The Voice of a Generation: David Kaye on The Pro Audio Suite

Already be history story. Welcome my name, Hi. The Pro Audio Suite. Thanks you guys, a professional and motivated with text. The video stars George Wisam, founder of Source Element, Robert Marshall, International audio Engineer Darren Robbo Roberts and Global Voice Andrew Peters. Thanks to Tryboo, Austrian Audio Making Passion, her Sauce Elements, George the Tech Wisdom and Robo and AP's international demo. To find out more about us, check the pro AudioSuite dot com. And welcome to another pro audio suite thanks to Austrian Audio Making, Passion Heard and try Booth. Don't forget the code t ri ip AP two one hundred to get two hundred US dollars off your try booth. Today we have a special guest. If you're in the voice, I have a business, you probably know the name. If you're not, you probably know the voice. Our guest, David KA. Good afternoon, good evening, good morning, good night. Whatever are we over the world. It's true, thank you for coming. I'm just winding up the cat and putting the clock out. Will yeah, exactly. So, I don't know where to start with this, whether we go back to a bit of history of your career or because there is some strange sort of things we have in common, because you kicked off in. Radio and so did I. You then ended up doing some acting on stage and I did some acting on Telly, and then we both end up in voiceover. And there's a vesper involved along the. Way, profansity to use overly priced vintage equipment, which weaned David. Off of over the years. Yeah, you've weaned me off the teeth of the original stuff. But yeah, I don't know. I was at a convention of fan con thing called Anime Washington up in Washington State, south of Yattle and peel alup over the weekend, and you know, people remind you how old you are. You're my childhood and I grew up at you on Yeah, yeah, that's a little a little of that, but it also reminds me of what an incredible fun journey, you know, it's been because I kind of dreamed of all this, but never really. Yeah, I honestly did, like have a plan and knew what I wanted to do, and I think doing improv and theater, you know, and some some television up when you know, X files and those things that we kept to Vancouver. Was I was horrible at them, but it really was a great stepping stone into One day, a friend of mine who actually does my website stuff, Mark Jensen, lives up in Kirkland, Washington, and he said, and he was in Vancouver for a while, lived up there for a while, and we had coffee one day, and I remember this conversation quite a number of years ago, and he said, like, what do you want? Because I was? I was, I was running ragged all day long. It was studio at home. I had one probably one of the first home studios. You know, early early on, early adapter was sending out reel to reels and doing affiliate work and stuff and building a business. And I was on the air, and then I was doing on camera, and then cartoons came around, and so it was a pre packed day and I was. I was having a ball. But he's like, what do you want? What do you want to do? Because if you get you got to focus. Because I hated I began to hate going into auditions because I hated everybody. You know, I say, hey, DK, what are you working on? I please don't talk to me. I just like, I just don't don't talk to me, you know, hey hey, well hey, you know, shut up and uh, you know, it was always the same, like, you know, hey, you got an audition for you for the al great? What is it? Cool? Is it? Oh? It's for the you know battles start galacting. Oh that's fantastic, greag. Oh, I'm thinking make up. We're going to be like a Ferengi or something. But no, I mean, yeah, you're the newsman number two and I go, God, okay. So I I enjoyed it and it was fun, but but it became like I don't want to go. I don't want to I want I don't you know. So that's why I want to do more theater and doing things that they're not that are not me. You know. I wanted to be taken out of myself and proferbably not put back in from the noises Off. That's a great line and an animation and cartoons voiceover, and you know, at the time, radio was perfect because I could be anybody. I didn't have to look anyway, and that was what I loved about it. You can do anything and anybody, and you weren't type casts. So I'm interested to know this is This is actually my thirty sixth year in radio. I do a radio imaging for a bunch of radio stations here and around the world. And there's a bunch of skills that I learned in radio. One of which I get I still get sort of comments on, is like learning to work fast, and that's one of the things I get compliments on. I'm wondering whether starting out in radio sort of taught you a skill or two that you still lean on or get complimented on. What's funny shou mentioned, because I really didn't think about that until you said. I went, oh, yeah, that's correct, Because Georgia see me work, I work quick. I don't screw liked the script script comes in. I don't even like sometimes I don't prof for you it people. What's your process? Process? You know, get it in, get it out, make sure it's damn good, and then move on. I mean, that's radio taught me that I you know, I had my mentors and people I emulated and and you know, and George know this this about me. I don't pay attention to a lot of He asked me, well, do you know this guy? And like I said, I don't. Maybe I'm not very good at that, you know, that sort of networking thing. Mostly I don't dare and listen to you go come on, come on, come on, come on, come on, come on, come on, come on. Yeah to the computer. What you doing? Come on, come on, come on quick quickly play. But people like it's it because of now there's there's all these levels of quickly. It's either by end of day e o d uh you know uh a s a p rush hot rush, super hot rush in this like you know. And I could be anywhere in the ward. We're in Italy and I'm in a closet thinking, okay, it's midnight, so I to get and they want something, you know, things have that they want things right away, and they cast quickly. And and I love doing I just look number one, I love it. So if it's one in the morning and I feel like shit, I'll still do it because I just want to do it. You know, I may not get it, but I just want to practice and see what I got, see what I can come up with. I don't pay attention to a lot of stuff on the periphery, and I don't really know things, but I I just and you mentioned that thing about radio and it's kind of put a light bulb one off. And I said, Dad, that taught me to think on your feet quickly and get it in, get it out. And you know, the only thing when I was in radio, and I have tapes and it's a wonder if someone even gave me a job when I hear some of the stuff, but they did, Thank goodness, and thank them. But I was I was begging Steve Lowe's his name, a good guy, funny guy, and ran a studio and I would bug him all the time about just even if you think I can't do it, just let me let me come in. I'll just read. Let me just let me just get in there, let me read some stuff. Because I was kind of getting into it at that time, back in the year, you know, early nineties. And and so he floated me something and said, hey, DK, I got some for you, said, you know, come on buy and it was not announcery. And I had a habit and you know, I've said with a lot of Greece on child, he'd fel Hell's Madonna, you know, all that sort of stuff that we do. And it was like, well, okay, that's that's an element of show business and but that's not you know, they want the conversational and real people and in commercial acting and stuff like that. And anyway, I said, okay, well I did it, and I booked it, and he and he says, you know, ever believe this, But I booked my first thing I read for Steve, and Sydney kept bringing me in. They kept bringing me in, and more people start bringing me in, and it was I had to drop and get rid of all the sort of isms that I can do at a drop of a hat, but they had to go