- Introduction:
- Welcoming listeners and sponsors.
- Brief overview of Twisted Wave and its current status in the audio industry.
- Survey Results:
- George shares results from Twisted Wave’s user survey.
- Discussion on the most requested features: multi-track capabilities, non-destructive editing, and history window.
- Multi-Track Capabilities:
- Debate on the practicality and necessity of multi-track functionality for voiceover artists.
- Concerns about complexity and user-friendliness.
- Non-Destructive Editing:
- Importance for voiceover artists and audio editors.
- How it differs from current features in Twisted Wave.
- User Experience:
- Personal experiences and anecdotes using Twisted Wave.
- Comparisons with other DAWs and editors.
- Future of Twisted Wave:
- Predictions and hopes for future updates.
- Encouragement for users to participate in surveys and provide feedback.
- Closing Remarks:
- Recap of discussion.
- Shoutouts to sponsors and reminders to subscribe and join the conversation on the Facebook group.
00:00:00
(Transcribed by TurboScribe.ai - Go Unlimited to remove this message) Y'all ready to be history?
00:00:01
It's started.
00:00:01
Welcome.
00:00:02
Hi.
00:00:02
Hi.
00:00:03
Hi.
00:00:03
Hello everyone.
00:00:05
To the pro audio suite.
00:00:06
These guys are professional, they're motivated.
00:00:08
Thanks to Triboosh, the best vocal booths for
00:00:11
home or on the road voice recording.
00:00:13
And Austrian Audio, making passion heard.
00:00:17
Introducing Robert Marshall from Source Elements and someone
00:00:20
audio post Chicago.
00:00:21
Darren Robert Robertson from Voodoo Radio Imaging, Sydney.
00:00:25
Ted to the VO Stars, George the Tech
00:00:27
Witten from LA, and me, Andrew Pinkers, voiceover
00:00:30
talent and home studio guy.
00:00:32
Line up, man!
00:00:33
Here we go.
00:00:36
And welcome to another pro audio suite, thanks
00:00:38
to Austrian Audio, making passion heard.
00:00:40
And Triboosh, don't forget the code TRIPAP200 to
00:00:44
get $200 off your Triboosh.
00:00:47
Now Twisted Wave is a very popular, I
00:00:50
was going to say DAW, but it's probably
00:00:51
more...
00:00:52
It's a recorder editor.
00:00:53
Yeah, we lump it into the DAW category,
00:00:55
but it's not truly one.
00:00:57
It's not really a DAW, no.
00:00:59
But anyway, Thomas, the owner of Twisted Wave,
00:01:03
has just done a survey, and George, you
00:01:05
have the results.
00:01:06
Yeah, you might recategorize the software when I
00:01:09
tell you this.
00:01:10
So he put out a poll, and he
00:01:13
used to actually have a voteable feature list
00:01:16
on the site, but he kind of hid
00:01:17
it away.
00:01:19
And then now, if you are a current
00:01:21
subscriber, you are on the current version, then
00:01:23
you can do things like, you know, vote
00:01:25
on features.
00:01:26
So for five days, he said, let me
00:01:28
have it.
00:01:29
Just tell me what you want, right?
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And then you let you enter anything you
00:01:32
want.
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And what he did was he locked it
00:01:34
to your serial number.
00:01:35
So from within the Twisted Wave macOS app,
00:01:38
you go to the help menu, and you
00:01:39
would say, vote features.
00:01:42
You would click that, and it would go
00:01:43
to...
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How many times can you vote?
00:01:44
Well, you could add as many features as
00:01:46
you wanted, right?
00:01:47
So I added like six features.
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Yeah, absolutely.
00:01:52
Yeah, no problem with that.
00:01:53
So when you click on that, I want
00:01:55
to vote, then the link in the browser
00:01:56
was twistedwave.com slash your serial number, which
00:01:59
was interesting.
00:02:00
So it knew who you were and locked
00:02:02
all the votes to you.
00:02:04
So then everybody put in all their features.
00:02:06
It was like, you know, it was wish
00:02:07
list day.
00:02:09
There was some redundancy on the list and
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whatever, but whatever the bottom line was, everybody
00:02:13
got their say.
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Then five days after that, it was now
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time to vote on the suggested features.
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Now you had to pick what was already
00:02:22
there.
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And he said, whatever the new feature, the
00:02:25
one that gets the most votes is, I'm
00:02:28
going to do it as in a new
00:02:30
feature.
