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(Transcribed by TurboScribe.ai. Go Unlimited to remove this message.) Y'all ready to be history?
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Get started.
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Welcome.
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Hi.
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Hi.
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Hi.
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Hello, everyone.
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To the Pro Audio Suite.
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These guys are professional, they're motivated.
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Thanks to Tribush, the best vocal booth for
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home or on the road voice recording, and
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Austrian Audio, making passion heard.
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Introducing Robert Marshall, from Source Elements, and Someone
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Audio Post, Chicago.
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Darren Robert Robertson, from Voodoo Radio Imaging, Sydney.
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Tech to the VO stars, George the Tech
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Whittam, from LA, and me, Andrew Peters, voiceover
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talent, and home studio guy.
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Line up, man.
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Here we go.
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Sound on me.
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And welcome to another Pro Audio Suite.
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Thanks to Austrian Audio, making passion heard, and
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Tribush, don't forget the code, T-R-I
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-P-A-P 200, to get 200 US
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dollars off your Tribush.
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Also, while we've got your ear, we know
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we have a lot of listeners, and a
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lot of you haven't subscribed.
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And if you would like to subscribe, that
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will help us a lot with numbers, and
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also give us the ability to maybe get
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some really funky new guests.
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Who knows?
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Anyway, I was listening to another podcast, which
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I'll give a plug, Production Expert.
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I hadn't heard it before, but a friend
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tipped me into it, and it was really
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interesting.
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And they covered quite a lot of topics.
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One that they kind of dabbled with, and
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then moved away, was DAWs.
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And I know there's some pretty wacky stuff
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out there that people use.
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I've been a victim of that.
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I think my first DAW was Magix Samplitude.
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I remember that.
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I never used it, but I do remember
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it.
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Yeah, that was, when I think about it
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now, it's like, well, I don't know what
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I was thinking.
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And then the second one I got was
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Wave Lab, which was part of Vin's build
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into his PCs.
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And now, of course, I've bitten the bullet,
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jumped across, and I've just set up Twisted
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Wave on everything, which I'm very happy with.
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Thank you, Thomas.
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Well, Robbo's flying an A380 every time we
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do a show.
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How's the plane flying today, Robbo?
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It's on autopilot at the moment.
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So yeah, it seems to be going OK.
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OK, good.
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So how long ago, let's go a little
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bit of history then.
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Do you remember when you first started recording
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and editing on a computer?
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And what you were using then?
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For me, it would have been, oh wow,
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that's a very good question.
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It would have been early 2000s, maybe even
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2000, maybe 1999.
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I can't actually remember.
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Yeah.
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But it was very early.
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Yeah.
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How about you, Robbo?
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Oh, jeez.
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The very first DAW that I worked on
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was DSP.
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DSP?
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Triple M in Brisbane.
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So it would have been like 1992, 1993,
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around there somewhere.
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Yeah, that's early.
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It was hooked up to one of the
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very first Yamaha automated, little tiny automated consoles.
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So DSP was an Australian company.
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When it folded, Fairlight bought them.
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I actually used to do, back in the
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early 2000s, I actually used to do their
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training for them.
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When people bought new DSP units here in
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Sydney, I used to be the dude that
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went out and did all the training on
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site for a couple of days with the
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engineers.
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So, yeah, it was a really good piece
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of software.
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We had it at George Pat's when I
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was there as well.
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And, yeah, unfortunately they went under.
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But, yeah, that's how long, yeah.
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So, Jesus, what's that?
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30 odd years ago, I suppose.
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Was that a true multi-track DAW environment?
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It was.
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It was an eight track.
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Yeah, eight tracks.
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Eight tracks of digital audio.
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So, yeah.
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And I remember sitting in the production studio
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at Triple M in Brisbane when I was
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up there.
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We got it on a trial and watching
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the flying faders and everybody.
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I think the whole radio station sort of
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circled in and out of the studio to
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come check out this fancy new piece of
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equipment.
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But, yeah, it was good.
