Podcasts about preamps

Welcome back to the Cover Band Confidential Podcast! Join Adam and Dan as they dive deep into the ultimate gear showdown: Behringer Wing vs X32 vs Soundcraft UI24R! From size and weight to preamps and connectivity, we compare every spec and feature you need to know. Plus, updates on Adam's son's theater debut and tech week adventures, and Dan's exciting boot progress. Whether you're a cover band musician or band leader, learn how to rock more and suck less with our in-depth analysis! Don't miss out - hit play now!Blank Contracts & Riders: https://www.coverbandconfidential.com/store/performance-contractsBacking Track Resources: https://www.coverbandconfidential.com/store/backing-track-resourcesMaestroDMX (10% off discount link): https://maestrodmx.com/discount/DISCOUNT4CBC?redirect=%2Fproducts%2FmaestrodmxThank you so much for tuning in!  If you want to help be sure to like, subscribe and share with your friends!  Linktree: linktr.ee/adampatrickjohnson                linktr.ee/coverbandconfidentialFollow us on Instagram!@coverbandconfidential@adampatrickjohnson@danraymusicianIf you have any questions please email at:Coverbandconfidential@gmail.comConsider supporting us on Patreon! www.patreon.com/coverbandconfidentialOr buy us a cup of coffee!paypal.me/cbconfidentialAnd for more info check out www.coverbandconfidential.com00:00 Introduction and Podcast Overview00:10 Adam's Son's Theatrical Debut01:37 Dan's Recovery Journey04:06 Band Equipment Upgrades05:40 Wireless DMX Setup10:26 Community Contributions and Housekeeping12:33 Comparing Audio Mixers: X32 Rack vs. Wing21:48 Routing and Mixing Options22:48 Preamps and Audio Quality25:02 User Interface and Control27:32 Routing Flexibility30:58 Effects Processing34:02 Connectivity38:38 Price Point and Final Thoughts

2024 was the year of the HX Stomp, Jad Freer's Capo, Boss being bosses and more effects than we knew what to do with! We seem to say this every year, but there's been so much competition for your cash in 2024, with the bass effects market bigger and better than ever. Of course, we've got our favorites. In today's podcast you'll find our handpicked selection of the best bass FX money can buy.

2024 was the year of the HX Stomp, Jad Freer's Capo, Boss being bosses and more effects than we knew what to do with! We seem to say this every year, but there's been so much competition for your cash in 2024, with the bass effects market bigger and better than ever. Of course, we've got our favorites. In today's podcast you'll find our handpicked selection of the best bass FX money can buy.

Nein, es geht nicht um das japanische Essen an dem sich die Geister schaden sondern um richtig tolle Pedale aus der USA. Zusammen mit User Stratus testet Host Hen 4 Röhren-Clone berühmter Amps samt Audiobeispielen. Also Kopfhörer aus und einer Stunde entspanntet Geartalk über Preamps zuhören - viel Spaß! www.bassic.de www.sebastian-stolz.de

TSJFX - 1) CLANDESTINE2) SCENARIO3) SILVERTONE 14844) **PROTOTYPE** - TEDDY RUPTURE (FUZZ)5) BAYONET (FUZZ)https://reverb.com/marketplace?query=the%20sound%20of%20justice%20fxKeeley Electronics – COMPRESSOR PRO:https://robertkeeley.com/Two Notes Engineering – REVOLT GUITAR & TORPEDO CAB M+:https://www.two-notes.com/en/

Like phono cartridges, headphones and loudspeakers, the microphone is a transducer – in other words, an energy converter. So it should stand to reason that they all sound the same right? Well we all know that's not the case. So what colours the sound? And how can we use these "tweaks" to our advantage in the studio.. A big shout out to our sponsors, Austrian Audio and Tri Booth. Both these companies are providers of QUALITY Audio Gear (we wouldn't partner with them unless they were), so please, if you're in the market for some new kit, do us a solid and check out their products, and be sure to tell em "Robbo, George, Robert, and AP sent you"... As a part of their generous support of our show, Tri Booth is offering $200 off a brand-new booth when you use the code TRIPAP200. So get onto their website now and secure your new booth... https://tribooth.com/ And if you're in the market for a new Mic or killer pair of headphones, check out Austrian Audio. They've got a great range of top-shelf gear.. https://austrian.audio/ We have launched a Patreon page in the hopes of being able to pay someone to help us get the show to more people and in turn help them with the same info we're sharing with you. If you aren't familiar with Patreon, it's an easy way for those interested in our show to get exclusive content and updates before anyone else, along with a whole bunch of other "perks" just by contributing as little as $1 per month. Find out more here..   https://www.patreon.com/proaudiosuite     George has created a page strictly for Pro Audio Suite listeners, so check it out for the latest discounts and offers for TPAS listeners. https://georgethe.tech/tpas If you haven't filled out our survey on what you'd like to hear on the show, you can do it here: https://www.surveymonkey.com/r/ZWT5BTD Join our Facebook page here: https://www.facebook.com/proaudiopodcast And the FB Group here: https://www.facebook.com/groups/357898255543203 For everything else (including joining our mailing list for exclusive previews and other goodies), check out our website https://www.theproaudiosuite.com/ “When the going gets weird, the weird turn professional.” Hunter S Thompson    Summary In this episode of Pro Audio Suite, George Wittam, Robert Marshall, and Darren Robbo Robertson explore the complex dynamics of microphones. The team deliberates on how mic's are each individually tuned by their manufacturers to produce a unique sound, and the way this sound is received is subjective to each person. They discuss how modern condenser mics are so similar to one another and the importance lies not so much in finding the right mic for a specific voice, but rather the right mic for a particular situation. They emphasize the value of a flat mic which can be customized through EQ, and argue against choosing a microphone based on its prestigious model. They also discuss combos that work well together like the coupling of a 41 six and a neve like preamp. Listen in to gain more insight into the world of professional audio. To connect with the hosts and find out more, visit theproudiosuite.com. #ProAudioSuite #FindingTheRightMic #AudioEngineeringInsights    Timestamps [00:00:00] Introducing the Pro Audio Suite Team [00:00:35] How Microphone Sounds Differ Based on User Perceptions [00:05:20] The Versatility of Flat Mics and Helpful Recording Tips [00:09:04] Choosing the Right Microphone: Mics vs Preamps and Selling Opportunities    Transcript Speaker A: Y'all ready be history.,Speaker B: Get started.,Speaker C: Welcome.,Speaker B: Hi. Hi. Hello everyone, to the Pro Audio Suite.,: These guys are professional.,Speaker C: They're motivated with tech. To the Vo stars George Wittam, founder of Source Elements Robert Marshall, international audio engineer Darren Robbo Robertson and global voice Andrew Peters. Thanks to Triboo austrian audio making passion heard source elements. George the Tech Wittam and Robbo and AP's international demo. To find out more about us, check theproudiosuite.com welcome to another Pro Audio Suite.,Speaker A: Now, this week I saw on a very large voiceover forum a question about someone wanted to buy a microphone and wanted to get a microphone that suited their voice. And another conversation happened when I was doing a session with Adrenaline in Vegas and we talked about U. Everybody expects you to have that because that's the industry standard. But the point was that if I had a U 87 and Adrenaline's got a U 87, they would sound completely different because they're in different environments.,: Yeah. This is where things get really interesting, right? What is it that makes a mic sound the way it sounds? Right. There's a lot of factors, right? There's the capsule, there's the electronics, there's other factors. There's the actual designer. A mic is tuned to sound a certain way. It's tuned by the manufacturer, it's tuned by the designer. They make an aesthetic judgment right, of how that mic should sound. How a mic should sound to that person is a unique subjective thing. That's why vintage microphones especially are so varied. And this is why I think modern condenser mics are so non varied. They're all way more like each other because the commonalities are. So they're just table stakes now of what a modern condenser mic sounds like. And that could be because of a couple of mics, could be because of a 41 six, could be because of a U 87. But whatever it is, there are sounds that of mics, there are voices of mics that are now considered like a reference point. And everything that's different is now just considered a vintage sound or a different sound. There are variations, the word colored, color, there's coloration.,Speaker A: Exactly.,: The thing is funny though, is like, we don't want a non colored mic, right? If we wanted a non colored mic, we would be using dead flat omni mics or something, right. But we all kind of agree that's not exactly what we want the sound of our voices to sound like either. Right.,: We want the boost and like the hyper reality thing. And a mic can bring that focus. But I kind of think the difference isn't so much like the right mic for the right voice. I think much more that it's the right mic for the right situation.,: Yeah. And situation, the space, the context, like.,: The space for you to deal with the microphone if you're traveling, like your whole situation and all the appropriate stuff.,: The background noise, is it going to be an outdoor setting.,: One mics sound better than the other. But if this one's better at cutting out noise or focusing better in a tight booth, then this one the pros outweigh the cons. Then every now and then you get that weird thing that happens where something like the 416, which was, sorry, the 40 116, where something like the 4116 was designed to reject noise and be a mic for a specific purpose which might have some compromises. And then over time, people find that they actually like the compromises for the effect. And there we come back to the word color and the color and the sound that it has. And so you have something like the 41 Six that has that cut, which was really a byproduct away of its initial design to reject noise and record just the voice and made it a less ideal microphone in a true I'm flat kind of respect and more here I am for the situation.,: Yeah. It's not a quote unquote musical mic. It's a utility mic that makes voice rise above or cut that Robert mentioned. That is what makes that mic character work for many voiceover scenarios. But maybe isn't the best mic for a voiceover where it's not a voiceover, it's an audiobook. There is no music, there are no effects. It's a voice and a vacuum that isn't you don't necessarily want a mic that cuts. So it is a little bit of that. There's also mics that I will hear on a voiceover's, voice that I don't just subjectively, I don't like the way they sound. I don't like the choices of how that mic is voiced. I don't like the EQ. Again, sometimes they call it a vintage sound. Right. And some of those quote unquote vintage sounding mics to me are subjectively. Not what I would want. Will they work? Yeah. Can I EQ it later? Sure. And we've said on the show before, the flatter the mic is, the better you can EQ it, the better you can get the sound you want.,: You're not fighting someone else's EQ. The way I think of it, if someone gave you a nice flat piece of metal and basically said, give me a curve, you'd have a pretty easy time doing it because you'd have one thing to create. If someone gave you a big curved up piece of metal and said, give me a smooth curve, you'd have trouble making a smooth curve out of it because the thing's already curvy in a different way.,: That's a good analogy. Yeah. If that metal had several little bumps and bends in it and they said, make it a perfect smooth curve. What a pain. How much work you have to put into that thing to get that piece to yeah. I don't know. The science of it is it's not a science. It's completely subjective. You can chase the perfect mic for your entire life, Andrew.,Speaker A: Yes, you can.,: Is that a problem.,: I think you can play to certain mics and use them in different ways. It's not like Bob Dylan with harmonicas, but if you're doing a certain type of read, really, you can get more out of a 41 six than some other mic that doesn't have that same proximity in that focus or something at the same time. If you're going for a really smooth pillowy kind of thing, maybe an 87, but probably not a 41 six.,Speaker A: But I wonder, if you were just if you could only have one mic to do everything, would it be a 41 six, OC eight, one eight? An OC eight one eight, and then you can do everything. But it's funny, this discussion the other day, though, where it said if you actually put in the gear you have in your home studio and you had 41 six, u, 87 Avalon, everyone would go, oh, yeah, well, they're professional, they got all the right gear. Right, but it might be all the wrong gear because it might not work in their situation.,: Yeah, exactly. I would say, really, if it's really a valuable pursuit for you, it's just something you've always wanted to do. Maybe you've been in this for ten plus years. It might be worth it for you to invest in a modeling mic. Because now you get to have the fun, the pleasure, the pain, whatever, of trying out a humongous variety of microphones and trying them. Now, here's the thing. Do not record these models of mics to impress yourself. You will end up picking the sparkliest, shiniest, prettiest sounding microphone, I'm guaranteeing you that, and that is not necessarily what you want. So you may want to do that exercise and then send that recording to somebody else, a trusted producer, engineer George the tech, offers mic check. We will evaluate and rank a whole bunch of mic samples and we will tell you subjectively, or I would say subjectively, what is the best of the top, maybe the top three for your voice, ranked from best to worst. So that's what you want to have. Don't try to impress yourself. Unless you are a producer and you spend your days producing and you've heard a lot of voiceovers and a lot of different contexts, I would not try to evaluate yourself. I think that's a tricky spot to get yourself into.,Speaker A: Well, interestingly, out of the choice I did for a session the other day, I offered the OC eight one eight through the Neve and I offered the 40 116 through a Grace and they went with the 4116 through the Grace and loved it.,: And this was an industrial yeah, it.,Speaker A: Was actually a training industrial film medical thing.,: Did you read it all in a vacuum or did you hear the music that they were going to put behind it?,Speaker A: No, I didn't hear it, it was all in the vacuum.,: Yeah, but I can see why it's funny, because after you get like a long form thing, in a way, you probably end up wanting the smoother mic after a while.,Speaker A: It certainly has something and depending on the voice, it certainly brings things out in a voice that could be quite appealing.,: Yeah. It's also the combination, because I don't know if you spent the extra energy to do the other combination, the neve.,: And the little bit of too many variables, but.,: A neve is a colored preamp. A Grace is an uncolored preamp, so that combination of color and uncolored could be a pro and a con, depending on what you're doing, too. So you may have found out that the 41 six neve was the best combination. Yeah, it's hard to say when you're changing multiple variables, it's just a matter of luck and opinion. They're going to say, you gave me two choices, I picked choice B in that case was what really worked out well. So, yeah, I think some people find the coupling of a 41 six and a neve like preamp is a good combo.,: I think it was the 41 six. It was the 41 six with the Grace, wasn't it?,Speaker A: Yeah, and it sounds great. I mean, it must admit, it does actually sound really good.,: Sure, it's clean and just on a dime. I imagine it'd be pretty similar to like a John Hardy and a 41.,Speaker A: Six, which is yeah, or a millennia.,: Or millennia, yeah, millennia especially.,Speaker A: Yeah. But it's got that there's something about it that the combination of the 40 116 and the Grace just has this kind of and it's a really weird term, but kind of a 3D thing going on, if that makes any sense.,: That is one of those audio terms. It's funny.,: Yeah, it is a funny audience term. I don't know how to describe things as 3D yet, but I'm working on it.,: They pop out.,Speaker A: So, anyway, the conclusion is there isn't one. Really?,: You're not going to like our answer.,: The right mic for the voice in the right situation, in the right time, in the right place.,: Yeah, I think the bottom line, there is no right mic for the voice, because the voice is not in a vacuum. It's working in a context of a space and of a production script. A script, a style. Yeah, right.,Speaker A: Oh, on that note all right, anyone want to buy some mics? I've got plenty.,Speaker B: Well, that was fun. Is it over?,Speaker C: The Pro Audio suite with thanks to Triboof and Austrian audio recorded using Source Connect edited by Andrew Peters and mixed by Voodoo Radio Imaging with tech support from George the Tech Wittam don't forget to subscribe to the show and join in the conversation on our Facebook group. To leave a comment, suggest a topic or just say G'day. Drop us a note at our website. Theproaudiosuite.com.     

