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So What? Audio Production Bakeoff

So What? Marketing Analytics and Insights Live

airs every Thursday at 1 pm EST.

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In this week’s episode of So What? we focus on audio production. We walk through two different approaches for making audio sound better for podcasts, video, and other audio, watch live as John and Chris showcase how they clean up audio to make it sound more professional and learn which tools work best for audio production for different use cases. Catch the replay here:

So What? Podcast and Video Audio Production Bakeoff


In this episode you’ll learn: 

  • Two different approaches for making audio sound better for podcasts, video, and other audio
  • Watch live as John and Chris showcase how they clean up audio to make it sound more professional
  • Learn which tools work best for audio production for different use cases

Upcoming Episodes:

  • TBD

Have a question or topic you’d like to see us cover? Reach out here:

AI-Generated Transcript:

Christopher Penn 0:44
Welcome to so what’s the marketing analytics and insights live show? This is Chris and John here this week Katie is out in the backwoods of Vermont, I believe trying to lasso unicorns or something.

John Wall 0:59
Yeah, she’s deep up in the woods that they had gotten hit really hard with a lot of flooding over a month ago. So it’ll be interesting to hear if they bounced back from that. So yeah, hopefully the adventures don’t get too crazy. Exactly. So

Christopher Penn 1:10
this week, we’re gonna be doing a I would call it almost an audio production Bake Off, we want to talk about the different ways that you can edit audio that will allow us to create great content, because one of the things that’s really challenging for marketers, is they spend so much time on video, and then they neglect the sound. And I learned a long time ago from movie and film production Professor David Thomas over at the mass Art Institute. He said, great video begins with great audio. He said, If you go to a bar, and they’ve got like, an 82 inch HDTV on the screen, and there’s no sound, people will look at it, you know, depending on what’s on then just go back to what they’re doing. He said if you also go to buy has like crappy old CRT TVs, like the 1970s, but the sound is on people are watching him. That’s how important audio is. John, how about you? What have you seen and heard about just general guidance about why audio matters so much?

John Wall 2:11
Yeah, well, it is one of those things where, especially on video, people can tolerate like you said, second rate video, as long as the audio is there, but as soon as the audio becomes choppy. And then there’s a lot of situations you find like listening in the car, where audio, you know might be good sitting at a desk or with headphones, but it’s unlistenable in a car. And then like the reverse of that, too, you get situations with headphones where somebody gets too much pumping, where the host is one level and the guest is a different and they can’t take that up and down. And it’s really rough because it’s always a threshold people always just to hit a point where they just say To hell with this, I can’t listen to this. So it doesn’t matter how good the content is. If you crack that level, you will you basically kill your content, you get no action at all out of it.

Christopher Penn 2:57
Exactly. So some of the tools that we’re gonna be using today. John, I got to kind of do a bake off, you’ve got five minutes of audio from a previous episode of so what did I pick that because it’s got some music in it. The intro music, it’s got John’s voice, Katie’s voice my voice. So it’s sort of the three of us because we do have three different voices, three different microphones and things like that. John, do you want to start? Should I start in terms of how we were clean up a piece of audio?

John Wall 3:22
Yeah, go. Well, the one thing too though, I went hit. Did you want to talk at all about like getting that first file to like quick things to do to make sure that you know, the original recording is solid?

Christopher Penn 3:32
Yeah, I mean, why don’t you go ahead and talk through that?

