 And, you know, sometimes, some mornings I get up and I check Facebook, like I did last week, and that prompted an entire rant on microphone choice. Facebook is a rant engine. It is, but as we always say, not a good place to crowdsource your home voiceover studio. No, I don't, yeah, I agree. Yeah, I agree. It is not. Good for, like, advice on a certain thing or a certain mic, maybe. Right, you know, but what's your experience with this microphone? Well, it worked fine in my studio with my voice. Right. Who the heck are you? Right. You know, every voice, every voice, home voiceover studio is different. They all have to be custom built and tuned. Well, this morning, I can't even remember whose name it was, so you're safe whoever you are. It was a discussion about sibilance, something along the lines of, it sounded great for years and then I've gone to this microphone and now it sounds sibilant. And everybody's, oh, well, it's do this and do that. And then a couple of smart people, like Tim Tippett, jumped in there and said, you know, it's probably the way you're using it. Because as we always like to say, it's not the equipment, it's how you use it. Can also be the way you're listening to it. That was my next point. And the fact of the matter is, is he said, one client was complaining about it and now I really hear it. Right. That's the thing when one person points out something that's stuck in your head now and you can't get it out. Right. The fact of the matter is, is that client was probably listening on his iPhone. Or on his laptop speaker. Or on his laptop speaker. Or on a macbook with crappy little speakers. Or an HP with even lousier speakers. And somehow that was sounding sibilant. I said, let me listen to it. So he sent out a copy to everybody on the thread and he sent me a personal copy so I could look at it and go, yeah. And I listened and I'm like, WTF. There's nothing wrong with this. It sounds fine, maybe a little, a little sharp, but nothing that's like, you know, any engineer, as Harold Hill would say, I could deal with my friends with a wave of my hand this very hand. It was simple, simple thing to do, just a little bit off at about 10K, maybe a little bit below that. Yeah. And they could adjust it. Yeah. No one's going to lose a job over an extra little sibilant s. So it comes down to a matter of mic technique and how you listen to it. Yeah. Because if your frame of reference for monitoring is not quite accurate, it's really going to screw up your impression of the way anything sounds. I mean, what if you went for a month without cleaning your glasses? This reminds me of a story, my cousin's wife was an optometrist and they would help folks that were on Medicaid and whatever. And he had a lady come in one time. She's like, I need more medicine for my glasses. And my cousin takes her glasses off her face, wipes the lenses off, puts them back on her face and she's like, it's a miracle. That's so much better. Thank you so much. You know, and then she went home. It's like that was sound. I mean, if your, if your frame of reference is way out of, well, have you ever been in earthquake? Is that what it is? Whoa. Whoa. If your frame of reference is so clouded or inaccurate, you just can't trust it. So bounce it off a couple of people whose ears you do trust like me or me. Because that's what that's the kind of thing that we do. We'll listen to the audio in our listening environments on our monitors or headphones, things that we listen to day in, day out. We understand both. Yes. And we'll understand the context of how you sound among everything else. And if at that point we think you sound sibilant out of, out of the bounds of usability, you know, we'll, we'll tell you and give you some ideas what to do. And what are there really some microphones that are more susceptible to sibilants than others in your experience? Yeah. I mean, a lot of the notoriously less expensive condenser microphones tend to be a little on the bright side. One that comes to mind is the Rode NT1A. And everybody's got one of those. That is a culprit for being a little bit too bright. It's so common because it's very affordable and it's very quiet. It has no full self-noise. Yeah. So it gets sold a lot. Many starter studios are Rode NT1A, Scarlett 2i2. Boom. You know, I hear that probably once a week, but it can be a little bit bright, a little proper EQ can fix that. But it's not going to be my first mic for everybody because of that. We tend to already be a very bright, sharp voice with a lot of top end. Unlike that top endy may not be the best for you. Right. But oh, go ahead. I have one more thing to tag on to that. Okay. Go for it. I did have a client. And then I'll try to remember what it was I was going to say. Then you go and then I'll go. Okay. Age before beauty. Okay. Thank you. Uh, and thank you for respecting that. Um, another thing as far as technique is concerned is I tend to find that people who are sibilant also are over projecting and over performing and over pushing their vocal technique. They are, you