Kris and Betsy Smith http://www.croncast.com This is the keyword feed for Universal Audio 6176. Once cool, Kris and Betsy are now living on a cul de sac and breeding. Betsy really should be on the road making mad cash but that would interfere with breastfeeding. Podcasting for Download every M-W-F by 3:00 P.M. CST. en-us Palegroove Studios 2004-2010 No Croncast, Kris, Betsy, Comedy, Parenting, Funny, Palegroove, Croncast, eBay, Goodwill This is the keyword feed for Universal Audio 6176. Once cool, Kris and Betsy are now living on a cul de sac and breeding. Betsy really should be on the road making mad cash but that would interfere with breastfeeding. Podcasting for Download every M-W-F by 3:00 P.M. CST. This is the keyword feed for Universal Audio 6176. Once cool, Kris and Betsy are now living on a cul de sac and breeding. Betsy really should be on the road making mad cash but that would interfere with breastfeeding. Podcasting for Download every M-W-F by 3:00 P.M. CST. http://www.croncast.com/images/croncast_itunes.jpg http://www.croncast.com This is the keyword feed for Universal Audio 6176. Once cool, Kris and Betsy are now living on a cul de sac and breeding. Betsy really should be on the road making mad cash but that would interfere with breastfeeding. Podcasting for Download every M-W-F by 3:00 P.M. CST. Croncast - Kris and Betsy Smith info@palegroove.com http://www.croncast.com Palegroove http://www.croncast.com/rssk/575/Ron-asks-What-Equipment-Do-You-Use_MXL-2003_Universal-Audio-6176.php Blog "Can you tell me what microphones and mixer you use to record Croncast? (I heard the "expensive" microphone show recently and I had to laugh--I'm more interested in two microphones that are in the $100-$125 price range [each]).
Thanks!," Ron Here's what currently makes up my audio signal path, hardware and software for Croncast.

2 - Marshall MXL 2003 microphones (Ron, for an extra $25 you won't be disappointed) [link]
2 - Universal Audio 6176 channel strips w/ preamp and compressor [link]
1 - PreSonus Firepod [link]
1 - Sony VGC-RB62G computer [link]
1 - Sony Sound Forge 8 audio editor [link]
1 - Waves L2 Ultramaximizer mastering compressor [link]
1 - Sony Vegas 6 multitrack for putting show together [link]
1 - Xing MP3 encoder (included in Vegas) encoded to Joint Stereo, 96 Kbps at 44.1 KHz
1 - MP3 Tag Tools to edit ID3 tags [link]
1 - iTunes to add more meta-data specific to iTunes (I can explain way below this)

This is what takes a Croncast from nothing to something.

Here's the breakdown.

Marshall Electronics MXL 2003 [link] microphones . . . I recommend these mics to everyone that asks. And after recently cheating on them with a Neumann U87ai I like them even more. With a price tag of $149 at most dealers you can't go wrong. We've used them now for two years and I own five of them. The sound is clear, they knock a lot of ambient noise down and their pick up pattern is second to none with a great low end and limited high end. The mic comes with a bass cut and a -10dB pad switch that can help when finding the right sound for your voice and recording space. These are phantom power microphones so I need a preamp.



Universal Audio 6176 [link] analog channel strip with 610 Tube Microphone preamp and 1176LN compressor. These two units are a new piece to the puzzle. They've replace the dbx 166XL that I was using for some limiting. The 6176's bring a nice warm sound to the shows that the 166XL didn't have. Most studios use them for recording bass tracks or heating up/distorting some vocals but I prefer them on a little lower setting to add a level bass and compression to our voices that would take me a couple of hours to create in post production through eq and other plug-ins.



PreSonus Firepod [link] is a 24-bit/96K FireWire recording interface with 8 preamplifiers (8 XLR/line inputs with phantom power). I originally bought this to replace an M-Audio MobilePre that was flaking out and causing intermittent popping in tracks. The reason that I chose the Firepod was primarily the 8 XLR inputs with phantom power to multitrack instead of force output to a single stereo track . . . a huge plus when recording more than 4 voices for a show. Also, if the UA 6176 wasn't part of the signal chain anymore I could live with the sound, I did for five months.



Sony VGC-RB62G [link] Intel Dual Core 2.8GHz with 2GB RAM. I've done little modification of this box other than adding a new video card, an extra FireWire card, a gig of RAM and a second hard drive. Usually, I prefer to build my own computer but was in the middle of the Alltel Racing Podcast when the old one died and I needed something right away. I went to Fry's and this box was best thing that they had in stock that met my requirements. It is or was sold as a Media PC and came with remote, surround speaker set up and more software than I could care to have (primarily the shit that just gums up the system). The only complaint that I have had so far with this computer is that every input in the back of it USB, FireWire or 1/8' has a ton of electrical noise in it when used for recording. I am forced to use the front 4 pin FireWire input for what should normally be a transparent sound recording.



