Podcasting: Recording and Publishing Your Podcast | Jason Allen | Skillshare

Podcasting: Recording and Publishing Your Podcast

Jason Allen, PhD, Ableton Certified Trainer

Podcasting: Recording and Publishing Your Podcast

Jason Allen, PhD, Ableton Certified Trainer

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34 Lessons (1h 35m)
    • 1. Introduction

      2:20
    • 2. What is a Podcast?

      2:32
    • 3. What Software Do You Need?

      2:52
    • 4. What Hardware Do You Need?

      7:22
    • 5. One Person in a Room

      1:06
    • 6. Multiple People in a Room

      1:53
    • 7. Multiple People in Multiple Rooms

      2:14
    • 8. Multiple People in Different Locations

      1:48
    • 9. Microphone Selection

      5:18
    • 10. Speaking Tone

      3:10
    • 11. Microphone Placement

      3:28
    • 12. Using a Pop Filter

      2:53
    • 13. Hardware Setup

      1:41
    • 14. Using Audacity

      3:25
    • 15. Hardware Modifications

      4:48
    • 16. Recording To Two Track or MultiTrack?

      3:03
    • 17. Avoiding Signal Bleed

      3:20
    • 18. Acoustics

      1:09
    • 19. Hardware Modifications

      2:36
    • 20. Acoustic Isolation

      2:13
    • 21. Using Your Phone

      2:16
    • 22. The Clapboard

      2:22
    • 23. The Double-Ender Recording

      2:02
    • 24. Double-Ender Demo

      3:22
    • 25. Using Music

      3:07
    • 26. Using Sound FX

      1:05
    • 27. Mixing

      1:55
    • 28. Noise Reduction Techniques

      3:31
    • 29. Export Settings

      3:35
    • 30. How Podcast Hosting Works

      3:22
    • 31. Self Hosted

      2:21
    • 32. Using a Distributor

      4:34
    • 33. What Comes Next?

      1:29
    • 34. Bonus Lecture

      0:36
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About This Class

100% Answer Rate! Every single question posted to this class is answered within 24 hours by the instructor.

Welcome to Podcasting: Recording and Publishing Your Podcast!

In this course, we will use the real-world experiences of the award-winning instructor and university music production professor Dr. Jason Allen. But don't be worried - Dr. Allen is best known around campus for keeping things simple, accessible, useful, and fun.

Dr. Allen is a professional musician, top-rated instructor, and university professor. In 2017 the Star Tribune featured him as a "Mover and a Shaker," and he is recognized by the Grammy Foundation for his music education classes.

In this class, we are going to take your podcast idea and turn it into reality. We will start by talking about the different kinds of recording we can do: one person in a room, two people in a room, multiple people in multiple rooms, and (my favorite), multiple people in multiple locations. I'll do some recordings to show you how to get the best quality audio even if the other person in your podcast is on the other side of the planet.

After we get the best recording done, we will go through how you can publish your podcast to get the maximum amount of exposure for it. We will get it on all of the major platforms, include Apple Podcasts, Spotify Podcasts, Amazon, and more.


This Podcasting class is everything you need to start making great podcasts!

This is a relatively short class - I've slimmed it down to just the important facts that you need to know to make your podcast. Including:

  • Audio Recording in a number of situations

  • What microphones to use

  • Microphone placement

  • How to get a quiet space in your home

  • Noise reduction techniques

  • Publishing podcasts on your own

  • Publishing podcasts through a distributor

  • Getting podcast sponsorship

  • And Much, Much, More!

All the tools you need to produce great podcasts are included in this course.

Meet Your Teacher

Teacher Profile Image

Jason Allen

PhD, Ableton Certified Trainer

Teacher

J. Anthony Allen has worn the hats of composer, producer, songwriter, engineer, sound designer, DJ, remix artist, multi-media artist, performer, inventor, and entrepreneur. Allen is a versatile creator whose diverse project experience ranges from works written for the Minnesota Orchestra to pieces developed for film, TV, and radio. An innovator in the field of electronic performance, Allen performs on a set of “glove” controllers, which he has designed, built, and programmed by himself. When he’s not working as a solo artist, Allen is a serial collaborator. His primary collaborative vehicle is the group Ballet Mech, for which Allen is one of three producers.

In 2014, Allen was a semi-finalist for the Grammy Foundation’s Music Educator of the Year.

... See full profile

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Transcripts

1. Introduction: Everyone, welcome to podcasting. My name is Jay, and in this class we're going to talk about everything you need to know in order to record and publish your very own podcast. We're going to spend the majority of our time talking about the different recording situations that you might find yourself in. We'll start by talking about microphone's and then about setup, computer hardware, things you're going to need in order to get your podcasts sounding the absolute best. Then we'll move on to kinda the four different recording situations that you might be in. The first is recording a single person in a room. The second is multiple people in a room. The third is multiple people in multiple rooms. And the fourth is multiple people on opposite sides of the country or different geographic locations. There's actually a way to do that and still make it sound really top-notch and super pro quality. After weed through all that, we'll talk about how to use the various publishing platforms to make sure that your podcast gets on all of the main platforms like Apple podcasts, Spotify, Amazon podcasts, and all of the major distributors of podcasting. So It's a, it's a fun, relatively short class. It's going to be a, a whirlwind through some audio fundamentals to make sure that you're getting the best quality sound. But if you watch, we should have you up and running to be making your own podcast. That compares with the quality of the top podcasts out there. In a few quick ours. So let's dive in and let's get started. 2. What is a Podcast?: Okay, so what is a podcast? And you can see here a bunch of different podcasts. Podcasting has become really popular. And the last, I don't know, five years or so. What we're really talking about here is, I mean, what a podcast is once you kind of slice away all of the marketing material and things for it, what it is is a single audio file that can be streamed through a service. And in that single audio file, which is the thing that you're going to upload to the service to make it stream a bowl and findable. In that single audio file is mostly docking, mostly dialogue. So yes, there are sound effects. There are, sometimes there's music in the podcast. But and we'll look at that at the end of this class. We'll look at how to deal with music and sound effects and all that stuff. But the majority of what we're going to be focusing on is recording voice, okay, because that's the main part of podcasting, right? So we're going to look at different techniques and there are really kinda for situations where that we're going to look at for recording the voice. The first is just one person in a room talking, not unlike I am doing now. The second is multiple people in a room talking. The third is multiple people in multiple rooms. And the fourth is multiple people in different physical locations. There are techniques to make all four of those sound really good. And in fact, most of the podcast that you listened to, you may not be recorded in the same location. You might have two people talking, but they're in different states entirely. This is one of the podcasts I listen to. A lot, has two people talking and they're not anywhere near each other. But it still sounds like they're in a studio together and under our tricks for doing that. And I'm going to walk you through how to do all of that in this class. So we're going to focus on the best techniques, the best equipment to have, affordable equipment to have. And how to put this all together so that you can make great podcasts. So let's start with software and hardware needs that you should have an order to get this off the ground. 3. What Software Do You Need?: Okay, what software do you need? This is pretty easy one because normally when I'm dealing with software for audio stuff, we have to think about our, you know, how many tracks we can support, what editing features, what plugins, and all of that stuff. But when it comes to the production side of audio, software is actually quite a bit more simple than a normal recording studio kind of setup. So what we need really is any piece of software that will let us manipulate multiple audio files in time. That's a fancy way to say it. You could use something like Audacity, which is a free program. You could use something like GarageBand, which is free if you have a Mac. Or you could use something fancy like Pro Tools or Ableton Live. Fl Studio, reason, logic, there's tons of them. All we really need is to be able to take our audio file, which is the recording we made and you know, make edits, cut things out, do things like that. We may also need that software to actually record the audio file. And that is even easier. There's any, there are a ton of different programs that can just record. Your voice memos, can just record. And that might be all you need. Although I'm going to encourage you to use a computer and not your phone for the recording part. More on that later. So long story short, the software that you already have to do any kind of recording is probably going to be enough. If you don't have anything. Then I encourage you to check out a software called Audacity. Audacity is free, works on Mac and PC. I think there's even a Linux version. And that's what I'll use in this class to show you how I'm doing things. For the most part, there might be one tricker to that. I have to go to a different program for, but I'll try to do everything in Audacity just so that I can show you doing this all at a free piece of software. Audacity is actually a great, great program. I'm actually really impressed with a lot of the things that Audacity can do. So for a free program, it's pretty amazing. But again, anything you have, if you have a professional DAW, we call it DAW, that stands for digital audio workstation. That will no doubt work as well. That's kind of the jackhammer to the just regular old hammer that Audacity is. So feel free to use the jackhammer if you want, but I'm just going to use a regular old hammer and we're going to have great results with it. So moving on, let's talk about hardware. 4. What Hardware Do You Need?: Okay, let's talk about hardware. So first thing that you're going to need is a computer. Whether or not it's a Mac or a PC, or a laptop or a desktop. None of that matters. They're all work just fine. A tablet may or may not work fine. A tablet will work fine for the editing part. Whether or not you can record directly to your tablet is a little trickier. The question will be, can you plug a microphone into your tablet? If you can, then you're good to go. That'll work fine. If you have a microphone that plugs into your tablet, which there are USB microphones and things like that. Then that'll work. Most of the time though we're doing this on a laptop or a desktop. The next thing we're going to need is a microphone. Now, you might be thinking my laptop has a microphone built into it. Not good enough. That microphone is fine for your Zoom calls and stuff like that, but we probably want a higher quality microphone for this. The good news is, we don't need a $10 thousand microphone to record ourselves talking. You can get one if you want. They're out there. But but once we get up to that quality of a microphone just to record our voice, it kinda has diminishing returns after about a 150 bucks without going into a whole kind of big Treaty on microphone types. Here's the short version. There are basically two types of microphones that we care about in this class. Dynamic microphones and condenser microphones, okay? Both of these are great for recording your voice. Dynamic microphones are generally less expensive. They're good. The rugged. These are the microphone you'd see on a stage, someone singing in stuff like that. These are actually great for voice. They're not as sensitive. So for just talking, we don't care so much about the sensitivity of the microphone. These are going to be good at capturing your voice and not capturing a lot of external sounds around it. But they're not going to be as good at capturing all of the nuances of your voice, like the upper frequencies and the just the real character of your voice. There's still going to be pretty good though. A condenser mic, on the other hand, is going to be better at capturing all of those nuances of your voice. But it's also going to capture a lot of extraneous sound around you. So they're going to be much more sensitive. Okay. So both of these mics, I swear by if you've taken any of my other classes, you know, that I love these two mikes. This one is your good old standard SM 58. This is made by sure SHE ARE. These any recording studio has a drawer full of these. They're everywhere or something called an SM57. Both of them are great. So if you don't care about that real nuance of your voice, and you might be in a little bit noisier of a space. Not very noisy, but a little bit noisier than this might be a good choice for you. If you really want to get something that sounds great and gets all the character of your voice. And you're in a nice quiet spot. This is a great Mike. This is an audio technical 80 2020. Both of these mikes are about a hundred and twenty hundred and thirty dollars. Okay, so both of these are great options. What I'm using here, it also made by Sure It's kind of in the lineage of this mic. This is called an SM7B. It is actually made for vocal stuff, but it's good at a lot of things. It is a dynamic mic, but it's kind of a special dynamic mike. And it does pick up a lot of extraneous sounds. So even right now you might be hearing some other sounds like my kid crying and two rooms over. But generally I really like it for talking. But this one is a bit more expensive. This is probably, I can't remember what I paid for it, but it's probably around $300 for this mic. But before I got this Mike, this is the exact Mike I use to record all of my classes and everything. And it works great. I just upgraded because that's felt it was time. So the last thing we need is an audio interface. This gets a little complicated, but basically an audio interfaces away to plug-in your microphone to your computer. It's an extra little box that looks like this. This audio interface. Well, let me plug