My Podcasting Equipment

Recently I setup a podcast studio at home, and today I want to take you through the hardware I chose.

First though, why podcasting? When I mentioned podcasting to my wife, her immediate reaction was “that’s so 2006.” But with the web so crowded with Tweets, pins, status updates, and blog posts, I have been obsessed with how video and audio help establish a really personal connection between people online.

As I researched podcasting, I heard again and again of the power of “being in someone’s head” for the length of a 30 or 40 minute podcast… that while they jogged or commuted into work, you had their undivided attention. In a crowded world, this is an uncrowded channel.

Why is TV still so powerful? Because people connect with eyes and voice. If you are vlogging or podcasting, you learn how personal people feel their connection is to you. People may feel they know you, just because they have followed your podcast or vlog for a long time. Blogging… similar, but without the eyes and the voice… the connection may not be so pronounced.

With most modern computers, you can create a podcast with no additional specialized equipment. There is a microphone built right into your laptop or desktop, and there are plenty of free programs to get started.

But I am an audio nerd. I believe in the power of good audio, and used to be obsessed with my stereo. It was largely a vintage system, driven by vacuum tubes, and centered around a turntable because it delivers a richer experience than digital files or CDs. Here is the turntable before it was dismantled as I prepared for my son to be born. (delicate things don’t mix with toddlers):

Garrard 401 Turntable

So when I got into podcasting and video, I wanted good audio quality. When people can’t hear you, when there is too much echo or distraction in the audio, it makes it impossible for someone to follow along and become engaged.

So I researched what the pros use. Like many who start in podcasting, I turned to Cliff Ravenscraft who runs a site called
I looked at what professional podcaster Leo LaPorte uses.

Here is a quick list of my podcast equipment. Below that, I dig way into why I bought each piece of equipment, and things you should consider when you are selecting your own podcasting gear. Prices are approximate:

  • Heil PR40 microphone $300
  • Heil shockmount $100
  • Heil boom $100
  • BSW pop filter $60
  • DBX Compressor $85
  • Allen & Heath Mixer $235
  • XLR Cable $10
  • 1/4″ audio cables $10

And here is what I bought and why:

This is the input – the critical first link in the chain. In the past I have used several other microphones for recording audio on my computer. This is my history with microphones for podcasting…

The Blue Snowball microphone is a popular and inexpensive microphone that produces great sound for it’s cost. But… my Blue Snowball had a bug that many of the earlier models had: it recorded audio at a low level. So when I recorded an interview with someone, my audio was always lower than theirs. Evidently, the company had released a firmware update to resolve the problem, but after numerous attempts to contact the company, they never responded.

Despite me being a little upset with Blue, I gave them a second chance, by buying their Yeti microphone next. About twice the money as the Snowball, it produced even better sound, and at the appropriate level. But, I quickly found a problem, the same problem that Andrew Warner of found when he used it. This microphone has a large stand that rests on your desk. If you type or take notes as you record, the microphone picks up very loud tapping sounds. It became a big distraction for me, so that meant it was time to upgrade again.

The next step most people make is up to the Rode Podcaster microphone. It’s still a USB microphone, and pretty much professional quality. Again, you double the price from the one before it, the Yeti. But this mic asks to not rest on your desk, but to be suspended by a boom, which is really the best solution. So you have to add in that cost, a $100 boom and perhaps a $40 shockmount.

As I did my research, another microphone received glowing reviews by both Cliff Ravenscraft and Leo LaPorte: the Heil PR40. About $100 more expensive than the Rode, at around $325, the Heil seems to offer “dreamy” voice recordings. But… because it was a professional mic, the accessories add to the price. You need a boom and shockmount as you do with the Rode, but the Heil is not a USB microphone. So you need an interface to get the audio from the mic to the computer, and an XLR cable. Here is the mic with it’s shockmount and boom arm:

Heil PR40 microphone

Being the audio nerd I am, I couldn’t resist seeing what this mic had to offer. So this is what I bought:

The boom and the shockmount create a system whereby any movements don’t disturb the microphone to a degree where it records a bump. It’s like a shock system on your car. That, if someone walks by next to your office, it doesn’t shake the mic and create a noise in the recording. Or more likely, when your leg taps the desk accidently, it doesn’t come up in the recording.

The pop filter helps your “s” sound come off a bit more naturally, and avoids that pop sound you sometimes hear when you say a “p” into the microphone.

