Audio Editing software is designed specifically for the purpose of recording, editing, processing, and mixing digital audio.
In this post I'll go over some of the terminology, and look at some of the most popular Audio Editors when it comes to Podcasting.
Let's start with DAWs. Pronounced like, "door" with a New Yorker accent, DAW stands for Digital Audio Workstation.
A DAW is basically any computer with a hardware audio interface (whether it be a Focusrite Scarlett 2i2, or an SSL Duality), and Audio Editing software.
The software allows you to record the digital audio to your computer's drive, edit it, apply processing (EQ, compression, effects, etc...), mix the levels, and more.
Not all Audio Editors are equal
DAWs can vary in their abilities and functionality depending on what they're intended for and the cost!
Destructive Editors make changes to the actual audio files as you edit them in the software - if you cut a chunk out in the editor, that chunk of data will be removed from the audio file immediately.
This can be great in that it is immediate, and can be time saving. But, it also means that if you make a mistake, there's a risk that you won't be able to undo it.
An example of a destructive DAW is Audacity.
Non-Destructive Editors do not alter the original audio files, but rather apply the changes in real-time during playback - if you cut a chunk out in the editor, that chunk will just be skipped over, and if you want to make a change to an effect or undo a cut, it's usually pretty easy.
This sort of real-time processing does require more computer power, and the more processing that is applied, the greater the latency effect during playback. That said, most modern computers have the capacity to handle such processing with minimal side-effects.
An example if a non-destructive DAW is Avid Pro Tools.
Paid vs. Free
There are some excellent free Audio Editors available, such as Audacity, as well as free versions of paid for Editors like Studio One Prime.
The "free" free editors are only limited by the fact that they are made and sustained at no cost - so if the developers of Audacity decide to stop supporting it, it could disappear (unlikely, given it's huge community of users).
The "free" paid editors will have fewer features and capabilities than their paid-for versions, but are still very capable and in my opinion good enough for podcasting unless you really want the bells and whistles. A downside might be less tech support from the developers.
Paid for editors vary in their abilities, from one brand to the next, and even between different versions, for example Hindenburg Journalist and Hindenburg Journalist Pro - the basic version doesn't offer multi-track recording and has fewer processing features.
Some of the most popular daws
Other DAWs include: Studio One (see above), Mixcraft, Ardour, Cubase, Ableton Live, and more.
All of these audio editors will handle podcast recording, editing, and mixing. The best one is the one that works best for you and meets your needs.
I briefly mentioned Plugins above. If you're wondering, "What is a plugin?" they can be thought of as add-ons that give different processing functions to a piece of software.
All audio editors come with their own plugins which will apply EQ, compression, gating, and other various effect processes to the audio.
The effect is either applied immediately (destructively) or in real-time (non-destructively).
Aside from the stock plugins that come with the DAW, there are many third party plugins available. These come in different formats and may not be compatible with some DAWs.
Some of the formats include VST (compatible with most DAWs), AU (compatible with most Apple Mac DAWs), AAX (Pro Tools' own format).
Thanks for reading!
In this post I'll be taking a look at Portable Recording Setups - what might suit your needs as a wandering Podcaster.
Portable Digital Recorders
There are many brands of Portable Digital Recorders with various models out there - Tascam, Zoom, Roland, Sony, Marantz to name a few... which you get will depend on your budget and the features you need.
All digital recorders (that I know of) have a built in mic, many have a stereo pair. The built in mics work well for general use, but are limited by being attached to the body of the device. If you handle or move the recorder around while recording you'll get some movement noise issues, and if you place the recorder on a table, it'll be susceptible to bumps and variations in loudness as it sits still on the table while you and your guest move around it.
Most digital recorders will have an external mic input that you can plug a handheld mic into - usually a couple of XLR or more, but some might just have a single 3.5mm line-in connection. If the device only has one mic input, you at least can hold that mic and move it back and forth between you and your guest, reporter-style, or have the guest speak into the handheld mic and you talk into the built-in mic; if the device has more than one input, you can have more mics and get better separation of sound between the voices. The Zoom H6 with an add-on attachment can record up to 6 mics.