in two microphones at a time. If you've got two people talking, that's what you need. For a podcast. Don't ever share a microphone. That's just not going to work as well. So at this well, let me plug in two microphones and then it'll go out USB into my computer. So I need this. If I want to plug a microphone like this into my computer, there's no way to just plug this into my computer without one of these, unless you get a USB powered microphone. And I do make dynamic mics that are USB powered. And I used to say that they were low quality, but I've actually heard some lately that have been really great sounding, so they're actually not bad. And if you want to do that, you don't need an audio interface because you can plug those microphones directly into your computer. If you want to look at those, I would recommend the company called Blue, spelled just like the color. They make, unlike called the yeti that has a USB version. And it sounds great. It's a dynamic microphone that's very sensitive and you can plug it right into your computer. So the Blue Yeti is a great USB microphone. If you get that, it's going to be a little bit more expensive, but you don't need an audio interface. Okay? So I would recommend that. For more info about audio interfaces, look at the audio recording classes I have up. We go into great detail about them. But basically an audio interface can run you anywhere between a 150.10 thousand. That can get really expensive. What you'd be looking for is something that lets you take in at least two mic signals and connects out with USB. And if you just want me to tell you something to buy, the focus, right? Scarlet is a really popular one right now. It's really inexpensive, it's really reliable. We use those all over the studio and our little practice rooms and they're great. So check that out. After you have all that setup, we're good to go. That's all your hardware. So next, let's dive into the different types of recording situations we can find ourselves in when we're podcasting. 5. One Person in a Room: Okay, So I want to introduce these four different kinds of recording first. And then we're gonna do a section on each one of these where I'll go through how you would set this up. So the first one is one person in a room, fairly simple. We're going to walk through the settings. There'll be pretty much just what I described microphone into a hardware interface unless you have a USB microphone into our computer and then into our software and recording. There are some things though, that are worth going into detail about that situation. For example, the mic placement, routing it into software and pop filters and various other kinds of noise reduction things that we can do to get the best quality sound out of that microphone. So we'll do a whole section on that in just a few videos. But let me just press forward and talk about some of the more complicated situations that we might find ourselves in when podcasting burst. 6. Multiple People in a Room: Okay, so let's say you're recording spoken dialogue and you've got two people in a room. This brings up a new set of challenges. The biggest one being bleed. Bleed, means that let's say I have two people in a room talking and we're sitting right next to each other. Okay. So imagine someone sitting right here and they're talking into this microphone and I'm talking into this microphone. So bleed would be how much OF MY intending to go into this microphone goes into that microphone. And there's going to be a lot because we're sitting right next to each other, right? So There's kind of an optimal setup for this situation, which to simplify is to get some space between you so that there's less bleed or get a wall in between you or something so that they don't the microphone's don't bleed. The reason we didn't like bleed is because it makes it hard to mix. I can't just turn the if, if I'm talking into this mic and my voice is also being picked up by this mic. I can't just turn up the volume of this mic to hear me louder because I'm also over here. But I don't want to turn the volume off of that one because that's going to make this person louder. So it just gets harder to deal with the sound. If we're completely separated. My voices in this mike, other persons, places and that like it's way easier to mix and get a good sound. So there are some tricks to that. We'll go over that in a minute. I'm just going to continue on talking about the different recording situations for a podcast and a couple videos. So let's carry on. 7. Multiple People in Multiple Rooms: Okay, the next situation will be multiple people talking in multiple rooms. So I'm imagining a situation where I might be here talking in my room and we've got someone else talking in another room. And then we're recording into the same computer. Okay. That might mean that the person in the other room has really long cable going out to their microphone. And that's okay. Now the advantage of doing it this way, obviously is that it eliminates bleed, right? We're probably not going to get bleed between the microphones if we're in completely separate rooms. It does introduce some new problems though, to come to mind immediately. One is, do we need to see each other? If we need to see each other, then we need to figure out something for that. The second is, we might need to run the cable through a wall or through a door. And it might require us to introduce a mixer into our setup. So another piece of hardware, just to kind of simplify that situation, there isn't a good way to do that wirelessly. To send a microphone wirelessly through a wall and into the same computer. You can kinda do it if you have a wireless kit. Like what? Like a wireless mike like a singer would use on stage. But those generally aren't used with condenser mics are usually only used with dynamic mics. So like you're running around stage with one of these and you've got to wireless pack on it. So those aren't typically used for this kind of a situation, although you could theoretically use it and you might be able to get a good sound out of it, but it'd be a little tricky. So might require a mixer, might require some other things. So we'll go into full details on how I would do that in just a minute. But last, let's talk about my favorite multiple people in multiple locations. 8. Multiple People in Different Locations: Okay. Multiple people in different locations I'm talking about here is not being able to record into the same computer. So whether or not I'm recording dialogue with someone who's in the next house over or someone who is on the complete other side of the planet. The principles are exactly the same. What we're going to do. We're going to record my end of the conversation on my computer and their end of the conversation on their computer. And then we're going to put them in sync later. This is how most podcasts that unfamiliar with work, actually, especially during a global pandemic. People aren't going into his studio and recording themselves talking face to face with each other. So this is actually also how a lot of radio interviews work. Where I might do a radio interview from home, and I have done radio interviews from home before using these same principles where it sounds like I'm in the studio because I have a good microphone and I just recorded my end on my side and then done some things that makes it easy for them to sync up after I send them my recording. So the big word with those is sink. How do we get them in sync? And there's a cool little trick for doing that, that I'll show you when we get there. But for now, let's rewind. Let's go back to one person in a room. But what's the best way to get the best sound when you're recording one person in a room dialogue using minimal hardware. 9. Microphone Selection: Okay. So we're in the situation where we've got one person in a room and we're trying to record dialogue. Let's think about the best microphone to use. Now we already know dynamic microphones or sorry, dynamic microphones and condenser microphones. But I want to actually kinda do a little test with these to show us this might work. Okay, so I've got the shore SM7B here. So let's audition these three microphones, okay, and I'll try to do my best podcast or voice. So we've got the shore SM7B, you've got the Shure SM57, and we've got the audio technical 18, 2020. So this is dynamic mike, condenser mike, and this is kind of a, let's call it a high-end dynamic mike. Okay, so let's just do it and then we'll talk about what we found. And I'm going to record it too. Okay, so I'm going to use Audacity here because it's just a good free program. I, it's simple. It's not going to let us do as much stuff as we can do in another program, but it's good and simple. So it's going to set my input here to quartet. One channel, listened through quartet. And I'm going to hit record. This is the SM7B. Okay. Now I'm going to switch out to my SM57. Check 12. So you can probably already tell at least a little bit of a difference in my voice. Let me just make sure my levels are still good. I think they are. Okay, let's do this. This is the Shure SM57. Well, quite a bit louder on that one. Okay, now I'm going to switch out to my dynamic mike and I got to turn on phantom power. So I'm going to have to make a little snip here because there's gonna be some loud pops and stuff. What to check? Check. This is the audio technical 80 2020. Now, interestingly, with this one, I'm looking at my level and I can see it's getting really hot. It's really pushing up there. You don't want your level to be and you want your level to be about halfway up. What you can see if I turn on the monitor here. Okay, So obviously that's way too loud and it's distorting. But I've actually got to turn down. Well, that's you much. Okay, so that's a bit better. So in this test that I just did here, I actually talked a little bit quieter. And you can even see the extra noise that's there. So this is a much more sensitive microphone. Okay. I'm gonna go back to my SM7. Okay, so you could hear the differences between the three. Now, which one is going to be best? Just looking at this, you can tell that for my particular room, this one is not going to be the best, even if I were to set the levels better. There's all this extra noise in there that I can just see. This one, I can even see some noise there, right? So maybe this one's going to be the best. But it might also just be that I have this one configured better because I use it every day. And I didn't take the time to really configure these better. Most of the time for this kind of talking the way that I'm talking now, I would probably use the seven b is probably the best bet. But the way you talk matters for what Mike you want to use. And if we're talking about podcasting, then that's important, right? Because you might talk in a specific style depending on the podcast. You might want to give a creepier sound. You might want to give a more full voiced sound. And what microphone you use can help influence what kind of tone you're setting. So let's go to a new video and let's talk about how your microphone selection affects the tone that you want to portray. 