TV history. Get started. Welcome. Hi. Hi. Hi. Hello, everyone, to the pro audio suite. These guys are professional and motivated. Please text the. Video stars George Wisdom, founder of Source Element Robert Marshall, international. Audio engineering Robbie Roberts and global voice Andrew Peters. Thanks to tribal Austrian audio. Making, passionate elements George the tech wisdom and Rob Irwin APIs international demos. To find out more about us. Check the Proteas.
Sweetcorn line up. Ready? Here we go. I'm me and welcome to another pro audio suite thanks to Austrian audio miking, passion herd and tribals. Don't forget the tribes MMO. It's all new and it's not a small so it's good for traveling. Speaking of which, tribe is there? I see lots of people talking about changes to making comments that I know are unfounded, but I think we should do a bit of myth busting.
I was actually in a room the other day or a page, and there was a post there from someone that said something like, and I'm paraphrasing, but it was something like, why would I buy a tribe boost when I can make my own for, you know, X dollars? And it's like, I think there's a bit more to it than that. It's just sort of. Like, yeah. It's it's funny. People just look at the look at a few pipes in some and some blankets and go, well, you know.
Why I should actually preface this by saying that when I first saw the tribe boost, I thought, I'm gonna have a go at making one. Of course, I was privy to that and. It was expensive. It cost me a lot more than I thought it was going to cost, and it didn't work. And it was just massive and horrid. So come on, George, give us all the company secrets, because we all want to make our own now. Yeah, well, I mean, you know, most charlatans mainly designed products start that way.
I can make crappy or cheaper version of that and sell it for four times. You know, that's like, I just made that my men that were putting. I like I. Thought you as being very smart. Artisanal and Charlotte from Charlotte dismally design manual. But yeah, that's what a lot of products start that way, you know, they're just like, oh, shit, I can make that. And they make it, and I'm going to make it as cheap as possible. But the number one goal being a profit making adventure.
Period. Full stop. Of course we're running. We I should say Rick Bosman. I'm. No, I'm in no way part of the operations of a business. It's fully. Rick. But the point of the company is to make money and subside and and exist and persist.
And it has been able to do that because of what is charged per unit ad that not been built in at the price point that it is, we would have slowly bled ourselves dry because actually what's happened, we haven't raised the price of the tribus original right, since it was launched almost six years ago, and the cost of everything has gone up. Materials and labor, both.
So the product makes far less profit than it did 4 or 5 years ago, which is the exact opposite of what a company wants to have happen. Right? It's like when you're here, would you make a product to sell? You try to lower costs over time, not have them increase. We've had the reverse happen and we do promotions. We meaning Rick, I keep saying we I'm I'm a partner in terms of its design, but really it is 100% Rick's operation. And the promotions happen at every holiday.
And there's discount codes on our show and the promote. And so many of them are sold on promotion so that the margin is even tinier. So I get a little piece of the action because I'm building filters for each person who purchases one. So all that being said, that's the reason it costs what it costs. And also the very best of every possible material is used in its design and construction. Right? So we're not using off the shelf plumber's grade PVC.
We're using furniture grade PVC that's a lot more expensive. And it's a thinner wall so that it's much lighter per foot. The sound blankets we're using, we have changed and improved them several times in its lifespan. And now for the last three years, that blankets are a very high and heavy grade material. That is something you have to nuance if you want a product to still ship and go on a plane and be under a 22 K 23 kg, is that the you're is that the worst?
Yeah. I think it's 45 pounds or something. That's 50 pounds in the US. Yeah 50 pounds I think it's fine. It has. It has to. Everything has to be considered to an intense degree when you have those restrictions. So you have size restriction, you have weight restriction and you have it's got to be good. It can't just look good. It also has to performance hundred. It has to do it.
So if you take all those things into consideration and you DIY, you will have an extremely difficult time replicating all of those factors yourself. Trust me. I've heard it. I've heard many people mention making one of their own, and everybody make something that's first of all, square. Okay, now a square bad. No, not necessarily for a blanket for squares. Okay. But how are you going to pack it into one standard size travel suitcase guarantee not it's not going to work. And how do we know?
