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00:00:00
And welcome to another pro audio suite.
00:00:01
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George with a founder of Source elements,
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00:00:29
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00:00:30
And global voice Andrew Peters.
00:00:32
Thanks to tribal Austrian audio, lighting,
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00:00:36
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00:00:40
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Line up later. Here we go. Now.
00:00:46
Good. Me?
00:00:52
You. Now.
00:01:01
Yeah, now.
00:01:11
is it that ribbon?
00:01:12
Mike seemed to react better to each.
00:01:13
I don't have an answer for you
there. I'd have to think about it.
00:01:16
I don't have one at the top of my head
that would satisfy you.
00:01:19
I've never thought about that before,
00:01:21
and I'd have to really sit
and think about the science of it all.
00:01:24
I'd have to think about it.
00:01:25
I think it's because there's less EQ ING
and less like a ribbon. Mike
00:01:30
is sort of like a ribbon to a transformer,
like Mike transformer ribbon.
00:01:36
And there you go.
00:01:37
There's far
less electronics going on there.
00:01:40
I will say this. Two for ribbons.
00:01:43
Condenser mikes tend to be like,
00:01:46
you know, we see those smooth EQ curves
on the manufacturer website.
00:01:49
Those are all horse crap.
00:01:50
Some of them are actually,
I know of one company early on that
00:01:54
just literally hand drew them,
just pulled them out of their ass
00:01:56
and said,
this is what I'm Mike sounds like.
00:01:59
No, I.
00:02:00
Won't say their name.
00:02:01
But it is it.
00:02:02
Yeah, it was a really ridiculous thing.
00:02:04
And I'm like, come on, guys.
00:02:06
But a lot of those are smoothed
by an octave or a third of an octave,
00:02:09
and that makes them
even less useful in an octave.
00:02:12
But if you go look at the frequency
responses on Audio Test Kitchen,
00:02:16
where they do a 10th of an octave,
00:02:18
and then you go compare it
to the manufacturer
00:02:19
where they're doing a third of an octave.
00:02:21
They're much pickier than you'd think.
00:02:24
And I think at particularly
with K 67 style capsules,
00:02:28
which tend to be peaky
in the sibilance area.
00:02:31
That means that we call it
not taking a cue, because when you boost
00:02:36
that, you're boosting these peaks
that are obnoxious to begin with.
00:02:40
That's my first guess.
00:02:42
I can't give you a scientific
answer to it, though.
00:02:44
I've never really thought about it.
But that's just like me.
00:02:46
That's that's the closest thing to an
explanation I've gotten compared to just.
00:02:51
It seems like you can EQ a ribbon
mic and get much more pleasing results.
00:02:56
And yeah.
00:02:57
But God forbid your voiceover guys
use ribbon mics,
00:02:59
because George would be sending
a lot of them off for repair.
00:03:02
Yeah, yeah.
00:03:03
And and there's, there's noise
issues and gain issues, but, it.
00:03:06
Seems like she has, like.
00:03:07
Like you can warp a ribbon mic
to do what you want as long as you're
00:03:11
willing to deal with
some of the noise issues
00:03:12
of all the gain
and things you're doing to it.
00:03:14
But with a with a condenser mic,
you're much better off,
00:03:18
like kind of leaving it alone
and saying, let's switch the mic out.
00:03:21
Let's try to, yeah, adjust the position.
00:03:23
As George pointed out.
Exactly the position.
00:03:26
Or the, the, the polar pattern does
change the Q of the mic,
00:03:29
not just the low frequencies,
but the midnight highs as well.
00:03:32
People don't appreciate that.
00:03:33
Yeah, I really love experimenting
with not just landing on cardioid,
00:03:37
because that's the natural
tendency is to like cardio.
00:03:40
But I like I like figure eight.
Yeah. Please experiment.
00:03:42
Like if you're in a small space
00:03:44
and you would normally not think
a figure eight makes sense, try it out.
00:03:47
You might be shocked sometimes.
00:03:48
However, if you're like me
and you have a weak low frequency,
00:03:52
You know, you get better practicing.
Your voice. Yeah, yeah.
00:03:55
But with Scott Rumble
to get his to sound like it wasn't like
00:03:58
it wasn't a thunder in the microphone,
we had to go to wide cardioid.
00:04:03
Yeah. Yeah.
00:04:04
Because because all the way out the Omni
you don't have really any proximity
00:04:07
in the proximity. Yeah.
So in wide cardioid you're lessening it.
00:04:09
Yeah. Right. Yeah.
00:04:10
But but another thing I do but.
00:04:12
Also with the finger it
you can place it better
00:04:14
and you can play the nulls in the room.
You can. Yeah.
00:04:17
That's kind of.
00:04:18
When you're mentioning certain capsules
can have sibilant spikes in them.
00:04:22
You know the first thing
everybody is saying is can you do this.
00:04:25
Can you do this.
00:04:26
And I don't reach for a de-esser first.
00:04:28
I always reach for,
you know, a filter, a parametric two,
00:04:32
so I can zoom in on that spike
00:04:35
and just notch it out a little bit,
and then it's just beautiful after that.
00:04:39
Yeah.
00:04:40
So seven kilohertz, where my brother chipped my tooth when I was seven kilohertz.
00:04:46
Yeah.
00:04:46
No, I wish I was kidding, but I'm not.
00:04:48
Yeah. Yeah.
00:04:50
It's funny.
00:04:50
You know, we talk about to figure out
I remember
00:04:51
I was experimenting
using figure eight as well.
00:04:55
And I thought it sounded fantastic.
