Welcome to the Pro Audio Suite. These guys are professional and motivator. Thanks to try Booth, the best vocal booths for home or on the road voice recording and Austrian Audio Making. Passion Herd introducing Robert Marshall from Source Elements and someone Audio Post Chicago, Robert Robertson from Voodoo Radio Imaging Sydney to the vo Stars, George the Tech Bottom from La Andrew Peter's Voiceover 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 to get two hundred dollars off. Austrian Audio Making, Passion Herd and passport Vo, which is a collaboration between us at the Pro Audio Suite and Sentrance, the new dual voiceover interface design specifically for voiceover and also podcasting gets Now. There's a still a few of our so if you want one jump on. You can go to a website which is the Pro Audio Suite dot com and find the link there, or go to Sentrance and look for passport Vo to get yours locked in. Now. Somebody arrived on my doorstep the other day and inside was the new Anti one, fifth generation and you've got one too, didn't you, Robbo? I did, and they're sexy. So we've been playing around with it. And because I've got the fourth generation Anti one, so I lined them up and there is a slight difference. I don't know what they've done, but it seems to have a bit more I don't know, a bit more sparkle in the top end than the brighter, isn't it. It is a bit brighter, but it's not like the NTI one A, which is no, it's nicely brighter, but you're Anti one, your original one. Yep. Has it been boxed away in a bag or in a dark place for a long time or has it been out on a stand collecting a thin film of C film, air and dust? Well, this is my that was my question, top and it's been it's been in the box, yeah, because that would make a difference too, if the mike it has been out collecting dirt whatever for the last couple of years, or even more so, if it's out plugged in charged up, that would make a difference to its sound. But it sounds like there's a slight difference in tonal balance. Yes, Well, I just send you a file which was the original Anti one fourth gen the fifth gen. And also I sent you the USB which the NTI one fifth gen comes with, which is kind of unique and seems the work really was. Does it have the same controls, like it doesn't have the DSP rate but it has does it have headphones? And or is it just in Well, this is this is the problem I've had, and I still can't get it to work. So if I go to the USB, I can I can see, you know, the levels are going into either like source connect or twisted wave or whatever I happen to be using. But I plugged the headphones into the laptop and I can't hear what I'm recording. So the nt the Road has no headphone output. No, okay, so it just doesn't have an output. And when you look in the outputs a source connector doesn't show anything. Yeah, I select whatever I happen to be plugged into. So it could be like the in built headphones on the laptop. Right, So you should hear the echo back in your headphones, So don't hear I don't think that have anything to do with the NTG five. Yeah, don't hear it in fact, and NTG five N one NTI one fifth gen. So that that is a mystery to me, and I'm going to have to dig it deeper to see if I can work out why that happens. So you set up the road Central app with all the correct settings from monitoring and all that. Well, the problem I've got is with the roads Central app. I think the issue I have is that it needs a newer computer than mine. Oh, well that could be true. I mean you mean newer than mohave os. Yeah, yeah, that's possible. Mohave is getting old. There's long in the twos I had. I had a problem logging into Source Connected. I had to do a security update to make sure that source connect would continue to log in on one of my Mahobbi machines. So yeah, because if I if I try to if I go to a road Central for instance, it said you can't use this version of the application road Central with the version of you Mac o S. Yeah, it's something to lookout for. Ghoo. Well. Yeah, as we rely more and more on the computers, drivers and the DSP on the computer to do a lot more jobs, we're a lot more tied into you know all those systems, right, Whereas when you're relying on hardware to do that processing for you, or outboard gear and other things. As long as the computer only has to do a conversion, you know, from analog to digital, it's much easier to go very far backwards compatibility was you know. But it's these newer things that have the synergy between the hardware and the OS, like road Central for example. That's where things get a lot more picky about systems and versions, and roads can only go back so far supporting older versions. It's mainly that developers don't want to write apps for older computers. Yeah, if you just like open up a development application and write the app, it's just going to make it current and you have to usually work to fight for backwards compatibility. So any new application, you just don't expect it to reach very far back unless it's very basic, like a driver, just a care driver is basic. There's certain tools that are there, are developer tools and new ross that are just make building the app much smoother. Here's the thing that I reckon gets