from training.npr.org: https://training.npr.org/audio/360-audio/
Here’s what we’ve learned from our experimentation with 360 audio recording.
Whether you’re making a podcast or audio documentary, this in-depth guide will help you improve the quality of your mixes.
Josh engineers the Tiny Desk Concerts. His kit for recording stripped down, remote music sessions provides lessons in being prepared while staying nimble.
Print and audio journalism exist in the same world — but the terrain is different. Let this serve as your map.
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.
To build a strong vocal presence for audio storytelling, you should practice a daily warm-up routine that involves body, breath and voice.
Our readers have lots of questions about audio production. Find answers here about headphones, levels, microphones and more.
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.
Over the summer, Sally did a callout on social media asking where public media journalists get their story ideas. The responses were fantastic and spanned everything from standard journalistic practices to creative and humorous anecdotes. We asked her to some of those ideas in this post. It’s a great starting point for the next time you’re
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
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
On NPR’s National Desk, four bureau chiefs edit news stories from around the country. They are Andrea DeLeon (Northeast), Russell Lewis (South), Ken Barcus (Midwest), and Jason DeRose (West). This is their outline of the process for pitching a story for a news magazine such as All Things Considered or Morning Edition – and getting the
1. You are the keeper of the guest list. NPR founding mother Susan Stamberg once compared a good radio show to a good dinner party. In both scenarios the host’s role is to lead his or her guests in an engaging conversation. As a booker, you manage the invite list to that party. It’s your
This is the technical lingo you need to know as an audio producer.
The two elements of a story are tape and copy. There should be a nearly equal balance between the two, at least in terms of their importance to the story. One can think of tape as the photographs, although that’s not a perfect analogy. Perhaps the analogy of two dancers executing a complicated tango; both
The following is an excerpt of a post from Transom.org. It was written by Rob Rosenthal, lead teacher for the Transom Story Workshop. He also hosts the podcast How Sound. What he’s describing is a great exercise. It can free you of the inevitable limitations of journalism (you can’t make people say exactly what you want!) but
This piece by NPR’s Ailsa Chang took a completely wonky Congressional concept… and made it interesting. Check out the marginalia to see some of Ailsa’s tricks. The script is 2 pages long.
There are some elements that every broadcast radio script should have.
If you are new to radio, this post should help demystify the process. This guidance comes from Jonathan Kern, author of “Sound Reporting: The NPR Guide to Audio Journalism and Production.” It has been lightly edited. First, you need a story. That may seem obvious, but often people begin by proposing an idea – the
Back in 2012, over the course of one day, All Things Considered host Melissa Block and producer Melissa Gray made this story about their own show. While the cast of characters has changed a bit and the ATC meeting now happens at 9:30am (10:00am was always pushing it, for a 4:00pm show!), this is the best
I think the goal is for all of us doing radio to make is sound effortless. To keep our essence in our reads and make the listener think we’re “just talking,” while knowing that the journey to that “just talking” place takes a lot. A lot of thought. A lot of practice. And a lot of time.
Why is it so hard to write how we talk? Here are some essentials tips to capture the human voice in your radio writing.
Ambience: the sonic environment in which an event takes place. Also referred to as ambi. When it comes time to record ambience in the field, it’s important to capture different perspectives. It helps to think about these perspectives similarly to how you would think about photography. Here are the five approaches you should take. Wide shot Stand