00:04:57
Until one day I actually went to cardioid
and then realized how much bottom
00:05:01
end there was. Infinity.
00:05:03
Yeah. Yeah.
00:05:04
Well, and you've got that heavy voice too,
so that figure eight was just,
00:05:07
I mean, especially if you're riding it up
close. Yeah.
00:05:10
I was going to say the figure eight lets
you be further away
00:05:12
because it's going to reach out
more and so. Right.
00:05:15
Oh, and for the audience
don't judge my mics on how they sound
00:05:18
when they're pointing to the left of me
in a drywall box.
00:05:21
Go listen to them in your studio
before you make a judgment.
00:05:23
Get it? Get up
nice and close on the forest.
00:05:25
Come on. You got to get up nice and close.
00:05:27
This is Derek Berger with Vanguard
Audio Labs.
00:05:29
I don't know why I had to go sexy,
but I did my finger right on this.
00:05:33
PR bit from, SNL.
00:05:35
Am I doing the
what is the classic illustration?
00:05:38
Okay. Yeah.
00:05:40
The k you like this. Is
this is K. You will. See.
00:05:43
We will be playing. Yeah.
00:05:45
A fifth Symphony.
00:05:46
No. Yeah, yeah.
00:05:49
Rob. Oh,
you've been dying to ask me a question.
00:05:51
We keep stepping on your toes.
00:05:54
And it's gone.
00:05:54
And it's gone out of my head.
00:05:55
Now it's it's going to be
if you, It was completely.
00:05:59
It was a completely personal one.
00:06:01
But if let's take Andrew, for example,
if you had to pick the perfect
00:06:05
mike out of your range
to suit you, Andrew, where would you go?
00:06:09
It's going to be a question
I was going to ask as well.
00:06:11
Oh, geez. I mean,
00:06:13
I have a hard time saying not the V 13.
00:06:17
And here's why.
00:06:18
It's the polar patterns with the roll off
and the pad make it
00:06:22
pretty versatile on voices.
00:06:25
It's it's flattering enough.
00:06:27
The only downside to
that is it's a tube mic
00:06:29
so that you have to
if you're taking it places,
00:06:32
you gotta set up the power supply
and blah, blah.
00:06:33
It's one more thing that can go wrong
when voiceover auditions.
00:06:37
I mean, I've been in the room
when they're like,
00:06:38
oh yeah, we got the female.
00:06:40
We got to put this out in 30s
we got to do the read
00:06:43
and go and run it
into, Twisted Wave and send it out.
00:06:46
So that's one more thing.
00:06:48
If you've, you know,
if you have to turn on the to,
00:06:50
the power supply
and wait for it to heat up or God forbid,
00:06:52
you can't figure out
why your Mike's not working
00:06:54
is because the power supply cable
came out of the wall.
00:06:57
Don't ask me how many mics
I've been trying to take apart
00:06:59
after I after I built them,
and it's not working.
00:07:02
And the problem was an IEC cable
00:07:03
that came loose out of the wall socket
or something like that.
00:07:05
You know,
I'd say the V 13 would be a good
00:07:09
I mean, I'd love to say the V 14 just,
you know, I'd love for you to give
00:07:12
me five grand, but,
00:07:14
that's a that's an American five grand.
00:07:16
I'm not sorry, Ganges.
00:07:18
Next question is, what sort of discount
are you going to give me?
00:07:20
So just be careful what you. Sorry.
00:07:24
Andrew, what's difference in $5?
00:07:27
That's what I said. Australian pesos.
00:07:30
I'll take.
00:07:30
I'll take it over. Canadian 5000. Right.
00:07:32
I'll give you a tip, mate.
00:07:33
If you want to make a sale,
just give Andrew a tip.
00:07:36
So I just give Andrew a hint of a bargain.
00:07:38
And you've probably made the sale.
00:07:41
He just can't help himself.
00:07:43
I know this is this magical cable tie
that comes with the microphone.
00:07:46
Yeah, yeah.
00:07:47
What about AP is bad? Yes. Bad.
Yeah. Okay.
00:07:50
Oh, yeah.
00:07:50
Yeah, yeah.
00:07:51
I mean, picking mics for voices
is tricky.
00:07:55
But I think that, a really good one
00:07:58
I heard and I don't remember
which engineer said it.
00:08:00
As if you're making a sauce.
00:08:02
Take a mic that sounds like
the opposite of that sauce.
00:08:04
If you had a really bright sauce,
00:08:06
put a put a darker ribbon on it,
or put a U 67 or V 13 if you've got it.
00:08:10
If you've got a source of nasally
like mine, you do not want a mic
00:08:13
that has those nasally, like,
you know, 500 to 1000, 1.5 like.
00:08:18
Those, you know, you.
00:08:18
Know, that's really funny about that
though, because, you know,
00:08:20
the whole thing about the UAD seven,
everybody, you 87
00:08:24
gotta have a you 87 voice over you 87.
00:08:27
In Australia
we have a nasally tone to our.
00:08:31
Our exhale your accent.
00:08:32
Yeah.
00:08:32
So you put a U
87 on someone in Australia.
00:08:35
It emphasizes the nasal.
00:08:38
Well, maybe that's what you want.
00:08:39
If you're saying,
you know Crocodile Dundee.
00:08:42
That's right.
00:08:43
That's if you do it,
if you're hamming it up, you know.
00:08:45
Yeah, yeah yeah. Know.
00:08:46
But Mike, this is a mike. Yeah.
00:08:49
Do you make any small diaphragm mikes
or is it all I do?
