Welcome to the Pro Audio Suite. Thank you guys, a professional and motivator. Thanks to try Booth, the best vocal booths for home or on the road voice recording and Austrian audio Making Passion Heard. Introducing Robert Marshalls from Source Elements and someone Audio Post Chicago, Robert Robertson from Voodoo Radio Imaging Sydney to the vo Stars, George the Techwittam from La Andrew Peters, Voiceober Talents and Home Studio Go and welcome to another pro audio suite thanks to try Booth. Don't figure the code t r I PAP two hundred to get two hundred dollars off your tribooth, Austrian Audio Making, Passion Heard and Sentrance the Passport vo The brand new interface should be out by the end of the year. If you'd like to purchase one, you can go to Centrance website, Centerance dot com or the Pro Audio Suite dot com website and you will find the link there. Now, we have a special guest joining us today because Robo and I both received an email from said guest with a really interesting announcement and that was just last week. Our guest is from Waves Michael Pearson Adams, how are you Gomes get a mate? How are you? It's you know, it's so funny. It's like I still have to get used to the Gomez thing. You're probably hating it. Yes, it will never go away. Never won't Apparently it won't go away. That's fine. We can we can get rid of it for you. Yeah, it's fine. It's it's fine when it said when Andrew, when you say like that, it's like, it's funny. You know when I talk to people about our old Triple M days and you know, people say who are you working with? And you go, oh, there was Slash, there was Foxy, there was Gomez. You know, there was Tomo, there was Branny, Yeah, Cranny. You know, people look at you can go, I don't know what the fuck you're talking about. Are these weird people with strange names? Yeah, yeah, no, no, no, it's like it was just a weird time it was. Yeah. Anyway, So tell us you a big announcement going as what's Waves been up to? So one of the biggest things that I've been working on for the last four or five years is trying to work out from every single angle how to get WAVES plugins working inside of the world's most popular streaming software, OBS Studio. And this is something that we finally successfully managed to do, and I was the product manager for getting it all the way through from start to finish. Now OBS Studio, which is kind of used for everything from recording podcasts to vlogs, to YouTube stuff, to Twitch and streaming as well, you can now use waves plug ins inside of OBS Studio via Studio RAC so. Studio rac actually has its own version now inside of OBS Studio for Windows, which I cleverly named Waves Studio RAC for OBS just to try and fool people and hide it from people. But it's exactly the same version of Studio RACS as anything that opens in your DW or your your video editor. We just had to create a clever, little special shell for it so that OBS could actually see it. And if you take that and you combine it with things like Clarity VX, which is our AID noiser and the new one Clarity VX D Reverb which is clever Room D verb and Room red rumor, suddenly every single guest you bring in, if they say I'm going to be in the kitchen on a built in microphone in my Logitech webcam with no furniture in the room. You're like, yeah, no where, It's fine whatever, I can deal with us. But I also opened it up to a third party plug ins as well. So I mean, we've got a lot of people who are sending me screenshots of them using like a VOX for their main vocal, then clarity of the X, and then they'll have like an Algato EQ and like a fab filter EQ after it, and they can save that. It's a chain and you know, knock knock yourselves out, guys. Um, there's no subscription needed for this or anything. Well, what was the for wasn't like OBS could plug ins. But you've got to remember Waves has wave shells that talk to the entire waves universe. So you've got like over two hundred plugins that communicate with a two or three wave shells wave shell phereas if you if you open up OBS and you open up filters until now, all you'd see is wave shells, and those wave shells didn't go anywhere. So this was a particular Waves issue. Yeah, it was something that we had to fix, but we also had to get OBS to fix as well, so they had to alter some code for us. So that we could alter some code and get it working. How is that? How hard was it to work? That? It wasn't hard open source, right, Yeah, it's open so it but it took time because it depends which code has happen to be working on it at the time and who's doing what. So there was a lot of back and forth. But they were they're actually pretty awesome to work with. Um stream Labs. We're still working on because stream labs has so much more complex code that makes everything look nice on top of the normal obs. Right, it's a very complex rapper. It's a wrapper that Logitech spent eighty nine million buying, so yeah, so yeah, extremely Yeah, they sold the stream labs people sold to Logitech for any nine millions, so it's a very well, it was a worth it wrapper. Really guys. Wow, that's an expensive it's expensive bit of wrapping. But what about something like v max does work with the vmax Yes, it does, depending on which version. Sometimes you see a wave shell and then you double click it and you see the plugins, and sometimes you just see the plug ins. But the waves. The VMX people are just down the road from me on the Gold Coast, so I'm