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This show has been flagged as Clean by the host. 01 Introduction This is a follow up to my 4 part series on simple podcasting. In this episode I will discuss a number of experiments with audio filtering. These experiments were inspired by comments by listeners and by other discussions about audio on HPR. I am not an audio expert, so I am doing this partly in order to learn something, but mainly in order to have a bit of fun. I hope that you find this entertaining as well. In a comment on the first episode a listener mentioned something called Solocast and said that the method bore a resemblance to the method that I was using. Here is his comment -------------------- 02 Comment #3 posted on 2026-04-03 07:49:58 by Reto It reminds me about Solocast Hi Whiskeyjack, I really liked your podcast and the topic. I cannot remember about your last, but the sound quality of this one was good on my mobile speakers :) The concept reminded me about the program from Norrist (another host on HPR), while similar does it have some differences HPR 3496 https://hackerpublicradio.org/eps.php?id=3496 As I am not on the future feed, I look forward to your next episode. Cheers, Reto -------------------- 03 End of comment. I did not recall having heard the episode on Solocast, but this sounded very interesting. Solocast was in HPR episode 3496 and was released by norrist on the 27th of December 2021. I listened to that episode and does indeed use use the same basic concept of recording short segments of audio and combining them later instead of creating one big recording and editing it with an audio editor. 04 The main difference is that the work flow that I described involves a lot of manual steps, while Solocast is a short Python program that automates the entire process of presenting your script, recording the segments, combining the segments, and filtering and normalizing the result. I won't try to describe Solocast in detail, instead I would recommend just listening to HPR episode 3496 to get norrist's explanation directly. -------------------- 05 While I wanted to make sure that I credited norrist with having come up with this concept four years before I did, this won't be the focus of this episode. Instead I will talk about audio filtering and various experiments that I ran on several different methods. 06 While looking at the source code for Solocast I noticed that it used a filtering method that resembled one used by Jivetalk, a podcast production program that caught the attention of one of the HPR community news presenters. This method involves taking a sample of quiet audio where there is no speaking taking place, and then using this as input to a noise reduction filter which is applied to the voice recording. The filter subtracts the quiet sample from the voice audio, which should theoretically remove the ambient noise. 07 I decided to apply this method to a number of different audio test recordings which were recorded under different circumstances using different hardware. In this way I could see if the method worked equally well under all circumstances or if there were some sorts of noise which it was suited to and some sorts that were not. 08 While I was at it, I also picked several other filter methods to see how they worked as well. Potentially, some methods may be better under some conditions while other methods were better suited to others. -------------------- 09 I won't present all of my experiments, as that would be a bit dull to listen to. Instead I will describe each method and then present audio samples which illustrate my conclusions. There are two pieces of audio software involved, both of which were also used in my series on simple podcasting. 10 The first is Sox, spelled s o x , and which is short for Sound Exchange. Sox is a command line program for audio manipulation. Sox is Free Software, released under the GPLv2 or later. The other is FFMPEG, which is also a command line program. FFMPEG is also Free Software, released under the LGPL V 2.1 or later, and GPL v 2 or later. Sox actually uses FFMPEG for certain operations. -------------------- 11 Audio Hardware For recording hardware I used the following. 12 Maxwell Headset The first is a cheap Maxwell headset that has an electrical noise problem. Unfortunately I don't have a model number for this headset. I described this hardware, the noise problems that I had with it, and how I created filters to deal with the noise in my series on simple podcasting. Briefly though, this is a headset that has a build in microphone on a boom which allows the microphone to be positioned close to the mouth. It connects with a USB cable. 13 Borne Earpiece and In-line Microphone This is a set of earplugs that go in your ears and connected by wires and a very small microphone built into a small bulge in the cable. It connects using a 3.5mm jack. The model number seems to be BUD250-BL. 14 XTrike Headset This is a gaming headset similar to the Maxwell headset described above. The model number is GH-510 It uses a USB connection. 15 Yanmai Condenser Microphone This is a microphone that comes with a small tripod stand. The model number is SF-910 It uses a 3.5mm audio jack. -------------------- 16 This is not a review of the hardware. Rather, I was trying to create audio problems so that I could test ways to fix them. Therefore, do not take the above list as a recommendation of what to buy. However, you can see that I am not using any expensive audio hardware. If you want to make an HPR podcast, you do not need professional level hardware. -------------------- 17 Audio Samples The audio samples are as follows 18 Quiet This was recorded in a quiet environment at my desk. This is my normal podcasting environment and represents optimal conditions. The main reason for this method is to see how the various filter methods perform when dealing with the electrical noise from the Maxwell headset. 19 Small fan This is a small USB powered table fan approximately 10 cm in diameter. It was located roughly 40 cm or less to the left of the microphone, although this varies depending on the microphone. 20 Traffic This was along a busy street with traffic noise in the background. -------------------- 21 Filter Methods Sox noisered Filter with Audio Profile This method uses the Sox noisered filter. Here is a brief quote from the Sox documentation on this filter. Quote Reduce noise in the audio signal by profiling and filtering. This effect is moderately effective at removing consistent background noise such as hiss or hum. To use it, first run SoX with the noiseprof effect on a section of audio that ideally would contain silence but in fact contains noise - such sections are typically found at the beginning or the end of a recording. End of quote For these tests I recorded a separate noise profile to go with each test. -------------------- 22 Basic Manual Filter This is a basic high and low pass filter pair based on the work I had done in my previous series on simple podcasting. However, based on the tests that I have done for this episode, I decided to get a bit more aggressive in terms of filtering. I use a high pass filter of 120 Hz, and low pass filter of 8 kHz. The each filter is then applied twice to increase its effect. I also added band reject filters to deal specifically with 50 and 60 Hz line noise. -------------------- 23 Complex Manual Filter This uses the manually constructed filter described in my series on simple podcasting. This uses the basic manual filter plus a series of custom bandreject filters to fix specific noise problems with the Maxwell headset. -------------------- 24 FFMPEG afftdn Filter The documentation describes this as "Denoise audio samples with FFT." -------------------- 25 FFMPEG arnndn Filter The documentation describes this as "Reduce noise from speech using Recurrent Neural Networks." -------------------- 26 FFMPEG agate Filter I will pronounce this as "agate" for convenience. The documentation describes this as "A gate is mainly used to reduce lower parts of a signal. This kind of signal processing reduces disturbing noise between useful signals." -------------------- 27 Method The experimental method used was to take each noise sample and apply the different filter methods to it. Where there are parameters which can be adjusted, a script was used to generate a series of different sample files with different parameter values. Not all possible parameters were experimented with, as the goal is to see which method produces what sorts of results under different circumstances, not to get the best possible result for the samples that I happen to have. The method in each case was as follows 28 Step 1 Convert the audio file to FLAC if it is not already in that format. 29 Step 2 Apply a basic high and low pass filter described previously to each sample. The reason for this basic filtering is that it eliminates at least some undesired noise in a fairly fool proof manner, leaving less for the more advanced filter to deal with. This should allow for a better test of the filter under realistic conditions. 30 Step 3 Apply the noise reduction filter being tested. 31 Step 4 Normalize the filtered sample to 17 LUFS according to the EBU R128 standard. The EBU standard is described in my series on simple podcasting. Normalizing adjusts the audio signal to a desired loudness level. This allows for more more consistent sound levels and allows us to hear the results under realistic conditions. I normalize the audio individually for each sample as different recording hardware requires different amounts of loudness adjustment. This is different from the typical podcast process where normalizing takes place as the very last step in the process, but it was necessary in this case. 32 Step 5 Concatenate selected sample audio files to one another to allow for better review and comparing. -------------------- 33 Results The results are grouped according to the type of noise which is being mitigated. This allows for easier comparison of the effectiveness of each technique under different circumstances. I have only picked a few examples of interest out of the numerous experiments that I conducted. -------------------- 34 Quiet Recording Environment with Maxwell Headset This compares how well the various filtering methods work on the noise induced by the electronics in the Maxwell headset. This electronic noise consisted of a noise spike every 1 kHz. This should be representative of electronic noise caused by problems in recording hardware. 35 Manual Filter The manual filter applied a narrow band reject filter every 1 kHz from 1 kHz to 12 kHz. This completely removed the otherwise audible whine caused by the noise. 36 FFMPEG afftdn This method allows for setting a noise floor and then specifying how much the noise floor should be reduced by. The method is very sensitive to getting the noise floor correct for that recording. Set the floor too low and nothing happens. Set it too high, and some distortion results. However it seemed to be moderately effective, but it would seem to require checking it and possibly adjusting it each time it is used. 37 FFMPEG agate This method allows setting a noise floor and then suppressing all sound which falls below that level. This method is very sensitive to getting the noise floor correct for that recording. If set too low (or quiet), it is ineffective. If set too high (or loud), it distorts words which come after a pause, which would typically be between sentences. 38 When set correctly, it completely removes noise in the silences between sentences. However, the noise is still audible during speech. This is because the noise in this case is a higher frequency than normal speech, and so stands out more. It may not be a significant problem for noise which is closer to the main vocal frequency band. Overall, this method is not suitable for this particular problem. 39 FFMPEG arnndn This method used the standard model. A variety of different noise reduction models are available. I only tested it with one, std.rnnn It does not seem to introduce much distortion in the voice signal even with a high amount of mix parameter. 40 However, it is only slightly effective at removing the whine from the signal, even with a high amount of mix parameter. Overall, this method does not appear to be useful for this sort of noise problem. 41 Sox noisered Filter This was effective in removing noise between words, but noise can be heard while words are being spoken. It was better than agate however. 42 Overall Conclusion for the Maxwell Headset Noise When dealing with narrow noise bands that occur at known frequencies, the manual filter is leagues ahead of any of the other tested alternatives. 43 Sample Audio Here is a sample audio recording showing the best overall results The sample is repeated, first with only basic low and high pass filtering, and then with the manually constructed filtering. In the first sample you should hear a high pitched background whine. In the second sample, the high pitched whine is completely removed. 44 (Audio sample inserted here.) -------------------- 45 Traffic Noise This was recorded using the Borne in-line microphone connected to a mobile phone while walking along beside a busy street. This was in dry cool spring weather, and the road was paved with asphalt. This should be reasonably representative of podcasting while walking outdoors in a noisy environment. 46 Basic Manual Filter This used the basic manual filter with high and low pass filters. This did nothing very useful in this case as the signal was already filtered within those limits by the recording hardware anyway. The low sample rate of 8 kHz in the phone limited the upper frequency to 4 kHz. Recall that the sample rate has to be twice the highest frequency that you want to detect. Overall, this is not suitable for this sort of problem. 47 FFMPEG afftdn With a high noise floor, background noise is reduced, but not eliminated. There was not much distortion in the voice. This is only slightly useful for this sort of problem. 