Microphone Basics for Streaming Audio and Podcasting

Mic Basics for Streaming Audio & Podcasting

Presented by AUDIO-TECHNICA and PERFORMER MAGAZINE

TABLE OF CONTENTS

Performer Magazine www.performermag.com Twitter: @performermag Facebook: @performermagazine Instagram: @performermagazine

SECTIONS Microphone Basics for Streaming Audio

1

Microphone Basics for Podcasting

2

How to Get the Best Sound for Streaming Audio

3

Audio-Technica www.audio-technica.com.com Twitter: @usaudiotechnica Facebook: @AudioTechnicaUSA Instagram: @audiotechnicausa

Š 2018 by Performer Publications, Inc. All rights reserved. No part of this publication may be reproduced by any method whatsoever without the written permission of the publisher.

PART 1

Microphone Basics for Streaming Audio Welcome to the first in a multi-part series that will focus on microphone basics and capturing sound both for streaming platforms as well as podcasting, co-presented by Performer Magazine and Audio-Technica.

In this installment, we’ll take a closer look at popular streaming platforms, the best types of microphones for web audio, wireless options for field recording as well as some accessories that could make your streaming audio endeavors easier to handle. In the upcoming pages, we’ll also go into more detail about podcasting microphone choices, mixing options, as well as tips for getting the best sound possible for your web-based a/v projects.

STREAMING PLATFORMS AND SOFTWARE To clarify, when we talk about streaming, we’re really talking about web-based platforms and apps that transmit audio, video or both over the internet. As an artist, it behooves you to learn about all the available promotional platforms available for your band, and what each brings to the table. Not just standard streaming services like Spotify and Apple Music, which merely allow users to listen to your albums, but also platforms that enable you, as a content creator, to transmit your original content (outside of studio recordings) directly to your fans.

The possibilities are endless, but there are a few key areas where streaming content can be a great tool in your promotional arsenal: 1. Live-streaming or broadcasting rehearsal, recording or writing sessions. One of the most engaging artists to offer behind-the-scenes content and insights into his creative headspace is Deadmau5, who’s frequently used the Twitch platform to deliver hours-long studio sessions and synth explorations. If you’re not currently on Twitch for your band, you should be. More and more, this platform is developing a strong content base for music-based broadcasting, and the ability to hook fans with exclusive, live-streamed or on-demand video content is an opportunity not to pass up.

2. Product reviews and video demonstrations.

We’re seeing a lot of great artists get into the world of product reviews, walkthroughs and gear demos on their social media platforms. Currently, the best platforms are the ones you’d expect, like Facebook Live and YouTube. YouTube has the upper hand for longevity, as the Google-owned property is much better setup for search capabilities and keyword mining, as opposed to Facebook and the Facebook-owned Instagram platforms which offer up more ephemeral viewing experiences.

Typically, video search options and browsing capabilities are weak (or non-existent) on FB and IG, so it’s in the artist’s best interest to create topical, relevant content that “strikes while the iron is hot,” so to speak, as most FB and IG users won’t ever be able to find that content again. Here’s an opportunity to be smart about using sponsored posts and targeted audiences to your benefit as part of your overall marketing strategy.

USB MICROPHONES For simple streaming, like gear walk-throughs, talking head pieces, voice-over and interviews, you can’t go wrong with an easy-to-use USB microphone. We’ll get into more complex setups in future installments, but let’s work on the

assumption that you’re a singular person talking to the camera. In this instance, a USB microphone like the Audio-Technica AT2020USB+ is a great option, because it can capture vocals as well as acoustic instruments (let’s say you’re doing a special acoustic Facebook Live session for your followers), and doesn’t require additional hardware like an audio interface, mixer, or additional XLR cables, nor does it really require a full-blown DAW to operate.

USB mics offer true plug-and-play capabilities, and the AT2020USB+ in particular features a cardioid pickup pattern that provides solid off-axis rejection. It’s also got a high-quality, on-board analog-to-digital (AD) converter that will enable you to directly capture great audio no matter what software you’re using on your computer. We also recommend USB mics for these types of scenarios because they oftentimes (like the AT2020USB+) offer built-in headphone monitoring, again negating the need for an external headphone amp or audio interface monitoring.

LAVALIER MICROPHONES USB mics are a great option if you’re doing live video streams in a controlled environment, like a studio.

