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Thanks for the feedback. Regarding the 4k/1080, I was just watching a Tom Buck stream where he talks about some of the technical stuff behind and that implementing 4k on a device like that is more complicated and considerably more expensive. I recorded this video the day it was announced and didn't realize there aren't any affordable switchers that output 4k. I figured if Elgato can produce a 4k Camlink for $100 that it would be trivial to add 4k ins/outs to a switcher, but that doesn't seem to be the case. Even as an audio guy, I can't say 1080 vs 4k is the same as 24 vs 32 bit recording. There is a noticeable difference in overall quality and resolution between 1080 and 4k. With 32 bit recordings, the only improvements we're getting are in terms of headroom and bigger file sizes. 24 bit is certainly more than enough for content creation, and really, it's enough for music with 144dB of dynamic range. Unfortunately, many of your content ideas fall outside my area of expertise. They fall more into Tara's wheelhouse and I've merely absorbed some of her knowledge over the years. She is the storyteller and marketer of the operation. We have plans to start creating some content with her, and marketing will definitely be one of those areas. And your ideas might spur some other ideas, so thank you again for the suggestions. I've considered doing videos commenting on areas where podcast production could be improved, but there are two elements that hold me back. One is time because it would take a lot of time to find shows that fit that criteria and then find one that would give permission. Two, I could do it without permission, sort of like reaction videos, but there's still the time it takes to find episodes and then dealing the maze of fair use. I guess there's a third reason and that's because I'm not sure podcasters or their audiences care that much. I've seen how resistant clients and other editors client's can be when it comes to feedback.

I don't think it will reach an end, because there are certain debates that will never end, but I agree that we're at a place where there is the law of diminishing returns is fairly low with mics for content creators. We're seeing a lot more innovation in mic technology, and most of it is aimed at content creators. More and more mics are including digital tools like noise reduction/voice isolation/whatever they want to call it along with EQ, compression, and other effects. We're even seeing XLR mic incorporating new technologies like the new Lewitt Ray. At this point, I don't see any reason to recommend an XLR mic to anyone who isn't recording in-person with others. Who knows, maybe we'll start seeing interfaces or mixers that will allow users to connect multiple USB mics from any manufacturer. I know Rode has some products that do this with some of their own mics, but we need something like an audio interface that works with any USB mics. My travel mic is a USB mic simply because I don't want to haul around a bunch of equipment when I'm out of town.

@@jesse.mccune That makes perfect sense to me as well! I spent some serious coin on audio interfaces while starting out partly because I was told by youtubers that I needed to and more so due to my stupidity. Oddly enough, I have settled on my RE20 and RE27 connected to a Lewitt Connect 6. Don’t laugh,….it provides me with the control and best sound out of all of the others I have tested. Who knew? I mean $275 got me what I needed. I bought my RE20 and 27 from a reliable source who sold them to me used. They are absolutely awesome. The Lewitt Ray has piqued my interest if for no other reason than the tech behind it. Like you, I hope that USB mics can gain more ground through 3rd party EQ softwares and interfaces etc because they do make a compelling case for travel and overall ease of use. I strictly do remote guest interviews and do not have control of my guest’s mics but it is something that I just deal with.

I just checked it out and, if it's possible, I haven't been able to figure out how. That would require the ability to create a separate mix and the Vocaster Hub only has one mix, the Show Mix. What's your use case for this? I'll see if I know of anything that might solve your problem.

@@jesse.mccune The use is being able to monitoring the microphone only via software trough vst plugins, using a DAW or another vst host in "real time"(with some latency, of course).

@DJMotavirust In that case, you should be able to use the Vocaster since you'll be using your DAW or VST host to create your mix. In the Vocaster Hub software, you would simply turn down the Host/Guest mic all the way in the Mix section. This will remove the direct monitoring from your mix. You would set up your DAW to pull in the Host/Guest mics on their own individual input and set your DAW to output to Loopback 2. If you were to need access to your computer's audio, you would route Loopback 1 to its own track in your DAW and now you have your own custom mix that will then be sent out to the Vocaster and your audience.

@@jesse.mccune The mic audio won't be muted in the DAW, if you turn down the mic in the mix section? Thanks for the trick!

