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(Transcribed by TurboScribe.ai. Go Unlimited to remove this message.) Y'all ready to be history?
00:00:01
Get started.
00:00:01
Welcome.
00:00:02
Hi.
00:00:02
Hi.
00:00:03
Hi.
00:00:03
Hello, everyone.
00:00:05
To the Pro Audio Suite.
00:00:06
These guys are professional, they're motivated.
00:00:08
Thanks to Tribooth, the best vocal booth for
00:00:11
home or on the road voice recording, and
00:00:13
Austrian Audio, making passion heard.
00:00:16
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.
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George the Tech Whittam from LA.
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And me, Andrew Peters, voiceover talent and home
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studio guy.
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Line up, man.
00:00:33
Here we go.
00:00:35
And welcome to another Pro Audio Suite, thanks
00:00:38
to Tribooth.
00:00:39
Don't forget the code, T-R-I-P
00:00:41
-A-P 200.
00:00:43
That will get you 200 US dollars off
00:00:45
your Tribooth.
00:00:46
And Austrian Audio, making passion heard.
00:00:49
Last week, I did a session with a
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studio in Dubai.
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Historically, I used to, when I was going
00:00:56
to town to do sessions, I would, if
00:00:58
I could, hang around afterwards and see what
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the engineers were doing to process my voice.
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If they'd let you.
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Yeah, if they'd let me.
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And they were usually pretty accommodating, I have
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to say.
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So anyway, I sent this email off to
00:01:11
the engineer Ananya in Dubai, and I asked
00:01:15
her what processing she used.
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I'll tell you what the chain was.
00:01:18
It was the OCA18 and the Neve 1073.
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So she came back and she actually really
00:01:26
liked that chain on my voice.
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And then she told me what she did.
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So basically, she said, she used a little
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bit of compression.
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See little bit is such a, little bit
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is, little bit to who?
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A little bit of salt.
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Yeah, a little bit.
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Yeah, well that's true.
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Talk to a radio imager about a little
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bit of compression, you'll get a completely different
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story to someone who's doing a feature film
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or something like that.
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A little bit of compression.
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Yeah, okay, a little bit of compression.
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Sorry.
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And then she said, she took 600 hertz,
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a small 600 hertz cut.
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Now that's the, we were talking about this
00:02:03
yesterday, right?
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That's kind of like the nasally kind of
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area.
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That nasally honk sort of thing.
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Yeah.
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So that's what she did.
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So I'm curious.
00:02:12
And that's all she did EQ wise.
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It was just a 600 cut and that's
00:02:15
it.
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It was for a documentary.
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So it's not a commercial.
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Yeah.
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So she's not doing too much to it.
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So she probably.
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All right.
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No, not really.
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Well, there you go.
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Yeah.
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Look, I mean, if it sounds good, it
00:02:25
is good.
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So I'm sure she obviously was happy with
00:02:28
that.
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So, you know, there's nothing wrong with what
00:02:30
she's done.
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So the idea was I sent you both,
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sent you all a file and said, let's
00:02:34
just do a cold read and it's for
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television.
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And the script is pretty awful.
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It's actually a newsletter from Centrance.
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I couldn't think of anything else I could
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read but I wasn't going to get paid
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for it.
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Well, client confidentiality.
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Yes, indeed.
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I know.
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So I went that down that route.
00:02:51
So I'm curious to see or hear what
00:02:55
you guys have done.
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Well, let's first play that raw file.
00:02:58
So this is that.
00:02:59
We just got the Passport VO printed circuit
00:03:01
boards in-house and cannot wait to share
00:03:04
these images with you.
00:03:05
The next step is to build the boards
00:03:06
up, then test them to make sure everything
00:03:08
works correctly and then arrange mass production.
00:03:12
I missed the memo on the for television.
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You know, the devils in the details, right?
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Read the directions.
00:03:18
Yeah, yeah, yeah.
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So mine's a little hot.
00:03:21
I think mine's more like...
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Oh, mine's hot too.
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Don't worry.
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Mixed mine.
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I've masked mine for broadcast.