10. Speaking Tone: Okay, let's think about speaking tone. Now this is an interesting thing because the it really comes down to the sensitivity of the microphone. Because if I want to have a lot of energy and my voice, I want to be really animated and something like that. Then I'm probably going to want to err on the side of a, of a dynamic mic. And I'm going to set the volume of the low on it so that I can really be like, Yeah, yeah, yeah. This is what we're doing. Yeah, Yeah. Yeah. Right. Like that was animated. So this one or the 57 will work really well for that. The dynamic mic is just going to go crazy if I do that, unless I've said it really low. But if I want to be really kind of dark and creepy, there's, there's a tone you can get by doing either a dynamic mic, but I think actually a condenser mike is better at this and turning it up really loud and then talking really soft. This is probably made the most famous by Billie Eilish. If you listen to the way that Billie Eilish talks, you'd like there's this weird thing she's dying where you can really hear her mouth. It's really strange. But what she's doing is she's using a dynamic condenser mike. And she's getting really close to it. And it's really loud and then she's singing really quiet. That gets it. So you hear all of these extra little things in her voice like this. Okay. So it's a scream and loud. But watch. Hey everyone. This is my I can even talk a little bit louder. And you can hear all these weird little things in my voice, like the saliva in my mouth. If you suffer from something called Mrs. this is driving you in same, but this is how someone like Billie Eilish records. It's very strange. But if you want to get a really creepy sound where you hear this, all of these extra little sounds, nice and loud. This is how you do it. Condenser microphone, turn it up really loud, and then talk really quiet. And there'll be able to hear all these extra little creepy sounds in there. Okay. And half of that. So what did we learn from me? This SM7 is the best, 17, B is the best one. Out of these three, I'm going to go with the 50 seven as my number two, it's less sensitive, less noisy. This one is actually a great Mike. If we took the time to dial it in and just write. 11. Microphone Placement: Okay, let's talk about my placement for dialogue. First. Keep them like the general rule is six to 12 inches from someone's mouth when they're talking. So if this is the microphone, six and 12 inches is roughly where you want, it's not a direct science, but it's a good rule of thumb. Speaking of thumbs, the way I think about it is I'm a normal height person roughly with normal size hands, and this is about eight inches. So if I go like this, It's roughly eight inches, so another couple inches by 10 inches. That's pretty good. Okay. So you know, about this far, if I wanted to be scientific, this is 12 inches. Perfect. But somewhere in that range, you don't want to be right up on it unless you're trying to do that Billie Eilish thing, you don't want it too far away. So six and 12 inches is the general rule. Next, don't go straight on, right. So go down and up or up and down a little bit. So either a little bit high pointed down at the mouth or a little bit low pointed up at the mouth. You can see this one. It's a little bit low, pointed out. The reason is, is it prevents some of the popping sounds and extra wind that comes out of our mouth. You don't want it too much. You don't want it like this, like baba, baba, baba. Then we're going to miss the, the majority of the tone coming out of our mouth, but just down a little bit and pointed. You always want to the mike pointed directly at the mouth. But you generally don't want it straight. You want to a little down, pointed out a little bit up. Next. Reflective things, really reflective surfaces, don't put those right behind you or in front of you. So if I had my back to a wall and that wall was just like drywall or brick or something like that. And I was recording like this with that back behind me, that would not be good. That's very reflective surface in sound is going to hit it and bounce back towards the mic. Same thing on the other side of the mike. Don't put your mike right up against a wall because sound's going to bounce off it and come back. Being in the middle of a room is fine. Putting something that's the opposite of reflective in front of you or behind the mic or both is better. So that, that absorbs a sound and makes a really nice sound. So if you've got some big velvet drapes, sit with your back to those, those are nice or speak into those. Those are good at absorbing sound. Any real soft material is generally good at absorbing sound. That's what these big black things are on my walls. They their insulation that absorbs sound. So keeping that both in behind the mic and behind the person talking, it's generally a good thing to do if you can. The next thing is pop filters and wind screens. Let's devote a whole nother video to talking about wind screens and pop filters, because you always want to use one. 12. Using a Pop Filter: Okay, so I have here three different kinds of wind screens or pop filters. So let's go through each one. This first kind is this is really a traditional wind screen. It's usually got a clip. You click this on the mic stand and you put it in front of the mic like that. So you're my kids here. You click this on and do that. That's pretty good. Sometimes these are just metal mesh and what they do is they stop the air. They stopped some of the air going directly into the microphone. So that when you do things like it doesn't go into the microphone, the extra air does it. Some of it will because these are mesh in the air, goes through them. But it stops the majority of the extra air. So when screens are good. Another kind is a more traditional pop filter. This is still phones thing goes over and microphone. This one does it fit this microphone but that doesn't really matter. So when it was over the microphone and it does the same thing, catches that extra air so that when you do pop, pop, it doesn't go all the way into the microphone and make it click. You can see this microphone, the SM7 has a pop filter built into it. It's actually really soft. So if I go papa, papa, papa, it doesn't clip very much because it's got a windscreen built into it. This third one, this is called a recoat cover. The company is recoat. Our y, c o, t, write code. These are basically like a wool sweater for your microphone. These protect a lot of air and they're kind of overkill for our situation here. These are really designed for if you're recording outside and it's really when this is where you would use a write code, there are really thick. And they're like this big, big first stuff, stake. They're cool and they look cool. But this is going to stop too much air. This is going to prevent you from hearing some of the sound in a situation that we are going for net. So of these three things, which is the best to use. This one. When screens are good, pop filters better. If you're inside and recording, get one of these things. You can find it for like a dollar. They're like nothing. And if you don't have one, putting a sock over your microphone can work just as well. Just put it on there that will prevent a lot of the sound. Always for dialogue, use one of these. 13. Hardware Setup: Okay, so let's go through one more time our hardware setup. So what we need to do is we need to have our microphone plugged into our audio interface. Now your microphone may or may not need phantom power, and you can find that control on your audio interface that needs phantom power. You're going to see a little button says plus 48 V, or phantom power. For me, for this one, it's right there. So then your audio interface connects to your computer and you bring the sound it. If you're using a condenser mike, it needs phantom power for using dynamic market does. Now for this situation in which we're talking about a single person sitting in a room or not a single person necessarily, but a person sitting by themselves in a room recording. That's really all you need. You don't need a mixer, you don't need effects, you don't need anything like that. You can go directly into the audio of it in her face and the audio interface directly into the computer. Sometimes you'll see podcasting setups where people are using a mixer. And that's for if they have many people talking at once and they want to record it into a two-track situation. We'll talk more about that shortly. But for just a single person or a person by themselves, I should stop saying that. It's fairly simple setup. We don't really need anything else. We're good to go. So let's talk again. Let's talk a little bit about Audacity, since I haven't really talked about what this program is and how to use it yet. 14. Using Audacity: Okay, this program, audacity is free program. And I like it for this kinda thing because it's simple. As you know, I'm a big Ableton Live user. And you can totally use Ableton Live or any DAW for this kind of thing. And it works great. But you can also use much more simple things for something like podcasting. So it normally when I'm doing professional audio work, if I see somebody using GarageBand, I'm really kinda get down on it because Garage bands not really a professional audio tool. However, for podcasting, barrage fans, kind of fine. That's all you