@DJMotavirust If you watched the section where I try to use the mixer live, we discovered that the feed that is sent to the DAW is pre-fader, so the mix section levels have no impact on what is sent to the DAW. The mixer only controls the levels of the audio sent to the Show Mix. By using your DAW, you would be effectively creating your own submix that will be entering the Show Mix via Loopback 1 and Loopback 2. You'd use the faders in your DAW to set the relative levels. Hope that helps. Let me know if you have any other quesitons.

I agree that when these are on sale, there isn't really a better value for podcasters and content creators. Like you said, it has enough clean gain to power any mic without the expense of a booster. I share your opinions on the DSP. It feels like it was thrown in, but that's what cheap DSP is going to be. I think the compression, as long as it's not set too high is usable. I guess the saving grace of the preset EQ settings is that they don't really do any damage to the audio since they are so subtle. I can get better results with plugins, so that's why I ask clients not to use EQ on their recordings.

I'm glad you found it helpful. I see the question pop up often enough that I felt there was a need to create some content around it.

I feel this was a situation where their marketing oversold a product that underdelivered. Shape was the only element in it that is useable on this plugin. Boost could have been made better for those who don't understand loudness by functioning more as a loudness normalizer. Clean is only useful if we're already starting out with pretty good recordings. I was hoping this would be a plugin I could recommend to content creators looking for a low-cost all-in-one option. I'm still hoping to find a solution for them.

Hi Leonard. I like the course idea, but I don't think I'm the best person to do it since I don't own or use the FaceCam and my use of the StreamDeck is relegated to productivity and editing and isn't used for recording. About the likelihood of Elgato releasing a larger model, I don't know. What I can say is that I think the current size is good. If it were any taller or wider, I think it would make it more apparent that a teleprompter is being used and the eyes would spend more time off camera than on. This would be even more pronounced for anyone who has it mounted above their monitor. The new rack-mounted StreamDeck seems to be aimed entirely at broadcasters rather than content creators, but it was an interesting release. I would love a straight Stream Deck in that form factor because it would clean up my desk a little more since I already have a desk with rack mount spaces for my audio equipment.

@@jesse.mccune Hi Jessie, Thank you so much for getting back to me. I'm a full time attorney, so I don't have a fraction of the time I need. What I mentioned is for my home office set up. I could not edit a straight line with a ruler. I'm trying to learn how to use all this equipment. I wish someone would make the course, I mentioned. I never thought of using the Streamdeck + for editing. I got a 128 GB V90 card for the slot. I want to streamline things as much as possible, since my significant other is a minimalist and she wouldn't allow me to set things up the way I want to. Hopefully the Rhode Wireless Pro I'm trying to learn about today will make recording easier. Thank you for all your help, now that I know about your channel, I will be able to watch and learn more often. But for me time is always too tight. Thanks again. Lenny

@leonardboyer7601 I'd be of more help if you were on a Mac because PCs are like a foreign language to me at this point. It sounds like you've got your equipment selected. Do you have a program chosen for recording your videos? That's usually the biggest hurdle in getting set up and where the biggest learning curve might be found. The equipment is usually pretty straight forward to set up these days. The Wireless Pro is a solid solution if you're going to use a lav mic since it can connect so easily to computers and phones. I have one sitting in a box for some brand videos we're going to be working on over the next couple months, but I haven't tried out the included mics, but I'd be surprised if they aren't good enough to get started with. I've found the Prompter to be the biggest improvement to my setup because it's allowed me to spend less time recording and editing because it keeps me on point and not trying to think on the fly as I'm recording. Let me know if you have any questions and I'll try to help where I can.

@@jesse.mccune Hi Jessie, I always wanted to control my computers, and I was and still am a Windows person, because I like to build them, but can't program or edit the videos. I record to Zoom and I farm it out to a low end editor who can't adjust the voice/volume. I have used my Blue Yeti, black out edition on the desk top stand it came with. I make content providing legal education and information, so I upload my videos (which I have not done on a regular and consistent basis ) into the UA-cam education choice. Don't know if that really matters or not. The editor only charges $35 per hour, so it's a bargain. These are the dog days of summer for attorneys and I already spent a ton of money for my video set up in my law office. We are going to have a video editor/videographer that is going to be a partner in the business and he does it professionally for a NY affiliate of a major TV network. The business transcends all niches, so we have to get a Kajabi website designer and have landing pages geared to the 3 major niches we are going to target. We will be offering legal and business coaching to people who in one niche, have a brick and mortar business that they want to get online and a 2nd niche will be for teachers who want to do things their way and eliminate a salary cap and the 3rd niche will be for people who want to avoid going to college and learn from someone else's mistakes. I think our partner will record to Adobe or possibly StreamYard. I realize MAC is better for video and that it is totally a different language, but I'm analytical not artistic. Thank you so much for all your help and advice.

