Mastering the PASport VO – The Ultimate User Guide

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(Transcribed by TurboScribe.ai. Go Unlimited to remove this message.) 5, 4, 3, 2, 1.

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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.

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They're motivated.

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With Tech the VO Stars.

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George Witton, 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 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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Line up, man.

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Here we go.

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And welcome to another Pro Audio Suite, thanks

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to Tribooth.

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Don't forget the code TRIPAP200 to get $200

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off your purchase.

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And Austrian Audio, making passion heard.

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Now, we've been talking a lot about our

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Passport VO.

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George has been busy with a few crayons,

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knocking up an instruction manual.

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So when you get your Passport, there'll be

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a card inside that is a quick start

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guide, and it's going to have two sides.

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And hopefully, it'll get you through a lot

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of the settings, what they are and what

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they do.

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And for some of you, that will be

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fine because you are good at interpreting these

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things.

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But not everybody is going to interpret them

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quite as easily.

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So I thought, you know, what do I

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usually do with my clients when I set

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up their gear?

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I make sort of like a recall snapshot.

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I used to intern at a studio, and

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I had to use a recall book.

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It was a three-ring binder where I

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had to write down and mark the position

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of every freaking knob on the console.

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Photos of each thing.

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Oh, my gosh.

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No photos because this is before digital cameras.

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This is sort of the equivalent of that,

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except there's way fewer knobs to worry about

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on a Passport.

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So here's sort of an example of what

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that might look like right here.

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This should be the default mode.

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I was thinking, like, what is the most

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common use case for a lot of the

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folks using it, being voice actors, being a

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lot of those folks who have bought one?

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What would the settings be ideally?

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And this is what I came up with,

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and this is what I'm hoping the default

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positions will be on the unit, right?

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So, you know, it's all the things that

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most voice actors would probably want.

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It's assuming you're going to use one computer

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and connect it with two cables, right?

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So the left one's recording, right one is

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communication.

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And it's kind of confusing.

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It says connect to recording PC Mac, but

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that's because there is only one computer.

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You know, it's just a single computer.

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But that's the intention of this particular setup.

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Do you guys see anything you would improve

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or change, or is that pretty much clear?

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No, the only thing I saw that we

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talked about before was the input power.

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Just explain that, which it's now explained.

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You can set to record USB or comms

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USB.

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Yeah, that power switch could be in either

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position, honestly, because if you're going to plug

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it into, let's say, a powered hub or

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two ports on a computer, both of them

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are supplying power.

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This will let you choose which of those

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you're using for power.

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Well, I caught myself out there without the

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labels on the bottom of ours.

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I forgot that that was something you had

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to switch.

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Yeah, that's right.

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Yeah, that's right.

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Our current prototypes are rather minimal on the

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labels right now.

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And I'm sitting there going, why is it

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working on one side and not on the

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other, and getting really frustrated.

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And then I emailed you guys, and you

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reminded me, and I went, ah, yeah, that'd

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be it.

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I know.

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I made an RTFM joke, and then I

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was like, oh, there is no effing manual.

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There's no manual.

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Okay, so comp off.

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It looks like the knob is in the

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on position there.

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Yeah, in the picture it's in the wrong

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position.

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But comp off, I kind of agree.

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Although it is quite a good compressor, actually.

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It sounds nice, doesn't it?

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I really like it.

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It's so subtle, but it really does kind

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of catch it at the top and really

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keep you from going over the rails.

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Do you know the other one, and this

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is completely off subject.

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Well, it's not off subject because we're looking

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at it, but the high pass filter I

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had my doubts about, but I've got to

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be honest, hearing that in place, too, I

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don't mind it either.

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It's all very subtle.

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Absolutely.

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We talked quite a bit about it.

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I was kind of thinking a little more

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aggressive on the high pass filter.

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We thought it was too soft.

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Yeah, we all had that same thought, going,

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that's not going to do anything.

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But I've got to be honest, turn it

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on and hear it, you've got to go,

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Michael, you're the man.

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Yeah, absolutely.

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Because there's a lot of things you can

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do with an EQ with terms of where

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the frequency starts to slope off and how

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quickly it slopes off.

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Okay, so my question then for Robert and

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Robbo is, if I was using one of

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these for a session, would you be offended

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if I had the compressor on?

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No.

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And as I said in my video, when

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I did my unboxing, I think that's why,

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is because it's been set up with the

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understanding that sometimes you do need a compressor,

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but there's going to be no heavy-handed

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result in using this one.

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That's right.

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So the compressor will not actually do a

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thing.

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If your gain is on the lower side,

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if you're not hitting the input too hard,

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the compressor never really kicks in.

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And as far as I can tell, based

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on the behavior, because Robert and I played

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with it quite a bit, we were purposely

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trying to clip the recordings, we were doing

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a lot with it, and it seems to

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be, is it a new compressor?

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It's a soft knee.

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So it has a curve.

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Yeah, it curves more and more as you

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get into it.

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So at the very top, it's almost probably,

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I dare say at the very, very top

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of it, it might be approaching limiting.

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I'm not sure what it is.

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Because I think it's a two-to-one

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compressor, but with a knee, there's no exact

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like, boom, it's this ratio.

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It's sort of a sliding, you need calculus

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to know the exact ratio at that point

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in the curve.

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It is very subtle, but useful.

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And I think if you just keep your

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levels conservative, it's good.

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The other nice thing is that if you

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look, right around the ring of the mic

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one knob, you actually have a compression indication.

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You can see when you're triggering it.

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It's an Easter egg.

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It's great.

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Yeah, so when we were playing with it,

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you could see the compression light indicating compression

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was happening, and it was kind of glowing

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in the space between the mic gain and

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the mix knob below, you could see it.

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A good tip would be, I reckon, set

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your levels up with your compressor off.

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So find the levels you want to use

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and then turn it on.

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Don't set your levels up with it turned

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on.

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I'll tell you exactly why you want to

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do that.

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Because the meter is post-compressor.

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Yes.

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And that is a little bit hard to

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tell.

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And if you're like, I can't get enough

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gain, you keep on turning it up, then

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you might be kind of pushing it.

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So it's not a bad idea to set

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your level pre-compressor.

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But overall, just be conservative with your levels.

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We've been through that whole thing with like

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24-bit.

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Yeah.

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You know, this thing's got fabulous audio specs

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anyway, so you don't have to be hanging

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out at minus 2 or even minus.

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Just hit this thing with one yellow light

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at the most every now and then.

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Absolutely.

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And that's more than enough.

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Yeah, you know what?

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Unfortunately, this image, this is not the calibration

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of our meter, by the way.

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I'm sorry.

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This is out of date.

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So the current model actually is as shown

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here.

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I'll zoom in on my – it goes

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from 0 to minus 6.

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I would say when you set your gain,

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you should be landing between 12 and 6.

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That would be what I would recommend.

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Yeah, like hitting minus 10.

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So is minus 10 a yellow, or is

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it a green?

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Minus 12 is a yellow.

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And then you have a minus 6 yellow,

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and then this is red.

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Zero is red.

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Yeah.

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Okay, so yeah.

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You should never see that red light.

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Yeah, you don't want to see that.

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If you see a red, you're dead.

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So minus 12 is the first yellow, right?

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Correct.

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Yeah, I would consistently hit the first yellow

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and rarely hit the second.

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Yeah.

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You should just be flicking into there.

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Yeah.

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All right.

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So that minus 6 is really a minus

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12.

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That's correct.

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Yeah.

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I'm sorry.

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This is not current.

