Back to His Roots: George’s One-Case Location VO Rig

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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.

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They're motivated.

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With Tech the VO stars.

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George Whitten, founder of Source Elements.

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Robert Marshall, international audio engineer.

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Darren Robbo Robertson, and Global Voice.

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Andrew Peters, thanks to Triboo.

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Austrian Audio, making passion heard.

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Source Elements, George the Tech Whitten, and Robbo

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and AP's international demos.

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To find out more about us, check theproaudiosuite

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.com.

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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.

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Don't forget the code.

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T-R-I-P-A-P-200.

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That will get you $200 off your Tribooth.

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And don't forget the Tribooth memo.

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Now, you've gone back to your roots, George,

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doing a job that you haven't done for

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many years.

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Yeah, well at least one set of roots.

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I'm a weird looking tree, dude.

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I got roots.

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I got roots poking out all over the

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place.

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But yeah, so a client of mine, Arianna

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Ratner, daughter of Bill Ratner.

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As you'll see, yeah.

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Her husband's a director or DP or something,

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and they worked on this PSA, and there

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was a rewrite, and so they had to

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record a bunch of VO lines, wild lines,

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of the lead actor, who does a lot

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of it on camera and then a lot

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in voiceover.

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He's on both.

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It's both.

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It's sort of like the vein of a

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David Attenborough nature show, except it's about the

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dangers of e-bikes and the fast high

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-speed motorcycles we have now riding on the

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bike paths in Santa Monica and Orange County

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and Venice.

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I mean, these things are doing 40 to

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50 miles an hour on walking paths.

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Yeah, some of them don't even have pedals,

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I think, and then they're starting to blur

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the line between a motorcycle, yeah.

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Right.

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So they hired this great, interesting actor I'd

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met, but it's because his life isn't really

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been about in front of the camera, more

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about writing, named Gavin Scott, and he was

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a really interesting fellow.

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And if I've said his name wrong, I

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apologize, Gavin.

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But anyway, the actor was a really interesting

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fellow, and he lives really close by, and

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I went to his house to record wild

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lines, pickup lines, and at first I was

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like, I don't do this anymore, and oh,

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this is not my rate, and they were

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like, oh, yeah, I can't pay you that

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technician's rate that you charge, and I was

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like, how about we come up with a

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rate?

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Why not?

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Let's do it.

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Because I didn't, I wouldn't, it was the

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day, you know, if they needed it the

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next day, it was time-sensitive, it was

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a PSA.

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It's nice to have some variety of work,

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too.

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Yeah, it was cool to actually put, I

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literally had to put together a kit.

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I threw up a little video on my

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Instagram on George the Tech, and you'll see

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it if you want to see it, but

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I had to build a kit, you know,

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it was either that or show up with

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like five tote bags of crap, which would

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have felt really, really, really unprofessional.

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So I had a Pelican 1510, which is

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like the classic carry-on-sized Pelican case

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with the handle that pops out and the

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wheels, and I've had this case forever and

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ever, and I just dumped everything out of

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it.

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I had stuff all over the floor, and

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I just started putting pieces in.

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So I managed to fit literally everything I

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needed into that case, including my MacBook Pro,

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audio interface, microphone, mic stand, mic boom, everything

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I was able to fit into that case,

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which I was kind of proud of.

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I thought that was pretty cool.

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And anyway, I packed along a Sentrance Mic

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Port Pro as a backup recorder, but my

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primary ended up actually bringing was the Portcaster,

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not the Passport.

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And the reason was, was I wanted to

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have that onboard recorder for this particular use

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case because I'm out of practice at doing

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this stuff, right?

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And the last thing I wanted to have

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happen was to botch it, really ruin the

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recording, do something wrong, lose a file, God

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knows what, you know?

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So being able to just hit the little

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tiny record button and the little red light

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turns on and that's just rolling.

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And meanwhile, I'm on my laptop sitting right

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next to them, like the director is sitting

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between me and the actor, the actor is

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sitting on his couch.

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We found the quietest room in the house

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and it was perfect, plush carpeting, bookshelves.

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It was really ideal, you know?

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If I may ask, it was a voiceover

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gig, right?

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Well, yeah.

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So it was pick up wild lines for

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a voiceover of a PSA where the actor

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is also on camera, both.

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But, so the actor's on camera and now

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you're recording them in a different environment than

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the original.

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Right, because the film is a cut, it's

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cut together between voiceover and on-camera lines.

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So now it's on camera, voiceover in a

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voiceover booth and off camera in a different

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room?

