Aug. 12, 2024
Audacity's Compressor Overhaul: What VO Artists and Podcasters Need to Know
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...
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.
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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
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“When the going gets weird, the weird turn professional.”
Hunter S Thompson
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(Transcribed by TurboScribe.ai. Go Unlimited to remove this message.) Y'all ready to be history?
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Get started.
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Welcome.
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Hi.
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Hi.
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Hi.
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Hello, everyone.
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To the Pro Audio Suite.
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These guys are professional, they're motivated.
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Thanks to Tribooth, the best vocal booth for
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home or on-the-road voice recording, and
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Austrian Audio, making passion heard.
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Introducing Robert Marshall from Source Elements and Someone
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Audio Post, Chicago.
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Darren Robert Robertson from Voodoo Radio Imaging, Sydney.
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And tech to the VO stars, George the
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Tech Whittam from LA, and me, Andrew Peters,
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voiceover talent and home studio guy.
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Line up, man.
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Here we go.
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Sound on me.
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And welcome to another Pro Audio Suite.
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Thanks to Austrian Audio, making passion heard.
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And Tribooth, don't forget the code, T-R
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-I-P-A-P 200.
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That will get you $200 off your Tribooth.
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Time for a bit of a rant, I
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think.
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Audacity decided to do a bit of an
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update, which, well, has caused a few ripples
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in the industry, I think.
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George.
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They always make my, they always clench my
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butt cheeks when somebody says Audacity.
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The word update makes you nervous, doesn't it,
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George?
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Yeah.
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His date is updated.
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Makes him clench.
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It's just, yeah, I mean, I don't fully
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understand how their new arrangement with the company,
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the parent company, I guess, that's called Muse.
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Is that right?
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M for Mary?
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Is that what he's saying?
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Yeah, it's called Muse.
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Yeah, because they also make a scoring software,
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so you can do your, Sage has used
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that actually quite a bit.
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I'm sure they have good product.
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So whatever, I don't know the way new
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things are released and rolled out at Audacity,
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but they decided it was finally time to
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rebuild the compressor and the limiter correctly.
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I would probably add to that, actually, because
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the prior versions were weird.
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They had like the compressor never worked correctly.
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Like it has, for example, it has a
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checkbox that says make up gain, and you
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can turn that on and off.
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And it was always on.
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Right?
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So like, you're like, damn it.
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It's always full on, like full zero.
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And like it had the limiter.
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So you just had to manually turn it
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to the right place, because if not, it
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was making up.
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Yeah.
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I would always learn to work with it.
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I just, you know, you learn how to
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adapt when you have to use certain tools,
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you know, but it was always annoying.
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So they did a complete redesign of the
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compressor.
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They also did a complete redesign of the
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limiter.
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And I have no problem with this whatsoever.
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I just have a problem with the fact
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that it was a total overwrite of the
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prior compressor and limiter.
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And so all the poor folks who rely
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on just using certain workflows, like a macro,
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they call macros in Audacity, to like, say,
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master an audio book.
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A lot of people use Audacity to record
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and master the audio book, and they have
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a single click process that's really easy once
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it's set up for them.
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But then that breaks everything when the compressor
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is just renamed.
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So the macro code, it's a script.
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The macro is really just a simple text
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file with a script that says, this is
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the plugin and this is the commands.
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That's it.
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You can do it in Audition as well.
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There's a lot of ways to do it,
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but the macro script will immediately break if
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the compressor has different commands.
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If something in there is not working, nothing
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works.
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Does it crash or does it just fail?
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It just gets to that step and goes,
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that plugin comes up with an error.
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And then it stops.
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So it's just a shame that nobody in
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the chain of command there was like, you
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know, we should just give it a new
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name or just call it 2024 or alt
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or version 2 would be enough, right?
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Exactly.
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Anything to differentiate it.
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Yeah.
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And instead they just did an overwrite.
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So it's one of those things where maybe
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they'll get the message and they'll change it.
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But by the time that the message gets,
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once that happens, we'll all have had to
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adopt.
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Everyone has a workaround.
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Exactly.
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Well, by now, surely.
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Yeah.
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So the two workarounds that I can think
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of are one, you roll back and there
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are legitimate safe places to download the prior
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version that you were running.
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Because in the prior versions of Audacity, it
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was very easy to have multiple versions of
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Audacity.
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You could just rename and save the old
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version, but in the new modern version, it
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always overwrites the old version.
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So it's a little more tricky now, but
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yeah, it's frustrating for users.
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You know, I've just, my thing is being
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an advocate for the actors and making it
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easy for them.
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And it just, when something goes easy to
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just stop working for no real good reason,
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I get frustrated.
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It makes you wonder sometimes how in touch
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some of these companies are with the way
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people are using their products when they do
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stuff like this.
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That's the first thing that occurs to me
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is like, you know, there's how many thousands
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of voiceover actors out there who are using
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this software?
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Because let's be honest, you know, a bit
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like Twitch Rewave.
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It's a bit of a fake.
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What is Muse's business model?
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If I may ask?
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Who knows?
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Who knows?
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I mean, I think it's like open source
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and like donationware or...
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Either way, you're there to serve a customer.
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And so surely you want to understand, you
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know, how they're using your product.
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And I know there's more than just voice
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actors using the product, I'm sure.
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But surely you would get an understanding of
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each group of people.
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I think they weren't even voice actors originally.
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I think the original story of why they
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started it was like, it was just a
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player, like someone needed a simple thing.
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Oh, that's pretty good for what that is.
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Yeah, that'll do the job.
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No, I think I've always looked at Audacity
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as a geeky app for geeks.
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And you know, and it's just, and because
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it was always free, there was just certain
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users are just going to gravitate to it.
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Yeah.
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Well, everyone's looking for a free something.
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It is interesting because it has a certain
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mix of like way too stupid and, and
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wow, it has that, like it has spectral
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editing in it, right?
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Apparently, possibly some of its processing is okay,
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I don't know how bad its click removal
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is.
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Once you, once you, that's what I mean.
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It's like there are certain plugins that they
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give you for free, which is a really
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nice, but they're hopelessly, the parameters are like,
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huh?
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They're like Reaper-esque.
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Yeah.
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Or worse.
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Or worse.
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You know, there's just parameters.
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Like the compressor has a noise floor setting.
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Anybody know what a noise floor setting does
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in a compressor?
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If you do, raise your hand.
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I can see that being in a gate,
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but I can't see that being in a...
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Yeah, but it's not, it's, it's in compressor.
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I never can understand what that parameter was
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for, right?
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Those are the things that, you know, got
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replaced or, you know, removed in the new
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version.
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The only thought I had on that was
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maybe they were sort of going, is there
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noise in the background?
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So let's not be too aggressive and suck
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that up as well.
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That was about the only thing I could
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think that that would have worked on.
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So it's sort of like an expander in
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a way.
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It's like a compander.
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I don't know.
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It didn't, you're right.
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It was one of those things.
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It looks like it went.
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Okay.
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Yeah.
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Yeah.
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I mean, I would stick around on 3
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.5.1 or an earlier version.
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3.3, 3.3.1, 3.3.3
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is really, really good.
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3.5.1 is fine.
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What's wrong with the new version?
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3.6.1 just is when they, 3
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.6 is when they rolled out the new
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compressor and the limiter.
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So if you don't use a macro or
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you build it yourself, then you'll probably figure
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out how to work around it.
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If you do not know what you're doing
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and you're on a macro that's been made
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by me or one of our friends that
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helps you do your mastering for your audio
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books or whatever it is, just don't upgrade
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yet because there's no real solid argument for
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doing it.
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Here you go.
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Surely they'll get the message and put it
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back.
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Audacity was started in 1999 by Dominic Mazzoni
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while he was a graduate student at Carnegie
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Mellon in Pittsburgh.
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He was working on a research project with
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his advisor, Roger Dannenberg, and they needed a
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tool that would let them visualize audio analysis
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algorithms.
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Yeah.
