The Home Studio Of The Future

Welcome the pro Audio Suite. These guys are professional and motivated with Tex the vo stars, George Wisdom, founder of Source Element, Robert Marshall, International Audio Engineers, Darren Robbo Roberts and Global Voice Andrew Peters. Thanks to try Booth, Austrian Audio making Passions, her Sauce Elements, George the Tech Wisdom and Robo and Aps International demos. Find up more about us check the pro audio sweet dot com. Welcome to another pro audio suite. Don't forget. If you do want to buy a tri Booth, the code is tri PAP two hundred to get two hundred dollars off your purchase. If you'd like to leave a comic by the way, on your favorite platform, please do so. It's good for our analytics and we might drive a bit more traffic, which is always handy. Now, something that maybe out as we speak, or may be about to be released, is the new Nexus from Source Elements. You've definitely had to look at George. I think you've had to look at it. And Robert knows all about it because it's his baby. How much do you know, Robert, Let's be honest, I'm clueless. Yeah, that's me that's I know it all, but really don't. I'm just like, yeah, can I just say before you dive into it, it's a very sexy beast. Seriously, it's it's very clever. You've had to look at it around the whole thing, haven't you. I have, I've sort of had to play with it. But I mean, Robert's going to explain it the best, so we should leave it to him to run through the list of features. I like hearing like what kind of mess other people make out of it? But you know what's going to see? You know what? You know? What inspires me the most and I think is going to be the most useful for our listeners. I think is the simple things like the dim operation, the fact that it actually just drops you're Mike level yep, and all that sort of stuff. It's simpler than the gate Way from from a studio point of view. From me looking at that gate Way, it meant everything's all in the box. You know, I've got video, I've got everything there. But I mean you should explain it all. Yeah. So so basically Nexus started out, oh god, how many years ago, two thousand and seven, I don't know, like when I but I was like, wouldn't it be nice if you could route audio virtual audio interfaces in and out approach tools, and I was just like, we made that and it was kind of a hit. And what it was primarily used for was to interface the client side of a remote voiceover session or just a remote client side, so think of it as source connect. Was the remote connection for voice talent into an you know, an engineer setup who then also has remote clients. And Nexus was used to empower things like Zoom and hangouts. But we all know that all of those have their various issues. For instance, one of them is if you're broadcasting and you've got talkback going over Zoom, there's many there's very different goals of the talkback versus the broadcast that you want to have your clients listen to. So the talkback can have echo cancelation on it, and actually that helps because many times your clients don't have headphones, but your broadcast you don't want it to be impeded by the echo cancelation and things like this. So what Nexus is is it still represents to me that sort of client side connection, but now we're completing more of it instead of saying, oh, just like throw Nexus at Zoom or throw Nexus at whatever it is that you know your clients are using Microsoft Teams. Here's a gateway for it that does what you need as a professional audio and video person for collaborating with your clients instead of trying to like pound Zoom into a hole. Here's how it's described ten years ago. You send an email out source Nexus is an audio application router record remote voiceover from source connect directly into Final cut or media composer playback. iTunes to pro Tools, even patch pro Tools to and from Nuendo all at the same time, or out any audio application in and out of pro Tools, even if that application does not have any plug in support. There you guy. That was December twenty thirteen. So that that's like a very broad explanation sort of like it's round and so it rolls, but it's like this is a wheel for a car. So yeah, the rolling part of it is, well, it pretty much is a router that was put in the daw so that you could route external interfaces in and out and do things like that. And the primary thing that it got used a lot for it was those client side connections. So how about it would for someone like me, what benefit would I get out of Nixus. So the talent side, what do they say? I think the same thing. So just like you've got Source Connect and you're running with studios and engineers, and it has like that rock solid, you know, qued up connection that's going to pick up every bit even if the Internet does its thing. As you know, voice talent are being forced to take up much more and more of the burden, and you have the situation where hey, can I get playback? So one of the things that Nexus has is it's not a suite. By the way, It's not just the plug in. So there's the original Nexus io, which is sort of like just the raw plug in it. You have to know what you want to do with it. You have to build your own template for it. Nexus Review is a Nexus plug in that now has several ins and outs going into it and out of it. So it brings your talk back over to the gateway, which is our web meeting room. It gets