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Tag Archives: Podcasting

Donner PC-02 Content Creation Workstation Debuts

Donner PC-02 Content Creation Workstation
Donner PC-02 Content Creation Workstation.

Los Angeles, CA (May 26, 2023)—Donner’s new PC-02 Podcast Workstation is meant to be an all-in-one instrument for podcasters, content material creators, recordists and streamers who want an built-in podcast workstation and mixing console.

The PC-02 affords hybrid XLR/jack connectors, excessive acquire/low noise preamps with 48 V phantom energy, 5 motorized faders, DSP processors, and 9 programmable pads for automating mixing capabilities, triggering on-the-fly results, using sound results, taking part in exterior samples and background tracks. The 5 motorized faders (4 channels + 1 grasp) and settings will be saved and managed individually.

The 4 hybrid XLR/jack inputs can join microphones, devices and line-level units (w/ two 48 V phantom energy for condenser mics). Recognizing that having 4 mics in play would possibly effectively imply 4 persons are sitting for a podcast, the unit additionally sports activities a quartet of headphone outputs in addition to a pair of TRS Balanced MainOUTs.

IK Multimedia Launches iLoud MTM Immersive Speaker Mounts

It additionally affords onboard recording and Bluetooth functionality. The PC-02 can be geared up with the corporate’s newest audio algorithms utilized on its impact pedals; among the many 10 separate voice results included are Noise Gate, Compressor, De-esser, EQ, Reverb, Delay, AutoTune, Pitch, Megaphone, and RobotTalk.

Elsewhere on the unit are an optical audio port; a USB-C port for connecting to your pc or cell phone; and a mic amp providing a acquire boot as much as 52 dB.

Donner PC-02 is transport now and out there at Donner’s Amazon storefront. Suggested road worth is $599.

Mackie DLZ Creator Mixer Unveiled

Mackie DLZ Creator Mixer
Mackie DLZ Creator Mixer.

Bothwell, WA (May 23, 2023)—Mackie has unveiled its DLZ Creator, a brand new mixer aimed toward content material creators starting from podcasters to streamers to recordists.

Primarily, the DLZ Creator is a digital podcast mixer and is outfitted with Mackie’s Mix Agent expertise, which assists, automates and guides setup for customers. The unit sports activities an adaptable interface, DLZ management modes and applicable processing, making it approachable for each established and new customers l.

The Control Modes (Easy, Enhanced, and Pro) permit the contact show to be reconfigured from easy and intuitive to superior and detailed, adapting to the person person’s ability degree with out compromising processing energy or sound high quality. Meanwhile, the Mix Agent setup assistant gives simple setup and automates capabilities, dialing ranges and extra the place they have to be with minimal effort or studying curve.

Mackie Launches EM Mobile Microphone Line

For extra superior customers, Pro Mode unlocks extra options and energy throughout the mixer, permitting the recordist to take management and absolutely customise the product to get a desired sound. AutoMix manages ranges for as much as 4 mics, making use of the unit’s Onyx80 mic preamps. Users also can create personalized headphone mixes for visitors.

Keeping a watch to Mackie’s previous as a go-to for recordists, the DLZ Creator can be utilized to report or stream multitrack audio to a pc by way of USB-C, or straight to an SD card.

The DLZ Creator is accessible for $799.99.

Boss Ships Gigcaster Audio Streaming Mixers

The Gigcaster 8 and Gigcaster 5
The Gigcaster 8 and Gigcaster 5.

Los Angeles, CA (May 12, 2023)—Boss has launched its new collection of audio streaming mixers. Based round two fashions—the Gigcaster 8 and Gigcaster 5—the mixer collection affords sound instruments, music playback features, and mixing options in self-contained desktop hubs.

The 8 is an eight-channel streaming mixer with a direct guitar/bass enter, 4 XLR/TRS combo inputs, an onboard stereo mic, eight sound/impact pads, a 20×14 USB audio interface, and help for onboard multitrack recording to microSD media.

Meanwhile, the 5 is a relatively compact five-channel streaming mixer with a direct guitar/bass enter, two XLR inputs, stereo line enter, eight digital sound/impact pads, 16×12 USB audio interface, and extra.

