Oct. 20, 2025
Reflection Filters – Help or Hype?
This week, the crew takes a hard look at reflection filters — those curved bits of foam and metal you often see sitting behind microphones.
Do they really make your recordings sound better, or are they just clever marketing?
George “The Tech” Whittam, Robbo, Robert Marshall, and Andrew Peters break down what reflection filters actually do (and don’t do), why they often make voiceovers sound worse, and what to invest in instead if you want to improve your room sound.
From the SE Electronics RF-X to the Aston Halo, the team compares designs, materials, and real-world results — and offers smarter, more effective alternatives for both travelling and home setups.
🎧 Recorded using Source Connect
🎚️ Edited by Andrew Peters. Mixed by Robbo.
🔊 Thanks to Our Sponsors
This episode is brought to you by:
🎙️ Tri-Booth — the portable vocal booth used by the pros.
💰 Use code TRIPAP200 for $200 off your Tri-Booth at tribooth.com.
🎧 Austrian Audio — Making Passion Heard.
Check out their full range of professional mics and headphones at austrian.audio.
🔗 Links & Extras
🌐 theproaudiosuite.com
💬 Join the conversation: Pro Audio Suite Facebook Group
🎧 Listen on Spotify, Apple Podcasts, and Amazon Music
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(Transcribed by TurboScribe.ai. Go Unlimited to remove this message.) Y'all ready to be history?
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Get started.
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Welcome.
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Hi.
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Hi.
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Hi.
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Hello everyone.
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To the Pro Audio Suite.
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These guys are professional.
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They're motivated.
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With Tech the VO stars.
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George Witten.
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Founder of Source Elements.
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Robert Marshall.
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International Audio Engineer.
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Darren Robbo Robertson.
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And Global Voice.
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Andrew Peters.
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Thanks to Triboo.
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Austrian Audio.
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Making passion heard.
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Source Elements.
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George the Tech Witten.
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And Robbo and AP's international demos.
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To find out more about us, check theproaudiosuite
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.com.
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Line up, man.
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Here we go.
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And welcome to another Pro Audio Suite.
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Thanks to Austrian Audio.
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Making passion heard.
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And Tribooth.
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Don't forget the code.
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T-R-I-P-A-P-200.
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To get $200 off your Tribooth.
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Tribooth.
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Good.
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Reflection filters?
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Hmm.
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Let's discuss.
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Not so.
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I think the word the kids use nowadays
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is meh.
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Meh.
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Meh.
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Meh.
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Meh.
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Meh.
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Meh.
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Yeah.
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I can say this to begin with.
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They are not all the same.
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And a lot has to do with the
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materials that they're made out of.
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Some of them just put stuff that looks
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like good Oralex.
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And they are thin.
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And they might as well not be there
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at all.
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And they just are something to make your
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mic stand heavy and fall over.
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Right.
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Right.
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And cumbersome.
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And then, in my opinion, at best, they
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kind of blunt a few of the early
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reflections off the walls.
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They don't do anything about the overall room
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sound.
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Because they're pretty open from the top and
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bottom.
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But they can blunt some early reflections.
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But I think they work better for singing
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-type things and not really for voiceover.
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Because they're not going to make a live
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room sound dead.
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And they're not going to do anything close
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to what a Tribooth or a Portabooth do.
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In terms of getting the mic in an
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actual alcove that is fairly well protected on
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all, technically, four or five sides from other
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reflections.
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So, yeah, kind of cool.
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Sort of okay.
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I think often more marketing than use.
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And definitely more useful in a music context
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than a post-production voiceover context.
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Because the odd one out of all of
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those reflection filters that comes to mind is
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the Aston.
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Which is more like a bowl.
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Yeah, that one's pretty interesting.
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It looks like they did a lot more
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than just farting around when they came up
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with that design.
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It's very cool looking.
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It's very unique looking.
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It has a more or less bowl shape
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rather than the convex curve thing.
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Or is that concave?
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Concave, actually.
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Sorry, concave.
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Which also can be a problem.
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Like that concave shape can focus things.
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Yeah, it still has a tendency.
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It's either going to not focus anything and
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not do anything.
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Like, I'm looking on, what's the website, Sugarfluid.
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I'm not going to say the name of
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the company.
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Oh, yes.
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If you search for acoustic absorption and then
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sort by most popular, it kind of gives
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you an idea what people are buying, right?
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And the top two is the SE Electronics
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RF-X Portable Vocal Booth, $92.
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And then the next one is the Onstage
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Isolation Shield.
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Now, I've heard these both because my clients
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end up buying them because somebody at the
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company, some sales rep or a recommendation on
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the website says, buy this with your $1
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,200 Neumann TL1.
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That's pretty great.
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Fuck it up.
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Yeah.
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Completely.
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And it usually makes it sound slightly worse.
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I mean, at best, it does absolutely nothing
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at all.
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Yes, that's what I'm saying.
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And in most cases, it sounds not quite
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as good as if you had just left
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it out.
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In the context of like a walk-in
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closet, I can't tell you more times than
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not, someone's set up in a walk-in
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closet, they've got clothes all around, blah, blah,
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blah, and then they have one of these
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behind the mic.
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And I'm like, what's that there for?
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And they're like, oh, well, I thought it
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wouldn't sound good without it.
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And I always make someone remove it and
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just do an A-B test.
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It opens the mic up.
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Let me hear it without.
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It opens it up.
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And in many cases, there was no change
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or it sounds better.
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I can't ever think of a situation where
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I was like, yeah, you know, it sounds
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a little bit better with it.
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Leave it up.
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It almost never does.
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And the really cheap ones that you get
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on Amazon and stuff, they're acoustically translucent.
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They don't do anything.
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They don't do crap.
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Exactly.
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It's like using a pop screen as an
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absorber.
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Well, at least your reflections don't pop.
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Yeah.
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It'd be a better pop filter than it
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would be an acoustic absorber.
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So, yeah, that's been my experience.
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I mean, SE kind of created this category,
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right?
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Didn't they invent the reflection filter with the
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X?
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I feel like they were one of the
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first ones to do it, yes.
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I think so.
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And it does seem like theirs is a
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little bit more dense on the back.
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There's more engineering in the design.
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Tell you that.
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Yeah.
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It's like multi-layered.
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It's like a multi-layered absorption, not just
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like we took some foam, like some packing
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foam, and stuck it behind the mic and
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called it.
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Yeah.
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And, you know, there's some YouTube channel videos
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you can watch, what makes SE reflection filters
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so unique, and you get to see a
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teardown of how they're built and the different
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materials, and some real thought, engineering, and time
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goes into the design.
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And for the context of what it was
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designed for, yeah, it probably works rather well.
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Like you're trying to put up a vocal
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mic or maybe a horn mic and control
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the pickup dispersion of that instrument a little
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bit more.
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I feel like that's really what it was
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designed for.
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It's really more about controlling splash than it
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is much else.
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Well, it reminds me a little bit of,
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do you remember in the 70s people used
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to take clear discs and put them around
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the mics on horn players in live situations?
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Yeah, but that's for a different reason.
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Yeah, yeah, yeah.
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Yeah, that's to prevent feedback, I think.
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No, no.
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My understanding is that's so that the horn
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player can literally hear themselves.
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Hear themselves.
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Oh.
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Yeah.
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It is literally a reflection, not filter.
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It's literally a reflector.
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It's a reflector, yeah.
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I mean, you guys can back me up
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on that.
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Guys listening on the show can defute that
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or put it in the comments.
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But I'm 99% sure that's what the
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intention of those little Plexiglas discs was.
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I always thought it was to prevent the
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mic from getting into the— From bleed?
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Yeah.
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No, the wedge.
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No, from the wedge monitors directly below it,
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I thought.
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It was trying to shield it from that,
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I thought.
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Could be.
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I have to find some pictures online of
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some old setups with those things and see
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how they're arranged.
