Voiceover Essentials with Jim Edgar (Part 1) – Mastering Your Home Studio Setup

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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, they're motivated.

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Thanks to Tribute, the best vocal booth for

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home or on the road voice recording.

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And Austrian Audio, making passion heard.

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Introducing Robert Marshall from Source Elements and Someone

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Audio Post, Chicago.

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Darren Robert Robertson from Voodoo Radio Imaging, Sydney.

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Tech to the VO Stars.

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George the Tech Whittam from LA.

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And me, Andrew Peters, voiceover talent and home

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studio guy.

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Line up, man.

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Here we go.

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Tech to the beat.

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And welcome to another Pro Audio Suite.

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Thanks to Tribute.

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Don't forget the code, T-R-I-P

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-A-P 200.

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That will get you $200 off your Tribute.

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And trust me, they're great.

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And also, Austrian Audio, making passion heard.

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This week, we're joined by a special guest,

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a man called Jim Edgar.

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If you're into Twisted Wave or in the

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voiceover community, you would definitely know who Jim

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is.

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If you're not, stick around and you'll find

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out more.

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Welcome, Jim.

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Thank you very much.

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It's an honor to be here among the

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group.

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So thank you for having me.

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Appreciate it.

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It's more of an honor to have you

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with us, Motley Crue.

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Finally, some intelligence injected into the show.

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Very rare.

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I'll try.

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I'll try.

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I'll try to drag it down in some

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bicycling tangents.

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We may find some tangents today.

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We'll see.

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Oh, we'll be veering off in various directions.

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In about three seconds.

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Three.

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Yes, I'm guaranteed.

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I was thinking about making a bike frame

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with a shotgun microphone to the tubes.

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Could you put a capsule into a bike

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frame and turn it into a microphone?

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That's great.

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It needs to happen.

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I'll encourage you to actually dig through the

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YouTubes and find Frank Zappa playing a bicycle

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on the Steve Allen show.

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Always a favorite.

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A friend of mine sent me that video

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today.

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Really?

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He texted it to me.

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He's like, I don't know if you've seen

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this.

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Back on the Chain Gang?

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Ooh, well played.

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Yes, I'll take that.

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Might have pre-dated that song.

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You're such a pretender, Andrew.

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Seriously.

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Oh, man.

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Sorry about that.

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Yes.

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It's starting fast, folks.

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This is like the bike race where everybody

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blows out ahead of you, hanging on.

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I'm not going to be able to catch

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up with these guys.

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We haven't even hit the topic that we're

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going to talk about yet, and we're already

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veered off in various areas.

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What are the frequently asked questions that you

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get, Jim?

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Is it twisted wave, or is it just

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general voiceover stuff?

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A lot of both.

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I'm teaching quite a few kind of intro

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recording classes through VoiceOne up here in San

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Francisco, in the San Francisco Bay Area.

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We draw people from all over.

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So there are folks who literally do not

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know what to plug into what.

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So they have gone on to, say, a

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major international shopping site and seen a microphone

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for $29, which comes with everything you need

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to be a voice actor, and they wonder

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why they sound bad.

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Includes talent.

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Includes talent, too, yeah.

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But no, often, I mean, the common question

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is always, why does it sound so bad?

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I mean, that's the first one.

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And so you have to explain that the

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human brain is a very good filter for

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taking out all those little echoes and imperfections

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that live in our spaces.

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Hey, if you hear well enough to make

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the determination that it sounds bad, you might

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have the aptitude for a career in voice

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acting.

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Or an audio engineer.

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The first thing to recognize is that it

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sounds bad.

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You'd be amazed how many people don't know

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that it even sounds bad.

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Well, I admit, I kind of let them

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in on the joke in the first class,

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because I teach them, or I tell them

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that I'm going to teach them how to

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listen, which is, I use the example that

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my wife is an artist and very visually

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talented, and so I'll go out and paint

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with her, and she goes, you know, you

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just have to learn how to see.

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And it's kind of like I'm telling voice

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actors the same thing.

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You just need to learn how to listen

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to it.

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And so that is always the big thing,

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is that they get this mic, put it

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in a poorly treated space, and wonder why

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they're hearing dog barks and people working in

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the kitchen and other strange sounds that, you

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know, never would go on a professional podcast

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or anything like that.

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It's interesting you mention visual, because your wife

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being an artist, because there's a trick with

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painting, as someone who does paint, if you're

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doing like a portrait or whatever, if you're

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copying an image, if you turn it upside

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down, then it tricks your brain.

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Absolutely.

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You can actually do it fine.

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Is there an audio version of turning it

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upside down?

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The big challenge to voice actors, I think,

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is that we get wrapped up in the

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performance thing.

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And that's kind of where my intersection is,

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that, you know, I came into this wanting

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to do voices, wanting to tell stories, and

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kind of my second class that I took,

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you know, back in 2007, all these working

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voice actors started showing up in them, because

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they suddenly had to come back and learn

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how to record, because they were going into

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their agency and doing the auditions in the

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agency, and that was all getting handled.

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And all of a sudden, you know, in

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the Bay Area up here, the agencies told

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them they had to record at home.

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And so nobody had a setup.

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And all of a sudden, I'm, you know,

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digging back into my memory from all my

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hours and years spent kicking around in computer

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music and recording studios saying, oh, no, this

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is the way you set this stuff up.

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Doesn't everybody know this?

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But that's sort of the whole problem is

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that nobody was aware of what they were

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saying, because they were so focused on the

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performance.

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And as a voice actor, we have this,

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you know, real insecurity that we're not doing

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a good enough job, that we're not doing

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it right, that when we hear our voice,

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we're hearing the flaws in our performance.

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And it's really hard to teach people to

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listen past that.

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And that's sort of the big push that

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I make at first is that we need

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to kind of, you know, get rid of

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our concern about how we're talking in the

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moment.

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And we need to talk about or we

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need to learn to listen beyond that and

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listen to the sound of the room and

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listen to the other stuff that's going on,

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because they just aren't seeing it.

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I did a couple of times trying to

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turn around backwards on my mic, and that

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did not help.

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So, you know, that's not something we could

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necessarily do, but learning to kind of.

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No, but I've seen the actors read scripts

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backwards.

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Oh, yeah, absolutely.

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I don't know, you know.

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Yeah.

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Well, that shakes us up out of the

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performance, because we don't we start I mean,

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that's actually a really nice in the booth

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hack is to if we're if we're feeling

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like I'm locked into this read, just read

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all the words individually backwards.

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That's that's I got that direction that several

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times when I was learning my craft as

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well.

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But yeah, that's a good one.

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I've never heard that before.

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That's interesting.

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That's the exact thing you're asking about with

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the painting almost.

