November 28, 2024 • 31 mins
This week, we’ve got a surprise Black Friday Special for you! Forget our usual Tuesday release; today, we’re diving into the juiciest audio deals and some gold-standard advice for voiceover demos.
From George sharing insider tips on memberships and exclusive discounts at George The Tech, to Robbo breaking down his Black Friday demo deal, it’s a full table of offers, insights, and laughs. Robert also spills the beans on Source Elements' jaw-dropping discounts. If you’ve ever thought about upgrading your home studio setup or refining your VO game, this is the episode you’ve been waiting for.
Plus:
- Robbo shares how his process creates world-class demos that land talent major gigs.
- Learn why listening is the secret sauce to crafting the perfect voiceover demo.
- Behind-the-scenes stories of VO pros, acting challenges, and gear tips galore.
Sponsors:
- Tribooth: $200 off with code TRIPAP200.
- Austrian Audio: Making passion heard with their industry-leading gear.
Hashtags:
#ProAudioSuite #BlackFridayDeals #VoiceoverDemo #AudioGearDiscounts #VOProTips
A big shout out to our sponsors, Austrian Audio and Tri Booth. Both these companies are providers of QUALITY Audio Gear (we wouldn't partner with them unless they were), so please, if you're in the market for some new kit, do us a solid and check out their products, and be sure to tell em "Robbo, George, Robert, and AP sent you"... As a part of their generous support of our show, Tri Booth is offering $200 off a brand-new booth when you use the code TRIPAP200. So get onto their website now and secure your new booth...
And if you're in the market for a new Mic or killer pair of headphones, check out Austrian Audio. They've got a great range of top-shelf gear..
We have launched a Patreon page in the hopes of being able to pay someone to help us get the show to more people and in turn help them with the same info we're sharing with you. If you aren't familiar with Patreon, it’s an easy way for those interested in our show to get exclusive content and updates before anyone else, along with a whole bunch of other "perks" just by contributing as little as $1 per month. Find out more here..
George has created a page strictly for Pro Audio Suite listeners, so check it out for the latest discounts and offers for TPAS listeners.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
(Transcribed by TurboScribe.ai. Go Unlimited to remove this message.) Y'all ready to be history?
Get started.
Welcome.
Hi.
Hi.
Hi.
Hello everyone.
To the Pro Audio Suite.
These guys are professional, they're motivated.
Thanks to Tribush, the best vocal booth 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.
(00:21):
Darren Robert Robertson from Voodoo Radio Imaging, Sydney.
Tech to the VO Stars.
George the Tech Whittam from LA.
And me, Andrew Peters, voiceover talent and home
studio guy.
Line up, man.
Here we go.
And welcome to another Pro Audio Suite.
Thanks to Tribush.
Don't forget the code.
T-R-I-P-A-P 200 to
(00:43):
get 200 US dollars off your Tribush.
And Austrian Audio, making passion heard.
Now of course, it is officially Black Friday.
And there's a few little deals going around
the table in our little community.
Who wants to kick off?
George or Robert or Robbo?
I'm kicking it.
Keep going, George.
(01:04):
George.
It's George.
So we, you know, every year we like
to offer some big discount, as we tend
to do at this time of year.
And so my idea this go around is
we're going to offer our memberships, which you
guys may not know we have.
But we do have subscription memberships.
And what we're going to do is if
you sign up before the end of the
(01:25):
day on Monday, that's the end of Cyber
Monday, and you use the coupon code GTT50OFFCM24
at checkout, you can probably figure out what
that means, right?
50OFFCYBERMONDAY24.
At checkout, you're going to get 50%
off your entire year's membership.
(01:47):
So whether you pay by the month or
by the year, you're going to get 50
% off the membership.
And what does that entail exactly, right?
Because what the heck is a membership?
Well, we've decided to offer these memberships so
we can include a whole slate of services
that are included with each membership.
And there's a few tiers available, starting with
(02:08):
blue steel, bronze, silver, and gold.
And so if you come in on the
blue steel level, it's normally $50 a month
and $500 a year.
You basically get two months free if you
opt for an annual payment up front and
save a little bit of money if you
have the extra cash to spend.
(02:29):
But you'll also still get 50% off
of that.
So you can get an entire year's worth
of a blue steel membership for $250.
And that includes my virtual George front of
the line priority service.
So if you do purchase a service, you're
going to get ahead of the line of
others who are waiting for my response.
(02:51):
Webinar library access, you can get up to
12 videos per year from our video library.
You'll be able to come to our members
Zoom with me twice a month.
Answers access, where you can just ask questions
anytime online, two per month.
And sound checks, two per year.
(03:11):
That's all included on the blue steel.
Just the webinar library alone is worth a
lot.
I have one question on that, though.
If I watch a video, have I got
to rewind it before I return it?
Yes, you have to.
Please be kind, rewind.
That's where all the old people are.
We'll pull it for you with what all
the other memberships include, but you can check
(03:32):
it out at georgev.tech slash member sign
up.
And that's where the pages and you'll see
the promotion and a list of all the
things you can get part of that.
Now, also, the memberships are limited to a
number of certain number of people because we
want to make sure that the membership club
has enough attention from me specifically.
(03:54):
Yeah.
So there's only 50 of the blue steel,
20 bronze, 10 silver and five gold total
that we're going to offer.
And most of the bronze memberships have been
bought already.
There's only four of me.
There's only so much George to go around.
There's so much to go around.
It goes blue, bronze, silver, gold.
Yeah.
(04:15):
So what are the differences?
Like if you just give like a sentence
or two about each level.
So like the blue you said is like
you get two things.
You get 12 videos, right?
Right.
So blue.
When you go to bronze, which is the
most popular plan right now, you get all
the virtual George front of the line, unlimited
webinar access.
So anything we release throughout the year, you
(04:36):
can review anything in the library at all.
You can review.
And there's actually have to count.
I think I have over 50 videos now
in the webinar library of tech training.
Shit loads is the Aussie term for that.
Yeah.
Yeah.
And then the memberships.
Then what differentiates it really is you get
more questions per month that you can ask
(04:57):
more sound checks for per year.
And then you also get to processing presets,
which are usually $90 each.
Everybody loves processing presets, especially engineers.
Just kidding.
And then scheduling, you can get scheduled zoom
calls, consulting with me privately twice a year.
And you get one emergency instance of support
(05:19):
per year on the bronze plan.
So you get a lot more in the
bronze plan.
Yeah.
So the silver just really ups the ante
in terms of more of everything.
So if you find that you want to
have better access to more emergency support calls
and just more access to me generally, that's
(05:39):
where silver and then gold come in.
