Subscribe to the Adobe Audition Podcast
Never miss another episode of the podcast for Adobe Audition users by Adobe Audition users!
: Hi I'm Mike Russell from Music Radio Creative. And welcome to the Adobe Audition podcast. I'm interviewing power users of this awesome audio editing software. We'll reminisce back to the Cool Edit Pro days through to the introduction of multi-track editing and bring you right up to date with Adobe Audition CC and features like the essential sound panel. To get the full transcript and episode back catalogue. Head over to MRC dot fm slash a a p that's MRC dot fm slash a a p. My guest on this show is Suzanne Wynn. Now she spent over 12 years in the radio industry. She's an award winning talent and commercial producer with loads of experience. And of course the reason why she's on the show she is an Adobe Audition user. Obviously we'll dive into that, can't wait to dive into that later on in the podcast and find out exactly how Suzanne is using the software. Now she began her voiceover journey about six years ago. From what I understand it was an accident. She's still building. She's expanding it right now. Come to chat more about voiceover and many other different topics. In this podcast episode but Suzanne welcome to the show. It's a real pleasure to have you here.
: Oh mike I'm so excited to be here. Thank you for asking me this is exciting
: I love that accent. Where are you from.
: Nice, fantastic. I can immediately hear that beautiful twang so well what did you say exactly in Alabama near a city.
: I am near Birmingham and I'm equally between Birmingham and Atlanta.
: I love the way you say Birmingham we say Birmingham here in the UK.
: I know it's always a trip to me to hear that I'm like no that's not
: It's so cool so welcome to the show it's great to have you. Let's get started straightaway by just figuring out how you're using Adobe Audition yourself.
: Well as you said I've been in radio for about 12 years. So that's really been the only software I've ever used the real regularity. At one point when I was starting the voiceover deal. I was reminded that I can get audacity for free. And I tried that but it's so awkward to me coming from audition that it it just wasn't working. So I'm so I'm full on Adobe Audition and I guess I always will be
: That's cool. And like you say it's what you started using and in this case were assassinated. The first Edisto we get stuck into when we feel comfortable with we progress with and and keep going with it. So yeah I know what you mean or Dasti. It's FREE. It's great for some people to to get into the whole audio editing space. But yeah man is it confusing moving from one piece of software to the next
: And trying
: Figure out.
: Don't work.
: Yeah exactly. Exactly a whole new bunch of shortcuts. Ok cool Adobe Audition. Now obviously mentioned this in the intro but you're obviously an award winning talent and commercial producer as well. So you have lots of experience during your time in radio I'm sure you've worked with some great people. Maybe you can tell us some of the best audio production advice you've ever received maybe from one person in particular or a piece of knowledge that you'd like to pass on now that you feel is appropriate.
: The only thing I got for you on that came from a boss who is a jerk but he said Suzanne don't sweat it. You can always hit delete.
: The best thing
: I got.
: I like it. Yeah. Well we'd say command control Zed this side
: Of the pond and you would say control the
: I always just highlight it and click it. So
: Right highlight delete. Yeah make sense as well. So yeah. Exactly. You can always cut it. And yeah exactly.
: Or do
: Undo Exactly. So many options. That's right. Yes you can make mistakes as opposed to the good old days where you'd be you'd have like reels of tape around you are on the editing floor.
: I can't even imagine I didn't have to deal with that thankfully.
: But yeah I mean yeah definitely was so privileged to work in a digital age the way that's possible.
: Yeah and you learned the stuff by. So
: Exactly. Yeah so so talking about that and you know being able to always undo and you know or you know cutting things out. What about challenging stuff that you worked on that was a real challenge that maybe pushed you right to your limits. Either in your career or some project you worked on what would be the most challenging thing for you Suzanne
: Well I'm kind of torn in radio there was always a sales person and a client. In addition to the project that you're working on so I've done actually a commercial that won an award in the state. Last year was for a local tire company but it had a Michelin sponsor for it. And so we had to make everybody there happy everybody initial and happy. In addition to dealing with sales were up and you know fighting for my artistic creativity and abilities. And you know would you please just leave me alone. You let me do what I do. So that was really complicated. And then the other problem I have is I'm actually in the process of doing a voiceover demo for a friend and I've put so much pressure on myself because I wanted to be really good for her. And I've just completely freaked myself out in the process.