00:02:31
What do you guess?
00:02:31
Bodhi, Mick, feature, boat, boat.
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Bodhi, what?
00:02:40
I reckon we should guess, try and have
00:02:42
a guess on this.
00:02:43
I'll have what you're having.
00:02:44
Yeah, yeah, yeah.
00:02:44
Oh, you might want to...
00:02:45
They had that thing where they had a
00:02:46
new boat in England and they put its
00:02:48
name nomination up on the web.
00:02:51
And the one that got the most votes
00:02:54
for the name of the boat was Bodhi,
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Mick, boat, boat or something.
00:02:57
Everybody pranked them.
00:02:59
Yeah.
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Like Bodhi, Mick, boat face or something.
00:03:01
Exactly.
00:03:03
That's funny.
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I'm going to have a guess.
00:03:06
I reckon I think I know what it...
00:03:09
Well, I don't know.
00:03:10
I'm just guessing.
00:03:11
I reckon it's going to be multi-track.
00:03:12
Okay.
00:03:12
What do you think, Darren?
00:03:13
I don't know.
00:03:14
I don't really use Twisted Wave.
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Does it come with any plugins?
00:03:18
That's the thing.
00:03:19
If you don't use it, you don't know
00:03:20
what it does and doesn't do its project.
00:03:21
Well, my guess would be that if there's
00:03:23
a lot of voiceover people that use it,
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that it might be some noise reduction or
00:03:27
something like that that comes with it.
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I don't know.
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Okay.
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I think, George, you alluded to it too
00:03:32
much and it's multi-track because you said
00:03:34
it's going to change its name or...
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Yeah, I get it the way.
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It is indeed multi-track.
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Really?
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So that was...
00:03:43
That's kind of a shine.
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Well, I mean, I was like...
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So I'm looking at it and I saw
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it on the list and I was like,
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oh man, people always want multi-track.
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Man, they always want...
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But is it multi-track or are they
00:03:54
just asking for multi-channel wave?
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Because if it's multi-channel wave, it's not
00:03:57
multi-track.
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It already does multi-channel waves.
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It'll do many channels.
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But they want to multi-track.
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So we all know that there's a very
00:04:06
big divide between a recorder editor and a
00:04:09
DAW.
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Yes.
00:04:11
Because a DAW implies an NLE, which means
00:04:14
it's also going to be non-destructive, right?
00:04:18
Very different animal from Soundforge, WaveLab, or Twisted
00:04:22
Wave, where you're just working on the wave
00:04:24
file.
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Absolutely.
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That's what they want.
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The people spoke and he's like, I'm going
00:04:29
to do it.
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So I have no idea how long it
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will take.
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I do not know how he's going to
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do it.
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I think it's one of those features where
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he's been hearing...
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But this could go beyond what a voice
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talent wants.
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Exactly.
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This is a feature that's been like murmured
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about by the users for years, right?
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So he's finally decided to do it.
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So he insisted that he would do it
00:04:51
in such a way that it would not
00:04:52
interfere with the normal operation and software.
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I think that's important.
00:04:57
This is Adobe Audition.
00:04:58
That's right.
00:04:59
There's Wave...
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What's it called?
00:05:02
Waveform mode in Adobe Audition?
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And then there's multi-track.
00:05:06
And every editor used to have this.
00:05:08
Pro Tools used to have Sound Designer 2.
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If you go way back in history, they
00:05:12
just got rid of it.
00:05:13
And that was used as more of a
00:05:14
file processing thing.
00:05:16
But even Reaper...
00:05:18
And Reaper, you can say, you know, show
00:05:20
me what your editor is.
00:05:22
It's not logic.
00:05:23
You can open up this file in whatever
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you want.
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And Reaper had that and many does.
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I know Steinberg Cubase has that, which obviously
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they would point at WaveLab.
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But they have an open-end editor option.
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Right.
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Yeah.
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So, yeah.
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I kind of feel like that, you know,
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a lot of voice talent and stuff that
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I've spoken to use Twisted Wave.
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And I'm guessing Andrew would be the same.
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I don't remember having this conversation with him.
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But my guess would be the same thing,
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is that it's simple.
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It's just...
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There's no...
00:05:52
I don't have to screw around.
00:05:54
I can open it up.
00:05:55
I know enough about audio data.
00:05:56
I can understand the basics and that's all
00:05:58
it does.