00:08:52
Actually, there's one back here.
00:08:54
I don't have it hooked up.
It was hooked up to the Evo eight.
00:08:56
Oh, I thought, but now it's not.
00:08:58
Oh, no.
00:08:58
This is a small diaphragm with a large
diaphragm attachment called the lolly.
00:09:02
Okay, so.
00:09:03
This takes here
this. Oh, it's a different preamp.
00:09:05
Well, listen. Do me a favor.
00:09:07
Buddy. Do me a favor.
00:09:09
Let's place him on hold music on
the episode here and go to here like that.
00:09:12
Can you plug that sucker in real quick?
Because I'd love to hear.
00:09:15
Duh duh duh.
00:09:16
Duh duh duh duh duh duh duh.
00:09:18
Duh duh duh duh duh duh duh duh duh.
00:09:20
You guys are probably
gonna get a pop here.
00:09:24
There we go.
00:09:30
Be careful.
00:09:31
It's it's a popping bass that we have.
00:09:33
That's what. It is.
00:09:35
Bum bum bum bum bum.
00:09:37
Yeah. Oh,
00:09:41
it could be.
00:09:44
Obviously, this has to get added a lot
00:09:45
because it will get slammed.
00:09:48
Yeah, I'll change it for some lift.
00:09:51
Music.
00:09:54
There we go.
00:09:55
He's back. Here we. Go.
00:09:56
Now. I'm back in my. Yeah.
00:09:59
It's kind of these take a little while
to charge up because of the circuit.
00:10:01
It's a charge.
00:10:02
The design.
00:10:04
There we go. It's got more heat to it.
00:10:06
You can back the gain,
I think down just a bit. Okay. Yeah.
00:10:08
I'm sorry, I just bumped them.
00:10:10
That's pretty nice. I'm
good at this. There you go. Yeah.
00:10:12
So this is, Let me do this.
00:10:15
Which one's blue? This is.
00:10:17
And what's the other one you have?
00:10:18
You have the actual small diaphragm
pointing straight at you, and then the
00:10:20
the drop. So there's a large diaphragm
I'm talking into right now.
00:10:23
And it has a lot of proximity effect.
00:10:25
Actually this is an cardioid.
00:10:26
But it also switches to omni
if you so desire.
00:10:29
And then the other one
that I'm going to turn up right here,
00:10:33
and it's probably going to be
a little quieter,
00:10:34
just because of the smaller diaphragm.
00:10:36
This is an this is the SDC.
00:10:38
So it comes a four capsule standard.
00:10:40
It comes with an omni
00:10:41
hyper cardioid, cardioid and wide cardioid
that all you just screw on and take off.
00:10:45
I wish I had left the case out
to show you guys.
00:10:48
But I did not think that far ahead
because that sounds like me, doesn't it?
00:10:52
This is just the
00:10:53
cardioid, on there, but,
yeah, we just came out with the Gen two.
00:10:57
The college into is not out yet.
00:10:59
Unfortunately, we had a break in in 2021
00:11:01
where they stole like
250 units of metal work for the Wally.
00:11:05
And I have yet to recover from that.
00:11:07
What do they do with.
00:11:08
That dude is that I think they broke this.
00:11:10
They smashed and grabbed.
00:11:11
They grabbed everything
they could off the shelf.
00:11:13
So they grabbed like 200 shock mounts.
00:11:15
You know, they grabbed a bunch of stuff
that wasn't finished
00:11:17
and then tried to sell it on Mercari
that didn't go well for them.
00:11:21
Oh, yeah. Let's hurry.
00:11:23
You know, I have to.
00:11:24
Offer up the light,
you know, that sort of thing.
00:11:27
But yeah, they were selling them
00:11:28
and then people would buy a mic
for like 75 bucks and be like,
00:11:31
they emailed me like, hey,
I bought this mic used.
00:11:33
It's not working. Like,
what's the serial number?
00:11:35
Because it wasn't a complete a microphone.
00:11:37
That's why.
00:11:38
Because we do we do, you know,
we do a R assembly in the States.
00:11:41
So like those mics may not have had PCBs
or maybe it didn't have certain components
00:11:45
in them or, you know, all sorts of things
where the mics weren't completed yet.
00:11:49
They only stole like five completed
microphones.
00:11:52
But anyways,
the Lolli Gen two is not out yet,
00:11:55
but the V1 Gen two is
and it comes with the four.
00:11:57
And we also did them in black actually,
00:11:59
because that was the most requested
feature.
00:12:01
People are like,
I want to use this on stage.
00:12:04
We had a national orchestra
in Europe saying,
00:12:06
I want to buy 60 of these, but we can't
have them because they're too shiny.
00:12:09
And these are all televised.
00:12:11
Oh, that's.
00:12:11
So we made.
00:12:12
So much the tape is for, oh, like.
00:12:15
The whole taping the entire mic.
00:12:16
No more residence on that. My body.
00:12:19
Yeah. But,
00:12:21
But, yeah, this is a
00:12:22
this is a small diaphragms,
that I'm talking into now.
00:12:25
This is, this is a cardioid capsule.
00:12:27
I think we do have filters
and pads on the, on the small diaphragm.
00:12:32
No, no.
00:12:35
Not to get too nerdy.
00:12:36
If you put a screw in pad,
you have to have active electronics.
00:12:38
And that,
and that's going to mess with the signal.
00:12:41
And if you, do a pad switch,
I looked for a while
00:12:45
to try and find a pad switch
that did not affect the signal negatively,
00:12:48
and I did not find one for this microphone
because it's so small
00:12:52
and you have to put a slide
switch in there.