actually going to go and see them week after next and sit down and have coffee with them and talk about getting it updated so that it's perfect. Talk about a Mac version. Is that what we're going because that's a like VMX is a big one, isn't it like like like a lot of really like pro productions with stable. We used it on reason on VOBS for a few years until the pandemic hit and we went totally virtual after that, and so we just didn't need an in studio switcher, you know. But it was way more stable than wire cast, which we'd been using for years. I'm going to be honest. It's it's like I used wire cast for the first three live stream events that I did at WAVES at the beginning of the pandemic, and then my anxiety and stress levels decided that I'd be much smarter to get you something that didn't hate me, and you found something, well, I went to YBS. But on average about million people use OBS a day at any given time, so it's it's the highest used live streaming and recording piece of software in the world. Yeah, I use it as a virtual webcam driver mostly. Yeah, well me too, or as a screen recorder. I mean just if you're doing stuff like hey, I just need to make an instructional video, and two people can sit down with OBS and knock it out, and it's like doing your edit and you're if you get your stuff down, it's like it just takes away the editing process or extremeline it a lot. And then if you take that further, it's like because of the way that you've got seen collections in OBS, I have seen collection that I set up specifically for recording tutorials in WAVES that has my VO and the settings and the plugins and the chain in studio RAC on my VO, everything's set up, and then what I do is a virtual cable out so that the output audio of OBS and OBS virtual camera both get recorded at the same time or both get used at the same time if I'm doing a masterclass. So that way I've got all my plugins, I don't have to worry about putting plug ins on a DW. I just basically virtual camera and virtual audio myself directly everything out of OBS, and I have clean audio, clean visuals. I've got stream deck. I can move it around and nobody knows what I'm doing. So you can virtual camera every recipient and OBS out to a separate stream. You're saying, I use OBS. I use OBS Ninja for that. But what I do is I take the output of OBS audio as well as my virtual cam. So that way what I can do is I can go okay rate. So I have all of my audio set up in OBS and my visuals set up in OBS, so I don't have to worry about trying to put processing through any anything like voice meat or anything complicated like that. It really helps, It helps a lot. Does OBS speak Huey No, or even MIDI for that matter. I believe there's a MIDI plug in for it. I don't know how legit and or shady it is. I haven't tried it, but I do. I know this one. I know somebody made one at some point. Yeah, most of the people use I mean most people who use controllers with OBS either hot key to a macro because you can hot key everything in OBS, and you know, you just go to Etsy or eBay and buy a twenty dollars macro keyboard and people have those if they don't want to buy a stream deck. Um right, I was just trying to think of a fader, right, what device can you get that's a fader, and there might be some some knobs, like some continuous controllers, I guess. But yeah, I mean I've got the stream deck that's got knobs on it, so I can I can assign those to my faders if I want to coorg as like the little nano fader thing. They mean, oh my god, I have another thing that I have in storage in a box in Florida that says move to Australia and won't ever get to Australia, right next to my black Magic aids and any Yeah, so I know. It's just it's once you have OBS and you know how to wire it and you know how to program it, it's so power. It's a Swiss Army pen knife. It's Swiss Army. It's and it's stable. And you get the little extra out for your phone that you can use as like a scene switcher, so you don't have to, like if you're working with one's screen, you can still record without people saying you've flipped OBS. We're having to cut that spot out when you yeah, and then you have the other beautiful thing is you can actually open up two versions of OBS if you need to, so on a Macro a PC. You can run in different instantiations of it and it will say you've already got it running, do you want to open it again? But I've got two or three scenarios where I've had two scenarios of OBS running, both with their own scene collection and both sending off to different places that were recording different streams and different people, so that I had multi streams kind of like a multi deck video recorder. Okay, now you're just showing off goss. Okay, no, it's but adding plugins to this and the fact that I can having Studio Rac inside of OBS means that I can then take those guests bikes or my mic or whatever settings on Amber Channel and then move them to Da Vinci Resolve or Adobe Premiere or wherever I want and continue my production. And that's the part that I was I had all working hard on to fix so that you know, workflows like that could happen, because that's the thing content creators work everywhere, So adving Studio RAC and the fact it works everywhere and it's free even if you've only buy one waves plug in that and you've got a bunch of other people's plug ins knock yourself out used them in it as well, So an upgrade to this as it Studio RAC. Now we'll host