Favourite Plug-Ins: Free Gems, Old Friends, and AI Tools

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(Transcribed by TurboScribe.ai. Go Unlimited to remove this message.) Y'all ready to be history?

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Get started.

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Welcome.

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Hi.

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Hi.

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Hi.

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Hello everyone.

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To the Pro Audio Suite.

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These guys are professional.

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They're motivated.

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With Tech the VO stars.

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George Whitten, founder of Source Elements.

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Robert Marshall, international audio engineer.

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Darren Robbo Robertson and Global Voice.

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Andrew Peters, thanks to Triboo.

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Austrian Audio, making passion heard.

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Source Elements, George the Tech Whitten.

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And Robbo and AP's international demos.

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To find out more about us, check theproaudiosuite

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.com.

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Line up, man.

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Here we go.

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And welcome to another Pro Audio Suite.

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Thanks to Austrian Audio, making passion heard.

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And Tribooth.

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Don't forget the code.

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

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That will get you 200 US dollars off

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your Tribooth.

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And big tip, they work.

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So if you're looking for a booth, get

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one.

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And they work better than one you can

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make yourself too.

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Absolutely.

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As I know from experience.

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Yeah.

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Yeah.

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If you can be bothered making one.

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Now today we're going to talk about plug

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-ins.

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But I thought we'd start with Robbo.

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What's your favourite plug-in, Robbo?

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You're going to start with me?

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Yeah.

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Well, look, it's not my favourite.

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But I'll talk about one that I came

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across.

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And just quickly, I started this little thing

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with myself on a Friday afternoon.

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Where I've set aside two hours in the

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afternoon.

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And I have to go and download a

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plug-in I've never used before.

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And it can be something I've heard about.

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Or something I've just discovered on the web.

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And I have to open up a session

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from something that I've done this week.

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And I have to find a way to

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use it.

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So it's kind of been this little.

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It's really opened a whole bunch of things

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for me.

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Like creativity-wise and sort of learning about

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stuff.

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So look, this isn't a game-changing one.

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But this is one that might change the

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game for someone with a home studio.

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A voiceover artist.

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I discovered this thing.

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It actually got recommended to me by Toby

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Ricketts.

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I'd never heard of it before.

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But George knew of it.

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It's called TDM Nova.

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And it's just a free, George, basically multiband

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compressor sort of thing.

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Yeah, it's actually TDR, which stands for Tokyo

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Dawn Records.

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Yes.

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I guess it's a record label or a

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record production, music production company.

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I don't know where the name came from.

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But TDR Novas.

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And it's, yeah, they have a free version.

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It has a four-band, what I would

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call a dynamic EQ.

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Yeah, with a high-pass and low-pass

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as well.

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It's really useful.

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It's very cool.

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I've been playing around with it.

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And if you're sort of a voiceover artist

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with a home studio who, I don't know,

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like we were talking about before, maybe there's

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some room resonances or a bit of de

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-essing or something like that that you want

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to try to get rid of.

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Yeah, it would actually be, from what I've

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found from playing with it, more than adequate

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to do the job.

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And it's free.

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So that's no game-changer.

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But for this show, I reckon that's a

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pretty good one.

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Because everyone's out there looking for free stuff.

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So TDR Novas.

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TDR Nova, as in over the radio station

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here in Sydney, yeah.

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Yeah, I will give a plus one on

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that too.

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I use that one for all the folks

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who do not have any good de-essers

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and other tools that are kind of weak

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in the toolbox.

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It works as a plug-in in Audacity.

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It works in Twisted Wave.

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It works in everything.

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And especially on Twisted Wave, there's no de

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-essers that come with an Apple audio unit

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plug-in suite.

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You know, when you get an Apple computer,

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it comes with a decent usable suite of

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plug-ins, but it's missing a few things,

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specifically a de-esser.

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It's got a multiband.

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It's got a multiband.

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I have a really tough time getting a

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really satisfactory result using the multiband.

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I just haven't mastered using it for de

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-essing and stuff.

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Even though it's got a really nice looking

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GUI for its multiband.

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Yeah, it ain't bad.

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Considering it's free and it comes on every

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Mac.

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Well, it might sound like shit, but at

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least it looks good.

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Yeah, that's the most important thing.

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Yeah, that's more important.

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But TDR does a surprisingly nice job.

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It's not an easy plug-in.

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You know, some plug-ins that you pay

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a lot of money for, they're expensive because

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they're highly tuned and specific and made to

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be easy as humanly possible.

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That's true.