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Like if the disc is, yeah, if the
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mic is at an angle and the disc
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is directly in front of the— Yeah, parallel
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to the wedge monitor.
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Yeah, to the face of the driver, then
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you're knocking out whatever that— That could be—
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Hmm, interesting.
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Yeah, that could be a two.
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I don't know.
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Something to look into.
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Have you guys seen those?
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I remember seeing it.
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But yeah, it is like the 70s, right?
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And I think part of the reason for
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that, too, is that also when you put
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a horn in front of a mic, you
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are just as much bouncing sound right out
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of that horn and right into the mic
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itself.
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You know what I mean?
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Like you have a bell of a horn
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reflecting sound into the mic as much as
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the horn is blasting sound into the mic.
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But I never used one.
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No, I never did either.
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I think I did live sound once for
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a band that had them.
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But all I did—like that band was organized
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enough that they had their own guy, so
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I just kind of set up and I
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was the in-house guy.
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Yeah.
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But I mean, just thinking logically, that's exactly
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what would actually happen is it would splash
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back your own sound to you so you
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could tell if you were in tune.
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00:08:16,040 --> 00:08:18,180
I mean, now everybody's got in-ear monitors,
273
00:08:18,660 --> 00:08:21,600
and this monitoring on stages now is insane.
274
00:08:22,740 --> 00:08:25,200
But in the 60s and 70s and stuff,
275
00:08:25,260 --> 00:08:25,960
not so great.
276
00:08:26,620 --> 00:08:27,500
Pretty bad.
277
00:08:27,900 --> 00:08:29,520
And it could be hard to play in
278
00:08:29,520 --> 00:08:31,780
tune, especially with brass.
279
00:08:32,340 --> 00:08:34,000
Brass instruments are hard to keep in tune
280
00:08:34,000 --> 00:08:35,760
because it's all done by ear with your
281
00:08:35,760 --> 00:08:40,240
lips, whereas a reed instrument is different.
282
00:08:40,460 --> 00:08:42,580
You can affect the tuning of the reed
283
00:08:42,580 --> 00:08:45,700
instrument too, but brass instruments, the tuning is
284
00:08:45,700 --> 00:08:46,760
100% done by ear.
285
00:08:46,760 --> 00:08:47,040
All you.
286
00:08:47,240 --> 00:08:48,580
Yeah, it's all you vibrating your lips.
287
00:08:48,580 --> 00:08:49,060
It's all you.
288
00:08:49,200 --> 00:08:49,400
Yeah.
289
00:08:50,360 --> 00:08:52,960
You can literally pitch up and down just
290
00:08:52,960 --> 00:08:54,020
by squeezing your lips.
291
00:08:54,900 --> 00:08:55,240
It's harder.
292
00:08:55,320 --> 00:08:56,960
The reed instrument, you can pinch on the
293
00:08:56,960 --> 00:08:59,460
reed and get it to go up in
294
00:08:59,460 --> 00:08:59,560
pitch.
295
00:08:59,560 --> 00:09:01,160
Yeah, you can kind of force it out
296
00:09:01,160 --> 00:09:01,440
of tune.
297
00:09:01,500 --> 00:09:01,600
Yeah.
298
00:09:02,260 --> 00:09:05,320
But naturally, it blows in tune once it's
299
00:09:05,320 --> 00:09:05,540
tuned.
300
00:09:05,540 --> 00:09:08,140
But brass is so much tougher.
301
00:09:08,880 --> 00:09:10,800
It's funny hearing you talking about wedges.
302
00:09:10,940 --> 00:09:11,880
How often do you go to a gig
303
00:09:11,880 --> 00:09:13,000
these days and see wedges?
304
00:09:13,120 --> 00:09:14,140
Very fucking rarely.
305
00:09:14,780 --> 00:09:15,440
It's all in-ears.
306
00:09:15,680 --> 00:09:17,420
They're usually older people on stage.
307
00:09:18,100 --> 00:09:18,300
True.
308
00:09:18,600 --> 00:09:18,900
Yeah, yeah.
309
00:09:18,960 --> 00:09:20,440
I mean, guys like Billy Joel and Elton
310
00:09:20,440 --> 00:09:20,700
John.
311
00:09:20,880 --> 00:09:21,780
Yeah, absolutely.
312
00:09:22,040 --> 00:09:23,960
But yeah, so often it's just in-ears
313
00:09:23,960 --> 00:09:24,300
now, isn't it?
314
00:09:24,300 --> 00:09:24,920
Or a DJ.
315
00:09:25,620 --> 00:09:27,560
DJs seem to like to have their ginormous
316
00:09:27,560 --> 00:09:30,260
speakers on each side of their podium, but
317
00:09:30,260 --> 00:09:30,820
that's a difference.
318
00:09:30,860 --> 00:09:32,260
Just being a wanker.
319
00:09:32,540 --> 00:09:33,000
Yeah, exactly.
320
00:09:33,840 --> 00:09:34,860
Mine's bigger than yours.
321
00:09:34,860 --> 00:09:36,240
You said it, not me, man.
322
00:09:37,700 --> 00:09:38,140
Yeah.
323
00:09:38,680 --> 00:09:40,260
Apologies to any DJs out there.
324
00:09:40,340 --> 00:09:41,060
I bet the truth hurts.
325
00:09:41,400 --> 00:09:43,520
But when you look at the old footage
326
00:09:43,520 --> 00:09:45,840
of the 60s, like the Beatles playing or
327
00:09:45,840 --> 00:09:48,200
any band playing live, they had a stack
328
00:09:48,200 --> 00:09:50,220
of Vox amps behind them.
329
00:09:51,140 --> 00:09:52,180
And that was it, though.
330
00:09:52,720 --> 00:09:55,160
That was actually the amplifier for the concert
331
00:09:55,160 --> 00:09:56,160
and them listening.
332
00:09:56,280 --> 00:09:59,280
They would maybe have a side fill.
333
00:09:59,360 --> 00:10:00,920
They'd maybe have a side fill for the
334
00:10:00,920 --> 00:10:01,220
drummer.
335
00:10:01,260 --> 00:10:01,560
Right.
336
00:10:01,560 --> 00:10:03,080
Like a little bit every now and then
337
00:10:03,080 --> 00:10:03,720
they'd have that.
338
00:10:05,180 --> 00:10:06,840
But yeah, wedge monitors don't show up until
339
00:10:06,840 --> 00:10:09,280
the later 60s and 70s.
340
00:10:09,360 --> 00:10:09,560
Yeah.
341
00:10:09,960 --> 00:10:10,500
I think.
342
00:10:10,620 --> 00:10:12,820
The last time I did live sound, nobody
343
00:10:12,820 --> 00:10:14,700
had IEMs. Everything was wedges.
344
00:10:15,240 --> 00:10:17,260
So I mean, I've been out of it
345
00:10:17,260 --> 00:10:19,100
for a long time.
346
00:10:19,220 --> 00:10:21,700
I've never had to mix in-ears for
347
00:10:21,700 --> 00:10:21,900
a...
348
00:10:21,900 --> 00:10:22,600
My brother, though.
349
00:10:22,720 --> 00:10:24,440
My brother does a theater gig.
350
00:10:25,400 --> 00:10:27,060
He's full-time at this theater.
351
00:10:27,060 --> 00:10:30,200
And it could be 20 people doing a
352
00:10:30,200 --> 00:10:34,740
musical review with Labs or a tribute band
353
00:10:34,740 --> 00:10:35,400
doing Rush.
354
00:10:36,780 --> 00:10:38,520
It's all over the map, man.
355
00:10:38,640 --> 00:10:40,400
It's all over the map what they do.
356
00:10:40,640 --> 00:10:41,680
It's pretty amazing.
357
00:10:42,280 --> 00:10:43,000
It's a lot.
358
00:10:43,280 --> 00:10:44,240
There's a lot to manage.
