Oct. 21, 2024
Exploring Waves Curves Equator – Is AI Changing the EQ Game?
In this episode, Robbo, George, AP, and Robert Marshall take a deep dive into Waves' newest AI-driven plugin: Waves Curves Equator. It’s an innovative EQ that analyzes your audio and creates custom EQ curves based on what it “hears.” We break...
In this episode, Robbo, George, AP, and Robert Marshall take a deep dive into Waves' newest AI-driven plugin: Waves Curves Equator. It’s an innovative EQ that analyzes your audio and creates custom EQ curves based on what it “hears.” We break down its features, test it on Andrew Peters' voiceover, and explore how it could change the way we handle EQ.
Discussion highlights:
- How AI EQ works and its real-world applications
- Robbo’s first impressions using Waves Curves Equator
- Automating EQ for radio imaging and other applications
- Will AI-driven plugins take over more of the audio workflow?
We also explore some fun presets and discuss how AI might shape the future of audio production.
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- Source Elements: Making remote production seamless
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See the video version of this episode here: https://youtu.be/kYbc9Dzz2yQ
Show Notes Links:
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“When the going gets weird, the weird turn professional.”
Hunter S Thompson
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(Transcribed by TurboScribe.ai. Go Unlimited to remove this message.) And welcome to another Pro Audio Suite.
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Don't forget, if you want to get a
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00:00:03,720 --> 00:00:08,140
discount on your Tribooth, use the code TRIPAP200
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00:00:08,140 --> 00:00:10,300
and that will get you 200 US dollars
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off your Tribooth.
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And they're used by the stars in the
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voiceover industry.
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Trust me, they're good.
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And also Austrian Audio, making passion heard.
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Robbo has been playing with some new gear.
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What have you got Robbo?
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Let's go.
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Welcome.
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Hi.
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Hi.
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Hi.
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Hello everyone.
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To the Pro Audio Suite.
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These guys are professional, they're motivated.
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With Tech the VO stars, George Witton, founder
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of Source Elements, Robert Marshall, international audio engineer,
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Darren Robbo Robertson, and global voice, Andrew Peters.
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Thanks to Tribooth, Austrian Audio, making passion heard,
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Source Elements, George the Tech Witton, and Robbo
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and AP's international demos.
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To find out more about us, check the
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ProAudioSuite.com.
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Yeah, and I've only been playing with it.
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I haven't used it in anything.
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So I'm by no means an expert with
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this.
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But Gomez said to me that I should
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load up the curves, the new waves curves.
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I think I thought it was just curves,
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but it could be curves equator, could be
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wrong.
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By the way, thank you.
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Thank you, George.
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For those who don't, and he is also
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the head of training and development at waves.
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So he's an old mate of Andrew's and
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mine.
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We worked together back a long time ago
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in radio days.
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So he's an old friend of mine.
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And he said, anyway, he wrote me an
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email, said, you should check this out.
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So I, out of respect for Gomez, I've
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loaded it up a couple of times and
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had to play with it.
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I'm yet to get my head around it.
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Effectively, what it is, though, is an AI
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EQ.
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So effectively, what you can do is show
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the plugin, your audio, which is the same
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as you would do if you were sort
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of showing silence in a noise reduction plugin
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or whatever, and it will have a look
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at it.
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And then you can create all sorts of
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curves around what it's seeing.
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Yeah, throw it up on screen.
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I've got it open here in my Pro
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Tools session.
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So I've just dragged in, this is an
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old opener that AP voiced for the show,
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just because I don't want to piss anybody
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off by using their voiceover for things it
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wasn't authorized for.
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Good idea.
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Good idea.
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So AP, I guess you'll have to send
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the show the bill for this one.
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I'll charge myself.
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Charge yourself.
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That's why.
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So you can see it looks like any
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other sort of EQ there.
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So from what I gather, without having played
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with it too much, that you give it
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this learn command, right?
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And so now it's listening to my audio.
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Welcome to the Pro Audio Suite with Tech
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to the VO Stars, George Whittam.
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Right.
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And then from it's so now it's basically
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calibrated itself to Andrew's voice is what I
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sort of, and then when I click apply,
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I now get this.
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So, and then I kind of, what I
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kind of figured from here is you can
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sort of draw, you can sort of change
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your curve.
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Welcome to the Pro Audio Suite with Tech
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to the VO Stars, George Whittam.
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Welcome to the Pro Audio Suite.
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And this tilt thing's interesting because you can
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sort of, you know, if you want a
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sort of general sort of broad sort of
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butter knife sort of thing, you can sort
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of just do that.
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And then you've got your shape, which is
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your cue and all that sort of stuff.
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And then the sensitivity.
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So outside of that, I've not figured out
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a lot more.
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There's, there are these advanced controls down here,
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attack and release times and, and all that
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sort of gear.
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Interestingly, before we started recording, we were mucking
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around with the, with the presets and the
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one that I loaded up, this one, this
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airy backing vocals thing, which I kind of
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found really interesting.
