Audio Mythbusters: 6 Studio Myths That Need Bin-ning

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Please take to the video stars George
Wisdom, founder of Source Element Robert

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Marshall, international audio engineering
Robin Roberts and global voice repeaters.

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And Austrian audio making passion heard.

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There's a few myths that are being heard
and shouldn't be heard,

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and one in particular
that Robbo stumbled across just recently.

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My bugbear.

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We actually talked about this
just a couple of weeks ago.

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He's using a date on your voiceover

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site, and I still see it bouncing around
and people talking about it.

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And it's not noise reduction people.

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I just had a gig where someone used a gate
and it really messed stuff up.

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It didn't stop at Harvard.

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Well it was.

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This person had a very long
audiobook to do,

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and you could tell that they were doing it

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in different environments and different,
like in the morning and the evening.

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We throughout the chapter, the noise
would increase and they had a gate.

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But one of the things I noticed
is because they gated everything.

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And I actually found that in some ways
the AI noise reduction

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wasn't as good as the traditional
take a fingerprint noise reduction,

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because it seems like a lot of the times
the AI noise reduction is

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more about just like,
amazing shrink wrap.

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It's like the perfect gate
around the words, but within the words.

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Sometimes the noise is still there
sneaking through.

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Yeah, absolutely.

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But with the fingerprint noise reduction,
it was actually

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like ripping that noise out
more during the driving.

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Slightly more artifacts in the process,
though.

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More artifacts?
Yes. More wishy washy. Yes.

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The AI sounded more natural,

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but this noise was noisy enough
that they wanted more of it removed.

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And the problem with the gate

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that I actually had was that
I had no noise to take a fingerprint up.

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Yeah. Well,
that's frustrating to. Yeah, yeah, yeah.

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And it was also short and I couldn't like
get in there and it was very hard.

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Yeah.

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This one I was dealing with had missing
T's and S's and also survived some.

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But let me ask you this
then, you know, did we get to discuss

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where the gate should be used on voice
everyone arguments.

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The last time you put a gate on a voice
as you were recording it never.

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Right. And I rest my case.

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I edit too many,
people set up with a channel strip.

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Like, I know voice actors or

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an audiobook narrator specifically
would not have chosen to do that.

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Some producer
would have set them up with that.

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So they've been using a symmetric 528 E,

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then they get a DB2 86

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because they have expander
gates built into them.

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Yeah.

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And they're told to do it that way.

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And I tell and I've had I have a client
particularly who does a lot of books.

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And I said it's tricky man.

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I said if your input level
is a little bit off that day,

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if you're coming a little bit weak,
whatever, that it's just not going

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to always open on an audio point
where you're acting as well.

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And so you're,

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you know, you're sort of energy's
going to change and all that sort of shit.

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You, you know, so it's in trouble
if it's like the scenario

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that I would least preferred being used
and then it's being like recommended,

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mandated by a production company to do it.

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Then it's like,
come on, if I was the engineer

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for the audio company,
they'd be getting a big, from me.

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Yeah.

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I hear gates all the time on like,
the news.

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You know, you can you can hear that.

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You can hear it chopping down the echo
in the room at the end.

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And it's like, I get it.

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You can't do anything
if it's live in the gates.

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The best thing, I guess.

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But if it's recorded.

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Don't do it.

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It's too risky.
The ultimate of destructive.

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Yeah.

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You know processing
it is absolutely unrecoverable.

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But at least you can be somewhat re
you know if you're cued,

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if it's a little bit too bright,
a little bit too big, whatever.

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Even,
even a compressor can almost be expanded.

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But a gate,
especially one that goes down to zilch,

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get nothing.

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I commented on a post on Facebook, I
this was a while ago now.

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Someone posted something about noise
reduction and someone mentioned the gate

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and I said, well,

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if you think you should use a

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gate on your voice over,
next time you're sending your final audio

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to an engineer, go through
and just slice out a few bits of audio

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and send it to them
and see what their response is.

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Here's the thing about the gate
if you put the gate on,

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you might not get caught in real time
and you might think you're okay.

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But even if you don't hear about it later,
they will curse you later.

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Absolutely.
Yeah. Yeah, absolutely. Exactly.

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Yeah.

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If you're on a phone patch or,
as we like to say, almost never happens.

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But if you're on a zoom
or any kind of a remote.

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Correct.

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You're recording yourself.

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Absolutely.

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Don't use a gate in that scenario
because you have 100%

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post-production control of that audio
before it sends out.

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So even if you're embarrassed
by some noise or something that happened,

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you can always rerecord it to punch it in
or just fix it in post.

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Don't commit yourself to reach for it.

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And if you're on source Connect,
I guarantee they won't want to hear it,

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because the first thing they're going to
hear is what you're doing to the audio,

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because they're listening
to your little studio mic

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in your little booth
over there, $10,000 monitors, man.

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They hear everything,
so don't even try to fool them.

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And even if they're distracted,
they're going to hear it later

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when they get into it
and then they're going to be upset.

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Well, that's what I find interesting.

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When the sessions are done for,
you know, zoom or teams or whatever,

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is that the person at the other end
is not hearing the audio.

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Really.

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They're just hearing something
coming down the channel.

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They're not hearing what's actually
they're not hearing what's going on.

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It's even worse when they don't even put
an engineer on the other end.

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Yeah, we'll just record it ourselves
and direct and have the talent send us.

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And we assume that the town's a full up
engineer and has everything taken care of.

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Oh, yeah.

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You know, and it's.

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I didn't get that with engineers.

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I mean, I've, I've talked to engineers
who have done the same, you know, who,

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who did this.

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Where they, we do the session over zoom
and then I forward the recorded

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audio to them to, to do what
I did, trying to build more hours.

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But I think, you know,

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because we've talked together about this
one studio. Yes.

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They really do want to get Source Connect,
but they haven't at this stage.

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But, which we must talk about actually
get them to do it.

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But, anyway, so that when they get audio
I've talked to them about.

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But surely some of the people sending you
audio must be garbage.

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It is all good old what that.

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And it's like a lot of it.

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In fact the majority of it
80% is really bad.