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I learned on a Yamaha DMC-1000 digital
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mixing console.
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Could have been the same model.
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It probably was.
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It was installed around that time.
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They had it at Virginia Tech in the
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music studio from 92, 93.
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And I just remember I called it the
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Lean and Squint 1000.
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Lean and Squint.
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Because it had this little blue backlit LCD
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screen at the top right.
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And there was so many damn operations you
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had to do through that little screen.
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And you're always leaning over and squinting at
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the screen.
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But it had those flying faders.
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It was super high quality sound.
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Do you know what I remember the most,
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though?
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Coming from analog into digital is just that
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wow moment when you just realized what a
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game changer digital audio was actually going to
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be.
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After all those years of multitrack and splicing
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and drop editing and overdubs and all the
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rest of it, to look at it and
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just go, holy crap, what can't I do
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now?
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That was the thing that always got me.
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I had the interim step where I skipped
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over analog.
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I played with it and hobbied with it,
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but I never used it professionally.
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So I wasn't splicing on splicing blocks and
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stuff.
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But when I went to Virginia Tech, we
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had the digital tape machines, the DA88 from
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Tascam.
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And so I went straight to digital tape.
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But the time where we finally went to
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a DAW, we were using Sonic Solutions.
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And that was only for mastering for CD.
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That's all we used it for.
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So everything else was done on tape.
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And we would mix down to a DAT.
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And then typically we would take the DAT,
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load that into Sonic Solutions, and use that
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to author the disc, the CD-R.
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I'd go down to the library, to the
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bookstore, buy one blank CD-R, $15.
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And your professor would say, burn this at
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1x speed.
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Don't do 2x, because sometimes it screws up.
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So I remember that.
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But yeah, Sonic Solutions was the first one
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I used in school.
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And then on my own, I remember using
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for multitrack.
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I learned on, I don't know why I
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stumbled on it, but probably because I was
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on PC.
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I stumbled onto Cakewalk.
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And then Cakewalk became Sonar.
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Sonar, it changed names or something.
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And I believe to this day, Sonar is
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still out there.
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Sonar X1, X2, whatever the 13 or 14
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version it is.
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And that was what I did.
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I did a fair amount of multitrack production
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on Sonar.
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And then for single or two-track editing
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and recording, I was using WaveLab.
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So I went back to WaveLab on my
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laptop, and I would use my laptop to
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record and burn CDs, and I would use
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it to do live records.
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I would bring my laptop out to a
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venue with my, at the time I had
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a Grace Designs Lunatec V2 stereo mic preamp.
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Really hi-fi stuff.
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And I would run that straight into a
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Digigram sound card that was PCMCIA, and it
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slid into the side of the laptop.
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And that's how I could, I did really
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high-quality stereo records that way in the
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field.
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So those were my earliest dogs that I
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worked on.
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And I don't remember when I transitioned out
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of using Cakewalk.
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Probably when I went to get, when I
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first got my Mac, and I was realizing
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I had to teach a lot of people
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how to record, and I had to use
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what was common in our business.
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So that's when I started learning Pro Tools
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slowly, and then I started using Adobe Audition
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and Keep Cool Edit and all the others.
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What was your first version of Pro Tools
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then?
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Well, I think I first really had hands
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-on Pro Tools.
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It wasn't until probably six.
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Yeah, that's about the time I started, I
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think.
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Yeah.
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That's where it really became like common, more
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commonplace.
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That is probably the version of Pro Tools
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that shipped with an M-Box.
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Yeah, okay, yeah, yeah, yeah.
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This is an OG original M-Box.
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I believe this would have shipped with Pro
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Tools 6.0 or 6.4. Something like
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that.
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I remember Yatesy, a guy I used to
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work with at Triple M came in.
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Mark Yates, good day, mate, if you're listening.
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No, I don't want to buy a house
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in Bondi, Yatesy.
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Thank you.
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He came in to work one day on
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a Monday, and we were just chatting and
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stuff, and he went, oh, how was your
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weekend, blah, blah, blah.