Because that's where we started. We started with a conventional square shape, and we realized we couldn't pack that into a suitcase. And we had to figure out how to make it smaller. And that's when the triangle floor plan came out. Now, of course, you could probably also cobble together a triangle floor plan on your own. There's different ways to do it. But it's still not going to break down and be as easy to transport and have the least number of parts possible to still give you those results.
So that's my little like answer to the I could make it myself. Don't don't even factor in the labor time. Like I don't know your hourly rate is that you bill for your skills? Whatever those skills are, I can guarantee it's too expensive to build a trip. Yeah, yeah. And be with all the issues that you guys have already dealt with too. That's the other thing. Yeah, yeah. So this is these are the reasons it costs what it costs.
Am I dreaming or did we talk about some of the design aspects in terms of, acoustics actually inside the trade booth, like the blankets not touching the floor and stuff like that. Was that purely a weight consideration, or do I remember you saying something about, the sort of higher frequencies and the how it helped that having some air coming? No, it didn't really come down to frequencies. It really came down very much to a practical application of the material.
It just didn't need to touch the floor. Was it was that perhaps that was that. What it was? What. Well, so we had to decide again, weight and size, two restrictions. We had to decide. Is it more important to have the blankets go from the roof height to the floor? Be one single thickness of blanket from top to bottom, or was it better to have the blankets overlap themselves at double the thickness of blanket at the top one third of the. Booth, which is where the microphone and.
Sacrifice space at the bottom and have the bottom be open. That's what it was. So we of course tested those things too. And what we found out was you got better performance when you doubled up the blanket layer up by the microphone where the microphone actually is as well as on the roof. So after we doubled the sides up and got the double layer wrapping all the way around you, we still had a single layer on the roof. Well, in the room we were testing it in.
Rick had this room in his house that was very barren. It was actually a really good use case of this space because it had hardwood floor and it was very had minimal furnishings. So it was like a weird bonus room off the side of the garage or something. And it was a great place to test because we were testing it and still realizing there was too much liveliness. You're still getting too much river. And I thought, well, okay, we have a double layer on the sides.
What if we were to figure out, what if we just double up the roof and just put another layer over the top? And that made a significant difference. It was like, wow, okay, that really works. So then what increased the cost of fabrication quite a bit was how do you make a triangle piece for the roof that looks neat and fits nicely? Then I have another triangle piece that fits inside that piece. And so in doesn't hang down and doesn't fall apart. That was actually really difficult.
That was the number one most difficult thing to build correctly was the triangle roof. And for many years Rick's wife sewed these herself on. Not professional grade sewing machines, mind you. Just, you know, like a serious amateur would use. Not industrial grade. Right. And she would sell these herself and we would have other people try to make them, you know, we had several different vendors or local fabricators, assembly people seem, I don't know if they call them seamstresses anymore.
That's an old school term. But we had different people try to make them, and they were not doing it up to snuff. And Rick's like, no, this isn't good enough. My wife Tamara is going to have to keep making these. And she, she and she did for the first four years. And now that they have relocated to Oregon, where cost of labor is cheaper, you know, everything's less expensive, you're going to find a lovely husband and wife couple who are now handle assembling the boots for, tribals.
Okay. So, gentlemen, I believe, is doing the fabrication of the frames, and his wife is doing the sewing, so they are still handmade in Oregon, you know, and and so then you would say, well, why don't you make them in China, right? Of course. That's where everything cheap is made. It becomes a scaling issue. Right. So we want to get this thing to compete with the other things on Amazon. We can't make ten at a time. We'd have to make a thousand at a time, you know.
Well, you guys know we've all been through it now with the with the with the passport video and what it cost to make small numbers of hand-built product, no matter where they're made, whether it's made in China or in the U.S. or Canada, it doesn't matter. We're Australia, it's a matter of scale.
And so, yeah, these are made in small batches because, again, Rick very wisely decided he wasn't going to take out some massive loan as a startup for the company or become beholden to a VC, a venture capitalist or some other thing. He bootstrapped this on his own dime and built it organically. And so that's the other reason why it is a small run and still kind of expensive product.
You know, that's what happens if this thing was made by the ten, by the thousand in China, we wouldn't have control over how well it's made and how well it's so together. And the actual materials the blankets are made out of, they could any time switch them out to something cheaper. And then all of a sudden the next thousand smells like a chemical factory because they used a crappy or smelly zigzag.