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Yeah.

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This is why you radio guys make everything
sound like a radio filter and stuff.

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Because you got you're like,
oh, crap, crap, I got it.

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The only thing I can do
is make it sound crappier.

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Yeah, distort
it and put a telephone filter on it.

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Yeah, well,

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I mean, there's always that, you know, you

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sort of wonder why you're worrying
about recapturing pristine audio

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and then putting all these sort of effects
and shit on and any distortions.

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Yeah, it does make it easier than trying
to start from shit, as I'm sure you know.

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Well, it's

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it's really funny when you say something,
you go, you know, it's a bit of reverb.

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Your room is a bit lively.

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Yeah. Oh, okay. Yeah.

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And then, of course,

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if you send pristine audio,

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they go, oh, much like a bit of redid on
that to give it a bit of zing.

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Yeah.

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Specific references I get to control
how much reverb goes on that.

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Yeah yeah yeah.

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It's a different

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it's like not like a short slapback sound
compared to an actual.

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Yeah. Paul or something.

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The other thing I've seen is actually
honestly like full up studios are like,

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oh yeah, we built our room,
but the air conditioning is always noisy

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and they're putting signal
through with like,

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real times noise reduction.

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Yeah.

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Like see Vox I was going to say
is the better one, I think.

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I think that's more benign.

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I've seen them use, the isotope one

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that takes a fingerprint
of the noise, voice denoise that.

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And I don't think
that one is so transparent. It's.

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No it's not.

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Yeah.

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If you you know, the problem is
it's just not that different from this one

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and others
is that you can only use like 5%.

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Yeah. Out of 100.

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Just the problem
with all these plugins is the scale.

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The range of the control
is dramatically out of whack

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with what is 10%
should be like 80 or 90%, right?

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Yeah.

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And so they get numerous
range of controls.

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Yeah.
So what are you going to do as a user.

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I mean, you know, you'd probably assume
maybe start somewhere in the middle,

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somewhere in the middle
is like drew grossly over MP3 sounding.

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Know like, yeah, I mean if you put an
this one at 50%, it's,

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it does sound like
it chops the hell out of the audio.

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So that's another problem too
is the design of the tools.

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You know,
I use the ones built in Adobe Audition.

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Same thing.

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I used more than 5
to 8% out of those noise.

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It sounds crap.

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So that's part of the problem.

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So what are some of the other mics
do we reckon?

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I mean, for me, USB
mics is a big one for me.

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And also the other one
that gets me about mics too

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is that I see a lot of times
these are you you've got to have a man

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or you've got to have
a, you know, know something or other,

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you know, one of these expensive
mics to be able to do.

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VoiceOver I kind of feel like,
what's the myth?

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So what what exactly is the myth
about USB, micro USB like securing their

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they're acceptable. I mean,

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I kind of I think I'm on the fence.

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I mean, there are some maybe

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I think there's some areas that it's good
in scenarios where it's bad.

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I think the scenarios where it's bad is
if you're live directed,

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because then if they're like,
can you make it

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a little gain adjustment on your mic
and you don't either one have a gain

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knob to control period,
which many of them don't like to run into.

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One fifth gen there's no gain.

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This is 32 bit.

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You don't have to worry about
gain anymore.

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Right? Exactly.

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And then so then some of the actors, like
I don't even know how to adjust the gain.

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Right? That's one problem.

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Another problem with USB
mics is when the gain knob is on the mic.

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Then they're like,
yeah, I'll adjust the gain.

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And yeah, playing with the microphone,
you're like, what?

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What are you doing?
I said, adjust the game.

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Well the knobs on
the mic like that doesn't look right.

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Let me show you the professional.
Yeah, yeah.

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But at the same time you can buy a road,
you can buy the road 91 to a ten.

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And it does record
very good quality over USB.

236
00:10:39,597 --> 00:10:44,352
But I think it's fine
in, in a, in a self-directed home record,

237
00:10:44,435 --> 00:10:48,397
you know, doing like a game
or doing like music or something.

238
00:10:48,397 --> 00:10:51,275
But yeah, in a real time session,

239
00:10:51,275 --> 00:10:54,278
if you're going to record
in that situation anyway, okay,

240
00:10:54,403 --> 00:10:57,490
if you're going to record at home,
why not just invest

241
00:10:57,490 --> 00:11:00,826
in a decent sort of even just a Scarlett,
I mean, be done with it.

242
00:11:00,826 --> 00:11:04,747
I mean, rather than, yeah,
I think here's the thing about USB mics

243
00:11:04,747 --> 00:11:09,835
is that as with any microphone thing,
it is first and foremost placement.

244
00:11:09,835 --> 00:11:12,963
Putting an iPhone in the right place
will sound better than annoying.

245
00:11:13,506 --> 00:11:15,007
You 87 in the wrong place.

246
00:11:15,007 --> 00:11:15,800
We all know that.

247
00:11:15,800 --> 00:11:18,886
Yeah. Placement. Yeah, but that's scale.

248
00:11:18,886 --> 00:11:23,391
It's like you want to be
if you're charging whatever, $400 an hour.

249
00:11:23,391 --> 00:11:26,394
As a voice actor or whatever,
you know, Union is,

250
00:11:26,560 --> 00:11:30,940
you want to be in the top 90,
95% of sound quality.

251
00:11:31,482 --> 00:11:35,903
And what sounds good enough
might not really be good enough.

252
00:11:35,903 --> 00:11:39,115
And it's really,
really easy with the USB mics to fall

253
00:11:39,115 --> 00:11:42,493
very far down
that because of a lot of things.

254
00:11:42,576 --> 00:11:46,330
You can't get a cable that's long
enough away from your computer,

255
00:11:46,914 --> 00:11:49,750
so you're stuck in many other ways.

256
00:11:49,750 --> 00:11:52,420
Sometimes they don't have a monitor
plugged into them.

257
00:11:52,420 --> 00:11:53,879
They're just so limiting.

258
00:11:53,879 --> 00:11:57,216
And I just don't think that, like, you
know, except for the most basic setups,

259
00:11:57,967 --> 00:11:59,385
they're not worth the investment.