@leonardboyer7601 Since you'll be using Zoom, the set up for this will be pretty simple once you get everything set up set up to your liking. PCs are just as good as Macs for video, I think it's just that creatives tend to gravitate towards Macs.

The changes to our business won't impact our courses because the courses are a part of our diversified business offerings. The goal is to not have all our eggs in one basket.

I've heard it off and on over the years, but it's never been consistent. I'm on RX10 now, but heard it at least as far back as RX8. It was probably present further back, but my ears weren't developed enough to recognize it.

I find it extremely frustrating because it’s so random.

@richardsisk1770 That's been my experience as well. Most of the time it sounds fine, but every once in awhile, those artifacts are there.

I'd guess your threshold nodes were bouncing up and down from adaptive mode being on? I'm not a fan of Voice Denoise simply because the threshold and amount of attenuation you want is tied to where you set the 'Threshold Nodes'. The 'Global Threshold' literally just offsets the 'Threshold Nodes', and the 'Global Reduction' just limits the amount of total reduction is being applied. I don't think a lot of people even realize this. I much more prefer the style of DNS/WNS where you have 'Attenuation Bands' that simply attenuates the band by the amount you want, and the 'Global Threshold' which behaves as expected and sets the threshold. If anyone's looking for a multiband-gate style denoiser like DNS, I'd check out Bertom Denoiser. It's free and even supports AAX for Protools users. I don't use it because I own Cedar but I've heard good things about it. (Don't expect it to compete with AI denoising). That said, I agree I don't think you really need denoising on this audio. The sibilance also sounds fine to me. There's a slight harshness to my ears around 13kHz but it's subtle. I think your audio sounds pretty good.

Thanks for the comment and feedback on my audio, Chris. I wasn't aware of that about Voice De-noise. I did have Adaptive mode engaged. Like I mentioned in the video, I was running it because someone claimed the noise on my recordings was distracting, but I never heard any noise unless I really cranked my headphones, and then, it becomes difficult to know if the noise is coming from the recording or the headphone amp. It's not worth my time to take each recording into RX to manually clean up with Spectral De-noise, so I just slapped Voice De-noise on. I know I've run into this issue with Spectral De-noise to on occasion. It's odd because there doesn't seem to be rhyme or reason to it. I could never find a correlation. It would happen on audio that needed very little de-noising as well as things that needed a heavier hand. Since I've moved away from RX for day-to-day noise reduction, it's not much of an issue for me...at least now that I have decided to stop using Voice De-noise on myself. Now, I'm going to have problems if Mouth De-click starts producing artifacts.

I noticed that during the video, but thought is was just a timing/speed issue. I didn't know you had upgraded to the Prompter. Last I knew, you had one of the teleprompters that used your phone. What prompted the change?

The one that used my phone was OK but the screen was very small with unreadable text if I tried to use to show my livestream window. And I decided I’d rather use my phone as a camera so that I could capture a better image than when using a webcam.

@TopTierAudio Those are two other good reasons to upgrade from many of the cheaper (or even more expensive) teleprompters. It's as if Elgato looked at the teleprompters content creators were using and set out to improve everything that mattered to us. I've noticed your video quality had improved recently. The built-in cameras are really good these days and definitely better than webcams can provide. The only frustration is the hassle of setting it up each time, which isn't that bad.

It's better than I expected, but not an industry leading effort and not worth an upgrade.

