Behind the Wheel with Matt: Voice Acting in a Tesla

13 mai · The Pro Audio Suite

00:40:16

In this week's episode of The Pro Audio Suite, we've got something right out of left field! Our guest, Matt Cowlrick, an Aussie voice actor living in Canada, has done something pretty remarkable—transforming his Tesla into a rolling recording studio. Yes, you heard that right! Tune in as Matt reveals how he converted his Tesla into an innovative mobile recording space, complete with a built-in mic stand.

Hear about the nuts and bolts of mobile recording setups, from the gear choices to the unique challenges of recording in a car. Matt shares his experience using the Mic Port Pro 2 and a Sennheiser 416, all rigged up to record straight onto his iPhone with Twisted Wave. We dive deep into the acoustic challenges of a car's interior, particularly a Tesla's glass-heavy design, and Matt's creative solutions involving pillows and moving blankets to achieve the best sound.

For those who can't wait to see it in action, Matt has also shared a video tour of his Tesla studio on our website. Check out this link to watch the magic happen: Matt's Tesla Studio Tour

Join us as we explore how necessity drives innovation and how you can apply some of these tricks to your own mobile recording endeavors.

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“When the going gets weird, the weird turn professional.”

Hunter S Thompson

Y'all ready to be history? Get started. Welcome. Hi.

Hi. Hi. Hello, everyone.

To the pro audio suite. These guys are professional, they're motivated. (0:09) Thanks to Tribooth, the best vocal booths for home or on the road voice recording.

And Austrian Audio, making passion heard. Introducing Robert Marshall from Source Elements and someone audio post Chicago. (0:22) Darren Robert Robertson from Voodoo Radio Imaging.

Sitnik to the VO stars. George the Tech Whittem from LA. And me, Andrew Pinkers, voiceover talent and home studio guy.

(0:37) And welcome to another pro audio suite. Thanks to Tribooth, the golden handcuffs can be removed. And Austrian Audio, making passion heard. (0:44) Today, we have a special guest. Matt Calrich is joining us because Matt and I've been having a little conversation about setting up a rig in your car, which was something I played around with a few weeks ago now. (0:56) But Matt, you've done your thing as well.

What have you done? (0:59) Well, I changed it up from what I've done in the past, which quickly is using the Apollo Solo and a laptop and usually the 416. (1:11) Now for being at home in Canada and not actually, you know, traveling on holiday, I just wanted to have something easy to get going at any given moment, just pull over on the side of the road. (1:25) And so I use the Mic Port Pro 2, still the 416, and recording on the iPhone.

So just really nimble and mobile. (1:36) Are you using Twisted Wave on your mobile? Yes. Yes, until further notice.

(1:43) Yours is very similar to mine because that was my experiment with the iPhone 15 because it's got the USB-C and using the Twisted Wave app. It's fantastic. (1:53) And you can actually use their kind of Twisted Wave Dropbox as well off the iPhone, which is really, really handy.

(2:00) But the only difference between you and I, I think, is that you use the 416 and I've been playing around with the CC8 from Austrian Audio. (2:07) Well, he uses the 416 and you use the 416 sometimes and now. (2:15) And the other big difference is that you have a Tesla, which has a lot of glass.

(2:21) Has that become an issue for you? (2:23) Yeah, well, I'm still still in the early days of, you know, finding my feet with it. (2:27) I only set up this new rig, so to speak, on the weekend, got all the required parts, which was the idea of being able to have a mount in the car that I can just attach the mic and the... (2:43) How did you feel about drilling into your Tesla or is that glued in there? (2:46) I didn't. It's glued.

And I also just kind of drive my Tesla like a piece of shit. So I don't really care. (2:54) I just drive it like a car, so sticking something on the inside.

(2:58) It's not precious. It is no longer precious. It is now a utility vehicle and it's used for what it was designed for.

(3:06) Yeah. I mean, let's be honest, putting double sided adhesive tape on the inside of my Tesla is probably not the worst thing that I've done to it. (3:13) So you're not going to mount a M49 from that thing.

(3:18) Since it's now technically a recording studio, does that mean your car's a tax deduction? (3:21) You say that like I don't already try to claim as much as I can. (3:29) Yeah, that's a good point, Robert. Yeah, I wonder how much else I can squeeze out.

(3:32) Yeah, exactly. My new recording studio just happens to be on four wheels, that's all. (3:36) Yeah, exactly.

(3:37) Hey, if anyone can play it, George, if you can, I don't know. Now would probably be a good time to have a listen to the audio, Matt Sentis. (3:45) I can do playback over here if I... (3:46) Can you? Okay, yeah, cool.

(3:47) Okay, here's me recording in the car on a 416, the Mic Port Pro 2. (3:57) There's a windsock on the mic and there's a pretty significant humming sound, which I'm sure you can hear. (4:08) That's the car. I don't know how to turn it off.

It's an electric car, so that's something to work with. (4:16) But the setup is nice and it's convenient, so now I just have to work on... (4:24) And so here's the treated one. (4:26) But the setup is nice and it's convenient, so now I just have to work on fixing things, like the car sound and the whirring.

(4:40) But I like the concept. I just have to try to get it sounding as good as possible. (4:47) So I'm guessing you were pretty close to the mic there.

(4:50) Yeah, pretty close. And then what I added later was a pillow in one take and then I brought in a moving blanket on the other. (5:06) But I was pretty close to try and offset the carriness.

(5:11) Were you putting the pillow behind you someplace? (5:14) The pillow was wedged. It was two pillows actually, because they were small pillows. (5:18) Wedged in the front screen.

And then the moving blanket I had just draped over me like a villain. (5:31) It was not comfortable, but more for like a testing perspective to see what had changed. (5:37) Do you have one without all that extra stuff? (5:39) That was the first one.

They're remarkably similar. (5:44) You know what makes me laugh though is if this takes off, if this becomes a trend, you'll be able to go to the local mall and realise who's a voice-over artist and who's not because the car of the voice-over artist is going to have blankets and pillows (5:56) and cut those one on the back seat. (5:58) Although they're just living in their car, which is an understatement.

(6:00) Yeah, exactly. (6:02) And a really weird iPhone mount for a stick. (6:05) Yes.

(6:07) It's going to look entirely nefarious. (6:10) I love the gooseneck attached to the ceiling. (6:13) Finding adhesive that would mount that strongly enough to hold the weight of the mic and the mic port and the gooseneck itself.

(6:20) It's a decent amount of weight. (6:23) Do you put the mic port right on the mic port? Do you use a little adapter like we got for like Andrew got? (6:31) Oh no, I just assumed that Andrew's was directly plugged in. (6:36) No, I think the 416 and the 41.6 and the OC8, they're all too thick at the base to fit into the newer mic port.

(6:44) The 41.6 fits and the NTG5 fits. (6:50) And only the OC8. (6:52) The CC8 does not.

(6:53) Sorry, CC8. What a stroke of work. (6:56) And I also have the Rode NTG5, which Andrew and I were talking about when I was in Australia.

(7:02) And so I'd be interested to try that in the same situation. (7:06) I used the NTG5 in the back of my car, the first test I did before the CC8 got here. (7:12) And yeah, it sounded great.

(7:13) You probably get the same result as the 41.6, I would suggest. (7:17) There's a bit more bottom end to it. That's the only thing.

(7:20) I also found the NTG5, it seemed more sensitive than the 416. (7:29) I don't know. (7:30) Oh yeah.

(7:31) It has a much higher output. (7:33) No, because I was in Mexico hanging out with Dustin Eboar. (7:39) And we had my tri-boot there and kind of our gear combined.

(7:43) And we tried both the 41.6 and the NTG5 with exactly the same gear, just switching the mic. (7:53) And it was quite different. (7:55) Yeah, yeah, yeah.

(7:56) That's a huge amount of output on the NTG5. (7:59) Right. (7:59) My NTG5 is at the mailbox waiting to be picked up because they replaced it.

(8:04) Oh wow, that's cool. (8:06) I'm the only one left with one that didn't blow up, I think. (8:09) Mine blew up? (8:10) Yeah, mine didn't blow up.

(8:14) No. (8:15) Don't use it. It won't blow up.

(8:18) I had a sphere mic blow up in Australia. (8:22) Yeah, I took it all the way to Australia thinking how great it was going to be having that mic with me. (8:28) And then I got there and was absolutely perplexed for a while why it wasn't working.

(8:32) And it turned out to be a busted capsule. (8:34) And this was a brand new sphere. (8:35) You know the problem with that, mate.

(8:36) It was actually a northern hemisphere and you're in the southern hemisphere. (8:41) That was the problem. (8:42) Oh my God.

(8:44) You are, I will. (8:47) David Kay traveled with the sphere to Japan, you know. (8:50) And I just thought it was risky because it is a much more fragile mic than any small diaphragm, you know, shotgun or pencil mic, you know.

(8:58) Small diaphragm, shotguns, and pencils are a much, much better travel mic companion. (9:03) Well, the shotguns are made for like, you know, like one of the things about the 416 is go record in the wind. (9:09) Well, in a rainforest.

(9:10) In a rain, right. (9:11) You can take a 46 in a rainforest. (9:14) Right.

(9:14) Because it's working like as a RF microphone instead of directing it off the... (9:20) Yeah. (9:21) Well, as does the NTG-5, you know. (9:23) The NTG-5 is RF? (9:24) Yeah.

(9:25) Really? (9:26) So any mic with an RF design is basically completely impervious to moisture. (9:33) Yeah. (9:34) So that's why they're used.

(9:36) But as for the capsule blowing up, what was the outcome? (9:39) Is that mic still sitting in the box or... (9:43) Yeah, I haven't replaced it yet because replacing it in Australia when it was all happening was just silly business. (9:49) So I've waited until I go back to Canada and then promptly didn't do it. (9:54) It is a secondary sphere because I recently got a new Apollo unit and they threw in one of the new ones for free.

(10:03) And I thought... (10:04) Oh, was it the DX? (10:05) Yeah. (10:06) They threw in the small one? (10:08) Yeah. (10:08) So it's a bit small.

(10:09) How do you find it compares? (10:10) It has less of a capsule working. (10:14) I like the smaller size. (10:17) I mean, it's not hugely noticeable, but yeah, I'm excited to try it.

(10:22) Oh, so the one that you traveled with was this new smaller addition. (10:26) Yeah. (10:27) Yeah.

(10:28) And I have a pretty good travel bag. (10:30) Like, I hear you on the durability of those large diaphragm mics. (10:35) But yeah, I've managed to find this.

(10:39) It's a camera bag and it's got a good hard shell and it's a backpack. (10:44) And to the chagrin of my engineer took an exacto knife and just cut out the foam in the sphere it comes with. (10:56) And I just shoved it in this camera bag and it feels really well protected.

(11:00) But then again, maybe I smashed a capsule when I was traveling and it's not as protected as I thought. (11:07) Oh, any dents? (11:08) No, no dents. (11:10) Is this like the torque? (11:11) I'm expecting them to replace it.

(11:12) Like, it just sounds like vaulty. (11:15) But it'll be interesting because I picked up the different microphones, the ocean way and the main one, I think. (11:22) I did those two.

(11:23) I forget, but... (11:25) The sphere models. (11:25) The sphere models, but I'll just use it with the 818. (11:28) How's that working out? (11:29) I haven't touched it yet.

(11:31) Oh yeah, I haven't even. (11:32) It's just color. (11:33) But I figure it'll just be, you know, like color, you know, even if the sphere mics are somehow accurate.

(11:38) I would imagine. (11:39) I mean, that is something we have not done yet. (11:41) We haven't done an OC818 versus sphere mic sound.

(11:45) You know, how do they sound compared to each other? (11:48) How different is the OC818 through the sphere 47? (11:53) Right. (11:53) Can you swap in an OC818 if you don't have a sphere or you just don't want to bring the sphere because it's so physically large? (12:02) Can you just plug it in, you know? (12:04) It would work with any truly dual output large diaphragm mic, you would think. (12:10) Yeah, because there's a couple others out there.

(12:12) Not that many, but Sennheiser has the new MKH. (12:15) I think it's the Assault at NAB. (12:18) I believe it's called the 800.

(12:20) And it's a dual output mic. (12:22) And then Aladdin has one, and Pearl has one. (12:26) It's becoming a thing.

(12:27) It is. (12:28) I was thinking that when they can get them to the size of something like, you know, an NTG5 and shorter, (12:34) that'll be a huge game changer to have a modeling mic that you can travel with, (12:38) especially if it has the tech that the sphere has where you can kind of mitigate problems with the room in real time with those sets. (12:47) Oh, the sphere has like the reflection filter built in.

(12:50) George can probably explain it better than I can. (12:52) Yeah, I don't get it. (12:54) Oh, yeah.

(12:54) Well, they have a set of these filters in the sphere plug-in itself that are designed to compensate for acoustical flaws. (13:06) With using those reflections. (13:08) Okay, that's what it's for.

(13:09) And so they're just little curves they came up with. (13:14) But they made it very user friendly. (13:16) Instead of having it be a variable knob, you know, (13:19) they just have a whole bunch of like, click on this picture.

(13:22) If it looks kind of like what you're sitting in front of, then try this. (13:26) Which is cool because it's just one less thing to have to think about. (13:31) But the thing is, there's just a setting for booth.

(13:34) Which clearly is not going to work because everybody's booth is a different size. (13:38) Although I'd love to see the EQ curve for the chaotic eyeball. (13:46) Well, I did look at the MKH 800 Twin, it's called, the 800 Twin.

(13:52) And it's a bit spendy at $3,200. (13:55) But if you want a very small two capsule microphone to travel with, that one could fill the bill. (14:01) It is very small.

(14:03) A very old microphone that few people know about is the Neumann KM86. (14:09) It's a small diaphragm or smallish diaphragm. (14:12) But dual-sided, full polar pattern selection.

(14:17) It looks like a tiny U87, I think, kind of thing. (14:22) I believe, if I remember right. (14:24) But it's a small diaphragm, multi-pattern.

(14:24) It looks like a German hand-grinder. That's what it looks like. (14:27) The KM86.

(14:29) But it's a multi-pattern small diaphragm. (14:31) So you could, if someone modded it to have more than one output. (14:34) Well, have you thought about, or even wanting to bother with using... (14:38) Did you say you tried using your Sphere Apollo combo in your Tesla or in your car? (14:44) You've done that now or in the past? (14:46) Not in the Tesla.

(14:49) Yeah, I have taken the Sphere and a Solo. (14:54) And my laptop is the travel rig to Australia. (14:58) You did that in the Ferrari, right? (15:01) Or was it the Lamborghini? I can't remember which one? (15:03) Yeah, the Ferrari has this humming noise thing all the time.

(15:07) I guess it just does that. (15:08) And unfortunately, the people at the dealership didn't like it, (15:11) that I took my gear and just sat in their car and started taking photos. (15:16) I wasn't pretty sure for some reason.

(15:20) Nor the guy whose Tesla I stole this afternoon. (15:26) And glued a mouth-mouth. (15:30) The only thing the guy did is he glued this thing.

Is it attractive? (15:33) I brought him some alcohol swabs. He'll be right. (15:37) I've worked out what the humming noise is in the Tesla.

(15:40) Oh, really? (15:40) It's the Musk hydroponic mode. You've got to turn that off. (15:46) I drove on in the screw mode.

(15:48) I think Robert's on the hydroponic mode right at the moment. (15:51) I am. Hold on.

(15:54) Fantastic. (15:55) Well, I was asking because I rigged it up for David Kay. (15:59) We did the Sphere on a mount arm.

(16:02) I got him this crazy over-engineered cobbled-together arm. (16:06) It's basically, if anybody from lighting knows what a baby arm is. (16:10) But it's basically, you know, it's an arm with a clamp on each end.

(16:14) So one clamp clamps to the steering wheel or a yoke or whatever it is in that car. (16:19) And then the mic mounts to that. (16:21) And it also has a place to mount your phone or tablet to read your script.

(16:26) And that whole thing rigs off your steering wheel with that huge mic. (16:29) And then we put the mic sideways. (16:30) That's what we found worked best was, because it's so large, (16:33) to get the capsule in the ideal spot.

(16:36) We just have it literally sideways. (16:39) And he's running a U67 model. (16:42) Because that's the mic he would typically use at home.

(16:45) And the clients were more happy with it. (16:47) I was amazed. (16:48) I didn't think it was going to work with that.

(16:50) Because we didn't put a pillow or anything up against the windscreen. (16:54) And it worked out. (16:55) And that's a Model X, which is physically larger inside.

(16:58) So that helps. (16:59) I don't know if it's because the windshield is so long. (17:02) Because the windshield is facing down.

(17:05) It's not really facing you. (17:06) It's not going to hit the microphone. (17:07) Exactly.

(17:08) The sound is going to go down to the dash. (17:12) It's directly behind and directly in front of the mic. (17:15) I would think that's the first sort of issue.

(17:19) I guess with my setup that I did most recently in the Tesla, (17:22) I am more like talking across to the passenger seat, (17:26) rather than directly at the windshield. (17:30) So pillows stuffed into the windshield opposite the mic. (17:35) Yeah.

(17:35) That would be one spot. (17:37) And I was thinking of taking some of the tri-booth blankets (17:41) and hanging them from the coat hooks (17:47) or the handlebars on the side (17:50) and seeing how that works out. (17:52) They're quite long though, the tri-booth ones.

(17:55) Yeah, they're big. (17:56) You could nail gun them to the roof. (18:00) Or staple them or something.

(18:02) Super glue. (18:04) 3M will just laugh gleefully as they see me coming. (18:09) Some of these guys send me sticky squares.

(18:12) But it's funny, isn't it? (18:12) How different your environment in the Tesla is to my car, (18:16) which is a smaller car, two doors, tiny in the back. (18:20) And I just squeeze in the back because I've got my glass roof. (18:24) So I don't have to worry about that.

(18:26) How the Vespa setup worked? (18:29) It's hard getting your head under the seat. (18:32) But I'm working on that. (18:35) No glass roof to worry about.

(18:37) Yeah, you're starting with a difficult proposition with the glass ceiling, aren't you? (18:43) It's a killer to begin with. (18:45) So what do you do to the audio after you record raw files? (18:48) And do you just raw record raw files and send? (18:51) Or do you do any cleanup? (18:53) Well, yeah, herein lies the problem that I don't have access to a door. (18:58) It's just Twisted Wave Mobile.

(19:02) But I also tried to think about what I actually wanted this setup to do or to achieve. (19:08) And it really is just for the ants in the pants stuff that people can't wait for, (19:15) and for auditions and quick turnaround jobs. (19:17) But when I'm here in Victoria, and I'm not at my home studio, (19:23) I'm about a 40-minute drive to downtown.

(19:26) And in downtown Victoria, I do have a small commercial studio that I own. (19:32) And it has a StudioBricks in there. (19:34) So it's not too far to get to either one of those.

(19:37) So I didn't want to go overboard with the car rig. (19:43) And if I'm proper traveling, then I'm usually taking the Triboose. (19:47) But also, to be fair, mate, as an engineer, (19:49) I'm guessing Robert would agree with me on this.

(19:51) He said, if you sent me that file, I'd have no issue. (19:55) Sure. (19:55) Yeah, I'd have no problem.

(19:56) Even with that hum, Cevox seemed to take it out pretty well. (20:02) I don't know how much artifact do you got after that. (20:07) It wasn't too artifacty, yeah.

(20:09) The twist of a knob on clarity, that'd be gone. (20:12) So really, that's no issue. (20:13) Yeah, absolutely.

