Processing Showdown: Comparing VO Chains Across the Globe

1
00:00:00,200 --> 00:00:00,900
(Transcribed by TurboScribe.ai. Go Unlimited to remove this message.) Y'all ready to be history?

2
00:00:01,060 --> 00:00:01,520
Get started.

3
00:00:01,880 --> 00:00:02,200
Welcome.

4
00:00:02,420 --> 00:00:02,580
Hi.

5
00:00:02,780 --> 00:00:02,940
Hi.

6
00:00:03,200 --> 00:00:03,540
Hi.

7
00:00:03,700 --> 00:00:04,780
Hello, everyone.

8
00:00:05,100 --> 00:00:06,540
To the Pro Audio Suite.

9
00:00:06,600 --> 00:00:08,660
These guys are professional, they're motivated.

10
00:00:08,840 --> 00:00:11,280
Thanks to Tribooth, the best vocal booth for

11
00:00:11,280 --> 00:00:13,760
home or on the road voice recording, and

12
00:00:13,760 --> 00:00:16,600
Austrian Audio, making passion heard.

13
00:00:16,900 --> 00:00:20,080
Introducing Robert Marshall from Source Elements and Someone

14
00:00:20,080 --> 00:00:21,680
Audio Post, Chicago.

15
00:00:21,820 --> 00:00:24,800
Darren Robert Robertson from Voodoo Radio Imaging, Sydney.

16
00:00:25,040 --> 00:00:26,160
Tech to the VO Stars.

17
00:00:26,160 --> 00:00:28,300
George the Tech Whittam from LA.

18
00:00:28,400 --> 00:00:31,400
And me, Andrew Peters, voiceover talent and home

19
00:00:31,400 --> 00:00:32,080
studio guy.

20
00:00:32,100 --> 00:00:33,080
Line up, man.

21
00:00:33,380 --> 00:00:33,980
Here we go.

22
00:00:35,560 --> 00:00:38,000
And welcome to another Pro Audio Suite, thanks

23
00:00:38,000 --> 00:00:39,260
to Tribooth.

24
00:00:39,420 --> 00:00:41,420
Don't forget the code, T-R-I-P

25
00:00:41,420 --> 00:00:42,460
-A-P 200.

26
00:00:43,040 --> 00:00:45,320
That will get you 200 US dollars off

27
00:00:45,320 --> 00:00:46,160
your Tribooth.

28
00:00:46,600 --> 00:00:49,140
And Austrian Audio, making passion heard.

29
00:00:49,940 --> 00:00:53,180
Last week, I did a session with a

30
00:00:53,180 --> 00:00:54,160
studio in Dubai.

31
00:00:55,160 --> 00:00:56,460
Historically, I used to, when I was going

32
00:00:56,460 --> 00:00:58,220
to town to do sessions, I would, if

33
00:00:58,220 --> 00:01:01,320
I could, hang around afterwards and see what

34
00:01:01,320 --> 00:01:03,599
the engineers were doing to process my voice.

35
00:01:03,720 --> 00:01:04,260
If they'd let you.

36
00:01:04,940 --> 00:01:05,880
Yeah, if they'd let me.

37
00:01:06,920 --> 00:01:08,980
And they were usually pretty accommodating, I have

38
00:01:08,980 --> 00:01:09,160
to say.

39
00:01:09,900 --> 00:01:11,780
So anyway, I sent this email off to

40
00:01:11,780 --> 00:01:15,800
the engineer Ananya in Dubai, and I asked

41
00:01:15,800 --> 00:01:17,200
her what processing she used.

42
00:01:17,300 --> 00:01:18,940
I'll tell you what the chain was.

43
00:01:18,940 --> 00:01:23,240
It was the OCA18 and the Neve 1073.

44
00:01:24,680 --> 00:01:26,500
So she came back and she actually really

45
00:01:26,500 --> 00:01:28,080
liked that chain on my voice.

46
00:01:28,840 --> 00:01:30,440
And then she told me what she did.

47
00:01:30,940 --> 00:01:34,220
So basically, she said, she used a little

48
00:01:34,220 --> 00:01:34,960
bit of compression.

49
00:01:37,080 --> 00:01:39,220
See little bit is such a, little bit

50
00:01:39,220 --> 00:01:40,500
is, little bit to who?

51
00:01:40,620 --> 00:01:41,380
A little bit of salt.

52
00:01:41,700 --> 00:01:42,540
Yeah, a little bit.

53
00:01:42,720 --> 00:01:43,200
Yeah, well that's true.

54
00:01:43,340 --> 00:01:45,160
Talk to a radio imager about a little

55
00:01:45,160 --> 00:01:47,040
bit of compression, you'll get a completely different

56
00:01:47,040 --> 00:01:48,940
story to someone who's doing a feature film

57
00:01:48,940 --> 00:01:49,840
or something like that.

58
00:01:49,940 --> 00:01:51,340
A little bit of compression.

59
00:01:51,840 --> 00:01:53,020
Yeah, okay, a little bit of compression.

60
00:01:53,260 --> 00:01:53,500
Sorry.

61
00:01:54,180 --> 00:01:58,740
And then she said, she took 600 hertz,

62
00:01:58,900 --> 00:02:00,620
a small 600 hertz cut.

63
00:02:01,340 --> 00:02:03,280
Now that's the, we were talking about this

64
00:02:03,280 --> 00:02:03,880
yesterday, right?

65
00:02:04,220 --> 00:02:06,100
That's kind of like the nasally kind of

66
00:02:06,100 --> 00:02:06,740
area.

67
00:02:07,180 --> 00:02:08,960
That nasally honk sort of thing.

68
00:02:09,100 --> 00:02:09,259
Yeah.

69
00:02:09,600 --> 00:02:10,680
So that's what she did.

70
00:02:10,960 --> 00:02:11,740
So I'm curious.

71
00:02:12,000 --> 00:02:13,360
And that's all she did EQ wise.

72
00:02:13,420 --> 00:02:15,120
It was just a 600 cut and that's

73
00:02:15,120 --> 00:02:15,320
it.

74
00:02:15,320 --> 00:02:16,880
It was for a documentary.

75
00:02:16,880 --> 00:02:18,080
So it's not a commercial.

76
00:02:18,220 --> 00:02:18,620
Yeah.

77
00:02:18,640 --> 00:02:19,980
So she's not doing too much to it.

78
00:02:20,000 --> 00:02:20,380
So she probably.

79
00:02:20,740 --> 00:02:20,980
All right.

80
00:02:20,980 --> 00:02:21,740
No, not really.

81
00:02:21,760 --> 00:02:22,220
Well, there you go.

82
00:02:22,380 --> 00:02:22,560
Yeah.

83
00:02:22,600 --> 00:02:25,040
Look, I mean, if it sounds good, it

84
00:02:25,040 --> 00:02:25,360
is good.

85
00:02:25,420 --> 00:02:28,100
So I'm sure she obviously was happy with

86
00:02:28,100 --> 00:02:28,340
that.

87
00:02:28,420 --> 00:02:30,540
So, you know, there's nothing wrong with what

88
00:02:30,540 --> 00:02:30,640
she's done.