Just depends on how busy you are, how
much demand and really maybe how complicated your
studio is at the end of the day.
So that's it.
Thanks.
And I hope you guys find that to
be a good deal.
Again, it's GTT50OFFCM24.
Use that coupon code when you check out
(05:59):
on the website.
And that's at georged.tech slash member sign
up.
Very cool.
Beautiful.
Choice.
Choice.
So what's happening with source elements, Robert?
So we have a Black Friday thing.
What is it?
(06:19):
It can be.
So everything on the store has some sort
of discount or something applied to it.
Let's see.
There's an upgrade for really old Nexus license
holders.
There's a Nexus first month free, which is
the one that ends up being basically like
(06:41):
92% off the first month of Nexus.
And then I think there's at least a
15% off the yearly, I believe.
Then going over to Source Connect, there are
$75 off.
So no initial fee on any of the
subscriptions.
There's a, I think for the really old
(07:04):
upgrades, if you have a super old license,
it's 50% off the upgrade to 3
.9. Then for 3.8, I think it's
maybe 25%.
And then we have a 15% off
of early upgrade from 3.9 to 4.
So 25% from 3.8 to 3
.9. And then the jumping off point to
4 is from 3.9. So everyone has
(07:25):
to get up to 3.9 to jump
to 4.
And then there's an early 15% off
that for 4 for the year.
I think that's everything.
It's pretty cool, though.
So a typical sale.
So what's the code?
Do you need the code?
(07:46):
It all depends.
There's going to be basically an email that
goes out.
And then there'll be a menu where you
can click on it.
And it'll just say, click here for this
item or click here for that item.
And we try to do it so that
we also aren't emailing people that don't have
a license.
I think this year's going to be a
(08:07):
little less programmatic like that.
So you just kind of go through the
menu and look.
I know in the past we tried to
just go like, well, you don't have Nexus,
so here's your upgrade for SourceConnect because the
other thing doesn't apply to you.
So it's kind of hard to segment everything
like that.
Yeah.
Well, particularly if someone's got Buzz.
Well, yeah, exactly.
(08:27):
Just the mailing side alone, setting up the
system to send out those custom emails that
only go to the right people is quite
a process.
It's something I'm actually working on myself.
Yeah, it is.
I'm doing some email joint moment.
Segmentation, at least that's what we call it.
Yep.
I just send text messages to the wrong
people.
That's because you're old, though.
(08:48):
That's why.
Yeah, exactly.
Do you send text messages that say, hi,
how have you been?
Yeah.
Didn't we meet last week at dinner?
Yeah, yeah, yeah.
That's right.
No, I just actually sent a text to
our cleaner saying, you should come and check
it out.
And then she came back with four question
marks.
I went, sorry, that was meant for Somerset
(09:09):
when we were talking about Source Connect 4.
I thought you were going to say it
was meant for Meg, and I was going
to say, what's the picture?
You should come and check it out.
Yeah, yeah, yeah.
I'll see you tomorrow morning, then.
That's when you reply back with a dick
pic.
Oh, no.
Ask Arnold Schwarzenegger how that turned out.
I know.
Yeah, exactly.
Exactly.
Yeah.
(09:29):
All right, Rob, you've got a bit of
a black Friday deal.
I'm going to dip my toe in the
black Friday pool, too.
I'm going to offer 15% off your
next demo, and that's for anybody here in
Oz or in the US.
Or anywhere.
Or anywhere, for that matter.
So, yeah, it's not a difficult code to
remember, just black 15.
(09:49):
But you don't have to book the demo
today or black Friday.
But what you have to do is book
the – I do a free chat session
before you book your demo.
So, if you book your free chat in
the next 24 hours and you go on
to book your demo, you'll get 15%
off.
So, yeah.
Lovely.
Nice.
And what's the code again?
Black 15, only because I couldn't think of
(10:11):
anything else on the spare of the moment.
That sounds a bit Vegas.
Maybe I should put my money on black
15.
There you go.
How do you do the demos?
Do you do it, like, by session and
then, like, a mix?
It's just a flat-out V, and it's
a bit of a process.
So, I do a chat where we –
and this is the same for what Andrew
and I were doing.
(10:32):
We do a chat first and sort of
get an idea of what you want from
your demo and what sort of demo you
want to do.
And then I write some scripts, and the
client gets those back to have a look
at.
And then we do a session number one,
which is where we go through each script
one by one, obviously, and put it all
down.
And then I go away and I do
(10:53):
a rough mix on those and a rough
edit.
The client gets those back to have a
listen to.
And then we do session two, and we
go through the process of listening to each
one.
I share my Pro Tools screen through Nexus,
and they get to see the Pro Tools
screen.
And sort of we work through script by
script and do pickups and rewrites and all
(11:16):
the rest of it there.
And then final mixes and a bunch of
WAV files and MP3 files later, your demo's
done.
So two records and with it two sort
of mixes.
Two records, two mixes, and all your scripts
as well.
And all the scripts too.
That's right.
So it's a bit of a process, but
(11:38):
it's a good one.
And it's got some really good rewards.
In fact, I can tell you, and I
can say here first, that a client of
mine, Katerina Sertiz, who's over in Perth, was
just picked up by – Now I'm going
to get the name of this wrong.
Let's see if I can find it quickly.
Let me just jump onto my – There's
(12:01):
a women in promos movement.
They're trying to get more women on promo
voiceovers.
And what they had to do was they
had to – artists had to submit their
demos to be considered.
And there's been only one person selected in
each country or each continent.
So there was Australia, the United States, United
(12:23):
Kingdom, and a couple of others.
There's about five – South Africa was another
one.
There's about five or six places all around
the world.
Anyway, her demo that I produced for her
got her chosen as the Australian representative for
women in promos.
Well, I'll touch you then.
That's very good.
So she's done really well for herself.
Matt Cowrick is another Voodoo Sound voiceover demo
(12:48):
recipient.
So yeah, well, he got work with Scout
with that.
He's actually just got on with Andrew's agent
here.
I mean, I can't claim that Matt Cowrick's
magic was completely concocted by my demo, but
I'd sort of like to hope it helped.
Who's the biggest global demo mill, do you
(13:08):
think?
It'd have to be – what's his name
in – Is it J.
Michael?
I'd say Chuck.
Yeah, it'd have to be Chuck, surely.
Is it Chuck?
I would have thought so.
Yeah, probably.
George, what do you think?
I mean – Like worldwide, the biggest demo
mill worldwide.
Well, okay, the word mill definitely has a
(13:28):
negative connotation to it.
I apologize.
Okay, so let's start over.
So we build on that and I will
comment.
Sorry.
