Any three. Welcome, Hi the Pro Audio Suite. Thank you, guys are professional and motivated with text. The video stars George Whittam, founder of Source Element, Robert Marshall, International Audio Engineers Darren, Robbo Roberts and Global Voice Andrew Peters. Thanks to Tribo Austrey and Audio Making Passion Her Source Elements, George the Tech Wisdom and Robbo and aps International Demo. To find out more about us, check the Pro Audio Suite dot com and welcome to another pro Audio Suite. I'm back. As you may have guessed after the last couple of weeks of doing the intro, where is Robert? He does such a good job. Actually you did one as well. I think from memory, Robert. I think I did have a crack. Yeah, you did have a crack. Yeah. My day job, people are traveling, there's a you know, there's so much going on. So sometimes the episodes have three out of four, which sometimes be bad. Yeah. I don't think we've ever done one with two fruit. I don't think so. No, I don't think so easy to pull the pin. It would be the two best and the two. Worst the worst. I'll got the worst. Yeah, definitely, you guys have an opinion, you should tell us in the comments, tell us who are the two best the two wordst to have the show. If you wanted content, then I think it would have to be George and Robert. Are you serious if you want to if you want to say any locations, I think it would have to be Robert. Yeah, that's true. If you want you want to about three things in the show, that would be me text an audio engineer, that would be Robert. Yeah. Yeah. How many crazy things you. Can smoke that would be Robert. How many tangents we can go on? Yeah, that's true us, no doubt there you go. Indeed, by the way, thanks to Austrian audio making passion heard guys. Yeah, we should mention them really generally. Yeah we should, thank you. Thank you talk about HERD. We're talking about monitoring today and what you're hearing. So, Robert, you were just saying before we got on air that you're working in a different location. Yeah, I've been filling in in an in house agency studio for the last couple of days. And look, I used to freelance all the time, and I still go to agencies occasionally, but this is one I hadn't been to for a little while. I've done work for them from here, but I haven't been into their studio. And any doing over there. Just you know, the like presentation stuff, whatever, just like whatever, and normal in how some of the smaller radio jobs and all that sort of stuff that don't have big budgets, whatever sort of comes through. Really there's a lot of corporate video stuff that they're doing for clients and things like that. So so a real mismatch, which is kind of nice because it's you know, some of it's you can sit there and just a no brainer, and other things you've got to sort of throw your head into. And it's kind of nice to be to be working with some creatives that I haven't worked with for a while, and some younger ones too. I've got to tell you, there's the amount of talent that's coming through in some of these agencies that that sort of aren't getting the big campaigns yet but are sort of working on stuff that you just go, wow, that's really clever. There's some really, you know, some really talented people coming through, which is kind of nice for an industry that's you know, being threatened by AI. That's one really reassuring thing I've got to be honest. But coming back to the room, I mean, it was just as we were saying before we sort of started recording, was it was just it's just that thing where you're sort of used to something and you're comfortable in a space and you're comfortable with a sound, and you haven't really got to think about that, or you've got to think about is what you're there, the job you're there to do. But then you know, like this guy who I was filling in for, he doesn't have everything hardwired, so so nothing's normalized, right. So he's got his patch bay, and so so you want to get a microphone into a compressor because he's got a really nice external compressor and well, actually what I used to have, you got a drama, and so you want to go into there and then come into the console and it's like that and someone comes in and goes, oh, can we record a quick voice over? And you're like, yeah, we can just give me a sack. It's like oh yeah, yeah, yeah, I think yeah, okay, yeah, okay, good, okay, let's go, you know, rather than just yeah, sure, open a mic and away you go. He doesn't have his he doesn't have like a go to that's like always at the ready. He may do, but I don't know it. So, you know, so I've opened up his template and I've tried to figure out. I figured out what I needed, absolutely needed to know by looking at his template, and then the rest I've just sort of bluffed my way through from my workarounds in pro tools or whatever. Fun. When he comes back. Well yeah, yeah, I mean he'll open up his template and he'll be right. That's the nice thing about pro tools. But but yes, I mean if he had to, if he has to open one of my sessions, he may be scratching his head. I