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I like reading backwards.

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Okay.

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But interestingly with sound, though, because there's a

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guy here who's who's actually blind, a blind

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voice actor called Alistair Lee.

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And Alistair has the most incredible hearing.

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Like he hears everything.

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I mean, I've spoken to him on Source

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Connect, and he will hear stuff in the

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background.

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He goes, Oh, what what are you doing

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with that?

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It's like, what?

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You know, there'll be something I can't even

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hear it.

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And he's hearing it down the line.

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Is that a tip to shut your eyes?

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It's one of the first things I have

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folks do, you know, and I've heard you

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guys talk about this as well.

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But, you know, a lot of the classes

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that I teach, everybody's in their own space.

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And so I make them close their eyes.

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I tell them they have to get all

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Northern California's in and everything and, you know,

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use their other senses.

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But if we cut out the visuals, all

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of a sudden we're listening to and naming

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the sounds.

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Robert, I've heard you talk about this, you

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know, where you say, Okay, oh, that's the

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buzz of my life.

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That's the water going through the pipes.

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That's the car.

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Well, it was a it was a class

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in college.

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I remember where everyone would have to sit

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there and like the first two rounds is

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like, Oh, yeah, the train, the cars, this,

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that goes around twice.

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And all of a sudden people are really

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digging because you don't want to be the

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last person who can't hear something, especially the

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person after you can hear something.

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But that's sort of the point is that,

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you know, unless something's about to kill and

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eat us, our brain tells us it's not

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something worth worrying about.

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Yeah.

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It's interesting.

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There's an audio engineering sort of lesson in

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there as well is, you know, sometimes you'll

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be listening to something and looking at your

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editor, whether it be Pro Tools or whatever

276
00:08:14,670 --> 00:08:18,130
and your eyes see an edit coming up.

277
00:08:18,170 --> 00:08:18,270
Yeah.

278
00:08:18,410 --> 00:08:19,730
And you sort of hear and you go,

279
00:08:19,970 --> 00:08:21,070
that sounds okay.

280
00:08:21,170 --> 00:08:23,070
But then you close your eyes and you

281
00:08:23,070 --> 00:08:24,630
listen to it and your brain's not getting

282
00:08:24,630 --> 00:08:26,070
that sort of visual cue.

283
00:08:26,210 --> 00:08:27,270
And all of a sudden you go, shit,

284
00:08:27,630 --> 00:08:28,790
hang on, that doesn't work.

285
00:08:29,050 --> 00:08:30,250
A mate of mine used to teach actually,

286
00:08:30,370 --> 00:08:33,570
he's an audio engineer, English guy.

287
00:08:33,730 --> 00:08:35,169
And when he moved to Australia, he gave

288
00:08:35,169 --> 00:08:37,270
up recording records because he just got sick

289
00:08:37,270 --> 00:08:39,409
of working with musicians who were lazy and

290
00:08:39,409 --> 00:08:40,309
started teaching.

291
00:08:40,909 --> 00:08:42,830
But he used to do tricks because he

292
00:08:42,830 --> 00:08:44,730
grew up on tape, you know, on a

293
00:08:44,730 --> 00:08:47,010
mixing desk to multitrack tape.

294
00:08:47,490 --> 00:08:48,910
So what he does, he gets the kids

295
00:08:48,910 --> 00:08:50,190
on Pro Tools and they all do their

296
00:08:50,190 --> 00:08:50,750
mix and everything.

297
00:08:50,870 --> 00:08:52,010
And then he takes them to the other

298
00:08:52,010 --> 00:08:53,670
studio where they work on tape and a

299
00:08:53,670 --> 00:08:56,670
mixing desk where they've got no screens.

300
00:08:56,910 --> 00:08:57,410
Yeah, yeah, yeah.

301
00:08:58,010 --> 00:08:59,510
And it's like, okay, I want you to

302
00:08:59,510 --> 00:09:01,470
use the same components and do a mix

303
00:09:01,470 --> 00:09:02,210
blind.

304
00:09:03,050 --> 00:09:04,090
And he said, it's amazing.

305
00:09:04,190 --> 00:09:05,430
The mixes are so different.

306
00:09:06,050 --> 00:09:07,330
And it freaks them out.

307
00:09:07,530 --> 00:09:07,810
Oh, totally.

308
00:09:08,170 --> 00:09:09,550
There was a guy who made a plugin

309
00:09:09,550 --> 00:09:11,870
for Pro Tools and the plugin was called

310
00:09:11,870 --> 00:09:12,190
Listen.

311
00:09:12,450 --> 00:09:13,870
And if you launched it, it blacked your

312
00:09:13,870 --> 00:09:14,310
screen out.

313
00:09:14,390 --> 00:09:14,530
Yeah.

314
00:09:15,070 --> 00:09:15,430
Awesome.

315
00:09:16,150 --> 00:09:16,510
Awesome.

316
00:09:16,810 --> 00:09:18,590
Look, I used to do a bit of

317
00:09:18,590 --> 00:09:20,970
training back in my radio days of, you

318
00:09:20,970 --> 00:09:22,610
know, the new guys that came through and

319
00:09:22,610 --> 00:09:24,870
especially on Pro Tools when Pro Tools was

320
00:09:24,870 --> 00:09:26,290
becoming a thing, you know, you'd say to

321
00:09:26,290 --> 00:09:27,930
someone, are you sure that's right?

322
00:09:27,970 --> 00:09:29,510
And they'd go, yeah, it looks okay.

323
00:09:29,990 --> 00:09:30,230
Yeah.

324
00:09:30,470 --> 00:09:31,870
And you'd be going, well, yeah, it might

325
00:09:31,870 --> 00:09:33,390
look okay, but are you listening?

326
00:09:33,730 --> 00:09:34,770
You know, that's the thing.

327
00:09:34,770 --> 00:09:37,430
I find that the visual editing is actually

328
00:09:37,430 --> 00:09:38,410
much slower.

329
00:09:38,710 --> 00:09:40,850
So, you know, it's like I'll spend a

330
00:09:40,850 --> 00:09:44,290
lot of my time zoomed out in micro

331
00:09:44,290 --> 00:09:46,730
view or small view, you know, for the

332
00:09:46,730 --> 00:09:47,250
waveforms.

333
00:09:47,470 --> 00:09:49,630
And you're just scrubbing because I think a

334
00:09:49,630 --> 00:09:51,070
scrub is like audio zoom.

335
00:09:51,450 --> 00:09:53,630
And you can move around a lot quicker

336
00:09:53,630 --> 00:09:56,510
than zooming in and out of everything to

337
00:09:56,510 --> 00:09:57,250
find your edits.