Because the Heil PR40 is a not a USB mic, it needs an interface between it and the computer, for two reasons:

  • Pre-amp: this mic does best with a pre-amplifier, which essentially processes and boosts the signal from the microphone. You can buy a pre-amp separately, an interface box, or buy a mixer with one built in.
  • We need to convert the signal to a digital signal that has an output with a USB cable so I can wire it into my computer. Likewise, you can use an interface box or mixer for this.

I chose to go with a mixer, because honestly, it just looks more impressive. Okay, okay, it provides greater flexibility for other audio needs too.

I did a TON of research on this, and found lots of folks mentioning Behringer and Mackie equipment. I researched in music forums as well as podcast forums, since musicians obsess over quality and really abuse their gear. Again and again, I found references to Behringer equipment as having lower musical quality and more likely to break. Mackie seemed to be the next step up. In my research, I found glowing reviews of a brand I never heard of: Allen & Heath. In the end, I found a great deal on Amazon on their ZED-10FX mixer. Here it is:

Allen & Heath ZED-10FX Mixer

It has a highly respected microphone preamp, great build quality, USB is built right in, lots of channels, and at the price I got it for, I could likely resell it for about what I paid for it. Also: it accepts XLR inputs! Sure, there are lots of things on this mixer that I don’t need, so I just ignore them. I need just one channel right now, not 10. I don’t need any of the special effects it offers.

You know how you hear a radio announcer or DJ on air, and they have a bold and powerful voice that is silky smooth? And then, you go to some county fair and meet them in person, and they sound like Woody Allen? That’s partly because of a compressor/limiter/gate, a little box that does wonderous things to your voice. Consider how Howard Stern sounds on air vs how he sounds in a TV interview. It’s a different voice.

A compressor essentially limits different frequencies in different ways. For me, yes I want my voice to sound better, but since I work at home, I want the microphone to ignore subtle background noises. You know, things like my kid playing two rooms away. Or my kid terrorizing the cat. Or my kid… well, you get the idea.

In researching brands, I found myself overwhelmed with choices, and a bit sheepish to spend yet ANOTHER $200 or $300 to get a decent compressor. I found DBX brand compressors which have a GREAT reputation for sound quality, features, and build quality. And here is the trick I used:

  • Buy an older model.
  • Buy used.

I ended up with a DBX 166xl. This is VERY similar to their current production model, and because it is a bit older, easier to find used on Craigslist and eBay. I paid $85 for it. Here is the unit:

DBX 166xl Compressor

Now, here are the dials (but not my actual settings):

DBX 166xl Compressor

You can see the 2 dials for expander/gate, 5 dials for compression and 1 dial for the limiter. This gives you LOTS of control based on your room, your voice, and the sound you are going for. I found this great video on YouTube where someone takes you through each dial on this unit, I’ve watched this again and again (and again):

This is a two channel compressor, but since for podcasting I am just using it for voice, there is a great switch that couples the two channels into one. There’s also a nice “auto” button that sets Attack and Release for you automatically.

Of course, there is, but I know some folks who don’t like Amazon. Another great source for buying audio gear is Incredible selection, prices, and service. They have an amazing store in NYC as well, it’s worth the journey there just to see how they manage their inventory.

One discovery I made was They had the best prices I could find anywhere, and it’s where I ended up buying the microphone. Hint: if you call their telephone sales rep, they may give you even lower prices than you find on the website.

And for used gear, there is and eBay. Bands and musicians are always selling off used gear.

Now, on the software side, I keep things simple, I record both audio and video using Screenflow. Um, that’s it. Well, I sometimes convert files to MP3s using iTunes. I suppose I have a lot to learn here… but that is for another blog post.

So after all this, you probably want to know, how does the setup SOUND? Well, here are a couple of examples:

Now as a comparison, you can listen to a video I did with Jane Friedman back in 2010. I was probably using the Blue Snowball mic back then, and it sounds as though she is using the mic that is built into her computer. As you can tell, there are degrees of quality.

So, that is everything I have learned about podcasting hardware so far this year. Ask questions below!

Note: I shared an updated blog post on additional podcasting equipment I purchased here.

Do You Choose To Be Overwhelmed?

We choose more. Not less.
We choose potential, not acceptance.
We choose new, not old.

