(Transcribed by TurboScribe.ai - Go Unlimited to remove this message) Y'all ready to be history? It's started. Welcome. Hi. Hi. Hi. Hello everyone. To the pro audio suite. These guys are professional, they're motivated. Thanks to Triboosh, the best vocal booths for home or on the road voice recording. And Austrian Audio, making passion heard. Introducing Robert Marshall from Source Elements and someone audio post Chicago. Darren Robert Robertson from Voodoo Radio Imaging, Sydney.
Ted to the VO Stars, George the Tech Witten from LA, and me, Andrew Pinkers, voiceover talent and home studio guy. Line up, man! Here we go. And welcome to another pro audio suite, thanks to Austrian Audio, making passion heard. And Triboosh, don't forget the code TRIPAP200 to get $200 off your Triboosh. Now Twisted Wave is a very popular, I was going to say DAW, but it's probably more... It's a recorder editor. Yeah, we lump it into the DAW category, but it's not truly one.
It's not really a DAW, no. But anyway, Thomas, the owner of Twisted Wave, has just done a survey, and George, you have the results. Yeah, you might recategorize the software when I tell you this. So he put out a poll, and he used to actually have a voteable feature list on the site, but he kind of hid it away. And then now, if you are a current subscriber, you are on the current version, then you can do things like, you know, vote on features. So for five days, he said, let me have it.
Just tell me what you want, right? And then you let you enter anything you want. And what he did was he locked it to your serial number. So from within the Twisted Wave macOS app, you go to the help menu, and you would say, vote features. You would click that, and it would go to... How many times can you vote? Well, you could add as many features as you wanted, right? So I added like six features. Yeah, absolutely. Yeah, no problem with that.
So when you click on that, I want to vote, then the link in the browser was twistedwave.com slash your serial number, which was interesting. So it knew who you were and locked all the votes to you. So then everybody put in all their features. It was like, you know, it was wish list day. There was some redundancy on the list and whatever, but whatever the bottom line was, everybody got their say. Then five days after that, it was now time to vote on the suggested features.
Now you had to pick what was already there. And he said, whatever the new feature, the one that gets the most votes is, I'm going to do it as in a new feature. What do you guess? Bodhi, Mick, feature, boat, boat. Bodhi, what? I reckon we should guess, try and have a guess on this. I'll have what you're having. Yeah, yeah, yeah. Oh, you might want to... They had that thing where they had a new boat in England and they put its name nomination up on the web.
And the one that got the most votes for the name of the boat was Bodhi, Mick, boat, boat or something. Everybody pranked them. Yeah. Like Bodhi, Mick, boat face or something. Exactly. That's funny. I'm going to have a guess. I reckon I think I know what it... Well, I don't know. I'm just guessing. I reckon it's going to be multi-track. Okay. What do you think, Darren? I don't know. I don't really use Twisted Wave. Does it come with any plugins? That's the thing.
If you don't use it, you don't know what it does and doesn't do its project. Well, my guess would be that if there's a lot of voiceover people that use it, that it might be some noise reduction or something like that that comes with it. I don't know. Okay. I think, George, you alluded to it too much and it's multi-track because you said it's going to change its name or... Yeah, I get it the way. It is indeed multi-track. Really? So that was... That's kind of a shine. Well, I mean, I was like...
So I'm looking at it and I saw it on the list and I was like, oh man, people always want multi-track. Man, they always want... But is it multi-track or are they just asking for multi-channel wave? Because if it's multi-channel wave, it's not multi-track. It already does multi-channel waves. It'll do many channels. But they want to multi-track. So we all know that there's a very big divide between a recorder editor and a DAW.
Yes. Because a DAW implies an NLE, which means it's also going to be non-destructive, right? Very different animal from Soundforge, WaveLab, or Twisted Wave, where you're just working on the wave file. Absolutely. That's what they want. The people spoke and he's like, I'm going to do it. So I have no idea how long it will take. I do not know how he's going to do it. I think it's one of those features where he's been hearing... But this could go beyond what a voice talent wants. Exactly.