89
00:02:30,640 --> 00:02:31,840
So the idea was I sent you both,

90
00:02:32,060 --> 00:02:34,720
sent you all a file and said, let's

91
00:02:34,720 --> 00:02:37,260
just do a cold read and it's for

92
00:02:37,260 --> 00:02:37,680
television.

93
00:02:38,440 --> 00:02:40,060
And the script is pretty awful.

94
00:02:40,160 --> 00:02:41,880
It's actually a newsletter from Centrance.

95
00:02:42,980 --> 00:02:44,740
I couldn't think of anything else I could

96
00:02:44,740 --> 00:02:45,840
read but I wasn't going to get paid

97
00:02:45,840 --> 00:02:45,940
for it.

98
00:02:45,940 --> 00:02:46,140
Well, client confidentiality.

99
00:02:46,340 --> 00:02:46,920
Yes, indeed.

100
00:02:47,080 --> 00:02:47,300
I know.

101
00:02:48,140 --> 00:02:50,260
So I went that down that route.

102
00:02:51,980 --> 00:02:55,120
So I'm curious to see or hear what

103
00:02:55,120 --> 00:02:56,240
you guys have done.

104
00:02:56,300 --> 00:02:58,400
Well, let's first play that raw file.

105
00:02:58,500 --> 00:02:59,160
So this is that.

106
00:02:59,380 --> 00:03:01,540
We just got the Passport VO printed circuit

107
00:03:01,540 --> 00:03:04,100
boards in-house and cannot wait to share

108
00:03:04,100 --> 00:03:05,000
these images with you.

109
00:03:05,380 --> 00:03:06,840
The next step is to build the boards

110
00:03:06,840 --> 00:03:08,900
up, then test them to make sure everything

111
00:03:08,900 --> 00:03:11,960
works correctly and then arrange mass production.

112
00:03:12,580 --> 00:03:14,940
I missed the memo on the for television.

113
00:03:15,160 --> 00:03:16,680
You know, the devils in the details, right?

114
00:03:17,200 --> 00:03:18,440
Read the directions.

115
00:03:18,660 --> 00:03:19,200
Yeah, yeah, yeah.

116
00:03:19,980 --> 00:03:21,640
So mine's a little hot.

117
00:03:21,780 --> 00:03:23,000
I think mine's more like...

118
00:03:23,000 --> 00:03:23,820
Oh, mine's hot too.

119
00:03:23,980 --> 00:03:24,400
Don't worry.

120
00:03:25,440 --> 00:03:26,020
Mixed mine.

121
00:03:26,300 --> 00:03:27,620
I've masked mine for broadcast.

122
00:03:27,620 --> 00:03:28,740
I don't know if you're going to try

123
00:03:28,740 --> 00:03:30,580
to, if you're going to level match these.

124
00:03:30,580 --> 00:03:31,440
Yeah, we've done all that.

125
00:03:31,860 --> 00:03:31,980
Yeah.

126
00:03:32,080 --> 00:03:33,220
So they're all level matched.

127
00:03:33,800 --> 00:03:36,360
We've matched them all to minus 24 LUFS.

128
00:03:38,040 --> 00:03:39,680
So George, you did two.

129
00:03:40,260 --> 00:03:41,040
Let's start with one.

130
00:03:41,040 --> 00:03:41,560
Yeah, so there's two variations.

131
00:03:41,740 --> 00:03:42,500
I don't know which one we're going to

132
00:03:42,500 --> 00:03:42,780
hear first.

133
00:03:42,780 --> 00:03:43,360
Well, I've got one.

134
00:03:43,520 --> 00:03:44,340
I've got them all here.

135
00:03:44,380 --> 00:03:45,280
I've got them in the Roadcaster.

136
00:03:45,380 --> 00:03:46,960
So you pick and talk about whichever one

137
00:03:46,960 --> 00:03:47,600
you want to talk about.

138
00:03:48,160 --> 00:03:51,260
So the first one, I think it says

139
00:03:51,260 --> 00:03:52,960
G1 in the file name.

140
00:03:53,500 --> 00:03:56,360
That one is just using the audio units

141
00:03:56,360 --> 00:03:57,040
from Apple.

142
00:03:57,500 --> 00:03:58,400
And why those?

143
00:03:58,540 --> 00:04:01,760
Because I've been setting up processing stacks, we

144
00:04:01,760 --> 00:04:04,500
call it on Twisted Wave, for a really

145
00:04:04,500 --> 00:04:05,200
long time.

146
00:04:05,440 --> 00:04:07,480
And I've been always using those plugins because

147
00:04:07,480 --> 00:04:09,740
that was what it came with from the

148
00:04:09,740 --> 00:04:10,360
early days.

149
00:04:10,460 --> 00:04:12,880
And so I just cut my teeth on

150
00:04:12,880 --> 00:04:13,380
using them.

151
00:04:13,960 --> 00:04:15,700
Not that I hadn't used other plugins in

152
00:04:15,700 --> 00:04:17,940
the past, but this is what was available.

153
00:04:18,040 --> 00:04:19,600
And I thought, well, if I use what's

154
00:04:19,600 --> 00:04:22,000
available, that means the client or the talent

155
00:04:22,000 --> 00:04:23,700
can also use it.

156
00:04:23,840 --> 00:04:25,520
They won't have to go buy plugins.

157
00:04:25,580 --> 00:04:26,760
They won't have to get licenses.

158
00:04:26,900 --> 00:04:28,120
They don't have to jump through all those

159
00:04:28,120 --> 00:04:28,440
hoops.

160
00:04:28,920 --> 00:04:31,340
They can just start Twisted Wave, open my

161
00:04:31,340 --> 00:04:33,500
stack, and get that same processing.

162
00:04:33,500 --> 00:04:37,200
So the first sample is using only audio

163
00:04:37,200 --> 00:04:38,100
units plugins.

164
00:04:38,400 --> 00:04:40,080
And just from memory, because I've done this

165
00:04:40,080 --> 00:04:42,480
so many times, it's going to start with

166
00:04:42,480 --> 00:04:45,320
a high-pass filter X-processor, which really

167
00:04:45,320 --> 00:04:47,940
is a combination of an expander and a

168
00:04:47,940 --> 00:04:48,380
compressor.

169
00:04:49,460 --> 00:04:50,700
And then it's going to go to a

170
00:04:50,700 --> 00:04:54,440
parametric equalizer of some sort, a filter, as

171
00:04:54,440 --> 00:04:55,020
they call it, filter.

172
00:04:55,200 --> 00:04:56,400
And then it's going to go to a

173
00:04:56,400 --> 00:04:56,740
limiter.

174
00:04:56,740 --> 00:05:00,700
And then it just has a minus three

175
00:05:00,700 --> 00:05:04,340
output calibration at the end to make sure

176
00:05:04,340 --> 00:05:06,000
the limiter never goes all the way to

177
00:05:06,000 --> 00:05:06,260
zero.

178
00:05:07,040 --> 00:05:08,180
And that's it.

179
00:05:08,480 --> 00:05:10,540
So that's what's on the first sample.

180
00:05:10,880 --> 00:05:11,240
Here we go.

181
00:05:11,360 --> 00:05:11,820
This is it.

182
00:05:23,900 --> 00:05:25,540
So George, thoughts?

183
00:05:25,540 --> 00:05:26,980
I don't really have any thoughts.