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So it's almost more of a scientific tool.
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I wonder why that's where the spectral editing
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comes in then.
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That's probably always been there then.
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I don't know.
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Yeah.
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Maybe it's been in there forever.
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I mean, 1999 would be pretty early for
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spectral editing, but although about the time when
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it started, like right around the turn...
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Would have been talked about back then anyway.
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You're right.
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Yeah.
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I just found on YouTube, The People Behind
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Audacity.
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So if anybody's wanting to know, look up,
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there's a video on YouTube called The Story
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Behind Audacity.
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There you go.
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And it's on musictech.com website, so you
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can find it there and learn more about
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how Audacity came to light.
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I think on the whole, I think Audacity
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just gets better and better.
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I think it's more reliable.
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I think it gets better workflows.
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The export module is much better now.
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Macro is getting easier.
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Now, I mean, for the longest time, there
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was no way to import a new macro
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or make a copy.
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Now you can.
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So it's getting better in a lot of
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ways.
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But it's still one of those things, or
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contrasting that to Twisted Wave, Thomas is just
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so much more thoughtful about when and how
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he pushes out updates and is so careful
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to never break any legacy functionality, right?
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And that's, and maybe that, I mean, he's
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lucky because he's not in a committee.
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Yeah.
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Yeah, that's true.
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You know, so he is completely beholden to
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the user.
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Well, it's also, Audacity is a, yeah, it's
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a paid product, but he's also beholden to
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the user in a very direct way.
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Whereas Audacity isn't really beholden to the user
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at all.
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There's, I mean, they're not making any money,
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so they're beholden to them.
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That's who they're beholden to.
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They're beholden to each other and, dude, I've
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been wanting to get this new compressor in
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here forever.
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I finally have it built.
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Let's do it.
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Yeah, let's do it.
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You know, does it work?
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It works great.
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Okay.
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Boom.
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Oh, oh, oh, I didn't think about that.
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Oh, we're going to break functionality.
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Oh, and they're hearing about it for sure.
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I mean, there's people that are hearing about
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it.
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Yes, they should.
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So we'll see.
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It can't be that hard to put it
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back in, right?
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Surely.
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No, just put it back in and rename
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the new one and move on.
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I mean, it shouldn't take long.
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Make the new one the super compressor or
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something, or the compressor's compressor.
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The professor's compressor.
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The professor's compressor.
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There you go.
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Even better.
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Are you listening, David?
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I have not actually used the new one
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for sure.
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I'll be using it soon enough if someone
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asks me to make the new version in
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a macro.
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But looking at the compressor from the old
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version, that was what was so odd, was
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just the fact that the noise floor existed
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at all was a weird thing.
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The fact that the release time's shortest setting
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is one second.
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It's kind of odd.
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That's right.
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Yeah, that's weird.
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You know?
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I looked at that too.
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You know, the increments of time for the
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release is one tenth of a second, so
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you can go from one to one point.
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You know, it's just little things like that.
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So it was very, very much due for
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a replacement.
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Just a, not a replacement, a supplement.
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An upgrade.
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Or an upgrade, or an addition.
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Making an addition.
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That's all that had to do was just
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upgrade it.
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Yeah, exactly.
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Yeah.
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Yeah.
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Just changing the subject, as we always do.
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That was my goal.
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It was to transition.
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Where can I push this now?
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Now, do we go to another form of
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takeaway food, or do we stick to Twisted
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Wave?
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I did see on a thread on a
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Facebook, which by the time this goes out
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live, it was probably a couple of weeks
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ago, and Jim Edgar chimed in, and Jim,
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of course, is a bit of a Twisted
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Wave expert.
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But there was a question from a talent
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who was asked by a client to deliver
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her voice file in stereo.
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Why?
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What on earth would they want that for?
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Well, by the way, it's very easy with
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Twisted Wave.
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In fact, Bo Weaver literally asked Thomas to
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add a feature which makes a stereo file
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out of a mono file.
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It was really weird, though, because I know
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Jim said that he had been asked by
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clients to do that.
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Now, you've just said that Bo Weaver has
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also been asked to do that, and wanted
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the feature put onto Twisted Wave.
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But in all the years I've been doing
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this, I've never, not once, been asked to
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deliver a file in stereo.
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I think as we discussed at the beginning
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of the episode, and makes complete sense, is
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that with the, what should we say, the
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sort of rise of video editors becoming audio
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producers as well, that they're- I was
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going to say, video editors being forced upon
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them.
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Yeah, yeah, yeah, yeah, sorry.
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No, that's not a reflection on video editors
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whatsoever.
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But them being expected to step up, I
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mean, having said that, I have come across
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video editors who are now also calling themselves
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sound designers, interestingly.
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That makes our skin crawl.
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Yeah, but- That'd be like calling me
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a color timer, you know, a colorist.
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Yeah, but not understanding that, you know, there
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is one microphone, one cord, one input, there
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is no stereoness to a voice.
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Yeah.
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Well, there's no stereoness to a voice anyway,
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but yeah, so I don't know, that's about
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the only thing I can think of.
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I mean, I know there's a great show,
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we've probably talked about already here, called Tiny
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Desk, where they record, they shotgun mic all
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the singers and some of the instruments, and
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they're all stereo shotgun mics.
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And I don't know to this day, I'd
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love to, there must be an interview online
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someplace of the engineer who's in charge of
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all the NPR Tiny Desks.
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Either they just happen to have those mics
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around, so that's what they use, or there's
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some interesting production reason for doing it.
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But who knows?
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There's just, we don't know, but there could
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be a trend in the future that all
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voice be recorded in stereo, because they want
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to capture the movement of the person around
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the mic, and they want, I don't know,
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I don't, is this a thing?
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I haven't heard of it yet.
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I don't know whether it's a thing, but
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the thing that comes from that is, if
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you're putting a singer with two mics spaced
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apart was a thing, and you do it
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in stereo, and you give like a 3D
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sound to the voice.
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But you've got a stereo input, so of
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course you want a stereo recording, but we're
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talking about voice actors in their home studio
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with a shotgun or a large diaphragm mic
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in front of them.
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Why?
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Sure, okay, you can have it, sure, okay,
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it makes no difference, but it makes no
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sense why you're requesting it.
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You know, if you get it, you sort
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of go, okay, well, you know, that's cool,
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I can deal with it.
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There's another reason why it's a little bit,
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maybe almost insidious, because when you make a
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mono wave file, a stereo wave file, there's
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no loss of data, you're creating data, you're
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just taking the same data and doubling it,
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and then the file gets twice as large,
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right?
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MP3's not the same thing.
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You take an MP3 and double the content
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and keep the bitrate the same, you're essentially
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halving, you're basically packing twice as much potatoes
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into the same bag.
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And what happens to those potatoes, they get
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smushed and bruised and crushed because you can't
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fit them into the same bag.
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And that's what happens with stereo, if you're
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going to go stereo MP3, you've got to
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double the bitrate.
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Kind of, I mean, it depends, because it
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can have joint stereo encoding or it can
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have discrete, and it depends on how you
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decide to encode it, because if you have
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a stereo file that's really mono, then it'll
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make a lot of hay out of that
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high bitrate.
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On the other hand, if it's highly stereo,
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then you're going to get lower quality, because
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it has to allocate a lot of the
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bitrates to both channels.
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Right.
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Sorry, what were you saying?
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No, it's okay, I was just going to
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say, only a video editor would be asking
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for their voiceovers in MP3 anyway, so, you
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know, I don't know how much...
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Or an audio book producer, by the way,
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ACX has you deliver your final files in
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MP3 to ACX for distribution.
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So they're then processing that, or that's finished
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books?
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That is, that's the final deliverable that you
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send in to them, and then they take
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that file and they do their own highly
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destructive...
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Ah, okay, right, so they're still processing after
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that, even.
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I thought if it was finished, maybe that
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made sense.
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Go on Audible or any audio book platform
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where you can listen to audio book profile,
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and listen to the quality that's there, they're
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obliterated.