But if you’re doing any sort of field or on-the-go recording, and you’re going to be the on-camera talent, you may want to investigate lavalier (or lav) options. These tiny mics can be clipped to clothing or made inconspicuous, so they don’t interfere with the visuals of your stream, while still capturing high-quality audio.

We’ve gotten to the point where the big old dynamic lavs of old have been replaced with super-miniature condenser lavaliers that feature capsules no bigger than a tiny gumball. What’s great about lavs is that they can often discern voices and add emphasis to speech while filtering out unwanted background noise. For live situations in the field, this can be a life-saver (especially for interview situations or for journalistic reporting). These types of lavs might need to be positioned closer to the source (i.e. your mouth) but are still small enough to go unnoticed by your viewers.

WIRELESS OPTIONS The lavs mics above are typically going to be wired options, which might be fine for a lot of users, but wireless may be the way to go for your particular video needs.

In this scenario, you’re likely a power user and are more comfortable with using additional hardware in your video production setups. Typically, a wireless system will function together as a cohesive operation, and usually consists of a wireless microphone that transmits the audio signal to a wireless receiver. Audio-Technica For musicians, in particular, if you’re has great options for videographers, doing say a tour diary vlog, lavs can including their System 10 Camera make your audience feel like you’re Mount portable wireless systems, speaking directly to them in an au- which we’ve field-tested in the past. thentic way -- as opposed to handheld mics that might make the video Using one of these systems, your seem more artificial and staged. An band can conduct behind-the-scenes inconspicuous mic situation lends interviews, capture backstage tour an air of authenticity that could be a footage and film studio sessions great added benefit no matter what without the need to be tethered by type of video content you’re produc- audio cables running all over the ing for your band. place. The lav version of a wireless system may just require the wearer As far as lavs go, for video production to have a bodypack, that will transwe recommend sticking to omni-di- mit the signal to the receiver, as oprectional mics. That way if you more posed to a mic transmitter. Many of from the source slightly, or re-posi- these receivers can be mounted right tion the mic accidentally, you’re not to your video camera, making things throwing things out of whack and even easier in the real-world. off-axis, causing phase, volume and other related pickup issues.

In any case, the flexibility and ease of use of a wireless system for conFor truly mobile applications, there’s tent creation may be just the soluthe smartphone compatible Au- tion you’re looking for when upgraddio-Technica ATR3350iS or, even ing from a simpler video production better, the AT898 or AT899, which solution. both offer cost-effective, subminiature omnidirectional lavalier mic options.

PART 2 Microphone Basics for Podcasting

WHY SHOULD YOU PODCAST? Podcasting has never been easier, both in terms of production and distribution. Many podcasts can be done with one, or a few, simple microphones and then distributed immediately out into the world on a number of various platforms. For musicians, you are already great at creating content! You probably do it every day, and we’re not just talking about songwriting and recording.

Nowadays independent bands have become super-savvy at social media marketing and content marketing in general. Which means that every day bands are keeping an eye on metrics, stats, analytics and more to see what sorts of content fans are engaging with on social media, and what’s simply not hitting.

As an artist, you are a wealth of interesting information, whether you realize it or not. Most fans don’t understand the day-to-day of the average working musician, so a podcast can be an easy way to bring fans into your world, in a non-intrusive way, and educate them on subjects that you deal with in your career: touring, the creative process, band management, and so forth. This stuff is interesting and can really tighten the bond between band and fan. The more they feel they know you, the more apt they are to become a “super fan.”

In addition, you probably know a bunch of cool people that can be interview subjects for your podcast: fellow bands, engineers, booking agents, session musicians, club owners, etc. Come on, we know you know some folks with interesting stories to tell. Here’s a way to deliver engaging, regularly scheduled content to your fans with the resources and people

you already have at your disposal.

HOSTING AND PLATFORMS One thing to keep in mind, regardless of which microphones you’re using or what sort of show you’re doing, is that there will typically be two components for final podcast reaching your audience. The first is hosting, or where you choose to save your audio files on the internet. For musicians doing podcasts, you’re probably already familiar with SoundCloud, which offers podcast hosting services in addition to music streaming services you might already be using.

There are countless hosting services, both free and paid, that will keep your files safe and secure.