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So some plug-ins that are free, they

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do it for free because either one, they're

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super simplistic, or two, they're powerful, but they

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have a big learning curve.

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And TDR is one of those.

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One thing I did miss, and maybe I

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don't know whether I missed it or whether

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it's just not there, but a solo on

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each of the bands as you're going through

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would be nice.

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I don't believe it has.

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Now, they have a pro version of the

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plug-in.

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That's how they monetize.

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Ah, okay, there you go.

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So it's got more bands, more functions, and

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it may have that.

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That may have that.

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So if you like it that much, it

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might be worth getting the pro version.

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Ah, I've got enough EQs.

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Yeah, I know, right?

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But yeah, nice.

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Yeah, yeah, yeah.

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Very good, though.

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There you go.

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That's my tip.

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Robert, you got one?

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Yeah, I was thinking, like, what plug-in

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am I going to say?

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And one of the thoughts that went through

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my head was, number one, I have a

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lot of plug-ins, and I keep on

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using for the last 30 years pretty much

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a lot of the same plug-ins.

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And I was thinking, like, there's all these

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new plug-ins, but really whatever you're doing,

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mixing music or whatnot, you basically need three

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types of plug-ins to do most everything

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you need.

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You need a good EQ, a good compressor,

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a delay, and a reverb.

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And you can get most everything you need

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to get done with those things.

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And then I was thinking, what's that one

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plug-in that I use a lot and

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that's really useful?

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And I've said it before, and I use

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the crap out of Wave C4.

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It's a multi-band compressor.

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I use it like an EQ.

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It can expand and compress.

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So it's a multi-band processor, but I

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will find myself often compressing the very high

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end as a de-esser.

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And I'll take the low end, and I'll

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expand it to make someone sound more chesty

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and big.

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And then in the middle, you compress it,

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and that gets it out of the way

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of a lot of this stuff.

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And it's just two things in one.

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And I would agree that if you know

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your way around a multi-band processor, a

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multi-band dynamics processor, whatever you want to

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call it, a multi-band compressor or a

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dynamic EQ, the lines between these devices are

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very blurred in a sense.

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You can get a lot done with one

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plug-in if you have a multi-band

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device like that that's dynamics and deals with

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the frequencies.

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So I've been using for years the crap

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out of Wave C4.

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But I'd also agree that there's many.

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To go way, way, way back in time,

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if you remember, actually Antares, the people that

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make Auto-Tune, they used to have a

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plug-in called MDT, which was a multi...

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Oh, wow.

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Yeah, you are going back.

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I don't know if you remember that one.

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Way, way back in the day.

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I mean, back in the sound designer two

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days.

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But that was one of the first.

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And I used to use that a lot

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for mastering.

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So yeah, multi-band dynamic processors, they're super

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useful.

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And one device can do three things at

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once if you know your way around it.

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The other nice one is if you can

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sidechain them too, so sidechain your voiceover to

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the music bed or whatever and sort of

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carve a nice little hole in there too

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underneath your voiceover in the mix.

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So Waves C6 lets you sidechain a particular

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band.

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Like one of the bands can be sidechained.

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You would use that middle frequency range that

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you were talking about in that case for

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your mix.

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Exactly, yep.

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You always love it when the client picks

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a music track with like a, I don't

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know, is it a tenor saxophone that's in

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that voiceover range or whatever, you know?

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And you're sort of like, oh, fuck, all

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these frequencies all in the same fucking place.

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You know, it's like Jesus.

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And it's mixed smack dab in the middle.

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It's not even far out left and right.

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Yeah, that's right.

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It's not even on the sides.

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Yeah, it's like, fuck!

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You arsehole.

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Is there a better track, do you reckon?

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Maybe that's a good AI plug-in that

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they should make, is this like D-Sax.

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D-Sax.

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Or like D-Kenny G.

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Yeah, yeah, yeah.

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D-Kenny.

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It's the D-Kenny plug-in.

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Kenny G banger.

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Kenny G banger.

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That's what my wife wears on a Saturday

276
00:08:23,900 --> 00:08:24,240
night.

277
00:08:24,240 --> 00:08:25,180
Yeah, lucky you.

278
00:08:27,760 --> 00:08:29,060
That's why you have so many kids.

279
00:08:32,360 --> 00:08:35,919
You're using a multiband, or that's one you've

280
00:08:35,919 --> 00:08:36,220
found?

281
00:08:36,539 --> 00:08:37,100
And George?

282
00:08:37,559 --> 00:08:39,360
Well, TDR, as I said, it's great.

283
00:08:40,039 --> 00:08:42,539
And the one that I've been, I haven't

284
00:08:42,539 --> 00:08:45,160
used nearly as extensively as I maybe should.

285
00:08:45,420 --> 00:08:47,040
But I have recommended and set it up

286
00:08:47,040 --> 00:08:47,740
for a few folks.

287
00:08:48,900 --> 00:08:51,240
There's a lesser known company in a similar

288
00:08:51,240 --> 00:08:55,720
vein to iZotope called Akon, A-C-O

289
00:08:55,720 --> 00:08:56,040
-N.

290
00:08:56,360 --> 00:08:57,800
They've been around, they stood the test of

291
00:08:57,800 --> 00:08:58,100
time.

292
00:08:58,820 --> 00:09:00,840
And, you know, their plug-ins are quite

293
00:09:00,840 --> 00:09:03,600
nice, and they're doing their particular deal right

294
00:09:03,600 --> 00:09:05,180
now, so it's not a bad time to

295
00:09:05,180 --> 00:09:06,260
buy plug-ins.

296
00:09:06,360 --> 00:09:08,180
It says summer sale now, up to 70

297
00:09:08,180 --> 00:09:09,340
% off on their website.

298
00:09:10,420 --> 00:09:13,300
The one that I've been enjoying and finding

299
00:09:13,300 --> 00:09:16,900
easy to use, not overly expensive, and very

300
00:09:16,900 --> 00:09:19,200
effective, is their Extract Dialog.

301
00:09:19,460 --> 00:09:20,600
It's a weird name.

302
00:09:20,600 --> 00:09:22,240
It doesn't sound like it'd be a good

303
00:09:22,240 --> 00:09:24,540
noise reduction tool, but that's what it does.

304
00:09:25,260 --> 00:09:27,800
It's really designed to take the dialog, the

305
00:09:27,800 --> 00:09:30,720
voice, and pull it out of the crud.

306
00:09:31,280 --> 00:09:33,240
And so it's a noise reduction tool.

307
00:09:33,620 --> 00:09:35,800
But I also found, accidentally, whether this is

308
00:09:35,800 --> 00:09:38,120
intended or not, but based on the description

309
00:09:38,120 --> 00:09:40,040
of the plug-in, it clearly is.

310
00:09:40,100 --> 00:09:42,900
It says, the revolutionary plug-in that magically

311
00:09:42,900 --> 00:09:45,200
separates your dialog from various types of background

312
00:09:45,200 --> 00:09:49,340
noise, including wind, rustle, traffic, hums, clicks, and

313
00:09:49,340 --> 00:09:49,680
pops.

314
00:09:50,720 --> 00:09:53,640
So it has this amazing ability to do

315
00:09:53,640 --> 00:09:55,820
a lot of different jobs, including de-clicking.

316
00:09:56,480 --> 00:09:58,540
So in one plug-in, you're doing a

317
00:09:58,540 --> 00:10:01,860
lot of jobs, which can simplify your setup.

318
00:10:02,100 --> 00:10:03,740
I would point out that it's more of

319
00:10:03,740 --> 00:10:06,220
a voice extractor than a de-noiser.

320
00:10:06,860 --> 00:10:08,240
And I think that's the case with a

321
00:10:08,240 --> 00:10:09,860
lot of these new de-noise plug-ins,

322
00:10:09,940 --> 00:10:13,920
where really they're designed to separate the signal

323
00:10:13,920 --> 00:10:16,020
from what it considers noise.

324
00:10:16,420 --> 00:10:18,980
But, for example, it wouldn't be useful if

325
00:10:18,980 --> 00:10:20,780
you had noisy music and you wanted to

326
00:10:20,780 --> 00:10:22,700
take the noise out of the music, because

327
00:10:22,700 --> 00:10:25,380
that thing is very specific about taking noise

328
00:10:25,380 --> 00:10:28,980
out of voice signals.

329
00:10:29,180 --> 00:10:31,040
So a lot of these AI things are

330
00:10:31,040 --> 00:10:32,900
not broad tools.

331
00:10:33,040 --> 00:10:34,880
They're very, very specific as to what they

332
00:10:34,880 --> 00:10:35,100
do.

333
00:10:35,480 --> 00:10:37,000
This one deals with voice.

334
00:10:37,100 --> 00:10:38,300
Same thing with waves clarity.

335
00:10:38,900 --> 00:10:40,860
It doesn't just deal with voice, it deals

336
00:10:40,860 --> 00:10:41,780
with spoken dialogue.