Roland JD-08 Sound Module – A Mix Real-World Review

The mixers can enable creators to stream on to YouTube, Facebook Live, Twitch and different platforms through USB or use Gigcaster offline to develop content material. Each mannequin sports activities a number of enter channels that enable customers to attach XLR mics and devices, and options processing from the Boss library onboard. Bluetooth audio is accessible for streaming music from a cell gadget, whereas foremost and headphones outputs present sound monitoring for a number of individuals.

Guitarists and bassists can straight join an instrument and play with amps and results derived from the GT-1000 Guitar Effects Processor, whereas vocal results from the VE collection can present compression, pitch correction, delay, reverb and harmonies that robotically observe a set key.

The Boss Gigcaster 5 and Gigcaster 8 can be found for $479 and $699 respectively.

Ambie Awards Honor Podcast Audio Production

Defacto Sound’s Casey Emmerling (left) accepted Twenty Thousand Hertz’s Ambie award for Best Production and Sound Design, while Double Elvis Productions’ Jake Brennan (right) took home Disgraceland’s award for Best Original Score and Music Supervision last night at The Podcast Academy's Third Annual Awards for Excellence in Audio. Photos: Denise Truscello/Getty Images for The Podcast Academy / The Ambies
Defacto Sound’s Casey Emmerling (left) accepted Twenty Thousand Hertz’s Ambie award for Best Production and Sound Design, whereas Double Elvis Productions’ Jake Brennan (proper) took house Disgraceland’s award for Best Original Score and Music Supervision final night time at The Podcast Academy’s Third Annual Awards for Excellence in Audio. Photos: Denise Truscello/Getty Images for The Podcast Academy / The Ambies

Las Vegas, NV (March 8, 2023)—Hot on the heels of final week’s information that podcast listening has reached record-breaking heights after a startling 2022 post-pandemic drop, the third-annual Ambie Awards have been held final night time in Las Vegas. The occasion, introduced by The Podcast Academy, honors “excellence in podcasting and elevate consciousness and standing of podcasts as a singular and private medium for leisure, data, storytelling and expression.”

New York’s Defacto Sound’s long-running Twenty Thousand Hertz podcast received the Best Production and Sound Design Award. Meanwhile, Jake Brennan, Matt Beaudoin, Ryan Spraker and Bryce Kanzer of Boston-based Double Elvis Productions took house the Best Original Score and Music Supervision trophy for his or her work on Disgraceland.

While the overwhelming majority of the 26 award classes give attention to style—Best Comedy Podcast and so forth—solely a handful give attention to precise podcast manufacturing, highlighting writing (fiction and nonfiction) and reporting in addition to the 2 audio-related awards for unique rating/music supervision and manufacturing/sound design.

Twenty Thousand Hertz host Dallas Taylor uses the stories behind famous sounds to take a deeper look at what sound is and means in the modern world. Photo: Natalie Shields
Twenty Thousand Hertz host Dallas Taylor makes use of the tales behind well-known sounds to take a deeper take a look at what sound is and means within the trendy world. Photo: Natalie Shields

Created by Defacto Sound—a sound design home that has labored with Tesla, HBO, Discovery and lots of extra—Twenty Thousand Hertz is a podcast centered on the histories of modern-day sounds and the way we expertise them. Hosted by Defacto’s artistic director Dallas Taylor, the present appears to be like at every thing from the origins of the Netflix “Ta-Dum” and Seinfeld’s signature slap-bass riffs, to extra technical matters just like the Loudness Wars and the way NASA communicates with astronauts.

Interviewed for Pro Sound News in 2020, Taylor defined the present’s ethos, noting, “I needed to make one thing that began to carry the enjoyment to sound itself, virtually like a chef’s desk really feel, however for sound, to hopefully get tradition extra in tune and extra aware about their sense of listening to.”

He added that educating the general public about sound and audio advantages each medium, from podcasting to movie, as he defined, “If the business itself—the place we solely have visuals and sounds—nonetheless has a tough time figuring out sound as a very artistic storytelling instrument, then I believe the remainder of the world in all probability nonetheless has a tough time with this.”