any plug in, not just yeah Studio RAC. Yeah, yeah, there's a little there's a little Has that always been that way? Nope. Powers are a time when Studio RAC only did waves while young there was for ten years because it was, but now nowadays, No, there's a little scan VST threefold or an ill scan all third party VSTs. Is that like the audition thing when you get you've got a scan for your other ones? Yeah, Gomez, take the time machine back for a second waves rack or whatever it was called at the time, running on a max of any one hundred with an Audiomedia card real time processor. Wow, yeah, that I have a I still have an Audiomedia I still have an Audiomedia two card. I probably have an Audiomedia two card around it. But yeah, that was that was running inside of a Beige G three. Beige, that's very you. Yeah, well it was the only color they made them in. Well, no, I had to have been an Audiomedia three card because there was never a G three that was. It was a Beige G three and I had a scuzzy drive that I was very very happy with that. I would and I would literally pick up this monster of a G three plus the scuzzy drive and cut it from Paran on the trolley on the tram to MCM and drag it up the stairs. Don't forget your ZIP desk. Drag Oh remember that. Wow, it was a quest forty four mant And that was the same time that I was using Mazer for backup archiving. Mazer God the tape it was it was Type yeah, yeah, yeah, yeah, it was Type that's all right. Yeah. We would call him met Yeah. Yeah, I think it was Metzo. Yeah. Got that. That was great and the worst thing on earth all at the same time. I think each tape called five gigabytes or something. Because they weren't one of the first ever fully remote audio companies, as in that they had people everywhere, but there was no office, so you know, you'd be in a studio at MCM trying to find somebody that could help you at like three o'clock in the morning and there wasn't anybody. Um. But I did love the fact that that was the first time you could drag a pro tools real and just drag it onto the icon and it would find everything, and you can't even do that anymore because it pro tools encrypted the final format. So now you can't make a you know why for sale again, now, don't you They're for sale because of Metso basically, I'm sure it's like people, the angry people who want metso backups are now forced Abbott to sell again. I'm joking question out of left field, but I thought i'd just chuck it in there anyway, because we do talk about this company quite a lot, and they're very progressive in the things they do. Waves ever had a conversation with road maybe off the record, because if you think about it, it seems like a kind of a logical place to have a chance to land, you know what I mean. Well, okay, so what I will say is if you look at the Roadcaster too, which is an amazing, an amazing piece of gear, Well done fellow Australians for doing that. If you look at the DSP in it, you'll find that there's another plug in an audio manufacturer name there that isn't Waves already. That's correct. Yeah, so they I mean, obviously they're going to prioritize what they already own. But no, we we've we've had a couple of chats. I can't tell you where they went, but there have been a couple of conversations. Well, let me, let me, let me guess, and you don't need to confirm or deny. But as an audio engineer, I have I have one of the aforesaid pieces of hardware, and I think about having Clarity and your dev reverb and all that stuff inside the roadcaster. I mean, Jesus imagine that. Yeah, it would be beyond amazing. To put them on something that would actually fit inside the hardware would be interesting because the there's a reason that we created a new neural network in Clarity VAX called the Eco because if you haven't seen it yet, by the way, so if you next time you update your Clarity of the X, you'll see that there's network one, you're on Network two, and then there's broad one Echo, which takes up less CPU. Because the amazing magical things that plugin does, it can if you've got a few instantiations of it, it can be a bit taxing. Um. So the ECO one does as much as it can and tries to keep it as transparent as possible, but not use half as much DSP Well, I was recently late was shed on on an area of audio processing I wasn't aware of until recently, and that it we've have we ever talked in it to anybody on the show here about GPU based Yeah, we had to go on and you guys discussed it with me about two years ago. So I'm I'm glad, I'm glad you remember these discussions, you know. Yeah, Well, I am not an archivist. You're very special to me. To me, conversationalist, not an archivist. I suck at remembering things. Yeah, but Nvidios got their thing called Nvidia Broadcast. I'm talking to you through it right now. Yeah, and uh, it's great that you don't have to use their GPU cards to do a lot of what that is doing now because now it's natively can be running on your Mac right clarity. Yeah, um, but yeah, that's a that's a PC based clearly. Obviously. The interesting thing about it is, though, I mean the whole, the whole CPU GPU thing. There's an article which I can send you guys and you can post up if you want, the very interesting about a guy who was demoing at NAB. I believe he did a whole demo and presentation on how he's running his reverbs on his GPU rather than his CPU, and the usage went down like eighty percent. I mean, we're all going to have