00:05:59
And that makes me happy because I don't
00:06:00
have to get stuck with shit that I
00:06:01
don't understand.
00:06:02
It's a DAT tape with a waveform display
00:06:04
that you can cut and splay.
00:06:05
That's right.
00:06:06
Totally.
00:06:06
It is.
00:06:06
And that would be my concern that, you
00:06:08
know, when they sort of do what they
00:06:11
do, they sort of lose a few because
00:06:13
of that.
00:06:13
But, yeah.
00:06:14
I don't actually understand if you're a voice
00:06:16
talent.
00:06:16
What use would you have for multitrack?
00:06:19
I don't get that.
00:06:20
You know why?
00:06:20
Because so many voice actors think that they
00:06:23
have to add music to their voiceovers.
00:06:27
There's a huge amount of misinformation.
00:06:31
Who's asking for this?
00:06:33
Someone's like, I need to submit an audition.
00:06:35
How do I add music?
00:06:36
I'm like, no.
00:06:37
Why would you add music to an audition?
00:06:39
That is not your job.
00:06:40
If you're auditioning for a producer job, well,
00:06:43
they're going to want more than music, man.
00:06:45
There's a lot more to it.
00:06:47
How about some sound design and bells and
00:06:48
whistles?
00:06:49
Yeah.
00:06:49
Every now and then there's a voiceover person
00:06:51
that you meet that does like the full
00:06:52
production.
00:06:54
And they're always using Pro Tools and they
00:06:56
actually have their head on them about being
00:06:58
basically an audio engineer at that point.
00:07:00
Like Jeff Berlin or, you know, we have
00:07:01
friends in the biz that are radio producers.
00:07:05
You know, they produce imaging.
00:07:07
Some musicians and they're just recording their own
00:07:09
stuff that way.
00:07:10
Right.
00:07:11
Yeah.
00:07:13
I'm sorry.
00:07:14
That makes no sense.
00:07:15
Still makes no sense to me whatsoever.
00:07:17
Why as a voiceover artist you would feel
00:07:18
compelled to be putting music on your audition
00:07:21
is just like, it's sort of like, hey,
00:07:24
I might just, you know, I really want
00:07:25
to distract you.
00:07:26
So I might just throw this other voicing
00:07:27
here as well.
00:07:28
There's a second part of the voiceover.
00:07:30
You know, it's a two-headed voiceover.
00:07:31
So I've got my wife to do the
00:07:32
other part.
00:07:33
She's on there too.
00:07:33
Would you really do that?
00:07:35
I don't think so.
00:07:36
To me the question is why.
00:07:38
So is the assumption that he's going to
00:07:39
do a DAW in a different way or
00:07:40
a better way than the other attempts, which
00:07:43
I can understand.
00:07:45
There's, you know, there's a certain stagnation in
00:07:48
that world.
00:07:49
Well, let's take that further.
00:07:52
If you could start from absolutely zero, which
00:07:55
is what he's really doing and make a
00:07:57
new, you know, multi-track, non-destructive mixing
00:08:02
platform.
00:08:03
What would you do totally differently from Pro
00:08:07
Tools or really what is there anything new
00:08:09
to do?
00:08:10
I guess is my question.
00:08:11
What would you do differently?
00:08:12
The only thing I think the anything I
00:08:14
would think if because of his target audience
00:08:16
that if he was going to do a
00:08:17
multi-track thing is to make it like
00:08:19
super simple.
00:08:20
Of course.
00:08:20
Like the current the current twisted wave.
00:08:22
So even if you're a bit of a
00:08:23
numpty, you're going to work it out pretty
00:08:25
anything multi-track isn't simple.
00:08:27
You know, you move one.
00:08:28
You move one thing on one track and
00:08:30
you fuck the whole thing up.
00:08:31
If you don't know what you're doing, you
00:08:32
know, multi-track, no matter what you do,
00:08:34
isn't simple.
00:08:35
Who is it for?
00:08:36
Because, you know, if you look at video
00:08:38
editors, they're basically doing their audio in their
00:08:41
NLE.
00:08:42
If you look at audio, people running multi
00:08:45
-track DAWs, he's got a big upsell to
00:08:48
do anything against.
00:08:49
Like even I mean, the worst of them
00:08:53
are the best.
00:08:54
There's so many.
00:08:54
It's such a congested space and they don't
00:08:57
look different.
00:08:57
So I think it's got to be something
00:08:58
that looks different.