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I don't know if you're going to try
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to, if you're going to level match these.
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Yeah, we've done all that.
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Yeah.
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So they're all level matched.
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We've matched them all to minus 24 LUFS.
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So George, you did two.
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Let's start with one.
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Yeah, so there's two variations.
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I don't know which one we're going to
00:03:42
hear first.
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Well, I've got one.
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I've got them all here.
00:03:44
I've got them in the Roadcaster.
00:03:45
So you pick and talk about whichever one
00:03:46
you want to talk about.
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So the first one, I think it says
00:03:51
G1 in the file name.
00:03:53
That one is just using the audio units
00:03:56
from Apple.
00:03:57
And why those?
00:03:58
Because I've been setting up processing stacks, we
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call it on Twisted Wave, for a really
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long time.
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And I've been always using those plugins because
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that was what it came with from the
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early days.
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And so I just cut my teeth on
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using them.
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Not that I hadn't used other plugins in
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the past, but this is what was available.
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And I thought, well, if I use what's
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available, that means the client or the talent
00:04:22
can also use it.
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They won't have to go buy plugins.
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They won't have to get licenses.
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They don't have to jump through all those
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hoops.
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They can just start Twisted Wave, open my
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stack, and get that same processing.
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So the first sample is using only audio
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units plugins.
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And just from memory, because I've done this
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so many times, it's going to start with
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a high-pass filter X-processor, which really
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is a combination of an expander and a
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compressor.
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And then it's going to go to a
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parametric equalizer of some sort, a filter, as
00:04:54
they call it, filter.
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And then it's going to go to a
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limiter.
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And then it just has a minus three
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output calibration at the end to make sure
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the limiter never goes all the way to
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zero.
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And that's it.
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So that's what's on the first sample.
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Here we go.
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This is it.
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So George, thoughts?
00:05:25
I don't really have any thoughts.
00:05:27
That was the best I could do in
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the timeline.
00:05:30
So I was wondering if you thought the
00:05:32
balance of tone, you know, treble to bass
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and dynamics.
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I know that it was compressed pretty hard.
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It was definitely not the mix you would
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use for a commercial on television, but more
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like a web thing, I guess.
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I've processed mine.
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I've mastered mine.
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I was thinking of radio personally.
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So again, it's going to be different.
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But still, yeah, it's a very natural sound.
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Absolutely.
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And it's, you know, it's got everything there
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that it needs.
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So, yeah, that was the whole point of
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that was because I use those plugins because
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that's what the typical Twisted Wave person's going
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to have.
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Yeah.
00:06:06
They're just going to have whatever came on
00:06:07
their Mac.
00:06:07
Well, that makes complete sense, though.
00:06:08
I mean, why would you build a stack
00:06:10
for someone that, you know, if they change
00:06:13
their operating system or something and it doesn't
00:06:15
work.
00:06:15
I saw, was it Audacity have changed their
00:06:20
compressor or something?
00:06:21
So there's all the old ones don't work
00:06:24
anymore.
00:06:25
Yeah.
00:06:25
My buddy, Jim Edgar, who's a great technologist.
00:06:27
And he's like, hey, by the way, 3
00:06:30
.6 Audacity, if you're using certain plugins, they
00:06:33
just arbitrarily change the design.
00:06:36
Yeah.
00:06:36
That's a good marketing move, George.
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Yeah, I know.
00:06:38
I wrote him an email and we had
00:06:41
a little behind the scenes exchange in mind
00:06:43
and off we go.
00:06:46
Not at all.
00:06:47
But yeah, that happens in Audacity land because
00:06:49
it's made by a bunch of volunteers and
00:06:51
they'll just arbitrarily make a unilateral, one guy
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will make a unilateral decision saying we should
00:06:55
replace this old crappy compressor that hasn't changed
00:06:58
in 10 years and make it a better
00:07:00
one.
00:07:00
Not to say that the new one's not
00:07:02
better, but they shouldn't remove the old one.
00:07:04
Yeah.
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I think you would just make it a
00:07:06
new compressor or something.
00:07:07
Right?
00:07:07
Yeah.