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It's for a practical purpose, they want to
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fit, you know, a 20 hour book into
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less than a gig, you know, so it
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doesn't take up an entire phone number.
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Why start with MP3 and then massacre it
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even more?
522
00:16:18,960 --> 00:16:21,500
It doesn't make any sense, it's like, why?
523
00:16:21,660 --> 00:16:24,700
Yeah, yeah, yeah, I know, I know part
524
00:16:24,700 --> 00:16:26,440
of it's practical, they're just like, well, you
525
00:16:26,440 --> 00:16:28,780
know, the quality just didn't seem to make
526
00:16:28,780 --> 00:16:30,880
any damn difference, because once it got destroyed...
527
00:16:30,880 --> 00:16:32,520
Maybe they need to go back to listen
528
00:16:32,520 --> 00:16:34,120
to our episode from a couple of weeks
529
00:16:34,120 --> 00:16:35,180
ago, that's what it is.
530
00:16:35,700 --> 00:16:36,900
Audio quality matters.
531
00:16:37,180 --> 00:16:39,320
Yeah, yeah, I mean, I'm still lobbying for
532
00:16:39,320 --> 00:16:41,460
a day where there's, you know, audio book
533
00:16:41,460 --> 00:16:44,400
HD or something, you know, where we capture
534
00:16:44,400 --> 00:16:46,460
and produce and release audio books in a
535
00:16:46,460 --> 00:16:50,020
high fidelity format that actually warrants, you know,
536
00:16:50,120 --> 00:16:50,760
good sound.
537
00:16:51,020 --> 00:16:52,500
I would love to listen to that.
538
00:16:53,000 --> 00:16:56,160
Imagine doing an audio book with immersive, in
539
00:16:56,160 --> 00:16:58,780
an immersive format, where you've got sound effects
540
00:16:58,780 --> 00:17:01,160
and stuff, where you actually do get completely
541
00:17:01,160 --> 00:17:03,740
and utterly absorbed into the audio book.
542
00:17:03,740 --> 00:17:05,980
Yeah, well, that's what's tricky, is there's audio
543
00:17:05,980 --> 00:17:12,319
publishing, in fact, we have the APA, which
544
00:17:12,319 --> 00:17:16,619
is the Audio Publishers of America Association, whatever,
545
00:17:17,099 --> 00:17:20,220
and that's its own thing, and they do
546
00:17:20,220 --> 00:17:22,660
not, they don't seem to have a desire
547
00:17:22,660 --> 00:17:24,660
or interest, at least not that I've seen,
548
00:17:25,180 --> 00:17:25,800
to do that.
549
00:17:26,040 --> 00:17:30,640
Whereas podcasting, or things released as a podcast,
550
00:17:31,300 --> 00:17:35,100
or a radio drama style file, that's, yeah,
551
00:17:35,240 --> 00:17:36,520
that stuff's definitely happening.
552
00:17:37,060 --> 00:17:39,520
I mean, I've heard some podcasts produced in
553
00:17:39,520 --> 00:17:44,100
spatial that are amazing, you know, you put
554
00:17:44,100 --> 00:17:46,440
on the AirPod Pros and like, it freaking
555
00:17:46,440 --> 00:17:48,280
tracks your head movement, it's like you're in
556
00:17:48,280 --> 00:17:49,680
the side of a ship, and you move
557
00:17:49,680 --> 00:17:52,900
around, and the thing moves around you, it's
558
00:17:52,900 --> 00:17:55,340
insane, like it's incredible, and all you need
559
00:17:55,340 --> 00:17:57,520
for that is a phone and the AirPods,
560
00:17:57,640 --> 00:18:00,180
you know, so that is a thing, but
561
00:18:00,180 --> 00:18:05,220
it's very niche, it's definitely not mainstream, and
562
00:18:05,220 --> 00:18:07,720
we'll see if it ever happens, but yeah,
563
00:18:07,860 --> 00:18:09,400
so where were we, were we talking about
564
00:18:09,400 --> 00:18:09,880
audacity?
565
00:18:10,460 --> 00:18:10,860
Yeah.
566
00:18:11,200 --> 00:18:12,200
What do you think, Robert?
567
00:18:17,960 --> 00:18:19,440
What do I think I want?
568
00:18:20,820 --> 00:18:22,260
The pizza you just ordered.
569
00:18:23,180 --> 00:18:23,660
The what?
570
00:18:24,060 --> 00:18:25,360
The pizza you just ordered.
571
00:18:27,320 --> 00:18:29,100
I just saw you weren't there, I was
572
00:18:29,100 --> 00:18:30,240
being an arsehole, sorry.
573
00:18:32,660 --> 00:18:34,820
My phone was ringing, I was like, hmm,
574
00:18:35,240 --> 00:18:36,460
hold on, let me mute my mic.
575
00:18:37,500 --> 00:18:38,960
Well that was fun, is it over?
576
00:18:39,100 --> 00:18:39,860
It's over, it's over, it's over, it's over,
577
00:18:39,860 --> 00:18:39,960
it's over, it's over, it's over, it's over,
00:00:00,200 --> 00:00:00,900
(Transcribed by TurboScribe.ai. Go Unlimited to remove this message.) Y'all ready to be history?
2
00:00:01,060 --> 00:00:01,520
Get started.
3
00:00:01,880 --> 00:00:02,200
Welcome.
4
00:00:02,420 --> 00:00:02,580
Hi.
5
00:00:02,780 --> 00:00:02,940
Hi.
6
00:00:03,200 --> 00:00:03,540
Hi.
7
00:00:03,700 --> 00:00:04,780
Hello, everyone.
8
00:00:05,080 --> 00:00:06,520
To the Pro Audio Suite.
9
00:00:06,600 --> 00:00:08,660
These guys are professional, they're motivated.
10
00:00:08,840 --> 00:00:11,280
Thanks to Tribooth, the best vocal booth for
11
00:00:11,280 --> 00:00:13,760
home or on-the-road voice recording, and
12
00:00:13,760 --> 00:00:16,560
Austrian Audio, making passion heard.
13
00:00:16,880 --> 00:00:20,080
Introducing Robert Marshall from Source Elements and Someone
14
00:00:20,080 --> 00:00:21,680
Audio Post, Chicago.
15
00:00:21,820 --> 00:00:24,820
Darren Robert Robertson from Voodoo Radio Imaging, Sydney.
16
00:00:24,820 --> 00:00:26,800
And tech to the VO stars, George the
17
00:00:26,800 --> 00:00:29,680
Tech Whittam from LA, and me, Andrew Peters,
18
00:00:29,880 --> 00:00:32,080
voiceover talent and home studio guy.
19
00:00:32,100 --> 00:00:33,040
Line up, man.
20
00:00:33,380 --> 00:00:33,980
Here we go.
21
00:00:34,560 --> 00:00:35,480
Sound on me.
22
00:00:36,260 --> 00:00:38,120
And welcome to another Pro Audio Suite.
23
00:00:38,360 --> 00:00:40,780
Thanks to Austrian Audio, making passion heard.
24
00:00:41,300 --> 00:00:43,500
And Tribooth, don't forget the code, T-R
25
00:00:43,500 --> 00:00:44,680
-I-P-A-P 200.
26
00:00:45,340 --> 00:00:48,020
That will get you $200 off your Tribooth.
27
00:00:48,860 --> 00:00:50,200
Time for a bit of a rant, I
28
00:00:50,200 --> 00:00:50,440
think.
29
00:00:51,040 --> 00:00:52,900
Audacity decided to do a bit of an
30
00:00:52,900 --> 00:00:56,140
update, which, well, has caused a few ripples
31
00:00:56,140 --> 00:00:57,220
in the industry, I think.
32
00:00:57,680 --> 00:00:58,160
George.
33
00:00:58,260 --> 00:01:00,900
They always make my, they always clench my
34
00:01:00,900 --> 00:01:02,980
butt cheeks when somebody says Audacity.