John Wall 3:35
Yeah, let me just Alright, so one is Studio, you know, you’ve got to have a space where it’s good for recording. If you’re somewhere where you’ve got a giant air conditioner, and there’s a lawn mowing competition going on outside, maybe you want to find a different place to record your audio. And this is one of those things like a lot of theater or movies or whatever, you may have to endure a lot of pain, but the audience is not going to know about it. So you have to do it. So it’s like turn off your refrigerator turn off, you know, the AC or the fans or whatever. Next is microphones to you want to make sure that you test the microphones that you’ve got. And there’s a whole range of mics, you know, for different purposes. You know, Chris has been rocking that Shure SM seven B which is perfect for people that are riding in cars. That’s why it’s been so popular for radio over all these years because it creates a sound that works really well. Wherever anybody wants to go. Yeah, we’ve been diehard shore fans, too, so just kind of a uncompensated plug for them. I’ve been using the MV seven which works both on regular old school gear and computers, which is great. And then the last one is soundboard. You know what kind of hardware are you using to keep track of the sound as it goes in and to get it actually recorded on a computer. The king of the hill from what we’ve been using his road are od E and I can put a link to them in the show notes. But the their latest is the I do owe 500, which is 500 bucks, I use actually a pro caster, the road caster Pro two, that’s like a $700 board. But it has some really interesting things and we’ll talk about with the audio editing. But a bunch of the stuff that I used to have to do post recording, just gets done real time on these boxes. So it has a noise gate. So it’s keeping out like fan and bad noise. It also has a compressor, which is basically making the level of audio more consistent across the board. So all those things are things you can do to make it a lot less painful when you’re at the point where Chris is going to walk us here now. But again, like anything you can get wrapped up and clean before you get to this editing stage is stuff that can help you out and put you in a better position.

Christopher Penn 5:45
Yeah, exactly. It’s garbage in, garbage out. A couple other microphone options. If you don’t want to be spending the extra $1,000 on audio gear, one of the ones that we have found to be super valuable and about $35 Is this little thing. This is the V moda boom mic, you can find it on Amazon. And it is a surprisingly good mic as long as it is near your mouth, which is true of all microphones. This is very, very good. If you’re doing mobile stuff, meaning you’re moving around. This is the anchor the anchor work at boots, m 650. These are little wireless microphones that clip onto your shirt, whatever, there’s a little receiver that has plugs for Android and iPhone, and you can plug right in and and it will allow you to wirelessly transmit audio back to your phone that’s really good if you’re out and about if you’re doing like walking around vlogging kinds of things. And then of course, the studio microphones. If you don’t want to do the whole audio interface thing sure does make a USB version of the microphone, the SM seven we call the MV seven, which is very good. If you want to step down to maybe something a little bit less expensive or a lot less expensive. The company anchor which is known mainly for like charging cables A and K er, makes a USB condenser microphone that is about 35 $40. And if you’re just getting started with podcasting with flogging, whatever and you don’t you’re not sure that you want to invest heavily. That’s a really good mic to start. The sound is good. And again, it’s more about making sure that the microphones near you than than anything else I need. An inexpensive microphone properly placed is better than an expensive microphone that you don’t using wrong. So here’s an example. This is wrong.

John Wall 7:29
Yeah, two feet from the mic bad.

