Producer’s SkilL: Moving On

Producer’s SkilL: Moving On

by | Nov 14, 2021 | Freelancing, Podcasting

sound_header

14 NOVEMBER 2021

written by Mike

PRODUCER’S SKILL:

MOVING ON

Draft 1, draft 2, draft 3, 4, 5, 6, 7! Does it ring a bell?

Most people who work in creative industries ask the question – is this version good enough to release? 

Or should I spend a little more time on it?

Podcasting is no different. Even with the simplest podcasts, there is always something to adjust.

A little cut there, edit here, a bit of noise to clean up.

And while you do that, it feels like working, like you are doing something.

However, I would argue that after a certain point, the extra work is often counterproductive.

The question is, where is that point?

The answer is – it depends if you are an amateur or professional.

And let me make a distinction between the two. I’m not talking about skill, experience or knowledge.

When I say amateur, I mean a person creating the work for themselves, for free, or trying to start and work on a portfolio.

They can even make money from it, but it’s a side hustle, a little extra cash.

A Professional is someone who is working a job, and the work pays the bills. It is the primary source of income. So when someones ask – what do you do for a living? It is mainly that.

Before my first proper audio job – and I did small jobs here and there – I was an amateur.

I had no deadlines, pressures or incentives to finish the project. I could work on them till the end of the day.

Of course, the fear of being judged by others also played a part in that.

However, it was my job at the movie studio that opened my eyes to how professionals work.

And it was nothing like I ever expected!

Various documentaries, movies, and social media make us believe that we can sit in front of our piano, drawing board, or whatever, then wait until creative inspiration comes.

The magic happens, everyone comes in with incredible ideas, and the final product will bring us fame and fortune.

Maybe that was the case in the past when there were like two bands – Beatles, Rollings Stones – and everyone listened to them.

Today, content is king. And that means quality and quantity!

monitors_article_1

Don’t get me wrong, and I still believe that quality wins over quantity. However, the overall winner will be someone who can do quality content with and release often.

That’s not easy.

Back to my job at the studio.

We worked on big projects, big blockbusting movies.

Before joining the team, I always thought that this kind of high profile work would be very organised, creative and magical.

When I look back at that time, there was magic to it, no doubt about it.

However, it was far from what I expected.

Chaos, stress, strict deadlines and last-minute changes were our everyday bread.

You couldn’t stop and spend hours on one tiny thing when you had a thousand other things to do – and the deadline? Yesterday morning!

I remember when I was unsure about something, I asked my boss – highly respected head of the sound mix department and one of the most brilliant people I knew. 

He said to me

‘If it sounds good, then it is good!’

Because it wasn’t just him working on the project. It was hundreds of people, and what it counted was to get the results before the deadline. 

As good as possible, of course, but still, it was a job to finish.

I took that advice and applied it to many things in my life – podcasts, of course, being the one.

When you produce podcasts as a job, it is not just you and your standards that matter. There is a team of people as well as listeners who expect the job to finish. The fact you would like to spend more time on the project doesn’t matter. The intention does not matter.

What matters is the final result.

If you’d ask me to listen to my old work – be it older episodes or projects I have done. I would cringe thinking, ‘how on Earth could I release it. I could make it so much better now!’

Yes, now. With more knowledge and experience.

But at that time, I did the best job I could do and moved on.

That’s the point. 

It is a point when you have done the best you could and know it is time to move on.

monitors_article_2

I worked on an episode and finished it 2 or 3 weeks ahead of time, and it is just sitting there.

Do I go back and tinker? Adjust more? Perfect the mix?

No.

I know I’ve done the best job I could according to my schedule and deadlines, and I have to move on and get on to the next thing. Otherwise, I will never finish.

Or there was a different situation some time ago when I worked on a project with a deadline in mind.

It was stressful, I was doing all the production and music, and there were many fixes, drafts and re-does on the way. In addition, I was working morning to evening every day.

Then finally, we finished it! The last draft was ticked off.

However, then the deadline was moved by three weeks! This meant that suddenly, with my time to spare, I had extra four weeks!

Did I go back and start re-doing stuff, remixing or re-working my music?