48 FFMPEG agate With a high threshhold, background noise is reduced, but not eliminated. There was some distortion in the voice. The background noise could also be heard when speaking, but because the frequency of the background signal was similar to the louder voice signal, it was not as noticeable as it would have been if the two were very different. This is moderately useful for this sort of problem. It may be more useful in situations where the background noise was not quite as loud. 49 FFMPEG arnndn With high amounts of noise reduction, much of the background noise is suppressed, but there is not a lot of distortion in the voice. The background traffic noise is still present, but is significantly less. This offers only a moderate improvement. 50 Sox noisered Filter With small amounts of noise reduction voice is clear but traffic noise is present as a very significant continuous warbling sound in the background. This is no improvement on the original and in fact could be seen as making it worse. With moderate amounts of noise reduction, traffic noise is mostly gone, but there are still various squeaks present. Voice is noticeably distorted. With large amounts of noise reduction, traffic noise is gone but voice is highly distorted. This is moderately useful for this sort of problem, but requires careful adjustment. 51 FFMPEG arnndn Followed by FFMPEG agate This combined two different filters. First, it used arnndn to suppress the background noise to a lower level without much voice distortion. Then it applied the agate filter to suppress the noise levels between words still further. This used the same amount of mix and threshold as was found to be most effective when each of these filters was used on its own. The background noise is almost completely gone while distortion of the voice signal is low. 52 Overall Conclusion for Traffic Noise The arnndn combined with agate filters was the most successful at suppressing background noise while limiting the amount of voice signal distortion. 53 Sample Audio Here is an audio sample for what I felt to be the best overall results, the arnndn filter combined with the agate filter. First is the original audio with basic filtering. This is followed with the same audio after being passed through the arnndn and agate filters. 54 (Insert arnndn plus agate audio sample here) 55 Another Sample Here is a second audio sample showing the Sox noisered profile based filter. I have included this to show how a profile based filter can make things worse if you are not careful how you use it. This repeats the test audio 4 times. The first is with basic filtering only. The second uses low amounts of noise reduction. The third uses moderate amounts of noise reduction. The fourth uses high amounts of noise reduction. 56 (Insert noisered audio sample here) -------------------- 57 Small Fan Noise with Yanmai Microphone This was recorded using the Yanmai condenser microphone. A small fan was set up behind and to the left of the microphone. This is intended to represent situations where someone may have a fan or air conditioner running in the background due to hot weather, or has a loud computer fan. 58 A condenser microphone was used for this test as they are more prone to picking up unwanted noise. However, for practical recording purposes, this sort of microphone is unsuitable for this type of environment. 59 Basic Manual Filter This used the basic manual filter with high and low pass filters. This did nothing useful as the fan noise was in the same frequency range as the voice signal. This may be of more help in cases where the noise is below the 120 Hz cut off used in the low pass filter. 60 FFMPEG afftdn With high amounts of noise reduction, much of the background noise is suppressed, but there is some distortion in the voice. The background fan noise is still present, but is significantly less. Overall this is moderately effective. 61 FFMPEG agate This was effective in removing noise between words, but noise can be heard while words are being spoken. However, this was a small voice sample and it is possible that more problems could occur. With less fan noise than was in this sample this technique may work much better. 62 FFMPEG arnndn With high amounts of noise reduction, much of the background noise is suppressed, but there is not a lot of distortion in the voice. The background fan noise is still present, but is significantly less. Overall this was fairly effective. 63 Sox noisered Filter With small amounts of noise reduction voice is clear but fan noise is present as a slight warbling sound in the background. With moderate amounts of noise reduction, fan noise is gone, but voice is somewhat distorted. With large amounts of noise reduction, fan noise is gone but voice is very distorted. 64 In general this method is fairly successful at dealing with this sort of problem. However, there is a trade off between background noise and voice quality. Getting that trade off correct takes experiment and judgment for each specific situation. 65 FFMPEG arnndn Followed by FFMPEG agate This combined two different filters. First, it used arnndn to suppress the background noise to a lower level without much voice distortion. Then it applied the agate filter to suppress the noise levels between words still further. This got rid of virtually all of the background noise between words. If you listen carefully however, there is a slight buzzing sound in the voice signal. 66 Overall Conclusion for Fan Noise with Yanmai Microphone. Of the methods tested, the arnndn followed by agate filter seemed to offer the most improvement for the least effort and least voice distortion. The arnndn filter on its own seemed the next most preferable to me despite leaving some fan noise in the background. 67 Audio Sample Here is an audio sample for what I felt to be the best overall results, the arnndn filter combined with the agate filter. First is the original audio with basic filtering. This is followed with the same audio after being passed through the arnndn and agate filters. 68 (Insert audio sample here) -------------------- 69 Small Fan Noise Recorded with Headset The following is an observation rather than a filtering technique. When a recording was made using the Maxwell headset and listened to on the headset later or with speakers, the fan was virtually inaudible. When the same recording was listened to with the XTrike headset, it was barely audible with careful listening and only identifiable as a fan because I knew it was there. 70 In situations where there is ambient noise, the best noise reduction technique is probably to move the microphone as close to your mouth as possible, although not directly in front of it, and reduce the gain if there is a gain adjustment in the microphone. This will work far better than trying to remove the noise later. If you are recording an HPR episode at a desk, then an inexpensive headset with boom mike may do the job just fine with minimal effort and expense. -------------------- 71 Conclusions I have tested three noise scenarios - Electronic noise in the audio hardware at specific frequencies. Recording outdoors with an inline microphone in a noisy traffic environment. A noisy fan creating background noise in an office. My conclusions on these are as follows. 72 Electronic Noise in the Audio Hardware at Specific Frequencies If you can use Audacity or some other means to find the frequencies which are causing the noise, the best solution, assuming you don't just replace the hardware, is to manually construct filters to remove those specific frequencies. This is the safest solution in terms of only doing what you tell it to and not producing unexpected surprises some time down the road when something changed in the environment. 73 If you are looking for a fairly automatic filtering method, the Sox noisered profile based filter seems to work fairly well. There is an equivalent filter in ffmpeg, but I did not include that in my experiments as it is harder to use in a script because it does not use a separate noise profile file. 74 Recording Outdoors with an Inline Microphone in a Noisy Traffic Environment. In this situation, the FFMPEG arnndn combined with agate filters seem to be the most successful. The Sox noisered filter may work, but at the cost of more distortion in the voice than is seen in the other methods. 75 An inherent problem with any profile based noise reduction method is that if the background noise is not constant, which it seldom is in that sort of environment, the profile may not represent the background noise which is present later on in the recording. This risks adding more distortion in the voice as the profile and later environments diverge. 76 However, for this application a different microphone that provided a better recording would appear to be advisable. A solution which brought the microphone much closer to the mouth and so resulted in a better ratio of voice signal compared to background noise would appear to be necessary, after which the question of what sort of noise reduction to use would need to be re-evaluated. 77 A Noisy Fan Creating Background Noise in an Office. The Sox noisered filter and the FFMPEG arnndn, afftdn, and agate methods all work to some degree. However, they all need correct selection of parameters to achieve the proper results. When I compared all four methods side by side, I found the arnndn combined with the agate filter to be preferable in terms of the trade off between background noise reduction and distortion of the voice signal. The arnndn filter on its own seemed the next most preferable to me despite leaving some fan noise in the background. 78 However, that is a subjective judgment of a specific noise sample when recorded using a specific microphone. Keep in mind though that many listeners will not be listening in an idea environment. They may be doing things where background noise is present rather than in a very quiet room and so may find a small amount of background noise in the recording to be less of a problem than distortion in the voice signal which may make some words harder to understand. 79 When I conducted the same experiment recorded with the XTrike headset I found that arnndn seemed to offer no noticeable improvement. This may be because the amount of audible fan noise was far less with the XTrike headset to begin with. In other words, there is no single best solution here, and you may have to be prepared to try different options to see which one works in your situation. The important thing is to avoid making things worse by applying filtering that is not appropriate for that situation. The best method may be to use a recording method that doesn't pick up the fan noise to begin with. This can include just using a gaming headset with boom mic. 80 I have one final observation on this point regarding headsets. The Maxwell headset has a foam cover over the microphone while the XTrike headset does not. There was some slight audible wind buffeting noise picked up by the XTrike headset that was not observed with the Maxwell. This seemed to cause particular problems with the Sox noisered profile based filter, as this noise was irregular and after filtering would show up as a warbling sound. If you use a headset and plan to use it in conjunction with a fan, it may be advisable to apply some sort of wind cover over it. 81 Combining Complex Filters In several cases I found that combining several complex filters offered better results than using any single one on its own. The basic strategy though is to first use a method which is good at reducing undesirable noise without introducing excessive voice distortion. Then apply a different filter which is good at reducing small levels of background noise to an even lower level while affecting the voice signal as little as possible. This uses the relative strengths of different filter types to compensate for the weaknesses of the other. 82 Different combinations of filters were most effective for different types of problems. I did not try all possible combinations however. Perhaps a further exploration of this would be worth doing in a later podcast. -------------------- 83 Case Study - Noise in Another HPR Episode Audio In the comments to my second episode on Simple Podcasting (which is HPR4618) where I discussed basic filtering, a couple of listeners brought up an interesting point. Antoine mentioned "declicking" in a post. -------------------- Vance replied 84 Antoine, thanks for mentioning the click removal capability in Audacity! While I already knew about its noise removal filter, I wasn't aware it also had click removal. It might have helped me for HPR4637, where some sort of electromagnetic signal was picked up by my microphone/recorder, a Zoom H2 (the tapping sound was *not* present in the room where I recorded). While click removal does seem to distort speech when applied to it (though to my ears, it doesn't sound as weird as when noise removal is done with speech), I could have applied the filter only to the pauses, where the "tapping" is most noticeable. I will consider doing this in the event that I'm not able to eliminate the source of interference in the future, which would be the best way to go. -------------------- 85 End of quote. I found this interesting as it sounded like another audio problem that could be experimented with. I found a sample of the episode which had the clicks and cut a copy of that segment out to experiment with. These sounds are a series of clicks, or "ticks" would be another way to describe them, in the quiet part of the audio between sentences or phrases. 86 Next I used Audacity to study the sound spectrum. I found a massive 60 Hz noise spike. However, my speakers won't reproduce sound that low, and filtering this out didn't reduce the clicks. The clicks turned out to be bursts of noise across the 100 to 800 Hz band, which is right where the main vocal band also is. This makes it difficult to filter based on frequency. The most promising approach would seem to be to filter based on sound level. 