Welcome, Hi to the Pro Audio Suite. Guys are professional and motivator. Thanks to try Booth, the best vocal booths for home or on the road voice recording and Austrian Audio Making Passion Herd introducing Robert Marshall from Source Elements and Someone Audio Post Chicago, Robert Robertson from Voodoo Radio Imaging Sydney to the vo Stars, George the Tech Wittam from La Andrew Peter's Voiceober Talents and Home Studio. Go and welcome to another pro audio suite thanks to try Booth. Don't forget the code t r I PAP two hundred to get two hundred dollars off your tribooth. Also Austrian Audio Making, Passion Heard and Passport Vido the collaboration between the Pro Audio Suite and Sentrance with the new interface coming up later in the year. So I feel better for that. Yes, what a lovely afternoon play that agin, Robert. Meanwhile, back on the Pro Audio Suite, we're having a lovely cup of teena scone jaminy cream. What is it? Clotted clotted cream? Of course, if you're from the West Country you would know what clotted cream is, and if you eat enough of it, your archeries will be clotted exactly. And so I wanted this one back to war. What were we talking about this week? Your favorite toys? I think Roberts just answered the question. There we go, there's one down. Yea, So we are talking about our favorite daw and I think we're in for a bit of a Reaper rave from George. Okay, so imagine if pro tools started with what do you want your pro tools to look like? What would you like your hot keys to be? How many layers of tracks per track would you like to have? And what kind of automations would you like to configure for your pro Tools? And then you did that on every single system and did them all different and unique for each producer. Can you imagine your life, you know, isn't reper powerful? Can you imagine your life as an engineers support tech supporting all these different and unique you know, colors of the rainbow Reaper systems. That's Reaper, and that's the hell that Reaper creates for guys like me and people like us. So we tried to teach Reaper to our folks, and we did do it to two two. We did a four hour class really two two hour classes, and the takeaway from it was and Stephen Gonzalez, who taught it really knows Reaper, right, I mean he knows re per, dude, really really knows it. He taught everybody how to make Reaper work the way that he likes to use Reaper for recording his audio for you know, voiceover e learning and other kinds of long form projects and stuff. And he is an engineer or is he a voice town Well he's he's both, right, and this lies here lies the rub. Right, there are a lot of us more technical sided folks who are dabbling or slash even thriving as voiceover actors, right, Um, I would say they are absolutely the minority, at least in at least in my world. And that's where because in my world, I'm working with the ones who don't know the technology because they literally they're the ones that hire us. Right. So I'm sure there are a lot of thank God for Yeah, I'm sure there's a lot of technically adept or even extremely technical voice actors out there. I mean, like there's Um, they are definitely a mini right. So what I've learned from watching the experience of others learning a new concept like using Reaper to replace what they are already using, which is really the context in which these folks are learning Reaper, right. They're not coming in to learn Reaper, like this is your first recording studio, right, and it's like like Reaper feels like you're getting a giant box of Legos and there's no picture on the box. Right, that's Reaper. So you're giving all these people a giant box of legos, and then over a phone call or maybe over a screen share, you're explaining to them how to assemble their legos to look like this studio, right, that's Reaper. Even pro tools, which obviously to the actor can seem a little daunting. With multitrack functionality, the nondestructive aspect of it, they needing to rearmy track and understanding slip and shuffle mode and on and on is absolutely more straightforward than learning Reaper. So what I kind of what I've taken away from it is not that I don't think there's a way to teach Reaper in a way that makes sense to the actor or to the actor who's coming from Twisted Wave or Audacity or audition, because there's a lot of folks, especially coming from audition. They're tired of sending this little company that brought up all the technology Adobe, they want, Macromedia and all these They're tired of paying them for the use of the software after doing it for many years, and so they're looking at Reaper. But they come away from it going, well, how do I do this one thing right? I used to be able to do X. And it's not that. The answer is never there's no way to do it right. The Reaper tech or the Reaper trainer will never say that's not possible. They will then can explain to you or teach you or set it up on how to do it. It might take twenty or thirty minutes or go through many steps, but they will eventually be able to make it do what you needed to do right. So I just