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Once I got the hang of Logic, all we needed was a theme song. We haven’t solved that puzzle yet, but I definitely disagree with Marco’s sentiment that this stuff being hard is a good thing for listeners. The gaps between these tools are cracks where quality slips through.
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It’s insane that the best known approach is to use Skype, Audio Hijack, Garageband, Dropbox, Logic, LAME, Levelator, and ID3 Editor to produce a single mp3 file. Overall, the entire process of getting the show together was way more pain than it should have been. I’d love to see something written by Jason or perhaps Marco on how a podcaster can get started with Logic, but I may need to fill that gap myself. Incredibly, the most insightful thing I found was an article by Jason Snell about how Garageband could be better for editing podcasts. I had never really edited audio before, but I’d assumed the internet would have helpful tutorials on how edit a high-quality podcast with Logic. Planning and recording the shows is hard work, but it’s not nearly as exacting as editing. We know plenty of game and app developers that have war stories to tell, so we picked some topics and started recording. With this theme in hand, we pulled our favourite elements from shows we love like Hypercritical, Unprofessional, and ATP into a format we really like.
![levelator vocals levelator vocals](https://www.digitalproduction.com/wp-content/uploads/2019/10/LevelatorGUI-768x384.jpg)
I’m intensely interested in what makes a game good or bad, the market forces that conspire against great games, and the recent explosion in games’ artistic merit. Our lunchtime debates about what’s wrong with modern stealth gameplay are legendary. We’ve both made video games, which has given us a critical view of how they are designed, developed, and sold. Formatting…Ī wise man once told me about podcast formats, “Whatever you do, don’t make it two guys talking about tech news.” Luckily, there’s something I enjoy discussing with Nigel about more than tech news, and that’s the games industry. Before we could start a show, we needed a format. Before we could do it right, we needed to do two things first: investigate the podcasting industry, and start a show of our own. With something that damaged, you're getting away from "how do I clean this up?" and into "how do I subtly bend psych-acoustic effects to my advantage?" territory.In November, my co-founder Nigel and I started planning an app to help record podcasts. Personally, I wouldn't do any more than maybe add only the very slightest bit of stereo reverb to give it some presence and, depending on how it fits into the rest of the podcast recording, a touch of echo / ringing to accentuate the fact it's a phone call. Specifically, they'll tend to gate background noise heavily yet add their own hiss (to make it sound "normal" again), have non-linear attack & decay profiles to minimise the required bitrate without affecting intelligibility, and generally "make up" a lot of the stuff which makes a phone call sound like a phone call.Īll this makes it very hard to clean it up easily, if at all. That means some fairly heavy voice-specific codecs, which are going to do all sorts of odd things re: hiss, voice, & sidetone. I'm guessing the dynamic range of the call isn't so drastic that you'd need the quieter chatter much louder (compression makes things louder, not louder things softer, remember- sometimes to detrimental Britney Spears-sounding dimensions), so try just boosting the overall gain and if that doesn't work- then I'd throw a compressor on there with a quick attack/release, low threshold, and a low compression ratio. The human vocal range (while talking) is about 80 Hz to 1100 Hz, so if you want your voice to be clearer, find the frequency in which it lay and boost it (just a tad) with a fairly wide Q, this will make it sound a bit closer.Īs for compression, you'd really only need a slight squeeze- if any. If you need to use more bands to rid of other hot spots, do so. Now sweep the frequency up and down until you hit the spot where the hiss is the loudest, and drop the gain about 6 or so db. Throw a 4 band EQ on there, take the third band (probably set to default around 10 Hz), narrow the Q to zero, and crank the gain all the way up.