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(Transcribed by TurboScribe.ai. Go Unlimited to remove this message.) Y'all ready to be history?
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Get started.
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Welcome.
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Hi.
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Hi.
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Hi.
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Hello, everyone.
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To the Pro Audio Suite.
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These guys are professional.
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They're motivated.
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Thanks to Tribooth, the best vocal booth for
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home or on the road voice recording, and
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Austrian Audio, making passion heard.
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Introducing Robert Marshall from Source Elements and Someone
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Audio Post, Chicago.
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Darren Robert Robertson from Voodoo Radio Imaging, Sydney.
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And tech to the VO stars, George the
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Tech Whittam from LA, and me, Andrew Peters,
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voiceover talent and home studio guy.
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Line up, man.
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Here we go.
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And welcome to another Pro Audio Suite, thanks
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to Tribooth.
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Don't forget the code, T-R-I-P
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-A-P 200.
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That will get you $200 off your Tribooth.
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And Austrian Audio, making passion heard.
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In fact, you'll be hearing it slightly differently
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with some new headphones that are releasing very
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soon.
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More passionately, yes.
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It's going to be based on the Hi
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-X 15, but they're doing a bit of
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tweaking to it, changing a few things.
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Color scheme, the internals, and also a longer
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cable.
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Three meters.
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That's a three meter long cable.
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That's great.
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Does it also come with a cable management
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system?
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Like a hose reel.
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Yeah, yeah, yeah.
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Like a fishing reel.
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Like a vacuum cleaner.
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Yeah, that, now we're talking.
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Yeah.
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So anyway, Austrian Audio have kindly given us
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a pair to give away when they're released.
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I think they're launching at AES, so by
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the time this goes out, I think we'll
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be pretty close to that date, which is
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early October.
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So we'll be giving a pair of those
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away.
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And how do you enter to win these
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headphones, you may well ask?
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Well, simply, we're asking you to do a
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bit of a mix.
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Robbo, do you want to play your mix?
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Yeah, okay.
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Well, let's just play this piece of audio.
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Experience a new destination for adventure, nature, science,
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and culture.
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National Geographic today, tonight at seven on the
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National Geographic Channel.
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Always wonder.
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All right, so there you go.
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That's what we're looking at doing.
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And just so we're clear, I'm not giving
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away any corporate secrets here.
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That piece was actually from like a year
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ago.
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So I'm not giving anything away.
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That's been to air and gone, so just
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so we're clear.
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Interesting that she chose to run the voice
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through a Leslie speaker.
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That's an interesting choice.
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Well, we revoiced it too, because I wasn't
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sure about, you know, I didn't want anybody
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to get in trouble with voiceover artists who
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hadn't authorized us to play their stuff on
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their podcast.
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So AP kindly revoiced it for us as
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well.
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Well done.
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Yeah, so that was good.
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So yeah, but so I guess, I mean,
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no one's saying match mine.
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In fact, that's exactly the point we don't
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want.
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What we'd love to hear is your interpretation
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from the conversation we had a few weeks
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ago when we did the process off with
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AP's voice.
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The idea with this one is, let's hear
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your interpretation of how you would mix that.
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Now, we're not just talking to audio engineers.
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Let's be clear here.
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We want submissions from everybody.
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We just want you to have a crack.
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I mean, the goal is basically to do
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a better job than you.
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Well, that won't be hard.
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So, you know, I'm not worried about that.
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Yeah.
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So, but yeah, everybody, no matter where you're
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from, what you do, you know, chuck on
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a pair of headphones, throw it in Audacity
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or whatever you use and have a crack.
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Just have a go.
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It'll be judged.
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I don't know what we'll judge it on,
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but it'll be judged on something that, you
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know.
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Well, we're not judging it.
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Well, we're going to wear what we'll in
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association with the guys at Austrian Audio.
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Yeah.
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They're going to one of their guys is
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going to jump on and have a chat
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about the new headphones and we'll play a
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few finalists and pick a winner.
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I would imagine they're going to listen to
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them on the new headphones.
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I think we have to.
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So if you want to win this, maybe
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you should buy those headphones.
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That would be hard because they're not out
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yet.
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Yeah.
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Yeah.
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Oh, they're in Fargo until they release at
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AES.
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So this file you're going to hear of
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everybody's mixes will be, is that going to
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be before the embargo or after the embargo?
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It'll be after the embargo.
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After the embargo.
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Yeah.
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So, but we, you know, we'll all have
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our Austrian Audio headphones on, you know, they
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just won't be the new ones, I guess,
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but I guess what we're really looking for
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at the end of the day is just
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have some fun, seriously, just have a crack,
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you know, cause it's, you know, it's not
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brain surgery.