feel like Reaper is designed for people who are like the hobby of recording right. They like the technology of recording, they embrace it, they love learning new technical things, they love customizing things to work to their ability. But I don't feel like it's a strong tool for the performer. Even more so, I would say, if you feel you and you know who you are, if you're a very right brained person. Reaper, I don't feel is a good place to start, or even maybe in a plate right place to go. I think it's better to stick with the really simple tools. And again, I know they're destructive. Twisted Wave is destructive, Wave Lab is destructive. I know that, but I feel like these are better tools for the job. What do you guys think, Well, I was going to say, I think I think everyone should use sound Designer two. Why I don't know, because it's well, somebody said I miss peak, bias peak, and they're all the peak, Twisted Wave, sound Designer two, Wave Lab, they're all just waveform editor programs, you know. I um, And that's fine. It's easier to understand because it's a little bit more like comparing tape text to Microsoft Words. Yes and the full you know, the full, uh, you know editing write your whole novel or just write a note, And that's kind of the difference. I do disagree with the fact that UM Reaper can literally do it all. Reaper will beat pretty much any price point. Reaper is also incredibly stable and very lightweight. When you look at how small Reaper is compared to pro tools, it's like a couple hundred megs compared a couple of weeks. It's like there's a lot of install file. It's like twenty five megabytes for Reaper yea. And that just shows you how efficient and good it is. I mean, the only thing about Reaper is it because literally it does it all. To some people, it's daunting. But I think what some people lack is the ability to shut out all the noise. It has a million menus, It has all kinds of stuff and if you're like, hey, open Reaper, click here and open template that I made for you, click here to record arm, and click there to roll and if you just do those things, it's going to do. It's gonna do everything you wanted to. Reaper will even store the state of record arm, so when you open a new project, they will pre arm the track for you, which is pretty cool. Right. So if it is designed and built and tuned for that use case and configured properly, and you have the right training to accompany that information, I think it could be a really good tool. And you don't touch anything. Well, that's the thing, right, that's with with pro tools, right, because it's a keyboard shortcut, you know, oriented tool set. If you fat finger a keystroke, you will change the way pro tools runs. You'll launch a missile or something like the end button. Do you know how many times I hit the end button? I have a way better one to fuck you up in pro tool Just backslash shift, backslash slash. Is that the key? Is that the backslash key you're talking about? No, No, the key right next to the shift. I'm pretty sure it's the yeah, yeah, yeah, yeah, the one you use on the web when you're doing www. What is it? Change the change the keyboard focus. It separates okay, okay, okay, okay, you're ready. It separates your play ahead from your kind of recording. You know, love that. This is one of the things that and the people that have been taught how to do that actually love that feature. It's not many people. It's it's terribly implemented to compare to the way it should. So that is that that's a feature that comes from video editing, and really it comes from um like the avid media composer, and that style of editing is known as source destination editing and works great for video and works great in general for post production, and the problem with pro tools is that, you know, And it's funny. Other programs almost have it. You look at what do you call it, the Adobe Win Audition Audition and it has a file editor. It's called waveform and I don't know if you can, right, and I don't know if you can, but can you like copy from the file editor and paste and forth? Yeah? Okay, okay, So that's kind of like a source destination editor there. But pro tools doesn't have a file editor. So what you end up doing is having to like, like the way I compare it with pro Tools, it's the painter who has to mix his paints on the canvas that he's painting on. Yeah, because you don't get the palette, so you got to go pick someplace five hours down the timeline that's going to be your pallet that that doesn't start. Say, I mean that Abbott has not has decided to create a waveform editor function when literally everybody else abby dumped it, and they dumped it right. They had sound designers that was there back in nineteen ninety five and they got rid of it in favor of Audio Suite. Here's how you're going to edit your files with Audio Suite. So everything in audio Suite is affecting the wave form, yes, right, but it's not destructive that that that's the whole point of it. It's it's it's the it's the destructive. Well it can be, and I use it destructively a lot, so