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Yeah, hit it with one yellow light, but

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really – and then the second yellow light

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is minus 6.

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So just very occasionally hit the second yellow

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light.

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Right.

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And never red.

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Never red.

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When you hit the red, you're dead.

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Because I think the compression probably starts around

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minus 12 or minus 10 probably.

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We should know that.

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Yeah.

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So the compressor – yeah, the compressor does

278
00:08:33,750 --> 00:08:36,490
come in around minus 10 if I remember.

279
00:08:36,909 --> 00:08:38,490
So it's – yeah, the compressor is there

280
00:08:38,490 --> 00:08:40,950
to catch you when you're a little bit

281
00:08:40,950 --> 00:08:42,030
too aggressive on the mic.

282
00:08:42,049 --> 00:08:42,150
Yeah.

283
00:08:42,409 --> 00:08:44,410
And it seems to hard limit eventually.

284
00:08:44,410 --> 00:08:47,030
I don't think anybody that's recording you will

285
00:08:47,030 --> 00:08:49,570
even know you're using it unless you actually

286
00:08:49,570 --> 00:08:52,110
really yell and get into it.

287
00:08:52,110 --> 00:08:53,410
It's not a compressor for color.

288
00:08:53,710 --> 00:08:55,650
It's just a don't clip.

289
00:08:56,610 --> 00:08:56,890
It's transparent.

290
00:08:56,890 --> 00:08:58,430
And it really did stop it from clipping.

291
00:08:58,590 --> 00:09:00,510
I mean, I remember George was yelling into

292
00:09:00,510 --> 00:09:02,310
it, and then if you yelled into it

293
00:09:02,310 --> 00:09:03,810
without the compressor, it would clip.

294
00:09:03,890 --> 00:09:05,510
It would flatline and twisted wave.

295
00:09:05,770 --> 00:09:07,370
And then you yell into it with the

296
00:09:07,370 --> 00:09:10,010
compressor, and it was just rounded out.

297
00:09:10,010 --> 00:09:11,870
And it did kind of sound like it

298
00:09:11,870 --> 00:09:15,290
was getting fuzzy, a little furry, but it

299
00:09:15,290 --> 00:09:17,310
wasn't like that is unusable.

300
00:09:17,610 --> 00:09:19,190
It's also because there's so much headroom in

301
00:09:19,190 --> 00:09:20,670
the AD converter.

302
00:09:21,170 --> 00:09:23,070
Is that where the headroom would be, the

303
00:09:23,070 --> 00:09:25,790
AD converter, or before the AD converter?

304
00:09:25,950 --> 00:09:27,510
But there's a lot of headroom.

305
00:09:27,750 --> 00:09:29,590
I'm assuming that the zero on that clip

306
00:09:29,590 --> 00:09:31,610
light is zero on the AD converter as

307
00:09:31,610 --> 00:09:31,850
well.

308
00:09:32,150 --> 00:09:32,410
Yeah.

309
00:09:32,530 --> 00:09:34,030
I just found that I was able to

310
00:09:34,030 --> 00:09:36,410
go beyond clipping and twisted wave playback, and

311
00:09:36,410 --> 00:09:37,630
I couldn't really hear the clipping.

312
00:09:37,630 --> 00:09:39,430
That's what a lot of you will be

313
00:09:39,430 --> 00:09:40,870
using, and that's hopefully what it will come

314
00:09:40,870 --> 00:09:42,350
out of the box with.

315
00:09:43,050 --> 00:09:46,450
So the next one is Voice Actors Studio

316
00:09:46,450 --> 00:09:49,370
recorded PC and comms on a different computer.

317
00:09:49,850 --> 00:09:51,610
Not many people are probably going to do

318
00:09:51,610 --> 00:09:52,630
this, but a few may.

319
00:09:52,750 --> 00:09:55,170
If you have your recording PC, for example,

320
00:09:55,950 --> 00:09:59,450
firewalled, like literally not plugged into the network,

321
00:09:59,690 --> 00:10:01,850
if you don't have your PC that you

322
00:10:01,850 --> 00:10:03,870
record to plugged into the network for security,

323
00:10:04,050 --> 00:10:07,110
privacy, or whatever reason, this is what you'll

324
00:10:07,110 --> 00:10:07,570
be doing.

325
00:10:08,550 --> 00:10:10,550
And so you'll have a second computer or

326
00:10:10,550 --> 00:10:13,470
device that you'll use for communication.

327
00:10:13,730 --> 00:10:15,130
Or if you want to use your phone

328
00:10:15,130 --> 00:10:15,670
for comms.

329
00:10:16,710 --> 00:10:16,930
Yeah.

330
00:10:17,310 --> 00:10:19,190
Well, that's a bit tricky, the phone thing.

331
00:10:19,370 --> 00:10:20,990
So that was one thing that Robert and

332
00:10:20,990 --> 00:10:23,250
I spent a fair amount of time tinkering

333
00:10:23,250 --> 00:10:23,490
with.

334
00:10:23,550 --> 00:10:25,630
Actually, I was sitting on the sofa with

335
00:10:25,630 --> 00:10:26,890
this thing in my hand, and I was

336
00:10:26,890 --> 00:10:30,090
going, how do I get mobile communication on

337
00:10:30,090 --> 00:10:31,950
an iPhone to work with this thing?

338
00:10:31,950 --> 00:10:34,730
And what we learned was that if you

339
00:10:34,730 --> 00:10:38,910
load an application that is designed to speak

340
00:10:38,910 --> 00:10:42,010
to an external input, This is on a

341
00:10:42,010 --> 00:10:42,950
mobile device.

342
00:10:43,750 --> 00:10:44,910
On an iOS device.

343
00:10:45,910 --> 00:10:46,890
Yeah, not Android.

344
00:10:47,810 --> 00:10:49,890
I think Android doesn't have this issue, but

345
00:10:49,890 --> 00:10:51,530
I have not yet had a chance to

346
00:10:51,530 --> 00:10:53,030
test this with an Android, so I need

347
00:10:53,030 --> 00:10:53,530
to do that.

348
00:10:53,810 --> 00:10:56,110
I do have an old LG V40, so

349
00:10:56,110 --> 00:10:58,110
that might be a good test platform.

350
00:10:58,110 --> 00:11:00,210
What we found was that when we loaded

351
00:11:00,210 --> 00:11:03,390
a recording app that does actually call out

352
00:11:03,390 --> 00:11:07,650
and connect to external devices, like I was

353
00:11:07,650 --> 00:11:10,270
using Road Reporter, a free little app you

354
00:11:10,270 --> 00:11:12,750
can install on your iPhone, it would immediately

355
00:11:12,750 --> 00:11:14,870
detect the unit, and it would show on

356
00:11:14,870 --> 00:11:16,630
the Road Reporter that I'm connected to the

357
00:11:16,630 --> 00:11:18,430
Passport VO comms port.

358
00:11:19,010 --> 00:11:19,870
Mom's or uncle.

359
00:11:20,430 --> 00:11:22,330
Then I would launch Zoom.

360
00:11:22,890 --> 00:11:26,110
And Zoom also said, hey, I'm connected to

361
00:11:26,110 --> 00:11:29,210
the Sentrance Passport VO comms port.

362
00:11:29,690 --> 00:11:32,090
So it does work if you do it

363
00:11:32,090 --> 00:11:32,950
in that sequence.

364
00:11:33,410 --> 00:11:34,890
So screw you, Apple, we found a way

365
00:11:34,890 --> 00:11:35,450
around you.

