So What? Podcast and Video Audio Production Bakeoff

Welcome to So What, the Marketing Analytics and Insights Live Show. Uh, this is Chris and John here this week. Katie is uh out in the backwoods of Vermont, uh, I believe, trying to uh to lasso unicorns or something along those lines. Yeah, she's deep up in the woods there. They had gotten hit really hard with uh a lot of flooding over a month ago, so it'll be interesting to hear if they bounce back from that.

So, yeah, hopefully the adventures don't get too crazy. Exactly. So this week we're gonna be doing a I would I would call it almost an audio production bake off. We want to talk about uh the different ways that you can edit audio uh that will allow us to to create great content because one of the things that's really challenging for marketers uh is they spend so much time on video and then they neglect the sound. He said great video begins with great audio.

He said, if you go to a bar and they've got like you know an 82-inch HD TV up on the screen and there's no sound, people will look at it, you know, depending on what's on, then and just go back to what they're doing. He said, if you also go to a bar that has like crappy old CRT TVs from like the 1970s, but the sound is on, people are watching them. That's how important audio is. Um, John, how about you? What have you seen and and heard about just general guidance about why audio matters so much?

Yeah, well, it is one of those things where, especially on video, people can tolerate, like you said, second rate video as long as the audio is there. But as soon as the audio becomes choppy, um, and then there's a lot of situations you find like listening in the car where audio, you know, might be good sitting at a desk or with headphones, but it's unlistenable in a car. And then like the reverse of that too, you get situations with headphones where somebody gets too much pumping where the host is one level and the guest is a different, and they can't take that up and down. And it's really rough because it's always a threshold. People will always just hit a point where they just say the hell with this, I can't listen to this.

So it doesn't matter how good the content is, if you crack that level, you will, you know, you basically kill your content. You get no action at all out of it. Exactly. Um, so some of the tools that we're gonna be using today, uh, John and I are gonna kind of do a bake-off. We've got five minutes of audio from a previous episode of So What?

And I picked that because it's got some music in it, uh, the intro music, it's got John's voice, Katie's voice, my voice. So it's sort of the the three of us because we do have three different voices, three different microphones and things like that. Um, John, do you want to start or should I start in terms of how we would clean up a piece of audio? Yeah, go ahead. Well, uh one thing too, though, I went to hit, did you want to talk at all about like getting that first file too?

Like quick things to do to make sure that you know the original recording is solid. Yeah, I mean, uh, why don't you go ahead and and and talk through that? Yeah, let me just uh all right. So one is studio. You know, you've got to have a space where it's good for recording.

If you're somewhere where you've got a giant air conditioner and there's a lawnmowing competition going on outside, maybe you want to find a different place to record your audio. Um, and this is one of those things like a lot of theater or movies or whatever, you may have to endure a lot of pain, but the audience is not going to know about it, so you have to do it. So it's like turn off your refrigerator, turn off, you know, your the AC or the fans or whatever. Next is microphones too. You want to make sure that you test the microphones that you've got, and there's a whole range of mics, you know, for different purposes.

Um, you know, Chris has been rocking that sure SM7B, which is perfect for people that are riding in cars. That's why it's been so popular for radio over all these years because it creates a sound that works really well wherever anybody wants to go. Um, yeah, we've been die hard sure fans too. So just kind of a an uncompensated plug for them. Uh, I've been using the MV7, which works both on regular old school gear and computers, which is great.

Um, and then the last one is soundboard. You know, what kind of hardware are you using to keep track of um the sound as it goes in and to get it actually recorded on a computer? Um, the king of the hill from what we've been using is Rode R O D E. Um, and I can put a link to them in the show notes. But the um their latest is the uh duo 500, which is 500 bucks.

Um I use actually a Procaster, uh, the Rodecaster Pro 2. Uh that's like a $700 board, but it has some really interesting things, and we'll talk about with the audio editing. But a bunch of the stuff that I used to have to do post-recording, just gets done real time on these boxes. So it has a noise gate, so it's keeping out like fan and bad noise. It also has a compressor, which uh is basically making the level of audio more consistent across the board.