(20:14) That's another good question, because I was talking to a client about Cevox today. (20:18) And I said, you know, Cevox does make it sound really good to you. (20:21) The question I guess I have, really, is does it make it sound good to the engineer? (20:26) And how much time, I mean, Robbo and Robert, (20:28) how much have you heard audio through Cevox that you've received on your end? (20:33) If I've gotten it, I don't know that I've gotten it.

(20:35) I wouldn't know. (20:37) It's pretty transparent. (20:40) It is really transparent.

(20:42) That is the magic of that plugin. (20:44) If you go all the way to the walls, you might start picking up some, you know, go 100%. (20:49) You might pick up some very small artifacts, but it's amazingly transparent.

(20:55) Yeah, and more dynamic outside sounds as well. (21:00) I was recording at my parents' house in Australia, (21:04) and some inconsiderate person was mowing their lawn. (21:10) So like the one of your parents? (21:12) Yeah, one of my parents.

(21:16) And yeah, Cevox really made a pretty good show of the recording, (21:23) even with it kind of like moving around different areas. (21:25) I guess like a mower is still that, you know, lower frequency. (21:31) It's kind of droning.

(21:32) Yeah, and it's a consistent sound that's easier to hear. (21:34) There's not too much doppler with it unless you have like the fancy writing lawn mower. (21:40) There is two laws in life that if you wash your car, it will rain.

(21:44) And if you open a microphone, the neighbors are going to start doing something noisy. (21:48) So, you know, it's two guarantees in life, right? (21:51) That's right. (21:54) Have you ever had anyone pick up? (21:56) Are you putting anything across their audio? (21:58) No, not for a long time.

(22:00) Even running the modeling preamps in the Apollo unit, I keep it all very sparing. (22:08) I just want to get the color and the tone of the preamp and just bring in that difference (22:15) rather than engaging any of the hectic EQ or compression. (22:23) I like to think that I follow a lot of the principles of what you guys say on this show.

(22:27) Just keep it simple, send it on clean, and start with a really good bass. (22:32) Obviously, that's harder to do in the car and when we're traveling, (22:35) but I still just try to... (22:38) When I travel, I want to as closely mirror what I have here as possible. (22:44) Which is tricky.

(22:45) You're not running through like a bunch of boutique outboard gear at home. (22:52) And the preamp is just the Apollo pre, right? (22:56) This is Solo or...? (22:57) That's right, yeah. (22:58) Yeah, I have all Apollo units.

(23:00) I used to have a 6176, the UAD, the numbers are right. (23:07) Yeah, I had that and I ended up selling it because it felt like too many moving parts (23:15) and modeling it in the Apollo unit was so impressive that I felt like I'm going to sell this thing. (23:22) So are you using more than just the mic models? Are you using the preamp models as well? (23:26) Yeah.

(23:27) Actually, at the moment, I'm just using the twin preamp. (23:32) But generally, I will run... (23:35) I'll do a lot of my recording on the sphere and either... (23:41) What's your go-to emulation on the sphere? What sort of default? (23:45) The 416. (23:47) And then I have a couple that I dial into for different types of reads.

(23:53) Like if I'm doing trailer or something grittier. (23:58) You know how they came with some presets from Jordan Reynolds made some and then Brent Allen-Hagel? (24:05) Yeah, I heard that. (24:05) Yeah, I like one that Brent did for trailers and it's actually a combo.

(24:13) I suppose I can switch to it now. (24:17) By the way, how they got onto the preset list of that company, I'm wondering... (24:22) It pulled that off. (24:25) Because I've been dealing with them for so many years and I've never gotten anything like that.

(24:31) That's crazy. (24:32) I'm not jealous. (24:32) No, I'm just very glad that service is available.

(24:35) I would like to see you on that. (24:37) At least he's given away his presets for free. (24:41) Yeah, well, I mean, no props to them.

(24:43) I think it's cool that they're available. (24:46) What's something you're using? (24:48) This is the trailer setting from Brent Allen-Hagel and I don't actually know the proper brands (24:56) because they can't list it, but it's the LD800. (25:01) So that's the Sony? (25:02) But then it's combined with the 47K.

(25:07) So you have 47K caps, I guess, something like that? (25:10) Yeah, the K47, is it? (25:12) K47? (25:13) That's cool. (25:14) So that's what we're hearing now? (25:16) Yeah, that's right. (25:16) And I should be... (25:17) I think I'm printing this.

(25:18) Yeah, yeah. (25:19) Yeah, it riches... (25:20) It riches... (25:21) Richens in Richens? (25:23) That's it. (25:23) Adds more richness.

(25:25) Have you taken the 416-416, put it in the second channel with no preamp or no emulation (25:32) and just put it right next to this one and record the exact same thing? (25:37) I have meant to try that. (25:38) No, I haven't yet. (25:40) But to my ears, my simpleton ears, they are really, really close.

(25:45) And I do have two 416s, obviously the one that's in the car now. (25:52) And I have a sentimental 416, which I'll never sell. (25:58) But I mostly am using the 416 setting on the sphere.

(26:02) And then I have a U87 AI just next to me here. (26:07) And I've hung on to that mostly for workflow purposes. (26:11) I kind of have one mic that is hooked up for, I guess, like quick auditions and quick rip (26:21) and reads.

(26:22) And then I have this sphere that I'm talking to you guys on. (26:26) It's over here with a music stand looking out the window. (26:30) It's just like a nice little zone.

(26:33) Yeah, big creative spaces. (26:35) We're actually talking about our next episode now, aren't we? (26:38) Oh, sorry. (26:38) We're drifting to the next episode.

(26:38) We have. (26:39) I wonder how they do the polar pattern, because if you think about it, the 416 being a shotgun, (26:48) you can really only get that polar pattern from the physical shape. (26:53) And they can recreate any polar pattern with the large diaphragm.

(26:57) But you'll notice a large diaphragm never has a shotgun. (27:01) I mean, you kind of have a hypercardioid. (27:03) Do you find the 416 emulation to be a little bit more forgiving in the movement, like the polar pattern? (27:13) Can you move around the mic and it doesn't sound quite as phasy and weird? (27:16) Yeah.

(27:16) So I've switched now. (27:18) Now I'm on the 416 emulation. (27:21) I just did the click of the mouse.

(27:24) And it's on... (27:25) Which pattern is it on? (27:29) The cool thing with the... (27:31) It's on cardioid, on a cardioid pattern. (27:34) And now it's on a hypercardioid. (27:38) So now I'm talking off axis.

(27:40) And you can hear how it jumps forward, even on the... (27:44) Put it on an omni. (27:45) Put it on an omni? (27:46) Sure thing. (27:47) There you go.

(27:48) Oh, yeah, there we go. (27:49) So that's omni. (27:50) That's an omni 416.

(27:52) Anybody wonder what that sounds like? (27:54) It's a huge curve of a 416 without the... (27:57) I mean, acoustics in the booth are fantastic. (27:59) So even when you're on the omni, it still sounds really... (28:02) It actually sounds nice. (28:03) Like focused.

(28:03) Yeah, right. (28:04) So here's me kind of doing like direct address. (28:08) My mic is above hanging from the roof and from the ceiling.

(28:15) And it's tilted maybe... (28:19) What is that? (28:21) Forty... (28:21) A little over 40 degrees down towards me. (28:24) More vertical than horizontal? (28:27) Or more horizontal? (28:28) More vertical than horizontal, I would say. (28:30) Oh, okay.

(28:32) Interesting. (28:33) Yeah. (28:33) That's a pretty steep angle.

(28:34) Yeah, I've been meaning to play around with it. (28:36) Just to see what different sounds I get out. (28:38) This one is set up partially for... (28:42) Yeah, the way I am at the music stand, (28:44) although I guess I could change it.

(28:46) But then the U87 that I have just over here is... (28:51) That's more horizontal than vertical. (28:54) I think it just shows how the room acoustics are. (28:57) So important.

(28:58) So big. (28:59) Because if you'll notice when you switch through those patterns (29:01) and try different mics, they all sound really good. (29:05) So it just comes down to these shades of mauve.

(29:08) Yeah. (29:09) Yeah, yeah, yeah. (29:10) Who consulted on this booth? (29:11) Who was that? (29:12) Oh, I'm not trying to plug myself.

(29:14) No, I'm plugging you. (29:18) But yeah, that is the point. (29:19) I think it would have been funnier if you dogged it.

(29:22) Yeah, exactly. (29:24) Exactly. (29:25) It's just great hearing a booth that I helped design out of... (29:29) Just hearing it years later or months later, whatever.

(29:32) Just hearing it used in this pair of headphones (29:35) that I'm wearing in this situation (29:36) and going, wow, it sounds good in there. (29:39) That's just so important, everybody. (29:40) Get those acoustics nailed (29:42) and then you can really enjoy the variety of microphones.

(29:48) It's like getting a taste for wine (29:50) and now you can enjoy different kinds of wine. (29:52) And I don't have that. (29:55) I do.

(29:55) I'm not saying I do. (29:57) But once you do, then you can enjoy a ton of...

#ProAudioSuite #AudioEngineering #VoiceActing #MobileRecording #StudioOnTheGo #TeslaStudio

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Voiceover Essentials with Jim Edgar (Part 1) – Mastering Your Home Studio Setup
16 set· The Pro Audio Suite
In this episode of The Pro Audio Suite, we’re joined by Jim Edgar, a seasoned voiceover expert known for his work with Twisted Wave and his extensive experience in the voiceover community. Jim dives into the essentials of setting up a professional home studio, offering valuable insights into audio gear, microphone techniques, and troubleshooting common sound issues. Whether you're new to voice acting or looking to refine your audio setup, this episode covers everything from the importance of room treatment to key tools like Twisted Wave that can streamline your workflow.

Jim also shares personal anecdotes, such as the challenges of learning how to listen critically and tips on how to avoid common mistakes in the recording process. Plus, stick around for a few humorous tangents about bike frames and microphones!

We’d also like to thank our sponsors:
Austrian Audio, making passion heard with their high-quality microphones and headphones. Check them out at austrian.audio Tri Booth, the ultimate portable vocal booth solution for voice actors. Get $200 off your purchase with the code T-R-I-P-A-P-200. Visit tribooth.com for more information.
In Part 2, Jim Edgar returns to dive deeper into advanced techniques for voice actors, from improving room treatment to finding the right microphone placement. We’ll also cover the common mistakes voice actors make and the steps to fix them.
Key Talking Points: The basics of setting up a professional voiceover studio How to improve audio quality using simple tools The role of Twisted Wave in streamlining your recording process Jim’s advice on choosing the right microphone and gear Common mistakes voice actors make with room treatment and how to fix them
A big shout out to our sponsors, Austrian Audio and Tri Booth. Both these companies are providers of QUALITY Audio Gear (we wouldn't partner with them unless they were), so please, if you're in the market for some new kit, do us a solid and check out their products, and be sure to tell em "Robbo, George, Robert, and AP sent you"... As a part of their generous support of our show, Tri Booth is offering $200 off a brand-new booth when you use the code TRIPAP200. So get onto their website now and secure your new booth...

https://tribooth.com/

And if you're in the market for a new Mic or killer pair of headphones, check out Austrian Audio. They've got a great range of top-shelf gear..

https://austrian.audio/
We have launched a Patreon page in the hopes of being able to pay someone to help us get the show to more people and in turn help them with the same info we're sharing with you. If you aren't familiar with Patreon, it’s an easy way for those interested in our show to get exclusive content and updates before anyone else, along with a whole bunch of other "perks" just by contributing as little as $1 per month. Find out more here.. https://www.patreon.com/proaudiosuite George has created a page strictly for Pro Audio Suite listeners, so check it out for the latest discounts and offers for TPAS listeners.
https://georgethe.tech/tpas

If you haven't filled out our survey on what you'd like to hear on the show, you can do it here:

https://www.surveymonkey.com/r/ZWT5BTD

Join our Facebook page here:

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For everything else (including joining our mailing list for exclusive previews and other goodies), check out our website

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Hunter S Thompson
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The Rode NT2000: Is It Worth It for Voiceover?
9 set· The Pro Audio Suite
In response to a listener question from Barry Burns (aka Big Bazza!), the Pro Audio Suite team breaks down their thoughts on the Rode NT2000 and its use for voiceover work. Whether you’re a voice actor curious about this mic or just a fan of Rode gear, this episode offers some valuable insights and a healthy dose of gear talk.

Topics Covered:

Initial Impressions of the Rode NT2000: The crew discusses their experience with the Rode NT2000, diving into the build quality, sound characteristics, and versatility of this multi-pattern mic.

Comparisons to Other Mics: How does the NT2000 stack up against mics like the U87 and the Austrian Audio OC818? George and Andrew give their take on whether the NT2000 is a real contender in the voiceover world.

Strengths of the NT2000: The team highlights the mic’s variable polar patterns, high-pass filter, and low noise floor, making it a solid choice for versatile studio setups.

Durability Over Time: With over a decade of use in one Melbourne studio, the team talks about the mic's longevity and how well it holds up compared to other long-term staples in the voiceover industry.

The NT2000’s Unique Design Features: The discussion covers the adjustable pots on the NT2000 and why, despite their flexibility, they might not be for everyone.

Should You Buy the Rode NT2000 for Voiceover? Andrew sums up his experience with the NT2000 and answers whether it’s worth the investment or if you should look into alternatives like the Austrian Audio OC818.

Listener Question:
Barry Burns asked: “I have the Rode NT2000 but can’t find much in the way of evaluations for it. Any thoughts on how it stacks up for voiceover work?” Our answer: We break down the pros and cons of the NT2000 in the context of professional voiceover and help Barry (and you) decide if it’s a keeper.
Special Thanks:
A big shout-out to our sponsors, TriBooth and Austrian Audio, for making this episode possible.
Subscribe and Stay Tuned: Enjoyed the episode? Subscribe to The Pro Audio Suite for more expert insights on microphones, audio production, and voiceover gear reviews. Don’t forget to like, leave a review, and share with your fellow audio pros!

Both these companies are providers of QUALITY Audio Gear (we wouldn't partner with them unless they were), so please, if you're in the market for some new kit, do us a solid and check out their products, and be sure to tell em "Robbo, George, Robert, and AP sent you"... As a part of their generous support of our show, Tri Booth is offering $200 off a brand-new booth when you use the code TRIPAP200. So get onto their website now and secure your new booth...

https://tribooth.com/

And if you're in the market for a new Mic or killer pair of headphones, check out Austrian Audio. They've got a great range of top-shelf gear..

https://austrian.audio/
We have launched a Patreon page in the hopes of being able to pay someone to help us get the show to more people and in turn help them with the same info we're sharing with you. If you aren't familiar with Patreon, it’s an easy way for those interested in our show to get exclusive content and updates before anyone else, along with a whole bunch of other "perks" just by contributing as little as $1 per month. Find out more here.. https://www.patreon.com/proaudiosuite George has created a page strictly for Pro Audio Suite listeners, so check it out for the latest discounts and offers for TPAS listeners.
https://georgethe.tech/tpas

If you haven't filled out our survey on what you'd like to hear on the show, you can do it here:

https://www.surveymonkey.com/r/ZWT5BTD

Join our Facebook page here:

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For everything else (including joining our mailing list for exclusive previews and other goodies), check out our website

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Match EQ Techniques for Voiceover
2 set· The Pro Audio Suite
In this episode of The Pro Audio Suite, we delve into the intricacies of Match EQ techniques, exploring how to fine-tune the U87 vs. 416 microphones for different environments, and discussing the challenges of ADR in post-production. Whether you're a seasoned audio engineer or a voiceover artist, this episode is packed with valuable insights into the tools and techniques that can elevate your sound.

Topics Covered:

TriBooth and U87 vs. 416 Microphone Matching: George shares his latest experience setting up a TriBooth to match a U87 in a booth with a 416. Learn how close you can get using Match EQ and where traditional listening and tweaking still play a crucial role.

ADR Challenges in Post-Production: Robbo and the team discuss the ongoing struggle of matching ADR lines with on-set dialogue, particularly when using different mics and recording setups. Discover the often-overlooked post-production work that ensures seamless audio transitions.

The Importance of Mic Placement and EQ: The team emphasizes why proper mic placement should be your first move before reaching for the EQ. Get the source right to avoid relying on EQ as a crutch and ensure your recordings are as clean as possible.

U87 vs. 416: Regional Differences and Industry Standards: The crew explores the regional preferences for U87 and 416 microphones, comparing the U87's popularity in New York to the 416's dominance in LA. Is the U87 truly the industry standard in Australia, or has the 416 taken over?

The History and Iconic Status of the 416 Mic: A fascinating dive into the history of the 416 microphone, its role in the industry, and why it has become the go-to mic for so many voiceover professionals.

Listener Question: A listener asks about using a ribbon mic for voiceover work in a home studio. Is it time for a new sound to take over from the 416?

Gear Talk:
Austrian Audio OC818: Andrew discusses his favorite mic, the Austrian Audio OC818, and why it hasn’t left his desk since he got it. Is this the perfect mic for his voice? Pop Filter Woes in Voiceover Studios: A humorous yet important discussion on the state of pop filters in studios, and why a fresh one can make all the difference in your recordings.
Special Thanks:
A big shout-out to our sponsors, TriBooth and Austrian Audio, for their continued support of the show.
Subscribe and Stay Tuned: Enjoyed the episode? Subscribe to The Pro Audio Suite for more expert insights on voiceover microphones, Match EQ tips, and audio production techniques. Don’t forget to like, leave a review, and share with your fellow audio enthusiasts!

Both these companies are providers of QUALITY Audio Gear (we wouldn't partner with them unless they were), so please, if you're in the market for some new kit, do us a solid and check out their products, and be sure to tell em "Robbo, George, Robert, and AP sent you"... As a part of their generous support of our show, Tri Booth is offering $200 off a brand-new booth when you use the code TRIPAP200. So get onto their website now and secure your new booth...

https://tribooth.com/

And if you're in the market for a new Mic or killer pair of headphones, check out Austrian Audio. They've got a great range of top-shelf gear..

https://austrian.audio/
We have launched a Patreon page in the hopes of being able to pay someone to help us get the show to more people and in turn help them with the same info we're sharing with you. If you aren't familiar with Patreon, it’s an easy way for those interested in our show to get exclusive content and updates before anyone else, along with a whole bunch of other "perks" just by contributing as little as $1 per month. Find out more here.. https://www.patreon.com/proaudiosuite George has created a page strictly for Pro Audio Suite listeners, so check it out for the latest discounts and offers for TPAS listeners.
https://georgethe.tech/tpas

If you haven't filled out our survey on what you'd like to hear on the show, you can do it here:

https://www.surveymonkey.com/r/ZWT5BTD

Join our Facebook page here:

https://www.facebook.com/proaudiopodcast

And the FB Group here:

https://www.facebook.com/groups/357898255543203

For everything else (including joining our mailing list for exclusive previews and other goodies), check out our website

https://www.theproaudiosuite.com/
“When the going gets weird, the weird turn professional.”
Hunter S Thompson
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DAW Showdown: Comparing the Latest Digital Audio Workstations of 2024
26 ago· The Pro Audio Suite
In Episode 33 of The Pro Audio Suite, the team takes a nostalgic journey through the evolution of Digital Audio Workstations (DAWs). From the early days of DSP and WaveLab to today’s industry standards like Pro Tools and Twisted Wave, our hosts share their personal experiences, favorite tools, and some of the quirkiest DAWs they've come across. Whether you're a seasoned pro or a curious newcomer, this episode is packed with insights, stories, and a few laughs about the DAWs that have shaped the audio production world. Tune in and join the conversation about where DAWs are headed next.

