Tag Archives: Focusrite

Fox Podcast Talks Tech in 60 Seconds

FOX on Tech
Fox News Channel

New York, NY (June 21, 2021)—Podcasts, by the nature of their open-ended format, afford creators the license to define the length and pacing of the stories they tell. Episodes of the exhaustively researched Cocaine & Rhinestones: The History of Country Music, for example, routinely clock between an hour and two hours-plus in length. The aptly titled Longest Podcast in the World set the record at 36 continuous hours.

Brett Larson, editor of the FOX on Tech podcast
Brett Larson, editor of the FOX on Tech podcast

“Usually, podcasts are as long as they are interesting,” says Brett Larson, editor of the FOX on Tech podcast and morning anchor on Sirius FM’s FOX News Headlines 24/7. FOX on Tech goes the opposite direction, squeezing the tech news of the day into pithy one-minute audio shorts which are made available to listeners as a podcast and through terrestrial FOX News Radio affiliates.

“Day to day, there’s always something that’s going to happen—there’s a new phone from Apple, there’s malware you have to keep on the lookout for, there’s a massive data breach—but some of the stories are kind of tied together,” says Larson. “The podcast platform allows us to do more interesting stories in the field of technology.”

FOX on Tech began as a feature segment on FOX News Headlines 24/7 and as a download for radio affiliates throughout the U.S. The segment was so popular on radio that the network decided to add the program to the lineup on its podcast platform alongside four other new titles in March.

Story ideas begin at the FOX news desk or with Larson himself, who writes the podcast shorts and compiles audio clips to help tell each story. Timing affects every decision, not only to make the most engaging and informative use of the allotted daily minute, but also because the clips have to be exactly 60 seconds in length for radio. If a story calls for audio support, Larson gauges precisely how much is necessary and writes his script around it.

“Some stories that are more complicated take significantly longer because some of the tech subjects can be difficult to explain in just a few seconds,” says Larson. “How do you explain net neutrality in seven seconds? Because that’s all the time you’re gonna get in a 60-second feature to do it.”

Jason Bonewald, director of podcast development, news operations and political programming, and his team aim to keep production values high.
Jason Bonewald, director of podcast development, news operations and political programming, and his team aim to keep production values high.

The production process is lightning-fast as well, which Larson attributes to the “muscle memory” of researching a topic, then writing, rewriting, submitting and finally producing the podcast segment. Typically, it’s all done within an hour. Larson records at home using a Shure SM7B microphone and a Comrex Access remote-broadcast IP codec, employing an XLR splitter that sends the audio to both the Comrex and through a Focusrite Scarlett Solo USB-C interface into Adobe Audition.

Once Larson is done with the audio, he uploads the WAV files for Jason Bonewald, director of podcast development, news operations and political programming. Bonewald and his post-production team add compression and other subtle audio sweeteners if needed and review for editorial content.

“We’ll add a little bit of compression [and] tweak some if there’s any audio hiccups, if there’s anything we heard coming over his mic,” says Bonewald. “It’s mostly polishing on the final product on our end, and then just reviewing the read and doing some final checks on audio and editorial to make sure nothing that changed from when we handed the original product in to when we get the finished product back. There’s rarely any need for final polishes, but we review every single one of them anyway.”

Producing the ‘WTF with Marc Maron’ Podcast

Keeping production values high is a priority with FOX News Podcasts, he adds. “There’s no closer medium that you could get than the podcast industry, because you’re literally in someone’s ear,” says Bonewald. “We try to give our audience what we’re used to hearing in the old-fashioned radio experience. We’re trying to give them the best quality audio that we can.”

Fox on Tech Podcast • https://bit.ly/3o5c0ko

Original Resource is ProSoundNetwork.com

The Record Co. Takes Different Approach to Boston Studio Scene

Boston-based recording services provider The Record Co. (TRC) opened a new facility in January encompassing four recording studios and 15 rehearsal rooms.
Boston-based recording services provider The Record Co. (TRC) opened a new facility in January encompassing four recording studios and 15 rehearsal rooms.