No.

I’ve done the best I could at that moment, and even though I knew I could spend more time on it and tinker and adjust and improve, I didn’t go back.

It was time to move on,

I think you understand what I’m trying to say. 

When you work in the creative industry, your thinking and approach change.

It’s not about being a perfectionist and working on the project forever. It’s about doing the best you can, given the expectations, deadlines, budgets, limitations and thousands of other things you must consider.

It is the only way to stay sane and healthy. 

And don’t get me wrong. I want to go back; I want to improve these projects and make them better.

In my heart, I am still a perfectionist, but I counter it with realism and what is expected.

I do try to go above the expectations whenever I can, but I know where to stop.

The art of moving on is counterintuitive and extremely difficult, but in my opinion, it is the way to long and healthy success.

Liked the article? Follow me! 🙂
 

Subscribe for the latest updates

Social Media & Podcasts

Social Media & Podcasts

by | Jul 24, 2021 | Business, Podcasting

sound_header

24 JULY 2021

written by Mike

SOCIAL MEDIA

& PODCASTS

I’m going to skip explaining what social media is and what platforms are available for podcasters.

It is safe to say that you are aware of what is happening out there, plus these platforms tend to change every few years.

What I’d like to do instead is to ask a couple of questions.

Do you need social media channels for your podcast, and if yes, which ones?

You may (or may not) be a podcast listener, and if you are, then no doubt you have a few favourite shows. 

When you want to find out more about a podcast, you either visit their website or a social media channel.

Here is how things get tricky.

Some shows have friendly websites and several social media channels (with a substantial following); other shows don’t have either!

No website, no Facebook, No Insta!

What is the deal here?

Before we move forward with the answers, remember that I’m speculating. I didn’t actually do any in-depth research, and I write these blogs for fun (and out of boredom, I guess).

Now that we got that out of the way let’s proceed.

For some podcasters, it makes sense to have an active social media channel; for others, it doesn’t. So there it is, the secret answer.

Podcasting is difficult – it takes time to write, record and produce a podcast episode. On top of that, you have to think about audio production, gear, podcast hosting and uploading the content.

With all of that, taking on social media may be detrimental to your show, as it will take time from the actual work on the podcast!

Of course, it all depends on the type of show that you want to do. If it’s something like Casefile, a continuous show, then social media makes sense.

You want to stay in touch with listeners and promote new (weekly) episodes.

However, suppose your show is a limited series with 8 or ten episodes. In that case, social media won’t be as critical – it can still be but in a different way.

Let’s say you are planning a second season. Then, keeping your social media presence alive makes sense.

However, if you are done after one series, then think about it. Will you keep posting content a year from now? Two years?

Unless, you as a producer, have your own social media account where you promote the show.

Or you have the whole network, with multiple projects going.

monitors_article_1

As you can see, this is a bit more complicated than everybody thinks.

You also have to think about the actual content. What do you want to produce, and which platform is the most suitable for your ideas?

Looking at Casefile again, our host is anonymous, so Insta or Snapchat stories don’t make much sense. Not in a ‘classic’ mind anyway.

But if I was to start a Mike Migas podcast, then posting stories and vlogging would be much more suitable.

Then, think about what kind of content you want to post.

It would be a good idea that the social channels match the podcast. For example, if you run a financial podcast and then on social channels post videos of your dog, it doesn’t make sense for the listeners to follow you there unless there is an established connection.

A piece of content can either help or hurt your brand. Think about that!

The messaging should be consistent over all of the active channels.

It is a good idea that the feel of the social media content matches the actual feel of the podcast. So, for example, a serious show about murders posting funny images will be a mismatch.

Also, every platform is slightly different and will require a different look and content – some are all about videos, Twitter all about short messages, Insta about pictures, etc.

As you can see, at first, we may think that social media should be a no-brainer when starting a podcast. However, only after you realise how much work goes into that, you may want to stop and think if it is really worth it.

With Casefile, we didn’t really have a social media presence initially. It took us months to slowly get into the groove of things, and it is only recently that we have a cohesive strategy for that.

Your priority should be your podcast, so don’t spread yourself too thin with other channels, especially if it’s just you or two people.