don't know, but yeah. And but the other thing was the sound too. You know. It's like you sort of you sit in the room and you think you know what you're listening to. And I did my old trick, you know, stuck. I think I've talked about this before, Stuck the eagles hell freezers over up and how to listen to that. But it was interesting because I had to bring some stuff home because I've got to work on it today with them, and I was listening to it last night and it's close, it's close, but there's little things that I sort of here that I didn't hear there, and all that sort of stuff or stuff that I thought sounded right there that doesn't sound right here. So so yeah, and as I said to you, Andrew, I was kind of also interested that. You know, I know many voiceover artists who struggle when they're not hearing what they're used to in their headphones when they're trying to do a session, and it was it was just an interesting thing to sort of go back to that because having freelanced for a long time, it was second nature. But this really threw me the last couple of days. It'd be funny because I've worked now ninety nine zero point nine percent from here, like I've only been in the city once in the last three years. Maybe I think maybe less. I know, maybe it was longer. But I was used to going into different rooms, different headphones, different microphones, everything different, and it kind of like, yeah, Okay, it didn't really affect me, but I'd be curious to see what would happen if I did it now. Afterwards, if you deterbed about ninety percent of the time, I would. Be there'll be a couple of things I wouldn't know what I was listening to. And secondly, I've got into such a routine of the way I work. But if I'm doing a live session, I know when I do do live sessions from here, I've got to reprogram the way I do the session where for me And I remember I was I was in New York years ago and there was a session and I sat with Jim and it was a corporate and the woman that was reading the corporate when she made a mistake, she stopped and went back and picked up and kept reading, which you never do here. When you make a mistake, it stop and then you look, okay, yeah, well we'll punch you in. Blah blah blahh okay. Yeah. So I thought that was really interesting. And I've got into that habit of the same thing because I'm not like actually managing the session myself while I'm reading, So I'll do the same thing. Stop, I'll go back and then pick up the reads and keep going, so there's no punch and roll. So that would be interesting as well. Yeah, I'll tell you one thing I did really miss the last couple of days, which I didn't think about until the first day I was there, was I missed nexus that that being able to shunt stuff around, you know, without having to muck around or whatever. And you know, like the pro tools has got their own version of it, but it's nowhere near as good. And it's just it was you know, I did really miss it. It was it was interesting and that's you know, that's what started me thinking. I think more about you know, what you're used to and what you're not. Well. It's funny also because I mentioned this before, we got on as well as a guy and who just moved down into my neck of the woods which is a very very small coastal town and there's a few of us sort of creative types living down here. And what I've mentioned before is Pip and he does a lot of long form stuff, so he's basically he's editing at home, he's doing all the audio post and then he goes in back into the big studio in Melbourne to do the final run through. But I got him, this young guy that I've met, and we went up for a coffee and it ended up where Pips sort of said, look, i've got this beIN off of this job of a short film. I really haven't got time to do. It would you be interested in. Of course, Young Will's gone, yeah, absolutely, but he doesn't have a setup, so he's working basically in his sitting room. Wow. And then he sent me a message saying, yeah, Pip's going to lend me some monitors so I can work instead of working in cans and stuff. Because I did ask how do you monitor? And he told me I've got a couple of a pair of Bayer nine nineties or something. And I thought, well, that's not going to work because it doesn't matter what you monitor it, like the room shit is going to sound like shit because you won't know what the hell you're listening to. So I said, get an SPO monitor too. I've got one here you can borrow it, and which has cross feed, so he can actually monitor like he's listening to speakers without Well, it just means instead of having like hard right, hard left, he can do it. It's a mix of it with the cross feed, so you actually get something that sounds real slight delay if your right speaker hits your right ear, but there's a slight delay by the time it gets to your left ear, and that's how the crossfeed works, so it feels like you're. In a room. So I don't know whether he's going to come and get it or not, but it would certainly save him so much grief trying to do a proper mix. Yeah, Yeah, that's