Christopher Penn 7:32
Exactly, I think. So yeah. As with all things garbage in, garbage out, if you’ve if you’re not doing a good job with the source stuff, then then there’s only so much you can do. So let’s go ahead and talk through some of the cleanup stuff. So I’m gonna go ahead and go into this is Adobe Audition, it’s part of the Adobe Creative Suite. If you are already purchasing this for things like Photoshop, or Adobe Premiere, you have this software it’s included with your subscription. The first thing that you should generally do with any kind of audio file is open it up and take a look at it. So this is last week’s episode, you can see this a few minutes, the 30 seconds of the intro music music has a very specific look. And I have this set on both waveform and spectral frequency display spectral frequency display tells you sort of the the frequencies throughout and you can see the music occupies quiet you know sort of top to bottom all the frequencies, whereas voice looks very different voices sort of in the lower register here, then there’s sort of an absence way up here. Things that we look for with audio we to what John is saying we want it to be consistent. So this is kind of up and down this there’s a lot of quiet spots, there’s a lot of loud spots. So the first thing that I would do with anything like this, if, if I’m working on something where there is music involved, I will generally if I can take the music out because a lot of the techniques that you use to make voice sound better will horrendously mangle your music. So we’re going to cut that out. Let’s go ahead and put that in a new file for the moment and we can paste that back later. Now we’ve got our voice file here and you can see there’s some parts that allowed some parts that are not allowed. Generally speaking, you want to do it like John was saying some compression so I’m gonna go into effects I’m gonna go to amplitude and compression and the one that I personally like because I like the sound of it is called the tube modeled compressor. And a tube model compressor is exactly what sounds like it is uses vacuum tube simulation to simulate the use of the old vacuum tube compressors. Vacuum day for audio where you have wildly different stuff I would use the leveler if you have audio where people are just persistently quiet, use a booster. Those would be the two that I would I would recommend so let’s do the level or you can see it has now Rankin the amplitude the top to bottom green bar As are now scrunched together, right, so there’s no longer the big noise. There’s no longer as sort of the quietness of this, this is a good a good first step. The second thing I like to do, and again, this is this is very basic stuff. There’s a feature here called match, loudness, and match. Loudness allows us to choose what kind of loudness we we want to use. There’s all these different settings. If you’re doing podcasts, in particular, I use the ITU BS 717 70 settings, and I the target loudness is what’s here, the minus 16 l u fs. Again, if you want that radio sound, this that’s that’s the setting you want to use, I’m going to drag a file on there, hit run, and you’ll see it’s going to go through. And it’s going to bring that up to that standard. And now we’ve got an if you look a much more consistent sound to the file, when you do this kind of compression and leveling. John talked about this earlier, when you’re in the car. This is what helps cut through road noise. This is why professionally produced audio or shows like you know, Howard Stern, what a way you can hear them when you’re driving. And then in other shows, like if you listen to some other podcasts, you’re like, fiddling with the volume knob, the whole drive because you can’t hear certain frequencies if they’ve not been boosted. So this, those are sort of the bare minimum steps that I take with any voice audio file to try and get it to be a little bit cleaner. So, John, based on what you’ve seen here, so far, what do you think?

John Wall 11:34
Yeah, it’s interesting to see your workflow. I mean, we had talked about this before, because we haven’t checked in on this stuff forever. And so we it was good to just see who’s doing what, and yeah, you’ve got a solid flow there, you know, that easily works. Do you use the multitrack stuff at all, though, in addition,

Christopher Penn 11:54
I very rarely use multitrack. I will do that if I’m synchronizing audio tracks, for the most part, but for the most part, I don’t really use I just I usually typically work in a single file.