359
00:10:44,340 --> 00:10:45,900
And they'll have their apps to control their
360
00:10:45,900 --> 00:10:46,240
monitor.
361
00:10:46,800 --> 00:10:48,280
Well, it's like opera where they just hang
362
00:10:48,280 --> 00:10:49,180
the mics from the ceiling.
363
00:10:49,380 --> 00:10:49,700
Yes.
364
00:10:50,380 --> 00:10:54,460
I've done those on live stages, hung mics.
365
00:10:54,700 --> 00:10:54,800
Yeah.
366
00:10:55,520 --> 00:10:56,680
It's just a way.
367
00:10:56,800 --> 00:10:59,340
It's a Band-Aid fix for bad acoustics.
368
00:10:59,940 --> 00:11:00,040
Yeah.
369
00:11:01,260 --> 00:11:02,280
Yeah, exactly.
370
00:11:02,440 --> 00:11:03,480
And talk about bad acoustics.
371
00:11:03,780 --> 00:11:05,760
Reflection filters, yes or no?
372
00:11:05,920 --> 00:11:08,160
Probably for this voiceover, probably a no.
373
00:11:08,280 --> 00:11:09,060
I say no.
374
00:11:09,600 --> 00:11:09,800
Yeah.
375
00:11:10,040 --> 00:11:12,020
I say get your room treated and...
376
00:11:12,020 --> 00:11:13,100
Fix your room instead.
377
00:11:13,420 --> 00:11:13,720
Yeah.
378
00:11:13,840 --> 00:11:14,080
Yeah.
379
00:11:14,400 --> 00:11:16,580
My thought is that the cost of one
380
00:11:16,580 --> 00:11:19,240
that actually works, which is generally more than
381
00:11:19,240 --> 00:11:23,100
$200 to $300, that money could be spent
382
00:11:23,100 --> 00:11:27,160
on sound blankets, moving blankets.
383
00:11:27,520 --> 00:11:29,900
And they don't travel well.
384
00:11:30,260 --> 00:11:30,440
No.
385
00:11:30,440 --> 00:11:33,160
These reflection filters are bulky and heavy.
386
00:11:33,440 --> 00:11:35,840
And they don't travel well, so they're not
387
00:11:35,840 --> 00:11:36,640
really...
388
00:11:36,640 --> 00:11:37,880
I don't travel well either.
389
00:11:38,020 --> 00:11:38,540
I don't know.
390
00:11:38,720 --> 00:11:42,420
There is one portable acoustic treatment thing that
391
00:11:42,420 --> 00:11:44,840
you can squish down like the Chaotica Eyeball.
392
00:11:45,660 --> 00:11:47,440
But they have their own set of issues.
393
00:11:47,440 --> 00:11:48,800
And I haven't been...
394
00:11:48,800 --> 00:11:51,600
I have not yet been convinced that they
395
00:11:51,600 --> 00:11:55,740
don't cause more problems than they fix acoustically.
396
00:11:55,900 --> 00:11:57,480
But it blows me away sometimes.
397
00:11:57,600 --> 00:11:59,560
I watch videos of musicians on YouTube and
398
00:11:59,560 --> 00:12:00,720
they have one on their U87.
399
00:12:01,100 --> 00:12:01,560
I'm like...
400
00:12:01,560 --> 00:12:02,480
Oh, no.
401
00:12:03,160 --> 00:12:04,180
Is that helping?
402
00:12:04,280 --> 00:12:06,320
I bought one years ago because I was
403
00:12:06,320 --> 00:12:09,360
curious as to whether they were any good
404
00:12:09,360 --> 00:12:09,720
or not.
405
00:12:09,960 --> 00:12:12,580
And I think it was more not.
406
00:12:12,840 --> 00:12:14,540
I saw it when it was launched at
407
00:12:14,540 --> 00:12:15,560
AES in New York.
408
00:12:15,560 --> 00:12:17,140
I think Robert was at the same show.
409
00:12:18,160 --> 00:12:19,040
I interviewed him and everything.
410
00:12:20,500 --> 00:12:23,060
The reflection filter or which...
411
00:12:23,060 --> 00:12:23,640
No, the eyeball.
412
00:12:24,000 --> 00:12:25,560
Oh, the eyeball is...
413
00:12:26,600 --> 00:12:28,800
I mean, you know, I think that thing
414
00:12:28,800 --> 00:12:30,380
is 99% marketing.
415
00:12:30,740 --> 00:12:32,840
And it's just too close to the mic.
416
00:12:32,960 --> 00:12:36,080
It changes the sound way too much.
417
00:12:36,400 --> 00:12:39,720
I think we did an episode with yours
418
00:12:39,720 --> 00:12:40,740
very early on.
419
00:12:41,340 --> 00:12:42,800
I think we did, actually, yeah.
420
00:12:42,920 --> 00:12:44,380
I took it once on the road with
421
00:12:44,380 --> 00:12:44,480
me.
422
00:12:44,480 --> 00:12:46,940
And another thing about the eyeball is that
423
00:12:46,940 --> 00:12:48,100
if you think about it, part of the
424
00:12:48,100 --> 00:12:50,260
reflection filter is also if you're speaking into
425
00:12:50,260 --> 00:12:53,020
the room, you don't want your voice to
426
00:12:53,020 --> 00:12:54,940
get to the wall to bounce back.
427
00:12:55,300 --> 00:12:57,440
And the chaotica is too small to stop
428
00:12:57,440 --> 00:12:59,580
your voice from getting to the walls and
429
00:12:59,580 --> 00:13:00,340
bouncing back.
430
00:13:00,460 --> 00:13:01,980
From propagating, traveling, yeah.
431
00:13:02,020 --> 00:13:04,160
Right, but the things like the port-a
432
00:13:04,160 --> 00:13:06,960
-booth and the tri-booth, they're big enough
433
00:13:06,960 --> 00:13:09,560
to do both, contain your voice and also
434
00:13:09,560 --> 00:13:11,860
try to keep the wall reflections from coming
435
00:13:11,860 --> 00:13:12,600
back in as well.
436
00:13:12,600 --> 00:13:13,460
Yeah, exactly.
437
00:13:13,840 --> 00:13:16,020
You're getting the full use of both sides
438
00:13:16,020 --> 00:13:18,660
of the material with a blanket booth, tri
439
00:13:18,660 --> 00:13:19,780
-booth, those kinds of things.
440
00:13:20,440 --> 00:13:22,940
But these reflection filters, well, again, it depends
441
00:13:22,940 --> 00:13:25,040
on the model, how it's designed, the layers
442
00:13:25,040 --> 00:13:26,540
of materials, et cetera.
443
00:13:26,700 --> 00:13:29,500
But mostly, they're not doing you a whole
444
00:13:29,500 --> 00:13:32,400
lot of good on the reverse, you know,
445
00:13:32,520 --> 00:13:35,260
the sound coming back at you from the
446
00:13:35,260 --> 00:13:35,440
room.
447
00:13:35,680 --> 00:13:37,460
I think actually still one of the best
448
00:13:37,460 --> 00:13:39,240
things I used was I used to have
449
00:13:39,240 --> 00:13:43,760
a tall absorber that was about five feet
450
00:13:43,760 --> 00:13:45,780
tall on a hinge, so it was like
451
00:13:45,780 --> 00:13:46,300
a gobo.
452
00:13:46,940 --> 00:13:48,520
And I would just stand that up behind
453
00:13:48,520 --> 00:13:51,160
the person in my room, which was pretty
454
00:13:51,160 --> 00:13:52,660
live, and that would help so much.
455
00:13:53,140 --> 00:13:55,420
Because a lot of it, it's the direction
456
00:13:55,420 --> 00:13:56,820
of the mic that it's sensitive to.
457
00:13:57,500 --> 00:13:59,120
And stuff would bounce off the wall, and
458
00:13:59,120 --> 00:14:02,240
then you'd stop it from getting into the
459
00:14:02,240 --> 00:14:03,000
front side of the mic.
