What is your experience with audio production and how can you improve it?

At the beginning of your audio journey, it's best to accelerate your learning by shadowing experienced individuals. Considering an internship or assistant position is valuable. Clean up, make coffee, observe the Masters, arrive early - leave late. Oh, and ask questions only during breaks, never during tasks. Before you ask, observe closely & analyze. Wake up your all gray cells. From my experience, this is one of the best ways to efficiently grasp the basics of the audio world.

I've had a rich journey in audio production, working on everything from podcasts to live concerts for artists like Nick Cave, Pet Shop Boys, and Sinead O'Connor. I've also managed a variety of projects for organizations such as the Kofi Annan Foundation and UNECE. My goal has always been to create engaging stories and high-quality sound. To get better, I stay on top of new trends and technologies, explore AI-based tools, and value feedback. I also learn a lot from workshops, webinars, and networking events. This constant learning helps me continually improve and excel in audio production.

Serve the Production. Once you have the requisite skills and gear the next part involves artistic sensitivity and aesthetics. While you follow the producer's needs you must also be sensitive to "what the production wants" and serve that need.

Mono sound uses a single channel, while stereo employs two channels for a more a more realistic experience. We use 2 ears to hear and listen. Using a 2 channel stereo recording creates a spatial experience that we are familiar with in our everyday lives. For audio formats, WAV and FLAC offer high quality but larger file sizes, while MP3 balances quality and compression. To prevent distortion and clipping, keep your levels in check during recording and mixing. Noise can be minimized through proper equipment and a noise gate. If issues arise, adjusting levels, using a de-esser, or applying EQ can help fix them.

As Ray has already said the basic difference to Mono to Stereo is as to the Beatles first album, "Meet the Beatles" to the album that will mark the absolute change in 20th century music; "Sgt. Pepper Lonely Hearts Club". My 2 cents, (and 99cents more we could all go get Slurpee's), is to understand mic/source ingest. Noise in is noise out. I advocate that source's should be correct prior to ingest into the mix, (i.e. console, record deck, etc.). There is nothing like using a 1956 Neumann U47, with a pop filter, to track a vocal. I am not saying u need a 127K$ mic to get a good sound, but I am saying that as an engineer you must pair the best available equipment you have to the dynamic/frequency range of ur source. Pay special attention.

Good audio production hinges on the right gear. Choose a microphone that suits your voice, a recorder that meets your quality and convenience needs, headphones and speakers for clear sound monitoring, and a computer capable of handling audio editing software and storage. The right equipment can significantly elevate your audio output.

A high-quality microphone is essential for capturing the best of your voice. Condenser microphones are often preferred for their sensitivity and clarity. A good quality pre-amp is essential, but for most VO work, don't break the bank here. A pop filter can help reduce plosive sounds (like words that contain p's and b's). And using headphones to monitor your recording in real-time can help you to catch any audible issues and make necessary adjustments. However, getting too accustomed to how 'pretty' your voice sounds in the headphones can be a dangerous trap. It's sometimes best to record without headphones on, so you hear your voice as your normally do in real life. Experiment between the two and see if you hear a difference.

It's important to recognize that the right equipment for you might not be the most expensive, fanciest thing on the market. While music producers might need a u67 into a Neve preamp into an LA-2A to get the voice sounding wonderful, most podcasts can probably be made with a smartphone (use the Dolby On app). If you plan to record into a DAW (digital audio workstation), which is generally the way to go, the single most important thing is your mic selection and placement. Try out a few mics and see which one your voice sounds best on. Experiment with how far away you should be. Mic placement trumps mic quality 100% of the time. You don't need a pro grade interface. Focusrite Scarlett v4 or Universal Audio Volt are best bang for your buck.

Microphone pattern is the first thing to consider. Cardioid is best for present rock vocals, figure 8 may be good for a duet, hyper cardioid may be good for a studio mic where you want some ambient sound. Then comes the style: Dynamic, Ribbon, Condenser. All are good types but generally a condenser is best for isolated sound environments because of its sensitivity but also require a +48v phantom power source. Dynamic can handle high SPLs and are not very sensitive so they are used for rock vocals. Ribbon is usually darker in tonal quality and cannot take phantom power.

I believe that getting the best equipment that is affordable to you is gravely important. Gain structure affects everything. Getting great sound is a combination of a sum total of choices. For instance if you buy an expensive mic with the correct polar pattern but have a horrible mic cord and horrible a/d & d/a converters, the recording still could be horrible! I’ve found that even upgrading the power source in the computer, on the compressor, or having an electrician condition the plugs that handle your equipment make a huge difference in the total picture of audio.

As an audio producer, I rely on Pro Tools. It's a powerful platform for recording, editing, mixing, and mastering. From trimming clips to adding effects, it's my go-to software for creating top-notch audio. Mastering Pro Tools has truly upped my audio game.

As it relates to JOURNALISM, proper mic selection for stand-up reporters makes all the difference as far as Audio Production. It might not always seem like common sense, but if you're reporting from a rock concert or motor speedway, a clip on lav probably isn't going to cut thru the background "noise". Same with an overhead boom. Use a GOOD DYNAMIC handheld "stick mic" 2 inches from the lips for best intelligibility (ie...Sennheiser MD46 or Shure SM58). These are both Cardioid (directional) mics that are designed for up-close mic technique. Yes, most boom mics (shotguns) are also directional, & would be a good 2nd choice (held 2 inches off the lips), but Condensers, by design are overly sensitive, and they won't reject loud ambient sound!

