- Session with a "Processed" Actor: Robert recounts a session with an actor who claimed to have no processing, but the audio told a different story.
- Importance of Proper Gain Staging: Tips on managing preamp and output gain to avoid unnecessary compression and maintain audio integrity.
- Challenges of Compression in Voiceover: The team discusses how heavy compression affects natural sound and the listener's experience.
- Audio Quality in National Commercials: The state of audio production for television commercials and the shift towards lighter processing.
- Mixing Techniques: Debates on mixing into a compressor versus post-mix compression and their impacts on the final audio product.
- Client Expectations and Audio Delivery: Navigating client expectations regarding raw and processed audio and the importance of clear communication.
- Identifying and addressing hidden processing in recorded audio.
- The significance of maintaining proper gain staging during recording sessions.
- The effects of heavy compression on voiceover performances and how to achieve a natural sound.
- Understanding client terminology and ensuring clear communication about audio expectations.
- Practical mixing techniques to enhance audio quality without over-processing.
- Tips for Managing Audio Compression
- Recommended Gear for Voiceover Recording
- Understanding Client Terminology in Audio Production
- Join our Facebook Group for updates and more tips.
- Subscribe to our YouTube channel for Pro Audio Suite Tips and more exclusive content.
- Check out our sponsor, Tribooth, for the best vocal booth solutions.
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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 Tribush, the best vocal booth for home or on-the-road voice recording, and Austrian
00:00:14
Audio, making passion heard.
00:00:16
Introducing Robert Marshall from Source Elements and Someone Audio Post, Chicago.
00:00:21
Darren Robert Robertson from Voodoo Radio Imaging, Sydney.
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Tech to the VO Stars.
00:00:26
George the Tech Whittam from LA.
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And me, Andrew Peters, voiceover talent and home studio guy.
00:00:32
Line up, man.
00:00:33
Here we go.
00:00:34
Sound on TV.
00:00:36
And welcome to another Pro Audio Suite, thanks to Austrian Audio, making passion heard.
00:00:41
And also, Tribush, don't forget the code, T-R-I-P-A-P-200.
00:00:45
That will get you $200 off your Tribush.
00:00:48
Please buy one, because we want to keep Tribush as a sponsor, but you know, it's all about
00:00:53
numbers.
00:00:54
Anyway, Robert's had an interesting session with an actor that claimed to have no processing,
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but it appears probably was lying.
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Robert.
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So, yeah, we hook up and everything's good, and first take, George, here's the tip off.
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First take, I mean, the meter goes all the way to the top, but it doesn't hit zero.
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Yeah.
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There's no way.
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Yeah, yeah.
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There's no way.
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And I'm like, can you turn that down?
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That's a light touch.
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Yeah.
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Yeah.
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Well, first, I'm like, are you processing?
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Because it also just had that compressed sound, and I know he's a radio guy.
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You recognize compression when you see it or hear it.
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He's a radio guy, and I know a lot of times radio guys like their compression, I think.
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Yeah, they have a strip.
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Maybe I'm stereotyping that.
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Yeah.
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And I'm like, do you have anything on your mic?
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Are you processing?
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He's like, no, no, not at all.
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I'm like, all right, well, can you turn it down?
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You're like louder than the clients.
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You're louder than everything here.
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The spot's not even that loud.
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So he turns it down, and then, well, the meter just doesn't move beyond minus 12, but it's
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like...
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Magic.
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Yeah, yeah, yeah.
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Oh, he turned down the output.
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Yeah, he turned down the output.
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Yeah, whatever.
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He didn't...
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He was still hitting that compressor and, I think, limiter the same.
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Limiter, by the sounds of it.
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I asked him, like...
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So he didn't turn down his preamp gain.
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He turned down the output.
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Output.
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Output gain, yeah.
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Okay.
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So he technically turned it down.
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He turned it down.
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I mean, he turned it down, like, 10 decibels, because it was cranking.
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And then, you know, I think I probably mentioned it two, maybe three times.
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And it was always like, no, not processing.
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So I just, you know, move on.
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But it sort of annoyed me, because it's like, I can't put it exactly where I want it now.
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It's now, like, just in your face.
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I know where you're going, but for the listeners at home who listen to you and me bitch on and
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on each week, what corner did this guy now paint you into?
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He's just, like, in your face, like, and there's no subtlety to the read anymore.
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And I don't know what the word is, but it doesn't sound natural, actually.
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You know, we were kind of talking about that before, and it had that, like, just, you know,
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this isn't a radio show.