Berklee assistant professor of music production/engineering by day, podcast producer by night, Matthew Beaudoin was one of the winners last night for Disgraceland. Photo: Double Elvis Productions
Berklee assistant professor of music manufacturing/engineering by day, podcast producer by night time, Matthew Beaudoin was one of many winners final night time for Disgraceland. Photo: Double Elvis Productions

Winning the Ambie for Best Original Score and Music Supervision was Double Elvis Productions’ podcast Disgraceland, a long-running true-crime present that appears on the dramatic, typically troubled pasts of musical icons like Led Zeppelin, Sid Vicious, Mac Miller, Chris Brown and others. As the present’s senior producer Matthew Beaudoin instructed Pro Sound News in 2020, “[We are] very a lot centered on, ‘How can we get music to help this narrative that we’re telling? How can we get the music to work in live performance to help that narrative, and make the expertise as immersive as attainable?’”

Online Audio, Podcast Listening Bounce Back in 2023

Podcast listening bounces back
New York, NY (March 3, 2023)—After a lower in listenership final yr, elevating considerations that the format was a fad, podcast listening has bounced again and reached a file excessive, in accordance with Edison Research’s newly launched annual report, The Infinite Dial 2023. Additionally, listening to all types of on-line audio has additionally reached new heights as nicely. These findings are necessary for the pro-audio and studio sectors, each of that are important elements of the content material provide chain for radio, streaming providers and podcast networks.

While podcasting surged in recognition during the last 10 years, it was through the peak of social-distancing lockdowns in 2020 that the audio format really exploded, reaching new heights as Americans with an excessive amount of time on their arms hungered for leisure and dialog—and located a little bit of each in podcasts. That avid listening, nevertheless, fell off as COVID restrictions lifted.

However, the brand new 2023 report finds that month-to-month and weekly podcast listening have bounced again in an enormous means. A full 42% of Americans 12+ have listened to 1 within the final month—a brand new all-time excessive and up from 38% final yr, and 31% of Americans 12+ have listened to a podcast within the final week, up 26% year-over-year.

podcast

Who’s listening? Well, the vast majority of Americans ages 12-54 (53%) have listened to a podcast within the final month, and 39% % of Americans ages 12-54 have listened to a podcast within the final week. Not everyone seems to be enamored with the audio format, nevertheless; podcast listening continues to be stagnant amongst these 55+, with solely 21% of Americans in that age group listening to a podcast within the final month, and solely 14% within the final week.

Not solely are folks listening extra usually, nevertheless, however they’re additionally listening to extra podcasts, interval. Weekly podcast listeners heard a mean of 9 podcast episodes within the final week, up from eight episodes in 2022. The post-COVID return to commuting comes into play with regards to podcast listening—38% of U.S. adults age 18+ who’ve ridden in a automobile within the final month say they take heed to podcasts within the automobile, up from 32% final yr.

Frank Gallagher: ‘Soundman Confidential’ Talks Talking Heads, B-52’s and the Evolution of Live Sound

Edison Research vp Megan Lazovick famous with the report’s debut that “After two earlier annual research that confirmed clear results from the COVID-19 disruptions, the developments in audio and social media habits appear to be again on sample.”

The full examine will be downloaded without cost.

Frank Gallagher: ‘Soundman Confidential’ Talks Talking Heads, B-52’s and the Evolution of Touring Sound

Frank Gallagher, seen here line-checking the B-52’s at New York City’s Beacon Theatre, has started his own podcast, Soundman Confidential, to explore the artist/engineer relationship.
Frank Gallagher, seen here line-checking the B-52’s at New York City’s Beacon Theatre, has started his own podcast, Soundman Confidential, to explore the artist/engineer relationship.

New York, NY (February 9, 2023)—Frank Gallagher has a keen ear for two things—mixing a band and telling a story—and with a resume that includes engineering Talking Heads, Simple Minds, The Go-Go’s, The Bangles, Gang of Four, Buddy Guy, Suzi Quatro, Marshall Crenshaw, Skunk Baxter and dozens more on the road, he’s done a lot of one, which has led to a lot of the other. Blessed with a wry sense of humor and a Scots accent that sounds like a sly grin, there are few things he can’t get away with saying—which may explain his longevity in the field.

