(Transcribed by TurboScribe.ai. Go Unlimited to remove this message.) And welcome to another Pro Audio Suite. Don't forget, if you want to get a discount on your Tribooth, use the code TRIPAP200 and that will get you 200 US dollars off your Tribooth. And they're used by the stars in the voiceover industry. Trust me, they're good. And also Austrian Audio, making passion heard. Robbo has been playing with some new gear. What have you got Robbo? Let's go. Welcome. Hi. Hi. Hi. Hello everyone.
To the Pro Audio Suite. These guys are professional, they're motivated. With Tech the VO stars, George Witton, founder of Source Elements, Robert Marshall, international audio engineer, Darren Robbo Robertson, and global voice, Andrew Peters. Thanks to Tribooth, Austrian Audio, making passion heard, Source Elements, George the Tech Witton, and Robbo and AP's international demos. To find out more about us, check the ProAudioSuite.com. Yeah, and I've only been playing with it.
I haven't used it in anything. So I'm by no means an expert with this. But Gomez said to me that I should load up the curves, the new waves curves. I think I thought it was just curves, but it could be curves equator, could be wrong. By the way, thank you. Thank you, George. For those who don't, and he is also the head of training and development at waves. So he's an old mate of Andrew's and mine. We worked together back a long time ago in radio days. So he's an old friend of mine.
And he said, anyway, he wrote me an email, said, you should check this out. So I, out of respect for Gomez, I've loaded it up a couple of times and had to play with it. I'm yet to get my head around it. Effectively, what it is, though, is an AI EQ. So effectively, what you can do is show the plugin, your audio, which is the same as you would do if you were sort of showing silence in a noise reduction plugin or whatever, and it will have a look at it.
And then you can create all sorts of curves around what it's seeing. Yeah, throw it up on screen. I've got it open here in my Pro Tools session. So I've just dragged in, this is an old opener that AP voiced for the show, just because I don't want to piss anybody off by using their voiceover for things it wasn't authorized for. Good idea. Good idea. So AP, I guess you'll have to send the show the bill for this one. I'll charge myself. Charge yourself. That's why.
So you can see it looks like any other sort of EQ there. So from what I gather, without having played with it too much, that you give it this learn command, right? And so now it's listening to my audio. Welcome to the Pro Audio Suite with Tech to the VO Stars, George Whittam. Right. And then from it's so now it's basically calibrated itself to Andrew's voice is what I sort of, and then when I click apply, I now get this.
So, and then I kind of, what I kind of figured from here is you can sort of draw, you can sort of change your curve. Welcome to the Pro Audio Suite with Tech to the VO Stars, George Whittam. Welcome to the Pro Audio Suite. And this tilt thing's interesting because you can sort of, you know, if you want a sort of general sort of broad sort of butter knife sort of thing, you can sort of just do that. And then you've got your shape, which is your cue and all that sort of stuff.
And then the sensitivity. So outside of that, I've not figured out a lot more. There's, there are these advanced controls down here, attack and release times and, and all that sort of gear. Interestingly, before we started recording, we were mucking around with the, with the presets and the one that I loaded up, this one, this airy backing vocals thing, which I kind of found really interesting. So if you. Welcome to the Pro Audio Suite with Tech to the VO Stars, George Whittam.
So that's with it in. And then if I take it off. Welcome to the Pro Audio Suite with Tech to the VO Stars. Well, what's interesting is the image of the curve. It didn't change that much. It still has that same low cut on the bottom. And then it just sort of the mid range kind of. Yeah. Popped up a little bit or it pulled down. The thing about these tools is, you know, they are such new paradigms of ways of doing things that all of us grizzled engineers. Yeah. Yeah. Yeah. What do I do with this?
Whereas like, I think a lot of like younger producers, engineers, people learning, you know, are way less afraid and just kind of grab and yank and just start pulling and twisting knobs, you know, the world we're looking at and going, I don't really what's. Yeah. Well, the interesting thing that I understand and I'm pretty sure I'm reading Gomez right that if you if you if you sidechain something to hear. And get it to learn that it will actually adjust your. So say this say this was your vocal.
What we're looking at here or AP was it was your vocal. It will actually adjust AP's vocal to sit it, sit it in the mix sort of thing. So what it's listening to, it's going to listen to that and go, OK, well, I'm now going to EQ this in relation to what I'm hearing there. That's where things get a lot more interesting because when it can listen. Yeah. It listens to the context that it's in. And make some judgment calls. And being AI, it will adjust as it goes to, you know, sort of thing.
So rather than sitting there and drawing a million bits of automation, because for me, in radio imaging, say, for example, I've used a music bed at the start of this different one in the middle and a different one at the end. And so I'm drawing EQ, automating EQ curves in Pro Tools from what I understand. And Gomez, please correct me if I'm wrong. From what I understand, though, that will be a thing of the past.