Introduction: The team welcomes listeners and gives a shout-out to sponsors, Tribooth and Austrian Audio. DAW Origins: Robbo shares his first experience with DSP at Triple M in Brisbane, sparking a discussion on early digital mixing consoles. Evolution of DAWs: The crew discusses how DAWs have changed from the 90s to now, mentioning early tools like Magix Samplitude, WaveLab, and Cakewalk. Modern Favorites: A look at the DAWs the hosts currently use, including Pro Tools, Twisted Wave, and Audition. Unexpected Tools: The team talks about some of the more obscure DAWs and editors, like Akon Digital's DAW and RØDE Connect. Challenges with New DAWs: The hosts share the challenges of learning new DAWs and the comfort of sticking with familiar tools. Final Thoughts: Reflecting on the importance of mastering your tools and the potential future of DAWs.
Sponsors:
Tribooth: The best vocal booth for home or on-the-road voice recording. Use code TRIPAP200 for $200 off your Tribooth. Austrian Audio: Making passion heard.
Credits:
Hosted by Robert Marshall, Darren "Robbo" Robertson, George "The Tech" Whittam, and Andrew Peters Recorded using Source Connect Edited by Andrew Peters Mixed by Voodoo Radio Imaging Tech support by George "The Tech" Whittam
Don't forget to subscribe to the show and join the conversation on our Facebook group. To leave a comment, suggest a topic, or just say g'day, drop us a note at theproaudiosuite.com.

A big shout out to our sponsors, Austrian Audio and Tri Booth. Both these companies are providers of QUALITY Audio Gear (we wouldn't partner with them unless they were), so please, if you're in the market for some new kit, do us a solid and check out their products, and be sure to tell em "Robbo, George, Robert, and AP sent you"... As a part of their generous support of our show, Tri Booth is offering $200 off a brand-new booth when you use the code TRIPAP200. So get onto their website now and secure your new booth...

https://tribooth.com/

And if you're in the market for a new Mic or killer pair of headphones, check out Austrian Audio. They've got a great range of top-shelf gear..

https://austrian.audio/
We have launched a Patreon page in the hopes of being able to pay someone to help us get the show to more people and in turn help them with the same info we're sharing with you. If you aren't familiar with Patreon, it’s an easy way for those interested in our show to get exclusive content and updates before anyone else, along with a whole bunch of other "perks" just by contributing as little as $1 per month. Find out more here.. https://www.patreon.com/proaudiosuite George has created a page strictly for Pro Audio Suite listeners, so check it out for the latest discounts and offers for TPAS listeners.
https://georgethe.tech/tpas

If you haven't filled out our survey on what you'd like to hear on the show, you can do it here:

https://www.surveymonkey.com/r/ZWT5BTD

Join our Facebook page here:

https://www.facebook.com/proaudiopodcast

And the FB Group here:

https://www.facebook.com/groups/357898255543203

For everything else (including joining our mailing list for exclusive previews and other goodies), check out our website

https://www.theproaudiosuite.com/
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Hunter S Thompson
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Processing Showdown: Comparing VO Chains Across the Globe
20 ago· The Pro Audio Suite
In this episode of The Pro Audio Suite, the team takes on a processing challenge. After AP shares a voiceover chain his client used on his voice during a session in Dubai, the crew dives into a comparison of different processing setups. From compression techniques to EQ adjustments, you'll hear how various approaches can make the same voiceover sound dramatically different. Whether you’re a voiceover artist or a podcaster, this episode is packed with insights on refining your audio chain. Special thanks to our sponsors, Tribooth—your ultimate portable vocal booth—and Austrian Audio, where passion is made heard.

Sponsors:
Tribooth: The best vocal booth for home or on-the-road voice recording. Use code TRIPAP200 for $200 off your Tribooth. Austrian Audio: Making passion heard.
Credits:
Hosted by Robert Marshall, Darren "Robbo" Robertson, George "The Tech" Whittam, and Andrew Peters Recorded using Source Connect Edited by Andrew Peters Mixed by Voodoo Radio Imaging Tech support by George "The Tech" Whittam
Don't forget to subscribe to the show and join the conversation on our Facebook group. To leave a comment, suggest a topic, or just say g'day, drop us a note at theproaudiosuite.com.

A big shout out to our sponsors, Austrian Audio and Tri Booth. Both these companies are providers of QUALITY Audio Gear (we wouldn't partner with them unless they were), so please, if you're in the market for some new kit, do us a solid and check out their products, and be sure to tell em "Robbo, George, Robert, and AP sent you"... As a part of their generous support of our show, Tri Booth is offering $200 off a brand-new booth when you use the code TRIPAP200. So get onto their website now and secure your new booth...

https://tribooth.com/

And if you're in the market for a new Mic or killer pair of headphones, check out Austrian Audio. They've got a great range of top-shelf gear..

https://austrian.audio/
We have launched a Patreon page in the hopes of being able to pay someone to help us get the show to more people and in turn help them with the same info we're sharing with you. If you aren't familiar with Patreon, it’s an easy way for those interested in our show to get exclusive content and updates before anyone else, along with a whole bunch of other "perks" just by contributing as little as $1 per month. Find out more here.. https://www.patreon.com/proaudiosuite George has created a page strictly for Pro Audio Suite listeners, so check it out for the latest discounts and offers for TPAS listeners.
https://georgethe.tech/tpas

If you haven't filled out our survey on what you'd like to hear on the show, you can do it here:

https://www.surveymonkey.com/r/ZWT5BTD

Join our Facebook page here:

https://www.facebook.com/proaudiopodcast

And the FB Group here:

https://www.facebook.com/groups/357898255543203

For everything else (including joining our mailing list for exclusive previews and other goodies), check out our website

https://www.theproaudiosuite.com/
“When the going gets weird, the weird turn professional.”
Hunter S Thompson
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Audacity's Compressor Overhaul: What VO Artists and Podcasters Need to Know
12 ago· The Pro Audio Suite
In this episode of The Pro Audio Suite, the team dive into the recent updates to Audacity’s compressor and limiter features. These changes have caused quite a stir, particularly among voiceover artists and podcasters who rely on Audacity for mastering their projects. George "The Tech" Whittam shares his insights on the updates, highlighting what works, what doesn't, and what it all means for your workflow. Plus, we discuss the frustrations that come with software updates and how to navigate them without pulling your hair out. Special thanks to our sponsors, Tribooth, and Austrian Audio, making passion heard.

Sponsors:
Tribooth: The best vocal booth for home or on-the-road voice recording. Use code TRIPAP200 for $200 off your Tribooth. Austrian Audio: Making passion heard.
Credits:
Hosted by Robert Marshall, Darren "Robbo" Robertson, George "The Tech" Whittam, and Andrew Peters Recorded using Source Connect Edited by Andrew Peters Mixed by Voodoo Radio Imaging Tech support by George "The Tech" Whittam
Don't forget to subscribe to the show and join the conversation on our Facebook group. To leave a comment, suggest a topic, or just say g'day, drop us a note at theproaudiosuite.com.

A big shout out to our sponsors, Austrian Audio and Tri Booth. Both these companies are providers of QUALITY Audio Gear (we wouldn't partner with them unless they were), so please, if you're in the market for some new kit, do us a solid and check out their products, and be sure to tell em "Robbo, George, Robert, and AP sent you"... As a part of their generous support of our show, Tri Booth is offering $200 off a brand-new booth when you use the code TRIPAP200. So get onto their website now and secure your new booth...

https://tribooth.com/

And if you're in the market for a new Mic or killer pair of headphones, check out Austrian Audio. They've got a great range of top-shelf gear..

https://austrian.audio/
We have launched a Patreon page in the hopes of being able to pay someone to help us get the show to more people and in turn help them with the same info we're sharing with you. If you aren't familiar with Patreon, it’s an easy way for those interested in our show to get exclusive content and updates before anyone else, along with a whole bunch of other "perks" just by contributing as little as $1 per month. Find out more here.. https://www.patreon.com/proaudiosuite George has created a page strictly for Pro Audio Suite listeners, so check it out for the latest discounts and offers for TPAS listeners.
https://georgethe.tech/tpas

If you haven't filled out our survey on what you'd like to hear on the show, you can do it here:

https://www.surveymonkey.com/r/ZWT5BTD

Join our Facebook page here:

https://www.facebook.com/proaudiopodcast

And the FB Group here:

https://www.facebook.com/groups/357898255543203

For everything else (including joining our mailing list for exclusive previews and other goodies), check out our website

https://www.theproaudiosuite.com/
“When the going gets weird, the weird turn professional.”
Hunter S Thompson
- Ouvir Ouvir novamente Continuar A reproduzir…
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USB Mics: Professional or Pretender?
6 ago· The Pro Audio Suite
In this episode, the Pro Audio Suite team dives deep into the world of USB microphones. Once considered a big no-no for professional audio work, USB mics have come a long way. But are they truly ready to replace traditional XLR setups? Join Robert Marshall, Darren "Robbo" Robertson, George "The Tech" Whittam, and Andrew Peters as they explore the pros and cons of USB mics, discuss technological advancements, and share personal experiences. Special thanks to our sponsors, Tribooth and Austrian Audio, for making this episode possible.

Sponsors:
Tribooth: The best vocal booth for home or on-the-road voice recording. Use code TRIPAP200 for $200 off your Tribooth. Austrian Audio: Making passion heard.
Credits:
Hosted by Robert Marshall, Darren "Robbo" Robertson, George "The Tech" Whittam, and Andrew Peters Recorded using Source Connect Edited by Andrew Peters Mixed by Voodoo Radio Imaging Tech support by George "The Tech" Whittam
Don't forget to subscribe to the show and join the conversation on our Facebook group. To leave a comment, suggest a topic, or just say g'day, drop us a note at theproaudiosuite.com.

A big shout out to our sponsors, Austrian Audio and Tri Booth. Both these companies are providers of QUALITY Audio Gear (we wouldn't partner with them unless they were), so please, if you're in the market for some new kit, do us a solid and check out their products, and be sure to tell em "Robbo, George, Robert, and AP sent you"... As a part of their generous support of our show, Tri Booth is offering $200 off a brand-new booth when you use the code TRIPAP200. So get onto their website now and secure your new booth...

https://tribooth.com/

And if you're in the market for a new Mic or killer pair of headphones, check out Austrian Audio. They've got a great range of top-shelf gear..

https://austrian.audio/
We have launched a Patreon page in the hopes of being able to pay someone to help us get the show to more people and in turn help them with the same info we're sharing with you. If you aren't familiar with Patreon, it’s an easy way for those interested in our show to get exclusive content and updates before anyone else, along with a whole bunch of other "perks" just by contributing as little as $1 per month. Find out more here.. https://www.patreon.com/proaudiosuite George has created a page strictly for Pro Audio Suite listeners, so check it out for the latest discounts and offers for TPAS listeners.
https://georgethe.tech/tpas

If you haven't filled out our survey on what you'd like to hear on the show, you can do it here:

https://www.surveymonkey.com/r/ZWT5BTD

Join our Facebook page here:

https://www.facebook.com/proaudiopodcast

And the FB Group here:

https://www.facebook.com/groups/357898255543203

For everything else (including joining our mailing list for exclusive previews and other goodies), check out our website

https://www.theproaudiosuite.com/
“When the going gets weird, the weird turn professional.”
Hunter S Thompson
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Raw vs. Processed: Navigating Client Expectations in Voice Over Delivery
29 jul· The Pro Audio Suite
The Pro Audio Suite - S7 EP29: Processed Session Audio

Welcome back to The Pro Audio Suite! In this episode, we delve into the intricacies of processed session audio and the importance of proper audio handling during recordings. Join Robbo, Robert, George, and AP as they share their experiences and insights on managing audio quality in various recording scenarios.

Episode Highlights:
Session with a "Processed" Actor: Robert recounts a session with an actor who claimed to have no processing, but the audio told a different story. Importance of Proper Gain Staging: Tips on managing preamp and output gain to avoid unnecessary compression and maintain audio integrity. Challenges of Compression in Voiceover: The team discusses how heavy compression affects natural sound and the listener's experience. Audio Quality in National Commercials: The state of audio production for television commercials and the shift towards lighter processing. Mixing Techniques: Debates on mixing into a compressor versus post-mix compression and their impacts on the final audio product. Client Expectations and Audio Delivery: Navigating client expectations regarding raw and processed audio and the importance of clear communication.
Key Takeaways:
Identifying and addressing hidden processing in recorded audio. The significance of maintaining proper gain staging during recording sessions. The effects of heavy compression on voiceover performances and how to achieve a natural sound. Understanding client terminology and ensuring clear communication about audio expectations. Practical mixing techniques to enhance audio quality without over-processing.
Join us for an episode filled with expert advice, real-world examples, and lively discussions. Whether you're a seasoned audio professional or just starting out, you'll find valuable insights to improve your recording and mixing techniques.

Resources Mentioned:
Tips for Managing Audio Compression Recommended Gear for Voiceover Recording Understanding Client Terminology in Audio Production
Connect with Us:
Join our Facebook Group for updates and more tips. Subscribe to our YouTube channel for Pro Audio Suite Tips and more exclusive content. Check out our sponsor, Tribooth, for the best vocal booth solutions.
A big shout out to our sponsors, Austrian Audio and Tri Booth. Both these companies are providers of QUALITY Audio Gear (we wouldn't partner with them unless they were), so please, if you're in the market for some new kit, do us a solid and check out their products, and be sure to tell em "Robbo, George, Robert, and AP sent you"... As a part of their generous support of our show, Tri Booth is offering $200 off a brand-new booth when you use the code TRIPAP200. So get onto their website now and secure your new booth...

https://tribooth.com/

And if you're in the market for a new Mic or killer pair of headphones, check out Austrian Audio. They've got a great range of top-shelf gear..

https://austrian.audio/
We have launched a Patreon page in the hopes of being able to pay someone to help us get the show to more people and in turn help them with the same info we're sharing with you. If you aren't familiar with Patreon, it’s an easy way for those interested in our show to get exclusive content and updates before anyone else, along with a whole bunch of other "perks" just by contributing as little as $1 per month. Find out more here.. https://www.patreon.com/proaudiosuite George has created a page strictly for Pro Audio Suite listeners, so check it out for the latest discounts and offers for TPAS listeners.
https://georgethe.tech/tpas

If you haven't filled out our survey on what you'd like to hear on the show, you can do it here:

https://www.surveymonkey.com/r/ZWT5BTD

Join our Facebook page here:

https://www.facebook.com/proaudiopodcast

And the FB Group here:

https://www.facebook.com/groups/357898255543203

For everything else (including joining our mailing list for exclusive previews and other goodies), check out our website

https://www.theproaudiosuite.com/
“When the going gets weird, the weird turn professional.”
Hunter S Thompson
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Sound Believability: How Audio Quality Shapes Listener Trust
22 jul· The Pro Audio Suite
The Pro Audio Suite - S7 EP28: Exploring Sound Quality in Modern Audio Production

Welcome back to The Pro Audio Suite! In this episode, we're diving deep into the fascinating world of sound quality and its impact on audio production. Join Robbo, Robert, George, and AP as they explore various aspects of audio fidelity, the significance of audio quality in different mediums, and practical tips for achieving the best possible sound in your projects.

Episode Highlights:
The Impact of Audio Quality on Believability: Robert discusses a study by the Australian National University and USC exploring how audio quality affects listeners' perception and believability. Technology vs. Nostalgia: A debate on why we're often chasing vintage sounds and aesthetics even as technology advances. Nature Recordings and Hyper-Realism: An intriguing conversation about creating immersive audio experiences that go beyond natural sounds. Challenges in Audiobook Production: Tips and tricks for audiobook narrators and producers, including dealing with plosives, mic technique, and the importance of good audio quality. Audio in Different Environments: How listening environments affect audio perception and the importance of adapting sound for various playback scenarios. Practical Tips: Recommendations for using headphones, managing audio quality, and achieving a consistent sound during recording sessions.
Key Takeaways:
The link between audio quality and how much listeners believe and engage with the content. Balancing technical accuracy and sensory experience in audio production. The importance of good mic technique and consistent performance in audiobook recording. Practical solutions for common audio issues, like plosives and uneven mic placement. Adapting audio production techniques for different listening environments to maintain clarity and impact.
Join us for this insightful episode packed with expert advice, real-world examples, and a touch of humor. Whether you're an experienced audio engineer or just starting out, you'll find valuable tips to enhance your audio projects.

Resources Mentioned:
Study on Audio Quality and Believability Recommended Microphones for Audiobook Recording Nature Sound Apps in Atmos
Connect with Us:
Join our Facebook Group for updates and more tips. Subscribe to our YouTube channel for Pro Audio Suite Tips and more exclusive content. Check out our sponsor, Tribooth, for the best vocal booth solutions.
A big shout out to our sponsors, Austrian Audio and Tri Booth. Both these companies are providers of QUALITY Audio Gear (we wouldn't partner with them unless they were), so please, if you're in the market for some new kit, do us a solid and check out their products, and be sure to tell em "Robbo, George, Robert, and AP sent you"... As a part of their generous support of our show, Tri Booth is offering $200 off a brand-new booth when you use the code TRIPAP200. So get onto their website now and secure your new booth...

https://tribooth.com/

And if you're in the market for a new Mic or killer pair of headphones, check out Austrian Audio. They've got a great range of top-shelf gear..

https://austrian.audio/
We have launched a Patreon page in the hopes of being able to pay someone to help us get the show to more people and in turn help them with the same info we're sharing with you. If you aren't familiar with Patreon, it’s an easy way for those interested in our show to get exclusive content and updates before anyone else, along with a whole bunch of other "perks" just by contributing as little as $1 per month. Find out more here.. https://www.patreon.com/proaudiosuite George has created a page strictly for Pro Audio Suite listeners, so check it out for the latest discounts and offers for TPAS listeners.
https://georgethe.tech/tpas

If you haven't filled out our survey on what you'd like to hear on the show, you can do it here:

https://www.surveymonkey.com/r/ZWT5BTD

Join our Facebook page here:

https://www.facebook.com/proaudiopodcast

And the FB Group here:

https://www.facebook.com/groups/357898255543203

For everything else (including joining our mailing list for exclusive previews and other goodies), check out our website

https://www.theproaudiosuite.com/
“When the going gets weird, the weird turn professional.”
Hunter S Thompson
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The Sony Microphone Saga: High-Resolution Recording with Craig Field
15 jul· The Pro Audio Suite
In this weeks episode of The Pro Audio Suite, we delve into the world of high-resolution audio and the development of cutting-edge microphones with our special guest, Craig Field. Known for his work at the National Archives of Australia and his intriguing collaboration with Sony, Craig shares the fascinating journey of co-developing a groundbreaking microphone that has revolutionized high-resolution audio recording.