460
00:14:03,080 --> 00:14:04,340
The back side of the mic is generally
461
00:14:04,340 --> 00:14:07,380
pretty, you know, cardioid instead a little bit.
462
00:14:07,680 --> 00:14:09,860
So, yeah.
463
00:14:10,300 --> 00:14:12,120
Maybe you can take the reflection filters that
464
00:14:12,120 --> 00:14:14,200
are acoustically transparent and put them in front
465
00:14:14,200 --> 00:14:15,860
of the mic, and...
466
00:14:16,560 --> 00:14:18,740
A giant pop filter.
467
00:14:18,940 --> 00:14:19,700
Let's not go there.
468
00:14:20,220 --> 00:14:21,700
Giant pop filter, right.
469
00:14:22,780 --> 00:14:23,820
Well, that was fun.
470
00:14:23,900 --> 00:14:24,280
Is it over?
471
00:14:25,420 --> 00:14:27,120
The Pro Audio Suite.
472
00:14:27,200 --> 00:14:28,400
With thanks to Tri-booth.
473
00:14:28,500 --> 00:14:29,760
And Austrian Audio.
474
00:14:30,100 --> 00:14:31,480
Recorded using Source Connect.
475
00:14:31,860 --> 00:14:33,480
Edited by Andrew Peters.
476
00:14:33,480 --> 00:14:34,760
And mixed by Robbo.
477
00:14:34,920 --> 00:14:36,100
Got your own audio issues?
478
00:14:36,420 --> 00:14:37,900
Just ask Robbo dot com.
479
00:14:38,080 --> 00:14:40,040
With tech support from George the Tech Whittam.
480
00:14:40,120 --> 00:14:42,100
Don't forget to subscribe to the show, and
481
00:14:42,100 --> 00:14:44,340
join in the conversation on our Facebook group.
482
00:14:44,380 --> 00:14:46,500
So leave a comment, suggest a topic, or
483
00:14:46,500 --> 00:14:47,380
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484
00:14:47,460 --> 00:14:48,980
Drop us a note at our website.
485
00:14:49,760 --> 00:14:50,720
TheProAudioSuite.com
00:00:00,240 --> 00:00:00,900
(Transcribed by TurboScribe.ai. Go Unlimited to remove this message.) Y'all ready to be history?
2
00:00:01,220 --> 00:00:01,520
Get started.
3
00:00:01,880 --> 00:00:02,180
Welcome.
4
00:00:02,300 --> 00:00:02,580
Hi.
5
00:00:02,780 --> 00:00:02,980
Hi.
6
00:00:03,220 --> 00:00:03,540
Hi.
7
00:00:03,700 --> 00:00:04,780
Hello everyone.
8
00:00:05,100 --> 00:00:06,500
To the Pro Audio Suite.
9
00:00:06,600 --> 00:00:07,740
These guys are professional.
10
00:00:08,040 --> 00:00:08,660
They're motivated.
11
00:00:08,820 --> 00:00:10,240
With Tech the VO stars.
12
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George Witten.
13
00:00:11,180 --> 00:00:12,240
Founder of Source Elements.
14
00:00:12,260 --> 00:00:12,920
Robert Marshall.
15
00:00:13,100 --> 00:00:14,500
International Audio Engineer.
16
00:00:14,600 --> 00:00:15,720
Darren Robbo Robertson.
17
00:00:15,740 --> 00:00:16,640
And Global Voice.
18
00:00:16,680 --> 00:00:17,360
Andrew Peters.
19
00:00:17,540 --> 00:00:18,340
Thanks to Triboo.
20
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Austrian Audio.
21
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Making passion heard.
22
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23
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George the Tech Witten.
24
00:00:22,780 --> 00:00:25,340
And Robbo and AP's international demos.
25
00:00:25,440 --> 00:00:27,740
To find out more about us, check theproaudiosuite
26
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.com.
27
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Line up, man.
28
00:00:30,060 --> 00:00:30,560
Here we go.
29
00:00:32,480 --> 00:00:34,620
And welcome to another Pro Audio Suite.
30
00:00:34,760 --> 00:00:36,180
Thanks to Austrian Audio.
31
00:00:36,400 --> 00:00:37,720
Making passion heard.
32
00:00:38,380 --> 00:00:39,060
And Tribooth.
33
00:00:39,160 --> 00:00:39,860
Don't forget the code.
34
00:00:40,080 --> 00:00:41,800
T-R-I-P-A-P-200.
35
00:00:42,320 --> 00:00:44,820
To get $200 off your Tribooth.
36
00:00:45,700 --> 00:00:46,260
Tribooth.
37
00:00:46,480 --> 00:00:46,900
Good.
38
00:00:47,200 --> 00:00:48,040
Reflection filters?
39
00:00:48,680 --> 00:00:49,020
Hmm.
40
00:00:49,760 --> 00:00:50,580
Let's discuss.
41
00:00:50,760 --> 00:00:51,220
Not so.
42
00:00:51,500 --> 00:00:52,980
I think the word the kids use nowadays
43
00:00:52,980 --> 00:00:53,580
is meh.
44
00:00:53,880 --> 00:00:54,240
Meh.
45
00:00:54,360 --> 00:00:54,580
Meh.
46
00:00:55,000 --> 00:00:55,260
Meh.
47
00:00:55,260 --> 00:00:55,680
Meh.
48
00:00:55,680 --> 00:00:56,140
Meh.
49
00:00:56,720 --> 00:00:57,120
Meh.
50
00:00:58,080 --> 00:00:58,480
Yeah.
51
00:00:58,880 --> 00:01:00,580
I can say this to begin with.
52
00:01:00,760 --> 00:01:02,260
They are not all the same.
53
00:01:02,320 --> 00:01:03,480
And a lot has to do with the
54
00:01:03,480 --> 00:01:04,680
materials that they're made out of.
55
00:01:04,760 --> 00:01:06,180
Some of them just put stuff that looks
56
00:01:06,180 --> 00:01:07,120
like good Oralex.
57
00:01:07,380 --> 00:01:08,380
And they are thin.
58
00:01:08,740 --> 00:01:09,980
And they might as well not be there
59
00:01:09,980 --> 00:01:10,340
at all.
60
00:01:10,500 --> 00:01:11,740
And they just are something to make your
61
00:01:11,740 --> 00:01:13,600
mic stand heavy and fall over.
62
00:01:14,860 --> 00:01:15,260
Right.
63
00:01:15,580 --> 00:01:15,720
Right.
64
00:01:16,280 --> 00:01:17,080
And cumbersome.
65
00:01:18,240 --> 00:01:20,740
And then, in my opinion, at best, they
66
00:01:20,740 --> 00:01:24,320
kind of blunt a few of the early
67
00:01:24,320 --> 00:01:25,660
reflections off the walls.
68
00:01:26,180 --> 00:01:28,860
They don't do anything about the overall room
69
00:01:28,860 --> 00:01:29,280
sound.
70
00:01:29,460 --> 00:01:31,400
Because they're pretty open from the top and
71
00:01:31,400 --> 00:01:31,740
bottom.
72
00:01:33,240 --> 00:01:35,320
But they can blunt some early reflections.
73
00:01:36,120 --> 00:01:38,080
But I think they work better for singing
74
00:01:38,080 --> 00:01:40,000
-type things and not really for voiceover.
75
00:01:40,120 --> 00:01:41,640
Because they're not going to make a live
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00:01:41,640 --> 00:01:42,680
room sound dead.
77
00:01:43,240 --> 00:01:44,620
And they're not going to do anything close
78
00:01:44,620 --> 00:01:46,720
to what a Tribooth or a Portabooth do.
79
00:01:46,720 --> 00:01:48,820
In terms of getting the mic in an
80
00:01:48,820 --> 00:01:52,900
actual alcove that is fairly well protected on
81
00:01:52,900 --> 00:01:57,800
all, technically, four or five sides from other
82
00:01:57,800 --> 00:01:58,320
reflections.