Once your audio is recorded and hosted somewhere on the internet, your host will be able to provide an RSS feed to podcast networks, or platforms, that can pick up your podcast and all the relevant info about your program as new episodes are uploaded. In this respect, you don’t need to inform the platform each time you create and upload a new episode to your host, that information is gathered for you and then pushed to subscribers or people searching that particular platform for podcasts to listen to.

We’re not going to get into which platforms you want to be on (Apple, Stitcher, etc.) or how to get your podcasts served up to their members in this installment (that’s a topic for another day) -- you can find the basic procedures outlined through most of their FAQs. Rather, we want to get into microphone basics for first-time podcasters.

USB vs. XLR MICROPHONES As with the world of internet streaming, you can’t go wrong with an easyto-use USB microphone. And again, it’s no surprise that our go-to for new podcasters is the Audio-Technica AT2020USB+. For starters, the quality for the price is fantastic, and it couldn’t be simpler to set up. If you’ve never hosted a podcast before, or are new to interviewing people in general, the fewer cables, components and pieces of hardware to learn, the better. With a quality USB mic, you can forego an audio interface (for now) and intimidating DAW setups.

Just plug the mic in, open up a simple audio recording program (many PCs and Macs come equipped with basic voice memo or simple track recording software already) and begin a new session. Even iOS and Android devices are capable now of recording simple audio sessions.

If you plan on having multiple guests, or want to invest in better quality mics, you can always get some nice condenser mics that are especially made to handle vocals and plug them into either a small compact mixer and send the stereo output to a recording device or computer. Or, you can get a small one or two-channel audio interface that will take analog audio from your mic’s XLR output and convert that to a digital signal your computer’s recording software, or DAW, can understand. One of the nice things about USB mics, of course, is that the A/D conversion is handled on-board, with one less step to take care of. But a selection of XLR mics and an interface you may own already have means you might have all the gear you need to get going.

RECORDING CONSIDERATIONS & POLAR PATTERNS So, how do we use mics for speech? Is it different from how we might record music? In essence, the goal is the same: get the clearest quality recording to start so that you don’t need to fiddle with post-production headaches.

Let’s start with the simplest scenario: just you and a microphone. In this instance, it doesn’t really matter if you’ve chosen USB or standard XLR mics. What’s going to be important in capturing your voice is the polar pattern of the microphone. Polar patterns determine the sensitivity of the sound hitting the mic’s capsule in relation to where the sound source is coming from.

In other words, some mic patterns are set up in such a way to reject sound coming in from the sides, rear or both. Some mics allow audio from all angles to be captured in equal measure. Let’s explore…

who’s speaking into the rear of the mic, or off-center.

Perhaps you’ve got a cool 5-piece band in your podcast studio – an omnidirectional mic, like the affordable Audio-Technica AT8010, can be great for picking up all the voices in a room, or even recording an impromptu acoustic jam without the need for a multi-mic setup.

For small spaces, this can definitely be the way to go, and offers additional flexibility since it’ll work whether you’re flying solo or hosting a larger group chat. Just be aware that omnidirectional condenser mics require phantom power, so be sure to engage the +48v button on your interface during recording sessions.

BI-DIRECTIONAL MIC PATTERNS The final polar pattern that might make sense for podcasters is the bi-directional pattern. Again, these things are named fairly well, so you can imagine how this operates. Yes, it picks up sound equally well from two directions, front and rear, meaning your interview subject CARDIOID POLAR PATTERNS sitting directly across from you won’t be rejected like OK, back to our initial situation: just you and a mic. in other mic patterns, and your voice will be picked up Here you’re probably going to want to opt for a mic equally as well, too. Any noise sources coming into the with a cardioid (or some variation thereof) pattern. You side of the mic should be filtered out nicely. may have seen these “heart-shaped” diagrams before when researching vocal mics, but essentially a cardioid pattern rejects feedback well, as well as ambient You may have heard of these referred to as Figure 8 sounds and sounds that aren’t coming directly from in mics, which makes sense once you see a diagram of front of the mic’s pickup. Super cardioid takes it one their pattern, and these will typically be either ribbon step further and are awesome for a single sound source mics or large-diaphragm condensers (again, requiring in either quiet or loud situations. Position your voice in additional power from your console or interface). front of the mic’s capsule, speak clearly, and off you go.