ignored in the whole app. And I understand, I understand that, right, But here's the thing. When you buy a PC, you expect a life of I don't know. Look, it's been decades since I've had a PC. But let's say you expect a lifespan of four or five years. When you buy a Mac, you sort of go, well, I'm going to get ten years out of this sucker. At least. That's the thing I reckon, is it gets used Mac and get ten totally. Yeah, yeah, absolutely, And I know it's not the hardware, but I think what developers forget is they go, I can't be asked to do this, but there's a massive bulk of your users who is sitting on these old, older machines and going, you know, why can't I use the software? It's like surfing and being on the right part of the wave. You don't want to be too new and you don't want to be too old. Yeah, and and in there you always end up finding these like great operating systems that are super stable that everything works on. I think, like when I think of some of them, I think of snow Leopard, I think of Mavericks, Me, Sirah definitely Mohave, Yeah, Sira Mohave. And I don't know, like the jury is kind of out on the rest of them. I mean, I guess you know, if it's Catalina, seems pretty good. But Monterey or Ventura, and there's going to be some software won't update quick enough. Other software they update right away. But it has bugs and you never, I don't think, want to be on the very front edge of that line. And if you're too far back, then stuff stops working. Yeah, here's here's the truth of the matter. A twenty fifteen MacBook Pro. You remember the very last MacBook, very familiar with the twenty fifteen, with the retina. Guess what Apple says this is support? The support status of a twenty fifteen computer is obsolete. It's because it's virtually the same as the late twenty twelve. Right jump ahead to a twenty fifteen, early model, early twenty fifteen model. The last one I said it was a twenty fourteen. Jump to an early fIF twenty fifteen. Now it's vintage, but it's still supported. So it's it's Apple forcing everyone. Yeah, they've do pretty good about supporting stuff. But I think the funny thing is, like Windows, what is this the opposite? It just everything works? Yeah, Well that they cripple moving forward. They're crippled. They're hands are tied because they are forced and maintain a considerable amount of backward compatibility. They have to go way way back. Things seem to work for longer on Windows in a strange way, right, but they don't seem to work for some reason. Even though things work longer on Windows, the computers don't seem to age as well as the MAX do. And I can't explain that. It depends. Yeah, it really does depend on how well was built, the grade of the components, whether it was server or grade, etc. Etc. But there's no doubt about it. My dad's like, I'm on a thirteen year old PC. I'm happy as a clam. Yeah. I'm like, well that's pretty amazing. Yeah, Like like usually people with PCs are changing every five years, and as the people with the Max, like Robo said, they're changing every ten years. And it's not just because it costs, but my PC, I mean that that thing still rock solid. I just you know, I've stopped using it because well I had issues with using source connect on it. That that was the reason I went mack And And in all honesty, how has life been like with some perspective of time and distance? Like the PC, the Mac, weird weird issues, things not working easier to deal with yourself, needing experts to help you with Windows, like what's been your experience? Um, I found the Windows machine perfect, But that was the one that was made by the guy in Novin at avon W A v I M technology. Those things are rock solid. I mean that that sort of one off kind of their enterprise grade. They're built to purpose, Yeah, with high really equality parts and that thing I've had for god, I must have had it fifteen years, I reckon if still going strong. It's just that I couldn't use source connect, so that's when it was time you could. You just couldn't use Q manage. Well. Q Manager wouldn't work. And there was something else that was happening, and I can't remember what it was, but it was something to do with source connect and few issues. It was a bear to record, yeah, and run two apps simultaneously, which is sort of a classic Windows thing in general. It's not just that computer, but to be able to run two applications that both use the same sound card at the same same time is a bit of a juggling act with Windows sometimes. Yeah, but I found the Windows Machine because I knew it and it was fine, And then I had to go through a bit of a learning curve with the Mac, even though I had a Mac laptop. But I mean just the setup with you know, the army's gone, so now I'm using an audience and all that kind of stuff. So that was that. So now that you're there, what's your what's your thought? Like, wish you were on the Windows Machine or I find I find the audience so much easier than Rome. The total mix on rmy if you're an audio engineer, is fantastic, but if you like me, it's just a mind fuck. The RM is a bit like the Apollo, very powerful. Yeah, you got to know what you're doing with it correct and I don't, So it wasn't It was crazy for