Tag Archives: podcast

|More Podcast Episodes

Looking for some quality conversations to listen to, here are some podcast episodes I’ve really appreciated recently. Spring blossoms lining my walk to and from work add to the listening experience; sorry I can’t offer you that here. 🙂

1) “The Fear is Real” (The Dirtbag Diaries). “Loosely speaking, there are two kinds of fear. There’s the fear of external, objective hazards–like getting caught in an avalanche, or taking a bad fall climbing or getting mauled by a grizzly bear. Then, there’s the internal, more slippery kind of fear, like the fear of not being pretty enough, or not being popular enough or not being perfect enough.”

2) “The Shorts: Catching Hope” (The Dirtbag Diaries). “We’ve heard the stories of addicts who found salvation in the outdoors and the outdoor community, but that’s not the way the narrative arcs for everyone. For Paddy, recovery looked less like slashing pow turns with his ski-bum buddies, and more like a game of catch with his dad on the back lawn of a treatment facility in Minnesota.”

3) “Bears Ears” (The Dirtbag Diaries).  “In the beginning, Josh came to Bears Ears, Utah in search of adventure. But the more time he spent there, the less his relationship with the landscape had to do with first ascents, and the more it had to do with connecting to the current people and ancient cultures who call Bears Ears home. Now, Josh is a leader in the fight to protect the 1.9 million acres of wild, history-rich, red sandstone landscape.”

4) Onleilove Alston (Chasing Justice). “Speaker Onleilove Alston joins us today to discuss black representation in the Scriptures and justice from a Christian perspective. Follow her vital work at https://wholeness4all.wordpress.com/propheticwhirlwind/ and on twitter @PropheticWhirl.”

5) “The Word of God in Print and in Person” (Bruxy Cavey). “How are other pastors and church leaders responding to Greg’s proposal for interpreting the violence of God in the Old Testament? In this sermon, we get to hear from the perspective of Bruxy Cavey, pastor of The Meeting House in Toronto, Canada. He summarizes his interpretation of Greg’s writings, and offers his take.” NOTE: I actually haven’t finished listening to this one, but I’ve appreciated the first 30 minutes.

Sometimes I enjoy a quiet moment in the day walking to work or heading home, but most of the time it’s a brief window for me to think about the deeper things of life. Podcasts (and for some people audio books) can be a great way to nurture a reflective spirit when life is so busy with family, work, and service commitments.

|How to Start a Podcast (Part 2)

I spent most of Part 1 looking at recording. That was appropriate because I wrote that section while learning the basics of how to record a podcast. Now that I’ve posted three episodes to iTunes and Stitcher (and have recorded a fourth), it’s time to share a bit of what I’ve been learning about the rest of the process–mixing/production and distribution. Maybe someday I’ll have a third post focusing on podcast marketing.

If you haven’t read Part 1 in a while, check it out. I’ve revised it based on what I’ve learned over the past ~3 months. And this blog post just goes into more detail about what is already covered at the end of Part 1. Read that first, so this will have context.

And it might help to know that of the six recording methods described in Part 1, I use “Option 6–Mixer, Mic & Audio Recorder” (Soundcraft EPM6, Audio-Technica ATR2100-USB, Roland R-05; if I were starting over I’d go with Option 5 using a Zoom H6–simple version, complex version).

Mixing and Editing

Some people are able to do a straight show by using a sound cart (Sound Byte or Bossjock) and by talking coherently (ex., Podcast Answerman). It’s the talking coherently part that really gets me. I stutter. I stall. I can’t think of words I want to say. I make weird sounds. I know I do this, and it almost kept me from starting a podcast at all. Guess who gave me inspiration to try to host a podcast anyway? Diane Rehm. I thought, Diane’s voice isn’t one I’d predict could make it in radio, yet she has a brilliant show. Why let my voice stand in my way?

Right, so my raw audio is not ready for iTunes. Not even close. I require a lot of editing to get rid of the long stretches of silence where I’m thinking about what to say or ask next. I get rid of the “Uh, Uhm, so…” garbage that clutters my audio track. And because I don’t yet use a gate (I plan to add a dbx 266xs [$150 + $105 for a box/stand to store it], not the 166xs that also has a limiter for $90 more), I have a fair bit of audio trash on the line that I need to remove. Yes, I’ve spent a lot of time editing my first three episodes, and the fourth will probably take the most time yet.

I use Audacity to clean up my audio files. I import them from my audio recorder, and work on them in three separate sections–introduction, body/interview, and conclusion. In my first episode, I imported all my audio files for each part of the show and tried to work on them with a series of tracks down the screen. My main track. Doug’s track. Ron’s track. The music track. The narrator track. The tracks for parts I had to re-record because the original grammar of the questions didn’t quite make sense when I spliced the two interviews together into a single show. It was a mess.