: Wow. Cool so yeah to 2.0 there. And I think yeah I can I can relate to both.
: I figured.
: Working in radio where you have to absolutely please the sales person who has one vision and then the client has another vision and then you have your own vision. You kind of have to as the producer you have to hold it all together don't you and try and please everyone and then I
: Would just listen to you and be fine.
: Exactly because usually you have an idea I know how you want it to play out I know it's going to sound good but it's the same with the like you say the voiceover demo you're working on for a friend right now. You're often your own worst critic on you
: When you're doing that stuff.
: Oh my gosh the worst
: Do you find yourself often like editing and then saying no that's not good enough and changing it and eventually getting fatigued from listening to the cut so many different times.
: Oh all the time
: Yeah. So how do you deal with that.
: Eventually you just kind of have to walk away. Luckily I have a really sweet husband who is very supportive and I can just go and go oh my god what have I do. And he he just you know kind of calms me down you know every once in awhile a drinker or you know go get a puppy or something. You can do to calm down.
: And does he work in the same industry
: Or is he totally
: Goodness. He actually works in food which you'd be amazed at the similarities.
: So yeah something completely different. And you say that's that's a good thing that he you don't understand each other's industry would you say.
: Well we've been together long enough now we kind of do the similarities between because they're both very creative industries. I don't want to say he's a chef because he hasn't gone to school and done the official chef thing but he's a chef. So we understand each other on the creative aspect and nothing we do will ever be good enough. But otherwise it's a completely different creative paths. So I'm really glad he doesn't work with me because we we butt heads enough and don't need him with me in the studio
: That's it. It can be the case isn't it. I'd
: All about that don't you.
: To have the relationship. Yeah I have the relationship and we work together
: Yeah. Wow.
: In this business. But yeah it's it's definitely fun. Yes absolutely. No I totally understand. Sometimes it's good just to escape isn't it from what you do for work and a half like an out of work life or a family life or just yet something else. You get up to so I guess talking about having something else so something to look forward to or something you haven't quite achieved or done yet Suzanne. What is that one cool thing or maybe more than one cool thing that you would particularly like to work on in the future. Maybe a secret project you haven't told anyone about yet.
: Well the whole audio producer thing. Outside of radio it's kind of a new thing for me. It never occurred to me that I could do that freelance for myself. So I am working on the idea of how Suzanne the producer and Suzanne the voiceover artist and perhaps Suzanne the copywriter is all going to mesh into one big amazing business. And all I can tell you is it's going to happen.
: So what does that mean. So you will working in radio. Now is that going to continue to do
: Don't plan for that to continue. Radio is fantastic and I love it. But at some point in time I know your worldviews change the way you feel about things change people change and it's not what I want to do with my time anymore. I do a morning show and I have a ball. But I find myself missing doing a solo show and the older I get I feel more out of touch with the majority of our audience my my political views my world views my everything. Living in Alabama. It's a lot different than a lot of my audience and I don't like to put on an act when I'm on the air. I'm just me.
: And sometimes that's not a great thing.
: Wow. So let's talk a little bit about radio. I've worked in radio myself and I find that and I'd like to ask you why you think this isn't how we can potentially change this but working in radio myself I cannot remember coming across many female audio producers. Yes a lot of people working on the air but not many female audio producers. Why do you think that is. And how do you think we can change that in the industry.
: Oh wow change. Well I mean the whole world is sexist. I mean we've covered that right. You know women make less. We're worth less. You know we're women what do we know. I think a lot of times women don't. We don't necessarily. At least that's the word I'm looking for. We don't pursue the more technical aspects. And I mean even much beyond plug and play I'm not good at the technical things I am good at putting little pieces together apparently and making commercials and that sort of thing. But beyond that and it's I think it's very intimidating to come into all these buttons and all these things and to try to learn what they do and I really just think a lot of women are intimidated by that. And you know if a lot of women are really good at say sales and radio and that's a much easier job in some ways than you know trying to put all this audio together and you know whatever your strengths are. But I really just think women in general are afraid of the tech aspect. I mean I remember the first time I saw the board in the control room you know all the lights and all the buttons and I just went into the car and what have I done. I mean I'm over it now. But you know it takes a while.
