Remote Recording, Choirs, and Old-School Rigs with Robert Marshall

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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 Whitton, founder of Source Elements.

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Robert Marshall, international audio engineer.

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Darren Robbo-Robertson and Global Voice.

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Andrew Peters, thanks to Triboo.

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Austrian Audio, making passion heard.

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Source Elements, George the Tech Whitton and Robbo

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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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Sound good to me.

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And welcome to another Pro Audio Suite.

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The first one of 2026.

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Or is it the second?

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Season nine.

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Season nine.

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I think it could be the second episode,

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because I think we're doing another one for

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NAMM.

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Do you think anybody's ever, like, binged a

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bunch of seasons of ours?

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Mmm, I don't know.

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Probably not.

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There was, years ago, someone downloaded the whole

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lot.

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Yeah, someone downloaded the whole back catalogue once.

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Yeah.

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That was bizarre.

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And posted it on another podcast channel.

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Probably.

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Probably fed it into their AI.

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Yeah.

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Yeah.

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Changed the voices and took the ownership.

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Yeah, that's right.

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Exactly.

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Yeah.

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Mmm.

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Anyway, thanks to Austrian Audio, making passion heard.

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And Tribooth, don't forget the code.

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T-R-I-P-A-P 200 to

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get 200 bucks off your Tribooth.

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Now, pre-Christmas, Robert was rather busy.

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He was in church.

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He was in church.

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I went to church.

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That's right.

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Recorded the Hallelujah chorus, actually.

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Yeah, there you go.

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So, tell us about the setup.

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What did you do?

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So, it was a pretty big choir.

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I think there's at least 100 people in

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the choir itself, in a mid-size orchestra.

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Not huge, you know, two double basses, one

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trumpet, I think, or two trumpets, maybe.

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Two trumpets, I believe.

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But it wasn't a huge orchestra, but a

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pretty big orchestra.

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And so, the concert was, there was a

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concerto at the beginning with piano and orchestra.

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And then the second half was the Messiah,

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so it was the orchestra and the choir.

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And the church was pretty big.

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So, the orchestra at first, on the first

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setup, was up on the stage with the

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piano in front.

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And the second half was the Messiah, where

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the orchestra went down off the, I shouldn't

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say stage, the whatever, the podium.

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Or the pit.

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The lectern.

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The lectern.

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They actually took out a few pews to

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fit the orchestra down there.

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And then the whole choir.

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When they took them out, did they go

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pew, pew, pew?

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It was Star Wars.

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The sound effects guy from Star Wars.

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Sorry.

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And then they had the choir up on

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the top.

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So, the setup was basically a pair of

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KM-184s, were the main pair for the

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choir.

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And they were also the close-up pair

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for the orchestra when it was the concerto.

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And then the OC-8s were the spot

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mics on the piano.

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For the choir, the OC-8s were the

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spot mics for the soloists.

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Were they OC-8s or CC-8s?

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CC-8s.

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Yeah, I was going to say.

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CC-8s, yeah.

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And the choir at that point was the

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KM-184s at the front, and then actually

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a pair of Shure SM-81s hung and

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were spread out in the back.

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So, all the mics were set up basically

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ORTF style, like a little space between them

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and roughly at maybe a little bit wider

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than 90 degrees.

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I think it's like 110, something like that.

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Degrees.

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And then the main pair was a pair

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of Sheps, and that was the main pair

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for the orchestra, and it was also the

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far back main pair for the orchestra and

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the piano when it was that section.

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And then, funny enough, at the last second,

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I decided to grab a video, and I

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have a little Shure MV-88, and I

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just hung it back there.

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And I was way in the back.

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My setup was up in the choir loft,

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which they weren't using for the choir, but

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it was up in the choir loft, way

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in the back of the church.

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So, I just set up my phone with

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this Shure MV-88 stereo mic just to

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get a video.

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And when I mixed everything, I brought that

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audio in from that video, and it, of

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course, didn't time out right because, you know,

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different sample clocks.

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But I just lined up a transient, zoomed

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way the hell in at the beginning, and

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then I went to the very, very, very

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end, and I found the same transient, and

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I did a little tiny stretch on it.

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It was a couple of frames because by

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the end, and it lined it up well

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enough, especially for what was effectively reverb.

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Right.

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The time alignment wouldn't be quite as critical.

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It wasn't as critical.

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It was supposed to be kind of slappy.

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It's like having a delay that varies in

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time.

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Right.

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In fact, I probably aligned it actually closer

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than it really was because the time delay

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of 200 feet would have been a couple

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milliseconds.

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It's like you turned the knob on the

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digital effect, you know, for the early, what

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do they call it?

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What's the initial?

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Early reflections.

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Yeah.

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Turned that down to zero, or the time

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of the early reflections.

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Right, right.

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Zero.

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But I used that.

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So the mix you guys have there, there

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is no fake reverb, but I did put

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a little bit of that in there, and

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it did help just sort of gel it

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together nicely.

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And then if you listen to the main

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pair, the chefs, and you compare it like

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for the singers or the piano, you can

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see really how effective those spot mics are,

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the CC8s, at really just letting the piano

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just pop through.

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It doesn't sound like it's super close mic,

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even though I had the CC8s basically in

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the crook of the piano, just one pointing

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at the middle of the bass strings and

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the other one pointing at the last hammer

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of the high strings.

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So sort of a little stereo spread of

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the piano itself, and then just put that

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in there a little bit.

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And for the soloists, just enough to get

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them to cut over the whole mix.

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And voila, that is the mics.

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There's no EQ.

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There's no compression.

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There's no noise reduction, obviously, or anything.

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I'd have to imagine you probably didn't have

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the time to mix and match or try

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this pair of mics here and then these

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pair of mics here.

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I was going to try to do a

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bloom line with the 818s, and I brought

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them, but there was just no time.

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We had a dress rehearsal, and then once

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we had the dress rehearsal done, I was

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like, that's it.

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We're not going to change anything.

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And that would have been really complicated because

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there was also moving mics during, like, you

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had 20 minutes in the intermission to switch

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setups and having that really top-heavy stand

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with those 818s up there and a big,

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fat four-channel cable because it would have

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been, you know, four channels for those two.

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So I was looking forward to trying to

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do that, but in the end that didn't

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happen.