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I don't know if they recorded his voiceovers

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in a voiceover booth.

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I don't know if they recorded them location,

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I don't know anything about how they recorded

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I'm just curious why you didn't say, hey,

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I got a frickin' brick over here, a

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voice brick.

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Well, that's another part of the equation.

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The gentleman had just broken his leg and

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was recovering from surgery and he really didn't

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want to leave his house.

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Gotcha.

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If he didn't have to.

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So he was doing pretty well, apparently, he

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was getting around, you know, he was walking

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and he was actually in pretty fair shape.

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But that was the parameters, you know, so

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they were like, this is the reason why

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we want to have someone come to his

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house.

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It's not a job you're going to get

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falling in your lap every day, it's rare,

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you know, these kinds of scenarios come up,

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but it was fun to do it.

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I had my Rode NTG-4, that's what

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I ended up bringing, and it worked great.

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Once I turned off the low-cut filter,

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because it's much too aggressive, it really takes

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out too much.

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Why not the 5, out of curiosity?

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I couldn't find it on the clutch, I

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have too many cases of things, I couldn't

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find the 5.

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I think the 5 sounds noticeably better than

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the 4, I do think.

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Yeah, I think so.

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I even had a 4-16 sitting in

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this booth in here, but the 4 was

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right above me on my boom over my

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desk, I was like, click, just took it

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off the ceiling, you know?

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And I took the boom that was up

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there too and brought that with me.

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So I really had to cobble it together,

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because I don't have a proper boom arm

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anymore for doing location record.

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I don't have a C-stand, I don't

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have a nice mic studio boom, I don't

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have any of that stuff.

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So I really cobbled together this kind of

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ragtag setup, but really did feel like I

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was going back to my roots, because when

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I first started production mixing in Hollywood, literally

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21 years ago, my boom pole was a

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paint pole from the hardware store that I

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spray-painted black.

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Oh, really?

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And then you just like somehow rigged a

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mic clip on the end of it?

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Yeah.

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I rigged like a 5-8s threaded thing

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that, you ever seen those metal brackets that

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let you add a second mic to a

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mic clip for like stereo pair?

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I just clamped that onto the end of

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the paint pole and boom, now I had

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a mic boom, you know?

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And the people that were hiring me at

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that stage of the game were low-budget

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film, really low-budget student, and they didn't

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care, they didn't know anything.

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They just knew that I was going to

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show up with a mic with a boom,

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you know?

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What was your recorder?

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Or were you recording straight into a camera?

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In that era?

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I will tell you, my very, very first

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kit working in the field was a Grace

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Audio Designs V...

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It was called the...

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What the heck was that preamp called?

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Geez.

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The Lunatec?

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The Lunatec.

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The Lunatec.

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Yeah.

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So I had a Lunatec V2 mic pre,

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which had the distinction of also being 12

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-volt powered, because it was a really popular

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field pre for dat heads.

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And dat heads were the guys that recorded

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all the Grateful Dead shows.

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Have you ever seen a picture of a

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Dead show?

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I know, all the microphones.

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Yeah.

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There'll be a sea of mics by the

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front of the house?

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It looks like an oil field from the

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20s.

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Right.

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And so they're all out there recording, you

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know, they were probably on nagras, then cassettes,

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and then obviously dats.

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So they were called dat heads.

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And so I had this preamp that my

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friend, not my friend, but my cousin, Jake,

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had actually hand-assembled at Grace when he

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worked there.

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So that was my bag mixer, quote-unquote,

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just a preamp.

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And then I had a Sony dat recorder

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that I had bought from a local guy

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that...

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Like the Walkman-sized dat recorder?

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Or the...

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It was like a D3 or something like

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this, you know?

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DT7 or something.

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Yeah.

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Yeah.

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It was a miracle it worked.

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I had a Tascam DAP-1, that was

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like the...

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Mm-hmm.

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This thing was small.

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I mean, this is really consumer-sized.

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Yeah, yours was like a Walkman-sized one,

273
00:08:55,200 --> 00:08:55,300
yeah.

274
00:08:55,300 --> 00:08:56,300
It was like that big.

275
00:08:56,380 --> 00:08:57,220
It was really small.

276
00:08:57,240 --> 00:08:57,660
It was unbalanced, yeah.

277
00:08:57,660 --> 00:08:59,700
And all that was like in some bags

278
00:08:59,700 --> 00:09:00,360
that I cobbled.

