Podcasts And Izotope Rx
As traditional radio reporting is shifting more and more to podcasts, we’ve seen a proliferation of startup companies and broadcast organization spreading into the field. With them has come a growing opportunity for new work: suddenly, the niche job of organizing audio for podcasts is not so niche.
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But what do I mean by organization? Well, think of This American Life, Serial, or something on Gimlet: these programs flow in time, with voiceovers leading to interviews, sometimes taking us into courtrooms, placing us in the middle of phone calls, etc. It’s someone’s job to lay this audio out in a linear fashion—to cull it from source files and put it up in DAW. The someone referred to here is now a wide cross-section of individuals: story producers now sit down with Pro Tools on the regular; audio engineers who worked in film now may find themselves called by a television network looking to expand out into podcasts and hoping to farm this production work to knowledgeable people (such was the case recently for me, when one of the four broadcast networks came to me for a podcasting job).
This article offers concrete tips for organizing audio in these podcasting circumstances. It’s geared to an interesting segment of people: story producers, audio engineers, post-production mixers, and anyone else interested in forging a career within this Wild West of an industry.
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I address it with a selection of iZotope tools. RX 6 is my go-to solution, and I also use Neutron, Alloy 2, and Ozone 7 to create the best sounding experience I can. The podcast is still being recorded in a spare bedroom somewhere in Australia, and there are a lot of challenges that come with that such as background noise, barking dogs,.
1. Find all the audio first
I learned this the hard way, but boy did I learn it fast: if I am handed a script with corresponding timecode, I will not do all the podcast editing work at once. That will eat up hours and cause problems down the line. Instead, I’ll devote my time to tracking down all the relevant audio, making sure it was provided to me, and demarcating it within the session itself.
Here’s a hypothetical:
Say we have an interview with “Jim.” Say Jim is appearing multiple times throughout the episode. Let’s postulate that the third time he comes in, it looks like this in the script:
“JIM: (File: Jim Interview 2, 00:34:12:05) When she came into the apartment, I knew immediately something was wrong.”
Here, I’ll pull the source audio into its own track, find the clip by its timecode, separate the audio into its own region, color it red to distinguish it from the rest of the track, and rename the region as follows:
“Jim interview 2 - 3rd clip.SOMETHING WRONG”
I have my own renaming conventions—and you should develop yours too. Mine is meant to maintain organization in the face of ongoing script edits (hence the keywords). You might go a different way.
However you operate, start with locating all the audio first.Why? So you can contact the production team ASAP if there’s a missing audio file.
These projects often involve tight deadline constraints. You don’t want to be nearing the end only to realize you’re missing vital audio.
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2. Develop a system for working quickly
You may have your own order of operations. It may evolve over time. It may also change depending on the guidelines of the project. In any case, identifying your way forward and sticking to it is vital, as this ensures efficiency. Right now, here’s my modus operandi:
- Find and rename ALL clips
- Place all clips in order on new tracks
- Fades, muting, and color coding
- Track organization
- Listening to the episode as I read the script (quality control)
- Making backups in case of relinking issues
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Having an order of operations is extremely important to one’s workflow. It keeps you moving quickly. Focusing on one task at a time is especially efficient, and furthermore, allows breathing room in case things change in the script. The last thing you want to do is spend ten minutes on one clip only to find out its been cut from the production entirely.
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Podcasts And Izotope Rx Free
A last overall note: I like to drag all source audio onto their own, individual tracks. Then, after finding and renaming applicable clips, I like to drag these from the clip list to new tracks. When I’m done with a source track, I mute it, then hide it. This allows me—or the downstream engineer—to quickly access the source audio if need be later down the line.