Like. Blanket, like do research for sound blankets on, you know, moving blankets on online and type in the words smell or stinks or smelly. And you'll see that so many products smell really terrible. Yeah. I mean, I don't know how many things you order from Amazon or online, but sometimes you open the package and the smell is bizarrely chemically laden. I just got these, lighting diffuser panels for lights for a studio I'm doing.
And I opened the package and it was that weird, familiar chemical, floral, carb, any. Funky. Chemical smell when I opened the package, you know, and I was like, yeah. And hopefully they're not going to notice because you know these things are confined spaces for voiceover. You're in a very small space and you're breathing heavily. All right. It's all part of voiceover. The last thing you want to be is like ensconced in talks about distractions and smelling. So that's another consideration right.
It's very important to us. So that's there's just so much we thought about and obsessed over to get to the design that it is. And just and just scaling it up is incredibly difficult and still maintain the. The clothes. The thing I like about the fact of the triangle, is that when you're traveling and you're in a hotel room or something that's not overly sizable, and you don't have the luxury of having a spare room to set it up in, it fits nicely in a corner. Yeah, yeah.
That would mean it was said that the corner, the corner ability of it and taking less space is certainly a big part of, the practical side of it being a triangle. But the actual acoustical benefits of it being a triangle isn't something that we've really been able to quantify. Right, if you know what I mean. We haven't been able to go, like, well, if it was a rectangle of the same exact material in this size, how would it sound in comparison to this triangle format?
But the bottom line is, you know, it's not a soundproof box, it's not a chamber. It's it's a filter. The sound passes through the materials, it goes out into the space, reverberates around and then whatever remains comes back and filters through the blankets again. So you're getting like a lot of bang for your buck out of that material, because it's not just hitting a thin fabric and and hitting a wall and bouncing off. It's passing through, dissipating, and then closing back.
So that that opens up a whole. Another question then George going back to our episode a couple of weeks ago, what's the noise? Floor. Yeah, right. It's a thing we stand on. Yeah, exactly. Yeah, yeah. It's it's weird, but I, it's funny with the, the you talk about the filter, I used it 1 in 1 hotel room. I was in Sydney, and, I only had one place I could put it, and it was a weird room, and I think I've mentioned this before, but, my bedroom actually had a glass wall and a glass door.
Yeah. And so in the sitting area, that's where I had to set it up, but I had to set it up. So one side was actually the triangle was against the glass. Okay. So one bit against glass to get against the walls. Yeah. That must have affected the sound a little bit. And that was well, it did, but not dramatically. I couldn't hear it. But that doesn't mean much. But I certainly know one complaint. It said, that's good. You're not going to get a reverb issue as much as you may get a resonance issue.
So now when the when 1 or 2 of the sides are very close to a wall, you're going to get more likely some kind of resonating issue, because now the sound's going through the blanket and hitting a surface and reflecting back. And so then you might get something we would call comb filtering. You may get a little bit of a mid range something or other that happens as a result. And so you know, in an ideal world the booth would really not be very close to any one wall, maybe one wall.
But not really a corner. So the irony is it makes sense to put in a corner, but you would theoretically the best possible sound you would get is when it's not in a corner like more in the middle of the room. Right. So that's not always practical, you know. But these are the things that affect sound. And so we want to take all those things into account. So when people ask where do I put it so well corner is the obvious choice if that's all you got.
But if you can put it somewhere else, that's great too. Another thing we found was that simply throwing a blanket on the floor can give you the last five, 10%, absorption that you might need. So if it's a really spartan room, all hardwood, you know, very Spartan or, God forbid, tile while you're. In Fiji or something like that. Yeah, exactly. Spain, South America, anywhere they love tile. Tile is so reflective, so that's where you get the most trouble.
So then taking a blanket or comforter and putting it underneath the boot, so you're standing on this large absorbing thing can give you the last 10% of absorption that you need. I've also had people throw another blanket over the entire tribal. This roof. I think that can help too, but I have found that it was still more effective. Just put one on the floor and it's easier to it's and it's easier than trying to put one over the whole tribe because that's a lot of weight.