the gateway back into your connection so that you hear it in your headphones, and it plays your playback to the connection and everybody, And it does all that without you having to even think about what the word mixed minus is or if it even exists, because it's done all in one plug in. So what used to need two three Nexus plugins and a talkback plug in is now Nexus Review kind of straight. Just drop that, drop that plug in on your master fader. Your setup is complete, so when you do playback, it actually meets everything else, so you don't get you know, it doesn't well where it doesn't in this iteration, but there's going to be all kinds of stuff that starts to happen within within the suite, within its sort of capabilities, and I think that right now. The first thing you would say is like, it just makes playback easy for for your your question specifically Andrew, which is like, why would a voice talent want this? Yeah, it makes play back easy because really in that sense, you're just like the engineer at that point, you're recording stuff and you're playing it back like that's kind of like what I do. And so this just makes that set up way less because all you really have to do is and also we're going to probably come out with that as a standalone app as well, So if you're using something like twisted Wave, you can just route twisted Wave into the Nexus review app and same thing. You don't have to be on a dot, doesn't have to be a plug in, but it takes all your does your mixed minus and your talk back and you like twisted Wave. Actually, here's a question about twisted Wave. Do you have the option to monitor live through it? It does have a monitor mode that you can turn on, of course with a little bit of latency, but it does have that capability, right, so you might want to do that. And funny enough, if it does create a latency with yourself, there's a handy mute button so you can mute it and you don't have to listen to it, but at least your clients can hear you monitoring through twisted Wave. So there's little individual situations that might be the benefit though, Like if you don't have to monitor yourself and twisted Wave, what would be the benefit of turning that on. Well, the reason why is that you would you're either going to direct your microphone live into Nexus Review, but then if you want playback, you're going to route your DAW into Nexus Review, and if you call twisted Wave at DAW, then you want to route twist Wave into it. Okay, so you set the output in your twisted Wave output setting to the Nexus review plug in out input, the next the right input, the input of well in this case it would be the input of the application, not because in the daw sense the input is taken care of. It's like whatever channel you throw it on, the input is implicit. And then that same ability for all you video editors out there and things like that, the review set up and integrating my talkback with a talkback button, if I want all of that is just like done. Whatever I have to set up a template in pro tools, or I have to have a mixer, all the you know, different things that people do to be able to passport VO yes, yes, least lit in there right right. So so just just to get a little bit deeper. And so I'm in twist it Wave, I'm the actor. I've recorded myself. I hit stop, I hit play to hear playback. I want to hear the playback, and I wanted to also send to Nexus. If I set the output of twisted Wave to Nexus while I myself on the local side here the playback also or will it be shunting the audio to you would hear the playback. And so there is a fader for you. Oh, Nexus handled that for you. Nexus has a fader with a mute on it that you could mute that if you want. So that solves that problem beautiful, right, the question I've got those. It seems that we as voice, but people are going to end up sitting in one room with microphone and screens and computers in there with us. So the booth is pretty well fast becoming redundant. Well it might be that radio style booth. Yeah, yeah, is it? Do you just have it in your booth? That's right, that's what that would be nice, Yes, what I mean. But it's become like a radio radio. I think that's going to happen anyway. I kind of think that. I mean, for me, this thing's sort of ahead of the game because I can see that coming. I really can more and more. I even had two sessions in the last couple of weeks canceled because the creative guys just jumped online with the voice and did it themselves. They didn't need an eye. Well, we do see a lot of that, you know, it's like the phone patch may have gone away, but the director client session and where it comes up. And it's really funny because clients don't really save time when they do this. They think they do what they don't, so they say, hey, let's not book a studio to record the talent. Let's pay the talent the amount of money and make them record it and complain at them if it didn't work out the way we wanted. By the way, so now we have the talent recording everything, and inevitably no one keeps good notes, and even if someone does keep good notes, you don't know how well the talent is cutting up the files. And it's very easy if you've ever been in a session sometimes to get your take numbering off from what you're writing down and what's actually happening in a computer, especially if you, as the talent, you're busy trying to do other things like read the script