83
00:01:59,480 --> 00:02:00,900
So, yeah, kind of cool.
84
00:02:01,180 --> 00:02:01,820
Sort of okay.
85
00:02:02,420 --> 00:02:04,540
I think often more marketing than use.
86
00:02:05,220 --> 00:02:07,160
And definitely more useful in a music context
87
00:02:07,160 --> 00:02:09,120
than a post-production voiceover context.
88
00:02:09,199 --> 00:02:10,800
Because the odd one out of all of
89
00:02:10,800 --> 00:02:12,920
those reflection filters that comes to mind is
90
00:02:12,920 --> 00:02:13,520
the Aston.
91
00:02:14,380 --> 00:02:15,780
Which is more like a bowl.
92
00:02:15,780 --> 00:02:17,380
Yeah, that one's pretty interesting.
93
00:02:18,080 --> 00:02:20,260
It looks like they did a lot more
94
00:02:20,260 --> 00:02:22,080
than just farting around when they came up
95
00:02:22,080 --> 00:02:22,680
with that design.
96
00:02:23,280 --> 00:02:24,900
It's very cool looking.
97
00:02:25,080 --> 00:02:26,140
It's very unique looking.
98
00:02:27,880 --> 00:02:32,740
It has a more or less bowl shape
99
00:02:32,740 --> 00:02:37,060
rather than the convex curve thing.
100
00:02:38,140 --> 00:02:38,980
Or is that concave?
101
00:02:39,500 --> 00:02:40,300
Concave, actually.
102
00:02:40,500 --> 00:02:41,100
Sorry, concave.
103
00:02:41,100 --> 00:02:43,440
Which also can be a problem.
104
00:02:43,920 --> 00:02:46,240
Like that concave shape can focus things.
105
00:02:46,840 --> 00:02:48,760
Yeah, it still has a tendency.
106
00:02:49,280 --> 00:02:51,480
It's either going to not focus anything and
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not do anything.
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00:02:53,360 --> 00:02:59,100
Like, I'm looking on, what's the website, Sugarfluid.
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00:03:00,240 --> 00:03:01,780
I'm not going to say the name of
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00:03:01,780 --> 00:03:02,200
the company.
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00:03:02,740 --> 00:03:03,280
Oh, yes.
112
00:03:04,820 --> 00:03:08,200
If you search for acoustic absorption and then
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sort by most popular, it kind of gives
114
00:03:10,620 --> 00:03:12,260
you an idea what people are buying, right?
115
00:03:12,960 --> 00:03:16,340
And the top two is the SE Electronics
116
00:03:16,340 --> 00:03:20,400
RF-X Portable Vocal Booth, $92.
117
00:03:21,780 --> 00:03:23,760
And then the next one is the Onstage
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00:03:23,760 --> 00:03:25,200
Isolation Shield.
119
00:03:25,700 --> 00:03:27,740
Now, I've heard these both because my clients
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00:03:27,740 --> 00:03:29,400
end up buying them because somebody at the
121
00:03:29,400 --> 00:03:32,860
company, some sales rep or a recommendation on
122
00:03:32,860 --> 00:03:35,900
the website says, buy this with your $1
123
00:03:35,900 --> 00:03:37,180
,200 Neumann TL1.
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00:03:37,340 --> 00:03:37,780
That's pretty great.
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Fuck it up.
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00:03:39,000 --> 00:03:39,220
Yeah.
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00:03:39,820 --> 00:03:40,340
Completely.
128
00:03:40,660 --> 00:03:45,140
And it usually makes it sound slightly worse.
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00:03:46,600 --> 00:03:48,980
I mean, at best, it does absolutely nothing
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at all.
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00:03:49,420 --> 00:03:50,280
Yes, that's what I'm saying.
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00:03:50,940 --> 00:03:53,620
And in most cases, it sounds not quite
133
00:03:53,620 --> 00:03:56,240
as good as if you had just left
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00:03:56,240 --> 00:03:56,660
it out.
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00:03:56,900 --> 00:03:58,600
In the context of like a walk-in
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00:03:58,600 --> 00:04:00,940
closet, I can't tell you more times than
137
00:04:00,940 --> 00:04:02,400
not, someone's set up in a walk-in
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00:04:02,400 --> 00:04:04,060
closet, they've got clothes all around, blah, blah,
139
00:04:04,120 --> 00:04:05,760
blah, and then they have one of these
140
00:04:05,760 --> 00:04:06,500
behind the mic.
141
00:04:06,600 --> 00:04:07,840
And I'm like, what's that there for?
142
00:04:07,900 --> 00:04:10,320
And they're like, oh, well, I thought it
143
00:04:10,320 --> 00:04:11,460
wouldn't sound good without it.
144
00:04:12,040 --> 00:04:14,820
And I always make someone remove it and
145
00:04:14,820 --> 00:04:15,420
just do an A-B test.
146
00:04:15,420 --> 00:04:16,440
It opens the mic up.
147
00:04:16,440 --> 00:04:17,240
Let me hear it without.
148
00:04:17,279 --> 00:04:17,779
It opens it up.
149
00:04:18,380 --> 00:04:21,019
And in many cases, there was no change
150
00:04:21,019 --> 00:04:22,500
or it sounds better.
151
00:04:23,500 --> 00:04:25,880
I can't ever think of a situation where
152
00:04:25,880 --> 00:04:28,120
I was like, yeah, you know, it sounds
153
00:04:28,120 --> 00:04:29,400
a little bit better with it.
154
00:04:29,480 --> 00:04:30,160
Leave it up.
155
00:04:30,160 --> 00:04:31,940
It almost never does.
156
00:04:32,580 --> 00:04:34,440
And the really cheap ones that you get
157
00:04:34,440 --> 00:04:37,560
on Amazon and stuff, they're acoustically translucent.
158
00:04:37,900 --> 00:04:38,640
They don't do anything.
159
00:04:38,660 --> 00:04:39,440
They don't do crap.
160
00:04:39,860 --> 00:04:40,060
Exactly.
161
00:04:40,080 --> 00:04:42,220
It's like using a pop screen as an
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00:04:42,220 --> 00:04:44,060
absorber.
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00:04:44,780 --> 00:04:46,720
Well, at least your reflections don't pop.
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00:04:47,400 --> 00:04:47,600
Yeah.
165
00:04:48,920 --> 00:04:50,780
It'd be a better pop filter than it
166
00:04:50,780 --> 00:04:54,460
would be an acoustic absorber.
167
00:04:55,300 --> 00:04:56,940
So, yeah, that's been my experience.
168
00:04:57,080 --> 00:04:58,980
I mean, SE kind of created this category,
169
00:04:59,140 --> 00:04:59,300
right?
170
00:04:59,300 --> 00:05:01,800
Didn't they invent the reflection filter with the
171
00:05:01,800 --> 00:05:02,100
X?
172
00:05:02,360 --> 00:05:03,740
I feel like they were one of the
173
00:05:03,740 --> 00:05:05,180
first ones to do it, yes.
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00:05:05,380 --> 00:05:06,100
I think so.
175
00:05:06,400 --> 00:05:08,320
And it does seem like theirs is a
176
00:05:08,320 --> 00:05:10,080
little bit more dense on the back.
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00:05:10,240 --> 00:05:11,540
There's more engineering in the design.
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00:05:11,780 --> 00:05:12,280
Tell you that.
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00:05:12,320 --> 00:05:12,560
Yeah.
180
00:05:12,700 --> 00:05:14,100
It's like multi-layered.
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00:05:14,380 --> 00:05:16,560
It's like a multi-layered absorption, not just
182
00:05:16,560 --> 00:05:19,480
like we took some foam, like some packing
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00:05:19,480 --> 00:05:21,440
foam, and stuck it behind the mic and
184
00:05:21,440 --> 00:05:22,780
called it.
