Every Breath You Take (Out): Should You De-Breath Your Audio?

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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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But today, we're not focusing on the Austrian

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Audio CC8 SC, we're talking about de-breathing.

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Should you?

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I've got a funny feeling I know where

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this is going to go, and one person

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in particular who will say, I don't like

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de-breathing.

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Well, it was this with this subject was

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actually inspired.

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Just to set this up, this is more

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the conversation than sort of should you de

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-breath or not.

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This was actually inspired by some people will

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know Toby Ricketts, who's a voiceover guy here

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in New Zealand and Australia, a really well

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-known one.

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And he actually put up a blog a

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week or two ago, and he called it

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Unseen Punctuation, how breath control engages eardrums.

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And what he sort of talked about was

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how you can use breaths as sort of

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like an emotional cue or a punctuator or

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something like that.

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And then if you automatically just go in

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and pull them out, then you're actually sort

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of kind of destroying some of the part

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of the read, you know what I mean?

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Or something that the voice actor might have

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intentionally put in as part of the read.

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So he was sort of saying, you know,

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rather than just a blanket, yes, I de

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-breath everything, should it be more of a

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controlled thing, you know, use it more as

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when it's needed and leave it alone when

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it's not, which is, to be honest, kind

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of my philosophy.

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Well, it's interesting because, look, I know what

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he's saying.

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And there are things if you're telling a

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story or it's an audio book or something

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like that kind of form, sure, leave them

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in.

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If it's a 30 second commercial, get them

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out because you're probably going to have to

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anyway to make it fit in the 30.

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But I kind of get the emotional side

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of if you're doing, narrating a film or

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a documentary or audio book or anything like

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that, a story, then yeah, sure.

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And there's also just lowering the volume of

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breath sometimes because a lot of the times

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you're just so close to the mic and

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it's out of scale, you know, out of

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perspective and it does humanise it.

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And if it's a character, you can keep

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the breath in.

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But there's definitely times when you at least

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want to lower it.

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I mean, I'm sure whoever deals with Donald

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Trump's audio does a lot of this.

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Lots of de-breathing.

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Yeah, they should just stop him breathing.

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Yeah, that would be a plus.

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I mean, my example of this would be

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I actually had to do a commercial the

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other day, which was, you know, sort of

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like a person on the street and it

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was a radio commercial.

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But if it had have been a TV

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commercial, it was supposed to be this person

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standing on a street corner spruiking X product.

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And it occurred to me when I was

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thinking about sort of doing this topic for

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the show this week then is like, if

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I had taken those breaths out, it would

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have sounded ridiculous, would have sounded like this

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poor woman's not breathing for 30 seconds.

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So I don't think you can sort of

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do a blanket, well I de-breath everything.

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You might take a breath or two out

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if you need to trim some time, you

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know, if you're looking for that, you know,

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second or two that, you know, well, probably

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not two, but second, second and a half

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that a couple of breaths can save, you

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know, that's always handy.

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Imagine if your voice talent was a free

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diver.

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You can just go for a massive lung

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capacity.

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But there is something for taking breaths out

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for time, which sometimes when you just collide

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all the words together and there's no space

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because you took the breaths out, you're actually

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better off putting that breath and that pause

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in there because it gives time for people

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to understand and to, you know, it just

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makes it sound not as fast, you know,

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compared to just a continuous barrage of words.

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One thing about that, though, is if when,

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like if I de-breath and I take

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the breath out, I replace it with room

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noise.

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Yeah, with the space.

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Exactly.

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So the space between the words are still

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there.

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You're preserving the timing.

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That's the distinction.

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Because when we talk about de-breathing, there's

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so many variations of a theme, which is

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just reducing the breath, silencing the breath or

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deleting the breath, the space the breath was

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taking, which shortens the read and changes the

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timing.

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So you just want to make sure that

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when you do it, it feels right.

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It has to still feel right.

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Yes, you can't.

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I mean, I hear so many people who

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take out breaths and just slam, you know,

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the end of sentence B, the end of

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sentence A onto the beginning of sentence B.

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And you can't just do that.

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You know, you need to, of course, you

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need, it still needs to sound natural.

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I did a, I did a session.

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This is really quite bizarre.

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And they didn't end up using my voice,

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which I thought was quite funny.