Digital recorders will record and save the audio file to an SD card, and may also have a USB connection so that you can plug the device into a computer and directly transfer the audio files from the device to the computer.
Some recorders can also be used as USB microphones. The Zoom H4n, for example, can be connected to a computer via it's USB cable and will be recognised by most recording software as a stereo USB mic.
Yes, that's right. Your smartphone can be used as a digital recorder!
There are many microphone attachments for the various smartphones out there, which will at the very least improve the quality of the recording over the phone's built-in mic.
Obviously there will be hardware limitations, but if ultra-convenience is top of your list have a look at Røde's SmartLav+, the Saramonic Smart Mixer, or Shure MV88/A. These are just a few, so have a look see at what works with your smartphone best.
Some of the attachments come with their own app, but otherwise there are many recording apps - too many to mention here. Free apps might only offer lossy recording formats (like MP3), or limited recording times; while paid for apps will have more features, formats etc, even basic editing capabilities.
If you do choose to go this route, then maybe get a good SD card for your phone to store the recordings on.
Here are some items that will help make your roaming recording setup a breeze...
A Blanket or Felt Table-Cloth to place over the table you sit at in order to reduce early reflections (acoustics) and also dampen bumps.
Thanks for Reading!
In this post I'm going to go over some of the extra hardware bits and bobs that are good to have - some necessary, some not so much.
XLR Microphone Cable
You'll need this to connect any XLR mic into your pre-amp. Pretty straightforward right? It's worth getting a cable with metal connectors rather than plastic, and spending a little extra on a cable that has decent shielding - the shielding is a wire mesh that is wrapped around the core wires carrying the mic signal, preventing radio and electromagnetic interference of the mic's signal, blips, beeps, hum, noise and even commercial radio signals.
If you like to look after your cables and want them to last a long, long time, it's worth learning the right way to coil them up - YouTube to the rescue!
Lastly, the Male connector has the 3 pins and the Female connector has 3 holes. In case you were wondering.
Microphone Pop Filter/Wind Shield
A Pop Filter is typically a circular hoop with a nylon fabric mesh on a flexible goose-neck clamp. Some are made of metal, but the effect is the same.
Pop Filters reduce the force of sound pressure waves coming from your mouth as you say words beginning with Plosives - hold your hand up in front of your mouth and say "Boo" and "Pa". Do you feel the air hitting your palm? That's what the pop filter's for. If that rush of air hits the mic diaphragm, it'll cause distortion to the signal. Try it and see for yourself!
Foam Windshields, or Windscreens, have the same effect - stopping rushes of air, whether from breath or wind, from hitting the mic and causing distortion pops. These can be useful if you've not much space in the studio, or do a lot of recording outdoors. If you're outdoors a lot then consider getting a "furry" type windscreen, these are better at dealing with wind - of the weather sort.
If you're in a studio environment you'll need something to hold your mic while you talk... if you're out conducting a roving reporter style recording, well, have one for when you're back home.
When recording, you need to be able to monitor the recording - to hear what's being recorded and how it sounds. A good set of over-ear headphones with a Closed-Back design will isolate the sound, so that you can hear it clearly. Noise-cancelling earbuds also work well, but can be uncomfortable and damaging to the ear in the long term.
Closed Back means the back covers of the drivers are sealed, cutting out ambient noise better so you can hear the recording more clearly. Other types include Open Back (not sealed) and Semi Open Back (slightly sealed).
It's worth getting a set of professional "studio grade" headphones that don't colour the sound being reproduced. Regular high-street headphones are sometimes tuned so that they enhance the audio - this is a no-no, as you want the signal to be as honest as possible so that you can identify if something is wrong with the recording.
And lastly, don't get wireless headphones! Because wireless tech needs to digitise the signal > transmit it > and decode it to analogue again, it creates latency in the signal - a slight delay - which will negatively affect your judgement; not to mention that the wireless signal may interfere with your other equipment!
Not so essential but nice to have, maybe. Or depending on your set-up, perhaps essential... you decide!
A Headphone Amp
If your audio interface only has one or two headphone outputs, and you need more, then a Headphone Amp will be necessary. The headphone amp will boost the signal and distribute it to multiple outputs. Pretty simple right? Just connect it to your audio interface's headphone/line output using a Stereo/Balanced cable, and plug in your 'phones.