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So if you.
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Welcome to the Pro Audio Suite with Tech
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to the VO Stars, George Whittam.
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So that's with it in.
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And then if I take it off.
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Welcome to the Pro Audio Suite with Tech
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to the VO Stars.
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Well, what's interesting is the image of the
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curve.
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It didn't change that much.
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It still has that same low cut on
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the bottom.
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And then it just sort of the mid
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range kind of.
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Yeah.
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Popped up a little bit or it pulled
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down.
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The thing about these tools is, you know,
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they are such new paradigms of ways of
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doing things that all of us grizzled engineers.
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Yeah.
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Yeah.
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Yeah.
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What do I do with this?
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Whereas like, I think a lot of like
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younger producers, engineers, people learning, you know, are
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way less afraid and just kind of grab
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and yank and just start pulling and twisting
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knobs, you know, the world we're looking at
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and going, I don't really what's.
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Yeah.
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Well, the interesting thing that I understand and
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I'm pretty sure I'm reading Gomez right that
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if you if you if you sidechain something
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to hear.
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And get it to learn that it will
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actually adjust your.
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So say this say this was your vocal.
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What we're looking at here or AP was
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it was your vocal.
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It will actually adjust AP's vocal to sit
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it, sit it in the mix sort of
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thing.
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So what it's listening to, it's going to
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listen to that and go, OK, well, I'm
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now going to EQ this in relation to
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what I'm hearing there.
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That's where things get a lot more interesting
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because when it can listen.
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Yeah.
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It listens to the context that it's in.
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And make some judgment calls.
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And being AI, it will adjust as it
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goes to, you know, sort of thing.
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So rather than sitting there and drawing a
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million bits of automation, because for me, in
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radio imaging, say, for example, I've used a
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music bed at the start of this different
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one in the middle and a different one
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at the end.
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And so I'm drawing EQ, automating EQ curves
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in Pro Tools from what I understand.
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And Gomez, please correct me if I'm wrong.
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From what I understand, though, that will be
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a thing of the past.
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I will just set how I want Andrew
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to sound and then go, OK, you adjust
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that to keep it there as it goes
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through or to keep it sound interesting.
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Whoa, that's cool.
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So, yeah, it's pretty clever.
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It's kind of small on my screen, but
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can you tell us what the bottom five
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knobs do?
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Yeah, so down there, this is attack, release,
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precision, tilt frequency.
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So I presume that's where the tilt starts
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from.
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So if you do this tilt function, so
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I can tell it, well, I actually want
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to tilt it further back that way.
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Yeah, yeah.
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Or whatever.
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Way down there.
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Yeah.
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Oh, now it's tilting it around that way.
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And it seems you're right, George.
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It seems to be just around the mid
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range too.
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So.
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So, yeah.
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And then you've got a curve smooth, which
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is obviously smoothing out those rather than being
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so harsh.
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It's just smoothing our curve out.
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So if you turn all the way to
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the left, you have a lot more little
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bumps.
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So all the way to the right, it's
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getting closer to a straight line all the
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way to the left.
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And it's a bumpy mountain.
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And the other cool one here is auto
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makeup.
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So that's sort of almost like you're also
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automated volume control.
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So it's sort of, you know, making sure
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that it stays.
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So that sounds to me like.
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Well, it does have a limiter.
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That's here.
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That's the limiter.
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There's a limiter here.
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Limiter on off.
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Audio, audio makeup, I'm presuming is like a
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threshold on your, on your, on a compressor.
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Yeah.
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Here I was thinking it was just an
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EQ.
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It's got a little dynamics thing here as
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well.
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So these I'm yet to work out.
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Pink, warm, flat, George, you might have a
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little more of an idea what they might
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do.
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Say again.
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And flat.
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Pink, warm, flat.
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There's nothing visual.
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That's a shape thing.
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So yeah, there's something happening in the background
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there that I'm yet to figure out what
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that's doing.
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Well, for that, I'm going to have to
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RTFM.
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Read the fracking manual.
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Yes, exactly.
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Who would do that?
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Yeah.
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I'm that sort of person that doesn't learn
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from reading.
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I'm better off just sitting down and playing
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with it and figuring it out.
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But I have to say Waves, yet again,
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even though Gomez is a mate, very cool.
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I mean, clarity and de-reverb more and
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more finding their way into my workflow.
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Not so much de-reverb, but certainly clarity
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because it's just so easy.
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Just throw it on a track, dial it
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in and move on.
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Yeah.
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Yeah.
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I mean, how often would you need to
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de-reverb if you're working with most professionals?
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But it's there and it is good.
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I mean, actually, there is one place that
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I use de-reverb is like on listener
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punter grabs and all that sort of stuff.
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If someone's been running around the office to
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record punter grabs or whatever, and they sort
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of send me to go in a promo,
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it's easy to throw that on there and
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clean it up a bit better.
