Recommendations for Launching a Disability Advocacy Podcast
As I’ve mentioned elsewhere on this feed, the tech side, gear and software, are really confronting issues for those starting out. After you’ve nailed these down, they’re not so big a deal. I review my setup once a year and haven’t changed anything for the last three. That might be about to change and we’ll discuss that in the section on mics but generally, don’t stress over the tech, I’ll walk you through it from a podcasting standpoint not a musicians nor a legacy radio standpoint.
Also a disclaimer, all the products I discuss in this episode are ones I’ve used personally. I have no financial arrangements with the companies mentioned other than I give them cash and they provide products and services.
1. Microphones: The Heart of Your Podcast Setup
A microphone is the tool we use to capture audio. I know that sounds obvious and it is but bear this in mind. I’ll be following the “bleedingly obvious” line throughout this episode because we need to decomplicate the tech not bury you in jargon. So the questions then arise: What audio are we needing to capture and why?
The human voice is a good place to start. We need to capture what others and ourselves are saying. We also need to not capture, usually, traffic noises, ambulances, coughing, coffee shop ambience and so on. Sometimes we do need these sounds to add depth to productions but a general rule of thumb and for the beginner, go for just the human voice.Back in the dim dark past, say, the 20 teens, this was more difficult than it is today. We have at our disposal post production tricks to clean the unwanted from audio that just didn’t exist 5 years ago. I might add that these tricks are yet to be subjected to full AI treatment so I only see things improving. That being said, the better the quality of the original recording, the better the post production works.
With this in mind let’s dive into the mics I’ve used and then some others I’ve heard good things about.
- The Smart Phone.
- By now we should just be calling these phones. The mics in these have their limitations but when used for a monologue or an interview in person they work well. It’s a matter of learning where to hold the phone whilst recording. I’ve added the Rode Recorder app, works for iOS and Android, to make the process cleaner. A simple one button record process has you ready to go in an instant if you want to capture audio on the fly.
- The “Desktop” USB mic.
- These are ubiquitous nowadays. We’ve come a long way from the Blue Yeti or, heaven forbid, the Blue Snowball. I have a couple, the Rode NT-USB and the Rode NT-USB mini. These and there are others but these will work as proxies for most of them. They plug into a USB port on your laptop or even, if you use one, a desktop. All these USB port mics require some skills to use. Some require the front of the mic to face the speaker, some require the top to face the speaker. Read the instructions, before you use the mic. I have a video covering how to use mics, all types, but once you’ve learnt your mic, you can basically forget about them. They just sit there doing their job.
- The Audio Recorder.
- These are useful pieces of tech. The double, generally, as USB mics but also as stand alone recording devices that store the audio on their own SD cards. I’ve used a few, all from ZOOM. This company is not to be confused with the meeting service Zoom which I also use and more on that later. So I’ve used the Zoom H2, the Zoom H2n, the Zoom H1, and the Zoom F1 and F2. The H stands for handy, the F for field which gives you some idea of their uses. There’s a new version of the Zoom H2, called the H2essential coming soon and I’m grabbing that as soon as it’s available. The H2 is about the size of a pack of cigarettes. A bit bigger maybe with a few attachments available. A handle that screws into the base, that connection can also be used to mount on a tripod, a wind defence, called a dead cat, in the business and a carrying case are the minimum I carry. H2 devices come with the ability to record to the front, the back, in mono, stereo or spatial. Stereo and Spatial are irrelevant for podcasting but handy if you’re doing video and other media.
- XLR Connected Mics
- The usual story sold around these devices goes like this: This what the pros use. You’ve played with the other options, now it’s time to grow up and use a “real” mic. Nothing could be further from the truth! Yes these are more sensitive mics, are used by musicians and radio types but, and this is a big but, they require much more attention. Ever seen a band setting up? A roady will spend ages going from mic to mic saying “Check 1, 2” over and over again. Why? These mics need to pass through a mixer or audio interface which powers them and is almost infinitely adjustable. Each “Check 1, 2” is a test of the settings. If you use the same space and the same connections every time, you can eventually “fix” your settings in place to skip this routine. But there’s more. Your positioning in relation to the mic must be the same each time. In a radio setting, they use a studio to exclude all other sounds and have an engineer tweaking the settings as the talent speaks. This is a huge amount of effort, especially when you realise podcasts are published in .mp3 format, a relatively low level of audio. This means much of the effort required to use an XLR connected mic is washed out in the processing to convert your audio from .wav to .mp3. This happens with all mics, obviously, as all episodes are published in .mp3. Why go through the stress of setting up an audio studio in your home office, bedroom or shed to radio standards when it’s really not needed. Also unless you’re shopping on Temu and receiving what you pay for, these XLR mics are generally much more expensive and to some extent sensitive and breakable. If you must then go down this path but be aware you will be complicating your process unnecessarily. The JMPS system is based upon simplicity and repeatability so for those reasons I do not recommend an XLR connected mic.