87 I tried all of the individual audio filter techniques mentioned in the other experiments above. None produced satisfactory results except for agate, which makes quiet audio quieter. This completely suppressed the clicks. However, when applied to the entire episode it also distorted the start of a few sentences which began with single short syllables. 88 The agate filter has a number of parameters which could be adjusted to try to deal with these cases, although I did not spend the time to do so. Another solution to this distortion problem is to simply not apply the filter to those parts of the audio which are affected. If you record the audio as a series of small individual files, it would be easy enough to filter before concatenating the files together while skipping those files which contain audio which is not suited to this method. Here are the results of the experiments. 89 FFMPEG afftdn This reduces the size of of the ticks, but they are still present. However, they may be reduced to a level which is considered acceptable. 90 FFMPEG agate This was very effective in removing ticks with the right parameters. However, it can introduce some voice distortion in the form of cutting out the start of a few sentences which began with single short syllables. This can be corrected with a very short "attack" parameter to turn off the filter when it detects sound above a set threshhold. 91 FFMPEG arnndn This was relatively ineffective. 92 Sox noisered This was effective in removing the sounds between phrases. However, it introduces some distortion in the voice signal. 93 I also tried combining filters. FFMPEG afftdn Followed by agate This combined two different filters. First, it used afftdn to suppress the background noise to a lower level without much voice distortion. Then it applied the agate filter to suppress the noise levels between words still further. This got rid of virtually all of the background noise between words. 94 Here is a short audio sample from HPR4637. First is the unfiltered audio. Second is the filtered audio using the combined afftdn plus agate filters. Since the "clicks" are very quiet, you may not hear them unless you are in quiet environment. Quite a few listeners would probably not be aware of the perceived audio problem in this episode if it had not been discussed here. None the less, it makes for an interesting experiment. Here it is: 95 (Insert sample audio here) 96 Overall Conclusion for Noise "Ticks" The afftdn combined with agate filters seemed to offer the best overall results when used with the right parameters. However, the author, Vance, speaks very clearly and evenly, and so his voice is ideally suited for use with this filter. Another author's voice may not be as suited to this filter. 97 The Sox noisered profile based filter offers various degrees of trade off between suppressing noise and distorting the voice signal. As to whether this is an acceptable trade off depends on the particular voice in question and how easily understood it is under normal circumstances with out additional distortion. The afftdn filter may be a fairly safe filter to use on its own while producing acceptable if not perfect output. -------------------- 98 Overall Conclusions I have presented only a few of the experiments that I conducted. My overall conclusion after all of this is that there is no universal audio filtering method that works best in all circumstances. There are instead a number of tools in the toolbox, and picking the right one for the job takes a bit of trial and error. 99 However, if you have a repeatable recording environment, then once you have decided what tool you need you should create a script for it so you can have a repeatable processing setup. These conclusions apply to voice podcasting. Music has a different set of criteria and techniques that work well with basic voice podcasting may produce poor results when applied to music which has a broader range of frequency and just as importantly, a broad range of loudness. 100 If you are used to using filters and effects in Audacity, many of the settings on those correspond to arguments in the command line version of ffmpeg. It is worth learning how to use ffmpeg directly to automate your recording process. 101 The experiments that I conducted were greatly assisted by writing scripts which created multiple versions of audio files with different settings, thereby allowing me to try many different alternatives relatively easily. It also allowed me to concatenate different audio samples into a single audio file and so listen to different versions in quick succession, making subjective listening judgments more reliable. 102 It is important to keep in mind in all this that I am playing with audio filtering mainly to have fun. It is not necessary to do any of this if you think your podcast episode sounds just fine without it. So, don't let any of what I have talked about in all this discourage you from simply recording a podcast and sending it in as is. I will include copies of the filters I have described here in the show notes. -------------------- 103 Related Matters Hardware Characterization Using Audio Signals I found it useful to characterize the hardware that I had in order to understand its limitations better before starting the experiments. This involved playing a signal out through a set of speakers and then recording it through a microphone. 104 I used two types of signal for this. One is type of signal is known as a "chirp" signal. This is a sine wave that steadily increases in frequency as it sweeps across the audio spectrum. The standard audio range is 20 Hz to 20 kHz, but for my purposes I limited the upper frequency to 15 kHz to save time as anything beyond that is not very useful for voice podcasts. 105 By recording the chirp signal with a microphone and analyzing it with a Fourier transform, I could quickly see what each device was capable of. See my previous series on simple podcasting for an explanation of what a Fourier transform is and what software to use to see the results of it. Here is a chirp signal. 106 (Insert Audio Sample Here) 107 In addition to a chirp signal, I also used a series of simple tones of specific frequencies. By using these tones of known frequency I could gain an understanding of the limitations of my speakers and headphones, and just as importantly, my own ears. By understanding these limitations I was able to narrow the range of frequencies that I need to deal with quite considerably and set the high and low pass filters accordingly. These tones are a series of flac files generated with ffmpeg. 108 Here is a a sample audio tone at a 2 kHz frequency. 109 (Insert Audio Sample Here) 110 Copies of the script to create the chirp signal and the tones are in the show notes. -------------------- 111 A "Not a Review" of some of the Hardware that I Used I said that I would not do a review of the hardware that I used. However, some of it deserves mention for either how good or bad it was. I will record each section using the hardware being described. 112 Maxwell Headset This is my original recording hardware. This is a headset with boom mic and USB connection. There is no model number on it, so I don't know the model. This probably cost somewhere between 10 and 25 dollars. The earpieces sit on the ears and do not fully enclose them. This makes it light weight and comfortable to wear for extended periods of time. It has a problem however with electronic noise consisting of a noise spike every 1 kHz. I was able to fix this with a series of filters using FFMPEG. Fixing this problem is what got me started in understanding audio. I will probably continue to use this headset to make podcasts. 113 XTrike Headset, Model GH-510 This is also a headset with boom mic and USB connection. I purchased this headset for the purposes of experimentation for this podcast episode. It cost $12.88. I found it to be surprisingly good for the price. It has fully enclosed ear pieces however, which may make it uncomfortable to wear in hot weather. I may try doing some of my future podcasting using this headset. 114 Borne Earpiece and In-line Microphone This is a set of earplugs that go in your ears and connected by wires and a very small microphone built into a small bulge in the cable. It connects using a 3.5mm jack. The model number seems to be BUD250-BL. It cost approximately $3.00. I bought several sets of these and use them for listening to podcasts from an MP3 player. The ear pieces are pretty good for listening with. The microphone works reasonably well when used in a quiet location. It is less good when in a noisy environment. It is very important however to secure the microphone to your lapel or other location reasonably near your mouth and to point the microphone (that is the small hole) outwards and not simply let it dangle freely. If you let it just hang, you will get poor quality and inconsistent audio. 115 Yanmai Condenser Microphone, Model SF-910 I purchased this microphone for the purposes of experimentation for this podcast episode. It cost $3.88. As it is a condenser microphone, it is prone to picking up background noise more and as such is probably not a good choice for podcasting by single person sitting at a desk. However, it is none the less a surprisingly good microphone for surprisingly little money. 116 iCan USB Microphone, Model M-306 I purchased this microphone for the purposes of experimentation for this podcast episode. This has a USB connection. This was also relatively inexpensive at $7.99, or roughly twice the price of the Yanmai microphone. Unlike the Yanmai however, it is absolutely wretched. There was such a high degree of distortion when recording through it that I found I could not use it in the fan experiments which I had bought it for. I ended up buying the Yanmai microphone for that instead. -------------------- 117 Easy Effects Software The techniques described so far all involve recording audio files and then processing them later to produce the desired result. This is probably the simplest and most straightforward way of doing things if you are making a typical podcast. However, there may be instances where you want to apply filtering or other effects on the "live" signal immediately and not after the fact. 118 There is audio software which can hook into your computer's audio system and do this with a live signal. For Linux, there is a package called "Easy Effects". This is Free Software and comes under a GPL V3 or later license. I installed it from the Debian repository under Ubuntu 24.04. 119 You can create various filters and even chain them together to combine them. I played with it a bit but do not know enough about it to discuss it seriously at this time. However, I thought it would be worth mentioning for the sake of those who may wish to try it out themselves. -------------------- 120 Episode Conclusion After having had some fun with audio and listening to other HPR members talk about audio, I thought I would have some more fun by playing with noise reduction filters. I have no intention of becoming an audio professional, but by doing some experiments I learned a few things and had some fun doing it. I hope that the rest of you found this interest as well. I will see you all again later in another episode of Hacker Public Radio. -------------------- Scripts Basic Filter This shows basic high and low pass filters ( 120 Hz and 8 kHz respectively) and band reject filters for 50 and 60 Hz. # The high and low pass filters. hlpfil="highpass=f=120, highpass=f=120, lowpass=f=8000, lowpass=f=8000" # Band reject filters filter for 60Hz and another for 50Hz. linefil="bandreject=f=60:width_type=h:w=20, bandreject=f=50:width_type=h:w=20" # Filter using ffmpeg. ffmpeg -i inputfile.flac -af "$hlpfil, $linefil" outputname.flac # ====================================================================== afftdn Filter # noisefloor should be between 20 and 80. noisefloor=$1 # Run the noise reduction. ffmpeg -i testrec-filtered.flac -af "afftdn=nr=10:nf=-""$noisefloor" tmptestrec.flac # ====================================================================== agate Filter # threshold shoud be between 10 and 80. threshold=$1 # Run the noise reduction. ffmpeg -i testrec-filtered.flac -af "agate=threshold=-"$threshold"dB:range=-60dB" tmptestrec.flac # ====================================================================== arnndn Filter # mix should be between 0 and 1. mix=$1 # Run the noise reduction. ffmpeg -i testrec-filtered.flac -af 'arnndn=model=std.rnnn:mix='"$mix" tmptestrec.flac # ====================================================================== sox noisered Filter # Generate the noise profile from a sample of background noise. sox silencefiltered.flac -n noiseprof noise.prof # nramount shoudl be between 0 and 1 sox testrec-filtered.flac noiseout-testrec.flac noisered noise.prof "$nramount" # ====================================================================== Manual Filter for Maxwell Headset Noise # Create a series of band reject filters, from 1 kHz to 11 kHz. ftemplate="bandreject=f=%s000:width_type=h:w=100" kilospikefil=$( seq 1 11 | xargs printf "$ftemplate," ) # Using ffmpeg ffmpeg -i testrec-filtered.flac -af "$kilospikefil" tmptestrec.flac # ====================================================================== Create a "chirp" signal # Start frequency. f0=20 # End frequency. f1=15000 # Duration of signal. duration=10 ffmpeg -f lavfi -i "aevalsrc=sin(2 * PI * (0.5 * ($f1 - $f0)/$duration * t^2 + ($f0 * t))):s=44100:d=$duration" -c:a flac -af "aformat=sample_fmts=s16" chirp.flac # ====================================================================== Generate Audio Tones toneout () { printf -v freqval "%05d" $1 ffmpeg -f lavfi -i "sine=frequency=$freqval:duration=3" tmptone.flac # Normalize ffmpeg -i tmptone.flac -af loudnorm=I=-17:TP=-2.0:LRA=4.0 -ar 44.1k -sample_fmt s16 tone$freqval.flac rm tmptone.flac } # List of frequencies in hertz. freqlist="50 60 100 120 130 140 150 160 170 200 500 1000 2000 3000 4000 5000 6000 7000 8000 9000" for freq in $( echo $freqlist ); do toneout $freq done # ====================================================================== Provide feedback on this episode.