35
00:01:03,260 --> 00:01:05,460
The word update makes you nervous, doesn't it,
36
00:01:05,500 --> 00:01:05,740
George?
37
00:01:06,020 --> 00:01:06,140
Yeah.
38
00:01:06,620 --> 00:01:07,720
His date is updated.
39
00:01:09,420 --> 00:01:10,340
Makes him clench.
40
00:01:10,380 --> 00:01:13,520
It's just, yeah, I mean, I don't fully
41
00:01:13,520 --> 00:01:16,340
understand how their new arrangement with the company,
42
00:01:16,460 --> 00:01:18,460
the parent company, I guess, that's called Muse.
43
00:01:19,320 --> 00:01:19,720
Is that right?
44
00:01:19,720 --> 00:01:20,420
M for Mary?
45
00:01:21,060 --> 00:01:21,660
Is that what he's saying?
46
00:01:22,020 --> 00:01:22,800
Yeah, it's called Muse.
47
00:01:22,800 --> 00:01:25,340
Yeah, because they also make a scoring software,
48
00:01:25,580 --> 00:01:27,340
so you can do your, Sage has used
49
00:01:27,340 --> 00:01:28,360
that actually quite a bit.
50
00:01:28,620 --> 00:01:29,800
I'm sure they have good product.
51
00:01:30,420 --> 00:01:34,360
So whatever, I don't know the way new
52
00:01:34,360 --> 00:01:36,820
things are released and rolled out at Audacity,
53
00:01:36,840 --> 00:01:39,040
but they decided it was finally time to
54
00:01:39,040 --> 00:01:43,020
rebuild the compressor and the limiter correctly.
55
00:01:43,180 --> 00:01:45,240
I would probably add to that, actually, because
56
00:01:45,240 --> 00:01:48,000
the prior versions were weird.
57
00:01:48,000 --> 00:01:51,360
They had like the compressor never worked correctly.
58
00:01:51,360 --> 00:01:53,820
Like it has, for example, it has a
59
00:01:53,820 --> 00:01:55,940
checkbox that says make up gain, and you
60
00:01:55,940 --> 00:01:57,060
can turn that on and off.
61
00:01:57,540 --> 00:01:58,840
And it was always on.
62
00:01:59,240 --> 00:01:59,620
Right?
63
00:01:59,840 --> 00:02:01,180
So like, you're like, damn it.
64
00:02:01,180 --> 00:02:03,080
It's always full on, like full zero.
65
00:02:03,480 --> 00:02:05,180
And like it had the limiter.
66
00:02:05,460 --> 00:02:06,500
So you just had to manually turn it
67
00:02:06,500 --> 00:02:08,259
to the right place, because if not, it
68
00:02:08,259 --> 00:02:09,100
was making up.
69
00:02:09,340 --> 00:02:09,580
Yeah.
70
00:02:09,620 --> 00:02:10,820
I would always learn to work with it.
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00:02:10,880 --> 00:02:12,040
I just, you know, you learn how to
72
00:02:12,040 --> 00:02:13,740
adapt when you have to use certain tools,
73
00:02:13,920 --> 00:02:15,440
you know, but it was always annoying.
74
00:02:15,440 --> 00:02:17,440
So they did a complete redesign of the
75
00:02:17,440 --> 00:02:17,840
compressor.
76
00:02:18,060 --> 00:02:19,360
They also did a complete redesign of the
77
00:02:19,360 --> 00:02:19,560
limiter.
78
00:02:19,700 --> 00:02:21,340
And I have no problem with this whatsoever.
79
00:02:21,560 --> 00:02:22,760
I just have a problem with the fact
80
00:02:22,760 --> 00:02:25,680
that it was a total overwrite of the
81
00:02:25,680 --> 00:02:27,920
prior compressor and limiter.
82
00:02:28,620 --> 00:02:31,440
And so all the poor folks who rely
83
00:02:31,440 --> 00:02:34,620
on just using certain workflows, like a macro,
84
00:02:34,860 --> 00:02:37,700
they call macros in Audacity, to like, say,
85
00:02:37,820 --> 00:02:39,000
master an audio book.
86
00:02:39,420 --> 00:02:41,580
A lot of people use Audacity to record
87
00:02:41,580 --> 00:02:43,120
and master the audio book, and they have
88
00:02:43,120 --> 00:02:46,020
a single click process that's really easy once
89
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it's set up for them.
90
00:02:47,840 --> 00:02:50,320
But then that breaks everything when the compressor
91
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is just renamed.
92
00:02:52,120 --> 00:02:54,320
So the macro code, it's a script.
93
00:02:54,700 --> 00:02:56,400
The macro is really just a simple text
94
00:02:56,400 --> 00:02:58,800
file with a script that says, this is
95
00:02:58,800 --> 00:03:00,600
the plugin and this is the commands.
96
00:03:00,860 --> 00:03:01,080
That's it.
97
00:03:01,080 --> 00:03:02,460
You can do it in Audition as well.
98
00:03:02,780 --> 00:03:03,760
There's a lot of ways to do it,
99
00:03:03,860 --> 00:03:06,620
but the macro script will immediately break if
100
00:03:06,620 --> 00:03:08,240
the compressor has different commands.
101
00:03:08,240 --> 00:03:10,100
If something in there is not working, nothing
102
00:03:10,100 --> 00:03:10,420
works.
103
00:03:10,480 --> 00:03:12,100
Does it crash or does it just fail?
104
00:03:12,100 --> 00:03:13,620
It just gets to that step and goes,
105
00:03:13,720 --> 00:03:15,080
that plugin comes up with an error.
106
00:03:16,140 --> 00:03:17,340
And then it stops.
107
00:03:17,560 --> 00:03:21,560
So it's just a shame that nobody in
108
00:03:21,560 --> 00:03:23,020
the chain of command there was like, you
109
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know, we should just give it a new
110
00:03:25,720 --> 00:03:28,800
name or just call it 2024 or alt
111
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or version 2 would be enough, right?
112
00:03:31,520 --> 00:03:31,620
Exactly.
113
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Anything to differentiate it.
114
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Yeah.
115
00:03:33,800 --> 00:03:35,020
And instead they just did an overwrite.
116
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So it's one of those things where maybe
117
00:03:37,460 --> 00:03:39,200
they'll get the message and they'll change it.
118
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But by the time that the message gets,
119
00:03:41,740 --> 00:03:43,300
once that happens, we'll all have had to
120
00:03:43,300 --> 00:03:43,900
adopt.
121
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Everyone has a workaround.
122
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Exactly.
123
00:03:45,920 --> 00:03:47,260
Well, by now, surely.
124
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Yeah.
125
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So the two workarounds that I can think
126
00:03:49,260 --> 00:03:51,400
of are one, you roll back and there
127
00:03:51,400 --> 00:03:54,300
are legitimate safe places to download the prior
128
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version that you were running.
129
00:03:56,480 --> 00:03:58,700
Because in the prior versions of Audacity, it
130
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was very easy to have multiple versions of
131
00:04:00,680 --> 00:04:01,120
Audacity.
132
00:04:01,260 --> 00:04:03,140
You could just rename and save the old
133
00:04:03,140 --> 00:04:05,960
version, but in the new modern version, it
134
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always overwrites the old version.
135
00:04:07,400 --> 00:04:10,140
So it's a little more tricky now, but
136
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yeah, it's frustrating for users.
137
00:04:12,480 --> 00:04:14,160
You know, I've just, my thing is being
138
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an advocate for the actors and making it
139
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easy for them.
140
00:04:16,660 --> 00:04:19,380
And it just, when something goes easy to
141
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just stop working for no real good reason,
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I get frustrated.
143
00:04:25,160 --> 00:04:27,060
It makes you wonder sometimes how in touch
144
00:04:27,060 --> 00:04:29,080
some of these companies are with the way
145
00:04:29,080 --> 00:04:30,760
people are using their products when they do
146
00:04:30,760 --> 00:04:31,400
stuff like this.