00:08:59
And to me, maybe it's something it starts
00:09:02
to approach audacity.
00:09:04
Maybe he's doing because it's sort of audacity
00:09:06
still continues to not really be a DAW.
00:09:10
And I think the difference with the DAW
00:09:11
if you really take the full argument is
00:09:13
that will he put a mixer in it?
00:09:15
Because if he puts a mixer in it,
00:09:17
especially a real-time mixer, now it's gone
00:09:20
full DAW.
00:09:21
But audacity doesn't have a real-time mixer
00:09:23
and it can multi-track.
00:09:25
The other question to me is with Thomas.
00:09:27
Now, Thomas is a solo player.
00:09:29
That's his business.
00:09:32
So why would you make something potentially really
00:09:35
complicated that you have to manage and you
00:09:38
have to service?
00:09:39
Well, here's the thing.
00:09:40
Why would you do that to yourself?
00:09:41
To expand your market, maybe.
00:09:43
He's selling a subscription now.
00:09:45
It was always a one-and-done deal.
00:09:47
It is now a subscription.
00:09:49
So he is honestly, I mean, he's under
00:09:51
pressure to add features because people are going
00:09:55
to be like, well, I'm paying for this.
00:09:57
Is multi-track the right feature?
00:09:58
I mean, does the fact that you put
00:10:00
out a poll and say, you tell me
00:10:01
what you want, does that make it the
00:10:03
right thing?
00:10:04
And see, he probably dug himself in a
00:10:06
hole.
00:10:06
Oh, I'm not agreeing.
00:10:07
It's a good idea.
00:10:08
No, no, no.
00:10:09
And I'm wondering why.
00:10:11
And the reason I kind of come up
00:10:14
with for me is I've never used Twisted
00:10:17
Wave.
00:10:18
I've looked at it, obviously, so I understood
00:10:20
to talk about it on this show, but
00:10:22
I've never used it as a user.
00:10:24
But for me, the thing with Twisted Wave
00:10:26
is that he's found that perfect little niche
00:10:29
for it.
00:10:30
You know, he's found that market that he
00:10:33
just needs to super-serve.
00:10:34
And I don't know that putting multi-track
00:10:36
on Twisted Wave is super-serving that audience.
00:10:38
I go back to what is the exact
00:10:40
use case.
00:10:41
And if it's just like slapping a piece
00:10:43
of music behind your stuff, there's a million
00:10:45
ways to do that.
00:10:47
Well, the old Cool Edit, you know, before
00:10:49
Cool Edit had multi-track, you could mix
00:10:51
stuff in.
00:10:52
You could put them over each other and
00:10:53
you would put in the percentage that you
00:10:55
wanted the new thing to mix in.
00:10:57
Did you ever use Cool Edit?
00:10:58
Did you ever use that?
00:10:59
I never really used Cool Edit because I
00:11:01
never really used a Windows machine.
00:11:03
Yeah, okay.
00:11:04
Well, see, you could sort of mix stuff.
00:11:06
I don't know if you ever played with
00:11:07
it, George.
00:11:07
Yes.
00:11:08
And I'm going off a very rough, drug
00:11:10
-addled memory.
00:11:12
But you could sort of blend stuff together.
00:11:14
And maybe that might be better than trying
00:11:17
to sort of sell a multi-track, you
00:11:18
know, to sell a concept of multi-track.
00:11:20
Andrew, what were you going to say?
00:11:21
And then I wanted to tell you what
00:11:22
the second most voted feature was.
00:11:24
Okay, well, I was going to say that
00:11:26
the subscription model, I did catch up with
00:11:29
Thomas when I was in Paris.
00:11:31
And we caught up for a couple of
00:11:32
years.
00:11:32
And he said to me, and I've mentioned
00:11:35
this before, I'm sure, and he talked about
00:11:38
doing a subscription model.
00:11:39
And I said, look, based on the fact,
00:11:40
it's just you.
00:11:42
And if you're not making an income because
00:11:44
people just buy a one-off payment and
00:11:46
that's it, then you won't be around you
00:11:49
because you're going to have to go and
00:11:50
get a job because you're not going to
00:11:51
have an income.
00:11:51
So you have to go subscription.
00:11:54
I'm probably going to get hated for that.
00:11:55
No, we talked about this a year ago
00:11:57
when he launched subscription.
00:11:59
Yeah.
00:12:00
And I think it was a sensible thing
00:12:02
to do and I have no problem.