away, and uh, I had to be more myself. But I started to develop more characters to hide behind because it was hard being myself and just doing my own voice for many years, saying well, I don't I like to wait my sounds. You know, I'll do a wizard, I'll do an old man and a whizz and I tell you I can. I cann't put my mask on and be anyone. You know. I was doing all that stuff and even so much in trailers for the first while. It was this, you know, the character sort of reads that have to be you know, real, but that they're real people and have a heart and soul and they have to live and breathe and laugh and and uh. It wasn't until years later when there was the two things that happened. I was cast as Optimus Prime in the animated series UH Transformers Animated, and I was having trouble like finding the voice, so they cast me and it was great, but I was uncomfortable really, and because Sue Blue and the director says, the cat's just you, Decat's just you, just be you. You know, it's just because here I was struggling and I was she and I went, just be me, and I just went I did. I did an episode and we recorded and she goes, there you hit it? What did I do? She says, You're just You're just dat. You were just being Dave. It's this transform and roll out. Let's you know, who's with me? What are we going to save the world? We're going to try and you know who's where's It's just be you? And I go, oh my god, So I can I can drop all that shit? I can just be me? She's yeah. And another one was finally I started booking more trailers. When I was so frustrated, I got to read from Jay Marx and it was for for the Clean east Woods Company and it was Richard Jewel was it was a clean Eastwood film and I was so I was like, fuck, I don't know, you know, you know what. I just turned the mic and I was a nice to luc alike Georgia and I was like, you know, Richard Jel ready pg. Thirteen, Richard Jewel in theaters Friday, blah. I just went, I didn't do anything. I said, whatever, I'm done, like, you know, I'm gonna quit. I quit this job and uh. And Dave Carp calls back and says, hey, I like you for uh for the Eastwood film and go what she's yeah. I go, I didn't do anything. And Dave says exactly. Yeah, yeah, he says exactly. I go, oh my god. So all this time, you know, so it became it became another in the arsenal of all the thing things that I do just to be me, and I go, oh my, that's the secret there. It is. It took me forty years to figure that out. But you'll learn things along the way, and people say things. And I really think back to your original question about radio, I think that taught me to just be present, be in the moment, get get it done. Don't linger because you overthink things. And that's where the problem is when you start overthinking stuff. And I don't anymore. I don't. I just boom right in. If it doesn't work, now let's give it another shot, and I'll let it cook and come back to it. But the first initial, your first gut instinct, is usually usually the one. I remember my days' writing, and I'm sure it's the same for you. That when you finished your own ashift, you were into production. If you didn't get out of the duel quick enough, hey, you can chase down the corridor by the production guy. Oh wait, come back here, just chugging them out. Yeah, And that was funny because that was actually the finnest part of it. I would look forward to going to the booth and what he got, what he got, and if it was like one, one or two spots, like, oh that's it ship, you know. But I used to love that. I used to I still love it, yeah, really, because I I just I that was where I seemed. I just really enjoyed it. I had and I begged the program director for the for the rock station if I could be the voice because Jim Conrad a friend of mine up there, Cono, and I loved his voice, and he was like he was the voice of c FM I and Rock one on one. See it was like, oh, dude, how do you do that? What do you And and I was working on stuff and I was in I knew the voices, and I was if I build a business, if I like put a pin in a map and and get like one percent, no point five point three percent of all the stations in America, you know, they might want to put me on the air. That's how I built that business. And that came from you know, Cono inspired me to to do that. And my my boss, my my first you know, Jim Johnson at Sea Fox and Vancouver put me on the air is the voice of the Fox. That was so fun. And then and then things started really growing. The agency came along, New York happened. But again, all this stuff came from radio, all the love of all of it. You know, I'm interested. Now you you mentioned before about starting on analog at home with your home studio, and you've still got one. Now, what's the biggest game changer for you found for your home studio? George Wham Besides you plug. Yes, yes, I because because I remember I got this equipment being. Here's another thing radio being from radio. I have a bake light volume knobbed. I have this very weird, strange habit that maybe you or other radio people still have as I ride the pot and depends on I don't always do it, but depends on what I'm doing. I don't like to hear dead air. I don't like to hear, and so I ride the volume pot and I go through up quite a few of these things on. Your headphone vome specifically the headphone the volume and I used to do that and yeah on the radio for for radio, and it was a thing where you know, you turn it up, oh do something to throw, but you turn it down and here's what you do that whatever. And I used to crank on it on this thing. And I've been doing that forever. It's us occasions. We've not speaking them. But the old bake light knobs were like this. It was a comfort thing, and I think it's just sort of maybe a thing that I it's it's comforting to have that. The the old radio knob there, so he wears. He wears out the pot. You know, the actually imagine wears out. But we just keep like you're here the end of your breath, at the very details of everything. You're turning it up at the end. Is that I don't know really what. I'm not quite sure what it is. I think it was because I was hearing the music when I was hearing the music in the cans, but that was when I was wearing both cans. I never I don't wear bowl I usually don't wear cans or I wear one ear because I don't like to hear it's too much. And I used to always be that way. But the analog equipment just to me sounded warmer. I could I could hammer on it, I could do I could do soft reads with especially the Noyman you use sixty seven and this Peluso P. Sixty seven baby here that we took us a while to find. It just captures all the nuce and the roll off and the natural clean and and the U sixty seven was just with the tubes. The LA three a limited compressor of the Urie. Hollywood. Oh you had a ten eighty one, didn't you. Yeah? I had a like Anive, Oh wow, I had the Neve. I had a Neve pre amp. I all this wonderful you know sound, but I used to yeah, because I used to crank on it and it was fine, but it it got kind of futzy, and the mic would be over the microphone. And spend a lot of time at George bolis Is and Burbank being reconditioned and refurbished, and even George said, you know, I can, I can keep this thing going, but you know you're going to be bringing it in all the time. And yeah, so that's interesting. Ten eighty one at a U sixty seventies, very very old school and very English. Yeah, very yeah. I was doing that my old my first home studio, and that was my dear and I had that gear way back. I wanted this classic gear. I wanted to sound, and over the years developed it. But and then, of course, you know, people want clean and I was back in the day it was all about, you know, the limitter, just hammering the hell out of the limiter, and and they don't you know, that doesn't work in trailer, doesn't work in card. They want you, they want that stuff off. So over the years George has been great, and I've been you know, I have a system now where it's just it