We race.
We strive.
We double down.

Do more. Be more.
Conquer. More.

Overwhelmed. This is the singular theme I see repeated again and again with so many people I know. Overwhelmed with all they want to do. All they want to be. All they have. All they hope for. All they are obligated to do.

We say we want simplicity. We lie. To ourselves.
What embodies the simplicity and focus you want in your life?

This week I saw my favorite singer perform in an intimate gathering of 200 or so people. Glen Hansard, famous for his music in the movie Once, which won an Academy Award, and the bands The Swell Season and The Frames.

There is something about a singer such has him that embodies what so many seem to desire: Focus. Simplicity. Meaning.

The music embodies the ingredients of a fruitful life: Conversation. Art. Relationships. Literature. Travel. Experience.

You likely have someone like this in your life, a singer who inspires you, or perhaps an athlete, writer, social leader, scientist or someone in another profession. And when we see them or experience their work, perhaps we idealize that they embody a balance, a focus on only what matters.

That when you consider this person you admire, it strips away the things in your life that you are slightly unsettled by. That you sit in a gray cube at work all day. That your Saturdays are spent cleaning out the garage. That you are overwhelmed by email and social media. That when you were 19, life was about exploration and conversation, and now, somehow, it all seems to come back to money. That perhaps you feel like you can’t remember the last time you read a book. That you are defined by a business card.

That you would spend more time with your family, if only…
That you would spend more time with your faith, if only…
That you would get back in shape, if only…
That you would be who you always wanted to be, if only…

… if only you weren’t so overwhelmed.

I have been immersing myself in the topic of productivity in preparation for some upcoming projects. And when I see Glen perform, things like the Getting Things Done system seem, well, silly. Yes, I have a respect for the system, and know it works. But the need for it justifies a life that many fear. One with constant inputs that need to be managed. One where we need to train ourselves to be disciplined, just to keep up with it all. To to excel, but just to keep up.

Do you feel the pressure to live up to a certain standard of consumption and productivity?

Here is a video I shot of Glen singing this week:

To me, it is a reminder. A respite.

What is yours?


What Bruce Springsteen Can Teach Us About Creating A Community

This week, I saw Bruce Springsteen play live (again.) The strangest most amazing thing happened not during the show, but before it even started. This story shows how a community is supportive, cross-generational, and how the most interesting connections happen in the funniest of ways…

My brother and I arrived at the show hours early, and were lucky enough to get into “the pit,” right up front by the stage. We ended up sitting in a group in front of the stage chatting, waiting 3 hours for the show to begin. In the group with my brother and me were:

  • Lenny, a 56 year old guy (it was his birthday)
  • His 19 year old son
  • Two 17 year old girls

We chatted for an hour off and on, then I noticed that one of their shirts said “Chatham,” the town next to mine. I assumed all four of them were one family, so I asked Lenny if they lived in Chatham. He said he didn’t, but used to 30 years ago. The girls then clarified that they were not related to Lenny and his son, but that they did live in Chatham.

Lenny was a charismatic guy, a real talker. He was telling all of us about his time in Chatham, and began describing where he lived. He mentioned a steep hill, a sharp curve, a driveway at a crazy angle, a house with an apartment built-in, the river across the street, a steep wall behind the house he lived in in the early 1980s.

The girls started freaking out. Long story short… Lenny lived in the exact same house that one of these two girls lives in right now.

So we go on talking, Lenny describing his time in the house, the parties they had, etc. He mentioned his roommate, who also owned the house. As he is telling a story about their adventures, he happens to mention the roomate’s name. Long story short AGAIN, and Lenny’s roommate was this girl’s father. Not only that, but Lenny is the one that introduced the girl’s mother to her father.

The six of us are watching this story unfold, dumbfounded at the connections.

Lenny, the consummate storyteller keeps talking. It turns out, the girl’s father was the person who took Lenny to his first Bruce Springsteen concert back in 1979. Here we are in 2012 sitting 10 feet from the stage waiting for Bruce to come on and here is Lenny chatting with his old friend’s daughter.

Full circle.

Lenny kept talking (this would go on all night, even through the 3-hour concert), and mentioned how he and this girl’s father didn’t part on good terms. That he had actually been reflecting on that a few months back, and gave the girl a message to tell her father: that he regretted that they didn’t part as friends.

Full circle.