Video production as we know it won't really run out of steam, but it will change and become less lucrative. It's funny because we were talking about this with my sister who works in the video production world. Her experience is in the space of tv and documentary production, as well as corporate video and she was talking about how video editors are struggling to find jobs this year. From what I've seen, AI starts at the bottom of an industry. Those with little to no budgets will use AI to do it themselves, reducing the number of clients at the bottom. Once AI becomes established in an industry, it starts pulling prices down at the top of the industry as the perceived value decreases. This starts to compress the industry in terms of the higher cost providers having to lower their rates and the low cost providers are still there taking the bottom of the industry. Now, we're looking at a commoditized service. We're just entering this phase in audio podcast editing. The same thing will likely occur with video podcast editing. We need to remember that podcast editing, audio or video, only requires basic skills to do the editing. AI has made it so podcasters don't need to know how to clean up or mix audio. AI can handle the animated titles on their shorts. Content creators are heavily leaning on AI to find and create the clips for them. The less skill that is involved, the easier it will be for AI to disrupt and devalue that service. So, the question becomes, how can we take our existing skills and find new places or ways to apply them that aren't going to be hit by AI as quickly? This is the wave we should be looking for.

@@jesse.mccune Yeah I should have specified: I went beyond mere podcast video editing too and went into editing UA-cam videos of all kinds. Of course automation is a threat there too but yeah

@xyzmedia5161 That's a great example of not defining yourself by what you, but the value you provide. You aren't a podcast editor, you edit audio and video content for clients. This opens up opportunities you would otherwise be passing up if you were only a podcast editor.

This is the exact sentiment behind the idea of jumping the curve. It's not limiting to refer to it as such, but to think of yourself as a podcast service provider. An audio podcast editor helps people tell their stories through audio. Many editors are looking for new ways to keep working with podcasters and this is what will keep them stuck. We can get better at what we do and start offering services to video producers who need audio people. We can start learning how to mix in Atmos so we are ready when AR becomes more accessible. We can look for new markets altogether like your example of archiving family member's stories and history in an audio or audio/video format. There are many different routes here and the only one that is likely to dead end is offering services only to podcasters, unless we are ok with large rosters and fast turnaround.

AI is definitely being felt throughout the creative services industry. Everyone from marketing, to writers, editors, and even voice over actors. It's not a thing we can turn a blind eye to if we want to continue offering creative services. Tara and I are trying to look at the areas that AI struggles with and find ways we fill those gaps. Do you mind sharing some of the areas you're looking into?

I'm glad you found it helpful. Once you get the hang of it, manual trimming isn't too labor intensive unless you're editing multi-hour 4 person interviews.

Thanks for the kind words. Lil Freq has been in my chain for awhile now. I haven't done a review because it's more of a specialized plugin that I'm essentially using because of its de-esser. Since it's primarily an EQ, I also use it to take the edge off the mids in my voice so I don't have to run another plugin for that purpose. It's a bit overkill for most podcasters and the EQ section isn't really meant for corrective EQ, which most podcast editors need. It's not a plugin I use on client work.

@@jesse.mccune I think many of us would benefit from a seeing a side-by-side comparison between Lil Freq's desser vs Sonible's smart:deess. Sonible, of course, claims their algorithim "goes far deeper and creates a more natural, better balanced sound by harnessing the power of a fully trained neural network."

@OregonCoast426 Thanks for the suggestion. I'll get it added to my list of ideas.

I tested it with my monitor and it didn't work. My monitor is a 49" monitor, so I don't know if it would work with a smaller screen.

Hi Jack. I'm not sure what you're hearing in the four minute section because there isn't a gate. I thought that maybe it was just from edits, but I only have one cut in the 4 minute section. I'm always open to video suggestions. I do consult with clients and content creators, but I haven't run into the situation I think you're describing. There are two phases of editing, technical and editorial. The technical stuff is the mixing, removing fillers, false starts, and repetitions, and adjusting pauses. I leave the editorial phase to the content creator or subject matter expert because it's their content and they know best what they want in there and what they don't. Having said that, I haven't edited an episode where I've been unable to determine what could be edited out. If you don't mind, could you send me a little more detail about this question that will help me better understand. tansyasteracademy.com/contact/

@@jesse.mccune I sent an email, Jesse.

After listening several times this morning I'm convinced what I heard is you breathing. I only noticed because I listened more closely than I normally would. Why it didn't occur to me it was breathing is because I typically remove all breath sounds from my narrations - dating back 30 years even when I recorded my first record album. At near 70, breathing is an issue for me, so I process recordings with a gate typically set for -40dB (+/-2dB) which removes 95%. The downside is, it can clip word ends and I still have to comb through with a WAV editor for artifacts. My process murders words ending in S and F, etc (sibilant ends)? So listening critically to your video, I heard it and was perplexed. Continuing to think about it, I'm impressed by the consistency and control you demonstrate in speaking and breathing.