It started with just a select few, then it grew in popularity to become a trend, and these days, guys like our very own George "the Tech" Whittam are installing home studios at a rate of knots while others create their own acoustically treated paradise in the basement. So what's next? What does the future hold, and can we ever recoup the costs by charging our clients to use them?? A big shout out to our sponsors, Austrian Audio and Tri Booth. Both these companies are providers of QUALITY Audio Gear (we wouldn't partner with them unless they were), so please, if you're in the market for some new kit, do us a solid and check out their products, and be sure to tell em "Robbo, George, Robert, and AP sent you"... As a part of their generous support of our show, Tri Booth is offering $200 off a brand-new booth when you use the code TRIPAP200. So get onto their website now and secure your new booth... https://tribooth.com/ And if you're in the market for a new Mic or killer pair of headphones, check out Austrian Audio. They've got a great range of top-shelf gear.. https://austrian.audio/ We have launched a Patreon page in the hopes of being able to pay someone to help us get the show to more people and in turn help them with the same info we're sharing with you. If you aren't familiar with Patreon, it's an easy way for those interested in our show to get exclusive content and updates before anyone else, along with a whole bunch of other "perks" just by contributing as little as $1 per month. Find out more here..   https://www.patreon.com/proaudiosuite   If you haven't filled out our survey on what you'd like to hear on the show, you can do it here: https://www.surveymonkey.com/r/ZWT5BTD Join our Facebook page here: https://www.facebook.com/proaudiopodcast And the FB Group here: https://www.facebook.com/groups/357898255543203 For everything else (including joining our mailing list for exclusive previews and other goodies), check out our website https://www.theproaudiosuite.com/ “When the going gets weird, the weird turn professional.” Hunter S Thompson In this episode of the Pro Audio Suite, the team delves into the upcoming Nexus from Source Elements, a plugin that effectively routes audio, virtual audio interfaces in and out of Pro Tools. The team also discusses novel features such as the Dim operation and incorporates talkback functionalities. The emerging future of voice-over artists working directly from one room, rather than traditional booths was examined, suggesting industry shifts. There is discussion on the need for talent to show their value in order to increase pricing, given the significant investments made in equipment and learning audio engineering. Other elements discussed included the limitations of the iPad in a pro audio production workflow, the strategic placement of preamps, and the anticipation of the passport and Nexus release. The episode rounds off with a nod towards their future plans to incorporate higher levels of control. #ProAudioSuite #SourceElementsNexus #VoiceoverTech   Timestamps [00:00:00] Intro - Meet the Pro Audio Suite Hosts [00:00:52] Discussing Nexus: The Innovation in Audio Routing [00:08:38] Efficiency of Nexus on Channels [00:09:13] The Future of Voice Over Workstations [00:12:05] Charging Reality in Voiceover Industry [00:15:19] Value of Remote Studios and its Impact on Pricing [00:22:18] Investment Expectations in Preamps, compressors and Microphones [00:28:04] Nexus Router's Flexibility in Sound Production [00:32:40] The Role of iPads in Pro Audio Production [00:37:16] The Controversy of the Preamp's Location [00:42:02] A Light-hearted Detour from Nexus Talks [00:42:20] Anticipating the Launch of Passport & Nexus [00:44:40] Pro Audio Suite's Collaboration with Tribut & Austrian audio, and a Mention of George Wittam's Tech Support Services.   Transcript Speaker A: Y'all ready? Be history. Speaker B: Get started. Speaker C: Welcome. Speaker B: Hi. Hi. Hello, everyone, to the Pro Audio Suite. These guys are professional. Speaker C: They're motivated with tech. To the Vo stars George Wittam, founder of Source Elements Robert Marshall, international audio engineer Darren Robbo Robertson and global voice Andrew Peters. Thanks to Triboo, Austrian audio making passion heard. Source elements. George the tech. Wittam and robbo and AP's. International demo. To find out more about us, check thepro audiosuite.com line up. Speaker B: Learner. Here we go. Speaker C: Welcome to another Pro audio suite. Don't forget, if you do want to buy a Tribooth, the code is tripap 200 to get $200 off your purchase. If you'd like to leave a comment, by the way, on your favorite platform, please do so. It's good for our analytics, and we might drive a bit more traffic, which is always handy. Now, something that may be out as we speak or maybe about to be released, is the new Nexus from Source Elements. You've definitely had a look at it, George. I think you've had a look at it, Robert. And Robert knows all about it because it's his baby. Speaker A: How much do you know, Robert? : Let's be honest, I'm clueless. Yeah. Speaker C: No, that's me. That's my Robert. : I know it all, but really, don't I'm just like yeah. Speaker A: Can I just say, before you dive into it, it's a very sexy beast. Seriously, it's very clever. Speaker C: You've had a look around the whole thing, haven't you? Speaker A: I have. I've sort of had a play with it. But, I mean, Robert's going to explain it the best, so we should leave it to him to run through the list of features. : I like hearing what kind of mess other people make out of it. Speaker A: Well, you know, what inspires me the most, and I think is going to be the most useful for our listeners, I think, is simple things like the Dim operation, the fact that it actually just drops your mic level. : Drops the levels. Yep. Speaker A: And all that sort of stuff. : A lot simpler than a Dugan mixer. Speaker A: The gateway from a studio point of view, from me looking at that gateway, everything's all in the box. I've got video, I've got everything there. But, I mean, you should explain it all. : Yeah. So basically, Nexus started out, oh, God, how many years ago? 2007? I don't know. But I was like, wouldn't it be nice if you could route audio, virtual audio interfaces in and out of Pro Tools? And it was like, we made that, and it was kind of a hit. And what it was primarily used for was to interface the client side of a remote voiceover session, or just a remote client side. So think of it as Source Connect was the remote connection for voice talent into an engineer setup, who then also has remote clients. And Nexus was used to empower things like zoom and hangouts. But we all know that all of those have their various issues for instance, one of them is if you're broadcasting and you've got talkback going over zoom, there's very different goals of the talkback versus the broadcast that you want to have your clients listen to, so the talkback can have echo cancellation on it. And actually that helps because many times your clients don't have headphones, but your broadcast, you don't want it to be impeded by the echo cancellation and things like this. So what Nexus is, is it still represents to me that sort of client side connection. But now we're completing more of it. Instead of saying, oh, just like throw Nexus at Zoom, or throw Nexus at whatever it is that your clients are using Microsoft teams, here's a gateway for it that does what you need as a professional audio and video person for collaborating with your clients. Instead of trying to pound Zoom into a hole. Speaker B: Here's how it was described ten years ago, you sent an email out sourcenexis is an audio application router. Record remote voiceover from Source Connect directly into Final Cut or Media Composer playback itunes to Pro Tools, even patch Pro Tools to and from Nuendo all at the same time. Route any audio application in and out of Pro Tools, even if that application does not have any plugin support. Speaker A: There you go. Speaker B: That was December 2013. : So that's like a very broad, broad strike explanation. Sort of like it's round and so it rolls, but this is a wheel for a car. So yeah, the rolling part of it is well, it pretty much is a router that was put in the Daw so that you could route external interfaces in and out and do things like that. And the primary thing that it got used a lot for was those client side connections. Speaker C: So how would it work for someone like me? What benefit would I get out of Nexus? Speaker B: So the talent side, what do they say? : I think the same thing. So just like you've got Source Connect and you're running with studios and engineers and it has that rock solid queued up connection that's going to pick up every bit. Even if the internet does its thing, as you know, voice talent are being forced to take up much more and more of the burden and you have the situation where, hey, can I get playback? So one of the things that Nexus has is it's now a suite, by the way. It's not just the plugin. So there's the original Nexus IO, which is sort of like just the raw plugin. You have to know what you want to do with it. You have to build your own template for it. Nexus Review is a Nexus plugin that now has several ins and outs going into it and out of it. So it brings your talk back over to the gateway, which is our web meeting room. It gets the gateway back into your connection so that you hear it in your headphones and it plays your playback to the connection and everybody. And it does all that without you having to even think about what the word Mix Minus is or if it even exists. Because it's done all in one plugin. So what used to need two, three Nexus plugins and a talkback plugin is now Nexus Review. Okay, straight, just drop that plugin on your master fader, your setup is complete. Speaker C: So when you do playback, it actually mutes everything else. So you don't get obviously well, it. : Doesn'T in this iteration, but there's going to be all kinds of stuff that starts to happen within the suite, within its sort of capabilities. And I think that right now, the first thing you would say is it just makes playback easy. Your question specifically, Andrew, which is like, why would a voice talent want this? It makes playback easy because really, in that sense, you're just like the engineer at that point. You're recording stuff and you're playing it back. That's kind of like what? So this just makes that setup way less daunting because all you really have to do is and also we're going to probably come out with that as a standalone app as well. So if you're using something like Twisted Wave, you can just route Twisted Wave into the Nexus review app and same thing, you don't have to be on a daw. It doesn't have to be a plugin, but it does your Mix Minus and your talkback Twisted Wave. Actually, here's a question about twisted wave. Do you have the option to monitor live through it? Speaker B: It does have a monitor mode that you can turn on, of course with a little bit of latency, but it does have that capability, right? : So you might want to do that. And funny enough, if it does create a latency with yourself, there's a handy mute button so you can mute it and you don't have to listen to it, but at least your clients can hear you monitoring through Twisted Wave. So there's little individual situations that might come. Speaker B: What would be the benefit though? Like if you don't have to monitor yourself in Twisted Wave, what would be the benefit of turning that on? : Well, the reason why is that you're either going to direct your microphone live into Nexus Review, but then if you want playback, you're going to route your Daw into Nexus Review. And if you call Twisted Wave a Daw, then you want to route Twisted Wave into it. Speaker B: Okay, so you set the output in your Twisted Wave output setting to the Nexus review plugin input. : Yes. Not the input of well, in this case it would be the input of the application, not the gotcha gotcha, because in the Daw sense, the input is taken care of. It's like whatever channel you throw it on, the input is implicit. Speaker B: Right. : And then that same ability for all you video editors out there and things like that, the review set up and integrating my talkback with a talkback button if I want all of that is just like done, whatever, I have to set up a template in Pro Tools or I have to have a mixer. All the different things that people do. Speaker B: To be able to passport vo. Speaker C: Yes. Nicely sliding there. Speaker B: Right. So just to get a little bit deeper. So I'm in Twisted Wave. I'm the actor. I've recorded myself. I hit stop, I hit play to hear playback. I want to hear the playback and I want it to also send to Nexus. If I set the output of Twisted Wave to Nexus, will I myself on the local side hear the playback also or will it be shunting the audio. : To you would hear the playback and so there is a fader for you. Speaker B: Oh, Nexus handles that for you. : Nexus has a fader with the mute on it that you could mute that if you want. Speaker B: Nice. So that solves that problem. Beautiful. Right. Speaker C: The question I've got though is it seems that we as voice over people are going to end up sitting in one room with microphones and screens and computers in there with us. So the booth is pretty well fast becoming redundant. : Well, it might be that radio style booth. Speaker A: Yeah. Do you just have it in your booth? That's right, that would be my yes. Speaker C: What I mean but it's become like a radio. Speaker A: I think that's going to happen anyway. I kind of think that for me, this thing's sort of ahead of the game because I can see that coming, I really can. The more and more I even had two sessions in the last couple of weeks canceled because the creative guys just jumped online with the voice and did it themselves. They didn't need an engineer. : We do see a lot of that. It's like the phone patch may have gone away, but the direct to client session and where it comes up and it's really funny because clients don't really save time when they do this. They think they do, but they don't. So they say, hey, let's not book a studio to record the talent. Let's pay the talent the same amount of money and make them record it and complain at them if it didn't work out the way we wanted, by the way. So now we have the talent recording everything and inevitably, no one keeps good notes. And even if someone does keep good notes, you don't know how well the talent is cutting up the files. And it's very easy if you've ever been in a session sometimes to get your take numbering off from what you're writing down and what's actually happening in a computer, especially if you as the talent, you're busy trying to do other things, like read the script and not look at the computer screen. On what file number Twisted Wave is on. And so inevitably, someone has to put humpty Dumpty back together again after the talent has recorded everything. And that's going to take just as much time as just recording the session with an engineer online who can cut everything up and do it for you. And that way the talent only reads what they need to. They're not reading a bunch of speculative takes because no one knows if A is going to edit back to take 65 or whatever. You can just hear it. You got it. Great. And it fits because we timed it out. Speaker A: You just touched exactly on the problem that came from one of these sessions the other day. And this was a well known agency, a global agency, that they did one of these sessions where they just recorded it with whoever it was locally and they were on the phone, but the creative rings me and goes, yeah, kind of. I'm really happy with this. But we did some takes. I asked the talent to do this, but of course, with no labels, no notes, no nothing, I've got to go through every single take and go to him. Is it this one? No, that's not it. What about this? No, that's not it. No, it's more like this. Oh, hang on. Okay, well, is it this one? No, it's not that. It's like if I was doing the session in Pro Tools, it would be labeled. I'd have a page full of notes as well. This edits to this, blah, blah, blah, and it's done. But it took, like half an hour to find one take for this guy. Speaker B: The pennywise found it is pennywise pound foolish. : But the other problem is that what happens is that they're all working off of flat bids, right? 1 hour for the talent. They know what their residuals are. They bid these things out. And it's really hard to get these agencies to necessarily do just, hey, we want to be creative and throw paint on the wall and pay by the hour to throw paint on the wall. Instead, they do I don't know if you've seen that. It's that thing where the guy says, like, hi, we'd like to do an advert and we want to research sound effects and do all this stuff and try two different music takes and this and that. So 1 hour. And the person in the studio is like, I think it's going to take longer than that. And then the person at the agency is like, no, we know our stuff. We know exactly what we want. We're not indecisive at all. We only need 1 hour. And then you're like, okay, now you're stuck making a commercial in 1 hour that you know is going to take longer. So even though the agency basically saddles the talent with recording the takes, they never actually face the consequences of their actions because the bid happens. Then they audition, and it's like they've already at that point with the bid, taking out the voice record. We'll just give you takes. Speaker C: Yeah. You get what you pay for. And if you don't pay him, you. Speaker B: Don'T get much, and you're going to pay later. Speaker A: It's pay now, pay later. Sooner or later, you're going to pay for it. : I really think this was that moment when the voiceover industry, they all decided that they were going to try to eat each other's lunch. And at some point, it became like, my booth doesn't cost a thing. My setup and knowledge of my booth and what to do through blood and sweat and tears, paying me figured out and literal money that is free too. Speaker B: Right? : And all that stuff never should have been free. It should have been, okay, I'm whatever. $400 an hour, and, oh, you want to use my studio even if it's $50 an hour? Speaker B: Yeah, there should be a rate attached. I totally agree. As voice actors who wanted to be providing a service and I can name names, but I don't need to who are very early on in the home studio timeline. Right. Like literally FedExing Dat tapes. Right. They wanted to be a service provider. They wanted to be ahead of the curve and create a business niche for themselves. In the meantime, they were creating a problem for the fact that home studios would eventually become the norm, and nobody was getting compensated for operating a studio and engineering a session. : It's like when you have something unique, you charge more for it. So if you're a voice talent and because you're available at home, you are available, like, instantaneously, you don't need to have a limo drive you around La. That's a perk. And it might be a perk for you, but it's also a perk for your clients. But it became part of the add in, like, a long time ago. This was in the early 2000s. This was in the days of ISDN that this happened. Speaker B: It was literally when I got into the business. Yeah. I was just being told, people need this help. And I didn't know anything about the business model. I didn't know Jack squad about who got paid what, how, what you didn't get paid for. I just was there to solve problems. So I had no idea that this was going on till much later. : Yeah, but here we are. Talent put a lot of time, effort, money, emotion into building their setup and learning this basically some aspect of the craft of audio engineering, essentially. Maybe not the whole thing, but there's. Speaker B: Like I mean, tell me this. Would there be a value I know this is off topic, but would there be a value when a talent or an agent invoices that even if the bottom line is identical, that you literally add in a line that's engineering services, so it literally shows up and they see, oh, we're paying for this. Would there be some efficacy to this? It's kind of like restaurants starting to charge a service fee or a kitchen love fee or whatever. There's been a lot of blowback to this because some people really just raise your prices and other people are like, I like the transparency. So it's kind of confusing. : I think that if you want to, you effectively want to raise your price. And the only way you're going to be able to raise your price is by showing your value. And so in that sense, you almost need to because to the point that it happens on the flip side. So not just our like there's three layers to it. It used to be that the talent went to the studio and so there's two studios and there was a lot of meat on the bone for a whole industry. Right? There was an engineer in a studio in La. There was an engineer in a studio in New York. There was a voice talent in La. Yeah, there was five creatives over in New York. It was all happening real time. And At T was like just digging into the pie, too. And now it's like the first thing that happens is voice talent or the auditions come in and they know must have ISDN or source connect, essentially, and read between the lines. And what's happening over on the bid side is there's no money for a remote studio. Only talent with home studio need apply. And George, how many times have you seen talent that have done the Voice Tracks West? Or I know a place that knows what pay out of pocket. Speaker B: I tell people do it all the time. : Voice tracks west is I'm like, if. Speaker B: You don't do these sessions that often, spending $10,000 on a soundproof booth is a massive waste of money. : Yeah. And Voice Tracks has got a tight operation. It's not like decked out in oak panels, like all the big working facility. Boom. It's like, here's a room, here's a setup. You need an engineer to set you up. We don't have staff to sit there and babysit you the whole time, but what are you going to do? That's all you need. I don't know what they charge, but I have a feeling it's pretty affordable enough. Speaker B: They do what we call talent friendly rates, right? : And it's a great idea. So you get those auditions that are basically like, bring your own studio iOS. And then the next level is like, you know what, we're not even going to hire an engineer to record it like we just talked about, right? Speaker B: It's a weird position. I've always felt weird being in the position of enabling, essentially because I'm enabling the talent buyers to charge low rates for engineering or not budget for it. And I'm enabling the talent to meet that need. At the same time, there's the plus. : That you have your talent that can go live where they want to. And there's many talent that would if charging for their studio would be a deterrent to them having the lifestyle that they want. They want all their sessions to be in house. The reason to give it away is not just because they're trying to get an edge over some other talent, but also because they're trying to direct their life the way they want it to be. And being called into a freaking city every other day for an hour session and you got to drive 2 hours is crazy. And so it makes sense. Speaker B: And let's face it, as a voice actor, you can't live the lifestyle that you would like to live and be in. Those days are mostly gone. That you can live that lifestyle and have a nice home and have all this space and blah, blah, blah and live in the city, like live in Los Angeles or Lake. Like that's unbelievably expensive. : Right. And you don't have to anymore. Speaker C: Anyways, getting back to the rate thing, though, there is a way of doing it because on my invoices I show, studio and edit and then whatever the fee is and it's usually zero zero, but you can actually put in there. Voiceover blah, blah, blah. That rate goes in studio, edit X dollars and then you can give them a discount, which actually is equivalent to the studio rate. That way the client sees that there is a fee involved in that, but you've just done them a favor and not charged them for it. Speaker B: I think that's very smart. I will invoice people for a $0 item just so they know they're getting it. The problem with like a flat rate. : Or just write the real price down and say the discount that you're getting. Speaker B: Yeah. I'll say this is $100 thing, I'm throwing it in at $0. But you need to know that it has a value attached. Speaker A: Yeah, everything we do has a value attached because it's our time. Speaker B: Right? Yeah. But it needs to be literally spelled out for them on black and black and white, I think. Speaker A: Agreed. Speaker C: But the stupid thing is I was talking to in fact, Robbo and I were talking yesterday about equipment and stuff in the studio and believe that's the stupid thing. Well, it's the stupid thing in my case because it's ridiculous. I mean, I don't need any of this stuff, really. But I was sitting here the other day, like, adding up how much the dollar value of the stuff I've got in here in preamps compressors and microphones is just completely insane. : It's ridiculous. It is, yes. Speaker C: It's fun though. : Okay. It is. People putting wings on their back of their Honda Civic. Speaker C: Yeah, thanks. : I hate to say it, but it's like we are kind of doing some. Speaker B: Of that even does that you can buy a Civic with three exhaust type tips coming on the back. Speaker C: Exactly. Yeah. Get yourself the type r boom. Look out. : Yeah, but sometimes we're just like, OOH, that thing's going to make us faster and improve my zero to 60 time that neve preamp or whatever, and I think that we get caught up. I mean, God knows I've spent a lot of money on audio gear. Speaker C: Oh, you have? You're worse than me, actually. : I need, like, the nose spray that breaks the addiction, whatever. Speaker B: But Robert's business model is a different one. His service is his studio and his skill with his know. So I feel like a service provider that's providing that type of a studio service. There's an expectation of a certain investment in that equipment and keeping it up. Speaker A: To date and keeping it serviced and. Speaker C: Keeping it's funny, though, because I did send a file off to one of the audio production guys in one of the radio networks here because he was looking at buying Austrian audio microphones for their studios, which he did. Speaker A: Salesmen. Speaker C: But he said, oh, can you send me something? You got a sample of the eight one eight? And I went, yeah, sure. So I sent him just a cold read, eight one eight through the neve. He just come back going I said, what do you think? He goes, oh, my God, I'm buying one. Speaker A: Nice. : It's so funny. The subtle stuff is really there, but it's great when either someone is completely doing the same drugs that you're doing or actually is truly hearing the same thing that you're hearing. There is this like, wow, that really is better. And at the same time, someone walks in who doesn't understand much about audio and goes like, what's the difference? Speaker B: You really get me. You really see me. Speaker C: It was really funny. It's like a guy that both Robbo and I know is also an audio guy. This is years and years and years ago. He got a voice track sent. It was a cold read from a studio in Melbourne. And he called me up and he said, do you know what microphones or what microphone they use down at this studio? And I said, no, I don't, actually. He said, man, you got to find out. It sounds unbelievable. So I went down there and I was in there doing a job, and before I got in there, I said, what mics are you using, by the way? He goes, oh, what was the session? I told him, it's like, oh, yeah, we've just bought a new U 47, the Telefunkin U 47. When they first reissued the thing, I'm like, okay, so I think they were selling for close to 20,000 Australian dollars at the time. So 15 14,000 us. I'm guessing. Sounded very nice. Speaker A: You would want to I didn't know. Speaker B: They reissued that mic. Speaker C: Yeah, the telephone U 47. Speaker B: Yeah. I never knew there was a reissue of that mic. : Yeah, that thing's been, like, homages to. Speaker B: No, I know, but I mean, it's literally in Neumann. Like, they did just the U 67. : Like, five years ago. It's telefunken, but telefunken is not the Telefunkin that Telefunken was, right? Speaker C: Correct. Yeah. : Telefunkin is like some company in Connecticut. Telefunk is really a European funky funkin. Speaker C: It was kind of weird though, because a lot of the Neumans that were re badged for America, so like Frank Sinatra's U 47 was actually badged, I think, as a Telefunken. : Right. So they were really U 47s. They were really Neumanns. Right. And then they were rebadged as Telefunken. And then the same thing happens with the AKG C Twelve because Telefunken was an importing company. They would commission things to be made or they would just say, hey, I'll buy a bunch of those. Speaker C: And there were tons of companies doing that, particularly in America, where they rebadged microphones under different brands that were made primarily by AKG or Neumann. : It's kind of like rebadging Chinese stuff in a way, happens. It's like happening again. You see the same product and it's like, oh, they just put a different name on it and called it their amplifier. Speaker C: So you're going to white label Nexus and set it off under different brands. : There's all kinds of discussions and things that pop up and then sometimes just like fizzle out. But one thing for sure, I think, is that at least on some version of the Gateway, one of the talked about features is to customize it so you can make it like Andrew's Shopahor. Speaker A: Well, one thing I wanted to touch on and something that's not in the demo though, but something you were showing me after we finished recording a couple of weeks ago is the router. Can you tell us about that? Because that's a game changer, right? : It's not going to release on the first. It might actually I don't know, but right now it's a little bit behind. It would be one of those things that certainly would take. It would be one of the things that takes longer to get out, but it's pretty much done. And it's just a desktop router. So you can set up a lot of this stuff or the rest of the stuff that you want to customize on your desktop routing, for example, if you wanted just to have something that routed. One of the things that happens with Pro Tools in particular is once you close your session, you lose all your routing. So if you're not putting all your work into one session or working on one thing and you have to open up different files while you have a group of people online and connected, when you close Pro Tools, you lose communication and possibly even different parts of those connections, depending on what platforms are on. They might lose their connections too, because some of those connections go through you. So router gives you the opportunity to be able to set up sort of like a desktop route. Similar in a way, George, to what a lot of people that you have do with the Apollo Mixer. Speaker B: Yeah, I was going. To mention that. Right, exactly. But being on a not you're now hardware agnostic, you can be on anything. Speaker A: Because the killer for that, for me, is that is exactly what you're saying, is that whole thing of, like, you're halfway through a session and the creative goes, hey, last time we did this, we did blah, blah. Can you go to the old Pro Tools session? And you got to do that whole embarrassing listen, yeah, I can do that, but you're going to lose me for a second here, guys. Okay, I'll be back in a minute. And you hear the way you go. : That whole thing changed the way I work. I have Pro Tool sessions with hundreds and possibly, I don't know, thousands of spots. Whole years of campaigns, just boom, one after the you do them all on one timeline thing of like, oh yeah, one big ass timeline. Really? Speaker B: They're not just clips in the clip viewer? : No, it's basically what ProTools lacks is any sort of like have you ever worked in Media Composer? Speaker B: A little bit. : Okay, so Media Composer, you can have sessions well, you have a bin. Yeah. Pro Tools user have been wanting folders within their bin for the last 20 years, and they still have yet to get them. Different issue, but even more so, the edit and the mixer in Pro Tools are joined at the hip. But there's many aspects of your mixer that are not part of your edit. They're just part of your studio. Speaker B: Sort of like there's a utility mixer. : This is a utility, this is your external. What used to be in a lot of early setups were like people that would have like a Mackie mixer off to the side and then they'd add Pro Tools. And what was going in and out of the Mackie mixer was like microphones and headphone feeds and connection to the tape dock probably back. Um, and so the mixer still had routing capability and some of that's daunting. And really what you need is just like a couple straight ahead patches and maybe a volume control. And that's really what Nexus router lets you do. It has an advanced mode where you can just sort of draw whatever you want from A to B and then that way you can even have different setups that you can load and save and close and open up a different setup, or you can make one massive. Speaker B: Setup forward to it. Because I'm looking forward to being more hardware agnostic and less attached to something like the Apollo in general and kind of endorsing that kind of mentality of being a little bit less attached to that system. So this will be something that'll be nice to set up for more people who do want that extra level of sophistication absolutely. : Yeah, it'll make it like if they have little special things that they need to do, even something like a talkback mic when they're outside or playback from some other device if they want to plug their phone in or have some other app. Speaker B: Let me ask you this. This is definitely going down a rabit hole in terms of features, but can you imagine that ever being on a touch screen interface like an iPad or having a controller? : I could definitely imagine. We've already got other levels of control that we're planning on, which are, I think, pretty exciting. Speaker B: You guys were talking earlier about things are moving towards the actor having to have really a full production suite in their booth, right? Speaker C: Yeah. Speaker B: It sucks, though. I mean, people don't want the day. : That someone asks an actor to not only record for them, but can you please play back picture while you record? When that happens, then it's like you're really throwing a lot at Cipriano. Speaker B: I mean, he does stuff when he. : Has to, but some people can do that. It wouldn't be that hard. Speaker B: He paid me to set up Pro Tools to do it. : Right. Speaker B: Yeah. So it would be lovely for someone who really still wants to have a feeling of I have a mic, I have a headphone, I have my script. But not having to have keyboard, monitor, mouse, that whole rig in there too and just have somewhat innocuous iPad or even if you're reading off the iPad, you can just do the four finger swipe and switch over to the mix. : The hardest thing becomes, I still think the iPad is a tough environment. There's been a lot of actors have been like, can I just do this all on the iPad? Speaker B: Yeah. No, there's a bit of a stay in your lane. The iPad has a lane to stay in. To me, it still has no place in a Pro audio production workflow except as a controller or a script reader. : Yeah, it works well as a controller. Speaker B: I've got my V controller controller and a script reader. That's what it's for. To me. It's not a pro audio. Despite the power of the thing, the hardware, the fact that it's got Thunderbolt now in the Pro model, iPad Pro, it's still just not the tool for the job. So use it what it's for, and that's what it's good for. So I would endorse having that in there just to control the Nexus monitoring and the other stuff. : Do a lot of talent. Really avoid and not want some really. Speaker B: Do avoid it as long as they can. They really despise doing that. Speaker C: I'm one. Speaker B: Yeah. It's because of the distraction. Because this is the right brain, left brain, actor, engineer, conundrum. You can't do both at the same time. I don't care who the hell you are, you can't do them both equally well. One is always suffering at the hands of the other. So the actor that really but what. : Does an actor need in the booth? Truly? They need to be able to record takes, and they need to be able to play back. Speaker B: Mean, some people like, I'll call you out, Bo Weaver, I've known you so long. He hits record, he walks into the booth. He records all of his sessions. He walks out of the booth and he sits down and he edits all the sessions. Like done. That's his workflow. Now. How often is he directed? Very rarely. Record and send. But yeah, that's what he likes. He likes to have the two separate church and state. Speaker C: Well, I'm exactly the same. I have the same workflow as Bo because a lot of my stuff is not directed. So I do exactly the same thing. I go in there, record, come back and come out of here and edit and send. : Yeah, but how many times you go back and forth? Speaker C: I save each file separately. So if I'm doing like 430 2nd spots for somebody, then I'll record a couple of takes or two or three takes. : How do you know you're in time? Are you timing yourself? Speaker C: I do a timer first. I will sit there and I'll time one with the stopwatch first read. So I know ballpark where I'm at. By the time you deep breath, you lose a couple of seconds. So if I'm doing like one, that's got to be 27 seconds and I come in at 27, then I know I've got 2 seconds up my sleeve so I can take more time with it. Once you've been doing this for that's the thing. : You guys have like atomic clocks built in. I can't tell you how many times I've had a talent and I'm like, can you take half a second off that? And they take half a second off that. Speaker B: It's like, wow, bo had an iPad one for years. He may still have it just to run the timer period. He's like, It's a great timer. It doesn't make a click. : I have an iPad one that I use for my eight faders approach. Yeah. So there's some minimal amount of control that's necessary. They at least need a door handle, probably. Do they want a mic mute? Speaker B: Yeah, I'm sure they would. Most people would like to have that, I would think. Yeah, it's pretty embarrassing when you got. Speaker C: A horrible client down the line and mic mute's. Very handy. Speaker B: Horrible client or bad cheese. Speaker C: Yeah. : How do you find the foot switches. Speaker C: For I reckon a foot switch would be great. Speaker A: You need one of those AP. You need a foot switch. Speaker C: Yes, I need a foot switch. Foot switch is great. I love it. Trouble is, I probably tread on it by accident. Speaker B: Well, the Whirlwind PPD or whatever, they have a foot switch on off switch. : The ones that don't break phantom power so that they don't pop, they just sort of short out. Speaker C: And it's also like I wouldn't want I mean, the idea is fantastic. I think it's fun, but I hate too much stuff between the microphone and the preamp. Speaker B: Yeah. Speaker C: Well, there's that one more thing that can go wobbly on you. Speaker B: Not to go completely off base here again, but I was talking earlier about what I saw podcast movement, and I saw the boss answer to the RODECaster pro because Roland's had and Roland too. Boss is like their musician wing of Roland or like the guitar pedal. : I don't know about that. Speaker B: Right. : So they had boss is the guitar wing and Roland and Roland is the keyboard wing, but they've crossed areas. Like mainly Roland has made guitar synths and the other view is that Roland is the high end and then Boss is the middle. Speaker B: Right? So I'm looking at their things and going, okay, here's another RODECaster. What's on the back? A foot pedals plug. I was like, Whoa, that's cool. What can you do with that? He's like, whatever you want. For the gamers, you can do anything you want. I was like, Well, I can see that being cool because the mixer is outside on your desk and you run a foot pedal in your booth and now you have a way to cut your mic, or it could be a way to hit record and then punch a marker when you click it again. There's a lot you could do with. : That, so whatever you want. The foot pedal can send like USB. Speaker B: Messages, as far as I can tell. I don't know how flexible it is, but it's pretty flexible. There's also air tools or AirTurn I think that's called AirTurn. And now other companies are getting into it where you can get Bluetooth pedals that go in your booth to control certain functions. So there's more you can do with foot pedals, which is kind of neat, but if I'm not wearing headphones and I don't know, my mic is truly off, I would never trust anything wireless. : So what about the preamp? I mean, the preamp should be in the booth or not, because even if you wanted to be really theoretical about it, your best signal would be by running the shortest mic line and getting it up to the preamp right line. Speaker B: If you're running, then sending it 20 foot runs, that's different, it's negligible. : But having the preamp in the booth to be able to set it is a different thing, right? Isn't that necessary? Speaker B: Yes and no. I mean, some people do. I'd say most people that have a booth that don't have the equipment in the booth don't have the preamp in the booth, but it's less convenient. : And so they're just recording conservatively and going like, I'll just hit minus twelve, I got plenty of bits, I put. Speaker B: Plenty of Avalon 737s in booth. And I just told people, like, this thing's a radiator, so it's going to get nice and toasty in here. If you really need to have this in here, I get it, but be my last choice. What, to put in the booth? Speaker C: Well, that's what I'm thinking. The more gear I was going to say about that exactly that most people's home studio booths are quite small, and you start piling gear in there, it's going to be like a furnace. Speaker B: Yeah. Gets hot in there quick. So the less the better. Even modern computer monitors are pretty low power, but they still make heat. They still radiate heat. Everything makes heat. So the less in there, the better. Yeah. It's going to be interesting when the passport Vo comes out, how people choose to use it. Whether they're going to have it in booth or outside of the booth, you can go either place. And the thing you're going to miss out on it not being in booth is that mic switch. Mic mute. That's why I think the majority are going to use it in the booth. So what we'll be testing I think so, too, how far we can run it on USB to the computer. So we'll be doing some testing around that whole workflow as well. Speaker C: Yeah, I can see the value in having the Passport Vo in the booth for sure. Maybe you're doing a zoom session or whatever. You can use that second interface to run either your phone or iPad or whatever, that you can run the zoom session. Speaker B: That's where I could see it being really useful, having the iPad in the booth for phone patch, zoom, blah, blah, blah, communications. Speaker C: Absolutely. Speaker B: And having that run into it and just that would be a really easy way to facilitate those sessions. Boy. : Well, in a way, you can have it. Sorry, you can cut all that out. Speaker B: We're really off topic now. Speaker C: This was about Nexus and I don't know where the hell we've gone. Speaker A: Oh, man, we've gone all over the place, let me tell you. This is tangent. Speaker C: I'm just waiting to see the Mad. Speaker A: Hatter pop out from behind the door somewhere. Editing nightmare. That is the Pro audio suite. Speaker B: Yeah. Wrap this one up. : I'll bring it together. What comes out first, the passport or Nexus? Speaker B: Nexus. Speaker C: Nexus. Speaker A: Nexus. : Probably. Speaker A: Right? Speaker B: Well, we'll see, because these are both but we don't know. Neither of them want to divulge a release date until it's certain because people don't. We've all learned that produced product to under Promise Over Deliver is really the best policy. : You can't give a product a C section. Speaker B: Right. Speaker A: What we can promise about the passport, though, is that when it does come out, it's going to be killer. Speaker B: It's going to be killer. We're going to make sure of it, because by the time anybody receives one in the mailbox, we have already hammered on it and proven without a shadow of a doubt that it will do what we said it's going to do. When you get one, it's going to be fully tested and vetted before that. : Yeah, I'm excited because I think you see all these USB interfaces coming out constantly and no one has one that does these. Speaker B: They're all playing out of a different playbook. Like, I got into a whole conversation on Facebook about this one person's. POV is clearly the future is firmware, software, everything. And I said, I don't think it's that clear. I said, Because we're developing the exact opposite. And his response was, I think that's not a good idea. And my response was, I think it's a very good idea because look at all the products that have come and gone and what products you can still plug into your Mac or your PC that still work 15 years later. And the Micport Pro First Gen is one of those products. You just plug it in and it works. So that's the philosophy. We're just carrying that forward. Speaker A: My old trusty two rack sitting here right next to me. How old is that now? Jesus. Speaker C: 15 years. Speaker A: Have to be something like that. Still keeps going. : A two, not even an three two rack. Speaker A: Yes, exactly. Speaker B: Yeah. Wow. : I have some ones in my garage. Speaker A: No, I don't need the double o one. Speaker C: What are they doing in the garage? Speaker A: Yes, exactly. Why are you using them, Robert? Speaker B: Unlike you, he's using his ramps to hold up his Porsche 920. Speaker C: The Pro audio suite with thanks to Tribut and Austrian audio recorded using Source Connect, edited by Andrew Peters and mixed by Robo Got your own audio issues? Just askrobo.com tech support from George, the tech Wittam. Don't forget to subscribe to the show and join in the conversation on our Facebook group. To leave a comment, end, suggest a topic, or just say good day. Drop us a note at our website proaudiosuite.com

