What kind of stuff do you use?
It’s the million dollar question when you decide you’d like to try your hand at it, so why not share some of the info and gear I’ve gotten since taking that leap?
Microphones
Lauten Atlantis
This thing is mighty! Mighty damn heavy and mighty powerful sounding. Large diaphragm condenser with 3 selectable polar patterns and some other doo-dads. It’s really a singer vocal mic but I like how it sounds so well that I’ll be using it for voice work of all kinds. It’s got this deep, rich timbre-like sound to it that just resonates all the right things for radio and podcasting. It’s expensive however so I can honestly say I wouldn’t buy it for JUST talk.
Shure SM7B
This one is an absolute superstar in the world of microphones. The one you’ll hear most about it, and it IS pretty cool, is that it was used to create Michael Jackson’s Thriller. That may be it’s most shining moment but you can look around and find it in about a million photos since it’s creation due to it’s quality. Meagan sounds great on this mic, it truly is worthy of it’s praise! Unlike the RE20, which is most dominant in American radio stations, the SM7B dominates all across the world for a multitude of different applications.
Heil PR-40
The PR-40 is also an industry standard and for good reason. I’ve seen it myself in radio stations and it’s really popular among the podcasters out there. While I love it, the reason I moved on to the RE-20 personally was simply because I now have a lot more equipment to get the sound I want and I wanted a microphone that didn’t color my voice the way the PR-40 tends to do. Yes, without a doubt, it DOES bass you up but that’s part of what makes it great! It is the secondary mic that goes to co-hosts and guests, it is ALWAYS a part of the show and is never considered lesser.
Blue Yeti
It really is as badass as the monster it is named after, yes! So why am I using all of these other mics then? Simply because when I first started this journey to podcasting and radio things, I didn’t know where I’d go with it all. For those unaware, the non-pro version, the one I bought, is USB only and that becomes an issue when you get into mixers and interfaces that use XLR inputs. That is 100% the only reason it’s sitting in it’s box on a shelf currently. I have used it on the road before and it is just a hell of a mic for $100 bucks, highly recommended to those who want options (it has different recording patterns for just you or you and friends gathered around a table) and a mic that’s built to last.
Townsend Sphere
Featuring 38 legendary mic models of Neumann, Telefunken, AKG, Sony, and more,* the Sphere L22 gives your productions the most sought-after ribbon, condenser, and dynamic microphones ever made.
I had pretty mixed feelings on it until trying it and it really does model nicely! I use it pretty much for the 87 sound and it does a great job with it.
ElectroVoice RE-20
A broadcasters choice worldwide, the RE-20 is a phenomenal mic that doesn’t color your voice as much as others such as the Heil PR-40 (which we also use, read on) and is as crisp and honest as you could hopefor. Watch for these to show up on TV shows, radio shows, etc, you will undoubtedly see them. I caught one on an episode of Parks and Rec recently (re-run). It’s a standard for a reason, high quality! But yes, it does come with a healthy price tag as well. It came with the shockmount and pop filter as pictured, bought the package from BSW.
sE V7 MK
Another definite singer vocal mic but it could very well make it’s way onto the voice-stage at some point. It’s a dynamic, super-cardiod thing and does it well. It looks cool, is very affordable and is the mic choice for Myles Kennedy who fronts for Alter Bridge and Slash!
Audio-Technica AE5400
Audio-Technica have made their way around a lot lately with the boom of internet streaming and things for being both very affordable and high quality. They’re very pronounced on the top-end so be sure to take that into account when considering it. It sounds incredible as it sports the same capsule as the AT4050, which is a classic high-end studio mic. It’s lovely in a multitude of ways, it can be used indoors or out and does a good job keeping noise down by way of being a cardioid condenser. Lots of bands travel with them, including Metallica, and I ask you, is that not good enough for you?