I, oh, yeah, why do you do that? And anytime you don't want to like wait for a long ass bounce and you just want to do something to a file like like and you know that's what you want, just like like bang it. Somebody taught me years ago shift command K because we were so tired of waiting for bouncing, exporting exporting audio, we would apply we were literally a voice actors. Specifically, we're literally using pro Tools as a non as a destructive waveform editor because we were doing everything directly to the file with Audio Suite Shift command K and spitting out the file because we just refused to wait for a fucking real time balance. It was just when they added offline balance, I was able to go, okay, let me re teach you how to use pro Tools the right way. I still use shift command k H. Yeah, I use it. I still I still use shift command K and it's it's like constant. But that's sort of where that feature comes from. And I think we were first trying to think of ways to mess people up. But when you hit play in your cursor's not where you think it is and you're not fully using that feature, trip you up. Now. I was thinking about another thing in pro Tools that I think Randy Thomas showed me one time, and she says, why can't I do this in Twisted Wave, And this was I want to be able to play, listen, and edit behind the play cursor. So I want to be able to make selection while while you're recording playing back, So I want to play back. Oh I edit, I edit all the time while it's recorded. Well, how the show while it's playing back? Right? So yeah? So in fact, I play this game where I'm playing something and I try to debreath it like in real time, like hey, can we hear that back? And I'll hit play and then I'll just try to start cutting breaths before it gets to them eventually catches up only in slip mode of course, right, yeah, of course, um yeah, so yeah, I mean it's um, it's fascinating the different tools you can use in pro Tools to be really really fast when you're really really good at it, you know, and that is definitely one of those those tools. And I've been asking actually Thomas for what Twisted Wave now that maybe now that it's subscription, he'll, you know, hopefully he'll he'll have more a little more motivation to keep developing new features. But a long time ago, I said, hey, one thing that people really miss from pro tools is that ability is to be able to detach the selection from the playhead and Twisted Wave, if you're playing, if you make a selection, it will immediately jump to whatever you've selected, right, Yeah, that's annoying. Yeah, yeah, it is, just that's just the best one. The best one at this is fair Light. Yeah, like talk about the best editor, that is fair Light, because what fair Light does is your selection is exactly separate from the playhead. But fair Light lacks like a bin to edit from, It lacks a source. So it's a bit like pro Tools and that you kind of gotta use your canvas as your palette. But what fair Light does, which is amazing, is this. Imagine you have a word the cat is red, all right, and you select the whole thing the cat is red, and then before you copy, you go and you scrub and you put your cursor right on the ur of red. Okay, and so now you copy your cursor was at the ura red, and then you go over to your destination where you're gonna cut it. And you go and you're replacing a thing that said the dog is blue and has a much different pasting. But you need red to be where red is and blue to be where blue is. And you put your cursor where blue on the destination is, and it will paste that clip relative to the red. It'll put blue because that's where you your cursor was. We have this in Twisted wave py s. Yeah, and you can kind of do it on protoels, but it's a much longer way around. Oh the fucking sink point bullshit. Yeah, the sink point. No pro tools has a sync point command comma. And the problem of pro tools you have to paste it. You have to paste it and then you have to move it to the sink point. There's no paste to sink head. There's no head paste, there's no tail sorry, there's only head and paste. There's no tail paste. There's no sink paste. And pro tools you can spot to the sinc point. If you use spot mode, you can do it. That's the way I do it. You can spot to the sink point, but you can't paste. You can't paste the sync point. Yeah. But yet what I do is I cut, and then I keep using spot and then and then I paste using it. Yeah. When you paste and then you open the edit back up. Yeah, yeah, it's yeah. It's a longer way around, much longer way around having clicks. Yeah, yeah, that's right. Yeah. What they do and actually twist a wave and the waveform editor and Audition both have something called special paste or mixed paste, and so it does a similar thing. You can select any length of audio, then you can choose any length of paste point, and it will change the length of that selection to match the length of the Pro tools will do that. Yeah, pro tools will do that, like like paste to fill and things like that. This is different than got it. Yeah, I'm talking about