Heath J Hardin aka 'Olds Sleeper' and 'Jellyspine Jenkins' writes and records his songs on a Zoom H2 portable recorder.  He's the king of low-fi production.  His active 'I wonder what that would sound like' mind has conjured up 29+ album projects of mostly original compositions.  Join me for a fun conversation.

It's convocation day, so this is a bit of a short one, and it is being posted well after it was recorded. Also, I didn't use my phone for it, I used the old Zoom H2. Convocation is nice, but it is long. Congratulations to our graduates. Isabelle has been supply teaching. I've been podcasting I guess. I've been biking a lot. I actually can't remember what we talked about, it was hours ago….. Oh yeah, it goes without saying that we stand for democracy, We stand with Ukraine.

It's convocation day, so this is a bit of a short one, and it is being posted well after it was recorded.Also, I didn't use my phone for it, I used the old Zoom H2.Convocation is nice, but it is long. Congratulations to our graduates.Isabelle has been supply teaching.I've been podcasting I guess.I've been biking a lot.I actually can't remember what we talked about, it was hours ago…..Oh yeah, it goes without saying that we stand for democracy, We stand with Ukraine.

So for this episode, I went out into the wide world and actually did an in-person interview. I reached out to editor Sean Barton via IMDB Pro. Actually my first time using the site. So that's a 1 for 1 hit rate so far. As a hater of Zoom, Sean was very gracious in inviting me to his house on the other side of London. Both of us are double vaccinated and LFT's were done beforehand just to be sure. So I rocked up with two Zoom H2 mics (one purchased the day before because my spare was failing to work) a mic-stand and a list of general topics that I wanted to talk about. Actually I only looked at the list for the first question and the rest of the conversation flowed rather nicely. He really is such a nice man and so easy to talk with.If you don't know him by name, you'll certainly know him by his work. Sean edited the seminal cult film Quadraphina for Frank Roddam, he then teamed up with Richard Marquand for Birth of the Beatles, Eye of the Needle and in 1981 they both began work on the last film in the Star Wars trilogy. A little independent film called Return of the Jedi. You may have heard of it.Both Richard and Sean worked together again on the psychological thriller Jagged Edge, starring Glenn Close and Jeff Bridges. I re-watched all of the above in preparation for the chat and I was surprised to find how fresh Jagged Edge felt. Of it's time for sure, but it still works. It was clearly the proto erotic-psycological thriller that lead to a slew of them in the 90s. Despite the fact there isn't much eroticism in Jagged edge. Enjoy. And please do SHARE!Support the show (https://www.patreon.com/jamiebenning)

I stumbled across this old recording today as I was looking for something else on my computer, a nice relaxed version of this timeless tune, recorded at band practice March 2016. Me on banjo, Dickie Brown on guitar and for the life of me, I cannot remember the bass player's name. All three of us were plugged in and the placement of the Zoom H2 this was recorded on favored the banjo. Well, it is a banjo website after all LOL!! I hope you enjoy, a truly enjoyable tune to play.

I stumbled across this old recording today as I was looking for something else on my computer, a nice relaxed version of this timeless tune, recorded at band practice March 2016. Me on banjo, Dickie Brown on guitar and for the life of me, I cannot remember the bass player's name. All three of us were plugged in and the placement of the Zoom H2 this was recorded on favored the banjo. Well, it is a banjo website after all LOL!! I hope you enjoy, a truly enjoyable tune to play.

Dating back +10 years, my history with podcasting began pacing hotel rooms.Armed with a trusty Zoom H2 recorder, I began uploading audio to a now defunct blog.Five years ago, while chasing other people's dreams and ideas, I tried again.Several episodes in and lacking direction, it fell apart like many projects lacking vision.Last year, in October 2019, a podcast began with the end in mind.A clearer vision and well articulated goals led to a successful podcast project.Today, we're moving forward and utilizing the foundation that was built last year.Support the show (https://www.patreon.com/allaroundgrowth)