338
00:09:57,510 --> 00:10:00,210
You know, it's like you can get right

339
00:10:00,210 --> 00:10:00,930
up to a transient.

340
00:10:01,310 --> 00:10:01,770
There you go.

341
00:10:01,850 --> 00:10:03,810
Yeah, I think the visuals are really distracting.

342
00:10:03,810 --> 00:10:06,170
I mean, that's, I mean, you get people

343
00:10:06,170 --> 00:10:10,150
that in terms of FAQs, that's probably the

344
00:10:10,150 --> 00:10:11,570
second thing is that I see this little

345
00:10:11,570 --> 00:10:12,290
wavy line.

346
00:10:12,570 --> 00:10:13,970
My question is always, do you hear it?

347
00:10:14,110 --> 00:10:15,030
You know, is it really there?

348
00:10:15,950 --> 00:10:17,370
And most of the time it isn't.

349
00:10:17,570 --> 00:10:19,930
And so, absolutely, that we start editing with

350
00:10:19,930 --> 00:10:24,910
our eyes and that's definitely a time suck.

351
00:10:25,010 --> 00:10:27,070
You will start fixing things that just don't

352
00:10:27,070 --> 00:10:27,350
matter.

353
00:10:27,750 --> 00:10:29,410
And, you know, there's a little, I think

354
00:10:29,410 --> 00:10:32,510
there's a little bit of a psychological response

355
00:10:32,510 --> 00:10:32,850
to that.

356
00:10:32,850 --> 00:10:34,530
And it'll take you longer to edit.

357
00:10:35,050 --> 00:10:35,310
Absolutely.

358
00:10:35,750 --> 00:10:38,230
And you also make the absolute clangor mistake

359
00:10:38,230 --> 00:10:40,510
of usually when you're a beginner is inserting

360
00:10:40,510 --> 00:10:41,230
silence.

361
00:10:41,650 --> 00:10:41,790
Yes.

362
00:10:43,730 --> 00:10:45,370
More disturbing, you know.

363
00:10:45,370 --> 00:10:47,110
Because what you hear, and that's what's so

364
00:10:47,110 --> 00:10:48,870
interesting going back to the listening thing, is

365
00:10:48,870 --> 00:10:51,530
that what you hear is the change in

366
00:10:51,530 --> 00:10:52,210
what you hear.

367
00:10:52,790 --> 00:10:53,790
Yeah, we notice differences.

368
00:10:54,070 --> 00:10:55,830
That's the way our brains kind of react

369
00:10:55,830 --> 00:10:56,370
to that stuff.

370
00:10:56,550 --> 00:10:59,550
And so, you know, if you, like in

371
00:10:59,550 --> 00:11:01,270
one of the classes, I play back a

372
00:11:01,270 --> 00:11:02,710
normal room tone and then I play back

373
00:11:02,710 --> 00:11:04,250
a silenced room tone to say, what's the

374
00:11:04,250 --> 00:11:04,530
difference?

375
00:11:04,650 --> 00:11:05,970
Everybody says, well, there's a lot more noise

376
00:11:05,970 --> 00:11:06,650
when they talk.

377
00:11:06,890 --> 00:11:08,970
It's like, no, the noise is exactly the

378
00:11:08,970 --> 00:11:09,210
same.

379
00:11:09,250 --> 00:11:11,370
It's just that you're noticing that difference because,

380
00:11:11,590 --> 00:11:14,130
you know, the minus 50 dB noise floor

381
00:11:14,130 --> 00:11:16,290
is suddenly very apparent when it was minus,

382
00:11:16,430 --> 00:11:17,830
you know, 120 before that.

383
00:11:17,990 --> 00:11:18,550
The bad gate.

384
00:11:18,590 --> 00:11:19,230
Yeah, exactly.

385
00:11:19,330 --> 00:11:20,170
It sounds like a bad gate.

386
00:11:20,350 --> 00:11:20,990
Yeah, yeah, yeah.

387
00:11:21,790 --> 00:11:23,250
So what about with Twisted Wave?

388
00:11:23,330 --> 00:11:25,270
I know you're the Twisted Wave go-to

389
00:11:25,270 --> 00:11:25,690
guy.

390
00:11:26,190 --> 00:11:26,510
Yeah.

391
00:11:27,210 --> 00:11:28,690
Actually, can we call it the goat?

392
00:11:31,330 --> 00:11:33,310
I was going to do a goat imitation,

393
00:11:33,470 --> 00:11:35,590
but it was going to sound like a

394
00:11:35,590 --> 00:11:37,210
sheep and I didn't want it to seem

395
00:11:37,210 --> 00:11:40,290
like it was offensive to anybody in Down

396
00:11:40,290 --> 00:11:40,390
Under.

397
00:11:41,050 --> 00:11:41,310
That's true.

398
00:11:42,230 --> 00:11:43,230
It's getting worse.

399
00:11:43,510 --> 00:11:45,210
Again, I'm pedaling as fast as I can

400
00:11:45,210 --> 00:11:45,490
here today.

401
00:11:45,510 --> 00:11:47,210
Don't fall off, Jim, seriously.

402
00:11:48,190 --> 00:11:50,670
Andrew does not only dad jokes, but granddad

403
00:11:50,670 --> 00:11:51,030
jokes.

404
00:11:54,170 --> 00:11:56,810
That's an impressive resume, I'll tell you that.

405
00:11:58,670 --> 00:12:00,710
My repertoire goes back to 1850.

406
00:12:01,270 --> 00:12:01,570
That's good.

407
00:12:01,630 --> 00:12:02,990
Well, you know, part of the nice thing

408
00:12:02,990 --> 00:12:04,730
about having, you know, been in studios in

409
00:12:04,730 --> 00:12:07,590
the 1800s was that we had to use

410
00:12:07,590 --> 00:12:08,630
them and trust our ears.

411
00:12:08,730 --> 00:12:10,550
I mean, I learned on a compressor that

412
00:12:10,550 --> 00:12:13,650
had, you know, a negative dial and or

413
00:12:13,650 --> 00:12:15,090
a negative needle and a dial.

414
00:12:15,350 --> 00:12:16,730
And it's like, how did you dial that

415
00:12:16,730 --> 00:12:16,870
thing?

416
00:12:16,890 --> 00:12:17,810
How do you make that thing work?

417
00:12:17,810 --> 00:12:19,070
It's like, do you hear it working?

418
00:12:19,350 --> 00:12:21,370
And nobody has to do that these days.

419
00:12:21,370 --> 00:12:23,390
Well, see, before wax recordings, Jim was recording

420
00:12:23,390 --> 00:12:24,670
on clay, weren't you, Jim?

421
00:12:24,770 --> 00:12:25,450
I was, yeah.