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With the 818s, because you got the front

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and back on the capsule and you can

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use the two XLRs, the mini XLR in

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the back and the standard one in the

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bottom, could you do, like, turn that into

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some kind of a stereo capture?

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Yeah, you can.

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It'd be a 180 stereo capture, like a

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coincident pair just left and right so you

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don't get the time delay that the ORTF

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setup gives you.

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Like, the ORTF gives you a similar time

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delay to what your ears have, a similar

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distance between your ears for the capsules, and

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that does a lot to add space to

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the whole.

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Like, I find when I do stereo recordings

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and the coincident techniques, be it bloom line,

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which is actually pretty cool, or just XY

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or even MS, those are all coincident mic

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techniques where the capsules are right next to

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each other so there's no time difference between

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the left and the right capsule receiving audio.

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They tend to be a little bit not

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as exciting as a spaced pair.

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You know, like, the spaced pair of Omnis

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where you get them way apart, of course,

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is, like, the most, like...

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That gets also...

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A wider spread.

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Wacky.

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Yeah, it gets pretty out there.

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Like, there's little definition.

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But with this one, when you listen to

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it, you can really hear the violins on

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the left and the double basses on the

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right, and you get a really good sense

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of space of the orchestra, I think.

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And, you know, if you wanted to take

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it the next step further, you'd throw, like,

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a Jeplin disc in the middle of that

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kind of setup.

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Now, tell us about what that's designed to

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do.

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Emulate more, like, human hearing or something?

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Yeah, it kind of starts to emulate what

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the head does, where the head blocks sound

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coming in from the left, and it hits

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the left side of your head, and your

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left ear hears it, and then your head

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is a big acoustic baffle.

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It is your right ear here at late,

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but it hears it baffled, and therefore lower...

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Like, you get a high-pass filter effect.

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Only the low frequencies make it around your

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big head acoustic baffle.

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So a Jeplin disc is just a sort

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00:09:40,280 --> 00:09:44,740
of acoustic baffle between two spaced microphones, usually

275
00:09:44,740 --> 00:09:45,360
RTF.

276
00:09:46,060 --> 00:09:48,660
It enhances the stereo effect, basically.

277
00:09:49,420 --> 00:09:50,380
Who would use that?

278
00:09:50,580 --> 00:09:53,880
People doing sound effects libraries, or even, like,

279
00:09:53,920 --> 00:09:55,460
if you just want to kind of beef

280
00:09:55,460 --> 00:09:58,640
up the stereo effect of a spaced pair,

281
00:09:59,100 --> 00:10:00,900
the next step from a Jeplin disc is,

282
00:10:01,180 --> 00:10:03,340
like, the Neumann head microphone, where you basically

283
00:10:03,340 --> 00:10:06,200
are practically getting a binaural recording.

284
00:10:06,600 --> 00:10:06,780
Fritz.

285
00:10:07,400 --> 00:10:08,000
Is that his name?

286
00:10:08,580 --> 00:10:08,700
Fritz?

287
00:10:08,700 --> 00:10:09,420
I think it's Fritz.

288
00:10:09,820 --> 00:10:10,080
Okay.

289
00:10:12,940 --> 00:10:17,000
Fritz is what they call baloney in Adelaide,

290
00:10:17,060 --> 00:10:17,300
isn't it?

291
00:10:17,300 --> 00:10:17,800
Isn't it Fritz?

292
00:10:18,060 --> 00:10:18,920
Yeah, it is Fritz, yeah.

293
00:10:19,080 --> 00:10:19,780
Yeah, Fritz.

294
00:10:19,980 --> 00:10:21,880
It's like a small goods thing.

295
00:10:22,840 --> 00:10:23,820
Like a sausage.

296
00:10:24,220 --> 00:10:25,600
Yeah, but I think...

297
00:10:25,600 --> 00:10:28,800
So could you say, ah, Fritz, like, you

298
00:10:28,800 --> 00:10:29,480
know, baloney?

299
00:10:29,840 --> 00:10:30,880
Yeah, yeah, yeah.

300
00:10:30,880 --> 00:10:33,320
Or what is it in Sydney?

301
00:10:33,480 --> 00:10:34,680
Is it Devon, isn't it?

302
00:10:34,920 --> 00:10:35,020
Devon.

303
00:10:35,280 --> 00:10:36,580
Yeah, it's Devon up here, yeah.

304
00:10:37,920 --> 00:10:39,320
My little five cents worth.

305
00:10:39,920 --> 00:10:42,080
You don't get much Devon or Fritz for

306
00:10:42,080 --> 00:10:43,060
five cents anymore.

307
00:10:43,620 --> 00:10:46,320
So how was the content used and distributed?

308
00:10:46,540 --> 00:10:47,640
Was it live stream?

309
00:10:47,820 --> 00:10:48,780
So it was live stream.

310
00:10:48,900 --> 00:10:52,060
So the setup was I actually used all

311
00:10:52,060 --> 00:10:55,220
the, you know, mic plates up on the

312
00:10:55,220 --> 00:10:57,320
sanctuary stage area.

313
00:10:57,320 --> 00:11:00,120
So I was too lazy and I didn't

314
00:11:00,120 --> 00:11:01,880
bring 500 feet of cables.

315
00:11:02,000 --> 00:11:02,500
I didn't do that.

316
00:11:03,340 --> 00:11:06,160
So I just plugged short stereo runs into

317
00:11:06,160 --> 00:11:08,720
their stage plates and then brought them up.

318
00:11:09,080 --> 00:11:11,180
And they had a big analog sound craft

319
00:11:11,180 --> 00:11:13,400
at the top of the choir loft.

320
00:11:14,020 --> 00:11:16,300
So I brought my splitter snake and I

321
00:11:16,300 --> 00:11:18,800
just picked off the mics from there and

322
00:11:18,800 --> 00:11:20,920
fed one back into the sound craft and

323
00:11:20,920 --> 00:11:22,120
the other one into my mic pres.

324
00:11:22,920 --> 00:11:24,860
And we agreed that the sound craft would

325
00:11:24,860 --> 00:11:29,600
do the Phantom because it's a passive split.

326
00:11:29,720 --> 00:11:30,620
It's not a transformer.

327
00:11:31,860 --> 00:11:33,880
Two wire, like split it out.

328
00:11:34,440 --> 00:11:35,860
And that's where I got the chance to

329
00:11:35,860 --> 00:11:37,580
use their SM81s that I didn't bring that

330
00:11:37,580 --> 00:11:38,660
were already pre-hung.

331
00:11:39,140 --> 00:11:41,820
I was like, hey, let me grab those

332
00:11:41,820 --> 00:11:42,680
too, you know?

333
00:11:43,180 --> 00:11:45,000
So they split it and they sent that

334
00:11:45,000 --> 00:11:46,620
off live to YouTube and they did a

335
00:11:46,620 --> 00:11:47,400
mix off the board.

336
00:11:48,220 --> 00:11:50,780
And then I just did a garbage stereo

337
00:11:50,780 --> 00:11:53,640
mix into my Zoom 2 track as a

338
00:11:53,640 --> 00:11:55,280
safety.

339
00:11:55,880 --> 00:11:58,600
But recorded mainly everything into, George, pull up

340
00:11:58,600 --> 00:11:59,740
that picture of that Mac.

341
00:12:00,200 --> 00:12:01,020
Tell me what you see.

342
00:12:02,360 --> 00:12:04,960
Yeah, that's the very old G3?

343
00:12:05,620 --> 00:12:06,240
G4.

344
00:12:06,280 --> 00:12:07,260
G4 PowerBook.

345
00:12:07,260 --> 00:12:09,380
That is a G4 PowerBook laptop.

346
00:12:09,680 --> 00:12:11,200
With a firewire cable coming out of it.

347
00:12:12,360 --> 00:12:16,860
So the setup is mic pres go into

348
00:12:16,860 --> 00:12:19,860
a Fostex 2424 or whatever.

349
00:12:19,860 --> 00:12:22,000
It's like literally a spinning hard disk recorder,

350
00:12:22,100 --> 00:12:22,860
24 tracks.

351
00:12:23,580 --> 00:12:25,120
That's the backup recorder.

352
00:12:25,700 --> 00:12:27,880
ADAT optical out of that into a M

353
00:12:27,880 --> 00:12:33,800
-Audio FireBridge, which then has firewire going into

354
00:12:33,800 --> 00:12:34,400
that laptop.

355
00:12:35,340 --> 00:12:36,740
And then that's my main record.

356
00:12:37,180 --> 00:12:38,740
There's also a Zoom recorder sitting there.

357
00:12:38,820 --> 00:12:39,560
Is that like a...

358
00:12:39,560 --> 00:12:40,980
Zoom recorder, right.

359
00:12:41,080 --> 00:12:42,840
The Zoom recorder is a backup because the

360
00:12:42,840 --> 00:12:46,020
mic preamps I have also pull a stereo

361
00:12:46,020 --> 00:12:47,940
mix off of the eight channels.

362
00:12:48,200 --> 00:12:48,820
Oh yeah, cool.

363
00:12:49,300 --> 00:12:51,780
You can daisy chain those mic preamps.

364
00:12:52,540 --> 00:12:53,900
So the knobs on that, if you notice

365
00:12:53,900 --> 00:12:55,240
on each channel the mic preamps, there's three

366
00:12:55,240 --> 00:12:57,960
knobs and it's gain, level and pan.

367
00:12:59,240 --> 00:13:01,840
Anyone under 35 would have no idea what

368
00:13:01,840 --> 00:13:02,720
you're talking about.

369
00:13:03,280 --> 00:13:03,420
No.

370
00:13:05,300 --> 00:13:06,340
I guess not.

371
00:13:07,820 --> 00:13:10,260
I mean, you could go in with a

372
00:13:10,260 --> 00:13:13,460
slightly more modern setup, but the idea is

373
00:13:13,460 --> 00:13:13,940
all the same.

374
00:13:14,040 --> 00:13:15,720
I mean, what, you'd switch out the Fostex

375
00:13:15,720 --> 00:13:20,120
for something like a semantic hard drive recorder

376
00:13:20,120 --> 00:13:22,020
instead of a spinning disc recorder.

377
00:13:22,980 --> 00:13:25,420
You'd switch your laptop out for something newer

378
00:13:25,420 --> 00:13:28,600
with a newer interface that also does optical.

379
00:13:28,740 --> 00:13:30,220
But honestly, I found that the...

380
00:13:30,220 --> 00:13:31,780
I was looking at getting a semantic and

381
00:13:31,780 --> 00:13:34,020
stuff and sometimes those things are really limited.

382
00:13:34,220 --> 00:13:36,480
They can only be an interface or a

383
00:13:36,480 --> 00:13:38,080
recorder, but they can't do both.

384
00:13:39,180 --> 00:13:40,020
And then if not, you got to spend

385
00:13:40,020 --> 00:13:42,940
huge money on a Joko or something, like

386
00:13:42,940 --> 00:13:43,960
$2,000.

387
00:13:43,960 --> 00:13:47,520
I mean, that Fostex, that's my mobile rig.

388
00:13:47,720 --> 00:13:49,120
I've had it for 20 years.

389
00:13:49,660 --> 00:13:52,120
Someone needs a mobile recording, thing weighs a

390
00:13:52,120 --> 00:13:52,420
thousand pounds.

391
00:13:52,420 --> 00:13:53,860
Maybe one of these days you can build

392
00:13:53,860 --> 00:13:54,840
a studio on wheels.

393
00:13:55,440 --> 00:13:56,360
I've done it.

394
00:13:56,620 --> 00:13:57,740
And you've done it too.

395
00:13:58,200 --> 00:14:00,840
So I don't mean to hijack this, but

396
00:14:00,840 --> 00:14:03,020
just the craziest thing happened.

397
00:14:03,720 --> 00:14:07,100
Speaking of remote recording, you see the screenshot

398
00:14:07,100 --> 00:14:07,640
right now?

399
00:14:08,680 --> 00:14:09,200
Oh, yeah, yeah.

400
00:14:09,520 --> 00:14:11,340
I've got one of those.

401
00:14:12,020 --> 00:14:13,060
Those ATIs?

402
00:14:13,100 --> 00:14:13,240
Yeah.

403
00:14:13,240 --> 00:14:14,540
I've got one of them.

404
00:14:14,740 --> 00:14:14,940
They're nice.

405
00:14:15,060 --> 00:14:15,980
So I met the owner of this.

406
00:14:16,140 --> 00:14:16,240
Yeah.