So all those things are things you can do to make it a lot less painful when you're at the point where Chris is going to walk us here now. Um, but again, like anything you can get wrapped up and clean before you get to this editing stage is stuff that can help you out and put you in a better position. Yeah, exactly. It's garbage in, garbage out. Uh, a couple other microphone options, uh, if you don't want to be spending you know, close to a thousand dollars on audio gear.

Uh, one of the ones that we have found to be super valuable and about $35, is this little thing. This is the VModa boom mic. You can find it on Amazon. Uh and it is a surprisingly good mic as long as it is near your mouth, um, which is true of all microphones. Uh, this is very, very good.

If you are doing mobile stuff, meaning you're moving around, um, this is the anchor, the anchor work, uh, I believe it's the M650. These are uh little wireless microphones, they clip onto your shirt, whatever. There's a little receiver that has plugs for Android and iPhone, and you can plug right in and and it will allow you to wirelessly transmit audio back to your phone. That's really good if you're out and about, uh, if you're doing like you know, walking around, vlogging kinds of things, and then of course the studio microphones. Uh if you don't want to do the whole audio interface thing, sure does make a USB version of their microphone, the SM7B called the MV7, um, which is very good.

If you want to step down to maybe something a little bit less expensive or a lot less expensive, the company Anchor, which is known mainly for uh like charging cables, A N K E R, makes a USB condenser microphone that is about $35, $40. And if you're just getting started with podcasting, with vlogging, whatever, and and you don't you're not sure that you want to invest heavily in it, that's a really good mic to start. Um, the sound is good. Uh it it and again, it's more about making sure that the microphone's near you uh than anything else. An inexpensive microphone properly placed is better than an expensive microphone that you're doing using wrong.

So here's an example. This is wrong. Yeah, two feet from the mic, badly. I think. Um, so yeah, if uh as with all things, garbage in, garbage out.

If you if you're not doing a good job with the the source stuff, then then there's only so much you can do. Um so let's go ahead and talk through uh some of the cleanup stuff. So I'm gonna go ahead and go into this is Adobe Audition. It's part of the Adobe Creative Suite. Uh, if you are already purchasing this for things like Photoshop uh or Adobe Premiere, you have this software, it's included with your subscription.

Um the first thing that you should generally do with any kind of audio file is open it up and take a look at it. Um so this is last week's episode. You can see there's a few minutes of the of about 30 seconds of the intro music. Music has a very specific look. And I have this set on both uh uh waveform and spectral frequency display.

Spectral frequency display tells you sort of the the frequencies throughout, you know, and you can see the music occupies quite you know, sort of top to bottom all the frequencies, whereas voice looks very different. Voice is sort of in the lower register here, there's then there's sort of an absence way up here. Things that we look for with audio, we to what John was saying, we want it to be consistent. So this is kind of up and down. There's there's a lot of quiet spots.

There's a lot of uh loud spots. So the first thing that I would do with anything like this, if if I'm working on a something where there is music involved, I will generally, if I can take the music out because a lot of the techniques that you use to make voice sound better will horrendously mangle your music. So we're gonna cut that out. Uh let's go ahead and put that in a new file for the moment, and we can paste that back later. Now we've got our voice file here, and you can see there's some parts that are loud, some parts that are not loud.

Um, generally speaking, you want to do what like John was saying, uh, some compression. So I'm gonna go into effects. I'm gonna go to amplitude and compression, and the one that I personally like, because I like the sound of it, is called the tube modeled compressor. And a tube modeled compressor uh is essentially exactly what it sounds like. It is uh it uses vacuum tube simulation to simulate the use of the old vacuum tube uh compressors back in the day.