and not look at the computer screen on what file number twisted wave is on. And so inevitably someone has to put humpty dumpty back together again after the talent has recorded everything, and that's going to take just as much time as just recording the session with an engineer online who can cut everything up and do it for you. And that way the talent only reads what they need to. They're not reading a bunch of speculative takes because no one knows if a's going to edit back to take sixty five or whatever. You can just hear it. You guart it great and it fits because I tamed it out. You just touched exactly on the problem that came from one of these sessions the other day. And this was a well known agency, a global agency that they did one of these sessions where they just recorded it with whoever it was locally and they were on the phone. But the creative rings me and goes, yeah, kind of, I'm really happy with this. But we did some takes. I asked the talent to do this. But of course with no labels, no notes, no nothing, I've got to go through every single take and go to him, is it this one? Oh no, no, no that's not it. Oh what about this? No, no that's not it. No it's more likely. Oh hang on, okay, well is it this one? No? No, no, it's not that. It's like if I was doing the session in pro tools, it would be labeled. I'd have a page full of notes as well. This edits to this blah blah blah, and it's done. But it took like half an hour to find one take for the sky. You know, it's like pennywise poundwise found. It is Pennywise pound foolish. But the other problem is that what happens is that they're they're all working off of flat bids right one hour for the talent. They know what their residuals are. They bid these things out, and it's really hard to get like these agencies to necessarily do just hey, we want to be creative and throw a pain on the wall and pay by the hour to throw a pain on the wall. Instead they do I don't know if you've seen that that like you it's that thing where the guy says like, you know, hi, we'd like to do an advert and we want to search sound effects and do all this stuff and try two different music takes in this and that, so one hour. The person in the studios like, I think it's gonna take longer than that. And then and then the person the agency's like, no, we know our stuff, we know exactly what we want. We're not in decisive at all. We only need one hour. And then you're like, okay, now now you're you're stu making a commercial in one hour that you know it's going to take longer. So even though the agency basically saddles the talent with recording the takes, they never actually face the consequences of their actions because they've already, like the bid happens. Then they audition, and you know, it's like they've already at that point with the bid, you know, taken out the voice record. We'll just give you takes. Yeah, yeah, yeah, it's you know, you get what you pie for and if you don't pipe, you don't get much. So yeah, and you're gonna pay you later. Yeah, it's pie lighter. It's it's sooner a lighter, you're gonna pie for it. I really think this was that moment when the voiceover industry they all decided that they were going to try to eat each other's lunch. And at some point it became like my booth doesn't cost a thing. My setup and knowledge of my booth and what to do through blood and sweat and t figured out and literal money, that is free too, and that all that stuff never should have been free. It should have been Okay, I'm whatever four hundred dollars an hour, and oh, you want to use my studio, even if it's fifty bucks an hour. Yeah, there should be a rate attached. I totally agree. We as as voice actors, they wanted to be providing a service. And I can name names, but I don't need to. Who are very early on in the home studio timeline, right, like literally FedExing dat tapes, right, They didn't They wanted to be to be a service provider. They wanted to be ahead of the curve and create a business niche for themselves. In the meantime, they were creating a problem for the fact that home studios would eventually become a norm and nobody was getting compensated for operating a studio and engineering a session. It's like when you have something unique, you charge more for it. So if you're a voice talent and because you're available at home, you are available like instantaneously. You don't need to have a limo drive you around la. You know. It's like that's a perk, and it might be a perk for you, but it's also a perk for your clients. Like, but it just got it became part of the ad end, like a long time ago. This is this was in the early two thousands, Like this was in the days of DN that. This was literally when I got into the business. Yeah, I was just being told people need this help. And I didn't know anything about the business model. I didn't know Jack squad about who got paid what, how what you didn't get paid for. I just was there to solve problems, you know, So I had no idea that this was going on so much later. Yeah, but here we are like talent. Talent put a lot of time, effort, money, you know, emotion into building their set up and learning this like basically some aspect of the craft of audio engineering essentially, maybe not the whole thing, but there's like, I mean, tell me this, would there be a value This is off topic, but would there be a value when you when a talent or an agent invoices