00:12:54
And the contacts just were not good enough
either in the high Z section for that.
00:12:57
By the way,
you're in the high impedance section.
00:12:59
So you're the very yeah.
00:13:01
You're getting the negative feedback.
00:13:03
Yeah. Yeah. Well for the artists.
00:13:05
Well we're talking about it
because you know
00:13:06
we've got Andrew over here
on small diaphragm
00:13:08
and yeah obviously sounds pretty good.
00:13:09
And you know for 16 small diaphragm.
00:13:12
So how does an artist decide
if they need really
00:13:16
truly need a large diaphragm capsule
mic versus a medium or small diaphragm.
00:13:21
The large that will be lower noise
typically.
00:13:23
That's one thing. Yes, that is true.
00:13:24
However, I will say this
I tell people and I'm a mic guy.
00:13:29
It is in my interest
to sell you more microphone.
00:13:33
So when I say this, it is important that
you understand that it's me saying it.
00:13:38
A lot of the times the best mic
00:13:40
for the job is the one you already have,
and you don't know it yet.
00:13:43
There are exceptions to that.
00:13:45
Like let's say you have,
you only have a 41 six or a 416, right?
00:13:49
49 you are suddenly
you have to do an audiobook,
00:13:53
and that means that you have to sit
like this for hours at a time and not move
00:13:57
a single centimeter, because if you do,
everything's going to go to hell.
00:14:00
And apologies
if there were plosives on that.
00:14:02
Small diaphragms
can be more susceptible to plosives,
00:14:05
especially when they're designed well,
like this, where the diaphragm breathes
00:14:09
because it is one millimeter
from that grill cloth there.
00:14:13
And that means that there is nowhere
for that air to go but into the diaphragm.
00:14:16
So they have plosives much easier.
00:14:19
I'm not sure if you've experienced that
with your, with your OCA there.
00:14:23
But with the CC eight.
00:14:25
This one. Yeah.
00:14:26
That's
why I'm saying you're got to be very.
00:14:27
That's why I've got the.
00:14:28
Small diaphragm condensers
generally like with a large diaphragm,
00:14:32
when you think about, you know, this mic
00:14:34
that I was using earlier,
I'm just going to unplug it real quick.
00:14:36
You know, think about how much distance
there is between the grill here
00:14:41
and the, the capsule.
00:14:42
That's probably, conservatively,
three quarters of an inch.
00:14:45
Maybe an inch.
00:14:46
Yeah.
00:14:46
And then the,
Well, this is a millimeter.
00:14:49
What's. Yeah.
00:14:50
What's the rule?
00:14:50
The, the root square.
00:14:52
Like. Like the root mean square.
00:14:54
Yeah.
00:14:54
I mean, you go, like, twice
as far away as four times less signal.
00:14:58
Yeah. So again, Robert,
you just have to geek out, don't you?
00:15:00
I do love. Nothing wrong with that.
00:15:02
I'm with Robert on this one.
00:15:03
But really the bottom line is,
so with a 416 reading
00:15:08
a narration one, the sound is going to
maybe not be what you're looking for.
00:15:12
The tonal qualities of a four, 16
or 41 six.
00:15:14
Apologies, Robert.
00:15:15
But two just the fact
that you have to sit in the same spot
00:15:20
every time and not move an inch
00:15:21
while you're reading copy
and turning pages and whatever.
00:15:25
Yeah.
00:15:25
Whereas if you get a mic that can do this,
let me just turn this over here
00:15:30
and I can look at a white
00:15:32
or I could or a wide cardioid
where I can get a little further around it
00:15:35
and I can move.
00:15:35
And it doesn't affect
the audio quality as much,
00:15:37
because I'll tell you right now,
I'm listening to an audiobook,
00:15:40
and there are times
where you hear in between sentences
00:15:43
where they've clearly cut something in
00:15:45
after the fact, like,
oh, we need to reread this
00:15:47
because you before a word or whatever.
00:15:48
And it's, it's.
00:15:49
It's jarring. Takes me
out of the audiobook totally.
00:15:52
You know,
and that's like I'm an audio guy.
00:15:55
So I would notice that.
00:15:56
But even my wife goes, that was weird.
What's going on?
00:15:59
Yeah, yeah.
00:15:59
It like it takes her out of it.
00:16:01
And she's not she it's as far from audio,
but she doesn't want to do it.
00:16:03
My it's like ADR for audiobooks.
00:16:06
Yeah, exactly.
00:16:07
So it's I think that,
I think that it's really important
00:16:13
to think about like ultimately mixer
paint brushes, right?
00:16:16
Like, if you're Bob Ross,
you're not using your, your,
00:16:18
your two inch brush to sign it or,
you know, do your tree trunks,
00:16:22
you're not using your, your, your, liner
brush for the happy little clouds.
00:16:25
Right. You've got different brushes
for different things.
00:16:27
And ultimately these are tools
00:16:29
and you have to treat them as
what is this tool good at?
00:16:32
Now, that being said, you know,
if you want an all around Mike,
00:16:37
I would say go with, with either
a large diaphragm or a small diaphragm
00:16:41
that has a wider pattern
pickup pattern than like A4416 or a 41.
00:16:45
Yeah. Apologies.
00:16:46
Yeah, I, I know that you're going
to get used to saying that.
00:16:49
Why are we saying 41 six?
00:16:50
Because we change the world.
00:16:53
Because we
when we first started this program,
00:16:55
we had 416
that we call it here in Australia.
00:16:58
And you guys call it the what was 2016.
