2. One Podcast Episode

Project Requirements

    2-5min in length for the total podcast
    dialogue recording:
      use any software you want ... but you must use an analog microphone, an audio interface with preamp, and a computer to record your speaking ... reserve time in one of the audio booths in the Garden Level of Moody Library = https://hdplus.libcal.com/ OR use your own gear
    rest of the project (editing/creating):
      use Logic Pro (either on your own computer or in the Crouch Music Lab)
    add all of the following to create a podcast (check out Radiolab if you are unsure how to incorporate sound effects and music)
        keep recording around -18dB (never peak above -6dB)
        add proper EQ for your voice (there are *many* articles online ... here's one)
        add a compressor to your voice (there are *many* articles online ... here's one)
      virtual instrument (synth) that records/plays back to a MIDI track
        keep synth around -18dB too
      at least five *different* royalty-free samples (sounds) from freesound.org or other website
    all material must *not* be protected by copyright by anyone other than yourself (CC0 for freesound.org)


You can add two tracks and set one to record from your first mic input on your interface and the other track to record your second mic plugged into the second mic input of your interface.

We will do the following during class together:


Aim for -14LUFS (integrated) and -1TP to prepare your tracks for streaming services (Youtube = -13LUFS, Spotify = -14LUFS, iTunes = -16LUFS, etc.)
"Both of these songs have the same apparent loudness, but the second track has been turned down considerably to make this happen." (pic above and quote from "Current Trends in Mastering")

Loudness Resources

LUFS stands for Loudness Units Full Scale, and is a way of measuring the overall volume of a song in a way that’s much closer to the way the human ear detects volume changes.
TP in this case stands for True Peak, and is used to measure the actual peak loudness of the file when played back in the analog realm (ie, a speaker).
Instead, loudness normalisation positively encourages the use of dynamics and transients. Tracks are made punchy by being dynamic rather than just loud, and compression and limiting become musical effects rather than essential competitive processing. Headroom is restored, inter-sample clipping is banished, and the digital environment finally achieves the sonic quality and dynamic range of which it is capable.
In theory, two pieces of music that register identical LUFS readings should sound like they’re at the same level, and in practice, they do indeed sound like they’re at the same level, regardless of whatever the peak or RMS readings say. So we have an immediate, practical benefit — if you’re mastering and want consistent levels among tracks, check their LUFS readings.
Last modified 1mo ago