337
00:10:41,780 --> 00:10:43,240
Spoken voice, right, exactly.

338
00:10:43,620 --> 00:10:46,180
Yeah, dialogue more than singing, exactly.

339
00:10:46,180 --> 00:10:48,640
And I kind of realized this this weekend,

340
00:10:48,800 --> 00:10:51,440
I was doing some de-noising for someone's

341
00:10:51,440 --> 00:10:54,500
audio book, and I was just noticing how

342
00:10:54,500 --> 00:10:59,000
the AI noise reduction for the voice was

343
00:10:59,000 --> 00:11:01,460
good, but it wasn't as good as going

344
00:11:01,460 --> 00:11:03,620
back to the old, in this case, I

345
00:11:03,620 --> 00:11:06,260
just went back to Z-Noise, and take

346
00:11:06,260 --> 00:11:08,960
that fingerprint, and it was able to, a

347
00:11:08,960 --> 00:11:11,620
little bit more destructively in imparting a sound,

348
00:11:11,780 --> 00:11:14,820
but it could get in and rip the

349
00:11:14,820 --> 00:11:18,300
noise out compared to just trying to eliminate

350
00:11:18,300 --> 00:11:21,460
the noise in between passages and stuff.

351
00:11:21,640 --> 00:11:25,240
I was like, wow, it was interesting, because

352
00:11:25,240 --> 00:11:27,720
sometimes you have new tools, and then you

353
00:11:27,720 --> 00:11:29,840
write off all your old tools, and you

354
00:11:29,840 --> 00:11:31,280
don't think about those old tools.

355
00:11:31,760 --> 00:11:34,560
But sometimes those old tools, they still do

356
00:11:34,560 --> 00:11:36,160
what they did, and they're good.

357
00:11:36,620 --> 00:11:37,720
That's what I was going to say, the

358
00:11:37,720 --> 00:11:40,100
same thing, sometimes it's worth going back and

359
00:11:40,100 --> 00:11:41,860
finding some really old plugins that you used

360
00:11:41,860 --> 00:11:44,600
to love, and they've been put aside, and

361
00:11:44,600 --> 00:11:45,700
then you play with them again and go,

362
00:11:46,280 --> 00:11:46,500
wow.

363
00:11:46,700 --> 00:11:48,740
So Clarity, exactly what I'm talking about, like

364
00:11:48,740 --> 00:11:50,640
X-Noise is the one I used, which

365
00:11:50,640 --> 00:11:54,160
is old, I mean, 20, maybe not 20,

366
00:11:54,200 --> 00:11:55,180
but at least 15 years old.

367
00:11:55,640 --> 00:11:58,340
Clarity is in the last three years, and

368
00:11:58,340 --> 00:12:01,180
Clarity is amazing, but like I said, it

369
00:12:01,180 --> 00:12:03,060
didn't really actually pull out as much noise

370
00:12:03,660 --> 00:12:05,660
in the actual delivery of the voice.

371
00:12:06,000 --> 00:12:07,480
Do you know what, I'm fast learning, because

372
00:12:07,480 --> 00:12:10,740
I don't use a lot of noise reduction

373
00:12:10,740 --> 00:12:15,400
day to day, but the more I'm using

374
00:12:15,400 --> 00:12:18,020
it, the more I'm finding that, I don't

375
00:12:18,020 --> 00:12:20,360
think there's one, like you might have one

376
00:12:20,360 --> 00:12:23,300
go-to EQ, or one go-to compressor,

377
00:12:23,480 --> 00:12:23,980
or something like that.

378
00:12:24,200 --> 00:12:25,900
I don't think there is a one go

379
00:12:25,900 --> 00:12:28,440
-to noise reduction for stuff, I find that

380
00:12:28,440 --> 00:12:31,420
they all have their own idiosyncrasies, and all

381
00:12:31,420 --> 00:12:32,880
that sort of stuff, and you've really got

382
00:12:32,880 --> 00:12:34,880
to sort of go, yeah, okay, that's not

383
00:12:34,880 --> 00:12:36,240
bad, but I wonder if I can do

384
00:12:36,240 --> 00:12:38,560
better, and sort of pull down whatever you've

385
00:12:38,560 --> 00:12:40,360
got in your library, and try them all

386
00:12:40,360 --> 00:12:42,520
before you settle on one.