184
00:05:27,080 --> 00:05:28,380
That was the best I could do in

185
00:05:28,380 --> 00:05:28,900
the timeline.

186
00:05:30,540 --> 00:05:32,540
So I was wondering if you thought the

187
00:05:32,540 --> 00:05:34,800
balance of tone, you know, treble to bass

188
00:05:34,800 --> 00:05:35,540
and dynamics.

189
00:05:36,400 --> 00:05:38,380
I know that it was compressed pretty hard.

190
00:05:38,700 --> 00:05:40,900
It was definitely not the mix you would

191
00:05:40,900 --> 00:05:43,440
use for a commercial on television, but more

192
00:05:43,440 --> 00:05:45,680
like a web thing, I guess.

193
00:05:46,300 --> 00:05:47,480
I've processed mine.

194
00:05:47,820 --> 00:05:48,740
I've mastered mine.

195
00:05:48,900 --> 00:05:50,840
I was thinking of radio personally.

196
00:05:51,500 --> 00:05:53,240
So again, it's going to be different.

197
00:05:53,980 --> 00:05:56,160
But still, yeah, it's a very natural sound.

198
00:05:56,260 --> 00:05:56,600
Absolutely.

199
00:05:56,940 --> 00:05:58,680
And it's, you know, it's got everything there

200
00:05:58,680 --> 00:05:59,240
that it needs.

201
00:05:59,420 --> 00:06:00,880
So, yeah, that was the whole point of

202
00:06:00,880 --> 00:06:02,780
that was because I use those plugins because

203
00:06:02,780 --> 00:06:05,100
that's what the typical Twisted Wave person's going

204
00:06:05,100 --> 00:06:05,500
to have.

205
00:06:05,700 --> 00:06:06,060
Yeah.

206
00:06:06,120 --> 00:06:07,460
They're just going to have whatever came on

207
00:06:07,460 --> 00:06:07,680
their Mac.

208
00:06:07,700 --> 00:06:08,840
Well, that makes complete sense, though.

209
00:06:08,880 --> 00:06:10,060
I mean, why would you build a stack

210
00:06:10,060 --> 00:06:13,020
for someone that, you know, if they change

211
00:06:13,020 --> 00:06:15,300
their operating system or something and it doesn't

212
00:06:15,300 --> 00:06:15,600
work.

213
00:06:15,860 --> 00:06:20,720
I saw, was it Audacity have changed their

214
00:06:20,720 --> 00:06:21,940
compressor or something?

215
00:06:21,940 --> 00:06:24,720
So there's all the old ones don't work

216
00:06:24,720 --> 00:06:25,020
anymore.

217
00:06:25,240 --> 00:06:25,340
Yeah.

218
00:06:25,340 --> 00:06:27,660
My buddy, Jim Edgar, who's a great technologist.

219
00:06:27,680 --> 00:06:30,480
And he's like, hey, by the way, 3

220
00:06:30,480 --> 00:06:33,980
.6 Audacity, if you're using certain plugins, they

221
00:06:33,980 --> 00:06:35,840
just arbitrarily change the design.

222
00:06:36,120 --> 00:06:36,560
Yeah.

223
00:06:36,560 --> 00:06:38,060
That's a good marketing move, George.

224
00:06:38,240 --> 00:06:38,780
Yeah, I know.

225
00:06:38,940 --> 00:06:41,740
I wrote him an email and we had

226
00:06:41,740 --> 00:06:43,620
a little behind the scenes exchange in mind

227
00:06:43,620 --> 00:06:44,980
and off we go.

228
00:06:46,020 --> 00:06:46,900
Not at all.

229
00:06:47,040 --> 00:06:49,480
But yeah, that happens in Audacity land because

230
00:06:49,480 --> 00:06:51,180
it's made by a bunch of volunteers and

231
00:06:51,180 --> 00:06:53,560
they'll just arbitrarily make a unilateral, one guy

232
00:06:53,560 --> 00:06:55,480
will make a unilateral decision saying we should

233
00:06:55,480 --> 00:06:58,920
replace this old crappy compressor that hasn't changed

234
00:06:58,920 --> 00:07:00,420
in 10 years and make it a better

235
00:07:00,420 --> 00:07:00,680
one.

236
00:07:00,900 --> 00:07:02,480
Not to say that the new one's not

237
00:07:02,480 --> 00:07:04,680
better, but they shouldn't remove the old one.

238
00:07:04,740 --> 00:07:05,060
Yeah.

239
00:07:05,160 --> 00:07:06,220
I think you would just make it a

240
00:07:06,220 --> 00:07:07,260
new compressor or something.

241
00:07:07,440 --> 00:07:07,540
Right?

242
00:07:07,680 --> 00:07:07,960
Yeah.

243
00:07:08,040 --> 00:07:09,540
Version two or whatever.

244
00:07:09,960 --> 00:07:10,560
Or call it something else.

245
00:07:10,680 --> 00:07:11,020
Exactly.

246
00:07:11,340 --> 00:07:12,800
So then I did a second one and

247
00:07:12,800 --> 00:07:16,380
that was using a preset built with Studio

248
00:07:16,380 --> 00:07:18,480
Rack, Wave Studio Rack.

249
00:07:18,480 --> 00:07:20,660
However, none of the plugins in the rack

250
00:07:20,660 --> 00:07:21,520
are waves.

251
00:07:21,660 --> 00:07:25,200
So it's got TDR Nova, which is my

252
00:07:25,200 --> 00:07:27,960
favorite, multi-band, what would you call that

253
00:07:27,960 --> 00:07:28,080
one?

254
00:07:28,140 --> 00:07:29,540
A dynamic EQ?

255
00:07:29,900 --> 00:07:30,920
I guess you would call that one.

256
00:07:31,560 --> 00:07:31,740
Yeah.

257
00:07:31,840 --> 00:07:35,880
And then I used Bertom Denoiser is the

258
00:07:35,880 --> 00:07:37,120
name of the noise reduction.

259
00:07:37,480 --> 00:07:39,640
It's like a multi-band expander.

260
00:07:40,240 --> 00:07:41,940
Like one of our first shows was about

261
00:07:41,940 --> 00:07:42,720
that one, I think.

262
00:07:43,260 --> 00:07:44,340
Yeah, I think so.

263
00:07:44,440 --> 00:07:45,300
I still like it.

264
00:07:45,300 --> 00:07:48,380
And then I used, I think, LoudMax as

265
00:07:48,380 --> 00:07:50,160
a limiter or something like that.

266
00:07:50,440 --> 00:07:52,060
So I used a combination of those and

267
00:07:52,060 --> 00:07:53,860
that's what the second one is.

268
00:07:53,880 --> 00:07:55,600
How about calling it a multi-band Compu?

269
00:07:55,820 --> 00:07:57,040
Multi-band Compu?

270
00:07:57,320 --> 00:07:57,740
I don't know.

271
00:07:58,860 --> 00:07:59,660
Compressor equalizer.

272
00:07:59,820 --> 00:08:00,400
Oh, I see.

273
00:08:00,800 --> 00:08:00,920
Compulizer.

274
00:08:01,240 --> 00:08:01,940
Yeah, you're doing the wrong.

275
00:08:02,440 --> 00:08:02,840
Compulizer.

