from training.npr.org: https://training.npr.org/2018/10/31/mixing-diy/
This step-by-step guide shows a straightforward method for mixing audio stories, podcasts and more.
Whether you’re making a podcast or audio documentary, this in-depth guide will help you improve the quality of your mixes.
For this month’s What’s In Your Bag we reached out to Gregory Warner, host of the new NPR podcast Rough Translation. His work has taken him across Pakistan and Afghanistan, and now he is based in New York City after a long stint as NPR’s East Africa correspondent. He carries all of the essential gear
Corey Schreppel has been an audio engineer for the last 15 years — these are his go-to tools.
You return from a long day reporting in the field — only to realize you didn’t record ambience. Rats! This post will help ensure that you get the sound you need to tell great stories.
For this installment of “What’s In Your Bag?” NPR producer Elissa Nadworny shares the audio and photography kit she used on a recent trip to Alaska. I’ve been producing the Our Land series for the last four months. Melissa Block and I just returned from southeast Alaska where we recorded eight stories for NPR’s newsmagazines. For
Our readers have lots of questions about audio production. Find answers here about headphones, levels, microphones and more.
For this installment of “What’s in your bag?,” Tim Nelson of Minnesota Public Radio shares a glimpse inside his incredibly large and extensive kit. While it is certainly more in-depth than most, this kit allows Tim to be ready for most any situation the news can throw at him. You’ll be hard-pressed to walk away without
Amanda Aronczyk of WNYC’s Only Human recently covered the presidential inauguration and women’s march in Washington, D.C. She had to prepare for a unique set of challenges: rain and cold temperatures, restricted mobility and potentially long stretches with no access to power. Below, we peek inside her kit. This gear bag is a fraud. Sort of.
This post will help you identify problematic audio, prevent the most common problems and recognize when it’s time to call for help.
The producers, reporters and engineers who create the audio stories we love make a lot of magic happen behind the scenes. In seamlessly stitching together discrete pieces of audio, they can craft rich scenes that transport listeners. But being an audio editing wizard is not enough to tell great stories. You also need to have highly “trained ears”
There are many ways audio can go wrong: a press conference recording with a buzz, hard-to-understand phone tape or lots of “p-pops” — the list goes on. Can you still use the audio in your story? This basic criteria will you decide.
The tools we carry around on a daily basis can say a lot about what we do, how and where we work — even our personalities. What’s in your bag? is a new regular series about the tools used by people in public media. We all use the basics, but the way we personalize our kits is where
Liz Jones (@KUOWLiz), a reporter with KUOW, contacted us with an idea after the Which Mic Should I Use? post published. She recommended we get the input of various reporters in the field to hear about what mics they are using and why. Good idea! Here’s what a few public radio reporters told us they
Producers are busy people. We juggle multiple projects: we’re in the middle of Project A when Project B ends and Project C gets started. We often don’t take the time to fully prepare new projects before we start them, especially when it comes to creating the production workflow! We then discover, sometimes well into the
Most audio producers and reporters heading into the field will have the basics: a handheld recorder of some kind, a pair of headphones, and one or two microphones. But which mic should you use? This is one of the most common questions about field recording and the decision can be confusing. We usually make the