260
00:11:59,385 --> 00:12:02,346
You can buy an XLR mic, and now
you have something that you can use

261
00:12:02,930 --> 00:12:06,976
pretty much for a lifetime, or a USB mic,
which is guaranteed

262
00:12:07,059 --> 00:12:12,148
to be outdated at some point
and chuck it in the garbage at some point.

263
00:12:12,148 --> 00:12:14,191
So yeah, they're not, they're not.

264
00:12:14,191 --> 00:12:17,737
It's like either I don't think
the USB interface is same thing.

265
00:12:17,820 --> 00:12:21,157
I mean, there'll be landfill
of so many interfaces

266
00:12:21,157 --> 00:12:25,035
now that are just so out of date
and just don't work properly anymore.

267
00:12:25,119 --> 00:12:26,454
Yeah, absolutely.

268
00:12:26,454 --> 00:12:27,246
Yeah.

269
00:12:27,246 --> 00:12:30,040
Stability is a problem
with some USB interfaces.

270
00:12:30,040 --> 00:12:33,252
I mean I mean, what a USB mic is,
is basically the cheapest,

271
00:12:33,252 --> 00:12:36,255
tiniest USB interface they could buy.

272
00:12:36,255 --> 00:12:37,631
Like at the bottom right ship.

273
00:12:37,631 --> 00:12:41,385
It's like the mic preamp
and the USB interface on one ship, right?

274
00:12:41,385 --> 00:12:43,095
Yeah, there are some exceptions.

275
00:12:43,095 --> 00:12:45,848
I know I've heard some apogee
mics to sound pretty good.

276
00:12:45,848 --> 00:12:50,436
I know that Sennheiser's mic for digital
is really a decent USB my,

277
00:12:51,061 --> 00:12:54,774
but those are exceptions,
but very much of an exception.

278
00:12:55,024 --> 00:12:58,027
Most people are buying USB mics
because they're inexpensive.

279
00:12:58,402 --> 00:13:01,030
They're not buying them
because they happen to

280
00:13:01,030 --> 00:13:04,867
be good at what they do
and that they're 3 to $500 mics.

281
00:13:04,867 --> 00:13:07,912
They're buying them because
they're not cheap, then they're cheap.

282
00:13:07,912 --> 00:13:11,791
And if you want the convenience of a USB
mic but you don't want to, you know,

283
00:13:12,166 --> 00:13:13,876
consider something like a sure.

284
00:13:13,876 --> 00:13:16,837
And the and the new one,

285
00:13:17,004 --> 00:13:19,799
it's like the b x to you, mvcs to you.

286
00:13:19,799 --> 00:13:20,049
Right.

287
00:13:20,049 --> 00:13:23,719
You'll take any mic
and turn it into a USB mic.

288
00:13:23,761 --> 00:13:25,554
I'll give you all the convenience
of the USB mic

289
00:13:25,554 --> 00:13:28,808
without making the dead
end investment into a USB mic,

290
00:13:29,475 --> 00:13:33,187
because once all that stuff is bolted
together, you can't separate it.

291
00:13:33,187 --> 00:13:36,357
And now one of those components going old

292
00:13:36,357 --> 00:13:39,485
bad renders the whole thing useless.

293
00:13:39,485 --> 00:13:41,153
Yeah, I think that's disposable.

294
00:13:41,153 --> 00:13:43,906
Like to me it's
kind of like the iMac problem too.

295
00:13:43,906 --> 00:13:46,659
You can get a cool iMac,
they look nice and they work fine.

296
00:13:46,659 --> 00:13:49,119
But when the when the computer is obsolete

297
00:13:49,119 --> 00:13:52,289
or the screen goes out,
you're throwing out everything.

298
00:13:52,748 --> 00:13:54,250
That's
another thing that never made sense.

299
00:13:54,250 --> 00:13:56,418
I think the iMac is good for,

300
00:13:56,418 --> 00:13:59,421
you know, the front desk
at an aerobics studio or something.

301
00:13:59,630 --> 00:14:00,965
You know, like

302
00:14:00,965 --> 00:14:04,176
it's like it's like a laptop
without the convenience of a laptop.

303
00:14:04,885 --> 00:14:05,386
Yeah.

304
00:14:05,386 --> 00:14:08,889
It's it's like it's not even fair to say
because it's not a bad computer.

305
00:14:08,889 --> 00:14:12,101
I have clients and have them,
but that's what bothers me about it.

306
00:14:12,101 --> 00:14:13,102
It's like the USB.

307
00:14:13,102 --> 00:14:16,438
My problem when the my something goes
wrong, you throw the whole thing out.

308
00:14:16,438 --> 00:14:19,358
It's you're done.
So it's it's another myth here.

309
00:14:19,358 --> 00:14:21,277
Okay.

310
00:14:21,277 --> 00:14:23,654
So is, is this a myth.

311
00:14:23,654 --> 00:14:26,198
Like how much coaching do you need once

312
00:14:26,198 --> 00:14:29,201
you are in a career

313
00:14:29,285 --> 00:14:33,247
compared to like, like I can understand
needing coaching

314
00:14:33,247 --> 00:14:36,250
if you've not been in sessions
and you need to simulate a session

315
00:14:36,458 --> 00:14:39,044
and get a feel for what
it's like to be directed.

316
00:14:39,044 --> 00:14:40,629
But once you've been in sessions,

317
00:14:42,131 --> 00:14:44,049
I've seen a lot of like

318
00:14:44,049 --> 00:14:47,386
successful voice actors
seeking out coaching,

319
00:14:47,386 --> 00:14:50,723
and sometimes I think if anything,
you should be coaching somebody.

320
00:14:51,181 --> 00:14:53,475
But then when does the coaching end?

321
00:14:53,475 --> 00:14:57,104
Well, I don't know when coaching ends,
but then it's also interesting

322
00:14:57,104 --> 00:15:00,316
to see some people who are coaching
who you think

323
00:15:01,400 --> 00:15:03,777
you've been around that long and.

324
00:15:03,777 --> 00:15:05,029
Yeah, right.