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This was a commercial, and it didn't need that.
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It wasn't also an in-your-face kind of, yeah, it was a national commercial.
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It wasn't the type of read that needed to be, like, it wasn't fighting loud music.
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It was...
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Yeah, you tell me, Robert, isn't the state of audio production for a voiceover in a national
00:03:31
commercial for television very light processing?
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I'd say so.
00:03:35
Like...
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Like, let's say it's the aesthetic of very light processing.
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You might be using a fair amount for certain reasons, but it doesn't sound processed.
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It doesn't have a compressed...
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Right, you need clarity.
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You definitely...
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Not clarity like waves, but you need, like, you know, you're gonna put a little 4K or
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2K...
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Almost on the edge of sibilant, but it's not...
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Yeah.
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It's definitely not annoying.
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It's not pushed.
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It's not pumping.
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It's not bigger than life.
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A lot of the times the clients are like, you know, like the old saying was, like, I want
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an everyday man or an everyday person, and you're not looking for that, like, inflated
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chest sound.
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And that's what I was getting.
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And...
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So when he was cast for that spot, he, you know, he did the audition, he got cast.
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That's the sound that they cast him from, right?
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And so now he's like, well, that's my sound.
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It sounded very, very polished, clean, cut, and loud, and consistent, and got that right
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on the mic.
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It was the same thing.
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And you usually think, oh, well, they processed it during the audition to make sure that they
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float above the rest and everything.
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They stacked it.
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Yeah.
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It's a term that's used a lot now, I have to say, stacking has become a bit of a...
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What's the word?
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An adjective?
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Yeah.
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Yeah.
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Part of our vernacular.
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Now, speaking...
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Okay.
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Well, he's a test.
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Just because you say you're not processing and they don't keep on pushing, that doesn't
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mean you got away with it.
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No.
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That just means that no one wants to be rude, and they want to move on with the session,
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and they'll deal...
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This is the other thing, right?
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In terms of the amount of processing that I'm hearing was on what you were hearing.
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Is in these days, like for television, you've got loudness considerations that have to come
00:05:30
into play.
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So if you're getting a voiceover that's had the living shit compressed out of it, or is
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quite clearly being compressed, and again, I'm playing devil's advocate here, because
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I know the answer, but I want people to hear your answer because you dealt with it today.
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What difference does that make in terms of your mix, in terms of when you've got to consider
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loudness overall?
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When you're starting something that's heavily compressed.
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I mean, I just couldn't make it as subtle as I wanted to make it, or make it as whatever.
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Natural.
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Natural sounding.
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And the other thing that people don't realize now is like, you know, you go back to 1990,
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and yeah, everything was loud, and you had to make it loud because there were no rules.
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But now, the LKFS level that a commercial has to be at, you don't even need a compressor.
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Right.
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I mean, like, now you're just looking at...
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Minus 24.
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I'll mix it to 23 or 22 because you get a 2dB kind of, you know, window.
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Look at you, sneaky gaga.
00:06:32
Well, we used to do other things.
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We used to, for the surround spots, until we realized it was causing phase issues, we
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would put the voice in all three speakers across the front, so when it went to stereo,
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went louder.
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Yeah, yeah.
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Nice.
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But, you know, it's not the volume wars anymore, at least in the national spots, because everything
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is so just controlled, and you don't need to fight to make it loud.
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It's very easy with no processing just to make it as loud as it needs to be.
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What you're more looking for is consistency, you know, because does it start low and end
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up loud?
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Because you're going to be measured on your loudest point within the whole spot.
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But that's all stuff that can be done with a fader.
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That's leveling.
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That's not like making it...
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But it's like us turning around to the voice talent and going, listen, I'm sorry, but you're
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gonna have to record this spot with your headphones off.
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You know, you're boxing someone into a corner.
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And it's just, you know, the reason we ask is not because we want to be assholes, or
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not because we don't want you to sound like your audition, or any other reason other than
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I've got my job to do, do me a favor, help me out, turn the shit off.
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I don't want it on.
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Right.
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It's not the promo that's moving so fast that no one's going to take the time to mix it
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That's right.
00:07:48
Yeah, promo's a different animal completely.
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Promo is ephemeral.
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Goes on the air, and it's gone.
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It wasn't a gate where you could even call it out and be like, you know, you hear that
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thing cutting off for your clients.
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There's no way my clients were going to understand, hey, like, what is compression?
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They don't even know what it is.