2. Headphones: Ensuring Clear Audio Monitoring
Monitoring your audio while recording is essential to catch any issues in real-time, such as background noise, distortions or volume inconsistencies. Do not use, as a rule of thumb, wireless listening devices, either headphones nor earbuds. They create a slight delay between the waveform you’re seeing on the laptop and what you’re hearing. I have, at a pinch, had to edit using bluetooth earbuds and it is frustrating to begin with. Humans adapt but really it’s an unnecessary pain. Here are some reliable headphones for podcasting:
- Earbuds
- Given that most of your listeners will be using earbuds and quite often only one, it makes a certain sense to listen to your recordings this way. You are hearing pretty much what your listeners will be hearing. This will depend upon the type and, as usual, the price of the earbuds they use so select accordingly. All of the mics suggested above have an output for a plug in set of earbuds.
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Sennheiser
- Over Ear Headphones HD 400S are the over ear types I have. They are comfortable, plug in so there’s no lag and they work. I prefer to use earbuds but have the Sennheisers for Zoom chats because “professional” appearance is important. I look the part and don’t need to explain the benefits of earbuds to what’s actually heard by my listeners. Quite often the others on the call will be using earbuds but as I position myself as someone with expertise, I use the headphones. In much the same way a Doctor without a stethoscope is a bit suspect.
3. Pop Filters and Shock Mounts: Enhancing Recording Quality
To improve the basic quality of your recordings, consider adding pop filters and shock mounts to your setup:
- Pop Filter
- A pop filter helps reduce plosive sounds (like “p” and “b” sounds) that can cause distortion in your recordings. They are affordable and easy to attach to most microphones. A pair of pantyhose cut down and stretched around a wire coat hanger will do the job. The Rode NT-USB comes with one as part of the product if you go that route.
- Shock Mount
- A shock mount isolates your microphone from vibrations and handling noise, ensuring cleaner audio. This is particularly useful if your podcast setup involves a desk or surface that might cause vibrations. For many years I used a lab stand. The ones from high school chemistry classes used to hold test tubes and what not. They have a really heavy base and can be adjusted to have the mic in exactly the right spot in relation to your face. Vibration can be a problem but a tea towel under the base fixes that.
4. Recording and Editing Software: The Digital Hub of Your Podcast
Choosing the right software for recording and editing your podcast is crucial for creating polished, professional episodes. Here are some options that cater to various needs:
- Audacity (Free)
- Why It’s Recommended: Audacity is a free, open-source audio editing software that offers a wide range of features for recording and editing. It has a large online community, making it easy to find tutorials and troubleshooting tips. Personally I find the interface ugly and difficult to work with. I know of podcasters with a decade behind anthem you have used nothing else and swear by it. Give it a whirl if you’re so inclined.
- GarageBand (Free for Mac Users)
- GarageBand is a free, easy-to-use recording and editing software for Mac users. It offers a range of features suitable for podcasting, including multitrack recording, audio effects and integration with other Apple products. It is designed with musicians in mind so it has a huge amount of unwanted bloat for the podcaster. I used GarageBand for years and it does the job.
- Hindenburg Journalist (Paid)
- Hindenburg Journalist is designed specifically for podcasters and radio journalists. It offers intuitive editing tools, automatic levelling and noise reduction, making it ideal for producing high-quality episodes efficiently. It’s designed for the human voice and doesn’t have the bloat of Audacity or GarageBand. It is a paid option
5. Additional Tools: Enhancing Accessibility and Workflow
For a disability advocacy podcast, accessibility and workflow efficiency are critical. Consider the following tools to enhance your production:
- Zoom (Remote Interviewing)
- Zoom is a platform for remote interviews, offering reliable recording features and easy integration with audio editing software. This is particularly useful for podcasts that feature guests from various locations. You can also use the platform for monologue interviews too. Same process but only one audio track to download. With a decent mic the quality is good and it’s a way of learning how to use Zoom for interviews without the second or third person involved.
- Auphonic (Audio Processing)
- Auphonic is an audio processing tool that automatically levels audio, reduces noise and optimises sound quality. It’s a valuable tool for podcasters who want to clean their audio with minimal manual editing. This is a truly remarkable piece of tech. You receive two hours of free audio processing a month, that’s four half hour episodes a month. Extra processing time is not overly expensive if you need it. Nothing cleans, levels and polishes your audio like Auphonic. You do need to be online but that’s rarely an issue but can be if you’re travelling so bare that in mind.
Conclusion
Launching a disability advocacy podcast requires thoughtful planning and investment in the right equipment and software to ensure your message is delivered with clarity and professionalism. By selecting high-quality microphones, headphones, audio interfaces and editing software, you can produce episodes that engage and inspire your audience. Additionally, tools like transcription services and remote interviewing platforms can enhance accessibility and broaden your reach. With the right setup, your disability advocacy podcast can become a powerful platform for driving change, raising awareness and building a supportive community around your cause.
If you’re thinking about or even ready to start your service’s podcast, email me: jon@jmps.au link in the show notes and we can have a chat. I work on a monthly retainer basis and you receive 4 episodes a month, uploaded to a host, clips for use in socials, help with local recordings where you are and all this for A$500 a month on a twelve month contract.
Until next episode, thanks for listening.