366
00:11:37,250 --> 00:11:41,370
We worked around an annoying iOS limitation.

367
00:11:41,590 --> 00:11:42,570
I'm going to call it a limitation.

368
00:11:43,910 --> 00:11:45,390
So that was very encouraging.

369
00:11:46,130 --> 00:11:47,390
So in other words, you could plug your

370
00:11:47,390 --> 00:11:50,790
phone into that second comms port and you'll

371
00:11:50,790 --> 00:11:51,330
be fine.

372
00:11:51,330 --> 00:11:54,170
Just make sure your phone isn't sitting next

373
00:11:54,170 --> 00:11:55,630
to the mic, so you don't get that

374
00:11:55,630 --> 00:12:00,690
static-y sound you get from a cell

375
00:12:00,690 --> 00:12:02,030
phone near your mic.

376
00:12:02,650 --> 00:12:03,850
I didn't notice any of that.

377
00:12:04,190 --> 00:12:06,750
I had my phone all around it, and

378
00:12:06,750 --> 00:12:07,930
I don't think I noticed it.

379
00:12:08,030 --> 00:12:11,170
This is a lesser-used configuration, but still

380
00:12:11,170 --> 00:12:12,330
one that's really relevant.

381
00:12:12,830 --> 00:12:14,270
This is almost the same as the first

382
00:12:14,270 --> 00:12:16,630
one, except now you've separated your record and

383
00:12:16,630 --> 00:12:17,990
your communications device.

384
00:12:18,450 --> 00:12:18,770
Right.

385
00:12:18,770 --> 00:12:20,990
Otherwise, it should be identical.

386
00:12:21,590 --> 00:12:21,690
Yep.

387
00:12:22,030 --> 00:12:23,990
And that's where this thing is so powerful,

388
00:12:24,170 --> 00:12:26,310
because it's like two, one, you can do

389
00:12:26,310 --> 00:12:26,630
it all.

390
00:12:26,710 --> 00:12:26,970
Yeah.

391
00:12:27,190 --> 00:12:27,670
Absolutely.

392
00:12:28,230 --> 00:12:28,730
Yeah, I'm looking.

393
00:12:28,830 --> 00:12:31,570
I'm clicking back and forth to see what's

394
00:12:31,570 --> 00:12:31,890
changed.

395
00:12:31,970 --> 00:12:32,910
It's like the world's war.

396
00:12:33,010 --> 00:12:33,690
Where's Waldo?

397
00:12:34,930 --> 00:12:37,030
Oh, you know, it says here, blends mix

398
00:12:37,030 --> 00:12:39,670
between mics and DAW sent to guests and

399
00:12:39,670 --> 00:12:40,350
headphones.

400
00:12:41,010 --> 00:12:43,190
Blends mix between mics and DAW sent to

401
00:12:43,190 --> 00:12:43,730
headphones.

402
00:12:44,110 --> 00:12:46,270
It also controls what the guests hear.

403
00:12:46,270 --> 00:12:50,470
So when you're using the mic playback blend

404
00:12:50,470 --> 00:12:54,730
while listening to it back, that determines what

405
00:12:54,730 --> 00:12:57,090
gets sent out down the comms line.

406
00:12:57,550 --> 00:12:58,090
Yeah.

407
00:12:58,250 --> 00:12:59,630
Because they hear what you hear.

408
00:13:00,130 --> 00:13:01,110
They hear what you hear.

409
00:13:01,570 --> 00:13:04,870
If the switch is on the far right

410
00:13:04,870 --> 00:13:06,770
side, the bottom right switch.

411
00:13:06,910 --> 00:13:09,230
Yeah, the comms source mic playback to send

412
00:13:09,230 --> 00:13:12,470
DAW playback to remote guests on Zoom, that

413
00:13:12,470 --> 00:13:14,550
switch has to be in the right position,

414
00:13:14,550 --> 00:13:17,130
which that's the way I would say almost

415
00:13:17,130 --> 00:13:19,410
everybody is going to want to use their

416
00:13:19,410 --> 00:13:19,590
passport.

417
00:13:20,430 --> 00:13:21,550
And which is, I just want it to

418
00:13:21,550 --> 00:13:22,790
play back automatically.

419
00:13:23,010 --> 00:13:23,910
I don't want to have to think about

420
00:13:23,910 --> 00:13:24,050
it.

421
00:13:24,510 --> 00:13:25,650
Yeah, that was the thing that caught me.

422
00:13:25,770 --> 00:13:27,750
I was looking for something far more complicated

423
00:13:27,750 --> 00:13:29,070
when I was trying to do playback.

424
00:13:29,730 --> 00:13:31,390
When Robbo and I were playing with it.

425
00:13:31,550 --> 00:13:31,850
Yeah.

426
00:13:32,070 --> 00:13:32,330
Yeah.

427
00:13:32,650 --> 00:13:34,930
If you have a DAW and for some

428
00:13:34,930 --> 00:13:38,570
reason you are listening to yourself through the

429
00:13:38,570 --> 00:13:42,030
DAW, then you could create a potential comb

430
00:13:42,030 --> 00:13:44,470
filtering, where it's like if the DAW has

431
00:13:44,470 --> 00:13:46,330
a little bit extra time than the direct

432
00:13:46,330 --> 00:13:48,750
mic that you're feeding them, and if you

433
00:13:48,750 --> 00:13:51,070
don't mute your DAW, if your record is

434
00:13:51,070 --> 00:13:52,850
not muted and it passes through in real

435
00:13:52,850 --> 00:13:56,210
time, then you could be doubling up.

436
00:13:56,390 --> 00:13:58,750
You'd have to turn the playback knob all

437
00:13:58,750 --> 00:14:00,710
the way to playback, and that will eliminate

438
00:14:00,710 --> 00:14:00,990
that.

439
00:14:01,150 --> 00:14:01,750
That will eliminate that.

440
00:14:01,750 --> 00:14:03,110
Yeah, you'd have to turn it all the

441
00:14:03,110 --> 00:14:04,390
way one way to eliminate it.

442
00:14:04,510 --> 00:14:06,250
I don't know many voice actors who monitor

443
00:14:06,250 --> 00:14:08,230
through the DAW, like through a Pro Tools,

444
00:14:08,230 --> 00:14:11,030
but I'm sure some do because that's how

445
00:14:11,030 --> 00:14:12,250
they do their punch and roll.

446
00:14:12,610 --> 00:14:14,270
You wouldn't want to be confidence monitoring.

447
00:14:14,510 --> 00:14:17,850
I would rather be confident in everything that

448
00:14:17,850 --> 00:14:18,750
I want to go to take.

449
00:14:19,130 --> 00:14:20,010
Do you confidence monitor what you record through

450
00:14:20,010 --> 00:14:21,110
the mic as an actor?

451
00:14:21,970 --> 00:14:22,530
I don't know.

452
00:14:22,590 --> 00:14:23,270
That's what I'm asking.

453
00:14:23,450 --> 00:14:25,130
I mean, I do when I record podcasts.

454
00:14:25,310 --> 00:14:26,050
I confidence monitor.

455
00:14:26,490 --> 00:14:28,210
So you're not hearing the latency.

456
00:14:28,750 --> 00:14:28,970
Yeah.

457
00:14:29,290 --> 00:14:31,390
Like in Twisted Wave, there's an option to

458
00:14:31,390 --> 00:14:32,990
pass it through in real time or not,

459
00:14:32,990 --> 00:14:33,250
right?

460
00:14:33,730 --> 00:14:35,230
Yeah, it's playthrough monitoring.