00:17:00
So we decided we'd find some middle ground
and create our own name.
00:17:03
So the 4141
00:17:06
and now and now when I freelance,
00:17:08
I walk into the studio and I'll say,
is there 41 six around someone?
00:17:11
Now look at me and go, what?
00:17:13
What do you have?
00:17:13
Like the guy on. Three, four, one six.
Yeah.
00:17:15
Can you give me the Neumann? You 87.
00:17:17
Yeah.
00:17:18
It's like give away from the console now.
00:17:20
Yeah.
00:17:21
Yeah.
00:17:21
But, Yeah, the Neumann.
00:17:24
Neumann was the guy on Seinfeld.
Yeah. I was gonna say.
00:17:26
I mean, yeah.
00:17:29
He turned 67.
00:17:31
So when Neumann on Seinfeld turned 67.
00:17:35
I just.
00:17:37
I missed
they missed a really awesome joke on.
00:17:39
Oh, yeah. Yeah,
yeah, exactly. Three people. What?
00:17:42
I got that.
00:17:43
All right, so I'm gonna bring it back,
and I need them.
00:17:47
I was just going to say just quickly.
00:17:48
Just while we were on. On Derek's point.
00:17:50
Sorry, George,
but just while we were on that point
00:17:51
about microphones,
00:17:53
I was going to say, though, there are
microphones that sort of give you that
00:17:56
sort of quality that you're talking about,
that high top end like the 41 six,
00:18:00
like the, the, 90 100, yeah.
00:18:05
The 91 or the okay.
00:18:07
6016 both sort of have that hype
at the top end, but being large capsules
00:18:12
sort of give you that luxury of,
as you say, being able to.
00:18:15
Yeah, move around a little bit.
00:18:17
So, you know.
00:18:18
It's funny though, we I was at Scott
Rumbles the first time I got introduced to
00:18:22
voice over is like a market
for microphones was Scott Rumble.
00:18:25
I met him at Nam
and he's like I've been looking
00:18:27
for a new microphone to do narration
on, and I have a 416.
00:18:31
And I was wondering if you had anything.
00:18:33
And he lived not that far from me.
00:18:34
At the time he was in Yorba Linda.
I was an upland.
00:18:36
It was an easy drive for me,
so I took down two mikes to him
00:18:40
and we sat there for the day
and we played with the V 13,
00:18:43
and I got to listen to Scott Rumble
to Scott Rumble things.
00:18:45
And so he had it running into an Avalon.
00:18:49
What is 70.
00:18:50
737 737 yeah.
00:18:52
767 is a, airline thing.
00:18:55
But, he had it running into the Avalon
that has Nic and stuff like that.
00:19:00
And so we were playing around with it, and
he was like, I love this for narration.
00:19:03
I love the setting you've got for that.
00:19:06
Can we make this sound like a 416
just for fun?
00:19:08
So we started playing with the EQ and
we started playing with the polar pattern.
00:19:11
We got really close
00:19:12
and then his agent calls and he's like,
hey man, you're reading, what is it?
00:19:16
Valerian
and the city of a Thousand Planets,
00:19:19
or it was a sci
fi movie from back in the day.
00:19:21
It's like you're doing the read for this.
00:19:23
You're on and, like, a minute,
and I panic and I grab it for 16.
00:19:27
I'm trying to,
because he only has one input
00:19:28
right at that time, and I'm trying
to put everything back together.
00:19:30
He goes,
no, no, no, let's just see if they notice.
00:19:32
And they Yeah, yeah, yeah, yeah.
00:19:35
It's you. Know.
00:19:36
And so he gets on there like, Scotty,
you're doing something different today.
00:19:38
You sound really good.
And he looks at me and he goes, no,
00:19:42
that's how he does the read Valerian.
00:19:44
You know, you know, doing like six
different takes of it or whatever.
00:19:47
And, you know, five minutes later,
he's, he's probably
00:19:51
several thousand dollars richer
because that's the way it works.
00:19:54
And it's amazing.
00:19:54
And, then like a month later,
I'm watching Hulu and that comes on.
00:20:00
I'm like, oh.
00:20:00
Shit, that's my microphone.
00:20:01
That's cool. Yeah, yeah.
00:20:03
That's that's that's the story stuff
you want to put up on your website.
00:20:06
Right. That's an. Yeah, I think I have.
00:20:09
As you Sean.
00:20:10
I'm, I'm,
clipping here. Apologies. I, it.
00:20:12
Just reminds me
of one of our first episodes,
00:20:15
and we did a shoot out
and we were all ready when the 91.
00:20:21
Not the 91 day, but the 91, I believe,
was the closest to the 41 six.
00:20:26
And we were just like, how could that be?
00:20:29
There's there's no farther apart as far
as construction and design and everything.
00:20:34
But they really did was us.
00:20:36
Yeah. It was that was so bizarre.
00:20:38
We had I think I just brought
all of my mikes out and line them up.
00:20:43
I think that. Sounds like
it's a considerable collection.
00:20:47
But don't start serious over here
for another hour.
00:20:50
Yeah, yeah, yeah,
00:20:52
yeah.
00:20:52
So here's my question that I, that I had,
00:20:56
Josephson, I don't know if you're familiar
with with them as a.
00:20:59
Yeah. Yeah.
00:21:00
And I think also the new Sony
00:21:03
and you don't see
a lot of mikes to do this,
00:21:04
but they take a large diaphragm
and a small diaphragm
00:21:07
and they put them in one,
and then they blend them electronically.
00:21:10
And I was wondering,
what's your thought on that.
