We looked into Shure S7MBs and the Heil PR40s, which are favorites among other podcasters, but because we needed to purchase four, decided that the less expensive R0des were the way to go. The ATRs are fantastic portable mics that provide respectable sound quality when recording on the road, such as for my Worldwide Radio Summit podcast, but James advised that I step up my mic game to achieve commercial radio sound with this podcast. I upgraded from my ATR-2005 mics that I had used for my previous podcasts to the R0de Pro-Caster mics. Because the interview snippets would need to be played over the music beds, they would need to come through two separate inputs on the mixer, requiring six channels (four mono mics and two stereo inputs) in all. We also wanted sweepers, music beds, and interview snippets that would be pre-recorded. For this podcast, we knew we would have two co-hosts, with the eventual addition of a third, plus a guest. So, James and I decided to incorporate a mixer into the equation. I would also add a produced into and outro to the podcast in the audio editor, add any processing such as compression or equalization, and then bounce it down.īut with The D Brief, I wanted to record directly to a stereo file, and minimize all of this post-recording editing. This way, if two people talk over each other, or one person is louder than the other, I could correct it in an audio editing program later. I would use a computer or digital recorder that allowed for multi-track recording, meaning that each microphone would be recorded to a separate track. My previous podcast recording setups have been designed for post-production editing. His insight has been invaluable, and I sought his advice when assembling my new rig. James and I met online a few years ago, and he has been graciously helping me with the sound of my podcasts. Fortunately, I had the help of James Clausen, an audiophile with experience recording sound for film. In short, I wanted to recreate a radio station studio.but without a radio station budget. To create a setup that allows me to spend most of my time on show preparation, and as little time as possible on post-show production.To sound like a commercial radio morning show, complete with sweepers, music beds, and compression.When I set out to launch The D Brief, my new podcast about the Detroit arts and entertainment scene, I had a few goals in mind: It's not easy, and it's definitely not my strong suit. Most of us podcasters aren't in a position to have a full-time engineer, so we have to handle all the technical aspects of making ourselves sound professional on our own. Let us take a moment to express our gratitude to the engineers, the unsung heroes of the radio industry whose work goes largely unnoticed (until something goes wrong), but who have a profound impact on the listeners' experience. Folks like Bill Bracken at WBCN in Boston and Dennis Knudsen at WBRU in Providence made my radio stations sound spectacular, usually without me having any clue how they did it. Throughout my radio career, I was lucky enough to work with some wonderful engineers. For me, the hardest role to step into has undoubtedly been that of audio engineer. One of the most challenging things about being a podcaster is that you have to play the role of every radio station staff member: on-air talent, program director, production director, salesperson, etc. You don't know what you've got til it's gone. In this column, I am sharing the lessons I learn from it for other radio broadcasters who want to do the same. I've teamed up with Detroit comedian Mike Geeter to launch a new podcast about the Detroit arts and entertainment scene called The D Brief.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |