: Got to get your shit together in the beginning. Don't think there's any question, really.
: Well, do you want to tell your client that you're not where you should be or do you want to try to hide it? Or do you want to just fess up to it? Because I think that hide it well, then obviously you're going to get really good at whatever it is. Isotope and waves clarity. And there's some new stuff from acorn, I think.
Speaker C: Yeah, that's why I call recording from the road like the black belt of audio recording, because you really have to know all the tools and all the techniques to pull it off and have it still sound as close as possible to a studio recording. It's not easy unless you have a lot of experience.
: If you work any of those things too hard and you're going to hear it, that's the thing. You can hire the best audio engineer in the world, but if you stand in the middle of a bathroom with an open microphone, there's only so much he can clean up before you start hearing the whole it's lost a bit of fidelity thing.
: Well, only the voiceover bodysuit is designed for that.
: Yes, well, that's the thing exactly. I mean, think once the passport Vo is out, that's the next project is the pro audio suite.
Speaker A: Yeah.
Speaker C: Every plugin that has to do some kind of an algorithm or a digital filter to the audio to remove something causes an artifact at some point, even.
: On a subtle level, it takes a little bit of life and reality away to it, and it approaches more of what is probably eventually going to be known as like an AI sort of sound.
Speaker C: It could be. Yeah, I mean, I'm already used to rx ten voice. Denoise. I know what it sounds like. I'm immediately always turning it down. Someone's like, I use this plugin and I'm like, twelve DB of reduction is too much, man.
: You can always tell when people choke down on the signal too much. And what happens is they start listening to their own stuff and they don't always reference back to the original to see how much you've improved it, because you can overdo it for sure.
: Oh, absolutely.
Speaker C: People apply this stuff blindly. They don't really have a critical ear. And of course, it's harder to even have a critical ear when you're traveling again. Henceforth, the black belt reference. It's a lot harder to get that same sound consistently when you're on the move. True.
: But the thing that does that's noise reduction. But the thing for me that does more damage is d reverb. D reverb is so destructive. Like, just let's call it a quarter turn for whatever you're on. And I reckon you start hearing it.
: And which one is that in particular? Because there's the wavelength, but I don't.
: Know of any that will deal with serious room reverb and do it cleanly.
Speaker C: No, this is the way all these plugins are, guys. The more in your mind you're thinking, I really need this plugin, the worse it's going to sound.
: Yeah, true. And then you run them together, run some noise reduction and dereverb and see what happens. That's just like death.
Speaker C: It's awful sandy grain. And you have to run them in the right sequence, too. If you got to run multiple reduction tools, they have to be running the right way, the right sequence. Agreed. It's not up. There's a television personality here in the States named David Pogue, and we set up his home studio with what was the minimal, I think, treatment you could get away with. Right. It's a decent sized home office, high ceiling. I didn't want it to look like a studio know stuff covering everything. So we did what we could to still have it look like a nice space to be in. In the end, it still had some reverb. And so when I showed him how to use clarity VXD reverb, he was thrilled because we had already dealt with 95% of the reverb. Right. It was already really good, but there was still a tail. You still had some room tail that was there. So then when he used the clarity VX to reverb it sounded amazing, and he was thrilled. And he's like, I use it on everything. I use it on everything now that I do. And that's because we did our due diligence to get as rid of as much of it as possible. And that's how all these plugins that modify the original audio using algorithms and AI, that's how they all have to work. Now, the AI stuff is a whole different kind of a ballgame. So the ability to do it with less artifacts is definitely becoming a thing. That's why I think the clarity VXD reverb is so good because it's based on machine learning. But you still can't have a room with a reverb tail of two or 3 seconds and just make it sound like a dead studio.
: No, I've heard people try, though. That's the thing. Yeah, I've heard people try not happen. Yeah. Just crazy.