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But yeah, on a day-to-day basis,
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I'm really not using de-reverb at all,
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but it's frigging good as you know.
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It's funny actually, whoever did the design, the
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color of the new waves app, it looks
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like they've been looking at an old Vox
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amp from the 60s.
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Yeah, it kind of does a bit, doesn't
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it?
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Vox amps, yeah, that's what it looks like.
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So the obvious question from here is if
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we're automating EQs, does that mean that we're
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automating compression next?
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Do you reckon with AI?
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We'll be automating everything.
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Yeah.
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Probably.
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It's like, I think we're going to build
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a whole rack of automated tools eventually and
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00:09:09,070 --> 00:09:11,210
just say, learn, sidechain.
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Yeah, I agree.
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Yeah, scary.
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00:09:13,890 --> 00:09:16,450
So let's say maybe we need to form
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an audio engineers union, like the voiceover union,
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and start fighting this AI curse.
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I mean, hey, you're doing this out of
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00:09:23,170 --> 00:09:23,610
a job.
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00:09:23,970 --> 00:09:26,110
But before you do actually jump to automation,
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we should mention our competition where you can
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do a mix not using AI.
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00:09:31,410 --> 00:09:32,750
Or you could use AI.
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00:09:34,150 --> 00:09:35,670
Yeah, well, I suppose, but who do we
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00:09:35,670 --> 00:09:36,890
give the headphones to if they win?
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00:09:37,450 --> 00:09:38,090
I guess we do.
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00:09:38,370 --> 00:09:39,310
Well, the robot.
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00:09:39,790 --> 00:09:41,370
Yeah, the robot gets a free pair of
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headphones.
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00:09:42,610 --> 00:09:43,950
But if you'd like a pair of Hi
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00:09:43,950 --> 00:09:47,550
-X20s, go to our website, theprobabilityofsweet.com slash
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00:09:47,550 --> 00:09:49,830
win, and we'd love to hear your mix.
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00:09:50,530 --> 00:09:52,170
It's not a quality based thing either.
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00:09:52,330 --> 00:09:53,910
What we want to hear is just, you
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00:09:53,910 --> 00:09:55,110
know, you're having some fun.
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00:09:55,190 --> 00:09:57,290
I mean, if you don't like Andrew's voice,
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00:09:57,390 --> 00:09:58,410
take it out, put your own in.
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00:09:58,410 --> 00:09:59,810
Or if you think the sound effects that
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00:09:59,810 --> 00:10:01,150
I put in there are crap, take it
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00:10:01,150 --> 00:10:01,950
out and put your own in.
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00:10:01,950 --> 00:10:03,970
Or if you think, you know, the music's
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00:10:03,970 --> 00:10:05,010
not right, put your own in there.
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00:10:05,050 --> 00:10:06,270
Have some fun with it, seriously.
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00:10:06,950 --> 00:10:08,670
I don't think people knew this was part
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00:10:08,670 --> 00:10:09,510
of the rules now.
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00:10:09,710 --> 00:10:11,650
I think that clearly takes it in a
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00:10:11,650 --> 00:10:12,270
whole other direction.
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00:10:12,670 --> 00:10:13,730
So yeah, I mean, we're just sort of
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00:10:13,730 --> 00:10:14,450
glossing over it here.
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00:10:14,490 --> 00:10:15,610
But if you look at the website, all
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00:10:15,610 --> 00:10:16,150
the rules are there.
338
00:10:16,230 --> 00:10:17,650
But yeah, we don't want to, we want
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00:10:17,650 --> 00:10:18,970
this to be open for everybody.
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00:10:19,090 --> 00:10:20,510
So if you're a voiceover artist or a
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00:10:20,510 --> 00:10:22,210
podcaster sitting at home going, well, that's not
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for me.
343
00:10:23,130 --> 00:10:24,110
It's absolutely for you.
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00:10:24,730 --> 00:10:27,810
We're not looking for the most pristine, precise
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00:10:27,810 --> 00:10:28,150
mix.
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00:10:28,150 --> 00:10:29,850
We're looking for, you know, just something that
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00:10:29,850 --> 00:10:30,370
sounds good.
348
00:10:30,490 --> 00:10:31,750
And you've had some fun.
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00:10:32,130 --> 00:10:32,490
Yeah.
350
00:10:32,650 --> 00:10:36,370
Represents you, your creativity or just where you
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00:10:36,370 --> 00:10:38,090
are in your journey, whether you're a beginner,
352
00:10:38,510 --> 00:10:39,830
pro or whatever, you know.
353
00:10:40,510 --> 00:10:42,130
I'm hanging out to hear some of the
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00:10:42,130 --> 00:10:42,570
results.
355
00:10:43,090 --> 00:10:44,630
And will we get, will we hear the
356
00:10:44,630 --> 00:10:46,150
final results or are we going to hear
357
00:10:46,150 --> 00:10:47,110
like the top three?