: Do you think that's that's just the. Because of the way the industry is structured or do you think it starts earlier than that. Do you think it comes down to responsibility. You know starting right in childhood and introducing you know girls as well as boys to the fact that you can edit or you you can work with Audino. I mean for instance the big push at the moment seems to be coming from Apple and elsewhere is like everybody should be able to code you know whatever your background is what was your opinion on that.
: I have no idea how to code. That worries me a little Bit but I do think it actually starts a lot earlier than that. And I think it starts with things like Boy toys or blue and girl toys or pink.
: Huh yeah.
: And there's a quote that I'm not going to get into that regard. You know it's you know how do you play with the toys. If you use you know part of your genitalia well then yeah it's a boy or girl toy but if it's just a toy then it's a toy. And I don't care if the boy wants to play with a pink one and the girl wants to play with the blue but it really shouldn't matter. But it does. It's the marketing and I do I think it starts at home.
: So is there anything in particular I guess would we look towards the radio industry is there anything that can happen in the radio industry to make this more inviting more appealing more welcoming.
: I don't think the industry itself is really going to change as far as welcoming because you know at least for now it's still you know is the old guard. I think you said earlier the mustache old guys. And they are for the most part still in charge. And until you know girl power until we you know unite and go you know what I don't like this and we change it together then it's going to stay there because it's the easiest way to do you know the old guys going to hand it off to his kid and his kids going to run it the same way dad did. Because that's what he learned from dad. So until you know a woman comes in and says No I don't like that. No. And hold your ground. It's not going to
: Definitely. Yeah and I'm just remembering back to the way that I got started in radio and learned the trade of audio production started for me. Gosh I guess back in the sort of early to mid 90s when I started sort of first getting an ear for it and then I worked many different radio stations and eventually I picked up a mentor somebody who mentor at me and I spent hours and I was in a producer studio just doing that and I think yeah that has to be some way of you know opening opening this up. To be learned I guess in a formal way. But yeah I'm just trying to think how how that might work or how that might be structured especially with the the way things are looking in the future where everything is being taught online now. So
: But I mean you have to stop discouraging the girl that wants to play with the blue toy or wants to play with blocks that wants to drive a race car you know stop discouraging her let her go. And you know don't be intimidated by the big thing you know the big fat radio or whatever comes out what her place is not really going to screw anything up you could always do
: Exact I goes back to that exactly the first point you brought up schools and you can always hit undo but I think if you don't have that chance to start with it for whatever reason you're not loud or it doesn't seem like it's a possibility or you're not made to feel comfortable in that environment. We need to work out
: A way to make that better. So
: Yeah the comfort that that was the right word comfortable
: Definitely. And I really hope that you know this this conversation and this podcast. I hope that I'm able to give this topic justice but I hope that at least our conversation will get people listening to this show thinking about that and about gender equality in general not just
: In radio but just in audio in general and maybe maybe some change some small change some you know a butterfly flapping its wings the butterfly effect. Something can
: You got
: You got to start somewhere
: You know and I know because I listen to a lot of your podcasts and I'm sure a lot of girls do. I mean if anybody contacts you and wants to talk to a girl I'm willing you know hand my information it's fine.
: Exactly. So I mean that's where it all starts doesn't it. So yeah we covered that. That's a really interesting topic and I really would like for people to pick up on this and post online and maybe get something started around this but I'd like to I'd like to move on now to look at how you first got started Suzanne and what got you excited in Oreo. So let's go back a little bit to your childhood and find out if you've got any memories around ODea that really make you smile or sort of send you on the path that you're on now getting towards your own voice over Joonie and you'll kind of own business now
: Well it's actually really find that you mentioned that might because until you ask that question I had never connected the dots because I would have told you that I never intended to get into radio and I didn't. However I lost my dad about four years ago. And in digging through his stuff and there's plenty of it. We found the cassette tapes where he had recorded Meina my brother's birthday parties and we're little family things and my dad was an audio guy and I never really thought about it. He had microphones. We had the record player console that took up like three rooms. You know the old the old ones for him. I don't know the 60s I guess and he had one I guess at the time was decent mikes and I remember singing into the microphone along with Willie Nelson. There are recordings of me badly singing to Blue Eyes Crying in the rain and those tapes will never see the light of day.
