How to Record a Podcast Remotely And Get It Right The First Time

How to Record a Podcast Remotely And Get It Right The First Time

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05 OCTOBER 2020

This article is originally published on descript.com

How to Record a Podcast Remotely And Get It Right The First Time

Remote interviews are a fact of life for every podcaster, and in today’s era of social distancing, more so than ever. Since you rarely get the chance at an interview do-over, nailing down your remote recording workflow is essential. We’ll show you how to prepare for and record a remote interview, so you get it right the first time — with some additional tips along the way to make sure all your bases are covered. 

Choose the right remote recording setup for your podcast

The first step is to determine the remote recording setup that best suits the format and content of your podcast and your production and editing workflow.

In most cases, your best solution will involve recording remote interviews on Zoom, Skype, Google Hangouts, or a similar online conferencing service. This low-friction setup makes it easy for guests or co-hosts to contribute, but you’ll need to make sure you have the right software to record these interviews.

It’s also wise to make sure you can record phone calls. Phone interviews don’t offer great audio fidelity, but they make a great backup option in case of technical problems or schedule changes. Phone interviews probably won’t be your first choice, but it’s a good idea to be able to record a phone call just in case you need to. 

If you’re recording with the same remote co-host on each episode of your podcast, consider a double-ender setup, in which you and your co-host record your own audio tracks locally and combine them in post-production. For most podcasters, this isn’t the most convenient solution, but it does translate into the highest audio fidelity for you and your co-host.

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The best way to record an interview is to prepare for it

When it comes to interviewing — especially remote interviewing — a little preparation goes a long way.

Do some research into your guest’s background, expertise, and projects. Who are they? Why is their work notable? What do you (and in turn, your audience) hope to learn from them?

Putting together a rough outline of the questions you’d like to ask will come in very handy. Write down a handful of specific questions and key points, but keep your outline broad and high-level. That’ll allow you to more easily adapt to the flow of conversation.

Maintaining that conversational flow remotely can be substantially trickier than doing so person-to-person. Prime yourself to listen more than you speak — in particular, try not to interrupt your guest. Editing out awkward silences between speakers is much easier than dealing with too much crosstalk!

When it’s time to record the interview, take a couple final preparatory steps to ensure a clean recording. Close all unnecessary software and set your computer to “Do Not Disturb” mode to make sure unwanted distractions don’t pop up (or worse: end up in the recording).

How to record a Skype call, Zoom interview, or Google Hangout

For most remote recording situations, Zoom, Skype, or Google Hangouts are your platforms of choice. All three are easy to set up, simple for guests to use, and feature audio fidelity good enough for most podcasts. 

Both Zoom and Skype offer built-in call recording functionality, but Google Hangouts currently limits this offering to enterprise users. There’s an additional caveat: the file format (.MP4 or .M4A) that each platform outputs may not be what you want, depending on your podcast production and editing workflow.

For maximum control over your final product, you’re better off using third-party apps to record computer system audio directly into the recording software of your choice rather than relying on their recording functionality.

If you’re on a Mac, BlackHole is a great open-source tool that allows you to route audio between apps, which means you can record the audio output from Zoom (or Skype, or Google Hangouts) directly into your preferred recording software. On Windows, Virtual Audio Cable offers similar functionality. 

If you’re already using Descript to record, you won’t need to use additional audio routing software. When recording audio into Descript, open the Record panel, choose Add a Track, select your input, and choose “Computer audio.” Click the Record button whenever you’re ready, and audio from Zoom, Skype, or Google Hangouts will be piped into Descript. 

No matter which remote recording setup you use, make sure you test it — and test it again — with a friend or colleague before you’re actually recording your podcast. Troubleshooting when you should be interviewing ranks near the top of everyone’s Least Favorite Things To Deal With, so make sure everything is in order before your guest is on the line.

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How to record a phone interview with Google Voice

Social distancing means nearly everyone has gotten used to handling calls and meetings on Zoom, Skype, or Google Hangouts. But maybe your podcast guest is really old-school, or their computer is on the fritz, or maybe they’re simply only able to access a phone during your scheduled call time. It’s likely phone interviews will never be your first choice, but being able to record an old-fashioned phone call will come in handy.

Recording phone calls can be tricky, but using Google Voice to make an outgoing phone call from your computer means you can use the same remote recording setup detailed above to record the call.

Follow Google’s instructions to set up Google Voice and then learn how to make an outgoing call. Once everything’s set up, you’ll be able to record phone calls with Google Voice just like you’d record an interview on Zoom or Skype. 

Again, make sure to test with a friend and then test again before your interview. 