422
00:12:25,450 --> 00:12:27,990
It was kind of like a punch card

423
00:12:27,990 --> 00:12:29,470
system that we had to kind of throw

424
00:12:29,470 --> 00:12:29,670
through.

425
00:12:29,870 --> 00:12:30,870
Recordings in hieroglyphics.

426
00:12:30,950 --> 00:12:32,890
It was the iRock instead of the iPad.

427
00:12:33,330 --> 00:12:33,570
True.

428
00:12:35,090 --> 00:12:37,150
But no, Twisted Wave is kind of one

429
00:12:37,150 --> 00:12:39,170
of those things where, you know, I've heard

430
00:12:39,170 --> 00:12:42,590
you mention it, too, that it just sets

431
00:12:42,590 --> 00:12:44,130
up and works so easily that most people

432
00:12:44,130 --> 00:12:45,630
don't dig under the hood in it.

433
00:12:45,830 --> 00:12:48,210
And so there's a little bit of this

434
00:12:48,210 --> 00:12:49,890
idea that, oh, it's not really going to

435
00:12:49,890 --> 00:12:52,250
work for professional, delivering professional work.

436
00:12:52,710 --> 00:12:54,130
And that's sort of a load.

437
00:12:54,130 --> 00:12:55,290
You know, that's just not right.

438
00:12:55,790 --> 00:12:57,750
There are so many tools that live in

439
00:12:57,750 --> 00:12:59,950
the menus that most people never get to.

440
00:13:00,070 --> 00:13:01,490
I mean, things, you know, as simple as

441
00:13:01,490 --> 00:13:04,490
just a batch processor, things like the detect

442
00:13:04,490 --> 00:13:07,230
silences, which, you know, I do a lot

443
00:13:07,230 --> 00:13:09,570
of work with audiobook narrators who, you know,

444
00:13:09,590 --> 00:13:10,290
are very worried.

445
00:13:10,370 --> 00:13:11,710
It's like, how do I kind of cut

446
00:13:11,710 --> 00:13:13,390
down all those little pauses?

447
00:13:13,650 --> 00:13:15,890
And, you know, my quick answer is take

448
00:13:15,890 --> 00:13:18,310
longer pauses and just use detect silences because

449
00:13:18,310 --> 00:13:21,230
you can have it find anything that's slightly

450
00:13:21,230 --> 00:13:22,650
longer than three quarters of a second.

451
00:13:22,650 --> 00:13:25,490
Pretty similarly to strip silences, I think, Robbo.

452
00:13:25,770 --> 00:13:26,350
Yeah, strip silences.

453
00:13:26,830 --> 00:13:26,990
Yeah.

454
00:13:27,710 --> 00:13:29,950
But you've got, you know, a tremendous tool

455
00:13:29,950 --> 00:13:30,990
that you can kind of drop in.

456
00:13:31,150 --> 00:13:33,550
So it has all the durations and the

457
00:13:33,550 --> 00:13:37,450
delay start and the keep on silencing after

458
00:13:37,450 --> 00:13:37,970
a moment.

459
00:13:38,490 --> 00:13:40,830
Yeah, you can set it to find, you

460
00:13:40,830 --> 00:13:43,010
can actually, there's a slider in it that

461
00:13:43,010 --> 00:13:45,110
has a maximum setting of, I think, two

462
00:13:45,110 --> 00:13:47,390
seconds, but you can overwrite that manually.

463
00:13:47,530 --> 00:13:48,610
So you could have it look for anything

464
00:13:48,610 --> 00:13:50,810
shorter than five seconds, for example.

465
00:13:50,810 --> 00:13:54,850
And so I encourage long form narrators to

466
00:13:54,850 --> 00:13:57,350
take longer pauses because then it's easier to

467
00:13:57,350 --> 00:13:57,810
find them.

468
00:13:58,330 --> 00:14:00,610
And once you trigger that device and you

469
00:14:00,610 --> 00:14:02,250
have to go into the advanced panel on

470
00:14:02,250 --> 00:14:02,490
it.

471
00:14:02,870 --> 00:14:04,850
But once you trigger that device, you can

472
00:14:04,850 --> 00:14:07,050
then drop in exactly the same amount of

473
00:14:07,050 --> 00:14:07,530
silence.

474
00:14:07,830 --> 00:14:09,530
You can do it from, you know, just

475
00:14:09,530 --> 00:14:11,370
from a little bit of room tone that

476
00:14:11,370 --> 00:14:14,230
you've copied and then suck everything down.

477
00:14:14,250 --> 00:14:16,730
So it's a nice, normal narrative pace.

478
00:14:16,730 --> 00:14:19,650
I've always argued that some software developers, or

479
00:14:19,650 --> 00:14:22,090
most software developers, should change that advanced tab

480
00:14:22,090 --> 00:14:23,090
to a more tab.

481
00:14:23,170 --> 00:14:25,390
Because as soon as someone who's beginning sees

482
00:14:25,390 --> 00:14:27,010
the word advanced, they go, oh shit, better

483
00:14:27,010 --> 00:14:27,510
not touch that.

484
00:14:27,510 --> 00:14:28,130
I'm not touching that.

485
00:14:28,270 --> 00:14:28,370
Yeah.

486
00:14:28,410 --> 00:14:29,870
But if it said more, if it just

487
00:14:29,870 --> 00:14:33,010
said something like more or, you know, dive

488
00:14:33,010 --> 00:14:35,350
deeper or whatever, they'd be more inclined to

489
00:14:35,350 --> 00:14:36,570
click on it and go, oh fuck, hang

490
00:14:36,570 --> 00:14:37,650
on, look what I can do here.

491
00:14:37,930 --> 00:14:38,970
Cool stuff to rubble.

492
00:14:39,010 --> 00:14:39,290
Yes.

493
00:14:39,430 --> 00:14:41,330
I think it should be the warning screen

494
00:14:41,330 --> 00:14:42,630
on the internet when you go to a

495
00:14:42,630 --> 00:14:42,950
site.

496
00:14:42,950 --> 00:14:46,890
It's like, ignore or proceed to risky site.

497
00:14:48,550 --> 00:14:50,990
I never go to sites like that, Robert.

498
00:14:51,230 --> 00:14:52,550
I'm concerned that you are.

499
00:14:52,750 --> 00:14:53,510
I'm a little worried about that.

500
00:14:53,650 --> 00:14:56,250
The question Robert can never answer is that

501
00:14:56,250 --> 00:14:57,950
one, are you 18 years or over?

502
00:14:59,870 --> 00:15:01,790
Actually, you see those screens when you go

503
00:15:01,790 --> 00:15:03,690
to your router, to be perfectly honest.

