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Mid-Side: The Perfect Microphone Rig for Podcasts & Radio

Podcasts are a booming industry, and there is much room to increase production value even further. Recording the subject is always priority number one. By adding to that priority and recording rich audio, it is likely that you will increase your listenership by having an experience that immerses the listener. For those podcasts that are conducting interviews outside or on location rather than in a studio, there is a sophisticated yet simple recording setup: the mid-side rig!

Think of mid-side recordings as customizable stereo. You record two channels, bring them into your DAW, and work some encoding magic to create a file with adjustable stereo width. From a storytelling perspective, you get your subject, or interviewee, in the center and also an immersive stereo ambience. Long used in music and field recording, there are many opportunities to make podcast production shine with this versatile technique.

Microphones & Accessories

The “mid” is a cardioid, hypercardioid, or supercardioid mic, and the “side” is a figure eight mic. (Caveat: there are variations with omni mics as the mid, which generally make for a wider stereo field.) The mid mic captures your subject in your center channel, and the side mic, which is aimed 90 degrees from the source, captures the environment.  Whether you choose a hyper or supercariod mic depends on what you are capturing. A supercardiod mic makes for a wider stereo image when you encode it later. And, despite hypercardiods being more directional, I personally tend to favor the supercardiod pattern for recording people in the field. A subject can afford to be a little more off-axis, ensuring that if the rig is not aimed 100% perfectly, there will still be a good capture of the subject.

The two sides of the figure eight mic are 180 degrees out of phase, so a positive charge on one side of the mic’s diaphragm creates a negative equal charge on the other side. The front of the mic (the plus side), is pointed to the left, while the rear (or negative side) is pointed to the right.  In the past, I have used a Sennheiser MKH 50 for the mid and an MKH 30 for the side. They are sturdy and sound great! In live concert situations, I have seen engineers use AKG 414s with the polar patterns set accordingly. The important thing is to avoid phasing by correctly lining up the mic capsules. In the pictures below, the MKH pair has the mid mic positioned so the top of the grill is behind the bottom of the side’s mic capsule. The mid of the 414 pair is facing “north-south” while the side is positioned “east-west.”

As far as physically rigging it up, I’ve personally used a Rycote pistol grip and blimp specifically made for mid-side recordings with the MKH mics. For interviews in the field, definitely use a pistol grip (or some kind of shock absorption) and wind protection that will fit your setup.

Examples of mid-side setups.

My recorder has a mid-side setting!

Don’t use it. Record each channel straight mono because you will encode the recording later! Leaving the work for your DAW keeps your stereo width customizable, which is the beauty behind mid-side recording. Record each mic to a single track.

Where the Science Happens

All pictures provided are of ProTools, but everything you need to do to master your recordings are basic functions of any DAW. After you import your recordings, make a third track. Copy the audio from the side mic to this track.

Flip the phase of the copied audio. Here, I’ve done it with the Trim plugin.

Pan the original side recording track left, and the copied one right. These two channels now represent what your side mic was hearing.
Your mid-track is your mono-center channel. Bring up the volume of the side channels — you start to introduce a stereo spread! The level of the mid channels affects how wide the stereo image is, which is why I enduringly call mid-side recordings “customizable stereo.” The lower the side channels, the narrower the stereo image. The higher the side channels, the wider the stereo image.

The Listener Benefit

There is a technical benefit to mid-side recordings other than ear candy. On stereo systems such as headphones, listeners will hear stereo ambience. On mono systems (such as a single bluetooth speaker), because the phase on the side copy gets flipped, when the audio gets summed to mono, the original audio cancels the copy out. The recording sums to mono automatically. Changing the phase relationship gives control over how the mix sounds on the distribution side.

Recording with the mid-side technique in the field is a serious consideration because it is an easy way to create immersion for your podcast. Try it on your next interview!

Tips For Recording Podcasts Remotely

The COVID-19 pandemic resulted in many people taking up podcasting for the first time while existing podcasters found themselves having to rethink their methods of recording in the absence of face-to-face interaction.

Remote recording has always been a great way of interviewing people who might not live anywhere near you, even before the pandemic (not to mention the fact that you may be working from a home studio on a tight budget), but it has arguably become a much more widespread practice over the past two years. It undoubtedly has its challenges, but recording remotely doesn’t mean you have to sacrifice audio quality. Assuming you already have the ideal setup on your end (if not, there are some great tips to be found in other SoundGirls contributors’ blogs), here are some ways you can get the most out of your guests, no matter where they may be in the world.