me. Now, changing the subject slightly, I've just realized I've gone into road connect, which I'll have to play with later after we finished recording What an Awful Name um, And I'll see if I can actually get the the NT one fifth gen working through there, because I may have to select the mic through there. Well, there's road Connecting, there's road Central, so yeah, I think I don't care the road Central Yeah, just make sure he's in the right app for the job. Yeah, I've got there anyone that can open on connect. Yes, they're in the road beep. Yeah, but they need and one of these heads. I need, I need a tone you do beep, dude. They have a setting on the Roadcaster pro or. You can set that up and when you press it, it will not only create the beep, but it'll cut the MIC at the same exact time. Cool is that on the new roadcaster on this one the original Broadcaster proas with the latest firmware. M H. So back to the mic. I guess I was going to say, we haven't digressed a little bit here. We shut off into some crazy computer tap yes indeed. Yeah. Did we listen to the samples as a group or did everybody listen to the samples? I did not listen to them, to be honest. Okay, we're starting off with the NT one. This is the generation four. I assume it's a generation four no popcuard and I'm about a fist away from the microphone. So the NTI one generation four. Okay, this is the NT one Generation five using the xl R. So yeah, I think the levels are pretty similar. Same distance from the mic no pop shield, so I have to be a little bit careful, don't I. And this is the NTI one fifth gen using the USB connect. If you look at your waveform, you'll see it's like almost non existent. But I think that's got to do with the thirty two bit float. Not that I'm an expert or anything, but that's my guess. Because we're coming in at minus thirty dB or somewhere around that. That's that's peak level according to twisted wave. So there you go. So that's been level matched by George. But I can't really hear that much difference. I mean there's a bit more top end in the ten. Yeah, yeah, but a little bit that it might have been you came in with a little bit more energy because that was not the same make across everything, Like you just said the same thing or a little bit of the same thing, and so I think you popped in there with a little bit more energy maybe, but it did sound I thought freighter. There was something a little bit more forward about the new one than the ord one, which had a mellowness to it. But between the SSL interface, which was your XLR pramp, right, yeah, exactly, and the USB interface internally, I don't think there was any sonic difference that I could hear. Yeah, which is really interesting until like, like I assume you did not have the four K button down on the end, right, because that would have just like been like yeah, yeah, I mean sixteen mode. Ye, that's about pretty fair test proof of concept because again, you guys, the levels that he would tracked that out, we're peaking at minus thirty, right, Yeah, that was always considered to be No, no, you don't do that. That's bad. You're not a pro. You don't know what you're doing. But now with thirty two big float, it's uh, really remarkable that we can just simply normalize that. I normalized each of those, could have normalized it before. Though with twenty four bit, I think it would carry up just as much noise. Probably probably it's gonna carry more analog noise if it's down there naturally, you know. Yeah, so you're saying that the fact that there's thirty two bit float is really inconsequential. If you would just record a twenty four bit with thirty ty d lower gain on your training app would be the same damn thing. It's the same thing. I'm pretty sure because basically thirty two bit is broken up into it's actually twenty three bits, and then the other bits are the decimal, and when you first record it doesn't know what the decimal is. It's kids capturing that is presumed zero. Like, no, it's not up or down, there's no multiplier, there's no gain factor. It's captured for what it is, and they're capturing it really low to allow for huge amounts of headroom. And then when you add to that eight bit, you know, portion of the word that lets you modify the gain up comes all your analog noise. I would assume, yeah, it's twenty four bit basic because it's twenty four bit captured with eight zero bits to use up more hard drive space initially because they split it into four different preamp ad converter chains. They are they up with that they are doing something there. Yeah, they're concerned with gain stage and making sure that they're utilizing the analog stage as well as they can, right like that that's the trick, yeah, because if you are using the analog stage properly, then great, thirty two bit. Now, now I have a game knob on my audio file. It's basically the way to think of thirty two bit. Yeah. Yeah, well that's what they did. And you know, I talked to the Zoom rap when I was at NAM and they have their thirty two bit audio interface, right, they do a similar thing, but they didn't go for the four different stages. They went with two. So you know they were like, well, to them, two was fine. That was a nuome a low gain