Podcasting with Mixers, Recorders, and Interfaces

Podcasting and vlogging require quality audio production. Too many YouTube videos rely on cheap microphones. When the original audio is low-quality, improving the mix becomes an impossible challenge. I’m also surprised when I notice a good microphone but no pop screen. The “pop” of the letter p and even the sound of someone swallowing drive me crazy.

If you’re going to record audio, record it properly and adjust the tracks before distributing the final production.

If you can, use a mixer for capturing audio before sending the data to a computer. The mixer and its controls enable regulation of input, so channel volumes aren’t bouncing all over the place in the recorded tracks. The less work you need to do in the DAW (digital audio workstation), the better. Nothing scares directors and producers more than someone saying, “Let’s fix it in post.” Post-production takes time and is challenging.

Start with good audio:

• Microphones tuned for voice;
• Pop-screens and good audio cables;
• Mic stands that don’t wobble or squeak; and a
• Mixer with silent controls.

Mixers, Recorders, and Interfaces

Audio input into a computer from a microphone might be directly routed using a USB microphone, transferred from a digital recorder, or the audio might pass through one of two special devices: a mixer or an interface. An interface simply provides a way to attach microphones, instruments, and other inputs into the computer. Some interfaces provide simple gain (volume) controls, but their primary purpose is to provide input jacks for devices.

I consider a mixer to be essential because they tend to be audio interfaces, too.

Why do you need a mixer?

A simple stereo mixer takes several audio tracks and “mixes” them down to one or two tracks. There are 5.1, 6.1, and 7.2 mixers for surround sound, but generally surround sound is configured after recording audio tracks. Podcasters are seldom going to want or need more than basic stereo sound.

The key is that you will go from the number of microphones down to two channels (left and right) via the mixer.

I have an eight-track (4 XLR) Behringer X1204 USB mixer for on-location interviews and stationary sound work. The mixer requires a recorder or computer, which was okay until my MacBook Pro 2012 started to have problems. I have used my Zoom H4n with the mixer, which requires even further compromises (the H4n has two XLR inputs and chews through batteries in MTR mode).

There are debates on podcasting websites regarding the final mix: should you put everyone into one channel, mix-it-up, or have the host on one side and all guests on another. My approach is to match the physical space. If guests were seated two-by-two at a table, I record with two on the left and two on the right.

In an ideal, cost doesn’t matter, world, I would record without mixing down to two channels.

That is why I am considering the Zoom R16 Recorder. It is not a mixer, unless you choose to bounce several tracks down to a single mono or stereo mix. In normal use, each microphone input is recorded to a track, and each track can be editing in a DAW separately. This allows you to make minor adjustments to the audio of one guest or the host.

Zoom R16 Recorder and Controller

This little guy gets stellar reviews and records to SDHC; an all-in-one solution for on-site interviews and music mixing. (Images from Zoom website. Apologies for borrowing, but go read about this recorder.)

I do not need a Nagra or Sound Devices box that costs more than a computer would (from $1800 up to the cost of a new compact car). Just something “good enough” for *light duty* use. Not even a Zoom F8 ($800 to $1400, plus $300 for the F-Control mixer).

My focus is on podcasting and interviews, not run-and-gun indie filmmaking. The gear needs to have as many uses as possible, even if that means it isn’t the best at any of the tasks. Good enough works!

The benefits of the Zoom R16, in my opinion:

• Does not require a computer for recording on-location interviews. Use the DC adapter or some AA batteries.
• Supports up to eight XLR dynamic microphones, perfect for roundtable discussions.
• Offers two powered XLR inputs, for high-end condenser microphones.
• Records each input to a track, if wanted, which is ideal for podcast editing and production.
• Can serve as a mixer and audio interface for recording directly to a computer instead of a memory card.
• Works as a DAW control board, so you can use sliders to adjust volume instead of adding “keyframe” dots to a timeline.

For a remote recording session, instead of routing my X1204 into the H4n, which is an ugly setup even with short patch cables, I could use one R16. This reduces the risk of cable tangle and the sounds you sometimes record when cables move. It also provides isolated channels, instead of mixing (bouncing) all microphone input down to a maximum of two stereo channels.

As I write this post, my X1204 is headed out for repairs. Thankfully, I have only single-guest interviews planned, so the H4n will suffice.

When I have two or more guests, I’ll be wanting a Zoom R16.