: But you know I like I said I never even would have thought about that. But I guess maybe that spark something I didn't recognize until excuse me until it happened because I really didn't fall into radio by accident. I had never intended to get into it.
: So yeah Odeo is around you like you mentioned from from your father. So what was then the trigger you sort of later in life. I think you were saying just before we started recording he kind of got into radio in your early 20s was sent you down that route down that path.
: I didn't get a job at the theater.
: All right.
: I had applied for I went to school and I have a degree in communications PR. God has been so long anyway. And I was super excited about a job with a local theater and it was kind of the theater manager and I ended up not getting it. And I was beyond livid. And a friend of mine her mom we were talking on the phone about it and this is the quote from her I'm trying to do her accent say Oh I love this baby. Have you ever thought about Ray do You have the sweetest full face. And it hit me like a ton of bricks like no are you crazy why would I do radio. And it festered. And then I was I was home you know and I was online looking at local radio stations and I saw that one of the country stations was hiring something they called a remote setup tech. I had absolutely no idea what that was but I sent my resume I sent my references and immediately got an email back from the guy and told me that they didn't have any openings now but that if he wanted to know if I wanted him to he would keep my information on file and going back to you I didn't get the job at the theater. I was so mad I responded back to him immediately that I thought it was really crappy that he was posting his ad and he didn't have it.
: I mean what do I have to lose at this point. And he's like I'm really sorry and then I don't know maybe a month or so later he emailed me back and said they had had a position open and was I interested. And I said well sure. So I go in and my mother had bought me a suit for my job interview. So my three piece suit you know the matching jewelry the heels the whole bit I walked into a radio station to meet with the program director who was wearing big dog shorts and a shirt and tennis shoes. And I went OK and I was sunk from that boy because I don't like to dress up. So the fact that I could make money and wear blue jeans and I mean I guess the rest as they say is history because I just it just stuck. I worked for most Arabs. You know drama in the van to a remote broadcast serving Pepsi products and then eventually got on the air and just never really left.
: Also. Wow. So you've been you've been on the air. You've worked in the production studios. Do you have any favorite part of radio in particular.
: I love the radio promotions under the correct guidance.
: Yes when you're allowed creative freedom right.
: Yes yes I know the station I worked at I had plenty of that and I had some of the best contests. There were so much fun And you know I mean it always comes back to that that was long as you're allowed to do you know the fun stuff and then I found out who knew that I really like audio. But again I want audio on my terms. I want the sales rep out because they don't know what they're doing. I love them but they don't know what they're doing when it comes to audio. I'd prefer if a client's going to come in and record something let them record it and then get out and then let me do what I do. But that doesn't always work that way. So
: No. Exactly as as we have discussed so that's brilliant. So let's let's move on to Adobe Audition and the features the workflows that you've got Suzanne for this wonderful piece of software. If you had to single out of everything that's available to you inside edition one favorite feature one thing that you really like. What would that be and why.
: Well here's the sad thing. I don't really have my own workflows. I've never bothered to set anything up like that and I guess I go back to a lot of my learning has been trial and error. So I have to go back to the undo or the delete button being my favorite thing because I will do some really dumb things and I need to be able to undo those dumb things when I don't work. But yeah I've always been too lazy to really establish any sort of workflow. Half the shortcuts Mike I've learned from your videos. I don't know how to do this. What does Mike say. I mean that's legit. That is for me to you. I love your videos because you've taught me so
: Many things. But yeah I I got nothing other than the Andu
: Undo which of course is a brilliant thing. So generally when you're working inside audition then undo is great you can do that in wave form in multi try whatever project you're working on if you apply something. It's always just yeah. Like you said button press away. So how are you working. I would guess with commercial production putting it together like music multiple voices. You're working mainly in the multitrack right.