Ein Podcastkollege fraget mich die Tag um Rat. Konkret ging es darum das er den Eindruck hatte, dass sich sein ton "so dumpf" anhört. Während sein Interviewpartner, trotz der mäßigen Tonqualität von zoom.us, nicht so dumpf klang. Die Intension war zunächst ob es an dem Mikrofon liegen könnte. Er verwendet, wie ich auch das Zoom H2n. Und da dieses Mikrofon dann doch die ein oder andere Möglichkeit an Einstellungen hat, kann da schon der Verdacht aufkommen es läge daran. Wie kann man aber nun einem seltsamen ton einem Störgeräusch auf die Spur kommen? Inhalte Automatiken abschalten Hole dir aktiv Feedback zur Tonqualität Überprüfe Deine Aufnahmesituation und mache Testaufnahmen YouTube Kanal starten Schreib mir bezüglich YouTube assistenz@podcast-machen.com Link zum Blogpost https://www.podcast-machen.com/hilfe-meine-aufnahme-hoert-sich-komisch-an/ Podcast Meisterschule Link: Podcast Meisterschule Podcast Fachbegriffe - Einfach erklärt https://www.podcast-machen.com/fachbegriffe Schneller ans Ziel Möchtest Du so wenig Zeit wie möglich verlieren und Dich auf das wesentliche konzentrieren? Dann sollten wir miteinander sprechen. Sichere dir ein kostenloses Erstgespräch unter www.podcast-machen.com/termin Empfehlungen Facebook Gruppe Gratis Bücher mit Wissen Podcast Meisterschule ------------------------------- Transkript der Folge: Hilfe, meine Podcast Aufnahme hört sich irgendwie komisch an. Wie kann ich schlechte Tonqualität irgendwie erkennen und was kann ich dagegen tun? Damit herzlich willkommen zu einer neuen Folge des Podcasts. Die Folge ist aus der, ja aus dem Hilferuf in Anführungsstrichen eines Podcast Kollegen quasi entstanden. Weil er hat mich da einfach mal nach Rat gefragt, bzw. ob ich etwas zu dem Zoom H2n Mikrofon, das ich ja auch verwende, habe ich ein Video zu machen kann wegen Einstellungen et cetera was weiß ich? Weil sich seine Aufnahmen immer irgendwie so dumpf anhören. Wenn du zuhörst danke für diese Vorlage. Die nehme ich natürlich gerne auf, um daraus eine Podcast Folge zu machen. Ich habe ja, wir haben uns ja per PM unterhalten und ich hoffe, du hast das in den Griff bekommen, wenn ich melde dich einfach nochmal. So ihm ist es selber aufgefallen, dass er sich ja immer so ein bisschen dumpf anhört, obwohl sich sein Interviewpartner. Es ging im konkreten Fall ein bisschen darum, dass ein Interview gemacht hat. über diese Videokonferenz, Software und der Interviewpartner hat sich nicht so dumpf angehört wie wie er, obwohl es ja über zoom schon zu einer Komprimierung kommt. Und dass es so ein bisschen, dass er, dass ihm das aufgefallen ist. Und da ich dasselbe habe, also dasselbe Mikrofon habe, hat er mich halt um Rat gefragt, ob ich da was zu sagen kann. Bei ihm ist natürlich der Verdacht aufgekommen, dass es vielleicht an ihrer Einstellung liegt, vom Zoom H2n weil da kann man, es hat halt mehr Schalter wie nur Ein- und Ausschalter, und von dem her kann sowas natürlich schon sein, dass der Verdacht nahe liegt, dass da irgendwas vielleicht doch noch nicht ganz richtig eingestellt ist oder sonst irgendwas halt verstellt wurde. Und deswegen kam die Frage auf mich zu. So, aber wie kann man jetzt so einem seltsamen Ton, einem Störgeräusche im Allgemeinen? Wie kann man denn eigentlich so auf die Spur kommen, wenn man es nicht ganz so ganz so wahr nimmt oder eben nicht einsortieren kann? Punkt eins ist schon mal Wenn du auch ein Mikrofon hast, wo du halt viele Sachen einstellen kannst. Es ist sehr oft bei solchen Field Recordern wie dem Zoom H2 H4 H6. Was es da noch so alles gibt, Tascam gibt's ja schon ein paar. Die haben natürlich viele Einstellmöglichkeiten, und da ist es halt wichtig, dass sie dir die Anleitung mal durchliest oder die YouTube-Videos anschauen, sofern es welche gute gibt, was nicht so einfach ist und dort halt sämtliche Automatiken ausschaltest, die in irgendeiner Art und Weise den Ton beeinflussen können, zum Beispiel beim Zoom H2, gibt es zum Beispiel einen Limiter. Der einfach ein übersteuern verhindert verhindert, verhindert. Oder es gibt auch einen AutoGain Verstärker, als es heißt Ich, wenn ich Autogain eingeschaltet habe und ich rede ganz, ganz leise, dann. Pegel das Mikrofon einfach automatisch nach und zieht die Verstärkung nach oben. Im Gegenteil Wenn ich recht laut rede, dann fährt es diese, diesen Pegel einfach runter. Und das ist natürlich das ist eine Automatik. Er weiß nicht, wie sie die Regel einfach nach folgendem Schema nach, und das kann so ein Ding schon mal ein bisschen durcheinander bringen. Je nachdem bei Das Mikrofon weiß er nicht, warum man jetzt leise redet oder sonst irgendwas, von dem her solche Automatik einfach komplett ausschalten und da dann lieber daran arbeiten, sich dran zu gewöhnen, zu gucken. Mit welchem Pegel kann ich gut aufzeichnen? Bei mir beim Zoom H2n ist das immer so in der Regel zwischen fünf und sechs irgendwo auf dem Gain-Regler. Und damit komme ich recht gut zurecht, weil sonst greift das diese Automatik unkontrollierbar in deine Aufnahme mit ein. Und das können halt einfach potenzielle Fehlerquellen sein. Von dem her ist dieser Ansatz natürlich schon sehr, sehr wichtig, den zu gehen und zu sagen Hey, hier kann es an irgendeiner Einstellung liegen. So, wenn das ja ausgeschieden ist als Kriterium. Dann gibt's natürlich noch die Möglichkeit, sich aktiv Feedback holen zu zu seiner Aufnahme, zur Tonqualität. Weil mir selber ist das auch schon aufgefallen. Man verzettelt sich dann gerne auch mal so ein bisschen man. Wenn einem irgendwas auffällt, irgendein komisches Geräusch, dann, dann ist man ja darauf sensibilisiert. Und durch diese eigene Sensibilisierung fällt es einem immer mehr auf. Und deswegen ist es dann ab und zu auch mal ratsam, sich jemanden dazu zu holen, der jetzt nicht Freund und Familie ist, die einem sowieso meistens nur gutes Feedback geben, sondern von jemandem, der so ein bisschen außenstehend ist der einem dann da ja ehrlich und konstruktiv sagen Hey, pass auf, ich höre da überhaupt nix, mir fällt da gar nix auf, oder? Ja, da ist irgendwas bei ihm von alleine. Da kann man sich so ein bisschen auch rein verrennen und hört dann Sachen, die da vielleicht gar nicht so schlimm sind, oder? Das ist dann halt was Riesenaufwand hinter steckt das die wegzubekommen oder so irgendwas, wo halt dann nicht weiter der Rede wert ist. Also es schadet nicht, auch jemand mal zu fragen. Hey hier geht mir immer mehr. Mir ist etwas aufgefallen Dessen Das kannste dir mal anhören, fällt ja auch auf. Oder ist es eben nicht so, wenn da tatsächlich ein Problem ist wie jetzt bei meinem Kollegen? Dass der so einen dumpfen, dumpfen Ton einfach drinne hat, wo er nicht zuordnen kann, kann dann ist. Dann ist es natürlich da, und da muss man halt anfangen zu reagieren. Und in der Diskussion mit ihm kam dann so ein bisschen auch raus. Er überprüft noch deine Aufnahme Situation und macht Test Aufnahmen. Ich komme da gleich noch dazu, wieso das so war. Aber ich möchte den Punkt einfach vorgreifen. Wenn mit deiner Tonqualität irgendwas nicht stimmt und du hast da irgendwie ein Pfeifen drinne oder oder ein surren oder irgendwas Dumpfes, dann. Nimm dein Mikrofon, nimmt ein Laptop, wenn wir jetzt nicht in Field Recorder hast, sondern USB Mikrofon, dann nimmt dir das Zeug mal und geh mal in einen anderen Raum. Wenn du ihn im großen Büro bist, dann geh in nen kleinen Raum. Hast du in dem Raum eine Klimaanlage laufen oder eine Lüftungsanlage oder so, was immer irgendwo keine Lüftungsanlage ist. Also wechselt, gibt noch ein paar Beispiele, was man so machen kann, um einfach diese Situation zu ändern. Um mit Testaufnahmen dann festzustellen ist es immer noch da oder hat sich jetzt verändert? Und dann weiß man ja okay. Daran kann es gelegen haben. Paar Beispiele, noch dazu im Wechsel den Raum. Es kann auch mal hilfreich sein, einfach ein großes Kissen irgendwie hinters Mikrofon zu stellen, stell das Mikrofon woanders hin, nimmt mal ein großes Laken und werfe es über dich und das Mikrofon, als es ein bisschen in diese Richtung aufnehmen, die Aufnahme unter der Bettdecke machen. Geh mal in einen kleineren Raum und achte halt auch darauf, welche Geräte um dich herum eingeschaltet sind. Wäre nicht das erste Mal, dass zum Beispiel neben Handys Laptop unter Volllast rödeln und der Lüfter ist, der die ganze Zeit also ein bisschen am surren. ist. Also, es gibt da unzählige Möglichkeiten. Deswegen verändert einfach mal dein deine Aufnahmesituation und qq. Ob dieses Störgeräusche, dieses Nebengeräusche, ein surren, ein Summen, ein dumpfes, ein Hall. Ob der dann noch da ist, ob all diese Sachen da sind, und dann kann es ja entsprechend. Der Sache gegenüber kannste dann reagieren. Eine weitere Möglichkeit, die es dann so ein bisschen fortgeschrittene und das hab ich dadurch hab ich bei ihm dann raus gefunden bzw. hab ihm empfohlen, einfach mal eben solche Tests zu machen. Woher dieses Dumpfe kommen könnte? Ich habe dann in einer Audio Software in Adobe Audition war das hab ich dann mir das Audio File mal angeschaut und habs einfach angehört. Also ich bin bei weitem auch kein Toningenieur, Ingenieur oder sonst irgendwas. Die können das sicher noch viel besser heraushören wie ich. Aber ich hab dann einfach im Frequenzspektrum gesehen und mit einem Equalizer mal so einen sogenannten LowCut gesetzt, einfach mal, dass da aufgefallen ist. Dadurch hat sich der Ton viel besser angehört und durch dieses durch dieses Setzen von diesem LowCut hat, den konnte ich immer ein und ausschalten. Exminister mit der Zeit mit immer wieder, immer, immer wieder anhören. Ist mir dann aufgefallen, dass es eventuell bei ihm jetzt der Raum sein könnte, dass es die Raumakustik ist? So hat sich für mich ein bisschen angehört, das die daran schuld ist, dass diese so ein dumpfer, tiefer Nachhall der dann auch ist mir dann auch richtig aufgefallen, dass der ein bisschen fies ist, noch fastenden Ohren schon ein bisschen weh macht. Dieser Unterton. Und dass das eben an dem. An dem Raum liegen könnte und habe ihm dann empfohlen Mach mal eben solche Tests. Geh mal mit dem Mikrofon woanders hin, nimm es mal woanders auf. Wenn du zuhause bist, wenn du zum Interviews machst, einfach so verschiedene Möglichkeiten durchzuführen und dann zu schauen, ist dieses Dumpfe immer noch da. Wenn es dann immer noch da ist, dann muss man sagen Okay, dann probiers mal noch, vielleicht als nächstes One Laptop. Dabei weiß es auch das H2  kann man also auch nur mit Mikro irgendwo hingehen. Und wenn, dann ist es, wenn man rausgeht, wenn man raus an der frischen Luft, irgendwo, da gibts kein Hall, da gibt's keine. Gibts eigentlich außer Vogelgezwitscher und Wind keine Störgeräusche? Wenn dann immer noch so ein dumpfes. So ein dumpfer Unterton, da muss man dann noch mal gucken sind wir wirklich in den Einstellungen doch noch irgendwas versteckt, wo man vielleicht übersehen hat? Also lange Rede, kurzer Sinn eben. Wenn man gar nicht mehr weiter weiß, dann kann man natürlich mal zu jemandem gehen, der sich so ein bisschen in Audio Bearbeitungen auskennt. Um bewandert ist Toningenieur, Video, Editoren, Tontechniker oder auch Musiker. Die kennen sich, die haben. Die haben ein sehr gutes Gehör, sehr auf die hören ihre eigenen Töne. Und wenn die Gitarre nicht stimmt, dann hören sie das auch. Als Mann, der sich mit Audio beschäftigt und eventuell auch mit digitaler Soundbearbeitung auskennt, weil der kann dann auch in verschiedenen Audio Programmen versuchen, das ganze mal so ein bisschen zu analysieren. Zum Beispiel in Auphonic Logic Pro von Apple, Steinberg Cubase und andere DAW der Software. Das ist dann schon wegen ein bisschen fortgeschrittener solchen Störgeräuschen auf die Schliche zu kommen und sie dadurch halt auch zu isolieren, um sie für die Zukunft nicht mehr zu haben. So ja, also, das war in so einem großen Ganzen jetzt schon mal diese drei Dinge. Ich habe jetzt noch einen Punkt, auf den ich gleich noch komme, ich genehmer schnell durchschauen. Ob ich auch wirklich alles so gesagt habe, wie ich mir das so ungefähr vorgestellt habe. Habenwa haben auch. So angeregt durch meinen Podcast Kollegen ist es jetzt natürlich ein bisschen. Er hat mich gefragt Dominik, kannst dich mal wieder zu dem Zoom H2n machen, wie man es einstellt et cetera pp. Da ich das noch gar nicht so auf dem Schirm gehabt, weil ich erst mal dachte Okay, erst einmal anhören, erst mal so gucken, bevor man irgendwelche Einstellungen gehen. Aber er hat dieses Samenkorn so ein bisschen gesät, dass ich mir jetzt überlege, ob ich nicht auch einen YouTube-Kanal aufmache, rund um das Thema Podcast. Ich habe mal geschaut bei YouTube. Es gibt wirklich nicht so viel. Meistens sind es dann entweder es ist alles dasselbe, oder es sind halt wirklich Alte. So ein Jahr, zwei Jahre, elf Monate. Dann gibt es mal wieder ein Video. Vier Monate. Ich habe jetzt vielleicht auch noch nicht richtig gesucht, aber ich habe noch kein so Podcast YouTube-Kanal gefunden. Deswegen ist das so ein bisschen die Idee gereift, einen habe ich einen YouTube-Kanal aufmache, aufmachen soll. Bisher hatte ich das auch immer so ein bisschen weg gedrängt, weil jetzt ein Podcast ist. Für mich gefühlt war das bisher so, dass es gefühlt jetzt kein, ja sag mal so Videophiles Ding ist. Das ist halt, dass es Video mäßig kein zu ergiebiges Format ist. Vielleicht gibt's deswegen auch nicht so viele bei YouTube. Ich weiß es nicht. Auf jeden Fall habe ich da immer noch ein bisschen Fragezeichen im Kopf. Ob das sinnvoll ist, ob das schlau ist, ob das gut ist. Und da würde mich mal deine Meinung interessieren. Wenn ich YouTube-Kanal starten soll bzw. starten würde. Was würde dich, lieber Zuhörer, denn interessieren? In Form eines Videoformates zum Thema Podcast. Entweder du gehst hier über dem Blogbeitrag, den ich natürlich in den Shownotes verlinkte, aber ich verlinken natürlich auch rein die E-Mail-Adresse in den Shownotes. Du kannst mir eine Email schreiben an Assistenz etc. Podcast minus machen, Punkt kommen, ganz formlos, einfach reinschreiben, was du für Wünsche, Ideen, Anregung hättest und was vielleicht auch dazu meint Hier ne, laß, lass bleiben mit YouTube-Kanal oder mach. Mach unbedingt am besten mit deinen und den Themen. Da würde ich mich nämlich riesig drüber freuen, und du willst mir damit wirklich helfen. Ich finde die Idee nicht schlecht. Ich finde sie eigentlich recht gut, aber mir fehlt noch so ein bisschen konkret. Ja, aber was soll man denn Videos machen zum Thema Podcast? Ja, das wäre meine große Bitte an dich. Schreib mir einfach eine E-Mail an Assistenz ät Podcast Minus machen Punkt com. Da kriege ich dann die E-Mail und kann auch mal schauen, was, was, was du mir so an Feedback gibst, was dich weiterbringen würde. Im Bereich Podcasting mit Video Unterstützung sozusagen. Okay, das wars für diese Folge. Wir hören uns dann wieder in der nächsten Woche, bis dann Tschau.    

Vielen Dank an Tim für die Verkündung des meistgehassten Podcast 2020 (mit meinem ollen Zoom H2, weshalb ich mir eine dicke Träne verdrücken musste) und herzliche Wünsche auch von mir an den Gewinner-Cast. Die Siegertrophäe ist unterwegs!

Vielen Dank an Tim für die Verkündung des meistgehassten Podcast 2020 (mit meinem ollen Zoom H2, weshalb ich mir eine dicke Träne verdrücken musste) und herzliche Wünsche auch von mir an den Gewinner-Cast. Die Siegertrophäe ist unterwegs!

Random recording in a small forest near Ermelo. Internal mics of a Zoom H2. Aporee: https://aporee.org/maps/work/?loc=45451

Dan couldn’t make it this AM so I thought I would do another sound check. I connected my 1st gen ZOOM H2 directly to my PC as an external mic so I recorded this one directly to Audacity via USB. And then did some post. That said, I didn’t edit, which is bad because everything went to hell at the end of the test when I forgot the name Philo of Alexandria. Live and learn. Thanks for listening and enjoy!