407
00:14:17,120 --> 00:14:20,140
I'm standing outside the Trader Joe's by the

408
00:14:20,140 --> 00:14:20,480
marina.

409
00:14:20,940 --> 00:14:23,780
It's the best Trader Joe's grocery ever because

410
00:14:23,780 --> 00:14:25,160
it's right on the marina.

411
00:14:25,480 --> 00:14:26,600
Like, it's full of boats.

412
00:14:26,620 --> 00:14:28,160
So they just catch fish and bring it

413
00:14:28,160 --> 00:14:29,400
straight into the Trader Joe's?

414
00:14:30,120 --> 00:14:32,500
And I'm there with my bicycle that has

415
00:14:32,500 --> 00:14:34,720
a pair of speakers mounted to it because

416
00:14:34,720 --> 00:14:35,820
come on, guys.

417
00:14:36,200 --> 00:14:37,380
I mean, I am George the Tech.

418
00:14:38,100 --> 00:14:39,060
I am a bike major.

419
00:14:39,340 --> 00:14:41,500
So a pair of speakers, not just any

420
00:14:41,500 --> 00:14:44,120
speakers, tannoy speakers.

421
00:14:44,560 --> 00:14:45,740
The little black ones?

422
00:14:45,740 --> 00:14:46,820
Little black arenas, they're called.

423
00:14:47,080 --> 00:14:49,700
Little tannoy speakers, right?

424
00:14:50,420 --> 00:14:52,360
And they're mounted to the side of a

425
00:14:52,360 --> 00:14:54,060
basket mounted to the front of my bike.

426
00:14:55,020 --> 00:14:59,440
And this gentleman, older, scruffy little guy, couldn't

427
00:14:59,440 --> 00:15:00,820
get his eyes off my bike.

428
00:15:00,880 --> 00:15:03,880
And my girlfriend's like, hi, yeah, I noticed

429
00:15:03,880 --> 00:15:05,640
you like my boyfriend's bike.

430
00:15:05,700 --> 00:15:06,240
What is it?

431
00:15:06,300 --> 00:15:07,980
And the guy starts talking about the speakers.

432
00:15:08,540 --> 00:15:09,760
And I walk over to him.

433
00:15:10,400 --> 00:15:12,300
Long story short, he's like, oh, yeah, I

434
00:15:12,300 --> 00:15:13,720
have a remote recording truck.

435
00:15:14,260 --> 00:15:15,480
And I was like, really?

436
00:15:15,940 --> 00:15:17,420
Not too many people have that.

437
00:15:17,520 --> 00:15:18,280
And he tells me more.

438
00:15:18,720 --> 00:15:20,280
George is like, I've got a remote recording.

439
00:15:20,420 --> 00:15:21,460
Yeah, I used to have one.

440
00:15:21,900 --> 00:15:23,280
And then it turns out he's like, oh,

441
00:15:23,280 --> 00:15:26,340
yeah, I have Studio on Wheels, RecordingTruck.com.

442
00:15:26,400 --> 00:15:27,180
I was like, what?

443
00:15:27,600 --> 00:15:29,480
The guy that I got this gig from,

444
00:15:30,160 --> 00:15:31,840
he died, but his thing that I used

445
00:15:31,840 --> 00:15:33,240
to do all these remote records from, so

446
00:15:33,240 --> 00:15:35,660
that's how this gig, sort of 20 years

447
00:15:35,660 --> 00:15:35,840
later.

448
00:15:36,080 --> 00:15:37,720
But he was reels on wheels.

449
00:15:38,720 --> 00:15:40,540
Well, this truck you're looking at right here

450
00:15:40,540 --> 00:15:42,080
is the record plant truck.

451
00:15:42,340 --> 00:15:42,900
Oh, really?

452
00:15:43,340 --> 00:15:45,760
I might know who built that.

453
00:15:46,360 --> 00:15:49,280
Jim Reeves is my buddy, and he used

454
00:15:49,280 --> 00:15:50,020
the record plant truck.

455
00:15:50,140 --> 00:15:51,820
Was this from New York record plant?

456
00:15:51,840 --> 00:15:52,160
I think so.

457
00:15:52,520 --> 00:15:54,300
He's in LA, and he was like, you

458
00:15:54,300 --> 00:15:55,120
want to go look at it?

459
00:15:55,160 --> 00:15:56,560
It's parked in the parking lot over at

460
00:15:56,560 --> 00:15:57,140
XYZ.

461
00:15:57,220 --> 00:15:58,440
And I'm like, I don't have time now,

462
00:15:58,500 --> 00:15:59,820
but yeah, I'd love to come see it

463
00:15:59,820 --> 00:16:00,180
sometime.

464
00:16:00,900 --> 00:16:02,560
But he uses the SDRs.

465
00:16:02,680 --> 00:16:02,800
He's got those Mackie.

466
00:16:03,500 --> 00:16:05,520
Yeah, he's got the Mackie recorders, but he's

467
00:16:05,520 --> 00:16:05,940
got three of them.

468
00:16:05,940 --> 00:16:07,740
He's got them retrofitted with solid state.

469
00:16:07,740 --> 00:16:09,660
So they're all running solid state.

470
00:16:10,480 --> 00:16:12,500
But I was like, oh my God, that's

471
00:16:12,500 --> 00:16:14,240
like my dream recording truck.

472
00:16:14,440 --> 00:16:16,700
But just, you know, it's been 25 years

473
00:16:16,700 --> 00:16:17,580
since I built mine.

474
00:16:17,720 --> 00:16:20,520
Well, that API is a dream board.

475
00:16:20,780 --> 00:16:20,880
Right.

476
00:16:21,100 --> 00:16:21,380
Yeah.

477
00:16:22,180 --> 00:16:24,240
That board's got to be $100,000.

478
00:16:24,440 --> 00:16:25,540
It's no joke, this thing.

479
00:16:26,340 --> 00:16:28,340
But yeah, it just tickled me when you

480
00:16:28,340 --> 00:16:30,220
were showing us your setup and what's in

481
00:16:30,220 --> 00:16:30,360
there.

482
00:16:30,400 --> 00:16:31,720
And then I just happened to run in,

483
00:16:32,080 --> 00:16:33,720
like, you know, it's so LA that you

484
00:16:33,720 --> 00:16:35,720
run into a guy like that, you know?