This is a feature that's been like murmured about by the users for years, right? So he's finally decided to do it. So he insisted that he would do it in such a way that it would not interfere with the normal operation and software. I think that's important. This is Adobe Audition. That's right. There's Wave... What's it called? Waveform mode in Adobe Audition? And then there's multi-track. And every editor used to have this. Pro Tools used to have Sound Designer 2.
If you go way back in history, they just got rid of it. And that was used as more of a file processing thing. But even Reaper... And Reaper, you can say, you know, show me what your editor is. It's not logic. You can open up this file in whatever you want. And Reaper had that and many does. I know Steinberg Cubase has that, which obviously they would point at WaveLab. But they have an open-end editor option. Right. Yeah. So, yeah.
I kind of feel like that, you know, a lot of voice talent and stuff that I've spoken to use Twisted Wave. And I'm guessing Andrew would be the same. I don't remember having this conversation with him. But my guess would be the same thing, is that it's simple. It's just... There's no... I don't have to screw around. I can open it up. I know enough about audio data. I can understand the basics and that's all it does.
And that makes me happy because I don't have to get stuck with shit that I don't understand. It's a DAT tape with a waveform display that you can cut and splay. That's right. Totally. It is. And that would be my concern that, you know, when they sort of do what they do, they sort of lose a few because of that. But, yeah. I don't actually understand if you're a voice talent. What use would you have for multitrack? I don't get that. You know why?
Because so many voice actors think that they have to add music to their voiceovers. There's a huge amount of misinformation. Who's asking for this? Someone's like, I need to submit an audition. How do I add music? I'm like, no. Why would you add music to an audition? That is not your job. If you're auditioning for a producer job, well, they're going to want more than music, man. There's a lot more to it. How about some sound design and bells and whistles?
Yeah. Every now and then there's a voiceover person that you meet that does like the full production. And they're always using Pro Tools and they actually have their head on them about being basically an audio engineer at that point. Like Jeff Berlin or, you know, we have friends in the biz that are radio producers. You know, they produce imaging. Some musicians and they're just recording their own stuff that way. Right. Yeah. I'm sorry. That makes no sense.
Still makes no sense to me whatsoever. Why as a voiceover artist you would feel compelled to be putting music on your audition is just like, it's sort of like, hey, I might just, you know, I really want to distract you. So I might just throw this other voicing here as well. There's a second part of the voiceover. You know, it's a two-headed voiceover. So I've got my wife to do the other part. She's on there too. Would you really do that? I don't think so. To me the question is why.
So is the assumption that he's going to do a DAW in a different way or a better way than the other attempts, which I can understand. There's, you know, there's a certain stagnation in that world. Well, let's take that further. If you could start from absolutely zero, which is what he's really doing and make a new, you know, multi-track, non-destructive mixing platform. What would you do totally differently from Pro Tools or really what is there anything new to do? I guess is my question.
What would you do differently? The only thing I think the anything I would think if because of his target audience that if he was going to do a multi-track thing is to make it like super simple. Of course. Like the current the current twisted wave. So even if you're a bit of a numpty, you're going to work it out pretty anything multi-track isn't simple. You know, you move one. You move one thing on one track and you fuck the whole thing up.
If you don't know what you're doing, you know, multi-track, no matter what you do, isn't simple. Who is it for? Because, you know, if you look at video editors, they're basically doing their audio in their NLE. If you look at audio, people running multi -track DAWs, he's got a big upsell to do anything against. Like even I mean, the worst of them are the best. There's so many. It's such a congested space and they don't look different. So I think it's got to be something that looks different.
And to me, maybe it's something it starts to approach audacity. Maybe he's doing because it's sort of audacity still continues to not really be a DAW. And I think the difference with the DAW if you really take the full argument is that will he put a mixer in it? Because if he puts a mixer in it, especially a real-time mixer, now it's gone full DAW. But audacity doesn't have a real-time mixer and it can multi-track. The other question to me is with Thomas. Now, Thomas is a solo player.
That's his business. So why would you make something potentially really complicated that you have to manage and you have to service? Well, here's the thing. Why would you do that to yourself? To expand your market, maybe. He's selling a subscription now. It was always a one-and-done deal. It is now a subscription. So he is honestly, I mean, he's under pressure to add features because people are going to be like, well, I'm paying for this. Is multi-track the right feature?
