Producer’s SkilL: Moving On

Producer’s SkilL: Moving On

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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!

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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.

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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.

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FetHead Gain Booster for SM7B

FetHead Gain Booster for SM7B

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22 MARCH 2021

written by Mike

FetHead Gain Booster

for SM7B

Beginner podcasters are best off with a simple USB microphone. One that you connect to your computer and are ready to go.

That’s not just my opinion; many people who were starting their streaming channels or podcasts grabbed a Blue Mic (Yeti or Snowball) or a similar USB microphone.

There was one problem, though – these are condenser microphones.

Let’s back up a little bit.

There are two main types of microphones – condensers and dynamics and the difference is how these microphones capture sound.

Dynamic uses a voice coil and magnet, and it is a plug and play microphone; they don’t need external power to run.

Condenser microphones use capacitors, a thin membrane and a diaphragm that vibrate.

Condensers need external power such as batteries or phantom power to work supplied by an audio interface, 48V.

What we have to understand about condenser microphones is that usually, these are sensitive mics. They will pick up every little detail around you.

They are awesome for studio recording, but for home – well, a lot of people vented their frustrations about how everything from neighbours, cars or whatever was picked up by the microphone.

Hence why I always recommended dynamic microphones, even as USB. These are less sensitive, usually have cardioid polar pattern and overall are best for voice recording at home.

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Stop!

What does it have to do with the FetHead gain booster?

We’ll get to it in a second.

With time, podcasters, YouTubers and online personalities started to upgrade their gear and moved from USB mics to standard XLR microphones, the ones that need an audio interface to work.

Of course, the winner and the most popular mic was Shure SM7B – the legendary vocal microphone used by broadcasters and studios around the world.

I’m sure if you watch any YT vids, you are familiar with the microphone, from Joe Rogan to anyone.

And there is a reason for it – the microphone sounds great, it is relatively cheap, you don’t need a pop shield because the capsule is a safe distance from the top. It’s versatile, and it can take a lot of volume without distorting the sound.

However! 

There is an issue with it, and that’s its gain level. 

It is a quiet microphone, and it needs a lot of gain on input. When I record on it, I need to have my iD4 interface on 9, almost full 10, to have a decent volume. And I still had to boost it in post-production.

I had this microphone for years, and it served me well. I didn’t record much in the past, so I was okay with boosting the volume afterwards. However, as I started my Youtube channel and used the microphone more, the gain started to get annoying.

When we record from the camera, we use Rode boom, a condenser, then switch to SM7B, and the volume would be much lower. After recording a few vids like that, I knew I needed a gain booster.

What’s a gain booster? 

It’s a device that boosts your microphone gain with a clean signal, making it much louder at the source.

When it comes to boosters, the one that I always recommended for people was, of course, CL1 Cloudlifter. Which is a classic.

I went online. I put the Cloudlifter into the basket. However, I have to warn you, CL1 is quite pricy, over £100, leaning towards £150 in some stores.

I’m always on the lookout for a bargain and a discount, so I thought to myself ‘I’m sure there are alternatives,’ but the thing is, I’ve never checked and always defaulted to Cloudlifter.

I emptied the basket and started looking online – low and behold, and there are many cheaper alternatives.

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I looked at Sub Zero, SE DM1 Dynamite, Klark Teknik CT 1 and FetHead.

These ranged in price, but one thing was sure, they were much cheaper than the original Cloudlifter!

All of them had good reviews and what I also noticed was that some of them were directly connecting to the microphone, which means that I wouldn’t need extra XLR cable like with Cloudlifter, which is an external box.

After doing a bit of research, I ordered FetHead from TritonAudio, which was £65 from Studiospares online shop.

Let’s look at specs:

TritonAudio products are made in Holland, and FetHead is advertised as a low noise gain booster or mic preamp with extra 27dB amplification.

One thing to remember is that these gain boosters need phantom power, just like condenser microphones. Even though your SM7B doesn’t need extra power, you need your phantom power when you connect it to FetHead.

FetHead arrived in a small cardboard tube, hidden in a pouch inside. It was much smaller than expected, which was fantastic as I was worried it wouldn’t fit at the end of my SM7B, sitting on the arm.

It did fit without any issues.

If you want to listen to my recording without Fethead and with it, you can view my video review on Youtube.

In short, Fethead does what it supposed to do. It boosts SM7B gain without affecting the sound, allowing for the mic gain on my iD4 interface to stay on the good lever.

And I don’t need to boost anything in post-production anymore!

Would I recommend it?

If you have SM7B or another dynamic (or ribbon) microphone and you find yourself lacking gains – then of course. Especially if you are podcasting or recording YT videos.

It boosts the signal transparently and cleanly, and you don’t have to drive your input gain to the top.

There are even cheaper alternatives. I didn’t want to go with the cheapest option, which had a few negative reviews, but FetHead definitely worth the money, and it is more than twice cheaper as the original Cloudlifter. Plus, you don’t need extra XLR cable!