325
00:15:05,029 --> 00:15:07,656
What do you got to do there.

326
00:15:07,656 --> 00:15:09,241
Yeah, yeah yeah.

327
00:15:09,241 --> 00:15:09,909
It's funny.

328
00:15:09,909 --> 00:15:12,453
I mean, look, I agree you should,

329
00:15:12,453 --> 00:15:13,996
you know,
I want to show you the employer coach.

330
00:15:13,996 --> 00:15:17,166
I never had a coach, but
you certainly learn stuff pretty quickly.

331
00:15:17,791 --> 00:15:20,794
In session, the dos the etiquette of of.

332
00:15:20,794 --> 00:15:22,296
You're doing this for a living.

333
00:15:22,296 --> 00:15:25,883
But I had no clue that
when I was booked for a job for,

334
00:15:26,008 --> 00:15:29,011
you know, you do an hour session,
that's you're booking is an hour.

335
00:15:29,136 --> 00:15:31,722
I used to think, well,
I didn't do the whole hour,

336
00:15:31,722 --> 00:15:33,557
so they get their money's worth

337
00:15:33,557 --> 00:15:36,894
and get the hell out of this really quick,
because that's what I thought.

338
00:15:36,894 --> 00:15:38,646
I thought,
you know, well, you pay me for the hour,

339
00:15:38,646 --> 00:15:41,690
so I should stay here for the hour,
and all they want is like you.

340
00:15:41,857 --> 00:15:42,483
You stay here.

341
00:15:42,483 --> 00:15:45,194
If you get out of here in five minutes,
we're going to be very happy.

342
00:15:45,194 --> 00:15:46,445
That's right. Right.

343
00:15:46,445 --> 00:15:49,990
So, you know, then the rest of the time
we can get this done and pay less. But.

344
00:15:49,990 --> 00:15:51,033
Yeah. Exactly. Yeah.

345
00:15:51,033 --> 00:15:54,036
And also like, you know, using your eyes

346
00:15:54,036 --> 00:15:57,581
in a session, which we don't so much now
because we're usually working remotely.

347
00:15:57,581 --> 00:16:02,419
But using your eyes in the session,
watching body language through the glass,

348
00:16:02,461 --> 00:16:07,883
even though you're hearing one instruction
verbally, you can actually pick up more

349
00:16:07,883 --> 00:16:12,638
from looking at the visual cues
of the person, what they really mean.

350
00:16:12,972 --> 00:16:13,681
Right?

351
00:16:13,681 --> 00:16:18,560
So then that was a so so is is coaching
something that more is like,

352
00:16:18,560 --> 00:16:22,815
you know, if you want to get experience
and you've not been hired on a job,

353
00:16:22,815 --> 00:16:26,443
you can have a coach simulate
what it's like to be in session.

354
00:16:26,735 --> 00:16:30,990
But really
the true coaching is just getting gigs

355
00:16:31,782 --> 00:16:35,202
and being directed
and screwing some up and winning some.

356
00:16:35,703 --> 00:16:38,706
And like, I don't know, I think that

357
00:16:39,039 --> 00:16:42,126
there's a lot of coaching going on that,
you see, like I said,

358
00:16:42,126 --> 00:16:45,170
I see people doing getting coached
that are like, you know, need coaching.

359
00:16:45,671 --> 00:16:48,215
Like exactly.
I don't look, I don't get it.

360
00:16:48,215 --> 00:16:54,054
And it's certainly in this country,
in Australia, the coaching is very, very

361
00:16:55,055 --> 00:16:56,515
unusual.

362
00:16:56,515 --> 00:16:57,307
There is a little I

363
00:16:57,307 --> 00:17:01,103
mean, it's funny, look, I mean, I,
I can put my perspective on this

364
00:17:01,103 --> 00:17:04,106
having never been a voiceover artist,
but as an audio engineer,

365
00:17:04,565 --> 00:17:09,945
I've never had a lesson
or a formal lesson in 36 years.

366
00:17:09,945 --> 00:17:10,195
Right.

367
00:17:10,195 --> 00:17:12,489
So technically, in terms of,

368
00:17:12,489 --> 00:17:14,575
you know, all the stuff
that Robert and George are very good at,

369
00:17:14,575 --> 00:17:18,704
I'm not great at that stuff, but
what I think I have is a good pair of eyes

370
00:17:18,704 --> 00:17:23,834
and an understanding of how to get a sound
to sound the way I want it to sound.

371
00:17:23,834 --> 00:17:28,255
But technically there's, you know,
AP there's stuff that George and Robert

372
00:17:28,255 --> 00:17:30,966
talk about that goes over both our heads,
but I kind of feel like

373
00:17:30,966 --> 00:17:33,635
and maybe that's
where coaching can make up the difference.

374
00:17:33,635 --> 00:17:35,846
And you might put
a voiceover perspective on that.

375
00:17:35,846 --> 00:17:36,638
But I kind of feel like

376
00:17:36,638 --> 00:17:40,726
if I did coaching now, I wouldn't
want to know about the hands on stuff.

377
00:17:40,726 --> 00:17:41,351
I'd want to know

378
00:17:41,351 --> 00:17:46,065
about all that technical stuff
that I've never really learned or under.

379
00:17:46,273 --> 00:17:48,734
Well, I understand that,
but I've never really learned the whys

380
00:17:48,734 --> 00:17:49,985
and wherefores, you know what I mean?

381
00:17:49,985 --> 00:17:54,198
And I wonder whether coaching fills
those gaps in a voiceover sense.

382
00:17:55,115 --> 00:17:57,493
I don't think,
it's it's interesting with coaching

383
00:17:57,493 --> 00:17:59,953
because I think the best coach
you're ever going to work

384
00:17:59,953 --> 00:18:04,124
with is an audio engineer
who's got a lot of experience, like,

385
00:18:04,124 --> 00:18:07,086
if you're new to the game
and you go into a director session

386
00:18:07,086 --> 00:18:10,798
with a person that's worked with,
you know, done a thousands and thousands

387
00:18:10,798 --> 00:18:11,423
of sessions,

388
00:18:12,508 --> 00:18:13,884
you're going to learn a hell of a lot more

389
00:18:13,884 --> 00:18:16,887
with that person than you're ever going
to learn from a coach.