147
00:04:31,420 --> 00:04:32,920
That's the first thing that occurs to me
148
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is like, you know, there's how many thousands
149
00:04:35,900 --> 00:04:38,220
of voiceover actors out there who are using
150
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this software?
151
00:04:39,240 --> 00:04:41,240
Because let's be honest, you know, a bit
152
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like Twitch Rewave.
153
00:04:42,580 --> 00:04:43,100
It's a bit of a fake.
154
00:04:43,100 --> 00:04:44,780
What is Muse's business model?
155
00:04:45,300 --> 00:04:46,040
If I may ask?
156
00:04:46,040 --> 00:04:46,700
Who knows?
157
00:04:47,200 --> 00:04:47,760
Who knows?
158
00:04:47,960 --> 00:04:49,600
I mean, I think it's like open source
159
00:04:49,600 --> 00:04:52,140
and like donationware or...
160
00:04:52,140 --> 00:04:53,660
Either way, you're there to serve a customer.
161
00:04:54,040 --> 00:04:56,380
And so surely you want to understand, you
162
00:04:56,380 --> 00:04:57,860
know, how they're using your product.
163
00:04:58,340 --> 00:05:00,160
And I know there's more than just voice
164
00:05:00,160 --> 00:05:01,820
actors using the product, I'm sure.
165
00:05:02,420 --> 00:05:04,460
But surely you would get an understanding of
166
00:05:04,460 --> 00:05:04,880
each group of people.
167
00:05:04,880 --> 00:05:07,840
I think they weren't even voice actors originally.
168
00:05:08,600 --> 00:05:11,060
I think the original story of why they
169
00:05:11,060 --> 00:05:14,020
started it was like, it was just a
170
00:05:14,020 --> 00:05:15,820
player, like someone needed a simple thing.
171
00:05:15,900 --> 00:05:17,220
Oh, that's pretty good for what that is.
172
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Yeah, that'll do the job.
173
00:05:18,480 --> 00:05:20,320
No, I think I've always looked at Audacity
174
00:05:20,320 --> 00:05:22,480
as a geeky app for geeks.
175
00:05:24,020 --> 00:05:26,160
And you know, and it's just, and because
176
00:05:26,160 --> 00:05:28,320
it was always free, there was just certain
177
00:05:28,320 --> 00:05:30,620
users are just going to gravitate to it.
178
00:05:30,720 --> 00:05:30,820
Yeah.
179
00:05:31,160 --> 00:05:33,500
Well, everyone's looking for a free something.
180
00:05:33,500 --> 00:05:35,460
It is interesting because it has a certain
181
00:05:35,460 --> 00:05:38,100
mix of like way too stupid and, and
182
00:05:38,100 --> 00:05:39,820
wow, it has that, like it has spectral
183
00:05:39,820 --> 00:05:40,900
editing in it, right?
184
00:05:41,940 --> 00:05:44,800
Apparently, possibly some of its processing is okay,
185
00:05:44,960 --> 00:05:47,040
I don't know how bad its click removal
186
00:05:47,040 --> 00:05:47,540
is.
187
00:05:48,400 --> 00:05:50,280
Once you, once you, that's what I mean.
188
00:05:50,320 --> 00:05:51,940
It's like there are certain plugins that they
189
00:05:51,940 --> 00:05:53,340
give you for free, which is a really
190
00:05:53,340 --> 00:05:58,120
nice, but they're hopelessly, the parameters are like,
191
00:05:58,280 --> 00:05:58,620
huh?
192
00:05:59,420 --> 00:06:00,600
They're like Reaper-esque.
193
00:06:01,140 --> 00:06:01,440
Yeah.
194
00:06:01,480 --> 00:06:02,120
Or worse.
195
00:06:02,120 --> 00:06:02,220
Or worse.
196
00:06:02,320 --> 00:06:03,400
You know, there's just parameters.
197
00:06:03,700 --> 00:06:06,320
Like the compressor has a noise floor setting.
198
00:06:07,500 --> 00:06:09,260
Anybody know what a noise floor setting does
199
00:06:09,260 --> 00:06:09,820
in a compressor?
200
00:06:10,120 --> 00:06:11,000
If you do, raise your hand.
201
00:06:11,080 --> 00:06:12,620
I can see that being in a gate,
202
00:06:12,840 --> 00:06:13,520
but I can't see that being in a...
203
00:06:13,520 --> 00:06:14,660
Yeah, but it's not, it's, it's in compressor.
204
00:06:14,800 --> 00:06:16,820
I never can understand what that parameter was
205
00:06:16,820 --> 00:06:17,300
for, right?
206
00:06:17,740 --> 00:06:19,280
Those are the things that, you know, got
207
00:06:19,280 --> 00:06:21,800
replaced or, you know, removed in the new
208
00:06:21,800 --> 00:06:22,180
version.
209
00:06:22,320 --> 00:06:23,340
The only thought I had on that was
210
00:06:23,340 --> 00:06:24,700
maybe they were sort of going, is there
211
00:06:24,700 --> 00:06:25,560
noise in the background?
212
00:06:25,680 --> 00:06:27,380
So let's not be too aggressive and suck
213
00:06:27,380 --> 00:06:28,020
that up as well.
214
00:06:28,060 --> 00:06:29,360
That was about the only thing I could
215
00:06:29,360 --> 00:06:31,180
think that that would have worked on.
216
00:06:31,180 --> 00:06:32,960
So it's sort of like an expander in
217
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a way.
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It's like a compander.
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I don't know.
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00:06:35,460 --> 00:06:36,160
It didn't, you're right.
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It was one of those things.
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It looks like it went.
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Okay.
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Yeah.
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Yeah.
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I mean, I would stick around on 3
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.5.1 or an earlier version.
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3.3, 3.3.1, 3.3.3
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is really, really good.
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3.5.1 is fine.
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What's wrong with the new version?
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3.6.1 just is when they, 3
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.6 is when they rolled out the new
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compressor and the limiter.
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So if you don't use a macro or
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you build it yourself, then you'll probably figure
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out how to work around it.
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If you do not know what you're doing
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and you're on a macro that's been made
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by me or one of our friends that
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helps you do your mastering for your audio
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books or whatever it is, just don't upgrade
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yet because there's no real solid argument for
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doing it.
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Here you go.
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Surely they'll get the message and put it
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back.
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Audacity was started in 1999 by Dominic Mazzoni
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while he was a graduate student at Carnegie
250
00:07:29,840 --> 00:07:30,740
Mellon in Pittsburgh.
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He was working on a research project with
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his advisor, Roger Dannenberg, and they needed a
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tool that would let them visualize audio analysis
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algorithms.
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Yeah.
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00:07:41,960 --> 00:07:43,960
So it's almost more of a scientific tool.
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00:07:43,960 --> 00:07:45,540
I wonder why that's where the spectral editing
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comes in then.
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00:07:46,240 --> 00:07:47,620
That's probably always been there then.
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I don't know.
261
00:07:48,120 --> 00:07:48,240
Yeah.
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00:07:48,260 --> 00:07:49,260
Maybe it's been in there forever.
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00:07:49,260 --> 00:07:51,540
I mean, 1999 would be pretty early for
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spectral editing, but although about the time when
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it started, like right around the turn...
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00:07:56,900 --> 00:07:58,660
Would have been talked about back then anyway.
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You're right.
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00:07:59,840 --> 00:07:59,960
Yeah.
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00:07:59,980 --> 00:08:01,960
I just found on YouTube, The People Behind
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Audacity.
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00:08:02,880 --> 00:08:04,580
So if anybody's wanting to know, look up,
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there's a video on YouTube called The Story
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Behind Audacity.
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There you go.
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And it's on musictech.com website, so you
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can find it there and learn more about
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how Audacity came to light.
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I think on the whole, I think Audacity
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just gets better and better.
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I think it's more reliable.
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I think it gets better workflows.
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The export module is much better now.
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Macro is getting easier.