Now I work on each of the three parts separately and export them when then are each finished. When all three sections are done and exported as three separate WAV files, I import those three into a single new, clean, fresh Audacity working file, line them up (having music fade across these three sections helps connect them into a single experience), and then export the final show. It just works easier this way for me for now.

The introduction has my music track, the narrator’s track, and then another track from me if I feel I need a bit more to set up the interviews. I’ve had a different friend record the introduction for each episode. I plan to continue this for the time being. It’s fun to get friends involved.

The body has my track with my questions and comments, the track of one or two interviewees, and in Episode 3, I had more narration from my friend between the two main interviews.

When I record Skype, I record my voice into one side of the stereo and the interviewee into the other (on my mixer I have my voice panned left and the Skype line/track panned right). This makes editing the conversation easier. I used to split the stereo track to mono before editing. Now I do as much as I can while combined before splitting. This makes moving content easier while keeping the left and right (me and the person/people) synchronized.

Once the flow of the interview is set, I split the stereo track to two monos, and then I’m able to clean up junk hiding in the silent spaces. Episode 2 is a case study in doing this poorly; I left dead space in some places. The first interview of Episode 3 is a case study in why speaker phones are a bad idea for Skype calls. This relates to two tracks, so hear me out. At the last minute, I learned my two separate interviews were going to do it together. But that meant they wanted to use a speaker phone in one person’s office. Unfortunately, the birds outside our home were very loud. The birds should have only been in my track, and then I could have wiped them out from all of my quiet spaces (which is most of the time in my interview style podcasts). Instead, my mic picked up the birds, piped them to the speaker phone’s speaker, the speaker phone’s mic picked up the birds noises and piped them back to the mixer/audio recorder on their track as well. It was impossible to to get the birds out. Three future solutions: (1) no speaker phones, (2) use a noise gate, (3) find a quiet place to record. Or all three!

Then my final section has the outro music along with my final credits, thanks, and a disclaimer.

I use the compression feature in Audacity for each of the three segments before exporting them.

As I said, I work on and export each of those sections independently. Then I open Audacity again, import the three files (intro, body, outro), line them up, and export them as my final file.

A word about using Levelator and Auphonic. I have not used Levelator, so you’re on your own there. And on YouTube you can find plenty of tutorials on using Auphonic, so I won’t go into details now. But here’s what I’ve learned about it: “Adaptive Leveler” is good for the interviews, especially when I have multiple conversations in one episode. However, it messes up the intro and outro music that fade in and out. I want the fade; I don’t want “adaptive leveler” equalizing it. I learned that the hard way. So now once I have the three segments exported from Audacity, I only run the middle one through Auphonic. I use “Filtering” and “Noise and Hum Reduction” along with “Adaptive Leveler.” I don’t use “Loudness Normalization.” It makes the middle section/interviews louder than the intro and outro.

Preparing for Distribution

I now have the episode’s complete WAV file that needs to be prepared for iTunes and Stitcher.

First, I convert it to an MP3 using iTunes. You can watch YouTube videos on this, so I won’t go into the details.

Second, I use MP3 Tag (free) to add ID3 tags and my podcast art (I use the same art for every episode). Some people do this in iTunes, GarageBand, and other software like ID3 Editor ($15). One time I forgot to make the MP3 file, and added the tags to the WAV file. When I realized my error, the conversion process to MP3 removed my tags, so I had to do it over again with the new, smaller file. Convert to MP3, then add tags.


First, I upload the file to Libsyn ($5 a month plan). I follow the Podcast Answerman’s advice and use “Add File For Download Only.”

Second–and this will seem ridiculous to some people, but I have my reasons–I use a free WordPress.com blog to make my feed that iTunes and Stitcher pick up. Here are instructions on how to do that. Obviously using WordPress.org would be better, so I could use a plug-in like PowerPress. But hosting a WordPress.org site adds a monthly cost that I’d like to avoid. Plus I was scared off of using FeedBurner, so using the free WordPress blog made sense to me. Here’s the thing. No one knows it’s there. No one ever sees it. That site is just to have a free way to run my podcast RSS feed to iTunes and Stitcher. More on this in the next step in the process….

Third, I make my blog post on the APF blog that has the Show Notes (see all in the podcast category). This is what I promote on social media and on the podcast itself. Why not just run my feed from this blog instead of the secret blog? Because my organization is on it’s third blog in 5 years, and we’re about to move to a fourth (Typepad, proprietary CMS, WordPress, SquareSpace). We are too young and too unstable to run a consistent feed there. With this system, I can move away from Libsyn and away from my current blog/website platform, and still keep a consistent feed via my hidden, free WordPress.com blog. I’m sure there’s a better way, but I’m a newbie and this is the best I’ve been able to figure out so far.