like pasting something and putting the exact moment where the play cursor was. Yeah, yeah, pasting it relative to where the play cursor was. Everything else just paste relative to the beginning of the selection. Lover. Actually, so that's one reason why I like buzzies and stuff, loved using fair lights because they were really fast on it if you're editing dialogue, the fair light was the sharpest night. Yeah, that was the only studio. I mean, I haven't been a lot of I have not been into a lot of studio, but I remember the only studio I've ever been in with fair light actively being used with buzzies in um. There's a few, but they all tended to be like you know, it's funny, like NFL films. I think might still use fair light. I'm not sure, but there's a there's a few holdouts, but a lot of them were pretty much like fair Light now free because it's just built into a Da Vincia. It is it is, is it really? Yeah? But you you would find you would find Reaper easier to deal with than fair Light when it comes to its bussing structure. But that said, like fair Light just came out with a clarity of their own, like like they have like a clarity plug and built into fair Land. I mean, but if you don't need the complex bussing blah blah blah, would fair Light be easy to learn to edit on? Well? I had to learn, and we're talking a few years ago now, when I went to a post production house he many years ago called Take two. I went as senior sound designer. Um, they had fair Light and they were running it through the Prodigy Surround console. And I'd come from pro Tools and then I'd been at George Patts and we had d was the AMAC right, Yeah, and we had dspose those three screen those three screen DSP systems. Yeah, we had those. We had that at George Patts, the advertising agency I'd been at before I went to Take two, So I'd never sat behind a fair light. And we're talking a while ago now, so I can't speak for the current version. But I picked it up reasonably quickly. I didn't I didn't find it difficult. It was just remembering keystrokes and you know, finding your way around the sort of layout. I guess more than anything. I mean, I'm sure it's like anything else, like like once you get to know it, it's um, you know, it's great. I'm not. I'm not familiar with its buzzing structure, and it feels a little bit key worth. I guess that's my point, is it is it worth getting to know it? It's my point, Like, you know, I'm just thinking, like you know, we're used to was Awave, it's I think da Vinci is a bulky application for a voice actor. Were talking, Yeah, I was going to say, if we're talking voice actors, I keep it simple. I mean, I guess my question to you, George, to take a few steps back was going to be, because you know, I'll be honest, I don't stray much from pro tools and Audition, to my two main doors for a voice actor. Is there a difficulty in just sticking to the two track editor in audition? Is there? Or is it just a cost thing? What's the what's the deal with that? Because if I was a voice actor, that would be what I'd be using. I'd just use that. I mean, why not just use Audacity If if what you're looking for is simple, cheap two track editing maybe sort of pseudo multitrack, and Audacity does it's fine. I mean I like software that has support, you know, I like having a guy or a team there too. And you know that's and that's why I can do almost everything and twist Awave I can do with Audacity. I can't do everything in Twisted Wave that I can do an Audacity, right, I mean, Audacity has the macro function and Audacity is like if they made a love child of batch processing and stacking right to a macro, I can add normalize. I can't add normalize to a batch, right, I can't add normalize to a rack. You can't use it. I'm sure Audacity has a thousand holes in it because it's like the open source correct But it's getting better all the time. I have to support it, so I try to stay on top of it, and it's getting better and better and better and better. But it's still like you open certain plugins and you're going Whoever it came up with this idea of how a compressor should work, has never really used one before, Like, what the hell are these controls? Why is there a gate setting in my compressor? What the heck is that for? So, yeah, it's very strange. How does auditions automation stack up again some other doors, George, Because that's really intuitive. You can basically tell it to start recording an automation go and do everything you want to do, and then tell it to stop and then add it to a hot key. That could do everything. But you can do a lot. You can do a lot, And that's my question is how does it compare to some of the other ones. Reaper is actually probably going to take the cake here because Reaper is fully script scriptable, but it's easy and fully like like this is something that pro Tools just added and that makes Reaper like really powerful. And the other thing that Reaper has and I don't know if it's part of it, but there's these other companies like SWS Extensions, and they make whole worlds of stuff that like Reaper has