390
00:18:16,929 --> 00:18:17,179
Yeah.

391
00:18:17,179 --> 00:18:20,182
I mean, a lot of the best
coaches are both directors.

392
00:18:20,474 --> 00:18:21,642
Yeah. Directors. Right.

393
00:18:21,642 --> 00:18:24,645
Slash engineers or producers by far?

394
00:18:25,395 --> 00:18:26,271
Absolutely.

395
00:18:26,271 --> 00:18:29,316
I have a totally different myth
that's more tech translated.

396
00:18:29,983 --> 00:18:32,236
Yeah, that getting a booth

397
00:18:32,236 --> 00:18:35,197
means you have an instantly great sounding
recording environment.

398
00:18:35,197 --> 00:18:37,324
Yeah. Yes, that's a nice one.

399
00:18:37,324 --> 00:18:39,201
No. Yeah.

400
00:18:39,201 --> 00:18:40,869
Give that man a cigar.

401
00:18:40,869 --> 00:18:42,121
It is not true at all.

402
00:18:42,121 --> 00:18:43,789
I just delete that on my on.

403
00:18:43,789 --> 00:18:46,792
The job
I just did was, a voice talent at home

404
00:18:47,417 --> 00:18:50,254
and another voice talent
who went to a studio.

405
00:18:50,254 --> 00:18:52,840
Man, it's like against that thing
that you don't notice

406
00:18:52,840 --> 00:18:55,634
when you're in session as much,
and then you start getting into it.

407
00:18:55,634 --> 00:19:00,013
And as, you know, when you take a signal
and you compress it and boom, all the all

408
00:19:00,305 --> 00:19:02,141
come out. Yeah. Yep.

409
00:19:02,141 --> 00:19:03,517
And it's like, oh, I hear the booth.

410
00:19:03,517 --> 00:19:05,727
And I was sitting there trying to like,
knock it out.

411
00:19:05,727 --> 00:19:06,937
And it just, you know,

412
00:19:06,937 --> 00:19:08,856
sometimes you try to knock it out
and it makes it sound worse.

413
00:19:08,856 --> 00:19:10,524
You're just like
I it's it's stuck that way.

414
00:19:10,524 --> 00:19:14,653
And and you can hear it
that the like we did the spot and the,

415
00:19:15,028 --> 00:19:16,446
the English version sounds great.

416
00:19:16,446 --> 00:19:19,366
And the foreign language
version was a booth at home.

417
00:19:19,366 --> 00:19:22,327
And it just has that sound.

418
00:19:22,661 --> 00:19:25,914
And to a lot of people,
they won't know what that sound is,

419
00:19:25,914 --> 00:19:29,877
but it's the sound of a small box
and you just can't get away from it.

420
00:19:30,127 --> 00:19:31,378
It's so you can

421
00:19:32,379 --> 00:19:33,630
become complacent to it.

422
00:19:33,630 --> 00:19:36,216
And it's not really like that.
You don't care.

423
00:19:36,216 --> 00:19:37,217
Maybe that's not the right word.

424
00:19:37,217 --> 00:19:39,845
It's just that it's like nose blindness.

425
00:19:39,845 --> 00:19:40,095
Yeah.

426
00:19:40,095 --> 00:19:43,098
You know,
you come home, you go from vacation, go.

427
00:19:43,807 --> 00:19:45,726
This is what, my house.

428
00:19:45,726 --> 00:19:46,602
Yeah, I don't know.

429
00:19:46,602 --> 00:19:50,647
Yeah, but yeah, but it's like when you're
used to the sound of your own booth

430
00:19:50,647 --> 00:19:53,650
in the way it sounds, day after day,
week after week, month after month.

431
00:19:53,650 --> 00:19:55,110
It's normal.

432
00:19:55,110 --> 00:19:58,530
I mean, I was used to the sound of bad
sounding whisper rooms

433
00:19:58,530 --> 00:19:59,948
for quite a long time.

434
00:19:59,948 --> 00:20:01,700
I just thought
that's what it sounded like.

435
00:20:01,700 --> 00:20:05,996
When you get a nice open sounding studio
recording, like from a nice

436
00:20:05,996 --> 00:20:08,999
a nice big dead booth
that doesn't have all those nodes,

437
00:20:09,249 --> 00:20:12,127
and then you get the other tight
when you're like, oh, like

438
00:20:12,127 --> 00:20:15,881
what was because I was working
with like the my first 5 or 6 real paying

439
00:20:15,881 --> 00:20:20,177
voiceover clients were all home studio
promo voiceovers.

440
00:20:20,177 --> 00:20:22,596
So that was the norm, you know?

441
00:20:22,596 --> 00:20:25,641
And then I would start hearing
good, really, truly great recordings.

442
00:20:25,641 --> 00:20:27,893
And I was like, whoa, okay.

443
00:20:27,893 --> 00:20:30,520
I started to learn what it's supposed
to sound like and what it well,

444
00:20:30,520 --> 00:20:31,855
what it could sound like.

445
00:20:31,855 --> 00:20:33,982
And then it really opened my eyes.

446
00:20:33,982 --> 00:20:37,194
And then, you know, ever since then, it's
been a pursuit of trying to capture

447
00:20:37,611 --> 00:20:41,323
or recreate that great sound,
you know, from a really small space.

448
00:20:41,323 --> 00:20:43,825
But, you know, if you're like, oh,
I have a really high ceiling.

449
00:20:43,825 --> 00:20:46,703
I hear that's bad. I'm like,
no, no, no, no, that's really good.

450
00:20:46,703 --> 00:20:47,829
That's really. Yeah, yeah.

451
00:20:47,829 --> 00:20:50,123
They're like they're like,
oh I heard that's bad.

452
00:20:50,123 --> 00:20:52,167
I'm like, no, it's just another myth.

453
00:20:52,167 --> 00:20:55,170
It's just there's
so many myths about acoustics

454
00:20:55,170 --> 00:20:58,757
because many of it
maybe is are not conventional wisdom.