Um for audio where you have wildly different stuff, I would I would use the leveler. If you have audio where people are just persistently quiet, um use a booster. Uh, those would be the two that I would I would recommend. So let's do the leveler. You can see it has now shrunken the amplitude, the top to bottom green bars are now scrunched together, right?

So there's no longer the big noise, and there's no longer sort of the quietness. So this is the good a good first step. The second thing I like to do, uh, and again, this is this is very basic stuff. There's a feature here called match loudness, and match loudness allows us to choose what kind of loudness we we want to use. There's all these different settings.

If you're doing podcasts in particular, um, I use the ITU uh BS7 1770 settings, and I the target loudness is what's here, the minus 16 L UFS. Again, if you want that radio sound, um, this that's that's the setting you want to use. I'm gonna drag the file on there, hit run, and you'll see it's gonna go through and it's gonna bring that up to that standard. And now we've got an uh if you look, a much more consistent sound to the file. When you do this kind of compression and leveling, uh John talked about this earlier.

When you're in the car, this is what helps cut through road noise. This is why professionally produced audio or shows like you know, Howard Stern, whatever, why you can hear them when you're driving. And then in other shows, like if you listen to some other podcasts, you're like fiddling with the the volume knob the whole drive because that you can't hear certain frequencies if they've not been boosted. So this those are sort of the bare minimum steps that I take with any voice audio file to try and get it to be uh a little bit cleaner. So, John, based on what you've seen here um so far, what do you think?

Yeah, it's interesting to see your workflow. I mean, we had talked about this before because we haven't checked in on this stuff forever, and so we it was good to just keep see who's doing what. And yeah, you've got a solid um flow there, you know, that easily works. Um, do you use the multi-track stuff at all though in audition? Uh I very rarely use multi-track.

I will do that if I'm synchronizing audio tracks uh for the most part, but for the most part, I don't really use it. I just I usually typically work in a single file. Okay, well, let me show off a couple things that I have been doing to uh to kind of play around with stuff and to get things to sound the way I want them to do. Here's a file. Um I actually, use multi-tracks.

So using the road, I have separate tracks. Okay, so this is me on the top, and then I've got you in the second track, and then the music is in a third track down below. And the great part about that is then so that effect that you ran, you can actually run effects on each of the tracks independently. So I able to not, you know, you can see the music track here has no effects. The music has been primed and it's like perfect for running.

But then there's different tweaks that I can make as I go. Um as far as the compressor that you use, that one is great for um, it's got easy presets. You can just go. Um to get a little more crazy. I use a multi-band compressor, which is actually multiple compressors and it hits at different levels of the spectrums.

So uh when I play some audio here, you can actually see the stuff move. If I don't delete it by mistake, that really screws things up. Um but the idea is that you can take some piping in over there. But you can't where you want the compressor to hit. So the idea with that is you can take the low end where road noise is and fans and all that stuff, and you can dial it way down, and you can take the middle, you know, middle to high where the human voice sits, and you can make that one shine or sparkle, however, you want to tweak that or go with that.

Um, and then there's a whole bunch of other plugins that I've been using that are pretty effective. A big one is sound soap. Um, it's a plug in that allows you to um grab a chunk where there's no one talking, where there's noise, and then it will pull that out of the whole file so that you can clean the whole thing up. And then it does have its own compressor. I don't know what their algorithm is, but it really just makes you sound more radio and more cool.

So that's another one that I'm always running um to get it going. Another really great one is uh this one here, uh, not the rack effect. It's actually down in the single uh ones. You want to go over to effects and over to uh amplitude compression and uh which one is I only see your timeline, I don't see anything else. Oh, you're not getting the menus?

Okay. Um there's one in there where you can kill the what is it? Kill the mic rumble, it's called. If you just Google mic rumble, you'll see where it is. But this pulls out that frequency of when people bump the microphone or bump the table or do something that's kind of more of a plosive sound that you don't want.

You just run that once and it just pulls them all out of the whole file. They just all go away. And so there's two levels of that. You know, you can just click through to the wave and pick sections and make those go away. But I just have that filter running for the whole thing all the time.