to, as software companies in the audio field, investigate that more, and we already are, but we also have to make sure that we are not penalizing some while we're rewarding others for having the foresight to either upgrade their GPU or have a better one. There has to be across the field amount of performance that works. So CPUs kind of like the standard playing field. GPUs seem to be something that is more like a Harley Davidson in some ways. You know, every gamer, every streamer, every video person understands the benefits of why a larger or a better performing GPU or one with more VRAM and other RAM and everything else is beneficial. But there's still a large part of the audio community who haven't had that on their radar yet. So to give another analogy, it's like, you know, Robbo and Andrew specifically will get this one. Sorry rest of you, But you know, working in radio, you'd walk around the radio station or day and you'd hear songs and within the first day of a song being added to the A list, you'd be sick of it. It would take another month before the average user got sick of a song because they're only hearing it like when they get in the car or in the back of the office, etc. Whereas we're on top of it, we're aware constantly of what's going on. So you know, the five of us sorry, yeah, the five of us, yeah, on this call, we're pretty much the one percent that keeps an eye on this stuff. Whereas the average user doesn't check their newsletter every day to see what's new, they don't check on the specials every day to see what they can get, and they don't see what the new technology is. It doesn't mean they don't care, It just means they have other things in life going on. So all this comes back to say, I think it's going to be a while before we see GPU coming in as like a standard in the audio world. I just like tools that are artist friendly. In fact, like George the tech we're like kind of this doing this brand shift where we're talking about our services being you know, for performers, right, not just voiceover actors. And I was on a show of the day called Office Hours Global which is a it's literally a daily live stream where they talk about media production and um, you know, one of the fellows that came on the show to promote a product said, you know, even if you're an IT guy, when you're performing art, you don't want to think about it. No, So you know, it's like, it doesn't matter how smart you are, or how technical you are, or how adapt you are at juggling many tools and technologies when you're doing the show, whether it's talking on a podcast or performing live on stage, you're in a performance and you don't want stuff to get in the way, and you don't want too many things to control and think about because it will detract from your performance. So that's a really important thing. That's pretty much where I live in the product management and development world. Is one of the things that's really really important to me, especially when it came to how we implemented waves inside anything for content creators or streamers or to be fair, anybody. I mean, like voiceovers could use the new studio rack inside of OBS or whoever. But one of the most important things was I wanted to make sure that it was completely fluid across any platform because one of the biggest pet hates I have is exactly what you just said, which is, if you're worrying about will this work, will this crash? Will it open, then you're not thinking about being the best view. You're thinking about the technology that you paid for that should bloody work in the first place. So if, however, you have a completely fluid experience where you open it, you select a preset, you tweak just a bit if you need to, and then you open it again after the show in another program and it's just there, That's what I call working, because then you don't even have to consider it. It just you might think about it afterwards to go, oh, yeah, I guess it was there. Of course it was. It just but it just worked. And I just looked at the camera with my hands to make just worked, and then I realized I'm not on camera. Yeah, but it's true, especially coming from someone like me who's I'm not technical at all. I can get through the basics just to make things, you know, record stuff and edit stuff and send it away. But the last thing I'm ever thinking about when I'm doing a session is well, if if I am thinking about what's you know, what's happening out here with levels and I clipping is there something you know we're dropping out or whatever? Then I'm not actually doing my job properly because I'm distracted. Yeah, and this takes client education, you know, because the client thinks so because you have the technology there, you should be able to do all those things because you have the technology. George, when you say the client, do you mean us like the software companies or no, I mean the clients, sorry, the client meaning the one hiring. Yeah, the talent when the expectation of the talent is to juggle or I like to call it spinning plates. When the expectation of the talent is to spin these plates and still perform at the level that the talent is really expected to perform, they have to understand and it really requires that there'd be some the really top talent hi and hire their own engineer. I've seen a few talent that literally are were like, oh, I have a session, I don't want to worry about it. I got to hire an engineer for off of