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And the convoy station basically went, oh, mate,
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I spent the weekend on Pro Tools.
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And I went, what?
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You're coming to work?
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Are you mad?
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No, no, no.
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I bought Pro Tools.
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I've got it at home.
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And that was sort of my discovery of
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the M-Box and all the rest of
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it.
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And he was like, yeah, no, I sat
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at home, and I had some headphones on,
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and I finished this promo, and I did
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this, and I did that.
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I was like, I've got to go get
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that.
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So yeah.
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I remember they had an M-Box.
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I can't remember what it was called, but
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it was literally just a USB dongle that
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plugged into the computer with a headphone jack,
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just so you could mix on the road.
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Since with those versions of Pro Tools, Pro
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Tools LE, the license was the hardware.
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You remember that?
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That's right.
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They didn't use an iLock.
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The M-Box was the iLock.
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You plugged the M-Box in, and away
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you went.
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And that all went away with version, I
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don't remember, 10 maybe.
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Whenever iLock came out, I remember that.
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But I've heard of some people using weird
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DAWs, because it's just what comes free with
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their interface.
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Well, everybody's got a DAW these days, right?
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I mean, let's be honest.
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If it's got anything to do with the
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audio, there's a DAW attached somewhere.
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Yeah, I guess they want to have control.
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I mean, to me, developing new software is
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not a cheap endeavor.
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So that's what kind of blows me away,
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is that is it that accessible to find
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the developers and to fund and develop a
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DAW that all these companies are making it?
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Mackie even had one.
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I think it was called Traction or something
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like that.
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Wow.
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Everybody's got one.
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I use Pro Tools Studio, and there was
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a bunch of free software that came with
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that, and I finally got around to downloading
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it the other day.
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And I was putting stuff on it.
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And you've got to go to the supplier's
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website to download the software, obviously.
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And that's what struck me.
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There were these plug-in makers that I'd
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never heard of, some of them, but even
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they've got a DAW.
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Download such and such.
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No, thank you.
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I'm right.
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Thank you.
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I've got Audacity, I've got Audition, and I've
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got Pro Tools.
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I think that's probably got me covered.
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Thank you, though.
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Yeah, Akon Digital is one of those, too.
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Akon makes noise reduction stuff like RX, and
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they have a DAW, too.
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And it's actually pretty good.
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I mean, it's an editor.
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It's really a Twisted Wave or a Wave
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Lab competitor.
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But I've got to say it's pretty good,
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but it's ugly.
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It's all, like, yellow and black.
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Oh, yeah, that's got to be anything unless
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you're a bee.
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Exactly.
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But RØDE have actually got an editor as
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well, haven't they?
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Doesn't that come with the DSP on their
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USB mics?
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Oh, I don't know if they have an
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editor.
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I haven't looked at that.
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I haven't seen an editor.
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They've got a console.
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Oh, well, I have two apps from RØDE
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on my dock here.
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I've got RØDE Central and I have RØDE
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Connect.
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And RØDE Connect, I think, is the recorder
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app that they make for producing, like, a
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podcast.
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Yeah, that's it, RØDE Connect.
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And saying, hey, there's a new version.
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Like, I'll do that later.
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Yeah, RØDE Connect, it's kind of intended to
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be like a software replacement for a RØDECaster
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that works with their mics.
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Yeah, yeah.
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So it's got the little sound effect buttons.
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I don't think you're going to hear that,
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but it's got sound effect buttons.
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I thought that was me for a second.
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It can connect with wireless RØDE mics.
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It's pretty slick, right?
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And it has a record function.
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But in terms of a DAW, I don't
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think I would call it a DAW.
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It seems much too simplistic to be a
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DAW.
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But that seems like an inevitability based on
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what we're seeing, is that RØDE will have
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a DAW at some point.
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Oh, for sure.
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For sure they will.
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Okay, here's a question for you, George.