need and audacity to. So in Audacity, all I really need to do is use this top row here and set my audio interface. Set my microphone, set up how I want to record from channel one. And what I want it to play out of after we've recorded. And then I can go to Tracks and add new tracks. I can do some functions of the DAW in audacity. I can like if I add another track, I can't do things like this, copy paste. And then I can grab this and I can move this around. So this can work like a DAW. And if we wanted to be technical, I guess we would call it a DAW. However, I've seen people try to produce whole tracks and audacity and come very close to a mental breakdown because it's really not meant to do that. And it's not very good at handling like tons of tracks and doing all this stuff. I mean, it's not as pretty as the other programs and it's just really cumbersome to do that. Do not do that. But if you're just working with two tracks and they're just dialogue, and you just need to do a couple little like edits here and there and not much else than Audacity can be a great simple solution. So generally I like it for that. It's also has one effect built into it that works better than any other effect at this one particular thing. And that one particular thing is noise reduction. It's got a built-in noise reduction tool that I'll show you how to use later. That is really dynamite. It's a really good Noise Reduction tool. So for example, if I wanted to get rid of this noise, I could do it really easily. Let me just try it. So it's kind of a two-step process, but I'm just gonna do it. They got rid of quite a bit of the noise. I'll undo it. You can see it come back. So it's, it's quite good. I'll talk about how to use that later. But audacity, really simple. I like it. It's free. If you want to use something bigger and better, by all means, go for it. 15. Hardware Modifications: Okay, Next let's talk about multiple people in a room. Now, if we're talking about two people in a room, then we don't really have many modifications we have to do to our Hardware. Everything pretty much works the same. We should be able to plug in two microphones to an audio interface. Or if you're using USB mics, should be able to plug in two to your audio software. Then in the settings, you would say you want to record on channels 1 and 2. And it should automatically record the first microphone here and the second microphone here. Easy enough. It gets more complicated when you're talking about more than two people though. Okay, so we need to think about what a stereo track is first. So typically, we can only plug two microphones in at a time unless you have an audio interface that lets you plug in a bunch more like in our studio. We have the ability to plug in I think 24 mikes at a time. But if you're working at home, you know, you might have to mix tops. So if that's true, you might need to incorporate a mixer. Can know what a mixer is going to do is instead of recording each mike on its own channel in your software, what you're gonna do is run all the mics into the soft, into the mixer. And then you're going to run out of the mixer into your audio interface or your computer as two channels. And essentially then you're talking about a right and a left. Okay? So basically what you need to do is what we call a submix. So you would have a fader. Let me show you what this looks like on a mixer. Okay, So here's a simple four channel mixer. With this, we can plug in four microphones k. Then we could run the output here where it says Main Out. We'd use to instrument cables, quarter-inch cables, and we'd run those into our interface. So we're only going to record these two things, which is what's going to come out of our main mixer here, our main volume control here. Okay, so we can plug in four microphones and then control their volumes here so we can set a nice level and then send the output to our interface. The problem with doing this though, is that once you set these levels and then send it to your computer from here, you can't change those levels, right? These are done. There are written into the recording. So if one of them is too loud, you can't go back and mix it in the software. All four are going to come in on both channels of our audio interface. So that's less good. We want to avoid this situation if we can. So let me say this again. The reason you would need to do this is if you want to record more microphone's, then your audio interface will allow. If your audio interface is only going to let you plug in to microphone's, then you're going to need a mixer to plug in all of your microphones and then send them mixer to your computer. The less good situation, but it can be okay to get you through a situation. So if you have two inputs and you're recording two people, one person per input. Easy. If you're recording more people and you only have two inputs, then you're going to have to use a mixer to get them down to a single signal that you can send to your computer. If you have all the inputs, if you have four inputs and want to record for people, It's great. One person per input. Easy enough. So that's the caveat with recording more than two people. Okay, So let's talk a little bit more about this idea of multi-track recording versus a stereo recording. It's good doing a video for that. 16. Recording To Two Track or MultiTrack?: Okay, in this video, I'm going to say kind of a similar thing that I said in the previous video, but I'm going to try to clarify one element of it. There are two ways that we can record our signals coming in as stereo or as multi-track. Okay? So if I'm gonna do a stereo recording, here's, I'm going to do see how it says stereo or mono. Let's say stereo. Okay, now I'm going to record my mic. Check 1, 2, check 12. Okay. So we recorded a stereo recording, but I did it with one like, so that means that one channel has a signal in one channel, does it from recording two mikes. Then it's going to put one signal on each channel, and then it's great. Okay? But if I'm only recording one mic that I don't want to do this. I want to record mono. Because then let me do that. So let's make a new session. One, Mike Mano, I record it and now I don't have a blank channel. Okay, you don't want that blank channel like this. So if you're recording three things, you can either record three of them to their own track. Like, which would look like this. Okay, so we've got three things on three tracks. Or you can take all three things and sum them together and record them as a single stereo track. All, everything into the stereo track. Okay? So if you're going to record that, if you're going to do that all three of them into a single stereo track. You're going to need a mixer or something to sum them together, right? It's less good to do it as a single stereo track. It's better to do them all independently because then I can control the volume of each one independently and I can edit each one independently. So that's preferable. But if you have to, you have a lot of different Mike's going, you might need to use a mixer summit down into just a stereo track. At the end of the day, everything gets some down and do a stereo track. This one that has three tracks. When we're finished with it, we have to export it as two tracks. So it's going to get turned down into this. But before we do that, we will have control over each individual track if we do it this way. Okay, I hope that made sense. Basically do it this way. If you can. 17. Avoiding Signal Bleed: Okay, the next big thing to deal with with multiple people in a room recording is signaled, delete. Okay. Bleed is I'm talking into this mic, but that Mike's picking it up. That's bleed. So the best way to deal with bleed as get to people as far apart as possible on they don't need to be an opposite corners of the room. Unless you're using to really sensitive condenser microphones, then they might need to be that far away. But if you're using a dynamic microphone, and this might be a case where you would prefer to use a dynamic microphone to prevent bleed because there'll be better at not getting as much bleed because they're less sensitive. If you're using to dynamic microphones. Having people, you know, 10 or 15 feet apart could be okay. Make sure that the microphones aren't pointed at each other. So if I'm recording this mike like this, the other person isn't here or behind me or anything like that. Right. We want them to be way over there and we want there. Mike pointed like that. So that the mikes have the least opportunity to hear each other. Basically, they can be closer if, you know, you might sit at a desk where we're sitting right across from each other. And the mikes are set up just like this where I'm talking and you're talking, there's going to be bleed there. But that's how I see a lot of podcasting studios do it. These rooms that are set up for podcasting. They have tables set up just like that, where there's just two people talking like this. And it's not very good. There's going to be a lot of bleed there. So I would avoid doing that if you can. The other thing you can do is do something to isolate the two microphones or the two sound sources. So put something in between these two. If you can put a curtain and acoustic sheet. We have these things called Go bows and RStudio, that is this big rolling kind of acoustic wall. And if people are right on opposite sides of that with that acoustic wall in between, you'll be able to see each other, but it'll be great. Let me know bleed. So that's a really good way to do it. If you need to see each other than just get farther apart and face an opposite directions like that. You know, farther. The more of that you can get rid of the better. But if there's a little bit, it's not going to kill you, you'll be fine. There's always going to be a little bit of bleed and just about everything you do when you're talking about recording. Most of it you can deal with. It's just when it's bad, it prevents you being able to mix it very well. So we want to avoid it as much as humanly possible. But there's always going to be a little bit in there and that's okay. But we try to avoid it. 18. Acoustics: Don't forget about acoustics when you're dealing with two people in a room, make sure that both people have the best acoustic