@ilblues Yeah, gates are good for cutting off starts and ends of words, especially when they're being used to gate out things like breaths or cross talk. I guess I've always taken my breathing for granted, but I guess the 6-days-a-week cardio routine, hiking and biking pay off in that regard. The consistency in speaking comes more from being on the spectrum and not having a lot of prosody in my voice. I don't really need much compression because my speech is fairly consistent.

The tech specs look the same, so I would be surprised if it doesn’t support 250 ohm headphones. Unfortunately, I don’t have any high impedance headphones to test it with.

Thanks for the feedback. The issue that gives me mouth noise also gives me the gift of strong sibilance, so it's good to know that it's not problematic.

We're all human and make mistakes and have room for improvement. It seems there are quite a few podcast editors with big egos and that stands in the way of them becoming better at what they do. It's why I open and honest about my journey as a podcast editor. There is always room for growth and improvement and you never know where you will learn something new. Sometimes, we become complacent and operate on autopilot, which is where I feel growth comes to a stop. It's one of the reasons why I teach and work with editors. It's why I create content. I learn more by helping others than I would otherwise. And part of helping others goes back to being open and honest about my experiences, good and bad. We can't improve when we work in a silo or keep our head buried in the sand.

Thank you for the feedback, Matthew. It's interesting how we hear things differently. Maybe it's my ears this morning, but I'm not hearing anything I'd classify as overprocessed. I hear a few edit points, which I'm ok with because it's just room tone, and I monitor at low volumes when I edit, so I'm going to miss these now and then. Most people won't hear them, and if they do, they probably won't find them so distracting that they'll stop watching. I have strong sibilance, so I have to apply aggressive amounts of de-essing, which could contribute to your hearing. There isn't any EQ boosting going on, though. When it comes to dialog, I almost exclusively use subtractive EQ...and always with my audio. There have been a couple times when I've used additive because cutting wasn't quite enough.

My first thought is that it it doesn’t seem to be communicating with the computer when it’s connected to the Anker. There are two USB-C ports on the USB Hub. One is for power and one is for the computer connection. Do you have a cable going from the Hub to your computer?

@@jesse.mccune All cables are connected correctly.

I’d recommend reaching out to Elgato’s tech support for some assistance. If you’re connected to power and your computer, the StreamDeck should be powering up and functioning.

The short answer is yes. The longer answer is you’ll be fine in most cases, but if you’re doing anything that requires high speed, you’ll be better connecting straight into the computer. The biggest exception I can think of would be if you’re working with video. You’re likely to run into speed issues when recording video to the drive or trying to edit from it.

@@eyesac7486 It should work with any USB mic regardless of who made it.

Thanks again for the kind words. I didn’t address the audio work because there wasn’t any being done on this project. This is an existing course and all the audio is already finalized. To go a little deeper and answer your question about their expectations about quality, this is where the irony enters the equation. When we asked what mattered most, it was quality and speed. They want the new videos and slides to look sleek and modern. When I asked about the audio the response was along the lines of, “We recorded this 10 years ago and didn’t know what we were doing. We didn’t use a mic and didn’t know to keep the original Wav files, so all we have are the mp3s.” So, we have 10 year old mp3s, which I have to assume are low bit rate. The sample they sent me didn’t sound great. It wasn’t edited and, since it’s 10 years old, it hasn’t been cleaned up so there’s a good amount of reverb. This client doesn’t understand the simple concept that you are being judged by your audio quality more than the visual presentation. There was a study a few years ago that found poor audio quality results in the presentation and presenter being less credible and trust worthy than if the audio quality is higher. This is backed up by all the experienced UA-cam coaches who tell us that the audio quality is more important than the video.

Thanks for the comment, Jack. Once we add in all the project management and admin time, yeah, it would be less than minimum wage. Then factor in taxes and the whole thing would take up a lot of time with busy work that would prevent us from being able to take on other jobs which would pay adequately. With the video sync, unless there’s a sample rate mismatch (48 vs 44.1), it’s usually a pretty simple task in most video editing programs. They’ll usually auto sync the new track to the old one. The one important thing is to not make any changes that will change the time line. For instance, if we do something that shortens the timeline, like cutting out a long pause, that will break our sync. Luckily, in this project, there really isn’t video that needs to be synced since it’s all voice over on top of slides. The grind of it is having to watch the video and replace each slide when as it appears onscreen. That type of work is tedious. The only regret I have about not taking the job is knowing that, unless they scrap it, (which they very well might), they’re going to find someone to take on the job and this person/team is unlikely to know what they’re getting themselves into.

