Tag Archive for: podcast production

Making Sense – Podcast recording

/in , , , , , /by

Over the tail of 2023 and deep into 2024, I collaborate with the Make Shift creators, Caitlin Marshall & Lizzie Rose, to create an audio courser delivering their great knowledge about creativity and it’s role in our sense of well being.

The audio course is titled Making Sense, and is a nine part audio course on creative first aid, designed to listen to while you’re walking, driving, cleaning the bathroom, cooking dinner…. Making Sense explores what creativity is, the neuroscience of what happens when we practice, the role of the nervous system and the five elements of creative first aid.

A free episode can be found on substack.com here https://substack.com/home/post/p-147355790

This was an very interesting job. The content was great, the hired talent Elana Stone (intro track) & Tom Maclachlan (Narrator/ Voice Over talent) were excellent, and there was a lot of music and sound to create.

As this is my production blog, I will keep the post nerdy, and most relevant to aspiring creators of Podcast like material and content.

My mic choice(s) for the vocal/ voice over was a Neumann TLM107 + Shure SM7B + Pop-shield. The Neumann lent clarity and upper frequency sheen, whilst the SM7B gave a warm and intimacy. The mics then hit a signal chain of Vintech 573 pre-amps, Warm Audio WA2A compression and then into my DAW on the day, Ableton. The recording was done @ Stranded Recording Studios in Bellambi, see pictures below.

 

Once all the editing was finished, my vocal processing chain in the DAW employed the following concepts: (in order of processing) High Pass Filtering unwanted low frequencies, boosting presence(5-6kHz ish), boosting air (10kHz and above), compressing to control dynamics, de-essing to control sibilance, de-reverbing to remove reflections, more EQ to sweet the vocal, limiting for volume boost, mouth de-clicking, and finally more frequency and band based compression to control any final sibilance and harsh resonances.

The exact plugins used in the process are pictured in the below audio effects chain screenshot

The settings can be seen to some degree in the below screenshot

 

Beyond the vocal recording and production, about 2 hrs of original music had to be written for the audio series, this became somewhat reduced as I realised the comfort in recurring themes and songs/ sounds to evoke the right atmosphere. Generally though, as the audio series in reflective, more gentle genres were engaged, such as ambient, folks and chilled beats. When juggling a range of foley, pre composed music and music gestures that were required to be composed within the mix session, I found having Bus or Groups enabled in Ableton very valuable. My main groups were Music, Foley and Instruments, as can be seen below. Such a process allowed me to control the automation of more macro level fades, reverbing and filtering out of sonic elements so ensure the most fluid delivery of the content.

The audio series is a paid series, but the generous folks at Make Shift have made available one of the episodes for free, see below

Read on Substack

More information about the audio course can be found here, https://www.makeshift.org.au/making-sense

In The Making Podcast by Make Shift

/in , , , , /by

Recently I’ve been doing the audio post production on a new podcast by Make Shift called In The Making.

I’m really enjoying the content; it’s all about the arts and the use of creative practices for best mental health. Within each episode, the host, Jennifer Macey interviews artist from various disciplines about their creative practice and the role of creativity in their mental health.

The first two episodes are currently available from all the usual outlets and feature the fabulous Australia creators, Kirli Saunders and Drew Fairley. Click on the images below to access the podcasts from Spotify. Alternatively here’s Make Shift‘s page on Spotify.

       

From an audio production perspective, it has been enjoyable to ponder best practice for podcasts, and as a result below is a reflection on my current signal chain.

For the main interviewee and interviewer audio, the processing and order of processing that has been working thus far is:

1. UAD SSL G Bus Compressor with a quick attack time and a gentle ratio to control the dynamics

2. Waves DeEsser to tame any sibilance

3. Fab Filter Pro-Q3 to add some warm in the low mids, some articulation in the mids and some further control of the sibilance/ high frequencies around 8-10kHz via dynamic EQ, see the EQ curve pictured above.

4. Waves Vocal Rider to level the differences in levels through the recording

Beyond that chain of plugins, a further bit of volume automation has helped control perceived levels that the AI of Vocal Rider hasn’t addressed. Secondly, some Izotope RX 7 De-Clip has also been used to remove any clipping that occurred mid interview.

All the vocal content/ channels have then been bused to a Vox Bus channel where a touch more compression and EQ has been applied to polish the sound.

Beyond vocal content, the podcasts have all made use of some atmospheric sounds and music. These channels of content have been routed to a Music Bus where some side-chain compression has been applied so that the Vocal Bus will compress or duck the musical content to ensure that the vocals are always the focus or dominant sound.

Both the Vox Bus and the Music Bus then route to the master bus. The processing on this final bus is pictured below.

The master bus chain is currently:

  1. UAD Studer 800 – applying some gentle harmonic warmth and some dynamic and upper frequency gentle moulding
  2. Oeksound Soothe 2 – a dynamic EQ, for lack of a better description, that looks for resonances. In this case Soothe 2 has been used to reduce resonances that plague the type of playback devices that podcast listeners will typically use, ie laptop speakers and earbuds.
  3. Slate Digital VBC FG-Grey – this compressor is one of my favourite mix bus compressors and in this case has then been used to glue the whole mix. The setting used are a slow attack and quick release with a gentle ratio for minimal gain reduction.
  4. Fab Filter Pro-L has finally been used to bring the level up to the desired professionally competitive level. Generally it is held that podcasts only require an RMS of between -16 to -12dB. So this was the level aimed for.

I hope you enjoy the In The Making series, I know I’m enjoying the content as I polish it.

For more tips on podcast production, there is a good introductory article by Izotope that I would recommend reading entitled 10 tips for a great sounding podcast.