Start with one or two and stick to it, and as you grow, you and when you start are getting ahead, then think of adding extra channels of communication.

monitors_article_2

The good thing about social media is that you get direct and instant feedback, and this can be extremely useful at the beginning.

However, and this is only my opinion, the longer you do it and develop your podcasting style, social media can become a distraction.

Especially when you get a bit of traction – you start attracting trolls and negative, borderline abusive comments.

Personally, I’m not a fan of social media. I keep the apps off my phone, and I don’t use the networks for my own profile. However, I keep them for professional use.

When it comes to social media comments, we are fortunate enough to have people that moderate them. So I tend to check the initial feedback after releasing an episode – maybe for a day or two.

But then I stop and never look at them again.

One negative comment out of 100 can still affect me, even after a few years of dealing with that. Therefore I would rather not see them at all!

So bear that in mind as well when starting to post and engage on social channels!

It feels like it’s necessary to be everywhere at all times; the FOMO is real. 

However, I’d argue that we should stick to things that feel authentic and not bother what other people think or say.

The important thing is to have fun and enjoy the creative process. If you can manage that, I think that’s already a success.

Liked the article? Follow me! 🙂
 

Subscribe for the latest updates

iZotope RX8 & Podcast Production (First Impressions)

iZotope RX8 & Podcast Production (First Impressions)

by | Sep 10, 2020 | Casefile, Podcasting, Sound

rx8_header

10 SEPTEMBER 2020

written by Mike

IZOTOPE RX8 & PODCAST PRODUCTION

For people who aren’t familiar with iZotope, they make a highly respectable, top of the shelf tools for producers and audio engineers – everything from mixing, mastering to, of course, audio restoration.

On 1st of September, they released the latest version of their audio restoration tool, RX8 and I got the update as soon as I woke up! Just kidding, I did check it out on their website first.

I use iZotope software for all my work. Some time ago, when I was still collecting plugins I decided that I will focus on just a handful of them and try to master them. I wanted to limit myself consciously. I find freedom in certain restrictions. 

I used iZotope stuff the most, so I stayed with them.

I use Neutron for mixing, Ozone for mastering and of course RX for audio restoration. I started on RX4 back at my previous job at the movie studio, but for podcasting, I bought version 5 and upgraded from there. I also tend to get the upgrades with the Post Production suite rather than buying single plugins.

I use RX every day, I have my module chains, my shortcuts, my workflow. I was looking forward to RX8, wondering what they will come up with.

After they released the video, I watched it first, and even though I didn’t feel like post-production modules got the most significant upgrade and I thought they focused on music production more, I decided to get it.

I bought it as part of Post Production suite 5 upgrade. I could upgrade for 299 dollars from RX7 Advanced to RX8, or from Post Production suite 4 to 5. In Post Production suite, I had most of the tools already except for Nectar 3, so that was an easy choice.

The install was easy with their Product Portal, and I authorised to my iLok.

After the initial launch, I imported my presets and wanted to set up my keyboard shortcuts. 

When I upgraded from RX6 to RX7, preset import didn’t work that well. It didn’t get the modules nor the settings right, and I ended up re-doing everything manually.

What pleasantly surprised me was that import from RX7 to 8 was easy and worked well. I doubled checked the modules and settings, and they were on point.

All the keyboard shortcuts were automatically implemented as well, and I didn’t have to do anything at all.

rx8_article1

 

I mentioned RX7 full-screen performance in a post about my system upgrade, but long story short my 2015 iMac wasn’t happy with the full screen, so I have the window a bit smaller. I wondered if RX8 performance would change in that regard, but no. It was laggy when I made it full screen.

Fortunately, I am updating my iMac to the latest model, and it should be delivered in a few weeks. Hopefully, on a new and faster system, I will be able to operate in full-screen mode.

I work on module chains with various De-clicks, De-noise and others. However, I don’t think any of these were changed. If they updated the actual algorithm – I don’t know. But the ones I use every day and with module chains look the same.

The first significant and helpful improvement is horizontal scrolling. I use Magic Mouse, so this will be a big help. In the past, I had to operate with keyboard shortcuts and drag the screen from the window’s edge to move around. 