387
00:12:42,560 --> 00:12:45,280
Absolutely, and even to the point that I

388
00:12:45,280 --> 00:12:47,820
use, going back to it, I've often used

389
00:12:47,820 --> 00:12:51,560
the C4 as a noise reduction plug-in,

390
00:12:51,640 --> 00:12:54,600
because I'll use it as an expander, and

391
00:12:54,600 --> 00:12:56,160
then you can expand out, and that way

392
00:12:56,160 --> 00:12:57,640
you're not killing everything all at once.

393
00:12:57,980 --> 00:13:00,020
You know that there's Brushfree, was it called?

394
00:13:00,260 --> 00:13:00,780
Yeah, Brushfree.

395
00:13:01,500 --> 00:13:05,220
Right, that's a noise reduction that uses multiband,

396
00:13:05,220 --> 00:13:07,540
and this one, Brushfree, has many more bands.

397
00:13:07,540 --> 00:13:09,140
Or Bertom denoiser, that's another one, Bertom denoiser.

398
00:13:09,620 --> 00:13:12,300
I will use Bertom in sequence with a

399
00:13:12,300 --> 00:13:13,820
standard expander.

400
00:13:14,300 --> 00:13:17,200
I'll even use Clarity VX with an expander

401
00:13:17,200 --> 00:13:20,140
after it, to catch little things that the

402
00:13:20,140 --> 00:13:20,620
Clarity kind of missed.

403
00:13:20,620 --> 00:13:22,720
I will cascade these, I will, yeah.

404
00:13:23,580 --> 00:13:26,960
I'll usually multiband expand, and then go into

405
00:13:26,960 --> 00:13:31,140
something that's more destructive to get the rest

406
00:13:31,140 --> 00:13:35,580
of it, because with many plug-ins, if

407
00:13:35,580 --> 00:13:37,020
you try to use them on their extremes,

408
00:13:37,300 --> 00:13:39,380
the most noise reduction, it's going to start

409
00:13:39,380 --> 00:13:41,400
showing its artifacts more.

410
00:13:41,520 --> 00:13:42,720
But if each one is used a little

411
00:13:42,720 --> 00:13:44,580
bit, you don't pick up on the artifacts.

412
00:13:44,880 --> 00:13:46,680
Well, I was saying before we started recording

413
00:13:46,680 --> 00:13:48,340
today, I've picked up a podcast for a

414
00:13:48,340 --> 00:13:50,400
couple of ladies in Canada that I'm doing

415
00:13:50,400 --> 00:13:54,560
for them, and they're basically just, they haven't

416
00:13:54,560 --> 00:13:55,200
even got studios.

417
00:13:55,400 --> 00:13:57,320
They're just recording in spare bedrooms and stuff,

418
00:13:57,500 --> 00:13:58,980
and I've worked with them and got them

419
00:13:58,980 --> 00:14:01,140
set up as best I can, but my

420
00:14:01,140 --> 00:14:03,480
noise reduction chain for them is that I

421
00:14:03,480 --> 00:14:06,420
use Clarity on both of them, but then

422
00:14:06,420 --> 00:14:08,980
rather than having to overwork it on the

423
00:14:08,980 --> 00:14:11,080
master bus, because I have a, well, not

424
00:14:11,080 --> 00:14:13,780
a master bus, sorry, a dialogue bus, I'm

425
00:14:13,780 --> 00:14:17,040
just using the NS1, but I'd like two

426
00:14:17,040 --> 00:14:17,520
or three.

427
00:14:17,680 --> 00:14:18,860
Which the NS1's an expander.

428
00:14:19,160 --> 00:14:21,260
Exactly, it's just a clean up, and that

429
00:14:21,260 --> 00:14:23,960
just cleans up whatever's left without overworking Clarity,

430
00:14:24,320 --> 00:14:25,380
and it sounds great.

431
00:14:25,600 --> 00:14:26,960
I'll tell you, anybody with an NS1, the

432
00:14:26,960 --> 00:14:29,420
scaling of the control is really kind of

433
00:14:29,420 --> 00:14:30,060
whacked out.

434
00:14:30,600 --> 00:14:31,920
You know, it goes from 0 to 100.

435
00:14:32,820 --> 00:14:35,160
Have you ever used it above 10?

436
00:14:36,120 --> 00:14:37,400
No, I don't think so.

437
00:14:38,000 --> 00:14:39,940
Like 10%, 10%.

438
00:14:41,040 --> 00:14:43,780
Most of these things, little goes a long

439
00:14:43,780 --> 00:14:44,060
way.