tough mixing solely in he I mean, I use them as a reference, but I certainly did rely on them the last couple of days. But I. Don't think I could mix solely in headphones. I think I would go. Back where else do you get across feed on a spl that's one of the big waves. Do some room emulations. If you Yeah, that's becoming a big thing now right, they're emulating rooms, But those are doing a lot more DSP and convolution, reverb and all sorts of other stuff. The cross feeds very simple as far as I can understand. I mean, what I'm reading here is that. And with cross over and blending, it roots a delayed attenuated copy of the left channel into the right channel and vice versa right fonitor. Also, I guess that's their flagship controller. Yeah, recreates national speaker acoustics by performing three functions, so it's not just the blending, so it's doing a slight delay. I wonder how much it is must be only a couple of seconds. Yeah, poof dance, yeah right, and then uh, frequency shaping. It applies a low pass filter to the blended signal because your head absorbs some of the high frequency sounds as it travels from the left speaker to the right. Some heads more. Than others, exactly depending on how much hay you have. Yeah big is whether you Mum's torture or not. And then there's a level in time simulation that factors in the distance between your ears to calculate the exact timing difference, phase shift, and viome drop. So it's it's a lot more than just what I thought, which was just literally mixing the left and right together. So it's a pretty sophisticated process. But I don't you know, I don't know a lot of people who have said that I can rely on it for my mixes. I guess the key thing is it's just trying to get you better stereo imaging. So it because if you're in stereo headphones, your reverbs and everything else are going to sound much wider then they will on studio monitors or speakers, right, and so you'll have a tendency to maybe soak. Maybe I don't know if if you'd have the tendency to use less revert. You would probably yeah, or you might pull back your timing or something like that. Yeah, perhaps, Yeah, and then and then you might pan things. You wouldn't pan things is hard left and right because it would really throw you off being really hard left and right. But like on speakers, you wouldn't hear the panning as much. So yeah, it makes a lot of sense. You need to and the fact you can adjust it as well, because I just went through that whole thing and sort of basically passed out when I got halfway through the instruction. And say, how the hell do you know when you've hit the right amount of that knob? How do you know? Yeah? Yeah, I don't know. I think once you said you can take it somewhere somewhere where you know, like we were talking about before, yeah, as a reference, and then you can get an idea of like, yeah, that was too much, well that wasn't enough. Yeah, and then just montra just just leave it, walk away and leave it, don't touch it. Yeah. Yeah, I think you'd have to set it up in a minoring environment that's your home environment, means studio whatever that you listen to the most, put on the headphones, switch ab between your minors and your headphones, and kind of keep dialing it until the stereo soundfield. I guess sounds similar. I suppose It's funny how any music people still use the car, Like, I'm on a lot of forums and all that sort of stuff and all these you know, young music producers who are doing some amazing work, but you know they're still taking the stuff to the car and throwing it up and having a listen. And it's like, well, you know. Yeah, I mean that that was how it used to be used to get a cassette. I can still remember back in the eighties where you know, the guys I knew were le in excess. Guys for instance, would always come home with a cassette. And I was in the car one day and Kirk, who's the sax player and guitarist and singer, had a cassette from they were recording at Air Studios in London. I've still got the cassette here because you just thought you can keep it. I can't even think what it was now. I think it could have been listening like thieves. Not sure, but we were driving around the car with the except playing and just getting an idea of what it sounded like, which is pretty cool. Yeah. Well, today's my birthday, by the way, So I was already feeling old. But I saw a video not all that long ago, speaking of you, speaking of Kirk, and they've re released the listen like Thieves for like it's fortieth anniversary or something. They've rereleased it on Vine, and I was like, fuck, am I really that old? Yeah? It's like listen to as a teen as having its fortieth anniversary that pretty much dates you. Yeah. God, I remember standing on Taramara station as a kid going to school having arguments with my mates because I loved in Excess and they loved Midnight Oil, and we were arguing over who was better. I'man Americans will be going midnight who I know, they probably wouldn't have no no Midnight a little bit. Yeah, we used to argue over who was