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It's just audio.
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So, you know, the stems are all separate
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by the way.
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So it's not like you've got to load
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up a lot of stuff for that.
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You just will put the stems in your
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session and line them all up at the
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same start point and everything will fall into
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place.
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So there's a music stem, there's a dialogue
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stem, there's AP stem, and I think there's
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a sound effects stem from memory.
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So there's only four and a weed stem.
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So yeah.
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So, but yeah, I'd encourage you to have
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a go and, and, and let's see what
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we can come up with.
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Now, Robert, because by the time this goes
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to air, of course, all the stuff that's
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happening as we speak has been and gone,
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but you're currently in London.
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I am.
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I didn't even think I'd be on this
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because I thought I'd be too sweet or
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something, but exactly.
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But no, we just got back from the
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IBC show in Amsterdam and that was really
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cool.
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Tell us about the scope of IBC for
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those that haven't been able to go.
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Yeah.
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You know, it's really, really, really heavy duty
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broadcaster.
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So it's their NAB?
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It's their NAB.
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But you know what?
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Like one thing I was kind of disappointed
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in, not a lot of small booths, not
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a lot of like little small players.
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Like NAB's got more of the little things
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that I find really exciting, you know, but
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it was all the major huge players and,
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and I, I, today I finally had a
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chance to do the big walk around and
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it is as big as NAB.
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Wow.
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Wow.
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That's big.
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But I'm trying to think if there's anything
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that I saw that was like, holy cow.
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And I'll get back to you.
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It's all blur.
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I can't think.
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Yeah.
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Yeah.
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Yeah.
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Like, I don't know, sound devices is doing
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their own wireless hookups and they named it
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Nexus.
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Oh.
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Really?
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Yeah, I know.
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But, you know, like that, that was new
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and kind of in our area.
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When you say hookups, like transmitter speaks directly
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to their receiver mixers, like a mixer with
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receivers built in.
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You know how they have their, their recorder
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mixer and then they have this, I think
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it's called the Nexus module and it has
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some pins on it and it just docks
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right on the top of this thing and
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has all the receivers for the wireless packs
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and it adds like a whole bunch of
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tracks for you to be able to record
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on too.
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That's smart.
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That's really smart.
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Because in the meantime, for the consumers, any
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Rodecaster Pro 2 can receive a wireless Rode
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wireless mic as an input.
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So it just becomes another channel.
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Oh, like a year ago.
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So you only need the transmitter, only the
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transmitter receiver.
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Yeah.
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You want to, you want to turn that
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transmitter into a, just another input to your
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Rodecaster and clip it to your shirt for
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like a, on camera or standing or something.
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It's another channel in your Rodecaster.
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Wow.
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I've, I've never heard a, of anybody selling
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a wireless mic, only the transmitter and not
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the receiver.
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No.
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But I guess Rode must do that.
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I don't think they do.
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I think it's just like, because we can,
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now we're doing this.
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But it clearly doesn't go out the multi
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-track though.
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It only comes in.
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So how's it go?
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Well, it's another pair of channels.
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It takes the place of another pair of
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channels.
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Right.
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Where's the antenna on the Rodecaster?
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It's probably using the Wi-Fi or the
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Bluetooth band or something, you know, you know,
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Rode is clever.
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Rode's slick.
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They're really clever.
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I love that I can plug my, I
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have the wireless me, which is the cheapest
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wireless set up they have.
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It's like 150 and I can plug the
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receiver directly into my phone.
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I can plug the receiver directly into my
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Mac book.
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It doesn't matter.
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And then I can, now I have a
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wireless mic going into a track and it's,
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what's the receiver like a USB receiver, basically?
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The transmitter receivers look identical.
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It's like a little inch cube, you know,
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that has the jacks and then the wireless
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me is unique in that the wireless receiver
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also has a mic.
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So you can use a second channel, you
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know, for doing interviews.
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Like I would have the wireless me receiver
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on my phone and that would be right
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in front of my face.
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And that's picking up my voice.
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Transmitters over on my subject and it's picking
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up their voice.
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And then I record and record split, split
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track or mix, depending on what you set
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it up to do.
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They're just really clever, you know, but it's
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still considered consumer or prosumer.
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Even though they have the wireless pro, the
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wireless GoPro, I think if you showed up
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at a movie set in Hollywood with anything
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wrote on it, you wouldn't, you wouldn't pass
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muster.
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Yeah.
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Yeah.
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Sound mixers on a Hollywood film production are
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hauling around a hundred grand worth of stuff
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pretty, pretty commonly.