Headphone Extension Cable
It's a cable that extends the length of your headphone's cable, for when you can't get close enough to your headphone amp. What more is there to say? I don't know. Maybe leave a comment if you think of anything.
A Dedicated Microphone Pre-Amp & Channel Strip
Some might want more control over the microphone's signal before it gets digitised and recorded by the computer.
There are a number of Pre-Amps with Channel Strips out there that may have an EQ, Compressor, a De-Esser and more. This replaces the pre-amp of the audio interface, so remember not to set the gain too high on the interface's pre since you'll be boosting it with the channel strip's pre.
Prices go from cheap... to not so cheap.
If you do get one, remember that anything that you do to the signal at this stage likely can't be undone in the recorded audio, so it's important to set it the parameters correctly.
Thanks for Reading!
The next piece of equipment in the recording chain, after the microphone, is the audio interface/mixer.
Audio Interfaces are in simple terms, external sound cards that plug in to your computer via a USB/Firewire/Thunderbolt connection, allowing you to connect an XLR microphone to the computer to record.
Why not just use the sound card that's already in your computer? Well...
Audio interfaces have one or more microphone pre-amps, that will usually have hardware controls (knobs, faders and buttons) that allow you to adjust the input gain of the pre-amp to increase/decrease the loudness of the microphone's signal, a Pad switch that decreases the input level by a set amount for particularly loud signals, an Instrument/Mic impedance button (which as podcaster you don't need to worry about, just have it on the mic setting), as well as Phantom Power to power Condenser mics, and possibly Phase Invert functions to avoid phasing issues if you're recording multiple mics.
The pre-amp of the audio interface will also likely be superior to the bog standard computer sound card's pre-amp.
The AD/DA Converters
The 'A' is for Analogue, and the 'D' is for Digital. These are circuits that translate the analogue signal produced by the microphone (frequency and amplitude information) in to 0's and 1's, determined by the Sample Rate (how often the analogue signal is measured), and the Bit Depth (how detailed the measurement is)... and back again from digital to analogue, so that you can hear it on your headphones and, or speakers.
Again, the AD/DA converters of a dedicated audio interface will likely be much better (accurate) than the converters on a standard computer sound card.
Audio Interfaces vs. Mixers
So what's the difference? Both are audio interfaces that can connect to a computer...
A Standard Audio Interface
A standard audio interface, like the Focusrite Scarlett above, is fine for most situations - you can connect a mic, set the input gain level of the preamp, hit record in your recording software, and you're away... simple.
This is fine if you like to apply audio processing (EQ, compression, effects...) after recording, when editing & mixing the podcast.
Here's a selection of audio interfaces I recommend for podcasting that will suit most budgets and needs.
On the other hand...
A Mixer Audio Interface
A mixer will usually have an EQ, Pan, and sometimes a compressor/limiter and even effects (reverb, delay... delay...) built into each pre-amp channel, or acting globally - affecting all of the channels. Any changes you make to EQ, etc, at this stage will be applied to the signal before it's recorded to the computer, so you'd better make sure the settings are right! Trying to fix the signal afterwards can be a pain :-/
A mixer is ideal for "live" situations, i.e. Radio/Streaming - if you broadcast live and are recording content to be published later as a podcast, and you need to have control over a number of microphones using the sliding faders and mute buttons - then a mixer might well be the solution.
Some mixers can also act as controllers of the recording software, so you can make the changes on the mixer and the effect is applied in the software automatically. But this is only really necessary for large multi-track recordings, and not so much for podcast editing.
If you do go for a Mixer, be sure to make sure it is capable of recording the number of individual channels that you want - many will combine the microphone channels into a 2 channel stereo signal before converting it to digital for the computer, so if you've 3 or more mics and you want them recorded separately, the separate signals of each channel will be combined to stereo.
For example - the Behringer Xenyx 1204USB has 4 XLR mic channels, and combines the signals into a 2 channel stereo output. The Allen & Heath ZEDi-10FX also has 4 XLR mic channels, but will keep the signals separate for computer recording.
TIP: If you've just two mics, then you can pan one hard Left and the other hard Right so that each is on a separate channel of the stereo signal.