461
00:14:35,530 --> 00:14:36,970
But you don't want that as an actor.

462
00:14:36,970 --> 00:14:38,130
It's distracting.

463
00:14:38,810 --> 00:14:38,910
Yeah.

464
00:14:38,930 --> 00:14:40,850
You're going to want to have playthrough monitoring

465
00:14:40,850 --> 00:14:44,890
turned off on whatever recording application you're using.

466
00:14:44,890 --> 00:14:46,190
In Pro Tools, it's called low latency monitor

467
00:14:46,190 --> 00:14:46,530
mode.

468
00:14:46,710 --> 00:14:48,610
So you want to go to your options

469
00:14:48,610 --> 00:14:50,330
menu at the very bottom.

470
00:14:50,950 --> 00:14:51,270
Yeah, but that's got a problem.

471
00:14:51,270 --> 00:14:53,310
So Pro Tools is pretty stupid.

472
00:14:53,930 --> 00:14:54,810
Yeah, I said that.

473
00:14:57,690 --> 00:15:00,770
When you flick on low latency monitoring mode,

474
00:15:00,810 --> 00:15:01,870
you can't have any plugins.

475
00:15:02,550 --> 00:15:04,250
Well, you can't have them run live, no.

476
00:15:04,350 --> 00:15:05,730
It will bypass all your plugins.

477
00:15:05,730 --> 00:15:08,550
Well, because plugins induce latency.

478
00:15:08,970 --> 00:15:10,090
So, yeah, that's why.

479
00:15:10,330 --> 00:15:11,690
If you're a voiceover artist, would you want

480
00:15:11,690 --> 00:15:13,250
to be recording with plugins on anyway?

481
00:15:13,450 --> 00:15:13,810
I don't know.

482
00:15:13,990 --> 00:15:16,230
Well, you might have Nexus or something else

483
00:15:16,230 --> 00:15:17,930
going so that you're doing routing and some

484
00:15:17,930 --> 00:15:18,530
other stuff.

485
00:15:18,690 --> 00:15:19,350
Ah, good point.

486
00:15:19,510 --> 00:15:20,130
Yeah, I suppose.

487
00:15:20,470 --> 00:15:22,230
You could feed that from another auxiliary.

488
00:15:22,510 --> 00:15:23,790
You could feed that from somewhere else.

489
00:15:23,870 --> 00:15:24,750
You don't have to have it coming through

490
00:15:24,750 --> 00:15:25,430
your mic channel.

491
00:15:25,810 --> 00:15:28,030
As long as that's in your monitor path,

492
00:15:28,630 --> 00:15:30,870
it's going to bypass it, unfortunately, the way

493
00:15:30,870 --> 00:15:31,750
Pro Tools does it.

494
00:15:31,750 --> 00:15:33,370
The point is, don't monitor through your DAW

495
00:15:33,370 --> 00:15:35,750
if you're using the playback option.

496
00:15:35,770 --> 00:15:38,410
Yeah, when you have zero latency monitoring hardware

497
00:15:38,410 --> 00:15:41,030
like this, don't monitor through the DAW.

498
00:15:41,310 --> 00:15:41,810
Yeah, just use it.

499
00:15:41,850 --> 00:15:42,550
Yeah, yeah, exactly.

500
00:15:43,070 --> 00:15:45,430
And then moving on, podcaster studio mode.

501
00:15:45,570 --> 00:15:49,490
So this is being a podcast producer slash

502
00:15:49,490 --> 00:15:53,570
podcast host, really, and having two mics in

503
00:15:53,570 --> 00:15:54,750
the studio with you.

504
00:15:55,550 --> 00:15:55,790
Local.

505
00:15:55,790 --> 00:15:57,570
This is probably one of the more simple

506
00:15:57,570 --> 00:16:00,790
modes because you're not using the comms port

507
00:16:00,790 --> 00:16:01,190
at all.

508
00:16:01,750 --> 00:16:03,830
You can have it plugged in, but you're

509
00:16:03,830 --> 00:16:04,790
not going to use it.

510
00:16:05,310 --> 00:16:07,750
This is more like, I'm just a regular

511
00:16:07,750 --> 00:16:08,930
audio interface.

512
00:16:09,630 --> 00:16:12,090
Yeah, this is essentially, I'm a Scarlett 2i2.

513
00:16:12,810 --> 00:16:13,290
Yeah.

514
00:16:13,870 --> 00:16:17,050
Yeah, just a stereo two-channel record interface.

515
00:16:17,470 --> 00:16:19,150
Well, I keep saying Scarlett because it's such

516
00:16:19,150 --> 00:16:21,250
a popular device, but it's still way beyond

517
00:16:21,250 --> 00:16:23,290
a Scarlett because we've got high-pass filtering.

518
00:16:23,510 --> 00:16:23,950
We have compressors.

519
00:16:24,890 --> 00:16:25,070
Limiter.

520
00:16:25,070 --> 00:16:25,890
Yeah, yeah.

521
00:16:25,930 --> 00:16:27,290
So in this mode, now we're going to

522
00:16:27,290 --> 00:16:29,910
split the record channel to source switch to

523
00:16:29,910 --> 00:16:31,730
the middle position because we want to record

524
00:16:31,730 --> 00:16:35,490
the right mic on the right track or

525
00:16:35,490 --> 00:16:36,610
the right channel, right?

526
00:16:36,910 --> 00:16:39,030
So, George, what you should use the comms

527
00:16:39,030 --> 00:16:41,190
for is for your broadcast out live to

528
00:16:41,190 --> 00:16:43,670
YouTube live and Facebook live.

529
00:16:45,210 --> 00:16:46,950
Okay, that would be a new mode.

530
00:16:47,070 --> 00:16:48,930
We can make another one called live stream.

531
00:16:49,370 --> 00:16:51,610
Like record and broadcast.

532
00:16:52,550 --> 00:16:52,730
Yeah.

533
00:16:53,290 --> 00:16:55,350
Yeah, I would call that live streamer mode,

534
00:16:55,610 --> 00:16:55,790
actually.

535
00:16:56,550 --> 00:16:56,830
Right?

536
00:16:56,970 --> 00:17:00,810
Because that's a whole other audience of users,

537
00:17:01,070 --> 00:17:02,410
which are live streamers.

538
00:17:02,790 --> 00:17:04,510
Actually, there's another function here as well.

539
00:17:04,630 --> 00:17:06,410
When you're using two microphones like that for

540
00:17:06,410 --> 00:17:09,130
a podcast, you can also use the auxiliary

541
00:17:09,130 --> 00:17:12,210
out to run another pair of headphones.

542
00:17:12,609 --> 00:17:13,329
So you've got two headphones.

543
00:17:13,430 --> 00:17:13,810
Oh, yes.

544
00:17:14,069 --> 00:17:14,630
Yes, you can.

545
00:17:15,290 --> 00:17:15,510
Yeah.

546
00:17:15,510 --> 00:17:17,369
So you're going to use your aux out

547
00:17:17,369 --> 00:17:20,349
in headphone mode, and you'll connect your second

548
00:17:20,349 --> 00:17:21,170
headset to that.

549
00:17:21,170 --> 00:17:22,630
Yeah, so you really want to have the

550
00:17:22,630 --> 00:17:24,230
aux out in headphone mode so you can

551
00:17:24,230 --> 00:17:25,510
have two sets of cans.

552
00:17:26,010 --> 00:17:28,510
Now, the headphone knob will be controlling the

553
00:17:28,510 --> 00:17:30,210
levels to both sets of cans.