440
00:14:44,560 --> 00:14:46,240
I would say one thing I've noticed in

441
00:14:46,240 --> 00:14:49,920
general in the last two, three years since

442
00:14:49,920 --> 00:14:51,680
a lot of these AI noise reduction things

443
00:14:51,680 --> 00:14:55,180
have come out, people think that now noise

444
00:14:55,180 --> 00:14:58,260
is not an issue, that AI can just

445
00:14:58,260 --> 00:15:01,280
take care of it, and it's not true.

446
00:15:01,600 --> 00:15:03,040
It is not harmless.

447
00:15:03,620 --> 00:15:06,720
And even though they are less invasive than

448
00:15:06,720 --> 00:15:09,920
old noise, people are so much more willing

449
00:15:09,920 --> 00:15:11,540
to go, oh, just run it through some

450
00:15:11,540 --> 00:15:13,220
AI and it'll just take out the noise.

451
00:15:13,420 --> 00:15:18,420
It will make it sound fake and slightly

452
00:15:18,420 --> 00:15:20,300
weird in this way that you can't put

453
00:15:20,300 --> 00:15:24,740
your finger on it, but it's not, it's

454
00:15:24,740 --> 00:15:25,160
just weird.

455
00:15:25,160 --> 00:15:27,920
The free one from Adobe, the podcast one,

456
00:15:28,160 --> 00:15:29,520
they have a noise reduction tool in there

457
00:15:29,520 --> 00:15:33,060
that's obviously AI, and it does some extremely

458
00:15:33,060 --> 00:15:34,900
bizarre things.

459
00:15:35,140 --> 00:15:37,320
I mean, it literally takes your voice, makes

460
00:15:37,320 --> 00:15:39,460
a model, and replaces it with the model.

461
00:15:40,340 --> 00:15:40,880
Oh, wow.

462
00:15:40,880 --> 00:15:42,880
So you end up with something that sounds

463
00:15:42,880 --> 00:15:46,740
like you, but just a little off to

464
00:15:46,740 --> 00:15:47,660
the left.

465
00:15:47,880 --> 00:15:51,220
That's a long way around reinventing the wheel,

466
00:15:51,260 --> 00:15:51,620
isn't it?

467
00:15:51,620 --> 00:15:53,920
But you also wonder where your voice is

468
00:15:53,920 --> 00:15:54,320
going.

469
00:15:54,320 --> 00:15:56,060
Yeah, well, in doing so, it's getting rid

470
00:15:56,060 --> 00:15:57,160
of all the noise.

471
00:15:57,600 --> 00:15:59,680
It's supernatural capability.

472
00:15:59,820 --> 00:16:01,040
Because it's remaking it.

473
00:16:01,200 --> 00:16:03,080
Yeah, but it's just like, dude, to what

474
00:16:03,080 --> 00:16:03,360
end?

475
00:16:03,460 --> 00:16:05,920
And they think it's the fix for audio.

476
00:16:06,640 --> 00:16:09,420
I heard the guy speak at PodFest.

477
00:16:10,060 --> 00:16:11,320
He was there demonstrating it.

478
00:16:11,840 --> 00:16:14,120
And I'm listening to the demonstration videos, and

479
00:16:14,120 --> 00:16:16,920
I'm watching his presentation, and I'm listening to

480
00:16:16,920 --> 00:16:20,460
his clips and going, this is not great.

481
00:16:21,400 --> 00:16:23,800
You know, you guys think it's great, because

482
00:16:23,800 --> 00:16:24,580
you built it.

483
00:16:24,960 --> 00:16:26,480
But I'm listening to the audio, and I'm

484
00:16:26,480 --> 00:16:27,440
going, it ain't great.

485
00:16:27,980 --> 00:16:30,580
It is not the same as properly recorded

486
00:16:30,580 --> 00:16:30,680
audio.

487
00:16:30,680 --> 00:16:31,920
And here's my fear.

488
00:16:32,420 --> 00:16:33,980
All of a sudden, just like if you

489
00:16:33,980 --> 00:16:37,240
don't auto-tune your vocals, they don't sound

490
00:16:37,240 --> 00:16:38,900
professional somehow.

491
00:16:39,160 --> 00:16:41,760
Like in certain music contexts, like everything is

492
00:16:41,760 --> 00:16:45,480
so auto-tuned out the other end that

493
00:16:45,480 --> 00:16:47,480
it sounds terrible.

494
00:16:47,480 --> 00:16:50,560
But for the right audience, it's like, that's

495
00:16:50,560 --> 00:16:51,560
the sound of professional.

496
00:16:52,040 --> 00:16:53,420
And I think that some of this ultra

497
00:16:53,420 --> 00:16:58,340
-scrubbed clean AI noise-reduced, it's just fake

498
00:16:58,340 --> 00:16:58,840
sounding.