: Yes mostly
: Great. And do you have any specific way that you set up the multitrack or you work in there or do you just boom go into a new new multi-track session and just. Is there any way you kind of walk. I guess I'm getting at is when you organize those sessions to keep things nice and ordered on the on the page because multistrike sessions can very quickly get out of control right.
: They can. And I wish I was more orderly. No I just throw things up there and I move it till it's where it needs to be and then I delete everything else that's not as organized as I get. It's kind of like the audio version of throw to the wall and see what sticks.
: Clx Do you have any. Do you have any specific tracks that you say apply certain effects to as say Right this is going to be a track with some compression or specifically for voices you haven't any flows like that.
: No I typically can press everything just because what I've been told to do for on air but mostly because compressive are everybody's even you know just kind of fill out where we're demais drop off and that sort of thing. And I don't even know what that's called. But I mean beyond that I'm pretty boring when it comes to that stuff. I don't even know what I'm doing half the time. It just it sounds good it does you know you just kind of play. I wish I was talented enough and had enough wherewithal to to create these things but really it's thrown up against the wall and see what sticks in audio form when it comes to what I do. I just apparently throw the right things against the wall and combine them pretty well.
: Very cool indeed. OK so we have spoken already quite a bit about Adobe Audition and how you using the software. So what about. I always am interested to know whenever I have a guest on the show. Okay so yeah we got the software sorted out. We know how you using it but how are you getting audio into the software. So what do you go to resources and gear recommendations. I know just like obviously microphones headphones and the mixing boards you like any bits of gear and kit that you can get to use with tradition but maybe you've got some recommendations. I don't know the places you get musical or sound effects from anything like that. Let's hear some of Suzanne's best tips in this area
: And that's like insider secrets on
: My favorite site for mostly Benza and for sound effects is a Maggio.
: Wow. OK.
: And then of course I get several things and I'm drawing a blank on the other name of that website. Maggio was the one I use the most because it's easy. It's almost you know cater to radio to use. And there's another one real world. I think it's our e-mail world Enaam.
: Yeah based in Seattle
: Yeah and I use that word and get it as well.
: That's cool and Demacio I believe that's part of T.M. studios. Another big jingle company based in the U.S. right.
: See I didn't even know that. So
: Like I'm just flying by the seat of my pants here and you know you're talking about.
: Well a quick Google while you mention that kind of kind of covers everything but
: In the closet I can't google
: So yeah I mean yeah I would understand that royal would definitely do elements and it looks like DiMaggio. They have Logan's probably specifically for radio stations I would guess.
: And you can you can download like all different audio files so I'm guessing that's what like sound effects and maybe artist drops and bits like that right.
: Yes. And there is a ton damps. There's some really fun stuff on Demacio like oh wow I can't believe I found that.
: Yeah it's always good to have access to. Is this one of those kind of things both those overseas you recommended services that constantly update with new stuff or is it like one kind of buyout thing and you're constantly branded with new stuff.
: I would imagine not because I seem to find the same things pretty often. But but they surprised me on a regular basis too. I really don't know how often they update it. Not enough but for radio it doesn't matter that much. So because we're going to read the same thing all the time anyway.
: Say it and then we talk mikes and other business that
: I bought him one time and apparently it was a piece of junk and somebody then recommended that I try this thing called an I rig and it's a USP Mike and
: You want it now.
: I want it now. And I had reservations because I'd always heard no don't use a U.S. B Mike. It's been nothing but amazing for me. And it's it's my speed of plug and play you know legit I plugged it in and it works and I've cut demos on it. I've cut commercials on it. Know I mean not my livelihood is on this little thing and it works with Android. It works with iPhone. Actually I went to voice over Atlanta back in March and Phil Lesh. I don't know if you know that name or not he was actually had them as a sponsor and he was going through his spiel to sell me on it. And I went way already got it. It's awesome. So I thought it was pretty cool that you know a pretty big name and voice over was you know pushing this Mike. So I mean I feel OK about it now. You're not you're not going to shame me because of my USP Mike
: No absolutely. Now I'm just saying I rigs prologues so they have yeah many products that are designed to go not only just into your computer but also like straight into. Did you mention your Android or your iPhone or your iPad.
: Yes it will work with all those so it's great for vacation and it's a little. So it's easy you know to pack away and I mean I just think it's awesome.