Mixers and Audio Interfaces
Universal Audio Apollo x8p
This bad-oscar does it all, really. It is most-well used with their plugins which absolutely can get pricey if you buy outside of sales or bundles. But it comes with a bunch to get your whistle-wet and you get the opportunity of a massive library of truly legendary gear. Pair it with a Sphere microphone and you’re in for a seriously high-end sound. Great sounding preamps, tons of routing options, but NOT CHEAP! I bought it for music as well, it just works great doing double-duty (ha doodie). Some struggle with it on Windows but I’ve had excellent luck with it. So ya want it’s digits, do ya? 192khz/24-bit (imagine that written on a napkin in lipstick, it’s more alluring that way)
Zoom H8
The Zoom H8 Handy Recorder represents the next step forward in portable recording technology. Boasting four XLR inputs, two XLR/TRS inputs, and ultra-clear microphone preamps, the H8 can capture high-quality audio from almost any source. Like its predecessor, the H8 features an XY mic module and Zoom’s interchangeable capsule system. It records up to 12 tracks in crystal clear 24-bit/96kHz audio resolution, so your listeners feel like they’re right there with you. And to top it all off, the Zoom H8 12-track Handy Recorder doubles as a USB audio interface for recording straight into a DAW.
It kind of does everything and it sounds great as well. Cool, huh? Mostly will be used when out doing interviews.
Behringer Wing Rack
Had ever visited this page of the site previously, you might’ve known that I used the Behringer X32 Producer mixer but since you didn’t, this has to get awkward. It’s embarrassing to feel like the only one trying. Okay, don’t cry. The Wing Rack is really another step, another level, another… mixer. I went for the rack version this time because it fits a lot more places. Ha. Yeah, I thought that too. But it does. And the FX are better, I can audibly hear the improvement. I do sometimes miss the illuminated, robotic sliders but having room for other stuff is good too. Lots of inputs, much better sound quality than lots of forums might lead you to believe, this thing will truly give you a high-quality sound and all the routing your heart desires! Don’t view it solely as a live-console you nerdy statistics person, no no, it’s so much more than just good looks!
Headphones
Neumann NDH 30
These are expensive, just know that now. I bought them for my music side of things as well as that they’re open back. I like that I can hear people talking to me when I play guitar through them, for example. I bought them primarily because they’re considered extremely honest and I wanted something less exaggerated than my others. The only negative of them besides price is that if the ear cups come off (though it’s nice they do for replacing if needed), they’re a pain to get back on. Otherwise, they sound absolutely incredibly good.
Random Others
I could go buy up a bunch of the Sony’s or even try more of the trusted cans that people lean towards but people who come and get on the show always grab my pair of Skull Candy’s or the Sol-Republics. Why? I think they just like how fun they are. Haha. I don’t have a good answer but who cares? So long as they hear themselves and are having a good time, we’re good to go. So, I just buy random sets that are on sale from stores like Ross, FYE and so on.
Audio-Technica ATH-m50x
For a while, I was stuck between buying these (which cost around $150 brand new for the x-version with the removable cable) and the Sony’s down below, which average around $75-80. Obviously, I ended up with both but I used the Sony’s for a long time before moving to these. I can’t say that I’m not happy I made that decision because these have become my personal headphones for everything I do audio-wise. It’d be hard to say whether or not they sound twice the price better but they do sound great! It’s so subjective that you’d be better off trying them yourself. As for range, the technicalities of frequency are why they have different sounds. They’re quite different, actually, in frequency, impedance and sensitivity. As for physicals, they’re a tighter grip on your head than the MDR7506’s and the padding feels thicker. I will say, though, that I feel it leads to them being more uncomfortable sooner in my personal opinion. I’ve worn both a LOT and I’d lean to the Sony’s if I were to be working all day. Dome’s differ and mileage varies. With all of these things said, I got a great deal on these at $100 in never-used, open-box condition with all things included. A steal! I do recommend them but the Sony’s below would be perfectly good at a cheaper price.
Sony MDR7506
I hate saying it again but yes, these are very much an industry standard. That’s a lot of reason I bought these things, I wanted my success or failure to weigh more on what I put into my recordings than telling myself I needed better hardware or software. Maybe that’s silly but I didn’t go buy Neumann’s or anything, I just made sure to buy extremely solid, used and trusted stuff. These headphones are great, they sound really great. Are they completely honest without color? They do add some flair but it isn’t much. Their price point and the fact that they’re used in recording studios all over the world make them highly regarded as some of the best. I use them both live and during post-production.