485
00:16:36,720 --> 00:16:39,040
But he's like, yeah, I was just, I

486
00:16:39,040 --> 00:16:41,260
just had Bob Clearmountain in this truck last

487
00:16:41,260 --> 00:16:44,600
week recording a live appearance of King Crimson.

488
00:16:44,740 --> 00:16:45,700
I was like, what?

489
00:16:46,260 --> 00:16:46,360
What?

490
00:16:47,680 --> 00:16:48,560
Holy shit.

491
00:16:49,480 --> 00:16:51,280
I got to talk to you sometime.

492
00:16:51,600 --> 00:16:52,920
I got to get you on my podcast.

493
00:16:53,180 --> 00:16:55,760
But his portable 48 rig is a lot

494
00:16:55,760 --> 00:16:56,500
like my rig.

495
00:16:56,680 --> 00:16:58,840
So mine is a portable 24.

496
00:16:59,280 --> 00:17:01,480
So replace the bottom two mic preamps with

497
00:17:01,480 --> 00:17:02,340
my Fostex.

498
00:17:02,640 --> 00:17:04,599
And I don't have a power supply in

499
00:17:04,599 --> 00:17:04,800
it.

500
00:17:04,800 --> 00:17:06,460
I have a whatever.

501
00:17:07,160 --> 00:17:09,780
And then, yeah, those ATIs, I've got one

502
00:17:09,780 --> 00:17:11,720
of them, but the studio projects I have

503
00:17:11,720 --> 00:17:13,020
are pretty similar in that they have a

504
00:17:13,020 --> 00:17:13,260
mix.

505
00:17:13,819 --> 00:17:16,700
All those ATI mic pre's also have a

506
00:17:16,700 --> 00:17:16,880
mix.

507
00:17:18,300 --> 00:17:19,359
And I was like, I bet you don't

508
00:17:19,359 --> 00:17:20,599
get that truck out that often.

509
00:17:20,740 --> 00:17:24,260
He's like, oh, yeah, six, seven times a

510
00:17:24,260 --> 00:17:24,859
year, you know?

511
00:17:26,060 --> 00:17:27,460
I'm like, that's a hell of a vehicle

512
00:17:27,460 --> 00:17:29,380
to maintain and keep around, you know, when

513
00:17:29,380 --> 00:17:30,920
you just don't use it that often.

514
00:17:31,000 --> 00:17:32,760
For such a few gigs, yeah.

515
00:17:33,940 --> 00:17:37,360
It's just not necessary anymore, because, like, honestly,

516
00:17:38,060 --> 00:17:39,560
you think about what this truck is capable

517
00:17:39,560 --> 00:17:41,660
of, and granted, he's got a lot of

518
00:17:41,660 --> 00:17:44,640
nice analog in there, but, like, I can

519
00:17:44,640 --> 00:17:47,460
switch out my recorder for a TDM system,

520
00:17:48,160 --> 00:17:49,600
which is still fairly portable.

521
00:17:49,820 --> 00:17:51,620
And then I've got all the DSP and

522
00:17:51,620 --> 00:17:53,340
mixing you want to do.

523
00:17:53,420 --> 00:17:54,460
So if you want to do a live

524
00:17:54,460 --> 00:17:57,180
record and broadcast instead of just collect the

525
00:17:57,180 --> 00:17:57,540
mics.

526
00:17:57,840 --> 00:17:59,200
Got all the 192s in there.

527
00:17:59,260 --> 00:18:01,140
Yeah, yeah, he's got all his 192s.

528
00:18:01,140 --> 00:18:02,300
He's got his old Mac Pro.

529
00:18:03,020 --> 00:18:03,440
Whatever you need.

530
00:18:03,700 --> 00:18:05,760
And he's done voiceover to tie it into

531
00:18:05,760 --> 00:18:06,300
voiceover.

532
00:18:07,200 --> 00:18:08,400
He's got a couple credits.

533
00:18:08,500 --> 00:18:11,760
Josh Brolin for a Mercedes spot and Christina

534
00:18:11,760 --> 00:18:13,400
Applegate for a fruit water.

535
00:18:13,640 --> 00:18:14,860
So what, does he drive up to their

536
00:18:14,860 --> 00:18:15,620
house with this thing?

537
00:18:16,500 --> 00:18:18,480
Either to their house or to a set,

538
00:18:18,580 --> 00:18:18,900
you know?

539
00:18:19,380 --> 00:18:20,800
I don't know if you know about Christina

540
00:18:20,800 --> 00:18:22,640
Applegate, but she has, I think she has

541
00:18:22,640 --> 00:18:23,460
MS or something.

542
00:18:24,600 --> 00:18:26,760
She's pretty become a lot more immobile.

543
00:18:28,720 --> 00:18:30,460
So he got out there to record her.

544
00:18:30,460 --> 00:18:34,640
So yeah, he's on somebody's resource list.

545
00:18:35,200 --> 00:18:36,260
He gets brought in, you know?

546
00:18:36,820 --> 00:18:38,520
I'm like, damn, that's just amazing though.

547
00:18:38,620 --> 00:18:40,420
It's just, it's so, if you and I

548
00:18:40,420 --> 00:18:42,320
hung out with him, it would be like

549
00:18:42,320 --> 00:18:47,380
crossing of the streams, you know, in Ghostbusters,

550
00:18:47,500 --> 00:18:47,740
right?

551
00:18:49,380 --> 00:18:51,500
The conversation would not end and no one

552
00:18:51,500 --> 00:18:52,100
would be interested.

553
00:18:53,420 --> 00:18:53,840
Exactly.

554
00:18:54,580 --> 00:18:55,900
It just inspired me.

555
00:18:55,980 --> 00:18:57,040
I was like, holy crap.

556
00:18:57,460 --> 00:18:59,420
What are those giant monitors back there?

557
00:18:59,420 --> 00:19:01,720
Those are URIs or JBLs of some sort.

558
00:19:01,840 --> 00:19:02,500
I wonder what those are.

559
00:19:02,520 --> 00:19:03,580
Yeah, I don't know what they are.

560
00:19:04,060 --> 00:19:04,780
I don't know.

561
00:19:05,740 --> 00:19:06,620
That's massive.

562
00:19:06,740 --> 00:19:08,340
Those have got to be like 18, 20

563
00:19:08,340 --> 00:19:08,440
-inch monitors.