that. Now at George of the Tea, it's a news service called Virtual Producer. Saw Braves come through UM for my daughter Somerset. The other day. It was for an animation for a game character. And when she went through the character and will let come and stuff, and then saw what the budget was going to be. You were telling me about this, I can understand why Americans can afford to Iron engineer, because really fell off the chair. I mean the top rate, it was only where between. I think the lowest rate was like eighty thousand US, but for the main character it was nine hundred and ninety thousand US. Dude, I want to be your daughter. It can be arranged. I thought you were aps love child. But that's the difference. You don't see things like that in Australia. You don't yet anyway, well at all. I was going to say, we don't know what we're going to see here in the US pretty soon here either with the strike crew, well, yeah, the strikes, but also because of you know, things like the avent of well, I was going to say Netflix, but the oven of every single man and his dog going, I'm going to start a streaming service. The demand for content these days, and fresh content is just ridiculous. And because of that, there is this huge extra demand that's pushing both voiceovers and obviously, Andrew you will know because it's in your domain. There's also this annoying push for artificial intelligence voiceovers. So one of the biggest tells that I find about an AI voice is that it sounds like there's literally no dynamics or feeling in it at all. So I don't think you're ever going to be replaced. Oh he has been? Yeah, well not yet, not yet, but there's you know, I mean they are talking. I mean, Andrew, you could be the book that is something to strive for. Yeah, that'd be a nice plane to put up. The first guy to be replaced by a robot seeming as there's the first. I'm not going to name the head of a radio network that said this to me back in nineteen ninety five, but I got called into a conference room and got offered a job at a competition competitors radio network, and the sky from the other end of the table looks at me and says, Okay, Gomers, I'm willing to offer you this, And I went, that's twenty grand less than I'm currently being paid. And he said, and I quote, look, wages in radio going down, competition is up. Be ahead of the pack. Good advice, good advice. I've got a horrible feeling. I know who that was. But anyway, I was going to say, I've got a feeling I know who that was too, going certainly it's down if that helps his first name? Yes, yeah, okay, yes, I've cut that out. We'll get in trouble. Yes, a weird conversation. I had a question. It's got out of my head now oh shit. Um, anyway, it doesn't matter. I was equate all this, like the economy or any any sort of kind of economy, whether it's a financial economy or it's a what a you know, an industry economy, as in staff movement and stuff like that. I was equated to the beach because every you know, every month or whatever or whatever, you're down the beach. You know, there's about two feet of sand has disappeared and has moved to another beach, and then months and months later it will come back again. And that's kind of what happens. Everything sort of drains out and everyone's panicking, and then all of a sudden it's back again, and you know, business as usual. You mean a bit like we need to go, we need to syndicate, we need everything networked. And two years later, you know what what be a really good idea if everything is local, you know, let's make radio correcal. Two years later, we need to make everything network. We need to make everything network. You know, it would be really good idea local radio. Wow, what a great idea. And all kinds of industries do that. It's like ad agencies making in house studios and then no, we're going to use all third party vendors. Oh oh, let's go back to in house. We're spending too much money and ya. But you know, you know, the most important thing here is an AI voice can't choose to use wave studio rat with Clarity VX on their voice. There you go. A human one can make that great decision in their life for the betterment of their health and their prosperity. Yeah. I wonder if you can make an AI voice that's pre compressed, that speaks compressed. Yeah, this speaks compressed. Yeah, yeah, it speaks compressed into it. Yeah. Hey, listen, I've got a question for you. And this is completely off the subject of what we're talking about, but it's something there's a subject thought about. Well there's not, and that's basically this show. But what just out of interest? What's waves biggest selling product. I can't tell you the biggest selling one, but I'll tell you a couple of them. Studio rac is the most downloaded. Yeah it is because well because it doesn't just work with waves, it works with any VST three and you can say the chain. So the Chep's Omni channel is ridiculously popular. Yeah, very very popular plug in. One of the cool things about Chep's Omni Channel, apart from the fact that my mate Andrew Chep's conceived it on a piece of paper and then we helped him, but everything in that plug in is his ideas. We basically helped him create his perfect plug in and he uses it on every record. As you go through the modules in that plug in, unless you touch one of them, it's not on, which means it's not using any CPU or DSP, it's just not doing anything. So so you have this virtually zero latency plug in with