504
00:15:03,690 --> 00:15:04,450
Okay, all right.

505
00:15:04,690 --> 00:15:05,510
I'll believe you.

506
00:15:05,830 --> 00:15:06,470
I'll believe you.

507
00:15:06,950 --> 00:15:08,010
And those sites too.

508
00:15:08,110 --> 00:15:08,370
Easy.

509
00:15:09,590 --> 00:15:11,370
Router or router, I'm not sure.

510
00:15:12,270 --> 00:15:13,310
A router?

511
00:15:14,070 --> 00:15:14,810
A router?

512
00:15:15,170 --> 00:15:15,870
I don't know.

513
00:15:16,030 --> 00:15:18,670
I think the only thing, the only place

514
00:15:18,670 --> 00:15:20,730
that I ever have Twisted Wave kind of

515
00:15:20,730 --> 00:15:23,390
fail, and I love the fact that it

516
00:15:23,390 --> 00:15:25,790
does fail there, is that people want to

517
00:15:25,790 --> 00:15:27,030
do multitrack for some reason.

518
00:15:27,810 --> 00:15:30,070
And most of those are kind of vestigial

519
00:15:30,070 --> 00:15:32,750
approaches that they learned because they started with

520
00:15:32,750 --> 00:15:34,850
Audacity and they had to put all their

521
00:15:34,850 --> 00:15:36,890
pickups on additional tracks and they're not used

522
00:15:36,890 --> 00:15:37,270
to that.

523
00:15:38,190 --> 00:15:40,310
Back when I kind of first started recording,

524
00:15:40,430 --> 00:15:42,430
I was using something called Amadeus Pro, which

525
00:15:42,430 --> 00:15:45,990
is a very Twisted Wave-like multitrack recording

526
00:15:45,990 --> 00:15:46,430
software.

527
00:15:47,370 --> 00:15:49,190
And it took me a little bit to

528
00:15:49,190 --> 00:15:50,590
start to start thinking, it's like, oh, I

529
00:15:50,590 --> 00:15:52,230
can just insert right in the track and

530
00:15:52,230 --> 00:15:54,410
I can insert and not overwrite things.

531
00:15:54,470 --> 00:15:56,490
It actually pushes everything along downstream.

532
00:15:57,890 --> 00:16:00,510
The two-track-to-edit thing is a

533
00:16:00,510 --> 00:16:01,010
common thing.

534
00:16:02,010 --> 00:16:04,670
When you're editing music, a lot of engineers

535
00:16:04,670 --> 00:16:06,010
will take two tracks to edit.

536
00:16:06,510 --> 00:16:08,530
And a good music cutdown, you just need

537
00:16:08,530 --> 00:16:09,190
one track.

538
00:16:09,990 --> 00:16:11,850
You shouldn't need two separate tracks to go

539
00:16:11,850 --> 00:16:13,010
fading between the two.

540
00:16:13,370 --> 00:16:15,950
Yeah, nobody who is just delivering a vocal,

541
00:16:16,110 --> 00:16:18,410
a voice track, not even a vocal track,

542
00:16:18,450 --> 00:16:19,410
because we're not talking about singing.

543
00:16:19,550 --> 00:16:21,430
I mean, you don't need more than one

544
00:16:21,430 --> 00:16:23,410
track, absolutely don't.

545
00:16:23,850 --> 00:16:24,410
It's kind of weird.

546
00:16:24,590 --> 00:16:27,730
I mean, it can't happen physically, so why

547
00:16:27,730 --> 00:16:30,850
would you want to make something happen that

548
00:16:30,850 --> 00:16:31,390
can't happen?

549
00:16:31,450 --> 00:16:32,250
It'll sound like an edit.

550
00:16:32,950 --> 00:16:35,230
How is Twisted Wave with the fades compared

551
00:16:35,230 --> 00:16:37,050
to something like Pro Tools?

552
00:16:37,590 --> 00:16:38,970
I was going to mention that.

553
00:16:39,170 --> 00:16:40,970
That's what Twisted Wave is cool, right?

554
00:16:41,030 --> 00:16:44,370
It has that zero-crossing setting.

555
00:16:44,490 --> 00:16:50,090
Yeah, it has a toggle-able edit at

556
00:16:50,090 --> 00:16:50,710
zero points.

557
00:16:51,250 --> 00:16:53,870
So that, again, is one thing, not to

558
00:16:53,870 --> 00:16:56,870
pick mercilessly on Audacity, but you have to

559
00:16:56,870 --> 00:16:59,270
do that little extra trick to make sure

560
00:16:59,270 --> 00:17:01,770
that it's actually editing at the zero-cross.

561
00:17:02,650 --> 00:17:04,849
Where with Twisted Wave, you can turn that

562
00:17:04,849 --> 00:17:06,750
off if you don't need it, which is

563
00:17:06,750 --> 00:17:09,130
maybe one time out of a hundred where

564
00:17:09,130 --> 00:17:10,630
you can't quite get it to land where

565
00:17:10,630 --> 00:17:11,210
you need it to.

566
00:17:11,890 --> 00:17:13,609
But for the most part, that just keeps

567
00:17:13,609 --> 00:17:16,250
people from having those annoying clicks from edits.

568
00:17:16,950 --> 00:17:18,670
When it does the zero-cross, does it

569
00:17:18,670 --> 00:17:20,550
also consider the direction it's going?

570
00:17:20,910 --> 00:17:23,329
Or will it bounce zero right back up

571
00:17:23,329 --> 00:17:23,869
to positive?

572
00:17:24,250 --> 00:17:26,290
No, it'll find zero-cross from both sides.

573
00:17:26,290 --> 00:17:28,430
Okay, so it has the trajectory.

574
00:17:28,790 --> 00:17:29,050
It does.

575
00:17:29,150 --> 00:17:30,510
And that's sort of the simplest way to

576
00:17:30,510 --> 00:17:32,370
use it, but you can also...

577
00:17:32,370 --> 00:17:35,690
There's actually an overlap function in Twisted Wave

578
00:17:35,690 --> 00:17:37,970
which lets you draw a curve if you

579
00:17:37,970 --> 00:17:39,010
want to do something like that.

580
00:17:39,710 --> 00:17:41,090
And you can actually...

581
00:17:41,090 --> 00:17:42,570
I kind of don't use it because the

582
00:17:42,570 --> 00:17:45,430
native one works well enough that it's not

583
00:17:45,430 --> 00:17:46,070
really a problem.

584
00:17:46,870 --> 00:17:49,190
But with that, if you really want to,

585
00:17:49,270 --> 00:17:51,990
you can actually draw an exponential curve to

586
00:17:51,990 --> 00:17:54,150
get a fade between an edit point if

587
00:17:54,150 --> 00:17:54,570
you want to.