One of my favorite photo documentaries is Darkness & Light, which is a fantastic look into the mind and work of Richard Avedon. A lot of people know Avedon from his photographs in the American West – bold monochrome portraits set against stark white backgrounds or “that poster.” You know the one – it features a nude Nastassja Kinski lying on a concrete floor entangled with a massive Burmese python. Originally shot for Vogue, the poster went on to sell millions of copies.Avedon's career spanned six decades and his work bridged the gap between art and commerce in a way that few others managed to do – either before or since – and yet still he felt dissatisfied with all that he had accomplished as a photographer.“I've never been able to put all I know into a photograph,” he said. “A photograph can be an adjective, a phrase. It can even be a sentence or a paragraph, but it can never be a chapter. So it's been a lifetime of frustration in terms of expressing myself because of the limitations of the visual image. I believe in it-but it's limited.”Avedon has been at or near the the top of my list of favorite photographers for the better part of three decades but honestly it's still hard for me to articulate why I feel such a connection to his work. There's an obvious technical mastery of the medium, but I could say the same for dozens of photographers whose work doesn't hold my interest in the same way or resonate as deeply as that of Avedon. So what is it that makes his work so compelling to me? Does he deserve the accolades and if so, why?I was talking to my friend Hugh Talman and happened to have my little Zoom H2 with me and asked if we could hit the record button since the odds are pretty good that at least one amazing story will emerge. Hugh recently retired from a 33-year tenure at the Smithsonian Museum of American History, first as a darkroom tech and then as a photographer. Before that, he spent 12 years at the National Archives where he printed many of Matthew Brady's glass plates from the Civil War as well as the work Timothy O'Sullivan did as part of the Western Survey. His knowledge and experience in all things photographic is staggering and if anyone could answer the question, it would be him.Subscribe: iTunes | Pocket Casts | Overcast | RSSI'd love to hear from you. Email me at talkback@jefferysaddoris.com or connect with me on Instagram @jefferysaddoris.You can catch up with Hugh on Instagram @hughtalman.Music in this episode: Gloom (Jahzzar) / CC BY-SA 4.0

One of my favorite photo documentaries is Darkness & Light, which is a fantastic look into the mind and work of Richard Avedon. A lot of people know Avedon from his photographs in the American West – bold monochrome portraits set against stark white backgrounds or “that poster.” You know the one – it features a nude Nastassja Kinski lying on a concrete floor entangled with a massive Burmese python. Originally shot for Vogue, the poster went on to sell millions of copies.Avedon's career spanned six decades and his work bridged the gap between art and commerce in a way that few others managed to do – either before or since – and yet still he felt dissatisfied with all that he had accomplished as a photographer.“I've never been able to put all I know into a photograph,” he said. “A photograph can be an adjective, a phrase. It can even be a sentence or a paragraph, but it can never be a chapter. So it's been a lifetime of frustration in terms of expressing myself because of the limitations of the visual image. I believe in it-but it's limited.”Avedon has been at or near the the top of my list of favorite photographers for the better part of three decades but honestly it's still hard for me to articulate why I feel such a connection to his work. There's an obvious technical mastery of the medium, but I could say the same for dozens of photographers whose work doesn't hold my interest in the same way or resonate as deeply as that of Avedon. So what is it that makes his work so compelling to me? Does he deserve the accolades and if so, why?I was talking to my friend Hugh Talman and happened to have my little Zoom H2 with me and asked if we could hit the record button since the odds are pretty good that at least one amazing story will emerge. Hugh recently retired from a 33-year tenure at the Smithsonian Museum of American History, first as a darkroom tech and then as a photographer. Before that, he spent 12 years at the National Archives where he printed many of Matthew Brady's glass plates from the Civil War as well as the work Timothy O'Sullivan did as part of the Western Survey. His knowledge and experience in all things photographic is staggering and if anyone could answer the question, it would be him.Subscribe: iTunes | Pocket Casts | Overcast | RSSI'd love to hear from you. Email me at talkback@jefferysaddoris.com or connect with me on Instagram @jefferysaddoris.You can catch up with Hugh on Instagram @hughtalman.Music in this episode: Gloom (Jahzzar) / CC BY-SA 4.0

Pour ce 2ème épisode de Les Coulisses du Podcast, on va parler d’un sujet qui revient souvent quand on démarre : quel matériel pour pouvoir lancer mon podcast ? Dans cet épisode, on va donc parler : Des conditions d’enregistrement (3') Des micros et enregistreurs à avoir en fonction du type de podcast et du budget (8') De montage : Audacity, Garageband, Reaper…quel meilleur outil pour monter mon podcast ? (21’) De conseils de montage (28’) Et bien sûr, on va répondre à vos questions ! (36’) Merci mille fois à nos merveilleux invité.e.s pour leurs retours d’expérience et conseils : - Lory Martinez des podcasts de (entre autres) A Poêle, Dinner for one, Ex-Expat - Fabien Rocques du podcast Antibrouillard - La joyeuse équipe de Potescast == BONNE ECOUTE == --- Les articles qui nous ont beaucoup aidé à nous lancer : Les articles de Ausha : celui sur le matériel et celui sur les logiciels L’article de Matthieu Stefani sur le matériel Cet article d’audioblog Les vidéos YouTube de Pat Flynn Le matériel dont on parle : Micro cravates : Rode SmartLavPlus ou Boya BYM1 + adaptateur Rode S6 Enregistreurs : Zoom H1N, Zoom H2, Zoom H4 PRO, Zoom H5 -celui de Mélanie avec lequel on enregistre-, Zoom H6 Micros : Shure SM58, C414 de AKG, GO MIC de Samson Les logiciels de montage dont on parle : Audacity, Garageband, Reaper, Adobe Audition, Hindenburg, Pro Tools, Live Ableton, Auphonic --- Vous avez un podcast et vous souhaitez partager votre expérience avec nos auditeurs ? Vous avez des questions, suggestions, remarques ? Vous souhaitez sponsoriser Coulisses ? Envoyez-nous un petit email à coulisses.podcast@gmail.com ou contactez-nous sur instagram à coulisses_podcast. --- Nous suivre sur les réseaux : Instagram : @coulisses_podcast Twitter : @coulissespod --- Musique (La Musique Libre) : Not The King - My Go Away Dream : https://youtu.be/uCoZxj13JTA Not The King : https://soundcloud.com/coreygagne

For the first time ever, I’ve come up with a title before we record. We all just got up, and I started to do my regular routine of checking stuff, including the weather. It’s -24 C our. That, for those of you scoring at home, has a technical name. Fucking Cold.Isabelle’s project with Jon’s high school starts next week, exciting stuff.Backpack studio crashed, but, I had a backup recorder because I’m me. So half is on a Zoom H2.People were standing around in the grocery store in the way, it was really annoying.We made a bunch of stops today for your listening pleasure.We’ve done 250 of these (and 118 of the hold show). Thanks to everyone for listening!

For the first time ever, I’ve come up with a title before we record. We all just got up, and I started to do my regular routine of checking stuff, including the weather. It’s -24 C our. That, for those of you scoring at home, has a technical name. Fucking Cold. Isabelle’s project with Jon’s high school starts next week, exciting stuff. Backpack studio crashed, but, I had a backup recorder because I’m me. So half is on a Zoom H2. People were standing around in the grocery store in the way, it was really annoying. We made a bunch of stops today for your listening pleasure. We’ve done 250 of these (and 118 of the hold show). Thanks to everyone for listening!

So, another audio mess.  Sigh....I spent two weeks (off and on) working on the equipment to make sure this exact thing didn't happen again - and it did! Sorry for the lousy sound.  I promise - PROMISE! - it will not happen again! Show Notes December 22, 2017 EP 17 The gang is home for the holidays!  Yay! This...is PlotPoints Podcast. This week we dive into William Wilder's life and work.  Funny man and more! 00:00:00 Pre-Podcast: Song from "A Christmas Story: The Musical." 00:01:12 Intro MC 00:02:21 Table Talk They're back - table talk with Toby and MC. Mark Sevi, Toby Wallwork, Mary Claire Anderson Van Kempen QUESTIONS?  COMMENTS? 919-Scripts www.ocscreenwriters.com 00:04:20 Self-referential scripts?  Why they are trouble! Mark Sevi, Toby Wallwork, Mary Claire Anderson Van Kempen 00:07:20 What Are We Watching?Mark Sevi, Toby Wallwork, Mary Claire Anderson Van Kempen 00:22:32 FOCUS: SuperWriter, Producer, Director William Wilder. Mark Sevi #sabrina #theapartment #somelikeithot #doubleindemnity #sunsetboulevard #sevenyearitch 00:35:00 Top Ten Christmas Movies #loveactually #miracleon34thstreet #badSanta #nightmarebeforechristmas #muppetschristmasmascarol #nationallampoonschristmasvacation #elf #theSantaclause #itsawonderfullife #aChristmasstory 00:45:00 Q&A - Questions, Questions, Questions Mark Sevi 00:54:00 Act III - It's A Solitary Life Mark Sevi HEY! Tell us what is your favorite Scifi, Romantic Comedy or Comic Book movie? Call (919) Scripts and shout it out to us. Resources: 919-SCRIPTS to leave a message/ask questions. www.plotpoints.com (show blog and more) www.ocscreenwriters.com - by writers for writers. Be Inspired, Do Good Work! Writers Guild Registration – www.wgawregistry.org U.S. Copyright Office - www.copyright.gov Podcast available on iTunes All Material copyright (c) Mark Sevi WHAT HAPPENED TO THIS PODCAST? I record on computer through Audacity and output to a standalone PCM digital recorder.  This provides two different forms of backup for the 'cast - Toby conceived this scheme and he did it right. We do have different equipment to do this and usually it's not a problem.  I have a PC and a Zoom H2 - the previous three podcasts were done using this equipment.  On the last podcast, I was getting this annoying clicking on the computer version so I just used the digital recording version - worked great! This time the roof fell in. The recorder I was using just died - it was supposed to be on AC but it thought it was on batteries so it died instantly after I started the recording and I didn't realize it until I looked and the recorder was dark.  So the first five minutes of the podcast were lost on the digital recorder.   Normally this would not be much of an issue but I could not get the PC and Audacity to go to stereo so my only source of stereo was the recorder - which was missing the first five minutes of the 'cast.  I had the whole podcast on the computer in mono which is not great to edit because we split the mics left and right to be able to edit out issues easily. Plus, and I am still puzzled by this, the only level that was good mic-wise was my mic.  I had to boost both Jeff and Larry's mics tremendously after the fact in order to be heard. Boosting an audio signal is never good if you don't have anything reasonable to begin with.  It just goes pear-shaped. That's why it sounds, at times, as if they are being punched into the audio stream from a bathroom.  I promise they were both present in the room - it just doesn't sound that way. I edited the first five minutes of the podcast from the computer (in mono) and then joined it to the stereo portion of the digital recorder that had really low mic levels for Jeff and Larry.  And actually, neither the H2 nor the PC had any sort of reasonable mic levels so it must have been something on the Mackie board that I did wrong. Still checking that. The result is so over-processed it sounds like I'm using a phase shifter on the podcast which isn't hard to imagin...