that they even if the bottom line is identical, that you literally add in a line that's engineering services, so it literally shows up and they see, oh, are paying for this? Would that be Would it be some efficacy to this? It's kind of like restaurants starting to charge a service fee or a kitchen love feed or whatever, and it's like, you know, there's been a lot of blowback to this, you know, because it doesn't it's like some people really just raise your prices and other people are like, I like the transparency. So it's kind of confusing. I think that if you want to, you effectively want to raise your price, and the only way you're going to be able to raise your prices by showing your value. And so in that sense you almost need to because I mean to the point that it happens on the flip side, so not just are like there's three layers to it. It used to be that the talent went to the studio, and so there's two studios and there was a lot of meat on the bone for a whole industry. Right there was an engineer in a studio in LA. There was an engineer in a studio in New York. Voice Talent in LA. Yeah, there was a there was five creatives over in New York. It was all happening in real time, and at and T was like just digging into the pie too. And now it's like the first thing that happens is Voice Talent or the auditions come in and they say, you know, must have DN or like you know, source connect essentially and read between the lines and what's happening over on the bid side is there's no money for a remote studio. Ye, only talent with home studio need apply. And George, how many times have you seen talent that have done the voice tracks west or the that you know? It's like, I know a place that knows what pant a pocket voice tracks West is. I'm like, if you don't do these sessions at often, spending ten thousand dollars on the soundproof booth is a massive waste of money. Yeah, and voice tracks is like, you know, got a tight operation. It's not you know, it's it's not like decked out in oak panels like the big Boom. It's like, here's a room, here's a setup. You need an engineer to set you up. We don't have staff to sit there and babysit you the whole time. But what are you gonna do? Like that's all you need? And it's like and I don't know what they charge, but I have a feeling it's affordable enough talent friendly rates, you know, right, And it's a good it's a great idea. So you get those auditions that are basically like, you know, bring your own studio iOS and then and and then the next level is like you know what, we're not even going to hire an engineer to record it, like we just talked about, and you know, it's like right, right, right, It's a weird position. I've always felt weird being in the position of enabling, essentially because I'm enabling the talent buyers to charge low rates for engineering or not budget for it, and I'm enabling the talent to meet that need. At the same time, there's the plus that, like, you have your talent that can go live where they want to, and there's many talent that would if charging for their studio would be a deterrent to them having the lifestyle that they want. They want all their sessions to be in a house. The reason to give it away is not just because they're trying to get an edge over some other talent, but also because they're trying to direct their life the way they want it to be. And being called into freaking city every you know, every other day for an hour session and you've got to drive two hours is crazy and so it makes sense. And let's face it, as a voice actor, you can't live the lifestyle that you would like to live and be in. It's those days are mostly gone that you can live that lifestyle and have a nice home and have all this space and blah blah blah, and live in the city like live in Los Angeles or too lookalike. Like that's unbelievably expensive, right, and you don't have to anymore anyways. So getting back to the right thing, though, there is a way of doing it. And because on my invoices, I show studio and edit slash and then you know whatever the fee is, and it's usually zero zero, but you can actually put in their voice that bla blah blah blah that that right goes in studio edit x dollars, and then you can give them a discount, which actually it's equivalent to the studio right. That way, the client sees that there is a fee involved in that, but you've just done them a favor and not charge them for it. I think that's that's very smart. I mean I will invoice people for a zero dollar item just so they know they're getting it. Yeah, the problem with like a flat rate or just write the real you stun and say the discount that you're getting. I'll say this is one hundred dollar thing. I'm throwing it in at zero dollars, but you need to know that it's worth it has a value attached. Yep. Well everything we do has a value attached because it's our time, right, Yeah, but it needs to be literally spelled out for them on black and black and white. Agreed. But the stupid thing is I was talking to in fact, Robert and I were talking yesterday about equipment and stuff in the studio I've been leaving. But that's the stupid thing. Well, it's a stupid thing in my case because it's ridiculous. I mean, I don't need any of this stuff really, but I was sitting here the other day, like adding up how much the dollar value of the stuff I've got in here in preamps, compresses and microphones. Is It's just