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And then it also all made sense the

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next day.

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So we're doing a session and the client

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could not, either didn't know what they wanted

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or couldn't explain what they wanted.

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But they did send me a guide, what

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I thought was a guide read on this

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film, which was a female voice.

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And I thought the read was kind of

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OK.

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I didn't really sort of get too deep

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into it, but it sounded fine to me.

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And I was kind of curious as to

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why they were going to change the voice.

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But anyway, the client said, oh, you know,

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we're really happy with that female read, just

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that some of the words were, weren't correct

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the way she pronounced them.

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So my thought was, well, why don't you

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just call her back and get drop, drop

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in the correct pronunciation?

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It wasn't until the next day and I

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was talking to my 17 year old son

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about this whole thing.

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And I played in the film and within

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10 seconds he went, that's an AI.

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Oh, really?

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I'm like, what?

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And it's like I listened again and went,

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shit, you're right.

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It is an AI.

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Hence the reason they couldn't get that person

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back to actually say the words correctly, because

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that's how the AI pronounced it.

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There you go.

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That's interesting.

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A lot of people, when they deal with

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AI and they're typing in the scripts, they

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have to misspell the words to get the

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AI to say it right.

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You write phonetics.

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Well, then the other thing about AI is

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like you over, if you over sanitize the

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audio, then you are going to creep into

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AI territory.

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And then the irony is the AIs are

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adding in all these breaths and pauses and

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little emotive snickers and things to sound more

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human, except it repeats them over and over

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and uses the same exact sing-songy delivery.

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The chat GBT does that all the time

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because, yeah, well, and then it does the

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same like rhythmic up and down over and

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over.

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So it's like, don't sound like an AI.

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Well, here's another one that was thrown to

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me the other day.

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Ray Kington, who we've talked about on the

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show before, sent me a message saying some

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revisions just don't make any sense.

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Now, if you know Ray, he's got a

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sort of similar to AP.

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He's got a really nice, deep, resonant voice.

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Right.

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And he got these revision back and it

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says the voice is a little too deep.

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Please revise so there is less bass in

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the voice.

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Also, please make the voice actor sound five

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to ten years older.

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What?

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That's actually a contradiction, because normally if you

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want to sound older, you put more bass

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in.

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You know, put a bit more.

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I know.

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Exactly.

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But it's like, right.

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As Ray said, it's sort of like, I

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think you should be maybe booking someone else.

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I don't know.

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Yeah, exactly.

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Like, far out.

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It's just crazy, isn't it?

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Yeah.

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Look, I mean, as for the deep breath

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thing, I kind of, you know, I come

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across people from time to time who seem

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to have a blanket rule on, yes, I

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take every breath out.

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And for me, that doesn't make a lot

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of sense.

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Blanket rules.

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I tend to, I must admit, when I

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if it's a 30 second ad I'm doing

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or, you know, promo or something, I have

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to add feel.

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I think it's like music.

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Yeah.

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If you don't have a feel for music

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and the rhythm of music and if you

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don't have feel, you have no business editing

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because you're just going to make it feel

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weird, feel awkward and just it'll lose its

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feel.

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You have to have a good feel for

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timing and natural pace.

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And you need to know what it's supposed

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to sound like.

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This is funny.

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A mate of mine dropped over last night.

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He's actually in the process of doing post

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on a feature documentary.

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And he just had to get away from

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00:08:48,180 --> 00:08:49,560
the computer because he was going sideways.

273
00:08:50,660 --> 00:08:52,960
But we're talking about ads and then government

274
00:08:52,960 --> 00:08:54,960
stuff where they do it in various languages.

275
00:08:55,760 --> 00:08:58,260
And so he'll get another language, like he

276
00:08:58,260 --> 00:08:59,920
might have 10 other languages that he has

277
00:08:59,920 --> 00:09:01,280
to do the edit for.

278
00:09:01,840 --> 00:09:04,380
But he's like, this one's running five seconds

279
00:09:04,380 --> 00:09:04,780
over.

280
00:09:04,860 --> 00:09:06,500
And they're going, oh, can't you edit it

281
00:09:06,500 --> 00:09:07,820
because it's in Arabic.

282
00:09:09,060 --> 00:09:10,980
How would I know what to edit?