Equipment checklist

Ideally, your guest should have a good-quality microphone. There are plenty of affordable USB mics on the market which will do the job, but if they’ve never been on a podcast before, you may be limited to their built-in computer mic (as an editor, I’ve found that some of these can be surprisingly good). Headsets, on the other hand, can be quite hit-and-miss. Some sound great while others sound no better than a phone line, and I’ve had many an editing nightmare as far as plosives are concerned. Always check things out with the guest beforehand; you don’t want to hit ‘record’ only to find that the quality is terrible and you don’t have any other options. You should also make sure they’re using headphones or earbuds at all times.

Eliminate background noise

Just as important as the equipment your guest uses is the environment they record in. Unless you’re fortunate and they have a studio of their own, you’re probably not going to get flawless acoustics. But you can (and should) make sure they’re in a quiet room with no distractions as far as possible. Home life can be chaotic, of course; this can sometimes spill over into a recording despite our best efforts. The dog barks for attention, the kids forget that you asked them to be quiet, and your neighbor decides to start mowing their lawn outside. Fortunately, these can all be edited out if they don’t last very long and parts can be re-recorded. But try to make sure other avoidable noises are taken care of in advance: ask your guest to switch off any fans or air conditioning, have their phone on silent, and close any tabs on their computer that are likely to play notification sounds. If they’re not used to the recording process, encourage them to stay ‘on the mic’ and avoid moving around too much, shifting in their chair, or brushing against the mic and any cables.

Choose the right recording software

In the past, it was common to use Skype to record podcasts. Now a lot of people are using Zoom, which arguably gives better quality and allows you to create separate audio files for each participant. However, you still have to rely on both you and your guest having a stable internet connection. For this reason, you should consider opting for a platform like Zencastr or Riverside.fm, which allows you to set up online studios and record each track locally. So even if the internet connection drops, everything will still be recorded in high quality to your, and your guest’s, computer. Even better, all you have to do is send them a link and they can access the recording window in their browser. It’s worth noting that both platforms also have video recording capabilities.

There’s probably no perfect substitute for sitting face-to-face in a studio, but with a little preparation, you can get your remote recordings sounding top-notch.

How to Avoid Over-Editing Podcasts

You may have heard the basic tips and tricks of podcast editing, or editing any kind of speech audio. Remove ‘ums’ and ‘ahhs’, breaths, mouth noises, pops and clicks, silences, etc. But sometimes we can take it too far and actually end up over-editing a podcast in pursuit of the perfect sound (tip number one: there’s no such thing as perfect). Here are three things I’ve learned which have helped me avoid doing just that.

Don’t get rid of all ‘ums’ and ‘ahhs’

Yes, they can be very distracting, particularly if there are too many of them. If they’re littered throughout a person’s speech and are of no value to what’s actually being said, go ahead and get rid of them. But I really think it’s okay to leave the occasional one in. Maybe the person in question speaks quite fast and it’s difficult to remove an ‘um’ without cutting into the next word. Maybe they’ve started an answer with an ‘um’ because they’re considering what they’re going to say, or they’re reacting in the moment to an unexpected question or statement. There can be various reasons, but if it isn’t excessive (as in every other word), there’s no harm in a couple of ‘ums’. Sometimes we have to make allowances for someone’s natural speech patterns.

Don’t get rid of all breaths

You may have heard that this is the thing to do, but I personally would argue against it. Again, if someone is a really heavy breather and it’s a very distracting sound, by all means, remove it (or at least quieten it down a bit). But for the most part, it’s perfectly natural to hear someone take a breath while speaking, so much so that we usually don’t even notice it. So if it’s not overly noticeable, there’s no need to take it out. If you are removing a breath, just make sure you do it by reducing the dB rather than deleting it, or the edit might sound too sharp. It all comes back to the idea of trying not to mess too much with people’s natural speech patterns. You want your audio to sound as clean and polished as possible, but you also want your guests to sound like human beings and not robots.

Silence can be a good thing

Everyone has different editing styles, and those styles will suit different types of podcasts. Some may be more fast-paced, others more reflective. There is a tendency for some editors to take out every pause or every bit of silence, but decisions like this should be made based on the pace and style of the podcast. One of the most valuable pieces of advice I ever got from a tutor was that silence can be an incredibly important storytelling device. If you’re editing a particularly emotive or thought-provoking conversation, leaving in pauses gives the podcast more breathing room and allows time for the listener to really process what they’re hearing. So before you take silence away, always stop to consider what it might add.