a number of capabilities of that other workstations kind of don't in a way. Like one of the things that STBs could do is it was snapshot the mixer and change the number of channels and even all kinds of stuff. Was almost like opening a different session within the session. And then we all know, like reper can record straight from a track right on to itself, but you can't do in pro Tools. You can't do pretty much in anything. And auditions horrible because audition can't even record itself. It can only waterfall out the It's just like top to bottom. There's no going back up to the top within itself. So auditions incredibly way is limited in certain ways. It's very nice that it would have happened, like the fill the favorites. Thing is nice, it's very it's it's like it never got it's like nineteen ninety five. No, it's never And I have to say about Adobe Audition. I hope you guys are listening over there at Adobe. What happened to during leaves and what happened to the team at Adobe Audition that cared about Adobe Audition. I don't know if there's anybody left over there that cares about Adobe Audition. Yeah, they've they've stopped updating it. All they do is they do an annual refresh just to say there's a new version, because then I can Yeah, that's about it. Not really. I mean I've been teaching it for three years and it hasn't changed one iota. The last feature I saw was where they provided like a really nice ducking feature, and I think cool that it did not have the spectral view and audition put in the spectral view, but the spectral view and audition for very good. The other thing the audition can do, that's a very powerful tool for really many people in audio, for voiceover specially or anybody mastering for podcast, video, YouTube. Whatever is loudness match or match loudness, and that's a really really useful tool. But these are all things that like, like what you're buying there for thirty five bucks is like you're getting a lot of some features that you would have to pay third party for through something like tools. They try to pack a lot into there, and it's not necessarily the best implementation of it, but it's in there already, you know value it's it's in there, and you're like, shit, I'll just use this because I got it now. Yeah, it's not that Audition is not powerful, but I do think that I fail to see how Audition is any more or less complex than Reaper in terms of if you don't know what you're looking at, they both look infinitely daunting, and so I don't see how Like, there's plenty of things in Audition not to click on and don't do that and you're gonna mess yourself up. So how is it any different than Reaper. Well, at least an audition, I can go in there and quickly make them a workspace that has exactly what they need to see and nothing else. Yeah, like I can do that. You can remove items from the menus or no, but what you visually see on screen is completely customizable. And you can store the whole workspace. I would be surprised if you like you can. You can remove things from the screens, and you can simplify Reaper. I'm sure I can. I just don't know how. Yeah, I'll bet you it doesn't. It doesn't. I haven't gotten over the learning curve. Even though I sat and watched a four hour class, I still don't feel confident I could sit down and do that. I keep on finding just like new stuff in Reaper, Like Reaper will edit video, Yes, you know I do. Yeah. Yeah, it's like and it kind of like it kind of does surround, but it's really not well implemented. Like there's certain things that Reaper does. Did you know that twisted Wave can edit video? Yes, I remember you like that came up. But twisted Wave editing video is a little bit more like quick Time ed more but more useful, like you can you can go through what you can actually see what you're doing and just trim it down. Yeah, you know what the tool is right now? Honestly is what I feel like I need to start teaching people if they're willing to pay for the fee is descript Have you guys spent any time really using and learning descript. Yet so Descript lets you load the file in like like first of all, descript is all online, so it's nothing but subscription. Well it's not. It is subscription, but no, it's an app. It's like storage based or time based or it's isn't it. It's a transcription based it's it's their primary thing. Basically, Descript is scot free until you turn on description. I'm transcription. It's you can use the script for free as long as you want. If you want the transcript and feature, that's when you start paying for it, and then you can edit using text correct. Yeah, and it does it very very well. And if you guys can go look you can you can hate all my videos or you can tell me you like them, but watch the last three or four youtubes I've done. All of them were cut in Descript, all of them produced in Descript one hundred percent. No, it's incredibly useful. And the fact that I can shoot a product review that would take me two to four hours of production and post production time, right, I can do that now in an hour. I can make a ten