Monitor the recording to make sure you’re not speakIf you know your podcast is going to focus almost exing “off-axis” or too far away from the mic in general. clusively on one-on-one interviews, a nice bidirectional mic, like the Audio-Technica AT4080, could be just the ticket. Ribbon mics like this may cost more as an OMNIDIRECTIONAL MIC PATTERNS initial investment, but they’re robust and built to last Like the name implies, omnidirectional mics actually for decades in the studio. If you’re serious about your capture sound coming at the pickup form ALL direc- podcast endeavor, it might make sense to invest in a tions. When might this be good for podcasters? Well, high-quality might from the start to ensure that you’re it’s an easy way to make sure a larger group of peo- getting top-quality audio from day one. ple talking can be picked up, without losing someone

PART 3 How to Get the Best Sound for Streaming Audio

THE PROXIMITY EFFECT Let’s take a look at a real-world example where artists would be conscious of how their audio for streaming stacks up. Say you’re making product demo videos for YouTube -- either as a way to strengthen your own brand as an influencer, make some extra revenue, introduce new fans to your band, or simply for fun. One of the biggest challenges is getting across clear spoken dialogue that will allow your viewers to understand what you’re saying without difficulty. Now, miking up instruments and studio vocals is one thing, but how about just talking to camera?

One obstacle that novice users run into is something called the proximity effect with directional microphones. Put simply, the proximity effect is when the frequency response of your mic changes (typically in an undesirable way) when the sound hitting the mic (i.e. your voice) is either too close (or literally on top of the mic) or when you’re off-angle to the mic’s diaphragm.

Start off a few inches away from the mic and see how the response deepens as you move in tighter. Then listen for the difference as you back off a bit. Sometimes it’s subtle, sometimes far more noticeable – and definitely something to be aware of when capturing speech.

effect (think of how deep-voiced radio DJ’s come across), but 99% of the time you’ll want to avoid these issues with straight speech.

So, with directional mics, try experimenting with the “sweet spot,” which is a combination of the right distance away from the mic, and the proper direction you’re addressing the mic to make sure you’re on-axis.

GOING OMNI Alternatively, there’s an even easier way to avoid the proximity effect (and some other unwanted problems which we’ll address in a minute), and that is to use an omnidirectional mic.

Most proximity effect issues are due to the directional nature of cardioid microphones. With an omnidirectional pattern, you eliminate that element from the equation. For streamers who are trying to capture good audio in natural settings, such as outdoors or in non-treated rooms, omni mics can also help reduce annoying wind “whooshes” that we’ve all heard on amateurish online clips. They can also help capture a more natural room tone if you’re not in a studio designed for recording.

to creating web-based video content, it’s equally important to be monitoring that audio as it’s being recorded so you’re not ending up with any surprises during the editing process that can’t be corrected. Garbage in, garbage out, right?

One simple way to do this is to have someone, either yourself or someone on crew (if you’re lucky enough to have a crew) use a good pair of over-ear headphones specifically designed for monitoring purposes. We don’t recommend open-back designs for this type of work as there can be significant audio-bleed coming from the ear-cups. Closed-back designs offer the proper isolation so that whoever is monitoring the audio being captured isn’t distracted by outside noise and isn’t distracting others who can hear the audio from the headphones bleeding into a live production.

It should come as no surprise that our go-to affordable headphones choice for years have been the Audio-Technica ATH-M50x.

The M50x’s feature large 45mm drivers that simply deliver crystal-clear sonics across the frequency spectrum. So, monitoring speech, music and any other audio being tracked as part of your production is a snap. Then, when it is time for mixing the final video’s audio track, the M50x’s are ideally suited for studio work, with fantastic isolation.

Lastly, if you’re the type of plosive personality who’s constantly popping their P’s (man, trying saying that fast), omnidirectional mics like the Audio-Technica AT4022 are not as sensitive to those obOftentimes this effect can lead noxiously percussive consonant Until then, be sure to check out to a fat, boomy lower-end em- sounds as their directional coun- the entire range of Audio-Techphasis, especially if your lips are terparts. Just a pro tip you might nica at audio-technica.com right up on the mic, or an unnat- want to explore. ural thinning of the timbre as you MONITORING MATTERS move too far from the mic. The proximity effect is cool if you’re Just as trying to capture clean augoing specifically for that type of dio is imperative when it comes