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00:10:47,290 --> 00:10:49,610
Three maybe, because, you know, if we get,
359
00:10:49,630 --> 00:10:51,310
you know, a hundred, I don't think we,
360
00:10:51,470 --> 00:10:54,350
I'll cut it down to maybe 30, 20
361
00:10:54,350 --> 00:10:55,990
or 30 and then share them between us.
362
00:10:55,990 --> 00:10:59,170
And then leave the sort of top 10
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00:10:59,170 --> 00:11:00,730
for the top.
364
00:11:01,010 --> 00:11:01,130
Yeah.
365
00:11:01,170 --> 00:11:02,090
Let them do the top.
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00:11:02,230 --> 00:11:03,130
Because I don't think anyone will.
367
00:11:03,130 --> 00:11:03,450
Got it.
368
00:11:03,770 --> 00:11:04,110
Okay.
369
00:11:04,190 --> 00:11:05,670
And then we can maybe feature the top
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00:11:05,670 --> 00:11:05,770
three or something.
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00:11:05,770 --> 00:11:06,930
Yeah, and maybe pick out a couple of
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00:11:06,930 --> 00:11:08,730
randoms or, you know, those that are those
373
00:11:08,730 --> 00:11:10,650
special mentions or something too, I suppose.
374
00:11:10,890 --> 00:11:11,110
Yeah.
375
00:11:11,390 --> 00:11:11,670
Yeah.
376
00:11:11,670 --> 00:11:13,930
Like, wow, this person replaced Andrew's voice with
377
00:11:13,930 --> 00:11:14,490
a donkey.
378
00:11:14,670 --> 00:11:15,010
Exactly.
379
00:11:15,690 --> 00:11:17,750
Well, I mean, what's the difference?
380
00:11:18,690 --> 00:11:20,110
I'm not trying to give you guys any
381
00:11:20,110 --> 00:11:21,050
ideas or anything.
382
00:11:21,050 --> 00:11:21,570
I suppose.
383
00:11:22,030 --> 00:11:22,290
But you know.
384
00:11:22,290 --> 00:11:23,370
Ha ha ha ha ha.
385
00:11:23,490 --> 00:11:24,310
At least I'm not on YouTube.
386
00:11:24,490 --> 00:11:24,630
Ah.
387
00:11:24,790 --> 00:11:25,030
Yeah.
388
00:11:51,050 --> 00:11:53,350
ProaudioSuite.com
00:00:00,360 --> 00:00:01,860
(Transcribed by TurboScribe.ai. Go Unlimited to remove this message.) And welcome to another Pro Audio Suite.
2
00:00:02,020 --> 00:00:03,720
Don't forget, if you want to get a
3
00:00:03,720 --> 00:00:08,140
discount on your Tribooth, use the code TRIPAP200
4
00:00:08,140 --> 00:00:10,300
and that will get you 200 US dollars
5
00:00:10,300 --> 00:00:11,860
off your Tribooth.
6
00:00:12,040 --> 00:00:13,780
And they're used by the stars in the
7
00:00:13,780 --> 00:00:14,560
voiceover industry.
8
00:00:15,320 --> 00:00:16,220
Trust me, they're good.
9
00:00:16,600 --> 00:00:19,460
And also Austrian Audio, making passion heard.
10
00:00:20,080 --> 00:00:22,160
Robbo has been playing with some new gear.
11
00:00:22,420 --> 00:00:23,380
What have you got Robbo?
12
00:00:28,050 --> 00:00:28,910
Let's go.
13
00:00:29,790 --> 00:00:30,310
Welcome.
14
00:00:30,610 --> 00:00:30,710
Hi.
15
00:00:30,890 --> 00:00:31,110
Hi.
16
00:00:31,330 --> 00:00:31,650
Hi.
17
00:00:31,810 --> 00:00:32,890
Hello everyone.
18
00:00:33,350 --> 00:00:34,630
To the Pro Audio Suite.
19
00:00:34,730 --> 00:00:36,770
These guys are professional, they're motivated.
20
00:00:36,950 --> 00:00:39,550
With Tech the VO stars, George Witton, founder
21
00:00:39,550 --> 00:00:42,630
of Source Elements, Robert Marshall, international audio engineer,
22
00:00:42,750 --> 00:00:45,430
Darren Robbo Robertson, and global voice, Andrew Peters.
23
00:00:45,650 --> 00:00:48,550
Thanks to Tribooth, Austrian Audio, making passion heard,
24
00:00:48,690 --> 00:00:51,670
Source Elements, George the Tech Witton, and Robbo
25
00:00:51,670 --> 00:00:53,450
and AP's international demos.
26
00:00:53,550 --> 00:00:55,010
To find out more about us, check the
27
00:00:55,010 --> 00:00:56,510
ProAudioSuite.com.
28
00:01:00,590 --> 00:01:02,670
Yeah, and I've only been playing with it.
