The beauty of podcasting is that anyone can do it. It’s a uncommon medium that’s nearly as easy to make as it is to consume. And as such , no two parties make love precisely the same way. There are a wealth of hardware and software solutions open to potential podcasters, so setups roll the range from NPRstudios to USB Skype rigs.
We’ve invited some of our favorite podcast emcees and makes to highlight their workflows — the equipment and software they use to get the job done. The schedule even further includes 😛 TAGEND
I’m Listening’s Anita Flores Let’s Talk About Cats’ Mary Phillips-Sandy and Lizzie Jacobs Broken Record’s Justin Richmond Criminal/ This Is Love’s Lauren Spohrer Jeffrey Cranor of Welcome to Night Vale Jesse Thorn of Bullseye Ben Lindbergh of Effectively Wild My own podcast, RiYL
For three seasons, Panoply’s” Family Ghosts” has explored the deep, dark and genuine riddles that have recurred houses for contemporaries. Show creator Sam Dingman is a Moth Grand Slam Winner, who too served as individual producers for the popular podcasts” Bad With Money” and” You Must Remember This .”
I fell in love with podcasts in 2009, during the course of its profundities of my ludicrou tenancy as a customer support rep at an ill-fated software concern( RIP LimeWire ). My hassle was to answer the phone and tell irate customers who’d contracted viruses from illegally downloading music( read: porn) that we didn’t cause refunds. Podcasts were a welcome remission from this firehose of wrath, and before long, I get up the nerve to start one of my own. I proceeded to fritter away entire workdays combing through recording forums( shout-out to Gearslutz !) and Googling pictures of radio studios, lusting after large-scale diaphragm condenser mics and palpitating over preamps.
Unfortunately, all I could afford was an Audio-Technica AT2 020 USB mic — which led to a series of initial records which were as spirited as they were incoherent 😛 TAGEND
Thankfully, I’ve learned a lot in the following 10 times, and have been previously, via the charm of the audio gods, somehow acquired enough of a production budget to build my own studio seat in a cozy vault studio in Greenpoint, Brooklyn. Earlier this year, my friend Alan and I wasted two rightfully perpetual epoches in said cellar attempting to decipher the instructions for constructing a Whisper Room, where I now record all of the narration for” Family Ghosts ,” soothing my constant fear that the whole thing is going to collapse on my top with the soothing attendance of a magenta lava lamp.
My starry-eyed Googling at LimeWire persuaded me that a Holy Grail vocal series could be achieved via the pairing of a Neumann U8 7 mic with the rich analogue circuitry of a Great River ME-1NV preamp, and I accordingly sprung for both as soon as we got the last clamped turned on the Whisper Room. Every time I take the Neumann out of its wooden jeweler’s box for a recording session, I whisper “Hello, Magic Mic.” The Great River sets on my desk with its stately black grips and austere increase rhythm, and I enjoy the kindnes and subtlety it contributes upon the enunciates that flowing through it.
Of course, recording narration in the Whisper Room is only half the battle for a” Family Ghosts” narration — when I’m not in the studio, I’m often lugging around a backpack full of my battlefield recording gear: a Zoom H5 digital recorder, two Rode NTG2 shotgun mics, two desktop mic stands and XLR cables, a wall adapter and extension cord so that I don’t have to worry about draining the artilleries on the Zoom during long interviews, a duet of Sony MDR-7 506 headphones and a stereo 1/4 ” -to- 1/8 ” cable, which allows me to record good-quality phone interviews on the Zoom.
Then I accompany the whole works back to the basement in Greenpoint, laded the audio into Pro Tools, fire up the lava lamp, buy some coffee and obsessively re-arrange waveforms into the wee small hours of the nighttime, forever delighted to see that I somehow seen a way to leave the screaming customer service announces behind.
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