: It's funny. Obviously, we all look at social media and you see posts from voice talent in their so called booth, or their part of the room where they record. And that was the thing that I was looking at the other day, and I saw one and thought, God, how the hell does that work? Or are they just getting away with it? I don't know. But then that was why I thought, well, I might as well just set up out here. And I mean, this is not ideal by any means. The only thing I've got really in front of me is a couple of those oralx gobo kind of panels. But I've got a hard desk, I'm on a concrete floor. My actual, all my outboard gear and everything in screens are to my left. And there's no treatment in this room at all.
: Yeah, I mean, you're lucky in the beginning, though, tha
You are any be her three. Welcome the Pro Audio Sweek. Thank you guys, a professional and motivator. Thanks to try Booth, the best vocal booth 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, Aaron Robert Robertson from Voodoo Radio Imaging Sydney to the Video Stars, George the Tech Whittam from LA and Me, Andrew Peters Voice Ober Talent and Home Studio Guy, and don't forget that code tripap to one hundred for two hundred dollars discount on your try Booth and Austrian Audio Making Passion heard now. A different kind of microphone is the shotgun, which is kind of handy if you're in a not so perfect situation. But a lot of people are recording and doing voiceovers from places that they probably shouldn't. So do you feel it in the mix or do you get your shit together in the beginning? Got to get your shit together in the beginning. Don't think there's any question really, Well, do you want to tell your client that you're not where you should be or do you want to try to hide it or do you want to just fess up to it? Because I think that, well, then obviously you're you're going to get really good at whatever it is isocope and waves clarity, and there's some new stuff from Acorn I think. Yeah, that's why I call recording from the road like the black Belt of audio recording, because you really have to know all the tools and all the techniques to pull it off and have it still sound as close as possible to a studio recording. It's not easy unless you have a lot of experience. Do you work any of those things too hot? And you're going to hear it? You know, that's the thing. You can hire the best audio engineering the world, but if you stand in the middle of a bathroom with an open microphone, there's only so much he can clean up before you start hearing that. Hull Friday, I was lost a bit fidelity thing. Yeah, yeah, well only the voiceover body shit is designed for them. Yes, well that's the thing, exactly exactly. I mean, I think once the passport vilas out, that's the next project is the swee. Yeah, every every plug in that has to do some kind of an algorithm or a digital filter to the audio to remove something causes an artifact at some point, even on a subtle level, it takes a little bit of life and reality away to it, and it approaches more of what is probably eventually going to be known as like an AI sort of sound it could be. Yeah, I mean, I'm already used to RX ten voice to noise. I know what it sounds like. I'm immediately always turning it down. Someone's like, I use this plug in and I'm like, twelve dB of reductions too much. Man. You can always tell when people choke down on the on the signal too much. And what happens is they start listening to their own stuff and they don't like always reference back to the original to see how much you've improved it, because you can overdo it. Yeah for sure, Yeah, oh absolutely. People apply this stuff blindly. They don't really have a critical ear, and of course it's harder to even have a critical ear when you're traveling again, henceforth the black belt reference. It's a lot harder to get that same sound consistently when you're when you're on the moon. But the thing that does, you know, that's noise reduction, but The thing for me that does more damage is de reverb. De reverb is so destructive, like you know, just a let's call it a quarter turn for whatever you're on and I reckon you start hearing it, and which one is that? Like? Like in particular, because there's the way, But I don't know of any that will deal with serious room reverb and do it cleanly. No, this is the way. All these plugins are. Guys. The more you the more in your mind you're thinking, I really need this plug in the worse it's going to sound. Yeah, that's right true. And then you run them together, run some noise reduction and de reverb, and see what happens. You know, that's just death. It's awful, Sandy Grain. Yeah, it just takes the And you have to run them on the right sequence too, if you want to run, if you got to run multiple reduction tools, they have to be running the right way, the right sequence. It's not straightforward. Like I set up there's a television personality here in the States named David Pogue, and we set up his home studio with what was the minimal I think treatment