554
00:17:30,890 --> 00:17:32,530
So make sure that the two sets of

555
00:17:32,530 --> 00:17:35,490
cans are similar, like either the same brand

556
00:17:35,490 --> 00:17:37,130
or similar impedance.

557
00:17:37,510 --> 00:17:38,410
Is that the case?

558
00:17:38,910 --> 00:17:40,610
Yeah, because you're going to have one person

559
00:17:40,610 --> 00:17:42,970
with much louder cans than the other, and

560
00:17:42,970 --> 00:17:44,970
that could be a little frustrating.

561
00:17:45,450 --> 00:17:47,130
So when you flip that to headphone mode,

562
00:17:47,350 --> 00:17:49,890
the speakers are only the speakers, right?

563
00:17:50,030 --> 00:17:50,290
Okay.

564
00:17:50,290 --> 00:17:50,850
Right.

565
00:17:51,250 --> 00:17:51,650
Yeah.

566
00:17:51,810 --> 00:17:53,510
The speaker outs are only the speaker outs.

567
00:17:53,590 --> 00:17:55,550
And then I would almost guarantee that compressor

568
00:17:55,550 --> 00:17:57,310
on for a podcast is the way to

569
00:17:57,310 --> 00:17:57,510
go.

570
00:17:58,750 --> 00:18:00,250
You just never want to have to worry

571
00:18:00,250 --> 00:18:01,330
about clipping in a podcast.

572
00:18:02,810 --> 00:18:05,310
And pretty much everything else is set.

573
00:18:06,090 --> 00:18:07,210
You do want to make sure that you

574
00:18:07,210 --> 00:18:11,030
select mic one with your mic select, because

575
00:18:11,030 --> 00:18:12,990
if you put it on mic two, you're

576
00:18:12,990 --> 00:18:15,330
basically going to record two copies of mic

577
00:18:15,330 --> 00:18:15,670
two.

578
00:18:15,990 --> 00:18:16,230
Yes, exactly.

579
00:18:16,230 --> 00:18:17,590
Mic two on the left and mic two

580
00:18:17,590 --> 00:18:17,990
on the right.

581
00:18:18,010 --> 00:18:18,850
To the right, yeah.

582
00:18:18,850 --> 00:18:20,230
Which you'll figure out.

583
00:18:20,510 --> 00:18:21,810
But that's just, I put that on there

584
00:18:21,810 --> 00:18:23,070
to make sure that was really clear.

585
00:18:23,510 --> 00:18:24,410
Don't do that.

586
00:18:24,650 --> 00:18:26,830
So that is podcaster studio mode.

587
00:18:27,150 --> 00:18:29,950
Moving on, then we have podcaster studio remote

588
00:18:29,950 --> 00:18:30,810
guest mode.

589
00:18:31,190 --> 00:18:33,330
And so this is when the guest is

590
00:18:33,330 --> 00:18:37,290
actually on some remote recording tool, right?

591
00:18:37,370 --> 00:18:41,170
So this one is, again, similar to VO

592
00:18:41,170 --> 00:18:43,890
mode, but this is all about recording the

593
00:18:43,890 --> 00:18:44,610
guest as well.

594
00:18:44,610 --> 00:18:47,610
So pretty much everything the same as if

595
00:18:47,610 --> 00:18:48,870
you're doing a voiceover job.

596
00:18:49,430 --> 00:18:51,790
But now you've got the comms knob that

597
00:18:51,790 --> 00:18:53,650
you control the volume from the guest.

598
00:18:54,770 --> 00:18:57,190
And if you happen to have two people

599
00:18:57,190 --> 00:18:59,870
in studio with you, which probably not very

600
00:18:59,870 --> 00:19:02,310
likely if you're doing a remote, you probably

601
00:19:02,310 --> 00:19:04,390
won't use the second headphone jack, but it's

602
00:19:04,390 --> 00:19:04,670
there.

603
00:19:05,150 --> 00:19:07,970
And then you're going to connect your second

604
00:19:07,970 --> 00:19:11,110
USB port to your second computer.

605
00:19:11,970 --> 00:19:13,590
If you had a second person in the

606
00:19:13,590 --> 00:19:15,510
studio, they wouldn't be heard by the guests

607
00:19:15,510 --> 00:19:16,950
who are remote.

608
00:19:17,710 --> 00:19:19,930
Well, if they're on speakers, they won't hear

609
00:19:19,930 --> 00:19:20,130
it.

610
00:19:20,730 --> 00:19:22,450
Well, even if they're, it's not going to

611
00:19:22,450 --> 00:19:25,730
send mic two to comms.

612
00:19:25,830 --> 00:19:27,050
It's only going to send mic one to

613
00:19:27,050 --> 00:19:27,510
comms.

614
00:19:27,930 --> 00:19:28,570
That is correct.

615
00:19:28,810 --> 00:19:29,070
Yes.

616
00:19:29,570 --> 00:19:32,110
So you can't really have two people in

617
00:19:32,110 --> 00:19:35,170
the studio and unless they're just kind of

618
00:19:35,170 --> 00:19:36,630
hearing you through your mic.

619
00:19:37,070 --> 00:19:38,990
That is a design limitation.

620
00:19:38,990 --> 00:19:40,530
Just turn their gain down and get them

621
00:19:40,530 --> 00:19:41,230
to speak loud.

622
00:19:41,430 --> 00:19:41,910
That's fine.

623
00:19:41,990 --> 00:19:43,070
And they'll spill into your mic.

624
00:19:43,190 --> 00:19:46,150
The other thing about this mode, George, is

625
00:19:46,150 --> 00:19:49,470
that how do I record the guests?

626
00:19:49,690 --> 00:19:52,270
I need to hook up two recording applications

627
00:19:52,270 --> 00:19:56,450
because I'm coming in on the record interface

628
00:19:56,450 --> 00:19:58,390
and the other people are coming in on

629
00:19:58,390 --> 00:19:59,410
the comms interface.

630
00:19:59,930 --> 00:20:02,250
You just record a stereo track because remember

631
00:20:02,250 --> 00:20:05,870
the comms return is being sent to channel

632
00:20:05,870 --> 00:20:07,310
two, the right channel.

633
00:20:07,310 --> 00:20:09,490
So you see the switch that says set

634
00:20:09,490 --> 00:20:11,550
comms for right channel.

635
00:20:12,310 --> 00:20:13,850
Oh, does that right channel go out?

636
00:20:14,010 --> 00:20:15,650
Of course, it goes out the recording.

637
00:20:15,910 --> 00:20:16,010
Yeah.

638
00:20:16,050 --> 00:20:18,570
So you set comms for right channel only

639
00:20:18,570 --> 00:20:19,270
when recording.

640
00:20:19,490 --> 00:20:21,590
And I put in parentheses only when recording

641
00:20:21,590 --> 00:20:22,650
in stereo, folks.

642
00:20:22,830 --> 00:20:25,090
So if you want to record both you

643
00:20:25,090 --> 00:20:27,430
and your guest, you have to record a

644
00:20:27,430 --> 00:20:31,030
stereo track or two tracks in your DAW

645
00:20:31,030 --> 00:20:32,410
if it's two mono tracks.

646
00:20:32,590 --> 00:20:34,610
So there's no way you're recording that second

647
00:20:34,610 --> 00:20:34,950
mic.

648
00:20:34,950 --> 00:20:37,650
Even if you put up that second mic,

649
00:20:37,730 --> 00:20:39,430
the comms aren't hearing it and you're not

650
00:20:39,430 --> 00:20:40,130
recording it.