Um, you know, you just kind of run it once and then you're good to go. Um, so let's see, multi-band compressor. Oh, yeah. So noise gate is something that the road boxes do, but that's another filter where you can say, hey, any sounds below this level, just drop it to zero. You know, don't make those sounds come through at all.

Don't let the mic kick in until it goes above a certain level. And so that's great for again, road noise, background fans, any kind of weird hums or hisses. You can just say, okay, hey, below that point, go ahead and kick those out. Um, a problem with that, a thing to keep an eye on though, with that, and this goes back to what we talked about with you know getting clean audio from the front. If you've got somebody who's got a bunch of noise in the background, yeah, the noise gate will keep it out when they're not talking, but it will still be behind their voice while they are talking.

And this is one of those things I hate to explain it because now that you're aware of this, you're gonna hear it and stuff, and you're gonna be angry. You're gonna be pissed that you hear this. But when you're listening, you'll you'll hear people that the track is quiet. And when they talk, you'll see you'll hear a buzz behind their voice and it goes away. And so they call that pumping.

When you get that pumping, that's something that will get to be annoying if it's too much. Um, and so again, the the trick with that is if you keep your source file, you can you can have an exact print of what the noise is and a tool like Sound Soap, and actually Adobe has um a noise reduction and uh removal thing, whereas if you copy the noise, you can pull that noise out. Uh obviously the Sound Soap one does better than the Adobe one, uh and I it's faster and simpler and it has more dials to dial in. But if you keep the source file and the keep the source noise, you at least have a chance of cleaning it up to a bearable level as you go. Um, but so yeah, between sound soap, other plugins, uh, some multi-track tricks.

Oh, one other thing that I wanted to share that is huge for all this too. Um, let me share this. You can see I actually use a uh device called the tour box. Um let me stop that and share this so you can see what this thing looks like. Um the idea with this is it's um it's another input tool, so you have it, you know, it's USB just like your keyboard.

But the idea is instead of having your hand on the keyboard and remembering these three or four or five keystrokes. For example, there's a cut that I use um that it deletes a chunk of the track and it merges it back together. So, like if you have uh three or four words you want to get rid of, you just select and click and it's gone on the keyboard. That's like control shift delete. But on the I have that map to just that this single button uh on the right side, so I just click that and it goes.

And then I love the you've got that wheel there, so you can zoom in and out just by turning. You don't have to click to zoom in or out or go, and then the other up and down wheel is a different one that can do amplitude, you know, I can do volume up and down with that other one, and so that saves me a lot of keystrokes by having that. I can literally get to the point where now when I'm editing, I have one hand on this tour box and the other one on my mouse to move around, and I'm not using the keyboard at all. And that cuts the um the time in half. The other trick with that one is this this D-pad for gamers, you'll recognize on the in the bottom middle there.

You've got four keys in four directions. I've got that uh the right one will speed the track up by 20%. So if I'm in a section that I know is good, I can bump it up and have that running at five, you know, 1.5 speed or two times speed. And so now you're the time you spend editing drops through the floor. You know, I can uh do a 20-minute file in 12 minutes or so because I can skip through the stuff that I know is already good.

Um, but yeah, that's another uh you know tool that really can speed up your workflow and take a lot of the pain out of it. Nice. A couple of the more advanced tools that I use um uh are tools that you can use to for getting a specific sound. So there is a Python uh library called Maturing. So what matching does is you give it a reference sound, like hey, I want something to sound like X, right?

Um the Pi this script is available. Um you can get it if you're familiar with Python, you can just uh install it from uh from Pip, I believe, uh, or you can get the source code right from GitHub. What this does is you have you will say, I have the sound that I like. Maybe it's a sound like NPR, for example. Um, and I want my audio to sound more like that sound if possible.