sounds clean. For Rea times by accident because when gear would go down we had to patch around. Right. Yeah, So one time we discovered that the pre amp and the compressor on your board was a close enough proximity to the LA or it was close enough in proximity that you know, we were a being it and going, you know, that's that's that's that's pretty close, which is pretty wild, you know, think about it, and then and then so and the in the in the effort for me, my effort with with David is just keeping him running like all the time, like and having as few failure points as possible. So the rack, the amount of stuff, and David's rack is the only thing in his rack now is a mac Minnie and in the amp for is sent for his speakers, and that's it. I rack is empty. Yeah, it's crazy. It's just knew. Used to it was Mike, it was Mic into all that channel strip and now it's just Mike into an x B ten mixer out to an Apollo for some final processing and polishing and then off it goes. That's it. My question is though, because I remember when COVID hit and everyone had to go and working, you know from from home and agents, particularly in America saying you have to have U eighty seven and A forty one six. Well I think it was mainly E eighty seven. So now you don't have a U eighty seven and you're doing a lot of animation. So is anybody ever tapping you on the shoulder and saying excuse me? Yeah, you know what I get. I don't think anybody is going to have an issue with. A No they say they they tell me, they say, oh oh yeah, yeah, it sounds great man. You know, everybody says you're I've gotten so your studio sounds better than one over and so and so I've had those comments and it's just the chain, the mic chain, But no, the i' me in U sixty seven. During COVID though, there was a couple of series we were on and and doing a video game and they sent over a lab of ear set. So I have a lab set because I still have it here. I end up buying one and they because they pick up you know, and i'd hooked that in. So we had a lot of lab set. I had the the P sixty seven and have the vantage, which I quite quite like is the second second, Mike, I love to play with that, The Vanguards, the Vanguard. Well, you're missing one third of the story, which is that somebody insisted you had a U eighty seven. Actually, remember they were sounding with UT seven and a scarlet far as a box the series. I was doing Farsar for Netflix and it was funny as hell, and they're not the guys are not tech guys. But the team they wanted it had to install pro tools on the computer, right remember that. Yeah, so I was I just sat back and they just ran everything all remote. That was weird. But yeah, this insisted, but we ended up looking for that. We did the Towns and Labs emulator, and you brought that to my attention, right. Well, the reason we had to get it because you literally could not buy a U aty seven. At the peak of the pandemic, right October the fall of twenty twenty, there were no U e sevens available full stop. I mean, if somebody had one used, they would ask for a ridiculous amount of money for it. So I was like, hey, why don't we try to. Phone with TikTok installed on it? Right? So I was like, Yo, why don't we just try, Uh, why don't we try this this townshend lab mic and make this thing work? And we did and it turned out to be a good stand in and rest. Yeah, the rest was history after that, and I used that became your road mic and that travels. I traveled everywhere, but not a road brand mike. But he's travel is a spear L twenty two. That's right. I don't. It's pretty remarkable, but it gets that sound that he wants, and he gets that sixty seven sound damn straight up close and he's able to slap that thing up in his tesla or wherever he's at. Yeah, I like everywhere, Like you're right, but called you in a panic. Yeah, it won't be the tested for long. It'll be a yeah something different. You have the bumpers cigaret and says I bought it before the CEO and batshit crazy. Yeah, I'm gonna get from my Yeah, when can I get How can I get out of this again? Uh huh. But the cool thing is that no matter where I am, I have chested. We're in Japan, we're in Italy, and I and it was no, It's like, well this is great. So I just booked more trips because now this is not a problem. My ages are happy, everyone's happy, no one cares. But the one thing that really solidified the the towns and labs is what I was taking. I'd take the four sixteen shotgun because it was lightweight, didn't weigh anything, and it was I didn't want to carry a bunch of stuff. Well. As soon as soon as I was using that, everyone are you are you a different because I didn't want people to know where I am. I just wanted, you know, just I don't want them to think that I'm somewhere else. They were right. Everyone was like are you can you it sounds different? Like oh damn it, And that's what you know. I wanted to be able to be consistent all the way across and so the system I have now is like, okay, this is this is good and that's where you know. We're are with it so I can travel and try one in here. The Tribe booth two is is a is a game changer. If I'm going to be anywhere for longer, I have it shipped somewhere and uh in a pinch, Like I was at this convention in in Seattle, we had C suite installed on my my laptop because I had to record some stuff on the Friday this past weekend, I was still on the clock. I had to come back and do some things. And the windows, I mean, it was it was a nice hotel. It was fine, you know, standard, but it wasn't the you know, the the street is like just outside, like, oh, this is gonna suck. But I loaded up c suite email George atually, what's the highest I can go on this thing? And I thranked it out. I did all my set and no one said a thing. And I listened to it back and sounds fine. You know. I didn't pick up anything, and it's clean. It's scary. Yeah, So what's the box? What's the box to the left of the Allen Heath. This is a new toy and I don't I haven't even opened it yet. It's the the entrance. They see the the centrance. Oh yeah, the entrance. I can tell you. It's wonderful. See entrance. So that's the next iteration I've got. I don't even want to look because I all just open up and it's got Yeah, he's got the case. So that's George's next project to go through that. George's last project for the last two and half. Ye should have been months. Yeah, the clamp. The clamp. It was brilliant, brilliant idea that George with the I can clamp it anywhere and it's just amazing. So you'll love it. You'll love it. Combine that with a try booth and you're you're laughing. Yeah, you've got you got the whole, You've got the whole. Kid there, David, You've got the tribe. Yeah, possible. I'm able to sort of do it anywhere. I've I've driven downtown to meetings or dinners and I have the gear in the car and I get and I can. I can jump in a car in a parking lot or down you know, and and get things done. Because being available is a big deal if you're on a trailer campaign or some promos and uh, you know, on a Friday at five o'clock, dude, got ABC, whyn't you can you do a five thirty go? Uh? Uh? You know, before like well, I'm I've left, but now it's like, okay, let me just find a spot and uh, it's it's doable. Yeah, It's nothing like saving lives, right. It's nothing to do with that. I liked it. I like to be a get it done, get it And that's that's that radio sensibility I learned. It's just you know, you like to say yes. I do like to say yes. And then going back to what you said originally your first thing, your first thought, you know, like, how many times have we had people who just direct the crap out of you? And then later you probably don't even see this in the session, but later we're going through all the takes with the clients and what do they use Take one or take two? Exactly? Yeah, yeah, even though you did sixty. Let's got back to one. I didn't mind one. Actually, yeah, I mean, yeah. That's a that's an old the old movie director Arthur