John Wall 12:03
Okay, well, let me show off a couple things that I have been doing to kind of play around with stuff. And to get things to sound the way I want them to do, here’s a file, I actually use multitrack. So using the road, I have separate tracks. Okay, so this is me on the top, and then I’ve got you in the second track, and then the music is in a third track down below. And the great part about that is then so that effect that you ran, you can actually run effects on each of the tracks independently. So I able to not you know, you can see the music track here has no effects, the music has been primed, and it’s like perfect for running. But then there’s different tweaks that I can make as I go. As far as the compressor that you use, that one is great for, it’s got easy presets, you can just go to get a little more crazy, I use a multiband compressor, which is actually multiple compressors, and it hits a different level the spectrums. So when I play some audio here, you can actually see this stuff move, if I don’t delete it by mistake that really screws things up. But the idea is, is that you can take over that point, what you can choose where you want the compressor to hit. So the idea with that is, you can take the low end, where road noises and fans and all that stuff, and you can dial it way down. And you can take the middle, you know, middle to high, where the human voice sits. And you can make that one shine or sparkle however you want to tweak that or go with that. And then there’s a whole bunch of other plugins that I’ve been using that are pretty effective. A big one is soundsoap. It’s a plugin that allows you to grab a chunk where there’s no one talking where there’s noise, and then it will pull that out of the whole file, so that you can clean the whole thing up. And then it does have its own compressor. I don’t know what their algorithm is. But it really just makes you sound more radio and more cool. So that’s another one that I’m always running to get it going. Another really great one is this one, not the rack effect. It’s actually down in the single ones you want to go over to effects and over to amplitude and compression. And which one is I only see your timeline. I don’t see anything else. Oh, you’re not getting the menus. Okay, there’s one in there where you can kill the was it killed the mic rumble, it’s called if you just Google Mike rumble, you’ll see where it is. But this pulls out that frequency of when people bumped the microphone or bumped the table or do something that’s kind of more of a plosive sound that you don’t want. You just run that once and it just pulls them all out of the whole file. They just all go away. And so there’s two levels of that, you know, you can just click through to the wave and pick sections and make those go away. But I just have that filter running for the whole thing all the time. You just kind of run it once and then you’re good to go. So let’s see multiband compressor Oh yeah. So noise gate is something that the road back says do. But that’s another filter where you can say, hey, any sounds below this level, just drop it to zero, you know, don’t make those shots sounds come through at all. Don’t let the mic kick in until it goes above a certain level. And so that’s great for, again, road noise background fans, any kind of weird hums or hisses, you can just say, okay, hey, below that point, go ahead and kick those out. A problem with that a thing to keep an eye on though with that, and this goes back to what we talked about with, you know, getting clean audio from the front, if you’ve got somebody who’s got a bunch of noise in the background, yeah, the noise gate will keep it out when they’re not talking. But it will still be behind their voice while they’re talking. And this is one of the things I hate to explain it. Because now that you’re aware of this, you’re gonna hear it and stuff and you’re gonna be angry, you’re gonna be a year. But when you’re listening, you’ll you’ll hear people that the track is quiet. And when they talk, you’ll see you’ll hear a buzz behind their voice, and it goes away. And so they call that pumping, when you get that pumping. That’s something that will get to be annoying, if it’s too much. And so again, the trick with that is if you keep your source file, you can, you can have an exact print of what the noise is, and a tool like soundsoap. And actually, Adobe has a noise reduction and removal thing. Whereas if you copy the noise, you can pull that noise out the sound, so one does better than the Adobe one. And it’s faster and simpler, and it has more dials to dial in. But if you keep the source file in the keep the source noise, you’ll at least have a chance of cleaning it up to a bearable level as you go. But so yeah, between sound. So other plugins, some multitrack tricks. Oh, one of the things that I wanted to share that is huge for all this to let me share this, you can see, I actually use a device called the tour box. Let me stop that and share this. So you can see what this thing looks like. The idea with this is, it’s it’s another input tool. So you have it, you know, it’s USB, just like your keyboard. But the idea is, instead of having your hand on the keyboard, and remembering these three or four or five keystrokes, for example, there’s a cut that I use that it deletes a chunk of the track, and it merges it back together. So like if you have three or four words you want to get rid of, you just select and click and it’s gone on the keyboard that’s like Ctrl, Shift, delete, but on the I have that map to just that the single button on the right side. So I just click that and it goes and that I love the you’ve got that wheel there. So you can zoom in and out just by turning you don’t have to click to zoom in or out or go. And then the other up and down wheel is a different one that can do amplitude, you know, I can do volume up and down with that other one. And so that saves me a lot of keystrokes by hand that I can literally get to the point where now when I’m editing, I have one hand on this tour box and the other one on my mouse to move around. And I’m not using the keyboard at all. And that cuts the time in half. The other trick with that one is there’s this D pad for gamers, you’ll recognize on the bottom middle there, you’ve got four keys in four directions, I’ve got that the right one will speed the track up by 20%. So if I’m in a section that I know is good, I can bump it up and have that running at five, you know 1.5 speed or two times speed. And so now your the time you spend editing drops through the floor, you know, I can do a 20 minute file and 12 minutes or so because I can skip through the stuff that I know is already good. But yeah, that’s another you know tool that really can speed up your workflow and take a lot of pain out of it.

