Many hardware recorders even allow you to place markers into a recording as you’re making it. Your Multitrack Session can have markers to tell you, say, where an intro should finish before the music swells (so you can just snap the clip to it and you know it’s right), and you can also have markers in clips that let you know where to line up more dynamic elements such as interstitial music whose position is unlikely to be the same episode to episode. Markers can take the guesswork out of where to place these elements. You should also store these common assets in a fixed location and create a template episode with assets, fades, effects and more already in place. Most podcasts also have elements that are present in each episode (such as intro music or audio stings), so it’s worth creating a separate track to manage these. Editing multitrack voices is a bit more complex compared to a single stereo mix of everyone, but it’s worth it for the ability to tweak and balance each voice individually, and you’ll get much more flexibility and often higher quality in editing. If you’re reading PodPod, you’re probably using multitrack editing already, but if you’re still recording a multi-person show right onto a stereo mix track - such as if you record through Zoom’s default settings, or the out-of-the-box config of many hardware recorders - you should definitely move to recording each voice on its own track. The real pro move is getting a hardware controller – even the entry-level Contour Design Multimedia Controller Xpress will work well – and binding your common commands to its buttons to dramatically speed up your editing. You can set one up, though, for this or any command, and tweak the existing ones, in the Keyboard Shortcuts window. Audition’s ‘Select Clips to End of Session’ is a hugely powerful tool when working with multitrack dialogue clips, for example, but it doesn’t have a shortcut. Keyboard shortcuts for switching tools and issuing commands help in every app, but you can take it further with pro apps. The more accustomed you become to using your chosen DAW, the more you’ll be able to rely on muscle memory and the faster you’ll be. If you have multiple displays, consider banishing palettes to a secondary display to give your editor full rein on your main screen. For example, if you use a laptop while travelling but plug it into a display when you’re at your desk, you could prioritise what you see for each of these. Hiding bits you don’t and showing bits you do use frequently is a huge timesaver, and in Audition, you can have as many of these Workspaces as you need. Often, those guesses won’t match what you need. Tools like Audition appear daunting on first launch because they’re trying to guess which bits of their complex abilities to show you to. We’re not talking about big-picture things like ‘develop a deliverable format’ or ‘let go of your compulsion to delete every “um”’ these are shortcuts and pro moves for jobbing podcast editors and producers. We’re going to be showing some specifics for Adobe Audition, but of course the same basic concepts will work in most digital audio workstations (DAWs). Here, then, are a selection of hands-on tips for podcast production to speed up your workflow and make your shows easier to get out. Less time spent making your show means more time for experimentation, learning or – in the case of many podcasters – ‘the day job’. It’s easier, faster and cheaper to do audio well than it is to do video well, but Parkinson’s Law still applies the work expands to fill the time available.
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