00:12:03
I think so, too.
00:12:04
I can't tell you how many of my
00:12:05
clients who are griping about that when they
00:12:08
see the little message pop up saying, you
00:12:10
know, the next version is going to be
00:12:12
subscription.
00:12:13
They're like, I already own it.
00:12:14
Why would I do that?
00:12:15
I'm like, do you know how much effing
00:12:17
money you have made with this $100 app
00:12:19
for the last 12 years?
00:12:21
Yeah.
00:12:21
And then you just inspect updates.
00:12:23
Like, didn't you sell it before where you
00:12:24
didn't even have to buy an update?
00:12:26
Oh, yeah, that's how it always was.
00:12:27
Exactly.
00:12:27
I've been running.
00:12:28
I've had every update and I've run it
00:12:30
on every Mac I've ever owned with a
00:12:32
single license key.
00:12:33
Like, where's his effort for just doing the
00:12:34
updates alone?
00:12:35
He's been very, very generous.
00:12:36
And second of all, I mean, I'll be
00:12:38
harsh maybe, but you want to know what
00:12:39
the subscription's for?
00:12:41
So I stick around for you.
00:12:42
Exactly.
00:12:43
That's exactly what it's for.
00:12:44
Because I don't have to do anything.
00:12:46
And when Apple changes it and it screws
00:12:48
up for you and I'm here to fix
00:12:49
it, that's what the subscription's for in a
00:12:52
way.
00:12:52
I don't want it to be the next
00:12:53
bias peak, which there was definitely a small
00:12:56
and very...
00:12:58
There was a small and very, like, loyal
00:13:00
user base of this one app called Bias
00:13:02
Peak.
00:13:03
I was never a fan particularly, but those
00:13:05
that loved it, man, did they love it.
00:13:07
And when that went away...
00:13:09
Yeah.
00:13:09
It had the CD and the PQ code
00:13:11
editing.
00:13:12
You know, that's a whole area that he
00:13:14
could go into if he wanted to.
00:13:16
Or, you know, it's like, why doesn't any
00:13:18
voiceover person use DSP Quattro?
00:13:23
Because it's just not needed by a voiceover
00:13:26
person and it's kind of a two-track
00:13:27
editor and it's sort of a multi-track
00:13:29
as so much as that you need a
00:13:30
multi-track to lay up a CD and
00:13:33
maybe have an overlapping thing like a Pink
00:13:35
Floyd album.
00:13:36
Right.
00:13:37
But it doesn't speak.
00:13:38
It's a two-track editor or whatever.
00:13:40
It's a stereo audio.
00:13:41
It's not a full DAW.
00:13:43
It speaks to a specific audience.
00:13:44
And he's got this audience.
00:13:46
And maybe multi-track is the right feature,
00:13:49
but I think it has to be done
00:13:50
in a unique way because one of the
00:13:53
overriding features that VO people tend to want
00:13:57
is ultimate simplicity.
00:13:59
And he definitely had that.
00:14:01
Yeah.
00:14:01
So the second most popular feature was non
00:14:06
-destructive editing.
00:14:08
So he's going to have to bake those
00:14:10
two in together.
00:14:11
He's going to be obviously doing those two
00:14:13
in one go.
00:14:14
It gets closer and closer to DAW, doesn't
00:14:16
it?
00:14:17
Right.
00:14:17
The third one was at a history window,
00:14:19
like Photoshop, you know, for going back.
00:14:23
So that's like also now stepping into non
00:14:25
-destructive but not really non-destructive.
00:14:28
I'll agree with that though.
00:14:29
I think that would be good if that's
00:14:31
not already there.
00:14:32
I think that would be a good inclusion.
00:14:34
So you're seeing how those top three things
00:14:36
are like he can he's going to I'm
00:14:38
sure he's going to take those top three
00:14:39
and he's going to make that part of
00:14:41
it.
00:14:41
He's going to do like another survey about
00:14:43
like what when you say multi-track, let's
00:14:47
get specific.
00:14:48
What do you want in a multi-track?
00:14:50
What's your workflow?
00:14:51
What's your use case?
00:14:54
And try to be very because his whole
00:14:57
thing has been being so specific.
00:14:59
So he can do it again by being
00:15:01
very specific about what a multi-track editor
00:15:04
means to a voiceover person or someone who's
00:15:07
looking for something truly simple.
00:15:10
Well, there you go.