Christopher Penn 18:30
Nice. A couple of the more advanced tools that I use are tools that you can use to first getting a specific sound. So there is a Python library called Mastering. So what mastering does is you give it a reference sound like hey, I want something to sound like x, right? The pipe this script is available, you can get it if you’re familiar with Python, you can just install it from from PIP I believe, or you can get the source code right from GitHub. What this does is you have you will say I have the sound that I like maybe it’s a sound like NPR for example. And I want my audio to sound more like that sound if possible. So I’m gonna go ahead and let’s that away so let’s start with our so what episodes this is this is the sowhat episode that we were just editing not too long ago. And let me bridge spring and so you can see what an NPR style reference file looks like it so you can see this toggle back and forth. Look in the spectral analysis part in particular, you can see the colors in here are not as quite as bright as they are in the NPR file. So let me go ahead and spin up matching here. If on source or source file is our so what episode and our Our reference file is the NPR reference file. And what this is going to do is exactly as advertised, it’s going to try and look at both of these files. And then it’s going to try and remaster the audio from our so what file into the perceived audio settings of the NPR file. And again, this is this actually believe it is works best with music. We’re not going to do that here. But it works best for music, if like, if you just recorded a track and you want it to sound like Aerosmith, right, if you want to, on one of their their albums, you would use this to read, essentially re blend all of the music. So I’m gonna go ahead and let’s demonstrate, let’s just show what that waveform looks like. So there if you if I just toggle back and forth, you can now see, this looks a lot more like the NPR file, right. So it really does a nice job tuning it. Now, there’s another tool that you can use if you are just if you’ve just run into a huge problem. So I’m gonna play just a little bit of this sample audio here, this, I’m gonna just listen to this ready, has female LED shows they allowed Dickinson to actually wrap up which, you know, given everything else that’s happened this week, it was was. So that’s from an iPhone, that that audio files from an iPhone, it does not sound great. You can see here, the file looks, those those colors here are really not great looking. The there’s a lot of variation. This is this is not a good example of what you’d want something sound like Adobe has a tool again, if you are an Adobe subscriber, you have this thing called Adobe podcast, this is podcast anhand, it’s can take up to one hour of audio 500 megabytes. And what it will do is it uses generative AI to listen to the source audio and resynthesize it as studio audio now it still has to be comprehensively can’t feed it total garbage. But it does work if you’ve got if it’s good enough. So here’s if you look at what produces the output, it looks much better. It looks much cleaner, I’ll play a sample already has female LED shows they allowed Dickinson to actually wrap up which, you know, given everything else that happened this week was so that’s still that’s my voice, but it’s been synthesized, it has been rebuilt with AI to be a source, I represent a studio quality microphone. This is also good if if you are someone who right now, all you’ve got is your phone, right and you can’t afford, you know more gear, you can still use the Voice Memos app on your phone, record your audio as best as you can, and then feed it through a tool like Adobe podcast that will strip down, strip it back down to its elements and rebuild it using AI. You can tell that it’s been rebuilt. There are little audio artifacts along the way, little things in the voice like that’s not quite natural. But from a quality perspective. It sounds so much better. So that’s the matching and Adobe podcast are two of the tools that I use for either trying to get a certain audio signature, or we Oui, oui, really hosed. The recording like if you’ve ever, if you’ve ever recorded a talk at a conference, for example, and you forgot to select, you know, the correct microphone. And if so, just an iPhone audio from the room, you can recover a good amount of stuff from with Dolby podcast actually did this with some recordings of some talks from years ago, when I didn’t have the wireless Lavell ears and stuff. And this had that big boom echoey you know, conference hall sound, and Adobe packers was able to reconstruct it back into studio quality audio.