completely insane. It's ridiculous. It is, Yes, Yeah, I mean it's a it's a it's fun though. It is fun, and it's like it's like, okay, it is people putting wings on their back of their Hunda Civic. Yeah. Thanks. I mean I hate to say it, but it's like we are kind of doing some of that. That you can buy a Civic with three exhaust type tips coming on the back exactly. Yeah. Keep yourself, but you look out. Yeah. But but but but sometimes we're just like, oh, that thing's gonna make us faster and improve my zero to sixty times, that nive preamp or whatever. And I think that we get caught up. I mean, god knows, I've spent a lot of money on audio gears. Oh you have, you're you're probably we all wisdom, may actually I have. Yeah, I think you any like the nose spray that like breaks the addiction. Yeah. Whatever. Robert's business models are different. One he's serving. His service is his studio and his skill with his tools, you know. So I feel like a service provider that's providing that type of a studio service. There's an expectation of a certain investment in that equipment and and keeping it up to date and keeping it serviced and keeping keeping keeping key and keeping It's funny though, because I did send a file off to one of the old air production guys in one of the radio networks here because he was looking at buying Austian old microphones for their studios, which he did, but he said, oh, can you send me something you've got you got example of the one night, and I went, yeah, yeah, sure, so I send him just a cold read eight one night through the nave. He just got back going. I said, what do you think. He goes, Oh my god, I'm buying. It's so funny that the subtle stuff is really there. But it's it's great when either someone is completely you know, doing the same drugs that you're doing, or actually is truly hearing the same thing that you're hearing. There is there is this like wow, that really is better. And at the same time there's you know, someone walks in it doesn't understand much about it, and I was like, what's the difference, Like, yeah, you really get me, you really see me. It was really funny. It's like a guy, a guy that both Robbo and I know is also an audio guy. This is years and years and years ago. He got a voice track center. It was a cold read from the studio in Melbourne, and he caught me up and he said, do you know what microphones or what microphone they used down at the studio And I said, no, I don't. Actually he said, man, you've got to find out. It sounds unbelievable. So I went down there and I was in there doing a job and before I got in there. I said, Oh, what what Mike's are using? By the way, he goes, oh, what was the session? I told him It's like, oh, yeah, yeah, you it's we've just bought a new You forty seven the telephone can Ye forty seven. When they first reissued the thing, I'm like, okay, so I think they was selling for close to twenty thousand Australian dollars at the time, so fifteen fourteen thousand US, I'm guessing it sounded very nice. It would want to. I don't know they reissued that, Mike, Yeah, the Telefunken You forty seven. Yeah, I never knew there was I never knew there was a reissue of that, Mike. Yeah. Yeah. I think that thing's been like homages, I know what I mean. It's literally a noyman literally like they did just the U sixty seven like five years it's it's telefunking, but telefunking is not the telefunking that telefunking was, right, it corrects, Yeah, telefunkings like some company in Connecticut. Telefunking is really a European funky funking. It was kind of weird though, because a lot of the normans that were rebadged for America. So you know, like Frank Sinatra's You forty seven was actually badged I think is a telephunking, right, because it's really so they were really You forty seven, they were really Neuman's. Yeah right, yeah, and then and then they were rebadged as Telefunking. And then the same thing happens with the AKGC twelve. Because Telefuncking was an importing company, they didn't they would they would like commission things to be made, or they would just like say, hey, I'll buy a bunch of those. And there were there were tons of companies doing that, particularly in America, where the rebadged you know, microphones onto different brands where my you know, primarily buy KG or Neuman. It's kind of like rebadging Chinese stuff. Yeah, in a way, it happens. You know, it's like happening again. Yeah, you see the same product and it's like, oh, they just put a different name on it and called it their amplifier. So you're gonna you're gonna white label Nexus and set it off on too different brands. There's all kinds of discussions and things that pop up, and then sometimes just like fizzle out. But one thing for sure I think is that on at least on some version of the Gateway. I'm like, one of the talked about features is to customize it so you can make it, you know, like Andrew's Shop of Horror. But one thing I wanted to touch on, and something that's not in the demo though, but something you were showing me after we finished recording a couple of weeks ago, is the router. Can you can you tell us about that? Because that's a game changer, right it's not going to release on the first It might actually, I don't know, but right now it's a little bit behind. It would be one of those things that certainly would take It would be one of the things that takes longer to get