So, another audio mess.  Sigh....I spent two weeks (off and on) working on the equipment to make sure this exact thing didn't happen again - and it did! Sorry for the lousy sound.  I promise - PROMISE! - it will not happen again! Show Notes December 22, 2017 EP 17 The gang is home for the holidays!  Yay! This...is PlotPoints Podcast. This week we dive into William Wilder's life and work.  Funny man and more! 00:00:00 Pre-Podcast: Song from "A Christmas Story: The Musical." 00:01:12 Intro MC 00:02:21 Table Talk They're back - table talk with Toby and MC. Mark Sevi, Toby Wallwork, Mary Claire Anderson Van Kempen QUESTIONS?  COMMENTS? 919-Scripts www.ocscreenwriters.com 00:04:20 Self-referential scripts?  Why they are trouble! Mark Sevi, Toby Wallwork, Mary Claire Anderson Van Kempen 00:07:20 What Are We Watching?Mark Sevi, Toby Wallwork, Mary Claire Anderson Van Kempen 00:22:32 FOCUS: SuperWriter, Producer, Director William Wilder. Mark Sevi #sabrina #theapartment #somelikeithot #doubleindemnity #sunsetboulevard #sevenyearitch 00:35:00 Top Ten Christmas Movies #loveactually #miracleon34thstreet #badSanta #nightmarebeforechristmas #muppetschristmasmascarol #nationallampoonschristmasvacation #elf #theSantaclause #itsawonderfullife #aChristmasstory 00:45:00 Q&A - Questions, Questions, Questions Mark Sevi 00:54:00 Act III - It's A Solitary Life Mark Sevi HEY! Tell us what is your favorite Scifi, Romantic Comedy or Comic Book movie? Call (919) Scripts and shout it out to us. Resources: 919-SCRIPTS to leave a message/ask questions. www.plotpoints.com (show blog and more) www.ocscreenwriters.com - by writers for writers. Be Inspired, Do Good Work! Writers Guild Registration – www.wgawregistry.org U.S. Copyright Office - www.copyright.gov Podcast available on iTunes All Material copyright (c) Mark Sevi WHAT HAPPENED TO THIS PODCAST? I record on computer through Audacity and output to a standalone PCM digital recorder.  This provides two different forms of backup for the 'cast - Toby conceived this scheme and he did it right. We do have different equipment to do this and usually it's not a problem.  I have a PC and a Zoom H2 - the previous three podcasts were done using this equipment.  On the last podcast, I was getting this annoying clicking on the computer version so I just used the digital recording version - worked great! This time the roof fell in. The recorder I was using just died - it was supposed to be on AC but it thought it was on batteries so it died instantly after I started the recording and I didn't realize it until I looked and the recorder was dark.  So the first five minutes of the podcast were lost on the digital recorder.   Normally this would not be much of an issue but I could not get the PC and Audacity to go to stereo so my only source of stereo was the recorder - which was missing the first five minutes of the 'cast.  I had the whole podcast on the computer in mono which is not great to edit because we split the mics left and right to be able to edit out issues easily. Plus, and I am still puzzled by this, the only level that was good mic-wise was my mic.  I had to boost both Jeff and Larry's mics tremendously after the fact in order to be heard. Boosting an audio signal is never good if you don't have anything reasonable to begin with.  It just goes pear-shaped. That's why it sounds, at times, as if they are being punched into the audio stream from a bathroom.  I promise they were both present in the room - it just doesn't sound that way. I edited the first five minutes of the podcast from the computer (in mono) and then joined it to the stereo portion of the digital recorder that had really low mic levels for Jeff and Larry.  And actually, neither the H2 nor the PC had any sort of reasonable mic levels so it must have been something on the Mackie board that I did wrong. Still checking that. The result is so over-processed it sounds like I'm using a phase shifter on the podcast which isn't hard to imagine given that I equalized, compressed, limited, low-passed, high-passed, amplified, reduced, etc. etc. etc. This is the Frankenstein of podcasts and just about as pretty. To add to the woes, although we've recorded at this venue in the past, this time the nearby airport must have been landing and launching F-16s and C-17s because every ten minutes or so you can hear this low rumble through the mics. Sigh... I've purchased a new (used) H5 and I will solve the Audacity problem by maybe going to Adobe Audition for the recording and editing. In any case I promise not to ever do this again. Maybe. Mark, December 8, 2017 Newport Beach.  

Radio Icebox season 3, episode 4, “London Calling starring Douglas Skrief as Dr Graves, Justin Kapla was The Ringmaster, Cody Boyer as Cody, Tom Bement as Major, Aela Mackintosh as Abby, Scotta Turner as Jennifer, Jeffrey Adams as JJ, Caleb Silvers as Ned Nedly, and Beth Lowthian as Diana.Script, direction and post production by Jeffrey Adams.Some Sound effects from the Freesound Project at Freesound dot Org.Music by the wonderful Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0The Song this week was the holiday medley, “All Through the Night” by the Fort Frances Youth chorus, recorded at the Icebox Radio studios with accompaniment by Joe Belanger.Recordings of Victoria Station, St Pancras Station, The British Museum and others recorded on location with Sound Professionals binaural microphones using a Zoom H2 recorder.Radio Icebox: Season 3 is made possible in part by the voters of  Minnesota through a grant from the Arrowhead Regional Arts Council, thanks to appropriations from the Minnesota State Legislature’s general and arts and cultural heritage funds.

Radio Icebox season 3, episode 4, “London Calling starring Douglas Skrief as Dr Graves, Justin Kapla was The Ringmaster, Cody Boyer as Cody, Tom Bement as Major, Aela Mackintosh as Abby, Scotta Turner as Jennifer, Jeffrey Adams as JJ, Caleb Silvers as Ned Nedly, and Beth Lowthian as Diana. Script, direction and post production by Jeffrey Adams. Some Sound effects from the Freesound Project at Freesound dot Org. Music by the wonderful Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 The Song this week was the holiday medley, “All Through the Night” by the Fort Frances Youth chorus, recorded at the Icebox Radio studios with accompaniment by Joe Belanger. Recordings of Victoria Station, St Pancras Station, The British Museum and others recorded on location with Sound Professionals binaural microphones using a Zoom H2 recorder. Radio Icebox: Season 3 is made possible in part by the voters of  Minnesota through a grant from the Arrowhead Regional Arts Council, thanks to appropriations from the Minnesota State Legislature’s general and arts and cultural heritage funds.

Radio Icebox season 3, episode 4, “London Calling starring Douglas Skrief as Dr Graves, Justin Kapla was The Ringmaster, Cody Boyer as Cody, Tom Bement as Major, Aela Mackintosh as Abby, Scotta Turner as Jennifer, Jeffrey Adams as JJ, Caleb Silvers as Ned Nedly, and Beth Lowthian as Diana.Script, direction and post production by Jeffrey Adams.Some Sound effects from the Freesound Project at Freesound dot Org.Music by the wonderful Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0The Song this week was the holiday medley, “All Through the Night” by the Fort Frances Youth chorus, recorded at the Icebox Radio studios with accompaniment by Joe Belanger.Recordings of Victoria Station, St Pancras Station, The British Museum and others recorded on location with Sound Professionals binaural microphones using a Zoom H2 recorder.Radio Icebox: Season 3 is made possible in part by the voters of  Minnesota through a grant from the Arrowhead Regional Arts Council, thanks to appropriations from the Minnesota State Legislature’s general and arts and cultural heritage funds.

What happened to this podcast?  Why does it sound like sh*t?  Notes at the end of these show notes if you're interested.  CLICK HERE or go to bottom of these show notes. Show Notes December 08, 2017 EP 16 Mark is hostless (and mostly clueless) BUT he taps two friends to help him and they respond big time to save his cookies... Jeff Lyons and Lorenzo Porricelli make Mark's life easier even as he works hard to confuse and complicate it. This...is PlotPoints Podcast. This week we dive into James Cameron's life and work.  Blue people dreams?  Oh, yeah.  Terminate this, Arh-nold! 00:00:00 Pre-Podcast: Apologies and Whining.  Waaah. Mark Sevi 00:01:12 Intro Mark Sevi 00:02:21 Table Talk Jeff Lyons and Lorenzo Porricelli sit in and rock the joint! Where are Toby and MC?  Hmmm.  What are you suggesting? Mark Sevi, Jeff Lyons, Lorenzo Porricelli QUESTIONS?  COMMENTS? 919-Scripts www.ocscreenwriters.com 00:04:20 What Are We Watching? Mark Sevi, Jeff Lyons and Lorenzo Porricelli #godless #skins #haltandcatchfire #merritwebber #coco cocospanishversion #gameofthrones jrrmartin 00:07:20 What Are We Writing?Mark Sevi, Jeff Lyons and Lorenzo Porricelli 00:17:05 Guily Pleasures and Under-Appreciated Films and TVMark Sevi, Jeff Lyons and Lorenzo Porricelli #buckaroobanzai #wired #thehaunting #williamfriedkin #mame #putneyswope 00:22:32 FOCUS: SuperWriter, Producer, Director JAMES CAMERON. Mark Sevi #terminator #theabyss #truelies #divingdocumentaries #pointbreak #avatar #terminator2 #t2 worldbeyondthestars #darkangel #lindahamilton #galeannhurd #katherinebigelow #aliens #piranha2 #titanic #alitabattleangel #alita Xenogenesis: https://www.youtube.com/watch?v=8KpZRJ4HE4Q Cameron's credits: http://www.imdb.com/name/nm0009190/ 00:46:00 This Week/Year/Whatever in Film History #hayescode #mpaa     00:52:00 Q&A - Questions, Questions, Questions Mark Sevi, Jeff Lyons jefflyonsbooks.com How do I break in to television? Mark Is long-form narrative TV a reflection of books? Jeff 01:05:30 Outro Saying ciao until next time! Jeff Lyons: http://www.jefflyonsbooks.com/ SCWA: http://www.ocwriter.com SCWA Anthology Book on Amazon:  HERE HEY! Tell us what is your favorite Scifi, Romantic Comedy or Comic Book movie? Call (919) Scripts and shout it out to us. Resources: 919-SCRIPTS to leave a message/ask questions. www.plotpoints.com (show blog and more) www.ocscreenwriters.com - by writers for writers. Be Inspired, Do Good Work! Writers Guild Registration – www.wgawregistry.org U.S. Copyright Office - www.copyright.gov Podcast available on iTunes All Material copyright (c) Mark Sevi WHAT HAPPENED TO THIS PODCAST? I record on computer through Audacity and output to a standalone PCM digital recorder.  This provides two different forms of backup for the 'cast - Toby conceived this scheme and he did it right. We do have different equipment to do this and usually it's not a problem.  I have a PC and a Zoom H2 - the previous three podcasts were done using this equipment.  On the last podcast, I was getting this annoying clicking on the computer version so I just used the digital recording version - worked great! This time the roof fell in. The recorder I was using just died - it was supposed to be on AC but it thought it was on batteries so it died instantly after I started the recording and I didn't realize it until I looked and the recorder was dark.  So the first five minutes of the podcast were lost on the digital recorder.   Normally this would not be much of an issue but I could not get the PC and Audacity to go to stereo so my only source of stereo was the recorder - which was missing the first five minutes of the 'cast.  I had the whole podcast on the computer in mono which is not great to edit because we split the mics left and right to be able to edit out issues easily. Plus, and I am still puzzled by this, the only level that was good mic-wise was my mic.  I had to boost both Jeff and Larry's mics tremendously after the fact in order to be heard. Boosting an audio signal is never good if you don't have anything reasonable to begin with.  It just goes pear-shaped. That's why it sounds, at times, as if they are being punched into the audio stream from a bathroom.  I promise they were both present in the room - it just doesn't sound that way. I edited the first five minutes of the podcast from the computer (in mono) and then joined it to the stereo portion of the digital recorder that had really low mic levels for Jeff and Larry.  And actually, neither the H2 nor the PC had any sort of reasonable mic levels so it must have been something on the Mackie board that I did wrong. Still checking that. The result is so over-processed it sounds like I'm using a phase shifter on the podcast which isn't hard to imagine given that I equalized, compressed, limited, low-passed, high-passed, amplified, reduced, etc. etc. etc. This is the Frankenstein of podcasts and just about as pretty. To add to the woes, although we've recorded at this venue in the past, this time the nearby airport must have been landing and launching F-16s and C-17s because every ten minutes or so you can hear this low rumble through the mics. Sigh... I've purchased a new (used) H5 and I will solve the Audacity problem by maybe going to Adobe Audition for the recording and editing. In any case I promise not to ever do this again. Maybe. Mark, December 8, 2017 Newport Beach.  