00:21:13
Where are the pitfalls of that?
00:21:14
I imagine there's
some phase issues at least.
00:21:17
But in theory
there could be phase issues there.
00:21:21
Unless you're up in so close
there's probably in frequency
00:21:25
domain that it doesn't matter. Right.
00:21:27
So like my stereo mic for instance.
00:21:29
Let's say I don't have the stereo mic
with me, but you can.
00:21:32
Just step our capsules, right.
00:21:34
Yeah, yeah.
00:21:35
And so our other stereo mikes
and there's still face coincident
00:21:37
where it matters in the, in the frequency
domain that humans hear.
00:21:40
Unless you're recording from half
an inch away.
00:21:43
In which case,
what are you doing with a stereo mic.
00:21:45
Right. Okay.
Half an inch right from your. Yeah.
00:21:47
Because now it's like a distant now.
00:21:49
So it's a factor of the source. Right.
00:21:51
Exactly. Right.
So it's a it's a factor of the source dis.
00:21:54
And so I think it's smart
in a number of ways.
00:21:57
Obviously you have to think about
how they're blending it.
00:22:01
Whether they're on separate circuits
that they're then blending it in
00:22:04
or whether they're just doing it
additively in the high impedance section,
00:22:08
because that can cause
I mean, they've thought about this.
00:22:10
They thought about capacitive problems
and things like that.
00:22:12
But all that being said,
I don't think it's a bad idea.
00:22:16
I wish I had it here.
00:22:17
I had a prototype at one point
that I 3D printed that was a 67,
00:22:20
a 47 and a K 12 style capsule.
00:22:23
All in one. Had that. Big bass.
00:22:26
Printed amount and you could in theory,
the idea was I was going to put
00:22:30
three circuits in the mic
00:22:31
and have you be able to blend
between them with a blend pot?
00:22:35
It didn't work out
for a number of reasons.
00:22:37
Not the least of which it looked like a
pickleball racket when you think about it.
00:22:41
Yeah.
00:22:44
But,
but yeah, it was just something I tried
00:22:47
because I was kind of inspired by a
by a similar.
00:22:51
I don't remember who does this.
00:22:53
I think it might have been Audio Technica
where they had four rectangular.
00:22:56
Yeah. It's
Audio Technica has got four for.
00:22:58
Yep. Exactly.
00:22:59
Yeah. And there's, there's advantages
and disadvantages to all that.
00:23:02
You know like all of its balance
ultimately.
00:23:05
And and I think the bottom line is
is it musical.
00:23:08
Does it serve the artist.
00:23:09
Does it serve what they're doing.
00:23:11
And if you lose sight of that then why?
00:23:13
I mean, you're either in it for the money
or your ego or what have you.
00:23:16
And I think
00:23:16
I think it's more it's more fun
to be supporting artists and what they do.
00:23:20
Like I just make paint brushes, you know,
ultimately they're fancy, expensive, sexy
00:23:24
looking paint brushes.
00:23:25
So which
which one is the Bob Ross spatula?
00:23:29
Like, you know, like.
00:23:30
Oh, the palette knife.
00:23:32
Yeah.
00:23:33
He was he was rather versatile
with the palette knife was.
00:23:36
It's like a carbon mike or something.
00:23:38
Yeah.
00:23:38
I don't,
I don't know, I'd have to really I,
00:23:41
if I had to sit down
and make a, put a microphone on all of
00:23:44
that seems like a, like a meme that I need
to do a Bob Ross microphone project.
00:23:48
But yeah,
I'm, I'd have to think about that.
00:23:50
But, yeah,
I think that they're tools ultimately.
00:23:55
And like we do obsess over our tools
as, as artists.
00:23:58
And sometimes I think to our detriment,
I think we lose the forest
00:24:01
through the trees and and going back
to what George said, like, ultimately,
00:24:05
if you got to really turn
in a really great voice over performance
00:24:08
on your iPhone mic for this,
you know, cartoon character audition,
00:24:13
they can put a better mic in front of you.
00:24:15
They can't, you know,
00:24:16
they can't turn you into a better view
artist necessarily, right?
00:24:19
Yeah. Easily.
00:24:20
You know, so it's
I think I think it's really easy
00:24:25
to do what I did
when I was in junior high and high school
00:24:27
and focus on the tools
and not the instrument.
00:24:30
Now it put me here, which may
or may not be a good thing to have me
00:24:34
on, depending on the day you ask me,
I'll say whether it's a good thing or not.
00:24:39
But ultimately it's it's a tool.
00:24:41
And the art comes first.
00:24:43
And if this tool isn't serving the art,
that's when you go buy a new tool.
00:24:46
Yeah.
00:24:47
Yeah.
00:24:48
Well, or if you've got a lot of money
00:24:49
and you want to support
a boutique manufacturer.
00:24:51
Speaking of new speaking of new tools,
before your natural daylight
00:24:54
fades into darkness. And you.
00:24:56
Because you're. I could tell
it's getting darker in Europe.
00:24:58
Yeah, it's.
00:24:59
Like I said, this has happened,
like. Wow.
00:25:01
And he has to go in a minute.
So Joyce, you got to go.
00:25:04
So new mics.
00:25:06
Are there any.
00:25:06
Yeah I mean not
that you haven't had enough to do already.
00:25:09
Yes. I'm coming out with a very limited
quantity of a small diaphragm to mic.
00:25:15
At the request of one of my buddies,
I was going to build a pair for him
00:25:18
and I was like, I helped build
like ten pairs and see if they sell.
00:25:21
Like I talked about, like a new vista.