Rack Gear
ART HeadAmp 6
First, the NON-pro version. Why did I go non-pro? To save $$$. What’s the difference? The non-pro version lacks the EQ. I’m using this for recording voices, I don’t need an EQ for the headphones, it was a no-brainer! So, if you do go this route, save yourself some cash. Now, why did I go with a rack headphone amp? Easy! I love rack gear and it’s a really good amp. I almost went for one of the desktop Behringer’s but decided I’d rather just put this thing in the rack, run the cables and not have anything in my way or junking up my desk. The clean gain on this thing is extraordinary. It is probably over-kill for a 2 person show but if you have lots of co-hosts and guests, it’s a good deal. It doesn’t get hot, it gives you a TON of clean overhead (not sure about the Behringer’s, haven’t used them) and will cover 6 people. Also, a neat extra, is that it has Aux-in’s for each of the 6 channels so you can run in anything extra you want without effecting the others.
Furman M-8x2
I was never in the market for a rack-powerstrip, I really just ended up finding a deal I couldn’t pass up and it (I think) helped me also get rid of some noise issues. Win and WIN! So, while shopping around at compressors, I ended up finding B&H had a deal where if I bought the DBX, they threw this little thing in as a bonus. So, I saved $50 on the DBX and got the Furman for free… why not? It’s now one of those things I love and never felt I needed. With everything plugged into it, I feel my gear is safe and everything is less cluttered with cables not running all around the room. If you ever find a deal, go for it, you’ll be glad you have it! If you don’t find a sale or something, I do think it’s worth it still but that’s really subjective.
Cathedral Pipes Durham
This isn’t a mic, no, but it is very important to some mics. The RE-20, for example, is juice hungry. It needs a lot of boost to get it into a truly loud-enough range. Another is the SM7B. This little guy takes care of all that for you offering 25db’s of clean boost at a price that is superior to both the FetHead (though it can do built-in phantom power and doesn’t need two cables) and the Cloudlifter, which is substantially more expensive. These are $65 a piece, ship super quickly and work just as they should. I couldn’t recommend these things more if I tried, they’re essential when dealing with low-gain mics. They’re built like brick-shi–… tanks and don’t get in the way. They do require phantom power, so be aware.
Software
Adobe Audition
Remember back when Audition was Cool Edit Pro? Who the hell would’ve thought a program called Cool Edit Pro was worth a shit? I certainly didn’t though I did use it to record and edit my music for years and years (I’m a musician) and it never failed me. When it was bought out by Adobe I was a little worried but had been using Photoshop for years so figured they could do great things with it if they tried. They’ve done great, I adore Audition, it’s just so powerful. Some of the downsides are it’s monthly fee (or the high outright price of an older version) and it’s complexity. The complexity is a double-edged sword though, once you get it, it’s just outstanding. You can do anything your mind can dream up and clean up mistakes about as easily as you could hope.
Audacity
Admittedly, no, it isn’t as powerful as Audition but man does it pack a punch for FREE. Did I say free? Yes I did! I doubt I blew any socks off though, I feel pretty sure that nearly everyone who does anything with audio has probably already got it installed. Did you know that it can do a lot of the same things as Audition though? Head over to their forums and enjoy some of the tutorials and ask questions of how to do things, you might be surprised! It’s super powerful for it’s price-tag and I’ve used it on the road before where I didn’t have Audition handy.
Skype
There are many ways to record guests, even many over the internet (such as Hangouts, for example) but I tend to go for Skype. It seems like people usually already have it installed, have an account and know how to use it so it works out really well. It has an app for iPhone, Android, Windows Phone and of course desktops so it works everywhere with ease. With a mixer, you can setup a mix-minus too. I, though, feed in the audio from the app on my phone or tablet’s audio out line to my mixer to record Skype calls but there is software out there as well such as Pamela.