“I tell bands, if you’re not giving me what I need, there’s no point in me being here— you may want to find somebody else, because I’m not going to sit here and suffer and do damage control,” said the veteran FOH engineer, speaking backstage at New York City’s Beacon Theatre during a recent stop on the B-52’s farewell tour. “This band here, I’m going to give them notes tonight on the show last night. I’m a socialist when it comes to a show—we’re all equal, we’re all in this together!”

Gallagher’s Live Sound CV is epic—there’s also stints running a hip London eatery in the Seventies, helping open and book New York’s legendary Irving Plaza in the Eighties, production managing San Francisco’s annual OysterFest for 16 years, doing corporate audio to this day and more—but in recent times, he’s added another occupation to the list: Podcast host. An offshoot of an autobiography in the works, Soundman Confidential finds him talking to old pals and acquaintances, from rockers (Vernon Reid, Davey Johnstone and virtually all the aforementioned artists) to fellow audio pros (Ed Stasium, Steve Lillywhite).

“Originally, the premise was to explore the relationship between the soundman and the band,” he said. “How does what we do get in us— because sound is in us. I remember this vividly: I was three years old, living in a little Scottish mining village. Every year, the traveling fair would come by, and that was the first loud music I heard; it had to be loud to get over the hum of the generators. The speakers were big [Altec Lansing] Voice of the Theater models and they had these Vortexion amplifiers—metal, military-grade P.A. amplifiers that looked like an ammo case and were indestructible.”

The lure of loud sounds eventually snared Gallagher for good (“I got in a van in 1966 and never got out”) and by the early 1970s, he was mixing Suzi Quatro around the world on three prototype WEM six-channel mixers daisy-chained together and WEM Festival Stacks: “Incredibly clean, and you could do 4,000 people with a couple of bins; they’d blow the ice cream outta your cone.”

MIX SIDEBAR: Take Me to the Rink—Mixing Talking Heads Live

Moving on to work at UK audio provider Concert Sound, Gallagher was immediately sent to start a tour in Switzerland: “They couldn’t get anyone to do it; they said, ‘Pick up these two American bands in Zurich’—and it was Ramones and Talking Heads. Ramones had a full crew; Talking Heads had no roadies, no music out in Europe, nothing. The second man on the P.A. got to mix the opener, so I set them up at the Volkshaus in Zurich, and barely got a line check. They opened the doors, the place was sold out. Talking Heads came on stage, and first song, I was busy getting a mix. Second song, I began to pay attention. Third song, the hairs on the back of my neck stood up—‘Psycho Killer? What is this?!’

“True story: I went back to the hotel after the show, barely knew them, had a wee production meeting with them. I had a cup of tea and I said to Chris and Tina and David, ‘I have no idea what’s going on here— but I want in.’ Instant decision. I don’t believe in coincidences. Fate takes a hand, but you’ve got to be smart enough to take advantage of it; I’ve never been shy about letting people know. Talking Heads brought me to New York for a couple of shows at the Entermedia Theater in New York’s East Village; by that time, they had graduated from CBGBs. We started playing up and down the Eastern seaboard, and in America, I got used to using house systems, which I did not have the luxury of in England; I was so happy!”

The decades that followed found Gallagher moving to the U.S. permanently and honing mixing philosophies that he follows to this day:

  • “I believe in keeping it simple. I tell people it’s because I’m lazy, but that’s not the truth. I’m keeping it simple because I’ve learned the less there is, the less that can go wrong.”
  • “I never listen to the record. If I’ve got preconceived ideas about what’s going to come off the stage and it doesn’t meet expectations set by the record, that’s not really a good place to start. Also, I’m a realist: I have to deal with what’s coming off the stage because that’s all I have.”
  • “When I go into a house these days, I don’t touch the house settings because the guy’s usually got it dialed and why would I want to reinvent the wheel? Also, I want an easy day.”
  • “I don’t go over the top with effects. I’ve got one little reverb on drums and one on vocal—and if you can hear them, you’re lucky. I want it to be there without anybody knowing it’s that there, but when you take it away, you can tell.”
  • “Rock and roll bands are like buses: There’ll be another one along in a minute. Once you get a couple of names on your resume, people think it means something; it doesn’t. You’re only as good as your last show.”