USb, Firewire, Thunderbolt???
Don't stress! USB is more than adequate for podcasting. It comes down to how many microphones you're recording and what settings you're using for A>D conversion.
If you were recording a 5-piece rock band using 24 microphones, each recording the signal digitally at 32-bit/192kHz, then Thunderbolt would be ideal, or even MADI but we don't need to go there...
For podcasting, you're recording fewer mics at a lower resolution of ideally 24-bit/48kHz (to be explained why in another post...), so any USB 2 or USB 3 audio interface will be more than enough.
Thanks for reading!
The humble microphone is the business end of the recording chain, and so having the right mic is a must.
In this rather lengthy post we look at some of the different types of microphones, and their characteristics that are useful to know when selecting a mic that meets your podcasting needs.
Types of Mics
There are a lot of different mics available, so it's a good idea to know the basics and what to look for.
Dynamic mics are passive in design - they don't need electricity (Phantom Power) to make them work.
Essentially, the mic capsule consists of a diaphragm suspended in a magnetic field on a moveable coil. When sound pressure waves hit the diaphragm, the coil moves back and forth in the magnetic field and creates an electrical signal analogous to sound waves - both have frequency and amplitude.
Due to the relatively simple design, Dynamic mics tend to be quite robust and can handle loud sounds, but they are also less sensitive to sound (background noises) and higher frequencies. This makes them ideal for live performance use, and podcasting.
Here's a selection of Dynamic mics suitable for Podcasting.
Condenser mics have an active design, requiring Phantom Power to electrify the capacitor element in the mic's capsule.
The diaphragm is positioned opposite the electrified capacitor plate, and as sound pressure waves hit the diaphragm, it moves towards and away from the electrified plate, causing the current passing through to fluctuate in frequency and amplitude.
Condenser mics are not as robust as Dynamic mics, but are more sensitive to sound, and tend to have a greater frequency response range. As such, they're great for studio recording in a controlled environment.
I tend not to recommend Condenser mics for Podcasting because of their sensitivity to sound, however if you are recording in a very quiet or sound-proofed & acoustically treated room, then it might be worth considering the Røde NT1-A, Audio Technica AT 4033a, or the AKG P220 depending on budget.
Standard mics require a pre-amp and audio interface in order to connect to a computer to record. USB mics are all-in-one: mic, pre-amp and interface.
USB mics can be both dynamic and condenser, and are popular with podcasters due to their design, convenience and portability.
Downsides can include cheap components/design, and technical difficulties if you're wanting to record multiple mics simultaneously (there are work arounds though).
Here's a selection of USB mics for Podcasting.
microphone polar patterns
A microphone's Polar Patterns indicates the directional sensitivity of the mic to sound around it.
Other Types of Polar Patterns
Unidirectional: Highly directional polar pattern, more so than Hyper-Cardioid, e.g. Shotgun Microphones used in TV and film applications. Some podcasters use Shotgun mics, but I kind of think it's overkill.
Hemispherical: This is really a type of microphone design, usually with an Omnidirectional polar pattern, where the capsule of the mic is placed very close to a boundary surface (e.g. a table top). This design is good for round table discussions in spaces that have poor acoustics - think company boardrooms, those round/triangular speakerphones that are placed in the middle of the table and usually end up with a knife in them if there's a fight!
Microphone Frequency Response
Most microphones will handle the human voice just fine, but I thought I'd just mention Frequency Response so that it's not a mystery.
The Frequency Response of a mic is simply a measurement of the microphone's sensitivity to different frequencies. Human Beings can hear from 20Hz (very low bass) all the way up to 20,000Hz (very high treble). The graph below compares 2 different microphones' frequency responses from 20-20,000Hz:
The top graph shows a mic with a fairly uniform frequency response, whereas the bottom graph shows a mic that is less sensitive to lower frequencies and very high frequencies.
Most mic's frequency response is tailored to a particular function or even instrument. The top graph is of a Condenser mic that has a broad frequency range (note the extended higher frequency reach), suited to a broad range of studio functions. The bottom graph is of a Dynamic mic favoured for live stage performance of the human voice.
Thank you for reading!