Audio vs Video Podcasts

Most people, when they think of the word ‘podcast’, think of audio. However, there are a growing number of podcasters who are using video as their main medium, with audio largely taking a backseat.

Is this something we need to embrace in the future? Or is it okay to be an audio traditionalist?

In recent months Spotify has branched out into video podcasting through its Anchor platform, giving creators options beyond YouTube. This has sparked further debate within the industry about whether video is going to become an essential part of podcast consumption.

Call me old-fashioned, but I don’t think it will

There are certainly a lot of successful and popular video podcasts out there, and good luck to them. If having a visual element helps people engage with the content, or is key to getting your story across, that can only be a good thing. But when it comes to a straightforward panel or interview show, does video really add anything to the experience that audio alone wouldn’t be able to offer? I may be biased, but there is something special about audio storytelling. For years, people have been predicting the demise of radio drama (especially when television first began to increase in popularity). Yet it’s still going strong in many parts of the world, and now we have fiction podcasts too. Audio-only stories have never been more popular.

That being said, the word ‘video’ is appearing in more and more podcast producer job adverts. But I can’t help thinking that, by requiring video editing skills from applicants, employers might potentially miss out on hiring a great audio producer who doesn’t necessarily have those additional skills. If video is your main area, then fine — but if you’re primarily making audio podcasts, with video as bonus content, then it could be an issue.

I recently discussed this subject with a client. She was of the opinion that audio is far more important than video when it comes to podcasting, not least because of how easy it is to listen while engaging in other activities like running, going to the gym, cooking or tidying the house. So many of us schedule our podcast listening time during such activities, not to mention morning and evening commutes or even winding down before bed (when the last thing we might want to do is stare at a screen). Sometimes we just want to close our eyes and shut out the rest of the world, relying on only our ears.

One downside of focusing on video is that — not always, but often — sound quality is compromised. I’ve seen podcasters turn what was originally a Facebook or Instagram Livestream into an audio file, and that’s where you really notice the shortcomings. As a college lecturer of mine used to say: an audience will be more likely to forgive poor video with great audio than great video with poor audio. Wherever possible, it’s always better to record remote interviews through dedicated platforms (like Riverside or Zencastr, for example) which allow you to get the best possible audio quality and take advantage of separate tracks (you can use these for video too, so there really are no excuses!).

Video podcasts look like they’re here to stay, so it’s a debate that will go on and on. But ultimately, for most audiences, I think audio will remain the go-to.

How to Record a Podcast Remotely And Get It Right The First Time

Remote interviews are a fact of life for every podcaster, and in today’s era of social distancing, more so than ever. Since you rarely get the chance at an interview do-over, nailing down your remote recording workflow is essential. We’ll show you how to prepare for and record a remote interview, so you get it right the first time — with some additional tips along the way to make sure all your bases are covered.

Choose the right remote recording setup for your podcast

The first step is to determine the remote recording setup that best suits the format and content of your podcast and your production and editing workflow.

In most cases, your best solution will involve recording remote interviews on Zoom, Skype, Google Hangouts, or a similar online conferencing service. This low-friction setup makes it easy for guests or co-hosts to contribute, but you’ll need to make sure you have the right software to record these interviews.

It’s also wise to make sure you can record phone calls. Phone interviews don’t offer great audio fidelity, but they make a great backup option in case of technical problems or schedule changes. Phone interviews probably won’t be your first choice, but it’s a good idea to be able to record a phone call just in case you need to.

If you’re recording with the same remote co-host on each episode of your podcast, consider a double-ender setup, in which you and your co-host record your own audio tracks locally and combine them in post-production. For most podcasters, this isn’t the most convenient solution, but it does translate into the highest audio fidelity for you and your co-host.

The best way to record an interview is to prepare for it

When it comes to interviewing — especially remote interviewing — a little preparation goes a long way.

Do some research into your guest’s background, expertise, and projects. Who are they? Why is their work notable? What do you (and in turn, your audience) hope to learn from them?

Putting together a rough outline of the questions you’d like to ask will come in very handy. Write down a handful of specific questions and key points, but keep your outline broad and high-level. That’ll allow you to more easily adapt to the flow of conversation.