a full frequency DSA and the ability to monitor in mono side chain, midside stereo, and the ability to go from four different kinds of compressors, two limitters, great EQ. I mean, it's just an amazing channel strip. And then you can add another plug in inside of that plug in. Well, what so you can stick like a reverb in now or something is that you can host you can inside of Chep's omni channel. There's a couple of different options. First of all, so for example, if you wanted two eqs in the Chep's omni channel, you've got two options. You can either open the module in the plug in end, go okay, right, I'm going to add another Chep's Omni channel EQ module, so that you've got two identical EQ modules that are working either on different frequency sets, or one on one side of dynamics and the other one the other, or on side of the pre or the other. Or you can literally open up another plug in so you could say, okay, right, I need another compressor, so you could stick like an SSL EQ or something or a compressor or absolutely, oh wow, fucking now did you know this, George, Yeah? I did it. Is it only waves plug ins that you can drop in there or is it the whole plug in list? No, it's only on Chef's Omni channel. Or you could do that in the CLA mix hub, or you could do it in Chef's omni and you can open up any waves plug in. Yeah, I love chef's omni channel. Okay, so now I'm gonna blow your mind. Can you can you open up chefs? Can you put in a studio rack and then throw in any actually doesn't know Actually I know, I've tried it. It didn't It showed the one gooey, it didn't show the second gooey. So it was. But where it gets really is. I tell you one thing you can do is you can open up as omni channel, go into the module to add another plug in, add in another chef's omnichannel, and then inside that add another. It's like you can get really exception. It really is. You know, that comes a point where your your computer just get sucked into a black hole and you end up looking at an empty days that's only you. I was going to I was going to say to George that in voice Over World, that Chef's omni channel. I mean, I know you've got to buy it, but surely that would be really powerful for people with Hume Studios, right, I will say that. Ever since Gomez Npa as a really call them came on our you know, webinars, we've had quite a few people start using waves plug ins. Yeah, I appreciate and Chefs is one of them. And I've had people say, can you make me a stack? I have the following plugins and you know it'll be Clarity, Chefs, et cetera, et cetera, and I'll go, yeah, no problem, I appreciate it. Man. The Chefs somni channel is super useful on I'm finding it super useful on live streams as well, because it means that I can have something there and on the guest channel where it pretty much sits. But if somebody is way too loud or way too dynamic, then I can I've got an MB two that I've got bypassed sitting in the extra module in in cheps omni channel, and that basically I just turned it on and it just controls their higher dynamics in the mix and just levels them out of it. Can you run the Dugan mixer as a plug in? If you've got it, then technically yes, I haven't tried it in nobs or inside of chefs on me. Well, there you go, I've learned something new today. What did you learn? I can't remember? There you go. Yeah, I wasn't. I wasn't asking to find out. I was asking if you actually remembered. Yeah, no, I don't. There's chefs that I just the ships. I've always looked at those sort of things and thought, yeah, gimmick. But hearing you talk now, yeah, yeah, no, not gimmick. Not gimmick, not gimmick, very useful. Yeah. I had a wonderful experience with CLA vocals and I was like, a friend of mine was just sitting behind me while I was mixing a song. I was like, I gotta mix this before I go. So it was like, hold on in an hour, He's just six, sitting on the couch and I was beginning to do the thing with some backing vocals, a little bit of echo, a little bit of reverb, this and that, and he kept under going leg CLA cla or something and finally I'm like whatever, and I threw it on there and it was like push push three ft. Oh crap, that was great done. So on that note, here's a quick story. So when we first introduced the what we then called them at the time of the artist signature plugins, I remember turning up in Nashville with Eddie Kramer to do a master class and then Eddie was coming on to do his part of the master class, but we were. We were using One of the things we did was him Eddie and I created a song which we recorded from scratch and then we mixed with just the artist signature plugins. And I remember that when I was looking out at the crowd that were waiting to see us, there were probably about fifteen Grammy winners in the audience, and when I started talking about artist signature plugins, maybe five of them pretty much went hop from this is bullshit and and pretty much left. The reality is nearly every single one of those guys, plus more of at some point afterwards gone, you know what in a pinch, when I need something that sounds good, but I need it right now because of either the budget is too low for this for me to spend way more time on it, or I need an instant sound. The other signatures are amazing for that. It's the midpoint between the one knob and the four plot, the one knob series for me, I mean, you know the amount of times I'm in a pinch and I'll I'll grab one knob louder or