properties around their microphone. Something soft and sound absorbing behind them and in front of the mic. Whenever possible. Also, pop screen, pop filter, windscreen, raincoat. If you don't use a record, whatever you have to do. So anything that absorbs sound, soft things, avoid hard, flat walls. Windows are terrible for acoustics. They're awful. Glass is like the most sound reflective material, not the most, but one of the most sound reflective materials we have. So avoid being right next to a window, especially having that window behind you if there's going to be a window anywhere, have it right next to you while I mean, as far away as possible, but next to you if you can, not in front of you or behind you. 19. Hardware Modifications: Okay. Multiple people in multiple rooms. So I'm here, I'm recording with somebody who's in the next room over. This actually eliminates a lot of problems, right? You're not going to get bleed as long as you have the door is closed and the windows closed and all of that. It does make one big problem though, which is how to acoustically isolate yourself from each other and still get a cable through the wall. Now, you can do weird things like if you've got a drop ceiling, you can throw it through the ceiling. If you've got some dockworkers, something going through the door, you can do that. You can pinch it under the door a lot of the time and then wrap a towel around it and that'll make it so there's no extra area for sound to get through. All of that works. Wireless options generally aren't going to work, so you're going to have to do something like that. The best way. If, you know, money is no object and if you can absolutely destroy the place they are working in, the best way is to install a a little patch bay. So you would basically install into the wall just like it looks kind of like a light socket, except one, it's a XLR cable input on both sides. So someone on that side of the walls plugs into that socket. You on this side of the wall plugs into that socket and then you plug it into the computer. Then that person's over there. You're over here. Everything looks great. Again, if you need to use a if you have more than two people, but you have like three people in three different rooms or four people in four different rooms, then you might need a mixer to get yourself down to two tracks. That's roughly the same as the previous one. So there is not much different in this situation other than your bleed is going to be better from being in multiple rooms. It's good to do that. If you can solve the getting the cable through the wall situation. 20. Acoustic Isolation: Now let's talk a little bit about this idea of acoustic isolation. Lot of people think they need to be in a soundproof room to do this and you don't, you don't need a soundproof room. And in actuality, you're never gonna get really a soundproof room. Soundproof rooms are extremely expensive to build and unnecessary. What you want is a quiet room, something where you're not going to hear a lot of extra noise, but it doesn't need to be soundproof. If I have someone in the next room over for me and I just had a normal drywall walls and they're talking. If I'm as quiet as I can be, I'll be able to hear them. But if I set my makeup right, it won't be able to hear them. So don't worry about having an an acoustically soundproofed room. You don't need that. I know a lot of people that use a closet for this, they go in the closet. If you've got a room that has a closet and you record one person in the room and one person in the closet, That's actually pretty great. That's not a bad way to do it. You can draw straws for who has to go sit in the closet. I know a lot of reporters who are on location and have to record themselves for the radio doing a report about what's going on in there in Fallujah or something in some hotel room. They will go into the closet of their hotel room and do the thing because it's the quietest spot they've got. I know a rapper who records everything in her closet. She just has a little, she's put up some little acoustic padding and her closet, and that's what your users got a good mic and goes into closet records everything. Closets are actually pretty great. They're not soundproof. They're far from soundproof. But for recording, dialogue and even singing, they can work really well. So you don't need soundproof room. You need a quiet room. That's all. 21. Using Your Phone: Okay, Let's talk about multiple people in multiple locations, k and I'm going to focus this on you've got two people in different countries, right? And whether or not they're in right next door or in a different country, doesn't matter. If they're in different locations, are in different locations. This isn't as simple as getting a cable through the door, right? Because now we've got a, you know, we're not going to get 1000 mile long cable. So we've got to come up with something else here. And there are some good solutions for this. This is actually kind of a fun thing to, to figure out. There are multiple ways that people do this. And the first way is the least good way, but it can work in a pinch. And that's just to do it over the phone. You can you can use your phone. You can get an app that will record both sides of the conversation. So that you, if you do that, you're going to sound like you're both on the phone. Okay. Less, good. Slightly better is for me to be here with good Mike talking on the phone and then put my phone on speaker and do this kind of thing, right? Like Mike, my phone speaker, which I think is down here and get the person talking on the other end of the phone. Then I sit here and I just talk like this. I'm being recorded on my mic, so I'm going to have a nice clean signal. This one's not going to sound good because it's coming through a phone, but you'll be able to understand it. So in that case, it'll sound to the listener like I'm gonna get studio and I'm recording somebody on the phone. That can be done. So that certainly is possible and it certainly can work and a lot of people do it that way, but there's a better way. There's a way to do it so that you both sound like you're in a good studio. And that's something called a double ender recording. So let's go to a new video and walk through how to set up a double under recording. 22. The Clapboard: Okay, So step one and doing a double under recordings, we need to understand what this thing is. This is sometimes called a slate, sometimes called a clap board. You may have seen it in old timey movies. They still use them in movies. But I want to talk about what these do because they're important for our double ender recording. The reason they use these in film is because when they're filming a scene, they've got, let's say three different cameras filming the same thing, right? Those three cameras need a way to sync up. So what they do is they all look at this one person with this slate and they hit the thing down and it makes a loud sound, right? That's why these are sometimes called clap boards because they, they sound like a cloud. So they make that loud sound. And then they filled the thing that they're going to film. Then when the person is editing that thing, they go through and they look at the waveform, just the audio waveform of all three cameras. So they take the footage of all three cameras in their computer. They look at the wave form and they find that little spike where that thing hit. And they line those up. Once they line those up, the whole rest of the footage is in sync, right? So they just use that clap sound too, to just manually lineup the cameras. And then they're all in sync. It's great. So when we record a double ender, we need that. We need something like that. Just a little audio sound that we can then use to line everything up. Okay? Now it can be a clap. Clapping works just fine. I've done it where they use a tone. It's anything that just has a harsh attack that's going to make that kind of spike that we need. We're gonna do a little demo of this. And for it I'm going to use my Imperial. So I'm just going to go like this. That's going to be our slate. Okay? So now that we know what a slate is, Let's move on and actually do one of these. 23. The Double-Ender Recording: So the way this works is we're going to basically have the conversation that is the podcast over the phone. So not on speaker phone now. So let's say I'm doing a podcast with somebody who's somewhere far away. What I'm going to do is call them and hold the phone to my ear because I don't want bleed from the phone into my mic here. And then I'm going to tell them to start recording. And I'm going to assume they have a some kind of setup in their location. They have a good microphone, they have software. So I'm gonna say, okay, start recording now. And then they'll start recording. I don't need to do like a 123 go hit record. That's not how we do it. We're going to use a clipboard. So I'm gonna say start recording. And then when they say Okay, I'm recording that, I'm going to say, hold your phone up to your microphone. They're going to hold your phone up their microphone. And then I'm gonna go. And then I'm gonna say, okay, we're Rolon, let's talk. And then we're gonna do our podcast. We're going to talk on the phone the whole time. Then when we're done, we're both going to stop recording on our different ends. And then they're going to send me their audio file. Okay, I'm going to take their audio file. I'm going to throw it in my software with my file. I'm going to look for our little clap or are in baritone, whatever it happens to be. I'm going to line those up. And then the whole rest of the thing, whether it's three hours long, it's going to be perfectly in sync because I just lined up that little hit. Okay, So let's try it. I'm going to set some stuff up and then maybe give it a shot. 24. Double-Ender Demo: Okay. So I have a double under setup with my wife who's in the dining room. So I'm going to call her and get it going. So I'm going to start my recording going. Check 12. Looks good. So start recording. So you started your recording. Okay. Now hold the speaker of your phone, whatever is making sound up to the microphone. Okay. Now you can take it away and tell me a joke. Right? Okay. Good work. Now that concludes our