276
00:08:03,160 --> 00:08:03,760
You're trying to be clever.

277
00:08:04,640 --> 00:08:05,040
Compulizer.

278
00:08:05,820 --> 00:08:06,220
Compulizer.

279
00:08:06,400 --> 00:08:06,840
I like that.

280
00:08:06,940 --> 00:08:07,340
Compulizer.

281
00:08:07,620 --> 00:08:07,780
Yeah.

282
00:08:07,900 --> 00:08:09,300
So I don't know if you have that

283
00:08:09,300 --> 00:08:09,740
queued up.

284
00:08:09,780 --> 00:08:09,980
All right.

285
00:08:10,040 --> 00:08:11,780
Well, here's George's Compulized.

286
00:08:11,780 --> 00:08:14,020
We just got the Passport VO printed circuit

287
00:08:14,020 --> 00:08:15,960
boards in-house and cannot wait to share

288
00:08:15,960 --> 00:08:16,880
these images with you.

289
00:08:17,360 --> 00:08:18,700
The next step is to build the boards

290
00:08:18,700 --> 00:08:20,760
up, then test them to make sure everything

291
00:08:20,760 --> 00:08:23,800
works correctly, and then arrange mass production.

292
00:08:24,240 --> 00:08:25,900
That sounds a lot more compressed, doesn't it?

293
00:08:26,420 --> 00:08:26,620
Yeah.

294
00:08:26,740 --> 00:08:27,520
That's brighter.

295
00:08:27,940 --> 00:08:28,800
Yeah, I was going to say, you know,

296
00:08:28,840 --> 00:08:31,460
that reminds me of playing it through the

297
00:08:31,460 --> 00:08:33,980
SSL and sticking the 4K button in compared

298
00:08:33,980 --> 00:08:35,000
to the one we just played.

299
00:08:35,320 --> 00:08:37,500
That's what that makes me think of.

300
00:08:37,679 --> 00:08:39,700
Well, I've actually got the 4K button pressed.

301
00:08:39,799 --> 00:08:40,299
Well, there you go.

302
00:08:40,299 --> 00:08:42,799
The 4K button adds 4K.

303
00:08:43,240 --> 00:08:43,780
Uh-huh.

304
00:08:44,460 --> 00:08:44,960
Yes.

305
00:08:45,280 --> 00:08:46,140
Yes, indeed.

306
00:08:46,600 --> 00:08:48,240
Well, I actually have a 4K button now,

307
00:08:48,300 --> 00:08:51,320
too, because I have the SSL bundle and

308
00:08:51,320 --> 00:08:52,540
their latest bus compressor.

309
00:08:52,760 --> 00:08:55,160
They've stuck the 4K button in there.

310
00:08:55,940 --> 00:08:57,480
In the bus compressor, really?

311
00:08:57,620 --> 00:08:57,780
Yeah.

312
00:08:57,840 --> 00:08:58,040
Wow.

313
00:08:58,200 --> 00:08:58,840
So there you go.

314
00:08:59,540 --> 00:09:02,780
Kellogg's should do a special with SSL.

315
00:09:02,780 --> 00:09:03,300
Special K.

316
00:09:03,320 --> 00:09:04,560
Special K 4K.

317
00:09:05,140 --> 00:09:05,880
Yeah, yeah, yeah.

318
00:09:05,900 --> 00:09:06,960
This will compress your stomach.

319
00:09:09,180 --> 00:09:10,720
I like both those, George.

320
00:09:10,880 --> 00:09:13,420
I think you've done a good, sterling job

321
00:09:13,420 --> 00:09:14,120
with both of those.

322
00:09:14,300 --> 00:09:15,540
Do we have something else to listen to?

323
00:09:15,680 --> 00:09:16,920
Well, we've got mine and Robert's.

324
00:09:17,200 --> 00:09:18,020
Go with Robert.

325
00:09:18,360 --> 00:09:19,280
Okay, let's go with Robert.

326
00:09:19,440 --> 00:09:19,740
Here we go.

327
00:09:20,540 --> 00:09:23,280
This is like blind listening for all of

328
00:09:23,280 --> 00:09:23,420
us.

329
00:09:23,700 --> 00:09:24,300
So here we go.

330
00:09:24,480 --> 00:09:25,920
Do they spend five minutes or ten minutes

331
00:09:25,920 --> 00:09:26,180
on that?

332
00:09:26,440 --> 00:09:27,860
About three, I think.

333
00:09:27,860 --> 00:09:28,620
About seven and a half.

334
00:09:29,260 --> 00:09:31,660
Don't tell people how little time you spend

335
00:09:31,660 --> 00:09:32,480
on doing this.

336
00:09:32,900 --> 00:09:34,980
That took you a solid half hour.

337
00:09:34,980 --> 00:09:36,600
To be fair, Robert, what I should have

338
00:09:36,600 --> 00:09:39,300
done is taken AP's file and put it

339
00:09:39,300 --> 00:09:41,800
through a filter and put some background noise

340
00:09:41,800 --> 00:09:43,480
in there and sent you that one to

341
00:09:43,480 --> 00:09:45,040
do because that's what you do to me

342
00:09:45,040 --> 00:09:45,660
every week.

343
00:09:46,540 --> 00:09:47,960
I didn't because I'm a nice guy.

344
00:09:48,240 --> 00:09:48,880
All right, here we go.

345
00:09:48,940 --> 00:09:50,420
Here's Robert's feeble attempt.

346
00:09:50,700 --> 00:09:50,960
Yes.

347
00:09:51,160 --> 00:09:53,240
We just got the Passport VO printed circuit

348
00:09:53,240 --> 00:09:55,780
boards in-house and cannot wait to share

349
00:09:55,780 --> 00:09:56,680
these images with you.

350
00:09:57,100 --> 00:09:58,520
The next step is to build the boards

351
00:09:58,520 --> 00:10:00,580
up, then test them to make sure everything

352
00:10:00,580 --> 00:10:03,620
works correctly, and then arrange mass production.

353
00:10:04,500 --> 00:10:05,220
That's interesting.

354
00:10:05,440 --> 00:10:07,200
I think I'm going to have a guess

355
00:10:07,200 --> 00:10:07,800
at this one.

356
00:10:09,560 --> 00:10:11,540
You've done nothing to the low end by

357
00:10:11,540 --> 00:10:13,300
the sounds and maybe just given a bit

358
00:10:13,300 --> 00:10:14,940
of a bump into the top end.

359
00:10:15,220 --> 00:10:16,720
Definitely give a bump to the top end.

360
00:10:16,960 --> 00:10:18,960
It's so hard to judge the way we're

361
00:10:18,960 --> 00:10:20,660
monitoring it right now to really get a

362
00:10:20,660 --> 00:10:25,100
good idea, but I mean, it sounded similar

363
00:10:25,100 --> 00:10:25,480
to mine?

364
00:10:25,480 --> 00:10:26,180
I think so, yeah.

365
00:10:26,340 --> 00:10:28,040
I kind of, yeah, I think there was

366
00:10:28,040 --> 00:10:28,940
a little more top end.

367
00:10:29,020 --> 00:10:31,180
The S's were a little more pronounced than

368
00:10:31,180 --> 00:10:33,640
either of George's, but I struggled with S's

369
00:10:33,640 --> 00:10:36,740
too, as you'll hear, so that was kind

370
00:10:36,740 --> 00:10:37,580
of interesting for me.