If lossless audio quality is a must, record a “double-ender”

For most remote recording situations, Zoom, Skype, or Google Hangouts are your platforms of choice. All three are easy to set up, simple for guests to use, and feature audio fidelity good enough for most podcasts. 

But if you have a remote co-host that regularly appears on your podcast, and you want to maximize the quality of your audio, a “double-ender” is the way to go: Each host or guest records themselves locally, and audio tracks are combined in post-production. For an additional cost, you can use third-party recording platforms that simulate double-enders without each speaker managing their own recording software. 

A traditional double-ender sees each speaker recording their own audio track using their recording software of choice (Descript, Audacity, Quicktime, etc.), and then the host or editor combines each speaker’s recording into a finished product. Each speaker should have a decent microphone — if they’re using a laptop microphone to record, you probably won’t hear a substantial advantage with a double-ender over a Zoom, Skype, or Google Hangouts recording.

Alternatively, you can simulate a double-ender by using a platform like SquadCast, Zencastr, or Cleanfeed. These services record lossless audio from each speaker, upload each track to the cloud, and combine them automatically. These platforms cost money, but they’re a great alternative to a double-ender when guests or co-hosts don’t have the time or wherewithal to fiddle with recording themselves locally. Again, make sure each speaker has a decent microphone — otherwise you won’t reap the full benefits of lossless audio.

Make remote recording hassles a thing of the past

Recording your podcast remotely isn’t painless, but once you get the hang of it — and nail down your workflow — it’ll become second nature.

This article is originally published on descript.com.

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My Current Recording Setup

My Current Recording Setup

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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.

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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.

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Starting Your Home Studio

Starting Your Home Studio

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04 OCTOBER 2017

written by Mathew Dunn

STARTING YOUR

HOME STUDIO

 

This article has been contributed as a guest post by Mathew Dunn. Mathew has been playing various instruments for a long time, and he is a self-taught musician. He started MusicAlien.Net to share his experiences and thoughts about instruments and music.

 

Most of us musicians would love to have their home recording studio and luckily for us, as the technology advanced, it is now way easier and cheaper to make your home studio than it used to be.

In this article, I will summarise the essentials you need to set up your home studio and what are the most important things to look for when choosing studio equipment and on top of this I will share with you some tips which may be of help to someone who hasn’t done this before.

One thing I would like to say upfront is that you should not have a spend more mentality when picking your gear. The needed studio equipment has gotten better and better with time and the cheapest things today will in most cases beat what used to be the best 20 years ago which is more than enough to get you started if you are a beginner.

However, if you need more professional gear, then I assume you know exactly what you need it for and you will know how to make a choice. Still, keep in mind that the essentials I discuss below do not have to be the most expensive ones as you should choose equipment that suits your budget and overall needs.

Now let’s go through the most important equipment for your home studio:

 

Computer

This is a no-brainer, but I want to share with you a few tips on how to pick yours. First of all, I don’t know what your preferences, PC or a Mac, Laptop or a Desktop are. Whatever they are, they are fine. And if you are a beginner looking to start simple, then if you are reading this on a computer, that computer is probably good enough to get you started, but I don’t know how far will it take you depending on its power.

Things to consider when choosing your computer are

Ram Size

RAM is your most significant friend as a recording musician. And you should have as much as you can of it. Considering that the RAM sticks are getting cheaper and cheaper this should be no problem. Pretty much any computer which was made in the last ten years will have a motherboard support for 16GB of RAM which is more than enough.

Now if you have 8GB of RAM you don’t have to upgrade to 16 immediately but when you see that your computer needs more of it. It is wise to have some widget on your desktop to notify you of the used RAM, and once you start making more and more complicated tracks on your computer you will notice when it reaches about 90%, and your music editing program(s) begin to lag, then you will know that it is time for an upgrade.

If you have 4GB of RAM, then you will be able to start, but an upgrade will be in order soon down the road once you reach the limits.

CPU

Same goes as with the RAM. Whatever you have now will get you started, but depending on the strength an upgrade might be in order. With CPUs getting more and more powerful it is easier than ever to get one that is good enough for music production. I would go with some CPU that has Quad Core and multithreading as it will give you additional virtual cores.

But today it is a standard for any decent computer to have a Quad Core CPU, so it will have you covered. The stronger the CPU, the faster your music editing program will work, and as long as the CPU has enough power to have the program running without lag, you will do fine.

You will spend most of your time working on your computer, so this makes it the most important element of your studio.

 

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DAW (Digital Audio Workstation)

This is where the magic is going to happen, and it is one of the most critical parts of your studio.