00:07:08
Version two or whatever.
00:07:09
Or call it something else.
00:07:10
Exactly.
00:07:11
So then I did a second one and
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that was using a preset built with Studio
00:07:16
Rack, Wave Studio Rack.
00:07:18
However, none of the plugins in the rack
00:07:20
are waves.
00:07:21
So it's got TDR Nova, which is my
00:07:25
favorite, multi-band, what would you call that
00:07:27
one?
00:07:28
A dynamic EQ?
00:07:29
I guess you would call that one.
00:07:31
Yeah.
00:07:31
And then I used Bertom Denoiser is the
00:07:35
name of the noise reduction.
00:07:37
It's like a multi-band expander.
00:07:40
Like one of our first shows was about
00:07:41
that one, I think.
00:07:43
Yeah, I think so.
00:07:44
I still like it.
00:07:45
And then I used, I think, LoudMax as
00:07:48
a limiter or something like that.
00:07:50
So I used a combination of those and
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that's what the second one is.
00:07:53
How about calling it a multi-band Compu?
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Multi-band Compu?
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I don't know.
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Compressor equalizer.
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Oh, I see.
00:08:00
Compulizer.
00:08:01
Yeah, you're doing the wrong.
00:08:02
Compulizer.
00:08:03
You're trying to be clever.
00:08:04
Compulizer.
00:08:05
Compulizer.
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I like that.
00:08:06
Compulizer.
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Yeah.
00:08:07
So I don't know if you have that
00:08:09
queued up.
00:08:09
All right.
00:08:10
Well, here's George's Compulized.
00:08:11
We just got the Passport VO printed circuit
00:08:14
boards in-house and cannot wait to share
00:08:15
these images with you.
00:08:17
The next step is to build the boards
00:08:18
up, then test them to make sure everything
00:08:20
works correctly, and then arrange mass production.
00:08:24
That sounds a lot more compressed, doesn't it?
00:08:26
Yeah.
00:08:26
That's brighter.
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Yeah, I was going to say, you know,
00:08:28
that reminds me of playing it through the
00:08:31
SSL and sticking the 4K button in compared
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to the one we just played.
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That's what that makes me think of.
00:08:37
Well, I've actually got the 4K button pressed.
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Well, there you go.
00:08:40
The 4K button adds 4K.
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Uh-huh.
00:08:44
Yes.
00:08:45
Yes, indeed.
00:08:46
Well, I actually have a 4K button now,
00:08:48
too, because I have the SSL bundle and
00:08:51
their latest bus compressor.
00:08:52
They've stuck the 4K button in there.
00:08:55
In the bus compressor, really?
00:08:57
Yeah.
00:08:57
Wow.
00:08:58
So there you go.
00:08:59
Kellogg's should do a special with SSL.
00:09:02
Special K.
00:09:03
Special K 4K.
00:09:05
Yeah, yeah, yeah.
00:09:05
This will compress your stomach.
00:09:09
I like both those, George.
00:09:10
I think you've done a good, sterling job
00:09:13
with both of those.
00:09:14
Do we have something else to listen to?
00:09:15
Well, we've got mine and Robert's.
00:09:17
Go with Robert.
00:09:18
Okay, let's go with Robert.
00:09:19
Here we go.
00:09:20
This is like blind listening for all of
00:09:23
us.
00:09:23
So here we go.
00:09:24
Do they spend five minutes or ten minutes
00:09:25
on that?
00:09:26
About three, I think.
00:09:27
About seven and a half.
00:09:29
Don't tell people how little time you spend
00:09:31
on doing this.
00:09:32
That took you a solid half hour.
00:09:34
To be fair, Robert, what I should have
00:09:36
done is taken AP's file and put it
00:09:39
through a filter and put some background noise
00:09:41
in there and sent you that one to
00:09:43
do because that's what you do to me
00:09:45
every week.
00:09:46
I didn't because I'm a nice guy.
00:09:48
All right, here we go.
00:09:48
Here's Robert's feeble attempt.
00:09:50
Yes.