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Like it's, it's a level I never made
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it to.
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I was in production mixing for a while.
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I never graduated to that level.
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You know, it just, I was using Sennheiser
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evolution wireless, this stuff, you know, stuff that
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was affordable, but decent.
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And I could get away with it.
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There's a distinct gatekeeping in terms of gear,
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gear, brand, and quality when you're at this
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very high level of production where every minute
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on set costs 10 grand or whatever.
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It's just, there's a certain level that you
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have to reach.
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You know, the cameras are going to be
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RE, RED, Panavision, maybe a Sony.
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I don't know.
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There's a pretty slim pickings of what gear
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passes muster.
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I mean, actually sound devices is almost like
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an income is almost like an invader into
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this.
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Because really it's like Nagra and Diva and
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Zaxcom and sound devices, which really makes excellent
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shit as far as the hardware, but they're
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kind of the new, they're still the new
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kid on the block.
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They've been around since I got into Hollywood
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about 20 years, cause I had one of
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their three channel mixers and it was fantastic.
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Right.
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Um, but it was just a mixer, you
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know, it didn't record, you know, and so
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the gear package has shrunk, but the functionality
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is doubled and tripled.
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And now you're guys doing reality TV, which
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is an absolute shit show of lavalier microphones
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are running eight, 10, 12 channels into a
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bag that they're carrying around strapped to their
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chest, you know, like a harness and mixing
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all that shit.
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And sometimes also holding a boom over their
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head.
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So it's a whole nother world.
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And of course everything's multitrack, a hundred percent,
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everything's multitrack.
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So it's all changed dramatically in the 20
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years I've been, but it's cool to see
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the innovations happening.
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I like sound devices very much.
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It's a great company, very well regarded, and
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they have an entry point level called the
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mix pre series.
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So if you're on that, if you don't
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have the budget for the two to 5
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, you can go under a thousand and
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get a mix pre.
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What's cool about them is their preamps are
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very good.
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Yeah.
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Yeah.
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Yeah.
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Really top match.
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Well, you know, I look at the products
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we're developing or the first product anywhere we're
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developing with centrants and I really look at
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centrants as sort of like akin to that
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level in terms of build quality, professionalism, circuit
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design, and everything, but going a different way
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because, you know, the centrant stuff is analog
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internally.
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It's analog, you know, right now that stuff's
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being vetted and tested.
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In fact, by the time you hear this
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very good chance, we're going to have that
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things, those things in our hot little hands.
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It might be available by Christmas.
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Yeah.
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I think before that actually.
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Before that, it's really going to come down
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to this first round.
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If this product, the beta product or the
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pilot, what do we call it?
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Prototype.
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Prototype.
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It's a prototype.
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That's out well.
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I mean, we're literally seeing screenshots right now
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of the driver.
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Now there's a record and a communications channel,
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you know, showing, I'm like, yes, this is
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what I've been wanting to see forever.
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Now I'm finally getting excited again, you know.
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It's even looking at the box label and
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stuff.
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That's all.
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Yeah.
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It's very exciting right now.
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So anything, so IBC, it's definitely the NAB
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for Europe.
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If you're in Europe and you have a
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chance to go, it's worth going.
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Yeah.
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I was going to say there were a
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lot of USB wireless mics and little wireless
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systems kind of like what you described and
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very tiny, but yeah, I didn't see anything
00:13:01
beating myself up because I did go running
00:13:04
around looking for stuff.
00:13:06
It's so hard, man.
00:13:07
Because, you know, there's a lot that's not
00:13:09
relevant to you.
00:13:10
So you kind of glaze over it and
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then you cherry pick and you get lucky
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and you find one cool thing.
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And then, and then it, that gets lost
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in a wash of the other a hundred
00:13:19
things that you saw.
00:13:21
You know, so unless you're like me and
00:13:23
you document video everything and make content, you
00:13:26
forget, you know, that's half the reason I
00:13:29
make content is so I can remember the
00:13:31
stuff that I saw.
00:13:33
I'll tell you what I saw that's cool.
00:13:35
Pro Tools, Robbo, you're going to love this.
00:13:38
Pro Tools now has a text or audio
00:13:41
to text feature.
00:13:43
So you're looking at the timeline and you
00:13:45
see the words below the waveform.
00:13:48
And if you click on the word, it
00:13:49
highlights the whole portion of the waveform that
00:13:51
is that word.
00:13:52
Like the script.
00:13:53
You can search the bin and you can
00:13:56
search the bin for words.
00:13:58
About time.
00:13:59
Oh my God.
00:14:00
It's really good.
00:14:01
Oh yes.