Boston, MA (June 16, 2021)—Boston-based recording services provider The Record Co. (TRC) opened a new facility in January encompassing four recording studios and 15 rehearsal rooms.

Founded in 2010 by Berklee College of Music graduate Matt McArthur, TRC is a 503(c) non-profit enterprise dedicated to offering an affordable and equitable music workspace and providing space and resources to the entire spectrum of the city’s music makers. The new 12,500-square-foot space in Boston’s Newmarket Industrial District is expected to host upwards of 1,000 sessions and rehearsals per month, running 16 hours a day. The various studios and rehearsal rooms are outfitted with Focusrite preamplifiers and interfaces as well as Novation MIDI controllers.

McArthur says the concept of TRC came to him a decade earlier as he was looking for a business model that would allow the greatest number of users to access a highly flexible facility that could accommodate music producers of any genre and virtually any skill level. “It needed to be a shared resource that no one really owns, a community resource,” he says. “We would need space, gear, a good attitude, and an open mind about how the space is used and who uses it. A non-profit was the way to go.”

Focusrite plc Acquires Sequential LLC

Focusrite solutions in use at TRC include the Red 16Line 64-In / 64-Out Thunderbolt 3 and Pro Tools | HD-compatible audio interface; the ISA 428 MkII and ISA 828 MkII devices; the RedNet A16R 16-channel analogue I/O interface; and a number of interfaces from the Scarlett Range, deployed in some of the 15 rehearsal studios in the new facility.

McArthur also realized that the nature of how recording studios are utilized now had changed significantly in recent years, with the large battleship consoles of yore giving way to a plethora of software applications and digital control surfaces. “Music makers today all have their own ways of working, their own preferred software and plug-ins,” he says. “That makes RedNet and the other Focusrite technology we selected the best fit for a facility like TRC this because of its expansive interfacing options and compatibility with almost any DAW.”

In partnership with The Boston Foundation and more than 500 donors, TRC has distributed more than 750 low-barrier COVID-relief grants to local musicians, producers and engineers experiencing lost income as a result of gig cancellations due to COVID-19. To date, it has distributed more than 750 grants totaling more than $160,000

Focusrite Pro • http://pro.focusrite.com

Original Resource is ProSoundNetwork.com

Focusrite plc Acquires Sequential LLC

Dave Smith, founder of Sequential
Dave Smith, founder of Sequential LLC.

San Francisco, CA (April 28, 2021)—Focusrite Group has acquired American synthesizer manufacturer Sequential LLC., joining other brands in the organization such as Focusrite, Focusrite Pro, Martin Audio, Optimal Audio, ADAM Audio, Novation and Ampify. Sequential’s day-to-day operations and product development will remain unchanged and will continue to be guided by electronic instrument designer and Grammy winner Dave Smith and his team.

Smith said, “With Focusrite, we’ve found an ideal home and a perfect cultural and technological fit. Phil Dudderidge and his team have a long history of quality, vision, and focus on what musicians and audio professionals really want. We’re excited to join such an industry powerhouse and contribute to our mutual success. I expect great things.”

Focusrite plc Debuts Optimal Audio Brand

Smith founded Sequential Circuits in 1974, which rose to prominence with its Prophet-5 polyphonic synthesizer in 1978. When the company went out of business in 1987, Yamaha purchased the brand, while Smith went on to found Dave Smith Instruments in 2002. In 2015, Yamaha returned the brand to Smith, and on August 31, 2018, the 40th anniversary of the Prophet-5, the company rebranded as Sequential LLC. A proponent of analog synths, Sequential’s current offerings include the Prophet 5 Rev4 polyphonic synth, Pro 3 hybrid monosynth, and Prophet X Samples + Synthesis keyboard.