out. But it's pretty much done and it's just a desktop router, so you can set up a lot of this stuff for the rest of the stuff that you want to customize on your desktop routing, for example, if you wanted just to have something that routed you know, well, like one of the things that happens with pro tools in particular is once you close your session, you lose all your routing. So if you're if you're not putting all your work into one session or working on one thing, and you have to open up different files while you have a group of people online and connected. When you close pro Tools, you lose communication and possibly even different parts of those connections, depending on what platforms are on, they might lose their connections too, because some of those connections go through you. So Router gives you the opportunity to be able to set up sort of like a Dusktop route, similar in a way, George to what a lot of people that you have to do with the Apollo mixer. Right, Yeah, I was going to mention that right exactly. But being on a PLATF, you're not. You're now hardware agnostic. You can l anything. Because the killer for that for me is that is exactly what you're saying, is that whole thing of like halfway through a session and then creative goes, hey, last time we did this, we did blah blah. Can you go to the old pro tools session and you've got to do that whole embarrassing listen. Yeah, I can do that, but you're going to lose me for a second here, guys. Okay, I'll be back in a minute. And you hear that, Yeah, why you're going The whole thing changed the way I work. I have pro Tools sessions with hundreds and possibly I don't know, thousands of spots. Whole years of campaigns is boomed one after the I think of like, oh, yeah, one big ass timeline. Really, they're not just clips and that clip viewer. No, it's like like, basically what pro tools lacks is a any sort of like have you ever worked in media composer? Okay, so media composer you can have sessions now, well you haven't been. Yeah. Pro tools users have been wanting a folders within their been for the last twenty years and they still have yet to get them. Different issue, but even more so, the edit and the mixer and pro Tools are joined at the hip, but there's many aspects of your mixer that are not part of your edit. They're just part of your studio. So there's autility mixer, this is a utility, this is your like your extra What used to be in a lot of early setups were like people that would have like a MACKI mixer off to the side, and then they'd had pro Tools and what was going in out of the MACKI mixers like microphones and headphone feeds and connection to the tape tac probably back then, you know, and so they were like the mixer still had routing capability and some of that's daunting, and really what you need is just like a couple of straight ahead patches and maybe a volume control, and that's really what Nexus Router lets you do. It has an advanced mode where you can just sort of like draw whatever you want from A to B and then that way you can even have different setups that you can load and save and close and open up a different setup, or you can make one massive set up. Forward to it, because I'm looking forward to being more hardware agnostic and less attached to something like the Apollo you know in general, and kind of endorsing that kind of mentality of being a little bit less attached to that system. So this will be something that'll be nice to set up for for more people who do want that extra level of sophistication, you know, absolutely, yeah, it'll make it like if they have little special things that they need to do, even something like a talkback mike when they're outside or playback from some other device if they want to pug their phone in or have some other and ask you this, this is definitely going down, you know, a rat hole in terms of features. But can you imagine that ever being on a touch screen interface like an iPad or having a control I can definitely, I could definitely imagine, like we've we've already got other levels of control that we're planning on, which are I think pretty exciting. You guys are talking earlier about you know, the things are moving towards the actor having to have really a full production suite in their booth, right. Yeah, it sucks though, I mean, people don't want the day the day that someone asks an actor to not only record for them, but can you please playback picture while you records? When when that happens, then then it's like you're really throwing a lot of I mean, he does stuff when he has to. Yeah, but people, some people can do that. You know. It's like it wouldn't be that paid me to set a pro tool to do it, you know, right, So yeah, so I would It would be lovely for someone who really still wants to have a feeling of I have a mic, I have a headphone, I have my script, but not having to have keyboard monitor, mouse, that whole rig in there too, and just like it and just have a somewhat innocuous iPad, or even if you're reading off the iPad, you can just do the four finger swipe and switch over to the The hardest thing becomes and there's been like I still think the iPad's a tough environment. There's been a lot of actors have been like, wait, when when we gon just do this all on the iPad. Yeah, no, there's a bit of a stay in your lane. It's the iPad has a lane to stand. Like it is to me, it still has no place in a pro