Podcast Academy

I just checked the status of my Final Cut Studio 2 order. Apple states “on or before May 30th.” The word on the street is the boxes will begin to ship on May 15th. I’m really looking forward receiving my 15+ pound box of manuals and software discs.

Incidentally, the Apple supplied manuals are fantastic. They are intended to serve as technical references. The documentation is helpful and extensive. For those of you who prefer the tutorial approach, I have a suggestion: Apple Pro Training Series Manuals by Peachpit Press.

The Apple Pro Series/Peachpit group covers the required source information intended to prepare the user for Apple’s Certification Examinations. Each book ships with a media disc that is loaded with “lesson” files for each tutorial. The course agenda guides the user though the UI, explains tool functionality, and progresses into a well thought out educational environment.

I am a fan of video tutorials. However in my opinion there is nothing like having access to solid documentation in the form of a book. I believe the combination of reference style manual, tutorial documentation, and personal experimentation creates an efficient method of learning and mastering any of the Apple Pro applications.

Peachpit will be shipping Final Cut Pro 6 and Compressor 3 in May. Soundtrack Pro 2 is slated for a June release.

Check these out. I am expecting the new editions to be just as impressive as the previous publications that I personally own. They will truly enhance your podcast and videocast production skills.

PodCorps.org is a new project of The Conversations Network [Doug Kaye, Executive Director]. This is an all-volunteer group of New Media Producers [audio and video] who record, produce, and publish spoken word events that take place anywhere in the world.

PodCorps.org Stringers specify their locations, skills and interests - and make themselves available to Event Producers who seek assisatnce in recording a specific event. Use your podcasting skills to give back to your community!

If you are interested in participating by becoming a Stringer, please visit PodCorps.org.

Membership is free.

*** PodCorps.org is an all volunteer, non-profit project.

Here is a glimpse into my personal space. I’ll provide a list of components in a bit. I wanted to demonstrate how I have managed to integrate a select group of components creating a functional environment for audio and video production.

At the far right you will notice I have incorporated a Sony 13″ NTSC Production Monitor. In the past I’ve explained how I was able to acquire this from a film producer via eBay for almost nothing - in pristine condition. The purpose of this monitor is to help maintain accurate color correction and image framing. The cool thing about this particular model is that it has a selectable aspect ratio. For example, 16:9 project sequences can be monitored natively, as well as standard NTSC 4:3 and 3:2 formats.

Above the monitor is an AJA I/O. This device provides analog video I/O to the main system via firewire. It also supports four channels of balanced audio [input and output]. Finally on the video side, I have a Panasonic DV deck that alleviates using a camera for log and capture sessions and output to tape. Final Cut Pro recognizes both devices, and I simply select the required source.

On the audio side, I have my Shure SM7B on a Heil Boom. Recently I decided to store away my Mackie Onyx 1620 mixer and replace it with my original Mackie 1402 VLZ Pro. The Onyx mixer is fantastic, however it’s large and takes up lots of space. Some day I’d like to replace the Mackie with a small Broadcast Console.

The audio rack houses a Panasonic SV-3800 Broadcast DAT Recorder, two Telos One Digital Phone Hybrids, a Motu 896HD Firewire interface, and a Marantz PMD 570 CF Solid State Recorder.

Signal Processing Components:

• dbx 160a Compressor [single channel]

• Aphex 109 Parametric EQ [dual mono/stereo]

• Aphex Expressor Compressor [single channel]

• Aphex 622 Logic Assisted Expander/Gate [dual mono/stereo]

• Aphex 320a Compellor [dual mono/stereo]

• Aphex 720 Dominator II Peak Limiter [dual mono/stereo]

[The audio system and concept was heavily influenced by Doug Kaye, the Gandalf of gear junkies].

A final note: Notice my chair? Interesting story behind it. In fact, it is an old Wall Street relic. Back in my day’s at the Stock Exchange, we were often briefed in our office conference room prior to heading down to the floor of the Exchange. Nestled around the conference room table were these vintage Herman Miller Chairs. Our lot was 30+ years old, and in fine condition. The chair is still in production.

My interest in these chairs was obvious. In 2001 the firm sold out, and the office facility was dismantled. Our office manager asked if I would like to have one of these chairs before they were passed along to a collector…

AudioEase, based in The Netherlands, develops highly regarded professional audio software tools. Their flagship product is the convolution reverb - Altiverb 6. This tool produces reverb from real samples extracted from specific locations and environments. The interior acoustical characteristics of the Sydney Opera House and Concert Hall is a perfect example.

The site offers an abundance of interesting videos that document how a sampling session is planned and performed, as well as a crash course in capturing location acoustics. Altiverb 6 also supports proprietary sample integration.

BarbaBatch is a professional batch audio file converter that supports many file formats. I use this tool quite often, and I have to say that it is well deigned, user friendly in terms of customization, and most importantly - it yields quality results.

Enter Snapper … Without going into too much detail, this new application that is slated for future release has some of the coolest audio workflow productivity features that I have seen to date. Snapper is designed to function as an extension of the Mac OSX Finder. The concept of the application is to provide advanced audio file access, processing, and management directly form the Finder. In fact, it is capable of integrating with iTunes in the same manner. For example: you can edit files, export clips to your email client, send snippets to Pro Tools projects, and encode to MP3. I suggest that you check out this introductory video that documents what Snapper is capable of. I think you will be impressed.

