Christopher Breen

Chris in the first place did his redaction in GarageBand , because he wanted to makeenhancedpodcasts — AAC filing cabinet with engraft chapters , links , and images — which GarageBand supports . But he found blue-pencil in that app irksome . Among other thing , it lack aripple - deletefunction , which mechanically moves the audio following a subdivision you ’re cutting to the point where you made the cut . Also , he found GarageBand ’s audio effects and interference - removal tool too limited , and there ’s no built - in means to polish off occlusive .

So now he usesAdobe Audition . He likes it because “ it feels like a literal audio editor , something plan for radio and film economic consumption . ” If he has a problem with something , he has religious belief that Audition has a root . The only thing he does n’t like about Audition : Adobe ’s subscription model . Once his current visitation sub run out , he ’s going to calculate for another shaft , because “ it ’s not worth paying Adobe ’s originative Cloud Mary Leontyne Price for this individual applications programme . ”

Scanning overall volume layer in Audition .

audition podcasting

Once he ’s gathered together the various tracks , he pulls them into sense of hearing and line them up so they ’re in sync . He check off the waveform for each track to get an idea of its ecumenical loudness . He prefers to adjust the overall volume of a path before applying any effects . He uses Audition ’s multiband compressor to give speakers more of an “ FM Radio phone ” and to punch up their volume . If someone ’s too loud , he uses a limiter . He now and then fiddles around with a downward expander effect to hide little noise that fall below a sure door ( “ if someone is a sassing smacker or heavy breather ” ) . For plosives , he uses Audition ’s Kill the Mic Rumble preset ( in the FFT Filter ) ; “ it ’s a miracle worker . ”

After making repairs and cuts where necessary , he export the result as a mono AIFF track , which he then import into GarageBand 6 . There , he inserts opening and closing remarks and any advertizement he might have . He moves the element into place , adds opening and closing theme music , and draw in fades ( wither the music out as a voice comes in , for exercise ) . Then he impart the enhancements : adding chapters and graphics , applying URL to chapter , add a description , and mucking with the metadata that will come out in iTunes . Finally , he exports it as a mono spoken podcast to iTunes .

Erika Ensign

It ’s not like Macs have a monopoly on podcast editors .

Erika is a PC person and a one - time scholar of receiving set , TV , and celluloid yield , so she uses a program calledSony Movie Studio Platinumto do her podcast redaction . ( “ I wish the layout and the easy shortcuts and controls . ” ) She simply removes the video recording tracks and works with the audio frequency . She attempt Audacity , but did n’t like it . “ It gets the problem done , but I think it ’s ugly and unintuitive . ”

The show does have a theme Sung dynasty ( a version of the Dr. Who stem as perform by the English bandTraffic Experiment . She necessitate their license to practice it , which they kindly grant . “ It ’s thoroughgoing for us , as it feature distaff vocals . ”

movie studio platinum

She adds sound effects on occasion . ( For lesson , when someone accidentally swear , she supplant it with the sound of theDoctor Who ’s transonic screwdriver ) . When transitioning from one section to another , she use a the sound of aVardan gunfrom the show .

She has a template saved in Movie Studio Platinum with track for music , sound effect , and disjoined audio files . The music track has the opening theme in roughly the spot it should be . The track for the separate audio file already have compression apply and the EQ tweaked for that particular participant ’s voice . She give the template , saves it as the new episode , and deletes the tracks for the contributors who do n’t look on that episode .

When she receive the MP3 file from that week ’s Guest , she tuck them in the appropriate tracks , lines them up , trims off the extra chatter at the first and end , and adds the closing theme euphony . She also use disturbance gates for any Indian file that have distracting ambient noise . If there was a problem with Skype during the call , she ’ll edit out any downtime in the middle . She ’ll also check her note to see if there were any offending background sounds that require attention .

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She then renders the projection as an MP3 at 96kbps .

Jason Snell

Like Chris Breen , Jason used to utilize GarageBand . But over time , he realized that it made it harder to edit podcasts quickly . ( Since he does his podcast in his spare time , speed is of the kernel . )

So he switch toLogic Pro X. It ’s a advanced audio editing app for music pros ; in some ways , it ’s overkill for podcast editing . But “ I ’m two to three - times quicker with the podcast than I was with GarageBand , so it was deserving it . ”

In Logic Pro X , Jason splice together individual track from each podcast player .

garageband podcasting

His work flow depart like this : First , everybody sends him their files . ( Most people just use Dropbox : He has a shared leaflet there that panellist can link up . ) He uses the rebirth tools that come with Call Recorder to convert all files to an uncompressed audio data file ( AIFF ) . He then lend each single file into Logic as its own cartroad . He also imports the Call Recorder recording , which incorporate everyone else ’s voices as he heard them on Skype ; he uses that track to synchronize up the conversation , so everybody ’s separately record tracks describe up in the right time . Once that ’s done , he deletes the Skype track from Logic .

Once everything is in Logic , he uses the Strip Silence control to delete all lot of everyone ’s audio path where there ’s nothing making racket . This has the effect of leaving behind only the parts of their track when people are speaking , making it easy to delete the podcast visually .

His finish is not to take out every “ Um ” or “ Uh , ” but to look for places where people are speak over each other—”deadly when you ’re doing a panel - based podcast . ” Just by looking at Logic , he can see when more than one person is verbalise , then leap out to those blot and either delete the interruptions and fictive beginning or slide them aside from one another , “ so it sounds as if we are all very polite people who never verbalise until somebody else has stopped speaking . ”

Once he ’s done with all that , he export the results to AIFF format , commute that to MP3 using iTunes , and uploads it to the site that hosts his podcast .

Chip Sudderth

buffalo chip spent money on mike , but not on editing software . He records and edit interpreter track with Audacity . ( “ It gives me a level of timber control I never mat I had when I start out in GarageBand . ” ) Once the voice tracks are done , he import them into GarageBand for euphony , transitions and other burden . ( “ GarageBand stay far more intuitive for big - motion-picture show piece of work . ” )

you’re able to indeed redact podcasts in Garageband , though it ’s easier if they ’re shortsighted .

In the interest of saving some time , he usually runs all of the audio tracks throughThe Conversation internet ’s Levelator(which is no longer being actively supported ) rather than manually compressing them . “ I consider Levelator essential for interviews and roundtables . On the other mitt , if you start with hapless - caliber audio , Levelator exacts a terrible price . ”