Who's the most prolific demo producer around the
world?
Yeah, who's like the biggest demo producers in
the world as far as like – I
(13:51):
don't know how we could know that.
I mean, we certainly know who are the
most well-known, that's for sure.
I mean, that have been around the longest
marketing themselves is doing those things, the longest
demos that rock.
Chuck Duran's a big one, of course.
Chuck Duran.
Nancy Wilson.
J.
Michael, right?
Nancy Wilson.
Nancy Wilson's been doing it a really long
time.
J.
Michael Collins.
(14:12):
I mean, Nancy's the centerfold of every single
voiceover resource guide that they put in all
the studios in the US.
Yeah, the Vorg.
She buys the centerfold of that every single
time because she just wants to be remembered.
It's tough out there when you are one
(14:32):
of the OGs, you've been doing it a
really long time.
And there's so many other production companies coming
up.
You have to stay on top of mind.
And how much do those – I know
that some of those demos are like $3
,000 or more.
Yeah, I've heard of more than $3,000.
(14:54):
That's a lot of money for a demo.
For a demo, yeah.
It seems that the numbers I hear bantered
about tend to be between $2,000 and
$3,000.
But to be fair, I mean, having been
doing this now for about 18 months, there's
a shitload of work that goes into a
good demo.
I mean, if you want to pay $200,
$300 for a demo, you're not getting scripts
written for you.
(15:15):
And you're certainly not getting an hour dedicated
before you even start the whole process.
So the person who's doing your demo can
understand more about you and what you're good
at and what your strengths are and what
your weaknesses are and make a few suggestions.
Robbo, check this out.
So I was going to tell everyone this
when you were digging through your email and
stuff.
(15:35):
So I just did that demo for Sage,
right?
Yep.
And how did I come up with the
scripts?
I just listened to other voiceover demos and
I wrote them.
Be careful.
Well, so then today I'm like, oh, I'm
going to go over to this site and
email them and be like, here, here's Sage's
demo.
Just try to get an intro.
And I play the first – and I
(15:56):
mean the goddamn first item on the list.
And it's like some new thing.
And it is the last – is word
for word the last thing on Sage's demo.
Whoops.
Yeah.
So it's funny.
And it's like that whole thing about custom
scripts.
You've got to be careful.
You do.
(16:17):
And then there's searching out music and all
of it.
There is a ton to it, absolutely.
But even that, at these rates.
I mean, you can cut this out entirely,
but I would imagine you're not doing like
$3,000 plus per demo or at the
(16:38):
same rate that those – No, I'm not
doing that.
– that they are.
I'd imagine that you got like – No,
that's right.
And look, I mean, who knows?
With time, I might be able to.
But for now, I'm paying myself a comfortable
amount that sort of justifies my time and
sort of still encourages people to sort of
give me a go.
I'll tell you another reason why.
I'm pretty sure with all of those guys,
(16:59):
they are hiring engineers and they are hiring
other people to do the demos.
Yeah.
Chuck does his own.
At some level.
No, Chuck's an engineer.
Chuck does it?
Yeah, Chuck engineers his own.
Yeah.
But not everybody.
There's a lot of coaches who do that.
Yeah, I thought – I mean, I certainly
worked at a place where there was like,
you know, people producing it.
(17:20):
And it was more of like a staffed
up thing where they had someone who was
producing the sessions.
Yeah.
And an engineer for all of them.
My friend Rick Wasserman, he produces demos through
Bookable.
And then he has Greg Chunn produce the
– you know, do the production.
He'll do the music, the mix.
Right.
So it's oftentimes a team.
In that case, you can see why the
(17:42):
price goes up.
Chuck is the engineer, producer.
I'm not sure what hats he's wearing, but
certainly an engineer.
And then Stacey writes the scripts.
That's how they work together.
Yeah.
Right.
So here Robbo's like, I am four people.
Yeah.
And then I'm trying to do – That's
what you got to do to get started.
You can't hire everything out when you're just
(18:04):
getting started off, you know, launching a business.
Correct.
If you pay out for everybody, it takes
a really long time.
You know what I've found, though, is the
biggest thing to making a demo for somebody
else, the most important thing, is actually just
listening.
Yeah.
Yeah.
All the other skills aside, it's actually –
that first hour that I spend just in
a Google meeting with a client is the
(18:26):
most important hour of the whole process, because
unless you understand what they're trying to get
out of it and you have an understanding
of what their strengths are as a voiceover
artist and what their weaknesses are and maybe
understanding of sort of where they want to
go and what they want to do, then
it's just – you're making a demo that's
really not going to do anything for them
except make some noise.
(18:47):
That's the most important thing, I reckon.
And that's obviously what these guys like Chuck
and Jay and all that get right as
well.
Yeah, but it's interesting.
If you don't understand the person right from
the get-go, you're going to end up
with a demo that is not going to
be indicative of what your talent can do.
(19:08):
Exactly.
And you're probably selling them to the wrong
audience.
Absolutely.
You find the strengths that they've got and
that's what you work on.
Yeah, and the thing where I'm lucky is
working with some big agencies here in Australia
and global agencies is I get to see
where the trends are in terms of where
voiceover is going and so I can incorporate
that into demos if that's going to assist
(19:30):
someone in terms of styles and different ways
of reads and all that sort of stuff
too, so that's helpful.
But here's the thing.
Who needs a demo?
Because I've seen, for example, someone at Andrew's
level who's like, I'm too close to it
and I don't have the time and I'm
not as good as this.
(19:51):
So here's a whole bunch of spots I
worked on and make me a demo.
It needs to be a minute and a
half long or whatever.
And they're paying for that, but really they're
not paying to create the material because they
just have a book of work that already
– it's just for real.
So that's one level of making a demo.
And then the next one is you're trying
to get into a new line of business,
(20:13):
like whatever you want to do, like promos
instead of just commercials.
And you don't have the material and you
don't necessarily have the skills or, again, the
perspective to make your own demo, but you're
already like a seasoned voice talent.
You're just making a new genre.
And then I guess the last one is
(20:34):
someone's just coming in fresh, which really –
I mean, what?
They're just going to do a general demo,
like a couple spots with a PSA in
the middle of it or something.
Can I play you something talking about people
coming in new?
And this is a bit of shameless self
-promotion, I suppose.
But I did a voiceover demo for a
gentleman lately who's been an actor on stage
all his life.
(20:55):
I love seeing you do this, too, because
you're going to chuck it in the timeline.
He's in his 60s.
Right ahead of the playhead.
I am, but I've got to go find
it, so give me a second.
Right.
But he came to me and he said,
look, I've got a new acting agent and
my acting agent suggested that I get into
voiceover.
