what this room is like. Now I know how to take where to take this. Yeah. I think that's one of the first d d D recordings or something. Yeah, yeah, you know. Digital tape was Brothers in Arms al d along with Englishman in New York. Yeah, yeah, earlier than that. But it's just it's just a very high fidelity recording recorded by don't quote me on the engineer was like a Massenberg or something. You know. It's I've been on a road trip and listening to that album on repeat five times. Sage and I just listened to that whole album on the way up to repeat. I'm just like, damn, I'm hearing that song again. But you know what, keep listening. The Brothers in Arms tune that'll bring a tear to your eye. It's a good, good song. Can't you say you need that? You know? The iPhone I'm in then iPhone fifteen and the iowas solution is eighteen point five. Oh so am I? I didn't upgrade to uh because they went from eighteen to twenty six just to match the generations for mac os. So that what that what that would have to mean is that Apple changed their own phone app software or protocol or something because. They they loosened up the phone app to be a little bit more accepting of third party hardware then before. So it's like I'm telling you that it's so useful. Session was ask you, Yeah, is. There any chance that you were calling another iPhone? Was this happening over? Over? Was it happening over? What's it called? What were you calling it? Were you calling an office or like a commercial studio? It was a it was a radio station. The guy was actually working from home. That hence the reason we jumped up. Could it have been a voipe connection? And know what I'm saying is, if you're both on iPhones, did you use did you when you called him or he called you? Did he call you? I bet he used face? I bet anything. I bet he did a FaceTime call. Now, you don't have to open FaceTime to do a FaceTime call, but if you're in contacts and the other user is also iPhone, you can choose to make that call via FaceTime and it will seem and feel like a regular phone call, but it's actually using FaceTime. So what happens is it's a vope call. It's vio voiceover. I P I'm different because I'm normally I get it's something will tell me when I look at my face? Yeah, not saying FaceTime? Well, and and it would have given you a video option to he. He received the call, he wouldn't have seen any different. It would have know he would have a FaceTime. Still. Yeah, in fact, in fact, the ring is different when you get rings. Is that the one is that that don't don't don't. Instead of. Fixed guys, Well, my theory out the window. But anyway, Yeah, it will handle vopes all day long with with whatever app you want to use. But yeah, but that was well, that to me is like wow, cool, that's very cool. That makes it much more handy. That's the fact is that I could. Say one more reason you should get well, yeah. I mean I play with it again because I really just used it as like one mic in and into the computer. So doing this, then I've set it up so I've got the mics, which I've got the forty one six and then I've set up the four one four eb as Mike one and then forty one six Mike two, so I've got the choices there, but also having the phone patches just man. And I was like, yesterday I was playing with my mate Pip. I rang it up and said, look i'ld do some playback played back stuff. Perfect yep, So guess who's saving a search and eBay for the centrance passport because I'm going to keep an eye out if everyone shows up and try to get it, because those things are unattainable. You can find one. Set up a search on eBay for Centrance passport and if it pops up, snagger yeah, because. It'll be interesting to see if those start selling for more than they originally went for, like the Max. What was your second mic in the booth before? What you used to have the OC eighteen in? Yeah, I've got so if I'm working out here, then I've got the OC eight one eight and the forty one six and I've just got a radial, you know, two mics in one, one mic in two outs, so I've got one to the passport and one going out to the mini. So, Andrew, what kind of make am I? Iron? Right now? This is Robert's question? Is this the one you're talking into or the one you're sitting on? Yes, that's right, Well I won't even make the crud joke I was thinking of, and no, the one I'm talking to you on right now? How does this? What kind of make is this? It sounds like a dynamic to me. It technically is a dynamic? What specific type of dyamic do you think this is how do I sound? How do I sound? I reckon? It's in fact, I'll do this for you ready, compared to this, How do I sound on this? How do I sound on that? That first? That second one was the ships I reckon they headphone mine. Yes, it's horrible. It's a fifteen horrible mic. And so you play more to make it even worse. Yeah, and so this one, what is Robert on right now? What is what kind of mike could this be? I think it's like a drum mic. No, it's a ribbon mic. Ah, it's a little two hundred dollars. I know the one you showed me that you showed me that on a cool couple of weeks ago. Yeah, yeah, yeah, yeah, it's the Roya ripoff. No, no, it's not that one. That's a stereo mic. This is just this is an Apex APEX one or two oh five, I think, yeah, Apex two o five. Just a two hundred dollars ribbon mic. And it was funny. At the beginning of the session, I played what would you like this or that? And Robbo's like, definitely that do don't give me this? Yes? Well, I mean there's always you know, Regent, you know, yeah, there is. You're gonna synthesize me. That was what we were saying earlier. That's a threat if you reacted. It was like, if you don't give me better audio, I'm just gonna reject. That's the news. That's the new. You'll never work in this city again, Regen. Yeah. The Pro Audio Suite and Austrian Audio recorded using Source Connect. Edited by Andrew Peters. Next by Robo Got your own audio issues just ask robo dot com. Don't forget to subscribe to the show and joining the conversation on our Facebook group to leave a comment, suggest a topic, or just say it. Drop us a note at our website dot com