This whole time, Lenny’s 19 year old son is sitting there, shaking his head and smiling. Evidently, this type of thing happens a lot – his father is that type of guy.

Later on, Lenny is telling us the story of the time he bumped into Bruce Springsteen in a mens room. As they were walking out, he thanked Bruce for being a role model for his son, who was a huge fan. He mentioned that not only was Bruce himself a role model, but the community of fans were as well. That in some way, they were helping to raise him by teaching community ideals, a sense of purpose, common ground, and kindness.

I talk to a lot of writers about connecting with others in their communities, both online and off, and the powerful effect this can have. Oftentimes, people assume this is about marketing, but it really isn’t. It is about being part of a community that will bring you full circle, not just professionally, but personally.

And yes, the concert was amazing:

Bruce Springsteen


Appreciate The Journey, The Destination May Be Different Than You Think

We rush.

Moving towards our goals.

We write our books.

Craft our songs.

We pursue our creative journey.

Push our foot down a little more on the gas pedal, hoping to shave off another 5 minutes from the trip.

We envision what it will be like when we arrive.

We tell ourselves stories of the future, becoming blind to the present moment.

We work harder, and dance less frequently.

We struggle, we wait for the “payoff” down the road.

As I work with writers, trying hard to find an agent, get a book deal, and establish an audience, I am reminded.

As I take a walk with my 1.5 year old son, I am reminded.

Appreciate the journey.

Not “when,” but “now.”

Bands struggle for success, yet look back fondly on the early days.

When they had drive, and unknown potential, and a dreamy sense of what could be.

The time before they found “success,” which was different than they expected, making them question why they wanted it in the first place.

My friend Jane Friedman shared this quote to me: “The most disappointed writers I know are not the unpublished, but those who have been published.”

Her point is that the destination may let you down.

That “success” may not be what you expect.

That you must appreciate the journey – be it in art – in your profession – or your personal life.

Today is the day.

The moment.

That matters.

Look around you.

Find the faces.

Appreciate what is. Not just what could be.

Scholarship Winners: Build Your Author Platform

I had no idea how hard this would be.

When I decided to offer a scholarship for my 8-week online course, Build Your Author Platform, I figured it would be a nice way to make the course more inclusive to those who could otherwise not afford to join me in the class. I didn’t expect to receive so many wonderful applications, many of which made me wanted to immediately say: “YES, I WANT YOU IN THIS COURSE! I WANT TO WORK WITH YOU.”

I realize that for many writers, becoming an author is a passion they follow amidst great challenges. That they are often defined by others first by their career or role in the family or other responsibilities that cannot be neglected. That really, they are defined as a “writer” last, and sometimes, begrudgingly by friends and family who may see it as a lark.

I have worked with hundreds of writers, helping them grow their careers and connecting with readers. I love doing this – I love spending my days chatting with writers and publishers. I believe in investing in one’s passions, and have seen the powerful effects that come to those writers who invest in developing their skills and platform. But there are so many writers who are stretched too thin financially. They have the drive to create something the world has never seen, something the world is waiting for, but cannot easily make the financial investment to make this happen.

So I created the scholarship for my course. For me to invest in writers and help them connect with readers.

I received applications from writers of all types, with different goals, different walks of life, different backgrounds, and of course, different styles of writing. In their applications, they shared details that were personal and moving. Everyone who applied deserved to receive the scholarship.

I wrestled with the decision, trying to find an easy way to make the decision. But there isn’t one. In the end, I had to go on gut instinct. There is no objective way for me to decide that one person is more deserving than another, that they would be a better fit for the class than another.

The silver lining here is that instead of choosing just one person to receive the scholarship, I selected two. The bottom line is that I want to work with all of the writers who applied, and choosing two was just my selfish way of ensuring I worked with more of them than originally promised.

I am pleased to announce the two writers who will be receiving full scholarships for the spring 2012 Build Your Author Platform course:

Laura HollingsheadLaura Hollingshead
She is working on a book for adult children of aging parents, helping them address financial, relationship, and health related issues.
Ritchie WhiteRitchie White
He writes western novels and historical fiction.

The energy of both Laura and Ritchie are wonderful, and they seem very giving. I think that mostly, I was intrigued with each of them because their work is inherently focused on helping others and sharing stories. It is an honor to have each of them in the spring session of Build Your Author Platform.

Thanks to everyone who applied!