00:09:51
We just got the Passport VO printed circuit
00:09:53
boards in-house and cannot wait to share
00:09:55
these images with you.
00:09:57
The next step is to build the boards
00:09:58
up, then test them to make sure everything
00:10:00
works correctly, and then arrange mass production.
00:10:04
That's interesting.
00:10:05
I think I'm going to have a guess
00:10:07
at this one.
00:10:09
You've done nothing to the low end by
00:10:11
the sounds and maybe just given a bit
00:10:13
of a bump into the top end.
00:10:15
Definitely give a bump to the top end.
00:10:16
It's so hard to judge the way we're
00:10:18
monitoring it right now to really get a
00:10:20
good idea, but I mean, it sounded similar
00:10:25
to mine?
00:10:25
I think so, yeah.
00:10:26
I kind of, yeah, I think there was
00:10:28
a little more top end.
00:10:29
The S's were a little more pronounced than
00:10:31
either of George's, but I struggled with S's
00:10:33
too, as you'll hear, so that was kind
00:10:36
of interesting for me.
00:10:37
I think mine has a more deep low
00:10:40
end, but not the…
00:10:42
Did you put a low pass on that?
00:10:44
I did.
00:10:45
Here, I'll show you everything.
00:10:47
Here you go.
00:10:50
Okay, so over here I mixed it to
00:10:52
minus 24.
00:10:53
First thing in the chain is I just
00:10:56
pumped it up and then compressed it by
00:10:59
three decibels using the CLA-2.
00:11:04
Then I used the Avid Pro Tools stock
00:11:09
EQ and I carved out what looks like…
00:11:13
What the hell number is that there?
00:11:15
It looks like a low mid.
00:11:16
Yeah, like 200.
00:11:18
I carved out a bunch of the low
00:11:20
mids and that kind of lets you get
00:11:22
the energy up there again and then I
00:11:25
bumped the really lows and then I just
00:11:27
put this kind of…
00:11:29
I can't hear these frequencies, so I cranked
00:11:31
them.
00:11:34
That's because you're old.
00:11:35
That's why you can't hear those frequencies.
00:11:37
Is that what that is?
00:11:38
Yeah, that's right.
00:11:38
It's because you're old.
00:11:39
Yeah, it must be.
00:11:40
No, so I bumped it 5k with a
00:11:43
bell and then tried to continue it with
00:11:45
a shelf and just sort of…
00:11:47
And that's only like I bumped it by…
00:11:49
How much did I bump it by?
00:11:52
Like three decibels, so not much.
00:11:54
That's not much.
00:11:55
Okay, so then I hit it with a
00:11:58
C4 and de-essed it and then made
00:12:02
it up.
00:12:03
You know what I mean, Rob?
00:12:04
Yeah, yeah, I know what you mean.
00:12:05
So de-essed it but then cranked the
00:12:08
S's back up.
00:12:09
I don't think there's much compression going on
00:12:11
here.
00:12:12
This upper mid might act like a little
00:12:14
bit of a S.
00:12:16
So from like 2 to 4k, I got
00:12:17
a little bit of compression but then the
00:12:19
low end, I expanded it.
00:12:21
Yeah, right, okay.
00:12:22
The really low end, just so that when
00:12:23
it does hit, it's like boom.
00:12:26
Oh, you really want to capture all of
00:12:28
the AP.
00:12:29
When it happens.
00:12:31
Yeah, yeah.
00:12:31
But when only…
00:12:33
That's why I do the expander.
00:12:34
So if there's low end, it's like if
00:12:36
I go, then it's like boom.
00:12:37
But when I'm speaking normally or when Andrew's
00:12:40
speaking normally, it's not necessarily pumping up everything,
00:12:45
every one of the low end.
00:12:46
So it just makes it kind of like
00:12:46
a punchier low end.
00:12:49
And then, yeah, because we were just doing
00:12:51
nothing, I did smack it with a limiter
00:12:54
at the very end.
00:12:56
Like nothing, just like right off the top,
00:12:58
like probably a decibel.
00:13:00
And then that's it.
00:13:02
So here's the thing that interests me, right?