This update will make editing much faster and easier.

The interface looks the same, so no big changes there. 

What about new modules?

First one is Guitar De-Noise. It looks cool and will help guitar players to make their recordings cleaner. I won’t be needing it for the foreseeable future for podcast production though.

One option that may be beneficial is amp/buzz removal. Some dialogue clips that I work with suffer from that, so maybe this tool could help with cleaning them up.

Next one is Spectral Recovery. Now, this is interesting. It takes audio with limited frequencies like a Skype or phone call and tries to rebuild higher frequencies.

This is the tool that made my decision to upgrade, to be honest. At this moment I’m working on two Casefile Presents podcasts that have a tonne of audio clips – phone calls, remote recordings, location recordings. Most of them are of mediocre quality.

I decided to use Spectral Recovery on some of the clips.

 

rx8_article2

The verdict?

The render is relatively slow, similar to the old Dialogue Isolate. Of course, the performance may be better on a new iMac.

Second of all, it doesn’t work 100% perfect yet. 

Especially if you set a higher value of added frequencies, it seems to work great on sibilance – words like she, search, case. But it creates a weird effect where the sibilance is prominent and sounds out of place. So what I’ve been doing is setting the amount to quite low, around 20% and sibilance balance to -50. It still makes some of them stand out, which I then had to erase with Insert Silence manually.

When it works, it adds a little bit of presence to the clips, but it’s not a game-changer. However, I think that the idea behind this technology could be an absolute game-changer in the future versions. If they could rebuild the fundamental frequency so that it sounds natural, that could be amazing.

They’ve also improved Music Rebalance which I don’t use – although it would be beneficial back in the past when I was remixing Silent Waves podcast from just stereo MP3 files.

Loudness module update – again, I don’t use it within RX. I use iZotope Loudness Control standalone plugin.

Wow & Flutter – this looks cool, but I don’t know if it will be helpful for dialogue and podcasting.

A few more that were improved as well were De-Hum and Dialogue Isolate.

I used De-Hum in the past, but I wasn’t impressed with it, even in version 7 of RX. As I was working on draft 2 of one of the episodes, there were some clips recorded in a room with a very audible hum.

I cleaned it before, but it was still there. So, I applied the new RX8 De-hum module, and I was pleasantly surprised. It is definitely an improvement, and I’ve run adaptive mode once and once more with the Learn option, both very quite helpful. 

Now Dialogue Isolate! 

I love this module, but it was very slow in RX7, it takes ages to render but incredibly helpful in podcasting. 

They updated it in RX8, and again, I tried it on some clips for the upcoming Casefile Presents show. Clips I’ve already cleaned up, with previous Dialogue Isolate. I rerun it to check if it helps, and it does! 

Not only that, but the render is also much faster than previously so this one is actually what got me excited.

rx8_article3

With Casefile I’m spoiled. The show features one narrator who records in his vocal booth on an excellent mic. I’m used to good quality.

However, Casefile Presents shows are a challenge because they feature interviews, location clips, phone calls, archives and just different types of audio with varied audio quality.

Therefore I need more tools than just de-click, and simple de-noise in my arsenal and RX8 offers that.

Ok, so what’s the verdict?

Overall the performance is better, and even running my module chain I felt like it cleans up the dialogues better than in RX7 so that they may have improved stuff under the hood as well.

It’s a solid update, even though it seems like they did focus on music production this time rather than dialogue post-production. Maybe because their modules for dialogue are what’s enough? Just need improvement here and there.

Should you get the upgrade?

I’m excited about iZotope machine learning technology, and I love their stuff. I also do this every day, and I use their tools every day, so for myself, it was a no-brainer if I want to keep on top of it. However, I also know that their software can be pricey, especially the advanced versions.

I would suggest first to download their trial versions and learn it. See if it helps in your workflow.

Then look at the modules, what you use and what’s helpful and choose the version you need. They have three, Elements, Standard and Advanced.

RX8 is not a revolution if you are upgrading from RX7, but it’s a solid progression and makes work more enjoyable for sure. At least for me!