you know, who was better and all that sort of stuff. The fuck is that really forty years ago? Am I really that old? It's funny, you know, because I still there's so many stories because I was kind of pretty well embedded in Excess at that point because of Kirk, because we're really good mates. So and I get calls from their manager going, look, we're trying to come up with the title for the new album, and these are a couple of things we've got. We've got falling down the Mountain, Kiss the Dirt or listen like Thieves. What do you reckon? Oh? I like kiss the Dirt. That sounds really good. Yeah, good song too. Yeah, anyway, end up being listening like Thieves. But yeah, funny, there you go, and it is. It is one of those albums that's just got one of those names that just sticks in the head though, doesn't it. Yeah, Thieves, I mean. And then we traveled with that That was eighty six. We traveled with that record and I toured with them, well briefly because of Chernobyl. We did a couple of clubs in England, flew out of London, got to Italy. First gig was canceled in Milan, flew to Rome and then everyone said, holy shit, a nuclear reactor has gone up in which was uss. I still. Chernobyl, and we're like fuck And it was like, where where's the cloud going? And everyone's going it's heading south, heading towards us, Like all right, let's get out of here. So a couple of us flew. Some flew back to Sydney, others headed south, which turned out to be the right decision. And yeah, and the cloud didn't actually go south, it went the otherwise at west, right over the UK. Good choice, Well done, got four choices here, Which one do you want? The wrong one? Thanks? Yes, exactly, We'll go the wrong way. Interesting, which is a tangent. Of course, we've done the. Tangent monitoring and case in terms of minding, I mean, I am still relying on headphones because I have a different kind of duty than I am. I'm not mixing, I'm not doing mixes for television or music. I'm really just analytically listening. So for me to really trust what I'm hearing analytically, then I'm pretty much always wearing sealed headphones. I know that theoretically open backed cans are I guess supposedly more accurate, but again, I'm trying to block out all outside noise, really steal off and just and just listen to what I'm hearing. But it's also because I didn't have a monitor system in my own listening environment that I would trust to be close to accurate because I just hadn't done any tuning. But recently I swapped out these yama HS five monitor speakers that really look nice and they're Yamahas and they should be really good. But I was hearing some distortion and some stuff I didn't like, and I was like, maybe I should try some other monitors. And I was like, man, I got those. I got those Paradigm Mini monitors. Sort of I've taken abuse in my garage where they're being used for everything except proper listening environment. And I know there's so many people that respect those speakers. Let's try them out, grab them, brought them up. I needed an amp, so I bought a Fossy Audio TB ten D. Foss is one of these like super budget high five brands, right. Their stuff's very compact, just a little thing that's not much bigger than a I don't know, it's about the size of a scarlet solo about for all of us listening, A lot of us know what that is. With the knobs on the on the short side, so it's long and skinny, and it's got volume, treble and base and just a power switch. That's it. No bluetooth nothing. And I decided to patch it into my road and start listening, and I was like, holy smoke, this is our This is a good sounding system. The detail is there, the low frequency extension of these speakers. Even though they're rated it, I don't know, fifty, they go way below that when they're hoops. When they're coupled. We're sitting in a you know, in a small room, you know, with the wall right behind them, they really drop. I mean I can get usable down to forty five, forty even thirty five herds easily out of these speakers. It's cool, which is pretty amazing. Yeah. And then but the problem was is I could not in any way trust these to make an EQ judgment because the mid range, the low mid or the mud range was out of control, like really bad. I'd listened to something with any base, electric bass or something, they'd play up the neck and all of a sudden it would just jump out at you. They're like, oh gosh. So I was thinking of getting the usual suspects for EQ. There's some pretty you know, complex software you can get. Then I stumbled on something called EQ mac, a macap. But the reason why it works as well as it does because it's easy, and it inserts itself into the sound driver in a very easy to understand way. Even I can forget out how to do it. And I'm just using it on its free mode, and it has a ten band graphic and that was enough, thankfully, because it had one hundred and twenty hrtz band and that was that was the sweet spot. I pulled that down seven six seven dB at least and dramatically smoothed out the response of the speakers. And now