Again, from my voiceover audio engineer's perspective, the software you use to record VO on is mostly going to be irrelevant - provided that you can export HQ WAV or AIF files. We record voicetalent in real-time, so the recording software our talent rely on can be very bare bones (i.e.: Audacity). They mostly use recording software for the ability to record auditions for us. For the ability to produce multitrack projects with multiple plugins and complex routing, I have to agree with the others in saying that Pro Tools is the industry choice .. but yes, it can be $$$.

To note, Audacity is free to use and download. It might not be the best for advanced mixing and mastering needs, but it does great with ease of use as a beginner.

Today the DAW digital audio workstation has progressed so much as well as the quality of hardware that it really does not matter which one you choose. They all sound good. It is a matter of preference and which tools you need. Garageband is great for making music with its easy to use virtual instruments and plug in options. One can do all the basics with this program but it is Mac only and saves only in AIFF or mp3 file format. For more control at the mixing stage Protools or Logic (Mac only ) are popular choices but there are other options. The quality of your mix is more dependent on your room acoustics , your skills, and speakers than the DAW!!

The technique is certainly a major key factor in the production of audio. Such choices as the song structure you choose, the chord progressions to use, the tempo, as well as which scale to use can all be critical decisions in making "a winner". " There are more popular progressions that we can call upon that have proven to be successful. Certain song structures are also historically noted for being accepted with greater likeness. Music theory knowledge always creates an easier path of creativity. Every producer should invoke themselves with the intent to learn everything they can about the theory of music. Knowing more creates greater ease while interviewing and throughout the entire demo process of creation to completion.

While I can't speak to crafting interviews or podcasts, I can talk about techniques of recording scripts. The best advice you will ever get is .. start reading everything aloud. Billboards, print ads, newspaper editorials - everything you can to practice making your voice sound natural as you deliver words that are not coming out of your head as your original thoughts. That's the whole concept behind acting! Others words out of your mouth making others convinced they're your thoughts. Record yourself and listen to how you sound. Is it bad? Too stiff .. robotic? How can you make it better? Some of it you just have to figure out on your own. There's also VoiceOver coaches too .. but you may be surprised at how much you can teach yourself.

I'm an old fart, and perhaps a little saddened by the ease you can put together a functional studio for a few $100. Having learned old school recording on reels of magnetic tape. Both multitrack and half track master. Every effect had to be a hardware device, probably in a rack. Also probably connected to a patch bay in the rack for connecting this to that. Learning with these limitations, which didn't feel like limits at the time, has been a great foundation on which to build digital recording studios. I'm not sure that experience can be recreated, but hard work, lot of time, and recording a few thousand tracks will teach you better than any other method I've found. Of course, that could be because I'm an old fart.

The tools are the paint and the engineer is the paintbrush. You can make a lot of great things with the knowledge of how a song should sound, basic dynamics, mic placement etc are all good engineer and producer skills. The equipment can help but it won’t make a difference if you don’t know how to properly control it.

One of the ways to begin receiving feedback on your work is to find a mentor willing to work with you. This is the best way to gain the most honest and informative feedback for trying to grow and become better. This person does not have to be an Emmy award-winning producer but should be experienced and have some work under the belt for you to research and confirm. Creating a profile on artist creator platforms such as Bandlab will also work. They offer professional feedback for the fee of a monthly subscription membership under $15 a month. The strongest advice I can offer you here is to be sure you are ready. It is difficult to hear negative feedback about work you have administered great effort to, yet it is critical in the growth process

Kevin Holmstrom is spot on - critiques, especially when you are new (and even when you are a seasoned pro) are sometimes difficult to hear. But look at it this way: 1) Take into consideration who it's coming from. If their experience merits the advice, it's probably worth heeding. If you're new and just starting, 2) put that ego aside and say to yourself, 'that might work - lemme try it'. 3) If you're a seasoned pro, please see #1 & #2 (I do constantly ;)

Mix the track down and listen carefully on different devices to gain perspective. Earbuds, over ear headphones, computer speakers, car stereo system, low end pro-sumer speakers, and high fi speakers will all enunciate a portion of your song invisible on others.

A famous shoe once said, just do it. I was learning an expensive DAW made by Studer (the Swiss professional tape recorder company) called Dyaxis at my former job, when my new boss said Pro Tools is much less expensive - we'll use that. I had to dive in and teach myself with just a manual and time. These were the days before forums and such .. '95 to be exact. The point is, so much can be learned from spending a bunch of time in the weeds teaching yourself. Yes, there are tons of resources out there .. and it's good to lean on them when needed, but spend the time and just learn it - you can. OH, and train yourself to rely on quick keys. It's an extremely important skill to learn the ability to use the keyboard to navigate tasks.

Staying abreast of the constant changes in the industry can be a challenge. For the sound engineer, look to sites such as gamedeveloper.com and unity.com. For reliable general industry news, soundonsound.com. There is also puremix.com for professional feedback as well to gain access to many handy plugins. Even sites such as LinkedIn.com will inform you of industry-specific changes. Searching through freelance hiring sites such as Landr.com or upwork.com is also a quick way to list the qualifications competitors are offering, or to view the fancy add-ons of the highest percentile freelance agent being hired. If there are qualifications or services offered you know nothing about, then it's time to learn them!

It is not the gear, it's the engineer. Although new and fancy gear is always preferred, the person running it is the one making the magic.