John Wall 23:52
Yeah, that is, you know, another plug for always have a folder, an archive of all your original source files. Because yeah, there’s stuff now that people have considered dead and lost and 15 years later, there’s audio tools that can actually fix it and make it sound much better and, and get around it. So that’s, that’s all good. One other thing for mastering and stuff like that, that I wanted to cover, is make sure that you’re testing and checking your audio on every platform. So sitting at your desk, you know, kind of the classic monitor setup with two speakers in front of you. But always try it with earbuds, the thing that you want to worry about with earbuds is that you’re not pulling people away that it doesn’t get too loud. And then you want to check it in a car, there really is no other way to get around that but you need to drive around and just hear how it sounds on a car stereo because, you know, the quality of some car equipment is horrible. And then you’ve got road noise and all those things going on over there. The other one is the audio format to you want to make sure that it sounds good in mono, because there are people that are only using one earbud for whatever reason because they don’t have hearing or because there is some job where the other near year needs to be open. So if you’re one of those People that’s making the rookie mistake of keeping, you know, one speaker in one audio channel. There’s a bunch of reasons why that’s bad. But you know, just think of the person with one ear buds because that would totally miss out. Putting stuff in stereo is great. If it gives you more of a sound spectrum and you know what you’re doing, and then on the cutting edge, just so you’re aware of it as Dolby Atmos seems to be the leader right now, in full spatial audio, where you’ve got, you know, eight speakers around you and a subwoofer and four up in the ceiling. You know, the great part with that as you can just the AirPods or beats fit Pro can do spatial audio. So if you’re worried about placement, you can put it into spatial and at least hear and see what it sounds like. But yeah, you know, there’s no substitute for kind of generating your file and then going and trying it out on all these different formats to make sure that it sounds, it’s less noble, you know, it doesn’t need to be fantastic, but you want to make sure there’s nothing in there, that’s gonna make people just leave and discussed.

Christopher Penn 25:58
Exactly. The other thing. You mentioned this, but I want to offer a plug for it, is you have to provide non audio to. So there are a number of folks who have hearing impairments, right, they simply may not be be able to listen to something as you’re producing video, you absolutely should be providing an alternate method for consuming the content for the hearing impaired. Or for people, for example, who just like subtitles, there are a lot of people who just like having the subtitles to because they are better at consuming the information that way. So there’s a couple of good resources for this for single voice stuff. The tool I use is an open source package called whisper. This is an implementation of OpenAI whisper software. So if you’re familiar with OpenAI, they make ChatGPT. This is their speech recognition software. And you download this you installed, there’s a fairly high technical bar to get this, but once it’s installed, you have free transcription of any audio that runs on your desktop or laptop. So I can take for example, this talk I gave it MarketingProfs last week, and whisper just goes through its accuracy. When you’re using the medium or large models, its accuracy is phenomenal, it’s probably the best transcription available. And of course, it if you give it the right settings, it will produce the closed captions files. So after you’ve done your video production, after you’ve done the audio, and you’ve got your final mp4 file, you run whisperer on the audio file. And now you have closed captions that are accurate, that you can then put up on YouTube. If you are working with more than one speaker because whispers is non diarized, the tool that we recommend is a tool called otter. So if you go to trust, you can learn more about it, you can get it I believe, if you use that URL, get a free trial for like 100 minutes to give those give it a shot. Otter allows you to upload your audio and even your video files and it will produce of course the transcript, you can then designate speakers. And of course, do your exports into things like closed captions, files, the SRT files have subtitles, as well as plain text. This is super valuable if you are dealing with you know, again, things where people are hearing impaired, you want to make sure this but also, it’s very useful if you are doing any kind of content creation, right. So if you are putting up blogs or or podcast episodes, it is a good idea, generally speaking to have a transcript of your episode, right? And the easiest way to do that is to have it be machined, done. So today, here’s today’s or yesterday’s Trust Insights, newsletter, no podcast episode. So we’ve got a competitive analysis stuff. I know this is the newsletter, go back to the podcast here. Let’s see, do your insights how to use general AI. So we will take this and we will take those transcripts, feed them to a tool like chat, you actually use Claude to for this and say write a one paragraph summary of the episode. And then down here, of course, you see the machine gender transcript, this comes right out of otter and provides all this content paid. So not only are you serving those people who have a hearing impairment, but you’re also feeding the content beast for all these engines. So it’s really important to make sure that you’re providing non audio options for your audio.