And my first thing was like, oh shit,
(21:15):
one of these.
Everybody's a voiceover artist, right?
But can I just say this guy and
his ability to take direction was absolutely incredible.
He's not a polished voiceover artist and certainly
doesn't have all the skills that a voice
artist needs.
(21:36):
Is he an actor?
He's an actor.
Absolutely.
He is an actor.
Well, there you go.
He's a lovely guy and he listened to
everything I had to say.
And he didn't take offense when I sort
of went, look, there's a big difference between
acting and voiceover.
And he sort of listened to what I
had to say.
And he came out with this most amazing
(21:57):
set of scripts, of reads on the scripts
that I'd written for him.
I'm just trying to find it at the
same time.
And yeah, he was incredible.
He was just amazing.
And just, here we go, if I can
find him.
I think with most people when they're getting
into it is trying to get them to
be really dynamic in a session.
(22:17):
Yeah.
Usually they get in a rut and they
read it exactly the same a whole bunch
of times.
And you're like, you know, change it up
and do stuff.
And whatever it's like, it never goes beyond
this room.
If it's like weird, funny sounding, it just
doesn't matter.
And go out on a limb.
And then once you get someone out there
and they're loosened up, then all of a
sudden, it's funny.
(22:38):
Looking back, you're like, oh, yeah, that one
crazy take was the perfect thing for the
end of it.
I've had people come here during COVID.
I've had voice actors come over to use
the studio because they can't get into town
because of the COVID pandemic.
And I'm not going to mention any names,
of course, but I remember one session.
I was sitting here actually monitoring because it
was down the line on Source Connect.
(23:02):
And it's one of those things where the
last line, can you just give us three
takes of that last, you know, the tag
or whatever.
It's like, okay.
And the three takes of that tag were
all exactly the same.
Oh, really?
And I'm thinking, useless.
What?
Anyway.
Yeah, useless.
Yeah.
(23:22):
I'm just trying to think.
Is another thing that I've heard from casting
directors, like when you're producing a demo, is
to try to avoid the really major brands?
Yeah.
That's what I've heard as well.
Well, I kind of tend to disagree.
This is debatable.
Yeah, there's a bunch of reasons I disagree
with that.
I don't think anybody is saying that that's
(23:45):
something that you did.
And I certainly, when I was trying to
start out, did all kinds of cuts and
overcuts of stuff that other people did.
It's got to be believable.
If you're going to do a spot for
Qantas or McDonald's, it's got to be believable.
It's got to make someone who's listening going,
shit, did they do that or didn't they?
(24:06):
You know what I mean?
If someone's at a level where they could
easily pull off a McDonald's script, why not?
You know what I mean?
Yeah.
I think this was in the context of
some big market agencies.
Yeah.
And then they're going to listen to your
spot and go, yeah, I know that campaign.
He's not on that campaign.
I think the biggest problem was with that.
(24:26):
The reason, because I know I was told
not to do that for this one reason.
And the reason is if someone hears your
demo and it's a product that's competing product.
Yeah, competing product.
And you're reading a Chevy ad and someone
(24:47):
from Ford wants to book you and they
hear this thing.
It's like, what?
He's doing Chevy?
No, you're out.
That's an issue.
Yeah.
That's an interesting reason.
That's a very big difference between a demo
and a reel.
Yeah, exactly.
Where a reel would be an accelerator.
That is the difference between a demo and
a reel.
Well, on another tip, another thing, I got
(25:08):
interviewed by Mark Scott.
He has a podcast called Everyday Veopreneur.
Yep.
And it's a pretty popular podcast.
And his big thing is marketing.
But he brought me on for his annual
holiday season episode.
Oh, yeah.
And so I was the guest of the
year.
And so it was all about what things
(25:29):
I recommend to buy for your studio.
And he had me on for a solid
hour at least.
And so we covered everything.
Of course, we talked about Passport.
Of course, we talked about Tribooth.
We talked about some of our favorite things
that we've worked on.
But I covered everything from like a $99
mic all the way up to, you know,
(25:50):
everything in between up to a voiceover booth,
you know.
So if anybody's interested in hearing my thoughts
on a huge array of different categories of
audio and gear and everything, check that out.
That was released on the 21st.
I might even listen to that.
There you go.
I had another funny interview.
So I was on my way from a
client's home back to home.
(26:11):
And I get a text from Ann Ganguza,
who was interviewing me.
And she's like, hey, just checking in.
And I'm driving.
And I'm like, oh, okay, nice.
And she's like, what about our interview right
now?
What are you doing?
Are we doing the interview?
And I was like, oh, no.
So I was so hungry.
(26:34):
I was starving.
And I had to do this interview.
And I didn't want to blow her off
and reschedule.
She had scheduled it weeks out, you know.
So I pulled into a Chili's restaurant, which
is just like a Denny's or nothing special.
And I found the quietest spot in the
restaurant.
We recorded the whole interview while I literally
ate lunch.
So when she was talking, I was eating
(26:56):
my burger that she was talking.
And then I happened to have my headset
mic with the mic with a little boom
on it.
So we got decent audio.
But she used the Riverside FM, you know,
audio cleanup thing that just gets rid of
all the background noise.
You listen to it, you would not know
(27:17):
I'm sitting in a restaurant.
How did you manage to get the burger
past the microphone?
That's my question.
And what about when you slurp the bottom
of your milkshake?
You get the bottom of your milkshake.
How did you hide that one?
Well, that's the thing.
So she posted a one-minute clip, a
reel on Instagram.
And it's one of those top and bottom
videos.
And she's on the top and she's talking
(27:39):
away for like a solid minute.
What am I doing in the bottom frame?
Eating.
The entire time.
Nice.
Because I'm like trying to get in like
a decent amount of food here before it's
my turn to start talking, you know.
And so all it is is her talking
and me eating at the bottom.
At first I was like, really?
(28:00):
That's the clip she picked out to put
on the Instagram.
There you go.
So you can record anywhere, right?
Her podcast should be called Ghouly Ghouly Gotcha.
Or Gotcha by the Ghoulies.
Gotcha by the Ghoulies.
Okay.
So I found the file here.
Have a listen to this.
All right.
(28:21):
Let's talk cravings.
You know the feeling.
It's 11 p.m. and your stomach's louder
than your TV.
You think, oh, just have a snack.
Nah, mate.
You're heading to KFC, aren't ya?
I mean, who can resist that crispy finger
-lickin' chicken?
It's like they put something in it, right?
No, seriously.
That stuff's addictive.
(28:41):
Don't get me started on the chips.
You ever tried to eat just one?
Impossible.
They should come with a warning label.