I'm really enjoying. I've just been like while I'm in here listening to all sorts of great playlists of music I keep finding of. You know, there's tons of playlists of people saying best songs for testing your speakers or audiophile this and that, and it's kind of fun because I'm hearing certainly if some music I'm really familiar with, like Dire Straits or you know, some of those other venerably like you said, like you said, uh, you mentioned the one that you like to use Eagles, And so I I listened to these things and just and I'm discovering tracks and going, WHOA, I can see why that's on this playlist, you know, because like some of the stuff on the playlist is there because it really uses the speakers a full range. I mean like from the very top air down into the basement, and those speakers are putting out again low frequency tones that I didn't think push bookshelves could possibly output, you know, and it's it's pretty amazing. So it's it's kind of made me excited listening to speakers again. They naturally in that one hundred and twenty range that I naturally that honky that you've had to pull out because seven seven a small amount. No, they're not out not outdoors. They wouldn't be. No, I mean I've used something get them out of a chamber. And the speakers are you know, they're reasonably accurate. They're known in the audiophile community of having a bit of a V shape eq right, not clinical, not a very forward mid range. Yeah, so a pleasant high five speaker, not a clinical high five speaker, And that kind of fits my sensibilities. It's the way I like the monitor. My headphones are tend to be on the V shaped side. But a guy who has an opinion about monitor speakers just walked in the room. He's just doing recording before he ipenz his math. Okay, are you all right, Robert, I'm sorry to hear that they're here. Okay, cool, We're well. We're talking about monitoring and the challenges that come with moving rooms or working in other people's rooms, or having to swap monitors for headphones, and so I just I just don't trust monitor speakers ever for what I do. But the paradigms now with an EQ inserted, are doing a pretty fair job. You don't trust monitors even after you've had a chance to sit down and listen to them, or you just don't like. I don't, well, not in my not in my ten by eleven foot bedroom in my apartment. Ye, no, like I would really, I would have to do some serious space trapping on this wall back here to knock down that one hundred and twenty herds bump. I mean it is, yeah, I mean I can't say that I've had a lot of luck mixing on headphones ever. Anytime. I wouldn't say I would want to mix on headphones if I didn't have to. But then again, I'm not mixing. I'm not mixing. I'm listening on an analytical level, so headphones are fine. I'm just analyzing people's audio. I need to tell them if it sounds boomy, and I need to make a judgment on EQ or whatever. So if I was using my monitors and I didn't flaty Q, I would be notching out one hundred and twenty on everybody's audio, thinking it all started money. They'd listen to it back and go, it sounds thin, or what happened to my you know, the low end of my voice, you know, So I had I have to be careful to make sure what I'm doing is oddest. We're also talking about before you got on, Robert, a guy who I know is going to mix and cans, and I said to him, I have a SPL Monitor two which has cross feed, and I offered to lend it to him so he could do a mix of a short film. And we were just talking about that working with cross feed, and also all the features that the SPL has to offer. Have you ever used anything like Waves has their fake control rooms, and a bunch of other companies have fake control rooms. I've never actually used those. I could see how in theory that would do the trick. I mean, ultimately, it's literally just waves going in your ear. So I could see that working at just haven't spend much time on those. The cool thing about the Waves ones, and I'm sure the others that there are others that do this too, but I've only used the Wave ones because I got the I've got the license. But but the cool thing about that the Waves ones is they've got a head tracker, right, so it uses your camera and so you turn your head and you get the same effect as if you're sitting in the room. Yeah, which I kind of like the Waves thing that uses a fake five to one thing. I use that every now and then on the road or the fake Figie for nt I forget the name of it, but it's it's not like you know, like, oh you're in ocean right now. But there's like a pair of speakers. Ish and then you have a sense of what's behind you and you can get a sense of the of the five to one mix. It's it's like a fake five one surrounds in your headphones. Well, if they give you five to one, they must be able to give you a two oh definitely two channel. Yeah, it just doesn't have any specific room to it. Yeah, right, because that's another big you know, it's one thing to emulate speakers, but it's something late speakers in a space. I mean, I can tell people I won't mean