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Now, I mean, for the longest time, there
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was no way to import a new macro
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or make a copy.
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00:08:36,880 --> 00:08:37,620
Now you can.
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00:08:37,919 --> 00:08:39,840
So it's getting better in a lot of
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00:08:39,840 --> 00:08:40,200
ways.
290
00:08:41,059 --> 00:08:43,360
But it's still one of those things, or
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00:08:43,360 --> 00:08:48,480
contrasting that to Twisted Wave, Thomas is just
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00:08:48,480 --> 00:08:52,280
so much more thoughtful about when and how
293
00:08:52,280 --> 00:08:55,680
he pushes out updates and is so careful
294
00:08:55,680 --> 00:08:59,300
to never break any legacy functionality, right?
295
00:08:59,760 --> 00:09:03,080
And that's, and maybe that, I mean, he's
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00:09:03,080 --> 00:09:04,920
lucky because he's not in a committee.
297
00:09:05,380 --> 00:09:05,820
Yeah.
298
00:09:06,120 --> 00:09:06,840
Yeah, that's true.
299
00:09:06,840 --> 00:09:10,880
You know, so he is completely beholden to
300
00:09:10,880 --> 00:09:11,340
the user.
301
00:09:12,020 --> 00:09:14,820
Well, it's also, Audacity is a, yeah, it's
302
00:09:14,820 --> 00:09:16,780
a paid product, but he's also beholden to
303
00:09:16,780 --> 00:09:20,220
the user in a very direct way.
304
00:09:20,360 --> 00:09:22,700
Whereas Audacity isn't really beholden to the user
305
00:09:22,700 --> 00:09:23,040
at all.
306
00:09:23,220 --> 00:09:25,500
There's, I mean, they're not making any money,
307
00:09:25,540 --> 00:09:27,780
so they're beholden to them.
308
00:09:28,200 --> 00:09:29,260
That's who they're beholden to.
309
00:09:29,360 --> 00:09:31,780
They're beholden to each other and, dude, I've
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00:09:31,780 --> 00:09:33,400
been wanting to get this new compressor in
311
00:09:33,400 --> 00:09:33,860
here forever.
312
00:09:33,980 --> 00:09:34,740
I finally have it built.
313
00:09:34,800 --> 00:09:35,260
Let's do it.
314
00:09:35,260 --> 00:09:36,040
Yeah, let's do it.
315
00:09:36,100 --> 00:09:36,800
You know, does it work?
316
00:09:36,840 --> 00:09:37,260
It works great.
317
00:09:37,320 --> 00:09:37,560
Okay.
318
00:09:37,640 --> 00:09:37,920
Boom.
319
00:09:39,340 --> 00:09:41,880
Oh, oh, oh, I didn't think about that.
320
00:09:42,000 --> 00:09:44,200
Oh, we're going to break functionality.
321
00:09:44,620 --> 00:09:47,200
Oh, and they're hearing about it for sure.
322
00:09:47,440 --> 00:09:48,400
I mean, there's people that are hearing about
323
00:09:48,400 --> 00:09:48,500
it.
324
00:09:48,500 --> 00:09:49,000
Yes, they should.
325
00:09:49,100 --> 00:09:49,700
So we'll see.
326
00:09:49,820 --> 00:09:50,920
It can't be that hard to put it
327
00:09:50,920 --> 00:09:51,560
back in, right?
328
00:09:51,680 --> 00:09:51,900
Surely.
329
00:09:52,440 --> 00:09:54,640
No, just put it back in and rename
330
00:09:54,640 --> 00:09:56,020
the new one and move on.
331
00:09:56,160 --> 00:09:56,540
I mean, it shouldn't take long.
332
00:09:56,540 --> 00:09:58,280
Make the new one the super compressor or
333
00:09:58,280 --> 00:10:00,680
something, or the compressor's compressor.
334
00:10:00,940 --> 00:10:02,060
The professor's compressor.
335
00:10:02,060 --> 00:10:02,860
The professor's compressor.
336
00:10:03,060 --> 00:10:03,440
There you go.
337
00:10:03,440 --> 00:10:03,920
Even better.
338
00:10:04,440 --> 00:10:05,860
Are you listening, David?
339
00:10:07,340 --> 00:10:09,480
I have not actually used the new one
340
00:10:09,480 --> 00:10:10,020
for sure.
341
00:10:10,120 --> 00:10:11,660
I'll be using it soon enough if someone
342
00:10:11,660 --> 00:10:14,480
asks me to make the new version in
343
00:10:14,480 --> 00:10:14,860
a macro.
344
00:10:14,980 --> 00:10:16,940
But looking at the compressor from the old
345
00:10:16,940 --> 00:10:18,640
version, that was what was so odd, was
346
00:10:18,640 --> 00:10:20,620
just the fact that the noise floor existed
347
00:10:20,620 --> 00:10:22,060
at all was a weird thing.
348
00:10:22,600 --> 00:10:25,680
The fact that the release time's shortest setting
349
00:10:25,680 --> 00:10:26,740
is one second.
350
00:10:27,040 --> 00:10:28,040
It's kind of odd.
351
00:10:28,200 --> 00:10:28,520
That's right.
352
00:10:28,640 --> 00:10:29,340
Yeah, that's weird.
353
00:10:29,860 --> 00:10:30,160
You know?
354
00:10:30,180 --> 00:10:31,000
I looked at that too.
355
00:10:31,000 --> 00:10:33,560
You know, the increments of time for the
356
00:10:33,560 --> 00:10:36,720
release is one tenth of a second, so
357
00:10:36,720 --> 00:10:37,840
you can go from one to one point.
358
00:10:38,560 --> 00:10:40,120
You know, it's just little things like that.
359
00:10:40,200 --> 00:10:43,720
So it was very, very much due for
360
00:10:43,720 --> 00:10:44,300
a replacement.
361
00:10:44,560 --> 00:10:47,600
Just a, not a replacement, a supplement.
362
00:10:47,800 --> 00:10:48,120
An upgrade.
363
00:10:48,320 --> 00:10:49,380
Or an upgrade, or an addition.
364
00:10:49,700 --> 00:10:50,380
Making an addition.
365
00:10:50,520 --> 00:10:51,620
That's all that had to do was just
366
00:10:51,620 --> 00:10:52,220
upgrade it.
367
00:10:52,440 --> 00:10:53,000
Yeah, exactly.
368
00:10:53,440 --> 00:10:53,680
Yeah.
369
00:10:53,840 --> 00:10:53,940
Yeah.
370
00:10:54,780 --> 00:10:56,780
Just changing the subject, as we always do.
371
00:10:57,580 --> 00:10:58,880
That was my goal.
372
00:10:59,080 --> 00:10:59,980
It was to transition.
373
00:10:59,980 --> 00:11:01,100
Where can I push this now?
374
00:11:02,120 --> 00:11:04,440
Now, do we go to another form of
375
00:11:04,440 --> 00:11:06,740
takeaway food, or do we stick to Twisted
376
00:11:06,740 --> 00:11:06,980
Wave?
377
00:11:07,840 --> 00:11:10,740
I did see on a thread on a
378
00:11:10,740 --> 00:11:12,600
Facebook, which by the time this goes out
379
00:11:12,600 --> 00:11:13,900
live, it was probably a couple of weeks
380
00:11:13,900 --> 00:11:16,860
ago, and Jim Edgar chimed in, and Jim,
381
00:11:17,000 --> 00:11:18,660
of course, is a bit of a Twisted
382
00:11:18,660 --> 00:11:19,260
Wave expert.
383
00:11:19,500 --> 00:11:22,560
But there was a question from a talent
384
00:11:22,560 --> 00:11:26,760
who was asked by a client to deliver
385
00:11:26,760 --> 00:11:28,900
her voice file in stereo.
386
00:11:30,920 --> 00:11:31,320
Why?
387
00:11:32,640 --> 00:11:35,060
What on earth would they want that for?