If you don’t know the digital audio workstation or shorter DAW, it is a computer program which you will use to record, mix and edit your music.

There are various DAWs out there, and if you don’t know about them, you should first research them and choose one that works for you. Make sure you select the DAW program that you are going to be able to get comfortable with since it is necessary for you to pretty much master the program (don’t be scared as that’s not hard as it seems).

You should work with the DAW program which can be an “extension” of you so that you can think about the music and not about menus, options, etc. You want to own the tool you are working with and not the other way around.

Now the good part comes in. Pretty much all DAWs will get you started, and you should learn about them and try multiple DAWs. Please do not waste too much time overthinking which program should you choose since all of them will get you started if you are a beginner and as time goes by and experience is piled up you will know if you need to change it.

Depending on the computer you use some of these programs might not be available to you as some like Logic is for Mac only but most of them work on multiple platforms.

These are some of the popular and incredible DAWs you should check out:

Sonar

Audition

Pro Tools

Cubase

Live

Reason

Studio One

A solid audio interface

You will need something to get your analog sounds like keyboards or voice into your computer in the form of a digital sound, and this is where an audio interface comes into play.

You don’t need anything special here. Don’t go around spending your money on those crazy interfaces since a decent one with two channels will do just fine.

You should look for an interface that has microphone preamp, line inputs for keyboards and guitars, stereo out and a headphones out.

Make sure to check that the product you are going to get has good reviews and that it meets your needs and you will do just fine.

 

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You need a quality studio microphone

Every studio needs at least one decent microphone in its possession as the microphone will have everything to do with how your recorded sounds will turn out.

There are three main types of microphones, but you will want to get a condenser microphone. The condenser microphone has always been used for studio recordings because their technology allows them to pick up the audio and convert it into electricity in a much more detailed way.

You shouldn’t spend thousands of dollars on your microphone since most of the cheaper microphones are good enough for any recording. However, you should research the mic you are buying well and read its reviews.

But the technology of condenser microphones has advanced, and there are so many manufacturers because of the increasing demand for this type of microphone that the prices went down over the years.

Unless you need some particular microphone for a specific purpose in your studio, don’t spend top dollar for it. Research your condenser mic thoroughly and go with some option that will fit your budget as most of these microphones will be a great choice.

 

You will need something to listen to your music

You have two options here, and they are headphones and monitors, and it is great if you could have both since they both have their uses.

But if you want to save a little money it is perfectly fine just to get the headphones first. But keep in mind that it is a bit tricky to record and mix using headphones, but it can be done.

Besides, you can always listen to your recordings on other people systems to get the proper reference on how the recording using headphones impacts the production.

It is okay to start with the headphones and acquire monitors later on. But if you do want to get the monitors from the outset you will want the monitors that fit your room, and that fit your budget.

Also do not overthink the choice of monitors since various factors will affect how the audio is perceived by the listener like the room shape, listener’s position relative to the monitors, your DAW, etc.

It is essential to research the monitors you are going to get and check their reviews but be aware that there will always be things you can’t control that are shaping the sound you hear so once you decide which monitors you want just to make the purchase and move on.

 

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Creating is the key

Your primary focus should be on getting started. The creative process will make the magic happen not just the gear so make sure you get the gear you need and don’t waste too much time overthinking it. Once you start and once a certain amount of time passes and the experience is piled up, you will know if it is time for an upgrade or if you need another piece of the ear, etc.

You want to get started. That’s the main thing you should strive for, and everything else will fall in its place eventually. Don’t give up and create every day. Work on what you love, and it will pay off in more than one way.

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Intro to Microphones

Intro to Microphones

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20 MAY 2017

written by Mike

INTRO

TO MICROPHONES

 

In this article, I want to share with you an overview of a recording microphone. Microphones or mics are the basic instruments of capturing sounds. You have one inside your laptop, your phone and your camera. Even in a smart watch.

Before we dig deeper in microphone placement techniques and various recording tips you need to learn more about mics.

What is a condenser? Dynamic?

When you work with professionals and experienced sound engineers, you will learn that choosing the right microphone is number one thing one the list. Every audio professional will have their preferred mic, and least favourite too. Whatever you want to do you will need to understand basic characteristics of a recording microphone. So, let’s start with that.

When it comes to elemental features of a mic, three things matter.

A transducer, frequency response and directionality.

I. Transducer

A transducer in a microphone transforms acoustic energy (e.g. your voice) into electrical energy. How a microphone registers sound depends on a type of a transducer. Two main ones are Dynamic and Condenser.

Dynamic

Dynamic microphones are quite cheap to build and robust.

So how do they work?