29
00:01:02,750 --> 00:01:03,910
I haven't used it in anything.
30
00:01:04,069 --> 00:01:05,630
So I'm by no means an expert with
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00:01:05,630 --> 00:01:05,850
this.
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00:01:06,010 --> 00:01:08,710
But Gomez said to me that I should
33
00:01:08,710 --> 00:01:13,470
load up the curves, the new waves curves.
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00:01:13,610 --> 00:01:14,850
I think I thought it was just curves,
35
00:01:14,930 --> 00:01:16,490
but it could be curves equator, could be
36
00:01:16,490 --> 00:01:16,730
wrong.
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00:01:17,330 --> 00:01:20,090
By the way, thank you.
38
00:01:20,210 --> 00:01:21,030
Thank you, George.
39
00:01:21,150 --> 00:01:25,790
For those who don't, and he is also
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00:01:25,790 --> 00:01:27,990
the head of training and development at waves.
41
00:01:28,350 --> 00:01:33,110
So he's an old mate of Andrew's and
42
00:01:33,110 --> 00:01:33,310
mine.
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00:01:33,410 --> 00:01:36,270
We worked together back a long time ago
44
00:01:36,270 --> 00:01:36,990
in radio days.
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00:01:37,090 --> 00:01:38,450
So he's an old friend of mine.
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00:01:38,510 --> 00:01:40,950
And he said, anyway, he wrote me an
47
00:01:40,950 --> 00:01:42,330
email, said, you should check this out.
48
00:01:42,590 --> 00:01:44,630
So I, out of respect for Gomez, I've
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00:01:44,630 --> 00:01:45,850
loaded it up a couple of times and
50
00:01:45,850 --> 00:01:46,430
had to play with it.
51
00:01:46,470 --> 00:01:47,930
I'm yet to get my head around it.
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00:01:48,470 --> 00:01:50,570
Effectively, what it is, though, is an AI
53
00:01:50,570 --> 00:01:51,070
EQ.
54
00:01:52,050 --> 00:01:54,610
So effectively, what you can do is show
55
00:01:54,610 --> 00:01:58,790
the plugin, your audio, which is the same
56
00:01:58,790 --> 00:02:00,010
as you would do if you were sort
57
00:02:00,010 --> 00:02:02,790
of showing silence in a noise reduction plugin
58
00:02:02,790 --> 00:02:04,610
or whatever, and it will have a look
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00:02:04,610 --> 00:02:04,850
at it.
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00:02:04,930 --> 00:02:06,450
And then you can create all sorts of
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00:02:06,450 --> 00:02:09,350
curves around what it's seeing.
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00:02:09,610 --> 00:02:10,450
Yeah, throw it up on screen.
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00:02:10,670 --> 00:02:11,850
I've got it open here in my Pro
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00:02:11,850 --> 00:02:12,370
Tools session.
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00:02:12,530 --> 00:02:14,110
So I've just dragged in, this is an
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00:02:14,110 --> 00:02:16,930
old opener that AP voiced for the show,
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00:02:16,990 --> 00:02:18,430
just because I don't want to piss anybody
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00:02:18,430 --> 00:02:20,290
off by using their voiceover for things it
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00:02:20,290 --> 00:02:21,230
wasn't authorized for.
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00:02:21,870 --> 00:02:22,310
Good idea.
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00:02:22,490 --> 00:02:22,830
Good idea.
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00:02:23,130 --> 00:02:24,990
So AP, I guess you'll have to send
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00:02:24,990 --> 00:02:26,250
the show the bill for this one.
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I'll charge myself.
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Charge yourself.
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00:02:29,590 --> 00:02:29,790
That's why.
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00:02:30,650 --> 00:02:31,750
So you can see it looks like any
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00:02:31,750 --> 00:02:33,030
other sort of EQ there.
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00:02:33,550 --> 00:02:36,890
So from what I gather, without having played
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00:02:36,890 --> 00:02:38,370
with it too much, that you give it
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00:02:38,370 --> 00:02:40,610
this learn command, right?
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00:02:40,670 --> 00:02:42,490
And so now it's listening to my audio.
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00:02:42,750 --> 00:02:45,290
Welcome to the Pro Audio Suite with Tech
84
00:02:45,290 --> 00:02:47,270
to the VO Stars, George Whittam.
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00:02:47,710 --> 00:02:48,190
Right.
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00:02:48,310 --> 00:02:51,790
And then from it's so now it's basically
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00:02:51,790 --> 00:02:55,310
calibrated itself to Andrew's voice is what I
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00:02:55,310 --> 00:02:57,230
sort of, and then when I click apply,
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00:02:57,630 --> 00:02:58,990
I now get this.
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00:03:00,430 --> 00:03:02,590
So, and then I kind of, what I
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00:03:02,590 --> 00:03:03,930
kind of figured from here is you can
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00:03:03,930 --> 00:03:06,010
sort of draw, you can sort of change
93
00:03:06,010 --> 00:03:06,410
your curve.