Maintaining that conversational flow remotely can be substantially trickier than doing so person-to-person. Prime yourself to listen more than you speak — in particular, try not to interrupt your guest. Editing out awkward silences between speakers is much easier than dealing with too much crosstalk!

When it’s time to record the interview, take a couple final preparatory steps to ensure a clean recording. Close all unnecessary software and set your computer to “Do Not Disturb” mode to make sure unwanted distractions don’t pop up (or worse: end up in the recording).

How to record a Skype call, Zoom interview, or Google Hangout

For most remote recording situations, Zoom, Skype, or Google Hangouts are your platforms of choice. All three are easy to set up, simple for guests to use, and feature audio fidelity good enough for most podcasts.

Both Zoom and Skype offer built-in call recording functionality, but Google Hangouts currently limits this offering to enterprise users. There’s an additional caveat: the file format (.MP4 or .M4A) that each platform outputs may not be what you want, depending on your podcast production and editing workflow.

For maximum control over your final product, you’re better off using third-party apps to record computer system audio directly into the recording software of your choice rather than relying on their recording functionality.

If you’re on a Mac, BlackHole is a great open-source tool that allows you to route audio between apps, which means you can record the audio output from Zoom (or Skype, or Google Hangouts) directly into your preferred recording software. On Windows, Virtual Audio Cable offers similar functionality.

If you’re already using Descript to record, you won’t need to use additional audio routing software. When recording audio into Descript, open the Record panel, choose Add a Track, select your input, and choose “Computer audio.” Click the Record button whenever you’re ready, and audio from Zoom, Skype, or Google Hangouts will be piped into Descript.

No matter which remote recording setup you use, make sure you test it — and test it again — with a friend or colleague before you’re actually recording your podcast. Troubleshooting when you should be interviewing ranks near the top of everyone’s Least Favorite Things To Deal With, so make sure everything is in order before your guest is on the line.

How to record a phone interview with Google Voice

Social distancing means nearly everyone has gotten used to handling calls and meetings on Zoom, Skype, or Google Hangouts. But maybe your podcast guest is really old-school, or their computer is on the fritz, or maybe they’re simply only able to access a phone during your scheduled call time. It’s likely phone interviews will never be your first choice, but being able to record an old-fashioned phone call will come in handy.

Recording phone calls can be tricky, but using Google Voice to make an outgoing phone call from your computer means you can use the same remote recording setup detailed above to record the call.

Follow Google’s instructions to set up Google Voice and then learn how to make an outgoing call. Once everything’s set up, you’ll be able to record phone calls with Google Voice just like you’d record an interview on Zoom or Skype.

Again, make sure to test with a friend and then test again before your interview.

If lossless audio quality is a must, record a “double-ender”

For most remote recording situations, Zoom, Skype, or Google Hangouts are your platforms of choice. All three are easy to set up, simple for guests to use, and feature audio fidelity good enough for most podcasts.

But if you have a remote co-host that regularly appears on your podcast, and you want to maximize the quality of your audio, a “double-ender” is the way to go: Each host or guest records themselves locally, and audio tracks are combined in post-production. For an additional cost, you can use third-party recording platforms that simulate double-enders without each speaker managing their own recording software.

A traditional double-ender sees each speaker recording their own audio track using their recording software of choice (Descript, Audacity, Quicktime, etc.), and then the host or editor combines each speaker’s recording into a finished product. Each speaker should have a decent microphone — if they’re using a laptop microphone to record, you probably won’t hear a substantial advantage with a double-ender over a Zoom, Skype, or Google Hangouts recording.

Alternatively, you can simulate a double-ender by using a platform like SquadCast, Zencastr, or Cleanfeed. These services record lossless audio from each speaker, upload each track to the cloud and combine them automatically. These platforms cost money, but they’re a great alternative to a double-ender when guests or co-hosts don’t have the time or wherewithal to fiddle with recording themselves locally. Again, make sure each speaker has a decent microphone — otherwise, you won’t reap the full benefits of lossless audio.

Make remote recording hassles a thing of the past

Recording your podcast remotely isn’t painless, but once you get the hang of it — and nail down your workflow — it’ll become second nature.