interview. So now you can stop your recording. Okay. Now, I have her recording that was emailed to me. So I'm going to import that into my session. There's air inside. Okay, so now I have both. So now I just need to find that little click. So for me it's definitely right there. So for her, it's probably that it's going to be a lot quieter on her end. But let's just hear it. So solo and hit Play it. Okay, So it's actually that. So we line that up. Looks, that looks pretty good and we'll zoom in a little bit farther. Okay, now they're in line, so everything will work. Now her volume is quite a bit quieter than mine. So we do want to boost the volume of hers a little bit or cut the volume of mine, but because they recorded separately, I have control over that. Maybe I'll just do it just for the heck of it. Let's hear the conversation now. I can take it away. Oops, that's too much. I can do it. Tell me a joke. Joke around and sticky. Okay. So we're both recorded pretty well. I gave her a kind of achieved mike over there. It was a little USB Blue Snowball microphone. So you can hear. It's kinda reverberant around the room. It's not very close because it's not a good directional microwave. But it's still a good quality. Sound, dark brown and sticky. Tell me a joke. And dark brown and sticky so that I do it. 25. Using Music: Okay, so now that we've recorded all our dialogue that we need, there's a handful of things we can do to kinda spruce things up a little bit. First, let's talk about music. Now when you're using music in a podcast, you do have big copyright problems. You can't just use any old music in a podcast without permission. It's not going to work. You're probably not going to be able to publish it because the algorithms are going to spot that music and then kick it out, at least to things like the Apple podcasts, Spotify podcasts. But if you have permission to use the music, or it's music that you've made yourself, or it's music that you found on a public domain site. Or it's just music you're allowed to use for whatever reason, then you can easily add it. So I could say, let me just throw in some music here. And this is some of my music, so I'm allowed to do it. And you're going to want to mix this underneath the dialogue. You generally don't want music happening the same time as dialogue. You might use music for an intro or something like that. So I'm gonna do this, I'm gonna say, okay, this is the beginning. I should have moved this at the same time. Let me redo that. And now I'm going to use this intro music. So what I'm gonna do is I'm going to started off, maybe I'm going to turn the volume down a little bit so that it matches. Then I'm just going to fade it out. Which in Audacity we would do like this. And the fade it out right when the dialogue starts. I use it with, I do it with this little Envelope Tool. And then I faded out to nothing when you give it a little bit of a tail there. So now we've got music happening and then it dies away as the voice, the first voice enters. Let me change my output so that you can hear it. Birding going. Check 12. It looks good. And then that's the start of our podcast. So the biggest thing to think about what music is. First, it doesn't matter that we've now got four tracks going because we don't, this is just music we imported into our session. This isn't music we have to record, so we don't need an input on our interface like we were talking about before. We don't have to deal with that. Four tracks are okay because we're about to export this down to two tracks anyway. We'll do that in just a minute. So that's important. The other thing, it's just important that there are big copyright issues associated with music. Using music in a podcast that you don't own or have permission to use. So be careful about that. Otherwise, you're good to go. 26. Using Sound FX: Okay, sound effects and things like that. This is getting to be pretty rare in podcasts, that people are actually like piping in silly little sound effects. But if you want to do it, you still can. You do it the same way as this and just get those sound effects? So I'm just going to plug another website here, and that's freesound.org. I've talked about this tons of times, but freesound.org is an amazing website. You can get royalty-free sounds for anything, even full music tracks. If you're looking for a place to find music that you can use look there, but also sound effects or anything. You can plot those in and then place them where you want, adjust the volume where you want. But I will say be careful with those. They get to be kind of corny pretty fast. So don't go nuts with sound effects, but do check out freesound.org for all kinds of royalty free and totally free. Music and sound effects that you can use. 27. Mixing: Okay, so the next thing we're gonna do is double-check our mix with this. You're going to want to listen to the whole thing and make sure nothing's clipping. Your edit is good, all of that stuff. So the biggest thing I'm going to look for here is at your master level, which in Audacity is up here. And I'm just gonna make sure it doesn't hit 0 or go above 0. In fact, where I want it for most of the thing is to float somewhere around negative 12 to negative six. Okay? So if I look at it and music, and negative 12, That's good. My dialogue comes in and you're going check 12. Looks good. Okay. It looks like it's knocking. Don't be peaking right around negative 12. That's pretty fine. If this one is really quiet, Let's see where we are here. Let's see that one's quite a bit loud, so I'm going to pull that down. I don't know. Okay. Now there are the two are balanced out a little bit better. I want these both to be about the same level. So this one I had to boost and now I've got to pull it back a little bit, so I boosted it too much. So both of these are in that negative 12 to negative 6 range. On my meter. The music is in that range as well. So everything is working pretty well here. So I'm happy with that. It's time to export it. But before we do, let's talk about noise reduction techniques a little bit. 28. Noise Reduction Techniques: Okay, I want to show you a trick in case you are dealing with a noisy recording and there's noise in the background. There are some ways to get rid of it. Audacity has a really good tool that I think I've already mentioned. I'm going to show you how to use that now. But if you want to go all the way to the top, the probably best tool you can get for noise reduction is a program called RX, and then it's followed by a number. So it's like RX-7 I think is the current version are X6. That's like professional noise reduction. So let me just show you how this works. I'm going to make a noisy recording by recording myself with a noise machine behind me. So I have on my phone noise. So I'm going to start recording with some noise. Okay? This is now a very noisy recording. Okay? So let's do that back. Okay? This is now a very noisy recording. Okay, so how you use the audacity Noise Reduction tool and let me just say, when I'm using Ableton Live or any audio pro audio tool, if I really need to remove noise, I might use RX, but a lot of the time I just bounce it over to Audacity and use this tool because it's simple and it works really, really well. Okay? So what you do, first, you have to select some just noise, okay? So not the thing you want to keep, but just the noise. Okay? Then you go into effect and noise reduction. Okay? You can play around with these settings if you want. Actually in the first step, you can't. So just step 1, get noise profile. Okay, That's it. It's going to look like nothing happened and nothing did happen. It's still there. It's still noisy. But now that we've done step 1, then we're going to select the whole thing and go right back to it. Effect noise reduction. Now you can play around with these if you want, but I'm just going to leave them as the default and say, Okay, right now Let's hear it. Okay? This is now a very noisy recording. Okay, the noise is a lot less. Let's try it again. And let's go quite a bit harder on the noise reduction. Now it's here. Okay. This is now a very noisy recording. No noise at all. I got, I went a little too aggressive and you can hear some kind of weird glitches in the audio. Here is now a very noisy recording by degraded the audio a little bit. But if you play around with that amount, you can find a sweet spot. Totally eliminate all noise. It's an, a fantastic tool. So if you end up finding yourself with noise in the background, try this tool and it'll totally knock it out. 29. Export Settings: Okay, Now we need to export our file. Now for most podcasts, you need to get it down to an MP3 file. So that's what we're going for. So what we're gonna do here is we're gonna go to File Export As MP3. Now if you're in Audacity, it might prompt you here to install something called the lame MP3 and coder. Do that in. Once you've installed that, it's going to let you export as MP3. Now the settings we want, this is a tricky thing because what we need to do is get this file as small as possible, but not sacrifice any of the audio, right? So I'm going to give it a title of episode one. Sure. So the ideal settings is bit rate mode. Let's go to constant. And now we've got some settings here for bit rate. Now, this is what differentiates the kind of lower-quality podcasts and the higher-quality podcasts, low quality podcasts set at around 40. And that gets their file nice and small. But it also doesn't quite sound as good. High-quality podcasts that a little bit higher, the highest you want to go as a 128. I can tell you for fact that the podcast 99 percent invisible, they export there is at a 128. That's, that's like a very high-quality podcasts. A show like This. American Life exports there is at 64. Okay, and that's a very high-quality Podcast 2. So let's be high-quality here and let's set it to a 100128. Okay, That's gonna take out the variable speed thing, and then we want a stereo file. Okay, So now we're good to go and hit Save, except we don't have the option here. But if you're in a different piece of software and it does give you the option to normalize. There's something called normalize. Click that. Because we can set the normalization to be negative one. And what that means is it's going to boost the volume of the whole thing to get it right at the top. Okay? You don't have to do that because we set our levels to be nice and good. There aren't good spot. But normalizing to negative one. So if you see a box for normalizing, usually it'll give you an option for normalized to what, say negative one. And that'll boost the volume a little bit. It'll sound is a little bit better. But we don't have normalizing here. So that's okay. We're just going to hit Save. Now on this next screen, it's going to ask you for metadata, and this is important in an mp3. Okay, so fill all of this out. Okay, so make sure that you type in things here that matter to your podcast. There's some of these things feel weird, but for artist's name, I would put your name for Track Name. I would put the title of the episode, the album title. I would put the title of the podcast, track number, maybe leave blank. Year, genre and comments, urine, genre, all work. Comments you can leave blank if you want. Okay, then we're gonna say okay to that. And now it's going to export it and make our podcast. 