651
00:20:40,330 --> 00:20:42,670
So it's really not a use case to

652
00:20:42,670 --> 00:20:44,610
have two people in studio and one remote.

653
00:20:44,750 --> 00:20:46,570
You can either have two in studio or

654
00:20:46,570 --> 00:20:48,330
you and the other person remote.

655
00:20:48,470 --> 00:20:51,430
But this isn't like the full guest and

656
00:20:51,430 --> 00:20:53,230
five people in studio kind of interface.

657
00:20:53,590 --> 00:20:53,690
Right.

658
00:20:53,690 --> 00:20:55,790
Because this thing's got so many modes, sometimes

659
00:20:55,790 --> 00:20:58,070
we had to choose our battles and we

660
00:20:58,070 --> 00:20:58,650
couldn't do that.

661
00:20:58,650 --> 00:21:01,290
The main point is like a voiceover person

662
00:21:01,290 --> 00:21:03,550
who might occasionally record an interview.

663
00:21:03,950 --> 00:21:05,770
And maybe that interview is local or maybe

664
00:21:05,770 --> 00:21:06,950
that interview is remote.

665
00:21:07,270 --> 00:21:09,710
Or you want to record your clients.

666
00:21:10,210 --> 00:21:11,310
Or your client, yeah.

667
00:21:11,690 --> 00:21:13,470
You told me to read it faster with

668
00:21:13,470 --> 00:21:13,970
a smile.

669
00:21:14,270 --> 00:21:14,530
See?

670
00:21:16,850 --> 00:21:19,950
So mode five is using only mobile device

671
00:21:19,950 --> 00:21:22,270
field recording or reporting.

672
00:21:22,490 --> 00:21:24,350
So this would be if you literally are

673
00:21:24,350 --> 00:21:25,490
going to use only a mobile.

674
00:21:25,490 --> 00:21:27,610
No PC, no laptop, nothing.

675
00:21:27,790 --> 00:21:30,450
Just plug this thing, mobile device, go out

676
00:21:30,450 --> 00:21:30,950
in the field.

677
00:21:31,890 --> 00:21:32,670
That's this.

678
00:21:33,370 --> 00:21:33,850
Record.

679
00:21:34,110 --> 00:21:36,150
It'd be great to have Mike's little microphones.

680
00:21:36,470 --> 00:21:36,950
Yes.

681
00:21:37,470 --> 00:21:39,070
Those things are pretty slick, man.

682
00:21:39,470 --> 00:21:40,630
I do have them here in these little

683
00:21:40,630 --> 00:21:42,250
sacks.

684
00:21:43,650 --> 00:21:46,210
But when I do that with the Micwalk

685
00:21:46,210 --> 00:21:49,790
Pro, as we've seen before, I just jam

686
00:21:49,790 --> 00:21:50,970
the mic straight into the unit.

687
00:21:51,250 --> 00:21:53,570
And then record on Twisted Wave on my

688
00:21:53,570 --> 00:21:54,110
telephone.

689
00:21:54,610 --> 00:21:55,330
That's right.

690
00:21:56,010 --> 00:21:56,690
That's right.

691
00:21:56,810 --> 00:21:57,210
Absolutely.

692
00:21:57,810 --> 00:21:59,490
So this is the one thing that's going

693
00:21:59,490 --> 00:22:00,870
to be very different here is you need

694
00:22:00,870 --> 00:22:01,890
to power the unit.

695
00:22:02,330 --> 00:22:04,270
So you have to have a power bank

696
00:22:04,270 --> 00:22:06,530
plugged into the comms port.

697
00:22:07,510 --> 00:22:10,990
And then you will switch your power source

698
00:22:10,990 --> 00:22:13,090
switch to comms.

699
00:22:13,950 --> 00:22:14,230
Yep.

700
00:22:14,350 --> 00:22:15,690
So that's something you have to do.

701
00:22:16,030 --> 00:22:18,010
My little anchor has got a USB-C

702
00:22:18,010 --> 00:22:19,470
and an A so you can power a

703
00:22:19,470 --> 00:22:22,430
phone and a passport simultaneously.

704
00:22:22,610 --> 00:22:23,110
No problem.

705
00:22:23,110 --> 00:22:25,230
If you want to power your phone while

706
00:22:25,230 --> 00:22:27,130
you're recording, you can't because you've only got

707
00:22:27,130 --> 00:22:28,830
one input.

708
00:22:29,670 --> 00:22:32,110
Unless you've got those weirdo T jacks.

709
00:22:33,010 --> 00:22:33,970
Yeah, some strange thing.

710
00:22:34,290 --> 00:22:36,630
So on iPhone, you have to use, it's

711
00:22:36,630 --> 00:22:39,390
called an MFI, made for iOS adapter.

712
00:22:39,850 --> 00:22:42,670
And they make one that has a USB

713
00:22:42,670 --> 00:22:45,350
-A port, which is a USB 3.0

714
00:22:45,350 --> 00:22:48,230
jack, and a USB-C port for charging.

715
00:22:48,230 --> 00:22:51,590
So when you use that little adapter, now

716
00:22:51,590 --> 00:22:54,550
you can charge your phone and run a

717
00:22:54,550 --> 00:22:55,710
signal to the passport.

718
00:22:56,030 --> 00:22:58,210
So Andrew, that's what you're saying.

719
00:22:58,270 --> 00:23:01,410
Those adapters are $30 range.

720
00:23:01,510 --> 00:23:02,950
I think that's what Apple sells them for.

721
00:23:03,070 --> 00:23:04,770
It does turn it into a little power

722
00:23:04,770 --> 00:23:08,290
splitter so it has that additional benefit.

723
00:23:08,710 --> 00:23:10,270
So you have that available too.

724
00:23:10,410 --> 00:23:13,710
The comms mic, mic playback switch, it's not

725
00:23:13,710 --> 00:23:16,190
being used because we're not using comms mode

726
00:23:16,190 --> 00:23:16,590
at all.

727
00:23:17,490 --> 00:23:18,530
Compressor on if needed.

728
00:23:18,770 --> 00:23:20,050
Again, that depends on what you're doing.

729
00:23:20,190 --> 00:23:22,110
Probably most of you would probably use that.

730
00:23:22,530 --> 00:23:24,070
Comms knob doesn't do anything because we're not

731
00:23:24,070 --> 00:23:24,890
using the comms.

732
00:23:25,130 --> 00:23:28,090
So it's a really more simplified mode of

733
00:23:28,090 --> 00:23:28,630
operation.

734
00:23:29,310 --> 00:23:31,350
I'd actually have the, because if I'm using

735
00:23:31,350 --> 00:23:34,170
this on the phone, historically, I will be

736
00:23:34,170 --> 00:23:37,230
probably recording in a car or not a

737
00:23:37,230 --> 00:23:38,130
particularly good environment.

738
00:23:38,450 --> 00:23:39,990
So I would have the high pass filter

739
00:23:39,990 --> 00:23:40,730
on for sure.

740
00:23:41,150 --> 00:23:41,590
For sure.

741
00:23:41,970 --> 00:23:42,210
Yeah.

742
00:23:42,550 --> 00:23:43,150
Good point.

743
00:23:43,150 --> 00:23:44,090
Yeah.

744
00:23:44,330 --> 00:23:46,490
And lastly, just so you're aware, there are

745
00:23:46,490 --> 00:23:48,050
limitations on mobile devices.

746
00:23:48,430 --> 00:23:49,790
You will not be able to connect on

747
00:23:49,790 --> 00:23:51,950
Zoom and in your recording app on your

748
00:23:51,950 --> 00:23:54,230
mobile device at the same time.