00:15:11
That's going to blow a can of worms
00:15:12
open because when you get that answer back,
00:15:15
if you ask those people, what do you
00:15:17
want a multi-track for?
00:15:18
How are you going to use it?
00:15:21
Then this is the issue because the answers
00:15:23
that come back will be so bizarre.
00:15:25
It will make no sense.
00:15:26
He will look at this thing and go,
00:15:27
why am I building a multi-track?
00:15:29
Because what I'm reading, the responses I'm getting
00:15:31
back from people, I don't need a multi
00:15:33
-track.
00:15:34
Why are they asking me for this thing?
00:15:36
They want to layer things maybe and it's
00:15:39
maybe not specifically.
00:15:41
Certainly, I would say one thing is like
00:15:42
no one's going to come back or maybe
00:15:44
people will come back saying I need to
00:15:45
record, like who asked for the multi, the
00:15:50
WAV file?
00:15:51
What's the use case there for the multi
00:15:53
-channel, like more than stereo for just the
00:15:56
WAV file?
00:15:57
What's the use case?
00:15:58
He's going to need to ask more questions
00:15:59
of what people really need it for, what
00:16:03
the use case is, how they're going to
00:16:05
use it exactly.
00:16:06
I had a few in here that you
00:16:08
don't know which are mine, but you have
00:16:10
to trust me.
00:16:11
I had interpolate auto or auto heal, select
00:16:18
a clip or pencil.
00:16:21
He's down to 15 yields.
00:16:23
Do you know what I would have done?
00:16:24
I would have done translate this thing to
00:16:26
text and let me at it.
00:16:27
Is number 15 yours though, George?
00:16:30
Is that yours, the ability to add normalize
00:16:31
to an effects stack?
00:16:33
Yeah, of course, that's me.
00:16:34
I was wondering, so you can't do that
00:16:38
already?
00:16:39
No, you can't because a stack is a
00:16:40
real-time plug-in rack so you can
00:16:43
listen to and preview it real-time.
00:16:46
If you had normalize, it would break that
00:16:48
whole method.
00:16:50
You'd have to come up with a different
00:16:51
methodology.
00:16:52
Normalize is just a post-processing routine.
00:16:54
We'd have to process it in the background
00:16:56
and not actually print it, I guess, but
00:16:59
still be able to play it in the
00:17:01
background.
00:17:01
What would be cooler is to normalize my
00:17:04
gain stage so that you put a whole
00:17:07
effects chain together.
00:17:09
It runs it and it goes, oh my
00:17:10
gosh, you've just blown away your headroom in
00:17:12
the first plug-in.
00:17:14
Lower the gain of that first plug-in
00:17:15
and make sure that each plug-in is
00:17:17
not crashing into the other, and therefore you're
00:17:21
not relying on 32-bit, just do all
00:17:23
the math for me because I just want
00:17:25
to think about it.
00:17:25
I'm glad you said that.
00:17:27
Months ago, I said I would really like
00:17:29
the ability to preset a RMS normalize setting
00:17:35
that when you hit stop recording, it renormalizes
00:17:41
the track, that clip, to a predetermined RMS.
00:17:44
Does he have RMS normalize already?
00:17:47
Yeah.
00:17:48
What I have found that when I'm mastering,
00:17:50
say I'm doing an audiobook production, my first
00:17:53
step is to normalize every track to the
00:17:55
same minus 30 RMS, minus 30 RMS, boom.
00:17:59
That works beautifully because now every single file,
00:18:03
you know the RMS, so when you do
00:18:05
your processing chain with your compression limiting everything,
00:18:08
you only have to set it up one
00:18:10
time because now everything comes out the same.
00:18:15
For that matter, why not roughs normalize?
00:18:19
Either one.
00:18:20
I mean, I don't care whether you use
00:18:21
RMS or roughs, but just to have it
00:18:24
auto set that so that, you know, and
00:18:28
then someone's like, well, what if I record
00:18:29
room tone and now I have my room
00:18:31
tone at minus 30 roughs?
00:18:32
I'm like, okay, well, there are some scenarios
00:18:33
where you don't want this to happen, and
00:18:36
so that would be tricky.
00:18:37
But however you figure it out, you could,
00:18:39
whatever it is, there's a way to do
00:18:41
it.
00:18:41
So that was one of my ideas I
00:18:42
was hoping we would do.
00:18:43
That didn't happen.