Sony Sound Forge 8 [link] audio editor. This is the software that I record the shows into. I have been using Sound Forge for the last 7 years. When I got my first computer in 1999 at age 25 I learned how to use it by working with Steinberg's WaveLab (another great audio editor) but late in that year switched to Sound Forge. WaveLab had a lot of great features but they never compared the bundle of plug-ins that came with or for Sound Forge. WaveLab relied on the VST model and Sound Forge on Direct-X which meant that there were also more plug-ins to choose from. The killer plug-in was the Noise Reduction tool that prior to version 7 (maybe 6) wasn't bundled with the license. It is the best noise reduction tool on the market. I've heard most of the rest first hand, even the ones used in million dollar studios and would still choose the one in Sound Forge. I don't use Noise Reduction on our show but when doing post on audio recorded out of the studio I use it about 90% of the time.

Waves L2 Ultramaximizer [link] mastering compressor. Yep, I already ran the audio signal through an amazing compressor in the 6176 but the L2 puts the finishing touches on the wav file before I close out Sound Forge. This plug-in is the secret in my sauce. I have used it for about four years and find it's sound brighter, more open and louder than any other including Ozone 2 or 3 (which is an attempt to recreate the sound at a lower cost).

Sony Vegas 6 [link] multitrack video editor. Video? Did Kris just say, video? I sure did. When this product was first developed by Sonic Foundry it started out as a multitrack audio mastering suite that was supposed to be an upgrade from their Acid line of software. That didn't quite work out and they released a second version for video. With two competing versions on the market they made the wise decision to morph them together into Vegas Video, Sonic Foundry was bought by Sony and the rest is history. I use Vegas basically the same way that I use Dreamweaver for coding pages, as a template. All i have to do for Croncast is plug in each new recording on the timeline and poof there is a fully mastered show.

Xing MP3 encoder (included in Vegas) all shows are encoded to Joint Stereo, 96 Kbps at 44.1. This lowest quality that I will encode my own work to or for that of a client. This range is somewhat higher than many podcasters will recommend for a speech driven show but I find that anything less sound hollow and purely focuses on midrange sounds. Blah. At a bit rate lower than 96 Kbps most audio encoders, like this one, won't allow for a sample rate of 44.1 KHz. I used to encode the shows to a lower value two years ago when we first started but then iTunes came to town and studios started cranking out CD quality audio files. Once that bar was raised I figured it was okay for me to join that party.

MP3 Tag Tools [link] to edit ID3 tags. It is open source and the best ID3 tag editor that I have found. It will allow you to make changes to version 1 and 2 tags that will cover most of the popular media players like WinAmp, Windows Media Player and iTunes. It'll even let you add up to 18 images per file in the album art that can be displayed in iTunes.

iTunes for adding iTunes specific data to the ID3 tag. Didn't you already do this? Sort of. iTunes uses on the variances of the ID3 V2 tag standard to display meta data that is included with the MP3.

That is it friends. Once all that crap has happened it is time to upload the show to the server, fire up Castlock, start adding show notes and then make the show available for download.



Tags: MXL 2003 Universal Audio 6176 PreSonus Firepod Waves L2 Ultramaximizer Sony VGC-RB62G ]]>"Can you tell me what microphones and mixer you use to record Croncast? (I heard the "expensive" microphone show recently and I had to laugh--I'm more interested in two microphones that are in the $100-$125 price range [each]).
Thanks!," Ron Here's what currently makes up my audio signal path, hardware and software for Croncast.

2 - Marshall MXL 2003 microphones (Ron, for an extra $25 you won't be disappointed) [link]
2 - Universal Audio 6176 channel strips w/ preamp and compressor [link]
1 - PreSonus Firepod [link]
1 - Sony VGC-RB62G computer [link]
1 - Sony Sound Forge 8 audio editor [link]
1 - Waves L2 Ultramaximizer mastering compressor [link]
1 - Sony Vegas 6 multitrack for putting show together [link]
1 - Xing MP3 encoder (included in Vegas) encoded to Joint Stereo, 96 Kbps at 44.1 KHz
1 - MP3 Tag Tools to edit ID3 tags [link]
1 - iTunes to add more meta-data specific to iTunes (I can explain way below this)

This is what takes a Croncast from nothing to something.

Here's the breakdown.

Marshall Electronics MXL 2003 [link] microphones . . . I recommend these mics to everyone that asks. And after recently cheating on them with a Neumann U87ai I like them even more. With a price tag of $149 at most dealers you can't go wrong. We've used them now for two years and I own five of them. The sound is clear, they knock a lot of ambient noise down and their pick up pattern is second to none with a great low end and limited high end. The mic comes with a bass cut and a -10dB pad switch that can help when finding the right sound for your voice and recording space. These are phantom power microphones so I need a preamp.



Universal Audio 6176 [link] analog channel strip with 610 Tube Microphone preamp and 1176LN compressor. These two units are a new piece to the puzzle. They've replace the dbx 166XL that I was using for some limiting. The 6176's bring a nice warm sound to the shows that the 166XL didn't have. Most studios use them for recording bass tracks or heating up/distorting some vocals but I prefer them on a little lower setting to add a level bass and compression to our voices that would take me a couple of hours to create in post production through eq and other plug-ins.