279
00:09:00,520 --> 00:09:02,180
I mean, it was a cobbled kit.

280
00:09:02,200 --> 00:09:04,060
That Sony dat player wouldn't have had timecode

281
00:09:04,060 --> 00:09:04,300
then.

282
00:09:04,360 --> 00:09:05,820
How did they deal with that?

283
00:09:06,000 --> 00:09:07,020
No, no timecode.

284
00:09:07,520 --> 00:09:09,180
No, you had to spend big money for

285
00:09:09,180 --> 00:09:10,400
timecode dats back in the day.

286
00:09:10,460 --> 00:09:12,820
The only affordable timecode dat was a Fostex.

287
00:09:13,640 --> 00:09:14,420
And that was like a $5,000.

288
00:09:15,260 --> 00:09:17,240
So what did you do to sync?

289
00:09:17,380 --> 00:09:18,760
You'd have to rely on the slate.

290
00:09:19,160 --> 00:09:19,740
It's all slate.

291
00:09:20,180 --> 00:09:20,620
It's all clapper slate.

292
00:09:20,620 --> 00:09:21,800
Yeah, short takes.

293
00:09:22,840 --> 00:09:22,940
Yeah.

294
00:09:23,320 --> 00:09:25,500
Well, and ironically, that's still how they do

295
00:09:25,500 --> 00:09:25,720
it.

296
00:09:25,780 --> 00:09:25,940
Yeah.

297
00:09:26,680 --> 00:09:28,480
Like on the budget end of things, if

298
00:09:28,480 --> 00:09:30,580
there's no timecode, a lot of the stuff

299
00:09:30,580 --> 00:09:32,320
where they're recording with like a Rode wireless

300
00:09:32,320 --> 00:09:34,100
mic and then they're shooting video on like

301
00:09:34,100 --> 00:09:36,900
a Sony camera or something, they still rely

302
00:09:36,900 --> 00:09:38,820
on just the click or the slack, you

303
00:09:38,820 --> 00:09:39,360
know, clapper.

304
00:09:39,800 --> 00:09:41,540
You couldn't scratch on the camera and then

305
00:09:41,540 --> 00:09:43,540
you sync it and when it falls out

306
00:09:43,540 --> 00:09:45,720
of sync, you put a cut and you...

307
00:09:45,720 --> 00:09:46,420
Right.

308
00:09:46,580 --> 00:09:46,700
Yeah.

309
00:09:46,700 --> 00:09:47,080
Yeah.

310
00:09:47,120 --> 00:09:48,820
The cameras all had sound because we're all

311
00:09:48,820 --> 00:09:52,320
using, you know, we're using mini DV cameras,

312
00:09:52,460 --> 00:09:52,660
right?

313
00:09:52,760 --> 00:09:54,540
We're using video cameras.

314
00:09:54,840 --> 00:09:56,460
The Canon was the big mini DV.

315
00:09:56,460 --> 00:09:56,560
Yeah.

316
00:09:56,560 --> 00:09:58,460
The Canon or the Sony.

317
00:09:59,420 --> 00:10:01,520
Panasonic actually has a really popular one at

318
00:10:01,520 --> 00:10:01,960
the time.

319
00:10:02,520 --> 00:10:02,940
So, yeah.

320
00:10:03,020 --> 00:10:04,840
So that's what we were doing for...

321
00:10:04,840 --> 00:10:07,160
That was my little window into productions mixing

322
00:10:07,160 --> 00:10:07,680
for a while.

323
00:10:07,840 --> 00:10:10,580
And I did have these three or so

324
00:10:10,580 --> 00:10:13,840
Rackspace Fostex timecodes.

325
00:10:13,840 --> 00:10:18,640
a cart that I hauled on location with

326
00:10:18,640 --> 00:10:22,580
a giant marine deep cycle battery and a

327
00:10:22,580 --> 00:10:23,380
huge inverter.

328
00:10:23,640 --> 00:10:26,040
I mean, between the three of those, it

329
00:10:26,040 --> 00:10:27,680
weighed like 120 pounds.

330
00:10:28,040 --> 00:10:30,120
I mean, and it was hauling that on

331
00:10:30,120 --> 00:10:32,340
set, you know, dragging it around.

332
00:10:32,480 --> 00:10:35,320
It was a miserable thing to use, but

333
00:10:35,320 --> 00:10:35,780
it worked.

334
00:10:36,020 --> 00:10:36,140
Yeah.

335
00:10:36,280 --> 00:10:36,480
Yeah.