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What's the weirdest recorder or DAW, editor, whatever
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you want to call it, you've ever come
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across?
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Well, there's two categories.
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One of them is using software that's not
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for audio production as an audio tool.
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So for that, I would say Final Cut.
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I've had a few folks say they use
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Final Cut for audio.
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To do audio.
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Yeah.
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And those that do usually have a good
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reason for it.
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It's that they came from video editing, and
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so they already knew how to use it.
00:13:05
I had somebody recently say that there's a
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module in Final Cut for voiceover record that's
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actually a really good voiceover editing or a
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voice editing tool that comes bundled in Final
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Cut.
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I'm like, that's obscure.
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But they said, well, it breaks down.
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It makes it really easy to keep track
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of clips and organize your clips and it
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makes it easier to record an audio book.
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And I'm like, that is obscure.
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That's weird.
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But using an audio book in Final Cut,
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that's different.
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To be fair, back in the day when
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you could edit video on Pro Tools, my
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wife used to do her video editing in
00:13:45
Pro Tools because she knew Pro Tools.
00:13:47
So I suppose, you know.
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So could you just simply do cut, like
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trim head and tail?
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No, you could edit and paste and all
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the rest of it.
00:13:55
Was that called media something?
00:13:59
I'm thinking like maybe version 9 or version
00:14:01
10, they ended it.
00:14:02
Then they realized.
00:14:03
We could put it in another bundle and
00:14:05
stick that up.
00:14:06
So now you can only have one video
00:14:08
per session and all that sort of stuff
00:14:11
in studio.
00:14:11
You've got to go to the next level
00:14:13
to be able to have multiple videos.
00:14:16
Which is a pain in the ass, seriously.
00:14:18
I mean, for me, when you're doing update
00:14:20
versions and shit like that, you've now got
00:14:22
to save your session as and import a
00:14:24
new video into there.
00:14:26
And so there's your session spread across 10
00:14:28
sub-sessions.
00:14:30
Well, this whole conversation kind of got triggered
00:14:32
because somebody just emailed me saying, Hey, you
00:14:35
set me all up using Adobe Audition.
00:14:37
And I've got all the templates and everything
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and the processing chains, whatnot.
00:14:42
But now I'm using Luna.
00:14:44
And so can you do all those chains
00:14:47
that you made for me over in Adobe
00:14:49
Audition?
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Are they going to work in Luna?
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And if not, can you make me processing
00:14:53
for Luna?
00:14:55
And that's kind of triggered this conversation because
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I was like, Luna?
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Well, I could.
00:15:00
But sometimes when somebody asks me that, I
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always ask you why exactly.
00:15:05
I'm like, just because you can doesn't mean
00:15:07
you should.
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Are you doing it?
00:15:09
I mean, some people, frankly, will do it
00:15:11
because it literally is free.
00:15:13
There is definitely a contingent out there who
00:15:15
will not use Adobe Audition simply on principle.
00:15:19
They refuse to pay the subscription.
00:15:22
They don't want to do it, and they're
00:15:24
going to use anything else they can find
00:15:26
so they don't have to use Adobe Audition
00:15:29
or pay a subscription.
00:15:30
And that is what drives people to use
00:15:33
Reaper because it's a one-time buy, and
00:15:37
it's very cheap.
00:15:39
That drives people to use Luna, and it
00:15:41
drives people to use alternatives that are free
00:15:43
or that come free with their hardware.
00:15:47
Guys, I mean, if you really are making
00:15:49
a living, first of all, use the tool
00:15:52
you really know and have trained on and
00:15:54
have gotten really good at.
00:15:55
Don't keep trying new stuff all the time.
00:15:59
And second of all, Luna is a music
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production tool.
00:16:02
So I'm sure someone's going to show me
00:16:05
one of these days why it's so amazing
00:16:07
for voiceover recording and editing.
00:16:09
I'm sure it's going to happen.