I mean, does the fact that you put out a poll and say, you tell me what you want, does that make it the right thing? And see, he probably dug himself in a hole. Oh, I'm not agreeing. It's a good idea. No, no, no. And I'm wondering why. And the reason I kind of come up with for me is I've never used Twisted Wave. I've looked at it, obviously, so I understood to talk about it on this show, but I've never used it as a user.
But for me, the thing with Twisted Wave is that he's found that perfect little niche for it. You know, he's found that market that he just needs to super-serve. And I don't know that putting multi-track on Twisted Wave is super-serving that audience. I go back to what is the exact use case. And if it's just like slapping a piece of music behind your stuff, there's a million ways to do that. Well, the old Cool Edit, you know, before Cool Edit had multi-track, you could mix stuff in.
You could put them over each other and you would put in the percentage that you wanted the new thing to mix in. Did you ever use Cool Edit? Did you ever use that? I never really used Cool Edit because I never really used a Windows machine. Yeah, okay. Well, see, you could sort of mix stuff. I don't know if you ever played with it, George. Yes. And I'm going off a very rough, drug -addled memory. But you could sort of blend stuff together.
And maybe that might be better than trying to sort of sell a multi-track, you know, to sell a concept of multi-track. Andrew, what were you going to say? And then I wanted to tell you what the second most voted feature was. Okay, well, I was going to say that the subscription model, I did catch up with Thomas when I was in Paris. And we caught up for a couple of years. And he said to me, and I've mentioned this before, I'm sure, and he talked about doing a subscription model.
And I said, look, based on the fact, it's just you. And if you're not making an income because people just buy a one-off payment and that's it, then you won't be around you because you're going to have to go and get a job because you're not going to have an income. So you have to go subscription. I'm probably going to get hated for that. No, we talked about this a year ago when he launched subscription. Yeah. And I think it was a sensible thing to do and I have no problem. I think so, too.
I can't tell you how many of my clients who are griping about that when they see the little message pop up saying, you know, the next version is going to be subscription. They're like, I already own it. Why would I do that? I'm like, do you know how much effing money you have made with this $100 app for the last 12 years? Yeah. And then you just inspect updates. Like, didn't you sell it before where you didn't even have to buy an update? Oh, yeah, that's how it always was. Exactly.
I've been running. I've had every update and I've run it on every Mac I've ever owned with a single license key. Like, where's his effort for just doing the updates alone? He's been very, very generous. And second of all, I mean, I'll be harsh maybe, but you want to know what the subscription's for? So I stick around for you. Exactly. That's exactly what it's for. Because I don't have to do anything.
And when Apple changes it and it screws up for you and I'm here to fix it, that's what the subscription's for in a way. I don't want it to be the next bias peak, which there was definitely a small and very... There was a small and very, like, loyal user base of this one app called Bias Peak. I was never a fan particularly, but those that loved it, man, did they love it. And when that went away... Yeah. It had the CD and the PQ code editing.
You know, that's a whole area that he could go into if he wanted to. Or, you know, it's like, why doesn't any voiceover person use DSP Quattro? Because it's just not needed by a voiceover person and it's kind of a two-track editor and it's sort of a multi-track as so much as that you need a multi-track to lay up a CD and maybe have an overlapping thing like a Pink Floyd album. Right. But it doesn't speak. It's a two-track editor or whatever. It's a stereo audio. It's not a full DAW.
It speaks to a specific audience. And he's got this audience. And maybe multi-track is the right feature, but I think it has to be done in a unique way because one of the overriding features that VO people tend to want is ultimate simplicity. And he definitely had that. Yeah. So the second most popular feature was non -destructive editing. So he's going to have to bake those two in together. He's going to be obviously doing those two in one go. It gets closer and closer to DAW, doesn't it?
Right. The third one was at a history window, like Photoshop, you know, for going back. So that's like also now stepping into non -destructive but not really non-destructive. I'll agree with that though. I think that would be good if that's not already there. I think that would be a good inclusion. So you're seeing how those top three things are like he can he's going to I'm sure he's going to take those top three and he's going to make that part of it.
