from training.npr.org: https://training.npr.org/2020/03/18/reporting-from-home-how-npr-correspondents-do-it/
Legions of journalists are now working from home. But NPR international correspondents have been doing it for years, even decades. Heed their advice.
It’s no secret that pre-taped interviews on public radio are edited, sometimes considerably. What’s OK to take out? And when is it better to leave something in?
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.
Conversations between nonjournalists combine the thrill of eavesdropping with the intimacy of the kitchen table — but they can be hard to pull off. We have some tips.
Josh engineers the Tiny Desk Concerts. His kit for recording stripped down, remote music sessions provides lessons in being prepared while staying nimble.
A team at NPR is experimenting with immersive video and audio and has tips on recording, editing, building a rig and more.
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.
Since we jumped into Facebook Live, NPR has created more than 1,375 videos. We’ve broadcast from 23 states and 19 countries. And we’ve learned a few things along the way that we think you might find helpful. What is Facebook Live? Anyone can broadcast live videos on Facebook — from iPhone selfies to HD, multi-camera
Our readers have lots of questions about audio production. Find answers here about headphones, levels, microphones and more.
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
Helping people listen critically to stories requires more than simply pushing “play.”
This post was first published on the website Storybench. For scenes to succeed in any medium, they have to engage your senses. You smell the diesel fumes, feel the breeze on your cheeks, hear the anger in the collective voice of a crowd of protesters. These appeals to the senses are important, but often secondary
Correspondent Howard Berkes joined the NPR staff in 1981. He has covered space shuttle disasters, mine safety violations, the Unabomber and neo-Nazi groups, the rural American West, and many Olympics, just to name a few of his many subjects. His reporting has taken him all over the world. STEP ONE: Prepare Tap local knowledge. Consult local public media
The techniques music engineers use to quality-check and deliver final mixes are not limited to music production. Journalists can use them, too. Here are tips to heighten your listening awareness and improve the technical quality of your audio stories. Variety is the spice of life Studio engineers need their mixes to sound great on all playback devices so they
Loss of your best-interview-ever recording due to a “media error” message from your recorder can be devastating. So avoid it!
You have characters. Check. You have a sense of what you want to record for ambient sound and active tape (the close-up sound of people doing things). Check. You’ve researched the topic and the people in the story. And, you’ve got a rough outline of how you think the story might be told. Check. Check.
As radio storytellers, we know the power recorded sound has to transport listeners to a specific time and place. The popularity of YouTube has made it easy to locate a vast amount of historic audio-visual content, but not everything is on YouTube or easily surfaced through Googling. Here are several other places to look for
This is printable and shareable guide to vox-gathering for NPR. You can use it as your own tip sheet or send it out to a producer who has been assigned to get vox. What do I ask? One uniform question – or series of questions. The vox question should be made clear in your assignment.
Active sound makes an audio story sparkle. It is sound that isn’t stuck in the background. It’s up-front. It shows character and action. Here’s how to capture it.
Korva Coleman has been an NPR newscast anchor for 25 years. She originally compiled these recommendations for PRNDI’s 2015 conference in Salt Lake City. They are intended for any public radio newscaster, in big markets and small. 1. Prepare yourself before you get to work What news do you listen to? What websites and newspapers do
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.
Robert Garcia is Executive Producer of NPR’s Newscast Unit. Here, he shares examples of stand-out news spots, and why they work. Deceptively simple A very simple Memorial Day remembrance story. Seemingly. Craig Windham masterfully weaves in the music and atmospherics from the Arlington Cemetery ceremony with clips from the President’s speech and beautiful, crisp
See an actual script, complete with margin comments, from NPR host Ailsa Chang.
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
Radio journalists love sound to create a sense of place in a scene – squeaky doors opening and closing, cash registers, train whistles, car honking, bird chirping. But if you really want to describe something in a compelling way, you’ll need more than the sound of a great squeaky floor. We’re looking for surprising moments that