588
00:17:54,570 --> 00:17:57,390
Will it non-destructively edit, truly?

589
00:17:57,770 --> 00:17:58,830
Or is it like you only get a

590
00:17:58,830 --> 00:17:59,630
couple undos?

591
00:18:00,610 --> 00:18:02,170
You get a...

592
00:18:02,170 --> 00:18:04,030
I always call it the bowtie.

593
00:18:04,230 --> 00:18:05,850
So whenever you do a delete, there's a

594
00:18:05,850 --> 00:18:07,710
little right arrow, left arrow that looks like

595
00:18:07,710 --> 00:18:09,650
a fancy bowtie that appears at the top

596
00:18:09,650 --> 00:18:10,190
of the screen.

597
00:18:10,790 --> 00:18:12,350
And you can actually drag that all the

598
00:18:12,350 --> 00:18:13,670
way back or drag that all the way

599
00:18:13,670 --> 00:18:16,650
forward and do some fine-tuning of that

600
00:18:16,650 --> 00:18:16,870
edit.

601
00:18:17,470 --> 00:18:19,070
But once you go to the next one,

602
00:18:19,370 --> 00:18:21,310
you lose the option to do that, so

603
00:18:21,310 --> 00:18:22,590
that it goes away by the second one.

604
00:18:22,590 --> 00:18:24,290
So it's semi-destructive?

605
00:18:25,170 --> 00:18:28,970
I hate to make strong points, but I

606
00:18:28,970 --> 00:18:31,550
really think the destructive versus non-destructive is

607
00:18:31,550 --> 00:18:32,750
a bit oversold.

608
00:18:34,010 --> 00:18:35,450
That there's an undo.

609
00:18:35,790 --> 00:18:37,470
If you screw up, start backing up.

610
00:18:37,910 --> 00:18:39,430
One of the nice things that Thomas did

611
00:18:39,430 --> 00:18:42,550
recently is that he added a history window.

612
00:18:43,290 --> 00:18:45,250
And I have that toggled on almost all

613
00:18:45,250 --> 00:18:47,290
the time now, where you can easily jump

614
00:18:47,290 --> 00:18:49,170
back anywhere in the process with an open

615
00:18:49,170 --> 00:18:51,230
file just by clicking on it.

616
00:18:51,230 --> 00:18:52,430
And it goes right back to that state.

617
00:18:52,990 --> 00:18:55,010
I mostly use it to make sure that

618
00:18:55,010 --> 00:18:57,370
when I'm about to send an audition off,

619
00:18:57,690 --> 00:18:58,490
it's like, wait a minute, did I do

620
00:18:58,490 --> 00:18:59,210
the high-pass filter?

621
00:18:59,310 --> 00:19:00,290
Did I do the mouthy click?

622
00:19:00,350 --> 00:19:01,370
And it's like, OK, it's right there in

623
00:19:01,370 --> 00:19:01,630
the list.

624
00:19:01,690 --> 00:19:03,650
I don't have to undo, redo just to

625
00:19:03,650 --> 00:19:04,010
do that.

626
00:19:04,510 --> 00:19:06,710
I think Bias Peak did it where once

627
00:19:06,710 --> 00:19:08,230
you open the file on any edit you

628
00:19:08,230 --> 00:19:10,010
did, it was all soft.

629
00:19:10,090 --> 00:19:12,910
And then once you saved it, then you

630
00:19:12,910 --> 00:19:13,790
were flattened again.

631
00:19:14,250 --> 00:19:16,170
Again, I sort of went deep nerding on

632
00:19:16,170 --> 00:19:17,410
Twisted Wave a couple of times.

633
00:19:17,410 --> 00:19:20,030
But you can actually undo Twisted Wave past

634
00:19:20,030 --> 00:19:20,970
the point that you save.

635
00:19:22,110 --> 00:19:26,070
And so, for example, I demonstrate in class

636
00:19:26,070 --> 00:19:27,570
where I highlight the whole thing, I hit

637
00:19:27,570 --> 00:19:31,030
delete, I hit save, and it's an empty

638
00:19:31,030 --> 00:19:31,910
file all of a sudden.

639
00:19:31,950 --> 00:19:35,230
But you can actually keep undoing back to

640
00:19:35,230 --> 00:19:36,730
the point where you opened the file, as

641
00:19:36,730 --> 00:19:37,830
long as you haven't closed it.

642
00:19:38,730 --> 00:19:40,630
I think I've gone, I got bored and

643
00:19:40,630 --> 00:19:42,850
passed about 60 or 70 undos.

644
00:19:42,850 --> 00:19:45,490
But it'll go way, way, way past any

645
00:19:45,490 --> 00:19:46,190
point of saving.

646
00:19:47,250 --> 00:19:51,010
Which is kind of, again, I wouldn't say

647
00:19:51,010 --> 00:19:53,230
that it's non-destructive, but it gives you

648
00:19:53,230 --> 00:19:54,110
a lot of guardrails.

649
00:19:54,230 --> 00:19:56,330
It's really tough to kind of lose everything.

650
00:19:56,430 --> 00:19:58,410
It's also really good at recovering from a

651
00:19:58,410 --> 00:19:58,770
crash.

652
00:19:59,270 --> 00:20:00,170
Yeah, I would agree.

653
00:20:00,330 --> 00:20:02,750
When you go through that edit history, like

654
00:20:02,750 --> 00:20:05,510
say I'd made an edit, and then I've

655
00:20:05,510 --> 00:20:07,590
done 10 other things, and then I've gone,

656
00:20:08,130 --> 00:20:11,070
oh, shit, hang on, I want those last

657
00:20:11,070 --> 00:20:13,930
10 edits, but that 11th one, I just

658
00:20:13,930 --> 00:20:14,650
want to undo that.

659
00:20:14,810 --> 00:20:16,710
So your levels of undo, is it just

660
00:20:16,710 --> 00:20:18,370
undoing that one that I'm clicking on, or

661
00:20:18,370 --> 00:20:20,230
is that undoing the whole lot?

662
00:20:20,370 --> 00:20:22,650
If you're doing a straight undo, it's sequential.

663
00:20:23,390 --> 00:20:24,910
So it backs up everything that you did.

664
00:20:25,050 --> 00:20:26,430
So if you did 10 edits and 11

665
00:20:26,430 --> 00:20:28,450
was an oops, then you would go back

666
00:20:28,450 --> 00:20:29,610
to 10 by hitting undo.

667
00:20:30,210 --> 00:20:33,190
In the new history window that has appeared

668
00:20:33,190 --> 00:20:35,910
with the 30 point, was it 30?