In this fourth and final episode, David Mellor, a sound engineer and the founder and Course Director of Audio Masterclass, delves into Gain Staging your plug-ins and how to avoid clipping during the mixing and mastering stages.Chapters00:00 - Introduction00:50 - Gain Staging Your Plug-ins08:08 - 32-Bit Float11:35 - Mixing And Mastering16:27 - Gain Staging The Mix19:32 - Headroom21:50 - Mastering Using LUFSDavid Mellor BiogDavid Mellor got his start in pro audio through the Tonmeister course at Surrey University studying music, piano performance, acoustics, electronics, electro-acoustics and recording.He went on to work at London's Royal Opera House, with responsibilities including sound design, front-of-house operation, stage monitoring and electronic design satisfying the likes of Luciano Pavarotti, Placido Domingo, Dame Kiri Te Kanawa and Karlheinz Stockhausen. He has also had over 600 works published in the field of production music, including the Chappell and Carlin music libraries (now combined into Universal Publishing Production Music). Notable uses of his music include the BBC's Horizon, Fahrenheit 911, and the Oprah Winfrey Show.David has been actively involved in Audio Education since 1986, teaching students of City of Westminster College and Westminster University, and also returning to lecture at Surrey University. He also worked with John Cage on the International Dance Course at the University of Surrey. David now specialises in online audio education and has been Course Director of Audio Masterclass since 2001.https://www.audiomasterclass.com/