Hosts:
Robert Marshall, Source Elements and Someone Audio Post, Chicago Darren "Robbo" Robertson, Voodoo Radio Imaging, Sydney George "The Tech" Whittam, LA Andrew Peters, Voiceover Talent and Home Studio Guy
Special Guest:
Craig Field, National Archives of Australia and co-developer of the Sony microphone
Sponsors:
Tribooth: The best vocal booth for home or on-the-road voice recording. Use code TRIPAP200 for $200 off. Austrian Audio: Making passion heard.
In This Episode, You’ll Discover:

The Story Behind the Sony Microphone:
Craig's journey from owning Elkwood Studio in Sydney to collaborating with Sony. The development process and challenges of creating a high-resolution microphone.
High-Resolution Audio:
The significance of high-resolution audio in different parts of the world, particularly in Japan and Europe. How high-resolution audio formats like DSD and PCM are utilized and appreciated.
Technical Innovations:
The importance of having high-quality microphones to complement advanced A/D converters, digital preamps, and cable technology. Details about the Sony C-100 microphone and its unique capabilities, including its ability to capture frequencies up to 50kHz.
Real-World Applications:
Recording a unique performance on the world's largest piano built by Wayne Stewart, using the Sony microphones. How high-frequency recording is beneficial for sound effects and Foley work.
Microphone Technology:
The significance of anti-vibrational technology in microphones to minimize reverberance within the capsule. Comparisons with other high-end microphones and the innovative features of the Sony microphones.
A big shout out to our sponsors, Austrian Audio and Tri Booth. Both these companies are providers of QUALITY Audio Gear (we wouldn't partner with them unless they were), so please, if you're in the market for some new kit, do us a solid and check out their products, and be sure to tell em "Robbo, George, Robert, and AP sent you"... As a part of their generous support of our show, Tri Booth is offering $200 off a brand-new booth when you use the code TRIPAP200. So get onto their website now and secure your new booth...

https://tribooth.com/

And if you're in the market for a new Mic or killer pair of headphones, check out Austrian Audio. They've got a great range of top-shelf gear..

https://austrian.audio/
We have launched a Patreon page in the hopes of being able to pay someone to help us get the show to more people and in turn help them with the same info we're sharing with you. If you aren't familiar with Patreon, it’s an easy way for those interested in our show to get exclusive content and updates before anyone else, along with a whole bunch of other "perks" just by contributing as little as $1 per month. Find out more here.. https://www.patreon.com/proaudiosuite George has created a page strictly for Pro Audio Suite listeners, so check it out for the latest discounts and offers for TPAS listeners.
https://georgethe.tech/tpas

If you haven't filled out our survey on what you'd like to hear on the show, you can do it here:

https://www.surveymonkey.com/r/ZWT5BTD

Join our Facebook page here:

https://www.facebook.com/proaudiopodcast

And the FB Group here:

https://www.facebook.com/groups/357898255543203

For everything else (including joining our mailing list for exclusive previews and other goodies), check out our website

https://www.theproaudiosuite.com/
“When the going gets weird, the weird turn professional.”
Hunter S Thompson
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Backup With Confidence: Lessons from the National Archives
9 jul· The Pro Audio Suite
Join us for a deep dive into the fascinating world of audio archiving with special guests Ben Chesterman and Craig Field from the National Archives of Australia. In this two-part series, we explore the intricate processes involved in preserving our audio history, from old vinyl records to modern digital formats. Whether you're a seasoned audio professional or just curious about how our audio heritage is kept safe, this episode is packed with insights and stories that will captivate and inform.

Highlights:
Introduction to Ben Chesterman and Craig Field, their roles at the National Archives of Australia, and their backgrounds in music production and post-production. The remit of the National Archives: handling records from various government agencies including the Department of Defence, ABC, SBS, and more. The process of archiving: from receiving physical materials to ensuring they are stored in optimal conditions. Digitizing audio: challenges, techniques, and the importance of maintaining the original format. The significance of preserving cultural and historical records for future generations. Advanced archiving techniques: using lasers to read vinyl grooves and preserving shellac records. The importance of creating multiple copies and using cloud storage for long-term preservation. Digital preservation challenges: dealing with outdated formats and ensuring accessibility. Real-life examples of rare recordings being rescued and digitized. The role of archivists in maintaining and updating archives to keep them relevant and accessible.
Sponsors:
Tribooth: The best vocal booth for home or on-the-road voice recording. Use code T-R-I-P-A-P 200 to get $200 off your Tribooth. Austrian Audio: Making passion heard.
Links and Resources:
National Archives of Australia: Website Ben Chesterman's LinkedIn: Profile Craig Field's LinkedIn: Profile Source Elements: Website Tribooth: Website Austrian Audio: Website
Join the Conversation:
Subscribe to the show and join our Facebook group to engage in discussions, suggest topics, or just say g'day. Visit our website for more details.
A big shout out to our sponsors, Austrian Audio and Tri Booth. Both these companies are providers of QUALITY Audio Gear (we wouldn't partner with them unless they were), so please, if you're in the market for some new kit, do us a solid and check out their products, and be sure to tell em "Robbo, George, Robert, and AP sent you"... As a part of their generous support of our show, Tri Booth is offering $200 off a brand-new booth when you use the code TRIPAP200. So get onto their website now and secure your new booth...

https://tribooth.com/

And if you're in the market for a new Mic or killer pair of headphones, check out Austrian Audio. They've got a great range of top-shelf gear..

https://austrian.audio/
We have launched a Patreon page in the hopes of being able to pay someone to help us get the show to more people and in turn help them with the same info we're sharing with you. If you aren't familiar with Patreon, it’s an easy way for those interested in our show to get exclusive content and updates before anyone else, along with a whole bunch of other "perks" just by contributing as little as $1 per month. Find out more here.. https://www.patreon.com/proaudiosuite George has created a page strictly for Pro Audio Suite listeners, so check it out for the latest discounts and offers for TPAS listeners.
https://georgethe.tech/tpas

If you haven't filled out our survey on what you'd like to hear on the show, you can do it here:

https://www.surveymonkey.com/r/ZWT5BTD

Join our Facebook page here:

https://www.facebook.com/proaudiopodcast

And the FB Group here:

https://www.facebook.com/groups/357898255543203

For everything else (including joining our mailing list for exclusive previews and other goodies), check out our website

https://www.theproaudiosuite.com/
“When the going gets weird, the weird turn professional.”
Hunter S Thompson
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From Bathroom to Booth: Samara Meers' Ingenious Studio Setup
1 jul· The Pro Audio Suite
In this episode of The Pro Audio Suite, Robbo shares the story of Sumara Meers, who has transformed an old bathroom into a functional voiceover studio. This episode is a testament to the fact that you don't always need the perfect space to build a studio. Robbo discusses Samara’s journey, the challenges she faced, and the creative solutions she employed to make her unique studio work. Listen in for tips on making the most out of unconventional spaces and a subtle reminder that it's the talent and technique, not just the room, that makes great audio.

Here are Sumara's pictures

A big shout out to our sponsors, Austrian Audio and Tri Booth. Both these companies are providers of QUALITY Audio Gear (we wouldn't partner with them unless they were), so please, if you're in the market for some new kit, do us a solid and check out their products, and be sure to tell em "Robbo, George, Robert, and AP sent you"... As a part of their generous support of our show, Tri Booth is offering $200 off a brand-new booth when you use the code TRIPAP200. So get onto their website now and secure your new booth...

https://tribooth.com/

And if you're in the market for a new Mic or killer pair of headphones, check out Austrian Audio. They've got a great range of top-shelf gear..

https://austrian.audio/
We have launched a Patreon page in the hopes of being able to pay someone to help us get the show to more people and in turn help them with the same info we're sharing with you. If you aren't familiar with Patreon, it’s an easy way for those interested in our show to get exclusive content and updates before anyone else, along with a whole bunch of other "perks" just by contributing as little as $1 per month. Find out more here.. https://www.patreon.com/proaudiosuite George has created a page strictly for Pro Audio Suite listeners, so check it out for the latest discounts and offers for TPAS listeners.
https://georgethe.tech/tpas

If you haven't filled out our survey on what you'd like to hear on the show, you can do it here:

https://www.surveymonkey.com/r/ZWT5BTD

Join our Facebook page here:

https://www.facebook.com/proaudiopodcast

And the FB Group here:

https://www.facebook.com/groups/357898255543203

For everything else (including joining our mailing list for exclusive previews and other goodies), check out our website

https://www.theproaudiosuite.com/
“When the going gets weird, the weird turn professional.”
Hunter S Thompson
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Discover the Latest in Noise Reduction with iZotope RX11 | The Pro Audio Suite
24 jun· The Pro Audio Suite
Description: Welcome to The Pro Audio Suite! In this episode, we chat with Mike Rozette from iZotope about the latest features of their Noise Reduction Suite, RX11. Whether you're a seasoned audio engineer or just starting out, you’ll find valuable insights into making your audio cleaner and more professional.

Episode Highlights:
Introduction to iZotope RX11 New features and improvements Practical applications for noise reduction Tips for achieving the best results
Listen to this episode to learn:
How RX11 can enhance your audio projects Key features that set RX11 apart from previous versions Real-world examples of RX11 in action
Prefer to watch the video version? Check it out on our YouTube channel here.

Connect with Us:
Subscribe to The Pro Audio Suite: [Your preferred podcast platform link] Follow us on YouTube: [YouTube Channel Link]
Keywords: iZotope RX11, noise reduction, audio engineering, audio production, noise reduction tips, The Pro Audio Suite, Mike Rozette, audio cleanup

#AudioEngineering #NoiseReduction #iZotopeRX11 #TheProAudioSuite #AudioProductionTips

A big shout out to our sponsors, Austrian Audio and Tri Booth. Both these companies are providers of QUALITY Audio Gear (we wouldn't partner with them unless they were), so please, if you're in the market for some new kit, do us a solid and check out their products, and be sure to tell em "Robbo, George, Robert, and AP sent you"... As a part of their generous support of our show, Tri Booth is offering $200 off a brand-new booth when you use the code TRIPAP200. So get onto their website now and secure your new booth...

https://tribooth.com/

And if you're in the market for a new Mic or killer pair of headphones, check out Austrian Audio. They've got a great range of top-shelf gear..

https://austrian.audio/
We have launched a Patreon page in the hopes of being able to pay someone to help us get the show to more people and in turn help them with the same info we're sharing with you. If you aren't familiar with Patreon, it’s an easy way for those interested in our show to get exclusive content and updates before anyone else, along with a whole bunch of other "perks" just by contributing as little as $1 per month. Find out more here.. https://www.patreon.com/proaudiosuite George has created a page strictly for Pro Audio Suite listeners, so check it out for the latest discounts and offers for TPAS listeners.
https://georgethe.tech/tpas

If you haven't filled out our survey on what you'd like to hear on the show, you can do it here:

https://www.surveymonkey.com/r/ZWT5BTD

Join our Facebook page here:

https://www.facebook.com/proaudiopodcast

And the FB Group here:

https://www.facebook.com/groups/357898255543203

For everything else (including joining our mailing list for exclusive previews and other goodies), check out our website

https://www.theproaudiosuite.com/
“When the going gets weird, the weird turn professional.”
Hunter S Thompson
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Is RX 11 Worth It? The Pro Audio Suite Weighs In!
17 jun· The Pro Audio Suite
In this episode of The Pro Audio Suite, the team dives into the latest updates and features of RX 11 from iZotope. Robbo, Andrew, George, and Robert discuss the enhancements in RX 11, including the updated dialogue isolate feature and the ongoing debate on whether it's worth upgrading. They share personal experiences with RX plugins, talk about the importance of these tools in audio production, and compare them to alternatives like Waves plugins. Tune in to find out if RX 11 is the right fit for your audio editing needs.

Key Points:

Introduction:
Welcoming listeners and sponsors. Brief overview of RX 11 and its position in the audio industry.
RX 11 Features:
Discussion on the new features in RX 11. Detailed look at the dialogue isolate tool and its effectiveness.
User Experiences:
Personal experiences with RX 11 and previous versions. Issues with compatibility and performance, particularly with Steinberg's WaveLab.
Comparison with Alternatives:
Comparing RX 11 with other popular tools like Waves plugins. Debate on whether to upgrade based on current needs and budget.
Practical Applications:
How RX 11 fits into the workflow of voiceover artists and audio engineers. Importance of tools like mouth de-click and noise reduction in everyday use.
Future of RX:
Predictions and hopes for future updates. Encouragement for users to stay updated and provide feedback.
Closing Remarks:
Recap of discussion. Shoutouts to sponsors and reminders to subscribe and join the conversation on the Facebook group.
A big shout out to our sponsors, Austrian Audio and Tri Booth. Both these companies are providers of QUALITY Audio Gear (we wouldn't partner with them unless they were), so please, if you're in the market for some new kit, do us a solid and check out their products, and be sure to tell em "Robbo, George, Robert, and AP sent you"... As a part of their generous support of our show, Tri Booth is offering $200 off a brand-new booth when you use the code TRIPAP200. So get onto their website now and secure your new booth...

https://tribooth.com/

And if you're in the market for a new Mic or killer pair of headphones, check out Austrian Audio. They've got a great range of top-shelf gear..

https://austrian.audio/
We have launched a Patreon page in the hopes of being able to pay someone to help us get the show to more people and in turn help them with the same info we're sharing with you. If you aren't familiar with Patreon, it’s an easy way for those interested in our show to get exclusive content and updates before anyone else, along with a whole bunch of other "perks" just by contributing as little as $1 per month. Find out more here.. https://www.patreon.com/proaudiosuite George has created a page strictly for Pro Audio Suite listeners, so check it out for the latest discounts and offers for TPAS listeners.
https://georgethe.tech/tpas

If you haven't filled out our survey on what you'd like to hear on the show, you can do it here:

https://www.surveymonkey.com/r/ZWT5BTD

Join our Facebook page here:

https://www.facebook.com/proaudiopodcast

And the FB Group here:

https://www.facebook.com/groups/357898255543203

For everything else (including joining our mailing list for exclusive previews and other goodies), check out our website

https://www.theproaudiosuite.com/
“When the going gets weird, the weird turn professional.”
Hunter S Thompson
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User-Driven Updates in Twisted Wave: What to Expect
10 jun· The Pro Audio Suite
In this episode of The Pro Audio Suite, the team dives into the latest updates and features of Twisted Wave, a popular audio recorder and editor. George shares insights from a recent survey conducted by Twisted Wave's owner, Thomas, revealing what users want most in future updates. The team discusses the potential addition of multi-track capabilities and the complexities of implementing such a feature. They also touch on the importance of non-destructive editing and a history window feature. Join Robbo, Andrew, George, and Robert as they explore how these updates could impact the voiceover and audio production community.

Key Points:

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.
A big shout out to our sponsors, Austrian Audio and Tri Booth. Both these companies are providers of QUALITY Audio Gear (we wouldn't partner with them unless they were), so please, if you're in the market for some new kit, do us a solid and check out their products, and be sure to tell em "Robbo, George, Robert, and AP sent you"... As a part of their generous support of our show, Tri Booth is offering $200 off a brand-new booth when you use the code TRIPAP200. So get onto their website now and secure your new booth...

https://tribooth.com/

And if you're in the market for a new Mic or killer pair of headphones, check out Austrian Audio. They've got a great range of top-shelf gear..

https://austrian.audio/
We have launched a Patreon page in the hopes of being able to pay someone to help us get the show to more people and in turn help them with the same info we're sharing with you. If you aren't familiar with Patreon, it’s an easy way for those interested in our show to get exclusive content and updates before anyone else, along with a whole bunch of other "perks" just by contributing as little as $1 per month. Find out more here.. https://www.patreon.com/proaudiosuite George has created a page strictly for Pro Audio Suite listeners, so check it out for the latest discounts and offers for TPAS listeners.
https://georgethe.tech/tpas

If you haven't filled out our survey on what you'd like to hear on the show, you can do it here:

https://www.surveymonkey.com/r/ZWT5BTD

Join our Facebook page here:

https://www.facebook.com/proaudiopodcast

And the FB Group here:

https://www.facebook.com/groups/357898255543203

For everything else (including joining our mailing list for exclusive previews and other goodies), check out our website

https://www.theproaudiosuite.com/
“When the going gets weird, the weird turn professional.”
Hunter S Thompson
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Listener's Choice: The Best Mics for Your Studio
3 jun· The Pro Audio Suite
In this episode of The Pro Audio Suite, we dive into the results of our recent Facebook group poll on favourite microphones. From the Shure SM7B to the Sennheiser MKH 8060, we discuss the mics you love and why. Robbo, George, AP, and Robert share their insights on the top picks, including some surprising mentions like the Austrian Audio OC18 and the affordable Audio-Technica AT875R. We also touch on some great customer service stories from Sennheiser and explore the nuances of various microphone features and performance. Join us for a passionate discussion about the tools that shape our sound!

Episode Highlights:
Introduction and shout-outs to our sponsors: Tribooth and Austrian Audio. Overview of the Facebook group microphone poll. Detailed discussion of popular microphones including the Shure SM7B, Rode NT1A, Neumann TLM103, Audio-Technica AT2020, and the Sennheiser MKH 416. Insights into user preferences and experiences with these microphones. Special mention of the Austrian Audio OC18 and its popularity among listeners. George's recommendation of the Audio-Technica AT875R as an affordable shotgun mic alternative. Stories of exceptional customer service from Sennheiser. Discussion on the Sennheiser MKH 800 Twin and its advanced features. Encouragement for listeners to join the Facebook group and participate in the ongoing conversation.

A big shout out to our sponsors, Austrian Audio and Tri Booth. Both these companies are providers of QUALITY Audio Gear (we wouldn't partner with them unless they were), so please, if you're in the market for some new kit, do us a solid and check out their products, and be sure to tell em "Robbo, George, Robert, and AP sent you"... As a part of their generous support of our show, Tri Booth is offering $200 off a brand-new booth when you use the code TRIPAP200. So get onto their website now and secure your new booth...

https://tribooth.com/

And if you're in the market for a new Mic or killer pair of headphones, check out Austrian Audio. They've got a great range of top-shelf gear..

https://austrian.audio/
We have launched a Patreon page in the hopes of being able to pay someone to help us get the show to more people and in turn help them with the same info we're sharing with you. If you aren't familiar with Patreon, it’s an easy way for those interested in our show to get exclusive content and updates before anyone else, along with a whole bunch of other "perks" just by contributing as little as $1 per month. Find out more here.. https://www.patreon.com/proaudiosuite George has created a page strictly for Pro Audio Suite listeners, so check it out for the latest discounts and offers for TPAS listeners.
https://georgethe.tech/tpas

If you haven't filled out our survey on what you'd like to hear on the show, you can do it here:

https://www.surveymonkey.com/r/ZWT5BTD

Join our Facebook page here:

https://www.facebook.com/proaudiopodcast

And the FB Group here:

https://www.facebook.com/groups/357898255543203

For everything else (including joining our mailing list for exclusive previews and other goodies), check out our website

https://www.theproaudiosuite.com/
“When the going gets weird, the weird turn professional.”
Hunter S Thompson

#ProAudioSuite #Microphones #AudioEngineering #Podcasting #Voiceover #SoundDesign #AudioProduction #MicReview #ProAudioTips #RecordingGear

Y'all ready to be history? Get started. (0:02) Welcome. Hi.

Hi. Hi. Hello, everyone.

(0:05) To the pro audio suite. These guys are professional, they're motivated. (0:09) Thanks to Triboose, the best vocal booths for home or on the road voice recording.

(0:14) And Austrian Audio, making passion heard. (0:17) Introducing Robert Marshall from Source Elements and someone audio post Chicago. (0:22) Darren Robert Robertson from Voodoo Radio Imaging, Sydney.

(0:25) Next to the VO stars, George the Tech Whittem from LA. (0:28) And me, Andrew Pinkers, voiceover talent and home studio guy. (0:32) Line up, man.

Here we go. (0:36) And welcome to another pro audio suite. Thanks to Triboose.

(0:39) Don't forget that code, T-R-I-P-A-P 200 to get $200 off your booth. (0:45) And Austrian Audio, making passion heard. (0:48) We've had a bit of a passionate response to our new Facebook group, (0:52) which is the pro audio suite podcast group.