336
00:10:36,820 --> 00:10:40,720
I used to do interviews, oh, this would

337
00:10:40,720 --> 00:10:41,880
be 20 years ago now when I was

338
00:10:41,880 --> 00:10:43,560
doing a syndicated radio show.

339
00:10:43,700 --> 00:10:45,200
And I'd go out and do interviews and

340
00:10:45,200 --> 00:10:46,880
I used a Sony minidisc.

341
00:10:47,280 --> 00:10:48,680
That was my interview kit.

342
00:10:48,900 --> 00:10:49,000
Yeah.

343
00:10:49,140 --> 00:10:49,240
Yeah.

344
00:10:49,320 --> 00:10:51,960
The minidiscs were really popular in radio because

345
00:10:51,960 --> 00:10:55,900
they, and also for like theatrical production because

346
00:10:55,900 --> 00:10:57,900
unlike CDs, they had instant start.

347
00:10:58,200 --> 00:11:00,000
If you queued a minidisc up and you

348
00:11:00,000 --> 00:11:02,780
hit play, it played immediately.

349
00:11:03,080 --> 00:11:04,020
So you could just boom.

350
00:11:04,200 --> 00:11:05,820
And they were popular for that reason.

351
00:11:06,320 --> 00:11:06,520
Yeah.

352
00:11:07,140 --> 00:11:08,820
Probably because you had less traveling time because

353
00:11:08,820 --> 00:11:09,560
it was so small.

354
00:11:09,700 --> 00:11:09,880
Yeah.

355
00:11:09,960 --> 00:11:10,360
I don't know.

356
00:11:10,360 --> 00:11:10,460
I don't know.

357
00:11:10,700 --> 00:11:10,800
Yeah.

358
00:11:11,160 --> 00:11:13,340
It was fun though, having a laptop there

359
00:11:13,340 --> 00:11:14,140
to record live.

360
00:11:14,300 --> 00:11:16,140
So I could like, you know, mark, log

361
00:11:16,140 --> 00:11:18,980
shots, name files, and just sort of keep

362
00:11:18,980 --> 00:11:19,080
up.

363
00:11:19,080 --> 00:11:21,040
The big app was Boom Recorder was a

364
00:11:21,040 --> 00:11:22,440
really great app on the Mac.

365
00:11:22,480 --> 00:11:24,120
I used Boom Recorder for a while.

366
00:11:24,320 --> 00:11:24,480
Yeah.

367
00:11:24,800 --> 00:11:26,440
I mean, that thing is so stable.

368
00:11:27,360 --> 00:11:28,520
It was amazing.

369
00:11:28,940 --> 00:11:30,540
I'd record- I used Reaper too, actually.

370
00:11:30,840 --> 00:11:31,000
Yeah.

371
00:11:31,060 --> 00:11:32,240
Reaper is extremely stable.

372
00:11:32,480 --> 00:11:34,680
I would, I mean, I'd use Reaper on

373
00:11:34,680 --> 00:11:36,740
the road, like live before I'd use Pro

374
00:11:36,740 --> 00:11:37,240
Tools live.

375
00:11:37,960 --> 00:11:38,200
Yeah.

376
00:11:38,280 --> 00:11:39,440
I record live bands.

377
00:11:39,440 --> 00:11:42,660
One band, they had a Mac-y mixer

378
00:11:42,660 --> 00:11:44,940
with a Firewire port on it and I

379
00:11:44,940 --> 00:11:47,160
was like, oh, that thing records 16 tracks.

380
00:11:47,260 --> 00:11:47,360
Yeah.

381
00:11:47,360 --> 00:11:49,120
I plugged it right into my laptop.

382
00:11:49,160 --> 00:11:49,620
I've done that one too.

383
00:11:49,620 --> 00:11:51,840
Loaded Reaper and recorded right off the board

384
00:11:51,840 --> 00:11:54,680
in 2005 or whatever it was, you know?

385
00:11:55,600 --> 00:11:57,160
But that's where I, that is my roots.

386
00:11:57,320 --> 00:11:59,680
My roots is live recording and remote recording.

387
00:12:00,000 --> 00:12:00,900
It always has been.

388
00:12:01,100 --> 00:12:04,080
It just, I've never had a proper studio

389
00:12:04,080 --> 00:12:06,320
and I've always just made it work, you

390
00:12:06,320 --> 00:12:06,580
know?