So I'm gonna go ahead and let's that away. So let's start with our so what episodes. This is the this is the so what episode that we were just editing not too long ago. Um, and let me bring just bring in so you can see what a an NPR style reference file looks like. And so you can see if I just toggle back and forth.

Look in the spectral analysis part in particular. You can see the colors in here are not as not quite as bright as they are in the NPR file. So let me go ahead and spin up matching here. Python match that pie source our source file is our so what episode and our reference file is the NPR reference file. And what this is going to do is exactly as advertised.

It's going to try and look at both of these files and then it's going to try and and remaster the audio from our so what file into the the perceived audio settings of the NPR file. And again this is this actually believe or not it works best with music. If you just recorded a track and you want it to sound like Aerosmith right if you want to from one of their their albums you would use this um to re essentially re blend all of the music. So let me go ahead and let's demonstrate let's just show what that waveform looks like. So there is if you if I just toggle back and forth you can now see this looks a lot more like the NPR uh file right so it it really does a nice job tuning it.

Now there's another tool that you can use if you are just if you've just run into a huge problem. So I'm going to play just a little bit of this sample audio here. This uh I'm going to just listen to this. Ready? Has female led shows.

They allowed Dickinson to actually wrap up, which you know, given everything else that happened this week, uh was so that's from an iPhone. Um that that audio file is from an iPhone. It does not sound great. You can see here the the file looks those those colors here are really not great looking. Um the there's a lot of variation.

This does this is not a good uh example of of what you'd want something to sound like. Adobe has a tool. Again, if you are an Adobe uh subscriber, you have this thing called Adobe Podcast. This is podcast in hand. It's it can take up to one hour of audio, 500 megabytes, and what it will do is it uses generative AI to listen to the source audio and resynthesize it as studio audio.

Now it still has to be comprehensible, like you can't feed it total garbage, um, but it does work if you've got uh if it's if it's good enough. So here's if you look at what produces the output, uh it looks much better. It looks much clear. I'll play a sample. Already has female-led shows.

They allowed Dickinson to actually wrap up, which you know, given everything else that happened this week, uh was so that's still that's my voice, but it's been synthesized. It has been uh rebuilt with AI to be a sort of represent a studio quality microphone. This is also good if if you are someone who right now all you've got is your phone, right? And you can't afford uh you know more gear, you can still use the voice memos app on your phone, record your audio as best as you can, and then feed it through a tool like Adobe Podcast that will strip down, strip it back down to its elements and rebuild it using AI. You can tell that it's been rebuilt.

There are little audio artifacts along the way, little things in the voice, like uh that's not quite natural. But from a quality perspective, it sounds so much better. So that's the matchering and uh Adobe Podcast are two of the tools that I use for either trying to get a certain audio signature, or we we uh we we we really hosed the recording. Like if you've ever if you've ever recorded a talk at a conference, for example, and you forgot to select you know the correct microphone and it you basically just got iPhone audio from the room. You can recover a good amount of stuff with Adobe Podcast.

I actually did this with some recordings of some talks from years ago uh when I didn't have the wireless lava ears and stuff. And this, you know, it had that big boom, echoey, you know, conference hall sound. And Adobe Podcast was able to reconstruct it back into studio quality audio. Yeah, that is a you know, another plug for always have a folder and archive of all your original source files. Because yeah, there's stuff now that people had considered dead and lost, and 15 years later, there's audio tools that can actually fix it and make it sound much better and get around it.

So that's that's all good. Um, one other thing for mastering and stuff like that that I wanted to cover is make sure that you're testing and checking your audio on every platform. So sitting at your desk, you know, at kind of the classic monitor setup with two speakers in front of you, but always try it with earbuds. The thing that you want to worry about with earbuds is that you're not blowing people away, that it doesn't get too loud. And then you want to check it in a car.