Focusrite Founder Phil Dudderidge commented: “We’re excited and pleased to add Sequential’s instruments and pedigree to Focusrite Group’s portfolio of world-class audio and music production tools. Dave Smith’s history as an innovator speaks for itself. From his creation of the world’s first fully programmable polysynth, the Prophet 5, to his co-invention of MIDI, Dave has literally changed the world of music several times. We’re looking forward to continuing his history of innovation and expanding the global market for Sequential’s instruments.”

Focusrite plc • www.focusriteplc.com

Sequential • www.sequential.com

Original Resource is ProSoundNetwork.com

Focusrite to Launch New Brand, Optimal Audio

New York, NY (March 17, 2021)—Focusrite plc may already operate Adam Audio, Martin Audio, Novation, Ampify and both the namesake Focusrite and Focusrite Pro brands, but it will be adding to that retinue next month with the introduction of a new commercial audio endeavor, Optimal Audio.

In a statement, Focusrite Group CEO Tim Carroll noted, “Taking a considered view of the commercial audio sector led us to conclude that it represents a maze of often overly complicated products that can be difficult to understand, install and operate. Optimal Audio will set out to do things differently, with a streamlined offering that is straightforward to install and simple to use.”

Focusrite Experiences Record Growth

With the industry—and indeed the world—starting to emerge from the pandemic as vaccines roll out, Focusrite sees 2021 as an opportunity to get in on the ground floor of the recovery: “The commercial audio sector has grown consistently over the years, and even during the pandemic has been more robust than many. We expect that momentum to accelerate in the coming months, so we feel that the timing is perfect for the introduction of Optimal Audio.”

With that in mind, the new brand is set to debut April 20 with an online launch event. The brand will enter the marketplace with its own dedicated staff members while also drawing from the collective knowledge base across the Focusrite brands. “Alongside its own dedicated staff, a number of colleagues from across the group – most notably within Martin Audio – are helping to bring Optimal Audio to fruition. In the long term, our ambition is that the brand will have its own distinct team,” said Carroll.

Optimal Audio • https://optimal-audio.co.uk

Original Resource is ProSoundNetwork.com

Rupert Neve, Pro Audio Legend, Dead at 94

Rupert Neve
Rupert Neve

Wimberley, TX (February 13, 2021)—Legendary pro-audio equipment designer Rupert Neve died February 12, 2021 due to non COVID-related pneumonia and heart failure. Neve’s passing brought to an end a career of more than 70 years that saw him create some of pro audio’s most revered, imitated and sought-after equipment, created for all corners of the industry, from recording to radio to live sound and more. As much an entrepreneur as he was an inventor, Neve’s legacy includes a slew of companies bearing his name, and it is no exaggeration to say equipment based on his designs will be used in studios around the world for decades to come. He was 94.

Born July 31, 1926 in Newton Abbot, England, Rupert Neve grew up in in Buenos Aires, Argentina; showing an interest in audio early on, he began designing audio amplifiers and radio receivers at 13, soon repairing and selling radios as a business before volunteering at age 17 to join the Royal Signals during World War II, providing communications support to the British Army. Following the war, he settled back in England, where he built a mobile recording studio used to cut operas, speeches, choirs and more on to lacquer discs. Concurrently, he also provided sound reinforcement systems for events involving Princess (later Queen) Elizabeth II and Winston Churchill.

Neve worked for a variety of companies in the 1950s before eventually striking out on his own to found CQ Audio, which produced Hi-Fi speaker systems. This attracted the attention of composer Desmond Leslie, who commissioned Neve to build a mixing console for him in the early 1960s; the console is still in residence in Castle Leslie, Ireland.

The Leslie console led to Neve founding the first of multiple audio companies that would bear his name, Neve Electronics, in 1961, initially operating out of his home before moving into proper facilities later in the Sixties. As the use of transistors gained popularity, Neve developed a transistor-based console for London’s Phillips Recording Studio in 1964, and continued to create new desks, most notably the Neve 80 and 50 series, which are revered for their microphone preamp, equalizer and processing modules, such as the widely cloned and emulated 1073 and 1081. Neve also developed the first moving fader system, NECAM (NEve Computer Assisted Mixdown); after seeing a pre-release demo on a Neve 16/4 console, Beatles producer George Martin’s first words were “How soon can I have one?” and Martin’s AIR Studios in London soon became the first NECAM-enabled facility.