(0:56) And Rubbo threw up a survey about microphones, (1:00) which one people would like to use and do use and don't use. (1:04) Yeah, I just, I kind of figured a robust discussion about microphones is always well received. (1:10) So I figured I'd start one and it's only a small sample because we've only just started the group.

(1:15) But some of the results sort of had me thinking a bit. (1:18) So basically what I did was I did a poll. (1:20) And I didn't go with my favorites.

(1:23) I just went with the microphones that as a freelance audio engineer, (1:27) when I'm walking into other studios, I come across a lot. (1:30) And I stuck them up there with an option for people to put their own up there as well. (1:34) So the ones I put up were the SM7B, the NT1A, the TLM103, AT2020, 416, of course.

(1:43) And that was about it. (1:44) And then left it open for people to sort of put their own up. (1:48) And the question was, which one's your best mate? (1:51) So what's the microphone that you choose in your studio? (1:55) Now, I've got to be honest, I kind of did figure that the 416 would feature fairly heavily and it has.

(2:02) I mean, the 7B sort of comes in fairly close and the TLM103 are exactly the same in terms of response. (2:11) But then some of the ones in the comments were sort of interesting as well. (2:15) Well, the one I thought was interesting was someone jumped on to Bill.

(2:21) Now I've got to try and get his name right. (2:25) Bill Answa. Is that right? (2:26) Answa.

(2:27) Yeah, I think it's Bill Answa. (2:28) Anyway, sorry, Bill, if I got your name wrong. (2:31) He is using the Austrian audio OC18 into an SSL2.

(2:36) Well, someone's been listening to our podcast. (2:38) And is he using the 4K button? (2:40) He says. (2:41) Yes, he does.

(2:42) Yeah, he goes, yes, indeed. (2:44) Thanks for teaching me that. (2:44) Yeah, and Phil writes on the Lewitt, which doesn't feature fairly.

(2:49) Yeah, we mentioned it on the show, but I don't see it a lot. (2:55) What else was the other one? (2:56) What's the 875R? What's that, a shotgun? (3:00) It's an excellent, excellent bargain shotgun mic. (3:05) Is it? (3:05) Right.

(3:05) It's the one that you recommend, George, isn't it? (3:07) It's so good. (3:08) Like, it's only Achilles heel is that it's not the quietest mic. (3:12) Self-noise is, you know, not as good as a 416.

(3:15) But it's a damn good substitute. (3:18) You know, it sounds similar. (3:20) I have one.

(3:21) So one of these days we'll pull it out and we'll compare it. (3:23) Yeah, I'd love to hear it. (3:25) But it sounds similar.

(3:26) It's not quite as large. (3:28) It's sort of like a short shotgun. (3:30) Is the polar pattern as tight as a 416? (3:32) I would say no.

(3:33) I would definitely say it's not as tight at all. (3:37) It's a more, nowhere near sophisticated mic. (3:40) It doesn't have that very complex line tube interference design.

(3:45) Yeah. (3:45) So anyway, it's a very simple mic, but it just sounds good. (3:49) And they're always under 200 US, 175 maybe.

(3:53) So that one's a... (3:54) 169 B? (3:55) That one's a great value. (3:56) And we've been recommending it a lot to folks who want a stunt mic. (4:00) Well, this is an interesting one from Jeff Berlin.

(4:03) Obviously the obligatory 416. (4:06) But he also has a Bosch or Soundalux U195. (4:10) I don't know that microphone.

(4:12) What do you say? (4:12) I have a Soundalux U99. (4:15) And it is basically a clone of a U67 using an actual EF86 tube. (4:22) And the Soundalux mics became Bach.

(4:25) Yeah, that's right. (4:27) Yeah. (4:28) And they are pretty high-end mics.

(4:30) They got bought by Universal Audio. (4:32) Yeah, that's correct. (4:33) Oh, really? (4:33) Yeah.

(4:33) Wow, that's too bad? (4:35) Is that too bad? (4:36) I don't know. (4:36) I don't know. (4:37) I mean... (4:38) It's kind of weird.

(4:38) I thought they bought Sphere microphones. (4:40) They had to buy all of them microphone companies. (4:42) So I threw all the mics that were in the comments, I think, into the survey.

(4:46) So it's easier to see. (4:49) And it's going to make it easier for people to continue voting. (4:51) But did you see anything that surprised you here? (4:55) Not me.

(4:55) Nothing really. (4:56) I mean, there's certainly plenty of ones that you don't see regularly in professional studios, (5:01) not that that means jack shit. (5:02) Because in a professional studio, you're looking for a workhorse that will do a whole bunch (5:07) of things, I guess, especially in post-production houses, as opposed to music studios.

(5:13) There's just no representation of a PZM mic here. (5:16) Come on. (5:17) There's no crown PZMs? (5:19) Oh, man.

(5:21) Like, turn my wall into the microphone. (5:22) Yeah, that's right. (5:24) The MK4, the Sennheiser, what's an MK4? (5:27) It's like a lower end shotgun.

(5:29) No, actually, no. (5:30) It's their entry-level side address LCD. (5:34) Large diaphragm.

(5:35) Oh, okay. (5:36) Large diaphragm. (5:37) It's like, I mean, I think in character, it's somewhere very similar to a TLM102 or (5:43) 103.

(5:44) It's in that range. (5:45) Is it kind of like the AKG perception? (5:48) Kind of. (5:48) It's like that zone.

(5:50) But I mean, it's not that cheap. (5:51) It's still a $400 mic. (5:54) I think it's more like a two.

(5:56) Oh, it's used. (5:57) Maybe it's used $200. (5:59) Yeah, maybe.

(6:00) I mean, Guitar Center's got them, but maybe those are used. (6:02) But Sweetwater's trying to sell it for $400. (6:05) How much is an AKG perception? (6:07) LDC.

(6:08) I don't know. (6:08) They're quite a bit cheaper, like 200 range. (6:13) So, yeah, the Sennheiser MK4 is not bad at all.

(6:15) There's quite a few people who have those. (6:17) Well, speaking of Sennheiser, just as an aside, Chris McCallum, who we've (6:22) had on the show, he's probably one of Australia's best known location (6:25) recordists, put up a post about his Sennheiser. (6:30) He says, I have an interesting occurrence with a 10 year old Sennheiser (6:35) MKH8060 shotgun mic.

(6:36) One day it stopped working without warning and only issued a static (6:40) frequency. (6:41) I've taken it to Sennheiser's service and they've discovered that they are (6:44) unable to open the mic as the special screws holding the electronics (6:47) inside the barrel are completely seized. (6:49) They say they can see no sign of corrosion, but are unable to open (6:52) the mic, sort of shoring it open.

(6:54) What has surprised me is they have offered to take possession of this (6:57) mic and offer me a brand new one for an exchange of $700. (7:01) These mics now retail for well over $2,300. (7:04) So, I'm very happy with the outcome.

(7:07) So, this is now the second new exchange I've had since the (7:10) original purchase, as there was a recall in the very early serial (7:13) numbers. (7:13) So, it was replaced then as well. (7:15) I can't really fault their response and commitment to their brand.

(7:18) So, hey, that's... (7:18) Did you see my response on that? (7:21) No. (7:22) What's yours? (7:22) What did you say on that? (7:23) But they're charging him... (7:24) I was the original recording of the screws falling out. (7:30) They're basically saying they'll do the repair for $700.

(7:33) So, they're basically giving him a brand new mic for $700, yeah. (7:36) As the repair? (7:37) As the repair, I guess, yeah. (7:39) I'd say yes if it came with a one year warranty.

(7:41) Right. (7:42) At least. (7:42) Or whatever the new warranty is, I guess.

(7:45) It's a bit of a bummer though. (7:47) But yeah. (7:48) I had a similar thing.

(7:49) I actually had a similar thing happen with my 416. (7:52) It was an old one and it was playing up, (7:55) I sent it into Sennheiser and they kind of said, (7:57) look, we can fix it, but it's probably going to cost, (8:00) you know, almost the same price as a... (8:02) Probably about half the cost of a new one. (8:05) And then they... (8:06) Yeah.

(8:07) But then they sort of said, look, you can fix it, (8:09) but we can't guarantee it because it is old (8:11) and there's components could let go. (8:13) Then did me a cracking deal on a new 416. (8:17) Nice.

(8:17) As long as the mic wasn't cracking, that's a good deal. (8:19) Yeah, exactly. (8:20) Well, the first one was, the second one wasn't.

(8:23) Are you making fun of this London accent? (8:25) So, that's 8060 is a step up from the 416 in terms of... (8:28) Yeah, it looks like it. (8:29) Yeah, yeah. (8:30) Better signal response, maybe.

(8:32) Yeah. (8:33) The 8000 series is sort of their... (8:35) That's their new flagship line. (8:38) You know, small diaphragm mics in the head.

(8:40) Did Chris mention it in the episode when we had him on? (8:42) I feel like he did. (8:44) I feel like he's sort of go to mine. (8:46) Yeah, yeah.

(8:46) But see, Chris doesn't have a microphone locker. (8:49) He has a microphone walk-in wardrobe. (8:52) Yes, exactly.

(8:53) That's right. (8:55) Yeah. (8:56) He's the Imelda Marcos of microphones.

(8:59) I think Sennheiser makes a sight address version in that 8000 series. (9:03) It's multi-pattern and it's like $4000, (9:06) but it's supposed to be really excellent. (9:08) You know what I'm talking about? (9:09) 800.

(9:10) Is it the 800? (9:11) Is that what it is? (9:11) It's a really odd little mic. (9:13) It's very small. (9:16) And let's see if I can share.

(9:18) No, it's a multi-pattern. (9:19) It's not the little small tiny ones. (9:21) I know, but it's really small.

(9:23) I mean, I saw it at NAB. (9:25) I was like, oh my God, that thing's tiny. (9:28) I think I saw your video.

(9:29) I'm looking at the MKH 800 Twin. (9:34) This is a new model of microphone they just launched. (9:36) This is a different animal completely from what you're describing.

(9:40) This one's 3200. (9:43) And it is their variable pattern mic where you just simply... (9:48) What's that? (9:49) MKH 800 Twin? (9:51) Yeah, this is it right here. (9:52) I have it on screen, I think.

(9:54) Maybe. (9:54) There it goes. (9:56) There it is.

(9:57) Look at that sexy baby. (9:58) Quite spendy. (9:59) This picture doesn't show... (10:01) Well, you see how small it is by... (10:02) Because you can see the XLR barrel.

(10:05) The tail, it's small. (10:06) It almost looks like a mic port pro, the original one. (10:09) It is like the old KM86.

(10:13) The Neumann KM86, which is a side address, multi-pattern, small diaphragm mic that people go kind of gaga over. (10:21) Well, that's quite a spendy mic, 3200. (10:24) Which is two symmetrical push-pull... (10:28) It's a dual diaphragm.

(10:31) Is it dual output too? (10:33) Like, could we use it with our... (10:34) Yeah, so the way it works is you simply pot up and down the other capsule, and that's how you go. (10:40) So it's like... (10:41) But do you have a separate output of the other capsule so we can run it into our new software that you and I have purchased? (10:47) Right. (10:49) Yeah, it is quite a spendy mic.

(10:53) You know, it's so funny. (10:54) I have video of me interviewing the Sennheiser rep at NAB on YouTube, and someone's like, (10:59) Hey, isn't that Julian Kraus standing right behind him? (11:05) It was Julian Kraus standing behind you. (11:08) It was, it was like I missed an opportunity to chat with him.

(11:11) Oh, I saw it when I saw your video. (11:13) I saw him in the background. (11:14) He was having a look at the mics as well.

(11:15) Is that Julian Kraus? (11:17) I'm like, son of a gun, it is. (11:19) There are so many YouTubers at NAB, of course, you know. (11:22) I saw a couple, they were always like in transit, you know, but I would love to send hello to Julian (11:28) and thank him for his unbelievable commitment to very, very consistent and dry videos about audio interfaces.

(11:38) He's like the equivalent of the Sahara desert for YouTubers. (11:42) It is so freaking dry. (11:43) Yeah, but it's useful.

(11:46) And big. (11:46) You know, we're the polar opposite, really, aren't we? (11:50) Exactly. (11:51) And in fact, on that note, if you do want to vote for one of these microphones or tell us what you have, (11:56) go to your Facebook and or the Facebook, as I saw people call it, and look for the Pro Audio Suite podcast group (12:05) and you'll find the thread down there somewhere.

(12:07) Not the page, the group. (12:08) Yeah, the group. (12:09) We can even pin that, I think.

(12:11) Maybe it might be a way to pin it. (12:12) Well, I will. (12:13) I'll pin it to the top of our Facebook page.

(12:14) Oh, I can do it right now. (12:15) Oh, you can do that. (12:16) There you go.

(12:17) Pin the feature. (12:18) There you go. (12:18) So yes.

(12:19) Done. (12:20) Out. (12:21) Pinned.

(12:24) Pinned. (12:25) So that was fun. (12:27) Is it over? (12:29) The Pro Audio Suite.

(12:30) Thanks to drivers and Austrian Audio, recorded using Sauce Connect, edited by Andrew Peters and mixed by Blue Doo Radio Imaging. (12:41) Don't forget to subscribe to the show and join in the conversation on our Facebook group or leave a comment, suggest a topic or just say kiddo. (12:48) Drop us a note at our website
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Exploring the World of Microphones: 9 Mics, 4 Hosts, One Epic Discussion
27 mai· The Pro Audio Suite
In this week's episode of The Pro Audio Suite, the gang dives deep into the fascinating world of microphones. Join Robbo, AP, George 'The Tech' Whitham, and Robert Marshall as they explore the nuances, pros, and cons of 9 different mics, including the Sennheiser MKH 416, Neumann TLM 67, Neumann TLM 102, Neumann TLM 103, AKG C414, Shure SM7B, Rode NTG5, Sennheiser MD 421, and Electro-Voice RE20.

Whether you're a seasoned audio engineer or just starting out, this discussion is packed with insights that can help you make informed decisions about your mic setup. Tune in to hear the hosts' personal experiences, tips, and a few laughs along the way.

Key Topics Discussed:
Overview of 9 different microphones The unique characteristics of each mic Personal anecdotes and experiences with the mics Practical tips for choosing the right microphone for various scenarios
A big shout out to our sponsors, Austrian Audio and Tri Booth. Both these companies are providers of QUALITY Audio Gear (we wouldn't partner with them unless they were), so please, if you're in the market for some new kit, do us a solid and check out their products, and be sure to tell em "Robbo, George, Robert, and AP sent you"... As a part of their generous support of our show, Tri Booth is offering $200 off a brand-new booth when you use the code TRIPAP200. So get onto their website now and secure your new booth...

https://tribooth.com/

And if you're in the market for a new Mic or killer pair of headphones, check out Austrian Audio. They've got a great range of top-shelf gear..

https://austrian.audio/
We have launched a Patreon page in the hopes of being able to pay someone to help us get the show to more people and in turn help them with the same info we're sharing with you. If you aren't familiar with Patreon, it’s an easy way for those interested in our show to get exclusive content and updates before anyone else, along with a whole bunch of other "perks" just by contributing as little as $1 per month. Find out more here.. https://www.patreon.com/proaudiosuite George has created a page strictly for Pro Audio Suite listeners, so check it out for the latest discounts and offers for TPAS listeners.
https://georgethe.tech/tpas

If you haven't filled out our survey on what you'd like to hear on the show, you can do it here:

https://www.surveymonkey.com/r/ZWT5BTD

Join our Facebook page here:

https://www.facebook.com/proaudiopodcast

And the FB Group here:

https://www.facebook.com/groups/357898255543203

For everything else (including joining our mailing list for exclusive previews and other goodies), check out our website

https://www.theproaudiosuite.com/
“When the going gets weird, the weird turn professional.”
Hunter S Thompson

#ProAudioSuite #Microphones #AudioEngineering #Podcasting #Voiceover #SoundDesign #AudioProduction #MicReview #ProAudioTips #RecordingGear
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Starting Your Home Studio: Gear Essentials and Expert Tips
20 mai· The Pro Audio Suite
Hosts:
Darren "Robbo" Robertson Robert Marshall George "The Tech" Whittam Andrew Peters
Special Guest:
Matt Calrick (https://www.mattcowlrick.com/)
Sponsors:
Tribooth: The best vocal booths for home or on-the-road voice recording (Code: TRIPAP200 for $200 off). Austrian Audio: Making passion heard.
Main Topic: Setting Up a Home Studio

Introduction:
The episode kicks off with the hosts introducing themselves and their sponsors. The main discussion revolves around recommendations for setting up a first home studio for voice-over work.
Key Points:
Building a Booth: Robbo shares how he built a recording booth for his wife in their walk-in wardrobe, using clothing for sound treatment. Microphone Recommendations: Sennheiser 416 NTG5, NTG1, NT1, OC16 Audio Technica AT875R Interface Recommendations: AI1, SSL2, Micport Pro, Steinberg UR series (IXO12, IXO22) Headphones: Closed-back models like Audio Technica ATH series and Austrian Audio Hi-X 15 DAWs and Software: Twisted Wave recommended for its simplicity and cross-platform capabilities.
Additional Insights:
Importance of a good recording space. Flexibility and longevity of audio gear. Importance of connectivity for remote sessions (Zoom, Source Connect).
Conclusion:
Investing in quality gear that can be used both at home and on the road. Recommendations for a balanced setup: Tribooth, Sennheiser 416, and SSL2.

A big shout out to our sponsors, Austrian Audio and Tri Booth. Both these companies are providers of QUALITY Audio Gear (we wouldn't partner with them unless they were), so please, if you're in the market for some new kit, do us a solid and check out their products, and be sure to tell em "Robbo, George, Robert, and AP sent you"... As a part of their generous support of our show, Tri Booth is offering $200 off a brand-new booth when you use the code TRIPAP200. So get onto their website now and secure your new booth...

https://tribooth.com/

And if you're in the market for a new Mic or killer pair of headphones, check out Austrian Audio. They've got a great range of top-shelf gear..

https://austrian.audio/
We have launched a Patreon page in the hopes of being able to pay someone to help us get the show to more people and in turn help them with the same info we're sharing with you. If you aren't familiar with Patreon, it’s an easy way for those interested in our show to get exclusive content and updates before anyone else, along with a whole bunch of other "perks" just by contributing as little as $1 per month. Find out more here.. https://www.patreon.com/proaudiosuite George has created a page strictly for Pro Audio Suite listeners, so check it out for the latest discounts and offers for TPAS listeners.
https://georgethe.tech/tpas

If you haven't filled out our survey on what you'd like to hear on the show, you can do it here:

https://www.surveymonkey.com/r/ZWT5BTD

Join our Facebook page here:

https://www.facebook.com/proaudiopodcast

And the FB Group here:

https://www.facebook.com/groups/357898255543203

For everything else (including joining our mailing list for exclusive previews and other goodies), check out our website

https://www.theproaudiosuite.com/
“When the going gets weird, the weird turn professional.”
Hunter S Thompson

#ProAudioSuite #HomeStudio #VoiceOver #AudioGear #Podcasting #Microphone #AudioInterface #RecordingBooth #AudioProduction #StudioSetup
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Behind the Wheel with Matt: Voice Acting in a Tesla
13 mai· The Pro Audio Suite
In this week's episode of The Pro Audio Suite, we've got something right out of left field! Our guest, Matt Cowlrick, an Aussie voice actor living in Canada, has done something pretty remarkable—transforming his Tesla into a rolling recording studio. Yes, you heard that right! Tune in as Matt reveals how he converted his Tesla into an innovative mobile recording space, complete with a built-in mic stand.