749
00:23:54,390 --> 00:23:56,050
Can't be done on an iPhone.

750
00:23:56,710 --> 00:23:57,190
Android?

751
00:23:57,670 --> 00:23:58,410
I don't know.

752
00:23:58,610 --> 00:23:59,490
Got to test that out.

753
00:23:59,610 --> 00:24:00,470
I don't think so.

754
00:24:00,870 --> 00:24:02,830
But the phone can only act as a

755
00:24:02,830 --> 00:24:05,790
communications device for making calls or Zoom calls

756
00:24:05,790 --> 00:24:06,130
or whatever.

757
00:24:06,990 --> 00:24:10,890
Or a high bit rate pro audio recording

758
00:24:10,890 --> 00:24:12,010
device.

759
00:24:12,010 --> 00:24:13,770
It can't do those two at the same

760
00:24:13,770 --> 00:24:14,070
time.

761
00:24:14,250 --> 00:24:15,170
Just to be aware of that.

762
00:24:15,510 --> 00:24:17,050
So moving right along.

763
00:24:17,170 --> 00:24:19,010
This one is camera sound kit.

764
00:24:19,770 --> 00:24:21,970
And this is definitely a very edge case

765
00:24:21,970 --> 00:24:24,950
use for the Passport VO.

766
00:24:25,210 --> 00:24:26,750
But if you wanted to use it as

767
00:24:26,750 --> 00:24:32,290
a portable mic input preamp mixer for ENG

768
00:24:32,290 --> 00:24:35,310
or film production or whatever, that's this.

769
00:24:35,410 --> 00:24:37,290
So this would be assuming you're not connected

770
00:24:37,290 --> 00:24:38,550
to a computer at all.

771
00:24:38,550 --> 00:24:40,750
You have the option to do so.

772
00:24:41,010 --> 00:24:43,030
But this would be assuming it's not connected

773
00:24:43,030 --> 00:24:44,350
to any PC or anything.

774
00:24:44,810 --> 00:24:46,430
It's only connected to a power bank.

775
00:24:46,570 --> 00:24:49,130
And then the aux out goes to your

776
00:24:49,130 --> 00:24:50,030
camera.

777
00:24:50,330 --> 00:24:51,870
And depending on what kind of camera you

778
00:24:51,870 --> 00:24:54,670
have, you'll have to be very careful of

779
00:24:54,670 --> 00:24:57,570
what you set the speaker knob to.

780
00:24:58,090 --> 00:24:58,630
Actually, no.

781
00:24:59,190 --> 00:25:00,590
No, this is headphone mode.

782
00:25:00,870 --> 00:25:01,650
This is in headphone mode.

783
00:25:01,650 --> 00:25:05,170
So you can't change your headphone volume because

784
00:25:05,170 --> 00:25:06,910
you will be changing the record volume.

785
00:25:07,050 --> 00:25:07,730
That is true.

786
00:25:07,730 --> 00:25:09,470
Can't you set it to speaker though?

787
00:25:10,410 --> 00:25:10,670
No.

788
00:25:10,690 --> 00:25:12,290
They won't have the microphones on it.

789
00:25:12,750 --> 00:25:13,130
That's right.

790
00:25:13,210 --> 00:25:16,450
Speaker will not pass the microphone signal out

791
00:25:16,450 --> 00:25:16,830
of the speaker jack.

792
00:25:16,830 --> 00:25:18,130
So that way there's no feedback.

793
00:25:18,430 --> 00:25:21,890
That is our feedback prevention thing.

794
00:25:22,090 --> 00:25:24,390
So we didn't want to have yet another

795
00:25:24,390 --> 00:25:26,930
switch to have another mode.

796
00:25:27,170 --> 00:25:28,550
You can still monitor on headphones.

797
00:25:28,830 --> 00:25:31,350
You'll have your headphones plugged into the headphone

798
00:25:31,350 --> 00:25:31,690
jack.

799
00:25:31,690 --> 00:25:33,310
But the volume that you hear in the

800
00:25:33,310 --> 00:25:35,730
headphones is going to be predicated by the

801
00:25:35,730 --> 00:25:37,790
signal you need to send out to your

802
00:25:37,790 --> 00:25:38,590
camera.

803
00:25:38,910 --> 00:25:39,990
So keep that in mind.

804
00:25:40,290 --> 00:25:42,230
Your headphone volume is your camera gain.

805
00:25:43,090 --> 00:25:43,950
Yeah, kind of.

806
00:25:44,890 --> 00:25:46,890
So if you've got a good camera with

807
00:25:46,890 --> 00:25:49,110
a variable line input, you might find a

808
00:25:49,110 --> 00:25:51,010
perfect sweet spot where the headphone level is

809
00:25:51,010 --> 00:25:51,330
solid.

810
00:25:51,870 --> 00:25:53,690
And then you can trim your camera input

811
00:25:53,690 --> 00:25:55,150
until everything matches.

812
00:25:55,150 --> 00:25:57,790
If your camera has got a micro input

813
00:25:57,790 --> 00:25:59,990
level only, you're going to have to run

814
00:25:59,990 --> 00:26:01,630
that really low.

815
00:26:02,010 --> 00:26:04,510
I would suggest that if your camera passes

816
00:26:04,510 --> 00:26:06,550
audio in real time that you're better off

817
00:26:06,550 --> 00:26:09,610
monitoring through the camera so you can hear

818
00:26:09,610 --> 00:26:12,570
what you are doing to that camera input

819
00:26:12,570 --> 00:26:12,890
gain.

820
00:26:13,310 --> 00:26:14,030
I agree with that entirely.

821
00:26:14,030 --> 00:26:15,210
Because who knows what you've got there.

822
00:26:15,290 --> 00:26:16,870
You've got a preamp on there.

823
00:26:16,870 --> 00:26:19,490
And I've seen it before where you're clipping

824
00:26:19,490 --> 00:26:22,270
something, but you're clipping it so early on

825
00:26:22,270 --> 00:26:25,030
that it's actually not going into the red.

826
00:26:25,090 --> 00:26:28,150
It's just in the green zone.

827
00:26:28,170 --> 00:26:30,490
You're clipping the input of the camera, but

828
00:26:30,490 --> 00:26:32,170
not clipping the DAC on the camera.

829
00:26:32,270 --> 00:26:33,730
You're not clipping the digital recorder.

830
00:26:33,890 --> 00:26:35,090
You're clipping the analog stage.

831
00:26:35,690 --> 00:26:36,150
And that's a combination.

832
00:26:36,150 --> 00:26:36,770
It's in the green.

833
00:26:36,870 --> 00:26:37,390
It's okay.

834
00:26:37,590 --> 00:26:39,070
It's like, nah, you didn't listen to it.

835
00:26:39,330 --> 00:26:41,250
Yeah, so that is a very good point.

836
00:26:41,250 --> 00:26:43,050
And this was something I learned from doing

837
00:26:43,050 --> 00:26:46,430
production sound mixing way, way back is I

838
00:26:46,430 --> 00:26:48,910
had a cable that had a monitor return

839
00:26:48,910 --> 00:26:49,470
on it.

840
00:26:49,810 --> 00:26:52,110
It was like a snake, you know, and

841
00:26:52,110 --> 00:26:53,550
that would run out to the camera.