391
00:12:06,580 --> 00:12:08,400
And so it was just fun getting to

392
00:12:08,400 --> 00:12:10,160
do it all these years later and deliver

393
00:12:10,160 --> 00:12:10,740
the product.

394
00:12:10,880 --> 00:12:12,400
And then I just got the, I just

395
00:12:12,400 --> 00:12:12,820
got paid.

396
00:12:12,900 --> 00:12:13,600
I just saw the email.

397
00:12:14,420 --> 00:12:14,780
Nice.

398
00:12:14,960 --> 00:12:15,700
That's always the pile.

399
00:12:15,900 --> 00:12:16,000
Nice.

400
00:12:16,000 --> 00:12:16,460
Full circle.

401
00:12:17,080 --> 00:12:17,660
That's the best.

402
00:12:17,660 --> 00:12:19,200
We both started out doing kind of live

403
00:12:19,200 --> 00:12:19,460
stuff.

404
00:12:19,500 --> 00:12:22,300
I used to have my whole studio on

405
00:12:22,300 --> 00:12:23,400
a table.

406
00:12:24,200 --> 00:12:25,440
I don't know if you, did I ever

407
00:12:25,440 --> 00:12:26,080
tell you about this?

408
00:12:26,280 --> 00:12:26,580
Mm-hmm.

409
00:12:26,920 --> 00:12:27,180
Yeah.

410
00:12:27,180 --> 00:12:27,380
Yeah.

411
00:12:27,380 --> 00:12:28,480
You used to slide it into the back

412
00:12:28,480 --> 00:12:29,180
of the station wagon.

413
00:12:29,200 --> 00:12:29,300
Yeah, exactly.

414
00:12:29,520 --> 00:12:29,660
Yep.

415
00:12:29,660 --> 00:12:31,320
It was like, so I'd bring that thing

416
00:12:31,320 --> 00:12:31,620
around.

417
00:12:31,700 --> 00:12:33,680
It was like, cause I got so sick.

418
00:12:33,680 --> 00:12:34,340
On a table?

419
00:12:34,560 --> 00:12:37,140
Was it like kind of bolted down to

420
00:12:37,140 --> 00:12:37,240
a table?

421
00:12:37,320 --> 00:12:39,280
So here's exactly how it went.

422
00:12:39,500 --> 00:12:42,760
I used to, in high school, I was

423
00:12:42,760 --> 00:12:44,500
recording bands on my four track and then

424
00:12:44,500 --> 00:12:45,480
I got an eight track at the end

425
00:12:45,480 --> 00:12:45,920
of high school.

426
00:12:46,100 --> 00:12:47,700
So I was, and I'd go over to

427
00:12:47,700 --> 00:12:49,920
a band's practice place and it'd be the

428
00:12:49,920 --> 00:12:51,380
eight track and all the cables and the

429
00:12:51,380 --> 00:12:53,320
effects boxes and the compressors, and he'd spend

430
00:12:53,320 --> 00:12:56,120
half the day plugging everything back in.

431
00:12:56,400 --> 00:12:57,600
And I got sick of it.

432
00:12:57,960 --> 00:12:59,880
And I drew, I was with a friend

433
00:12:59,880 --> 00:13:01,500
at like McDonald's and I drew this thing.

434
00:13:01,500 --> 00:13:02,460
I'm like, I'm just going to set this

435
00:13:02,460 --> 00:13:02,900
all up.

436
00:13:02,920 --> 00:13:05,080
And I drew a big cartoon single plug,

437
00:13:05,240 --> 00:13:06,600
like one fucking outlet.

438
00:13:07,020 --> 00:13:07,500
That's it.

439
00:13:07,740 --> 00:13:07,840
Yeah.

440
00:13:08,000 --> 00:13:09,100
And he thought I was joking.

441
00:13:09,220 --> 00:13:10,300
And by the end of the summer, what

442
00:13:10,300 --> 00:13:13,620
I did is, it wasn't a door, but

443
00:13:13,620 --> 00:13:15,540
like this frame I built about the size

444
00:13:15,540 --> 00:13:17,720
of a door and I put the Tascam

445
00:13:17,720 --> 00:13:19,060
eight track smack in the middle of it.

446
00:13:19,160 --> 00:13:20,360
It had the mixer in the eight track

447
00:13:20,360 --> 00:13:23,040
and imagine two slanted racks on either side

448
00:13:23,040 --> 00:13:24,940
of it with one rack hovering over the

449
00:13:24,940 --> 00:13:27,540
middle and a TT patch bay on one

450
00:13:27,540 --> 00:13:28,140
side of it.