minute YouTube, tightly edited, very tightly cut video. Can you can you not even edit it. Can you just give it to chat GTP to edit maybe someday. Well, well that's a good point. I can take the transcript, load it into chat GDP, do a short version of make a four hundred word version of this video. Take that, put it back into the editor boom, re edited by CHATTPT. I haven't tried that yet, but yeah, but but you'd have to tell chet GTP to do a four hundred word version of it without using any words that were not originally pasted in there. Yeah, no, it would not. It would. It would be a goofy experiment. But I don't I have not no. But what I do want it all the time, as I say, shorten all word gaps that are longer than point three seconds. Boom. Yeah. So chet GTP is not going to do that for you. But but but you can get a lot of the like just the tediousness of editing down, especially if you just leave your camera rolling. You know, you're like, if you're self producing a video of a product review, you're fumbling around, you're putting this thing, and you're doing this step, You're you're putting all this crap together. First thing I would normally do is watch the whole video log all the shots where I find all the deads and remove all the thing this thing, I just go just shorten all the gaps in this speech by you know that are longer than point three seconds. But it just does it. Okay, So you're you're suggesting descripts as a recorder as well or doing everything, or you're just saying that because of its editing, I literally doing everything in the script, shooting everything. I'm I use my iPhone and I use cam Camo, which turns my phone into a webcam and it shoots directly into the script. When I'm done, it's all in there. It's in there, baby. Audio is tracking separately, and then I have to sync them up together later, which is you know, they're not in perfect sync, so I have to do that. But it's pretty freaking slick. Um. But they're not in sync now because a descript because of Camo's camo, because it's our Wi Fi. I'm using it over a little about a third second like lag. But um, yeah, but you don't even need to do video at all if just you can just use the script as an audio editor. I mean, it's right, but so what but what were we solving before? It's like, hey, voiceover person, use reaper. No reapers solving is when people m a fucking connection when they see a waveform on screen exactly. And as the only person who who's not technical in this discussion, which the listener. You know, I read that Nut protels Nut. You know. Twisted wave yep, wave lab yep, simple, simple. I mean I can get myself in trouble on wave lab as well. I don't have too much of an issue with twisted wave. That seems to be pretty intuitive. But yeah, I would not go into multi track at all, leave that for the engineers, but you have no need to. I don't find I don't find twisted wave editing to be a very fine toothcomb when it comes to if you're trying to leak edit a word in that somebody didn't say and make it sound natural. The fact that once you paste it in there, you can't slip and open up the tails. You can do it at one time. You can make a single edit, you can trim the boundary of that edit, but once you move to your next at it, the trim boundaries are gone. Yeah, and that I think is a feature, not a bug. For an actor, you have to make a freaking decision and move on. Actors that are thinking about non districtive they're like, well, what if I want to go back, Like, no, no, you're not paid to engineer. You're not paying exactly. You have to make a decision and move the hell on. You can't sit there and agonize over three different layer, three different what they call the lanes and lanes. You can't agonize over these three different lanes of takes that you just did and comp together an audiobook. You can't do that. You have to just move on. So that's where I feel like that that extra power and function while it's very useful, but but if it's like, oh, it's a tough one and you're not sure, and then you're like, I can't move on with the rest of my work until I fix this edit. I just have to go with this, and then later when you're like, oh shit, I really made a bad one there. Now you're rerecording that section, probably because you can know what, for actors, they can rerecord it faster than they can re edit it correct Yeah, because they're they're better at acting. And I tell people all the time, actors are you better at editor, or you a better actor? You know, I'm gonna say I want a better actor. I'm like, it would it be better for you to just rerecord that line than it is re to piece it together from five different takes and compit. Yeah, like, so record, it's like rerecord, you know. That's that's really what it comes down to. If you are the actor, you have the luxury of rerecording. If you're the producer engineer, you do not. Well, now there's weeks to do it, but well, sometimes sometimes the creatives get hung up on a take. Oh yeah, the creatives meaning that the producers, at the writers, the directors. Yeah, but if if then, if people are