For the B-52’s tour, he adhered to all of those rules and more (“I don’t work for anybody with more than a two-truck tour anymore; the personalities, I don’t want to be dealing with all of that”). For the journey, he opted to mix on a Yamaha CL5 console using only onboard effects (“Never owned a Waves license”), capturing vocals on Shure wireless mics outfitted with Heil PR 30 capsules (“They give me another 10 dB before feedback over anything I’ve heard”).

The jaunt capped off a busy 2022 that saw Gallagher also mix runs with Gang of Four and Skunk Baxter, as well as tech at multiple corporate events. “Post-Covid, people are working again,” he said. “Hugo [Burnham], the drummer from Gang of Four, called and said, ‘Do you want to come out?’ I was quite enjoying being at home—Flagstaff is beautiful—and my wife said, ‘Get out of the house; go do this tour.’ And I’m not gonna say ‘my mojo,’ but my mix is back with a vengeance.”

The B-52’s tour may be over, but Gallagher will see them soon enough, helming the desk for their upcoming Vegas residencies in May and August; more runs with Baxter and Gang of Four, as well as Indian artist L. Shankar, are also in the offing. It’ll be a hectic year ahead, which suits him just fine. “I’ve lived a charmed life,” he admitted. “I’m from a little coal mining village in Scotland, got pulled in by the fairground, and had a restaurant in the middle and a dance hall in Manhattan, so I’m not afraid of anything really. Except my wife. Sometimes.”

Røde RødeCaster Pro II Gets Firmware Update

Røde RødeCaster Pro II
Røde RødeCaster Pro II

Sydney, Australia (January 27, 2023)—Røde has issued a major update for its RødeCaster Pro II content creation mixer with the release of firmware 1.1.1, allowing the unit to now support advanced sub-mixing for all outputs, giving streamers and content creators even more flexibility over their audio.

While the previous update, version 1.0.7, added advanced routing capabilities for the RødeCaster Pro II’s USB outputs for easier integration into streaming setups, the new update takes expands upon that functionality, allowing users to independently adjust the level of every audio input for each of the 10 audio outputs, including the headphone and monitor outputs, the Bluetooth channel, on-board recording mix, and the three USB outputs. The expansion is intended to aid streamers who need to create custom sub-mixes for different audio destinations, such as stream and chat applications and their headphone mix.

Røde NT-USB+ USB Microphone Launches

Firmware 1.1.1 additionally introduces a number of system optimizations and workflow improvements, including the routing of voice effects, which are now applied to each individual channel in multitrack mode, allowing users to capture these effects while maintaining the flexibility in post-production that multitrack recording offers.

The RødeCaster Pro II’s companion software Røde Central has also been updated to mirror all of the configuration options now available on the RødeCaster Pro II itself, including setting up Aphex audio processing, Smart pads and custom sub-mixes.

Fox Podcast Talks Tech in 60 Seconds

FOX on Tech
Fox News Channel

New York, NY (June 21, 2021)—Podcasts, by the nature of their open-ended format, afford creators the license to define the length and pacing of the stories they tell. Episodes of the exhaustively researched Cocaine & Rhinestones: The History of Country Music, for example, routinely clock between an hour and two hours-plus in length. The aptly titled Longest Podcast in the World set the record at 36 continuous hours.

Brett Larson, editor of the FOX on Tech podcast
Brett Larson, editor of the FOX on Tech podcast

“Usually, podcasts are as long as they are interesting,” says Brett Larson, editor of the FOX on Tech podcast and morning anchor on Sirius FM’s FOX News Headlines 24/7. FOX on Tech goes the opposite direction, squeezing the tech news of the day into pithy one-minute audio shorts which are made available to listeners as a podcast and through terrestrial FOX News Radio affiliates.

“Day to day, there’s always something that’s going to happen—there’s a new phone from Apple, there’s malware you have to keep on the lookout for, there’s a massive data breach—but some of the stories are kind of tied together,” says Larson. “The podcast platform allows us to do more interesting stories in the field of technology.”

FOX on Tech began as a feature segment on FOX News Headlines 24/7 and as a download for radio affiliates throughout the U.S. The segment was so popular on radio that the network decided to add the program to the lineup on its podcast platform alongside four other new titles in March.

