Last month, Spotify announced that it had paid $340 million for Gimlet and Anchor in a push to make its mark on podcasting. But while itâ€™s encouraging to see media giants throw weight and money behind the medium, the beauty of the format has always been its accessibility.
Itâ€™s the rare form of entertainment thatâ€™s nearly as easy to create as it is to consume. And now, thanks to the proliferation of devoted hardware and software solutions, itâ€™s never been easier. Podcast studios run the range from NPR to Skype chat and every variation in-between, with recording rigs every bit as diverse as the shows themselves.
After receiving some great feedback from my writeup of my own setup, Iâ€™ve reached out to some of my favorite podcasters to see what theyâ€™re working with. Iâ€™ll be highlighting some of those in the coming weeks, beginning with Ben Lindbergh, the host of my favorite baseball podcast, Effectively Wild.
For six and a half years and 1,341 episodes, the Fangraphs-produced show has offered an idiosyncratic look at the world of sabermetrics â€” statistically fueled baseball analytics. Host Ben Lindbergh is also a baseball writer at The Ringer, who has formerly written for Baseball Prospectus, Grantland and FiveThirtyEight.
[Above: Ben’s rig.]
Iâ€™m an East Coaster whoâ€™s been putting out podcasts with West Coast co-hosts for several years, recording roughly 1,500 episodesÂ ofÂ variousÂ shows for The Ringer and via independent, Patreon-supportedÂ pursuits. I donâ€™t have a whole lot of gear, relying largely on the ubiquitousÂ Blue YetiÂ with a $30Â shock mountÂ (attached to aÂ boom arm) and a $20Â pop filter, both from Auphonix. (I do have a TASCAM, which occasionally comes in handy for moreÂ narrative,Â reportedÂ pods.)
I useÂ CastÂ to talk to and pull local audio from guests who can connect via computer, resorting to Skype andÂ MP3 Skype RecorderÂ when necessary for phone conversations. I useÂ AudacityÂ to edit, which works fine for me. My employers have helped with hosting and promotion, and Facebook has been best forÂ building a community.
All told, itâ€™s a simple, inexpensive setup, but with some care in the production process, it still sounds good. Remote recording has its hurdles, but given chemistry between co-hosts, repetition, practice and judicious editing, cross-country conversations can sound as intimate and natural as in-studio discussions. Sometimes itâ€™s freeing to be far apart.
Iâ€™ve been working this way for so long that it now seems strange to be able to see the person(s) Iâ€™m podcasting with. If weâ€™re doing it right, though, the listener wonâ€™t notice or mind that thereâ€™s a continent between us.
Source: Techcrunch Disrupt