David Mellor, a sound engineer and the founder and Course Director of Audio Masterclass, introduces us to Gain Staging in a brand new series of podcasts. In the third episode David continues looking at preamps, outlines the use of VU Meters and talks about the benefits of balancing a track prior to mixing. Chapters00:00 - Introduction00:56 - More About Preamps05:38 - Preamps With Valves09:20 - The Mixing Process16:17 - Using VU Meters24:05 - Mixing During RecordingListen to Gain Staging Episode 1Listen to Gain Staging Episode 2David Mellor BiogDavid Mellor got his start in pro audio through the Tonmeister course at Surrey University studying music, piano performance, acoustics, electronics, electro-acoustics and recording.He went on to work at London's Royal Opera House, with responsibilities including sound design, front-of-house operation, stage monitoring and electronic design satisfying the likes of Luciano Pavarotti, Placido Domingo, Dame Kiri Te Kanawa and Karlheinz Stockhausen. He has also had over 600 works published in the field of production music, including the Chappell and Carlin music libraries (now combined into Universal Publishing Production Music). Notable uses of his music include the BBC's Horizon, Fahrenheit 911, and the Oprah Winfrey Show.David has been actively involved in Audio Education since 1986, teaching students of City of Westminster College and Westminster University, and also returning to lecture at Surrey University. He also worked with John Cage on the International Dance Course at the University of Surrey. David now specialises in online audio education and has been Course Director of Audio Masterclass since 2001.https://www.audiomasterclass.com/