Hiller director. I was in a movie called Carpool a long time ago, and uh, we said Tom Mardel and his brother was in a people I knew in that, but I played a reporter. It was a very funny role. Though I got to ride in a helicopter. They forgot to record everything in the helicopter, which is uh, the money they spend on a helicopter hovering above a fair. They spilled some money on a fair on ferris wheel and rides and we're hovering and I'm reporting, and we realized after the the entire you know, two hours in the air, that they didn't get anything, had to cut. Yeah, it was. And Arthur was up with me riding around. But he there's one scene that he said, let's just let's just rehearse it. So we're going in and blah blah blah, and the old woman was with me. It was very she was very funny, Betty. And I did my thing and you know, that's all from the scene and whatever I did. And then they said all right and cut it, and we realized that, uh yeah, that's a good way he shot. He had notorious for filming the rehearsal. And that's another thing you learned from people, like they said, yeah, so my I always trust my my gut instinct has always been has served me well, and I'm not about to abandon it. So my process is maybe it's just like this, let's see what happens. This is open the mic, let's start talking and see what happens. In animation, like this role here, I had Megatron for the Beast Wars transform it back in the early nineties. I mean, I didn't see the earlier cartoons. I was into bugs, Bunny and stuff, But I mean I did not know what to do. It a whole stack of stuff that compares the characters to each other and all this information, and I went, I don't know. So I went in and last minute I just kind of of what do you got? He said, Well, I thought i'd try. I was bullshitting. I thought i'd tried. You know, yeah, I kind of I kind of dig Anthony Hopkins and and Sean Connery and you know what if they had a baby in this we all laughed in a lizard and you say, let's try it. Let's just lay one down. I'm thinking, lay what down? Like, I don't I don't know what's going to happen here. And so they literally had the scripts there and the old day and he goes, all right, it's uh. Dave came in and you know, take one. And I was like, and I started talking like I just thought of Shakespeare and I kind of combined those quickly, and I had this voice and it was just I use this as and I was slow and I took my time. I said, yeah, man, sounds good. Let's let's do one for safety and I got called back and I ended up like it was really I didn't know. And there's other roles. I've worked my ass off, I think, you know, I go back to it and go nothing sticking, you know, And I think I did. A session with you where you were doing a McDonald's spot and you were being David Attenborough like. Oh, I was, well, no the McDonald's story. So I was a stand in for uh Brian Cox for a while for McDonald's uh, stunt voice because he was busy and they had him Vonn had him on contract for a certain amount of spots. Well, the clients hated hearing other voices because they wanted to hear Brian. They couldn't, you know, he's only in the studio and he does these spots and that's it. And so they were casting for a stunt voice and I just worked on this, you know, Brian Cox, and fuck off, I love you. You know. MacDonald he says McDonald's. Yeah, he doesn't say McDonald's. He says McDonald's McDonald, McDonald's McDonald And. I just somehow hit the timber and they, you know, it was a stunt voice. It is a weird gig. But it was really fun and I got to talk to all the crew and you know, and uh yeah, just sort of imitating Brian Cox for a while. I don't, you know, you just kind of throw things out. How did you pick up the accents? Because you're very produce show. It's just listening, you know, there's certain things in the show. And I was one of my favorite shows to watch was what's the big show He's in, uh, you know the series, uh Succession, right, and and it was just so so good in that, and he has these little nuances. It's it's but it's it's American, and it's sort of and I love you, but you know, you could all funk off and just just there's certain things I pick up on the other one was Liam Neeson was one I've done in a d R and things like that to help with the trailer. And and it's it's like American, you know, Irish American accents is down. It's from here. I don't know who you are, don't know what you want, and you know I will kill you. It's it's it's it's lower and lower creepy and and and and there's other versions of that, you know, I used to create the he Man Master's Universe battle cat kind of a stronger voice, and and I have claws out him. I have claws and I will protect you. And that's I just became. I sort of meld things. So I use the the the the voice actors, the voice performer's greatest asset, and a p you'll you'll, you guys will know. This is your ears. And that's why musicians are so good. You listen and you can pick things up and you hear. That's your greatest advantage is using your ears for this for this job, because that's a big, big part of it. People forget that. Yeah, yeah, that's the key. Digital agent has us watching screens rather than listening to what's going on. Absolutely, yeah, you know I have to. I have to ask you a question, and this one. If I don't ask you this question, I'll be in trouble because it's actually from my two boys. One's eight and one seven and in a very unpro audio suite like fashion. I was actually doing a bit of research on you last night, so I kind of had an idea who I was talking to, and they were in the room and they actually spotted the fact that You've not only voiced one character on on Transformers, you've actually done too Megatron an Optimus Prime. Is that right? Apparently? And apparently one is my voice. Okay, Apparently one's a villain and one's a good guy. And they wanted they wanted to know which one was your favorite and why. This is the Shakespearean one, Megatron, I'm sure holding up to the camera that no one can see. I can see and uh, and it's uh, it's He's very it was written very Shakespearean and it was that internal debate and I love that in this in Bob Ford and Larry to tell it were the writers in the first two seasons of that one. And there is to be a not to be That is a question, Noble Mont, just for the things that you know, Rage's fortune or to take up homs again. You know, he's always internal. And they stopped calling me that, don't you know? Uh, predat Colms, he was all over the map and he was thinking. And I love those levels and screwing around and there the good guys are tough because there's it's all nuance and it's part of who I am. And that took a bit for the good guy because I was always used to having something to bite into, you know, that that role on stage you can kind of get into it. That the good guys you have to be careful. You can't overplay them. So again, just being myself kind of worked there. The other characters on Transformers, I've done a bunch involved. There was one. Uh this is a sort lesson if those in the business don't forget you can use your hands and you can make faces. When you used to make faces in the mirror as a little kid and scare yourself, well, you can do that in auditions too, and that gets you the job because you start applying pressure. I had a job as an insecticon on Transformers Prime and has big mandibles the picture of them, so that helps. She had this big, big you know you kind of drool. So you've got this arm leader of the higher second sector com and you use your jaws that creates this sort of thing in here right now. Might that audition. It's almost like The Godfather where they where they made his cheeks so big, but then it changed how he read, you know. But it's just uh, yeah, you can do stuff, you know. D Bradley Baker's famous for it. Frank Welker's you know, can do magic with his voice. There's all kinds of fun stuff and it's from being kids. It's from never growing up. You know. On the greatest