audio production workflow except as a controller or a script reader. Yeah, it works. It works well as a controller, Like I've got my control controller and a script reader, Like, that's what it's for. To me, it's not a pro audio despite the power of the thing, the hardware, the fact that it's got thunderbolt. Now in the pro model I've had Pro, it's still it's still just not the tool for the job. So use it what it's for, and that's what it's good for. So I would endorse having that. And they're just to control the nexus monitoring and the other stuff. Do a lot of talent really really avoid and not want. Some really do avoid it as long as they can. They really despise doing that. On one Yeah, it's because of the distraction, because you're now this is the right blain right right brain, left brain actor engineer conundrum. It's you can't do both at the same time. I don't care who the hell you are, you can't do them both equally. Well, you're all one is always suffering at the art at the hands of the other. So the actor that really so, But what does an actor need in the booth? Truly? Like they need to be able to record takes, and they need to be able to play back takes. I mean a lot. I mean some people like I'll call you out, Beweaver, I've known you so long. He has record, He walks into the booth, he records all of his sessions. He walks out of the booth and he sits down and he edits all the sessions. Like, don't you know, there's no that's his workflow. Now, how often is he directed? Very rarely, but well, yeah, that's what he likes. He likes to have the two separate, separate church and state you know, well, I'm exactly the same at the same what flows, But because a lot of my stuff, he's not directed, So I do exactly the same thing. I go in there, record, come back and come out of here and edit and end. Yeah, but how many times you go back and forth? I say each file separately. So if I'm doing like four, you know, four thirty second spots for somebody, then I'll record a couple of takes or three takes. How do you know you're in time? Are you timing yourself? I do a time of first so I will sit there and I'll time on with the Stopwatch first read, so I know Bullpark were on that timy deep breath, you lose a couple of seconds. So you know, if I'm doing like one, that's got to be twenty seven seconds, and I come in at twenty seven, then I know I've got two seconds up my sleeve, so I can take more time with it. And I'm you know, I mean, once you've been doing this for you know, you guys have like a time at Clark's built in it. How many times I've had a talent and I'm like, can you take half a second off that? And they take half a second. It's it's like wow, iPad one for years. He may still have it just to run the timer period. He's like, it's a great timer. You know, it doesn't make a clip. I had a tap on this. I have. I have an iPad one that I use for my eight faders approtect. Yeah, so so there's some minimal amount of control that's necessary. They at least need a door handle, you know. Probably do they want to mike mute? Yeah, I'm sure they would. Most people would like to have that. I would think. Yeah, it's a pretty embarrassingly when you've got a horrible client down the line and mike mute is very handy. Horble quiet or bad bad cheese. Yeah, how do you find the foot switches? For a foot switch? Would be great? You need one of those? APay you need a foot switch as I need a foot switch. Foot switch is great. I love it. Trouble is, I've probably traveled it by accident, and you know PPD or whatever has they have a foot switch on the ones that don't break phantom power so that they don't pop, you know, they just sort of short out. And it's also like I wouldn't want I mean the idea is fantastic. I think it's fun, but I hate too much stuff between the microphone and the preamp. Yeah, well there's that one more thing that can go bubbly. Not to go completely off basse here again. But you know, I was talking earlier about what I saw a podcast movement, and I saw the the boss answer to the road caster pro because Rolands had Roland too, bosses like their musician wing of Roland, or like the guitar pedal that right, So they had but bosses bosses the guitar wing and Roland and Roll the keyboard wing. But they've crossed areas like mainly Roland has made guitar since and the other view is that Roland is the high end and then Boss is the middle, right right. So I'm looking at their things and going, okay, here's another roadcaster. What's on the back of foot pedals plug? And I was like, whoa, that's cool. What can you do with that? And he's like, whatever you want for the game, didn't do anything you want. I was like, well, I can see that being cool because the mixer's outside on your desk and you run on a foot pedal in your booth and now I have a way to cut your mic, you know, or it could be a way to hit record and then punch a marker, you know, when you click it again. You know, there's a lot you could do with that. So it sends, So whatever you want, the foot pedal can send like USBAM As far as I can tell, it's I mean, I don't know how flexible it is, but it's pretty flexible. You know. There's also air tools or air turn I think it's called air turn, and now other companies are getting into it where you can get bluetooth pedals that go in your booth, you know, to control certain functions. So there's more you can do with foot pedals, which is kind