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So you mention it once or twice, three times, and then you just move on, and you're just
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sort of like, ah, like, that guy.
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This is the problem when, you know, this is the pro and the con of like the Apollo systems,
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whether you have the ability to do this, is the pro is that it's available to you and
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you can use it when it's necessary or appropriate for whatever it is that you're doing.
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It's also a pro to know that you can be easily shut off with a single click, and that you
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can get back to the setting that you had before, and you can have multiple settings.
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So you can have an infinite number of versions, right?
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The folks that are using Symmetrix 6200 or Symmetrix 52080 or DVX, whatever it is.
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They don't want to touch a knob because they're going to lose all those settings, right?
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Well, all of those things have one thing in common, a bypass button.
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So there's no excuse, because they can immediately press the button.
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But they are so addicted to the way they sound in their cans through that chain, and they
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know that if they shut that shit off, it's going to fuck up their headphones.
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And now they're going to be like, they're going to be out of their...
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What's he saying?
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That he trusts his settings more than me?
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Yeah.
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Well...
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He's saying, I want to hear it.
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He's saying, that's what I want to hear and not what you want to hear.
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And that's...
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That's my point.
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That's the problem.
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I shouldn't say he.
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They.
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Sorry.
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His name was.
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Albert.
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This person knew enough to know that the customer was saying, send it unprocessed.
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But he knew that his performance was suffering, because when he heard himself in the cans
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totally raw, it was affecting his performance.
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It was harder for him to get that performance.
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The UA does that perfectly, just turn off the record button.
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I was able to set up a UAD monitor chain that had what he wanted in LA2A, right?
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Slam, just like boom, bigger than life, whatever.
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And then we made up a separate chain in his post process and logic that maybe had some
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of that, maybe not.
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It was a mix.
00:10:13
It was kind of a mishmash, right?
00:10:15
But he had a monitoring chain and he had a processing chain.
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We were to separate those two out from each other.
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And, and I think that needs to be done.
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If headphones are a part of what you do, you really are dependent on the way you sound
00:10:27
in those cans to get your performance.
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If you can't turn off the processing to get that sound, then you have to figure out a
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way around it.
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And there are ways to do it.
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It's not like it's impossible.
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You just need to know.
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When I record a singer, I will put the compression on it heavy in the monitors because it helps
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the performance.
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It helps them hear everything and makes it so that they're not trying to push too loud
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and they can have that subtle performance and they're not trying to float above, get
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themselves above everything, but I'm not recording it that way.
00:11:00
And then later that's all things that can be done more thoughtfully with a fader instead
00:11:04
of a compressor.
00:11:05
That's why every DAW, the processing is always post by default.
00:11:10
It does not record the processing on that channel.
00:11:13
Except for Reaper.
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It gives you the option.
00:11:15
Reaper does have a pre effects that is unique to Reaper, but on others, you have to go out
00:11:19
of your way to make an aux chain and then send it back into another file.
00:11:24
And you can do all that, which I do sometimes too, but you have to go out of your way.
00:11:28
But that's why it's always a post thing.
00:11:30
We want as engineers to record the pre-fader, pre-processed, raw, raw audio on the whole
00:11:38
and make that decision.
00:11:39
Coming back to what you want to hear, I mean, Robert, you're a music engineer.
00:11:44
You would know this.
00:11:46
There's debate out there in music producer or music engineer land, you know, do you mix
00:11:52
into a compressor or not?
00:11:53
There's plenty of people who sort of have a slight compressor happening over the mix from
00:11:59
the moment they press, you know, start mix.
00:12:03
And then there are others who won't.
00:12:04
Do you mean do your mix into a compressor as in if it's going to tape or going into
00:12:08
monitors?
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They'll put a compressor on just to sort of control everything and then mix into it.
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And then that's not their master.
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That's just a compressor on the stereo mix to sort of keep everything in check.
00:12:21
And there's debate.
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It's a bus compressor.
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There's plenty of people out there who'll go, yeah, I do.
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And there are people out there who go, no, there's no way I would.
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But that's not...
00:12:29
Are you asking me how I do it?
00:12:30
Well, actually, yeah, that would be interesting.
00:12:32
I mean, I can make a few comments on that.
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Like number one, if I'm moving fast, yeah, I'll mix into a compressor.
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I'll mix and master all in one pass.
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I had a client the other day that was like, the other studio is telling me that I need
00:12:45
to master it.
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And are they ripping me off?
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I'm like, no, they're not really ripping you off.
00:12:50
But if you know what you're going for, you can kind of hit both in one stroke.