There really is no other way to get around that, but you need to drive around and just hear how it sounds on a car stereo because you know the quality of some car equipment is horrible, and then you've got road noise and all those things going on over there. The other one is the audio format too. You want to make sure that it sounds good in mono because there are people that are only using one earbud for whatever reason because they don't have hearing or because they're at some job where the other near ear needs to be open. So if you're one of those people that's making the rookie mistake of keeping, you know, one speaker and one audio channel, there's a bunch of reasons why that's bad, but you know, just think of the person with one earbud because that would totally miss out. Um, putting stuff in stereo is great.

Um if it gives you more of a sound spectrum and you know what you're doing. Um, and then on the cutting edge, just so you're aware of it, is Dolby Atmos seems to be the leader right now in full spatial audio where you've got you know eight speakers around you and a subwoofer and four up in the ceiling. Um, you know, the great part with that is you can just the AirPods or um Beats Fit Pro can do spatial audio. So if you're worried about placement, you can put it into spatial and at least hear and see what it sounds like. Um, but yeah, you know, there's no substitute for kind of generating your file and then going and trying it out on all these different formats to make sure that it sounds it's listenable.

You know, it doesn't need to be fantastic, but you want to make sure there's nothing in there that's gonna get make people just leave in disgust. Exactly. Um, the other thing uh and you mentioned this, but I want to offer a plug for it is you have to provide non audio too. So there are a number of folks who have hearing impairments, right? They they simply you know may not be uh be able to listen to something.

If you're producing video, you absolutely should be put providing an alternate method for consuming the content for the hearing impaired, or for people, for example, who just like subtitles. There are a lot of people who just like having the subtitles to because they are better at consuming the information that way. So there's a couple of good resources for this. For single voice stuff, um, the tool I use is an open source package called Whisper. This is an implementation of OpenAI's Whisper uh software.

So if you're familiar with OpenAI, they make chat GPT. Um, this is their speech recognition software. And you download this, you install it. There's a fairly high technical uh bar to get this, but once it's installed, you have free transcription of any audio that runs on your desktop or laptop. Um, so I can take, for example, uh this talk I gave at Marketing Professor last week, and Whisper just goes through its accuracy when you're using the medium or large models, its accuracy is phenomenal.

It's probably the best transcription available. And of course, uh it if you give it the right settings, it will produce the closed captions files. So after you've done your video production, after you've done the audio and you got your final MP4 file, you run Whisper on the audio file, and now you have closed captions that are accurate that you can then put up on YouTube. If you are working with more than one speaker, because Whispers is non-diarized, uh, the tool that we recommend is a tool called Otter. So if you go to trust insights.ai/slash otter, um, you can uh learn more about it.

You can get a, I believe uh if you use that URL, you get a free trial of like a hundred minutes to give those to give it a shot. Umter allows you to upload your your audio and even your video files, and it will produce, of course, the transcript. You can then designate speakers and of course uh do your exports into things like closed captions files, the SRT files, uh subtitles, as well as plain text. This is super valuable if you are dealing with, you know, uh again, uh things where people are hearing impaired. You want to make sure this, but also uh it's very useful if you are doing uh any kind of content creation, right?

So if you are putting up blogs or podcast episodes, um it is a good idea, generally speaking, to have a transcript uh of your episode, right? And the easiest way to do that is to have it be machine done. So uh today here's today's or yesterday's Trust Insights uh newsletter, uh no uh podcast episode. And so we've got uh competitive analysis stuff. Uh wait, no, this is the newsletter.

I'm gonna go back to the podcast here. Let's see. Even your insights how to use generative AI. So we will take um this and we'll take those transcripts, feed them to a tool like chat. Actually, we use Claude 2 for this, and say write a one-paragraph summary of the episode, and then down here, of course, you see the machine generator transcript.

This comes right out of Otter, and it provides all this content, the page. So not only are you serving those people who have a hearing impairment, but you're also feeding the content beast for all these engines. So it's really important to make sure that you're providing non-audio options for your audio. Yeah, that's great. There, I wanted to give a quick plug for platforms too, because we've talked about okay, you're just recording the audio yourself, but for a lot of podcasting, there's two primary services that we use, StreamYard, as we're using right here, right now, which we've found to be the best as far as video quality and number of platforms being able to stream on YouTube and LinkedIn and all those places.