Neve sold the company in the mid-1970s and left to form ARN Consultants, the result of a 10-year non-compete clause in the sales contract. ARN in turn teamed up with Amek Systems, a collaboration that led to Neve developing the Amek 9098 console, as well as outboard gear and his Transformer-Like Amplifier (TLA) design, which featured in numerous Amek desks.

Rupert Neve signing an RND 5088 mixing console, installed in Blue Rock Artist Ranch and Studio in Wimberley, TX, in 2013.
Rupert Neve signing an RND 5088 mixing console, installed in Blue Rock Artist Ranch and Studio in Wimberley, TX, in 2013.

In 1985, ARN founded Focusrite Ltd., primarily producing outboard gear such as dynamic processors and EQs, as well as another large-format console, of which only eight were made before the company was liquidated in 1989; the company’s assets were purchased by a new company, Focusrite Audio Engineering (today Focusrite PLC), with which Neve was not involved. Concurrently, but likewise unrelated directly to Neve himself, the original Neve Electronics was sold to Siemens in 1985, which in turn merged with UK company Advanced Music Systems, resulting in pro-audio manufacturer AMS-Neve, which continues to this day.

Neve and his wife, Evelyn, moved to Wimberley, Texas in late 1994, and in 1997, he became only the third person to receive a Technical Grammy Award. The Neves became U.S. citizens in 2002 and founded Rupert Neve Designs in 2005, which today produces a variety of products, including its 5088 analog mixing console and a range of rackmount and desktop equipment for processing, summing and more. Even so, Neve continued to also create products for other companies, including preamps and pickups for Taylor Guitars, microphones for sE Electronics, plug-ins for Yamaha’s live sound consoles, and more.

Over the course of his career, Rupert Neve was awarded 16 TEC Awards for his Rupert Neve Designs products, and in 2006, received an Audio Engineering Society Fellowship Award. He is survived by his wife of nearly 70 years, Evelyn; five children, Mary, David, John, Stephen, and Ann; nine grandchildren; and five great-grandchildren.

Original Resource is ProSoundNetwork.com

‘Rarified Heir’ Podcast Readies for Pandemic Recording

Shawn Kay, daughter of Steppenwolf founder John Kay (left) and Rarified Heir host Joshua Mills
Shawn Kay, daughter of Steppenwolf founder John Kay (left) and Rarified Heir host Joshua Mills

Los Angeles, CA (January 21, 2021) — Rarified Heir, a new podcast that takes listeners into the surreal lives of children of celebrities, recorded its entire seven-episode debut season before COVID-19 social distancing protocols and shutdowns went into effect in spring of 2020. While many podcasters have already tweaked their recording and production workflows during the last year, Rarified Heir’s production team is now catching up to distanced recording.

podcast producer and engineer Erik Paparozzi.
Podcast producer and engineer Erik Paparozzi.

“It worked out great to be face to face, but now obviously since the pandemic has set in, we’re reassessing how that goes,” says podcast producer and engineer Erik Paparozzi. “I’ve been really trying to make sure that we don’t lose the integrity of the sound that we’ve worked hard to achieve through the channels that are available to us now working remotely.”

On Rarified Heir, host Joshua Mills, son of actress and comedian Edie Adams, interviews other children of celebrities who grew up just out of the spotlight. Season one guests include Carnie Wilson, daughter of The Beach Boys’ Brian Wilson who had multi-Platinum success of her own in the ‘90s pop trio Wilson Phillips, and film producer Antonia Bogdanovich, daughter of film director Peter Bogdanovich.