And you know, all that extra weight on this frame, it can be you can damage it when you try to take it apart. You have to be careful. You know, the other option that on that just occurred to me that you should put in this thing is you could have an optional add on, have a of a room service tray holder, you know. So while you while you're recording you can have your, your lunch or your dinner or your breakfast there in front of you while you're munching away.
I mean, you're on holidays after all. Come on. I know, yeah, I know, there's so many cool accessories that we would that we could put in that package. You know, that's. Also the other advantage of buying the tri boot is it comes with the does it not comes with your iPad holder. It comes with your mic stand comes with the light and all that stuff, stuff that you would never have if you made your own. Exactly. And you go buy all those objects, which you certainly can.
You know, we're not getting these again. We're not buying those things at a 1000 at a time. We're buying them ten units at a time from the same retail established meant that you would be pretty much. So we're not getting some crazy pricing. We're buying almost all the accessories at retail. So there's not any margin on any of that stuff. We just are turning it around. And so we will we do it because we just want it to be easy. The whole thing was think of everything.
What is all the random annoying stuff an actor wish they had brought or packed or forgot to bring? What can we have already in the kit? And that's what's in the box. And so yeah, the even the copy holder is sturdy enough to hold a laptop. I don't know if I would put a 7 pound MacBook Pro 16 inch on it. Could do it probably in a pinch, but a 13 inch MacBook air or an iPad or no problem. It'll it'll hold those things with no issue. Well, I did the last trip. I did, but that's exactly what I did.
I put my MacBook Pro on the the copy stand perfect so I can record and, and, you know, read off the MacBook. So go back. Go back for skip a few years when you tried making your own because it was a dismal failure. I remember, but but I mean, how much time, how much time and how much money do you reckon you sunk into doing that? To go only to go? You know what? It would have been easier just to buy one. Well, I did it as an experiment because I wanted to find out if, yes, I could do it.
And I did build something, but it was ridiculously large. It was prohibitively expensive, I remember. Yeah, it was hideously expensive and, a dismal well, I'm going to say a dismal failure. It wasn't totally dismal, but it didn't do anything that it should have done. It was really heavy, very expensive and labor intensive. Yeah. The first try boots that was made, wasn't it? Tried this again. It was a rectangle and it would pack down into a golf case, golf clubs case.
So you know big tennis right. It's tall. Yeah. It's large and bulky. And Rick carried and dragged that thing to and from the airport a couple of times. And he's like, dude, this is just too freaking big and heavy. It's too awkward to travel with this thing all the time. And how are we going to make this smaller? And that's when we really dug into like, okay, how do we shrink it? How many we have to shrink it. We had to have more sections to each of the legs. All right.
Well then how long should this sections be? You know, it. It's just when you get into the details and you look closer and closer, you find more details. That's, That's why I just got such a such a process to design this thing and be nuanced. In fact, the new one, the memo, which I had no direct involvement whatsoever in actually design and fabricating, that was another challenge because now we wanted to fit it into a carry on bag.
So the longest leg section had to be much shorter than what was on the regular track. This thing, the longest leg piece on the tribe, was about 24in, roughly, maybe something like that. And then the longest leg section on the memo could only be like 18in, 16in, something like that.
So then you had to figure out exactly what length those pipes should actually be, and then you want those pipes to be the essentially the all the same length, so that when it folds down, it's using every square inch of the inside of the suitcase. Right. And you also want to order all those pipes cut precut for you so that you can assemble them more easily. Now you should have. The suitcase with it. For which one? The dilemma. The memo. It should have come with its own carry on suitcase.
You could have one if you just want to just add $100 to the price. I mean. Yeah. I mean everybody, everybody that once that has a carry on suitcase is the reason they want. So that was part of the reason I think it was also a cost price point. But I as I was telling them earlier like they we don't make points or profit on all those retail items like the cases, the cases and the lights and the power strips and all the other stuff is all that stuff's bought at retail.
You know, we can't we we'd have to order hundreds of units, which we just can't do for free cash flow perspective. Nor do we have place to keep it. Yeah. To store it. All. Yeah. So it's a very nuanced thing. The way to scale that. It's made up. Even the R&D that went into that. I do remember when it was first announced and we did an episode with Rick and yourself here. I think you were Rick's place. You out in a. Yeah. Somewhere we were in I tribus in Rick's.