455
00:20:58,757 --> 00:21:01,927
It's not logical to you or whatever.

456
00:21:01,927 --> 00:21:04,012
But, it's not the case at all.

457
00:21:04,012 --> 00:21:07,599
You want to have you want to
you want to have every hard surface

458
00:21:07,599 --> 00:21:11,144
as far away from the mic
is humanly possible, right?

459
00:21:11,645 --> 00:21:12,312
You want

460
00:21:12,312 --> 00:21:16,024
you want no hard surfaces in the room
and you want them all to be far away.

461
00:21:16,566 --> 00:21:19,236
Like the booth can kind of do
two things for you.

462
00:21:19,236 --> 00:21:22,447
It can deaden it up
and it can deal with noise.

463
00:21:22,447 --> 00:21:23,907
As long as there's not excessive noise

464
00:21:23,907 --> 00:21:25,784
outside the booth,
it can take care of those two things.

465
00:21:25,784 --> 00:21:28,120
Right? It's like noise reduction.

466
00:21:28,120 --> 00:21:31,123
It's going to solve your problem
and it's going to cause you a new problem.

467
00:21:31,873 --> 00:21:32,874
Right, right.

468
00:21:32,874 --> 00:21:33,667
It's the irony.

469
00:21:33,667 --> 00:21:36,670
Like when you buy this very expensive
confining

470
00:21:36,837 --> 00:21:42,092
hot uncomfortable box,
shove yourself and you're like in there,

471
00:21:43,051 --> 00:21:46,388
you torture yourself for an hour
only to deal with the fact that you're

472
00:21:46,388 --> 00:21:51,935
getting for many people's an occasional
noise from the neighborhood or something.

473
00:21:52,269 --> 00:21:56,481
But 99% of the time it's probably fine,
you know what I mean?

474
00:21:56,940 --> 00:21:58,525
And so that's the reality.

475
00:21:58,525 --> 00:22:00,235
I mean, it's not true for why?

476
00:22:00,235 --> 00:22:05,741
I mean, it's been abnormally quiet for
the last hour in this in my home studio.

477
00:22:05,741 --> 00:22:08,493
But I mean, normally you hear of crackers,
usually a couple.

478
00:22:08,493 --> 00:22:12,122
And listen, listen is
so now you got the whole air conditioner?

479
00:22:12,956 --> 00:22:15,125
I'm in a very light room.

480
00:22:15,125 --> 00:22:16,710
I mean, yeah, it's.

481
00:22:16,710 --> 00:22:18,295
Yeah, it's it's my technique.

482
00:22:18,295 --> 00:22:20,255
It's how loud you are to projection.

483
00:22:20,255 --> 00:22:21,882
It's all these things.

484
00:22:21,882 --> 00:22:26,011
But it is definitely a misnomer
that spreads, you know, far and wide.

485
00:22:26,470 --> 00:22:30,849
There's only one voice over Booth company
that has worked with me directly.

486
00:22:30,849 --> 00:22:34,311
And I'm not trying to say I'm
the king of all voiceover studios, but

487
00:22:34,895 --> 00:22:36,438
I don't know anybody making voice over

488
00:22:36,438 --> 00:22:39,775
Booth, who have collaborated
with a voiceover engineer

489
00:22:40,567 --> 00:22:43,779
to ensure and listen
and try to make it sound better.

490
00:22:43,779 --> 00:22:47,407
But vocal booth.com here in the States
is done, that they're the only ones that

491
00:22:48,116 --> 00:22:53,163
I think you're right with me and yeah
invited me over and let's play with stuff.

492
00:22:53,163 --> 00:22:56,124
I think we chatted while you were there
didn't we. Didn't we do an episode.

493
00:22:56,124 --> 00:22:56,792
Yeah. Yeah.

494
00:22:58,210 --> 00:22:59,961
And you
know I give them huge props for that.

495
00:22:59,961 --> 00:23:01,296
I mean studio bricks

496
00:23:01,296 --> 00:23:05,175
has got an engine acoustician
now that works in-house which is great.

497
00:23:05,175 --> 00:23:08,637
And they're doing some you know
their new booths do sound pretty good

498
00:23:08,887 --> 00:23:11,890
but it's taking them 12
plus years to get there.

499
00:23:11,890 --> 00:23:14,101
Other companies never got there.

500
00:23:14,101 --> 00:23:16,228
They just keep doing the same stuff
over and over

501
00:23:16,228 --> 00:23:18,146
because most people don't know
the difference.

502
00:23:18,146 --> 00:23:19,648
It's like the blind leading the blind.

503
00:23:19,648 --> 00:23:23,360
And you know, and for the certain
level of work, it's good enough.

504
00:23:23,360 --> 00:23:24,152
It's good enough.

505
00:23:24,152 --> 00:23:28,782
I've got an audio book,
audio books and can get away with murder.

506
00:23:28,865 --> 00:23:31,243
Yeah.
So he does books. A lot of them sound bad.

507
00:23:31,243 --> 00:23:33,912
They don't even matter. Right?
Yeah, he'd say it.

508
00:23:33,912 --> 00:23:37,666
And so it's like the boost
will will get you a certain level,

509
00:23:37,666 --> 00:23:42,337
and then you either have to hire
someone like you, George, to tune it out.

510
00:23:42,504 --> 00:23:45,549
But I would argue
that you can't ultimately

511
00:23:46,049 --> 00:23:49,302
completely tune
a booth to not sound like Booth.

512
00:23:49,678 --> 00:23:52,806
It's very difficult because by the time
you treat enough of the surface

513
00:23:52,806 --> 00:23:55,267
with a thick enough treatment,
there's no room for you.

514
00:23:55,267 --> 00:23:57,936
You can't move around very much. Yeah.

515
00:23:57,936 --> 00:24:01,606
And you're like, you're like,
I can't bump up into the walls, right?

516
00:24:02,065 --> 00:24:05,193
I mean, I had a client just very recently
send me a sample,

517
00:24:05,444 --> 00:24:06,736
and he's like any listed

518
00:24:06,736 --> 00:24:11,241
painstakingly, all the panels he had
and how thick they were in his notes.