00:13:04
Because at the beginning of the show, Andrew
00:13:07
was talking about…
00:13:09
What was the lady's name in Dubai?
00:13:11
Ananya?
00:13:12
Ananya was saying that she…
00:13:13
And Ananya was saying that she took a
00:13:16
cut at 600, right?
00:13:18
Which is sort of that nasally sort of
00:13:20
range in a voice.
00:13:21
But what's interesting to me is I certainly
00:13:23
haven't done that.
00:13:24
George and you…
00:13:25
And please don't get me wrong.
00:13:26
I'm not saying what Ananya did was wrong.
00:13:28
Everybody, as we've proven just by this simple
00:13:31
scenario, everybody works differently.
00:13:34
But I'm interested to know…
00:13:35
It's also what you're mixing it into.
00:13:36
I would love to know what she's hearing.
00:13:38
Yes, what she's mixing it into.
00:13:40
So is she mixing it maybe into a
00:13:41
music bed that has maybe got some instruments
00:13:44
up around that range and so she's chopping
00:13:46
AP back a bit.
00:13:49
But yeah, it's kind of interesting that people's
00:13:52
different take on stuff.
00:13:55
So yeah, but I mean, so far they
00:13:57
all sound really good.
00:13:58
Well, I also like that we've all used
00:14:00
distinctly different plugins.
00:14:01
Yes, well, I mean, mine's different again.
00:14:03
Yes, that's true.
00:14:04
So we all have.
00:14:05
Well, let's hear yours then, Robert.
00:14:05
Yeah, okay.
00:14:06
Alright, here we go.
00:14:07
This is mine.
00:14:07
We just got the Passport VO printed circuit
00:14:10
boards in-house and cannot wait to share
00:14:12
these images with you.
00:14:13
The next step is to build the boards
00:14:14
up, then test them to make sure everything
00:14:16
works correctly.
00:14:17
And then arrange mass production.
00:14:19
It's pretty compressed, isn't it?
00:14:21
As I said, I mastered mine for radio.
00:14:24
I was thinking about radio typical me.
00:14:26
So yes, it is probably more compressed than
00:14:28
you guys.
00:14:29
There's one thing in there that no one
00:14:31
else has done, though.
00:14:33
There's EQ and compression.
00:14:34
Can I guess?
00:14:35
What's AP going to get?
00:14:36
Can I guess what you, well, what I'm
00:14:38
hearing is that you've actually tried to make
00:14:39
it sound like a 416.
00:14:40
Yeah, well, there's a bit of cut in
00:14:41
there because it's going on radio, but there's
00:14:43
actually a modulator going on in the background
00:14:47
down in the bottom end.
00:14:48
So rather than where Robert used EQ to
00:14:50
boost it, I've used modulation, which also gives
00:14:53
it a little bit of width.
00:14:55
Can you expand it on that?
00:14:56
It's the waves.
00:15:01
Is it Mondo Mod?
00:15:02
Is that the one I'm thinking of?
00:15:04
It's the frequency modulator.
00:15:06
Oh, hang on.
00:15:06
Here we go.
00:15:07
Like you flanged it.
00:15:10
Yeah, pretty much.
00:15:11
But only down in the bottom end.
00:15:14
So I've taken a split EQ, just sort
00:15:19
of taken, oh, shit, I don't know now,
00:15:23
maybe 300 down to 100, just a little
00:15:26
bit, and then stuck a modulator on the
00:15:29
back of that or sort of like a
00:15:30
chorus-y, flange-y sort of thing.
00:15:33
And given it width, you can open it
00:15:36
up and make it wider.
00:15:38
So it just opens up.
00:15:40
Is yours in stereo?
00:15:41
You're listening to that in stereo.
00:15:43
See, I did this from mono.
00:15:45
Did you keep mono?
00:15:48
It's similar to what you were talking about,
00:15:50
Robert, where you sort of cranked up the
00:15:53
bottom end a bit.
00:15:53
I did the same, but I did it
00:15:55
in a different way.
00:15:56
And this is the interesting thing.
00:15:57
I mean, we all have the same thought
00:15:58
process.