KFC.
When the craving hits, you know where to
go.
And don't worry, we've all been there.
Twice this week.
(29:03):
So, yeah, his name's Drew James.
And he just, you know, we just, and
that was sort of, you know, coming back
to playing on, you know, their strengths and
weaknesses.
His strength was obviously acting, so we wrote
a bunch of scripts.
That was obviously a really acting one, but
we did some where he could still use
those acting skills, but it was more of
a voiceover.
Yeah.
And it just worked really well.
(29:24):
So, yeah.
It did, man.
It really captured that, like being in a
nightclub and doing a comedy act.
Well, see, it was all in the way
we did it because he came here to
record, so I just grabbed an SM58 for
that spot, grabbed an SM58 and just let
him go for it.
So he could just act.
That's all he had to think about.
That's smart.
(29:45):
Yeah, absolutely.
So he was just, he could just get
into that acting thing, and that's what it
was.
And obviously being on a 58, you don't
have to try and make that nightclub sound.
You've already sort of halfway there.
So it was nice.
Yeah.
(Transcribed by TurboScribe.ai. Go Unlimited to remove this message.) Y'all ready to be history?
Get started.
Welcome.
Hi.
Hi.
Hi.
Hello everyone.
To the Pro Audio Suite.
These guys are professional, they're motivated.
Thanks to Tribush, the best vocal booth 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.
(00:21):
Darren Robert Robertson from Voodoo Radio Imaging, Sydney.
Tech to the VO Stars.
George the Tech Whittam from LA.
And me, Andrew Peters, voiceover talent and home
studio guy.
Line up, man.
Here we go.
And welcome to another Pro Audio Suite.
Thanks to Tribush.
Don't forget the code.
T-R-I-P-A-P 200 to
(00:43):
get 200 US dollars off your Tribush.
And Austrian Audio, making passion heard.
Now of course, it is officially Black Friday.
And there's a few little deals going around
the table in our little community.
Who wants to kick off?
George or Robert or Robbo?
I'm kicking it.
Keep going, George.
(01:04):
George.
It's George.
So we, you know, every year we like
to offer some big discount, as we tend
to do at this time of year.
And so my idea this go around is
we're going to offer our memberships, which you
guys may not know we have.
But we do have subscription memberships.
And what we're going to do is if
you sign up before the end of the
(01:25):
day on Monday, that's the end of Cyber
Monday, and you use the coupon code GTT50OFFCM24
at checkout, you can probably figure out what
that means, right?
50OFFCYBERMONDAY24.
At checkout, you're going to get 50%
off your entire year's membership.
(01:47):
So whether you pay by the month or
by the year, you're going to get 50
% off the membership.
And what does that entail exactly, right?
Because what the heck is a membership?
Well, we've decided to offer these memberships so
we can include a whole slate of services
that are included with each membership.
And there's a few tiers available, starting with
(02:08):
blue steel, bronze, silver, and gold.
And so if you come in on the
blue steel level, it's normally $50 a month
and $500 a year.
You basically get two months free if you
opt for an annual payment up front and
save a little bit of money if you
have the extra cash to spend.
(02:29):
But you'll also still get 50% off
of that.
So you can get an entire year's worth
of a blue steel membership for $250.
And that includes my virtual George front of
the line priority service.
So if you do purchase a service, you're
going to get ahead of the line of
others who are waiting for my response.
(02:51):
Webinar library access, you can get up to
12 videos per year from our video library.
You'll be able to come to our members
Zoom with me twice a month.
Answers access, where you can just ask questions
anytime online, two per month.
And sound checks, two per year.
(03:11):
That's all included on the blue steel.
Just the webinar library alone is worth a
lot.
I have one question on that, though.
If I watch a video, have I got
to rewind it before I return it?
Yes, you have to.
Please be kind, rewind.
That's where all the old people are.
We'll pull it for you with what all
the other memberships include, but you can check
(03:32):
it out at georgev.tech slash member sign
up.
And that's where the pages and you'll see
the promotion and a list of all the
things you can get part of that.
Now, also, the memberships are limited to a
number of certain number of people because we
want to make sure that the membership club
has enough attention from me specifically.
(03:54):
Yeah.
So there's only 50 of the blue steel,
20 bronze, 10 silver and five gold total
that we're going to offer.
And most of the bronze memberships have been
bought already.
There's only four of me.
There's only so much George to go around.
There's so much to go around.
It goes blue, bronze, silver, gold.
Yeah.
(04:15):
So what are the differences?
Like if you just give like a sentence
or two about each level.
So like the blue you said is like
you get two things.
You get 12 videos, right?
Right.
So blue.
When you go to bronze, which is the
most popular plan right now, you get all
the virtual George front of the line, unlimited
webinar access.
So anything we release throughout the year, you
(04:36):
can review anything in the library at all.
You can review.
And there's actually have to count.
I think I have over 50 videos now
in the webinar library of tech training.
Shit loads is the Aussie term for that.
Yeah.
Yeah.
And then the memberships.
Then what differentiates it really is you get
more questions per month that you can ask
(04:57):
more sound checks for per year.
And then you also get to processing presets,
which are usually $90 each.
Everybody loves processing presets, especially engineers.
Just kidding.
And then scheduling, you can get scheduled zoom
calls, consulting with me privately twice a year.
And you get one emergency instance of support
(05:19):
per year on the bronze plan.
So you get a lot more in the
bronze plan.
Yeah.
So the silver just really ups the ante
in terms of more of everything.
So if you find that you want to
have better access to more emergency support calls
and just more access to me generally, that's
(05:39):
where silver and then gold come in.
Just depends on how busy you are, how
much demand and really maybe how complicated your
studio is at the end of the day.
So that's it.
Thanks.
And I hope you guys find that to
be a good deal.
Again, it's GTT50OFFCM24.
Use that coupon code when you check out
(05:59):
on the website.
And that's at georged.tech slash member sign
up.
Very cool.
Beautiful.
Choice.
Choice.
So what's happening with source elements, Robert?
So we have a Black Friday thing.
What is it?
(06:19):
It can be.
So everything on the store has some sort
of discount or something applied to it.
Let's see.
There's an upgrade for really old Nexus license
holders.
There's a Nexus first month free, which is
the one that ends up being basically like
(06:41):
92% off the first month of Nexus.
And then I think there's at least a
15% off the yearly, I believe.
Then going over to Source Connect, there are
$75 off.
So no initial fee on any of the
subscriptions.
There's a, I think for the really old
(07:04):
upgrades, if you have a super old license,
it's 50% off the upgrade to 3
.9. Then for 3.8, I think it's
maybe 25%.