00:16:11
It's funny you should bring this up because
00:16:12
I did a video the other day for
00:16:14
the Just Ask Robbo YouTube page, and I
00:16:18
challenged myself to make a podcast opener in
00:16:20
Audacity because I kind of figured, well, you
00:16:22
know, podcasters want to know how to make
00:16:25
their own or anything, and the door of
00:16:26
choice is mostly Audacity.
00:16:28
Now, I'll be honest.
00:16:29
I know my way around Audacity, but I've
00:16:31
never used it to make something.
00:16:33
Sure.
00:16:34
It was an interesting process.
00:16:36
It went really well.
00:16:37
It came together really nicely.
00:16:39
It works.
00:16:41
But the interesting thing was, you know, every
00:16:43
sort of four or five key things, there's
00:16:45
a thunk, because I'm trying to give it
00:16:47
Pro Tools commands, and it's like, hang on,
00:16:49
what do you mean?
00:16:50
It's like, oh, yeah, sorry, yeah, right, that
00:16:52
one.
00:16:53
And zooming out when you should be zooming
00:16:54
in and all the usual stuff with learning
00:16:56
a new door.
00:16:57
I mean, I can understand why people might
00:16:59
take up a new door because they just
00:17:01
want to experiment.
00:17:02
But I think you're right.
00:17:03
I think if you're making your living off
00:17:05
a piece of software and there's no clear
00:17:09
reason why, I mean, because some of these
00:17:12
things, you know, you can come across all
00:17:14
sorts of weird little sort of intricacies within
00:17:19
the software that happen that you sort of
00:17:20
you've got to learn along the way, and,
00:17:22
you know, you make all those rookie mistakes,
00:17:24
make all those rookie mistakes all over again.
00:17:26
Yeah.
00:17:27
It's funny, I just had an interview with
00:17:29
Keith Urban, and he was talking about playing
00:17:30
a guitar, and he's a friend of John
00:17:33
Mayer, and John Mayer, he quoted John Mayer,
00:17:35
because John Mayer said, you know, it's really
00:17:38
interesting when you listen to a guitar solo,
00:17:40
you can tell which guy knows that guitar
00:17:43
inside out, you can just hear it, because
00:17:46
they've lived with each other for so long.
00:17:48
And it's the same with any of the
00:17:50
tools you use.
00:17:51
The longer you, you know, you're married to
00:17:53
that tool, the better you're going to be
00:17:54
with that tool.
00:17:56
I'm married to a tool.
00:18:02
Sorry, tonight, I love you.
00:18:05
It starts with a T anyway.
00:18:07
Yeah, that's right.
00:18:09
I mean, in my opinion, you would have
00:18:10
to be a John Mayer to maybe hear
00:18:12
that.
00:18:13
I don't know, like, who really hears that,
00:18:15
you know, a true guitar player, artist will
00:18:17
pick up on that stuff.
00:18:19
But it's the same way that, like, us
00:18:20
audio engineers pick up on really subtle things
00:18:24
that we key off on or get hung
00:18:26
up on or, you know, Yeah, it's that
00:18:30
intricate knowledge of something that, you know, and
00:18:33
I guess for a guitarist, you know how
00:18:35
the guitar you like feels in your hand
00:18:38
and you know, you know, what the fretboard
00:18:40
feels like and you know, you know, the
00:18:43
balance of it and all that stuff.
00:18:44
And when you pick up a different one,
00:18:46
you sort of go, oh, hang on, this
00:18:48
feels weird.
00:18:49
You know, or you, as a voiceover artist,
00:18:51
you buy a new microphone.
00:18:52
And for those first couple of sessions, you're
00:18:54
going, what's that that I'm hearing?
00:18:56
Yeah, so what's the thing about, like, does
00:19:00
this sound okay?
00:19:00
Or is it, what am I actually hearing
00:19:02
now?
00:19:03
Yeah, yeah, yeah, yeah.
00:19:04
Should I be trusting my headphones?
00:19:05
Yeah, do I trust myself that this is
00:19:07
sounding okay?