499
00:16:59,000 --> 00:17:02,120
It imparts the sound that you can't put

500
00:17:02,120 --> 00:17:02,560
your finger on.

501
00:17:02,580 --> 00:17:05,060
It's roboticized, dehumanized.

502
00:17:06,099 --> 00:17:07,880
And this is pop music in a nutshell.

503
00:17:08,319 --> 00:17:10,180
I will say, though, at the same time,

504
00:17:10,579 --> 00:17:12,859
there's a pushback against all that among young

505
00:17:12,859 --> 00:17:13,920
people, I've found.

506
00:17:13,920 --> 00:17:15,900
And my daughter particularly.

507
00:17:16,060 --> 00:17:18,680
And your daughter too, Robert, have great music

508
00:17:18,680 --> 00:17:20,020
ears, so they hear these things.

509
00:17:20,859 --> 00:17:25,540
But if it's overly fucked with, she doesn't

510
00:17:25,540 --> 00:17:26,319
get into it that much.

511
00:17:26,619 --> 00:17:28,020
I mean, it depends on the genre.

512
00:17:28,280 --> 00:17:29,980
Some of it is just purely processed.

513
00:17:30,520 --> 00:17:31,800
But she still loves...

514
00:17:31,800 --> 00:17:32,680
Plastic music, yeah.

515
00:17:33,600 --> 00:17:35,980
Traditionally produced, I wouldn't call it folk music,

516
00:17:36,420 --> 00:17:38,480
but I would say traditionally produced music where

517
00:17:38,480 --> 00:17:40,000
it's people playing instruments.

518
00:17:40,000 --> 00:17:43,240
And so I think kids are going to,

519
00:17:43,380 --> 00:17:46,120
honestly, there's going to be a little bit

520
00:17:46,120 --> 00:17:46,820
of a pushback.

521
00:17:46,980 --> 00:17:48,160
Like, how far are we going to go

522
00:17:48,160 --> 00:17:49,480
with everything being fake?

523
00:17:49,620 --> 00:17:50,320
I hope so.

524
00:17:50,840 --> 00:17:54,020
Because the latest round of AI now is

525
00:17:54,020 --> 00:17:56,340
not just how in music you double your

526
00:17:56,340 --> 00:17:58,960
vocals and layer them, and the trick of

527
00:17:58,960 --> 00:18:00,540
a really good performer is they're able to

528
00:18:00,540 --> 00:18:03,820
sing the exact same thing so closely together

529
00:18:03,820 --> 00:18:05,900
that you can barely tell that it's been

530
00:18:05,900 --> 00:18:07,780
doubled and it gives it that thicker sound.

531
00:18:07,780 --> 00:18:10,120
But unless you're a producer and a music

532
00:18:10,120 --> 00:18:11,960
person, you don't really go, that's doubled.

533
00:18:12,160 --> 00:18:13,720
You just think that sounds thick.

534
00:18:14,060 --> 00:18:15,300
Ozzy is the king of that.

535
00:18:15,500 --> 00:18:15,860
Yes.

536
00:18:16,200 --> 00:18:17,180
But now there's just...

537
00:18:17,180 --> 00:18:17,560
Or was.

538
00:18:17,640 --> 00:18:21,080
Like, Waves has one, and it does it.

539
00:18:21,400 --> 00:18:23,100
But again, it's like every time you pass

540
00:18:23,100 --> 00:18:25,860
all this stuff through the AI machine, it's

541
00:18:25,860 --> 00:18:26,320
like...

542
00:18:26,320 --> 00:18:27,080
Something has lost.

543
00:18:27,360 --> 00:18:28,700
It makes it plasticky fake.

544
00:18:28,860 --> 00:18:29,720
Something has lost.

545
00:18:30,000 --> 00:18:30,180
Yeah.

546
00:18:30,520 --> 00:18:34,180
If you want to hear some amazing harmonies,

547
00:18:34,740 --> 00:18:38,620
Google a video, it's John Farnham, who's like

548
00:18:38,620 --> 00:18:40,900
a legendary Australian vocalist.

549
00:18:41,140 --> 00:18:43,000
We call him The Voice here.

550
00:18:43,140 --> 00:18:44,480
That's basically what we call him.