Liked the article? Follow me! 🙂
 

Subscribe for the latest updates

My Current Recording Setup

My Current Recording Setup

by | Feb 13, 2018 | Podcasting, Sound

sound_header

13 FEBRUARY 2018

written by Mike

MY CURRENT

RECORDING SETUP

Most of my audio work is done at the post-production stage. I edit, mix, master, and even with scoring I solely use synths and virtual instruments. The only recording I do is for team chats and AMA episodes we publish for Casefile patrons.

I’ve done live recording and live sound before, and it wasn’t for me. Setting up the stage, holding a boom microphone or mixing bands live didn’t spark any interest, and I much prefer doing the work at home. Therefore today’s list isn’t ideal for sound recordist but rather a view of a setup that is enough to do a good quality recording at home if required.

The recording equipment I have is decent and does not break the bank.

Why do I have it in the first place?

Content creation – I recorded few YouTube videos in the past, an online course, we release monthly AMA with Casefile team. Even though I don’t use it every day, I do need it from time to time, and I need something that offers flexibility and decent quality at the same time.

Clip microphones

For some content, you will need video and audio. The best way to do it is, of course, having a camera (DSLR) pointed at you and a clip (lavalier) microphone.

That’s how I recorded my online course and a few YouTube videos in the past. The clip mic I used is Audio Technica 3350. It costs around $30/£25 on Amazon. I also have a lavalier for GoPro camera – it’s called Movo clip mic.

Both mics are powered by a LR44 battery, which is important as the mics don’t rely on camera for power. The mics are decent quality, but you will need to use Denoise processing for hiss and preamp noise.

They are very sensitive so reduce the input gain where possible and clip them lower than a collar. Unfortunately, you cannot operate input gain in GoPro, at least the one I have (GoPro 3). Audio Technica clip does not have a light that would indicate if it’s recording, so you will need to check that on DSLR screen.

In summary, I would recommend checking them out, especially if you need a quick solution for your camera.

monitors_article_1

SM7B

At home, I only have one microphone – a dynamic Shure SM7B. It’s a legendary vocal mic, widely used in broadcasting and podcasting. It’s a perfect solution for commentators.

I use it for Skype calls, recorded AMAs and other sessions that I can do from home.

It doesn’t need a pop shield however it does need a lot of input gain. If you want to use it for everyday recordings, then the best solution would be to invest in input gain booster such as Cloudlifter.

All in all, the best dynamic out there in my opinion.

Audio Interface

I recently changed my interface and purchased a small Audient iD4. It’s a USB interface with one XLR preamp and D.I. input.

For simple work, it’s one of the best solutions you can find on the market, and it sounds great. The cherry on top is the volume wheel that also works as control surface knob.

iD4 has seamless integration with most sequencers (ProTools in my instance), and with one touch of a button, I can control any automation with the volume wheel. It’s the first step to classic ‘mix’ control surface, and it’s so much easier than using keyboard and mouse. Especially if you are running low on budget, want to learn automation or just simply don’t have enough room on your desk.

I’m very happy with iD4, and I recommend checking it out, or other solutions from Audient.

 

Other stuff

Apart from that, I don’t have anything fancy at my home. It would look different if I were producing music and doing live recording but for post-production with occasional recording work, it’s more than enough. I have a couple of old mic stands, XLR cables, pop shield – the classics.

I mentioned it before, but for listening, I use Sony MDR-7506 headphones and Adam A5x as studio monitors. I know both systems inside out and wouldn’t replace them.

If you want to start creating videos for YouTube, start a podcast or record someone else – there are plenty of solutions on the cheap, starting with USB microphones that have built-in audio interfaces. In the beginning, don’t go overboard with the gear. Unless you do professional recording work and get regularly paid for it, start small and go from there.

By learning with minimal equipment, it will be much easier to pick up exactly what you need in the future.

Liked the article? Follow me! 🙂
 

Subscribe for the latest updates

My Current DAW Setup

My Current DAW Setup

by | Jan 8, 2018 | Podcasting, Sound

sound_header

08 JANUARY 2018

written by Mike

MY CURRENT DAW SETUP

 

I get asked a lot about my workflow and what exactly I am using to produce Casefile and other projects. I’ve already explained the way I work in my book “How to Start a Podcast” however, I’m always on the lookout for the improvement and I update my system as often as I can.

