Podcast Academy

This week, SYS-CON Media published their “All-Time Top 150 Technology Heroes” list. Niels Makel, one of our talented ITC/GigaVox producers, examined this list and determined 36 people out of the 150 are in fact featured at least once on IT Conversations. Niels was nice enough to publish his findings here.

For us, internal dynamic access to this information is important. This is a prime example of how our content management system provides an efficient method of accessing and reviewing a vast array of catalogued media. I believe we have produced and distributed 1500+ podcasts since the inception of the network.

Back in the early days of producing/engineering audio programs for IT Conversations, things were very different in terms of the specific work-flow. For example, audio production engineers manually assembled content and segments using their favorite multi-track editor, mixed down the project, and subsequently preformed additional processing stages prior to uploading the finished program to our server.

We were required to upload two variations, or file formats: AAC [m4a] and MP3. Eventually we phased out AAC distribution. These days, thanks to our internal component show assembly system, all manual aspects of show assembly and MP3 encoding are no longer necessary. [read about GigaVox Audio Lite, our component assembly system ... soon to be available to the public].

Prior to the discontinuation of AAC distribution, I set out to find an alternative method or application that would do one thing and do it well: focus on AAC audio encoding for assignments. Why not use iTunes? I support iTunes whole heartedly. However to me, this is a media player and niche` content management system. I never use iTunes for file conversions or encoding.

The purpose of this post in to reintroduce AAChoo, my favorite AAC encoder, and how this encoder may come in handy for you if you produce Enhanced Podcasts using Podcast Maker or something similar.

AAChoo is a simple drag and drop encoder that offers full customization options to suit your needs. This tool also retains the last group of settings and does not require repetitive calibration. It’s fast, easy to use, and the results are excellent.

In my opinion, Podcast Maker is one of the most well designed and useful applications for podcasters. This application will accept: mp3, m4a, mov, mp4, and m4v media files for possible enhanced podcast management. In most cases the production source file that is saved out by the producer is in the WAV or AIFF file format. This needs to be converted to .m4a in order to prepare it for Podcast Maker. A quick drag and drop on to AAChoo and your new source file is ready to be incorporated into the enhanced podcast work-flow. Chapters and art work can be added, and so on …

The underlying concept is as follows: uncompressed source file to m4a –> done. Using AAChoo for the primary conversion, you can take advantage of the wonderful features that are available in Podcast Maker, and at the same time maintain a high level of audio quality.

I’m aware that Quicktime is an option for the encoding stage. However integration is tedious compared to the drag - drop and encode efficiency offered by AAChoo.

Links:

Potion Factory
Ovolab

For those that are interested, Doug Kaye put up a post about how we are leveraging Amazon Web Services for the GigaVox Media platform (currently in by-invitation-only alpha test). You can read Doug’s post here.

Audio-Technica has announced the soon to be available extended range ATH-M50 professional studio monitor headphones. They are specifically designed for professional recording, monitoring, and mixing, providing maximum comfort during extended wear sessions that are common in a studio environment.

The closed back design of these headphones feature maximum isolation due to their integrated complex driver technology. They support high power/high SPL capabilities, and manage to maintain “clarity, tight bass, and extended high frequency response,” according to Audio-Technica. The integrated single sided coiled cable terminates to an 1/8″ plug, and a 1/4″ adapter is included for maximum compatibility.

• Frequency Response: 15 - 28,000 Hz
• Impedance: 38 ohms

The ATM-50’s will be available sometime this month. My guess is that they will perform well for podcast recording and post production. MSRP $199 US.

One of the most useful forms of signal processing and sound shaping is Equalization. This is the process of manipulating sound located at a specific frequency or within a range of cumulative frequencies. Parametric equalizers, often referred to as ‘paragraphic’, provide extended flexibility and customization options based on their ability to control the Bandwidth, or the affected range of predetermined frequencies. The bandwidth setting is commonly referred to a the ‘Q’ adjustment.

Q Bandwidth adjustments are performed in various ways. This of course depends on the design and configuration of your software processor. For example, iZotope’s Ozone mastering plugin allows you to grab left and/or right vertical handles that surround a set filter reference point located at a specific frequency. Dragging the brackets apart form one another will increase the bandwidth. In this case the frequency range affected by the equalization filter will be extended.

This particular method is commonly used to create a gradual roll off when implementing high-pass or low-pass filters. In terms of corresponding numerical references of bandwidth settings, the lower the number, the wider the band. In this particular example, a Q setting of 0.60 would yield a gradual roll off.

Often times we are faced with problematic sound issues that live at a specific frequency that is in need of correction. In this case a ‘notch’ filter [see graphic] would be a consideration. This is simply a cut or boost in level at a specific frequency with a narrow bandwidth setting that will zero in on the specified frequency that needs to be addressed. A typical Q bandwidth setting in this particular situation would be 12.0. The higher the bandwidth setting, the narrower the affected range.

Ozone also provides numerical adjustment options of Q Bandwidth. Simply click a specified frequency point and manually key in numerical references in a table for both bandwidth settings and level adjustments. This method provides pinpoint parameter options when necessary.

Equalization is a powerful process that is often misused. I suggest that you use it sparingly. Also, practice bandwidth manipulation. You may find that a slight adjustment in range as opposed to level may help you achieve the results that you are striving for.