anything unless they're n T whatever. I should find the name of it. But it definitely has a sense of space. It's definitely emulating speakers, but it's not some branded room flaws and all, you know. Yeah, yeah, yeah, So they don't show pictures of it. This is the sound of Ocean way. That they do that with their other products. This one just shows like five speakers essentially. Got waves and there is virtual room overhead. That's the one got it and as usual, it's thirty five bucks. Yeah. I think I have a couple ofs of it, because like every now and then, you know, you upgrade and they're like you get some something free, and I go through their list, like this is all useless except for a license. Another laptop with this, Yeah, exactly, something I can actually work with. Yeah, I would say that. Yeah, the only way you could really trust that is to do a extensive ab test between your studio monitors that you already have and get to a point of something being familiar. But I can't imagine wanting to emulate a room you've never been in your entire life use for that. Marketing none marketing. Yeah, I beg this whole. I hope you guys like the mix. I did it as though I was in a room I've never been in before. What do you guys think? Yeah? And also the other thing is what headphones are you wearing? So it's going to sound different depending. Yeah, I forget how they do it, but supposedly I would assume they have some calibration for this. They must have a list of cans, because what's the one that's been around for years now that I've been working in this space. I can't remember the name of their of their companies, I think they're Swedish gets did is it soft Tube? Did they get bought by soft Tube? I feel like there's another product software brand whose name. It's like they have sound ideas or something like that. Yeah, we're all drawn a blank. But yeah, they've been doing this. They're doing more room correction and then they do I think they let you carry your control room with you. That See, that's compelling, right, if you could emulate your actual control room in your. I do think that's highly more useful than here's something, here's some real estate that you can't live in. Yeah, but yeah, that would take a fair amount of sorry works sonar works, right, that would take a fair amount of measurement too, so you'd have to, you know, do proper measurement and such. I'm sure they have a system for doing all that. That's very Yeah, and the easy and the interesting thing exactly Soner Works embedded it into the Apollo as well, So that's another interesting thing, woit. There's a big win getting that into the Apollo. Yeah, like into the monitoring production of the Apollo. Yeah, because what's nice about it being in a hardware DSP is it's portable, it moves between DAWs whatever software. And also it sucks like sticking something that's inherently latent in your entire audio chain that you can't get rid of. This this whole thing has existed for a while. It started with Antaris, who made SST way back in the day in like the nineties, in the late nineties. And also known as also known for their auto tune well Antario as it did all this. They also did mic modeling before everybody did, right and doesn't know to be the first, yeah, you know, and Antari's did mike without having you record on a special mic, and everyone went, how the hell is. That going to work? Exactly? So I think it's always been this area has you know, like actually, probably the first one to really pull it off as far as modeling goes and go, oh, that's realistic is probably the one mic that what's it called again, slate? Not well, the slate kind of but it was single diaphragm, and I think a lot of things that Slate does is like. The U are. Yeah, the sphere seemed a little bit more real than the slight approach like slate. It was like kind of pro kind of pile of marketing. The sphere seemed a little bit more science than just marketing, even though they're both the same idea, you know, all of it's the same idea. It's an EQ some timing. Yes, I'm just using this free EQ called eq MAC. Just it inserts its driver between your device and so like instead of having it my device driver and my system sound is instead of road caster multi track or multi channel, it's road Caster multichannel parenthesis EQMAC. Okay, so it makes another copy of the driver just with their name injected to help you remember which is the right one to use. And it does what it says on the ten. You know, you can pay the pro model and it gives you a ton of other functions and features and a more detail VQ. But just being able to notch out one hundred and twenty a few dB with any graphic is really handy. I was real close to I know in the garage, I have a I think a stereo fifteen band graphic. I was going to go grab and actually now. You're going to put physically want to cross. This goes all the way back to like the seventies, and control rooms would have someone ring out the control room and there'd be like the you know, the thirty one band graphic that everyone's