185
00:05:23,340 --> 00:05:23,500
Yeah.
186
00:05:23,620 --> 00:05:25,720
And, you know, there's some YouTube channel videos
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00:05:25,720 --> 00:05:28,020
you can watch, what makes SE reflection filters
188
00:05:28,020 --> 00:05:29,980
so unique, and you get to see a
189
00:05:29,980 --> 00:05:31,940
teardown of how they're built and the different
190
00:05:31,940 --> 00:05:34,980
materials, and some real thought, engineering, and time
191
00:05:34,980 --> 00:05:36,020
goes into the design.
192
00:05:36,580 --> 00:05:38,200
And for the context of what it was
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00:05:38,200 --> 00:05:41,680
designed for, yeah, it probably works rather well.
194
00:05:41,780 --> 00:05:44,400
Like you're trying to put up a vocal
195
00:05:44,400 --> 00:05:47,480
mic or maybe a horn mic and control
196
00:05:47,480 --> 00:05:50,860
the pickup dispersion of that instrument a little
197
00:05:50,860 --> 00:05:51,380
bit more.
198
00:05:52,160 --> 00:05:53,520
I feel like that's really what it was
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00:05:53,520 --> 00:05:54,200
designed for.
200
00:05:54,200 --> 00:06:00,320
It's really more about controlling splash than it
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00:06:00,320 --> 00:06:01,320
is much else.
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00:06:01,440 --> 00:06:03,100
Well, it reminds me a little bit of,
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00:06:03,140 --> 00:06:04,640
do you remember in the 70s people used
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00:06:04,640 --> 00:06:07,320
to take clear discs and put them around
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00:06:07,320 --> 00:06:09,500
the mics on horn players in live situations?
206
00:06:09,800 --> 00:06:11,040
Yeah, but that's for a different reason.
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00:06:11,040 --> 00:06:11,660
Yeah, yeah, yeah.
208
00:06:11,700 --> 00:06:14,160
Yeah, that's to prevent feedback, I think.
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00:06:14,160 --> 00:06:14,580
No, no.
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00:06:14,780 --> 00:06:16,940
My understanding is that's so that the horn
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00:06:16,940 --> 00:06:18,520
player can literally hear themselves.
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00:06:18,720 --> 00:06:19,400
Hear themselves.
213
00:06:19,680 --> 00:06:19,960
Oh.
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00:06:20,320 --> 00:06:20,460
Yeah.
215
00:06:20,460 --> 00:06:24,280
It is literally a reflection, not filter.
216
00:06:24,480 --> 00:06:26,600
It's literally a reflector.
217
00:06:27,280 --> 00:06:28,260
It's a reflector, yeah.
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00:06:28,600 --> 00:06:31,240
I mean, you guys can back me up
219
00:06:31,240 --> 00:06:31,640
on that.
220
00:06:31,800 --> 00:06:34,860
Guys listening on the show can defute that
221
00:06:34,860 --> 00:06:35,720
or put it in the comments.
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00:06:36,200 --> 00:06:38,220
But I'm 99% sure that's what the
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00:06:38,220 --> 00:06:41,560
intention of those little Plexiglas discs was.
224
00:06:41,560 --> 00:06:43,280
I always thought it was to prevent the
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00:06:43,280 --> 00:06:48,540
mic from getting into the— From bleed?
226
00:06:49,020 --> 00:06:49,420
Yeah.
227
00:06:49,420 --> 00:06:51,680
No, the wedge.
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00:06:52,260 --> 00:06:54,620
No, from the wedge monitors directly below it,
229
00:06:54,660 --> 00:06:55,000
I thought.
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00:06:55,140 --> 00:06:58,000
It was trying to shield it from that,
231
00:06:58,060 --> 00:06:58,160
I thought.
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00:06:58,160 --> 00:06:58,660
Could be.
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00:06:59,280 --> 00:07:01,280
I have to find some pictures online of
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00:07:01,280 --> 00:07:03,840
some old setups with those things and see
235
00:07:03,840 --> 00:07:05,640
how they're arranged.
236
00:07:05,880 --> 00:07:08,400
Like if the disc is, yeah, if the
237
00:07:08,400 --> 00:07:10,720
mic is at an angle and the disc
238
00:07:10,720 --> 00:07:13,060
is directly in front of the— Yeah, parallel
239
00:07:13,060 --> 00:07:13,920
to the wedge monitor.
240
00:07:14,040 --> 00:07:16,040
Yeah, to the face of the driver, then
241
00:07:16,040 --> 00:07:19,260
you're knocking out whatever that— That could be—
242
00:07:19,260 --> 00:07:20,420
Hmm, interesting.
243
00:07:20,680 --> 00:07:21,620
Yeah, that could be a two.
244
00:07:22,260 --> 00:07:22,800
I don't know.
245
00:07:23,080 --> 00:07:23,820
Something to look into.
246
00:07:25,040 --> 00:07:26,120
Have you guys seen those?
247
00:07:26,200 --> 00:07:27,140
I remember seeing it.
248
00:07:27,280 --> 00:07:29,500
But yeah, it is like the 70s, right?
249
00:07:29,560 --> 00:07:31,780
And I think part of the reason for
250
00:07:31,780 --> 00:07:33,300
that, too, is that also when you put
251
00:07:33,300 --> 00:07:35,480
a horn in front of a mic, you
252
00:07:35,480 --> 00:07:37,720
are just as much bouncing sound right out
253
00:07:37,720 --> 00:07:39,320
of that horn and right into the mic
254
00:07:39,320 --> 00:07:40,040
itself.
255
00:07:40,800 --> 00:07:41,540
You know what I mean?
256
00:07:41,540 --> 00:07:43,040
Like you have a bell of a horn
257
00:07:43,040 --> 00:07:46,400
reflecting sound into the mic as much as
258
00:07:46,400 --> 00:07:48,720
the horn is blasting sound into the mic.
259
00:07:49,080 --> 00:07:51,140
But I never used one.
260
00:07:52,040 --> 00:07:53,020
No, I never did either.
261
00:07:53,040 --> 00:07:54,740
I think I did live sound once for
262
00:07:54,740 --> 00:07:55,760
a band that had them.
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00:07:55,940 --> 00:07:58,860
But all I did—like that band was organized
264
00:07:58,860 --> 00:08:00,420
enough that they had their own guy, so
265
00:08:00,420 --> 00:08:02,360
I just kind of set up and I
266
00:08:02,360 --> 00:08:03,280
was the in-house guy.
267
00:08:04,160 --> 00:08:04,260
Yeah.
268
00:08:05,160 --> 00:08:08,340
But I mean, just thinking logically, that's exactly
269
00:08:08,340 --> 00:08:11,100
what would actually happen is it would splash
270
00:08:11,100 --> 00:08:13,940
back your own sound to you so you
271
00:08:13,940 --> 00:08:15,200
could tell if you were in tune.
272
00:08:16,040 --> 00:08:18,180
I mean, now everybody's got in-ear monitors,
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00:08:18,660 --> 00:08:21,600
and this monitoring on stages now is insane.
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00:08:22,740 --> 00:08:25,200
But in the 60s and 70s and stuff,
275
00:08:25,260 --> 00:08:25,960
not so great.
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00:08:26,620 --> 00:08:27,500
Pretty bad.
277
00:08:27,900 --> 00:08:29,520
And it could be hard to play in
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00:08:29,520 --> 00:08:31,780
tune, especially with brass.
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00:08:32,340 --> 00:08:34,000
Brass instruments are hard to keep in tune
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00:08:34,000 --> 00:08:35,760
because it's all done by ear with your
281
00:08:35,760 --> 00:08:40,240
lips, whereas a reed instrument is different.
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00:08:40,460 --> 00:08:42,580
You can affect the tuning of the reed
283
00:08:42,580 --> 00:08:45,700
instrument too, but brass instruments, the tuning is
284
00:08:45,700 --> 00:08:46,760
100% done by ear.