This Originally appeared on Descript.com

The Power Of Audio

The online podcasting space is a playground for creators to innovate, connect and influence. What was once an underground movement is now an oversaturated market of opportunity for brands to speak to their customers directly. The development and global reach of podcasts continue to show how digital-first talent can create a streamlined partnership between their unique content and a brand, leading to what can be a successful revenue stream for both parties. However, with the widespread belief that “everyone has a podcast”, the challenge becomes how to stand out, create distinctive formats and effectively position sponsors within podcasts. It is important to note how podcasts can give a voice to smaller companies and niche markets in a succinct way. Conversations around branded partnerships on podcasts have escalated as the combination of creativity, a new platform and a new audience is increasingly attractive to brands.

With wide-ranging genres and topics, podcasts are increasingly pertinent in the media world to compete with the constant production of online content. The new wave of podcasting has increased the number of online places you can go to for information. There is an unlimited possibility for people to learn from others. The function of a podcast does not always have to be educational; most are far from it. Many comedians have turned to podcasts as a way to showcase their best work, edited in a way in which suits them. There are very few unedited, raw podcasts as producers lean towards a more stylishly finished piece with soundbites, clean-cut features and intro/outro music. All these different styles could look to integrate a brand partner that matches the themes and tones of the conversations.

YouTube once acted as the progressive powerhouse, a petri dish of creativity. It was an evolutionary form of “edutainment”. Too many podcasts jumping out of our screens every day may suck the creative content out of the world if every comedy duo around starts to host their own weekly conversational podcast. The sponsored messaging within podcasts must continue to evolve and represent current climates and global situations. Both brands and hosts of podcasts must work together to design creative, relatable and concise ad breaks within the episodes. We are living in a world of constant search to experience real-life through a virtual form, whether that be via audio or video. We are also becoming more distracted, 64% of young people are “online” when watching TV (Social Chain, 2018). This means that podcasts must move with the times and speak to their audiences honestly and authentically, becoming more creative with every change they make in order to maintain our attention.

New forms of immaterial, digital labour envelope our everyday lives.  Podcasting can be a form of labour in which you are constantly immersed. In order to network and succeed, you could always record one more episode, the belief being that the risk of becoming irrelevant is managed through social connections. What must be avoided is the tragic love story of creativity and success. Creative media appeals to those with a forward-looking vision. Listeners could be described as the “losers that keep waiting to be seen”, the dreamers amongst us that place value on positivity. Podcasters can weaponise nostalgia, hitting us with anecdotes, comedy sketches and old-school ways of living, allowing escapism from the real world. If a brand can produce messaging and continuously engaging information via an ad read, listeners will return for more and be more likely to investigate the product or service being advertised and brands can ensure the value is felt with full effect.

Film and television often represent historical standards of unfair representation and social norms, whereas podcasts by new wave millennials advocate more activism in the media industry to encourage inclusive, multi-faceted and ambitious creations. The influence on attitudes via audio-visual communication and advertising can be staggering. Challenging conversations lead to progression. This activism will increase the integrity of creative industries. It is interesting to evaluate the difference in influence between mainstream television and radio programmes and new media. Presenters of television and radio can often feel detached from their audience. Particularly when working with unbiased corporations, where they’re unable to promote or discuss any of their own opinions. This means that the audience, although engaging in their millions, does not know anything about the personal life of the person they are watching. They are not invested in their lives. They have no attachment. In contrast, digital-first talent has amassed their following by being open and honest online and giving their truthful opinions on everything ranging from food to politics to veganism. In the current climate of hedonistic lifestyles, it is unsurprising that online social media talent can influence audiences more than mainstream media. Taking this into consideration, it could be confidently suggested that partnering with podcasts is a great way to reach new audiences and provide clear explanations of what a certain brand may offer.

As podcasts provide copious amounts of content with the offer of inspiration, ideas and advice to make business and life decisions, they can be incredibly influential. You feel connected to a person through headphones, carrying out active listening such as nodding your head, laughing or verbally agreeing with someone that is not physically there. It is an exciting time for brands to be involved with a new wave of creative entrepreneurs that are using a simple medium to build global connections around the world. Podcasts whether they be educational, comical, fiction or everything in between bring people together in a shared moment of relatability. Quick and easy listening styles of podcasts sponsorships leave people wanting more and the content can be made personal to all listeners. Brands should be on the lookout for a podcast partner that matches their brand values and demographic, as it will enable them to reach a new audience using a creative and effective ad format.