In dieser Episode ist Arno Jordan, Geschäftsführer der Castle Studios im Schloss Röhrsdorf, zu Gast. Mit dem erfahrenen Audio Engineer sprechen wir darüber, wie man seinen eigenen Signature Sound bei der Aufnahme erzeugt. Im Gespräch geht es nicht nur um den Einsatz von Technik und den Workflow, sondern auch um die Performance der Musiker, die entscheidend für das Klangergebnis ist. Arno dokumentiert uns seinen Recording-Workflow und erklärt, wie er die maximale musikalische Leistung aus den Musikern herauskitzelt! Viel Spaß beim Hören! ➡️ (00:00:00) - Arno Jordan ➡️ (00:21:00) - Performance der Musiker ➡️ (00:26:27) - Rolle des Genre ➡️ (00:27:52) - Mischpult ➡️ (00:33:03) - Mikrofone ➡️ (00:41:47) - Preamps ➡️ (00:46:43) - Hardware & Räume ➡️ (00:53:42) - Vibe ➡️ (00:56:16) - Performance der Musiker verbessern ➡️ (00:58:36) - Aufnahme-Situation finden ➡️ (01:03:17) - Typfragen ➡️ (01:05:32) - Das Geständnis ➡️ (01:06:43) - Referenztrack-Empfehlungen ➡️ (01:11:22) - Chainbreaker