And then we have a 15% off
of early upgrade from 3.9 to 4.
So 25% from 3.8 to 3
.9. And then the jumping off point to
4 is from 3.9. So everyone has
(07:25):
to get up to 3.9 to jump
to 4.
And then there's an early 15% off
that for 4 for the year.
I think that's everything.
It's pretty cool, though.
So a typical sale.
So what's the code?
Do you need the code?
(07:46):
It all depends.
There's going to be basically an email that
goes out.
And then there'll be a menu where you
can click on it.
And it'll just say, click here for this
item or click here for that item.
And we try to do it so that
we also aren't emailing people that don't have
a license.
I think this year's going to be a
(08:07):
little less programmatic like that.
So you just kind of go through the
menu and look.
I know in the past we tried to
just go like, well, you don't have Nexus,
so here's your upgrade for SourceConnect because the
other thing doesn't apply to you.
So it's kind of hard to segment everything
like that.
Yeah.
Well, particularly if someone's got Buzz.
Well, yeah, exactly.
(08:27):
Just the mailing side alone, setting up the
system to send out those custom emails that
only go to the right people is quite
a process.
It's something I'm actually working on myself.
Yeah, it is.
I'm doing some email joint moment.
Segmentation, at least that's what we call it.
Yep.
I just send text messages to the wrong
people.
That's because you're old, though.
(08:48):
That's why.
Yeah, exactly.
Do you send text messages that say, hi,
how have you been?
Yeah.
Didn't we meet last week at dinner?
Yeah, yeah, yeah.
That's right.
No, I just actually sent a text to
our cleaner saying, you should come and check
it out.
And then she came back with four question
marks.
I went, sorry, that was meant for Somerset
(09:09):
when we were talking about Source Connect 4.
I thought you were going to say it
was meant for Meg, and I was going
to say, what's the picture?
You should come and check it out.
Yeah, yeah, yeah.
I'll see you tomorrow morning, then.
That's when you reply back with a dick
pic.
Oh, no.
Ask Arnold Schwarzenegger how that turned out.
I know.
Yeah, exactly.
Exactly.
Yeah.
(09:29):
All right, Rob, you've got a bit of
a black Friday deal.
I'm going to dip my toe in the
black Friday pool, too.
I'm going to offer 15% off your
next demo, and that's for anybody here in
Oz or in the US.
Or anywhere.
Or anywhere, for that matter.
So, yeah, it's not a difficult code to
remember, just black 15.
(09:49):
But you don't have to book the demo
today or black Friday.
But what you have to do is book
the – I do a free chat session
before you book your demo.
So, if you book your free chat in
the next 24 hours and you go on
to book your demo, you'll get 15%
off.
So, yeah.
Lovely.
Nice.
And what's the code again?
Black 15, only because I couldn't think of
(10:11):
anything else on the spare of the moment.
That sounds a bit Vegas.
Maybe I should put my money on black
15.
There you go.
How do you do the demos?
Do you do it, like, by session and
then, like, a mix?
It's just a flat-out V, and it's
a bit of a process.
So, I do a chat where we –
and this is the same for what Andrew
and I were doing.
(10:32):
We do a chat first and sort of
get an idea of what you want from
your demo and what sort of demo you
want to do.
And then I write some scripts, and the
client gets those back to have a look
at.
And then we do a session number one,
which is where we go through each script
one by one, obviously, and put it all
down.
And then I go away and I do
(10:53):
a rough mix on those and a rough
edit.
The client gets those back to have a
listen to.
And then we do session two, and we
go through the process of listening to each
one.
I share my Pro Tools screen through Nexus,
and they get to see the Pro Tools
screen.
And sort of we work through script by
script and do pickups and rewrites and all
(11:16):
the rest of it there.
And then final mixes and a bunch of
WAV files and MP3 files later, your demo's
done.
So two records and with it two sort
of mixes.
Two records, two mixes, and all your scripts
as well.
And all the scripts too.
That's right.
So it's a bit of a process, but
(11:38):
it's a good one.
And it's got some really good rewards.
In fact, I can tell you, and I
can say here first, that a client of
mine, Katerina Sertiz, who's over in Perth, was
just picked up by – Now I'm going
to get the name of this wrong.
Let's see if I can find it quickly.
Let me just jump onto my – There's
(12:01):
a women in promos movement.
They're trying to get more women on promo
voiceovers.
And what they had to do was they
had to – artists had to submit their
demos to be considered.
And there's been only one person selected in
each country or each continent.
So there was Australia, the United States, United
(12:23):
Kingdom, and a couple of others.
There's about five – South Africa was another
one.
There's about five or six places all around
the world.
Anyway, her demo that I produced for her
got her chosen as the Australian representative for
women in promos.
Well, I'll touch you then.
That's very good.
So she's done really well for herself.
Matt Cowrick is another Voodoo Sound voiceover demo
(12:48):
recipient.
So yeah, well, he got work with Scout
with that.
He's actually just got on with Andrew's agent
here.
I mean, I can't claim that Matt Cowrick's
magic was completely concocted by my demo, but
I'd sort of like to hope it helped.
Who's the biggest global demo mill, do you
(13:08):
think?
It'd have to be – what's his name
in – Is it J.
Michael?
I'd say Chuck.
Yeah, it'd have to be Chuck, surely.
Is it Chuck?
I would have thought so.
Yeah, probably.
George, what do you think?
I mean – Like worldwide, the biggest demo
mill worldwide.
Well, okay, the word mill definitely has a
(13:28):
negative connotation to it.
I apologize.
Okay, so let's start over.
So we build on that and I will
comment.
Sorry.
Who's the most prolific demo producer around the
world?
Yeah, who's like the biggest demo producers in
the world as far as like – I
(13:51):
don't know how we could know that.
I mean, we certainly know who are the
most well-known, that's for sure.
I mean, that have been around the longest
marketing themselves is doing those things, the longest
demos that rock.
Chuck Duran's a big one, of course.
Chuck Duran.
Nancy Wilson.
J.
Michael, right?
Nancy Wilson.
Nancy Wilson's been doing it a really long
time.
J.
Michael Collins.
(14:12):
I mean, Nancy's the centerfold of every single
voiceover resource guide that they put in all
the studios in the US.
Yeah, the Vorg.
She buys the centerfold of that every single
time because she just wants to be remembered.
It's tough out there when you are one
(14:32):
of the OGs, you've been doing it a
really long time.
And there's so many other production companies coming
up.
You have to stay on top of mind.
And how much do those – I know
that some of those demos are like $3
,000 or more.
Yeah, I've heard of more than $3,000.
(14:54):
That's a lot of money for a demo.