It would work well for that. My biggest concern would be with the Face Cam. Ideally that would be plugged directly into the computer, but it should be doable.

Thanks for participating. The differences are definitely subtle and they are close enough that it doesn't matter and shows that there really isn't a difference in the connector used, it's about picking a good mic.

Thanks for sharing how you hear it. I think its funny how we can hear, or maybe describe things differently. What I hear in the USB is what I'd describe as a warmer sound. The built-in preamp is definitely colored, whether that means muffled, warm, or some other term. Do you think the difference is big enough to the average listener to justify the purchase of an audio interface, recorder, or podcast mixer?

Thanks for participating. I'm not surprised to hear that there's not a noticeable difference on a smart phone.

That doesn't sound right. Reach out to tech support and see if they can help solve the issue.

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I agree that Native Instruments has allowed RX to fall behind in the dialog repair space over the last few years. The one thing I do like about the new Dialog Isolate is that they chose to forego the single knob layout for one that gives the user independent control over the noise, reverb, and voice levels. To your point about making Dialog Isolate a standalone product, they would need to really improve the efficiency of their algorithm.

What do you mean by distinguish?

@@jesse.mccune I want to separate only one person from two person conversations at the same time. I want to remove the other one. Thank you

@TalesofMahdi The only way to do that would be to manually separate the track into the two tracks, one for each voice. The only program I know that can somewhat automate this for you would be Hindenburg Pro. It will transcribe the track and then you'll have an option to "Split By Speaker". It works pretty well, but will require some assistance when there is crosstalk.

@@jesse.mccune thanks, Basically, it's a phone call. A man and a woman are talking. I just need the man's voice. Women voice need remove. Is it possible with IZotope RX 11?

@TalesofMahdi I'm not aware of anything in RX that will split a track into two voices. Hindenburg is the only thing I'm aware of that can reasonably do this short of doing the work manually.

I'm glad you found it helpful.

@ilblues This is what frustrates me about Riverside and their marketing team. The clip they posted to their group was edited, and it sounds like there are some breaths in the audio, leaving me to wonder if it was actually made with their tool, or the same version that was released to the public. I also wonder if AI Voice, like many other AI audio tools struggles with good recordings. Maybe it would sound more like me if I recorded with a laptop mic in an untreated room.

Thanks for sharing your experience. It seems odd that VEA doesn't work in OBS unless it's a latency thing, bit it's good to know that it doesn't work there.

That's interesting. Do you hear any differences beyond the speed of the dialog? Would it fool you into thinking it was me if the speed was the same?

@@jesse.mccune Yeah it would sound just like you

@aftertheshowmoviepodcast Maybe I'm just too familiar with my voice and recordings because I can't fathom being able to drop that into the middle of a recording and think that no one would notice.

@@jesse.mccune You would be amazed how little attention people pay to things like that.

I did not know that was an old school line. I can see how the voices can be entertaining. Tara and I have had some good laughs with the different navigation apps on the phone when they butcher the pronunciation of a street or have some weird inflection. Someone will crack the code, but who knows how long it will take.

It's frustrating that they release this without software for Macs ready. I'm not comfortable sharing the beta, but contact them about the issue and they should send you the beta software. help.elgato.com/hc/en-us/requests/new

Thank you for your response and tips. I tested it out to see if that is the problem. It is and it isn't. This shows how buggy or unintuitive the settings in Wave Link app are. When I mute the monitoring track and set the Mic Mix to 100% Mic, I can hear the mic with zero latency, but I can no longer hear any audio from my computer. This means if I were recording on Riverside, I wouldn't be able to hear my guest, forcing to choose between hearing them or myself. If I set it to 50% Mic/50% PC Mix 50%, I don't hear the mic with the Monitor Mix muted. If I unmute it, I get the latency. This still makes it unusable since my choices are: • monitor myself with zero latency, but unable to hear any audio from my computer • hear audio from my computer, but not be able to monitor myself • hear audio from my computer and monitor myself with latency The option I need is to be able to monitor myself with zero latency and hear audio from my computer. For now, I'll have to chalk this up to it being Beta software. The day they sent me the beta software, I followed up with tech support about the latency and loopback not working and have yet to hear back from them. Hopefully the software is working flawlessly on PCs, but it definitely doesn't seem to be on Macs.