Podcasts – Making Waves

Spring is almost here! With the Earth gradually awakening, I can feel my own mind coming out of its hibernation. I find myself reading more articles, keeping up with current events, and listening to new podcasts.

Speaking of podcasts, the podcast industry has been receiving attention for some time now. I recently had the pleasure of talking with Fela Davis about podcast audio and what it means for the audio industry. Fela has nearly twenty years of experience in the audio engineering industry. Her list of credentials is very impressive. She also produces and hosts a podcast called The Art of Music Tech Podcast with her business partner Denis Orynbekov.

I became aware of the increasing interest in podcast audio after attending the 2019 Audio Engineering Society’s national convention in New York City. I had listened to a few lectures where Fela and a panel of other professionals talked about their experiences. I had many questions and fortunately, Fela was able to answer all of them.

In the past few years, producing a podcast has become increasingly more affordable. Fela mentioned that most students have the bare minimum needed to put together a podcast. Some kind of DAW to record onto, an interface, and a microphone. Even with the accessibility, how does someone make this kind of work profitable? Fela explained that not only does she work on her own podcast, but many others too. Through 23dB Productions audio services, Fela is able to work with clients who need audio and video services. We both agreed, most people have something they want to say and there will at least be one person willing to listen to it. These can be large-scale companies or organizations or smaller groups or single individuals.

Being mobile and having your own equipment is important, but with the surge of companies, organizations, and individuals looking to use this form of media, being open to its opportunities is key. As a woman in the audio industry, what really intrigued me was, it’s kind of brand new. Fela and I both laughed, but it’s true. This is a part of the industry where women and minorities have the opportunity to flourish. There are no jerks named bob hiring their best friend over you. The pressure to prove yourself is significantly lessened.

In the beginning, most individuals will be playing the role of producer, host, engineer, and editor. Drew Stockero, a student at Michigan Technological University, does just that with his podcast If It Matters Podcast. Stockero said the podcast is about, “ordinary people having ordinary conversations about the things they find extraordinary.” He takes the time to curate each episode and interviewee, he is the producer and hosts every episode, all while recording, mixing, and mastering. After chatting for a bit about his workflow, he did admit that fulfilling every role for the podcast is a lot of work. Typically, indie podcasts are much smaller and only run by one or two people. But, as Fela stated, the option to use remote engineers is there once you start gaining clients or attention.

Radio was brought up in both of my interviews. Stockero mentioned podcasts being an extension of talk radio. Growing up, my father would listen to a lot of NPR on long family road trips. With the shift from cable television to streaming services, it is no surprise we are seeing a move from radio to podcasts. It was also mentioned that podcasting is making more money than radio broadcasts. It is undeniable that there has been a boom in revenue for the podcast industry, but all of this did surprise me. I was starting to have more questions than I started with, and definitely more interest.

I received many great words of wisdom when I asked for advice regarding this topic and its industry. You will want to immerse yourself in the business, or your local chamber of commerce. Networking is always important, but also being someone that has a positive personality and is easy to communicate with is just as important. From an artistic standpoint, being passionate about the topics you are addressing through your podcast is essential. It helps keep the information fresh, the motivation constant, and ultimately something others will want to listen to.

This form of entertainment intrigues me. It is a service where, we as engineers, can have a voice or help others have a voice and be heard. I do agree, I think it is a place that women can flourish in the industry. Not only is there a supply of work where women and minorities can be at the top, but we can also have a voice. Having the ability to not only strengthen myself, but the ones around me is an opportunity that I value. More of these conversations, podcasts, and articles need to exist for our current community and the future community. It is conversations and the spread of information such as this, that makes me feel awake and ready to take on the industry.

I hope you all have a wonderful spring and do not forget to check out the wonderful people that I got to chat with for this article. Fela Davis can be found on LinkedIn and her website felaaudio.com. The Art of Music Tech Podcast is available on Apple Podcasts, Spotify, Google, IHeart Radio, and Youtube. Drew Stockero’s podcast If It Matters is also available on Apple Podcasts, Google, iHeart Radio, listennotes, and player.fm.

The Power of Podcasting Roadie Free Radio, and panelists Fela Davis (The Art Of Music Tech Podcast), Lij Shaw (Recording Studio Rockstars), Chris Graham (The Six Figure Home Studio Podcast) and Matt Boudreau (Working Class Audio).