He's going to do like another survey about like what when you say multi-track, let's get specific. What do you want in a multi-track? What's your workflow? What's your use case? And try to be very because his whole thing has been being so specific. So he can do it again by being very specific about what a multi-track editor means to a voiceover person or someone who's looking for something truly simple. Well, there you go.
That's going to blow a can of worms open because when you get that answer back, if you ask those people, what do you want a multi-track for? How are you going to use it? Then this is the issue because the answers that come back will be so bizarre. It will make no sense. He will look at this thing and go, why am I building a multi-track? Because what I'm reading, the responses I'm getting back from people, I don't need a multi -track. Why are they asking me for this thing?
They want to layer things maybe and it's maybe not specifically. Certainly, I would say one thing is like no one's going to come back or maybe people will come back saying I need to record, like who asked for the multi, the WAV file? What's the use case there for the multi -channel, like more than stereo for just the WAV file? What's the use case? He's going to need to ask more questions of what people really need it for, what the use case is, how they're going to use it exactly.
I had a few in here that you don't know which are mine, but you have to trust me. I had interpolate auto or auto heal, select a clip or pencil. He's down to 15 yields. Do you know what I would have done? I would have done translate this thing to text and let me at it. Is number 15 yours though, George? Is that yours, the ability to add normalize to an effects stack? Yeah, of course, that's me. I was wondering, so you can't do that already?
No, you can't because a stack is a real-time plug-in rack so you can listen to and preview it real-time. If you had normalize, it would break that whole method. You'd have to come up with a different methodology. Normalize is just a post-processing routine. We'd have to process it in the background and not actually print it, I guess, but still be able to play it in the background. What would be cooler is to normalize my gain stage so that you put a whole effects chain together.
It runs it and it goes, oh my gosh, you've just blown away your headroom in the first plug-in. Lower the gain of that first plug-in and make sure that each plug-in is not crashing into the other, and therefore you're not relying on 32-bit, just do all the math for me because I just want to think about it. I'm glad you said that.
Months ago, I said I would really like the ability to preset a RMS normalize setting that when you hit stop recording, it renormalizes the track, that clip, to a predetermined RMS. Does he have RMS normalize already? Yeah. What I have found that when I'm mastering, say I'm doing an audiobook production, my first step is to normalize every track to the same minus 30 RMS, minus 30 RMS, boom.
That works beautifully because now every single file, you know the RMS, so when you do your processing chain with your compression limiting everything, you only have to set it up one time because now everything comes out the same. For that matter, why not roughs normalize? Either one. I mean, I don't care whether you use RMS or roughs, but just to have it auto set that so that, you know, and then someone's like, well, what if I record room tone and now I have my room tone at minus 30 roughs?
I'm like, okay, well, there are some scenarios where you don't want this to happen, and so that would be tricky. But however you figure it out, you could, whatever it is, there's a way to do it. So that was one of my ideas I was hoping we would do. That didn't happen. There was 11 people voted for punch and roll, which has been in the app for two years or three years.
The other one that jumps out to me is auto detect silences, because I mean, even for me, right, I mean, I use strip silence on this podcast in Pro Tools. I use it all the time. That's already there, too. You know, this is what shows when you have people vote on features, they're not getting that deep into it. Yeah, yeah, yeah. Right. It also shows and exposes the lack of knowledge about the app people already own. They don't know it already has punch and roll.
They don't know it already has strip silence. They don't know. They just don't know. So strip silence, can you adjust the parameters? Like on Pro Tools, you can adjust the threshold, you can adjust the start and end times and stuff like that. Yeah, actually, there's more parameters than Pro Tools. Oh, really? Yeah, you can get very granular. So, yeah, there's a lot of reasons to use TwistWave as a Pro Tools producer engineer, because it has great utility, the batch processing.
You know, there's a lot of things it does really elegantly that if I was a Pro Tools geek, I might know how to do it in Pro Tools, but there are certain things that are just so much easier and faster. There are things that I'll export from Pro Tools into Audition, because Audition does it better. Yeah, absolutely. Yeah, yeah.