371
00:10:37,780 --> 00:10:40,480
I think mine has a more deep low

372
00:10:40,480 --> 00:10:42,200
end, but not the…

373
00:10:42,200 --> 00:10:43,840
Did you put a low pass on that?

374
00:10:44,820 --> 00:10:45,620
I did.

375
00:10:45,740 --> 00:10:47,320
Here, I'll show you everything.

376
00:10:47,640 --> 00:10:48,280
Here you go.

377
00:10:50,340 --> 00:10:52,200
Okay, so over here I mixed it to

378
00:10:52,200 --> 00:10:52,880
minus 24.

379
00:10:53,960 --> 00:10:56,760
First thing in the chain is I just

380
00:10:56,760 --> 00:10:59,760
pumped it up and then compressed it by

381
00:10:59,760 --> 00:11:03,460
three decibels using the CLA-2.

382
00:11:04,700 --> 00:11:09,620
Then I used the Avid Pro Tools stock

383
00:11:09,620 --> 00:11:13,040
EQ and I carved out what looks like…

384
00:11:13,040 --> 00:11:14,820
What the hell number is that there?

385
00:11:15,000 --> 00:11:16,640
It looks like a low mid.

386
00:11:16,860 --> 00:11:17,800
Yeah, like 200.

387
00:11:18,100 --> 00:11:20,840
I carved out a bunch of the low

388
00:11:20,840 --> 00:11:22,960
mids and that kind of lets you get

389
00:11:22,960 --> 00:11:25,420
the energy up there again and then I

390
00:11:25,420 --> 00:11:27,980
bumped the really lows and then I just

391
00:11:27,980 --> 00:11:28,880
put this kind of…

392
00:11:29,560 --> 00:11:31,780
I can't hear these frequencies, so I cranked

393
00:11:31,780 --> 00:11:31,940
them.

394
00:11:34,620 --> 00:11:35,580
That's because you're old.

395
00:11:35,720 --> 00:11:37,120
That's why you can't hear those frequencies.

396
00:11:37,200 --> 00:11:38,140
Is that what that is?

397
00:11:38,140 --> 00:11:38,360
Yeah, that's right.

398
00:11:38,400 --> 00:11:39,100
It's because you're old.

399
00:11:39,380 --> 00:11:40,280
Yeah, it must be.

400
00:11:40,360 --> 00:11:43,360
No, so I bumped it 5k with a

401
00:11:43,360 --> 00:11:45,340
bell and then tried to continue it with

402
00:11:45,340 --> 00:11:47,020
a shelf and just sort of…

403
00:11:47,460 --> 00:11:49,240
And that's only like I bumped it by…

404
00:11:49,240 --> 00:11:50,260
How much did I bump it by?

405
00:11:52,020 --> 00:11:54,100
Like three decibels, so not much.

406
00:11:54,280 --> 00:11:55,080
That's not much.

407
00:11:55,540 --> 00:11:58,400
Okay, so then I hit it with a

408
00:11:58,400 --> 00:12:02,460
C4 and de-essed it and then made

409
00:12:02,460 --> 00:12:02,900
it up.

410
00:12:03,360 --> 00:12:03,980
You know what I mean, Rob?

411
00:12:04,160 --> 00:12:04,840
Yeah, yeah, I know what you mean.

412
00:12:05,900 --> 00:12:08,000
So de-essed it but then cranked the

413
00:12:08,000 --> 00:12:08,960
S's back up.

414
00:12:09,540 --> 00:12:11,540
I don't think there's much compression going on

415
00:12:11,540 --> 00:12:11,720
here.

416
00:12:12,240 --> 00:12:14,180
This upper mid might act like a little

417
00:12:14,180 --> 00:12:15,920
bit of a S.

418
00:12:16,300 --> 00:12:17,860
So from like 2 to 4k, I got

419
00:12:17,860 --> 00:12:19,440
a little bit of compression but then the

420
00:12:19,440 --> 00:12:20,960
low end, I expanded it.

421
00:12:21,080 --> 00:12:21,800
Yeah, right, okay.

422
00:12:22,060 --> 00:12:23,880
The really low end, just so that when

423
00:12:23,880 --> 00:12:25,180
it does hit, it's like boom.

424
00:12:26,220 --> 00:12:28,980
Oh, you really want to capture all of

425
00:12:28,980 --> 00:12:29,520
the AP.

426
00:12:29,720 --> 00:12:30,640
When it happens.

427
00:12:31,140 --> 00:12:31,340
Yeah, yeah.

428
00:12:31,380 --> 00:12:32,220
But when only…

429
00:12:33,160 --> 00:12:34,260
That's why I do the expander.

430
00:12:34,440 --> 00:12:36,020
So if there's low end, it's like if

431
00:12:36,020 --> 00:12:37,640
I go, then it's like boom.

432
00:12:37,800 --> 00:12:40,900
But when I'm speaking normally or when Andrew's

433
00:12:40,900 --> 00:12:44,840
speaking normally, it's not necessarily pumping up everything,

434
00:12:45,020 --> 00:12:45,940
every one of the low end.

435
00:12:46,040 --> 00:12:46,940
So it just makes it kind of like

436
00:12:46,940 --> 00:12:48,300
a punchier low end.

437
00:12:49,800 --> 00:12:51,920
And then, yeah, because we were just doing

438
00:12:51,920 --> 00:12:54,320
nothing, I did smack it with a limiter

439
00:12:54,320 --> 00:12:55,580
at the very end.

440
00:12:56,260 --> 00:12:58,560
Like nothing, just like right off the top,

441
00:12:58,660 --> 00:12:59,600
like probably a decibel.

442
00:13:00,600 --> 00:13:01,840
And then that's it.

443
00:13:02,120 --> 00:13:04,060
So here's the thing that interests me, right?

444
00:13:04,120 --> 00:13:07,320
Because at the beginning of the show, Andrew

445
00:13:07,320 --> 00:13:08,320
was talking about…

446
00:13:09,120 --> 00:13:10,800
What was the lady's name in Dubai?

447
00:13:11,960 --> 00:13:12,280
Ananya?

448
00:13:12,480 --> 00:13:13,740
Ananya was saying that she…

449
00:13:13,740 --> 00:13:16,580
And Ananya was saying that she took a

450
00:13:16,580 --> 00:13:18,220
cut at 600, right?

451
00:13:18,240 --> 00:13:20,660
Which is sort of that nasally sort of

452
00:13:20,660 --> 00:13:21,300
range in a voice.

453
00:13:21,300 --> 00:13:23,220
But what's interesting to me is I certainly

454
00:13:23,220 --> 00:13:23,920
haven't done that.

455
00:13:24,200 --> 00:13:25,180
George and you…

456
00:13:25,180 --> 00:13:26,220
And please don't get me wrong.

457
00:13:26,300 --> 00:13:27,920
I'm not saying what Ananya did was wrong.

458
00:13:28,040 --> 00:13:31,520
Everybody, as we've proven just by this simple

459
00:13:31,520 --> 00:13:33,840
scenario, everybody works differently.