Dynamic mic operates on small electrical generator built from a diaphragm, voice coil and magnet. Let’s say you are recording yourself for a YouTube channel. The force of your voice, as a sound wave, makes a diaphragm vibrate. The diaphragm can be described as a thin membrane hidden behind microphone’s metallic mesh.

At the rear of the diaphragm is a voice coil, a coil of wire, which also vibrates. A small magnet forms a magnetic field around that wire. Physics. The movement of that coil within the magnetic field generates electrical signals that correlate to the force of your voice. Because dynamic microphones can survive in the toughest environments, they are number one choice for live performance.

It is almost impossible to overload a dynamic microphone. Good examples are Shure SM58 we use them for live sound and Shure SM57 another classic and cheap microphone. If you don’t know which one to buy you should get SM57. It will do the job.

Shure SM7B is a classic dynamic microphone used by sports commentators and radio presenters.

Have you ever wondered how is it possible that they shout their heads off, and the sound stays clear?

In most cases, Shure SM7B is the answer. My favourite dynamic microphone would also be Beyerdynamic M201A smooth sounding mic that works great on a snare but also on some louder singers.

 

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Condenser

Condenser microphones are a bit more complicated than dynamic, more sensitive and more expensive (well, it depends…).

The basics of a condenser mic lie in a capacitor.

The force of your voice will resonate a thin metal or metal-coated membrane that sits in front of a rigid backplate. The space between the two contracts and the motion produces electrical signals.

Now, the biggest difference between dynamic and a condenser is that the latter requires additional power to run. There are two ways to power up your condenser microphone.

First one is with batteries, second, we call phantom powerPhantom power runs through the microphone cable from the interface e.g. mixing desk or audio interface. Condenser microphones are sensitive and delicate. They also produce more noise than their dynamic siblings. Maximum sound level specification means that if you shout into a condenser, there is a high probability that the recording will distort.

Good condensers are great in capturing a wide dynamic and frequency range. Try recording an acoustic guitar with a condenser and then with a dynamic microphone. You will hear that condenser will capture the smallest nuances and movements of the guitar.

A classic pair of condenser mics would be AKG 414. Sound engineers often use them as overheads for drums and choirs.

Neumann U87 is a classic studio microphone used for vocals. It is the first choice for ADR recordings or dubbings. Recording sound on sets also requires a sensitivity of a condenser. Microphones such as Sennheiser MKH-416 combine a subtlety of a condenser transducer and a robustness of a dynamic microphone. Remember also to buy a pop shield and keep an eye on a noise level.

II. Frequency response

Frequency response it the reason every music producer, sound engineer or a foley recordist has a preferred microphone. Transducer decides how the sound is captured; frequency response chooses what to capture.

Let’s say you recorded your dog. If your recording sounds 100% the same as your dog in real life, it means that the microphone that you used has a flat frequency response. It didn’t change the sound. Microphones with the flat response are used for measuring acoustics of space and can be quite expensive. Also, you don’t want to use them on your recordings.

Why not?

Well, the sound of a microphone can make your recording better. It can add depth and warmth. It can capture smooth low frequencies or sharp high frequencies. It can omit frequencies that you don’t want. Some microphones will add punch to your drums or presence to vocals. Other times you may wish to use a microphone with a detailed response.

You don’t want to omit anything when recording a wide frequency instrument such as piano. Before using a microphone check its frequency response and its desired use. It’s also good to experiment with different settings.

 

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III. Directionality

The last one on our list is directionality.

Directionality describes the most sensitive side of a microphone. Polar patterns describe how a microphone will pick a sound and what is its best position for it. There are quite a few polar patterns to choose from, but today I will focus on three main ones.

Omnidirectional

The omnidirectional microphone will register sound at all angles. The polar pattern covers 360 degrees. It means it will pick up the sound from the back as well as from the front. With the same intensity. These polar patterns are great if you want to capture an ambience of a place, something like an inside of a cave.

Another use is to leave an omni in the room as a so-called ambient mic. You can then add this additional layer to your mix later on.

Unidirectional

As you probably guessed, unidirectional microphones will register sounds from one particular direction more than from others. Most popular will be a cardioid, a heart-shaped polar pattern. It will pick up less ambient sound than an omnidirectional microphone, and it works great when you want the focus.

For example, if you wish to record a dialogue on set you don’t want to capture a technical crew that is chatting in the corner. Unidirectional microphones are made for this kind of stuff.

Bidirectional

Bidirectional microphones are sensitive at front and back but omit material from their sides. They are great for vocal duets and individual stereo recording techniques such as mid-side, M-S.