: Can use it on the move and does so does that come with like a converter that goes from say USP straight into like God I dunno the lightning connection of your iPhone.
: Well I'm an Android user so I'm not really sure
: Homi to
: But it just has the different chord Yeah it changes out the different Corden's that you need. So I mean I've chank the ones for Apple but they're in a box somewhere. But yeah I mean it's simple you can use it with any of the any of your interfaces I guess a you know your phone or tablet or whatever.
: Super convenient because you can't always lug around a laptop or a
: Mac book or something like that be usually have at least your phone on you and if you got the right cable in that light you say that super portable Mike. That is particularly handy. I've been looking at Eirik before I think they also do like they sell converters as well from what I understand where you can plug like a traditional like SLR microphone direct into this box and then it turns at the other end into a connector that
: Into your phone. So you can do all kinds of Yeah fun stuff like that. So
: Very cool
: Yeah I've heard good things about Eirik so that's that's brilliant. Wow.
: Boy you know I like to that my. Aside from the treatment of the room you know things sound the same because I'm using the same Mike
: Exactly yeah and that's that's important. Yeah. Yes. So do you have any tips when you do travel. If you get like an acoustically really echoey hotel room or something like that and you need to record something any tips that
: Ask for more pillows or go to your car
: Go to the cold ticker tape.
: To the car.
: To the
: Cars. Well if I'm in my husband's car or if I'm in my jeep not so much a vehicle actually has pretty good acoustics.
: Wow that's that's actually really cool. So yeah yeah. The car nearby can get to that. That's good. Otherwise yeah. Pillows as you say yourself I'd like a mini tent your den you can
: Record it.
: Well you know what. And you know what you went on another secret. I can't believe I'm about to say this my set up in my home it is in my spare bedroom closet. And I have this little canvas box that has Acoustical foam on the two sides the top and the back and my little Eirik Mike sits on a stand inside that. And that is the best thing ever.
: Just sounds great.
: I mean it's so simple REPAK I throw the mike in the box throw some stuff around it to keep it from running around. But I mean it's already padded. I mean it just works.
: Nice. Nice. And do you use much acoustic foam then is there any specific foam that you use
: Well I bought some and it all conveniently fell and nothing seemed to change with the sounds when I really use it. Aside from what's in that little canvas box
: Awesome. Wow. Very
: Yes. So very interesting. What a great shot. So we've obviously we started out talking about your use of Adobe Audition and production advice. We've gone through your career in radio and your journey so far in voiceover gender equality not just in radio but also in the audio industry in general. And obviously your use of Adobe Audition and the different views and Hakeas particularly command or control z. But I'm really interested now to to bring this show to a close and to encourage anyone listening right now what would you tell someone who's maybe young and aspiring they're the very start of their audio journey and they want to get into this industry. Doesn't matter where it could be as an audio producer or it could be as an on air talent or it could be where you're heading now Suzanne with your voiceover. What is that piece of advice that you would offer to that person right now.
: Go for it. Make the crazy calls do the off the wall thing suit to get in there. It's appreciated. I think more than not. I think people tend to have a trend or people have a tendency to oh I can't do that. Yeah you can't especially in radio for something you want to do. Go for it and know you're going to have to work your backside off before you get anywhere. It's the whole cliche of paying your dues. It still exists in radio regardless especially if you want to be on the air. But you know with us audio production comes along with on air most of the time so you're going to have to learn both. But just just get in there do it and don't be afraid to play because that's how you're going to learn to go with stuff
: I love that excellent
: Oh and watch Mike's podcast
: Well of course. Thank you
: Because of my goals are
: Some amazing.
: That's very kind. Thank you very much. So well Suzanne it's been a pleasure chatting to you and for anyone who would like to take things further and maybe find you online. Where would be the place she'd send them to.
: I would send them to Suzanne when that's WY and in VO dot com. And I am in the process of updating that but that's where I am right now.
: Fantastic Suzanne thank you for joining me.
: Thank you so much. Have a great day.
: That concludes this episode. Subscribe and review this podcast to help others discover the power of Adobe Audition. If you'd like a full transcript of the show. Head over to MLSE dot fm slash. AP thanks for listening.