and a high gain and that was all. And that's what they do. But they're doing the same kind of technology type idea. But I think this for them for the money, I mean, Robert and I have discussed this. I think it should be more expensive and I think that's the issue. That's what makes me feel a bit uncomfortable about the MIC. It's like it's a bit cheap, but it's actually I mean, if they charge it, it doesn't sound it. Yeah, it doesn't sound cheap. No, No, it's only the price tag and how it relates to the prior products before it. Yea, it has any feeling of being a cheap MIC, but it's it's it's a the value proposition is a game changer. Yeah, it's you jump on a session with this MIC and nobody's going to be going, hy, what are you doing? What do you want? No, But there's a lot of mics you can say for that, yeah, you know. I mean it's like I can go get a seventy dollars Chinese mic and right right gain on it and just you know, it's no one's going to really I've heard some really good recordings from an mxl's Yeah, I'm very familiar with that, or or or the one thousand and six, like the original one hundred dollar large diaphragm. It's it's usually just the noise for it is the first thing that's that's that's good on those things. I think the thing that occurred to AP and I though, was because Ap when we were mucking around with these yesterday, AP jumped onto the Oca teeny and it's you know, it's noticeably different. It's you know, it's noticeably more round, noticeably fuller. You know, it's noticeable that he's on a much more expensive there's a there's a pleasingness to it. Yeah, you can't put your finger around, but you're just like rut pro. But having said that, you know, you put this thing up and you've got something that's still one hundred percent usable. Well, basically, if you're doing this for a living, then it's going to be processed to buggery anyway, So it doesn't really matter to No one uses the raw audio, so you know, it doesn't to me. Like if you're looking for a second mic, or a safety mic, or maybe your first mic, I would say the nty one fifth Gen's bloody a sure travel mind and a travel mic and also get out of jail card mike. You know, well it's a stunt mic. Yeah, like if you've got an annoyment or the Austrian's one of those thousand dollars plus mics at home. I think you'd be kind of barkers to travel with one of those. It's not that you can't. I just wouldn't do it. To be able to travel with this and not be so concerned about damaging a thousand plus dollar mike, it's great. I just don't know if I would even want to travel with a large diaphragm condenser mike at all. But that's another topic. But as I said to Ip though, if you did travel with this, the other nice thing is if something happens to your interface, you can still record. Yeah, that redundant. I think that's the one place where it just misses it. For me, it's like if they'd put the headphone out, it would have been really aggressive. Yeah, it's simple interface and a good micah in one. Yeah, because this MIC is considerably better. And this is something you haven't stacked up yet. You haven't done an A B between this and the road NT USB plus Yeah, no comparing the two on USB, but I would guarantee this one is much cleaner self noise wise. Absolutely. I'm not a big fan of that. I think what adds value to it is that it has the XLR. It means that it has to like play well with other people's preamps and be a real microphone. They control less of it. They can't other people's Yeah, am other people's period microphones. And just for that of just for interests, like I've actually changed mic some now and the u C I teen just so you can hear the difference between the NTE fIF I didn't the Austrian audio. I didn't know this, you know, but I had to tell you an you say, yeah, I mean I think you're actually quieter. Yeah, I think it needs them. Yeah, it's got a lot less guying than Yeah, yeah, than the road, that's for sure. When you play them side by side, you peek a bit. Yeah, when when there's a bit of a gap in between, you wouldn't know absolutely, Yeah, yeah, you know it's something to be honest. I bet you inside that road is a usbad ship that actually has an output. I want, like, it doesn't show up, does it? You mean it has a DA converter. I wouldn't be surprised. Yeah, I wonder if they, like you know, you would just h it might have the actual DA converter on. It might be on the chip, or it just might be the USB chip has like a output and there's like ground this leg to only show the input, ground that leg to show the output and the input. Yeah, Like it's kind and you go in there and you just like lift that leg run a wire to the draw hole in it. That would be crazy. If so many, I'm probably right. I'll go and get a drill and check it out. I'll let you know, Yeah, I do that right. Well. That was the pro Audio Suite thanks to Chime and Austrian audio recorded using Source connects, edited by Andrew Peters and mixed by Voodoo Radio imaging which takes the pot from George the check which I'm don't to get to subscribe to the show and joining the conversation on our Facebook group to leave a comment, suggest a topic, or just say today, stop us a most at our websites pro audio suite dot com
