5 Podcast Recording Tips to Produce High Quality Audio

5 Podcast Recording Tips to Produce High Quality Audio
Melbourne Classical Radio Today we are talking about five tips for a better podcast audio mix. Alright so today, I've got an open session from Space for Life with Eka Kris, I'm excited to jump into that. Before I do, there are three things that I like to keep in mind before I tackle any mix. 

The first is to keep the volume level consistent throughout the entire episode. 

Now I know that that sounds simple, but my opinion is most important thing that any producer or engineer can do. Number two, which goes hand in hand with that, is you want to reduce or eliminate distractions, as much as possible. 

Part of the nature of podcast audio is it's not as much done in a studio with an engineer sound treatment and you've get this perfect isolated vocal. More often than not, you've got someone who's doing a Zoom conversation or someone's calling in, someone's cutting the grass next door, a dog barking in the background, the list goes on and on. 

But the point is, there are a lot of distractions. And not all of those are bad, but we want to try to eliminate those as much as possible so that the listener can engage with the content in the best way. And then number three, is we want to use our ears but not overdo things. Sometimes less is more. 

So let's dive into this episode of Space for Life Podcast. Alright, so let's jump into the five tips. The first one is listen for distractions. I like doing this first because I find that a lot of times once I've been sitting in the audio a little bit longer, I start getting some ear fatigue, I start hearing things that maybe weren't distractions at first, and probably wouldn't be distractions for the average listener. 

And then I start over-processing the audio. And then I find that 0/10 times I scrapped that and restart. And so i like – whether I address it or not, at first, – I like to listen through throughout the episode, and just kind of listen to see if there are any consistent distractions. 

So I can't really think of anyone who could play a little bit beginning "benefit a little bit of a conversation on this. So I want to hear from you because you have this way of unpacking really big case" real quick, I'm going to stop I'm going to address this, I heard that harsh plosive from the shape of it should be right here. "Packing really" yeah. 

So you can hear that packing there. And so especially in the intro, I want to try to get rid of that as much as possible. There's some plugins that work for this, but I find they don't work quite as well or sound unnatural. And so I'm just going to manually go in and do a little surgery here. So I'm gonna zoom in. 

Okay, right, here's the shape, you can see it's kind of looks like a kind of like I guess in backward, and where it goes over the line and what it switches to come under, you can just split it and then draw a fade in coming out, and then a fade into it. 

And then if you play it again, "unpacking really", you can hear it sounds a little bit more natural and has less of the air blow into the mic. And so that's just how you can get rid of some plosives. Some keep listening through here from you noticed a few things there. " Being back together, we record these episodes, sometimes in" , okay, so there may be some more but right off the bat, I hear that the s's are really strong here. "I want to hear" . And there's a lot of mouth noises, the *mimics mouth noises* kind of stuff. And so I want to try to eliminate those. 

I'll use some plugins for that. And then there's a good bit of reverb that I want to address. And so first in my chain, "this is Patricia Clark and im back" I'm going to open a de Esser so this is RX is DeEsser, Waves also has a great one. But it doesn't matter too much – The DeEsser. I'm gonna start playing it "with Eka Kris, and we're gonna talk" so flip it, I'm gonna mute this channel. "Some right now doesn't benefit. 

Hi, everyone, this is Patricia Clark, and I'm back with Eka Kris. And we're going to talk about a great topic today, which is growing clarity and focus. And I can't really think of anyone who doesn't get a free one. This is Patricia Clark, and I'm okay. 

So there's still some S's in there, but it's a little bit more natural sounding and just not hammering that Sn. So that's good for now and I'm gonna open up. This is also an RX eight, I would highly recommend RX eight and we'll get to a little bit of that later. But this is a mouth D click everyone so Patricia Clark, same thing. 

I'm gonna reverse it. And you can hear the noises that are being removed. So it's not picking up anything else. That's great conversation on this. So I want to hear from you because you have this way of unpacking really big things. 

Alright, so I'm going to do that for this vocal as well, I'm just gonna copy it down, sometimes. And so that brings us to tip number two, which is using dynamic compression over EQ. So a mistake that I've made for a number of years, and a lot of the old episodes or things that I get back and listen to that I've done it, drives me crazy to hear because the vocal sounds over-processed and don't have any life to it, because I went crazy on EQ. 

So rather than addressing problems first with EQ, I'll use a dynamic compressor. And then later if I need specifically to address something with EQ, I will. But instead of addressing a temporary problem with a permanent solution, I'm just going to use dynamic EQ. 

So I'm going to open up here we go, let's address this one first. And I can't really think of anyone who, right and that doesn't, what I noticed is right in that 500 600 range. So I want to hear harsh. And so when I did that, unpacking really big things into concrete practice. 

So this still has a little bit of life to it without addressing it EQ, let's talk about what you mean first, by clarity and focus. And then we're also going to get them to do the same thing, click Tools for the process on the other channel are notice great. 

First of all, it's really fun being back together, we record these episodes, sometimes in kind of little chunks, so I can just use the Search and Destroy method for this where I'm finding a frequency, sometimes I'll do a full kind of like sweep like this to find the frequency that was standing out, like fog being and then just clean it up that way. 