551
00:18:45,180 --> 00:18:48,440
And two of his backing singers, who are

552
00:18:48,440 --> 00:18:51,840
all equally amazingly talented, but it's Vinetta Fields

553
00:18:51,840 --> 00:18:54,880
and Lindsay Field, and they do an a

554
00:18:54,880 --> 00:18:57,740
cappella version, although there's a sympiano that comes

555
00:18:57,740 --> 00:18:59,480
in later on, but basically an a cappella

556
00:18:59,480 --> 00:19:01,060
version of Amazing Grace.

557
00:19:01,600 --> 00:19:04,500
And it's back in the late 80s, early

558
00:19:04,500 --> 00:19:05,800
90s AP, would it have been?

559
00:19:06,040 --> 00:19:06,380
Yeah, somewhere like that.

560
00:19:06,400 --> 00:19:06,920
Somewhere like that.

561
00:19:06,980 --> 00:19:10,100
So there's no autotune, and they are just

562
00:19:10,100 --> 00:19:11,100
fucking impeccable.

563
00:19:11,840 --> 00:19:13,020
It is so good.

564
00:19:13,300 --> 00:19:13,500
Yeah.

565
00:19:14,240 --> 00:19:15,040
So good.

566
00:19:15,180 --> 00:19:15,760
Yeah, it's true.

567
00:19:15,980 --> 00:19:16,080
Yeah.

568
00:19:17,000 --> 00:19:20,580
So do you believe in sound after processing?

569
00:19:22,060 --> 00:19:24,300
I believe less is more sometimes.

570
00:19:24,300 --> 00:19:25,440
Yeah, I think so too.

571
00:19:25,580 --> 00:19:27,860
Look, yeah, less is more, and especially with

572
00:19:27,860 --> 00:19:28,600
the noise reduction.

573
00:19:28,640 --> 00:19:29,880
I don't think Robbie got that one.

574
00:19:29,880 --> 00:19:30,060
Noise reduction?

575
00:19:30,160 --> 00:19:30,460
Yeah.

576
00:19:32,580 --> 00:19:34,780
Noise reduction wasn't invented to get rid of

577
00:19:34,780 --> 00:19:36,540
barking dogs and noisy kids.

578
00:19:36,740 --> 00:19:36,980
Don't assume.

579
00:19:36,980 --> 00:19:38,080
It was invented to get rid of sound

580
00:19:38,080 --> 00:19:39,380
on set and all that sort of shit,

581
00:19:39,500 --> 00:19:40,920
like just camera noise and stuff.

582
00:19:41,460 --> 00:19:44,380
So don't try and use it as a

583
00:19:44,380 --> 00:19:45,760
magic marker or something.

584
00:19:45,760 --> 00:19:49,800
If you're aware of a problem, fix it,

585
00:19:49,860 --> 00:19:52,460
and don't assume that it can be just

586
00:19:52,460 --> 00:19:54,420
magic wanded away.

587
00:19:54,600 --> 00:19:55,180
What is it, this one?

588
00:19:58,020 --> 00:19:58,540
Yeah.

589
00:20:00,520 --> 00:20:02,300
Just have it go like this.

590
00:20:03,200 --> 00:20:03,720
Gone.

591
00:20:04,120 --> 00:20:04,460
Poof.

592
00:20:04,620 --> 00:20:05,340
Oh, yeah.

593
00:20:06,560 --> 00:20:07,740
Well, that was fun.

594
00:20:07,840 --> 00:20:08,200
Is it over?

595
00:20:08,380 --> 00:20:09,340
Sounds good to me.

596
00:20:09,780 --> 00:20:11,040
The Pro Audio Suite.

597
00:20:11,120 --> 00:20:12,240
With thanks to Tribo.

598
00:20:12,420 --> 00:20:13,700
And Austrian Audio.

599
00:20:14,060 --> 00:20:15,580
Recorded using SourceConnect.

600
00:20:15,780 --> 00:20:17,400
Edited by Andrew Peters.

601
00:20:17,540 --> 00:20:18,620
And mixed by Robbo.

602
00:20:18,820 --> 00:20:20,020
Got your own audio issues?

603
00:20:20,300 --> 00:20:21,920
Just ask Robbo.com.

604
00:20:22,020 --> 00:20:23,940
With tech support from George the Tech Whizzer.

605
00:20:23,980 --> 00:20:25,160
Don't forget to subscribe to our YouTube channel.

606
00:20:25,160 --> 00:20:27,980
And join in the conversation on our Facebook

607
00:20:27,980 --> 00:20:28,280
group.

608
00:20:28,320 --> 00:20:30,400
So leave a comment, suggest a topic, or

609
00:20:30,400 --> 00:20:31,320
just say g'day.

610
00:20:31,400 --> 00:20:32,880
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