94
00:03:06,650 --> 00:03:08,710
Welcome to the Pro Audio Suite with Tech
95
00:03:08,710 --> 00:03:10,650
to the VO Stars, George Whittam.
96
00:03:10,650 --> 00:03:12,610
Welcome to the Pro Audio Suite.
97
00:03:12,750 --> 00:03:14,530
And this tilt thing's interesting because you can
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00:03:14,530 --> 00:03:15,650
sort of, you know, if you want a
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00:03:15,650 --> 00:03:18,690
sort of general sort of broad sort of
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00:03:18,690 --> 00:03:21,470
butter knife sort of thing, you can sort
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of just do that.
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And then you've got your shape, which is
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your cue and all that sort of stuff.
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And then the sensitivity.
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00:03:27,010 --> 00:03:29,510
So outside of that, I've not figured out
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00:03:29,510 --> 00:03:29,970
a lot more.
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00:03:30,070 --> 00:03:31,910
There's, there are these advanced controls down here,
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00:03:31,990 --> 00:03:34,170
attack and release times and, and all that
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00:03:34,170 --> 00:03:34,690
sort of gear.
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00:03:35,630 --> 00:03:37,770
Interestingly, before we started recording, we were mucking
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00:03:37,770 --> 00:03:41,370
around with the, with the presets and the
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00:03:41,370 --> 00:03:43,170
one that I loaded up, this one, this
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00:03:43,170 --> 00:03:45,170
airy backing vocals thing, which I kind of
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00:03:45,170 --> 00:03:45,990
found really interesting.
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00:03:46,270 --> 00:03:47,390
So if you.
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00:03:48,050 --> 00:03:50,370
Welcome to the Pro Audio Suite with Tech
117
00:03:50,370 --> 00:03:52,270
to the VO Stars, George Whittam.
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00:03:52,450 --> 00:03:53,190
So that's with it in.
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00:03:53,470 --> 00:03:54,570
And then if I take it off.
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00:03:54,910 --> 00:03:57,310
Welcome to the Pro Audio Suite with Tech
121
00:03:57,310 --> 00:03:58,170
to the VO Stars.
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00:03:58,850 --> 00:04:00,630
Well, what's interesting is the image of the
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curve.
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00:04:01,070 --> 00:04:02,290
It didn't change that much.
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00:04:02,310 --> 00:04:05,290
It still has that same low cut on
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the bottom.
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00:04:06,150 --> 00:04:07,690
And then it just sort of the mid
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range kind of.
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00:04:09,030 --> 00:04:09,290
Yeah.
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00:04:09,650 --> 00:04:12,070
Popped up a little bit or it pulled
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down.
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00:04:13,190 --> 00:04:15,329
The thing about these tools is, you know,
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00:04:15,329 --> 00:04:18,190
they are such new paradigms of ways of
134
00:04:18,190 --> 00:04:21,330
doing things that all of us grizzled engineers.
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Yeah.
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Yeah.
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Yeah.
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What do I do with this?
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Whereas like, I think a lot of like
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younger producers, engineers, people learning, you know, are
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way less afraid and just kind of grab
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and yank and just start pulling and twisting
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knobs, you know, the world we're looking at
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and going, I don't really what's.
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Yeah.
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Well, the interesting thing that I understand and
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I'm pretty sure I'm reading Gomez right that
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if you if you if you sidechain something
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to hear.
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And get it to learn that it will
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actually adjust your.
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So say this say this was your vocal.
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What we're looking at here or AP was
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it was your vocal.
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It will actually adjust AP's vocal to sit
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it, sit it in the mix sort of
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thing.
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So what it's listening to, it's going to
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listen to that and go, OK, well, I'm
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now going to EQ this in relation to
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what I'm hearing there.
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That's where things get a lot more interesting
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because when it can listen.
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Yeah.
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It listens to the context that it's in.
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And make some judgment calls.
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And being AI, it will adjust as it
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goes to, you know, sort of thing.
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So rather than sitting there and drawing a
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million bits of automation, because for me, in
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radio imaging, say, for example, I've used a
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music bed at the start of this different
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one in the middle and a different one
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at the end.
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And so I'm drawing EQ, automating EQ curves
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in Pro Tools from what I understand.
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And Gomez, please correct me if I'm wrong.
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From what I understand, though, that will be
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a thing of the past.
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I will just set how I want Andrew
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to sound and then go, OK, you adjust
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that to keep it there as it goes
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through or to keep it sound interesting.
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Whoa, that's cool.
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So, yeah, it's pretty clever.
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It's kind of small on my screen, but
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can you tell us what the bottom five
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knobs do?
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Yeah, so down there, this is attack, release,
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precision, tilt frequency.
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So I presume that's where the tilt starts
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from.
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So if you do this tilt function, so
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I can tell it, well, I actually want
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to tilt it further back that way.
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Yeah, yeah.