564
00:19:08,440 --> 00:19:09,720
They look like JBLs to me.

565
00:19:10,060 --> 00:19:12,960
Yeah, they're so huge and they're so close

566
00:19:12,960 --> 00:19:14,740
together relative to their size.

567
00:19:15,000 --> 00:19:15,620
You know what I mean?

568
00:19:15,680 --> 00:19:18,140
Yeah, he's got a classic Genelec 1030s, maybe.

569
00:19:19,060 --> 00:19:19,600
1031, 1030s.

570
00:19:19,600 --> 00:19:23,000
And then he's got a Ntura 10Ss, NS10s,

571
00:19:23,060 --> 00:19:23,180
sorry.

572
00:19:24,280 --> 00:19:25,160
Yep, NS10s.

573
00:19:25,460 --> 00:19:27,100
A couple of URIs I can see as

574
00:19:27,100 --> 00:19:27,320
well.

575
00:19:27,320 --> 00:19:29,660
One sitting on top and a DBX on

576
00:19:29,660 --> 00:19:30,500
the other one.

577
00:19:30,660 --> 00:19:34,220
For anyone that's listening to this, you can't

578
00:19:34,220 --> 00:19:36,700
see the picture, so hopefully we're being descriptive

579
00:19:36,700 --> 00:19:37,700
enough to...

580
00:19:37,700 --> 00:19:39,060
Maybe we can grab a link to it

581
00:19:39,060 --> 00:19:39,640
in the show notes.

582
00:19:40,180 --> 00:19:40,620
Yeah, yeah.

583
00:19:40,680 --> 00:19:42,320
It's just recordingtruck.com.

584
00:19:43,060 --> 00:19:45,660
But that API board is to die for.

585
00:19:45,900 --> 00:19:46,420
Yeah, yeah.

586
00:19:46,880 --> 00:19:48,380
Well, I miss it too.

587
00:19:48,480 --> 00:19:49,560
I wish I could pull up a picture

588
00:19:49,560 --> 00:19:50,780
of my rig, but I had a really

589
00:19:50,780 --> 00:19:52,540
similar rig to what you were doing too,

590
00:19:52,600 --> 00:19:52,860
Robert.

591
00:19:53,640 --> 00:19:55,600
I kept it until I moved to California

592
00:19:55,600 --> 00:19:56,800
and then I used it to...

593
00:19:56,800 --> 00:19:59,880
The last live shows I recorded were of

594
00:19:59,880 --> 00:20:04,500
a local band called Weapon of Choice.

595
00:20:05,660 --> 00:20:08,320
And I always loved these guys, and I

596
00:20:08,320 --> 00:20:11,120
recorded them live a couple of times at

597
00:20:11,120 --> 00:20:15,460
like a Halloween show at CalArts, which was

598
00:20:15,460 --> 00:20:18,220
a crazy show, and, you know, that kind

599
00:20:18,220 --> 00:20:18,600
of stuff.

600
00:20:18,720 --> 00:20:21,880
But I used a very similar gear, and

601
00:20:21,880 --> 00:20:23,120
it was a lot of fun.

602
00:20:23,120 --> 00:20:26,800
You were with like the D88s and the

603
00:20:26,800 --> 00:20:28,200
Spirit board, right?

604
00:20:28,760 --> 00:20:30,280
Well, that was when I had my truck

605
00:20:30,280 --> 00:20:31,140
back in Philly.

606
00:20:31,700 --> 00:20:32,820
But when I moved down here, I let

607
00:20:32,820 --> 00:20:33,380
all that go.

608
00:20:33,400 --> 00:20:33,800
Oh, I see.

609
00:20:34,020 --> 00:20:34,400
Sold all that.

610
00:20:35,080 --> 00:20:35,980
Got rid of the truck.

611
00:20:36,120 --> 00:20:37,500
My friend bought the truck.

612
00:20:37,660 --> 00:20:39,480
It was just in a little old RV.

613
00:20:40,240 --> 00:20:42,640
Like a little, literally like 20-foot long

614
00:20:42,640 --> 00:20:43,120
camper.

615
00:20:43,380 --> 00:20:43,940
Like tiny.

616
00:20:44,740 --> 00:20:45,740
So when I came out here, I just

617
00:20:45,740 --> 00:20:47,200
brought the bare essentials, right?

618
00:20:47,220 --> 00:20:50,900
I just brought the Mackie SDR recorder, and

619
00:20:50,900 --> 00:20:52,500
I had like a small rack like you

620
00:20:52,500 --> 00:20:54,660
did with 16 channels of preamps.

621
00:20:55,380 --> 00:20:57,780
And then I had this little Roland line

622
00:20:57,780 --> 00:21:01,120
-level mixer that I used for monitor mix

623
00:21:01,120 --> 00:21:04,540
and 2-mix for the reference recording that

624
00:21:04,540 --> 00:21:05,180
sat on top.

625
00:21:05,280 --> 00:21:05,480
Gotcha.

626
00:21:05,840 --> 00:21:07,480
And it was a piece of junk.

627
00:21:07,940 --> 00:21:09,900
Did you split the outputs of the preamps?

628
00:21:10,940 --> 00:21:12,920
How did I do it?

629
00:21:13,460 --> 00:21:14,500
Oh, I might have used direct.

630
00:21:14,500 --> 00:21:17,400
Because the Mackie had analog or digital.

631
00:21:17,580 --> 00:21:19,420
Was it ADAT into the Mackie?

632
00:21:19,420 --> 00:21:21,100
Yeah, I can't remember if I had a

633
00:21:21,100 --> 00:21:21,480
direct.

634
00:21:21,660 --> 00:21:23,020
Oh, I must have gone out of the

635
00:21:23,020 --> 00:21:24,380
Mackie into the Roland.

636
00:21:25,040 --> 00:21:26,740
So it was monitoring off the record.

637
00:21:27,620 --> 00:21:27,820
Yeah.

638
00:21:28,060 --> 00:21:28,800
Off the record.

639
00:21:28,940 --> 00:21:29,520
It's been so long.

640
00:21:30,320 --> 00:21:31,380
But it's just fun.

641
00:21:31,440 --> 00:21:33,420
I mean, it's just, it's an intense way

642
00:21:33,420 --> 00:21:35,220
of recording, especially if you're trying to do

643
00:21:35,220 --> 00:21:36,960
it yourself, which seems like me and Robert,

644
00:21:37,000 --> 00:21:38,480
we're always doing it ourselves.