listening in and hung up on a take, then you give them everything that they can. Let the engineer do it. If if if I'm working on my own, this is more about like audio books, where there's just so much of it. There's no way that anybody's like fine tooth coming if they are been shant. I'm that I'm really sad for you as an actor if you have to deal with Yeah, I work with voice actors all the time. They do audiobook narration, and I'm like, how long is it taking you to finish that chapter. You know, we talk about ratio all the time. What's your ratio? Um, it takes me about eight hours per finished hour. Like that's two. It's if you're doing If you're putting eight hours in, man, you just need to well. And the problem is is I think a lot of those folks are not people that started as naughty book narrator. They started as a voiceover actor. And the goal of pumping out a perfect thirty second commercial and a thirty hour audiobook is extremely different. An audiobook is much more like a live performance. Yeah, I would agree with it. And and you have to be able to lay it out like I mean, that is the same thing as the band that has to overdup everything or the band that just like plays it and like you're like shit like monitor. I know we've digressed as so many topics, but this leads me to the whole don't sound don't make your finished products sound so perfect that you sound like an AI. Yeah, exactly right. Keep the humanness in there, keep the fact that, yeah, sometimes there is a mouth noise or sometimes there is a little weird little thing in there. That's okay, because keep in mind the listener's going to hear that and not even register it unless it makes what you just said unintelligible, like you had a marble in your mouth. Unless it's completely unintelligible, they're gonna hear what you said with the flaw and they're gonna move on. Like all the time, people all the time send me an audio clip and they say all that depends on what the genre is. They'll stay say listen to this file and I go okay, and they're like, didn't you hear all the mistakes? Didn't you hear all the noises or the glitches whatever? Right? And I'm like, um no, can you give me an example And they'll say, well, at thirty point two seconds they I made this, there was this noise, and I'm like, okay, select it, zoom in, listen to it closer played. Okay, Oh yeah, no, I do I do hear you're talking about up. You're gonna have to let that go. You're gonna have to move on, man. And that's what's really hard for some actors about when they self produce. They have to. It's difficult because you do, you get buried in the new time. Yeah, Like if you don't, I mean, look, I have to heard it myself as well. I do some long form thing and I go through it all, and then you have to go back to make sure, you know, make sure you pick up a little stakes stakes right, yeah, yeah, and then go back in and record that sentence or that pick up those lines again and drop it in. But if you get caught up with every tiny little noise or something between words, whether my nose did that little thing there, that botop thing, or that it's in the pain I knocked, I knocked the music stand or something, yeah, which you so in the distance, you're not going to hear it anyway. At the same time, it's like, don't don't sound like like the swamp and and just like let every mouth click through because can be pretty bad if you sound like really nasty. But but I agree, it's like I think, especially with the books on tape crowd um, and I'm surprised at how many. It depends on where you're coming from. If you're a musician, this is like second nature. But the ability to read literally along with yourself, and then you can just punch anywhere at some point because you're like on the same track literally and punch right over a consonant. No one will ever ever know. Don't punch over a vowel. So just like, oh I messed up somewhere over there, roll backs, start reading along with yourself and on the next like you said, you punch in on the tea and you can nail at punch in. That takes practice, but it's practice. It's learnable, and you can set you can set the auto punch. But the thing is not to come in and be like listen to it, listen to tran. You have to read everything along before it, and you're basically self editing, and then it makes it a lot easier. I used to love doing that. Actually, when when I used to go into sections and that guy Can, you would pick up Can just read in and I'd try him desperately to make it phase. Yeah exactly, yeah exactly. So you were speaking, you had matched your prior take. So basically phasing sound starts sound like pink floid. That's a good point. It's very cool when you do it. You know what, No one can do that anymore. That is a like when you were recording the tape, that was what you needed to do, and like now it's like I mean I'll record all kinds of stuff like music and especially I'll just say it like a lot of rap stuff you hear in rap, now jump at its where like, there's no way someone did that. There should have been a breath there, yea, and impossible. You