This polar pattern is used when you want to dismiss unwanted sources of sound. As I mentioned before these are helpful on movie sets, during live music recordings or any environment with more than one sound source. Correct microphone placement is a skill in itself, and I will share with you some advice on that in another article.

To know your equipment is essential.

How it all works and why you want to use it?

These are the questions that you need to ask yourself before making any decision. Microphones are everywhere. You don’t have to know all the details and technical specs of their build, but don’t be ignorant. When it comes to selecting the right gear, ignorance is not bliss.

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Sound Recording Basics

Sound Recording Basics

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04 MAY 2017

written by Mike

SOUND RECORDING BASICS

 

 

Throughout the years, capturing sounds has evolved in a dramatic way. From phonograph to a microphone in a mobile phone. From analog to digital.

People still use analog recording, but I will focus on a few aspects of digital recording. Digital recording is the most common, cheapest, and easiest method of capturing needed sounds.

Sound recording can be fun, exciting, hectic, tiresome, laborious and unforgiving gig. But with a few guidelines and basic knowledge, the difference between amateurish and well sounding production can be huge.

Just try to remember last Internet video that you watched.

Was a picture quality good?

What about the sound?

How many times do you have to play with your volume control when switching between videos?

How noisy are the recordings of that famous vlogger you follow?

The forgotten art of quality sound recording tells a difference between a wannabe Internet star and a professional.

 

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RECORDING EQUIPMENT

The simplest setup for recording sound would be a microphone, cable/lead and a sound recorder. Connect the microphone via cable to the recorder and voila!

Of course, there is a lot more to it, and professional recording sessions are much more complicated. But the basic principles stay the same.

Let’s have a quick look at the basic three components of the setup.

Microphone

There are a lot of heavy, big books on microphones alone. But to have a good understanding of the subject we can distinguish two types of microphones: dynamic and condenser.

Condenser microphones are bit more sensitive than dynamic. You can use them to record vocals in the studio, wide range instruments such a piano or violin. DPA Microphones debunks some of the myths here. 

 

Cables/Leads

Most common cables used to connect a microphone to the recorder are XLR balanced connectors. They can carry the sound over a long distance without inducing any unwanted noise.

USB cables that connect a microphone to the computer are also popular.

Sound Recorder

The subject of sound recorders is wide as the sea but just try to think about it for a second. Anything that can capture a sound is a sound recorder. A mobile phone is the most common one; a simple stereo recorder like Zoom H4N can be handy too. At the professional end, there are a lot of different kinds of sound recorders.

Small, portable ones we use for interviews. The medium we can use for recording dialogue on a movie set. Recorders from Sound Devices have a good opinion.

For a beginner, a simple, direct USB microphone will do but even a basic setup through audio interface will always get you a superior quality.

 

 

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TECHNIQUES

Techniques of recording audio are an art in itself. There is a choice of correct microphone, the placement of the microphone, recording levels and setting. These are only a few variables that a good sound engineer has to take into consideration. It is important to research the techniques that someone else used for the recording that you want to do.

Using an unusual placement or setup can lead to unexpected and often exciting results. Like using a “trash mic” for example. Every recording requires a different approach. It is important to have an open mind but also a good knowledge of basic procedures.

Have your standard set up in place and then another one as an experiment. And if you are just starting that will often be the case.

COMMON RULES

Like in everything experimenting and learning from mistakes is a great thing. But there are a few standard rules that you should apply if you want your recording to sound awesome.

Be wise when choosing the microphone

– it can mean a great difference to a general sound of your recording.

Use intelligent microphone placement

– remember the last time when you had to raise the volume to the maximum to listen to that famous vlogger? Or maybe you had to turn it right down?

Know your set up

– microphone, cable, and recorder. Using USB microphones is fine but even with the most basic audio interface connected to your computer the results will be much better.

Know your volumes

– a quiet recording will result in a noisy recording. Turn the volume up, but record too loud and the distortion will ruin your work.

Always record more than you need

– you will have more options to choose and also a backup if something happens to the original recording.

Do a test and listen back to it

– going back to the placement and choice of the equipment. It is always better to get it right at the beginning rather than trying to correct it later on.

Know your basics

– audio recording can be a complicated subject. The basic knowledge of recording, compression and EQ will make a big difference to your final project.

Have fun!

– Experiment and have fun with the process. The more you learn hands on, the better your projects will sound in the future.

It doesn’t matter if you are working on your Internet video channel, making a family holiday video or recording an interview at work. Follow these simple rules and each one of your productions will be better in the end.

Next time when you watch something, focus on listening. Not only on music but also on dialogue and ambience.

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