283
00:09:11,420 --> 00:09:12,280
I have no idea.

284
00:09:12,460 --> 00:09:14,440
I remember mixing live concerts when I was

285
00:09:14,440 --> 00:09:19,060
in college that were performers from India.

286
00:09:19,680 --> 00:09:22,000
We had a large Indian population at Virginia

287
00:09:22,000 --> 00:09:22,340
Tech.

288
00:09:23,260 --> 00:09:25,700
And, you know, they would have someone from

289
00:09:25,700 --> 00:09:28,220
the tour, the tour manager or somebody would

290
00:09:28,220 --> 00:09:30,640
be sitting over my shoulder occasionally and saying,

291
00:09:30,760 --> 00:09:33,940
you know, adjust, because I'm just listening to

292
00:09:33,940 --> 00:09:36,060
a sound, you know, and I'm balancing a

293
00:09:36,060 --> 00:09:39,080
sound, but I'm not conceiving the words.

294
00:09:39,240 --> 00:09:40,880
I don't know what the heck they're saying.

295
00:09:41,020 --> 00:09:43,100
So when you don't know what they're being,

296
00:09:43,280 --> 00:09:45,120
what's being said, it's even harder to get

297
00:09:45,120 --> 00:09:47,520
a good mix because then you're not listening

298
00:09:47,520 --> 00:09:49,540
for intelligibility as much.

299
00:09:49,820 --> 00:09:51,780
At least that was my experience.

300
00:09:51,880 --> 00:09:53,760
Now, again, that was music, a little bit

301
00:09:53,760 --> 00:09:54,080
different.

302
00:09:54,320 --> 00:09:57,560
But you need to understand what's being said.

303
00:09:57,560 --> 00:09:58,440
I think it's pretty important.

304
00:09:58,440 --> 00:09:59,640
Can I understand what's being said?

305
00:09:59,760 --> 00:10:02,100
Pretty basic premise of mixing, really, isn't it?

306
00:10:02,380 --> 00:10:03,740
I was going to use an example of

307
00:10:03,740 --> 00:10:05,680
The Police.

308
00:10:06,100 --> 00:10:07,020
What's the song?

309
00:10:08,340 --> 00:10:09,820
I'm trying to think where he sits on

310
00:10:09,820 --> 00:10:12,360
the piano and then laughs in the intro.

311
00:10:13,380 --> 00:10:13,700
Yeah, yeah.

312
00:10:13,700 --> 00:10:14,460
He backed into it.

313
00:10:14,580 --> 00:10:14,940
Yeah, yeah.

314
00:10:15,000 --> 00:10:15,900
Sting backs into it.

315
00:10:16,260 --> 00:10:17,080
It's Roxanne.

316
00:10:17,380 --> 00:10:18,300
Roxanne, that's right.

317
00:10:18,560 --> 00:10:19,360
Oh, is that it?

318
00:10:19,400 --> 00:10:19,600
Yeah.

319
00:10:19,680 --> 00:10:19,980
Yeah, yeah.

320
00:10:19,980 --> 00:10:21,100
He sits on the piano and you see

321
00:10:21,100 --> 00:10:25,280
it and he goes, yeah, yeah, yeah.

322
00:10:25,360 --> 00:10:27,040
And it's like, you know, normally you go,

323
00:10:27,080 --> 00:10:27,720
oh, get rid of that.

324
00:10:27,760 --> 00:10:29,220
And they've gone, actually, that's really cool.

325
00:10:29,340 --> 00:10:30,060
Leave it in.

326
00:10:30,480 --> 00:10:33,140
Is there ever going to be mistakes and

327
00:10:33,140 --> 00:10:36,740
live mistakes and finished albums anymore?

328
00:10:37,080 --> 00:10:37,580
Probably not.

329
00:10:38,680 --> 00:10:40,020
Misplaced bass lines?

330
00:10:40,400 --> 00:10:40,560
No.

331
00:10:41,240 --> 00:10:44,340
Oh, having said that, I've just been Somerset's

332
00:10:44,340 --> 00:10:47,400
been introduced me to one of her new

333
00:10:47,400 --> 00:10:50,040
favourite bands called The Last Dinner Party.

334
00:10:51,160 --> 00:10:53,620
And they're an English all-girl band.