00:12:56
And maybe these days, people are just doing songs and they're putting them up on YouTube
00:13:00
and there's not an album.
00:13:03
If you're mastering and you're looking at the whole album, you need to master.
00:13:06
If not, yeah, you can kind of mix and master in one shot, especially because you're not
00:13:10
sending it to somebody else for their opinion.
00:13:12
If you're the same person who's going to mix and master, hey, why not do it in one
00:13:16
shot?
00:13:17
If I'm trying to move fast, I'll mix into a compressor.
00:13:21
But I don't think you necessarily get the most detailed mix that way.
00:13:25
Because there's a certain point after which you start pushing all your faders up.
00:13:29
It just doesn't matter anymore.
00:13:31
I think that's the point is like, do you monitor...
00:13:33
I know we're way off topic again, as usual.
00:13:36
But it's like, are you better off as the engineer mixing through compression that you're monitoring
00:13:42
versus printing that compression?
00:13:44
Because you just want to hear that mix monitored through that bus compressor.
00:13:49
During the session, it's nice to record through a compressor so that you just start hearing
00:13:53
the details of that vocal and you know if there are any problems and the singer knows
00:13:58
that they're not pushing too loud and you're getting a nice dynamic.
00:14:03
But I mean, by now you're mixing, you're in the mixing stage and you're mixing through
00:14:08
a bus compressor.
00:14:09
Are you always printing that compressor or are you monitoring the compressor?
00:14:13
Because you want to hear the way it would...
00:14:15
I used to do it where I would mix into a compressor just to have an idea of how it's going to
00:14:21
be.
00:14:22
And I got burned one time because I did one of these albums where the band had this engineer
00:14:27
do three songs and that engineer do three songs.
00:14:29
And one of the engineers just sent them a pretty much mastered mix.
00:14:33
I mixed it and I did, especially because often when you send the clients home with a mix,
00:14:39
you throw it through a quick master because if not, they're like, it just doesn't sound
00:14:43
right.
00:14:43
I can't...
00:14:44
So you're like, here you go.
00:14:46
Here's just a smack compressor to get it into place so you can listen to it relative to
00:14:53
other things and have an idea.
00:14:54
And then when I sent it off to the mastering engineer, I turned all my stuff off, came
00:14:59
back and this guy sucked.
00:15:01
And my stuff sounded small and the other guy's stuff sounded big because he didn't put anything
00:15:08
on my...
00:15:09
I'm so glad you said this.
00:15:10
And I wish I had just been like, here it is.
00:15:12
I'd done that.
00:15:13
I thought you were going to do it better because that's what you're supposed to do as a mastering
00:15:17
engineer, but you didn't do any of it.
00:15:19
And now I'm forever stuck in this, like my mixes sound small.
00:15:24
Thank you, Robert.
00:15:25
I have to thank you.
00:15:26
I'm going to send you one of those edible oranges, whatever you want.
00:15:29
Edible undies?
00:15:30
Because this is why I set up stacks for voice actors.
00:15:36
They have to know, if they don't know who the client is, this is especially for pay
00:15:41
to play.
00:15:42
I would say this is mainly pay to play.
00:15:44
And the pay to play client says, we want the audio raw.
00:15:49
They just know that that's something to say to a talent.
00:15:53
We want the audio raw.
00:15:55
Well, you get the final product if you happen to hear it.
00:15:58
A lot of times you never hear it, so you just move on with your life.
00:16:01
But if you do hear the final product, sometimes the audio mix blows.
00:16:05
It sucks.
00:16:07
It is not well mixed.
00:16:08
The voice is totally flat.
00:16:10
It's not compressed.
00:16:11
I hear stuff on YouTube ads occasionally, even television, proper television ads, that aren't
00:16:18
mixed.
00:16:19
And so it's this weird thing that actors have this razor's edge where it's like with enough
00:16:24
experience you start to learn that you have to actually process certain things because
00:16:29
if you don't, nobody else is doing it.
00:16:32
That used to only be in promos.
00:16:34
That's a tail wagging the dog problem now where we have to figure that out.
00:16:38
That used to only be in promos where they would record the promo straight to the tape
00:16:41
and before you knew it it was on the air and they were just moving so fast no one had
00:16:46
any time to think about it.
00:16:47
That's just moving fast.
00:16:48
Yeah, moving fast.
00:16:49
Yeah, but the trouble is a lot of times when they say they want the audio raw, it's not
00:16:54
what you think they mean.