388
00:11:35,440 --> 00:11:37,620
Well, by the way, it's very easy with
389
00:11:37,620 --> 00:11:38,140
Twisted Wave.
390
00:11:38,260 --> 00:11:42,220
In fact, Bo Weaver literally asked Thomas to
391
00:11:42,220 --> 00:11:45,020
add a feature which makes a stereo file
392
00:11:45,020 --> 00:11:45,960
out of a mono file.
393
00:11:46,560 --> 00:11:48,140
It was really weird, though, because I know
394
00:11:48,140 --> 00:11:49,700
Jim said that he had been asked by
395
00:11:49,700 --> 00:11:50,500
clients to do that.
396
00:11:50,580 --> 00:11:52,020
Now, you've just said that Bo Weaver has
397
00:11:52,020 --> 00:11:53,400
also been asked to do that, and wanted
398
00:11:53,400 --> 00:11:54,920
the feature put onto Twisted Wave.
399
00:11:54,920 --> 00:11:56,700
But in all the years I've been doing
400
00:11:56,700 --> 00:11:59,480
this, I've never, not once, been asked to
401
00:11:59,480 --> 00:12:00,300
deliver a file in stereo.
402
00:12:00,300 --> 00:12:01,680
I think as we discussed at the beginning
403
00:12:01,680 --> 00:12:04,420
of the episode, and makes complete sense, is
404
00:12:04,420 --> 00:12:10,120
that with the, what should we say, the
405
00:12:10,120 --> 00:12:13,680
sort of rise of video editors becoming audio
406
00:12:13,680 --> 00:12:17,020
producers as well, that they're- I was
407
00:12:17,020 --> 00:12:19,320
going to say, video editors being forced upon
408
00:12:19,320 --> 00:12:19,820
them.
409
00:12:19,920 --> 00:12:21,360
Yeah, yeah, yeah, yeah, sorry.
410
00:12:21,360 --> 00:12:23,920
No, that's not a reflection on video editors
411
00:12:23,920 --> 00:12:24,380
whatsoever.
412
00:12:24,820 --> 00:12:26,900
But them being expected to step up, I
413
00:12:26,900 --> 00:12:28,960
mean, having said that, I have come across
414
00:12:28,960 --> 00:12:31,580
video editors who are now also calling themselves
415
00:12:31,580 --> 00:12:33,120
sound designers, interestingly.
416
00:12:33,720 --> 00:12:35,060
That makes our skin crawl.
417
00:12:35,280 --> 00:12:37,400
Yeah, but- That'd be like calling me
418
00:12:37,400 --> 00:12:39,480
a color timer, you know, a colorist.
419
00:12:39,480 --> 00:12:43,240
Yeah, but not understanding that, you know, there
420
00:12:43,240 --> 00:12:47,900
is one microphone, one cord, one input, there
421
00:12:47,900 --> 00:12:51,120
is no stereoness to a voice.
422
00:12:51,480 --> 00:12:51,580
Yeah.
423
00:12:51,680 --> 00:12:53,100
Well, there's no stereoness to a voice anyway,
424
00:12:53,280 --> 00:12:57,060
but yeah, so I don't know, that's about
425
00:12:57,060 --> 00:12:58,080
the only thing I can think of.
426
00:12:58,100 --> 00:13:01,000
I mean, I know there's a great show,
427
00:13:01,120 --> 00:13:03,100
we've probably talked about already here, called Tiny
428
00:13:03,100 --> 00:13:06,760
Desk, where they record, they shotgun mic all
429
00:13:06,760 --> 00:13:08,920
the singers and some of the instruments, and
430
00:13:08,920 --> 00:13:10,660
they're all stereo shotgun mics.
431
00:13:11,580 --> 00:13:13,780
And I don't know to this day, I'd
432
00:13:13,780 --> 00:13:15,280
love to, there must be an interview online
433
00:13:15,280 --> 00:13:17,580
someplace of the engineer who's in charge of
434
00:13:17,580 --> 00:13:19,060
all the NPR Tiny Desks.
435
00:13:19,780 --> 00:13:21,940
Either they just happen to have those mics
436
00:13:21,940 --> 00:13:24,240
around, so that's what they use, or there's
437
00:13:24,240 --> 00:13:26,980
some interesting production reason for doing it.
438
00:13:27,480 --> 00:13:28,660
But who knows?
439
00:13:28,820 --> 00:13:30,260
There's just, we don't know, but there could
440
00:13:30,260 --> 00:13:32,980
be a trend in the future that all
441
00:13:32,980 --> 00:13:35,700
voice be recorded in stereo, because they want
442
00:13:35,700 --> 00:13:37,960
to capture the movement of the person around
443
00:13:37,960 --> 00:13:39,480
the mic, and they want, I don't know,
444
00:13:39,600 --> 00:13:41,400
I don't, is this a thing?
445
00:13:41,500 --> 00:13:42,440
I haven't heard of it yet.
446
00:13:42,440 --> 00:13:44,120
I don't know whether it's a thing, but
447
00:13:44,120 --> 00:13:45,280
the thing that comes from that is, if
448
00:13:45,280 --> 00:13:49,640
you're putting a singer with two mics spaced
449
00:13:49,640 --> 00:13:52,220
apart was a thing, and you do it
450
00:13:52,220 --> 00:13:53,760
in stereo, and you give like a 3D
451
00:13:53,760 --> 00:13:54,760
sound to the voice.
452
00:13:54,920 --> 00:13:57,360
But you've got a stereo input, so of
453
00:13:57,360 --> 00:13:59,440
course you want a stereo recording, but we're
454
00:13:59,440 --> 00:14:01,380
talking about voice actors in their home studio
455
00:14:01,380 --> 00:14:05,100
with a shotgun or a large diaphragm mic
456
00:14:05,100 --> 00:14:05,660
in front of them.
457
00:14:06,060 --> 00:14:06,160
Why?
458
00:14:08,280 --> 00:14:10,180
Sure, okay, you can have it, sure, okay,
459
00:14:10,220 --> 00:14:11,900
it makes no difference, but it makes no
460
00:14:11,900 --> 00:14:13,900
sense why you're requesting it.
461
00:14:13,900 --> 00:14:14,960
You know, if you get it, you sort
462
00:14:14,960 --> 00:14:16,420
of go, okay, well, you know, that's cool,
463
00:14:16,620 --> 00:14:17,460
I can deal with it.
464
00:14:17,520 --> 00:14:19,380
There's another reason why it's a little bit,
465
00:14:19,720 --> 00:14:24,960
maybe almost insidious, because when you make a
466
00:14:24,960 --> 00:14:27,660
mono wave file, a stereo wave file, there's
467
00:14:27,660 --> 00:14:29,620
no loss of data, you're creating data, you're
468
00:14:29,620 --> 00:14:31,480
just taking the same data and doubling it,
469
00:14:31,520 --> 00:14:33,020
and then the file gets twice as large,
470
00:14:33,060 --> 00:14:33,260
right?
471
00:14:34,480 --> 00:14:35,740
MP3's not the same thing.
472
00:14:35,880 --> 00:14:38,800
You take an MP3 and double the content
473
00:14:38,800 --> 00:14:42,340
and keep the bitrate the same, you're essentially
474
00:14:42,340 --> 00:14:46,640
halving, you're basically packing twice as much potatoes
475
00:14:46,640 --> 00:14:47,700
into the same bag.
476
00:14:48,380 --> 00:14:50,100
And what happens to those potatoes, they get
477
00:14:50,100 --> 00:14:52,580
smushed and bruised and crushed because you can't
478
00:14:52,580 --> 00:14:53,680
fit them into the same bag.
479
00:14:54,220 --> 00:14:56,680
And that's what happens with stereo, if you're
480
00:14:56,680 --> 00:14:58,080
going to go stereo MP3, you've got to
481
00:14:58,080 --> 00:14:58,940
double the bitrate.