451
00:13:29,180 --> 00:13:32,320
And I mean, it was DAT recorder, all

452
00:13:32,320 --> 00:13:35,680
the compressors, everything, and, and then a mic

453
00:13:35,680 --> 00:13:38,000
panel on the back of it with a

454
00:13:38,000 --> 00:13:40,800
bunch of multi-cable, you were doing live

455
00:13:40,800 --> 00:13:41,720
to two track then?

456
00:13:41,840 --> 00:13:43,080
No, this is eight track.

457
00:13:43,360 --> 00:13:44,220
Oh, it was eight track.

458
00:13:44,380 --> 00:13:44,520
Yeah.

459
00:13:44,540 --> 00:13:44,800
Yeah.

460
00:13:44,800 --> 00:13:44,900
Yeah.

461
00:13:44,900 --> 00:13:45,540
This is eight track.

462
00:13:45,640 --> 00:13:48,840
And then took two people, like three people

463
00:13:48,840 --> 00:13:49,620
to carry this thing.

464
00:13:49,660 --> 00:13:51,040
I mean, I remember one time we're trying

465
00:13:51,040 --> 00:13:51,740
to carry it into a house.

466
00:13:51,780 --> 00:13:53,280
We just dumped the whole thing in the

467
00:13:53,280 --> 00:13:53,580
snow.

468
00:13:53,580 --> 00:13:58,900
Like, I was like, oh, but, but I

469
00:13:58,900 --> 00:14:00,960
mean, you just haul it in there and

470
00:14:00,960 --> 00:14:01,880
you, and you plop it down.

471
00:14:01,940 --> 00:14:03,160
You're like, give me an extension cable and

472
00:14:03,160 --> 00:14:04,340
let's start plugging mics in.

473
00:14:05,040 --> 00:14:07,220
And that's like a one rack space box

474
00:14:07,220 --> 00:14:07,860
and a laptop.

475
00:14:08,700 --> 00:14:10,360
So when I was in college, my friend

476
00:14:10,360 --> 00:14:14,100
had a Tascam eight bus, 24 or 32

477
00:14:14,100 --> 00:14:14,920
channel mixer.

478
00:14:15,180 --> 00:14:15,340
Yeah.

479
00:14:15,360 --> 00:14:15,520
Yeah.

480
00:14:15,560 --> 00:14:16,780
The 26.

481
00:14:17,820 --> 00:14:18,220
Maybe.

482
00:14:18,380 --> 00:14:18,600
Yeah.

483
00:14:18,800 --> 00:14:20,440
In a rat, in a road case.

484
00:14:20,520 --> 00:14:22,280
So all, you know, it was a chunky

485
00:14:22,280 --> 00:14:22,640
thing.

486
00:14:22,640 --> 00:14:22,860
Right.

487
00:14:23,220 --> 00:14:25,460
And then he also had the eight track

488
00:14:25,460 --> 00:14:27,380
reel to reel, but I eventually convinced my

489
00:14:27,380 --> 00:14:29,160
professor at Virginia Tech to let me take

490
00:14:29,160 --> 00:14:32,820
two DA88s out of the studio to do

491
00:14:32,820 --> 00:14:34,760
remotes, which still to this day, I can't

492
00:14:34,760 --> 00:14:35,960
believe you let me do that.

493
00:14:36,040 --> 00:14:37,480
This things were like 10 grand a piece

494
00:14:37,480 --> 00:14:37,980
back then.

495
00:14:39,000 --> 00:14:41,120
And I would do remotes, but the things

496
00:14:41,120 --> 00:14:42,640
I had a Ford Taurus.

497
00:14:42,940 --> 00:14:45,080
And the DA88s were the machine to use

498
00:14:45,080 --> 00:14:47,580
because unlike the ADATs, they had 120 minute

499
00:14:47,580 --> 00:14:49,920
record time and the ADATs only had 40

500
00:14:49,920 --> 00:14:50,340
minutes.

501
00:14:50,780 --> 00:14:51,320
Oh, that's right.

502
00:14:51,320 --> 00:14:53,360
I remember changing tapes at a live show.

503
00:14:53,480 --> 00:14:53,860
It was a nightmare.

504
00:14:54,420 --> 00:14:57,440
And anyway, where did that rack, where did

505
00:14:57,440 --> 00:14:58,280
the mixer go?

506
00:14:58,620 --> 00:14:59,660
It went on my roof rack.