30. How Podcast Hosting Works: Okay, so we've got our podcasts made. The next thing we need to do, and kinda the last thing is get our podcasts out there. Now, a number of sites have come up or services I should say, have come up that have really turned into the go-to place for podcasts. And what you really need to do is be on those services, right? There's no reason you can't just throw your podcast on any old website and say it's out. It is. Because remember, a podcast is just an MP3 file accessible on a website. That's all it really is. So you can throw it on any old website and say there it is, send the link out to your friends and then it's up. But that's not going to draw you in a lot of followers. You need it to be out and available to people. And people are looking for podcasts on the big podcasting services, spotify podcasts, Apple podcasts, Amazon podcasts, those are probably, or sorry, Google Podcasts. Those are probably the big three, but there are a few other smaller ones too. So the way these work is there's really two things that have to happen. You have to get your file on the Internet somewhere. And then you need to get what's called an RSS feed to those services. And what that RSS feed does is it gives those services all the info that they need about your podcasts. Let's simplify it a little bit and just say the RSS feed is a text file. That text has all of the notes, the authors, the publisher information, everything that somebody would need to see when they click on your podcast. Critically. That text also has the location of your file on the Internet somewhere. Okay, so let's say you upload your audio file to to your Google Drive. Okay, You could do that. And then you generate an RSS feed for that file, the text that we're talking about. And you say this is my podcast. Episode one is located here and you give the URL on your Google Drive. Then it will show up. Once you submit it to all of the podcasts services, it'll show up on on those services. So that's kind of the hard way to do it. There's an easier way. So let's go into the kinda two main ways that people deal with this process. The first is self-hosted, which I generally, which is generally what I just described. And the second is using a distributor, which is way easier. So let's talk about those two things next. 31. Self Hosted: Okay, in doing the method that we call self-hosting, the way at the thing I just described in the last one where we put the file on the Internet somewhere, even like your Google Drive. And then you distribute text out to everybody. All the different services. That has a few drawbacks. First is the file itself. You have to make sure that that file does not move. If that file moves, then that link that's in all of those RSS feeds, the text, that link isn't going to work anymore, it's going to break. And then your podcast is going to be broken and then it's going to get taken down from Spotify podcasts or whatever. So we can't let that happen. So you need to put it in a place where it's never ever going to move. So something like Google Drives, not a great option for that Dropbox. Even worse. The other thing is that you're going to have to keep track of all of those RSS feeds and getting them out to all of the different services. And when a new service pops up, you're going to need to be on your game and get the info about your podcasts over to them. And that's probably not very hard to do if you have a staff. If you have a staff of one or two people who can keep track of all of that stuff for you, then this is probably a fairly easy thing to do. But if you're just someone who's making a podcast for fun and hopes to maybe make a little bit of money off it, then you probably don't have a staff to do that for you. So keeping track of all that's quite difficult. So what I'm going to recommend is we do a different method, and instead of doing any of that, Let's use a distributor. This is a company where we're going to upload our podcasts to them. And they're gonna deal with everything. They're going to deal with hosting the audio file, the actual MP3. And they're gonna deal with generating that RSS feed and getting it to all of the services. That way it's always up to date. I never have to worry about it going down or getting lost or anything. So let's talk about how these services work and I'll point out a few of the more popular ones. 32. Using a Distributor: Okay, So if you wanna do use a podcast distributor, some of them have a fee, so you're going have to pay money for them. And some of them are free, but they probably take a little chunk of any ad revenue that's being generated. However, cool thing is, some of them can set up ad revenue for you also, which is a whole other can of worms to deal with. So let's look at some of them. First of all, I'm here on the spot, Spotify podcasting information page and they're actually recommending you use this service called anchor. So this is anchor. So you can see here what they're saying is one-click distribution. You upload your stuff and they're gonna get it to Spotify, Apple Podcasts, Google Podcasts, and more. So virtually all the platforms. So this service will even help you record it if you want to. Design episodes. They've got some background music, royalty free that you can use. And let's look at what it costs. Okay. Upload an unlimited number of episodes and no monthly fee, no trial period, no catch. There's gotta be a catch. And I bet the catch is that they are there. They're setting up ad revenue for you and then they're going to take a little piece of it, which is, you know, fair. Okay, So that's anchor, That's one possibility. Another one is Buzz sprout. This is a really popular one, a similar service. This one actually is more up front about their pricing. Free if you upload two hours or less of month. Episodes hosted for 90 days, limited to hours each month. So that go down after 90 days. That's ox for $12 a month. You get three hours each month. Episode hosted forever. Okay, so and it's a little price year, 12 hours a month. You get good statistics here. Getting all the podcast directories can get transcription. This looks a little pricey to me, but this is a popular one. Another one is pod served at fm. Let's look at the pricing here. $19 a month. Unlimited storage, unlimited podcasts. They do some promotion for you. All the platforms, analytics. So that looks pretty good. One thing to keep in mind with some of these services is that this one says unlimited storage and unlimited podcasts, but it's a monthly fee. So that probably means when you stop paying the monthly fee, your podcasts are probably going to go away. So you'd want to keep a copy of all of your info so that you can move it to a new distributor if you decide to do that or go to a self-hosting model if you decide to do that. So all of these are great options, even at this $120 a month for your podcasts is not that much. You know, that's pretty reasonable to me. I like the pricing of this one better than both sprout once 24 month and you're limited to 12 hours. Why bother? You might as well do $20 a month and be unlimited and have unlimited podcasts. So my strong preference would be to use one of these distributors. Pick one that fits your needs and published with one of these, then you don't have to worry about that. Rss feed, hosting, promotion, even advertising revenue can all be set up through one of these services. And then you're good to go. 33. What Comes Next?: All right, We've got to the end of this whirlwind class on recording podcasts. If you want to go further down this rabbit hole, a couple of things I would recommend. First, I have a bunch of classes on audio recording in general. Any of these would be great for you to check out. Just search for studio techniques here on this website and you'll find a bunch of classes that I've made about different kinds of audio recording. All of that can be helpful to you. Second, if you're interested in some of the copyright issues I talked about, I do have a number of classes here on copyright and the kind of legal issues around using music for various things. Search for the musicians guide, series of classes. I published a whole bunch of classes on musicians guide to copyright, performing rights, licensing, all of that stuff that'll help you solve some of those problems you might be facing. And last, if you want to get more comfortable using some of the more professional quality software like Ableton Live. I have an insane amount of Ableton Live classes here. Check out that, that'll get it. So you can do some more advanced editing and producing of your pie gas. Okay, So that being said, two more quick things for you before we go, let's go to a new video and I'll give you those. 34. Bonus Lecture: Hey everyone, want to learn more about what I'm up to you. You can sign up for my e-mail list here. And if you do that, I'll let you know about when new courses are released and when I make additions or changes to courses you're already enrolled in. Also, check out on this site. I post a lot of stuff there and I check into it every day. So please come hang out with me. And one of those two places are or both? And we'll see you there.