669
00:20:36,390 --> 00:20:38,650
Whichever version he brought out goes kind of

670
00:20:38,650 --> 00:20:40,610
post that survey.

671
00:20:40,990 --> 00:20:41,290
Yeah, 30.

672
00:20:41,290 --> 00:20:41,650
30, yeah.

673
00:20:41,770 --> 00:20:43,910
When he brought that out, that one you

674
00:20:43,910 --> 00:20:45,190
can jump around to any point.

675
00:20:45,210 --> 00:20:47,530
See, that's powerful for me.

676
00:20:47,990 --> 00:20:53,110
But if you jump back 10 edits, 10

677
00:20:53,110 --> 00:20:56,110
edits in the history, the nine that you

678
00:20:56,110 --> 00:20:59,450
did after that point are undone also.

679
00:20:59,730 --> 00:21:00,390
Correct, yeah.

680
00:21:00,910 --> 00:21:01,230
Oh, really?

681
00:21:01,570 --> 00:21:03,190
Yeah, it goes to whatever state you choose.

682
00:21:04,630 --> 00:21:07,070
But it's still linear through the undos.

683
00:21:07,210 --> 00:21:09,590
If you jump back to 10, you lose

684
00:21:09,590 --> 00:21:11,170
all the ones between.

685
00:21:11,330 --> 00:21:12,630
Well, you don't lose anything because you can

686
00:21:12,630 --> 00:21:13,950
always jump back.

687
00:21:14,450 --> 00:21:15,730
But you have to redo them.

688
00:21:15,790 --> 00:21:18,930
It undoes everything between step 20 and step

689
00:21:18,930 --> 00:21:19,150
10.

690
00:21:19,170 --> 00:21:21,530
If there's 15 minutes of work between undo

691
00:21:21,530 --> 00:21:24,830
11 and undo 1, and you go back

692
00:21:24,830 --> 00:21:26,570
to 11, you've got that 15 minutes of

693
00:21:26,570 --> 00:21:27,210
work to redo.

694
00:21:27,210 --> 00:21:28,950
Some systems, it's funny.

695
00:21:28,950 --> 00:21:29,890
That would be time travel.

696
00:21:29,890 --> 00:21:32,850
If you mess up something in the time

697
00:21:32,850 --> 00:21:34,890
-space continuum, you can't go back.

698
00:21:35,830 --> 00:21:37,350
Well, you can in Pro Tools.

699
00:21:37,530 --> 00:21:38,610
You just go back and you go.

700
00:21:38,770 --> 00:21:38,870
You can.

701
00:21:39,110 --> 00:21:40,630
In Pro Tools, you go back and you

702
00:21:40,630 --> 00:21:42,190
go, well, there's the cut there.

703
00:21:42,230 --> 00:21:44,330
I just slide my audio back, and I've

704
00:21:44,330 --> 00:21:44,870
undone that.

705
00:21:45,010 --> 00:21:45,550
You know what I mean?

706
00:21:46,010 --> 00:21:48,110
But I think Pro Tools also has nonlinear

707
00:21:48,110 --> 00:21:48,490
undo.

708
00:21:49,030 --> 00:21:51,130
So as long as one thing's not hinged

709
00:21:51,130 --> 00:21:53,210
on the other, it will undo that and

710
00:21:53,210 --> 00:21:54,870
not undo everything that you did.

711
00:21:54,990 --> 00:21:57,050
But what happens when it is hinged on

712
00:21:57,050 --> 00:21:57,150
the other?

713
00:21:57,150 --> 00:21:58,930
It undoes the stuff that it has to.

714
00:21:58,930 --> 00:22:02,150
Yeah, I have to believe that as Thomas

715
00:22:02,150 --> 00:22:04,830
continues to evolve that tool, that would be

716
00:22:04,830 --> 00:22:07,890
feedback that might be actionable.

717
00:22:10,230 --> 00:22:12,430
Right now, it's basically a pretty simple list,

718
00:22:12,470 --> 00:22:14,330
and I think it's really patterned after what's

719
00:22:14,330 --> 00:22:16,850
been available in Adobe Audition, that they've always

720
00:22:16,850 --> 00:22:17,770
had that history window.

721
00:22:18,170 --> 00:22:19,770
And Rx has that as well.

722
00:22:19,870 --> 00:22:21,250
You have the little history window down there.

723
00:22:21,270 --> 00:22:22,130
You can do the same thing.

724
00:22:23,030 --> 00:22:25,730
But yeah, this is just a nice, easy,

725
00:22:25,810 --> 00:22:29,050
quick application for it that hopefully, since he

726
00:22:29,050 --> 00:22:31,430
makes a living at it...

727
00:22:31,430 --> 00:22:31,730
What's that?

728
00:22:32,210 --> 00:22:34,050
Didn't he also add video, I think?

729
00:22:34,330 --> 00:22:35,690
Yeah, video's been in for a while.

730
00:22:35,950 --> 00:22:38,410
He added a speech recognition and a video

731
00:22:38,410 --> 00:22:40,710
component that you can add to it.

732
00:22:41,030 --> 00:22:41,990
Up here in the Bay Area, we've got

733
00:22:41,990 --> 00:22:44,010
a lot of on-camera folks who use

734
00:22:44,010 --> 00:22:45,770
it just to do their on-camera auditions.

735
00:22:45,810 --> 00:22:47,250
So they can do a quick edit if

736
00:22:47,250 --> 00:22:50,330
they stumble a line without opening Final Cut

737
00:22:50,330 --> 00:22:51,950
or whatever it is, or QuickTime or something.

738
00:22:51,970 --> 00:22:53,450
It's funny, the other one that can edit

739
00:22:53,450 --> 00:22:54,730
video is Reaper.

740
00:22:55,810 --> 00:22:58,130
And it can do titles and all kinds

741
00:22:58,130 --> 00:22:59,810
of stuff, actually, funny enough.

742
00:23:00,190 --> 00:23:02,770
But I said the other week when we

743
00:23:02,770 --> 00:23:04,230
were talking about Twisted Wave, there's so much

744
00:23:04,230 --> 00:23:06,610
in there that I would never go anywhere

745
00:23:06,610 --> 00:23:07,130
near it.

746
00:23:08,190 --> 00:23:10,190
I mean, I just use the basic stuff.

747
00:23:10,230 --> 00:23:10,850
That's all I need.

748
00:23:11,030 --> 00:23:12,950
So I was always interested in that survey

749
00:23:12,950 --> 00:23:16,210
that Thomas did, and the things that people

750
00:23:16,210 --> 00:23:18,990
asked for, it's kind of like, oh, really?

751
00:23:19,150 --> 00:23:20,610
What would you want to use that for?