507
00:15:00,380 --> 00:15:02,020
So it took three or four of us

508
00:15:02,020 --> 00:15:04,680
to lift that console, not the, yeah, the

509
00:15:04,680 --> 00:15:07,280
console onto the roof rack of my car,

510
00:15:07,380 --> 00:15:09,280
which I would lash to the roof and

511
00:15:09,280 --> 00:15:11,900
then drive to the club, you know, and

512
00:15:11,900 --> 00:15:13,920
then take it all apart, dig, take it

513
00:15:13,920 --> 00:15:15,560
into the club, plug it in, you know,

514
00:15:15,640 --> 00:15:17,040
it was so crazy.

515
00:15:17,040 --> 00:15:19,380
I did a live album with a Ramza

516
00:15:19,380 --> 00:15:21,580
8 bus board and two DA88s.

517
00:15:21,640 --> 00:15:22,600
Oh yeah, those were nice.

518
00:15:22,740 --> 00:15:24,000
And I was like, those were really good

519
00:15:24,000 --> 00:15:24,440
sounding ones.

520
00:15:24,600 --> 00:15:27,080
That was Panasonic's Pro line.

521
00:15:27,220 --> 00:15:28,160
Those things were sleepers.

522
00:15:28,260 --> 00:15:31,120
Actually, that's what Nirvana recorded Bleach on.

523
00:15:31,940 --> 00:15:32,400
No way.

524
00:15:32,560 --> 00:15:33,740
Yeah, those Ramza.

525
00:15:33,920 --> 00:15:36,220
Oh my God, the stories will never end.

526
00:15:36,300 --> 00:15:38,840
We have got so many because it was

527
00:15:38,840 --> 00:15:42,320
so much more interesting than just having a

528
00:15:42,320 --> 00:15:43,400
static location.

529
00:15:43,400 --> 00:15:45,440
You know, and given, if I had the

530
00:15:45,440 --> 00:15:48,480
space time budget, I would have, but we

531
00:15:48,480 --> 00:15:49,800
used the resources we had.

532
00:15:49,880 --> 00:15:51,480
It wasn't going to stop us from recording.

533
00:15:51,800 --> 00:15:53,060
We're just going to make it work.

534
00:15:53,280 --> 00:15:55,660
It was, but also one thing I'll always

535
00:15:55,660 --> 00:15:59,220
say, especially when you recorded live shows, because

536
00:15:59,220 --> 00:16:00,840
like for instance, I still have my rig

537
00:16:00,840 --> 00:16:03,000
now, which is like three, eight channel preamps,

538
00:16:03,740 --> 00:16:07,900
a Fostex 9624 recorder that goes light pipe

539
00:16:07,900 --> 00:16:10,340
out into like a M audio box that

540
00:16:10,340 --> 00:16:11,680
then feeds into a computer.

541
00:16:11,820 --> 00:16:13,780
So you get your redundant record and that's

542
00:16:13,780 --> 00:16:15,880
like, you know, 24, 32 channel set up

543
00:16:15,880 --> 00:16:16,860
depending on how you do it.

544
00:16:17,340 --> 00:16:21,040
But you record a band live and screw

545
00:16:21,040 --> 00:16:23,460
ups, mess ups, and all the energy is

546
00:16:23,460 --> 00:16:25,480
always better than what they end up doing

547
00:16:25,480 --> 00:16:26,120
in the studio.

548
00:16:26,300 --> 00:16:26,520
Yeah.

549
00:16:26,860 --> 00:16:27,080
Yeah.

550
00:16:27,160 --> 00:16:28,820
In the case of a gospel gig once,

551
00:16:28,880 --> 00:16:30,580
I remember we went back into the studio,

552
00:16:30,700 --> 00:16:33,380
had everybody come back in and do overdubs

553
00:16:33,380 --> 00:16:36,340
or not double overdubs really, but like just

554
00:16:36,340 --> 00:16:36,880
layers.

555
00:16:37,120 --> 00:16:37,340
Yeah.

556
00:16:37,380 --> 00:16:37,540
Yeah.

557
00:16:37,540 --> 00:16:37,920
Yeah.

558
00:16:37,920 --> 00:16:38,140
Yeah.

559
00:16:38,140 --> 00:16:40,040
Or, or, or fix it or fixing stuff.

560
00:16:40,320 --> 00:16:40,480
Yeah.

561
00:16:40,560 --> 00:16:42,600
I've done live recordings and fix them like,

562
00:16:42,600 --> 00:16:44,980
like overdub the vocal and then the background

563
00:16:44,980 --> 00:16:46,400
of the PA becomes a little bit of

564
00:16:46,400 --> 00:16:47,820
extra reverb for a moment.