00:19:08
Yeah, exactly.
00:19:09
And I think that's the thing.
00:19:10
I mean, when you're doing it day in
00:19:11
and day out, you just get that sort
00:19:13
of deep-seated knowledge.
00:19:15
I mean, it's like the classic line in
00:19:19
Taken, that movie, where Liam Neeson's sitting in
00:19:23
his French mate's apartment and he's, you know,
00:19:28
he stands up and he's about to shoot
00:19:30
Liam Neeson and Liam Neeson, you know, basically
00:19:32
says, you know, shoot me.
00:19:33
And it's like he pulls the trigger and
00:19:35
there's no bullets in his gun because, you
00:19:37
know, he's been sitting behind a desk for
00:19:39
so long now, he doesn't remember the weight
00:19:41
of a loaded gun compared to the weight
00:19:43
of an unloaded gun.
00:19:44
Liam Neeson, all that sort of stuff.
00:19:46
And it's the same sort of thing, you
00:19:48
know, I suppose.
00:19:48
Well, it's interesting because, you know, because I
00:19:51
do a lot of promo stuff as well,
00:19:54
the majority of the work, because it is
00:19:56
promo, is on the 416.
00:19:58
Or I should say 416, now that's become
00:20:00
part of the vernacular of this industry.
00:20:02
And the 818.
00:20:04
The 818, yes.
00:20:06
So anyway, I used the OC 818 yesterday
00:20:10
for a session.
00:20:11
And it's funny because when I use it
00:20:13
for, like, if I'm doing something like an
00:20:15
ad or whatever, or something long form, you've
00:20:18
always got that little bit of doubt.
00:20:20
It's like, oh, I've set the levels properly
00:20:21
because I haven't used this for a while,
00:20:23
you know.
00:20:24
Yeah, that can slow you really down.
00:20:26
If you're always seeking, I don't know, some
00:20:32
of us do spend a lot of time
00:20:34
seeking ways to save a lot of time.
00:20:37
Yeah.
00:20:40
So it's like, yeah, I've been there and
00:20:42
done that with CRM, customer retention management, whatever
00:20:46
the hell it's called, relationship management softwares, and
00:20:49
just you name it, on and on.
00:20:53
And I'm like, my God, how much time
00:20:55
did I spend trying to figure out ways
00:20:57
to be more productive?
00:21:00
It doesn't will out.
00:21:04
That's why Twisted Wave sticks around year after
00:21:06
year after year, is he's never trying to
00:21:09
reinvent the wheel.
00:21:10
He's not trying to make anything revolutionary.
00:21:13
He just adds in useful things little by
00:21:16
little, drop by drop.
00:21:17
And I think it's the way these new
00:21:19
features are dripped in, like a drip feed,
00:21:22
you know.
00:21:23
It's like you get time to learn what
00:21:25
they do, and you get time to internalize
00:21:27
them, or you get time to decide whether
00:21:29
you need them or not, right?
00:21:31
But when there's like, everything's new, we did
00:21:34
a whole new user interface, and we can
00:21:36
do these 70 new features, it's like, who
00:21:38
the heck is going to internalize and learn
00:21:40
all those new things in one shot?
00:21:43
It's overwhelming.
00:21:44
Yeah, something over the years that you learn
00:21:46
over time and get nuanced.
00:21:50
And then there's also the idea, I've heard
00:21:52
people say, well, I want to try something
00:21:53
different because I can't do this.
00:21:55
Like, I interviewed somebody today, and she said,
00:21:58
well, I record everything in Twisted Wave, and
00:22:00
da-da-da-da-da.
00:22:01
And then I go into Adobe Audition, and
00:22:03
I use the compressor.
00:22:05
It's called Simple or Single Channel Compressor.
00:22:07
And I just use a little bit of
00:22:09
compression, and I'm like, why do you?
00:22:11
I didn't get into it because it wasn't
00:22:13
germane to the interview, but I wanted to
00:22:16
say why.
00:22:17
And I knew why.
