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Producing Pro Podcasts

Dec 1, 2007 12:00 PM, By Mike Levine

Skype

Another option for telephone-interview recording is to use Skype, an Internet-based phone system that you can download for Mac and Windows. Skype calls can be recorded using optional third-party software. You don't use an actual phone to talk over Skype. Instead, you use a microphone connected to your computer's sound card or audio interface. You listen out of your sound card's output, preferably through headphones. The biggest problem with Skype is that its audio quality, though fine for talking, often sounds muffled and processed when recorded. It's also variable: sometimes you get a good connection and sometimes you don't.

You can purchase inexpensive recording software for Skype. On the Mac side, there's Ecamm Network Call Recorder for Mac. It records Skype calls with excellent clarity and virtually no background noise. Call Recorder records to QuickTime format and comes with conversion tools for extracting the audio files from the QuickTime files into various audio formats and onto separate tracks. Windows users can try programs such as Skylook and PowerGramo for recording Skype calls.

Skype-to-Skype calls (calls between Skype users) are free, and a Skype-to-phone plan, with which you can use Skype to call any U.S. or Canadian landline or cell phone, costs $3 per month.

Phone taps

Phone taps are an easy way to record phone calls, although many models have grounding issues that prevent them from being plugged into a computer sound card or interface (or any AC-powered device) without generating unacceptable levels of hum. In those cases, you need a battery-powered portable digital recorder to get clean results.

On the plus side, you can get into the game very inexpensively with units such as the Radio Shack Mini-Recorder Control, which plugs between your handset and phone, and the Rolls Phone Patch II, which connects between the phone and the wall.

Many phone taps output a mono signal through an ⅛-inch mono connector. That in itself is problematic, because virtually all analog inputs on digital recorders are stereo. As a result, it's necessary to use an adapter cable that splits the mono signal and outputs on a stereo connector. The guerrilla work-around is to plug the phone tap's jack in halfway, which provides the same result, albeit with a precarious connection.

Another problem with phone taps is that they output you and the person you're talking to at different levels (generally the other person is significantly quieter). The quality is okay, but you'll have to go in later and even out those levels in a digital audio program.

At the higher end of the phone tap spectrum is the JK Audio Voice Path, which is designed to output into your computer's sound card, thus obviating the need for a hardware digital recorder. Because it's designed for use with a computer, it shouldn't have the hum problems some of the other taps do when connected to AC-powered devices.

More Phone Solutions

Beyond those three methods, there are other phone-recording options. For example, Parliant Phone Valet (Mac) is a system that includes a phone interface and software. It digitally records from the phone (and is also compatible with most VOIP services) and has a built-in limiter that allows it to produce recordings in which both parties on the phone call are at approximately equal volume. The system costs well under $200, and for an additional $50, the company offers a Podcast package that also includes BIAS Soundsoap 2 noise-reduction software and Peak Express, a 2-track editor. I haven't used Phone Valet, so I can't offer opinions on its performance.

If you have a larger budget, the best possible solution for phone recording is probably a broadcast phone interface such as the JK Audio Broadcast Host. It plugs between the phone line and the phone itself and has a number of I/O options (XLR and ⅛-inch). The ⅛-inch jack splits your voice onto one side and the other person's onto the other. You have separate volume controls for each.

Finding Your Voice

Besides interviews, many Podcasts include introductory and transitional voice-overs (VOs) as well as bumpers, which are transitions (usually musical) that go before and after segments.

VOs can be recorded in a multitrack audio program and then placed in their proper spot for the final mix of the Podcast. Record VOs using a good-quality cardioid mic (condenser or dynamic). Use a pop screen to minimize plosives, and place yourself within a few inches of the mic (a little closer than if you were recording yourself singing). Getting close to the mic lets you take advantage of the proximity effect to help give you that larger-than-life “radio voice.”

As with in-person interviews, record your VO in as quiet an environment as possible. Do not use figure-8 or omni polar patterns, because they will pick up a lot of room sound. Set your mic pre so that you have plenty of gain, and record at a healthy level without clipping. You don't want to have to boost the volume too much when mixing, because this can increase noise.

Bumper music can come from a number of sources: original music that you already have on hand, music you compose specifically for the Podcast (bumper music can be very short — under 15 seconds), or royalty-free stock music, for example the “jingle tracks” that come with Apple Logic. Do not use another composer's copyrighted material unless you have express permission, or you'll be violating copyright law.

To give you an example of the construction of a Podcast, here's the sequence of events for a hypothetical two-interview Podcast:

• Intro music with VO. Music is “ducked” (temporarily reduced in level) when VO starts.
• Music fades out, then introductory VO tells what will be in the Podcast.
• Music and VO to introduce interview 1.
• Interview 1.
• Bumper music coming out of interview 1.
• VO to introduce interview 2.
• Interview 2.
• Ending music with VO. Music is ducked when VO starts.
• Ending music fades out.

Of course, your Podcast could be a lot simpler. It's totally up to you.