advice ever guy was from Mickey Rooney and Where's Doing It? One of the first cartoons Mickey was in the cast, and he flew up to Vancouver the time. He said, I got some advice for all of you. Don't ever grow up, Mickey. Mickey read and he's right, You know, he's right. That's actually a question that occurred to me earlier, and I guess now you bring it up again. But I know a few guys who are particularly good character voices. One you might know a guy called Keith Scott who was in the Rocky and Bullwinkle movie. He's an aussy guy who does some amazing characters. And another guy called Dave Gibson, who Andrew and I have worked with in radio, who's also a very good character voice. And talking to you now, it makes me realize that you're all very similar character types, Like just in terms of person general personality, you're all very similar and have similar quirks. Do you reckon? Being a good character voice comes from that do you reckon there's a certain character trait or style that leads to someone being good at character voices. I think so, I think you you can't be afraid to try something, and you can't not you can't be afraid to make a fool of yourself. And it's hard to do when you're camera. You know, when you're well on camera. It's funny. We used to have some on camera people command. Fred Wilder would command, but he was a piece of pro. These guys are pros and non transformers, you know, a weird al Yankavic could be in one day and some other people and some one comedian came in. I don't know his name, but he he he we're all in there and then the guest mics U as you beside me and he just which is kind of cool. And we had one comedian he's a it's a funny, funny dude, but he would be his part. We're like, you know, blah blah blah, and the scenes going. He's like way back here, yeah, okay, KT, so we gotta make you got to get up on that microphone or you gotta And he didn't sort of understand like the how to he was really slowing us down. But it's because you can use an eye roll on camera easy or a quick look, you know, a quick twitch of the eye, and that says something. You have to make that happen on the mic. You have to make people cry on here. You have to you have to be as real as possible. Well, you have to be real never that's possible. You gotta be. You got to bring the truth. And the biggest cool moments I used to I loved was we're working on the Ratchet and Clank movie and this is a line in it that Clank has he's a robot. But I said, I want to make people cry. This is the line James. Yeah, man, you should try that because I this this is where you know, I want people to cry. I want people to feel something. But it for this moment and and Ratchet goes off in the movie and it's little Clank and it's like this moment where a Ratchet, you're my friend, and that just uh. And I remember it being in the movie theater seeing it, and we had a little premiere and we're sitting in the movie and when that happened, everyone goes, Oh, to go, guess that's it there it is. I want to you know, these little nuances in your voice, these little quivers, a little little moments are are so are so cool and it just takes a while to develop that being on the planet for a while. And if you understand acting and the process of it, then this is part of your tools. But that's the biggest, the coolest thing for me is to try and you know, be emotional and be in the moment with this and there's no cameras, it's just you internally, and I think you have to be a little weird. Well I wasn't going to say anything, but that was one of the triits. Yeah, yeah, yeah, a little. I own it. I think, you know, man, as a kid, I would make faces and mimic and get in trouble for it and scare myself in the mirror being goofy. And I think that it's all part of it. A little bit of crazy, A little bit probably not weird. Crazy is the word I would use. Yeah, absolutely, yeah, just you know, you have to think in a different way. Who knows, I honestly don't know where it comes from. I'm just really glad it does because I didn't know what I was gonna do after high school. It's funny because I like Kate's got a lot. I've done sessions, many sessions over the years with him, and he says the same thing. I'm kind of not sure where it comes from, but it just comes. Yeah, you can always tell them that, like certain people you know that you grew up with, when they're telling a joke, they will actually going to characters in the joke. Yeah, and they're the ones that you know obviously should follow that follow that path up. Yeah yeah, yeah, yeah, absolutely, that's audiobook dad, And now your books they want to do the same thing. They want you to envelop that person speaking. But yeah, yeah, you hear good joke tellers and they go into the and now that that's the best. That's the funniest because it puts you in those comedians, Yeah, in your imagination, right, like like when. Some comedian like does his wife and even though it's a character, sure of it, you kind of. Like, yeah, yeah, you can see her and picture her, you know, wh when you tell them a story and that's that's it. That's what it is. Bill Bill Burr before. There's a movie that just came out and just recently called Memoir of a Snail from Adam Elliott, who did what was the first film that won the OSCA Harvey Crumpet. It won a Short animation OSCAR. He's a new one, The Memoir of a Snile. Sarah Snook just won Best Actress Award that Our Actors, which is the equivalent of our Oscars, you know, as a leading female actor in a film like an animation voice as opposed to someone on camera. She in the nominations with all the on camera and won the one the gone. It's it's very difficult to do because you're really I do have a process when doing that. When I'm doing when we're doing films, we're doing shows like that, they require something going on that I usually I memorize a dialogue quickly. Then I close my eyes and I can sort of see if I if I close my eyes and it kind of takes me a little bit inward, and if I have to do that, I will do that. Yeah, It's it's a real skill, and it's there. There was a time and also, as you know, there's many different decades of announcers. You know, in the Ford thirties and Ford twenties, thirties, forties, and you know, the fifties is different in the sixties. There's different sort of styles in the way we talk and the more realism like video games used to be, you know, pau no no, no, no, paw paw, you know all that stuff. But now it's all they're going for immersion, total immersion eventually in the video game world where they want a human experience, and so they're really trying to even as a character, it's got to be a grounded sort of you know person. It is quite fun to try and try and get there. Sometimes you don't, you know, but that's my goal, is every character I do in any any shows to try and have a soul trying you know, it's an actual you know, actual person, not something because you can certainly overdo it, you know, you like acting coach used to see no, no, no, no, you're acting stop. You know. Yeah, well it's almost like what you said with the with the good guy characters. Sometimes those have to be more natural, to put it like, they're they're more you know, they're more relatable in the evil care it's. Hard to do because it's it's tough to do to be myself, to take the mask off, we all wear masks every day, you know, or you know, and we have our own selves. But to be you, to be me, and something was uncomfortable. Yeah, it's like, well I don't want to hear me. I got nothing, you know. But you realize you need the mask. Definitely, absolutely yeah. And then and then as you get older, you go like, I need the mask. Just made me well, I was easy. Wow, how freeing is that to some point other people are doing you? Yeah, exactly exactly, it's exactly yeah. But the other thing is interesting I've found is when people who have a carry they want a character voice, and they become so specific that it is impossible to do it and make it