460
00:13:34,180 --> 00:13:35,360
But I'm interested to know…

461
00:13:35,360 --> 00:13:36,480
It's also what you're mixing it into.

462
00:13:36,560 --> 00:13:38,060
I would love to know what she's hearing.

463
00:13:38,180 --> 00:13:39,720
Yes, what she's mixing it into.

464
00:13:40,020 --> 00:13:41,760
So is she mixing it maybe into a

465
00:13:41,760 --> 00:13:44,680
music bed that has maybe got some instruments

466
00:13:44,680 --> 00:13:46,900
up around that range and so she's chopping

467
00:13:46,900 --> 00:13:49,160
AP back a bit.

468
00:13:49,620 --> 00:13:52,900
But yeah, it's kind of interesting that people's

469
00:13:52,900 --> 00:13:54,080
different take on stuff.

470
00:13:55,260 --> 00:13:57,080
So yeah, but I mean, so far they

471
00:13:57,080 --> 00:13:57,920
all sound really good.

472
00:13:58,440 --> 00:14:00,420
Well, I also like that we've all used

473
00:14:00,420 --> 00:14:01,700
distinctly different plugins.

474
00:14:01,740 --> 00:14:03,360
Yes, well, I mean, mine's different again.

475
00:14:03,560 --> 00:14:04,180
Yes, that's true.

476
00:14:04,260 --> 00:14:04,880
So we all have.

477
00:14:05,140 --> 00:14:05,860
Well, let's hear yours then, Robert.

478
00:14:05,980 --> 00:14:06,420
Yeah, okay.

479
00:14:06,500 --> 00:14:06,980
Alright, here we go.

480
00:14:07,020 --> 00:14:07,400
This is mine.

481
00:14:07,880 --> 00:14:10,180
We just got the Passport VO printed circuit

482
00:14:10,180 --> 00:14:12,180
boards in-house and cannot wait to share

483
00:14:12,180 --> 00:14:13,100
these images with you.

484
00:14:13,380 --> 00:14:14,740
The next step is to build the boards

485
00:14:14,740 --> 00:14:16,300
up, then test them to make sure everything

486
00:14:16,300 --> 00:14:17,160
works correctly.

487
00:14:17,160 --> 00:14:19,520
And then arrange mass production.

488
00:14:19,720 --> 00:14:21,220
It's pretty compressed, isn't it?

489
00:14:21,380 --> 00:14:24,600
As I said, I mastered mine for radio.

490
00:14:24,680 --> 00:14:26,260
I was thinking about radio typical me.

491
00:14:26,400 --> 00:14:28,480
So yes, it is probably more compressed than

492
00:14:28,480 --> 00:14:28,800
you guys.

493
00:14:29,300 --> 00:14:31,660
There's one thing in there that no one

494
00:14:31,660 --> 00:14:32,620
else has done, though.

495
00:14:33,080 --> 00:14:34,360
There's EQ and compression.

496
00:14:34,900 --> 00:14:35,420
Can I guess?

497
00:14:35,440 --> 00:14:36,360
What's AP going to get?

498
00:14:36,360 --> 00:14:38,080
Can I guess what you, well, what I'm

499
00:14:38,080 --> 00:14:39,520
hearing is that you've actually tried to make

500
00:14:39,520 --> 00:14:40,400
it sound like a 416.

501
00:14:40,500 --> 00:14:41,720
Yeah, well, there's a bit of cut in

502
00:14:41,720 --> 00:14:43,200
there because it's going on radio, but there's

503
00:14:43,200 --> 00:14:47,140
actually a modulator going on in the background

504
00:14:47,140 --> 00:14:48,160
down in the bottom end.

505
00:14:48,460 --> 00:14:50,940
So rather than where Robert used EQ to

506
00:14:50,940 --> 00:14:53,300
boost it, I've used modulation, which also gives

507
00:14:53,300 --> 00:14:54,660
it a little bit of width.

508
00:14:55,180 --> 00:14:56,380
Can you expand it on that?

509
00:14:56,540 --> 00:14:58,120
It's the waves.

510
00:15:01,540 --> 00:15:02,780
Is it Mondo Mod?

511
00:15:02,840 --> 00:15:04,060
Is that the one I'm thinking of?

512
00:15:04,620 --> 00:15:06,460
It's the frequency modulator.

513
00:15:06,640 --> 00:15:06,880
Oh, hang on.

514
00:15:06,980 --> 00:15:07,400
Here we go.

515
00:15:07,660 --> 00:15:09,680
Like you flanged it.

516
00:15:10,240 --> 00:15:11,180
Yeah, pretty much.

517
00:15:11,400 --> 00:15:14,200
But only down in the bottom end.

518
00:15:14,740 --> 00:15:19,600
So I've taken a split EQ, just sort

519
00:15:19,600 --> 00:15:21,820
of taken, oh, shit, I don't know now,

520
00:15:23,420 --> 00:15:26,720
maybe 300 down to 100, just a little

521
00:15:26,720 --> 00:15:29,320
bit, and then stuck a modulator on the

522
00:15:29,320 --> 00:15:30,980
back of that or sort of like a

523
00:15:30,980 --> 00:15:32,860
chorus-y, flange-y sort of thing.

524
00:15:33,960 --> 00:15:36,840
And given it width, you can open it

525
00:15:36,840 --> 00:15:37,820
up and make it wider.

526
00:15:38,060 --> 00:15:39,980
So it just opens up.

527
00:15:40,080 --> 00:15:41,080
Is yours in stereo?

528
00:15:41,280 --> 00:15:42,640
You're listening to that in stereo.

529
00:15:43,240 --> 00:15:45,000
See, I did this from mono.

530
00:15:45,380 --> 00:15:46,660
Did you keep mono?

531
00:15:48,220 --> 00:15:50,020
It's similar to what you were talking about,

532
00:15:50,220 --> 00:15:53,260
Robert, where you sort of cranked up the

533
00:15:53,260 --> 00:15:53,840
bottom end a bit.

534
00:15:53,920 --> 00:15:55,260
I did the same, but I did it

535
00:15:55,260 --> 00:15:55,920
in a different way.

536
00:15:56,000 --> 00:15:57,080
And this is the interesting thing.

537
00:15:57,180 --> 00:15:58,460
I mean, we all have the same thought

538
00:15:58,460 --> 00:15:59,000
process.

539
00:15:59,200 --> 00:16:02,440
We just get there a different way, which

540
00:16:02,440 --> 00:16:04,080
is kind of interesting to me.

541
00:16:04,400 --> 00:16:06,640
It's also unique in that all three of

542
00:16:06,640 --> 00:16:09,980
us here have heard your voice a lot.

543
00:16:09,980 --> 00:16:12,220
In fact, obviously, Robbo, a ton.

544
00:16:13,380 --> 00:16:15,200
So we're really familiar with your voice and

545
00:16:15,200 --> 00:16:17,700
the way you come across to us on

546
00:16:17,700 --> 00:16:19,420
the show, and we also hear the way

547
00:16:19,420 --> 00:16:21,120
you come across to us without processing.

548
00:16:21,780 --> 00:16:23,720
So I think we have a tendency to

549
00:16:23,720 --> 00:16:27,360
keep it more real and more natural, because

550
00:16:27,360 --> 00:16:29,360
we know what it should sound like and

551
00:16:29,360 --> 00:16:30,320
what it can sound like.

552
00:16:30,700 --> 00:16:34,840
We're not trying to get something filtered-sounding

553
00:16:34,840 --> 00:16:36,240
out of it, I guess.

554
00:16:36,240 --> 00:16:39,560
Robbo, can you stack together the first sentence?

555
00:16:39,940 --> 00:16:41,600
Yeah, well, I'm using it off the Roadcaster,

556
00:16:41,720 --> 00:16:42,760
so let me see what I can do.

557
00:16:43,280 --> 00:16:46,680
The sequence will be mine, George 1, George

558
00:16:46,680 --> 00:16:47,520
2, Robert then.

559
00:16:47,580 --> 00:16:50,880
I'll do the same lines for all of

560
00:16:50,880 --> 00:16:51,000
them.

561
00:16:51,120 --> 00:16:51,400
Here we go.

562
00:16:51,480 --> 00:16:53,540
We just got the Passport VO printed circuit

563
00:16:53,540 --> 00:16:55,560
boards in-house and cannot wait to share

564
00:16:55,560 --> 00:16:56,460
these images with you.

565
00:16:57,120 --> 00:16:59,440
We just got the Passport VO printed circuit

566
00:16:59,440 --> 00:17:01,380
boards in-house and cannot wait to share

567
00:17:01,380 --> 00:17:02,300
these images with you.

568
00:17:02,980 --> 00:17:05,359
We just got the Passport VO printed circuit

569
00:17:05,359 --> 00:17:07,300
boards in-house and cannot wait to share

570
00:17:07,300 --> 00:17:08,220
these images with you.

571
00:17:08,880 --> 00:17:11,280
We just got the Passport VO printed circuit

572
00:17:11,280 --> 00:17:13,819
boards in-house and cannot wait to share

573
00:17:13,819 --> 00:17:14,780
these images with you.

574
00:17:15,700 --> 00:17:16,920
I did a little editing.

575
00:17:17,400 --> 00:17:18,960
That's really interesting when you play them like

576
00:17:18,960 --> 00:17:19,359
that, though.

577
00:17:19,619 --> 00:17:20,140
It is.

578
00:17:20,540 --> 00:17:22,560
Because they are all quite different.

579
00:17:22,960 --> 00:17:24,359
Oh yeah, now you can hear how different

580
00:17:24,359 --> 00:17:25,940
they are, which is really cool.

581
00:17:26,180 --> 00:17:28,840
The great thing about audio is there's nothing

582
00:17:28,840 --> 00:17:29,940
wrong with any of them.

583
00:17:30,780 --> 00:17:31,480
That's the thing.

584
00:17:32,180 --> 00:17:33,440
Everybody's got a different approach.

585
00:17:33,720 --> 00:17:34,620
What was the order again?

586
00:17:34,780 --> 00:17:37,800
It was me first, George 1, George 2,

587
00:17:38,000 --> 00:17:38,180
Robert.

588
00:17:38,560 --> 00:17:39,500
I like my second one.

589
00:17:39,500 --> 00:17:40,020
I like yours.

590
00:17:40,120 --> 00:17:41,580
I would pick yours out of all of

591
00:17:41,580 --> 00:17:41,740
them.

592
00:17:41,940 --> 00:17:43,400
That second one, George, I'll be fair.

593
00:17:43,460 --> 00:17:44,340
I like the second one.

594
00:17:44,420 --> 00:17:45,360
I do, I like that.

595
00:17:45,580 --> 00:17:48,960
Reducing some low-mid mud and giving a

596
00:17:48,960 --> 00:17:49,860
little bit more cut.

597
00:17:50,740 --> 00:17:52,080
Again, we're hearing it in a vacuum.

598
00:17:54,080 --> 00:17:56,440
I did that on a pair of Audio

599
00:17:56,440 --> 00:17:59,680
-Technica 2020s or whatever the headphones are, like

600
00:17:59,680 --> 00:18:01,560
the 2040s.

601
00:18:01,700 --> 00:18:03,440
We're all working for a different goal, too,

602
00:18:03,500 --> 00:18:04,920
because we didn't really set a goal as

603
00:18:04,920 --> 00:18:06,540
in this is going to be mastered for

604
00:18:06,540 --> 00:18:06,900
this.

605
00:18:07,540 --> 00:18:08,720
Here's my suggestion.

606
00:18:08,840 --> 00:18:10,500
I reckon we do this one more time

607
00:18:11,480 --> 00:18:13,980
because the process is completely different when you're

608
00:18:13,980 --> 00:18:16,060
mixing it in with music.

609
00:18:16,380 --> 00:18:17,900
I think you should play that for the

610
00:18:17,900 --> 00:18:18,340
bunch.

611
00:18:18,860 --> 00:18:20,660
I'll tell you what I'll do then.

612
00:18:20,800 --> 00:18:23,740
Firstly, I will upload those files to my

613
00:18:23,740 --> 00:18:25,500
Google Drive and I'll share the link in

614
00:18:25,500 --> 00:18:27,780
the show notes so that people can go

615
00:18:27,780 --> 00:18:29,280
and they can download the raw files.

616
00:18:29,380 --> 00:18:30,480
I'll make sure they're all balanced.

617
00:18:30,800 --> 00:18:32,320
Sorry, I'll make sure they're all game-matched,

618
00:18:32,400 --> 00:18:33,860
which they should be anyway, but I'll make

619
00:18:33,860 --> 00:18:34,320
sure of that.

620
00:18:34,620 --> 00:18:36,020
The listeners can go and listen to them

621
00:18:36,020 --> 00:18:37,320
all and then what we'll do is we'll

622
00:18:37,320 --> 00:18:39,100
put a poll up on the Facebook page

623
00:18:39,560 --> 00:18:41,140
where they can go and vote for which

624
00:18:41,140 --> 00:18:41,640
one they like.

625
00:18:41,740 --> 00:18:43,060
But here's my suggestion, right?

626
00:18:43,120 --> 00:18:44,760
If we really want to get down to

627
00:18:44,760 --> 00:18:47,020
tin-tacks with this, which I think would

628
00:18:47,020 --> 00:18:49,780
be a more interesting experiment, is when you

629
00:18:49,780 --> 00:18:52,560
start putting music and stuff in around a

630
00:18:52,560 --> 00:18:55,040
voice track like this, you need to work

631
00:18:55,040 --> 00:18:57,420
a little bit differently because you need to

632
00:18:57,420 --> 00:19:00,260
match your voiceover to the music a little

633
00:19:00,260 --> 00:19:00,480
more.

634
00:19:00,560 --> 00:19:02,280
You don't want a really bright voiceover with

635
00:19:02,280 --> 00:19:03,960
a music bed that might be a little

636
00:19:03,960 --> 00:19:05,840
more dull or whatever, so you tend to

637
00:19:05,840 --> 00:19:07,020
work a bit differently.

638
00:19:07,140 --> 00:19:07,860
Well, I do anyway.

639
00:19:08,300 --> 00:19:10,040
You need to fit it in the pockets.

640
00:19:10,040 --> 00:19:12,840
It needs to sit inside that music bed.

641
00:19:12,840 --> 00:19:14,460
You can't move the pockets completely.