can definitely coach your sibilant voice. If you just learn to relax your tongue and talk normally the way we normally talk, you know, and maybe, you know, concentrate on that and just learn to relax and not press your tongue so hard against the roof of your mouth. So you're trying to get things out a little bit louder and saying things a little bit more like Daffy Duck. Um, that will reduce sibilants a whole lot and, uh, and mic technique is essential, but your thoughts again, well, yeah, sibilants can be in a lot of different frequency bands or, you know, sometimes it can be really high sibilants, the very top, top stuff. Right. Sometimes it can be upper mid range. That range that's, I sometimes call it the ice pick in the forehead range where it's just like, ah, and, um, certain microphones do have a bit of a boost in that range. And some of the Neumanns do. I had a client, client with a TLM 49. When that's not quite as, you know, popularly popular and in his studio with his voice, that upper mid range sort of rise or boost was just not flattering on his voice. And I was always ekewing it, trying to flatten it out. It's never quite sounded right. And that was one of those cases where I recommended. Bizarrely a much less expensive microphone for him to try. And it would hurt his sensibilities to do that. But I said, why not give, in this case, I said, how about a caddy 100 s a shot? Great mic because there's a really cool website. You know it recording hacks.com. You know, they make the same guys do the, uh, the microphone. Jolly, the, the, yeah, the jolly he does the, uh, the, I'm sorry. Why brain farting? Oh, what's the guy's name? You've built some of his mics. Oh, ones that you've built. Oh, the mic parts. Yeah, same guy does make parts. He does the mic that Jordan Reynolds came up. Anyway, that website allows you to look at frequency charts for each mic and compare two of them on top of each other. It's very cool. Upper right hand corner, search for mics. Once you see a frequencies plot, click on it. It pops up in its own window. And once you're in there, there's another search box that you can type in another mic and it will overlay the frequency responses. And what was amazing was that the TLM had this like curve right here. And then the cad was like flat and then had a little bump at the very top. So they had very different responses and the cad sounded much smoother, much more flattering for him. So he was like, I can't believe I'm going to sell this Neumann for this cat. I'm like, you know what? It just has to work. It has to work with your voice. Right. It has to sound good. And if it sounds good, it is good. And, and that's the bottom line. You know, I just sold my TLM 103. Interesting. I said, I don't know. I hope Chris doesn't see it. Chris, we love you. We love you. You know, we love you. But I'm using a Sennheiser 416 almost exclusively now. So I'm not going to dump the great Sennheiser Neumann mics there, you know, but the TLM 103 just wasn't, it was just wasn't right for me anymore. I mean, I had it for like 12 years. It was my main mic, went to the 416. It was, it's easier to work with. And the mic technique on it is easier. It makes you sound more natural. I got to say, I hear that, hear that story over and over again. That's because it must be true. So, and you're not going to get much sibilance with the 416, unless you really like right on top of it. If you shoot it right into your mouth, it's like, it's like a laser. So if the sibilance is coming from somewhere in your teeth and it's pointing there, oh, it's going to hear it. Right. That's why the up and below position works so well. Right. And, and that's why mic technique is so important. You know, and we're always trying to show people have the mic at about eye level, talk underneath it, be five to seven inches away or further and make sure you compensate for that with the proper level. And usually that eliminates so many problems, mouth noises and sibilance and or what perceived sibilance. Although I think you and I are probably pretty much convinced that sibilance is in the ear of the beholder, not necessarily the reality of what everybody else is hearing and depending on what they're listening. Sometimes, yes. Yeah. Sometimes that is the case. That is the case. So send the audio to us before you make a final judgment and go selling your mic. And that's done through your website, which is homevoiceoverstudio.com where I just click on the specimen collection cup and send me a specimen of your audio and for you. And I have that same kind of thing over at GeorgetheTech.com. If you go to the services menu, you look for a sound check, send your audio in and I'll give you my opinion about what that audio sounds like and what it could be, what you could do to make little improvements. So. All right. Hey, in the right direction. Nobody has as much experience with home voiceover studios than you or I. Everybody else are just, they're experts in their own studio. Yeah. Hundreds, thousands of studios. We know what's going on.