Hear about the nuts and bolts of mobile recording setups, from the gear choices to the unique challenges of recording in a car. Matt shares his experience using the Mic Port Pro 2 and a Sennheiser 416, all rigged up to record straight onto his iPhone with Twisted Wave. We dive deep into the acoustic challenges of a car's interior, particularly a Tesla's glass-heavy design, and Matt's creative solutions involving pillows and moving blankets to achieve the best sound.

For those who can't wait to see it in action, Matt has also shared a video tour of his Tesla studio on our website. Check out this link to watch the magic happen: Matt's Tesla Studio Tour

Join us as we explore how necessity drives innovation and how you can apply some of these tricks to your own mobile recording endeavors.

A big shout out to our sponsors, Austrian Audio and Tri Booth. Both these companies are providers of QUALITY Audio Gear (we wouldn't partner with them unless they were), so please, if you're in the market for some new kit, do us a solid and check out their products, and be sure to tell em "Robbo, George, Robert, and AP sent you"... As a part of their generous support of our show, Tri Booth is offering $200 off a brand-new booth when you use the code TRIPAP200. So get onto their website now and secure your new booth...

https://tribooth.com/

And if you're in the market for a new Mic or killer pair of headphones, check out Austrian Audio. They've got a great range of top-shelf gear..

https://austrian.audio/
We have launched a Patreon page in the hopes of being able to pay someone to help us get the show to more people and in turn help them with the same info we're sharing with you. If you aren't familiar with Patreon, it’s an easy way for those interested in our show to get exclusive content and updates before anyone else, along with a whole bunch of other "perks" just by contributing as little as $1 per month. Find out more here.. https://www.patreon.com/proaudiosuite George has created a page strictly for Pro Audio Suite listeners, so check it out for the latest discounts and offers for TPAS listeners.
https://georgethe.tech/tpas

If you haven't filled out our survey on what you'd like to hear on the show, you can do it here:

https://www.surveymonkey.com/r/ZWT5BTD

Join our Facebook page here:

https://www.facebook.com/proaudiopodcast

And the FB Group here:

https://www.facebook.com/groups/357898255543203

For everything else (including joining our mailing list for exclusive previews and other goodies), check out our website

https://www.theproaudiosuite.com/
“When the going gets weird, the weird turn professional.”
Hunter S Thompson

Y'all ready to be history? Get started. Welcome. Hi.

Hi. Hi. Hello, everyone.

To the pro audio suite. These guys are professional, they're motivated. (0:09) Thanks to Tribooth, the best vocal booths for home or on the road voice recording.

And Austrian Audio, making passion heard. Introducing Robert Marshall from Source Elements and someone audio post Chicago. (0:22) Darren Robert Robertson from Voodoo Radio Imaging.

Sitnik to the VO stars. George the Tech Whittem from LA. And me, Andrew Pinkers, voiceover talent and home studio guy.

(0:37) And welcome to another pro audio suite. Thanks to Tribooth, the golden handcuffs can be removed. And Austrian Audio, making passion heard. (0:44) Today, we have a special guest. Matt Calrich is joining us because Matt and I've been having a little conversation about setting up a rig in your car, which was something I played around with a few weeks ago now. (0:56) But Matt, you've done your thing as well.

What have you done? (0:59) Well, I changed it up from what I've done in the past, which quickly is using the Apollo Solo and a laptop and usually the 416. (1:11) Now for being at home in Canada and not actually, you know, traveling on holiday, I just wanted to have something easy to get going at any given moment, just pull over on the side of the road. (1:25) And so I use the Mic Port Pro 2, still the 416, and recording on the iPhone.

So just really nimble and mobile. (1:36) Are you using Twisted Wave on your mobile? Yes. Yes, until further notice.

(1:43) Yours is very similar to mine because that was my experiment with the iPhone 15 because it's got the USB-C and using the Twisted Wave app. It's fantastic. (1:53) And you can actually use their kind of Twisted Wave Dropbox as well off the iPhone, which is really, really handy.

(2:00) But the only difference between you and I, I think, is that you use the 416 and I've been playing around with the CC8 from Austrian Audio. (2:07) Well, he uses the 416 and you use the 416 sometimes and now. (2:15) And the other big difference is that you have a Tesla, which has a lot of glass.

(2:21) Has that become an issue for you? (2:23) Yeah, well, I'm still still in the early days of, you know, finding my feet with it. (2:27) I only set up this new rig, so to speak, on the weekend, got all the required parts, which was the idea of being able to have a mount in the car that I can just attach the mic and the... (2:43) How did you feel about drilling into your Tesla or is that glued in there? (2:46) I didn't. It's glued.

And I also just kind of drive my Tesla like a piece of shit. So I don't really care. (2:54) I just drive it like a car, so sticking something on the inside.

(2:58) It's not precious. It is no longer precious. It is now a utility vehicle and it's used for what it was designed for.

(3:06) Yeah. I mean, let's be honest, putting double sided adhesive tape on the inside of my Tesla is probably not the worst thing that I've done to it. (3:13) So you're not going to mount a M49 from that thing.

(3:18) Since it's now technically a recording studio, does that mean your car's a tax deduction? (3:21) You say that like I don't already try to claim as much as I can. (3:29) Yeah, that's a good point, Robert. Yeah, I wonder how much else I can squeeze out.

(3:32) Yeah, exactly. My new recording studio just happens to be on four wheels, that's all. (3:36) Yeah, exactly.

(3:37) Hey, if anyone can play it, George, if you can, I don't know. Now would probably be a good time to have a listen to the audio, Matt Sentis. (3:45) I can do playback over here if I... (3:46) Can you? Okay, yeah, cool.

(3:47) Okay, here's me recording in the car on a 416, the Mic Port Pro 2. (3:57) There's a windsock on the mic and there's a pretty significant humming sound, which I'm sure you can hear. (4:08) That's the car. I don't know how to turn it off.

It's an electric car, so that's something to work with. (4:16) But the setup is nice and it's convenient, so now I just have to work on... (4:24) And so here's the treated one. (4:26) But the setup is nice and it's convenient, so now I just have to work on fixing things, like the car sound and the whirring.

(4:40) But I like the concept. I just have to try to get it sounding as good as possible. (4:47) So I'm guessing you were pretty close to the mic there.

(4:50) Yeah, pretty close. And then what I added later was a pillow in one take and then I brought in a moving blanket on the other. (5:06) But I was pretty close to try and offset the carriness.

(5:11) Were you putting the pillow behind you someplace? (5:14) The pillow was wedged. It was two pillows actually, because they were small pillows. (5:18) Wedged in the front screen.

And then the moving blanket I had just draped over me like a villain. (5:31) It was not comfortable, but more for like a testing perspective to see what had changed. (5:37) Do you have one without all that extra stuff? (5:39) That was the first one.

They're remarkably similar. (5:44) You know what makes me laugh though is if this takes off, if this becomes a trend, you'll be able to go to the local mall and realise who's a voice-over artist and who's not because the car of the voice-over artist is going to have blankets and pillows (5:56) and cut those one on the back seat. (5:58) Although they're just living in their car, which is an understatement.

(6:00) Yeah, exactly. (6:02) And a really weird iPhone mount for a stick. (6:05) Yes.

(6:07) It's going to look entirely nefarious. (6:10) I love the gooseneck attached to the ceiling. (6:13) Finding adhesive that would mount that strongly enough to hold the weight of the mic and the mic port and the gooseneck itself.

(6:20) It's a decent amount of weight. (6:23) Do you put the mic port right on the mic port? Do you use a little adapter like we got for like Andrew got? (6:31) Oh no, I just assumed that Andrew's was directly plugged in. (6:36) No, I think the 416 and the 41.6 and the OC8, they're all too thick at the base to fit into the newer mic port.

(6:44) The 41.6 fits and the NTG5 fits. (6:50) And only the OC8. (6:52) The CC8 does not.

(6:53) Sorry, CC8. What a stroke of work. (6:56) And I also have the Rode NTG5, which Andrew and I were talking about when I was in Australia.

(7:02) And so I'd be interested to try that in the same situation. (7:06) I used the NTG5 in the back of my car, the first test I did before the CC8 got here. (7:12) And yeah, it sounded great.

(7:13) You probably get the same result as the 41.6, I would suggest. (7:17) There's a bit more bottom end to it. That's the only thing.

(7:20) I also found the NTG5, it seemed more sensitive than the 416. (7:29) I don't know. (7:30) Oh yeah.

(7:31) It has a much higher output. (7:33) No, because I was in Mexico hanging out with Dustin Eboar. (7:39) And we had my tri-boot there and kind of our gear combined.

(7:43) And we tried both the 41.6 and the NTG5 with exactly the same gear, just switching the mic. (7:53) And it was quite different. (7:55) Yeah, yeah, yeah.

(7:56) That's a huge amount of output on the NTG5. (7:59) Right. (7:59) My NTG5 is at the mailbox waiting to be picked up because they replaced it.

(8:04) Oh wow, that's cool. (8:06) I'm the only one left with one that didn't blow up, I think. (8:09) Mine blew up? (8:10) Yeah, mine didn't blow up.

(8:14) No. (8:15) Don't use it. It won't blow up.

(8:18) I had a sphere mic blow up in Australia. (8:22) Yeah, I took it all the way to Australia thinking how great it was going to be having that mic with me. (8:28) And then I got there and was absolutely perplexed for a while why it wasn't working.

(8:32) And it turned out to be a busted capsule. (8:34) And this was a brand new sphere. (8:35) You know the problem with that, mate.

(8:36) It was actually a northern hemisphere and you're in the southern hemisphere. (8:41) That was the problem. (8:42) Oh my God.

(8:44) You are, I will. (8:47) David Kay traveled with the sphere to Japan, you know. (8:50) And I just thought it was risky because it is a much more fragile mic than any small diaphragm, you know, shotgun or pencil mic, you know.

(8:58) Small diaphragm, shotguns, and pencils are a much, much better travel mic companion. (9:03) Well, the shotguns are made for like, you know, like one of the things about the 416 is go record in the wind. (9:09) Well, in a rainforest.

(9:10) In a rain, right. (9:11) You can take a 46 in a rainforest. (9:14) Right.

(9:14) Because it's working like as a RF microphone instead of directing it off the... (9:20) Yeah. (9:21) Well, as does the NTG-5, you know. (9:23) The NTG-5 is RF? (9:24) Yeah.

(9:25) Really? (9:26) So any mic with an RF design is basically completely impervious to moisture. (9:33) Yeah. (9:34) So that's why they're used.

(9:36) But as for the capsule blowing up, what was the outcome? (9:39) Is that mic still sitting in the box or... (9:43) Yeah, I haven't replaced it yet because replacing it in Australia when it was all happening was just silly business. (9:49) So I've waited until I go back to Canada and then promptly didn't do it. (9:54) It is a secondary sphere because I recently got a new Apollo unit and they threw in one of the new ones for free.

(10:03) And I thought... (10:04) Oh, was it the DX? (10:05) Yeah. (10:06) They threw in the small one? (10:08) Yeah. (10:08) So it's a bit small.

(10:09) How do you find it compares? (10:10) It has less of a capsule working. (10:14) I like the smaller size. (10:17) I mean, it's not hugely noticeable, but yeah, I'm excited to try it.

(10:22) Oh, so the one that you traveled with was this new smaller addition. (10:26) Yeah. (10:27) Yeah.

(10:28) And I have a pretty good travel bag. (10:30) Like, I hear you on the durability of those large diaphragm mics. (10:35) But yeah, I've managed to find this.

(10:39) It's a camera bag and it's got a good hard shell and it's a backpack. (10:44) And to the chagrin of my engineer took an exacto knife and just cut out the foam in the sphere it comes with. (10:56) And I just shoved it in this camera bag and it feels really well protected.

(11:00) But then again, maybe I smashed a capsule when I was traveling and it's not as protected as I thought. (11:07) Oh, any dents? (11:08) No, no dents. (11:10) Is this like the torque? (11:11) I'm expecting them to replace it.

(11:12) Like, it just sounds like vaulty. (11:15) But it'll be interesting because I picked up the different microphones, the ocean way and the main one, I think. (11:22) I did those two.

(11:23) I forget, but... (11:25) The sphere models. (11:25) The sphere models, but I'll just use it with the 818. (11:28) How's that working out? (11:29) I haven't touched it yet.

(11:31) Oh yeah, I haven't even. (11:32) It's just color. (11:33) But I figure it'll just be, you know, like color, you know, even if the sphere mics are somehow accurate.

(11:38) I would imagine. (11:39) I mean, that is something we have not done yet. (11:41) We haven't done an OC818 versus sphere mic sound.

(11:45) You know, how do they sound compared to each other? (11:48) How different is the OC818 through the sphere 47? (11:53) Right. (11:53) Can you swap in an OC818 if you don't have a sphere or you just don't want to bring the sphere because it's so physically large? (12:02) Can you just plug it in, you know? (12:04) It would work with any truly dual output large diaphragm mic, you would think. (12:10) Yeah, because there's a couple others out there.

(12:12) Not that many, but Sennheiser has the new MKH. (12:15) I think it's the Assault at NAB. (12:18) I believe it's called the 800.

(12:20) And it's a dual output mic. (12:22) And then Aladdin has one, and Pearl has one. (12:26) It's becoming a thing.

(12:27) It is. (12:28) I was thinking that when they can get them to the size of something like, you know, an NTG5 and shorter, (12:34) that'll be a huge game changer to have a modeling mic that you can travel with, (12:38) especially if it has the tech that the sphere has where you can kind of mitigate problems with the room in real time with those sets. (12:47) Oh, the sphere has like the reflection filter built in.

(12:50) George can probably explain it better than I can. (12:52) Yeah, I don't get it. (12:54) Oh, yeah.

(12:54) Well, they have a set of these filters in the sphere plug-in itself that are designed to compensate for acoustical flaws. (13:06) With using those reflections. (13:08) Okay, that's what it's for.

(13:09) And so they're just little curves they came up with. (13:14) But they made it very user friendly. (13:16) Instead of having it be a variable knob, you know, (13:19) they just have a whole bunch of like, click on this picture.

(13:22) If it looks kind of like what you're sitting in front of, then try this. (13:26) Which is cool because it's just one less thing to have to think about. (13:31) But the thing is, there's just a setting for booth.

(13:34) Which clearly is not going to work because everybody's booth is a different size. (13:38) Although I'd love to see the EQ curve for the chaotic eyeball. (13:46) Well, I did look at the MKH 800 Twin, it's called, the 800 Twin.

(13:52) And it's a bit spendy at $3,200. (13:55) But if you want a very small two capsule microphone to travel with, that one could fill the bill. (14:01) It is very small.

(14:03) A very old microphone that few people know about is the Neumann KM86. (14:09) It's a small diaphragm or smallish diaphragm. (14:12) But dual-sided, full polar pattern selection.

(14:17) It looks like a tiny U87, I think, kind of thing. (14:22) I believe, if I remember right. (14:24) But it's a small diaphragm, multi-pattern.

(14:24) It looks like a German hand-grinder. That's what it looks like. (14:27) The KM86.

(14:29) But it's a multi-pattern small diaphragm. (14:31) So you could, if someone modded it to have more than one output. (14:34) Well, have you thought about, or even wanting to bother with using... (14:38) Did you say you tried using your Sphere Apollo combo in your Tesla or in your car? (14:44) You've done that now or in the past? (14:46) Not in the Tesla.

(14:49) Yeah, I have taken the Sphere and a Solo. (14:54) And my laptop is the travel rig to Australia. (14:58) You did that in the Ferrari, right? (15:01) Or was it the Lamborghini? I can't remember which one? (15:03) Yeah, the Ferrari has this humming noise thing all the time.

(15:07) I guess it just does that. (15:08) And unfortunately, the people at the dealership didn't like it, (15:11) that I took my gear and just sat in their car and started taking photos. (15:16) I wasn't pretty sure for some reason.

(15:20) Nor the guy whose Tesla I stole this afternoon. (15:26) And glued a mouth-mouth. (15:30) The only thing the guy did is he glued this thing.

Is it attractive? (15:33) I brought him some alcohol swabs. He'll be right. (15:37) I've worked out what the humming noise is in the Tesla.

(15:40) Oh, really? (15:40) It's the Musk hydroponic mode. You've got to turn that off. (15:46) I drove on in the screw mode.

(15:48) I think Robert's on the hydroponic mode right at the moment. (15:51) I am. Hold on.

(15:54) Fantastic. (15:55) Well, I was asking because I rigged it up for David Kay. (15:59) We did the Sphere on a mount arm.

(16:02) I got him this crazy over-engineered cobbled-together arm. (16:06) It's basically, if anybody from lighting knows what a baby arm is. (16:10) But it's basically, you know, it's an arm with a clamp on each end.

(16:14) So one clamp clamps to the steering wheel or a yoke or whatever it is in that car. (16:19) And then the mic mounts to that. (16:21) And it also has a place to mount your phone or tablet to read your script.

(16:26) And that whole thing rigs off your steering wheel with that huge mic. (16:29) And then we put the mic sideways. (16:30) That's what we found worked best was, because it's so large, (16:33) to get the capsule in the ideal spot.

(16:36) We just have it literally sideways. (16:39) And he's running a U67 model. (16:42) Because that's the mic he would typically use at home.

(16:45) And the clients were more happy with it. (16:47) I was amazed. (16:48) I didn't think it was going to work with that.

(16:50) Because we didn't put a pillow or anything up against the windscreen. (16:54) And it worked out. (16:55) And that's a Model X, which is physically larger inside.

(16:58) So that helps. (16:59) I don't know if it's because the windshield is so long. (17:02) Because the windshield is facing down.

(17:05) It's not really facing you. (17:06) It's not going to hit the microphone. (17:07) Exactly.

(17:08) The sound is going to go down to the dash. (17:12) It's directly behind and directly in front of the mic. (17:15) I would think that's the first sort of issue.

(17:19) I guess with my setup that I did most recently in the Tesla, (17:22) I am more like talking across to the passenger seat, (17:26) rather than directly at the windshield. (17:30) So pillows stuffed into the windshield opposite the mic. (17:35) Yeah.

(17:35) That would be one spot. (17:37) And I was thinking of taking some of the tri-booth blankets (17:41) and hanging them from the coat hooks (17:47) or the handlebars on the side (17:50) and seeing how that works out. (17:52) They're quite long though, the tri-booth ones.

(17:55) Yeah, they're big. (17:56) You could nail gun them to the roof. (18:00) Or staple them or something.

(18:02) Super glue. (18:04) 3M will just laugh gleefully as they see me coming. (18:09) Some of these guys send me sticky squares.

(18:12) But it's funny, isn't it? (18:12) How different your environment in the Tesla is to my car, (18:16) which is a smaller car, two doors, tiny in the back. (18:20) And I just squeeze in the back because I've got my glass roof. (18:24) So I don't have to worry about that.

(18:26) How the Vespa setup worked? (18:29) It's hard getting your head under the seat. (18:32) But I'm working on that. (18:35) No glass roof to worry about.

(18:37) Yeah, you're starting with a difficult proposition with the glass ceiling, aren't you? (18:43) It's a killer to begin with. (18:45) So what do you do to the audio after you record raw files? (18:48) And do you just raw record raw files and send? (18:51) Or do you do any cleanup? (18:53) Well, yeah, herein lies the problem that I don't have access to a door. (18:58) It's just Twisted Wave Mobile.