sound natural. Yes. I mean I had someone called me up a studio and said, oh, do you know any Swedish voice talent? I said no, I don't, And I said, why do you want someone? Can you do a Swedish accent? It's like, no, no, I can't do a Swedish accent. And they said, why do you want someone so specifically Swedish? Oh that's what that's what the client wants. And I said, but why why? You know, it doesn't make any sense. And if you get someone that's not Swedish. Anyone that is Swedish is going to know they're not Swedish. So where we didn't we do a weird hybrid character and it was fine. I'm not sure what you mean, Andrew, Well, funny enough talk about Swedish. My daughter is now in a film playing a Swedish mosquito, which is really funny. Yeah, those are those are specific things I've been asked to do that now. You know, there was a time when we could do you know, other other ethnic voices, and it was just you never thought about it. You can't. You can't do that now. So that's why you want. They want the real Swedish person, but the Swedish person has to be an actor. They have to understand all that, they have to bring all that, so just you know, and just be themselves. So you're narrowing the you know, the pool down difficulty. We had a spot where it was two Japanese characters for the English version, so it was like these Japanese guys that had or they're speaking English but had a very Japanese accent. So now we're we're now doing the Hispanic version of it, and they try to cast a Spanish Japanese or a Spanish person with a Japanese accent. I'm trying to remember what they were melt together. It was going to be. It didn't exist. It just didn't exist. And so they ended up with like, you know, we just had an actor in and just ran through different voices and how about like I can't even do it. But you know, eventually they landed on something they liked, but there was no casting that. It just it's nowhere. Yeah. I know what was really interesting that's happening in Japan because a friend of the old guy and he used to be Charon Eigent's. I think he's out the business now, but he moved up to Japan. He speaks fluent Japanese. But the Japanese anime companies really like to get English accented Japanese language for the anima. That's interesting. Wow. So I would live I would live over there in a heartbeat. So it's any any opening, So I mean Japanese in. Japan, Yeah, I would. I would live there at a sex Is that a culture thing or a business thing? It's something that it's just yeah, that country affected me. I mean Italy does. I can speak the language. In Italy, why she's just saying. But in Japan, I learned a little bit and I really enjoyed it. But I just it affected me. It did something to me. And there's another thing that brings me around to when you're doing voice work. You know what you're using this microphone is the more you travel, the more you read, the more things you experience in life, the more it will translate through here in nuance of some kind. When you have experience, you look at a piece of copy, you can interpret it, you can understand. And because you hear people when you go places, more people meet, Yeah, you understand. Like there's there's humans, are are are have a lot of nuance, and there's personalities. And that depends on where you live. It brings a different bent to it. So I my suggestion to anybody. I always had a great acting coach once and said, what what are you reading? First class? What are you reading? What you're not reading? Yeah? I want a book by next week. You know, go to the library, pick something out, or go to a bookstore that close your eyes and grab one and start just whatever. But the more you are informed about uh, you know, like Charles Dickens, you know read the classics. Read all that stuff informs what we do. It's all from there, even the Greeks, if you want to you know, it's Jesus, I mean, but it's storytelling. It's occurred to me. Every trip, every vacation you go on as a write off, everyone is a moment. Is a opportunity to research and study human behavior character their moments. I must tell my accountant. I had a friend who is a who is a video editor, and he wrote his cable TV off U huh. Yeah, well yeah, so you go. Here's another thing it's fun to do. It's a little game we play. My friend Trevit de val is down to San Antonio now, but he would know he was in town or he lived here. We day, you want to go for lunch someplace or whatever? He said, what do you want to do today? He is a Northern Ireland is all right? Nar An Ireland is not an Ireland. So we go to the little pub round informants or you know, to Luca Lake and we go in and start talking like that and said, what'd you go? What's on top? And she said where you guys from? Non narline from Belfast? Now, yeah, I'm just not done north of bout Fast, and we we just bullshit our way through and the idea was to hold the hold the accent, the entire thing. You know. It was great because she would go, oh, you guys are great, so you know, have a great time in la ou Thank you very much, y'all. We'll leave on Thursdays when I will be back. Whatever we said, and we walk out go yes, okay, and then we do pick another accent and you know, and try and hold that one for a while and it other resks creat yeah, and it's just it's it's fun. It's a little you know, weird. But you can back fire on you, David. You can backfire, Yeah, when when you find out the waiter is visiting is just moved here and he's trying to get a gig, but in the meantime he's serving at the restaurant. Oh you're from Balfast too, and I'm from Alfad. Oh if thrown out at you know. I was in London and I had to go and meet someone in Chelsea and I thought, well, I won't drive my car into Chelsea because the parking is hideously expensive, so I just stopped north, just in in Stoke Newington, just North London, left my car there and got a cab and for some stupid reason, I thought, I don't want to get ripped off by this guy, so I'm just gonna I'm going to go back to, you know, my original accent, and he'll go, he'll fall for this one. So I've jumped on the cab and it's all I mate, how are you all right? Yeah? Yeah, lovely? How's the amas going? All right? Oh yeah, So I'm on a weekend mate, beat the spurs, lovely, yeah, champion all the way in. I get to where I'm going, catch up with friends, have lunch, get back in another cab. I've already paid eighteen quid or something to get from Stoke Newington to Chelsea. I get the cab back to my car and it's ten pounds. I got charged eate quid for putting on a shit accent. That's teen quid and a quid for being a dicktah. I was lucky enough to meet Billy Connolly once and when I was working in radio, and I actually got to spend a bit of time with him just having a chat. Because the guy he was supposed to be interviewing him was running late, and we were talking about you know him because most of his comedy. I don't know if you've ever been lucky enough to se him, but most of his comedy is very local, like he'll talk about the guy sitting on the post office steps selling pencils and blah blah blah, and he was going to he was telling me about, Yeah, you know, the first thing I do when I get to town is basically before I even drop my bags off. Sometimes I'll leave them in the fore and I'll just go for a walk for an hour or two and sort of pick up what I pick up. And I'm wondering, I mean, hearing you doing Irish accents and all that sort of stuff. Is that sort of a part of the process, like just getting out and listening and observing and all that sort of stuff. And if so, how do you I do? I? I listen And I when I was in We're in Italy in January, and I used to go to the found a little bar in Valdelsa in Tuscany, and I found him a routine before somebody else, drive in, have a cappuccino and sit there and listen to people and you just you just learn about their They have a rhythm and a movement. Yeah, like South Americans have a rhythm and a movement and the way they speak. There's a player