00:15:59
We just get there a different way, which
00:16:02
is kind of interesting to me.
00:16:04
It's also unique in that all three of
00:16:06
us here have heard your voice a lot.
00:16:09
In fact, obviously, Robbo, a ton.
00:16:13
So we're really familiar with your voice and
00:16:15
the way you come across to us on
00:16:17
the show, and we also hear the way
00:16:19
you come across to us without processing.
00:16:21
So I think we have a tendency to
00:16:23
keep it more real and more natural, because
00:16:27
we know what it should sound like and
00:16:29
what it can sound like.
00:16:30
We're not trying to get something filtered-sounding
00:16:34
out of it, I guess.
00:16:36
Robbo, can you stack together the first sentence?
00:16:39
Yeah, well, I'm using it off the Roadcaster,
00:16:41
so let me see what I can do.
00:16:43
The sequence will be mine, George 1, George
00:16:46
2, Robert then.
00:16:47
I'll do the same lines for all of
00:16:50
them.
00:16:51
Here we go.
00:16:51
We just got the Passport VO printed circuit
00:16:53
boards in-house and cannot wait to share
00:16:55
these images with you.
00:16:57
We just got the Passport VO printed circuit
00:16:59
boards in-house and cannot wait to share
00:17:01
these images with you.
00:17:02
We just got the Passport VO printed circuit
00:17:05
boards in-house and cannot wait to share
00:17:07
these images with you.
00:17:08
We just got the Passport VO printed circuit
00:17:11
boards in-house and cannot wait to share
00:17:13
these images with you.
00:17:15
I did a little editing.
00:17:17
That's really interesting when you play them like
00:17:18
that, though.
00:17:19
It is.
00:17:20
Because they are all quite different.
00:17:22
Oh yeah, now you can hear how different
00:17:24
they are, which is really cool.
00:17:26
The great thing about audio is there's nothing
00:17:28
wrong with any of them.
00:17:30
That's the thing.
00:17:32
Everybody's got a different approach.
00:17:33
What was the order again?
00:17:34
It was me first, George 1, George 2,
00:17:38
Robert.
00:17:38
I like my second one.
00:17:39
I like yours.
00:17:40
I would pick yours out of all of
00:17:41
them.
00:17:41
That second one, George, I'll be fair.
00:17:43
I like the second one.
00:17:44
I do, I like that.
00:17:45
Reducing some low-mid mud and giving a
00:17:48
little bit more cut.
00:17:50
Again, we're hearing it in a vacuum.
00:17:54
I did that on a pair of Audio
00:17:56
-Technica 2020s or whatever the headphones are, like
00:17:59
the 2040s.
00:18:01
We're all working for a different goal, too,
00:18:03
because we didn't really set a goal as
00:18:04
in this is going to be mastered for
00:18:06
this.
00:18:07
Here's my suggestion.
00:18:08
I reckon we do this one more time
00:18:11
because the process is completely different when you're
00:18:13
mixing it in with music.
00:18:16
I think you should play that for the
00:18:17
bunch.
00:18:18
I'll tell you what I'll do then.
00:18:20
Firstly, I will upload those files to my
00:18:23
Google Drive and I'll share the link in
00:18:25
the show notes so that people can go
00:18:27
and they can download the raw files.
00:18:29
I'll make sure they're all balanced.
00:18:30
Sorry, I'll make sure they're all game-matched,
00:18:32
which they should be anyway, but I'll make
00:18:33
sure of that.
00:18:34
The listeners can go and listen to them
00:18:36
all and then what we'll do is we'll
00:18:37
put a poll up on the Facebook page
00:18:39
where they can go and vote for which
00:18:41
one they like.
00:18:41
But here's my suggestion, right?
00:18:43
If we really want to get down to
00:18:44
tin-tacks with this, which I think would
00:18:47
be a more interesting experiment, is when you
00:18:49
start putting music and stuff in around a
00:18:52
voice track like this, you need to work
00:18:55
a little bit differently because you need to
00:18:57
match your voiceover to the music a little
00:19:00
more.