Story ideas begin at the FOX news desk or with Larson himself, who writes the podcast shorts and compiles audio clips to help tell each story. Timing affects every decision, not only to make the most engaging and informative use of the allotted daily minute, but also because the clips have to be exactly 60 seconds in length for radio. If a story calls for audio support, Larson gauges precisely how much is necessary and writes his script around it.

“Some stories that are more complicated take significantly longer because some of the tech subjects can be difficult to explain in just a few seconds,” says Larson. “How do you explain net neutrality in seven seconds? Because that’s all the time you’re gonna get in a 60-second feature to do it.”

Jason Bonewald, director of podcast development, news operations and political programming, and his team aim to keep production values high.
Jason Bonewald, director of podcast development, news operations and political programming, and his team aim to keep production values high.

The production process is lightning-fast as well, which Larson attributes to the “muscle memory” of researching a topic, then writing, rewriting, submitting and finally producing the podcast segment. Typically, it’s all done within an hour. Larson records at home using a Shure SM7B microphone and a Comrex Access remote-broadcast IP codec, employing an XLR splitter that sends the audio to both the Comrex and through a Focusrite Scarlett Solo USB-C interface into Adobe Audition.

Once Larson is done with the audio, he uploads the WAV files for Jason Bonewald, director of podcast development, news operations and political programming. Bonewald and his post-production team add compression and other subtle audio sweeteners if needed and review for editorial content.

“We’ll add a little bit of compression [and] tweak some if there’s any audio hiccups, if there’s anything we heard coming over his mic,” says Bonewald. “It’s mostly polishing on the final product on our end, and then just reviewing the read and doing some final checks on audio and editorial to make sure nothing that changed from when we handed the original product in to when we get the finished product back. There’s rarely any need for final polishes, but we review every single one of them anyway.”

Producing the ‘WTF with Marc Maron’ Podcast

Keeping production values high is a priority with FOX News Podcasts, he adds. “There’s no closer medium that you could get than the podcast industry, because you’re literally in someone’s ear,” says Bonewald. “We try to give our audience what we’re used to hearing in the old-fashioned radio experience. We’re trying to give them the best quality audio that we can.”

Fox on Tech Podcast •

Producing the ‘WTF with Marc Maron’ Podcast

Throughout the pandemic, Marc Maron (left) and producer Brendan McDonald have continued to record the WTF podcast in Maron’s garage.
Throughout the pandemic, Marc Maron (left) and producer Brendan McDonald have continued to record the WTF podcast in Maron’s garage.

Los Angeles, CA (June 9, 2021)—When the popular podcast WTF with Marc Maron debuted 11 years ago, the iPhone was only on its third iteration and couldn’t muster downloads larger than 20 MB. That’s an important fact in understanding the evolution of podcasting fidelity from tinny and flangey in the early ’00s, as the podcast’s producer Brendan McDonald describes, to the comparatively crystalline audio available from podcasts today.

“When podcasts were a fairly young medium, there were a lot of data concerns about them from users,” says McDonald, “people with early data plans or devices that did not hold particularly a large amount of data and did not have cloud storage plans yet. So, you had to be very mindful.”

As MP3 compression technology progressed and the show upgraded to a server whose bit rate was 128 Kbps, he found some listeners still preferred the original 22050 Hz mono file, which was 32-bit at a constant 40 Kbps. Those longtime listeners can still find that format on the podcast’s website, while podcatchers and platforms like Spotify get a modern formatted file.

Twenty Thousand Hertz Podcast Spotlights Shure SM7

“I was like, if the default setting is [128 Kbps] and I’m compressing down, [then] we’re getting like a VHS copy of a copy here,” he says. “Now we’re using a more standard, almost stereo MP3 style setting of 44.1 stereo, 16-bit and 128 Kbps—which is a much bigger file, but in the style that people are generally listening to podcasts now.”

McDonald has been with WTF with Marc Maron for all 1,200-plus episodes and worked with the host in terrestrial radio in New York and Los Angeles before transitioning to the podcast format. While he can hear improvements in the quality of the show and audio over that time period, the equipment he used to get the show to today has changed very little. Maron, in his home studio, still tracks with a Shure SM7 microphone and a Samson MDR6 tabletop mixer with Garage Band. McDonald edits in Adobe Audition, the latest version of the Cool Edit software he used in the show’s earliest days.