335
00:10:53,820 --> 00:10:55,600
They're really good, like really out there.

336
00:10:56,520 --> 00:10:57,520
They're very organic.

337
00:10:57,700 --> 00:10:58,680
In fact, when I first heard it, it

338
00:10:58,680 --> 00:11:02,940
was like, obviously their grandparents have been playing

339
00:11:02,940 --> 00:11:06,520
the music because it's very 70s and to

340
00:11:06,520 --> 00:11:09,520
the point where they did a tour and

341
00:11:09,520 --> 00:11:11,980
Somerset went with a friend to see the

342
00:11:11,980 --> 00:11:15,800
concert and they did a cover of Sparks.

343
00:11:15,800 --> 00:11:17,220
This time, big enough for the both of

344
00:11:17,220 --> 00:11:17,480
us.

345
00:11:18,280 --> 00:11:19,600
And of course, Somerset's the only person in

346
00:11:19,600 --> 00:11:22,040
the audience going, oh, my God, it's one

347
00:11:22,040 --> 00:11:23,280
of her dad's favourite songs.

348
00:11:23,700 --> 00:11:25,660
But no one else knew what the hell

349
00:11:25,660 --> 00:11:27,760
it was because it's like that song's over

350
00:11:27,760 --> 00:11:28,620
50 years old.

351
00:11:29,240 --> 00:11:33,260
Speaking of music, has anybody seen the YouTube

352
00:11:33,260 --> 00:11:34,960
video that's doing the rounds at the moment?

353
00:11:35,620 --> 00:11:39,220
There's a channel where they get famous drummers

354
00:11:39,220 --> 00:11:41,380
in and they give them a track that

355
00:11:41,380 --> 00:11:42,980
they've never heard before, but they take the

356
00:11:42,980 --> 00:11:44,380
drums out and they get them to drum

357
00:11:44,380 --> 00:11:44,780
to it.

358
00:11:44,780 --> 00:11:46,020
And then they do something different.

359
00:11:46,760 --> 00:11:49,080
Has anybody seen the one that Chad Smith

360
00:11:49,080 --> 00:11:50,960
did recently and they got him to do

361
00:11:50,960 --> 00:11:54,000
that 30 seconds to Mars track and the

362
00:11:54,000 --> 00:11:58,140
name of the song eludes me, but it's

363
00:11:58,140 --> 00:11:59,880
a really sort of heavy sort of rock

364
00:11:59,880 --> 00:12:00,200
track.

365
00:12:00,360 --> 00:12:03,940
And so Chad does this really amazing, full

366
00:12:03,940 --> 00:12:05,900
on, like it's really busy drum track.

367
00:12:06,020 --> 00:12:07,840
Like typical Chad, he's just everywhere all over

368
00:12:07,840 --> 00:12:08,140
the kit.

369
00:12:08,440 --> 00:12:09,920
But the thing, the reason I'm saying this

370
00:12:09,920 --> 00:12:12,360
is talking about Happy Accidents, he breaks a

371
00:12:12,360 --> 00:12:12,680
stick.

372
00:12:13,020 --> 00:12:14,160
He doesn't miss a beat.

373
00:12:14,160 --> 00:12:17,800
Like he's got one hand literally going all

374
00:12:17,800 --> 00:12:19,400
over the kit for about three or four

375
00:12:19,400 --> 00:12:21,200
seconds while he reaches down and grabs his

376
00:12:21,200 --> 00:12:23,480
other stick and gets going again.

377
00:12:23,820 --> 00:12:24,560
Just amazing.

378
00:12:24,720 --> 00:12:25,680
And you would never pick it.

379
00:12:25,760 --> 00:12:27,380
If you couldn't see it, you would never

380
00:12:27,380 --> 00:12:28,220
know what had happened.

381
00:12:28,620 --> 00:12:29,020
Amazing.

382
00:12:29,500 --> 00:12:31,120
They should just got the drummer from Judas

383
00:12:31,120 --> 00:12:32,740
Priest and he only needs one stick.

384
00:12:32,760 --> 00:12:34,780
Not Judas Priest, Def Leppard.

385
00:12:34,800 --> 00:12:35,760
Def Leppard, that's right.

386
00:12:36,380 --> 00:12:37,100
Def Leppard.