00:19:00
You don't want a really bright voiceover with
00:19:02
a music bed that might be a little
00:19:03
more dull or whatever, so you tend to
00:19:05
work a bit differently.
00:19:07
Well, I do anyway.
00:19:08
You need to fit it in the pockets.
00:19:10
It needs to sit inside that music bed.
00:19:12
You can't move the pockets completely.
00:19:14
What I reckon would be an interesting thing
00:19:16
is let's get some sound off tape with
00:19:20
a little bit of noise and let's get
00:19:22
some music and we'll write AP a little
00:19:25
script and then we'll have a mix off
00:19:27
that way.
00:19:28
It'll be interesting to see not just the
00:19:31
process of the EQ but also mixing processes
00:19:33
in general.
00:19:34
Who decided that the music should be up
00:19:36
more or down more?
00:19:37
Who did this?
00:19:37
Who did that?
00:19:38
I reckon that would be an interesting one
00:19:40
to do, so maybe we should do that
00:19:42
as well.
00:19:43
I think it should be a George the
00:19:44
Tech spot.
00:19:45
There you go.
00:19:46
Okay.
00:19:48
Let's write George the Tech a spot.
00:19:49
And if it's good enough, you can run
00:19:52
it.
00:19:53
There you go.
00:19:54
And the other thing is what we could
00:19:55
do once we've done that is actually throw
00:19:56
all the elements up on...
00:20:00
Have a mix off.
00:20:02
And so anyone who wants to listen in
00:20:04
and get involved, they can actually do a
00:20:05
mix and send it to us.
00:20:06
That'd be fine.
00:20:07
I'd be curious to see what people come
00:20:09
back with.
00:20:09
And what we'll do is we'll have an
00:20:11
audio engineer division and we'll have a voiceover
00:20:14
division, so if voiceover artists decide they want
00:20:16
to have a crack, they can have their
00:20:18
own.
00:20:18
So we're not judging audio engineer specialists against
00:20:22
voiceover artists, so everybody can have a crack
00:20:24
and be fair then.
00:20:25
Yeah, yeah, yeah.
00:20:26
How's that?
00:20:27
That'll be interesting.
00:20:29
Now...
00:20:29
That's for another day.
00:20:30
So are we voting or who's voting on
00:20:32
that one?
00:20:32
Well, we'll vote on that, I guess.
00:20:34
But yeah, but I guess...
00:20:36
God, I am going to be sick of
00:20:37
Andrew's voice.
00:20:39
LAUGHTER I'll get an aide to do it.
00:20:43
She's already sick of my voice.
00:20:45
All right.
00:20:45
Well, is that a plan?
00:20:46
I thought she tells you to shut up.
00:20:47
So what are we taking away from that
00:20:48
episode, people?
00:20:49
Are we taking away the fact that, you
00:20:51
know, as long as it sounds good, it
00:20:52
is good?
00:20:52
Cos all four of those sound good to
00:20:54
me.
00:20:54
We've always known that.
00:20:55
But they're all completely different.
00:20:56
So I think we've proved that, right?
00:20:58
Yep.
00:20:59
Yeah.
00:21:00
Is that our out?
00:21:03
Yeah.
00:21:03
Yeah.
00:21:04
Yeah.
00:21:04
It's just an emphatic endorsement of what you
00:21:07
just said, Robbo.
00:21:08
That's great.
00:21:10
Yeah.
00:21:11
Yep.
00:21:11
So nice.
00:21:13
Well, that was fun.
00:21:14
Is it over?
00:21:15
The Pro Audio Suite.
00:21:17
With thanks to Tribus.
00:21:19
And Austrian Audio.
00:21:20
Recorded using Source Connect.
00:21:22
Edited by Andrew Peters.
00:21:24
And mixed by Vudu Radio Imaging.
00:21:26
With tech support from George the Tech Whittam.
00:21:28
Don't forget to subscribe to the show and
00:21:30
join in the conversation on our Facebook group.
00:21:32
To leave a comment, suggest a topic or
00:21:34
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00:21:36
our website.
00:21:37
Theproaudiosuite.com