Mills and Paparozzi, along with co-host Jason Klamm, recorded the entire first season at Paparozzi’s garage studio in Los Angeles. Guests sat with them in a circle in front of Shure SM7B microphones—chosen because the famed SM7 was used on Michael Jackson’s Thriller, the best-selling album of all time—while Mills led the conversations. After wrapping recording sessions in March, they got their first taste of working while distanced when it came time to edit the episodes.

On a pre-pandemic recording of Rarified Heir were (l-r): co-host Jason Klamm, guest Jason Culp, son of actor Robert Culp; and host Joshua Mills, son of comedienne Edie Adams.
On a pre-pandemic recording of Rarified Heir were (l-r): co-host Jason Klamm, guest Jason Culp, son of actor Robert Culp; and host Joshua Mills, son of comedienne Edie Adams.

Beginning later that month, they met once a week on a video conference while Paparozzi edited in Pro Tools. “Josh and I would hop on a conference call and literally go over word for word and figure out what was essential and what could be trimmed down for time purposes, or for potential future Patreon episodes that we are considering,” explains Paparozzi. Then, he would send the entire episode to Mills for another review and get back time codes for further edits. “I can just go in and chop that stuff out, and that’s been a pretty effective way of working.”

The team is working through potential setups for recording season two now. “Josh has been experimenting with what works in his home office, as far as doing Zoom calls,” notes Paparozzi. “The technology is pretty plug and play these days, but Josh, who’s not a musician or a sound dude, he’s still learning [that a] room has a certain tone to it and the microphone should maybe move a little bit, or [his] face should be closer to get the best tone.”

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Gear wise, Mills is currently planning to use the Focusrite Scarlett Solo Studio kit, which includes a USB interface with a Scarlett preamp, a condenser microphone, headphones and cables. “When it was becoming apparent that being in a 15-by-15 studio was not realistic during this time, I did a cursory search on Amazon and sent Josh a few ideas [of gear to purchase],” he says. “Just to sort of get him started, we had him open up a GarageBand session. We did all this over FaceTime and he was getting a signal.”

They’re also considering audio quality on the opposite end of the recording from future guests in season two. “I think are going to focus on people that we know can record themselves well and see how it goes,” says Mills.

Rarified Heir • https://rarifiedheirpodcast.com

Original Resource is ProSoundNetwork.com

Focusrite Ships Red 8Line Thunderbolt 3 Audio Interface

Focusrite's Red 8Line
Focusrite’s Red 8Line

Los Angeles, CA (December 23, 2020)—Focusrite has shipped its new Red 8Line – a 58-input, 64-output, Thunderbolt 3 audio interface.

The Red 8Line features two Red Evolution mic pres, independent L/R monitor outs, eight balanced line analog inputs and outputs; up to 58-in, 64-out DigiLink I/O; 32 channels of Dante I/O; 16-channel ADAT input and output (at 48 kHz), and stereo S/PDIF input and output. As with other Red interfaces, Red 8Line features professional-grade 24-bit/192 kHz A-D and D-A conversion.

With both mini-DigiLink and Thunderbolt 3 connections, it’s possible to instantly switch between Pro Tools and other DAW applications without the need to reconfigure audio settings. Changing the host mode either in RedNet Control software or with Red 8Line’s front panel controls lets users change DAWs in seconds.

Red 8Line features the latest implementation of Thunderbolt 3. With two Thunderbolt 3 ports as standard, it’s possible to daisy-chain Thunderbolt devices, such as third-party plug-in accelerators, hard drives, external 4K displays, processing units and Thunderbolt hubs.  New Windows 10 Thunderbolt drivers make Red 8Line compatible with PC-based audio systems equipped with Thunderbolt 3.