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00:08:46,760 --> 00:08:47,040
All you.
286
00:08:47,240 --> 00:08:48,580
Yeah, it's all you vibrating your lips.
287
00:08:48,580 --> 00:08:49,060
It's all you.
288
00:08:49,200 --> 00:08:49,400
Yeah.
289
00:08:50,360 --> 00:08:52,960
You can literally pitch up and down just
290
00:08:52,960 --> 00:08:54,020
by squeezing your lips.
291
00:08:54,900 --> 00:08:55,240
It's harder.
292
00:08:55,320 --> 00:08:56,960
The reed instrument, you can pinch on the
293
00:08:56,960 --> 00:08:59,460
reed and get it to go up in
294
00:08:59,460 --> 00:08:59,560
pitch.
295
00:08:59,560 --> 00:09:01,160
Yeah, you can kind of force it out
296
00:09:01,160 --> 00:09:01,440
of tune.
297
00:09:01,500 --> 00:09:01,600
Yeah.
298
00:09:02,260 --> 00:09:05,320
But naturally, it blows in tune once it's
299
00:09:05,320 --> 00:09:05,540
tuned.
300
00:09:05,540 --> 00:09:08,140
But brass is so much tougher.
301
00:09:08,880 --> 00:09:10,800
It's funny hearing you talking about wedges.
302
00:09:10,940 --> 00:09:11,880
How often do you go to a gig
303
00:09:11,880 --> 00:09:13,000
these days and see wedges?
304
00:09:13,120 --> 00:09:14,140
Very fucking rarely.
305
00:09:14,780 --> 00:09:15,440
It's all in-ears.
306
00:09:15,680 --> 00:09:17,420
They're usually older people on stage.
307
00:09:18,100 --> 00:09:18,300
True.
308
00:09:18,600 --> 00:09:18,900
Yeah, yeah.
309
00:09:18,960 --> 00:09:20,440
I mean, guys like Billy Joel and Elton
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00:09:20,440 --> 00:09:20,700
John.
311
00:09:20,880 --> 00:09:21,780
Yeah, absolutely.
312
00:09:22,040 --> 00:09:23,960
But yeah, so often it's just in-ears
313
00:09:23,960 --> 00:09:24,300
now, isn't it?
314
00:09:24,300 --> 00:09:24,920
Or a DJ.
315
00:09:25,620 --> 00:09:27,560
DJs seem to like to have their ginormous
316
00:09:27,560 --> 00:09:30,260
speakers on each side of their podium, but
317
00:09:30,260 --> 00:09:30,820
that's a difference.
318
00:09:30,860 --> 00:09:32,260
Just being a wanker.
319
00:09:32,540 --> 00:09:33,000
Yeah, exactly.
320
00:09:33,840 --> 00:09:34,860
Mine's bigger than yours.
321
00:09:34,860 --> 00:09:36,240
You said it, not me, man.
322
00:09:37,700 --> 00:09:38,140
Yeah.
323
00:09:38,680 --> 00:09:40,260
Apologies to any DJs out there.
324
00:09:40,340 --> 00:09:41,060
I bet the truth hurts.
325
00:09:41,400 --> 00:09:43,520
But when you look at the old footage
326
00:09:43,520 --> 00:09:45,840
of the 60s, like the Beatles playing or
327
00:09:45,840 --> 00:09:48,200
any band playing live, they had a stack
328
00:09:48,200 --> 00:09:50,220
of Vox amps behind them.
329
00:09:51,140 --> 00:09:52,180
And that was it, though.
330
00:09:52,720 --> 00:09:55,160
That was actually the amplifier for the concert
331
00:09:55,160 --> 00:09:56,160
and them listening.
332
00:09:56,280 --> 00:09:59,280
They would maybe have a side fill.
333
00:09:59,360 --> 00:10:00,920
They'd maybe have a side fill for the
334
00:10:00,920 --> 00:10:01,220
drummer.
335
00:10:01,260 --> 00:10:01,560
Right.
336
00:10:01,560 --> 00:10:03,080
Like a little bit every now and then
337
00:10:03,080 --> 00:10:03,720
they'd have that.
338
00:10:05,180 --> 00:10:06,840
But yeah, wedge monitors don't show up until
339
00:10:06,840 --> 00:10:09,280
the later 60s and 70s.
340
00:10:09,360 --> 00:10:09,560
Yeah.
341
00:10:09,960 --> 00:10:10,500
I think.
342
00:10:10,620 --> 00:10:12,820
The last time I did live sound, nobody
343
00:10:12,820 --> 00:10:14,700
had IEMs. Everything was wedges.
344
00:10:15,240 --> 00:10:17,260
So I mean, I've been out of it
345
00:10:17,260 --> 00:10:19,100
for a long time.
346
00:10:19,220 --> 00:10:21,700
I've never had to mix in-ears for
347
00:10:21,700 --> 00:10:21,900
a...
348
00:10:21,900 --> 00:10:22,600
My brother, though.
349
00:10:22,720 --> 00:10:24,440
My brother does a theater gig.
350
00:10:25,400 --> 00:10:27,060
He's full-time at this theater.
351
00:10:27,060 --> 00:10:30,200
And it could be 20 people doing a
352
00:10:30,200 --> 00:10:34,740
musical review with Labs or a tribute band
353
00:10:34,740 --> 00:10:35,400
doing Rush.
354
00:10:36,780 --> 00:10:38,520
It's all over the map, man.
355
00:10:38,640 --> 00:10:40,400
It's all over the map what they do.
356
00:10:40,640 --> 00:10:41,680
It's pretty amazing.
357
00:10:42,280 --> 00:10:43,000
It's a lot.
358
00:10:43,280 --> 00:10:44,240
There's a lot to manage.
359
00:10:44,340 --> 00:10:45,900
And they'll have their apps to control their
360
00:10:45,900 --> 00:10:46,240
monitor.
361
00:10:46,800 --> 00:10:48,280
Well, it's like opera where they just hang
362
00:10:48,280 --> 00:10:49,180
the mics from the ceiling.
363
00:10:49,380 --> 00:10:49,700
Yes.
364
00:10:50,380 --> 00:10:54,460
I've done those on live stages, hung mics.
365
00:10:54,700 --> 00:10:54,800
Yeah.
366
00:10:55,520 --> 00:10:56,680
It's just a way.
367
00:10:56,800 --> 00:10:59,340
It's a Band-Aid fix for bad acoustics.
368
00:10:59,940 --> 00:11:00,040
Yeah.
369
00:11:01,260 --> 00:11:02,280
Yeah, exactly.
370
00:11:02,440 --> 00:11:03,480
And talk about bad acoustics.
371
00:11:03,780 --> 00:11:05,760
Reflection filters, yes or no?
372
00:11:05,920 --> 00:11:08,160
Probably for this voiceover, probably a no.
373
00:11:08,280 --> 00:11:09,060
I say no.
374
00:11:09,600 --> 00:11:09,800
Yeah.
375
00:11:10,040 --> 00:11:12,020
I say get your room treated and...
376
00:11:12,020 --> 00:11:13,100
Fix your room instead.
377
00:11:13,420 --> 00:11:13,720
Yeah.
378
00:11:13,840 --> 00:11:14,080
Yeah.
379
00:11:14,400 --> 00:11:16,580
My thought is that the cost of one
380
00:11:16,580 --> 00:11:19,240
that actually works, which is generally more than
381
00:11:19,240 --> 00:11:23,100
$200 to $300, that money could be spent
382
00:11:23,100 --> 00:11:27,160
on sound blankets, moving blankets.
383
00:11:27,520 --> 00:11:29,900
And they don't travel well.
384
00:11:30,260 --> 00:11:30,440
No.
385
00:11:30,440 --> 00:11:33,160
These reflection filters are bulky and heavy.