Fourth, I promote the link(URL) to the Show Notes for that episode via Facebook, Twitter, and email. Each of these posts has a link to iTunes and Stitcher, so people can sign up to follow the podcasts there.

For more on each of these steps, check out the resources I listed in Part 1.


Episode 1

  • Splicing multiple interviews together to sound like it happened around a table is time consuming and not worth it.
  • Don’t split tracks until all content is in the right order.
  • Don’t change the input recording level between different interviews. Keep it steady and use the mixer to make all adjustments.
  • Skype calls to phones sound better than to computers. Using headsets vastly improves the quality if you have to call a computer instead of a phone. And land lines sound better than cell phones (at least based on my small sample size).

Episode 2

  • Cutting out all sound from both tracks (me and the interviewee) leaves completely quiet dead space, so leave some hum on one of the tracks for a more natural flow.
  • When interviewing in the field, try to have a quiet area. His office was across from the department’s copy machine.

Episode 3

  • Don’t let the interviewee use a speaker phone.
  • A 5am interview after 3 hours of sleep is going to sound tired.
  • Try to have a quiet recording studio.
  • When the interviewee promotes the episode on social media in addition to my own promotion, stats improve.

Episode 4

  • Having two people on Skype at the same time means they are on the same track, which complicates volume adjusting if one person is louder than another.
  • Ask interviewees to use a headset and to find a quiet place to have the conversation.

|How To Start a Podcast (Part 1)

[edited June 2016 after 3.5 podcast episodes]

The Adventist Peace Fellowship recently launched a podcast. This has all been new to me, and I’ve been learning a lot. But I still have so much more to learn (that’s why this is “Part 1”).

Here are some of the things I’ve learned along the way:

General Bits

Most of the material I summarize below I learned in these “General bits” resources. And this is all basic; I don’t go deeply into gates, condensers, telephone calls, apps like Sound Byte, and many other things. Okay, here we go….

Cliff Ravenscraft, the Podcast Answer Man, shows up in a lot of tutorials about podcasting. His website is loaded with quality content. I learned a lot from his 8-part Podcast 101 tutorial.

Pat Flynn also has a very helpful 6-part tutorial (see also).

I also appreciated these resources:

Now for my lessons learned (so far):

Recording the Podcast

There are a few ways to record a podcast. Here I list ways in increasing quality and cost. And you’ll want to record WAV files rather than MP3. You’ll convert to MP3 at the end of the process.

Option 1–Smartphone: You can record a podcast with only a smartphone. There are two ways you can improve the sound quality: (a) use an an external mic (see CNET), and (b) use an app designed for quality recording rather than the basic feature that comes on most smartphones. Look for an app that can record WAV files and record in stereo.

First, choosing a mic. You basically have two options for external mics (and see more about mics further down):

  1. XLR mic. Use an XLR mic (3-prong connection) like the Audio-Technica ATR2100 ($60) or Shure SM58 ($100). You’ll need an XLR female to 3.5mm TRRS adapter to connect it to your phone (example from Sescom, $35, or Comprehensive, $32). You can find many reviews of the ATR2100 and SM58 on YouTube.
  2. Lav/Lavalier/Lapel mic. Here’s a good video on YouTube about three lav mics. And here is more about the Rode SmartLav+ ($80) and two for an interview ($160 mics + $20 adapter).

Second, recording the signal in your smartphone. Here are some quality apps you can use to record your podcast (Bossjock has a lot of reviews on YouTube):

Option 2–Tablet & Bossjock: Yes, this is very similar to Option 1, but with a tablet you get a step up in features.

Here are five examples of using Bossjock (iTunes) on an iPad:

Option 3–Computer & External Mic: You can record a podcast using your computer with free software like Audacity (there are many tutorials on YouTube like this one) or Audio Hijack (YouTube one, two, three).

For this you need a USB mic, not an XLR mic. Or you can get a mic like the Audio-Technica ATR2100 or AT2005 that has both USB and XLR plugs [this is what I chose to do for increased flexibility as we develop]. More on mics below.

Option 4–Audio Interface, Mic & Computer: Use a USB audio interface to connect an XLR mic to your computer to record using software like Audacity or Audio Hijack (described in Option 3). There are many audio interface options; here are two — Focusrite Scarlett (2i2 or others) and  Tascam US-2×2. This way you can use a good mic like a Shure SM-58 without a separate audio recorder as described next in Option 5. 

To learn more about this method, check out B&H’s description or watch this video by Podcast Fast. If I were only recording in my “studio,” I’d be tempted to use a 2i2 (and here’s an example with Skype and the 2i4).