The question is … when will Snapper hit the street? Hopefully soon.

Lot’s of great news this afternoon [NAB 2007]. Apple formally announced Final Cut Studio 2, including the brand new version of Soundtrack Pro. As expected, the Apple site was down for the duration of the 120 minute event. When the site resurfaced, I took some time to study the new FCP Studio specifications.

In terms of Soundtrack Pro 2, at first glance - I am impressed. If the quirkiness of the current version that occasionally hinders productivity has been corrected, and the enhancements live up to their potential, Soundtrack Pro 2 will solidify itself as a major player within the professional podcast production space. Important features: improved WAV editor, multi-track recording, support for artwork/chapter and URL markers that are required for enhanced podcasts on a proprietary track, and improved plugins. Voice over artists will be especially happy with the addition of a brand new Advanced Take Management system.

Apple has incorporated their signature semi-translucent floating parameter adjustment palettes, similar to those used in Motion and Aperture. The general look of the application is consistent with the current version, however it appears that UI customization potential has been enhanced.

From a personal standpoint, now that STP 2 supports multi-track recording, I will be moving away form Digital Performer. I will continue to use Bias Peak as a stand-alone external editor and mastering application. More on this as things develop in the coming months.

Final Cut Studio 2, Including STP 2 will ship in May. I’m looking forward to it.

Yamaha is shipping an interesting new mixer. The MG102C is a ten channel board with four mic inputs and switchable phantom power, The mic input channels have 3 band equalization and push button hi-pass filters. Channel’s 1+2 have inserts, and two aux buses are provided on channel’s 1-10. Flexible output options include: stereo [main mix], control room, monitor, and headphone. What makes this mixer so unique? The MG102C includes incorporated one knob compression on mic channel’s one and two. This is a handy feature in my opinion. I would suggest light compression at the source, and proprietary software processing in post. Keep in mind this feature does not in any way hinder connectivity options if the producer prefers to incorporate an external serial processor. In this case the on-board compressors can be bypassed.

Nothing fancy here. However Yamaha offers a nice collection of affordable boards that are used by many podcasters, and the general consensus is they are capable of providing perfectly acceptable sound quality at very attractive prices.

The Yamaha MG102C retails for $129 US.

I’ve posted an in depth look into the world of Aphex proprietary processing, focusing on the 240 Advanced Gating and Compression System.

I have found that dual channel dynamics processors warrant serious consideration if you need to control the dynamics of independent sources with very little fuss.

If you are on a restricted budget, this approach will help keep spending at a reasonable level. The trade off is that you will not have access to the diverse set of processing parameters typically incorporated in a professional voice processor.

continue …

GigaVox CEO Michael Geoghegan will be presenting two sessions at NAB, April 14, 2007. He is asking for community submissions, specifically pictures of podcast production rigs that will be showcased during his “Setting Up an Audio Podcasting Studio on Any Budget” session. Michael states: “I want to share with the audience what real podcast producers are using.” I think this is a good idea at it will add a bit of community participation to the presentation.

If you are interested in the possibility of having your studio rig showcased, please refer to this post on Michael’s weblog.

After an extended run as beta software, Übercaster, the all in one podcast production suite has reached version 1.0. This application provides an abundance of useful features that producers will find very attractive.

The Übercaster workflow consists of four layers: Prepare, Record, Cut [edit], and Release. The Prepare layer is where the producer prepares the workflow by importing clips destined for a production. You have the capability to map keys to each reference module in order to engage clips in real time. In the Record layer [while recording], you can trigger clips at specific intervals. This alleviates manual assembly in post. The entire session is routed to a recording bus creating a real time mix. The mix would then move to the Edit layer and will be represented as a multitrack project. This provides all the necessary flexibility that may be required in order to maintain an efficient post production session. The final Release layer is designed to function as a distribution platform. You can incorporate metadata, encode audio, and upload to a server via FTP. Übercaster supports AU plugins, audio Ducking, Enhanced Podcast production, and Skype/iChat/Gizmo integration.

Besides it’s abundance of features, this application has a unique and ultra cool aesthetic design. If you require a real time production concept tool, or just an efficient method of program production, Übercaster warrants serious consideration. It’s highly recommended.

Übercaster is available for purchase and download for $79.95 US.

t.c electronic has announced the konnekt live Firewire Audio Interface. This piece is “recommended” for live performances. After reviewing the specifications I found that this device offers the typical set of features found on similar interfaces that share a consistent form factor. My guess is that usage is entirely flexible.

Features include: Dual padded XLR inputs with 48v phantom power, 4 line inputs, 4 line outputs, 2 headphone inputs, S/PDIF I/O, dual Firewire buses, TOS link/ADAT I/O, and MIDI I/O. The konnekt live has internal DSP effects, including a compressor, and what is referred to as a ResFilter. This is an advanced hi-cut/low-cut filter controller. The t.c electronic “lite” version of Ableton Live 6 is included. [pdf spec sheet]

Based on the reputation of the manufacturer, I’m convinced that the quality of this device is excellent. Aesthetic design is impressive as well.

I must admit that I was a bit surprised when I finally found an estimated price reference for this interface … 640€. That’s $800+ US.