Thumbs up from me, and you will hear the FetHead working hard on the future videos!

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Icon M+ Platform Control Surface for Podcast Production

Icon M+ Platform Control Surface for Podcast Production

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19 DECEMBER 2020

written by Mike

Icon M+

Control Surface for

Podcast Production

Are you looking for a control surface for your DAW but you are not sure which one to choose?

There are plenty to choose from; however, in this post, I wanted to talk about Icon M+ platform and Pro ToolsA control surface lets you control what is happening in your audio sequencer but with physical knobs and faders and buttons.

Is it necessary to produce podcasts? 

No. 

You can work with just a keyboard and mouse, and that’s what I’ve done for years.

However, as you progress and develop your skills, the longing for physical faders may start to grow – especially if you worked on proper consoles before. A simple control surface will be more than enough for podcasting, and there are plenty on the market!

Before I start, I want to mention that I upgraded my control hardware to Avid S1, but I wanted to make a review-post about Platform M+ as I used it for a long time.

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I mentioned it before, I started on mouse and keyboard and worked purely in the box when I began working on Casefile podcast. After a while though, I missed having something physical to be able to control automation during a mix – I worked on consoles in the past, but I didn’t want to spend money (as I didn’t have any) just yet.

So for a little while, I used a control wheel on iD4 interface that let me control a single automation parameter.

After some time, I decided to move up a bit and get a proper control surface with eight faders.

As I work in Pro Tools, my choice was limited. Pro Tools works on EuCon, and it’s a closed system, meaning 3rd party hardware can’t manufacture for it – only Avid can.

Of course, their hardware is costly – at that time the eight fader surface they had was Avid Artist Mix, cost around 900 pounds.

I didn’t want to spend that much money on my first control surface plus Artist Mix was quite old already, and they were gossips that they would stop supporting the system. It’s now officially up to 2024 that they will keep this control surface.

So looking for something more budget but still with motorised faders I found Icon M+ platform which is a modular control surface and works with many audio sequencers.

It works in Pro Tools too, but it uses the HUI system, which is quite limited.

For my work, I only wanted faders, knob pans and transport. M+ was less than 300 pounds, so I got it a couple of years back. 

I haven’t tested it on other software – only Pro Tools, so my view and my experience are limited.

The first issue was that the control surface didn’t work straight out of the box. I downloaded the software, updated the firmware and I remember that I had to spend quite some time online looking for a solution.

I did find it eventually; also, there is a document on their website that helps to set it all up. It’s not plug-and-play, definitely not with Pro Tools.

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But, let’s start with what I liked about the control surface first!

The Price

The Icon M+ surface is cheaper than some and cheaper than anything from Avid. The big selling points are the motorised faders  that move with the automation.

The Build

It’s a sturdy build, and it fits perfectly on the shelf under the desk, I also like the colours on all the buttons and how it lights up when you switch it on.

Motorised Faders

Faders are why I went for the system. It makes all the difference and gives you the feel of working on the proper console. They are touch-sensitive and are decent to track automation.

Let’s now get to the shortcomings of Icon M+.

HUI and set up

It wasn’t easy to set it up, definitely not plug-and-play. Also, HUI connectivity with Pro Tools is minimal. Master fader doesn’t work at all. Pan knobs also don’t work correctly, and it’s just not very intuitive with Pro Tools system. It feels restrictive.

Motorised Faders

The faders are touch-sensitive and motorised; however, sometimes they jump up or down when recording automation, they get stuck or block you from writing automation.

It doesn’t happen all the time, but it happens, and I reckon that’s also because of HUI connectivity.

Apart from all that, the transport buttons work fine. It’s easy to move through channels, and at its core, the control surface does what it needs to do. I used it for a couple of years and got past the limitations, but it also put me off digging more into the system. Setting my shortcuts felt like too much hassle.

So I just used the essential functions of the surface.

The Select, Mute and Solo buttons worked fine, but knobs not working correctly with the pan is a big drawback. They let you pan to one side on a stereo track, but I didn’t know how to switch the knob to the other pan. I guess it would be ok for Mono or linked pans.

Again – all of it is because of Pro Tools and HUI connectivity. M+ may work much better with other software, but I haven’t tested it.

I said that I’m upgrading. Last year Avid released the successor to Artist Mix – S1 control surface. It’s a modular, eight fader system that works flawlessly with Pro Tools it’s a EuCon system. It also works with a tablet on top and their Control App – so a proper next-generation control surface.

I knew that I wanted to upgrade and I felt that I should still go for Artist Mix, but after a bit of research, it became clear that S1 is a superior system and Artist Mix now outdated.

Of course, there is a price tag with S1, I got for 1060 pounds, and that’s without a tablet! I did get an Amazon Fire 10 inch tablet and that works well with S1.

M+ served me well, but it was time to say the final goodbyes.

And of course, I will record video and post a review on S1 console once I spend a bit more time with it,

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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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