PreSonus Firepod [link] is a 24-bit/96K FireWire recording interface with 8 preamplifiers (8 XLR/line inputs with phantom power). I originally bought this to replace an M-Audio MobilePre that was flaking out and causing intermittent popping in tracks. The reason that I chose the Firepod was primarily the 8 XLR inputs with phantom power to multitrack instead of force output to a single stereo track . . . a huge plus when recording more than 4 voices for a show. Also, if the UA 6176 wasn't part of the signal chain anymore I could live with the sound, I did for five months.



Sony VGC-RB62G [link] Intel Dual Core 2.8GHz with 2GB RAM. I've done little modification of this box other than adding a new video card, an extra FireWire card, a gig of RAM and a second hard drive. Usually, I prefer to build my own computer but was in the middle of the Alltel Racing Podcast when the old one died and I needed something right away. I went to Fry's and this box was best thing that they had in stock that met my requirements. It is or was sold as a Media PC and came with remote, surround speaker set up and more software than I could care to have (primarily the shit that just gums up the system). The only complaint that I have had so far with this computer is that every input in the back of it USB, FireWire or 1/8' has a ton of electrical noise in it when used for recording. I am forced to use the front 4 pin FireWire input for what should normally be a transparent sound recording.



Sony Sound Forge 8 [link] audio editor. This is the software that I record the shows into. I have been using Sound Forge for the last 7 years. When I got my first computer in 1999 at age 25 I learned how to use it by working with Steinberg's WaveLab (another great audio editor) but late in that year switched to Sound Forge. WaveLab had a lot of great features but they never compared the bundle of plug-ins that came with or for Sound Forge. WaveLab relied on the VST model and Sound Forge on Direct-X which meant that there were also more plug-ins to choose from. The killer plug-in was the Noise Reduction tool that prior to version 7 (maybe 6) wasn't bundled with the license. It is the best noise reduction tool on the market. I've heard most of the rest first hand, even the ones used in million dollar studios and would still choose the one in Sound Forge. I don't use Noise Reduction on our show but when doing post on audio recorded out of the studio I use it about 90% of the time.

Waves L2 Ultramaximizer [link] mastering compressor. Yep, I already ran the audio signal through an amazing compressor in the 6176 but the L2 puts the finishing touches on the wav file before I close out Sound Forge. This plug-in is the secret in my sauce. I have used it for about four years and find it's sound brighter, more open and louder than any other including Ozone 2 or 3 (which is an attempt to recreate the sound at a lower cost).

Sony Vegas 6 [link] multitrack video editor. Video? Did Kris just say, video? I sure did. When this product was first developed by Sonic Foundry it started out as a multitrack audio mastering suite that was supposed to be an upgrade from their Acid line of software. That didn't quite work out and they released a second version for video. With two competing versions on the market they made the wise decision to morph them together into Vegas Video, Sonic Foundry was bought by Sony and the rest is history. I use Vegas basically the same way that I use Dreamweaver for coding pages, as a template. All i have to do for Croncast is plug in each new recording on the timeline and poof there is a fully mastered show.

Xing MP3 encoder (included in Vegas) all shows are encoded to Joint Stereo, 96 Kbps at 44.1. This lowest quality that I will encode my own work to or for that of a client. This range is somewhat higher than many podcasters will recommend for a speech driven show but I find that anything less sound hollow and purely focuses on midrange sounds. Blah. At a bit rate lower than 96 Kbps most audio encoders, like this one, won't allow for a sample rate of 44.1 KHz. I used to encode the shows to a lower value two years ago when we first started but then iTunes came to town and studios started cranking out CD quality audio files. Once that bar was raised I figured it was okay for me to join that party.

MP3 Tag Tools [link] to edit ID3 tags. It is open source and the best ID3 tag editor that I have found. It will allow you to make changes to version 1 and 2 tags that will cover most of the popular media players like WinAmp, Windows Media Player and iTunes. It'll even let you add up to 18 images per file in the album art that can be displayed in iTunes.

iTunes for adding iTunes specific data to the ID3 tag. Didn't you already do this? Sort of. iTunes uses on the variances of the ID3 V2 tag standard to display meta data that is included with the MP3.

That is it friends. Once all that crap has happened it is time to upload the show to the server, fire up Castlock, start adding show notes and then make the show available for download.



Tags: MXL 2003 Universal Audio 6176 PreSonus Firepod Waves L2 Ultramaximizer Sony VGC-RB62G ]]> Sat, 09 Dec 2006 13:27:57 -0500 tag:croncast.com,575 It's been a while since I talked about the equipment that I use and no time seems better than now thanks to this question: "Can you tell me what microphones and mixer you use to record Croncast? (I heard the "expensive" microphone show recently and I had to laugh--I'm more interested in two microphones that are in the no MXL 2003, Universal Audio 6176, PreSonus Firepod, Waves L2 Ultramaximizer, Sony VGC-RB62G