Option 5–Audio Recorder & Mic: If you record with a mic into a quality audio recorder (e.g., Roland R-05, Zoom H1), then you can save the files in high quality WAV format. You cannot use a USB mic with a field audio recorder. You have to use an XLR with a 3.5mm adapter or a lapel/lav/lavalier mic that is already 3.5mm (e.g., Hosa). Or use a recorder that has XLR inputs like the Zoom H4N, H5 or H6 (simple system, complex system). You would then transfer the file to your computer to do the rest of the editing and publishing.

Option 6–Mixer, Mic & Audio Recorder: Use a mixer to get quality sound and open creative options. If you start inexpensively by using the ATR2100 mic with the USB connection to your computer, you’ll get an upgrade in sound quality by switching to the XLR plug and recording it through a mixer. Basic sound flow: XLR mic -> mixer -> audio recorder -> computer.

Mixer reviews I read seemed to favor Soundcraft over Mackie, and some people said not to use Behringer. That said, I’m pretty sure any brand would work for the quality I’m able to produce at this point.

Note: This is the system I went with. I plan to add a gate/compressor by dbx. However, if I were starting over, I think I would use this system with the Zoom H6.


We’ve already covered the basic difference between USB and XLR mics. Get the kind that will fit your choice of recording technology (USB if recording with your computer; XLR if recording into an audio recorder or mixer).

You’ll also need to choose between a dynamic or condenser mic. I now favor dynamic mics for in-home studios. They are less sensitive to background noise (clocks, chairs, paper shuffling, etc.), so they’re more forgiving of in-home distractions.

As for choosing the specific mic, check out these two comparison videos: Golden Spiral Media and Pat Flynn. Here’s a third comparison that focuses only on high-end mics. You’ll also want to consider the type of mic stand you’ll want and pop filters. I tried to get away without using a pop filter, and my audio has suffered for it.


There are two ways to record Skype calls, and they depend on the recording system you use (described above).

Basic (computer): If you are recording the conversation with Audacity on your computer, then you can record Skype calls on your computer too. There are some free software options for this (I know one podcast that uses this), but the software I found repeatedly recommended online are ecamm (Apple) and Pamela (Windows) [Total Recorder also looks interesting]. If you use Pamela, purchase the Professional not Call Recorder. In Professional you can separate the recording into two tracks — you and the other person. That allows you to tweak audio levels for each track in Audacity (tutorial). I purchased Call Recorder, found it was limited, and then purchased Professional by paying the difference. It wasn’t hard to switch.

You could even record yourself with your USB mic and use that recording instead of the Pamela recording for your voice. Then just delete your track in Pamela. I know of one podcast that uses this method.

NOTE: I use Option 6 described above. In addition to feeding the Skype call through my mixer and into my audio recorder, I experimented and used Pamela to record Skype at the same time. I haven’t been able to get a good Pamela recording this way. It is too hot, so it’s peaking and distorting. But these are the levels that give me a good recording in my audio recorder, so I don’t want to turn anything down. Pamela probably words better in a simpler system without the mixer and audio recorder.

Advanced (mixer/audio recorder): If you use a mixer, then recording Skype calls gets a bit more complicated. Here is a tutorial on how to set up a mix minus — YouTube and written. Be sure to get a mixer with at least one Auxiliary line out.

You can also use equipment to record telephone conversations, but that is beyond the scope of this introduction.

For a simpler system that doesn’t require a mix minus, check out this method that could be adapted to other recording setups — YouTube.


Music can be tough to find. Here are some resources:


Some people add ID3 tags in iTunes, some in GarageBand, and some podcasters use other software like ID3 Editor ($15) or MP3 Tag (free).


Some people recommend using Levelator or Auphonic to even out sound levels. I will eventually look at these in more detail in Part 2.


You can find a lot more info on equipment here:

Broadcasting Your Podcast

Once you’ve recorded your podcast and mixed in music and whatever else you want, and then saved it as an MP3 file, it’s time to make it accessible to your intended audience. My three friends who have podcasts all use Libsyn as their host. I followed their lead, but you can find many other hosting services like blubrry.

Then you’ll need to set up your feed. Pat Flynn’s tutorials 3-6 cover this. Tutorial 3 is a bit more complicated than it needs to be, I think. It sounds like PowerPress is a useful plug-in if you’re using WordPress.org, but not if you use WordPress.com, which doesn’t allow plug-ins but can still apparently work for this.

And you’ll likely want to get your podcast on both iTunes and Stitcher. Since iTunes is the biggie, here are what other people are teaching about it:

I’ll probably expand and clarify this section later, or make it Part 2. Stay posted for more.

Closing Thoughts

If you have any questions, you probably don’t want to ask me. I’m learning all this as I go. You’re better off visiting The Podcast Answer Man to see if he’s already covered your question (or just search online for answers). 🙂

Finally, I want to thank three people who have answered my questions along the way: