Welcome to the Pro Audio Suite. These guys a professional and motivated thanks to try Booth, the best vocal booths for home or on the road voice recording and Austrian Audio Making Passion Herd introducing Robert Marshaw 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 Peters Voice Ober Talents and Home Studio Go and welcome to another pro audio suite thanks to try Booth. Don't forget the code TI PAP two hundred that we'll get you two hundred Donalds off your purchase. Austrian Audio Making Passion Herd and of course Sentrance and the Pro Audio Suite with the new y Passport VIDO and a bit of an update. UM, I know Michael's been in contact with you, George. How's it looking do you think? I mean, I know that the parts are becoming available to make this thing, he said. The last report I had from Michael from Sentrance was that he's had to redesign numerous products that were you know, fully in full production, you know, like things that were in the catalog things that we're shipping people were buying. The last couple of years, they had to go back and redesign because components just stopped being produced that they used, you know, And that's just this unpredictable side of building these products in very small numbers. You know that when you buy a focus right scarlet, you know it's going to be a batch of probably ten thousand, you know, and then they'll run another ten thousand. And they're buying these components in massive quantities. You know, with a small company like Centrance, they don't have that buying power. They can't keep in stockpile thousands of components. So it's a little bit more of a just in time kind of that, you know, way of making things. So when they aren't available when you want to ship, you're what do you do. Well, you you look for a substitute component, and you redesign, and you go back and make another one and make sure that the new one works the way it's supposed to work. So it's quite challenging, and it's still challenging with the current state of supplies of parts. So you know, we're kind of in line a little bit behind some current product that has to get shipped. But the good news is that you know, he's on top of it. He's communicating, and you know, timing wise, we might be a few months behind where we would hope to have been, so I won't make any promises. Maybe by the end of the year, we see we ship. I mean, we want to see a working prototype long before the end of the year, obviously. Yeah, that's an important thing. So you know, like I said, he's doing his best and he's communicating and let us know what's going on. So we appreciate that. Yeah, he's canceled his vacation as well. And in August, well yeah, I mean he did say that, he said, my family's going to be Egia, but I'm not because I got a lot of catching up to do. And I'm like, oh dude, well yeah, the life of the entrepreneur. I mean, yeah, I know how you feel. Kudos to him for that. Absolutely. Now, speaking of things that are a bit cutting edge, you send us a link, George to a new microphone that is so freaking bizarre. It's called the KNOS. I'm not sure what the modern number is, but just go to k O n O S and you'll find it. Yeah, you go to knos dash sound dot com and this thing is really weird. And the thing that jumped out immediately was the connector. It has a box and the connector looks like it's an Ethernet connection between the microphone and the box. It is it is? That's weird. Yeah. Is it analog or digital? Oh? I'm sure it's digital. It's got to be digital. Yeah, absolutely, well, yeah, I'm still waiting for the web page to load. It has eighty capsules inside. Um. Yeah, I think it's the only product they make. Looks like it doesn't know there's eighty elements. Yeah, okay, I'll try to let this load up here. Yeah, you need to talk to your neighbor Robert and getting to step up with their Wi Fi because it's just absolutely yes, that's right, tell me get a better package. But yeah, it's a it's a weird thing. And it's got like the box that it connects to, it's got three XLIS out by the looks it's got the Ethernet which is where the mic connects to the box. And then it looks like it's got a us Is that a us C? Yeah? Yeah, right, and it has to be a power switch in the middle. Yeah, so it looks to me like there's you can switch between three modes. One is um, well, they call it think if this is your hyper cardioid. So that's got a narrow beam of sixty degrees in a midbeam of one hundred degrees which is a wider pattern obviously, which is typical of your normal cardioid, it says, and then wide beam one hundred and eighty degrees in front, which is kind of interesting. So um so yeah, they call it variable cone technology. Yeah, it's really clever, something that something Robert has a cross been across for a long time. Now. I would have thought, so, yeah, it's it's interesting, isn't it's it's it's they're sort of saying, you know, get rid of noise is the main the main use for it. Obviously with those three patterns. Um for me looking at it, it would be more of a location MIC than a studio mike. Absolutely, Yeah, it's a short location mic. It's another claim is there a sharp access rejection and significantly reduced side and rear lobes keeps your pickup tight through a wide range of frequencies over long distances and with impressive noise handling tolerance, great record, great natural sounding audio every time. So anybody knows hypercardioid mics. They are very directional at the front, but they're also a bit They pick up quite a bit in the back. They have a node or a lobe in the back, right, And because of this thing's crazy DSP technology that combines these eighty capsules, it's able to kind of use cancelation to cancel out what's being picked up from the back. So yeah, it does some crazy It's kind of like you're Most of our modern bluetooth headphones and phones have at least three microphones because some of those mics are used for noise canceling. So I think it's taking that idea and then turning it into this far more sophisticated eighty capsule array. Why it needs eighty capsules, I don't know it needs that many. But and it also has built into the system a noise reduction element, which I'm also finding fascinating. I was hypothesizing that it needs to have noise reduction internally because small capsules are noisy inherently, they're just not as clean as larger capsules. So if you multiply that by eighty, Well, you're gonna get some noise like self noise, so they would have to use that noise reduction to control the self noise of the mic. Right, that's my thought. And I'm guessing the Ethernet cables so you can get along a distance from the mic to the books. I'm guessing I don't know. Yeah, I mean I would imagine you can run as almost as literally as far from the mic as you can run on Ethernet. So this basically claims to have a cardioid with no backlobe, right, Yeah, it's interesting because the cardio it definitely has those backlobes, those sidelobes, but the but the hypercardioid has no backlobe, I mean according to their pattern, according to the pattern. Yeah, the natural beam mode mid beam mode. Have you ever seen those microphones that are just like an array of like sixteen or thirty two microphones in a circle, and then they record people, and then you sit down and they say who would you like to listen to? And this thing can focus in on wherever you want. After the fact, it just records all the microphones and then there's this amazing ability to focus Basically same thing based on adding and subtracting the different capsules together in different ways. And yeah, there's array microphones exactly. This just takes out to another level of complexity. Yeah, this one, this one's along a stick instead of in a sphere. Yeah. Looking at the top those three xl os that Andrew mentioned earlier, it seems like they outputs that you can record each of the modes at the same time. Is that what looks like to you guys? Yeah, yeah. The one is the target channel, which is the one you that's technically the one you're wanting to actually record, one is the anti or the ambient channel, and one is the is the subtraction of the two or the it looks like the hypercardioid. Well. One one is the pac man dude who's in the middle of eating a diet, and the other one of the pack he's going to open his mouth for a new diet. Yeah right, and the last one is he got killed and he's in the middle of like folding back. Yeah. So yeah, that's but it looks to me like you can record all three of those, right, so you can sort of switch between them a bit like the well, I mean, similar to the eighty eight where you can change patterns exact post. Yeah, yeah, yeah, that's right. But do you need to run three excedent cables out and then into something else? Is that that? That is that how it works? I would think so, I don't know if you need to use all three. I think you can just use the one that you actually need, you know. Yeah, yeah, it says here audio output, audio output, front compliment and Konos select right, So most people would probably use kno select on a if you're on a set, right, Well, it depends on your goals, right if you I mean a lot of these production mixers have eight plus channels of recording nowadays, right or tracks. I mean, if you can be like a lens, you might you might be like like like like you know, if the scene opens up and you have to move your mic up higher, you might be able to like widen out your pattern. Yeah, and then when the scene gets intimate you're close, you can focus in. I mean it might be a thing where it's almost like a director with his lens focusing and racking the focus. Definitely you can kind of do that. And what's not clear is that switch whether that's a three position switch or if it's smoothly transitions from very wide to very narrow. Yeah, exactly. That's not obviously either picture. It looks like click from one to the other. But what is the switch output because it says as three outputs, that does that switch output to the USB or something? Because that's clearly the x lrs are separate as three outputs. Well, one of the outputs is always the front, one of them is always the compliment, and one of them is what is what is the selection setting? Like whatever you set the knob to. I see, I see. So they call that Kono select. But the USB is simply its power supply that just don't let that throw you off. It's just so this is just a traditional mic that has happens to be remoted with an Ethernet cable instead of your kind of traditional I guess, I mean it. I don't know if it's an analog signal between the two, I doubt it, but I don't know. I'm assuming it's a digital five thousand Yeah for liketion mind, this is like this is like seven hundred dollars. This is like seven eight hundred bucks. I bet no, no, no, it's five thousand, five thousand, five thousand yes, wholly yeah, No, it needs to be. It needs to be a game changer, an exceptionally good good five thousand mothers for a USB mic. There's a testimonial here which is kind of impressive though, from a guy called Matthew Hasselblad Burbank Sound Studio. Not that he's impressive, but if if what he's saying is true, it's impressive. It's saying, now that I've used the knas, I don't know if I could go back to a normal boom super impressed with the new boom mic. We got crisp dialogue from twenty feet away. Yeah wow, Okay, And there's a photo of them standing out sort of in the middle of like a desert looking scenario, so there's obviously going to be wind and whatever else going on in the background. Plus there's cameras and everything else rolling that the boom mic is actually sitting over the top of. So well, you have to have a hell of a good boom up. Yeah, I mean, because the eam is going to be challenged absolutely, that's right. Yeah. If you narrow the narrow the field that much, you've got to be sput on where the noise is coming from absolutely damn straight wis Yeah exactly. I mean I used to. I used to do very briefly. I did parabolic mic operating on sidelines for football. You guys call it football. We call it actually all I'm not the not the other football, but NFL. Yeah, And you had to look straight down the barrel of the mic. It had literally a tube in the center. Um, that was like what you used to aim. And you had to aim at that accurately, like some guys would. They would hold it over their head to get a you know, try to get it over the heads of who's in front of them. But chances are you were off target. You know. You would just need a little mirror set up, like like in the submarine so you can see the periscope, Yeah, so you can see where you're pointing it. My daughter and I were at the museum just just the this this weekend and there's the Whispering Wall, which is this room where you know, it's like you're like fifty feet away from the other person you asked, whisper in the ear. It just I love those. Some of those are naturally occurring, which is always fun. Ye Um, there's a but in the place where my brother and my dad and my mom will actually work. It's called Longwood Gardens and they have one of those two. It's a bench, a big Yeah. If you said at one end, the other person hears you that stuff. Yeah, it's fun. Um, but yeah, I mean, aiming is going to be challenging. I boom opped for a while and it was you know, I would get occasionally in my headset from the mixer like you know, um, you know you're off mic or he's off mike. You know, can you Yeah? Yeah, because accuracy is key when you're doing exteriors. Yeah, that's funny, Like why aren't the parabolic mics used more on set? Like they don't sound as good? Have you? What's your there? They just don't sound like they sound kind of phazy because the nature of all the bounces going into that one. Yeah, yeah, they sound weird and there, and the fidelity is not you know, they can't capture and they don't give directionality that much at the lower frequencies and yeah, yeah, fidelity. I think it's the main reason. It's a good question. I've I've literally never seen a parabolic used anywhere else other than I'm I'm making a new trend, and it's going to be parabolic mics and whisper rooms. We're going to introduce a big reflective surface that's going to just like focus your energy and it's great. You just stick it on the wall. We were just using a lavel basically a Lavalier mic you know, was attached to the end of the tube and you had to adjust the focal point to get it right. The focal point. It has to be an omni mic because the signals coming in from it on all sides, right, And yeah, if you think about it, the reflection filter should be a parable a parabolic thing too, so that they filter out that that that that spot in the middle is actually specifically like nothing can get there. That would be wild. The actor couldn't move much, that's for sure. That's definite. Really funny you're talking about, you know, lapel mics and stuff. I was doing an interview in London back in the mid eighties eighty six, I think it was, and your retirement, which one was it? What's that retirement? So we're going to do this thing. We were walking along the tens doing this interview and we were using a radio mic attached to the beta cam. And by the way, a radio mic is a wireless mic in the US, right, while that's not going to do Yeah, they call it mcconni, mriconi. What did you guys used to call it? It was a spear right, Okay, Mary had a little lamb. That was all I had to say. But anyway, that was another job. But so we had this issue because we only had the one radio mic um to use and but it was raining. So I ran the cable of the mic from the transmitter on my back pocket up the sleeve of my coat and I attached it to the the umbrella and held the umbrella between the two us. Hey, look at you, and I've shown I've shown this to people. I've shown the footage and it's like, where's the mic? And see if people are looking, going where is the mic? They can't work out where the mic is. That's because you can't see it. It was really close. You missed your calling. You ideas, you and Chris mccallums could have been like this, yeah, exactly, but this this mike claims fifty hurts to twenty K, so yeah, I definitely can go pretty low. This this mic has dual output. I mean, the anti is like literally like a figure eight, like a perfect figure eight. You can get full separation out of two people out of left and right. This is a stereo mike kind Yeah, it doesn't. It doesn't claim to have a stereo input mode thought, but look at look at the wide beam one eighty capture full one. That's almost like your two capsules on the eight one eight mode. And another nippicky thing, you know, the peller patterns we're looking at all right, four thousand hurts, so we have no idea what these polar patterns are at speech, which is like one hundred to a thousand. You know, my biggest thing when I look at stuff like this is I come up with ways to use it. And Robert go with me here and tell me what you think. But if you used one of these on set, and you indeed could have all the recordings from all the different settings in your pro tool session, imagine like a shot where there's there's two guys talking on a street corner and then the cameron pans back to open out to the street because there's a car arriving or something like that. Imagine being able to pull the sound back with it so you have this completely focused on the two guys. That's all. That's all I was talking about. Yeah, yeah, director of photography. That would be so director of photography. You can control the zoom and the rack and the focus absolutely exactly. That would be so cool. It doesn't look like it has a smooth knob for that, but you could maybe do that through just cross fading and pro tools on those three outputs. Well, yeah, you'd probably. Yeah, it'd be easier to do it in post. That's right, because you could. You could, you could go, yeah, you could. It's interesting though, it is like like you've got this like stereo thing, but then when you put it into it's like it's not really stereo. It's more like front and back, but it does have a stereo aspect to it. I mean, it'd be hideously expensive to have one of these to play around with, but you can imagine using this if you were using your road case. I mean, not gonna be wrong. I'd be happy to review it for the Yes, I'm sure. Yeah, yeah, yeah, well I see it got the NAP but NAB it's like one product of the year this year. Yeah, pretty cool, that's joke. Yeah, yeah, prop of the year. That no one can afford. Yeah, well you know, let's it's you wouldn't really want it. You wouldn't really have any use for it in a studio situation anyway. But yeah, location gear, that's all costs of fortune anyway, the budgets on location kits or yeah master yea carrying around on hundred k yes packages, you'd think about how much of the ship's you know, shotgun mic that you use on two three grand? Probably three grand for that. Yeah, really, Yeah, I'd love to. I'm with Robert though, I'd love to have a play with it, just just for the sake of it. Yeah, I've always wanted to do like an Australian sound effects collection, because although there are some out there, there's so many things missing when you actually live here and you want to reach for a sound effects collection just to put stuff in the background. Oh yeah, can I can? I? Can I do my invitation of an Australian sound effects collection, Go on it. Here's the black Recluse space It's here's the want a Tubby whistle snail. Here's the Euston Brown snake. Yeah, he's the great white sharp, He's the box jelly whistle. That's the name of our new album. We have five thousand sound effects. It took three thousand audio engineers to get this library put together because all the rest died actually kicking of which someone went for a walk yesterday. I just walked down the end of the street and I bumped into one of our neighbors and they said, oh, there's a killer whale out there. Really, what of our place? There was a killer whale looking looking at the guys out there in bloody wetsuits doing a bit of surfing, thinking, mate, your game, your game, you're smarter than you. Yes, we're out there. Clearly we've got such an increase in whale or shark attacks in Long Island area, New York, they're deploying a whole bunch of shark shark defense drones. So they're flying drones over the water to look for the sharks and to tell people to get out of the water, right, because it's amazing that the sharks camouflage is so good that you need these computers to pick them out from the roof. Yeah, it was interesting. I used to this is a true story as well, when one of my first first city gigs in radio, because I was the mid dawn guide. So I was the ship kicker. Basically. They used to send me up in the helicopter on weekends to do shark the shark patrol, and it was like fucking amaze. Like you'd sit there and you see the sharks and I say the pilot it's a shark down there. He goes, yeah, yeah, yeah, he's all right. You can see which direction he's going in. It's when they do a sharp turn that's when you got to worry. And there was a guy who was snorkeling off the reef down the southern beaches of Adelaide, and we saw the shark and were just started flying along and then all of a sudden, the sharks sort of took a left turn, a rapid left turn, and started heading doorgious sky. So we've got the sirens going as we're doing the dive down this guy. I've never seen anyone swim so fast in my life. He was almost airborne getting out of the water. The current tague walking on water. Billy Connolly talk about sharks in Australia. I've heard his whole thing about I'm surprised anyone lives past twenty one in Australia. No, it goes forever, but I'll cut it down really quickly. But he talks about swimming in I think he's talking about swimming in Adelaide, and he's before he gets in the water, he's someone tells him, you know, be careful, there's sharks out there and all that sort of shit. So he's already shitting himself and he's snarkling around and he turns around and looks behind him and he goes, not six feet behind me, there's a fin. Oh yeah. And he swims and he talks about swimming so fast, and he's thrashing in the water and he's throwing kids behind him, and he's swimming fo stass so fast. He swims all the way up the beach and ends up on the road and then he goes and I looked behind me and it was my own flip. Yeah, that was that whole sketch you did about Australia. Like it. Yeah, it's designed to kill you. Yeah, it's fucking hilarious. Do you think here anyway? Box Jellyfish? He goes, you've seen the sign of the beach. Stingers, Beware of stingers. And he's like, what the fuck's a stinger? Does it arrive in a taxi or drop out the sky? Arrive in a taxi? Blah blah blah, and then says if you get stung by a stinger, dusse the wound liberally with vinegar. And it's like, what the Yes, indeed that's true. Work in a pinch. Yeah, you can piss, you can, you can. Indeed, that's right. You need that acid to neutralize that. Yeah, I heard those box jellyfish nasty. Yeah, yeah, absolutely. I was up in I was up in Port Douglas. This is years ago, and we stayed up in four Mile Beach. So it's about a couple of klimeters out along the beach to get to the township of Port Douglas. But the whole place is full of saltwater crocodiles and we're out there swimming, you know. And I thought about it afterwards and thinking, hang on a minute. I mean, they're out there, like, they're not that far off the coast and we're in the ocean. Yeah. Do you know what I did? Once I went to I went to the Northern Territory because my brother was working up there. I went up for his twenty first birthday and he took me to this place. It was it was a fresh water pond, right, so there's there's no crocodiles because crocodiles are saltwater. There's freshwater crocodiles, but they won't hurt you. They'll leave you alone. Before getting in, I was like, oh, cool, this will be really fun. But then once you're in, you sort of your brain sort of goes, what if there's some saltwater leaking in here or something. Your brains is going crazy and you get out and you just breathe this big sigh of relief, like made it. Yeah, yeah, yeah, yeah, we digress. So yeah, it could record. Are we still recording? Oh? I think so. Yeah. You could record a crocodile with the new Knots microphone, really, couldn't you. Yeah, And along with us recording near the sound of bones breaking, there was some cellary around here somewhere. Yeah. The fo Audio Suite, thanks to Chime and Austrian audio recorded using Source Connects, edited by Andrew Peters and mixed by Voodoo Radio Imaging, takes the port from George the check which I'm don't forget to subscribe to the show and joining the conversation on our Facebook group to leave a comment, suggest a topic, or just say drop us a Most at our websites pro audio suite dot com