can't do it, okay. And it's like, where does this come? This comes from not punching in proper. No, it's an aesthetic. It's just like autotois an aesthetic of abuse of the Okay, this is an artifact of not knowing how to punch in. Yeah, and someone eventually having to deal with it. But it's like it's like video video editing with all the crash edits. It's now with YouTube is everyone accepts why it isn't go oh my god. If I had done a crash edit when I was working in television, I'll be fine. I agree with you. Right. So I sat down with my dad when I was back East a couple of weeks ago. I said, hey, watch this video ed you know it's one hundred It's like a one hundred and seventy crash edits, right, because what I told the script, hey, will you remove all the all the gaps? You know, make every edit point two seconds right, and then it shews. It says, okay, I'm gonna remove one hundred. I'm going to do one hundred and whatever it counts the number of edits. It says, okay, I'm gonna here you go, all right, right, here you go. And then when it does it like instantly, and then you have a million little slash is right where it edited, and I have to you know, they're not all perfect, right, So I clean it up a little bit, right, and then I make the video and I have my dad watch it. My dad is my dad. He's twenty five years old than me. Right, I'm thinking he's going to watch this video and be irritated with the crash edits, the jump cuts, whatever you want to call it. I thought he was going to be like, Dad, George, this is annoying. This is really frustrating to listen to or watch. Right near the end of the video, it said, Dad, I had to listen to you for twenty five or more. I get to the end of the video, I'm like, Dad, what did you think of that? Did you see all the edits? I edited the heck out. You know, it's got a million little edits she's like, Oh, I didn't even notice, isn't it funny? Yeah? See, But you'd always have the cut of the well used to go naughty shots and or whatever pickups, So you'd always have a like second or third reel that you could use for cutting. So when you're doing an edit like that, you could do a drop in to cover up the edit. Does Twisted Wave have slip can you? Can you cut the breath out and leave the time. They do a thing called a special paste and paste over room tone where Yeah, that's what I do. I mean I do. It's quick but still yeah, that's how we do it. Yeah, and we silence. I don't recommend silencing, but you can just silence. Select an s will silence or mute anything. Actually, you can do another thing. It is. It is like I mean, it's like a very dull knife, is what it is. You can do like you can do a fight. You can that sometimes that works if you want to. It's like brutal, brutal moves. It's brutal moves, but it's brutally quick like it's it's like especially because of the zero crossing, you know, you turn on auto extensive. The abits are just always dead accurate. I mean they're not they Okay, they're they're not dead accurate. It's like the guy that makes a good sculpture with a chainsaw a black ice with a guy who can who can make a painting of you know, the cosmos with a paper plate and a spray can spray cand Yeah, yeah, but I just watched um yeah, that's what twist. Actually. Do you know what I was You know what I was watching? Just say, do you remember like Star Wars and like the scene where Han Solo flies through an asteroid field and they're talking about the different styles of these guys at ILM, and one's guys like perfect you just everything. It's like he makes the meteor that is fifty miles away have craters and such, and the other guys like yeah, and the other guys like yeah, um, there might be some potatoes in that asteroid field. Yes, And then they slow it down and there's just potatoes in the asteroid field. It's what and each guy in place right, one guy knows how to get the job ready for that budget, and the other guy knows how to be the perfection. You guys feels better about designing the details on it, and the other guy feels better about just like having that Hollywood, you know, like you walk behind the building and it's just like being held up. Say that twisted with is the space potato the Star Wars Space Potatoes of editors. Yeah, yeah, I like, I like the chainsaw on Black plays. It is definitely effective, but it's it's like, I don't know. But then there's there is one guy you missed. You missed one guy. There's the one guy who can make a meal out of an asteroid field. Who's that the guy makes the potatoes? Yes? Wait, what were we talking about again? Exactly? He started as my am, no, use don't use reaper ramparts. But yeah, yeah, that's right, So don't pay the reaper pay the twisted way that the Food Audio Suite and Austrian Audio recorded using Sauce Connects, edited by Andrew Peters and missed by Bloodoo Radio Imaging, which take support from George the Check which I'm going to get to subscribe to the show and joining the visation on our Facebook group to leave a comment, suggestive topic or just say today, drop us a note at our websites pro audio Suite dot com.