482
00:14:59,400 --> 00:15:01,060
Kind of, I mean, it depends, because it
483
00:15:01,060 --> 00:15:03,200
can have joint stereo encoding or it can
484
00:15:03,200 --> 00:15:05,800
have discrete, and it depends on how you
485
00:15:05,800 --> 00:15:07,200
decide to encode it, because if you have
486
00:15:07,200 --> 00:15:10,880
a stereo file that's really mono, then it'll
487
00:15:10,880 --> 00:15:12,320
make a lot of hay out of that
488
00:15:12,320 --> 00:15:13,000
high bitrate.
489
00:15:14,240 --> 00:15:16,000
On the other hand, if it's highly stereo,
490
00:15:16,240 --> 00:15:18,200
then you're going to get lower quality, because
491
00:15:18,200 --> 00:15:19,960
it has to allocate a lot of the
492
00:15:19,960 --> 00:15:21,200
bitrates to both channels.
493
00:15:21,420 --> 00:15:21,520
Right.
494
00:15:21,920 --> 00:15:22,880
Sorry, what were you saying?
495
00:15:22,880 --> 00:15:23,940
No, it's okay, I was just going to
496
00:15:23,940 --> 00:15:27,120
say, only a video editor would be asking
497
00:15:27,120 --> 00:15:29,740
for their voiceovers in MP3 anyway, so, you
498
00:15:29,740 --> 00:15:32,400
know, I don't know how much...
499
00:15:32,400 --> 00:15:34,280
Or an audio book producer, by the way,
500
00:15:34,600 --> 00:15:37,260
ACX has you deliver your final files in
501
00:15:37,260 --> 00:15:40,860
MP3 to ACX for distribution.
502
00:15:41,200 --> 00:15:43,880
So they're then processing that, or that's finished
503
00:15:43,880 --> 00:15:44,180
books?
504
00:15:44,720 --> 00:15:47,140
That is, that's the final deliverable that you
505
00:15:47,140 --> 00:15:49,040
send in to them, and then they take
506
00:15:49,040 --> 00:15:51,180
that file and they do their own highly
507
00:15:51,180 --> 00:15:52,300
destructive...
508
00:15:52,300 --> 00:15:54,520
Ah, okay, right, so they're still processing after
509
00:15:54,520 --> 00:15:54,960
that, even.
510
00:15:55,680 --> 00:15:57,720
I thought if it was finished, maybe that
511
00:15:57,720 --> 00:15:57,980
made sense.
512
00:15:57,980 --> 00:16:01,220
Go on Audible or any audio book platform
513
00:16:01,220 --> 00:16:03,200
where you can listen to audio book profile,
514
00:16:03,320 --> 00:16:06,140
and listen to the quality that's there, they're
515
00:16:06,140 --> 00:16:07,060
obliterated.
516
00:16:08,460 --> 00:16:10,200
It's for a practical purpose, they want to
517
00:16:10,200 --> 00:16:12,640
fit, you know, a 20 hour book into
518
00:16:12,640 --> 00:16:14,240
less than a gig, you know, so it
519
00:16:14,240 --> 00:16:15,140
doesn't take up an entire phone number.
520
00:16:15,140 --> 00:16:18,100
Why start with MP3 and then massacre it
521
00:16:18,100 --> 00:16:18,700
even more?
522
00:16:18,960 --> 00:16:21,500
It doesn't make any sense, it's like, why?
523
00:16:21,660 --> 00:16:24,700
Yeah, yeah, yeah, I know, I know part
524
00:16:24,700 --> 00:16:26,440
of it's practical, they're just like, well, you
525
00:16:26,440 --> 00:16:28,780
know, the quality just didn't seem to make
526
00:16:28,780 --> 00:16:30,880
any damn difference, because once it got destroyed...
527
00:16:30,880 --> 00:16:32,520
Maybe they need to go back to listen
528
00:16:32,520 --> 00:16:34,120
to our episode from a couple of weeks
529
00:16:34,120 --> 00:16:35,180
ago, that's what it is.
530
00:16:35,700 --> 00:16:36,900
Audio quality matters.
531
00:16:37,180 --> 00:16:39,320
Yeah, yeah, I mean, I'm still lobbying for
532
00:16:39,320 --> 00:16:41,460
a day where there's, you know, audio book
533
00:16:41,460 --> 00:16:44,400
HD or something, you know, where we capture
534
00:16:44,400 --> 00:16:46,460
and produce and release audio books in a
535
00:16:46,460 --> 00:16:50,020
high fidelity format that actually warrants, you know,
536
00:16:50,120 --> 00:16:50,760
good sound.
537
00:16:51,020 --> 00:16:52,500
I would love to listen to that.
538
00:16:53,000 --> 00:16:56,160
Imagine doing an audio book with immersive, in
539
00:16:56,160 --> 00:16:58,780
an immersive format, where you've got sound effects
540
00:16:58,780 --> 00:17:01,160
and stuff, where you actually do get completely
541
00:17:01,160 --> 00:17:03,740
and utterly absorbed into the audio book.
542
00:17:03,740 --> 00:17:05,980
Yeah, well, that's what's tricky, is there's audio
543
00:17:05,980 --> 00:17:12,319
publishing, in fact, we have the APA, which
544
00:17:12,319 --> 00:17:16,619
is the Audio Publishers of America Association, whatever,
545
00:17:17,099 --> 00:17:20,220
and that's its own thing, and they do
546
00:17:20,220 --> 00:17:22,660
not, they don't seem to have a desire
547
00:17:22,660 --> 00:17:24,660
or interest, at least not that I've seen,
548
00:17:25,180 --> 00:17:25,800
to do that.
549
00:17:26,040 --> 00:17:30,640
Whereas podcasting, or things released as a podcast,
550
00:17:31,300 --> 00:17:35,100
or a radio drama style file, that's, yeah,
551
00:17:35,240 --> 00:17:36,520
that stuff's definitely happening.
552
00:17:37,060 --> 00:17:39,520
I mean, I've heard some podcasts produced in
553
00:17:39,520 --> 00:17:44,100
spatial that are amazing, you know, you put
554
00:17:44,100 --> 00:17:46,440
on the AirPod Pros and like, it freaking
555
00:17:46,440 --> 00:17:48,280
tracks your head movement, it's like you're in
556
00:17:48,280 --> 00:17:49,680
the side of a ship, and you move
557
00:17:49,680 --> 00:17:52,900
around, and the thing moves around you, it's
558
00:17:52,900 --> 00:17:55,340
insane, like it's incredible, and all you need
559
00:17:55,340 --> 00:17:57,520
for that is a phone and the AirPods,
560
00:17:57,640 --> 00:18:00,180
you know, so that is a thing, but
561
00:18:00,180 --> 00:18:05,220
it's very niche, it's definitely not mainstream, and
562
00:18:05,220 --> 00:18:07,720
we'll see if it ever happens, but yeah,
563
00:18:07,860 --> 00:18:09,400
so where were we, were we talking about
564
00:18:09,400 --> 00:18:09,880
audacity?
565
00:18:10,460 --> 00:18:10,860
Yeah.
566
00:18:11,200 --> 00:18:12,200
What do you think, Robert?
567
00:18:17,960 --> 00:18:19,440
What do I think I want?
568
00:18:20,820 --> 00:18:22,260
The pizza you just ordered.
569
00:18:23,180 --> 00:18:23,660
The what?
570
00:18:24,060 --> 00:18:25,360
The pizza you just ordered.
571
00:18:27,320 --> 00:18:29,100
I just saw you weren't there, I was
572
00:18:29,100 --> 00:18:30,240
being an arsehole, sorry.
573
00:18:32,660 --> 00:18:34,820
My phone was ringing, I was like, hmm,
574
00:18:35,240 --> 00:18:36,460
hold on, let me mute my mic.
575
00:18:37,500 --> 00:18:38,960
Well that was fun, is it over?
576
00:18:39,100 --> 00:18:39,860
It's over, it's over, it's over, it's over,
577
00:18:39,860 --> 00:18:39,960
it's over, it's over, it's over, it's over,