one knob filter or you know, one knob whatever, one knob brighter. I use one knobreta nearly every day. Well not brighter is amazing? Is some battle shift? Yeah, it is so good. One nabrator has about ten different presets that you conk through in it, and the more it gets, the more you turn it up, the more intensity grows. So we actually up the compression. We are just the compression and the limiting and the EQUE. We change the eqe gurbs to adjust how far or low that knob is and it's amazing. Yeah. Slate Digital have one similar that I use called fresh Air. Fresh Air the plug in where you go to the landing page. I actually looked at fresh Air for the first time yesterday. I saw it is something that competitors were using. So I went and had to look at the video on the landing page for fresh Air. And there's a guy who's clearly very talented at what he does, but he's talking into the microphone in his webcam, which seems like it's about two miles away from his face. So as soon as I hear that on a video, I'm like, I can't deal with this. Sorry. Yeah, I didn't even get as fre as him talking about the plug in. I got through high. I am the space. Nope, not doing give the guy a microphone. Yes, indeed, Austrian audio ship him one out road ship him one. Yeah, exactly exactly. I want the plug in that will make someone's home studio sound the way the client thinks raw audio is supposed to sound. Plug in wink. So in other words, you want to plug in that changes every single minute of every single day based on their perception. Yeah, but actually the no bullshit, you know what I want? I actually want. I actually want the client plug in that does absolutely nothing, something that I when the client goes, When the client goes, can you just do blah, I can go yet, not a problem. I'll just I'll just open this up. This will do it perfectly. I open that up and I turn a dial or twist a couple of knobs and they go see and they go, yep, that's it, that's beautiful. Yeah. I just need that. I just need funk Logic did that in the hardware don Yeah. Yeah, funk Logic had the digitalog dynamicator, but they need plugins too. Call it. Call it the fabricator BS or something, you know, the bullshit fabricator or I don't know. Just it doesn't have to do anything. That's all I need just a couple of knobs to turn the studio I used to when I was early in my career. I in turned it and there's this soul producer that would come in and make soul records. And the guy would always ask for like more sweat, I need more sweat, and those vocals or whatever it was. I was like his word that he would use to direct the talent. And so the studio at tax one day made the pH modulator and they put it in the rack for him. I was like, and this thing had like a dial that I think it was just working off of, like you know, room a mic, and it just had a room noise and a couple knobs on it and a turkey baster thing coming out the front of it and the pH modulator. I can't count how many times, especially since I got to the States and started mixing musicians, I can't count how many a h or record company people or sat next to me and gone, now it's not quite that I need something else in that vocal, and I just tweak a knob that did apps are fricking lutely nothing. And then then you see them gazing whistfully into the sky, and then they go, yeah, that's it. Of course I think, yes, exactly, yeah, yeah, or the fader that's not got nothing anything on it. Yeah. I had a client that take me around in circles and then he'd finally arrive like, oh yeah, that sounds great, which was the original I'm sure we were there forty five minutes ago. Yeah, he would totally acknowledge that that was probably the thing that we started with. I had somebody. I had somebody coming and ask for a demo. This is about ten years ago at NAM the drometers that we have at Waves. A guy came up at the end of the show and said, can you demo the jerometers to me? I said absolutely, so I put them on a session. I asked him what daw wanted because I don't really mind, so opened protoels. I put drow on the main meters. I go through them and he listens to my entire demo for a few minutes. Not hard to demo a meter, and then he goes, can you bypass it? And I bypassed it, and he goes, okay, unbypassed it, and I was like very confused, and he goes, I totally hear the difference and it's one of those times where you can't ship can somebody no, But but you have to keep a really straight face and just nod because it's way too complicated to explain that they didn't hear anything, because it's it's just sitting there on a bottle. I did wonder if I was getting pranked, but yeah, no, I don't think I was. Sepenn and Teller's bullshit show from way back when they would have a water water Somalia at the restaurant in Beverly Hills and they would fill all these bottles of water with a hose in the back and bring them out and they would the water Somalia would tell the guests about the water, where it came from, how it was sourced, and they would sit there, in all seriousness taste these waters. It was the best thing ever, I swear. It's like the biggest lesson I learned as a kid was if you don't know about something, say really clearly that you don't know about it, or just don't comment, keep your mouth shut. Yeah we have chat GBT for that. Yeah, if you want bullshit, just type in. When I was an angry teenager, I fell out of love with my parents at you know, the age of thirteen or fourteen for