00:22:18
And it's because in Twisted Wave, when you
00:22:22
look at the plug-ins, there is not
00:22:24
a plug-in in there called compressor.
00:22:27
And so if you've been watching a lot
00:22:29
of YouTube, and she was a younger person
00:22:31
who's learning through YouTube University, and she knew
00:22:35
that a compressor is a good thing, and
00:22:37
she looks in Twisted Wave and looks at
00:22:39
the effects, and there's nothing in there called
00:22:42
compressor.
00:22:43
But then she hears there's a thing called
00:22:45
a compressor in Adobe Audition, right?
00:22:47
So it's like, it's what you don't know.
00:22:50
You know, it's like you might think, oh,
00:22:52
Twisted Wave is too simple.
00:22:53
It's too basic.
00:22:55
It can't possibly do everything I need it
00:22:57
to do.
00:22:57
And then you go seeking elsewhere for other
00:23:00
tools and other systems.
00:23:02
Now you've added more steps, more cost, because
00:23:05
now she's paying for an audition license.
00:23:08
And it's not if, I mean, I just,
00:23:11
I wanted to be like, I wanted to
00:23:12
reach the screen.
00:23:15
Listen, there's a compressor in your Mac.
00:23:20
It's already built in.
00:23:21
You just don't know it's there.
00:23:23
And it almost makes me harken back to
00:23:25
the Audacity conversation we had where the compressor
00:23:27
just, you know, replaced the old version and
00:23:31
created a whole thing.
00:23:33
Like, Thomas could seek out another compressor and
00:23:37
make that, not replace, but supplement what's in
00:23:40
there.
00:23:41
But because he's just using what Apple includes
00:23:43
for free, and Apple, for whatever reason, doesn't
00:23:46
have a compressor in their default audio units,
00:23:50
then there's no compressor.
00:23:52
But there's the Dynamics processor in that.
00:23:54
That's a compressor.
00:23:55
Which is a compressor.
00:23:57
Yeah, it's just not that intuitive.
00:23:59
So, yeah, it's quirky things.
00:24:01
And because I've spent so much time learning
00:24:05
the quirks and features of what Twisted Wave
00:24:07
does and what the audio unit's plug-ins
00:24:09
do, et cetera, I'm getting every last bit
00:24:12
of juice out of these things.
00:24:14
And where a lot of people wouldn't do
00:24:15
that, their first thing would be to go
00:24:18
get another plug-in.
00:24:19
Go buy another package, another bundle.
00:24:23
You know, and just constantly seek out.
00:24:25
So, I find that kind of interesting.
00:24:28
I find Twisted Wave does way more than
00:24:31
I ever need.
00:24:32
It's a recorder.
00:24:33
It's a recorder and edit, and that's it.
00:24:35
Yeah.
00:24:35
I mean, Audacity is almost...
00:24:38
Yeah, I don't need anything else.
00:24:40
Audacity is overkill compared to Twisted Wave.
00:24:42
Yeah.
00:24:43
Yeah, yeah, yeah.
00:24:44
Yeah, it's interesting, isn't it?
00:24:46
Well, there you go, another free door.
00:24:47
Audacity.
00:24:48
Yeah, yeah.
00:24:49
The F word.
00:24:51
Yes.
00:24:53
You know what that leads to.
00:24:54
Yeah.
00:24:55
Out the door.
00:24:57
Well, that was fun.
00:24:58
Is it over?
00:25:00
The Pro Audio Suite.
00:25:01
With thanks to Tribus.
00:25:03
And Austrian Audio.
00:25:04
Recorded using Source Connect.
00:25:06
Edited by Andrew Peters.
00:25:08
And mixed by Vudu Radio Imaging.
00:25:10
With tech support from George the Tech Whittam.
00:25:12
Don't forget to subscribe to the show and
00:25:14
join in the conversation on our Facebook group.
00:25:16
To leave a comment, suggest a topic, or
00:25:19
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00:25:20
our website.