Interestingly, it's one thing I've noticed that TwistWave, well, it may have it based on this list, but when I was using WaveLab, if you're doing something like an e-learning session where you've got like a gazillion files, but they have the same name with a different number at the end, the thing about with WaveLab, if it was sitting on the desktop, I could go in there to name a file and that would pop up and I could just click on it, take off the number, put number two or 15 or whatever
on the end and save. So, I didn't have to keep typing in the title of that file, which I don't know whether it does, but I certainly haven't found it with TwistWave, and that for that kind of work is a bit of a pain there. I mean, with batch processing, you can auto increment that number, you know, so you can have it automatically increment the number, you know, increase that stuff.
Does it have a feature where you can just dump markers and then output separate audio files based on the place without markers? It'll split by marker and then output export files of your determined whatever format you want. So, it has a lot of really useful things for automating, banging out a lot. If you do e-learning, man, I'm telling you, use TwistWave.
It's just so much easier to bang out 30, 40, 100, 200, 500 files, you know, and you can set a predetermined amount of padding, you know, for the select, you know, when you use the detect silence function. Because what detect silence does is it, it'll either, you can make it a positive or a negative selection, right? You can either select the silence or flip it and select everything else. Oh, that's very cool.
And then you can set the padding and then say, okay, now that we've set the padding for these selections, just now make markers and then export all that stuff out with the right amount of padding for every file and stuff. Can you filter it, like, apply like a side chain so that you're not looking for, like, thumps and bumps, but you're just looking for actual audio and voice audio and that silence detection? Like, how about, like, BS detection?
Yeah, well, I mean, once AI gets wrapped in everything on the planet, there'll be so much more of that going on. That's what I was saying. I mean, just convert that. If most everything that people are doing in Twisted Wave is voice-oriented, just go there. Well, here's another thing. So you're looking at these features. You guys are seeing them right now. You don't see the letter AI anywhere in that list. It's okay. Like, AI is not going to kill you if it's used exactly.
But what I'm saying is, it also showed to me anyway, it shows that the user is very unaware of what AI capabilities are. They don't even ask for it. Like, it's not even on the radar, right? I, on the other hand, have been using Descript for, like, the last nine months and watching the versions roll out faster than you can keep track of and all the new AI stuff. And I'm like, you know, it's evolving rapidly, right?
So, I have this whole parallel world where I'm using this Descript thing to do all this post, and it's just, it's insane, right? What I can do with it. I think that number 14 gain envelope, that's probably going to have to be part of the non-destructive multi-track mode, right? That's the thing is, once you build a multi-track, there's a certain expectation. You have a mixer all of a sudden.
If you make a basic multi-track, then the guys that are thinking of getting it for multi-track are going to go, well, it can't do this, it can't do this, it can't do this, and then they're going to be like, where's all the multi-track functions and features? Where's the toolbar? Where's the smart tool? Where's the slip and shuffle? Where's my time code chase? It is a rabble extraordinaire, right? Thomas, whatever you do, buddy, we feel for you. Less is more, less is more.
Do you know my favorite feature of Twisted Wave at the moment, and that's because I'm using the new iPhone with the USB-C? It's the upload thing. It's the upload thing, their little server, where you just, you know, you... That alone is worth the subscription. I reckon you're super-served, the audience you've already got. Don't worry about multi-track, Thomas, seriously. Yeah, I know. That's our vote, but, you know...
If you do multi-track, have a really unique take on it, because just like another emulated compressor, probably what the world does not need is another DAW. Well, here you go. There's a challenge for us for, maybe this could be it, the Pro Audio Suite multi -track Twisted Wave. Or how about just the Pro Audio Suite, VO... I mean, actually, we shouldn't do it. DAW. The DAW. No. That would go quite against Thomas. We don't want to do that. Are you insane? I think we're just twisted enough, guys.
Yeah, yeah, yeah. How about we wave? Time to wave. Goodbye. Goodbye, yes. Well, that was fun. Is it over? The Pro Audio Suite. We thanks to drivers. And Austrian Audio, recorded using Sauce Connect, edited by Andrew Peters. And mixed by Voodoo Radio Imaging. 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.