For a demo, yeah.
It seems that the numbers I hear bantered
about tend to be between $2,000 and
$3,000.
But to be fair, I mean, having been
doing this now for about 18 months, there's
a shitload of work that goes into a
good demo.
I mean, if you want to pay $200,
$300 for a demo, you're not getting scripts
written for you.
(15:15):
And you're certainly not getting an hour dedicated
before you even start the whole process.
So the person who's doing your demo can
understand more about you and what you're good
at and what your strengths are and what
your weaknesses are and make a few suggestions.
Robbo, check this out.
So I was going to tell everyone this
when you were digging through your email and
stuff.
(15:35):
So I just did that demo for Sage,
right?
Yep.
And how did I come up with the
scripts?
I just listened to other voiceover demos and
I wrote them.
Be careful.
Well, so then today I'm like, oh, I'm
going to go over to this site and
email them and be like, here, here's Sage's
demo.
Just try to get an intro.
And I play the first – and I
(15:56):
mean the goddamn first item on the list.
And it's like some new thing.
And it is the last – is word
for word the last thing on Sage's demo.
Whoops.
Yeah.
So it's funny.
And it's like that whole thing about custom
scripts.
You've got to be careful.
You do.
(16:17):
And then there's searching out music and all
of it.
There is a ton to it, absolutely.
But even that, at these rates.
I mean, you can cut this out entirely,
but I would imagine you're not doing like
$3,000 plus per demo or at the
(16:38):
same rate that those – No, I'm not
doing that.
– that they are.
I'd imagine that you got like – No,
that's right.
And look, I mean, who knows?
With time, I might be able to.
But for now, I'm paying myself a comfortable
amount that sort of justifies my time and
sort of still encourages people to sort of
give me a go.
I'll tell you another reason why.
I'm pretty sure with all of those guys,
(16:59):
they are hiring engineers and they are hiring
other people to do the demos.
Yeah.
Chuck does his own.
At some level.
No, Chuck's an engineer.
Chuck does it?
Yeah, Chuck engineers his own.
Yeah.
But not everybody.
There's a lot of coaches who do that.
Yeah, I thought – I mean, I certainly
worked at a place where there was like,
you know, people producing it.
(17:20):
And it was more of like a staffed
up thing where they had someone who was
producing the sessions.
Yeah.
And an engineer for all of them.
My friend Rick Wasserman, he produces demos through
Bookable.
And then he has Greg Chunn produce the
– you know, do the production.
He'll do the music, the mix.
Right.
So it's oftentimes a team.
In that case, you can see why the
(17:42):
price goes up.
Chuck is the engineer, producer.
I'm not sure what hats he's wearing, but
certainly an engineer.
And then Stacey writes the scripts.
That's how they work together.
Yeah.
Right.
So here Robbo's like, I am four people.
Yeah.
And then I'm trying to do – That's
what you got to do to get started.
You can't hire everything out when you're just
(18:04):
getting started off, you know, launching a business.
Correct.
If you pay out for everybody, it takes
a really long time.
You know what I've found, though, is the
biggest thing to making a demo for somebody
else, the most important thing, is actually just
listening.
Yeah.
Yeah.
All the other skills aside, it's actually –
that first hour that I spend just in
a Google meeting with a client is the
(18:26):
most important hour of the whole process, because
unless you understand what they're trying to get
out of it and you have an understanding
of what their strengths are as a voiceover
artist and what their weaknesses are and maybe
understanding of sort of where they want to
go and what they want to do, then
it's just – you're making a demo that's
really not going to do anything for them
except make some noise.
(18:47):
That's the most important thing, I reckon.
And that's obviously what these guys like Chuck
and Jay and all that get right as
well.
Yeah, but it's interesting.
If you don't understand the person right from
the get-go, you're going to end up
with a demo that is not going to
be indicative of what your talent can do.
(19:08):
Exactly.
And you're probably selling them to the wrong
audience.
Absolutely.
You find the strengths that they've got and
that's what you work on.
Yeah, and the thing where I'm lucky is
working with some big agencies here in Australia
and global agencies is I get to see
where the trends are in terms of where
voiceover is going and so I can incorporate
that into demos if that's going to assist
(19:30):
someone in terms of styles and different ways
of reads and all that sort of stuff
too, so that's helpful.
But here's the thing.
Who needs a demo?
Because I've seen, for example, someone at Andrew's
level who's like, I'm too close to it
and I don't have the time and I'm
not as good as this.
(19:51):
So here's a whole bunch of spots I
worked on and make me a demo.
It needs to be a minute and a
half long or whatever.
And they're paying for that, but really they're
not paying to create the material because they
just have a book of work that already
– it's just for real.
So that's one level of making a demo.
And then the next one is you're trying
to get into a new line of business,
(20:13):
like whatever you want to do, like promos
instead of just commercials.
And you don't have the material and you
don't necessarily have the skills or, again, the
perspective to make your own demo, but you're
already like a seasoned voice talent.
You're just making a new genre.
And then I guess the last one is
(20:34):
someone's just coming in fresh, which really –
I mean, what?
They're just going to do a general demo,
like a couple spots with a PSA in
the middle of it or something.
Can I play you something talking about people
coming in new?
And this is a bit of shameless self
-promotion, I suppose.
But I did a voiceover demo for a
gentleman lately who's been an actor on stage
all his life.
(20:55):
I love seeing you do this, too, because
you're going to chuck it in the timeline.
He's in his 60s.
Right ahead of the playhead.
I am, but I've got to go find
it, so give me a second.
Right.
But he came to me and he said,
look, I've got a new acting agent and
my acting agent suggested that I get into
voiceover.
And my first thing was like, oh shit,
(21:15):
one of these.
Everybody's a voiceover artist, right?
But can I just say this guy and
his ability to take direction was absolutely incredible.
He's not a polished voiceover artist and certainly
doesn't have all the skills that a voice
artist needs.
(21:36):
Is he an actor?
He's an actor.
Absolutely.
He is an actor.
Well, there you go.
He's a lovely guy and he listened to
everything I had to say.
And he didn't take offense when I sort
of went, look, there's a big difference between
acting and voiceover.
And he sort of listened to what I
had to say.
And he came out with this most amazing
(21:57):
set of scripts, of reads on the scripts
that I'd written for him.
I'm just trying to find it at the
same time.
And yeah, he was incredible.
He was just amazing.
And just, here we go, if I can
find him.
I think with most people when they're getting
into it is trying to get them to
be really dynamic in a session.
(22:17):
Yeah.
Usually they get in a rut and they
read it exactly the same a whole bunch
of times.
And you're like, you know, change it up
and do stuff.