Um, but interesting, just this week, this is the reason it's hot, I would mention it, is Squadcast does a really nice job. They have a bunch of the filters that we were talking about just built in as they record, and then they were just acquired this week by Descript. So now they're gonna be adding in some of these functions where, like when you're done recording, you'll have a transcript and you can actually retype and it will recreate the voice to say the things that have been fixed. And it does work. I've played around with it.

It's a little bit crazy. But so I wanted to give that a plug. So if you're you know doing a podcast workflow, you definitely want to check out StreamYard or Squadcast. Um, and then a plug for Libsyn that we've used forever for actually hosting the audio files. And they've been a great supporter of podcasting over the years.

So I want to be sure to give them a shout out. Exactly. So all these audio production things that we talked about work on not just podcasts, they work on videos that you're shooting, they work on uh pretty much anything except going live. Um, if you want that radio sound on a live stream, you need to use a mixer board, like John was mentioning the Rodecaster or the you know, Rhodes various ones. There are many different boards, but generally of the ones that we've heard, um, the ones by Rhodes seem to do the best for live for being live.

So if you if you have to have that that great uh production sound on live, um using uh a server-based board with like the roadcaster is is the way to go. Otherwise, we've covered Adobe Audition. If you cannot afford audition, there's an open source package called Audacity that a lot of again, a lot of folks have used over the years. Uh, it is a much clunkier interface, but it is free. Uh, there's no financial cost, it is open source, so that so it is useful there.

Um, and there's a good chance that any video editing package you're using has at least some rudimentary audio controls to be able to do compression and things like that. Adobe Premiere has a whole bunch uh built into it as well. But if you don't want to use audition, you can do it right inside of Premiere. John, when you were asking about multi-tracks, that's the reason I don't use multi-track in auditions because I anytime I'm doing uh edits of like when Katie and I are speaking, it's I'm usually doing in Premier. Yeah, well, and then that's you know there are all kinds of other tools that people use, but if you're in the whole Adobe suite, I mean it's just you just jump from tool to tool, right?

You can mess with your audio and then you can add cards from Photoshop and all that kind of stuff. It does make your life a whole lot easier if you're logged into one suite. Yep, exactly. Uh if you are purely an Apple fan, then you can use both Final Cut Pro and Logic. So Logic uh is a very is a similar DAW to uh to audition however logic is much more designed for music.

Um so that said you can do almost all the exact same tricks uh in logic that you can in audition. And again, if you have no money and you've but you've got a Mac, Garage Band, I mean I edited the first 600 episodes of the Financial Aid podcast in GarageBand and it was good enough. You know it it did the job. Yeah and well you have to give a shout out for Pro Tools too like all the hardcore music people that's their tool set and where they're at. So again in fact a number most plugins have the same protocols.

So all the plugins we talked about work on all those platforms. Exactly. So that's it for today's show. We took we walked through all the different parts of audio uh audio production though it's not quite engineering because neither of us are qualified audio engineers. But any final parting words?

Yeah I think I've got you know I have a set of uh one more Sonoflow headphones that I'm gonna give away. So if you connect with me over on LinkedIn for the Trust Insights post for this or uh on threads too, if you haven't been over there, connect with me, but just say, hey, I want those headphones, and I'll enter you in the drawing for those because I'm those are going out the door by the end of next week. And uh yeah, we are not audio engineers, but we played with a billion tools. And if you have feedback, we would love to hear about it. You know, in fact, if you are an audio engineer and want to tell us why we're completely full of crap, I would love to hear about that.

Exactly. All right, folks, we will talk to you next time. Thanks for watching today. Be sure to subscribe to our show wherever you're watching it. For more resources and to learn more, check out the Trust Insights Podcast at TrustInsights.ai slash TI podcast.

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