842
00:26:53,550 --> 00:26:55,130
And it had a signal returning from the

843
00:26:55,130 --> 00:26:56,950
camera all the way back to my mixing

844
00:26:56,950 --> 00:26:59,330
rig so I could hear what was coming

845
00:26:59,330 --> 00:27:00,130
off the camera.

846
00:27:00,250 --> 00:27:02,290
Because that is the most important thing.

847
00:27:02,290 --> 00:27:03,410
I've gotten this request.

848
00:27:03,410 --> 00:27:05,990
They send me the video, and it's some

849
00:27:05,990 --> 00:27:08,570
guy talking, and the camera's like 15 feet

850
00:27:08,570 --> 00:27:10,470
away from him, and he's got a lav

851
00:27:10,470 --> 00:27:12,930
on, and it sounds like he's 15 feet

852
00:27:12,930 --> 00:27:13,270
away.

853
00:27:13,590 --> 00:27:15,990
Because the camera person who's got XLRs on

854
00:27:15,990 --> 00:27:19,450
his camera didn't switch his camera to XLR

855
00:27:19,450 --> 00:27:19,910
input.

856
00:27:20,630 --> 00:27:22,290
And it's just getting like the built-in

857
00:27:22,290 --> 00:27:23,210
crappy shotgun.

858
00:27:24,030 --> 00:27:25,270
Yeah, and let this be a lesson.

859
00:27:25,650 --> 00:27:26,550
Looks like meters.

860
00:27:27,250 --> 00:27:28,450
Always record a backup.

861
00:27:29,190 --> 00:27:30,330
Always record a backup.

862
00:27:30,770 --> 00:27:32,230
Or don't just look at meters.

863
00:27:32,230 --> 00:27:32,730
Listen.

864
00:27:33,450 --> 00:27:35,510
Yeah, and record a backup.

865
00:27:35,750 --> 00:27:37,510
Like when I was doing production mixing, even

866
00:27:37,510 --> 00:27:39,770
if we ran audio straight to cam, I

867
00:27:39,770 --> 00:27:41,830
would always record a backup to a DAT

868
00:27:41,830 --> 00:27:42,610
at the time.

869
00:27:42,710 --> 00:27:44,090
That was how long ago it was.

870
00:27:44,670 --> 00:27:46,570
But this thing, you can use your phone

871
00:27:46,570 --> 00:27:47,670
as the backup, right?

872
00:27:47,690 --> 00:27:49,250
You can plug your phone into the record

873
00:27:49,250 --> 00:27:51,850
port, and that could be the backup recorder,

874
00:27:52,090 --> 00:27:52,350
right?

875
00:27:52,690 --> 00:27:54,210
So you got you covered.

876
00:27:54,410 --> 00:27:55,930
Again, how many people are going to be

877
00:27:55,930 --> 00:27:57,410
doing this on this device?

878
00:27:57,730 --> 00:27:58,470
I don't really know.

879
00:27:58,650 --> 00:28:01,350
It's the photographer VO professional.

880
00:28:01,350 --> 00:28:02,090
Yeah.

881
00:28:02,530 --> 00:28:04,050
I mean, a lot of people do more

882
00:28:04,050 --> 00:28:04,750
than one job.

883
00:28:04,890 --> 00:28:05,390
Let's face it.

884
00:28:05,490 --> 00:28:06,830
That's how this business goes.

885
00:28:07,250 --> 00:28:08,810
All right, two more to speed through.

886
00:28:08,950 --> 00:28:11,550
This one is the producer's studio.

887
00:28:12,350 --> 00:28:14,250
So this is Robert.

888
00:28:14,530 --> 00:28:16,230
This is Robbo.

889
00:28:16,310 --> 00:28:19,310
This is them engineering and just wanting to

890
00:28:19,310 --> 00:28:21,730
have the ability to communicate with the talent

891
00:28:21,730 --> 00:28:22,330
in the booth.

892
00:28:23,170 --> 00:28:24,870
And that's what this mode is for.

893
00:28:24,870 --> 00:28:27,210
And I also threw in the record on

894
00:28:27,210 --> 00:28:31,130
PC1, comms on PC2, because I figured some

895
00:28:31,130 --> 00:28:33,090
producers are like, I don't let the Internet

896
00:28:33,090 --> 00:28:34,050
touch my doll.

897
00:28:34,250 --> 00:28:35,490
It's a separate computer.

898
00:28:35,690 --> 00:28:37,390
So that's kind of what this mode is.

899
00:28:37,410 --> 00:28:37,830
What do you think?

900
00:28:37,870 --> 00:28:39,370
This is one that you would use probably,

901
00:28:39,510 --> 00:28:39,710
Robert.

902
00:28:40,090 --> 00:28:41,430
Yeah, and it's kind of clever.

903
00:28:41,550 --> 00:28:43,550
You can use the second mic input as

904
00:28:43,550 --> 00:28:45,870
your talkback in the control room.

905
00:28:46,150 --> 00:28:47,550
You got that mic, so you got your

906
00:28:47,550 --> 00:28:48,170
talkback mic.

907
00:28:48,250 --> 00:28:49,150
You have your talent mic.

908
00:28:49,230 --> 00:28:49,970
You have your speakers.

909
00:28:50,930 --> 00:28:52,150
You have your talent headphone.

910
00:28:53,870 --> 00:28:57,010
And in this case, so the one thing

911
00:28:57,010 --> 00:28:58,490
that would be interesting is that you as

912
00:28:58,490 --> 00:29:01,490
the engineer, because you're listening to speakers, you're

913
00:29:01,490 --> 00:29:03,130
going to want to pass the talent through

914
00:29:03,130 --> 00:29:03,830
your DAW.

915
00:29:05,070 --> 00:29:07,850
But the playback that goes to the talent,

916
00:29:08,650 --> 00:29:11,890
you're not going to want to have that

917
00:29:11,890 --> 00:29:13,590
knob switched over to mic.

918
00:29:13,710 --> 00:29:15,050
So the talent will want to hear the

919
00:29:15,050 --> 00:29:15,390
mic.

920
00:29:15,850 --> 00:29:17,730
You'll probably have to flip that mix knob

921
00:29:17,730 --> 00:29:19,390
back and forth a little bit.

922
00:29:19,570 --> 00:29:20,850
The mic playback knob?

923
00:29:20,850 --> 00:29:23,630
Yeah, because you want to hear the talent,

924
00:29:23,870 --> 00:29:25,290
so you got to listen through the DAW.

925
00:29:25,630 --> 00:29:27,030
But then you don't want the talent hearing

926
00:29:27,030 --> 00:29:27,730
them twice.

927
00:29:28,350 --> 00:29:30,090
So you only want the talent to hear

928
00:29:30,090 --> 00:29:34,190
the DAW when you have something to play

929
00:29:34,190 --> 00:29:34,670
for them.

930
00:29:35,070 --> 00:29:36,150
And the only way to do it is

931
00:29:36,150 --> 00:29:37,510
to flip that back and forth.

932
00:29:38,170 --> 00:29:40,890
So this knob here, you would, let's see.

933
00:29:41,630 --> 00:29:44,870
So while tracking or while recording, you would

934
00:29:44,870 --> 00:29:46,230
turn it to mic?

935
00:29:46,890 --> 00:29:48,550
While recording, you would turn it to mic.

936
00:29:48,550 --> 00:29:50,010
The speaker output is always the output of

937
00:29:50,010 --> 00:29:50,430
the computer.

938
00:29:50,630 --> 00:29:52,950
Then you basically keep that over to the

939
00:29:52,950 --> 00:29:56,930
left while recording and to the right while

940
00:29:56,930 --> 00:29:57,630
playing back.