00:16:56
What they mean is they don't want any music or sound effects.
00:17:01
And so the interpretation is, oh, okay, no processing.
00:17:05
No.
00:17:05
What they want is no sound effects or music.
00:17:08
They mean clean.
00:17:09
Because they're clueless.
00:17:10
They have no idea what they're doing.
00:17:11
So they don't know.
00:17:12
Yeah, it's jargon.
00:17:13
And those jargon-
00:17:13
They don't know their terms.
00:17:14
Yeah, that doesn't translate across cultures or even from one studio to another what raw
00:17:22
actually means.
00:17:23
That's a really good point.
00:17:25
Anyway, I'm not trying to defend my use of stacks or setting them up for clients because
00:17:29
they really need to listen to what they're putting out.
00:17:32
If they're just hitting a button and sending it-
00:17:34
No matter what you do, you're screwed if you do or you're screwed if you don't.
00:17:37
If you don't, the wrong client doesn't process your audio.
00:17:40
Now you don't sound as good as you could or you end up pissing me off because I'm going
00:17:44
to process your audio the way I want it processed and now I'm pissed off at you for processing
00:17:49
it and not giving me a choice.
00:17:51
There's also the belt and suspenders, which is you track it raw and you have a stack.
00:17:55
You send them both.
00:17:56
Well, this was a live session.
00:17:57
This wasn't like, you know.
00:17:58
Yeah.
00:17:59
Here's the perfect analogy, right?
00:18:01
You walk into a really nice steak restaurant and you sit down to order a steak and you
00:18:06
go, yeah, I'll have a sirloin and I'll have it blue.
00:18:11
Thank you because, well, that's my choice.
00:18:13
But the chef goes, oh, no, sir, sir, sir, I'm sorry, you cannot have blue.
00:18:19
You must have well done and you must have the onion gravy, you know, and it's like,
00:18:23
hang on.
00:18:24
That's not what I'm ordering.
00:18:26
I'm ordering a steak blue with mustard, please.
00:18:30
You know, but you're being told and it's the same when you sit down and in a session and
00:18:33
this dude's refusing to turn his compressor off, he's like, dude, don't try to sell me
00:18:38
what I don't want.
00:18:39
Yeah, but I've got a feeling this guy doesn't know how to turn the compressor off.
00:18:42
Or doesn't want to.
00:18:43
I think George's story is more up my alley in terms of and the reason I've got a bugbear,
00:18:48
by the way, can I just say is because the moment Robert opened his mouth on this, I had a session
00:18:52
last week with a very well-known Australian voiceover artist.
00:18:56
And I had this exact argument.
00:18:58
And at the end of the session, I was so pissed off.
00:19:00
I rang his agent and told them, did you finally give in, Andrew?
00:19:03
Did I give in?
00:19:05
Yeah, no, it wasn't me.
00:19:06
No, I'm joking.
00:19:07
It wasn't Andrew, but this guy, this guy should know better.
00:19:13
And now his agent and his agent, to be honest, the guy, the guy makes so much money.
00:19:18
His agent probably just went, ah, Robbo rang and complained, but get fucked.
00:19:22
I think I know who that was.
00:19:24
I've got a horrible feeling.
00:19:25
I know that was.
00:19:25
But anyway, I won't.
00:19:26
I'm not going to name names.
00:19:27
But the interesting thing is in the in the good old days where we used to go out to studios
00:19:32
with engineers that I sort of had some sort of friendship with or whatever, I'd always
00:19:36
ask them after we'd done the session, what what are you going to do to my voice?
00:19:39
What processing are you going to use?
00:19:41
And a lot of the time I'd sit there and I'd watch them after the session if the client
00:19:44
had gone or, you know, and just see how much they put on.
00:19:48
And most cases they didn't put much at all.
00:19:51
Totally.
00:19:52
Yeah.
00:19:52
Very little.
00:19:54
So my question is going to be once again to Robert and Robbo was if you if you were doing
00:20:01
a session with me for a commercial and it was like a, you know, not a big promo kind of
00:20:05
thing, just a nice conversational kind of commercial.
00:20:08
What processing would you use on my voice?
00:20:10
I would probably just I'll interject real quick and say, Andrew, that is testament to
00:20:15
your performance.
00:20:16
Like it obviously it's the room, it's the mic, it's the it's all the way down.
00:20:21
But it starts with you because you have excellent control of your instrument, your delivery,
00:20:26
your dynamics are consistent, all these things.