Getting Anyway Stories Told Any Way Possible

On-board Dual Dante ports enable connection to the industry-standard Audio-over-IP protocol. Twin mini-DigiLink ports provide connectivity directly to Pro Tools | HD cards, with no need for device expansion. Digital synchronization is facilitated by Loop Sync and Word Clock I/O. The two Red Evolution remote-controllable mic preamps provide up to 63 dB of gain, with phantom power, high-pass filter, phase reverse and Air mode lets users invoke the sonic signature of Focusrite’s ISA Preamp. Dual front-panel instrument connections provide access for DI input.

The unit is accompanied by a software bundle that includes the Brainworx bx_console Focusrite SC channel strip from the original Focusrite Studio Console, plus Red 2 and Red 3 EQ and Compression plug-ins.

Focusrite Pro • http://pro.focusrite.com

Original Resource is ProSoundNetwork.com

Shure, Focusrite Team for New Production Bundles

shure focusriteNew York, NY (November 10, 2020)—Focusrite and Shure have teamed up for a trio of production bundles aimed variously at singer-songwriters, podcasters and drummers, bringing together the in-demand microphones and interfaces of each company for a limited time.

The first of the production bundles, intended for podcasters, is the ‘Create and Cast’ Bundle all the tools one would need to kick off a new podcast, as it is comprised of a Focusrite Scarlett 2i2 USB audio interface, Shure SM58 dynamic vocal microphone, 25-foot XLR cable, Shure SRH440 closed-back headphones, and recording software.

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Meanwhile, the ‘Track Pack,’ aimed at drummers who need to record their beats, serves up a Focusrite Scarlett 18i20 USB audio interface and Shure DMK57-52 Drum Microphone Kit, along with four XLR cables.

Lastly, the ‘Up to Eleven’ Bundle focuses in on providing the necessary tools for guitar and vocal recordings. The collection centers around a Focusrite Scarlett Solo USB audio interface, Shure SM58 dynamic vocal microphone, 25-foot XLR cable, Shure SRH240A closed-back headphones, and production and effects software.

Focusrite • www.focusrite.com

Shure • www.shure.com

Original Resource is ProSoundNetwork.com

AKM Fire Fallout: What’s Pro Audio’s Next Move?

AKMNew York, NY (November 5, 2020)—Two weeks after a massive three-day fire ravaged the Nobeoka City, China factory of semiconductor producer Asahi Kasei Microsystems, pro-audio manufacturers around the world that are dependent on AKM’s high-end audio chips are still looking for information and determining their next steps.

AKM produces a variety of ADCs, DACs, ASRCs and Receivers for numerous pro-audio and high-end consumer audiophile manufacturers, including Solid State Logic, TASCAM, miniDSP, Merging Technologies, SPL of Germany, Focusrite, RME, Schitt Audio, SMSL, Monoprice and others. All of AKM’s audio-related chips were produced at the now-closed factory.

That all of AKM’s audio-related manufacturing could be wiped out in one fell swoop blindsided many of its customers. “We were unaware that only one facility manufactured the AKM DACs and ADCs—that shows how small our industry really is,” said Hermann Gier, managing partner of SPL of Germany. AKM officials have said publicly they hope to be operational again in six months, and the company is expected to engage independent fabrication houses in an effort to keep production going, but nothing concrete has been announced.

AKM Factory Fire—A Pro-Audio Industry Disaster

“I still have close to zero information as far as the AKM prognosis is concerned,” said Chris Hollebone, sales and marketing manager at Merging Technologies. “As far as we are concerned, we are taking stock, literally, over the weekend and trying to ascertain whether an order that was about to be delivered was destroyed in the fire or might still make it…. We have enough parts in-house to keep us going for a while, but not knowing when any production might start may cause us headaches down the line. It is a bit like COVID-19—very hard to predict!”

Paul Youngblood, director of Product Marketing at TASCAM, admitted “This has all happened so fast that all we can say is we are still in the process of analyzing the situation.” A spokesperson for RME echoed that sentiment, stating that company was “currently still ascertaining information, and it’s too early for them to comment.”

SPL of Germany’s Gier noted that his company was “fortunately…in a comfortable position,” adding that while it uses AKM converters in a number of products, including its Crimson, Madison, Phonitor range of headphone amps, and the new Marc One interface, among others, SPL has stocks in-house that it estimates will last between six months and a year, depending on the product.

That hasn’t stopped some from trying to capitalize on the situation, however. Gier noted, “It is unfortunate that stock brokers take advantage of situations like this, making it increasingly worse by charging ridiculous prices for remaining parts. We already rejected various unethical offers; now it looks unlikely that our industry can sustain production and keep the prices stable.”

For now, the pro-audio industry awaits news from AKM.

Asahi Kasei Microsystems • https://www.akm.com/us/en/

Original Resource is ProSoundNetwork.com

Inside the Workflow of Stitcher’s ‘All American: Tiger Woods’ Podcast

All American: Tiger Woods
Writer, co-host and producer Jordan Bell (foreground) and co-host Albert Chen recorded episodes of Stitcher’s All American: Tiger Woods Podcast at Earwolf Studios before moving to a remote workflow due to the pandemic.

Los Angeles, CA (November 5, 2020)—Don’t underestimate the value of a solid workflow and staff rapport in the formula for what makes a compelling podcast. “At Stitcher, we have a pretty great system in terms of giving our shows the proper treatment they need from an engineering perspective,” says Jordan Bell, who created All American: Tiger Woods and serves as the podcast’s writer, co-host and producer.

Audio engineer Casey Holford
Audio engineer Casey Holford.

Working with co-host Albert Chen, audio engineer Casey Holford and the engineering team, Bell says the podcast’s switch from a typical production arrangement of writing, face-to-face meetings and table reads to a virtual process was seamless. “[It] has been quite a different experience to just plan and predict and try to do the best we can,” she says. “But I think one of the biggest things [is] major kudos to our whole engineering team for what they did at the start of this, because we have a really great system.”

That system includes a pivot from tape syncs in which a producer would travel to a guest’s location to record audio, to shipping audio kits so guests can record themselves locally. The typical kit includes a Focusrite Scarlett 2i2 interface paired with a Samson Q2U USB microphone or a Shure SM58—always with a foam windscreen, which Holford calls “the savior of home recording during the pandemic”—as well as detailed instructions for setting up a successful recording.

First-person interviews aren’t the only audio sources on All American: Tiger Woods. In fact, Bell goes to great lengths to include familiar audio from the golf superstar’s public life to connect listeners to his whirlwind career of 82 PGA Tour wins, including a comeback victory at the 2019 Masters Tournament.

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“When we’re revisiting this history, we want to put things in a fresh perspective,” she says. “So, using a piece of tape that you hadn’t heard for a while, when you listen to it 10 years later and wrap it in all this new context, it’s going to take on a different meaning. And we hope that gives that effect to listeners.”

All American: Tiger WoodsThose audio clips form one of the podcast’s most unusual sonic features—the footage from golf tournaments where the key moments are silent, when the spectators are watching what’s about to happen. “That feature pops out in every episode when I’m mixing,” says Holford. “The apex moments are quite silent and then followed by a huge reaction. It’s almost more engaging than actually watching footage of this stuff, or it engages a part of the mind that goes, ‘What’s about to happen?’”

Another key storytelling component is the podcast’s theme music, which Holford composed using a variety of acoustic instruments that signal an Americana vibe. “I wanted to make the music conceptually in a way that seemed to me like it was blending different elements of American music,” he explains. “I used jazz elements, hip-hop elements and folk elements. I made a washtub bass and a one-string slide guitar called the diddley bow, and we played them both. I wanted it to sound like a mishmash of an American musical experience.”

Holford applies stems of the theme music to fill in the audio and create transitions, stings and bumpers. He has the theme broken down into eight stems highlighting various instruments and uses them to sketch remixes of the theme as needed. “I can mix and match those for different flavors depending on my own internal compass,” he says. “The use of stems this way lets us have a unifying musical flavor across the whole series.”

Original Resource is ProSoundNetwork.com