What happened to this podcast?  Why does it sound like sh*t?  Notes at the end of these show notes if you're interested.  CLICK HERE or go to bottom of these show notes. Show Notes December 08, 2017 EP 16 Mark is hostless (and mostly clueless) BUT he taps two friends to help him and they respond big time to save his cookies... Jeff Lyons and Lorenzo Porricelli make Mark's life easier even as he works hard to confuse and complicate it. This...is PlotPoints Podcast. This week we dive into James Cameron's life and work.  Blue people dreams?  Oh, yeah.  Terminate this, Arh-nold! 00:00:00 Pre-Podcast: Apologies and Whining.  Waaah. Mark Sevi 00:01:12 Intro Mark Sevi 00:02:21 Table Talk Jeff Lyons and Lorenzo Porricelli sit in and rock the joint! Where are Toby and MC?  Hmmm.  What are you suggesting? Mark Sevi, Jeff Lyons, Lorenzo Porricelli QUESTIONS?  COMMENTS? 919-Scripts www.ocscreenwriters.com 00:04:20 What Are We Watching? Mark Sevi, Jeff Lyons and Lorenzo Porricelli #godless #skins #haltandcatchfire #merritwebber #coco cocospanishversion #gameofthrones jrrmartin 00:07:20 What Are We Writing?Mark Sevi, Jeff Lyons and Lorenzo Porricelli 00:17:05 Guily Pleasures and Under-Appreciated Films and TVMark Sevi, Jeff Lyons and Lorenzo Porricelli #buckaroobanzai #wired #thehaunting #williamfriedkin #mame #putneyswope 00:22:32 FOCUS: SuperWriter, Producer, Director JAMES CAMERON. Mark Sevi #terminator #theabyss #truelies #divingdocumentaries #pointbreak #avatar #terminator2 #t2 worldbeyondthestars #darkangel #lindahamilton #galeannhurd #katherinebigelow #aliens #piranha2 #titanic #alitabattleangel #alita Xenogenesis: https://www.youtube.com/watch?v=8KpZRJ4HE4Q Cameron's credits: http://www.imdb.com/name/nm0009190/ 00:46:00 This Week/Year/Whatever in Film History #hayescode #mpaa     00:52:00 Q&A - Questions, Questions, Questions Mark Sevi, Jeff Lyons jefflyonsbooks.com How do I break in to television? Mark Is long-form narrative TV a reflection of books? Jeff 01:05:30 Outro Saying ciao until next time! Jeff Lyons: http://www.jefflyonsbooks.com/ SCWA: http://www.ocwriter.com SCWA Anthology Book on Amazon:  HERE HEY! Tell us what is your favorite Scifi, Romantic Comedy or Comic Book movie? Call (919) Scripts and shout it out to us. Resources: 919-SCRIPTS to leave a message/ask questions. www.plotpoints.com (show blog and more) www.ocscreenwriters.com - by writers for writers. Be Inspired, Do Good Work! Writers Guild Registration – www.wgawregistry.org U.S. Copyright Office - www.copyright.gov Podcast available on iTunes All Material copyright (c) Mark Sevi WHAT HAPPENED TO THIS PODCAST? I record on computer through Audacity and output to a standalone PCM digital recorder.  This provides two different forms of backup for the 'cast - Toby conceived this scheme and he did it right. We do have different equipment to do this and usually it's not a problem.  I have a PC and a Zoom H2 - the previous three podcasts were done using this equipment.  On the last podcast, I was getting this annoying clicking on the computer version so I just used the digital recording version - worked great! This time the roof fell in. The recorder I was using just died - it was supposed to be on AC but it thought it was on batteries so it died instantly after I started the recording and I didn't realize it until I looked and the recorder was dark.  So the first five minutes of the podcast were lost on the digital recorder.   Normally this would not be much of an issue but I could not get the PC and Audacity to go to stereo so my only source of stereo was the recorder - which was missing the first five minutes of the 'cast.  I had the whole podcast on the computer in mono which is not great to edit because we split the mics left and right to be able to edit out issues easily. Plus, and I am still puzzled by this, the only level that was good mic-wise was my mic.  I had to boost both Jeff and Larry's mics tremendously after the fact in order to be heard.

Nagranie w jednakowych warunkach z obróbką pliku końcowego do mp3 128 kbps 16 kHz

Nagranie w jednakowych warunkach z obróbką pliku końcowego do mp3 128 kbps 16 kHz

Here's Red Haired Boy on my Gibson copy with Neat neck, Sullivan Factory Floor rim, and Huber HR-30 tone ring. The guitar is a Blueridge BR160. Recorded with a Zoom H2.

Here's Red Haired Boy on my Gibson copy with Neat neck, Sullivan Factory Floor rim, and Huber HR-30 tone ring. The guitar is a Blueridge BR160. Recorded with a Zoom H2.

This sound of theremin artist Anthony Ptak. Liner notes: Motif (2013) [5:12] This recording by Anthony Ptak utilizes an electric guitar via loop pedal layers. The recording was made in a rudimentary fashion using a First Act guitar amplifier, and a Zoom H2 recorder built in stereo microphone nearby. No post-processing was applied. A minimalist music approach was explored in this experimental art music work. Influences of Steve Reich, Cyrus Pireh, and Tony Conrad may be present in this motif, defined as a short succession of notes producing a single impression; a brief melodic or rhythmic formula out of which longer passages are to be developed. -AJ Ptak

We talked a bit about Maslow's hierarchy of needs, which Isabelle is thinking about in her painting. It is a pretty much discredited idea nowadays in psychology. We then talked a bit about our new government, specifically the cabinet. They seem, oh, qualified or something. Interestingly a large number of them did not 'swear to God' but instead affirmed that they would do their duties. Plus, half are women, plus there are monitories and everything! Oh part 2 is recorded on my Zoom H2, there might be a couple of audio problems, for that I apologize.

How the angels sing to Stanley in heaven (27m54s) : Recorded at the TIFF Lightbox on November 10 2014 at the Kubrick Retrospective. Equipment used: Zoom H2 and Roland – CS-10EM – Binaural Microphones/Earphones

New York City Subway – September 18 2014 at around 17:20pm.   Travelling from Bleecker Street to 42nd Street Grand Central Station.  The audio has been edited and time slightly compressed to emphasize certain audio elements and vocal idiosyncrasies. Listen:  (5m36s  10Mb)   Equipment used: Zoom H2 and Roland – CS-10EM – Binaural Microphones/Earphones

Had to use Bossjock Studio and my iPhone today as my Zoom H2 ran out of batteries.... Motivation, emotion, anger, disgust etc.

Fixed action patterns,, habituation below zero and stuff like that. I had to switch recorders as my batteries ran out on my Zoom H2 today, so that explains the musical interlude. Starting and ending music 'Shotgun Loudmouth' by Battery Life, oh and we had a visit from Jonathan from the famous Jonathan Files podcast and his Youtube channel.

Early morning ducks in Akershus Fortress, Olso Norway Saturday April 27 2013 Duration : 3m9s Size : 8mb Equipment used: Zoom H2 and Roland – CS-10EM – Binaural Microphones/Earphones

April 24 8pm Bergen, Norway. Boy’s Marching Band through the city centre by the Atlantic Ocean.  Sun has still not set. Fine mist of rain falling around us. Listen :     Duration: 1m50s  Size: 5mb Equipment used for recording : Zoom H2 and Roland – CS-10EM – Binaural Microphones/Earphones

Grabación realizada con el con el grabador portatil Zoom H2 el 27-5-2013.

in this Audioboo I am talking about the omnipotent of tea in England. Many people see T tea as being the panacea to all ills, whatever happens to a person in life the answer is to put the kettle on and have a nice cup of tea. I made a video this morning next to the harbour and Platja d'Aro and I used my new microphone which is a clip on microphone I have connected to my Zoom H2 recorder. When I got back to base I was able to use the Final Cut Pro synchronisation feature which allows me to synchronise some video to audio. This feature really works very well indeed and I had great sound to go with my video that I have now posted up to my video blogging channel on YouTube. I also talk about having to go to the shop to buy some mustard and of course I want to have some good Coleman's English mustard. You know the yellow very strong stuff that as a good bite to it. There was a man near to me who was scouring the rocks to find seafood which he was probably going to take home and eat. If you like that sort of thing fresh seafood taken from the beach is probably a delicacy. There were also fishermen, campers with their caravans and Summer businesses getting ready for the summer season. there was also a boat in the water that had dropped anchor and could have been therefore fishing or could have been therefore diving, I don't know what couldn't get a good look.

Art Institute of Chicago June 21 2012 Equipment used for recording : Zoom H2 and Roland – CS-10EM – Binaural Microphones/Earphones.

Riding the L in Chicago June 23 2012 Equipment used for recording : Zoom H2 and Roland – CS-10EM – Binaural Microphones/Earphones.

Irish reel played on the 5 string banjo - GDGCD tuning - capo 2nd fret, 5th string capo 7th fret - for key of Am - Recorded with a Zoom H2 into a laptop

My second attempt at recording with someone else, but my first with the new Zoom H2.  Jon B and I rambled on marginally coherently after a night of drinking.  I gather some people find such shows entertaining.  Anyway, it was cool to try out the new hardware, and I've wanted to record with Jon for a while.  Good friend, good D.J.I originally thought, that he might be losing his job, but now I think something different is happening.  Oh, well, I'd been drinking, my judgement was impaired.Theme music from Kevin MacLeod

My second attempt at recording with someone else, but my first with the new Zoom H2.  Jon B and I rambled on marginally coherently after a night of drinking.  I gather some people find such shows entertaining.  Anyway, it was cool to try out the new hardware, and I've wanted to record with Jon for a while.  Good friend, good D.J.I originally thought, that he might be losing his job, but now I think something different is happening.  Oh, well, I'd been drinking, my judgement was impaired.Theme music from Kevin MacLeod

[audio:http://media.libsyn.com/media/generallyspeaking/PodcastAnswerMan-035-ZoomH2Review.mp3] In this episode, I give you my review of the Samson Zoom H2 Portable Digital Recorder. UPDATE 11/27/2007: Please note: The Zoom H2 will not mount as a USB Drive on MAC OS X 10.5.0 Leopard unless you update to H2 Firmware version 1.2 or higher. You may download the latest H2 frimware and […] The post 035 Podcast Answer Man – Samson Zoom H2 Review appeared first on The Cliff Ravenscraft Show.

[audio:http://media.libsyn.com/media/generallyspeaking/PodcastAnswerMan-035-ZoomH2Review.mp3] In this episode, I give you my review of the Samson Zoom H2 Portable Digital Recorder. UPDATE 11/27/2007: Please note: The Zoom H2 will not mount as a USB Drive on MAC OS X 10.5.0 Leopard unless you update to H2 Firmware version 1.2 or higher. You may download the latest H2 frimware and […] The post 035 Podcast Answer Man – Samson Zoom H2 Review appeared first on The Cliff Ravenscraft Show.