processor...hardware and software question

My buddies have a podcast, and their levels are always terrible. They definitely need some processing, but I don't know what to recommend. It's broadcast live, and also available as an mp3 after the fact. To fix the levels for the live broadcast, they would need a hardware compressor. To fix the levels in post, a plugin would work. I just don't know exactly what to recommend.

For a hardware compressor, the one I hear the most about is the symetrix 528.

For plugins I've heard a lot about waves or izotope.

For the hardware compressor I need it to work with 3-4 mics (Does it compress off the master channel of the board, or each mic individually?) I don't know if one compressor would do it or if they might need a few.

For the plugin, do you guys know which one would work? And not just waves or Izotope, but specific plugins like L1 or L2 etc.

Honestly, I just know enough to be dangerous. Any help in this would be hugely appreciated.

I presume keeping costs low is essential.
For two years, I have been overjoyed with Breakaway Broadcast Processor.
The mixer output (with program audio and mikes) can be input to a castoff, old computer running Breakaway.
An extremely affordable version for use with personal music players is also available, and would probably
satislfy almost everyone except critical music listeners.
Ideally, you then record the processed audio while running live, and your mp3 will have the same wonderful balance.

Step 1: Watch the meters!! No processor can take the place of proper operation of the equipment. GIGO.

Step 2: Process as needed to minimize artifacts and get the "sound" you want.

I mentioned this in passing on the other Engineering thread recently, but MBL4/Sonos as a DirectX plugin inside Adobe Audition/Cool Edit is very useful - Used wisely it can create a good master and certainly good enough to sort out the levels on the podcast.

Randy Lahey said:

For a hardware compressor, the one I hear the most about is the symetrix 528.

For plugins I've heard a lot about waves or izotope.

For the hardware compressor I need it to work with 3-4 mics (Does it compress off the master channel of the board, or each mic individually?) I don't know if one compressor would do it or if they might need a few.

For the plugin, do you guys know which one would work? And not just waves or Izotope, but specific plugins like L1 or L2 etc.

Click to expand...

There are several acceptable solutions to the problem you have described. My first thought is that you need to determine how much of a learning curve your participants are willing to deal with. If this is something of a "lark" for the participants and they care nothing about the mechanics, then a "quick and dirty" solution may be in order. (Like ONE symetix or other compressor/limiter in the main output of the mixer.)

If these guys/gals are serious about all this, want to learn how to do it well, and some or all of them might eventually end up developing other podcasts together or separately, then a more complex answer would be your best solution. Unfortunately, they becomes the expensive solution.

I have seen studios where EACH mic has it's own compressor. If each participant had a hardware compressor right in front of them and had a gain control at their fingertips and had a meter where they could see and be responsible for keeping their own channel at an acceptable, consistent gain, that would be ideal. Even a GOOD compressor has a hard time making up for the Garbage In Garbage Out effect that has already been mentioned so putting some discipline into each participants settings and how they work their mic is theoretically the best way to go. It is a costly way to go.

Even if you simply add one piece of hardware to process the output of the mixer, if each participant could see the PRE COMPRESSOR output meter, they could begin to develop the ability to keep their own voice within something of a manageable dynamic range. I think it was the last time I was in a broadcast studio, the key person in the operation was in there doing some production. He had a file up on screen in Audition and I asked him if it was raw or had it been processed. His answer was raw. His follow-up comment: When I record non broadcast people, someone from the community, the dynamic range is just all over the place. When I record someone in the business, or someone who has been in the business, it is amazing how consistent their track is even before any processing.

Have you let all your participants see a raw, unprocessed recording of their show on screen in your editor software? That could make a very helpful impression on them.

Just remember, there is a second version of GIGO. GOOD stuff in, GOOD stuff OUT. Compressors are not miracle workers. They can clean up a crappy signal to something you may be willing to live with, but the make GOOD stuff sound SUPERB.