565
00:16:47,820 --> 00:16:48,820
Cause it's not quite.

566
00:16:49,520 --> 00:16:49,940
Yeah.

567
00:16:49,960 --> 00:16:51,000
We did all that stuff.

568
00:16:51,120 --> 00:16:51,680
It was fun.

569
00:16:52,040 --> 00:16:52,720
But anyway, yeah.

570
00:16:52,760 --> 00:16:53,300
It just, yeah.

571
00:16:53,320 --> 00:16:55,140
Coming back to the roots was, was a

572
00:16:55,140 --> 00:16:55,540
blast.

573
00:16:55,880 --> 00:16:58,360
And I have to, I think I'll open

574
00:16:58,360 --> 00:17:01,640
myself up to those chance encounters from time

575
00:17:01,640 --> 00:17:03,220
to time instead of being, nah, I don't

576
00:17:03,220 --> 00:17:05,480
do that anymore because it was, it was

577
00:17:05,480 --> 00:17:05,760
fun.

578
00:17:05,760 --> 00:17:07,280
And just having a safety net of a

579
00:17:07,280 --> 00:17:09,780
secondary recorder, I could have done it with

580
00:17:09,780 --> 00:17:11,960
a passport and just, again, plugged it into

581
00:17:11,960 --> 00:17:13,599
my phone and had that be the backup.

582
00:17:14,040 --> 00:17:15,599
But I happen to have the podcast.

583
00:17:15,680 --> 00:17:16,599
Always use what's best.

584
00:17:16,819 --> 00:17:16,920
Yeah.

585
00:17:17,020 --> 00:17:17,339
Exactly.

586
00:17:17,660 --> 00:17:19,000
I don't think I'll ever go back to

587
00:17:19,000 --> 00:17:19,380
my roots.

588
00:17:19,579 --> 00:17:20,819
I could never, ever.

589
00:17:21,079 --> 00:17:22,420
Do that much cocaine ever again?

590
00:17:23,980 --> 00:17:24,920
Probably not either.

591
00:17:26,220 --> 00:17:29,080
I'd be dead, far out, you'd be burying

592
00:17:29,080 --> 00:17:29,440
me.

593
00:17:29,800 --> 00:17:32,200
Just quickly before we go, AP, talking about

594
00:17:32,200 --> 00:17:34,980
cocaine and the old days, did you see

595
00:17:34,980 --> 00:17:37,000
on Facebook there's a photo of the old

596
00:17:37,000 --> 00:17:38,560
console out of SAFM.

597
00:17:39,100 --> 00:17:41,660
They've put it in some museum, something or

598
00:17:41,660 --> 00:17:41,920
somewhere.

599
00:17:42,360 --> 00:17:44,160
And my comment on the post was, if

600
00:17:44,160 --> 00:17:45,760
only that console could talk.

601
00:17:46,120 --> 00:17:46,440
Yeah.

602
00:17:46,660 --> 00:17:48,000
Thank God it can't talk.

603
00:17:48,820 --> 00:17:50,620
That console was always high.

604
00:17:50,720 --> 00:17:50,960
Yeah.

605
00:17:51,480 --> 00:17:52,780
Probably still is, mate.

606
00:17:52,780 --> 00:17:54,200
It would have gone down there.

607
00:17:54,660 --> 00:17:56,120
You need a high pass filter on that

608
00:17:56,120 --> 00:17:56,780
one, that's for sure.

609
00:17:59,740 --> 00:18:00,560
Well, that was fun.

610
00:18:00,660 --> 00:18:01,000
Is it over?

611
00:18:02,260 --> 00:18:03,860
The Pro Audio Suite.

612
00:18:03,860 --> 00:18:07,260
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613
00:18:07,260 --> 00:18:10,520
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614
00:18:10,520 --> 00:18:11,480
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615
00:18:11,640 --> 00:18:12,840
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616
00:18:13,160 --> 00:18:14,640
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617
00:18:14,840 --> 00:18:16,460
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618
00:18:16,460 --> 00:18:16,780
Whittam.

619
00:18:16,860 --> 00:18:18,860
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620
00:18:18,860 --> 00:18:21,080
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621
00:18:21,120 --> 00:18:23,220
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622
00:18:23,220 --> 00:18:25,120
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623
00:18:25,120 --> 00:18:27,460
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