I was recently searching for a new bass amplifier. My findings surprised me and that is why this episode is about bass preamps.

In this episode the guys debate what's more important, Preamps or converters. Does the quality of the sound coming in matter more than the conversion processing of your audio interface? Or do you need great converters to accurately capture your sound sound source no matter what? Lets find out.Please subscribe to our YouTube and rate our podcast it helps us alot!  https://www.helpmedevvon.com  Follow Us And Watch Videohttps://youtube.com/helpmedevvonhttps://www.instagram.com/helpmedevvonFollow The Cast Devvon Terrell https://instagram.com/helpmedevvon  LJ https://instagram.com/iamlevensjean  Courtney Taylor https://instagram.com/officialcourtneytaylor

The Audiophiliac talks about the amps (and preamps) in his life. So many, and this might not a complete list. The journey started in 1965 and it's not over yet!XAM integrated ampHarman Kardon stereo receiverKenwood TX140XPioneer SX1080AGI 511a preamp/Van Alstine Model TwoMark Levinson ML-1 preampKrell KSA100Acoustat TNT200 ampAudio Research SP-6B preampSpectral DMC-10 preampCary SLP-98/805Conrad Johnson Premier 10/11Wavelength Cardinal XS ampAudio Research Classic 30 ampParasound JC-1/JC-2Pass Labs XA100.5 monoblock ampsPass Labs XA25 ampFirst Watt J2, F7, F8, SIT3 ampsBut I forgot the Decware Zen Triode!!

Preamps take a weak, thin, and tinny sound and turns it into something exceptional. Written & Produced by: Rick coste

There are preamps costing in excess of $10,000 using low cost $20 volume control pots. Does it make sense to buy them or should they be shunned?

El de los preamps de micros --- Send in a voice message: https://anchor.fm/subeparriba/message

What is different between a preamplifier and a power amplifier?

When building a system with limited funds which is more important to invest in?

We’ve seen meters on power amps, but preamps? Do they make sense there?

On episode 262 of the BSP, I answer questions about the Universal Audio 610 Solo tube preamp, the Neumann TLM103 or Austrian Audio OC18, Why is the Zoom h5 so noisy?, what beanies do I wear, and share SM58 or sE v7?   Subscribe to the full audio podcast at http://www.bandrewsays.com   Gear Used This Episode (Affiliate Links): Neumann TLM49: https://imp.i114863.net/tlm49 Hakan P110 Pop Filter: https://imp.i114863.net/Za2Ag Yellowtek Boom Arm: https://www.yellowtec.com/mika.html Golden Age Projects Pre73 MKIII: https://imp.i114863.net/gap73iii Universal Audio x8: https://imp.i114863.net/zMg2r Sennheiser HD650: https://geni.us/sennhd650   Twitter: @bandrewsays Ask Questions: https://www.askbandrew.com Merch; https://teespring.com/stores/podcastage-store Discord: http://www.podcastage.com/discord   00:00 - Intro  01:00 - What I've Been Testing 02:15 - Ask Bandrew 03:15 - Email 1 03:30 - Test of Universal Audio 610 Solo? 08:30 - Email 2 09:10 - Neumann TLM103 or Austrian Audio OC18 13:40 - Email 3 15:00 - Why Is My Zoom H5 So Noisy!? 19:00 - Voice Submission 4 20:40 - What Beanies Do I Wear? Rothco Watch Cap: https://geni.us/rothco 24:00 - Voice Submission 5 25:10 - Shure SM58 vs. sE Electronics V7? 27:40 - Outro Just Heather: https://www.bandrewscott.com/blog/2021/6/9/guest-on-not-just-heathers Taylor Guitars: https://www.bandrewscott.com/blog/2021/6/8/guest-on-taylor-primetime-episode-47-5-great-mics-for-acoustic Why I Stopped Wearing Smart Watches: https://www.youtube.com/watch?v=TfQ4T1m-5go

Preamps often output as much as 20 volts rms. But, power amps cannot handle more than about 2 volts. Paul helps us understand.