And whatever it's like, it never goes beyond
this room.
If it's like weird, funny sounding, it just
doesn't matter.
And go out on a limb.
And then once you get someone out there
and they're loosened up, then all of a
sudden, it's funny.
(22:38):
Looking back, you're like, oh, yeah, that one
crazy take was the perfect thing for the
end of it.
I've had people come here during COVID.
I've had voice actors come over to use
the studio because they can't get into town
because of the COVID pandemic.
And I'm not going to mention any names,
of course, but I remember one session.
I was sitting here actually monitoring because it
was down the line on Source Connect.
(23:02):
And it's one of those things where the
last line, can you just give us three
takes of that last, you know, the tag
or whatever.
It's like, okay.
And the three takes of that tag were
all exactly the same.
Oh, really?
And I'm thinking, useless.
What?
Anyway.
Yeah, useless.
Yeah.
(23:22):
I'm just trying to think.
Is another thing that I've heard from casting
directors, like when you're producing a demo, is
to try to avoid the really major brands?
Yeah.
That's what I've heard as well.
Well, I kind of tend to disagree.
This is debatable.
Yeah, there's a bunch of reasons I disagree
with that.
I don't think anybody is saying that that's
(23:45):
something that you did.
And I certainly, when I was trying to
start out, did all kinds of cuts and
overcuts of stuff that other people did.
It's got to be believable.
If you're going to do a spot for
Qantas or McDonald's, it's got to be believable.
It's got to make someone who's listening going,
shit, did they do that or didn't they?
(24:06):
You know what I mean?
If someone's at a level where they could
easily pull off a McDonald's script, why not?
You know what I mean?
Yeah.
I think this was in the context of
some big market agencies.
Yeah.
And then they're going to listen to your
spot and go, yeah, I know that campaign.
He's not on that campaign.
I think the biggest problem was with that.
(24:26):
The reason, because I know I was told
not to do that for this one reason.
And the reason is if someone hears your
demo and it's a product that's competing product.
Yeah, competing product.
And you're reading a Chevy ad and someone
(24:47):
from Ford wants to book you and they
hear this thing.
It's like, what?
He's doing Chevy?
No, you're out.
That's an issue.
Yeah.
That's an interesting reason.
That's a very big difference between a demo
and a reel.
Yeah, exactly.
Where a reel would be an accelerator.
That is the difference between a demo and
a reel.
Well, on another tip, another thing, I got
(25:08):
interviewed by Mark Scott.
He has a podcast called Everyday Veopreneur.
Yep.
And it's a pretty popular podcast.
And his big thing is marketing.
But he brought me on for his annual
holiday season episode.
Oh, yeah.
And so I was the guest of the
year.
And so it was all about what things
(25:29):
I recommend to buy for your studio.
And he had me on for a solid
hour at least.
And so we covered everything.
Of course, we talked about Passport.
Of course, we talked about Tribooth.
We talked about some of our favorite things
that we've worked on.
But I covered everything from like a $99
mic all the way up to, you know,
(25:50):
everything in between up to a voiceover booth,
you know.
So if anybody's interested in hearing my thoughts
on a huge array of different categories of
audio and gear and everything, check that out.
That was released on the 21st.
I might even listen to that.
There you go.
I had another funny interview.
So I was on my way from a
client's home back to home.
(26:11):
And I get a text from Ann Ganguza,
who was interviewing me.
And she's like, hey, just checking in.
And I'm driving.
And I'm like, oh, okay, nice.
And she's like, what about our interview right
now?
What are you doing?
Are we doing the interview?
And I was like, oh, no.
So I was so hungry.
(26:34):
I was starving.
And I had to do this interview.
And I didn't want to blow her off
and reschedule.
She had scheduled it weeks out, you know.
So I pulled into a Chili's restaurant, which
is just like a Denny's or nothing special.
And I found the quietest spot in the
restaurant.
We recorded the whole interview while I literally
ate lunch.
So when she was talking, I was eating
(26:56):
my burger that she was talking.
And then I happened to have my headset
mic with the mic with a little boom
on it.
So we got decent audio.
But she used the Riverside FM, you know,
audio cleanup thing that just gets rid of
all the background noise.
You listen to it, you would not know
(27:17):
I'm sitting in a restaurant.
How did you manage to get the burger
past the microphone?
That's my question.
And what about when you slurp the bottom
of your milkshake?
You get the bottom of your milkshake.
How did you hide that one?
Well, that's the thing.
So she posted a one-minute clip, a
reel on Instagram.
And it's one of those top and bottom
videos.
And she's on the top and she's talking
(27:39):
away for like a solid minute.
What am I doing in the bottom frame?
Eating.
The entire time.
Nice.
Because I'm like trying to get in like
a decent amount of food here before it's
my turn to start talking, you know.
And so all it is is her talking
and me eating at the bottom.
At first I was like, really?
(28:00):
That's the clip she picked out to put
on the Instagram.
There you go.
So you can record anywhere, right?
Her podcast should be called Ghouly Ghouly Gotcha.
Or Gotcha by the Ghoulies.
Gotcha by the Ghoulies.
Okay.
So I found the file here.
Have a listen to this.
All right.
(28:21):
Let's talk cravings.
You know the feeling.
It's 11 p.m. and your stomach's louder
than your TV.
You think, oh, just have a snack.
Nah, mate.
You're heading to KFC, aren't ya?
I mean, who can resist that crispy finger
-lickin' chicken?
It's like they put something in it, right?
No, seriously.
That stuff's addictive.
(28:41):
Don't get me started on the chips.
You ever tried to eat just one?
Impossible.
They should come with a warning label.
KFC.
When the craving hits, you know where to
go.
And don't worry, we've all been there.
Twice this week.
(29:03):
So, yeah, his name's Drew James.
And he just, you know, we just, and
that was sort of, you know, coming back
to playing on, you know, their strengths and
weaknesses.
His strength was obviously acting, so we wrote
a bunch of scripts.
That was obviously a really acting one, but
we did some where he could still use
those acting skills, but it was more of
a voiceover.
Yeah.
And it just worked really well.
(29:24):
So, yeah.
It did, man.
It really captured that, like being in a
nightclub and doing a comedy act.
Well, see, it was all in the way
we did it because he came here to
record, so I just grabbed an SM58 for
that spot, grabbed an SM58 and just let
him go for it.
So he could just act.
That's all he had to think about.
That's smart.
(29:45):
Yeah, absolutely.
So he was just, he could just get
into that acting thing, and that's what it
was.
And obviously being on a 58, you don't
have to try and make that nightclub sound.
You've already sort of halfway there.
So it was nice.
Yeah.
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