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Or whatever.
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Way down there.
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Yeah.
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Oh, now it's tilting it around that way.
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And it seems you're right, George.
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It seems to be just around the mid
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range too.
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So.
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So, yeah.
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And then you've got a curve smooth, which
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is obviously smoothing out those rather than being
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so harsh.
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It's just smoothing our curve out.
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So if you turn all the way to
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the left, you have a lot more little
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bumps.
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So all the way to the right, it's
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getting closer to a straight line all the
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way to the left.
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And it's a bumpy mountain.
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And the other cool one here is auto
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makeup.
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So that's sort of almost like you're also
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automated volume control.
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So it's sort of, you know, making sure
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that it stays.
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So that sounds to me like.
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Well, it does have a limiter.
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That's here.
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That's the limiter.
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There's a limiter here.
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Limiter on off.
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Audio, audio makeup, I'm presuming is like a
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threshold on your, on your, on a compressor.
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Yeah.
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Here I was thinking it was just an
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EQ.
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It's got a little dynamics thing here as
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well.
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So these I'm yet to work out.
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Pink, warm, flat, George, you might have a
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little more of an idea what they might
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do.
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Say again.
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And flat.
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Pink, warm, flat.
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There's nothing visual.
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That's a shape thing.
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So yeah, there's something happening in the background
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there that I'm yet to figure out what
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that's doing.
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Well, for that, I'm going to have to
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RTFM.
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Read the fracking manual.
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Yes, exactly.
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Who would do that?
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Yeah.
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I'm that sort of person that doesn't learn
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from reading.
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I'm better off just sitting down and playing
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with it and figuring it out.
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But I have to say Waves, yet again,
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even though Gomez is a mate, very cool.
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I mean, clarity and de-reverb more and
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more finding their way into my workflow.
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Not so much de-reverb, but certainly clarity
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because it's just so easy.
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Just throw it on a track, dial it
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in and move on.
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Yeah.
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Yeah.
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I mean, how often would you need to
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de-reverb if you're working with most professionals?
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But it's there and it is good.
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I mean, actually, there is one place that
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I use de-reverb is like on listener
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punter grabs and all that sort of stuff.
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If someone's been running around the office to
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record punter grabs or whatever, and they sort
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of send me to go in a promo,
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it's easy to throw that on there and
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clean it up a bit better.
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But yeah, on a day-to-day basis,
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I'm really not using de-reverb at all,
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but it's frigging good as you know.
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It's funny actually, whoever did the design, the
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color of the new waves app, it looks
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like they've been looking at an old Vox
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amp from the 60s.
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Yeah, it kind of does a bit, doesn't
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it?
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Vox amps, yeah, that's what it looks like.
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So the obvious question from here is if
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we're automating EQs, does that mean that we're
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automating compression next?
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Do you reckon with AI?
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We'll be automating everything.
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Yeah.
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Probably.
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It's like, I think we're going to build
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a whole rack of automated tools eventually and
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00:09:09,070 --> 00:09:11,210
just say, learn, sidechain.
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Yeah, I agree.
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Yeah, scary.
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00:09:13,890 --> 00:09:16,450
So let's say maybe we need to form
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an audio engineers union, like the voiceover union,
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and start fighting this AI curse.
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00:09:21,650 --> 00:09:23,170
I mean, hey, you're doing this out of
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00:09:23,170 --> 00:09:23,610
a job.
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00:09:23,970 --> 00:09:26,110
But before you do actually jump to automation,
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we should mention our competition where you can
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do a mix not using AI.
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00:09:31,410 --> 00:09:32,750
Or you could use AI.
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00:09:34,150 --> 00:09:35,670
Yeah, well, I suppose, but who do we
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00:09:35,670 --> 00:09:36,890
give the headphones to if they win?
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00:09:37,450 --> 00:09:38,090
I guess we do.
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00:09:38,370 --> 00:09:39,310
Well, the robot.
314
00:09:39,790 --> 00:09:41,370
Yeah, the robot gets a free pair of
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00:09:41,370 --> 00:09:41,710
headphones.
316
00:09:42,610 --> 00:09:43,950
But if you'd like a pair of Hi
317
00:09:43,950 --> 00:09:47,550
-X20s, go to our website, theprobabilityofsweet.com slash
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00:09:47,550 --> 00:09:49,830
win, and we'd love to hear your mix.
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00:09:50,530 --> 00:09:52,170
It's not a quality based thing either.
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00:09:52,330 --> 00:09:53,910
What we want to hear is just, you
321
00:09:53,910 --> 00:09:55,110
know, you're having some fun.
322
00:09:55,190 --> 00:09:57,290
I mean, if you don't like Andrew's voice,
323
00:09:57,390 --> 00:09:58,410
take it out, put your own in.
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00:09:58,410 --> 00:09:59,810
Or if you think the sound effects that
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00:09:59,810 --> 00:10:01,150
I put in there are crap, take it
326
00:10:01,150 --> 00:10:01,950
out and put your own in.