(19:02) But I also tried to think about what I actually wanted this setup to do or to achieve. (19:08) And it really is just for the ants in the pants stuff that people can't wait for, (19:15) and for auditions and quick turnaround jobs. (19:17) But when I'm here in Victoria, and I'm not at my home studio, (19:23) I'm about a 40-minute drive to downtown.

(19:26) And in downtown Victoria, I do have a small commercial studio that I own. (19:32) And it has a StudioBricks in there. (19:34) So it's not too far to get to either one of those.

(19:37) So I didn't want to go overboard with the car rig. (19:43) And if I'm proper traveling, then I'm usually taking the Triboose. (19:47) But also, to be fair, mate, as an engineer, (19:49) I'm guessing Robert would agree with me on this.

(19:51) He said, if you sent me that file, I'd have no issue. (19:55) Sure. (19:55) Yeah, I'd have no problem.

(19:56) Even with that hum, Cevox seemed to take it out pretty well. (20:02) I don't know how much artifact do you got after that. (20:07) It wasn't too artifacty, yeah.

(20:09) The twist of a knob on clarity, that'd be gone. (20:12) So really, that's no issue. (20:13) Yeah, absolutely.

(20:14) That's another good question, because I was talking to a client about Cevox today. (20:18) And I said, you know, Cevox does make it sound really good to you. (20:21) The question I guess I have, really, is does it make it sound good to the engineer? (20:26) And how much time, I mean, Robbo and Robert, (20:28) how much have you heard audio through Cevox that you've received on your end? (20:33) If I've gotten it, I don't know that I've gotten it.

(20:35) I wouldn't know. (20:37) It's pretty transparent. (20:40) It is really transparent.

(20:42) That is the magic of that plugin. (20:44) If you go all the way to the walls, you might start picking up some, you know, go 100%. (20:49) You might pick up some very small artifacts, but it's amazingly transparent.

(20:55) Yeah, and more dynamic outside sounds as well. (21:00) I was recording at my parents' house in Australia, (21:04) and some inconsiderate person was mowing their lawn. (21:10) So like the one of your parents? (21:12) Yeah, one of my parents.

(21:16) And yeah, Cevox really made a pretty good show of the recording, (21:23) even with it kind of like moving around different areas. (21:25) I guess like a mower is still that, you know, lower frequency. (21:31) It's kind of droning.

(21:32) Yeah, and it's a consistent sound that's easier to hear. (21:34) There's not too much doppler with it unless you have like the fancy writing lawn mower. (21:40) There is two laws in life that if you wash your car, it will rain.

(21:44) And if you open a microphone, the neighbors are going to start doing something noisy. (21:48) So, you know, it's two guarantees in life, right? (21:51) That's right. (21:54) Have you ever had anyone pick up? (21:56) Are you putting anything across their audio? (21:58) No, not for a long time.

(22:00) Even running the modeling preamps in the Apollo unit, I keep it all very sparing. (22:08) I just want to get the color and the tone of the preamp and just bring in that difference (22:15) rather than engaging any of the hectic EQ or compression. (22:23) I like to think that I follow a lot of the principles of what you guys say on this show.

(22:27) Just keep it simple, send it on clean, and start with a really good bass. (22:32) Obviously, that's harder to do in the car and when we're traveling, (22:35) but I still just try to... (22:38) When I travel, I want to as closely mirror what I have here as possible. (22:44) Which is tricky.

(22:45) You're not running through like a bunch of boutique outboard gear at home. (22:52) And the preamp is just the Apollo pre, right? (22:56) This is Solo or...? (22:57) That's right, yeah. (22:58) Yeah, I have all Apollo units.

(23:00) I used to have a 6176, the UAD, the numbers are right. (23:07) Yeah, I had that and I ended up selling it because it felt like too many moving parts (23:15) and modeling it in the Apollo unit was so impressive that I felt like I'm going to sell this thing. (23:22) So are you using more than just the mic models? Are you using the preamp models as well? (23:26) Yeah.

(23:27) Actually, at the moment, I'm just using the twin preamp. (23:32) But generally, I will run... (23:35) I'll do a lot of my recording on the sphere and either... (23:41) What's your go-to emulation on the sphere? What sort of default? (23:45) The 416. (23:47) And then I have a couple that I dial into for different types of reads.

(23:53) Like if I'm doing trailer or something grittier. (23:58) You know how they came with some presets from Jordan Reynolds made some and then Brent Allen-Hagel? (24:05) Yeah, I heard that. (24:05) Yeah, I like one that Brent did for trailers and it's actually a combo.

(24:13) I suppose I can switch to it now. (24:17) By the way, how they got onto the preset list of that company, I'm wondering... (24:22) It pulled that off. (24:25) Because I've been dealing with them for so many years and I've never gotten anything like that.

(24:31) That's crazy. (24:32) I'm not jealous. (24:32) No, I'm just very glad that service is available.

(24:35) I would like to see you on that. (24:37) At least he's given away his presets for free. (24:41) Yeah, well, I mean, no props to them.

(24:43) I think it's cool that they're available. (24:46) What's something you're using? (24:48) This is the trailer setting from Brent Allen-Hagel and I don't actually know the proper brands (24:56) because they can't list it, but it's the LD800. (25:01) So that's the Sony? (25:02) But then it's combined with the 47K.

(25:07) So you have 47K caps, I guess, something like that? (25:10) Yeah, the K47, is it? (25:12) K47? (25:13) That's cool. (25:14) So that's what we're hearing now? (25:16) Yeah, that's right. (25:16) And I should be... (25:17) I think I'm printing this.

(25:18) Yeah, yeah. (25:19) Yeah, it riches... (25:20) It riches... (25:21) Richens in Richens? (25:23) That's it. (25:23) Adds more richness.

(25:25) Have you taken the 416-416, put it in the second channel with no preamp or no emulation (25:32) and just put it right next to this one and record the exact same thing? (25:37) I have meant to try that. (25:38) No, I haven't yet. (25:40) But to my ears, my simpleton ears, they are really, really close.

(25:45) And I do have two 416s, obviously the one that's in the car now. (25:52) And I have a sentimental 416, which I'll never sell. (25:58) But I mostly am using the 416 setting on the sphere.

(26:02) And then I have a U87 AI just next to me here. (26:07) And I've hung on to that mostly for workflow purposes. (26:11) I kind of have one mic that is hooked up for, I guess, like quick auditions and quick rip (26:21) and reads.

(26:22) And then I have this sphere that I'm talking to you guys on. (26:26) It's over here with a music stand looking out the window. (26:30) It's just like a nice little zone.

(26:33) Yeah, big creative spaces. (26:35) We're actually talking about our next episode now, aren't we? (26:38) Oh, sorry. (26:38) We're drifting to the next episode.

(26:38) We have. (26:39) I wonder how they do the polar pattern, because if you think about it, the 416 being a shotgun, (26:48) you can really only get that polar pattern from the physical shape. (26:53) And they can recreate any polar pattern with the large diaphragm.

(26:57) But you'll notice a large diaphragm never has a shotgun. (27:01) I mean, you kind of have a hypercardioid. (27:03) Do you find the 416 emulation to be a little bit more forgiving in the movement, like the polar pattern? (27:13) Can you move around the mic and it doesn't sound quite as phasy and weird? (27:16) Yeah.

(27:16) So I've switched now. (27:18) Now I'm on the 416 emulation. (27:21) I just did the click of the mouse.

(27:24) And it's on... (27:25) Which pattern is it on? (27:29) The cool thing with the... (27:31) It's on cardioid, on a cardioid pattern. (27:34) And now it's on a hypercardioid. (27:38) So now I'm talking off axis.

(27:40) And you can hear how it jumps forward, even on the... (27:44) Put it on an omni. (27:45) Put it on an omni? (27:46) Sure thing. (27:47) There you go.

(27:48) Oh, yeah, there we go. (27:49) So that's omni. (27:50) That's an omni 416.

(27:52) Anybody wonder what that sounds like? (27:54) It's a huge curve of a 416 without the... (27:57) I mean, acoustics in the booth are fantastic. (27:59) So even when you're on the omni, it still sounds really... (28:02) It actually sounds nice. (28:03) Like focused.

(28:03) Yeah, right. (28:04) So here's me kind of doing like direct address. (28:08) My mic is above hanging from the roof and from the ceiling.

(28:15) And it's tilted maybe... (28:19) What is that? (28:21) Forty... (28:21) A little over 40 degrees down towards me. (28:24) More vertical than horizontal? (28:27) Or more horizontal? (28:28) More vertical than horizontal, I would say. (28:30) Oh, okay.

(28:32) Interesting. (28:33) Yeah. (28:33) That's a pretty steep angle.

(28:34) Yeah, I've been meaning to play around with it. (28:36) Just to see what different sounds I get out. (28:38) This one is set up partially for... (28:42) Yeah, the way I am at the music stand, (28:44) although I guess I could change it.

(28:46) But then the U87 that I have just over here is... (28:51) That's more horizontal than vertical. (28:54) I think it just shows how the room acoustics are. (28:57) So important.

(28:58) So big. (28:59) Because if you'll notice when you switch through those patterns (29:01) and try different mics, they all sound really good. (29:05) So it just comes down to these shades of mauve.

(29:08) Yeah. (29:09) Yeah, yeah, yeah. (29:10) Who consulted on this booth? (29:11) Who was that? (29:12) Oh, I'm not trying to plug myself.

(29:14) No, I'm plugging you. (29:18) But yeah, that is the point. (29:19) I think it would have been funnier if you dogged it.

(29:22) Yeah, exactly. (29:24) Exactly. (29:25) It's just great hearing a booth that I helped design out of... (29:29) Just hearing it years later or months later, whatever.

(29:32) Just hearing it used in this pair of headphones (29:35) that I'm wearing in this situation (29:36) and going, wow, it sounds good in there. (29:39) That's just so important, everybody. (29:40) Get those acoustics nailed (29:42) and then you can really enjoy the variety of microphones.

(29:48) It's like getting a taste for wine (29:50) and now you can enjoy different kinds of wine. (29:52) And I don't have that. (29:55) I do.

(29:55) I'm not saying I do. (29:57) But once you do, then you can enjoy a ton of...

#ProAudioSuite #AudioEngineering #VoiceActing #MobileRecording #StudioOnTheGo #TeslaStudio
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Studio Secrets: From Microphone Mastery to Mixing Marvels
6 mai· The Pro Audio Suite
In this episode of The Pro Audio Suite, brought to you by Tribooth and Austrian Audio, we dive deep into a fascinating discussion about microphones, mixing secrets, and the unexpected virtues of parallel processing in audio production. AP shares a surprising discovery he made with the Austrian AUdio OC 18 and his SSL2 interface, demonstrating how versatile equipment can mimic much pricier setups. The gang also discusses trends in vocal processing, the move away from flat-sounding mics, and the latest hot trends, from hot chicken to air fryers.

Robbo ventures into the realms of advanced compression techniques, exploring how parallel compression (a mixing technique used widely in music circles) can add some punch to your voice recordings. Whether you're a newbie or a seasoned pro, this episode is packed with insights and laughs, offering valuable tips and tricks that could transform your next audio project.

Key Highlights:
Robbo’s mic discovery and its impact on sound quality. Deep dive into parallel processing and its uses beyond drums. Advanced compression tactics and settings for optimal sound manipulation.
See Robbo's Parallel VO Compression Examples here:

https://theproaudiosuite.com/season-7-bonus-content#episode-17

A big shout out to our sponsors, Austrian Audio and Tri Booth. Both these companies are providers of QUALITY Audio Gear (we wouldn't partner with them unless they were), so please, if you're in the market for some new kit, do us a solid and check out their products, and be sure to tell em "Robbo, George, Robert, and AP sent you"... As a part of their generous support of our show, Tri Booth is offering $200 off a brand-new booth when you use the code TRIPAP200. So get onto their website now and secure your new booth...

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And if you're in the market for a new Mic or killer pair of headphones, check out Austrian Audio. They've got a great range of top-shelf gear..

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“When the going gets weird, the weird turn professional.”
Hunter S Thompson

TPAS April 29 tighter edit, Robbo's mix

[00:00:00] And welcome to another Pro Audio Suite. Thanks to Tribooth, the golden handcuffs can be released as you travel with your Tribooth. And don't forget the code TRIPAP200 to get 200 off your Tribooth. Today we're going to be talking about, well, a few tips that we've learned over the years. probably should kick this off because I, uh, had a, made a discovery, [00:01:00] um, this week. Because I had a session, it was actually late last week, come to think of it. But it was a session I was doing with, uh, in the morning. And in the afternoon, as I just shut down the studio, I got an email saying, Oh, can you redo this line?

And I thought, well, I can't be bothered firing it up again. So what I'll do is I'll use my laptop. through the SSL to out of the booth because I've got a mic in there that goes through there straight to the laptop. Yeah, firing everything up. And I've actually set it up with the 4k button switched in. So which mic is this again?

The OC 18 OC 18. Okay. Got it. Yeah. So, I sent the file off and then I got the reply of the email saying, if you changed your, if you change your settings or something and uh because if you have, I like it better. Can you continue using whatever you're using now? Okay. So, what I I'd realize there's two things at play here.

One was I've been playing around with uh the 41 six and the OC 818 because the [00:02:00] OC 818 was going through the Neve, the 1073, and the 41 six was going through the grace and I just changed them around just for an experiment and I forgot to change them back. So he was getting the 41 six through the name.

So it was a bit more midi full. Yeah, creamy, chocolatey, whatever. Right. Um, but I changed them back the next time I said, I'll send you two files. I'll send you what you like today and I'll send you what you historically liked before. Uh, we've 41 six with the grace. But having said that the OC 18. Through the SSL2 with the 4K button pressed in.

Sounds remarkably like a 41 six through the grace. So they stand in for each other. Extra high end

boost. It's

bizarre. But the thing is, I was kind of thinking, okay, so I see the stuff on these threads on Facebook all the time. Should I get this mic? Should I get that mic? What should I do here? Which one should I get?

And it's always like, get [00:03:00] the, um, you know, the 41 one six and a TLM one oh three. My tip is get an OC 18 and an SLSL two. And then you've got both. You've got a large diaphragm without the 4k pressed in. And then you've got this hyper sort of 41, six sound with the 4k, but it's hard to beat.

Yeah. It's hard to beat the versatility with that setup and well, not, it's not hard to beat it, but it's hard to do it that simply, you know, to have a single push button that essentially changes mics, you know, and then, and then with the button in there and then with the, yeah, with the, with the pattern switch on the OC 18, you have this proximity effect.

Yeah. Changes, you know, you can change, you know, you're, you're good to go. into

hypercardioid and it'd be pretty Yeah. But this thing, this is, this is it.

This is the OC 18 with the 4K button pressed in. And you can hear, like, it's really, really cutting. It does sound like a Well, to me, it sounds I gotta say, I mean I'll bet, I'll bet one of the

problems is you get too much into the [00:04:00] OC 18 because it doesn't have the long tube.

So really, it's like you want to be here, but if you get away from the OC 18 with the same distance that you would be from the 4 41 6 and you put it in hypercardioid and pop in that 4k extra, you know, like mid range, high end. Yeah. And yeah, you'll be, you'll be getting to that cut through anything sound.

Yeah. Yeah. Yeah.

I think we are so accustomed to not a flat sounding mic, right? Like we, the sound of voiceover is not a flat mic. Cause we, we moved away from a flat mic when we left ribbon mics, you know? It's the

same with our food. Everyone wants like overly salted food. Yeah, or spicy.

Dave's hot chicken.

Hot chicken this, hot chicken that. You guys get the hot chicken trend in Australia? Oh, we get everything, yeah. Hot,

hot, hot. The big, the big trend I reckon here, well, probably everywhere in the world is air [00:05:00] fryers at the moment if you're talking food, isn't it? Yeah, yeah, yeah. The air fryer. I got one in my garbage.

I don't want my air fried.

Well, that's cool. So, so that's your kind of, I mean, you know, that's a pretty nice secret weapon. Now, I'm wondering what you would get out of the CC8 if you did the same exact experiment. That could be interesting. I should try that one. For travel. Uh, if you wanted to have a travel,

uh, solution, yeah, but I've got the CC, the CC eight with the CC eight was sounding a lot

like your OC eight one eight when it was in the porta booth.

Wasn't it?

It was in the portabooth. Yeah. In the portabooth and the car in the car and it sounded a lot like the

OC eight one eight, which is like crazy.

Yeah. It's very cool. I like it. You should change your name from Mr. Big balls to Mr. Rigg. I reckon. Okay. Mr. Rigg. Mr.

Is that your

tip? That's my tip. I like, I reckon that should have

been your tip. That, that car one, that was, that still gets me.

Yeah, yeah, yeah, yeah. That's amazing.

And I, I did send that file off to [00:06:00] a guy called Chris Gates, who he's a bit of a fan of the show. He's an audio engineer here in Melbourne and he. I love the guy, but he's always cutting you off. Gatesy. Oh, there

you

can see the Chris

Expander out there.

Shut the gate, the horse is bolted.

Yeah, that's right.

Come on, Robert, give us this. Give us the source. Can I shit?

I was hoping you wouldn't going to call me. Give us a source

connect one.

Yeah, just avoid airports. There's your tip. Traveling too much. I don't, what have I, um, ah, now I'm full screen. No, the pressure's on. I'll tell you what, I'll, I'll

throw one out there and, and, and since I was going to do a plugin one, but listening to AP, um, Because the idea of this was we were going to do one about voiceover that we use every day.[00:07:00]

Um, so there's one that, there's one that I use every day. That's probably a, it's, it's a musical thing, but I, and I don't know how much it's used in voiceover. Um, but a parallel, but a parallel bus on your voiceover. So when, when you're, when you're mixing something with voiceover, you get your, your voiceover set up nicely.

Um, so that it's, it's, sorry, hang on one second. My, this is one of

those things where I have very, very little experience with, which is parallel processing. Yeah. I've done

a lot

of

parallel drum. I

I'm very new to the, to the concept of parallel processing.

So, so basically I'll go back. Cause I thought Pro Tools had stopped.

That's all. Um, uh, I'll go back to the beginning. So mine's more of a musical thing. Mine's something that musicians use a lot. And, and George was, sorry, Robert was saying before, like [00:08:00] drums is a big thing where, where musical mixes will use parallel compression. But the idea is that you get your, your, For me anyway, you get your voiceover set up nicely so it's nicely compressed and sounding with a nice EQ.

But then what you do is you send that track to, it can either be another track or a bus, whatever way you want to work. For me it's a bus because I've usually got layers of voiceover so I just send it to a bus. And on that bus you heavily compress. And you can manipulate ReaCue to whatever you want to do to get it to mix in.

But the idea is that once you've got it set up and you've got that heavy compression going, you then drop that signal down, but then mix it back in so that it's just It's not there up front, but it's just making that voiceover lift and it's giving it that enough kick to punch through the music and sound effects and everything else that's going on.

But because [00:09:00] that original signal is still fairly dynamic, you've got this other compressed one that's mixing in underneath that gives it enough punch to punch through. Does that make sense? I get it, I get it

intellectually, I just, it's one of those like, it's like a tool, that's always been in the toolbox, but I've been afraid to Open it and use it.

I don't know why. I just, I don't have that experience. You are doing

parallel gating right now, except one of your gates is set to nothing. Yeah, that's true.

I am mixing a mix of wet and dry. So, that's essentially what I'm, I guess that's what parallel processing is, right? It's pretty much. Some of the processing, some of the not.