I did a long time ago, did the street card name Desire. You know, it was probably too young, but learning about you know, and the directors to listen. You know, if you've been to New Orleans, No, okay, it's really humid, it's hot, it's miserable. So that affects the way you move and the way you talk. And oh okay, and then we were we worked on it a bit and tried some stuff and you had this is rhythm. People don't really want to talk too much, and you know, it kind of just just too hot, man, you know, And you can throw all that stuff into a character. A character comes up and these threes, you know from Louisiana. I just chant to play. And there's a series out of Freight Crew. It's on on Netflix and that plug and it's uh, I got to play mayor first. And he's this uh he is well, he's not what he appears to be, but he's the mayor of the town. And and he's he's very slimy and so I got a chance to kind of play around in that soup of being from New Orleans and uh, what I understand? So but I have to you know, I just kind of playing. I just playing with it and come up with a character and dialed it in eventually, And and that was fun because that that took me back to that director saying, hey, listen, it's you're in it's hot here. You know, there's a there's a mysticism about it. It's there's all these things. So when you go to a place and you go, oh yeah, you feel it, you can throw that into your character. Throw it. What if you're doing a true green commercial for Crime Aloud, you know, you can throw that in if they watch for a certain certain type of person. You can see the person on the golf course, and you know, like you know, you give yourself like how hot is it, how cold is it? How it affects how you how you're going to read it. It's all very important. All translates. Yeah, there's there's also you know the thing about traveling and listening to people. And I've seen a few videos of this. There's there's one guy in Afghanistan who pulls it off and he sounds completely American, I mean completely American, and he says absolutely nothing. It's just all syllables and yeah, yeah, I can't even do it. But man, I mean if you weren't paying attention to him, you'd think like some guy from not New York, maybe Pittsburgh whatever, lake in that and sounds. Yeah it is perfect. Yeah. My goal, My goal is I've been in New Jersey for a while, but my goal is I want to go to New Jersey and physic. I have lots of friends there and I just want to be. I just want to have a new drug. I just want to use the accent all day long. You know, Yeah, I just want to use I just want, you know, I go to you know if real figure Jersey figured, you know, I don't you want to talk about I just want to talk like that. I don't want to be. I want to be around people to talk like that. I want to hear what you know, what's what's going on? Score to the fucking boy. You know it's it's in Boston. Boston's on the wonderful city and just one little conversation with people. You know, the driver took we were taking us to the convention fan Convention Center at Fan Expo and drive us back, and we drove. You know, we're talking about the ballpark there. Uh uh, you know, sitting in the family family park, Family Park. And I said, you ever think they ever teared out of family his family park. He said, no, there'd be an opera. There'd be an opera in this city, they told our family park being not an opera, you know. And I said, look, I said, my help, my head. I'm going listen to that. That's clad, That's it's perfect. I can use that even better. And going north to Maine and start doing main accent. Oh you go up in the that's right up in there, jumping up the territory. But I just yeah, it's it's just wonderful. And you know, so so yeah. I listen and travel and be and just take a moment and and I look at it. I am guilty sometimes of not when I'm on the road or I'm sort of keep to myself. I don't you know. I'll talk to some but I I don't like to talk a lot. I like to listen. I like to kind of be someplace and not have to hear noise. I'm very much an observer maybe that maybe you know, turn off to some folks. I just don't. I don't want to engage. I just want to hear. Yeah, that's one of the things that I you know, one of my quirks. But but part of the trick is to hear and to be able to break it down. Like like you can hear someone speak and and and it sounds like you have an ability to hear it and to throw it back at somebody, and whereas like you hear from someone from New York and I can't. I can't throw it back at somebody. I don't I don't hear the details and what you just get sucked into it because you know, you go to the deli every day. You know, I used to go to New York for at least minimum a week, and by the time you go around the deli, you're talking like, yeah, I getting you know, combe fun rye and uh give me a give a couple of bagels to go. You know, you just kind of have this thing, you know, there's this quickness, this you know, a come on, you just kind of fall into it, pick up on it. It's immersion. Yeah, yeah, yeah, And so that's all good. It's it's all wonderful, wonderful stuff for your career. My girlfriend all the time, she she'll hang out with me, She'll hear me talking to friends of mine and she'll be like, why don't you talk like that with me? She talk differently to me. I can't help it. I'm mirroring your I'm mirroring your accents. I'm not and I'm not. I'm not doing it to imitate you. It's just this freaking weird thing in the head like imitates and mirrors back what it hears, like a monkey see monkey do thing. I don't. I don't get that. I reckon the weirdest thing. It's another thing we haven't coming, by the way. We both live in the country, went born in. But I'm find it really weird now because I got to a point where I can't remember some words that how do I pronounce that with an English accent or Australian And I get confused. I'm trying to remember which one of these how do you say that? Here? Like if I'm doing something domestic, I can't use an English version. Well, I have the problem between Philly and California. You say, I don't know, Yeah, yeah, it's one of those things is it's a regional thing. Some people, you know, if they ask from Midwest Australia is fun and you know, one of the most difficults is scientifica. It's very very differentt. Yeah, I think New Zealand's also tough. New villain, New zellaan. Yeah, that's they always they always ask They always asking questions, They always talking questions. You know, everything's well, that's assis too. Everything ends on or not everything ends on, but alls, I don't. It seems to be there's a downward thing with OZ, but New Zealand seems to be. Australia used to definitely be an up swing. That was always the thing. It's like, hell im here, you know, it was always up, but now it seems to have I think it sort of got to marginalized to be, you know, and we sort of the accent has changed, certainly changed since Dania possibly. Yeah. I think one of the funniest things is when you hear your own accent, you usually don't hear it. And we were we were doing a spot. We had to do the scratch track and my producer jumps in the booth and it's like blah blah blah, over it dot com. We go out and we played like, oh my god, you are so Chicago like that calm. Yeah, yeah, So it happens when I go back to Canada to visit. I mean I really hear the accent. It's like wow, you know it's because you can't have that. A friend of mine, it always jokes, would be saying stuff like you know, I saw it. He'd be kind of good there trailers they I go, mmmm yeah yeah yeah, no, no, no, no, yeah, I thought it'd be kind of I thought a giver or a shot. Eh uh. You know, so when you got back, when you go back to Canada, do people think you are American. Or no, I'm American. Yeah. It might have been here so long. I mean, just the way and even before then, you know. I another good friend who did teach acting to class people up in Vancouver because there's a lot of American companies coming up