The Rest
Boom Arms & Pop Filters
I bought the Heil PL2T thinking I absolutely needed it and I’ve come to learn that it does hold up where a cheaper one I bought broke. The cheap one lasted a long time but did eventually cave under the pressure of the PR40 and PRSM. Be aware but I’d say you’d be fine if using something like the AT2005 or similar. That aside, I eventually grabbed the Rode PSA1 and am loving it, though it is shorter than the PL2T by a good bit. I bought the BSW REPOP pop filter for the RE-20 because I bought it as a set that also came with the shockmount. It looks really cool but the off-brand pop filters I bought on eBay are fine too. The only difference there is that they’re not sized down, they’re quite large (is that even a bad thing?) in comparison. They’re good for ANY mic and they’re the ones you’ll generally see in YT videos since they’re fine and cheap. Also, windscreens; grab them off eBay as well, the quality difference just can’t matter too much, it’s foam and it goes over a mic. The OnStage pack I grabbed for a couple of bucks does fit over the PR-40, don’t buy into the bullshit.
Cables
You’re going to need an assortment of cables so be ready to spend some cash on these. XLR, 1/4″, 1/8″, converter tips and a mixture of the above to and fro. The upside is that most of them are cheap and sometimes it’s cheaper to buy a certain cable and a converter piece than it is to buy a specialty cable as well. Look out for deals but beware, the cheaper the cables, the thinner it is, the more chance of introducing noise into your recordings. That’s just a bold-fact. I bought all the cheapest I could find and realized it was making my recordings sound much worse than they should have. I then started spending more and buying thick, higher quality ones such as Monoprice (which have become my goto because they’re super nice, super heavy, thick and affordable) and I can’t hear a hint of noise anywhere in my setup. Do yourself a favor before getting a bunch of equipment and wondering why it’s hissing or buzzing and spend money on GOOD cables. They say you’re only as strong as your weakest link, cables should definitely NOT be that. I recently realized this again, ORDER PLENTY OF GOOD QUALITY CABLES!
Gone (or not used) but not forgotten...
Samsung Galaxy Tab S10 Ultra
While there are a few methods, I mostly use my Galaxy Tab S when I’m doing a Skype call. It leaves my phone untied so I can take actual phone calls (and run them in as well) and it gets a really good connection, which is important. I feed the audio out on the tablet to a 1/4″ in on my mixer and viola! I can then use the EQ and faders to do with whatever I need and allow my compressor to keep their volume at a good level. There’s nothing really fancy going on but I can’t imagine there’s a much smoother way to set it up. As for brands and things though, use your phone, use your tablet, any brand, etc. I just bought the Tab S because of the price and timing.3
Zoom H5
This is a piece of gear that I’ve tried to justify needing for a while. I’ve heard so many others advise that you have one as a backup way to record if you use a PC or even as a way to not record with a PC at all. I, personally, really like using my computer and involve it heavily so I wasn’t able to come up with a solid reason to buy one until just recently. So don’t go believing that you need this unless you really can find enough reason to. I’m a musician and we started in the 90’s using a cheap little tape recorder. The H5 would offer us virtually unlimited recording time, give us sound quality like never before AND be just as small and mobile so I won’t have to lug around my mics, mixers, DAW’s, etc unless I just want to. Also, reason 2 was for doing the obvious; on location interviews/reviews and such.
X32 Edit
If you were to buy yourself an X32 console, then you’d be robbing yourself of absolute convenience if you didn’t install this on your PC. It is amazing! I do nearly all of my work using it as opposed to the console itself. I do love hitting buttons and sliding the faders but this allows me to, during a show, keep my eyes on the prize and information on my screen. It’s just incredibly well put together and makes doing live shows super easy when out of arms-range of the board itself. NOTE: There’s an amazing app for Android as well: https://play.google.com/store/apps/details?id=com.davidgiga1993.mixingstation&hl=en
iPad Pro (1st Gen)
I got it for 45% off! That’s a good start! That aside, Bossjock is an AMAZING app that lets you do a pretty damned professional show while on the road with virtually no equipment at all, how cool is that? What Bossjock doesn’t do, Garage Band pretty much does, so you’re covered if you grab both (I did). I would literally have no qualms about doing an interview or even an episode on the road with just my iPad at this point, it has really blown me away, something that would be much harder to accomplish on an Android. Again, not hating as I love my Androids but the iPad just makes it easier. Bossjock lets you setup a soundboard, does ducking for speaking over music and records it all at an unbelievable price. It also now has an app for Google Docs and Skype so it pretty much has become my goto for recording.