00:25:23
Yeah. The, not a new vista.
00:25:25
I've actually got them over there.
The peanut, the sub miniature tubes.
00:25:28
That. Yeah.
00:25:30
So that's the only way you can do them.
00:25:31
Pretty much in a SDC.
00:25:33
Unless it's a small diaphragm
capsule on a big, fat, big, chunky body.
00:25:36
Yeah, yeah.
00:25:40
Yeah, I'm doing that.
00:25:41
I've got some other ideas
that may or may not come to daylight.
00:25:45
I, you know, I've developed projects
00:25:47
that never go anywhere
because I'm like, ultimately, this doesn't
00:25:50
do what we need it to do or what
the artist needs it to do.
00:25:53
So you go back to the drawing board,
you try again, or maybe you let that part
00:25:57
cook a little longer
and you come back to it.
00:25:58
I've got the V7 is another one.
00:26:00
I'm sure you saw it at Nam a couple times
00:26:02
because we're going to release it
and we never did.
00:26:04
It's a nine pattern
fat mic with the pattern selectable
00:26:07
on the front of the mic,
and then it also has swappable capsules,
00:26:10
so you were able to swap out
if you want a K 67 or a U 40 or 47.
00:26:16
That's like the Kirby system,
right? Kirby.
00:26:18
Yes, yes.
00:26:19
But without dealing with,
with the difficulties
00:26:21
that was dealing with
Tracy Kirby sometimes. So.
00:26:25
Yeah.
00:26:25
And then another company does it now
actually, Luke Audio does a swappable
00:26:29
bayonet system that they that that I, that
I understand is a pretty good one too.
00:26:33
And the blue the blue bottle is coming
back with a new name and a new month.
00:26:36
Are they
are they really resurrecting my audio?
00:26:39
A lot. Of microphones. Yeah,
I talked to the guy.
00:26:41
Oh, look at that.
00:26:42
They're blue.
00:26:42
Dirtied their name with the frickin Yeti.
00:26:45
Yeah, I talked to the guy.
00:26:46
I talked to the guy
who had a mockup of the body,
00:26:48
and he was like,
we're starting over. And I'm going to be.
00:26:50
Oh, yeah. Go.
00:26:52
They sold.
They sold it to Logitech. Right?
00:26:54
So blue is in blue
on. The strength of the USB mics.
00:26:56
And then Logitech said,
what do we need this Pro audio stuff for.
00:26:59
Yeah, but they really kind of crapped
on that name.
00:27:02
I thought it was sad
because blue had some wonderful.
00:27:05
Minecraft on the name to the tune of $192
million, and sold it to Logitech.
00:27:09
Everybody has a price to.
00:27:12
Yeah, bring on the.
00:27:14
I gotta pay it.
00:27:15
You know, I gotta
I gotta pay a quarter of $1 billion
00:27:18
or a fifth of $1 billion
for you to design a USB mic.
00:27:22
That's going to be an Apple Stores.
00:27:23
I'd be like, yeah, okay, okay. I mean,
00:27:26
the genius of blue was it was the Yeti
that the Yeti, as bad as it was the.
00:27:31
Yeti in the circle, man. Yeah. Marketing.
00:27:34
Marketing. Gold.
00:27:35
Sorry to bring up those names, but,
you know.
00:27:38
It came up.
00:27:38
No, man, no, man.
00:27:40
It like people needed USB.
00:27:43
They designed something
00:27:45
that somebody
was not an audio person at all
00:27:48
that wanted to start a podcast could use
get a decent sound and a drywall box.
00:27:53
And oh, this is if you have two people,
you put it right here in between them.
00:27:56
And this is figure eight.
00:27:57
And if you have a bunch of people,
you put it in omni like they
00:28:00
they dumbed it down for people.
00:28:01
And they also made it
darn near indestructible.
00:28:04
Because that thing,
00:28:04
if you ever picked up a Yeti
with like the cast iron base on it,
00:28:08
that thing could have been a weapon
in the board game.
00:28:10
Like it was so much fun.
00:28:11
It's a Yeti bike with. A.
00:28:13
Buddy in the studio
with the Yeti in the kitchen.
00:28:18
That thing would break so heavy.
00:28:20
It was so heavy, so never.
00:28:22
So never a USB mike from Vanguard.
00:28:25
Or probably not, but never say never.
00:28:27
You know, if you have a
if you have $192 million, you
00:28:31
all all right? Price?
00:28:34
Just let him know.
00:28:35
Yeah, yeah, yeah,
he'll have it made tomorrow.
00:28:37
No, it's some other ideas too.
00:28:38
And it's you know,
I think my biggest thing right now
00:28:41
is I've been looking. And George,
you know about this.
00:28:43
I've talked to you about this.
00:28:44
Ken died in March, rather unexpectedly.
00:28:47
And we were both are both engineers,
you know, and engineers running companies
00:28:51
doesn't go so well.
00:28:53
So I've been looking
for a new business partner to come in
00:28:55
and run the business side of it,
because it's no fun to do accounting
00:28:59
when I could be designing microphones,
you know, or it's
00:29:01
no fun to be doing, vendor management
when I could be doing microphones.
00:29:05
So, that's been my primary concern
for the last nine years.
00:29:11
Yeah,
I was trying to find the right person
00:29:13
to join up with and continue this
so that, you know, ultimately not to not.
00:29:17
This is a call for resumes, but the.
00:29:19
Pro audio suite is going
where we've we've got the voice
00:29:23
has poured out and I'm not sure, but
we might need a line of microphones too.