00:18:44
There was 11 people voted for punch and
00:18:46
roll, which has been in the app for
00:18:48
two years or three years.
00:18:50
The other one that jumps out to me
00:18:52
is auto detect silences, because I mean, even
00:18:56
for me, right, I mean, I use strip
00:18:58
silence on this podcast in Pro Tools.
00:19:00
I use it all the time.
00:19:01
That's already there, too.
00:19:02
You know, this is what shows when you
00:19:05
have people vote on features, they're not getting
00:19:07
that deep into it.
00:19:08
Yeah, yeah, yeah.
00:19:09
Right.
00:19:10
It also shows and exposes the lack of
00:19:12
knowledge about the app people already own.
00:19:15
They don't know it already has punch and
00:19:17
roll.
00:19:17
They don't know it already has strip silence.
00:19:19
They don't know.
00:19:20
They just don't know.
00:19:21
So strip silence, can you adjust the parameters?
00:19:23
Like on Pro Tools, you can adjust the
00:19:25
threshold, you can adjust the start and end
00:19:27
times and stuff like that.
00:19:27
Yeah, actually, there's more parameters than Pro Tools.
00:19:30
Oh, really?
00:19:30
Yeah, you can get very granular.
00:19:34
So, yeah, there's a lot of reasons to
00:19:37
use TwistWave as a Pro Tools producer engineer,
00:19:40
because it has great utility, the batch processing.
00:19:43
You know, there's a lot of things it
00:19:45
does really elegantly that if I was a
00:19:48
Pro Tools geek, I might know how to
00:19:50
do it in Pro Tools, but there are
00:19:52
certain things that are just so much easier
00:19:55
and faster.
00:19:55
There are things that I'll export from Pro
00:19:57
Tools into Audition, because Audition does it better.
00:20:01
Yeah, absolutely.
00:20:02
Yeah, yeah.
00:20:03
Interestingly, it's one thing I've noticed that TwistWave,
00:20:06
well, it may have it based on this
00:20:08
list, but when I was using WaveLab, if
00:20:11
you're doing something like an e-learning session
00:20:14
where you've got like a gazillion files, but
00:20:18
they have the same name with a different
00:20:19
number at the end, the thing about with
00:20:22
WaveLab, if it was sitting on the desktop,
00:20:25
I could go in there to name a
00:20:26
file and that would pop up and I
00:20:28
could just click on it, take off the
00:20:30
number, put number two or 15 or whatever
00:20:32
on the end and save.
00:20:34
So, I didn't have to keep typing in
00:20:35
the title of that file, which I don't
00:20:38
know whether it does, but I certainly haven't
00:20:39
found it with TwistWave, and that for that
00:20:42
kind of work is a bit of a
00:20:43
pain there.
00:20:43
I mean, with batch processing, you can auto
00:20:45
increment that number, you know, so you can
00:20:48
have it automatically increment the number, you know,
00:20:51
increase that stuff.
00:20:52
Does it have a feature where you can
00:20:53
just dump markers and then output separate audio
00:20:55
files based on the place without markers?
00:20:57
It'll split by marker and then output export
00:20:59
files of your determined whatever format you want.
00:21:03
So, it has a lot of really useful
00:21:04
things for automating, banging out a lot.
00:21:06
If you do e-learning, man, I'm telling
00:21:09
you, use TwistWave.
00:21:10
It's just so much easier to bang out
00:21:13
30, 40, 100, 200, 500 files, you know,
00:21:16
and you can set a predetermined amount of
00:21:19
padding, you know, for the select, you know,
00:21:20
when you use the detect silence function.
00:21:23
Because what detect silence does is it, it'll
00:21:26
either, you can make it a positive or
00:21:27
a negative selection, right?
00:21:29
You can either select the silence or flip
00:21:32
it and select everything else.
00:21:33
Oh, that's very cool.
00:21:34
And then you can set the padding and
00:21:36
then say, okay, now that we've set the
00:21:37
padding for these selections, just now make markers
00:21:40
and then export all that stuff out with
00:21:43
the right amount of padding for every file
00:21:44
and stuff.
00:21:45
Can you filter it, like, apply like a
00:21:47
side chain so that you're not looking for,
00:21:49
like, thumps and bumps, but you're just looking
00:21:51
for actual audio and voice audio and that
00:21:54
silence detection?
00:21:56
Like, how about, like, BS detection?