519
00:24:11,241 --> 00:24:12,826
And I was like, Jesus, no

520
00:24:14,077 --> 00:24:16,663
six inch thick panels.

521
00:24:16,663 --> 00:24:19,583
And I listened to the sample
and it was amazing.

522
00:24:19,583 --> 00:24:22,544
That was like,
that's one of the best sounding raw files

523
00:24:22,544 --> 00:24:24,212
I've heard in a long time.

524
00:24:24,212 --> 00:24:27,007
It's like you've consulted
you on Booth design,

525
00:24:27,007 --> 00:24:29,050
and he didn't really make that too clear.

526
00:24:29,050 --> 00:24:31,845
He just said, I insisted on these panels.

527
00:24:31,845 --> 00:24:36,099
The guy making them or the dealer selling
them was like, no, you don't need that.

528
00:24:36,099 --> 00:24:39,102
And he was like,
no, I this is what I want.

529
00:24:39,186 --> 00:24:43,064
And then sure enough, it sounded fantastic
because he had the right

530
00:24:43,064 --> 00:24:46,026
and the right amount and thick
enough panels in the right places.

531
00:24:46,193 --> 00:24:49,279
My studio work this here behind me
that you guys can't see on the show.

532
00:24:49,279 --> 00:24:52,616
Sorry, but it's got up to six inches
of paneling on the walls.

533
00:24:52,824 --> 00:24:56,119
Well, the only like like the
the two inch or one,

534
00:24:56,244 --> 00:25:00,582
the one inch stuff deals with a lot, but
it does not hit the low end well enough

535
00:25:01,333 --> 00:25:05,504
to just get the meat of the frequency
range of most voices, even women.

536
00:25:05,504 --> 00:25:09,966
It there's a tremendous amount
of standing waves and resonances below 300

537
00:25:10,342 --> 00:25:14,179
over three, three and one hertz,
and those panels do zero to those.

538
00:25:14,179 --> 00:25:18,683
So so in my case I just put the thickest
panels above my shoulders.

539
00:25:19,351 --> 00:25:19,935
Right.

540
00:25:19,935 --> 00:25:24,773
So yeah they're encroaching in my space
but they're not in my wingspan,

541
00:25:24,773 --> 00:25:27,609
if you know what I mean.
I can move my elbows around.

542
00:25:27,609 --> 00:25:30,403
And so yes, it's a little claustrophobic,

543
00:25:30,403 --> 00:25:33,406
but not so much
because I can still move around.

544
00:25:33,532 --> 00:25:36,535
But I have that six inches
of paneling at my head

545
00:25:36,868 --> 00:25:39,496
level, you know,
and it works surprisingly well

546
00:25:39,496 --> 00:25:43,083
without feeling too cramped,
but so you just had to be clever about it.

547
00:25:43,333 --> 00:25:48,046
And if you need help, talk to people
like us, because man, like, you know what?

548
00:25:48,046 --> 00:25:50,173
It's supposed to sound like.

549
00:25:50,173 --> 00:25:52,676
I can still remember the first setup
I had, which I,

550
00:25:52,676 --> 00:25:55,762
when I think about it
now, is just ridiculous.

551
00:25:56,054 --> 00:25:56,763
Yeah.

552
00:25:56,763 --> 00:26:00,767
And, and then the second one I built,
which was not quite as ridiculous,

553
00:26:00,767 --> 00:26:01,977
but still pretty ordinary.

554
00:26:03,019 --> 00:26:03,436
It was

555
00:26:03,436 --> 00:26:06,398
basically in a cupboard,
that kind of thing.

556
00:26:07,190 --> 00:26:10,193
With acoustic foam inside the cupboard.

557
00:26:10,235 --> 00:26:12,028
It sounded like you'd isolate

558
00:26:12,028 --> 00:26:15,031
recording inside a motorcycle helmet,

559
00:26:15,407 --> 00:26:16,658
but also Vox.

560
00:26:16,658 --> 00:26:18,285
Yeah. Exactly.

561
00:26:18,285 --> 00:26:20,161
Exactly the helmet.

562
00:26:20,161 --> 00:26:23,957
And, and then the third one I went,
I actually sort of thought

563
00:26:24,207 --> 00:26:25,917
I'd better get
a bit more serious about this.

564
00:26:25,917 --> 00:26:28,420
And, I got a guy came over and help me.

565
00:26:28,420 --> 00:26:31,131
We built one
which sounded really, really good.

566
00:26:31,131 --> 00:26:34,175
And then, of course, this was the
this is the last one I built here.

567
00:26:34,384 --> 00:26:35,719
This one you have sounds pretty good.

568
00:26:35,719 --> 00:26:37,178
And it's got a good length to it.

569
00:26:37,178 --> 00:26:40,473
Like, that's one of the things
it's a it's not a small booth, am I right.

570
00:26:41,182 --> 00:26:41,600
Yeah.

571
00:26:41,600 --> 00:26:43,852
The booth is over behind me.

572
00:26:43,852 --> 00:26:44,728
I'm sitting on the.

573
00:26:44,728 --> 00:26:48,398
Yeah, mine room
here, but, is it it's big enough.

574
00:26:48,982 --> 00:26:51,067
Oh. Just at least like six foot, isn't it?

575
00:26:51,067 --> 00:26:51,943
More. More.

576
00:26:51,943 --> 00:26:52,944
Yeah. Exactly.

577
00:26:52,944 --> 00:26:56,114
Yeah, yeah, I think we all go
through the same sort of progression.

578
00:26:56,114 --> 00:26:59,659
I mean, Jesus, if I,
if I think about my first time studio,

579
00:26:59,951 --> 00:27:03,204
it was in 2002

580
00:27:03,788 --> 00:27:07,500
and it was the old G4 Mac, you know, the,

581
00:27:07,500 --> 00:27:10,879
the great thing and all that
sort of stuff in the Quiksilver.

582
00:27:10,879 --> 00:27:13,381
Yeah.
And it was an M1 mirror on the front.