The only measurable changes to the show’s production, in fact, came with COVID-19. Maron and McDonald had to ease off their policy of only taping interviews in person, but maintaining the easy, conversational vibe that comes from conducting face-to-face interviews was a top priority during the upheaval of 2020.

True Crime Sound Design on ‘Anatomy of Murder’

“These interviews, and this show in general, really connect with people because the conversations feel so intimate,” says McDonald. “Marc, over the course of a decade, has gotten very good at that—basically creating an environment for people to feel like they’re comfortable and they can share with him. It doesn’t have a lot of pretense, it doesn’t have a lot of roadblocks to actual conversation, as opposed to feeling like it’s stilted or a list of Q&A. He wanted it to be personal; he wanted it to feel like two people connecting. And so that was really important to us.”

Social distancing protocols meant that videoconferencing became a necessity. For interviews in which the subject has a home recording setup, McDonald is able to get a tape sync recording, but most audio now comes through Zoom with the Audio Hijack extraction tool by Rogue Amoeba added to the mix. In the software’s Voice Chat mode, McDonald can select Skype, Zoom or another videoconferencing platform as the audio source and tweak the audio on the fly while Maron conducts the interview.

“It’s actually brought me back to my early days of live radio production, in that now I can actually sit on the live call with Marc and I can tinker with the sound if I need to,” he says. “It’s been more work in the last year, but we’ve been able to make it work and largely have been very satisfied with the way things have sounded.”

PreSonus Revelator USB Microphone – A Real-World Review

PreSonus’ Revelator USB microphone is aimed at content creators of all kinds.
PreSonus’ Revelator USB microphone is aimed at content creators of all kinds.

The Revelator is PreSonus’s latest venture into USB microphones, touting three different microphone polar patterns—Omni, Cardioid, and Figure 8—as well as onboard DSP, software, accessories and more. We recently used it on The Art of Music Tech Podcast throughout an entire episode as I tried each polar pattern and even featured my co-host Denis performing a song on an acoustic guitar. At $249, it’s meant for podcasting, solo musical performances, livestreaming and more, and it handles those duties well.

The microphone comes with an optional table-top weighted base with a great sleek appearance, but it can also be mounted to a traditional mic stand using an included adaptor. We used that adapter on the podcast so it was easier to record Denis and myself on the couch in our studio.

The Revelator comes with access to PreSonus’ Universal Control software, which can also control other PreSonus products like its StudioLive console and StudioLive RM32 audio interface. It also controls the Revelator’s audio preferences like sample rate (44.1-96 kHz), clock source, input and output format, and Device Mode.

One of Device Mode’s key features is the Multi option, which lets you send audio simultaneously to three different platforms—for instance, YouTube, DAW and Skype. A pop-up software control panel lets users control every aspect of the mic, providing four preset modes that can be tweaked and room for another eight user-definable presets.

PreSonus Unveils MicroStation Bluetooth Monitor Controlle

On the mic itself, those four main preset modes can be changed via a preset button, while both gain and headphone levels can be adjusted via the monitor button and volume knob. If you’re familiar with PreSonus’s StudioLive consoles, this is where you can dig into what they call the Fat Channel settings that control the gain, EQ, limiter, high pass filter, compression, gate and effects.

Revelator’s software mixer simplifies sending dedicated mixes to certain destinations by providing two dedicated channels just for loopback audio on both macOS and Windows. This means users can mix and record the audio from two different applications on a computer along with a voice, all at the same time. Everything that’s tweaked in the Universal Controller can be recorded or heard through the platform being used, whether it’s a DAW, Zoom, Twitch, Skype or something else. This is also useful for musical performers who want to use a preset reverb or delay effect for a livestream.

I recorded our podcast using the Revelator to Logic via my MacBook Pro and the results were great. For podcasting purposes, this microphone can be used for any situation you could possibly run into, whether you’re home and recording a podcast via Zoom, or face-to-face with a guest but with only the one microphone. As an audio professional, I’d stick with having multiple mics, but I would suggest this set up to a beginner that needs a budget-friendly set up. At times in omnidirectional mode, I felt there was a slight delay, but I just needed Denis to get closer to the microphone for the best sound. Overall, I’m very impressed by the Revelator’s flexibility and possibilities for so many content creators.

PreSonus • www.presonus.com

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