00:22:00
Yeah, well, I mean, once AI gets wrapped
00:22:02
in everything on the planet, there'll be so
00:22:05
much more of that going on.
00:22:06
That's what I was saying.
00:22:07
I mean, just convert that.
00:22:08
If most everything that people are doing in
00:22:10
Twisted Wave is voice-oriented, just go there.
00:22:13
Well, here's another thing.
00:22:14
So you're looking at these features.
00:22:15
You guys are seeing them right now.
00:22:17
You don't see the letter AI anywhere in
00:22:20
that list.
00:22:20
It's okay.
00:22:21
Like, AI is not going to kill you
00:22:23
if it's used exactly.
00:22:24
But what I'm saying is, it also showed
00:22:26
to me anyway, it shows that the user
00:22:27
is very unaware of what AI capabilities are.
00:22:31
They don't even ask for it.
00:22:33
Like, it's not even on the radar, right?
00:22:35
I, on the other hand, have been using
00:22:37
Descript for, like, the last nine months and
00:22:40
watching the versions roll out faster than you
00:22:42
can keep track of and all the new
00:22:43
AI stuff.
00:22:45
And I'm like, you know, it's evolving rapidly,
00:22:47
right?
00:22:48
So, I have this whole parallel world where
00:22:51
I'm using this Descript thing to do all
00:22:53
this post, and it's just, it's insane, right?
00:22:56
What I can do with it.
00:22:58
I think that number 14 gain envelope, that's
00:23:00
probably going to have to be part of
00:23:01
the non-destructive multi-track mode, right?
00:23:03
That's the thing is, once you build a
00:23:05
multi-track, there's a certain expectation.
00:23:08
You have a mixer all of a sudden.
00:23:09
If you make a basic multi-track, then
00:23:11
the guys that are thinking of getting it
00:23:13
for multi-track are going to go, well,
00:23:17
it can't do this, it can't do this,
00:23:19
it can't do this, and then they're going
00:23:20
to be like, where's all the multi-track
00:23:22
functions and features?
00:23:23
Where's the toolbar?
00:23:24
Where's the smart tool?
00:23:25
Where's the slip and shuffle?
00:23:29
Where's my time code chase?
00:23:31
It is a rabble extraordinaire, right?
00:23:34
Thomas, whatever you do, buddy, we feel for
00:23:37
you.
00:23:39
Less is more, less is more.
00:23:42
Do you know my favorite feature of Twisted
00:23:45
Wave at the moment, and that's because I'm
00:23:46
using the new iPhone with the USB-C?
00:23:49
It's the upload thing.
00:23:50
It's the upload thing, their little server, where
00:23:53
you just, you know, you...
00:23:55
That alone is worth the subscription.
00:23:58
I reckon you're super-served, the audience you've
00:24:00
already got.
00:24:01
Don't worry about multi-track, Thomas, seriously.
00:24:04
Yeah, I know.
00:24:05
That's our vote, but, you know...
00:24:06
If you do multi-track, have a really
00:24:09
unique take on it, because just like another
00:24:12
emulated compressor, probably what the world does not
00:24:15
need is another DAW.
00:24:16
Well, here you go.
00:24:17
There's a challenge for us for, maybe this
00:24:20
could be it, the Pro Audio Suite multi
00:24:22
-track Twisted Wave.
00:24:24
Or how about just the Pro Audio Suite,
00:24:27
VO...
00:24:28
I mean, actually, we shouldn't do it.
00:24:29
DAW.
00:24:30
The DAW.
00:24:31
No.
00:24:31
That would go quite against Thomas.
00:24:33
We don't want to do that.
00:24:34
Are you insane?
00:24:35
I think we're just twisted enough, guys.
00:24:38
Yeah, yeah, yeah.
00:24:39
How about we wave?
00:24:39
Time to wave.
00:24:40
Goodbye.
00:24:41
Goodbye, yes.
00:24:44
Well, that was fun.
00:24:45
Is it over?
00:24:47
The Pro Audio Suite.
00:24:48
We thanks to drivers.
00:24:50
And Austrian Audio, recorded using Sauce Connect, edited
00:24:53
by Andrew Peters.
00:24:54
And mixed by Voodoo Radio Imaging.
00:24:59
Don't forget to subscribe to the show and
00:25:01
join in the conversation on our Facebook group.
00:25:03
To leave a comment, suggest a topic, or
00:25:05
just say g'day, drop us a note at
00:25:07
our website.