On this week's episode, the dads discuss the upcoming Ramones biopic and their favorite music-themed movies. They also give you a Guitar Dad primer on preamps, so if you ever wondered "what the heck is a preamp pedal and why do I need one" this is your episode!

If sources output more signal level than power amplifiers can handle without clipping, why would an active preamp make sense?

Wir sprechen in dieser Episode mit Alexander Krull, Inhaber des Mastersound Studio, über das Aufnehmen von E-Gitarren für Metal-Produktionen. Alex ist Mitglied der beiden Metal-Bands Atrocity und Leaves' Eyes, die er beide produziert. Als Produzent arbeitete er außerdem bereits für viele Metal-Bands wie Doro, Cradle of Filth, End of Green, Belphegor u.v.m. Im Podcast erklärt Alex, wie er an die Recordings von E-Gitarren herangeht. Angefangen von der Auswahl der Gitarren, den richtigen Amps sowie Preamps, über die Mikrofonierung bis hin zur Produktion im Rechner werden alle wichtigen Elemente der Signalkette von ihm dokumentiert. Viel Spaß beim Hören! Partner dieser Episode ist IK Multimedia.  Studioszene 2020 - Jetzt registrieren: https://bit.ly/2HidaYp Mastersound Entertainment: https://www.mastersoundentertainment.de Leaves' Eyes: https://www.leaveseyes.de trocity: https://www.atrocity.de Guitar Summit Webcamp: www.guitarsummit.de Shownotes: www.soundandrecording.de/podcast Hier findest du Sound&Recording: Facebook: https://bit.ly/3fGHgR2 Spotify: https://spoti.fi/2F8weat Apple Podcasts: https://apple.co/31Jp5VV YouTube: https://bit.ly/2QUlL5K

Preamps aren’t much more than a pot and switch so why are they so expensive?

Differential inputs on preamps and amps? What’s that mean and why would we care?

Microphone preamplifiers are essential for almost all recording. In this episode, I look at the requirements for a quality preamp, and how preamps are designed and used.Although this focuses on the D.W. Fearn VT-1, VT-2, and VT-24 mic preamps, the principles are applicable to any preamp.We look at the extreme range of levels a preamp has to deal with, and the techniques used to accommodate this range. Why is there a 20dB pad on most preamps, and how best to use it (or not)? Many modern mics have a transformerless out, and a non-standard output impedance. How do we deal with that?Do mic preamps introduce distortion? What kinds? And which add to the sound and which distortions are annoying?How does phase shift through the mic preamp affect the sound? What can be done in the design process to minimize phase shift?How do we use the "Phase" (polarity) switch on a mic input, and where is it most useful?What exactly is “phantom power?” How did that come about? What are the advantages, disadvantages, and potential problems?Using a mic preamp on a mix buss is also covered, along with the special requirements for that application.How about installation of your outboard preamp? What do you need to consider in cooling, wiring, and AC power in order to get the maximum audio quality?How can mic patch panels create potential serious problems, not only for the audio quality but also for the safety of your expensive microphones?I take you through the history of the design of the VT-1 preamp, which is the basis for all the D.W. Fearn mic preamps and also influences the sound of our equalizers and compressor.Understanding some of the technical details will help you to use your preamps better. I avoid a lot of technical jargon and theory, and just focus on the aspects that will be helpful for most recording engineers.Thanks to everyone who has contacted me with your comments and suggestions. I have already added some topics for future episodes, based on listener feedback. You can contact me at dwfearn@dwfearn.com

After taking a break last week, I’m back. Let’s answer a bunch of questions and help as many folks as we can, How to Use #Reverb

Brian and Blake are back for another episode of the Chasing Tone Podcast.A recent visit to a gear forum raised the question of where to place an ADA MP1. In front of the amp or in the effects loop? This leads to a discussion on pre-amps and shows you shouldn’t always believe what you read on the internet.This quarantine has changed a lot of things in our personal and professional lives. This includes some of the things Wampler does as a company. Brian and Blake take a look at how this all translates to the gear world.Brian has just released a new DIY Kindle E-book full of DS-1 info and mods. Perfect time to “shelter in place” and do some rad mods on that DS-1 sitting in your closet.It’s all in this weeks Chasing Tone Podcast.Brian’s ‘How to modify the Ds-1” Kindle book on amazon:https://www.amazon.com/dp/B0872JN3GFIf you purchase the book, PLEASE leave feedback on Amazon!Find us at: http://www.WamplerPedals.com http://www.Facebook.com/WamplerPedals http://www.Twitter.com/WamplerPedals http://www.Instagram.com/WamplerPedals http://www.Facebook.com/ChasingTonePodcast http://www.facebook.com/groups/wamplerfanpage/Contact us at: podcast@wamplerpedals.com

As the work we do changes so does our gear. After quite a bit of research Robert tests out a Sound Devices MixPre 3 (mark II version). This is not a full review as yet just an overall first experience with the field mixer to see how well the pre-amps work and how easy it is to get a good recording out of the unit. Tune in later for a more in-depth review and check out our YouTube page (https://www.youtube.com/channel/UCSz6B_02UyY7Pms4I-3VABw/) for more reviews.

In diesem Podcast surfe ich auf ebay herum und vergleiche die Preise von gebrauchten und neuen Mikrofonen und Vorverstärkern (Preamps). Es geht um die Frage, ob es sich lohnt, diese gebraucht zu kaufen, oder ob man nicht lieber doch besser langfristig in neue Technik investieren sollte. Ich war sehr überrascht von den Preisen vom Music … „Lohnt es sich Mikrofone und Vorverstärker gebraucht auf ebay zu kaufen“ weiterlesen

Focusrite makes my favorite USB audio interfaces. The new 3rd-generation Scarlett models bring improved audio quality with new preamps and more gain, audio enhancement, USB loopback, USB-C connectivity, and more! Thanks to John DiNicola for joining me in this video! Watch all my video interviews from Podcast Movement 2019, and click here to see the...

The Audio Interface is the Boss of your computer recording system. We cover the basics of common audio interfaces. Preamps, A/D Converter, Sample Rate & Bit Depth, MIDI, Ins & Outs. Does that sound like a lot? Don’t worry, it’s really simple once you break it down.Overachievers ClubYouTubePod Sound School Blog

Today we are talking about Preamps and Faders. This is going to be one of the keys to setting yourself up for a great mix. Make sure that you share this podcast if it is helpful and be sure to email any questions about topics to josh@axionsocial.com

If your audio is great people can forgive medicore video, but if it sounds bad people will turn it off. This episode we are talking with mic and preamp reviewer Curtis Judd (http://learnlightandsound.com) and podcast producer Ray Ortega (https://rayortega.com) the simple secrets to audio production for some common situations. This podcast is brought to you by Epidemic Sound (http://share.epidemicsound.com/stalmanpodcast), where creators can easily license sound effects and music for all your creative projects Audio for social media The priority for quick social media videos like Instagram stories is to keep it simple and sounding great. When you turn on the selfie camera, you‘re off to a great start because the mic is only an arm's length from you face and most phones have decent mics these days. Just be extra careful not make the biggest rookie mistake of covering the mic with your pinkie finger. Stay aware of which direction the mic is facing since phones have mics on the front, back and bottom. If you are pointing it away from you, your voice will get a lot quieter. If this is a situation, you often find yourself in, there are external mics that can help with that. Portable mics for phones Rode Video Me (https://amzn.to/2VWliRg) Shure MV88 (https://amzn.to/2FKCWBU) Audio for Vloging Similiar to a phone selfie, the vlog format has the instant advtage of mic proximity. As long as you've plugged in a half decent mic, set the levels, and put on appropriate wind protection, it's easy to get great audio. With this format, background noise isn't a huge problem since it blends in with the overall context of the story you‘re telling. What matters most is that you can be heard clearly. Mics for vlogging Rode Video Micro (https://amzn.to/2Ta81mc) Rode VideoMic Pro+ (https://amzn.to/2W1BTTU) Deity V-Mic D3 Pro (https://amzn.to/2W1QdLY) Audio in a YouTuber Studio If people are going to be watching your videos on TV, laptops or with headphones you owe it to them to keep the audio as clean as possible. When they are focused on you‘re talking head, details like echo and background noise start to matter more. So after you've taken the first steps of turning off the AC and unplugging the fridge (TIP: put your keys inside as a way to remember to plug it back in), it's time to treat the room for reverb. In real life, reverb is easy to ignore. Put a decent mic in a room and every echo is a distraction.  There are a few simple and affordable solutions, best of all is to drape sound blankets in front of any hard reflective surfaces. This will make the single biggest difference, ever more than you‘re choice in microphone. And speaking of microphones the gold standard is Sennheiser MKH416 (https://amzn.to/2FL0F56), which now used by top YouTubers like MKBHD and Johnathan Morrison, but if $1,000 is out of your budget the Deity S-Mic 2 (https://amzn.to/2CuBgsY) is incredibly similar for a fraction of the price. A favorite of Ray and Curtis is the AudioTechnica AT4053B (https://amzn.to/2CudEov). Once you've picked out your mic, choose a field recorder and plug it in. For the budget minded, the Tascam DR-60DII (https://amzn.to/2DjGZUe) is a great choice or if you want to go straight for the best pick up the SoundDevices MixPre-3 (https://amzn.to/2VYap1v). And make sure you get some good Sound Blankets (https://www.vocalboothtogo.com/shop-soundproofing-curtains-mobile-vocal-booths-accessories/) YouTube Studio mics and premps Rode VideoMic Pro+ (https://amzn.to/2W1BTTU) SoundDevices MixPre-3 (https://amzn.to/2VYap1v) or MixPre-6 (https://amzn.to/2DmaZPn) Sennheiser MKH416 (https://amzn.to/2FL0F56) Rode NTG-1 (https://amzn.to/2sBqTPC) or NTG-2 (https://amzn.to/2SXOju8) Deity S-Mic 2 (https://amzn.to/2CuBgsY) Tascam DR-70D (https://amzn.to/2ATAtSt) Tascam DR-60DII (https://amzn.to/2DjGZUe) Zoom F4 (https://amzn.to/2sCzbH2) Zoom H6 (https://amzn.to/2W5vWWa) Zoom F8N (https://amzn.to/2szNEDq) AudioTechnica AT4053B (https://amzn.to/2CudEov) Podcasting & Voice Over All the rules of in studio videos apply, but your audience is listening a lot more closely so the pressure is on to make your audio production sound amazing. Ray Ortega (https://thepodcastersstudio.com/gear/) has a great writeup on all your gear needs, but the basics are that you want decent mic that rejects background sounds, a low noise preamp and an echo free room. Sounds blankets are your best friend here, so you might want to build a little fort, or at least make sure you've got some furniture and carpets in the room.  There are many great mics to choose from, for beginners the AudioTechnica ATR-2100 (https://amzn.to/2MjbJHN) sounds shockingly good for it's price and can be plugged in via USB or XLR. If you want to step up your game, Tyler likes the Heil PR-40 (https://amzn.to/2VZGzK5) while Ray uses the Shure SM7B (https://amzn.to/2sA3JZV). Podcast mics and preamps Shure SM7B (https://amzn.to/2sA3JZV) Heil PR-40 (https://amzn.to/2VZGzK5) AudioTechnica ATR-2100 (https://amzn.to/2MjbJHN) Samsun Q2U (https://amzn.to/2FIrarK) DBX-286s (https://amzn.to/2T3jRi7) FocusRite 2i2 (https://amzn.to/2T3k7xB) SoundDevices MixPre-3 (https://amzn.to/2VYap1v) Producer's Choice Sound Blankets (http://vocalboothtogo.com) Post Production Less is often more in post production, but it is critical get the volume of your sound to match everyone else's. The easiest way is to run your final mix trough the free software Auphonic (http://auphonic.com) or if you're using Adobe Audtion, use it's match loudness feature. If you have background noise to cleanup, the absolute best is iZotope RX (https://www.izotope.com/en/products/repair-and-edit/rx.html). Special Guests: Curtis Judd and Ray Ortega.