386
00:11:33,440 --> 00:11:35,840
And they don't travel well, so they're not
387
00:11:35,840 --> 00:11:36,640
really...
388
00:11:36,640 --> 00:11:37,880
I don't travel well either.
389
00:11:38,020 --> 00:11:38,540
I don't know.
390
00:11:38,720 --> 00:11:42,420
There is one portable acoustic treatment thing that
391
00:11:42,420 --> 00:11:44,840
you can squish down like the Chaotica Eyeball.
392
00:11:45,660 --> 00:11:47,440
But they have their own set of issues.
393
00:11:47,440 --> 00:11:48,800
And I haven't been...
394
00:11:48,800 --> 00:11:51,600
I have not yet been convinced that they
395
00:11:51,600 --> 00:11:55,740
don't cause more problems than they fix acoustically.
396
00:11:55,900 --> 00:11:57,480
But it blows me away sometimes.
397
00:11:57,600 --> 00:11:59,560
I watch videos of musicians on YouTube and
398
00:11:59,560 --> 00:12:00,720
they have one on their U87.
399
00:12:01,100 --> 00:12:01,560
I'm like...
400
00:12:01,560 --> 00:12:02,480
Oh, no.
401
00:12:03,160 --> 00:12:04,180
Is that helping?
402
00:12:04,280 --> 00:12:06,320
I bought one years ago because I was
403
00:12:06,320 --> 00:12:09,360
curious as to whether they were any good
404
00:12:09,360 --> 00:12:09,720
or not.
405
00:12:09,960 --> 00:12:12,580
And I think it was more not.
406
00:12:12,840 --> 00:12:14,540
I saw it when it was launched at
407
00:12:14,540 --> 00:12:15,560
AES in New York.
408
00:12:15,560 --> 00:12:17,140
I think Robert was at the same show.
409
00:12:18,160 --> 00:12:19,040
I interviewed him and everything.
410
00:12:20,500 --> 00:12:23,060
The reflection filter or which...
411
00:12:23,060 --> 00:12:23,640
No, the eyeball.
412
00:12:24,000 --> 00:12:25,560
Oh, the eyeball is...
413
00:12:26,600 --> 00:12:28,800
I mean, you know, I think that thing
414
00:12:28,800 --> 00:12:30,380
is 99% marketing.
415
00:12:30,740 --> 00:12:32,840
And it's just too close to the mic.
416
00:12:32,960 --> 00:12:36,080
It changes the sound way too much.
417
00:12:36,400 --> 00:12:39,720
I think we did an episode with yours
418
00:12:39,720 --> 00:12:40,740
very early on.
419
00:12:41,340 --> 00:12:42,800
I think we did, actually, yeah.
420
00:12:42,920 --> 00:12:44,380
I took it once on the road with
421
00:12:44,380 --> 00:12:44,480
me.
422
00:12:44,480 --> 00:12:46,940
And another thing about the eyeball is that
423
00:12:46,940 --> 00:12:48,100
if you think about it, part of the
424
00:12:48,100 --> 00:12:50,260
reflection filter is also if you're speaking into
425
00:12:50,260 --> 00:12:53,020
the room, you don't want your voice to
426
00:12:53,020 --> 00:12:54,940
get to the wall to bounce back.
427
00:12:55,300 --> 00:12:57,440
And the chaotica is too small to stop
428
00:12:57,440 --> 00:12:59,580
your voice from getting to the walls and
429
00:12:59,580 --> 00:13:00,340
bouncing back.
430
00:13:00,460 --> 00:13:01,980
From propagating, traveling, yeah.
431
00:13:02,020 --> 00:13:04,160
Right, but the things like the port-a
432
00:13:04,160 --> 00:13:06,960
-booth and the tri-booth, they're big enough
433
00:13:06,960 --> 00:13:09,560
to do both, contain your voice and also
434
00:13:09,560 --> 00:13:11,860
try to keep the wall reflections from coming
435
00:13:11,860 --> 00:13:12,600
back in as well.
436
00:13:12,600 --> 00:13:13,460
Yeah, exactly.
437
00:13:13,840 --> 00:13:16,020
You're getting the full use of both sides
438
00:13:16,020 --> 00:13:18,660
of the material with a blanket booth, tri
439
00:13:18,660 --> 00:13:19,780
-booth, those kinds of things.
440
00:13:20,440 --> 00:13:22,940
But these reflection filters, well, again, it depends
441
00:13:22,940 --> 00:13:25,040
on the model, how it's designed, the layers
442
00:13:25,040 --> 00:13:26,540
of materials, et cetera.
443
00:13:26,700 --> 00:13:29,500
But mostly, they're not doing you a whole
444
00:13:29,500 --> 00:13:32,400
lot of good on the reverse, you know,
445
00:13:32,520 --> 00:13:35,260
the sound coming back at you from the
446
00:13:35,260 --> 00:13:35,440
room.
447
00:13:35,680 --> 00:13:37,460
I think actually still one of the best
448
00:13:37,460 --> 00:13:39,240
things I used was I used to have
449
00:13:39,240 --> 00:13:43,760
a tall absorber that was about five feet
450
00:13:43,760 --> 00:13:45,780
tall on a hinge, so it was like
451
00:13:45,780 --> 00:13:46,300
a gobo.
452
00:13:46,940 --> 00:13:48,520
And I would just stand that up behind
453
00:13:48,520 --> 00:13:51,160
the person in my room, which was pretty
454
00:13:51,160 --> 00:13:52,660
live, and that would help so much.
455
00:13:53,140 --> 00:13:55,420
Because a lot of it, it's the direction
456
00:13:55,420 --> 00:13:56,820
of the mic that it's sensitive to.
457
00:13:57,500 --> 00:13:59,120
And stuff would bounce off the wall, and
458
00:13:59,120 --> 00:14:02,240
then you'd stop it from getting into the
459
00:14:02,240 --> 00:14:03,000
front side of the mic.
460
00:14:03,080 --> 00:14:04,340
The back side of the mic is generally
461
00:14:04,340 --> 00:14:07,380
pretty, you know, cardioid instead a little bit.
462
00:14:07,680 --> 00:14:09,860
So, yeah.
463
00:14:10,300 --> 00:14:12,120
Maybe you can take the reflection filters that
464
00:14:12,120 --> 00:14:14,200
are acoustically transparent and put them in front
465
00:14:14,200 --> 00:14:15,860
of the mic, and...
466
00:14:16,560 --> 00:14:18,740
A giant pop filter.
467
00:14:18,940 --> 00:14:19,700
Let's not go there.
468
00:14:20,220 --> 00:14:21,700
Giant pop filter, right.
469
00:14:22,780 --> 00:14:23,820
Well, that was fun.
470
00:14:23,900 --> 00:14:24,280
Is it over?
471
00:14:25,420 --> 00:14:27,120
The Pro Audio Suite.
472
00:14:27,200 --> 00:14:28,400
With thanks to Tri-booth.
473
00:14:28,500 --> 00:14:29,760
And Austrian Audio.
474
00:14:30,100 --> 00:14:31,480
Recorded using Source Connect.
475
00:14:31,860 --> 00:14:33,480
Edited by Andrew Peters.
476
00:14:33,480 --> 00:14:34,760
And mixed by Robbo.
477
00:14:34,920 --> 00:14:36,100
Got your own audio issues?
478
00:14:36,420 --> 00:14:37,900
Just ask Robbo dot com.
479
00:14:38,080 --> 00:14:40,040
With tech support from George the Tech Whittam.
480
00:14:40,120 --> 00:14:42,100
Don't forget to subscribe to the show, and
481
00:14:42,100 --> 00:14:44,340
join in the conversation on our Facebook group.
482
00:14:44,380 --> 00:14:46,500
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483
00:14:46,500 --> 00:14:47,380
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484
00:14:47,460 --> 00:14:48,980
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485
00:14:49,760 --> 00:14:50,720
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