It was like a community room in his building. Yeah, that was his very empty room. Had, like, a sofa and that's it. And we were standing in there together with the booth in the booth, which was kind of funny. And kind of intimate and. Intimate. Yeah. It's true there, you know, have you ever, have you got a recording from anybody and, and have you ever known whether they're going to try Booth or not?
I can't say I know that if they have or they I've gotten plenty of clothes closets, lots of overly tubby booths, you know, like the booth. Me somewhere between 100 to 100 and 40 or 150Hz. It's all. It's. Yeah, it's on that, like 300 and down like that. Yeah. Sound. And you can eat. You can eat you. It's not. It's not under usable. Yeah. But you can tell someone's in like a tiny square booth. Yeah. I've never had anybody tell me or admit that they're using a try. Booth.
I would actually assume that the tri booth would sound better than the box, because it probably doesn't have the standing waves in the same way. Right? Doesn't that the 4x4 booth do like it doesn't knock out the outside sound? It does a good enough job. If you're not doing anything really loud, it does a good enough job of getting rid of the room reflections. You know, if you're not screaming and really exciting the room, it kills that. So it does have its advantages.
Actually, if you have a relatively quiet space ready, you might actually be better off with something like a tri booth thinner than. A whisper room. And it was kind of a I said, booth. Yeah, right. I agree, I mean, I one of the things that I'll do as a customer is I will not just make you a filter, but I'll even try to match your sound from your home studio. Right. So if you are using the tri booth for travel, for many people this is their only booth actually.
But for those that actually do use it for travel and they do have a home studio, one of the things I'll do for them is I'll try when I make the filter to match the IQ of their home booth. Right. So you add this back in. Well, that's the travel. Sometimes I'll get a sample from the home studio booth, whisper room, whatever it is. And it sounds worse. Yeah. And then I'm like, yeah, what do I do?
Yeah. So, you know, it's it's a weird because I'll be like, okay, well, this is the way it should sound, but this is the way your home booth sounds. So I'm going to add to cue here and there so that they kind of match. And then there's the whole point of making the matches so that you can pick up a job, take up work, you know, continue a campaign. All kind of things are reasons voice actors work on the road. You know, they don't you don't work on the road to do an occasional audition.
You walk on the road because you just absolutely have to. Maybe, maybe you work on the road because you're not working enough and now you're homeless. Well, yeah. You know, while you work on the road, however, you work on the road because clients can't get the scripts right the first time around. That's why. Oh, yeah. Because now it's not. You have to do the pitch that. Oh, we forgot that. We forgot to put the phone number in or. Yeah. Can we. Yeah. The email address is changed right.
You know, the promo code is wrong or whatever. Yeah. Yeah. But it's funny though, because, like, you know, as you know, I do like, pretty well daily stuff for, Dubai and weekly probably jobs for Singapore, but the daily stuff, I know that the guy, AJ, who's the producer engineer in Dubai, I've sent him stuff that I'm really open, honest with him and say, look, you know, I'm on the road. Is it sounding okay?
And I every time, oh, pretty well, every time I've done that, he said, I can't even hear the difference. Mainly because he, he's already got the processing set. Up for your. As a template, so he doesn't even listen to it before he gets process. So he has a change. So he's got. A team, knows he's going to run you through that chain. And so the first thing he does is after records you from wherever you are. His hits play on that chain and it matches well enough with the chain in place.
Yep. He's happy. He doesn't even doesn't even draws attention. Then it's a different thing. It's it's funny because I mean, if I'm sitting here, if I'm in my booth at home, I'm either using, an 818 or an eight seen monster in audio through either the Grace and what I won or a 1073 knife. But when I'm on the road, I'm using either when it used to be an SSL two and now it's similar, you know, the passport video. And. By the way, we're going to have more of those on the market. It sounds like.
Yes, exactly. Yeah. I did hear that team. You don't know when, but we are. Yeah. We now have, lead over 15, possibly up to 15 more units. Wow. That are going to go through sort of a round to a fabrication, which involves. Prefabrication. A reset refurbishment, let's call it that. And yeah, and believe it or not, it involves an x ray machine. Yes it does. Does. So the the USB chip basically what happened is the USB chips were faulty on that round.