387
00:12:37,560 --> 00:12:38,860
If you want a bit of a laugh,

388
00:12:39,040 --> 00:12:39,800
have a look up.

389
00:12:39,860 --> 00:12:42,640
They gave him a Dua Lipa or I

390
00:12:42,640 --> 00:12:43,240
think it was Dua Lipa.

391
00:12:43,240 --> 00:12:44,980
They gave him a Dua Lipa song a

392
00:12:44,980 --> 00:12:45,820
couple of months ago.

393
00:12:46,000 --> 00:12:47,900
And it's just hilarious.

394
00:12:48,380 --> 00:12:51,300
Like he just goes completely off, like he's

395
00:12:51,300 --> 00:12:53,180
putting like a rock rhythm to this pop

396
00:12:53,180 --> 00:12:55,880
song and it's like completely crazy.

397
00:12:56,040 --> 00:12:57,000
But it still works.

398
00:12:57,080 --> 00:12:57,900
You still look at it and you go,

399
00:12:58,000 --> 00:12:59,460
oh, my God, that still works.

400
00:12:59,640 --> 00:13:00,100
That's so cool.

401
00:13:00,580 --> 00:13:01,480
It's like Stuart Copeland.

402
00:13:01,660 --> 00:13:04,120
He admits that he can't remember what the

403
00:13:04,120 --> 00:13:04,660
hell he played.

404
00:13:05,740 --> 00:13:07,500
Because it was all impromptu, everything he did

405
00:13:07,500 --> 00:13:08,520
was like, yeah, yeah.

406
00:13:08,580 --> 00:13:09,540
And it's like, I don't know what I

407
00:13:09,540 --> 00:13:09,820
just did.

408
00:13:09,880 --> 00:13:10,980
I can't do it again because I have

409
00:13:10,980 --> 00:13:11,940
no clue what I just did.

410
00:13:11,940 --> 00:13:12,380
I know.

411
00:13:12,760 --> 00:13:12,980
Yeah.

412
00:13:13,000 --> 00:13:14,560
He said, that's why I can't do, I'm

413
00:13:14,560 --> 00:13:15,500
not a studio musician.

414
00:13:15,660 --> 00:13:15,860
Yeah.

415
00:13:16,260 --> 00:13:17,960
I can't play the same take twice.

416
00:13:18,060 --> 00:13:18,260
Yeah.

417
00:13:18,840 --> 00:13:21,480
When he was interviewed by Rick Beato, that

418
00:13:21,480 --> 00:13:22,120
was a, you know.

419
00:13:22,140 --> 00:13:23,200
Oh, that was a funny interview, yeah.

420
00:13:23,200 --> 00:13:23,900
That was a great interview.

421
00:13:23,900 --> 00:13:24,520
Yeah, yeah, yeah.

422
00:13:24,800 --> 00:13:26,260
He talked about Stingo.

423
00:13:26,620 --> 00:13:27,300
Do they call him Stingo?

424
00:13:28,360 --> 00:13:28,760
Stingo?

425
00:13:28,840 --> 00:13:29,480
Yeah, Stingo.

426
00:13:30,760 --> 00:13:31,580
It's really funny.

427
00:13:31,680 --> 00:13:32,180
Oh, man.

428
00:13:32,360 --> 00:13:34,160
I wonder if they de-breathed.

429
00:13:34,640 --> 00:13:35,020
Probably.

430
00:13:35,320 --> 00:13:36,580
Only on Every Breath You Take.

431
00:13:36,980 --> 00:13:37,320
Actually.

432
00:13:38,220 --> 00:13:39,420
Ah, there you go.

433
00:13:39,480 --> 00:13:40,540
It's Every Breath You Take Out.

434
00:13:41,940 --> 00:13:45,480
Every Breath You, Edit Out Inappropriately.

435
00:13:48,000 --> 00:13:49,080
I can't breathe.

436
00:13:49,700 --> 00:13:50,520
Well, that was fun.

437
00:13:50,600 --> 00:13:50,980
Is it over?

438
00:14:11,940 --> 00:14:14,100
Suggest a topic or just say g'day.

439
00:14:14,200 --> 00:14:15,680
Drop us a note at our website.

440
00:14:16,400 --> 00:14:17,440
ProAudioSuite.com