00:29:26
I was. Going to say, once we've made.
00:29:28
A little bit.
00:29:29
About. The ideas for vo vo mics and,
00:29:33
on my list.
00:29:34
Once, once, Michael
say I'm millions for the possible.
00:29:37
Yeah, yeah, that's right.
00:29:38
They will not be buying in.
00:29:40
Yeah, yeah. I've.
00:29:41
Yeah I thought it
00:29:42
you know if anybody is interested
in partnering on a microphone company
00:29:45
that has the right qualifications
and listens to pro audio suite.
00:29:48
That is a narrow Venn diagram, man. Hey.
00:29:51
Yeah. Venn diagram.
00:29:53
Looks like Madonna's.
00:29:54
Boobs. I'm sorry.
00:29:55
My my mom hasn't got that sort of money,
mate.
00:29:57
I'm sorry.
00:29:58
Yeah, yeah, yeah, just,
Just all the way out here.
00:30:01
Okay.
00:30:03
So you got it. You've got a baby.
00:30:04
But before we, Before you do, because
I know you got a hot out before you do.
00:30:08
If I want to buy a Vanguard. Mike.
00:30:10
Come on, give us. Do the sell. This is.
00:30:11
This is your sales hat moment, mate.
00:30:13
So if you like stupid industry,
you know, niche audio memes
00:30:17
and also looking at microphones,
00:30:19
follow us on Facebook and Instagram
at Vanguard Audio Labs for both of them.
00:30:23
I'm not on X or Twitter because
it was a tire fire before it became Ax.
00:30:27
And I also to buy the microphones.
00:30:31
We do sell direct in the United States
as well as have dealers.
00:30:34
So you can go to shop
00:30:35
dot Vanguard Audio labs.com
if you want to feed our foster dog.
00:30:38
That's a great way to do it. And
00:30:42
you can also go to Vintage King and Pro
Audio
00:30:44
star and guitar Center slash musician
strand, and a number of other retailers.
00:30:48
If you're interested in supporting your
local retailer, I don't mind that either.
00:30:52
If you just go to our website and click
Find a Dealer if you're in Australia or,
00:30:56
wherever else these other guys are,
then you can go to find a dealer
00:31:00
and we're distributed in 78 countries,
I believe.
00:31:03
So wow, wow.
You should be able to find us.
00:31:05
Yeah, I think so.
00:31:07
And where are you right now?
00:31:09
I'm in Philadelphia, Pennsylvania. Philly.
00:31:12
George, George is going to get a walk.
00:31:14
Yeah,
me and George have talked about this.
00:31:16
Go birds and all that. New York
up next time.
00:31:18
Well yeah visiting that it. Is a palooza.
00:31:20
Also in that area I.
00:31:22
Think he's somewhere
I think he's in Virginia. Virginia.
00:31:25
My old room near Virginia Tech actually.
00:31:27
Yeah.
00:31:28
He's he's down
Alexandria way, if I'm not mistaken.
00:31:31
But if you do make repairs,
I will be contacting you because I have.
00:31:35
Yes, I do lots of make repairs.
00:31:37
I have some 80 sevens
that have mysteriously low gain.
00:31:41
Don't know why.
00:31:42
80 sevens.
00:31:43
Who made those 80 sevens?
00:31:46
Like, like 80. 708.
00:31:48
I thought you said a is is
and mean just like derecho.
00:31:53
Yes. 8780. Seven.
00:31:55
Slow game.
00:31:56
That's an easy fix. I can
I can help you with that.
00:31:58
Oh, say original 80 sevens. Are I.
00:32:00
Their originals.
00:32:01
Yeah. Okay.
00:32:02
Yeah I, I do three of those
a month and that.
00:32:05
Okay. Capacitors I reckon.
00:32:07
Tantalum capacitors or the fat bias.
00:32:10
Yeah.
00:32:10
The fat, the bias I need bias.
00:32:13
Almost everyone that comes in.
00:32:14
Yeah.
00:32:15
These these these were,
these were reworked by by Ben.
00:32:18
Can you say fat bias these days?
00:32:20
Isn't that, like shaming namesake.
00:32:23
Yeah.
00:32:23
I do that. I know that that in in.
00:32:26
Yeah. Here in Australia. Right. Rob.
00:32:27
Oh yeah. Yeah.
00:32:29
So so I mean I know that the a and the ear
kind of an interchangeable
00:32:33
thing for your accent
but it's the fat field effect transistor.
00:32:36
Okay.
00:32:36
Now tell me now tell me no.
00:32:38
And add 16 hours to the end of it. No.
00:32:41
No no no no
00:32:45
no. And I
00:32:47
and he never sold another microphone
in Australia again.
00:32:50
See my much you.
00:32:51
What you would hear from an Aussie is me
microphones fact.
00:32:54
Can you fix it for me?
00:32:57
You said all those hours
that the British got rid of.
00:33:00
You're like we'll take all of us.
00:33:01
We'll just take all of them
and bring them here.
00:33:04
Yeah, it's.
00:33:06
I'm yet to hear someone do a good Aussie
accent who's not an Aussie.
00:33:09
Oh, well, I tell.
00:33:09
You to my manager, Curtis,
I'm here on that round.
00:33:13
Australians. And he nails it.
I got to say.
00:33:16
Get to send me a file
because I'd love to hear it.
00:33:19
Yeah, yeah.
00:33:19
I will
00:33:27
Well, that was fun.
00:33:28
Is it over?
00:33:30
The audio. Sweet.
00:33:31
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00:33:36
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00:33:41
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00:33:47
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00:33:49
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