583
00:27:13,381 --> 00:27:14,382
Yeah, that's the one.

584
00:27:14,382 --> 00:27:19,679
And an M box and a version Pro Tools
and and I had no treatment in the room.

585
00:27:19,888 --> 00:27:23,141
There was a,
the wall behind me was a big long

586
00:27:23,141 --> 00:27:26,603
wall of bookshelves
and full of books and trinkets in the.

587
00:27:27,103 --> 00:27:28,730
So that was right.

588
00:27:28,730 --> 00:27:29,314
So exactly.

589
00:27:29,314 --> 00:27:31,441
So I didn't do anything
really in the room.

590
00:27:31,441 --> 00:27:35,528
And I would sort of just mix in headphones
and all that sort of stuff.

591
00:27:35,528 --> 00:27:37,906
And I compare it to now,
you know, with panels

592
00:27:37,906 --> 00:27:41,076
I've made on the walls
and now the curtains

593
00:27:41,660 --> 00:27:45,246
and all the shit that I've, I've done and,
you know, all that sort of stuff

594
00:27:45,246 --> 00:27:46,122
in the bookshelf

595
00:27:46,122 --> 00:27:50,335
intentionally down there because for
some reason, stuff was ricocheting.

596
00:27:50,335 --> 00:27:53,797
I was originally going to have that behind
me, but I shoved it down in that corner.

597
00:27:54,172 --> 00:27:54,631
So, yeah.

598
00:27:54,631 --> 00:27:57,133
So, you know,
I'd like you think about the progression

599
00:27:57,133 --> 00:28:00,804
and if you could see the,
the studios in the middle of all that,

600
00:28:01,137 --> 00:28:04,349
it was certainly sort of just upper level
each time, I suppose.

601
00:28:04,349 --> 00:28:06,851
But then I guess
each time you build a studio,

602
00:28:06,851 --> 00:28:09,312
you think, okay, well,
what am I going to do this time?

603
00:28:09,312 --> 00:28:11,064
That didn't work last time and stuff.

604
00:28:11,064 --> 00:28:14,109
So it's probably logical
unless you have an interest

605
00:28:14,109 --> 00:28:17,320
in this at a young age and you intern
and you get to be in the environment

606
00:28:17,320 --> 00:28:21,074
and talk to the designers,
those things just never happen.

607
00:28:21,282 --> 00:28:24,494
It's a black art,
and so you just learn it as you go.

608
00:28:24,494 --> 00:28:28,832
Because unless you're lucky enough
to get to the right person early on

609
00:28:28,832 --> 00:28:32,085
and you get to not have to make
a lot of mistakes, that happens.

610
00:28:32,293 --> 00:28:34,170
But it's very, very rare.

611
00:28:34,170 --> 00:28:37,590
And so you really just learn as you go
and you get better and better over time.

612
00:28:37,590 --> 00:28:39,509
I'm still learning stuff all the time.

613
00:28:39,509 --> 00:28:41,928
That's what's fun about on
is that you're always learning stuff.

614
00:28:41,928 --> 00:28:42,679
It's never over.

615
00:28:42,679 --> 00:28:45,682
It's yeah, it's like a continuous thing.

616
00:28:45,682 --> 00:28:49,477
It's like because it's it's like
that thing where I remember when I was a

617
00:28:50,311 --> 00:28:53,314
at a high school
just beginning to record drums, and then

618
00:28:53,606 --> 00:28:56,025
every time I was like, every drum kit
I recorded, oh,

619
00:28:56,025 --> 00:28:57,610
this one's better than the last one I did.

620
00:28:57,610 --> 00:28:59,237
And I got even better.

621
00:28:59,237 --> 00:29:01,990
And it's like, you get this feeling.
I finally got it.

622
00:29:01,990 --> 00:29:04,492
And then you do another one. You're like,
oh, it's even better.

623
00:29:04,492 --> 00:29:06,661
And you start learning
how to deal with it.

624
00:29:06,661 --> 00:29:08,830
I won't do that again.
Yeah, exactly. Yeah.

625
00:29:08,830 --> 00:29:10,206
Well there's always that

626
00:29:10,206 --> 00:29:14,502
or you start realizing what it is that is
like, oh, that one recorded really well.

627
00:29:14,502 --> 00:29:15,086
And what was it?

628
00:29:15,086 --> 00:29:16,004
It wasn't anything I did.

629
00:29:16,004 --> 00:29:18,173
The damn thing was tuned.

630
00:29:18,173 --> 00:29:19,340
Oh, you can tune drum.

631
00:29:19,340 --> 00:29:21,634
Oh yeah. You know, it's amazing.

632
00:29:21,634 --> 00:29:24,888
And so that that whole journey
and it's like it's exciting

633
00:29:24,888 --> 00:29:27,515
when you're improving,
you know, it's like anything. Yeah.

634
00:29:27,515 --> 00:29:29,476
Oh totally is. Yeah.

635
00:29:29,476 --> 00:29:30,810
And that's not a myth.

636
00:29:30,810 --> 00:29:33,521
That's not. That's a fact. Yeah.

637
00:29:33,521 --> 00:29:36,149
And if you missed this episode,
go back to the beginning.

638
00:29:38,651 --> 00:29:39,486
Well, that was fun.

639
00:29:39,486 --> 00:29:41,446
Is it over

640
00:29:41,446 --> 00:29:43,281
the audio sweet things

641
00:29:43,281 --> 00:29:47,285
to try and Austrian
audio recorded using Source Connect.

642
00:29:47,410 --> 00:29:50,622
Edited by Andrew Peters
and mixed by Robert Go.

643
00:29:50,705 --> 00:29:51,998
Your own audio issues.

644
00:29:51,998 --> 00:29:53,082
Just ask Robert.

645
00:29:53,082 --> 00:29:55,668
Don't call him tech. Support him.
Use the tech. William.

646
00:29:55,668 --> 00:29:58,797
Don't forget to subscribe to the show
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647
00:29:59,005 --> 00:30:02,926
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648
00:30:03,051 --> 00:30:04,636
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649
00:30:04,636 --> 00:30:06,513
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