Women in Audio Podcasts

BBC Sounds Podcast is Live

January can be quite a busy month for most people. New goals, new mindsets, new plans. I have always loved January as it is my birthday month, as well as many of my friends’ birthdays. The month has already flown by! I celebrated NYE in Newcastle with a uni friend then returned to work in London. Despite being known to be a “slower month” in the industry, I managed to stay busy! I have taken a week to continue my birthday celebrations, a few days in York with my mum and a trip to Lisbon with a friend. I don’t want the fun to end!

In more exciting and relevant news, my BBC Sounds audio piece is live! It went up on 16th January and started to gain traction on Instagram on 22nd January. I am yet to post about it on my personal social channels and may not get round to that until February, so stay tuned! I have mentioned the piece before, but for anyone who doesn’t know, this is how the BBC have described it:

I have flown the family nest for the bright lights of London. I usually don’t realise I miss home until I hear the Geordie accent in an unexpected place. A park, a coffee shop, the tube. My parents are polar opposites. Mum is the life and soul of the party, usually connected to a telephone, but as for Dad… He’s a poet. Some artists appear out of the blue. My 58-year-old Scottish father deals with the passing of a friend, his wife’s endless diets and his children’s travels abroad by putting pen to paper. His spelling is awful and the rhyming can be questionable but it definitely brings a laugh to anyone that has the pleasure of hearing them!. And he uses his autobiographical poetic content to communicate with the rest of the family. Through family conversation and anecdotal comedic poems, this piece will remind you that some of the best moments can happen in the home. My Dad is a poet and he really didn’t know it. New Creatives is supported by Arts Council England and BBC Arts.

This has been about a year in the making, with my initial application to the programme occurring when I was working in Seville between January and April 2019. I am so happy with the progress I made completing the BBC New Creatives scheme, learning about how to distribute and market my own audio work. This has been difficult to carry out when applying for many different jobs and then once more after moving to London for a full-time job. I hope that this audio piece can lead to more increasingly exciting opportunities in the near future! I know my Dad would love for his work to be picked up and published! I had always suggested he make a book with all his poems, but a podcast is another fun alternative!

You can find a link to my work here: https://www.bbc.co.uk/sounds/play/p0801sr8

Best of luck to everyone’s 2020 endeavours!

Launching Content 

In 2019, most people can class themselves as a content creator. Whether you post pictures on Instagram, are in a band or write poetry in your spare time, you’re creating content. The more difficult part is getting people to notice (if that’s what you want to do of course).

As I have come towards the end of the BBC New Creatives scheme, myself and the team are planning how to promote the audio piece and which platforms it will sit best on. The piece is a five-minute clip of my Dad reading out his poems, snippets of family conversations, and me reading out emails and letters my Dad has written to me over the years.

I will most likely put the “podcast”/audio piece on SoundCloud, where I first started posting commentary with friends on my Dad’s poems throughout university:

https://soundcloud.com/yadroteoem

I then hope to post a relevant image of my parents on my Instagram page, along with a clip of the audio and subtitles for the dialogue. I haven’t figured out how to do this yet, but I will do! I will also post on my Facebook page that was dedicated to my tri-lingual student radio show and now is used for any media updates and opportunities through my work.

I will place a link on my website to my SoundCloud. I, unfortunately, will not be able to post on Mixcloud as the audio piece is too short. I will make sure to tag everyone that has been involved, from BBC New Creatives, Naked Productions, Tyneside Cinema, Arts Council England, and BBC Arts. I will post on LinkedIn too at some point and add to my profile.

This blog has also been such a great way to document the process! I hope to be able to continue talking about my side projects and creative endeavours. The final workshop in Newcastle for BBC New Creatives was a great way to see and listen to all the work created by different participants. It was so inspiring to see how experimental and inventive everyone had been.

I can’t wait to see the journey of all the different projects!

Check out the link here to all the projects:

https://newcreatives.co.uk/creatives

One issue has been the name of my podcast; we’re still working on that one and will have it confirmed soon hopefully!

WHERE ELSE TO FIND ME:

Tri-lingual radio show (Sobremesa): https://www.mixcloud.com/Alexandra_McLeod/

Sobremesa Facebook page: https://www.facebook.com/AlexandraSobremesa/

YouTube and Geography blog: https://alexandrasobremesa.wordpress.com/

LinkedIn: https://www.linkedin.com/in/alexandra-mcleod-79b7a8107?trk=nav_responsive_tab_profile

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