This show focuses on the technical production of audio podcasts. Chris Curran chats with podcasters about their audio equipment, software and workflow to help you learn how to produce better sounding podcasts. You’ll also learn solutions to common audio issues as well as plenty of tips and tricks. By listening to this show you will gain a TON of knowledge and skills that will make a HUGE difference in your sound quality _and_ save you time! Subscribe/Follow today and start listening! Your host Chris Curran has a background in podcast production (Forbes, Dun & Bradstreet, J&J, etc) as well as music production (Sarah McLachlan, Jeff Buckley, Foreigner, etc). When he entered podcasting in 2012, he noticed that most podcasters (and producers) do not have a good understanding of fundamental audio engineering concepts, which sabotages the quality of their sound from the very beginning. This show, as well as Podcast Engineering School, helps podcasters and producers reach professional levels of podcast audio production.
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episode 168: Pascal Wyse - Composer, Sound Designer, Mixer
My awesome guest is Pascal Wyse! He does sound design, mixing and musical composition for Cautionary Tales (podcast). He wrote the theme tune for Folsom Untold - an Audible series about Johnny Cash’s prison gig, and also did sound design for that. And among many other credits, he also worked on Haunted for Panoply.
Here's a fraction of what we discussed:
- Keeps different cues in different DAW sessions. (Some folks write their music in Logic and then ProTools has the main session)
- Reaper sub-projects: Opens up as a tab - another working session, the same length as the Master session, when you save it renders and inserts it into the Master session.
- For creating atmosphere/space: Altiva Convolution reverb
- Mixes on speakers, and for final pass he monitors on headphones.
- Genelec 1029 with Genelec Subwoofer
- Headphones: Beyerdynamic DT990’s
- Microphones: Sennheiser MKH range mics, DPA Lavalier mics (tiny, can get them into extraordinary places)
- Double mid-side!!!
- Parabolic mic, mounted inside a satellite dish thingy, the most isolated sound you can get!
- Field recorders: Sonosax (swiss company, light, clean preamps), Aaton Cantar X3, used to use Sound Devices stuff.
- He's very into field recording
- He uses Sonarworks
- Fabfilter plugins - EQ, compressor,
- Waves Scheps 73 EQ
- iZotope RX
- Tim Harford’s voice processing for Cautionary Tales: No cleanup, Fabfilter Pro Q-3, Fabfilter C-2 (Pro Voice preset which uses parallel compression), Vocal Rider (He fed the sidechain with the background music! Stopped the feeling of a sound being crushed and not coming through.)
- For voice actors: AudioEase - “Indoor” plugin (sounds realistic, panned L&R a little bit), Speakerphone plugin
- Convolution reverb: Engineers have gone into a space and recorded the response of the actual space.
- Parabolic mics: https://www.telinga.com
- Schoeps mics: https://schoeps.de/en.html
- DPA mics: https://www.dpamicrophones.com
- Mixing with Mike: https://www.mixingwithmike.com
- Amazing sound recordist Chris Watson: https://chriswatson.net
Workflow for Cautionary Tales:
- Table read
- Tim will record his parts, he will read in actor lines
- Receives files (REALLY likes it when they get CLEAN dialogue takes, so he doesn’t have to stress over that aspect of production)
- Brings files into DAW, makes markers where he might want to put things,
- Put in theme music
- Some library sounds here and there
- What worlds are people in and do we need to hear that world?
- Uses “mastering” effects
- Sends out the mix
- Gets feedback and makes changes
Thanks for being a great guest, Pascal!
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