I will just set how I want Andrew to sound and then go, OK, you adjust that to keep it there as it goes through or to keep it sound interesting. Whoa, that's cool. So, yeah, it's pretty clever. It's kind of small on my screen, but can you tell us what the bottom five knobs do? Yeah, so down there, this is attack, release, precision, tilt frequency. So I presume that's where the tilt starts from.
So if you do this tilt function, so I can tell it, well, I actually want to tilt it further back that way. Yeah, yeah. Or whatever. Way down there. Yeah. Oh, now it's tilting it around that way. And it seems you're right, George. It seems to be just around the mid range too. So. So, yeah. And then you've got a curve smooth, which is obviously smoothing out those rather than being so harsh. It's just smoothing our curve out.
So if you turn all the way to the left, you have a lot more little bumps. So all the way to the right, it's getting closer to a straight line all the way to the left. And it's a bumpy mountain. And the other cool one here is auto makeup. So that's sort of almost like you're also automated volume control. So it's sort of, you know, making sure that it stays. So that sounds to me like. Well, it does have a limiter. That's here. That's the limiter. There's a limiter here. Limiter on off.
Audio, audio makeup, I'm presuming is like a threshold on your, on your, on a compressor. Yeah. Here I was thinking it was just an EQ. It's got a little dynamics thing here as well. So these I'm yet to work out. Pink, warm, flat, George, you might have a little more of an idea what they might do. Say again. And flat. Pink, warm, flat. There's nothing visual. That's a shape thing. So yeah, there's something happening in the background there that I'm yet to figure out what that's doing.
Well, for that, I'm going to have to RTFM. Read the fracking manual. Yes, exactly. Who would do that? Yeah. I'm that sort of person that doesn't learn from reading. I'm better off just sitting down and playing with it and figuring it out. But I have to say Waves, yet again, even though Gomez is a mate, very cool. I mean, clarity and de-reverb more and more finding their way into my workflow. Not so much de-reverb, but certainly clarity because it's just so easy.
Just throw it on a track, dial it in and move on. Yeah. Yeah. I mean, how often would you need to de-reverb if you're working with most professionals? But it's there and it is good. I mean, actually, there is one place that I use de-reverb is like on listener punter grabs and all that sort of stuff. If someone's been running around the office to record punter grabs or whatever, and they sort of send me to go in a promo, it's easy to throw that on there and clean it up a bit better.
But yeah, on a day-to-day basis, I'm really not using de-reverb at all, but it's frigging good as you know. It's funny actually, whoever did the design, the color of the new waves app, it looks like they've been looking at an old Vox amp from the 60s. Yeah, it kind of does a bit, doesn't it? Vox amps, yeah, that's what it looks like. So the obvious question from here is if we're automating EQs, does that mean that we're automating compression next? Do you reckon with AI?
We'll be automating everything. Yeah. Probably. It's like, I think we're going to build a whole rack of automated tools eventually and just say, learn, sidechain. Yeah, I agree. Yeah, scary. So let's say maybe we need to form an audio engineers union, like the voiceover union, and start fighting this AI curse. I mean, hey, you're doing this out of a job. But before you do actually jump to automation, we should mention our competition where you can do a mix not using AI. Or you could use AI.
Yeah, well, I suppose, but who do we give the headphones to if they win? I guess we do. Well, the robot. Yeah, the robot gets a free pair of headphones. But if you'd like a pair of Hi -X20s, go to our website, theprobabilityofsweet.com slash win, and we'd love to hear your mix. It's not a quality based thing either. What we want to hear is just, you know, you're having some fun. I mean, if you don't like Andrew's voice, take it out, put your own in.
Or if you think the sound effects that I put in there are crap, take it out and put your own in. Or if you think, you know, the music's not right, put your own in there. Have some fun with it, seriously. I don't think people knew this was part of the rules now. I think that clearly takes it in a whole other direction. So yeah, I mean, we're just sort of glossing over it here. But if you look at the website, all the rules are there.
But yeah, we don't want to, we want this to be open for everybody. So if you're a voiceover artist or a podcaster sitting at home going, well, that's not for me. It's absolutely for you. We're not looking for the most pristine, precise mix. We're looking for, you know, just something that sounds good. And you've had some fun. Yeah. Represents you, your creativity or just where you are in your journey, whether you're a beginner, pro or whatever, you know.
I'm hanging out to hear some of the results. And will we get, will we hear the final results or are we going to hear like the top three? Three maybe, because, you know, if we get, you know, a hundred, I don't think we, I'll cut it down to maybe 30, 20 or 30 and then share them between us. And then leave the sort of top 10 for the top. Yeah. Let them do the top. Because I don't think anyone will. Got it. Okay. And then we can maybe feature the top three or something.
Yeah, and maybe pick out a couple of randoms or, you know, those that are those special mentions or something too, I suppose. Yeah. Yeah. Like, wow, this person replaced Andrew's voice with a donkey. Exactly. Well, I mean, what's the difference? I'm not trying to give you guys any ideas or anything. I suppose. But you know. Ha ha ha ha ha. At least I'm not on YouTube. Ah. Yeah. ProaudioSuite.com