752
00:23:21,730 --> 00:23:23,610
What's the craziest one someone asked for, Andrew?

753
00:23:24,090 --> 00:23:24,450
Multitrack.

754
00:23:24,690 --> 00:23:27,170
Yeah, Multitrack was, that made me cry.

755
00:23:28,950 --> 00:23:30,970
Oh, that made me sad.

756
00:23:31,110 --> 00:23:33,030
It's like, no, do you go do something?

757
00:23:33,270 --> 00:23:35,190
No, I think the interesting thing in that

758
00:23:35,190 --> 00:23:36,730
survey was how many people asked for stuff

759
00:23:36,730 --> 00:23:37,290
that's in there.

760
00:23:38,210 --> 00:23:38,570
Yeah.

761
00:23:38,770 --> 00:23:41,190
I mean, that was, I was like, don't

762
00:23:41,190 --> 00:23:42,310
you go to that menu?

763
00:23:43,170 --> 00:23:44,990
Do you not go around the menus?

764
00:23:45,410 --> 00:23:46,510
But most people don't.

765
00:23:46,590 --> 00:23:48,350
I mean, you know, again, it gets back

766
00:23:48,350 --> 00:23:51,850
to, you know, I mean, we clearly have,

767
00:23:51,970 --> 00:23:53,810
you know, a technical interest and we like

768
00:23:53,810 --> 00:23:55,590
that stuff, so we dig around under the

769
00:23:55,590 --> 00:23:56,230
hood.

770
00:23:56,470 --> 00:23:58,430
But most people, it's like, I just need

771
00:23:58,430 --> 00:23:59,430
to get an MP3 out.

772
00:23:59,830 --> 00:24:01,030
And, you know, that's okay.

773
00:24:01,230 --> 00:24:03,110
I mean, there's such a variety of people

774
00:24:03,110 --> 00:24:05,390
that find their way into this business that,

775
00:24:06,370 --> 00:24:08,230
you know, I mean, I think there's a

776
00:24:08,230 --> 00:24:08,990
couple different approaches.

777
00:24:09,150 --> 00:24:10,070
I mean, this gets to sort of a

778
00:24:10,070 --> 00:24:12,690
larger topic, but there are folks who want

779
00:24:12,690 --> 00:24:13,910
to keep it all behind the curtain.

780
00:24:14,230 --> 00:24:15,670
There are people who, and, you know, it's

781
00:24:15,670 --> 00:24:17,390
like, just push these buttons and everything is

782
00:24:17,390 --> 00:24:19,610
going to come out okay, which is not

783
00:24:19,610 --> 00:24:23,390
the same thing that George creates with a

784
00:24:23,390 --> 00:24:26,850
stack that, you know, we're using very specific

785
00:24:26,850 --> 00:24:29,410
tools for very specific effects and they're very

786
00:24:29,410 --> 00:24:29,730
visible.

787
00:24:30,150 --> 00:24:31,570
And so, you know, if it's like, I'm

788
00:24:31,570 --> 00:24:33,770
going to do my audio book audition, I'm

789
00:24:33,770 --> 00:24:35,290
going to use my George audio book stack

790
00:24:35,290 --> 00:24:36,670
and have it come out exactly how it

791
00:24:36,670 --> 00:24:36,910
should.

792
00:24:39,010 --> 00:24:42,750
But fortunately, stuff breaks usually on Sunday nights

793
00:24:42,750 --> 00:24:46,810
and people end up calling us, you know,

794
00:24:46,810 --> 00:24:48,430
or very, very panicked that they have to

795
00:24:48,430 --> 00:24:49,570
be able to solve those problems.

796
00:24:49,770 --> 00:24:53,310
I mean, you know, with the Vespa, when

797
00:24:53,310 --> 00:24:54,650
you have a problem, you look at it

798
00:24:54,650 --> 00:24:56,330
and you can recognize parts in the engine.

799
00:24:56,510 --> 00:24:57,910
You know, it's like, okay, I can fix

800
00:24:57,910 --> 00:24:58,170
that.

801
00:24:58,850 --> 00:24:59,970
That's what mechanics are for.

802
00:24:59,990 --> 00:25:01,030
I was going to say, that's kind of

803
00:25:01,030 --> 00:25:01,790
where I am with cars.

804
00:25:01,950 --> 00:25:03,470
It's like, well, there's an engine in there,

805
00:25:03,630 --> 00:25:03,750
shoot.

806
00:25:03,870 --> 00:25:04,430
That's all I know.

807
00:25:04,510 --> 00:25:05,590
If the engine was gone, I could at

808
00:25:05,590 --> 00:25:06,850
least, you know, diagnose the problem.

809
00:25:07,410 --> 00:25:08,870
But of course, these days you open the

810
00:25:08,870 --> 00:25:10,210
bonnet and it's just a piece of plastic.

811
00:25:10,370 --> 00:25:11,430
You don't even know where the engine is.

812
00:25:11,490 --> 00:25:11,610
That's true.

813
00:25:11,770 --> 00:25:13,650
And on that note, it's time to shut

814
00:25:13,650 --> 00:25:15,970
the bonnet or the hood on this episode

815
00:25:15,970 --> 00:25:18,170
and we'll be back with part two next

816
00:25:18,170 --> 00:25:20,370
week as we're joined once again by Jim

817
00:25:20,370 --> 00:25:20,790
Edgar.

818
00:25:21,450 --> 00:25:22,710
Have a fine time, won't you?

819
00:25:23,550 --> 00:25:24,390
Well, that was fun.

820
00:25:24,490 --> 00:25:24,870
Is it over?

821
00:25:25,010 --> 00:25:26,010
It's over to me.

822
00:25:26,430 --> 00:25:27,670
The Pro Audio Suite.

823
00:25:27,790 --> 00:25:29,050
With thanks to Tribooth.

824
00:25:29,130 --> 00:25:30,330
And Austrian Audio.

825
00:25:30,710 --> 00:25:32,050
Recorded using Source Connect.

826
00:25:32,450 --> 00:25:34,050
Edited by Andrew Peters.

827
00:25:34,210 --> 00:25:36,210
And mixed by Vudu Radio Imaging.

828
00:25:36,310 --> 00:25:38,450
With tech support from George the Tech Whittam.

829
00:25:38,510 --> 00:25:40,550
Don't forget to subscribe to the show and

830
00:25:40,550 --> 00:25:42,770
join in the conversation on our Facebook group.

831
00:25:42,790 --> 00:25:44,910
To leave a comment, suggest a topic, or

832
00:25:44,910 --> 00:25:45,790
just say g'day.

833
00:25:45,790 --> 00:25:47,410
Drop us a note at our website.