And apparently like this USB chip, the way it's soldered on, all the pins are directly underneath it. So the only way to take it off, solder it back on. They have to use an x ray machine to check the solders it once it's soldered back on. Wow. It's like surgery. It is, isn't it? So that's mind blowing. Not brain surgery. Yeah, yeah. Well actually there you go. There's there's a plug for my new podcast. It's coming out. It's it's not brain surgery now.
Well I was going to call it it's not brain surgery but I've called it. It's not rocket science but it's about it's about the science of radio imaging. So it's sort of about that. Cool. The process behind it's not about how to make a sweeper and all that sort of stuff. It's about, you know what? Why why do we use radio imaging? How can we use it, blah blah. That's going to stick to the guy. So I thought, it's not rocket science was a good name.
So yeah, yeah yeah yeah. That's great. It's a great topic. I know my my friend Jodie Crangle does her audio branding one and that's a lot of what it's about is bringing people in who are experts in marketing and what works psychologically and why we do what we do and how and not not so much of the how. It's not a that's like you said, it's not a technical thing. Yeah, yeah.
It's a I don't want to make it a, I don't want to make it a, you know, I love these plug in because in all that sort of stuff, it's more about, you know, thinking about how how our imaging influences listeners and also sort of getting a programmers perspective because it ask an imaging guy what imaging is about. And he'll go, oh, it's about all the cool sounds. And, you know, using describe your neck right there.
But ask a programmer director and he's got a completely different view on what he wants when he's imaging. So, you know, it's that's why I thought it would be a good one. And if, if you ask the voiceover talents about. It's about the voiceover talents. Yeah. You ask, I pay you to be on the radio imaging in the first place. That's right. Exactly. How do I get that exactly. Yeah. So yeah, everyone's got their own perspective.
But, I mean, I, I'm actually I'm actually sort of a getting back on topic, I'm actually a bit of a Tribhuvan Virgin. I mean, I've recorded AP a couple of times for this show from a try booth, and I was honestly, without blowing sunshine up your ass, I was honestly impressed and I sent me some samples when he's traveled as well. A few years ago when he first got it, to have a listen to and I'll be honest, there's not much to pick wrong with it.
No, I. Think the trade booth is like, you know, you know, studios that have these like, reflection filters around the mics and stuff. Yeah. Or guess. So. They have a nice live room, but they don't want a live sound. And then they put the reflection filter around the mic, you know, God forbid a music vocal. But I think something like the tribute would be better than those, reflection filters close to the mic.
And you don't necessarily need a cover, you don't need to cover the opening to probably like for that kind of a use case, like I tell people all the time, with your tribe, you don't have to close the opening. You can leave the opening open in many cases. So if if the space you're in is dead enough, that it sounds good with the opening the door, I guess the flaps flaps up. If you leave the flaps open or the flaps up, you can still get actually a really good sound. Sometimes that's all you need.
And if that's the case, it's even better because you're not having to be fully enclosed, which is a little bit less stuffy. But there's even one more thing. The fact that there's a space below the blankets and the floor is a big, obviously space there. If you open the roof like a hatch. Against. Now you have like an open opening and it converts convection and it actually draws. Flaring, stuffy. Hot air out and the cool air, it makes a noticeable. Difference.
So how much do you have to open it to get that? Not much. I wouldn't presume how much. I mean, you only need to just flip the corner up and you'll have like a small oh, the cupola. It's like the cupola in the house. Yeah, the cupola and a house. The the thing where the air is vented through the roof of the house to keep that. We call them whirlybirds. Yeah. Yeah, yeah. And stop the stop the mold from growing in the attic. Yeah. So, yeah, this is the idea here.
And so, yeah, it's a shockingly effective thing. I mean, when you're in an enclosed space and you give any place for the air to escape, it's noticeable. It's very nice. Yeah. So you have that option too. And it can really make it more comfortable. And the other thing is, of course, if you do this for a living, then you work on your mic technique because that actually plays in as well.
If you're way off the mic and you're in attributes in a, you know, a pretty, stark room, you're going to get reflections and. The here's the funny thing that might take me the best studios allow for the sloppiest mic placement. Yeah. Would you agree with that, Robert? I would like a really well designed studio, you know, like there's no bad combination. And it's quiet enough that if you're off, like, you can still pick it up.