There's, there's those who argue that it's kind of like almost the same thing as just getting the right settings on the, Compressor and I've messed around with it And it seems like you can kind of get the same stuff But I would say that a parallel setup is way easier to dial in I can And you can get like some pretty, especially on drums, where like nothing ever falls too far away, [00:10:00] but it feels like you're never squashing the top.

That's right. And it is just easy to get like, I've really only used it on drums, um, but most compressors these days, most plugins, even like the LA 2A copy of this, that, or the other thing, Almost every plug in manufacturer now puts a blend knob on the end of their compressors, it's so popular. So it used to be this trick, you'd set up the same processing on two channels, and you'd have to get the same latency so that they phase perfectly, and now it's like one knob.

And most, most compressors do this. I mean, I'm used to

parallel processing, quote unquote, of being something we use in, in, when we're dealing with reverb or delay. Because, of course, you need to have Dry, or if it's only reverb, there will be insanity, right? It would be unintelligible. It'd be Nick Cave. So I'm very used to Did you say it'd be Nick Cave?

I said it'd be Nick Cave. Nick Cave is, he's super, super wet. [00:11:00] Right, right. Uh,

reverb. His stuff is, am I right, Andrew? Like

Is it Nick Cave? In what respect do you mean with Nick Cave? He's got a bunch of effects and stuff. Their mixes are like super reverb y. Super wet. Oh, God, yeah, yeah, yeah, yeah. I thought you were making a

joke because it sounds like he's in a cave.

Maybe that's why he's

in a church. You should do a cave

recording, Robert. Um, so, um, yeah, so overly wet would be, uh, would be, uh, too much. So, so that I understand, I understand the concept. And so when we're talking about processing, we either talk about what? Serial or parallel. Is that where the, are that the two versions of Waze?

Technically, yeah, it's like insert

or aux send return is the way I think of it. But that's what's interesting now because a

lot of insert plugins have a blend knob or a dry wet. Now they're really acting more like a parallel processor. Yeah, I

don't, I don't find that quite as effective. And I, Robert said that before, and I would agree with him.

I, I, there's something about the blend. [00:12:00] I think you can be more accurate with, with a, with it coming from another bus. You can, and it's easier to, if you've got a couple of, Plugins in blend mode, um, it's easier if it's on a separate bus, it's actually easier to, you know, if you need to, to ride it a little bit, it's easier to do that too, I suppose.

It's easier to control. Maybe it's easier to automate. It's on a fader, I mean,

it's, it's nice to have it on a hundred millimeter fader than a knob. I'll say that. But unless you're doing a setup where you're doing one heavy and one mild compression. But if you're doing one, like, the reason why I think it's less impressive on the, um, the, the blend knob, because most people set the compressor to not be too heavy.

And then they only blend in a little of the straight, but really if you wanted to do more obvious parallel compression, you would put your compressor at, you know, 10 to one with a low threshold and crush it by 20 [00:13:00] decibels. And then you'd only blend in like 10, 5 percent of that compressed signal, that completely crushed signal.

And the majority of it would be the dry. And then you'd have a natural sound with the, like that benefit of like, it just doesn't go down too far. Um, I'll tell you what I'll do. Do you play around with

frequencies when you, when you're doing this stuff though? Because I, you know, like when you sort of get the stereo split and you're looking for gaps in frequencies where you can put a, you know, an EQ'd voice where it will sit and pop out.

Is that what you're doing with this as well? Especially

in radio imaging, I'll play with the EQ on that squashed parallel bus. Absolutely. Yeah.

And the parallel bus itself will just like seem like you crush it enough, it'll seem like it loses low end. Because that's where like a ton of the energy is. So when the signal comes in and your brain is going like oh, I'm ready for that low end and the compressor goes nope, you're not going to get the volume.

And then you hear the, [00:14:00] so compressors have a, can have an EQ like effect. I'll tell you what I can

do. AP and I just finished a re launch package for a station in Singapore called 1FM. And we did a, we did a monster re launch promo, um, sort of, uh, you know, spruiking that the re launch was coming. And it's got this big operatic music happening underneath it and I've added in, you know, lots of impacts and whooshes and stuff to give it some movement and some, you know, Typical FM Gravitas.

Um, but what I might do is, I'll put up a mix, I'll put a link in this video if you're on YouTube or in the show notes if you're listening to the audio one, I'll put it up on our website. Um, and I'll do a mix, I'll put the full mix and then I'll do a mix without the parallel bus. Uh, Uh, AP's voice and, and you'll just see how, how much it, it's [00:15:00] still there.

You can still hear it, but the, the parallel bus, just when, when something impacts and hits, it's still sitting there. It's still right there in your face. That's the best way

to explain it is to literally, I was going to ask you if you had examples of, of, of where they're being, but that would be a cool idea.

I'll paste that up. Yeah. Yeah.

The, the, the parallel compression thing is much more. Um, kind of known in, in drums, I'd say then using it on voice.

I I'm sort of, it's something I haven't really talked about and I, and I do a podcast, um, on radio imaging with the guys from imaging blueprint who we've had on this show before.

Um, but it's something that we never talk about. And I, and I was kind of interested to know, is it just me that does it on voice or is it, is it, is, is it sort of. I mean, I can't imagine, I don't really use it in, in commercial work, I suppose, unless I kind of, you know, unless you get to that point where you think, shit, this needs a bit more kick, but it's certainly not [00:16:00] on, on everything, but in it, I reckon I can't think of too many imaging projects that I've done.

Done lately that I haven't used a parallel voice bus on, so. Yeah. Well, I'm in the comments. In the comments. If you use it, let me know. Yeah, yeah.

I, I'm much more familiar with the concept of serial compression, in fact. Yeah. I, I don't even know if I still have it. I wish. I hope I do. Um, but I had this awesome, um.

Compressor called the FMR Audio RNC, which stands for Really Nice Compressor. It's like

a little third of a rack space deal, and they're like 200 bucks, but they punch above their weight. I mean, those are from like the early 2000s or something.

Yes, yes, yes. So I used to have one of these and I had this in my mix bus quote unquote on my I used to do production mixing on set on film sets.

So this was on your stereo

master? Is that what you're [00:17:00] saying? Yeah,

I had on my stereo master. That's a mono compressor. Did you have two of them?

I can do stereo. Yep, it's got stereo, it's got two in, two out. Oh shit,

I didn't remember that. Oh yeah, there you go. Cool.

Two in, two out, and a sidechain. Yeah. So, um, so I would run that on my stereo bus, and then I would just press super nice, this button right here.

And, what super nice does, and I think they explain it a bit, a little bit. RNC achieves high performance at a low cost by using a microprocessor to replicate or replace discrete side chain components. Um, so instead of having a lot of discrete parts, right? Resistors, diodes, things that make like an LA 2A.

Amazing. Um, with chunks of software, thereby reducing the component cost. It still processes the main audio and analog, avoiding the problems associated with digital audio conversion. Even the problem of scratchy pots are avoided. No audio flows through the pots. Um, and so, and basically it's using [00:18:00] VCAs.

Internally, right? Yeah. So it's this really interesting design of combining digital and analog, but what was cool about super nice

is the really nice button. Do does it change? So what super nice did

was, um, I did some reading about this while, when I first bought it, so 20 years ago, but what it did was you're, you're sequencing a series of compressors, so, and they're all at different ratios, right?

So you can hit it harder and harder and harder. And it kind of hides the, um, coloring that you get from over compressing, you know, because st Doesn't that sound like a knee staging?

Doesn't that sound like a knee where it, knee, I guess it does sound like a knee.

Yeah. Gets you into

it gradually instead of having just like a, like a point, it curves into the compression eventually where it's like flat.

It's kind of a big complicated way of saying i's like, you do a soft knee.

I mean, uh, I, I [00:19:00] guess. Talking, talking about radio imaging again, but for me, like, I don't have on, on my voice on Andrew's main voice track. If we go back to that promo that you'll hear an example of, um, there's not one compressor.

There's, there's a sequencer plugin. So it comes in and it goes through, uh, uh, the first one is a CLA two way, which basically just takes everything that's sort of too sort of loud. Brings that down. Yeah. Then a bit of EQ and some other processing, but then it'll go through, um, the, um, Oh God, what's it called?

Uh, another waves compressor. Anyway, it goes through that, but then that's got a bit of a faster

compressor maybe.

Uh, yeah. Sometimes I'll use the Renaissance, but the main one I use, I can see. See it, it's, it's, um, I'll put it in the show notes. Um, but it's got a faster attack and, and, and a, and a and a quicker release.

So, yeah. Then that's just dealing with anything that's still a little too [00:20:00] hot and sort of bringing that down. And then in the, on the master bus for the voice where everything comes together, all, all the processing and, and, and the, yeah. parallel bus and everything, there's a bus compressor on there as well.

So, so you sort of, it's the same idea by the sounds of it as what you're talking about, George is, it's not just a compressor, it's a series of compressors that give you a bit more control as you're shaping that, that waveform, I guess. Yeah. Cause I guess the guys, a lot of guys in

music, they use like a 10, 70, uh, 10, um, LA to 1176, 1176.

They'll use them both because they both do different things and they'll stack them together. But they're

serialized. They're one and it's going through one and then it's going through the next.

So I don't know if this is still going on with mastering, but um, at least 10 years ago, mastering engineers were starting to just clip the ADD converter just a little bit and clip this other thing just a little bit [00:21:00] and they weren't even, they were just literally purposely clipping things by half a DB.

Yeah. And that's such a thing now

that there are literally clippers. Yeah. Yeah. There are plugins that are clippers.

Yeah. And, and also I remember the first time that I had anything mastered. So I did this recording on my cassette A track, mixed it down to dat. I was interning at, at what was it called? The classic digital mastering, which was funny because they did a lot of classical music too.

But, um, so it's like, you know, like, They did a free mastering session for this thing. And the guy loads it into sonic solutions and then just, he's like, you know, he finds the peak and he's like, whatever, we're going to bump. Like I was, I hit it perfectly. I was like zero on the debt, you know? He's like, whatever, we're going to raise it up by like three or six.

I'm like, you're going to clip it. And he's like, that's fine. They'll just be loud. That's it. Yeah. Just like, like there was no L one back then. It was just like, no,

there was no maximizer at the top. Yeah. Okay. No, I is [00:22:00] one, um, the com, the compressor I like on ap. The second one, by the way, is the DPR 4 0 2, the blue one with the red LED lights that sort of go vertically.

And you probably don't know it's in the wave. No, that's

one of their newer ones. It's not an emulation or, or is it the b Yeah, it's an emulation.

It is an emulation of hardware. 'cause I used to have a hardware one in a studio I used to work in.

Yeah, it's what's what's the name of that company? bb. It's not BBE, but bb.

Yeah, I think it is. BBE. No, it's not BBE because BBE makes the exciter that's like audio crack and it ruins your mix. I'm just, I'm looking in my audio suite, looking in my audio suite plugins and it doesn't say BBE, DPR, or anything like that. It takes

your

daughter out on a date. Here we go, hang on. Oh, I can't, can I share my screen?

No, I can't. Oh, I think

you can.

Hang on, it's coming up. My poor old Mac's got Pro Tools running and four source connections going and God knows what else. It's [00:23:00] desperately trying to open the plug in. I was trying to show it earlier. Your Mac

is buying fans off Amazon right now. Exactly.

Well, well, well, we were getting onto the tangent of knee, so I just wanted to show you.

Oh, you got

it? Hang on. Hang on. Let me go to that. This could, this could blow everything up, you know. Here we go.

If, if, if the, if the episode suddenly finishes, you'll know why. Andrew,

just hit the end, the end thing. And

if I go present, share screen. Here we go. Share screen. Sharing screen is easiest with two monitors.

Yep. Share screen. And then you have to choose the window or browser tab. Okay, and then window, let's just go here, share. There we go. Can you see that? Yep, it's working. I just have to add it to the show.

Hang on. There you go. There you go. There it is. Ooh,

DPR.

Yeah, that's the name of them. So,

no, no, BSS. Is that the real name?

BSS is, it's not BBE, it's BSS. BSS. There you go. So, so for, [00:24:00] for AP on this, I, I have a, a sort of a bit of a fast, well, a reasonably fast attack, um, and, and a similar release, but, but if you were watching this working for AP 3 dB gain reduction light would be blinking sort of, you know, indiscriminately on and off.

It's not working very hard, but it's just cleaning up those, those things that are a bit higher. Which means that as you, as you work your way down the stack of compressors, you can actually compress a bit harder. Because there's nothing that's catching that's being compressed really hard, you know, so you sort of, you gradually leveling it out, which means that by the time you get to a limiter, you can actually limit really hard, because there's no peaks that are being caught and squashed radically.

It's all sort of being just evenly squashed nicely. So, um, that's the thought process behind that. So I was going to show, uh, go ahead, go Robert.

I was going to say, here's a setting that no one thinks about that I think can [00:25:00] make a big difference with some of the really high end compressors, like the George Massenburg.

Um, you see every compressor probably has an input, a threshold, attack, release, and output, maybe. But you don't see hysteresis on a lot of compressors.

Now you have to explain that now. What does that mean? You've opened that can of worms. Yeah, yeah, yeah.

I think it basically has to do with like having two thresholds.

I'll make myself comfortable

for this. Yeah, sit back.

One threshold to trigger the compression, but the other threshold that it has to maybe follow below before it, you know, compresses again. I have to re remember this, because I don't own one with hysteresis. I mean, I see this knob on plugins. I

see, I see Certain plug ins, a compressor will have a hysteresis.

No,

I think logic hysteresis

hysteresis hysteresis. I've never known I'll go with you He hold my beer says [00:26:00] Robert

As he dives into this subject

So it has

two thresholds of essentially a low threshold and a high threshold Right.

I think so. I think it's something like that because because I believe you can also have it In a, the same word, but with, uh, with compressor, with gates, you can have it too. What's the wave

plugin that does that?

Is it the MV one or something that's got a high and a low threshold? It sounds like the

MV one there, there was one that one that Bob, uh, there was one that had a whole bunch of thresholds. It was, was kind of like what the RNC does. Um Mm-Hmm. . That was back in the day and it was that mastering engineer from Florida that put it out.

MB

two, an expensive piece of hardware, I'm assuming. Here

you go. Hang on. I

was a plugin.

Okay. Yeah. Yeah. Hang on. Let me tell me if this is the one you're thinking of. Is that with a high threshold?

Well, that definitely has a high and a low level. [00:27:00] Seems and that's it. Well, it's at a low level. It's sucking it up. Is this an expander and a compressor? It's, yeah, it sort of seems to be both in the one. But that's why I'm wondering whether that's what Robert's talking about. Is that the, is

that what you're thinking of?

Um, if I can find, here, I'll show you a picture of the definite compressor I'm thinking of. Um, because, GML, let's see, I gotta spell it out. This has become

like a really deep dive on compressors, actually. It has, hasn't it? It

really has, yeah. And it's made it nice. I'm looking across here, looking at my 2254 and thinking It doesn't have a history.

It's got a lot of stuff in it. No, it doesn't, but it's got lots of different, um, a couple of different limiter, limiter, limiter recovery, fast attack.

Is that a Neve thing?

Release hysteresis. It has to do with the release timing. So here's, um, if I was to, I will find it. Let's see here. [00:28:00] I'm zoomed in too much.

Okay, so how do I share my screen now? And bottom. Present. Present arms. Share screen.

If Robert disappears, we know why. Share

screen. Share screen. And. I guess we'll just do this. Nope, I'll do that. That'll be easiest. This one,

here we go. So add it to the stage and here it is. Here

we go. Do you, uh, do you, do you see that?

Yep. Yep. And, and if I, uh, zoom in on this thing. So let's see here. View zoom in. How far can we zoom in? It's such a thing. It's called

shortcut. Do you know that? Don't you?

There you, I I just did it. I didn't, I think it was . So you go, um, timing, release, hysteresis. And you notice it has a setting here and a setting there.

And it has to do, so, maybe, in here, let's see, we're going to find So George

Mastenberg is probably one of the most renowned [00:29:00] hardware designers of the And what is that, like a

4, 000 compressor, probably? Yeah, I mean,

everything he made is absolute, you know, money is no object.

I mean,

check this shit

out, Crest, Crest Factor.

Crest Factor. Timing in release histories is to precisely control dynamic features of musical performance when we would arbitrarily use your familiar features such as They don't tell us what it is, they just say it's cool stuff. So Maybe he doesn't really want you to know.

Yeah, probably. Doesn't want to give the game away.

Go and spend 4, 000 and buy one, Robert, and then come back to us. Exactly. I'll expense it. Yeah, I'll expense it, no problem. Source Elements won't mind. You just won a couple of awards, you'll be right.

Well, when you were talking about me, I just wanted to show you this compressor that I probably don't understand how to use, but I've been using for 15 years.

And it's the, it's the Dynamics plugin called AU Dynamics Processor. So this is the plugin that comes on Apple. It's the

Apple plugin. It's the

Apple Dynamics plugin. And the [00:30:00] thing about this plugin is, is it, it doesn't have a ratio. It has a ceiling control. And I still don't understand. So it's like a limiter?

Yeah, that's a limiter thing. Yeah, it's very strange, but the bottom line is when I use it A ceiling

and a threshold can be similar, but if you think of it, if you have infinity to one ratio and a threshold, then your threshold is your ceiling.

Oh, okay. Okay. Now you've confused me, but I'll believe you. If the ratio is infinity to one,

meaning you shall not pass, pass my threshold.

Yeah,

it's brick wall. Then your

threshold is the ceiling.

Right. So this funny little plugin, right? Which, which I've been using for many, many years. It's got attack release and a master output, normal, normal stuff. It's got an expander with a threshold, totally normal. You know, I use this. It's very handy.

You can do a nice, gentle expander. Very, very useful, right? Then you've got the threshold for the compressor [00:31:00] and it has a headroom setting, not a, not a, not a ratio. And then you'll notice it's absolutely A knee, what you call it, a knee style, right? Yeah, that's, yeah, that's, it's a knee, James. And as you approach, as you approach brick wall, right?

Well that's brick wall. Yeah, that's brick wall right there. Right. So it's very weird. I never really understand how to conceptualize the headroom. I love the style

compressor, but it, well, MDT was, yeah, it works great. This is a great way to do compressors. And this is the same way MDT. Yeah, I think MDT was multi-band dynamics.

And you got one of those curves for every single frequency band.

Yeah, well they have a multiband version of this too, where it gets really interesting. Yeah, there you go. But considering that's a freebie, and it just comes on Apple, I mean, it's pretty damn good. What you made there, by the way, is known as a

That thing you made there with the gate and the compressor, it's known as a [00:32:00] compander.

And you'll see that on some, some, uh, like the Yamaha O2, I think, had a compander. It was basically your gate and expander together. Mm

hmm. Mm hmm. Yeah, I think pandas have almost become extinct from you

don't see them. I don't know. That's because not enough of them come anymore and and and Yamaha wants them all back from all the uh all the zoos.

Yeah,

it's that bamboo

diet that they have trouble with. Yeah. [00:33:00] and on that note, I think we should off.

Oh, man. That is definitely the end of that episode. I love how our episodes really do not have an end. They just go, boom. They really don't. It's like

you're walking along, you don't see the glass door that's actually shut in front of you.

Well, actually, there's a podcast I like, and they end the, the way they end it is one of them tricks the other ones into saying goodbye or bye. And so he'll say some sentence and then slip in the word bye. So it fits into the sentence, so it'd be like, So I realized it was very hard to come byyyyyyyy and then they would all say bye.

And that's how they'd end the episode. Because like, nobody knows how to fucking end a damn episode. So you just ramble on, and I'm like, How do we end this fucking thing?
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