to film and he would do a class. Look listen, he said, a boat is what you take and you go on the river with a boot is what you put on your foot when you go out on the rain. It's about it's about so when they come up here and they hear a boot or a boat. It's not going to work, you know, so and he would just he would sort of go through that bidding class and they would work on other things. But he would make a point of saying, look, it's like it's a service industry here, so make sure. But I couldn't do trailers, and I couldn't do promos, and I with a Canadian accent, you can't. It sounds the Australian accent sounds amazing, British accent sounds amazing. But certain regionalisms in America and Canada just don't work. That's why they want a generic, a generic American or Midwestern accent, and here normally is the one that cuts through unless they they do ask. Now, there's been some stuff recently where it's come across as they want a little bit of twang, a little bit of you know. So then if you're if you're doing stuff for NASCAR, they want sort of a thing in here. Maybe they want story of the South, you know that, maybe you know, throwing a bit of a twang and a bit of a slowness and slow it down and tell the story. You get the Dallas sounds a little bit different, and then just you just sort of hear the regionalisms and from the Carolinas is very soft, you know, up and here and come back now they all come back and Chiles and you got to come visit us now one day because we had and it's just it's that's the way it is. I find it difficult, you know, as a former. You know, oh I'm still Canadian, but I was born there. But I I find it difficult. It's a tough facts because my my sister, my mother and I go back. Oh my god. It's like and it's there's two types of Canadian accents and they're both lovable, but they're like that, like a kind of going up, were going up. And then the other kind is that you say your mouth like that he oh geez, waiting the boat there getting pecrel up and up on the river a we uh, pulled out a couple of pops. Hey, I'm having beers and in the water eight and you're like, it's to say in your mouth like that with a cigarette hanging at her. And it's there's two types. And you've got the French Canadian, which is another thing. But there's the two kinds. And I remember my brother in law, I took them to Jimmy Kimmel once it's doing some work for Kimmel. Was uh doing some voice comedy stuff years ago, and they got me tickets and I brought my brother in law from Cologna, British Columbia, and my sister sister in law, and Mike's pretty quiet, and of course the guy is down there rallying the crowd, all where's everybody from? Hey, kay, way, where are you getting? Mike puts up his handygull, what are you doing? He goes, and he goes, yeah, where are you from? He's Cologne of British Columbia, Like, oh no, please stop talking? Is hey Canada? And of course you start, you know, riffing on the a's and this, and but Mike can't help her. He just talks like Diddy just what I mean, and it's just like wow. But it's just the beauty of the of the accent, beauty of accents. Yeah, it's weird that you you know, you basically just said that you have trouble with doing a Canadian accent because you've been away so long, and it seemed kind of weird. And it's same like for me, like if I'm back in the UK, and I remember when I moved back there back in the mid nineties for a while, and I used to go into the pub and it was only probably about a week in and I walk in and they go, hell, I was, how you doing? All right? Yeah, And I'm like, I thought I sounded in Australia that people will call me English that here. Yeah, yeah, that's I wonder if like dogs. Are like that's a Canadian burk. Yeah. That's the only thing I say in Canadian on any regular basis is as we say in Canada when and do reboot. And I don't even think I said it right that time. Man, dope, it's a dope when dope, when do reboot? Reboot, rebooting, Yeah, it's it's it could get strong. Sometimes it's not been the bigger cities you don't find it, but you just certain regional areas where it's very thick. You pick a little bit of that up in Minnesota too. Minnesota's one and Newfoundland's a wonderful accent. We went out there last year and they're like the West Coast set facing under way there, They like the West Coast sept face underway and they're all friends. Yes, they're all friends to you where you're from Los Angeles. Hold the crazy is a long way to come out here to visit us. You know. They're like, they're kind of Irish but Canadian and nicest people. But that's that's a fantastic accent, that one. I just I dig that Before we jump. I want to ask one last question because I was listening to you with all those different accents, and I'm wondering, is there a that you're hanging out for that You've got a voice in your head that you just would love to be able to go, my god, finally the opportunity. To use that voice anything in Star Wars. But there's there's a lot of yea like to be physical vision with the voice somewhere in here. Yeah, the god that used to play the guy in Lockstock and Two Smoking Barrels was a criminal. Now you go get those fucking guns and you bring it back here. It's his old guy, you know. And I've always wanted to do something in this realm. I just love those characters, you know. Again Jersey and I've done some Jerseys, but anything anything over over the Pond from the UK and uh, I was trying to do some Yorkshire, very very It was very difficult to do Yorkshire, but I want to do I want to work on that. And then I'm from the south of England, Weymouth and and and and Darset, you know, down their area where it's kind of fun to work on those accents. But I love the character that, the the depth and the just you know of. I also got Welsh in Welsh in my blood as well, you know, the bloody Welsh. See you can do the Isle of Man. Sounds like a motorcycle. Yeah. I remember as a kid the first time I went to to Wales as a kid and with my parents. My brothers went with us and were staying on a farm and to get rid of me that my parents said, go and talk to the farmer. The guy was an old guy and he didn't speak English. No I spell, yeah, he just spoked Welsh and. No idea what he was. He kind of I remember I was in a pub over there. It was in a little place outside of my stay and we drove near the coast near ports call ret fish and chips, the best fishing chips my grandmother. Actually they saw ponies on the beach and grandmother's you know, And I went to this old thatched roof. It's like a it's a it's an old old pub in there Forever an old cemetery next door, and I walked in and my cousin brought me in and it is my cousin, David's fading from nos Ange. What do you sort of medica? Then I said, yes, I'm here for any Welsh is I'm going a good Welsh beer. And he goes, oh, there's no good Welsh beers. You might you might want to pint the brains. But that's what we. I sat there, had a newcastle brown and this old old pub, and I just felt at home, you know, for some reason it just felt I just I love those little things a little, you know, little moments and visits with people, some locals picking it up. But you know, yeah, so that's that's my advice, you know, just to be a travel read you know, be an observer, be an observer. Listen, we could have jeweling tribooth as when we're next in Italy. Oh man, I'd love that. Or maybe you can make like a square out of the two yeah, or a diamond. How about a diamond trybooth piazza Diamond. Yeah, and then and then you can fish. I believe in. The rama's edition. All that was fun? Is it? Over? The pro Audio Suite and Austrian audio recorded using Source Connect, edited by Andrew Peters and mixed by Robo. Got your own audio issues just ask robo dot com. Text report from George the Tech Window. Don't forget to subscribe to the show and join the conversation on our Facebook group to leave a comment, suggest a topic, or just say today, drop us a note at our website our audio Suite dot com.