like, don't touch it. They'd even get the little penalty of the middle caves that could even go around it. And someone came in and rang the room out, and there'd be. Some engineers, graphic health engineers. I didn't like the story though. They would turn them off because the eqs would have a certain amount of phase shifting them. Well, if I had a boss, a guy called Jeff Thomas, and he used to EQ the voice the station boy, who's Steve Britain who we were talking about before. He used to EQ Steve on it. I think it was some sixty four band graphic or something. He used to EQ voice on the ground, Steve's voice on this graphic. Wow. But yeah, I thought that the deal with graphics is they do they tend to be more phase coherent versus parametrics or less have more problems with phasiness if I recall correctly. I'm not sure that graphics are more phase coherent. I'm not sure about that because there's a lot of bands. But maybe, Yeah, that's what I thought. That's why I think so some people prefer to work on a graphic. But I I yeah, I was in college doing live sound, running shows solo, you know, doing everything myself, and I would, you know, ring out the monitors, get all the graphics set beautifully, sto a band changeover at a party, come back to the console, and every fucking fader on the graphic is just peg lot just like some dumb drunk frat boys thought that would be real funny. Yeah, yeah took and just I was just like, oh, I was livid. I've got a high five behind me, which I bought in eighty two or something which has a multi band equ I think it maybe how many bands? Maybe five? Would that be right? Probably typical five? But I can see what I've done. I've got a mock a pin and I've actually said it and I've mocked it. He's still there from when I'd say if anyone touched anything, He's like, no, you get back to you. So how much? How let me ask you on your EQ how much was the lowest frequency boosted? Because mine was always? I wonder if I can see it from them always? But you, I mean, well, Andrew looks at that. You would have done You would have done this though, Robert in the in the old analog days used to is a China graph and you would move. You would mark all your EQ settings on the console and stuff so that if you especially you're like in radio, because we would you'd be making EQ changes during the mix, you know, and so you'd have like three or four China graph marks on a on an EQ pot. Well, I can tell you what graphic EQ. Sometimes you're working with a band and you're just looking for some like freaky sound, or you're trying to do something super stereo. You could either get a paragraphics and do every other band up and down and do two eqs the opposite way and like stereo, something out without a time delay. Yeah, well it's crazy. You just like full up, full down, full up, full down, then full down, full up, full down, full up, split the signal go into both graphics and send one left and the other one right, and it just makes this guitar like rip apart in stereo. But it's balls in time, it's not like separated. Well what it sounds like if it mona is up though, is it all right? I kind of I wasn't to worried about that, but it gives it one individually, gives this crazy like to be like sound. Oh yeah, it would sound like a ring modulator, a ring. It's fun, you know, comb filter. It would be a come you know, you're. Or just like pop it into like you know, into one chorus and the guitar goes like. I mean literally the definition of a comb filter looks looks. Yeah. So anyway, my life frequency was a plus two dB. That's pretty moderate. That's yeah, that's yeah. No you're nuts. Yeah you're saying you're safe and sane. I did sound. I worked at a church fresh out of college just to make money. I was doing sound. Had they had a recording studio, but they also had the sanctuary and the live sound system out there. And I remember walking out there one time and seeing the graphics and they had a huge disco smile on the graphics and I said to the guy running the board, I was like, oh, that's the Q on the graphics. Interesting And he's like, oh, the pastor said that I can't. Yeah, yeah, can you imagine the frequency in the neck room. Yeah? Well, you know, the guy talk about a god complex even he even was in control of the the. Freaking sound system. He c yeah, are you kidding? And the guy had like this ring binder with pages and pages of settings for the board that that he's like, I have to use these settings. I wonder where. I wonder whether the smiley face was, you know, the priest going have a nice day. Yeah, maybe it should have painted the whole thing yellow. Yes, that's right exactly. That is fun? Is it? Over? The pro Audio Suite and Austrian Audio recorded using Source Connect, Edited by Andrew Peaters, mixed by Rovo. Got your own audio issues Just ask Rovo dot com Tech support from George the Tech Window. Don't forget to subscribe to the show and join the conversation on our Facebook group to leave a comment, suggest a topic, or just say today, Drop us a note at our website audio suite dot com.