a while there the time. I clearly remember the day or the evening in fact, that I fell back in love with my father because we had we had some friends of the family over and my dad had bought a bottle of grange because we hadn't seen them for a while. And through dinner, they managed to polish the bottle off, of course, and my dad's mate said to him, you know, that was really nice, hat, Harve. You got another one? And my dad said, actually, yes, I do, and he picked up the empty bottle and walked out to the kitchen and came back and poured everyone else, you know, a glass of wine from this new bottle of grange. And afterwards, when we were cleaning up, my dad was chuckling to himself and I said, what's so funny, And he said, the second bottle of grange. I actually just grabbed the cask of red out of the pantry and put it into the same bottle and it back to the table. I like, your dad, Well, I can tell you my father in law wouldn't even open the first money, would just filled it up from the cupboard. Yeah, right, so yeah, anyway, hey, listen, I've got to also know Gomes completely off the audio track. The last time we spoke to you, you were writing a book called The Fuck It Method, Was that right? Yeah? Yeah, So I now have two books out. The Method came out and also The Fearless Speaker, which is a book for anybody who wants to learn how to present themselves better public speaking or to camera or live streams. So both those books are out, and the third book is coming out at the end of July, and that one's called The Fearless Artist, and that's around gets around getting over imposter syndrome and actually putting your best self out there in the world and be busy not giving a shit about when everybody else thinks, aren't waves paying you enough? I just like helping people, and I do it in a slightly traditional way, and I do it nearly a Mark Man City kind of writing way. It's I'm kind of blunt um. And then there's another book that I'm writing with a colleague of mine who's x senior product manager from Microsoft and Samsung. Him and I are writing a book as well together that we aim to get to the editors by the end of September. Wow, um, and what do they hear about all this stuff? What's the say? Um? Well, the my side is Michael pa dot com, M I, C H, A E. L. And then P for Pearson and A for Adams dot com. You need to change that to Gomez dot com seriously. And then you've also got over foxsakebooks dot com. So o h F F s Books dot com. Um, there's that one as well. So yeah, you must be saving a fortune on replacing your mattress. Why because quite obviously you never sleep. Hey Andrew, that's a good one, man. I actually don't sleep pretty much and I have a serious case of insomnia. So I one of the things that's happened with the books, especially with the fucket method, is it started to get a bit of a following of people going through some of the guidance. So I've started a coaching company on the side because I was bored, called The Fearless Pathways, and that's all based around helping people share their stories and share their experiences so that people can actually learn and gain competence of each other. So cool. Yeah, Well, make sure you fix the link to Amazon on the front page of OHS books dot Com. You mean actually make it to go to something now it seems to be dead completely. Yeah, yeah, no, I'm going to buy it for my daughter beautiful, thank you appreciate. Yeah, she's fourteen, and I think she's right at that age where she needs to get through being afraid of taking chances and yeah, trying new things. And now I'll tell you one of the things that I talk about the book is and basically, guys, it actually starts with a radio conversation at the beginning of the book and at the end of the book, because that's kind of where I started to say, fuck it, what's the worst that could happen. I use paper plates when I'm making goals. I use small kind of small appetizer plates and you know, and the entree plates and then main paper plates, and I write a goal on them, and then put smaller plates with smaller goals that make to that goal, and they all have a date next to them, and I stick them on my wall. And I still do it. Now I've got I've got I'm staring at plates on my wall and three of them a crossed out on my current goal. And then there's the big one that says at the end of this year. So, but paper plates, you can actually see and you can adjust things, and you see your goals every single day. But you can adjust and you can move them where you want them. So blue tack and paper plates is just it's it's prehistoric. It's simple, but it's so powerful because it's right in your face every day. Yeah, I think it's a great idea. Well, we got to let each other go. Ah, Yes, indeed, I hate to say it, so games. Thanks for joining us today and good luck with the books. Nice to be nice to be back on the right side of the world. Yes it is. Well, comes everybody else on the other side, quite frankly. Yeah, it's Robert, Robert and George. You gotta you know, you got to come stay. Indeed, I'm afraid of rushing in my hand. The pro audio suite thanks to and Austrian audio recorded using Sauce Connect, edited by Andrew Peters and mixed by Voodoo Radio Imaging takes the port from George the tech which I'm done to get to subscribe to the show and joining the conversation on our Facebook to leave a comment, suggest a topic, or just say gooday, drop us a note at our website, pro audio suite dot com, MHM