And then if you have a really good mic that has good off axis coloration, it doesn't sound like garbage when you're, you know, a. Foot to one side. I mean, the for the 40, the 41 six squares. But. Right. Yeah. But yeah, I mean there's, there's you I mean, guys, if you haven't gotten to spend time in a commercial grade high end studio, you don't really know, but you'd be amazed how far away the mic can be placed in those environments and still get a really present sound. It's a very wild thing.
I've heard recordings, and I'll ask the client how close to the mic are you? Sounds like you're 4 or 5in away from them right now. I'm about a foot away. I mean, like, how is that even possible? But then I see the room or the acoustic setup or whatever they've done, and I'm like, well, that's because the acoustics are so good that they allow you to be farther from the mic. So smaller enclosed spaces require tighter my placement full stops every time.
So is there a is there a mic that you would recommend? I mean, I know most people are going to take their everyday mic because for the reasons we've talked about, but if you were building a studio for the first time and you decided that you were going to use a try booth, and then you were thinking, well, what Mike would I pair with that? Would you? Is there a mike you would suggest works performs better in a try booth, or is it pretty much even across the board?
I'm going to guess that in at in Andrews. You know, besides the 41 six, I bet you that, but what do you see? Okay, the. Yeah, I bet you that kick right in there. It would be fantastic. And but I do use 41 six. That's what goes on there. Well, I'll. Tell you what I. Mean. Cut that out. Pretty sight. This isn't. This is. No secret. It's no secret that the mike that Rick uses and has for 15 years is a 41 six. Yeah. So what do you think is the mike we used when we designed to try this and then.
Well, I kind of think that thing. Was a fit. It would make sense as an industry standard anyway. I mean, let's be honest. I mean that's what most I. Mean, when. Is Austin Audio going to put a, you know, like a, you know, a small shotgun attachment that, that here. That's true. That's it will be a killer. It will be a interchangeable capsule. Mike. Right. It is already interchangeable, I believe. Is isn't it entry? Not a I don't think so. Oh, so they're not doing it.
Austin's not doing it in a changeable capsule yet. No, I remember unscrew. Take that. Yeah. Remember who bought that Lincoln Unscrews. Remember who bought Austrian audio guessing changeable capsule weights. Yeah. I mean, they could they could so easily make a short shotgun attachment to that. Yeah. You know, it's really funny. Remember the, crazy shotgun mic that I, used for, Or the really long one? The really long one, right. Was that it? So what do they call that?
It was the, Let's see what it is. Here was. A sunrise. No, it's the Audio-Technica. Oh, okay. Got it. Yeah. It was a really long shotgun. It's like, 814, I think. And then I'm on eBay. And for $22, a shotgun capsule pops up for that thing. No. Way. I'm. I'm like, oh, I think I'm going to grab that because. Because I had two of them and I had another preamp body and I was like, okay, then I can have two shotguns and I get the shotgun. It's a short shotgun. No way.
So I have a long shotgun in the short shotgun and a cardioid guide. Now you really sound like an American. I've got this shotgun, I've got that shotgun, blah blah blah. Except that's right. And a rack to hold on the back. Sure. And I guess. That would be a funny to get your point. Like a pickup truck with a shotgun first. 41 six in the back. We got to do that. Yeah, that's on the pro audio, right. That's why that when we do this call, I do that one pretty quick. Okay. Yeah.
The priority. Is my kind of gun. Truck. Now you can have it almost like we're hunting clients. I'm hunting Clyde. They're doing this before. Before someone else does. Someone's going to take that idea and use it, you know? Yeah. That's right. Well, on that note, I think we've, dispelled some myths about the tribally. So diesel, the fiber. Use our Code Tribe app 200, and then we'll get you 200 USD off your tribe. Please do yourself a favor.
Does it get them off of the memo as well? Or is that just the tribe? It just the tribe is my. I heard of the memos. The first 100 units were all $100 off anyway, so there you go. Yeah. So if you buy a memo and you buy it and there's a first hundred them that's also on. Yes. Oh snap of the broadcast. Well that was fun. Is it over the front audio. Sweet links to tribal and Austrian audio recorded using Source Connect edited by Andrew Peaches and mixed by Robert. Got your own audio issues?
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