00:20:29
So they do absolute bare minimum to the processing because they don't need to.
00:20:33
I would I would basically probably just put a very, very low set high pass filter.
00:20:41
If I if I didn't hear any thumps, I'd probably just still put like a, you know, whatever
00:20:46
even like 40 hertz high pass filter with a very gentle slope.
00:20:50
I'd probably maybe bump the high EQ around two or four K, a DB or three.
00:20:59
And then a light sort of fastish compressor like LA 2A style to three DB.
00:21:08
And then everything else, I would just push the fader for what I needed it to be.
00:21:13
And that's about what I do, probably.
00:21:15
And maybe, maybe with you, probably not.
00:21:19
But maybe I'd have like a little de-esser.
00:21:22
I don't really use a de-esser.
00:21:23
I tend to use a multiband compressor with just a high, you know, just kind of tapping
00:21:27
the high high frequency down a little bit.
00:21:31
A nuanced de-esser.
00:21:33
Yeah.
00:21:33
Or DIY de-esser.
00:21:34
A flexible de-esser.
00:21:36
What would you do with Andrew's voice?
00:21:39
You know, processing wise?
00:21:41
Yeah.
00:21:43
Look, LA 2A goes on most things for me.
00:21:47
And that would probably be it.
00:21:49
A little bit of EQ.
00:21:51
Yeah.
00:21:51
Like Robert's talking about bottom.
00:21:53
Do you have the switch and compressor?
00:21:55
I like it in compressor mode, but there's another bone of contention, isn't there?
00:21:58
Let's be honest.
00:21:59
Would you put a high pass filter on it anyways, even if you don't hear anything in there?
00:22:03
Probably.
00:22:04
Yeah, probably take some of that.
00:22:07
Like I'm sort of a, I mix voiceover like, almost like vocals, like everything that's
00:22:13
unnecessary goes.
00:22:15
You know, that sort of muddy, yucky sort of low mids.
00:22:19
Dump it down.
00:22:20
I sort of tend to, because my go-to EQ is the F6, the Waves one, which is, you can use it
00:22:29
as an EQ or you can use it.
00:22:31
Is that the multi?
00:22:32
Is it the F6 or the C6?
00:22:34
You can use it as an EQ, but you can also use it as a multiband compressor as well.
00:22:40
I use the C4 from Waves, but same basic idea.
00:22:44
So I touch, so if you could see, if you could see the curve on those low mids, it's sort
00:22:50
of, there's a little bit dialed in, like maybe minus one or minus two, that's there hard.
00:22:53
And then I just run the compressor.
00:22:55
Do you boost up the highs or do you just scoop the lows out?
00:22:59
Depends on the voice.
00:23:00
It depends what you're hearing, again.
00:23:02
Because we're kind of saying the same thing, right?
00:23:04
A little bit, maybe, I guess, up the top.
00:23:06
Yeah, because I kind of leave the lower mids alone and I just give a boost on the highs,
00:23:12
but scooping out the lows or boosting the upper mids is like six and a half.
00:23:18
And then I like...
00:23:19
Actually, I've just realized that I've actually done jobs for, worked with both of you, actually,
00:23:24
Robert and Robo.
00:23:25
We should compare.
00:23:26
My stuff always sounds better than Robo's, right?
00:23:29
Yeah.
00:23:33
Of course it does, Robert.
00:23:35
When are we going to have a mix-off, huh?
00:23:37
Yeah, a mix-off, that'd be interesting.
00:23:39
I'd be interested to see what audio you're going to send him, though, AP.
00:23:43
I mean, if you send him pristine audio, that's not fair.
00:23:45
He gets head start.
00:23:46
Yeah, that's right.
00:23:48
That could be a really interesting one to do.
00:23:51
I'd send you both exactly the same file and just see what you both come back with.
00:23:57
And then you can derive our two hearing curves from that.
00:24:02
Yeah, yeah, yeah.
00:24:03
Which one's deafer than the other one?
00:24:05
Well, surprisingly, I was at the audiologist about three or four months ago and...
00:24:10
What was that?
00:24:11
Yeah, I can't remember.
00:24:12
What did you say?
00:24:13
I think my headphones have just stopped.
00:24:18
I mean, that's...
00:24:19
Well played, sir.
00:24:20
Well played.
00:24:21
Anyway.
00:24:22
Yes.
00:24:22
No, we should do that.
00:24:24
I'll stump up.
00:24:26
It's fine.
00:24:26
Well, that was fun.
00:24:27
Is it over?