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00:10:01,950 --> 00:10:03,970
Or if you think, you know, the music's
328
00:10:03,970 --> 00:10:05,010
not right, put your own in there.
329
00:10:05,050 --> 00:10:06,270
Have some fun with it, seriously.
330
00:10:06,950 --> 00:10:08,670
I don't think people knew this was part
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00:10:08,670 --> 00:10:09,510
of the rules now.
332
00:10:09,710 --> 00:10:11,650
I think that clearly takes it in a
333
00:10:11,650 --> 00:10:12,270
whole other direction.
334
00:10:12,670 --> 00:10:13,730
So yeah, I mean, we're just sort of
335
00:10:13,730 --> 00:10:14,450
glossing over it here.
336
00:10:14,490 --> 00:10:15,610
But if you look at the website, all
337
00:10:15,610 --> 00:10:16,150
the rules are there.
338
00:10:16,230 --> 00:10:17,650
But yeah, we don't want to, we want
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00:10:17,650 --> 00:10:18,970
this to be open for everybody.
340
00:10:19,090 --> 00:10:20,510
So if you're a voiceover artist or a
341
00:10:20,510 --> 00:10:22,210
podcaster sitting at home going, well, that's not
342
00:10:22,210 --> 00:10:22,550
for me.
343
00:10:23,130 --> 00:10:24,110
It's absolutely for you.
344
00:10:24,730 --> 00:10:27,810
We're not looking for the most pristine, precise
345
00:10:27,810 --> 00:10:28,150
mix.
346
00:10:28,150 --> 00:10:29,850
We're looking for, you know, just something that
347
00:10:29,850 --> 00:10:30,370
sounds good.
348
00:10:30,490 --> 00:10:31,750
And you've had some fun.
349
00:10:32,130 --> 00:10:32,490
Yeah.
350
00:10:32,650 --> 00:10:36,370
Represents you, your creativity or just where you
351
00:10:36,370 --> 00:10:38,090
are in your journey, whether you're a beginner,
352
00:10:38,510 --> 00:10:39,830
pro or whatever, you know.
353
00:10:40,510 --> 00:10:42,130
I'm hanging out to hear some of the
354
00:10:42,130 --> 00:10:42,570
results.
355
00:10:43,090 --> 00:10:44,630
And will we get, will we hear the
356
00:10:44,630 --> 00:10:46,150
final results or are we going to hear
357
00:10:46,150 --> 00:10:47,110
like the top three?
358
00:10:47,290 --> 00:10:49,610
Three maybe, because, you know, if we get,
359
00:10:49,630 --> 00:10:51,310
you know, a hundred, I don't think we,
360
00:10:51,470 --> 00:10:54,350
I'll cut it down to maybe 30, 20
361
00:10:54,350 --> 00:10:55,990
or 30 and then share them between us.
362
00:10:55,990 --> 00:10:59,170
And then leave the sort of top 10
363
00:10:59,170 --> 00:11:00,730
for the top.
364
00:11:01,010 --> 00:11:01,130
Yeah.
365
00:11:01,170 --> 00:11:02,090
Let them do the top.
366
00:11:02,230 --> 00:11:03,130
Because I don't think anyone will.
367
00:11:03,130 --> 00:11:03,450
Got it.
368
00:11:03,770 --> 00:11:04,110
Okay.
369
00:11:04,190 --> 00:11:05,670
And then we can maybe feature the top
370
00:11:05,670 --> 00:11:05,770
three or something.
371
00:11:05,770 --> 00:11:06,930
Yeah, and maybe pick out a couple of
372
00:11:06,930 --> 00:11:08,730
randoms or, you know, those that are those
373
00:11:08,730 --> 00:11:10,650
special mentions or something too, I suppose.
374
00:11:10,890 --> 00:11:11,110
Yeah.
375
00:11:11,390 --> 00:11:11,670
Yeah.
376
00:11:11,670 --> 00:11:13,930
Like, wow, this person replaced Andrew's voice with
377
00:11:13,930 --> 00:11:14,490
a donkey.
378
00:11:14,670 --> 00:11:15,010
Exactly.
379
00:11:15,690 --> 00:11:17,750
Well, I mean, what's the difference?
380
00:11:18,690 --> 00:11:20,110
I'm not trying to give you guys any
381
00:11:20,110 --> 00:11:21,050
ideas or anything.
382
00:11:21,050 --> 00:11:21,570
I suppose.
383
00:11:22,030 --> 00:11:22,290
But you know.
384
00:11:22,290 --> 00:11:23,370
Ha ha ha ha ha.
385
00:11:23,490 --> 00:11:24,310
At least I'm not on YouTube.
386
00:11:24,490 --> 00:11:24,630
Ah.
387
00:11:24,790 --> 00:11:25,030
Yeah.
388
00:11:51,050 --> 00:11:53,350
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