Level Up Your Podcast with Audio Processing Tools: Compressors, Equalizers & More

Audio quality that is simply “good enough for podcasting” isn’t good enough anymore. Podcasting has evolved from someone talking like an audiobook to sophisticated productions. What’s more, real-time streaming has taken podcasts to a “you are there” dimension. Yet audio — the core of any podcast — is not new. Tools for broadcasting, music, movies, and TV have benefited from decades of refinement. Podcasters can benefit from these advances as well.

For you to stand out in the crowded world of podcasters, quality matters more than ever. Fortunately, there are easy-to-use, reasonably priced tools that can help you deliver superior results. We’ll consider two common scenarios: improving quality with real-time recording in the field and crafting better audio when editing in the studio.

Overachieving Podcasting Microphones500 Series Hardware: The Pro’s SolutionEditing in the Studio

Overachieving Podcasting Microphones

Today’s laptops and audio software programs are amazing. But when recording or streaming, it’s sometimes risky to count on using your laptop to do real-time processing. This can cause timing differences between what you record and the audio you monitor, as well as draw processing power from the computer’s CPU. So, it’s prudent to reserve as much CPU power as possible for recording — you don’t want dropouts or other glitches. It’s better to offload those audio processing tasks to external processors.

USB microphones designed for podcasting offer several advantages over conventional analog mics:

There’s no need for an audio interface.The power is supplied by the USB port.A USB mic makes level setting easier.USB cables are less expensive and less bulky than microphone cables.Many USB mics are compatible with modern Windows and MacOS laptops (and often with Chromebook, Android, and iOS devices, as well).

Furthermore, many USB microphones include onboard digital signal processing (DSP) to condition the signal prior to being recorded. For example, the PreSonus Revelator USB-C mic incorporates onboard effects similar to the hardware you’d use to process a conventional microphone signal. They’re also the kind of effects you’d use when editing audio in the studio:

Highpass filter: Cutting the extremely low frequencies reduces plosives (“p-pops”). These are caused by the blasts of air that “P” and “B” sounds generate.Gate: This will mute ambient noise. You set a threshold, and only audio above the threshold will pass. However, using a gate when recording or streaming live is usually not recommended. The gate’s opening and closing can give a “chattering” effect. It’s easier to tame noise in the studio with editing.Compressor: Audio with excessive dynamic range complicates the level-setting process when recording in the field. A compressor lowers audio peaks and raises lower-level sounds for a more consistent dynamic range. A light amount of compression makes level setting less critical. Compression is also the basis of automatic level-setting features.Equalization (EQ): Adjusting frequency response is helpful for real-time recording/streaming or editing in the studio. Reducing bass can supplement the highpass filter to help control plosives and wind noise. A subtle upper-midrange boost often improves intelligibility. EQ can sometimes trim undesirable sounds — like hum from nearby machines, noise from air-conditioning fans, or low frequencies from traffic — before they are recorded.Limiter: This is an essential processor for real-time streaming and recording. A limiter reduces the level of audio peaks that could otherwise cause distortion. (Unfortunately, there’s not much you can do to fix a distorted signal after it’s recorded.) Limiting isn’t a miracle worker — you still need to set the recording levels correctly — but having the limiter engaged could save your recording if you encounter a peak or cough.Reverb: It’s not good practice to add this while recording — except when it’s used as a special effect. Once you’ve recorded with reverb, it’s fused with the audio, and you’re stuck with it. If you need reverb for a little ambience, then add it afterward while editing in the studio.

The Shure MV7 is another podcasting-optimized mic with onboard DSP. With Shure’s free MOTIV configuration app, you can program custom EQ settings, compression, monitor mix level, and enable the timesaving (and stress-saving) Auto Level Mode. This actively adjusts the compression and gain to deliver a consistent signal level, which is helpful if you don’t have time to set up and dial in the optimum dynamics control settings. Note that the MV7 has a conventional analog audio output with an XLR connector as well as USB — although the XLR output isn’t affected by the software.

The Shure MV88+ is a stereo version of the MV7 that incorporates automatic gain control. Like the MV7, it’s compatible with most popular Android devices, as well as Windows, MacOS, and iOS USB/Lightning. The MOTIV configuration app is also compatible with the MV88+. Unlike the MV7, though, there’s no XLR audio output because the MV88+ is stereo.