642
00:19:14,460 --> 00:19:16,420
What I reckon would be an interesting thing

643
00:19:16,420 --> 00:19:20,720
is let's get some sound off tape with

644
00:19:20,720 --> 00:19:22,260
a little bit of noise and let's get

645
00:19:22,260 --> 00:19:25,180
some music and we'll write AP a little

646
00:19:25,180 --> 00:19:27,440
script and then we'll have a mix off

647
00:19:27,440 --> 00:19:27,920
that way.

648
00:19:28,340 --> 00:19:31,280
It'll be interesting to see not just the

649
00:19:31,280 --> 00:19:33,920
process of the EQ but also mixing processes

650
00:19:33,920 --> 00:19:34,400
in general.

651
00:19:34,460 --> 00:19:36,100
Who decided that the music should be up

652
00:19:36,100 --> 00:19:36,940
more or down more?

653
00:19:37,280 --> 00:19:37,820
Who did this?

654
00:19:37,860 --> 00:19:38,280
Who did that?

655
00:19:38,320 --> 00:19:40,740
I reckon that would be an interesting one

656
00:19:40,740 --> 00:19:42,420
to do, so maybe we should do that

657
00:19:42,420 --> 00:19:42,800
as well.

658
00:19:43,160 --> 00:19:44,460
I think it should be a George the

659
00:19:44,460 --> 00:19:44,980
Tech spot.

660
00:19:45,560 --> 00:19:45,960
There you go.

661
00:19:46,080 --> 00:19:46,220
Okay.

662
00:19:48,340 --> 00:19:49,980
Let's write George the Tech a spot.

663
00:19:49,980 --> 00:19:52,960
And if it's good enough, you can run

664
00:19:52,960 --> 00:19:53,080
it.

665
00:19:53,160 --> 00:19:53,600
There you go.

666
00:19:54,240 --> 00:19:55,340
And the other thing is what we could

667
00:19:55,340 --> 00:19:56,940
do once we've done that is actually throw

668
00:19:56,940 --> 00:20:00,060
all the elements up on...

669
00:20:00,060 --> 00:20:01,260
Have a mix off.

670
00:20:02,120 --> 00:20:04,400
And so anyone who wants to listen in

671
00:20:04,400 --> 00:20:05,940
and get involved, they can actually do a

672
00:20:05,940 --> 00:20:06,840
mix and send it to us.

673
00:20:06,940 --> 00:20:07,260
That'd be fine.

674
00:20:07,460 --> 00:20:09,200
I'd be curious to see what people come

675
00:20:09,200 --> 00:20:09,620
back with.

676
00:20:09,940 --> 00:20:11,300
And what we'll do is we'll have an

677
00:20:11,300 --> 00:20:14,260
audio engineer division and we'll have a voiceover

678
00:20:14,260 --> 00:20:16,360
division, so if voiceover artists decide they want

679
00:20:16,360 --> 00:20:18,480
to have a crack, they can have their

680
00:20:18,480 --> 00:20:18,640
own.

681
00:20:18,700 --> 00:20:22,560
So we're not judging audio engineer specialists against

682
00:20:22,560 --> 00:20:24,520
voiceover artists, so everybody can have a crack

683
00:20:24,520 --> 00:20:25,280
and be fair then.

684
00:20:25,760 --> 00:20:26,320
Yeah, yeah, yeah.

685
00:20:26,340 --> 00:20:26,740
How's that?

686
00:20:27,000 --> 00:20:27,980
That'll be interesting.

687
00:20:29,420 --> 00:20:29,780
Now...

688
00:20:29,780 --> 00:20:30,580
That's for another day.

689
00:20:30,600 --> 00:20:32,000
So are we voting or who's voting on

690
00:20:32,000 --> 00:20:32,200
that one?

691
00:20:32,200 --> 00:20:33,820
Well, we'll vote on that, I guess.

692
00:20:34,340 --> 00:20:36,000
But yeah, but I guess...

693
00:20:36,000 --> 00:20:37,260
God, I am going to be sick of

694
00:20:37,260 --> 00:20:37,840
Andrew's voice.

695
00:20:39,000 --> 00:20:42,100
LAUGHTER I'll get an aide to do it.

696
00:20:43,520 --> 00:20:44,860
She's already sick of my voice.

697
00:20:45,220 --> 00:20:45,620
All right.

698
00:20:45,660 --> 00:20:46,260
Well, is that a plan?

699
00:20:46,260 --> 00:20:47,540
I thought she tells you to shut up.

700
00:20:47,840 --> 00:20:48,980
So what are we taking away from that

701
00:20:48,980 --> 00:20:49,620
episode, people?

702
00:20:49,720 --> 00:20:51,120
Are we taking away the fact that, you

703
00:20:51,120 --> 00:20:52,380
know, as long as it sounds good, it

704
00:20:52,380 --> 00:20:52,700
is good?

705
00:20:52,760 --> 00:20:54,120
Cos all four of those sound good to

706
00:20:54,120 --> 00:20:54,280
me.

707
00:20:54,380 --> 00:20:54,920
We've always known that.

708
00:20:55,000 --> 00:20:56,300
But they're all completely different.

709
00:20:56,840 --> 00:20:58,320
So I think we've proved that, right?

710
00:20:58,600 --> 00:20:58,800
Yep.

711
00:20:59,160 --> 00:20:59,380
Yeah.

712
00:21:00,480 --> 00:21:01,280
Is that our out?

713
00:21:03,020 --> 00:21:03,380
Yeah.

714
00:21:03,540 --> 00:21:03,700
Yeah.

715
00:21:04,040 --> 00:21:04,400
Yeah.

716
00:21:04,920 --> 00:21:07,640
It's just an emphatic endorsement of what you

717
00:21:07,640 --> 00:21:08,280
just said, Robbo.

718
00:21:08,320 --> 00:21:09,080
That's great.

719
00:21:10,220 --> 00:21:10,480
Yeah.

720
00:21:11,120 --> 00:21:11,360
Yep.

721
00:21:11,920 --> 00:21:12,500
So nice.

722
00:21:13,280 --> 00:21:14,260
Well, that was fun.

723
00:21:14,340 --> 00:21:14,720
Is it over?

724
00:21:15,880 --> 00:21:17,520
The Pro Audio Suite.

725
00:21:17,600 --> 00:21:18,880
With thanks to Tribus.

726
00:21:19,000 --> 00:21:19,980
And Austrian Audio.

727
00:21:20,600 --> 00:21:21,940
Recorded using Source Connect.

728
00:21:22,300 --> 00:21:23,940
Edited by Andrew Peters.

729
00:21:24,060 --> 00:21:26,100
And mixed by Vudu Radio Imaging.

730
00:21:26,180 --> 00:21:28,320
With tech support from George the Tech Whittam.

731
00:21:28,400 --> 00:21:30,420
Don't forget to subscribe to the show and

732
00:21:30,420 --> 00:21:32,620
join in the conversation on our Facebook group.

733
00:21:32,640 --> 00:21:34,740
To leave a comment, suggest a topic or

734
00:21:34,740 --> 00:21:36,660
just say g'day, drop us a note at

735
00:21:36,660 --> 00:21:37,260
our website.

736
00:21:37,780 --> 00:21:39,140
Theproaudiosuite.com