00:14:02
That's good.
00:14:03
I will be using that.
00:14:04
They said it won't be out.
00:14:05
I mean, it's like this.
00:14:05
It's not the next version.
00:14:06
It's not the next, but the guy was
00:14:08
showing me like the, the alpha thing.
00:14:10
Yeah.
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Oh wow.
00:14:12
Can I use that now, please?
00:14:15
Did you guys also see that you can
00:14:17
look at Spectral View?
00:14:19
Did you know, did you already know that
00:14:20
you could look at Spectral View in Pro
00:14:22
Tools so you can see the Isotope Spectral
00:14:24
View embedded in there?
00:14:25
That's all a system called ARA, which Pro
00:14:29
Tools is, again, late to the game on.
00:14:31
That's been in every DAW for three years
00:14:34
because that's a thing that Melodyne, I believe
00:14:39
Melodyne and a few other plugin manufacturers created.
00:14:43
And everyone's like, when is fricking Pro Tools
00:14:45
going to support this?
00:14:45
Well, given Melodyne's in Pro Tools with the,
00:14:48
you know, audio to MIDI functions and all
00:14:51
that sort of stuff that they're running, you'd
00:14:52
think they'd be a bit more on the
00:14:53
ball, wouldn't you?
00:14:55
Yeah.
00:14:56
You can load Wave Lab into that.
00:14:58
Oh, okay.
00:14:59
Andrew.
00:15:00
You know, I'm not, I'm obviously not a
00:15:02
Pro Tools guy, but they seem to play
00:15:05
the Apple card, which is, we're not going
00:15:07
to be first.
00:15:08
We're going to wait.
00:15:09
We're going to develop a lot.
00:15:10
We're going to spend a lot of time
00:15:11
in development and testing.
00:15:13
We're going to make sure when it comes
00:15:15
out, it's rock solid because they have to.
00:15:17
They cannot afford to release something half-baked
00:15:20
like some third-party Android phone.
00:15:23
You know where they've missed the mark in
00:15:25
that is the audio.
00:15:26
We were just talking about that.
00:15:27
The audio to MIDI thing I find sometimes
00:15:30
works really well, but sometimes works really poorly
00:15:33
as well.
00:15:34
It just depends.
00:15:34
It's really hit and miss.
00:15:36
And that's, you know, whether you're using, you're
00:15:38
picked with rhythmic or, you know, any of
00:15:40
the other sort of presets that they give
00:15:42
you to pick when you're dropping audio down
00:15:43
from an audio track to a MIDI track,
00:15:46
I find it really sort of clumsy.
00:15:48
Talking of recording a multi-track, I assume
00:15:51
we can talk about this because you had
00:15:53
already been to your meeting and demonstration, Robert,
00:15:57
but you're off to my old neck of
00:15:58
the woods tomorrow.
00:16:01
You're going to Warner Brothers?
00:16:03
Going to Watford.
00:16:05
Yes.
00:16:06
We're going to wherever Warner Brothers is, and
00:16:09
we're showing a whole bunch of film mixers,
00:16:13
Source Elements' new feature, which, well, Dolby still
00:16:19
won't let us officially announce it because we're
00:16:21
still waiting on official certification, but that is
00:16:24
basically going to happen for sure.
00:16:27
So I'll say it.
00:16:27
We partnered and worked with Dolby, and they
00:16:31
tweaked the Dolby Atmos renderer, and now it
00:16:36
works hand-in-hand with Source Connect so
00:16:38
that you can imagine a, because, you know,
00:16:43
Dolby Atmos in a mixed theater is not
00:16:45
714, it's not 916.
00:16:47
We're talking about 20 speakers, like that's the
00:16:50
theatrical rendering of Dolby Atmos.
00:16:53
So for us, this is like a real
00:16:57
marquee product, essentially imagine a film is being
00:17:01
mixed in LA, and the director and the
00:17:05
writer and producers, they're in London.
00:17:08
So two big mix stages hook up, hook
00:17:12
up on Source Connect 4, stream the bed
00:17:16
and all the objects, which means with Atmos,
00:17:20
129 channels of audio, and then all the
00:17:23
panning metadata.
00:17:26
And you have basically two mix theaters running
00:17:28
in parallel for review and approval of a
00:17:32
theatrical mix.
00:17:33
So it's going to allow a collaborative thing,
00:17:36
cross continents or whatever, that was just not
00:17:39
possible before.
00:17:40
Before you would have had to do it
00:17:42
all, wait, render, mix, or whatever, send, let
00:17:46
the other guys listen and approve, over and
00:17:50
over and over and over, rinse and repeat.