@@jesse.mccune You’re welcome. That does seem very frustrating. I am on Windows and like I said even at 10% mic I can hear myself. So for you to not hear your own voice when it’s set to 50/50 is very strange and should definitely not be the case. Do you have the „Output Volume“ set to 100% or „0 dB“ how it’s labeled in the software? It should be all the way to the right and then you control the volume with the specific tracks for system, music etc.. Maybe that’s why it’s too quiet for you. It took me a while to understand this part too. But if it in fact is a bug then I guess there is not much you can do…

@silasxewers I appreciate the guidance. I set my volume like I do on any other device. I start it at its lowest setting and raise it until it's at a comfortable level. This ensures I'm not listening at too high of a volume. If that is how Elgato has designed it to work, this isn't a good approach. The output volume should work as a master volume with the volume sliders for each app working to mix the relative levels to each other. I guess I will have to continue to wait for some sort of official Wave Link software update for Macs. We're over a week out from release and still don't have functional software yet.

@@jesse.mccune Yeah that’s exactly what confused me too. No point in having that slider if you have to have it at 100% for it to be working properly. Oh well. Glad I could help :) Hope they push out an update soon.

Auphonic really surprised me. It's too bad it's not available as a plugin, but I know it's probably not a simple task. I know from talking with Ian, the developer of Hush Audio that there are some challenges turning it into a real-time process. Just look at the poor performance of RX11's Dialog Isolate.

Thank you for the feedback. The dimensions are 5.5 x 5.4 x 4.3 inches. In terms of sibilance, I have a lot of it. I wish things were different. If you think this is tough to listen to, you should listen to the unprocessed audio. I've de-essed as heavily as I could without causing other problems. I just made a couple videos with a different mic, so my mic positioning might have changed slightly too, causing it to pick up a bit more than normal. I'm curious to know what you're using to listen to this with? Headphones or speakers? What make and model? I've found that my sibilance tends to live in the frequency range that many headphones tend to boost. Again, thanks for the feedback. It's always welcome.

@@jesse.mccune Headphones. Hifiman Edtion X.

@@jesse.mccune hi, as for me, I'm using some Logitech speakers and it sounds kinda muffled, like the lower frequencies are so boosted they shadow the rest of the sound

@jorgefnx Thanks for taking the time to provide this to me. The only EQ I use is a bit of a cut in the 700 and another at 3.1k. No boosting is being done. It sounds like the speakers probably have a smile curved EQ, which would explain what you're describing since that would boost the lows and highs, while cutting the mids. This is fairly common with speakers like this. And since I have pronounced sibilance, the speakers would make it even more apparent. Unfortunately, De-essing can only take the edge off sibilance, it can't completely remove it. I do apologize that it was a distraction. What are you looking for in an interface?

No problem. Glad you found it helpful.

dxRevive Pro and Supertone Clear were included in my big noise reduction shootout video. ua-cam.com/video/r0kkwyZIey4/v-deo.html dxRevive hasn't replaced Clear. It's just the noise reduction plugin that I default to. If it doesn't work well, I'll try out the others depending on what dxRevive was struggling with. I'm not sure if that makes sense. Each piece of audio is different and I choose the tool that gets the job done. I don't get into A-B testing, I just listen to the audio and decide if this is good enough or if I need to try something else. Accentize has the standard version of dxRevive, though it only has the Studio algorithms. They made the decision to only provide the updated algos to Pro users. Probably to help offset the cost of development. The use case for Studio and Normal is to have options. Sometimes one will work better than the other on the given piece of audio. Personally, Normal is chosen as my default because I don't want it adding EQ to my audio. If I have something kind of trashy sounding, I might just slap Studio in and move on.

I can't promise I'll make a video, but I will check it out.

I just checked out your site. Given that the free plan only offers mp3 and there's no trial, I'm afraid I won't be able to test it out. I would need wav files in order to do a proper test and I'm not paying to perform a test.