of neat. But if I'm not wearing headphones and I don't know my MiCT is truly off, I would never trust anything wireless I would like. So what about what about the preamp? I mean, the preamp should be in the booth or not, because I mean, even if you want it to be really theoretical about it, your best signal would be by running the shortest mic line and getting it up to the line preamp right, if you're running and sending it twenty foot runs. It's different, different, it's negligible, but having the pre amp in the booth to be able to set it is a different thing, right, isn't that necessary it? Yes? No, I mean some people do. I'd say most people that have a booth that don't have the equipment in the booth don't have the preamp in the booth. But it's less convenient, so they're just just recording conservatively and going like, you know, I'll just hit minus twelve. I got plenty of bits. Yeah, I've put plenty of avalon seven thirty sevens and booth, and I just told people, like, this thing's a radiator, so it's gonna get nice and toasty in here. If you really need to have this in here, I get it. But be my last choice to what to put in the booth, Well, let's I'm thinking the more gear. I was going to say about that exactly that you're in a most people's home studio booths are quite small, and you stop pawning gear in there, it's gonna be like a footness. Yeah, it gets hot in there quick, so the less the better. Even even modern computer monitors are pretty low power, but they still make heat. They still radiate heat. Everything makes heat, so the less in there the better, you know. Yeah, it's gonna be interesting when when the passport video comes out how people choose to use it, whether they're going to have it in booth or outside of the booth. You can go either place. And the thing you're going to miss out on it not being in booth is that mike switch might mute. That's why I think the majority are going to use it in the booth. So what would be tested. I think how well we can how far we can run it on USB to the computer. So we'll be doing some testing around that whole workflow as well. Yeah, I can see I can see the value in having the possible video in the booth for sure. Maybe you're doing a zoom session or whatever, you can use that second interface to run either your phone or iPad or whatever. You can run the zoom session. I can see it really useful of having the nampad in the booth for a phone patch, zoom slash blah blah blah communications absolutely and having that run into it and just it would be a really really easy way to facilitate those sessions. Boy. Well, well, in a way you can have it the sorry you can call that. Now you're suppose about Nexus, Man, we're going all over the place. Let me tell you this, Isner is waiting to see the mad haw to pop out from editing nightmare. That is the pro audio suite. Yeah, to wrap this one up, I'll bring it together. What comes out first, the Passport or Nexus Nexus Nexus probably, well, we'll see because these are both, but we don't both don't know, you know, neither of them want to divulge a release date until it's certain because people don't you know, we've learned, we've all learned that produced product to under promise over deliver. It's really the best policy. You can't give a product a C section, right, what we can what we can promise about the Passport thoas and when it does come out, it's gonna be killer. It's gonna be killer. We're gonna make sure of it because by the time anybody receives one in the mailbox, we have already hammered on it and proven without a shadow of a doubt that it will do what we said it's going to do. Yeah. Yeah, when you get one, it's going to be fully tested and vetted before before that, So Yeah, I'm excited because I think it's the You see all these USB interfaces coming out constantly, and no one has one that does these. They're playing out of a different playbook. Like I got into a whole conversation on on Facebook about this. You know, one person's POV is clearly the future is firm our software everything you know, and I said not, I don't think it's that clear. I said, because we're developing the exact opposite. And his response was, I think that's not a good idea. And my response was is I think it's a very good idea because look at all the products that have come and gone and what products you can still plug into your Mac or your PC that's still work fifteen years later. And the mike port Pro first Gen is one of those products. You just plug it in, it works. So that's the philosophy. We're just carrying that forward. My old trustee double two RAC sitting here right next to me. How old's that now? She's is fifteen years have to be something like that still keeps going to Double O two naven and oh three and two RAC yep, exactly. Yeah, Wow, I have some Double O ones in my garage No, I don't need the double one. What are they doing in the garage? Yes, exactly, using them something like you do to hold up his portion nine twenty four fourth. Yeah, that's right. The Pro Audio Suite and Austrian Audio recorded using Sauce Connect, edited by Andrew Peters and next by Robo. Got your own audio issues just ask robo dot com. Tech support from George the Tank Win don't forget to subscribe to the show and joining the conversation on our Facebook group, to leave a com and suggest the topic, or just say goody, drop us a note at our website, our Audio Suite dot com m