In my opinion, it’s important to shake it up every few months. Otherwise, there is no progress.

When I was a student, I used many different audio sequencers with multiple plugins. If there was a new demo, trial version or a deal – I wanted it. I wanted as many as possible.

The truth was, I never used 90% of them, I was a classic example of a hoarder. I think that the more ‘stuff’ – equipment, gear, options we have, it gives us an illusion of choice. The more we have, the more we can do, right?

It may be true in some instances, but when it came to sound production, I realised that the old Pareto’s rule was on the point. The so-called 80/20 rule indicates that usually, 20% of tools bring 80% of results.

A few years ago I sat down, and I wrote down what exactly I am using for work, how and why. I decided to simplify my system and my workflow radically; I wanted to learn few tools inside-out – to become an expert.

By limiting my choices I wanted to be free of the illusion, and only if I needed something else, to add it to the existing selection. So far it worked. My system and tools are very few, but high quality.

Let me go through the list with you.

 

monitors_article_1

 

Hardware

Computer

My primary tool is surprise surprise, a computer. At this moment in time (January 2018) I’m working on 27 inch iMac with upgraded RAM. The screen is enormous and the processing power more than enough to handle my workload. Apple systems are more expensive than Windows but most audio industry professionals use them. Therefore I followed the same rule at home. Of course, select what you feel is most viable for you – for example, video game sound designers work almost solely on Windows.

Listening

I’ve owned a pair of Adam A5X speakers for a few years now. They sound great, and I know them well. Apart from listening to music during work I use them to reference the mixes.

For podcast mixing I use headphones. The leading pair is Sony MDR-7506, amazing closed-cup phones with a clear sound, perfect for editing. I also have a range of earphones – from very cheap ones to a decent pair. Most people listen to music/podcasts on their earphones so I make sure my final masters sound good on them.

Audio Interface

Recently I bought a small Audient iD4 interface. Not only it’s a fantastic tool for production, but it also has a control surface functions. The main volume knob can be used for controlling various aspects of the audio sequencer. I’m using it for volume automation during a mix. I’m planning on buying a proper control surface for mixing in the future, but I want to hone my craft by using just one knob – limiting my choice again.

 

monitors_article_2

 

Software

 

Pro Tools

I’ve used many different sequencers in the past but in my quest to minimalist workstyle I’ve decided to focus on just one. Avid Pro Tools is a standard in music and post-production industry, so it was quite clear that it was the one I needed to stick with. I knew that the MIDI functions are not the best, but it was much easier to learn how to use PT for everything rather than using multiple sequencers to do the work, as I’ve done in the past.

iZotope

Plugins were the central area where I had to downgrade. I’ve used iZotope’s tools when I worked at the movie studio, so I knew these were top quality. I’ve deleted all of my 3rd party plugins and started using only iZotope products.

I currently use Neutron, Ozone and Alloy. (I also have Eventide Ultraverb on dialogue tracks for reverb).

Spectrasonics

When it comes to composing music, especially inside your DAW, the choice is limitless. There are so many synths and virtual instruments that for the rest of your life you could be learning a new one each week (*not official stats, but there is a lot of them!).

At some point, I decided to get rid of most of the ones I had, also deleting a 500GB Kontakt library and just stick with one company – Spectrasonics. At the moment of writing this paragraph I only use two synths from them, Omnisphere 2 and Keyscape.

Do I wish I had more options, for orchestral sound or bass? Yes, and I will expand in the future. However, for now, these two synths are more than enough to produce good work.

Limitation is freedom. It sounds so paradoxical, but in podcast production it is true. By freeing ourselves of choice paralysis, we are free of anxiety and burdens that come with limitless options.

This way of thinking does not apply to every aspect of our life, however, think about your work, day to day life and habits. Maybe some areas would be much better and more comfortable if you set some boundaries and rules?

The decision is up to you.

Liked the article? Follow me! 🙂
 

Subscribe for the latest updates

Pin It on Pinterest