you could get away with. Right. It's a decent sized home office high ceiling. I didn't want it to look like a studio with you know, stuff covering everything. So we did what we could did still have it looked like a nice space to be in. And the end, you know, it still had some reverb. And so when I showed him how to use cloudy VxD reverb, he was thrilled because we had already dealt with ninety five percent of the reverb, right, it was already really good, but there was still a tail, you know, you still had some room tail that was there. So then when you use the clarity vx de reverb, it sounded amazing and he was thrilled. And he's like, I use it on everything, And you said on everything. Now that I do, And that's because we did our due diligence to get as rid of as much of it as possible. That's how all these plugins that modify the original you know audio using algorithms and AI, that's why they all how they all have to work. Now the AI stuff is a whole different kind of a ballgame, you know, so the ability to do it with less artifacts is definitely becoming a thing. That's why the I think the clarity VxD reverb is so good because it's based on machine learning. But you still can't have a room with a reverb tale of two or three seconds and just make it sound like a dead studio. No, I've heard people try that. That's the thing. Yeah, not happening. Yeah, just crazy. It's it's funny. Like I obviously we all look at social media and you see posts from voice talent in their so called booth or they're part of the room where they record. And that was the thing that I was looking at the other day and I saw one of the thought, God, how the hell does that work? Or are they just getting away with it? I don't know, But then that was why I thought, well, I must, We'll just set up out here. And I mean, this is not ideal by any means. The only thing I've got really in front of me is a couple of those oral ex gobo kind of panels. But I've got a hard desk, I'm on a concrete floor, my actual you know, or my upboard gear and everything in screens and to my left, and there's no treatment in this room at all. Yeah. Yeah, I mean you're lucky in the beginning though, that you're in such a quiet location. To begin with. You know, I know the rooms because like the right make and the right placement, you can get away with the acoustics. You can do a lot, but yeah, noise, you're immediately having to use tools that are going to leave their impression on it. I would say that whoever is doing this, until you are so confident with it, figure out how to also record a clean, unprocessed track. Yeah, while you're doing the SUDD at least, yeah, as clean as you possibly can before you start dialing in noise reduction and dray verbs and stuff. Absolutely, Yeah, just somehow capture it both processed, you know, if you need to deliver it processed, but capture onto your hard drive just your microphone. Yeah, that's what's so cool about this little Tula mic. Remember I did the appearance a few weeks ago from my folks house, a little cute green flip mic. It's like it's like it's kind of holding it down. That thing can record through the Bruce Free noise reduction algorithm and dry simultaneously to its internal memory or through the USB, so you get both the dry and the noise reduction version of everything you do, which is awesome. That's cool. You know that makes it something I would feel way more comfortable using in the field. Not that it's an amazing mic, I probably pick a better mic, but still the idea that was thought of is really brilliant. I think Michael's going to have that next week with the podcaster AI. Isn't it going to have the de reverb in the d noise knob? I don't know. Is this a scoop? I hadn't heard about that yet. It needs to go in a little baggy, but yes, it's a scoop. Wow. Okay, Okay, No, I don't think we're getting the AI chip on our on our interface, but yeah, no, we're going purist is purest and so yeah, so anyway, what's the wash up on this one? Just make sure that you have the best space possible, which we always say, and then get as close to perfection as you can and then use it with some straight I guess is the word, and consider capturing a unprocessed version just in case. And yes, I know I know that last audio engineers get this stuff and slap reverbal over it, but it's different, that's right. But I've already got revover on it for you don't have to worry about that chamber. Yeah exactly, and don't use Robert set up for your voiceovers. Whatever you do for God's sake. And on that note, thanks for joining us this week. It's been a great show. Thank you mister Leliman. Yes, and thank you road. Only took us three years to find these glowing buttons. The pro Audio Suite and Austrian audio recorded using Source Connect, edited by Andrew Peters and mixed by Voodoo Radio Imaging takes the pot from George the check. Get to subscribe to the show and joining the conversation on our Facebook group to leave a comment, suggest a topic, or just say today, drop us a note at our website dot com.