So then the third tip, and this is one of my favorites, is using waves vocal rider to automate the vocal levels. So like I mentioned, the number one priority is keeping the vocal consistent at eye level volume, and compression. And all of that is helpful. 

But if you over compress it, it's going to sound flat, and just unnatural in a way that you don't want a podcast that's supposed to sound like a conversation. So what I'm gonna do is I'm going to open up this wave vocal rider plug in, and I'm going to use it before I go into compression so that I can kind of automate the vocal, and then compress it without it hitting the compressor too hard. 

Alright, so if you open it up, I'm going to choose to automate, the rider fader already has that selected on and so I'll pull that out for both channels, I'm gonna do that pull setting to about minus 18 is my target that I do preference. And then I pull this down to minus 12, kind of leave the rest, I'm gonna turn on to write. 

One thing that I'll note, as I'm doing this, is I like to change the gains so that the volume is going to hover around unity. And so if I have this here, I start playing this channel, this is Patricia Clark. And you can see that it's starting to dip more off the bat. 

And so I'm just going to go ahead and pull that down, minus 1.8 db. And let's split it. So I'm gonna pull it over here as well. And then now if I play it, with Tommy Thompson, we're going to talk about a great topic today might have pulled it down a little bit too much, but it's still hovering around zero, which is great. And I'm gonna do the same thing for the other channel, pop down here. 

First of all, it's really fun being back together, leads pushing a little bit. And so I'm just gonna pull that up. point nine dB. Okay, so then I'm going to make sure both of these are selected to right, and then set this latch. And then before I do any kind of editing or anything, I'm just going to set this up and then start playing. 

And so as I'm listening through, it's automating the volume. This is Patricia Clancy, it's writing it in on that red line right there, about topics. So that's the third tip. And the fourth tip is compress and then limit on each channel. 

And so as we just did will automate the vocal level, and then go into the compressor afterward, so it's not hitting it too hard. One of my favorite compressors right now is the CLA two a. And so I'm just gonna pull that up. Chuck Clark and I'm back with Kris tell him a little bit harder. 9:43 topic today, which is growing clarity and focus. And I can't really think of anyone who doesn't benefit a little bit from a conversation on this. 

So I want to hear from you because you have this. That looks pretty solid. And so I'm just going to go ahead concrete Practical trees that are portable, I've done this before. What do you mean first by clear copied over. 

So I've got a similar compressor because in theory, the vocal levels can be similar coming in with a great vocal rider. It's really fun being back together, it's not quite there. So we pull the game down a bit. And then, like I said, I'm going to put a limiter on each channel. And so what that's going to do is, if everything else is set up, right, it's just going to cut out the peaks. 

And so you're not compressing with the limiter where it's just going to be a harsh cut-off. But you're just trimming those, those top spikes have a laugh of a shout or whatever it ends up being. 

So that is Tip number four. Now, before we get into tip number five, I mentioned that there is a reverb problem at first. And so what I like to do for that, is I'll export the audio, I'm just going to do this section that for right now. 

So I'll export it as a WAV space for life and call it our x test. So I'll open up the RX advanced audio editor, drag in the file and open up the repair assistant, pop up a dialog box, start analysis, run it straight. 

And then so runs it It shows that there are no clicks or clipping or harm, which is great because I've already reduced the clicks. But it shows that noise was detected, which is the reverb that I was hearing. So to pops up with a couple different options, you can click on it, increase it or decrease it. 

Generally, I'll go with the dialogue, isolate one and then I'll go ahead and render that. Once you render it and see here it says history repair assistant, you get to go exit out, then you export here, command E on a mat. export settings should be what it came in, and then I'll just rename it post RX or something like that, export it, then back in Pro Tools, you can drop in the new file, it's good to go. 

Now the fifth tip is mastering with a loudness meter. So I'm going to open up the master channel. And the first thing I'm gonna do is at the end of the chain, I'm going to put in I love the waves, W lm plus the loudness meter plus. And then with it, you can open up a setting that's already set for Apple podcasts and music. 

So if I open it up here from you, because you have this way, you can see where it's coming up. I'm going to reset this. So it's not showing old data doesn't benefit a little bit from a conversation on this. 

Right. So I can see them a little bit below where I'm trying to hit. And so the first thing I'm going to do, I also like the Moz irati GRP plugin. If you have isotope elements, that's great for mastering but something like that. 

So I'm going to open up the GRP standard on the master one. Now if you see right off the bat, I can tell that it's going to be compressing a little bit too high on the high end for me. So I'm gonna just pull that back. 

Something like this, which from music to podcast should be a little bit more natural. Hi, everyone, this is Patricia Clark and I'm back a little bit still high on s gonna talk about a great topic today. That's pretty solid for me. Now let's open up the plug-in focus. And I can't really think of anyone who give us a little bit hearts and I'm gonna hit some more limiters. 

So pull this down from you because just a little bit, unpacking really big things into concrete, practical ways that are portable and usable. So let's talk about what you mean first, by clarity and focus. And then we're also going to get to the processes and I'm trying to dial it in and that looks solid and then I'm going to bounce the episode.

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