In Brand on Broadcasting with Ross Brand, I talk about audio interfaces, what they do and why they are important to the quality of your audio when recording in a computer or streaming to the internet.I also discuss Sound Devices' MixPre-3, an audio interface, mixer and recorder. What makes it unique vs competing products is not only the outstanding quality of its Kashmir preamps, but its ability to serve as both a recorder and audio interface at the same time. We wish a very happy 20th anniversary to the team at Sound Devices, a company with a great reputation for making high-quality audio products. I look forward to checking out more gear from Sound Devices at Podcast Movement in Philadelphia later this month. This review of the MixPre-6 by Daniel J. Lewis is very thorough. Sound Devices actually made an update to fix the issue causing one of Daniel's few criticisms in the otherwise strongly favorable review.Parts of this episode were recorded live on Facebook Live late at night on July 13, 2018 and early in the morning on July 14, 2018.

See http://thepodcastersstudio.com/102 for complete links and video! Do you have more noise in your podcast audio than you'd like? Do you know what is causing that noise? Is it your mic? How about your studio or maybe it's your preamp...if you use one. I'm talking with Julian Krause all about the latter but of course we dive into many related topics surrounding preamps and noise, including: How to test a preamp for noise or find out what its noise floor measurement is. How the noise you're hearing might be coming from your mic (if it's a condenser) before it comes from your preamp. Dynamic vs condensor microphones. Several audio recorders to include the Mixpre, Zoom H5, H4n and H4n Pro, Zoom f8 and more. Microphone impedance and some of the standard mics you may have used or are currently using. And how the device Julian made works for testing a preamp and how to make one of your own. Comparing preamps to other preamps in terms of noise floor specs. And how not to test a preamp. Measuring noise levels (of a preamp) in software. Using low cut filters during recording vs post production. Gain staging—how to get the most out the device you're using cause the noise floor exists regardless of your recording level. Can you simply lower your level to lower the noise? Not really. You'll end up needing to boost levels in post production and the noise will then be audible because it was always there; you just couldn't hear it in your headphones while recording at lower levels. Follow on Instagram to see lots of behind the scenes content and gear tests between episodes.  Subscribe via YouTube for more BTS videos and podcast tutorials.

- Converters vs. Preamps! - Logic vs. Pro Tools! - Routing Your Reverbs! - How to Buy Kush! - Listening Burnout! - This week's plugin winner is………Audrius Lelkaitis! …and much, MUCH more!

News: Blubrry/RawVoice has acquired Cast Feed Validator (castfeedvalidator.com) Recording Equipment You do not need anything a smartphone to start podcasting.  Some people have good luck with just a smartphone and if done right, they can record a good show with just that. Microphones.  I suggest NOT getting a USB Condenser mic  Go for a dynamic mic.  ATR2100 is a good starter mic if you have to use USB.  You can go with a more expensive microphone and use a USB interface. Mixer -  You don’t *have* to have a mixer, but it can help.  It allows more than one mic to be plugged in.  It has mic Preamps. The little more expensive ones will allow a Mix-Minus. (a whole nother episode) Software  Audacity is free, Garageband is free with a Mac (so not free).  Audition is $15 a month.  Hindenburg journalist is expensive. You really don’t need much else. The whole idea is to get something that will give you a clean audio recording.  No need for the fancy stuff. If you want to get fancy Compressor limiter gate Equalizer Sound treatment External recorder deck / Portable recorder Boom arm for the mic Broadcast headset (with or without mic) What equipment you get is totally dependant on Budget and what type of podcast you are going to do. If you are going to have a remote co-host or if you are going to interview people, I suggest a real mixer (not the cheapest one).  You really don’t want to depend totally on software to record skype. Auphonic is a great way to level your sound out after you have edited.

This episode, Doc and I answer more of Dave King’s questions from ep #161. Then, it’s on to a discussion of Proximity Effect, the PiSound add-on for Raspberry Pi, and microphone preamps. Along the way, I found this concise preamp buying guide at Sweetwater, which is certainly worth a look when you’re next in the … Continue reading "Episode 163 – Microphone preamps"

In this month's DIY podcast, I talk to Dafydd Roche of Expat Audio about their new Eden Mic Preamp. Download the mp3 or listen on iTunes . Subscribe to the DIYRE podcast Dafydd and I get into some good stuff about mic preamp and general audio design, including: The difference between surface mount (SMD/SMT) and through hole components in terms of sound and performance. Are SMDs good for audio? Should we audio folks resist industry's march toward all surface-mount parts? The concept of "parasitics" in audio electronics design and when their effects can be critical. Dafydd gives us a guided tour of the Eden circuit from the input to output jacks--a great way to get a grasp on the basics of mic preamp design.

Es ist Montag und gleich morgens musste ich erst einmal am neuen Audio-Setup spielen. Alles korrekt einstellen meine ich natürlich. Mein neues Mic ist das Shure SM7B und dazu gab es noch das UR44 Steinberg USB Interface, mit ordentlichen PreAmps. Nach der ersten Aufnahme gefällt mir diese Zusammenstellung schonmal recht gut. Luft nach oben gibt es immer. Götz George leider verstorben. Das gefällt mich mal so gar nicht. Was es sonst noch gab, hört ihr in dieser Episode. Viel Spaß :-) Mein neues Setup: Shure SM7B (Affiliate): http://amzn.to/297uThl Steinberg UR44 (Affiliate): http://amzn.to/28WUWK3 _________ AMAZON: http://amzn.to/1WoQ3vu Patreon: https://www.patreon.com/Litz Twitter: @marcsearlybird Internetseite: http://early-bird.litz-media.de Support: http://PayPal.me/MarcLitz Alternativ: http://shop.spreadshirt.de/Podcast-Shop

Heute geht um die Mikrofonierung von Gitarren, also die Aufnahme der Klänge, die vom Combo-Verstärker bzw. Amp + Gitarrenbox asugespuckt werden. Hier hörst Du, welche Möglichkeiten es gibt, welche Mikrofone wir verwenden, was bei Preamps... Der Beitrag Gitarren-Mikrofonierung – DG124 erschien zuerst auf delamar.FM.

Nathan is sick, so UBK tackles a TON of questions for your listening pleasure! Densely packed with gems…   - Mixing Questions! Mud! Reverb! - Analog! PreAmps, Distortion, and Summing! - Production! Audio Perspective for Video, What!? - Randomness! Too Many Corey's? Too Much Muzak? Too Many Cows to Find a Job?! - Business! Clients!  Changing Arrangements!  This Week's Plugin Winner is…Imtiaz Ahmed! …and, much—well actually, that's a lot. What more do you want!?    

Für Gitarre und Bass gibt es feine (Multi-)Effektgeräte, Preamps und anderes Equipment zur Klangformung, das in ein 19-Zoll-Rack gepackt werden kann. Schon in den 80ern und 90ern wurden solche Geräte fleißig gebaut…und die sind teilweise... Der Beitrag Rack-Effekte aus den 80ern – DG114 erschien zuerst auf delamar.FM.

In this episode Travis, Max, and Brian discuss Preamps, how to use an FX Loop, what goes into naming a pedal, and the meeting between Wampler and Bogner. http://www.wamplerpedals.com/podcast/ for podcast subscription, or go to http://www.wamplerpedals.com/subscribe to be notified of new podcasts and videos that are uploaded to this channel. 1:35 – Travis Eats Crow – Alnico Speakers 3:45 – Wampler Meets Bogner 6:30 – Naming A Pedal 11:00 – What Comes First, Dirt Or Delay 12:30 – FX Loops And Preamps 21:10 – Sallie Mae 23:30 – Brian The Germaphobe 25:10 – Bright Switch and Fizziness 31:30 – Travis’ Dream Amp Find us at: http://www.WamplerPedals.com http://www.Facebook.com/WamplerPedals http://www.Twitter.com/WamplerPedals http://www.Instagram.com/WamplerPedals http://www.Facebook.com/ChasingTonePodcast http://www.Instagram.com/ChasingTonePodcast

In this episode of the podcast, I discuss colored vs. transparent mic preamps.

In this episode, we talk about microphones, preamps, and the signal path. Opinons on tubes and solid state eletrictronics. For more information, email us at RecordingLoungePodcast@gmail.com or go to RECORDINGLOUNGE.blogspot.com

Annie Awards, Emilie-Claire Barlow at Toronto Anime Ball, Microsoft VS the Mapuche, Talent or Skill, Mics, Processors and Preamps, Last call for Voicey Nominations.