00:17:52
Pin the tail on the donkey.
00:17:53
Like, nope.
00:17:54
Yeah, pin the tail on the donkey, no
00:17:55
I don't like that, no I don't like
00:17:57
that, no I don't, yeah.
00:17:58
Right.
00:17:58
Yeah.
00:17:59
Wow, that's fun.
00:17:59
So now it's like, you know, just, whatever,
00:18:02
700 milliseconds away, and talk back right to
00:18:07
the, you know.
00:18:08
I remember, Robert, when we did that session,
00:18:14
and you were working, well actually it wasn't
00:18:16
our session, it was the session with the
00:18:17
orchestra in Austria, when you were working 5
00:18:22
.1 in your studio in Chicago, down the
00:18:25
line, and that was like a big deal.
00:18:27
That was a big deal, and that was
00:18:28
only five years ago.
00:18:30
Yeah.
00:18:31
And you know, it's crazy, when Rebecca and
00:18:33
I were testing this, I mean, you guys
00:18:34
know about my shit internet at home, right?
00:18:37
Yep.
00:18:37
Yes we do.
00:18:37
I've got a normal cable connection, and my
00:18:40
normal cable connection is slung over low frequency
00:18:44
900 megahertz wireless to my house, which then
00:18:49
goes to my computer over wifi through at
00:18:52
least one good wall, and then Rebecca was
00:18:55
in Europe on 4G, and I shit you
00:18:59
not, we did 88 channels without a problem.
00:19:02
Bloody hell.
00:19:03
Yeah.
00:19:04
You know, and that's all like 30 mega
00:19:06
upload, download, you know, the 4G download was
00:19:10
more than 30, but yeah, we were both
00:19:15
expecting it, like, let's just see what happens,
00:19:16
it might drop out a bunch, but we
00:19:18
need to test this, and it just worked.
00:19:20
What's that Bruce Springsteen song?
00:19:22
Is that 88 channels and nothing on?
00:19:24
No, I was thinking it was 52 channels,
00:19:26
wasn't it?
00:19:26
Right, it's just, yeah.
00:19:28
Yeah.
00:19:28
There you go.
00:19:29
Maybe Bruce could come up with a new
00:19:30
song.
00:19:30
I don't know if you could get Bruce
00:19:31
to do a jingle for you, you know,
00:19:35
88 channels and plenty on, or something like
00:19:38
that.
00:19:38
Yeah, 88 channels and everyone working.
00:19:40
Yeah, there you go.
00:19:41
Everyone connected.
00:19:44
Come on, Bruce.
00:19:45
I know you're listening.
00:19:46
Not gonna say sorry.
00:19:46
Come on, Bruce.
00:19:47
Yeah.
00:19:48
I was just gonna say, to conclude this
00:19:50
episode, don't forget, talking about multi-tracks, we
00:19:52
have the stems, which will be in the
00:19:54
show notes, is that right?
00:19:55
That will be in the show notes, and
00:19:56
before we conclude the episode, and since we're
00:20:00
on the subject of Austrian Audio, I would
00:20:02
like to give another shout out to Austrian
00:20:04
Audio for another reason, for their generosity.
00:20:07
I've been mentoring my neighbor's son, who only
00:20:11
left school last year and is an aspiring
00:20:13
audio engineer, and on a whim, I wrote
00:20:17
a, because he's been borrowing my microphones and
00:20:20
experimenting with them, and not that I mind
00:20:22
that, but on a whim, I wrote an
00:20:24
email to Bernd at Austrian Audio, and mentioned
00:20:27
what I'd been helping Tyler do, and sort
00:20:30
of said, is there anything you can do
00:20:31
to help, and in the mail, turns up
00:20:34
a My Creator set, so the satellite as
00:20:37
well as the main mic, so Tyler's been
00:20:41
down there recording his guitar and his vocals,
00:20:44
and mucking around recording his dad, who's also
00:20:48
a violinist, and doing some really cool stuff,
00:20:51
so a big shout out to the guys
00:20:53
at Austrian Audio for supporting the next generation,
00:20:57
as well as us old guys with no
00:20:59
hair, or grey hair, or falling out, or
00:21:02
whatever.
00:21:02
Well, I don't think, there's plenty of hair
00:21:04
on Robert, so if we get short, we
00:21:05
can borrow some from him.
00:21:06
That's right, very Sean Connery.
00:21:07
Yeah, exactly.
00:21:09
I was thinking more shaggy than Sean.
00:21:13
Yeah, but seriously, thanks guys, it's well appreciated,
00:21:16
and Tyler's having a great time.
00:21:18
Well, that was fun, is it over?