Choosing an appropriate microphone pickup pattern is important. Pointing a directional mic at a person picks up that person’s voice while rejecting sounds from the rear and sides. An omnidirectional pickup pattern picks up all sounds equally, regardless of the direction they’re coming from. This is the usual choice for group discussions. For interviews, a figure-8 response is ideal. The maximum pickup occurs from the people sitting opposite each other, while the maximum rejection occurs to the sides of the people doing the interview. The PreSonus Revelator incorporates all three patterns. Shure’s MV88+ adds a pattern with adjustable stereo width (configurable with the MOTIV app).

The Apogee HypeMiC USB mic includes onboard compression to smooth out levels. Like the MV7’s Auto Level Mode, this can make or break a recording when your setup time is too limited to tweak levels to perfection. The HypeMiC is compatible with iOS, Windows, and MacOS.

Finally, the RODE NT1 5th Generation condenser mic has both USB and XLR connections. While designed as a high-quality mic for the studio, its USB connection makes it equally suitable for recording on the go. The NT1 includes crucial DSP: compression, noise gate, highpass filter for pop reduction, and two types of APHEX processing. The APHEX Aural Exciter adds clarity and sparkle, while the Big Bottom processing gives a full, rich bass sound. But perhaps most important for field recording is that the NT1 incorporates a 32-bit float recording format. This lets it accommodate a virtually unlimited dynamic range without clipping. However, to take advantage of this, your software needs to support 32-bit float mode recording. (Most do, except for GarageBand, Logic Pro, and Reason on the Mac. Adobe Audition, Audacity, and Reason don’t support this mode on Windows.)

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500 Series Hardware: The Pro’s Solution

Incorporating signal processing in a mic is the most convenient way to condition a signal prior to recording. However, outboard hardware processors between the mic and an audio interface give more opportunities for customization and pro features. This can be particularly important with livestreaming when there’s only one chance to get it right.

500 Series modules shrink studio-quality rack processors into a smaller, more portable format. A 500 Series system consists of a chassis with slots, like the computer motherboards of yesteryear. Then, you choose your desired 500 Series processors to populate these slots. A chassis can be super compact and hold two modules (Fredenstein Bento 2), three modules (Radial Workhorse Cube), or four modules (Heritage Audio HAOST4v2) or go big with up to 11 slots, like the BAE 11 Space Rack. Smaller chassis are best for portable setups, and you probably won’t need more than three or four processors (e.g., mic preamp, dynamics processor, and equalizer).

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There’s a huge number of 500 Series modules, from utilitarian devices to clones of vintage studio gear. These can be single-function processors or complete channel strips with a mic preamp, EQ, and compressor, like the Solid State Logic SiX Channel.

Many mic preamp modules incorporate highpass and lowpass filters. The Midas 502 V2 has both and also includes +48V phantom power for driving condenser microphones. It’s a favorite for live sound and is well suited to field recording. Some models offer features like:

Tube preamps: Though loved by audio aficionados, tubes are more fragile than solid-state circuitry. That’s one more thing to go wrong in the real world.Class A amplifier design: Known for ultra-low distortion, it may require more power from a 500 Series chassis’s power supply.Audio transformers: Many people feel that having an input and/or output transformer gives the sound a “warmer” character.

For example, the Burl Audio B1 is representative of an ultra-high-quality preamp with a Class A circuit design and custom transformers (and no tubes).

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Along with a mic preamp, you’ll want dynamics processing to even out your audio levels and reduce peaks to forestall inadvertent distortion. The API 527A compressor/limiter is a sophisticated dynamics processor with extras, like two different compressor designs (vintage or modern), 31-position detented controls for easily repeatable settings, and hard- or soft-knee compression choices (Hard clamps down on signals faster, while Soft gives a more natural transition into compression). For a less expensive option, the dbx 560A compressor/limiter delivers the essentials in an easy-to-use, 3-knob format.

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With field recording, you’ll generally record audio with minimal processing, other than possibly some light limiting or compression to keep levels under control. Clean audio gives the most options for processing the sound in the studio with equalization and additional dynamics. However, there are occasions where it’s helpful to record with equalization. There may be ambient noise you need to remove, like low-frequency sounds from traffic or room resonances. More crucially, equalization is essential if you’re streaming live instead of editing in the studio. It can increase the intelligibility of voices, reduce proximity effects from people speaking too close to a directional mic, trim hiss, and more.