645
00:21:39,400 --> 00:21:40,780
And I was trying to do like-

646
00:21:40,780 --> 00:21:42,260
It's always like, I should have brought an

647
00:21:42,260 --> 00:21:42,940
assistant to look.

648
00:21:42,940 --> 00:21:44,280
I can't tell you how many times I

649
00:21:44,280 --> 00:21:45,820
do a job, and I'm like, why did

650
00:21:45,820 --> 00:21:47,500
I try to do that by myself?

651
00:21:48,200 --> 00:21:49,740
Especially when I had the truck.

652
00:21:50,120 --> 00:21:52,120
I would have to like literally like sprint

653
00:21:52,120 --> 00:21:54,900
from the truck into the venue sometimes, because

654
00:21:54,900 --> 00:21:56,140
there'd be like an issue, you know?

655
00:21:56,980 --> 00:21:59,740
The worst part about this was like, you

656
00:21:59,740 --> 00:22:01,280
know those like foldable dollies?

657
00:22:01,760 --> 00:22:02,040
Yeah.

658
00:22:02,260 --> 00:22:05,400
Okay, so I've got this six-space rack

659
00:22:05,400 --> 00:22:08,260
that's got just massive amounts of copper in

660
00:22:08,260 --> 00:22:11,020
it, because the snake that coils up that

661
00:22:11,020 --> 00:22:13,960
has all the XLRs, it's probably got at

662
00:22:13,960 --> 00:22:15,820
least a 10-foot whip that comes out

663
00:22:15,820 --> 00:22:16,740
of the back of that rack.

664
00:22:17,340 --> 00:22:18,520
So when I get there, I'm not plugging

665
00:22:18,520 --> 00:22:19,700
stuff inside the rack.

666
00:22:19,760 --> 00:22:21,500
It is like, I whip it out.

667
00:22:23,600 --> 00:22:24,040
Snakey.

668
00:22:25,300 --> 00:22:26,180
That's right.

669
00:22:26,480 --> 00:22:26,580
Snakey.

670
00:22:26,760 --> 00:22:29,740
But this little dolly with foldable wheels that

671
00:22:29,740 --> 00:22:31,420
you're just waiting for it to fold in.

672
00:22:32,520 --> 00:22:33,220
Upstairs, like.

673
00:22:33,780 --> 00:22:34,380
Right, right.

674
00:22:37,060 --> 00:22:38,700
That was the worst part about the whole

675
00:22:38,700 --> 00:22:38,900
gig.

676
00:22:39,080 --> 00:22:39,980
Yeah, exactly.

677
00:22:40,440 --> 00:22:42,520
I mean, those were good times.

678
00:22:42,520 --> 00:22:45,940
I remember them fondly, and I remember how

679
00:22:45,940 --> 00:22:49,600
many times, I still actually have actual anxiety

680
00:22:49,600 --> 00:22:50,740
dreams from that time.

681
00:22:51,680 --> 00:22:53,460
Because, you know, of all the times I

682
00:22:53,460 --> 00:22:56,500
would be on location doing it totally solo

683
00:22:57,080 --> 00:23:00,580
and have something, you know, go wrong or

684
00:23:00,580 --> 00:23:02,820
something entirely preventable.

685
00:23:03,060 --> 00:23:03,500
There you go.

686
00:23:03,580 --> 00:23:04,500
Now you guys can see it.

687
00:23:04,560 --> 00:23:05,720
That's the RV right there.

688
00:23:06,540 --> 00:23:07,400
There's the RV.

689
00:23:07,920 --> 00:23:08,800
That thing was tiny.

690
00:23:08,820 --> 00:23:09,220
That's cool.

691
00:23:09,940 --> 00:23:10,160
Yeah.

692
00:23:11,160 --> 00:23:12,260
Who's that young fella?

693
00:23:13,100 --> 00:23:13,340
Right?

694
00:23:14,020 --> 00:23:15,860
That's when I was first putting it together.

695
00:23:16,280 --> 00:23:17,180
Yeah, there it is.

696
00:23:17,320 --> 00:23:18,380
That's pretty good right there.

697
00:23:18,580 --> 00:23:20,880
One DA-38 in a separate rack so

698
00:23:20,880 --> 00:23:22,140
I could pull it out and take it

699
00:23:22,140 --> 00:23:22,560
around.

700
00:23:24,020 --> 00:23:25,780
Aphex Processing, Hatch Bay.

701
00:23:26,500 --> 00:23:27,940
A little bit outpoured almost.

702
00:23:27,940 --> 00:23:30,320
Those Mackie monitors that you just sold recently,

703
00:23:30,420 --> 00:23:30,800
didn't you?

704
00:23:31,220 --> 00:23:31,460
Yep.

705
00:23:31,740 --> 00:23:33,840
Big old Mackie 824s.

706
00:23:34,620 --> 00:23:36,740
They don't look big in the picture, but

707
00:23:36,740 --> 00:23:38,460
those things were far bigger than they needed

708
00:23:38,460 --> 00:23:39,580
to be in an RV.

709
00:23:39,580 --> 00:23:40,460
They're big.

710
00:23:40,940 --> 00:23:43,260
Back in the day, my radio days, we

711
00:23:43,260 --> 00:23:46,360
used to do OBs and we would have

712
00:23:46,360 --> 00:23:49,280
bands playing and I remember there was one

713
00:23:49,280 --> 00:23:51,480
time just hearing you talking about having nightmares.

714
00:23:51,640 --> 00:23:53,100
I still have nightmares about this.

715
00:23:53,240 --> 00:23:55,640
There was a band in Australia who were

716
00:23:55,640 --> 00:23:57,160
big at the time called Boom Crash Opera

717
00:23:57,160 --> 00:24:00,160
and I was working at Triple M in

718
00:24:00,160 --> 00:24:03,780
Brisbane and we did an OB from the

719
00:24:03,780 --> 00:24:05,480
front of the building for something or other.