John Wall 29:23
Yeah, that’s great. I wanted to give a quick plug for platforms too, because we’ve talked about, okay, you’re just recording the audio yourself. But for a lot of podcasting, there’s two primary services that we use the stream yard as we’re using right here right now, which we found to be the best as far as video quality and number of platforms being able to stream on YouTube and LinkedIn and all those places. But interesting just this week, this is the reason it’s hot. I would mention it is squad cast does a really nice job. They have a bunch of the filters that we were talking about just built in as they record, and then they were just acquired this week by descript. So now they’re going to be adding in some of these functions where Like when you’re done recording, you’ll have a transcript and you can actually retype. And it will recreate the voice to say the things that have been fixed. And it does work. I’ve played around with it, it’s a little bit crazy. But so I wanted to give that a plug. So if you’re, you know, doing a podcast workflow, you definitely want to check out stream yard, or squad cast, and then a plug for Libsyn that we’ve used forever for actually hosting the audio files. And they’ve been a great supporter of podcasting over the years. So I want to be sure to give them a shout out.

Christopher Penn 30:27
Exactly. So all these audio production things that we talked about work on, not just podcasts, they work on videos, issues, they work on pretty much anything except going live. If you want that radio sound on a live stream, you need to use a mixer board, like John was mentioning the road caster or the roads, various ones, there are many different boards. But generally, of the ones that we’ve heard, the ones by road seem to do the best for lot for being live. So if you if you have to have that great production sound on live using a server based board with like the road caster is is the way to go. Otherwise, we’ve covered Adobe Audition, if you cannot afford audition, there is an open source package called Audacity that a lot of again, a lot of folks have used over the years. It is a much clunkier interface, but it is free, there is no financial cost, it is open source, so it is usable there. And there’s a good chance that any video editing package using has at least some rudimentary audio controls to be able to do compression and things like that. And Adobe Premiere has a whole bunch built into it as well. But if you don’t want to use audition, you can do it right inside of Premiere. John, when you ask him about multitrack that’s the reason I don’t use multitrack and audition, because anytime I’m doing edits of like when Katie and I are speaking, it’s I’m used to doing in Premiere.

John Wall 31:49
Yeah, well, and then that’s, you know, there are all kinds of other tools that people use. But if you’re in the whole Adobe Suite, I mean, it’s just you just jump from tool to tool, right? You can mess with your audio, and then you can add cards from Photoshop and all that kind of stuff. It does make your life a whole lot easier if you’re logged into one suite. Yep,

Christopher Penn 32:07
exactly. If you’re a purely an Apple fan, then you can use both Final Cut Pro and logic. So logic is a very is a similar DAW to to audition. However, logic is much more designed for music. So that said, you can do almost all the exact same tricks in logic that you can in Audition. And again, if you have no money, and you’ve been you’ve got a Mac GarageBand I mean, I edited the first 600 episodes of the financial aid podcast and GarageBand. And it was good enough it did the job.

John Wall 32:39
Yeah. And well, did you have to give a shout out for Pro Tools to like all the hardcore music people. That’s their toolset and where they’re at. So again, in fact, a number of most plugins have the same protocols. So all the plugins we talked about work on all those platforms.

Christopher Penn 32:54
Exactly. So that’s it for today’s show. We we walked through all the different parts of audio audio production, though, not quite engineering, because neither of us are. But any final parting words?

John Wall 33:11
Yeah, I think I’ve got you know, I have a set of one more subtle flow headphones that I’m going to give away. So if you connect with me over on LinkedIn, for the Trust Insights post for this, or on threads, too, if you haven’t been over there, connect with me, but just say, hey, I want those headphones. And I’ll enter you in the drawing for those because those are going out the door by the end of next week. And yeah, we are not audio engineers, but we played with the billion tools and if you have feedback, we would love to hear about it. You know, in fact, if you are an audio engineer and want to tell us why we’re completely full of crap, I would love to hear.

Christopher Penn 33:43
Exactly. Alright folks, we will talk to you next time. Thanks for watching today. Be sure to subscribe to our show wherever you’re watching it. For more resources. And to learn more, check out the Trust Insights podcast at trust AI podcast, and a weekly email newsletter at trust Got questions about what you saw in today’s episode. Join our free analytics for markers slack group at trust for marketers, see you next time.

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