You’ll want an equalizer with at least three frequency bands to process the high, low, and midrange frequencies. An EQ with low- and high-midrange frequency bands is even more versatile. The Trident Audio Developments 80B is a great example of a general-purpose, highly useful EQ at a reasonable price. It offers high- and low-shelf EQs, two sweepable midrange bands, and a highpass filter. For “do anything” tone shaping, the Maag Audio EQ4 provides six bands of equalization. For quick yet precise EQ adjustments, the API 560 10-band graphic equalizer is a logical choice.

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You can go as far as you want into a pro studio rabbit hole with modules like stereo image processors, tape emulators, transient shapers, and even a bottle opener rack panel. But whether for field recording or livestreaming, the proven combination of preamp, dynamics, and EQ covers the essentials.

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Editing in the Studio

Being able to edit a podcast in the studio can give a polish that’s difficult, if not impossible, to obtain with real-time streaming. You’ll need a program that can edit audio, and like everything else, you can go basic or over the top. However, most of the required editing is relatively simple — cut, copy, paste, and basic processing like dynamics and EQ. You don’t need powerhouse DAW (Digital Audio Workstation) software that can record an orchestra. For basic editing, Acoustica Mixcraft 10 Recording Studio is user-friendly and has an equally friendly price. It’s sort of like GarageBand, but it’s more advanced and for Windows only. PreSonus Studio One 6 Artist is a cross-platform option that outperforms what you’d expect from the “lite” version of a company’s flagship software. If you plan to get into recording beats-oriented music as well as editing your audio, then Bitwig Studio 5 Essentials (also cross-platform) is a superb choice. Note that all these DAWs have the tools needed to make basic soundtracks and sonic logos as well as handle vocal recording and editing tasks.

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Most DAWs include basic plug-in processors for dynamics, equalization, and special effects like reverb. However, they rarely include ways to clean up your audio by removing broadband noise, mouth clicks, breath noises, room reverb, and the like. For these, you need specialized restoration software.

iZotope RX is the leader in AI-assisted restoration and repair. Hollywood couldn’t live without it for tidying up location audio — and podcasts recorded in the field frequently have similar audio problems. The full-featured version is expensive. Fortunately, iZotope RX Elements costs much less yet includes most of the features needed to clean up podcast audio (De-click, De-clip, Voice De-noise, De-hum, and De-reverb to reduce room ambience). It’s also simple to use, thanks to an AI-driven Repair Assistant feature that analyzes the audio and suggests settings to fix various issues.

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Another restoration plug-in, WaveArts Dialog 2, is specifically optimized for dialog. It includes broadband noise reduction, de-ploding, de-essing, and de-hum and de-buzz processing, as well as EQ, compression, and limiting. Basically, it’s a one-stop shop for most of the operations you’ll need to do with dialog. However, if all you need is noise reduction, then the WaveArts MR Noise plug-in is easy to use, transparent, and inexpensive.

For almost magical cleanup, the Waves Clarity Vx noise-reduction plug-in delivers astonishing results. There’s virtually no learning curve — the software analyzes the sound and separates the human voice from sounds that are not a human voice (pretty clever). Then, you turn up a knob until you’ve reduced or completely eliminated the nonhuman-voice sounds. Clarity Vx can surgically remove the sound of air-conditioning, rain, hum, traffic noise, and a variety of other gremlins that plague podcast sound. Although Waves Clarity Vx Pro is a costlier version with more advanced controls, the basic version will likely do what you need for all but the most problematic scenarios.

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Calling All Podcasters: Call Us

When assembling a podcasting system, your best investment will be talking with Sweetwater’s Sales Engineers. Aside from having an extensive background in pro audio, they can help you navigate the many considerations involved in assembling a podcasting system. For example, is a mic with internal DSP compatible with Android smartphones? And, if so, which ones? Does it work with Apple’s latest operating system? Do you need adapter cables, or are they included in your purchase? Can you record on a smartphone or a tablet or only a laptop? With a 500 Series chassis, how much power is necessary to take care of the modules you want to put in it? And when editing podcasts in the studio, what software will do what you need (instead of a program that might be overkill because it’s designed to accommodate tasks like professional sound editing for movies)?

Your Sweetwater Sales Engineer will help you define your needs, avoid technical “gotchas,” and develop the best, most cost-effective system for creating top-quality audio for your podcasts. Give us a call at (800) 222-4700 — we’re here to help.
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