720
00:24:06,040 --> 00:24:07,660
I can't remember why, but they played on

721
00:24:07,660 --> 00:24:11,380
stage and so I had the little OB

722
00:24:11,380 --> 00:24:13,340
console for the radio station to take care

723
00:24:13,340 --> 00:24:15,120
of and I was also mixing the band

724
00:24:15,120 --> 00:24:18,600
at the same time and bringing in announcers

725
00:24:18,600 --> 00:24:21,280
and talking back to the studio and all

726
00:24:21,280 --> 00:24:23,460
that sort of stuff and I still have

727
00:24:23,460 --> 00:24:24,260
nightmares of it.

728
00:24:25,180 --> 00:24:26,100
Nothing happened.

729
00:24:26,240 --> 00:24:28,740
It went seamlessly, but I still have nightmares

730
00:24:28,740 --> 00:24:32,180
occasionally about something goes wrong, something didn't work

731
00:24:32,180 --> 00:24:34,360
or whatever and you have that little freak

732
00:24:34,360 --> 00:24:36,260
out moment where your heart just stops and

733
00:24:36,260 --> 00:24:40,100
two seconds feels like a year and all

734
00:24:40,100 --> 00:24:42,420
that sort of stuff and there's just nothing

735
00:24:42,420 --> 00:24:43,080
going to air.

736
00:24:43,160 --> 00:24:43,540
It's funny.

737
00:24:43,740 --> 00:24:48,640
Every person who was an ex-jock of

738
00:24:48,640 --> 00:24:51,320
a certain age always has the same nightmare

739
00:24:51,320 --> 00:24:55,220
about your record running out and there's no

740
00:24:55,220 --> 00:24:56,640
other record queued up.

741
00:24:57,040 --> 00:24:58,820
Did I tell you my embarrassing story from

742
00:24:58,820 --> 00:25:03,020
my midnight to dawn days in Newcastle?

743
00:25:03,020 --> 00:25:03,900
Oh, that was the one where you were

744
00:25:03,900 --> 00:25:04,280
off air.

745
00:25:04,280 --> 00:25:04,840
Yeah.

746
00:25:06,260 --> 00:25:08,420
The dunnies for this radio station were outside

747
00:25:08,420 --> 00:25:09,400
of the radio station.

748
00:25:09,640 --> 00:25:09,740
That's bathroom.

749
00:25:10,240 --> 00:25:11,400
Dunny, by the way, is a toilet.

750
00:25:11,580 --> 00:25:12,020
It's a toilet.

751
00:25:12,540 --> 00:25:15,800
So about 11 o'clock or whatever it

752
00:25:15,800 --> 00:25:17,600
was one Saturday night and I needed to

753
00:25:17,600 --> 00:25:19,520
go to the loo and so I put

754
00:25:19,520 --> 00:25:21,900
on the extended mix of Michael Jackson's Black

755
00:25:21,900 --> 00:25:23,780
or White, which goes for like 12 minutes

756
00:25:25,220 --> 00:25:26,740
and bolted out the door because I was

757
00:25:26,740 --> 00:25:28,860
busting and did what I needed to do

758
00:25:28,860 --> 00:25:30,320
and got back and realized that I didn't

759
00:25:30,320 --> 00:25:32,380
have the keys to get into the station.

760
00:25:32,480 --> 00:25:32,920
Oh, yes.

761
00:25:32,920 --> 00:25:33,740
We've all done that.

762
00:25:34,020 --> 00:25:34,500
Oh, gosh.

763
00:25:34,580 --> 00:25:36,660
So back in the days before mobile phones,

764
00:25:36,740 --> 00:25:38,020
of course, I had to race down the

765
00:25:38,020 --> 00:25:40,280
road to find a phone booth and call

766
00:25:40,280 --> 00:25:43,820
my mate Ben and sort of to say,

767
00:25:43,920 --> 00:25:45,140
listen, can you do me a favor?

768
00:25:45,200 --> 00:25:45,860
Can you do me a solid?

769
00:25:45,960 --> 00:25:46,920
Can you come let me in?

770
00:25:46,940 --> 00:25:48,580
This is whatever time it was up past

771
00:25:48,580 --> 00:25:49,380
11.

772
00:25:49,520 --> 00:25:50,780
And so, yeah, and he comes and lets

773
00:25:50,780 --> 00:25:52,640
me back into the building and the emergency

774
00:25:52,640 --> 00:25:53,940
tape luckily kicked in.

775
00:25:53,940 --> 00:25:54,360
Oh, yes.

776
00:25:54,520 --> 00:25:56,160
The emergency tape.

777
00:25:56,560 --> 00:25:58,460
Did the emergency tape kick in after silence

778
00:25:58,460 --> 00:25:59,760
or how does that work?

779
00:26:00,200 --> 00:26:00,740
What, sorry?

780
00:26:00,740 --> 00:26:03,040
Was the emergency tape kick in after silence?

781
00:26:03,040 --> 00:26:04,580
Yeah, it kicked in after three minutes of

782
00:26:04,580 --> 00:26:05,120
silence.

783
00:26:05,480 --> 00:26:06,320
Three minutes of silence?

784
00:26:06,540 --> 00:26:09,860
The emergency tape was so old, it was

785
00:26:09,860 --> 00:26:11,240
playing like Elvis.

786
00:26:11,580 --> 00:26:11,870
Yeah, yeah, yeah.

787
00:26:14,780 --> 00:26:16,400
Thank God it was Newcastle.

788
00:26:16,500 --> 00:26:17,420
Thank God it was Midway.

789
00:26:17,780 --> 00:26:18,520
I'm going to wonder why they put a

790
00:26:18,520 --> 00:26:21,160
three minute long delay before the...

791
00:26:21,160 --> 00:26:21,680
Yeah.

792
00:26:21,800 --> 00:26:22,580
That's an eternity.

793
00:26:22,900 --> 00:26:24,320
It's an eternity in radio.

794
00:26:24,540 --> 00:26:25,120
Somebody's dead.

795
00:26:25,120 --> 00:26:27,320
Or the compressor would be sucking so hard

796
00:26:27,320 --> 00:26:28,620
that if you do, you open up the

797
00:26:28,620 --> 00:26:29,500
mic and it's just...

798
00:26:29,500 --> 00:26:31,060
Yeah, it'd sound like white noise.

799
00:26:33,400 --> 00:26:34,480
Well, that was fun.

800
00:26:34,540 --> 00:26:34,940
Is it over?

801
00:26:59,500 --> 00:27:00,040
It's over.

802
00:27:00,380 --> 00:27:01,100
It's over.