Podcasting/ Post-Production Special

GETTING TO KNOW: FINISHING MOVE INC

Finishing Move Inc. are without doubt one of the most in-demand sound design/composition teams going at the moment. The LA based duo, made up of Brian White and Brian Trifon, have over time accumulated the kind of credit list that most can only dream of, having worked on some of the biggest titles in the gaming and film world. We recently caught up with Brian and Brian, to talk Halo, Hollywood and the hardware that got them there.

Finishing Move are doing big things in the Film and Gaming space. Did you guys know each other prior to entering the industry? What is it about working together that makes it such a potent pairing?

We were good friends before we started Finishing Move and had collaborated together on various projects at a commercial music house we both worked for in the late ‘00s. We noticed that we had very complementary skill sets, and whenever we’d collaborate on something, it would just turn out a lot better, so we decided to team up and form Finishing Move. Working as a team really suits our work ow, as it allows us to deep dive and try out new ideas or concepts that would otherwise take too much time away from getting work  nished. A lot of times, one of us might be doing R&D on some new sound or technique while the other is writing, and we can trade off as needed. It can be hard to push the sonic envelope if you are always just trying to push stuff out the door and meet a deadline, so we both really enjoy the  exibility and support the team dynamic offers. From your perspective, was there a particular breakthrough moment for Finishing Move or was it more a case of chipping away for years and slowly building momentum? We still think we are slowly chipping away! Halo 2 Anniversary was a big break for us, as it was the  rst massive project Finishing Move took on as a proper company, and we had just come off a cancelled project the year prior and really needed a win. We score supervised and produced that whole soundtrack, in addition to lending our composing and sound design skills, which was a huge responsibility and really set the tone for Finishing Move as a “triple-A” team in game audio. From the high-octane synthiness of Crackdown 3 to the lush, orchestral driven work on Halo Wars 2, Finishing Move are well-known in the gaming world for their dense, narrative driven style of composition. Is there a particular type of project or sonic palette that you prefer to work with? We love to push the envelope of musical sound design and create stuff no one has ever heard before. For example, we developed our instrument Posthuman during work on Halo Wars 2 as a bridge between otherworldly synthetic sounds and the organic sounds from the live orchestra, because we didn’t feel like anything off the shelf was doing what we wanted. Our dream project is any project that allows us to blur the notion of what makes a sound feel synthetic or organic, and how unique timbres can support or convey the emotion of the project or scene in addition to the melodic and harmonic content of a cue. As well as all the gaming stuff, you guys are equally at home working in the  lm medium - Uncut Gems, X-Men: Dark Phoenix, Mad Max: Fury Road, just to name a few. How does designing audio for  lm differ to designing for the game-sphere? Does it require a different approach or do the same principles still mostly apply? A lot of our sound design work focuses heavily on theatrical trailer content, which is even more speci c than just sound design for  lm or sound design for games. Trailers

mixdownmag.com.au have to convey the emotional impact of a two hour  lm in under two minutes, so the way they use sound and music is often very different than how it gets used in the actual  lm, TV show, or game it represents. The core tools and work ow of sound design remain the same; source/ eld recording, DAW processing techniques, etc. so it’s more about changing your mindset of where it is going to be used and how it needs to function in that context. For example, a gunshot or weapon in a  lm may be intentionally very realistic or only slightly sweetened for impact. In contrast, a gunshot designed for use in a trailer is purposely built to sound 100X larger than life, with a huge impact layered in and a super long reverb tail, because that one sound has to convey a whole  lm’s worth of energy and emotion in a very short window of time. I know you have a particular penchant for SSL Fusion stereo outboard processing. How did you come across this unit and what is it that makes it such an integral part of your signal chain? I think we read about the Fusion on Gearslutz initially. It took a few months to actually get the unit we ordered because it was brand new, and supply was short. The drive portion is worth the price of admission alone, and the rest of the box is just the gravy on top. Something about that drive circuit and how it in ates the signal really compliments the rest of the hardware chain we have cooked up. For example, when you’re doing really dynamic or cinematic stuff, it can be hard to get a lift out of the softer sections without killing the delicate envelope of your mix. A lot of times, a compressor even with half a dB of gain reduction just sounds wrong in this scenario, that’s where the Fusion’s drive circuit really shines. It has this way of lifting and adding density to the signal while retaining all the dynamics that just seems to work for our material. In our current signal chain, the mix goes into the SSL Fusion which has an SSL-style VCA compressor patched directly into the insert. There is no patch bay, it’s all hard-wired in the same order for every mix, and everything generally stays set up in just one or two con gurations to make recall easier. That way, we can gain stage into the chain from the DAW, and it just works its magic with very little fuss. With so much work on, do you still  nd time to experiment with new techniques when working or is your process fairly set at this point? Have you experimented with anything new on any recent that you wouldn’t have thought would work in the past? Yes! Experimentation is a huge part of our process. As we mentioned earlier, being a team allows us to build in time for that during any project. We even make a point to use any downtime to explore new creative techniques that we think up, even if it’s just checking out what new sample libraries or plug-ins came out recently. Most of our best production techniques are born out of experimentation with little expectation of how it might turn out. Plenty of these experiments end in failure, where you think you have an idea about how to approach something, and it just doesn’t work well in practice. But sometimes you surprise yourself with how well something works, and it’s usually things that are quite simple that yield the coolest results. Lastly, what’s next for Finishing Move? Any exciting new projects you can tell us about? Lots of stuff we can’t really share at the moment, unfortunately. The game gods tend to only let us talk about things after they ship or very close to the launch date. But we promise, we have some very cool stuff coming out in the  rst half of 2020 and you can follow our socials to stay up to date on what we are working on. Head to our website to read this feature in full, and check out Finishing Move Inc.’s website to  nd out more about their projects today.

Talking Tech with AFTRS

The explosion of the podcast medium has seen a whole new wave of on air talent, and despite being big on ideas, these people don’t always have the technical skills to bring their product up to industry standard. Enter Madeline Joannou, broadcast/podcast producer to the stars and the head lecturer of the Podcasting Fundamentals short course at the Australian Film, Television and Radio School (AFTRS). Mixdown recently caught up with Mads to talk pod, post and beyond.

Podcasts are everywhere at the moment, yet not much is said about the technical aspects of what goes into making a successful podcast. How important is it for aspiring podcasters to have a solid understanding of the technical/practical aspects of their craft and how does this translate to better content? The truth of it is that anyone can make a podcast as long as you have a microphone and some editing software. And whilst we are somewhat forgiving of not-so-great audio quality in podcasts as long as the content is amazing, I think that now there are so many big-budget podcasts out there the standard is de nitely getting higher.

It’s so important to understand the technical side of audio production. You wouldn’t try to make a feature  lm without understanding cinematography and how to use camera equipment and the same should be said for podcasting. Part of our craft is storytelling and you need to understand how to compel an audience to keep listening. Without a solid understanding of this, you’ll really struggle to make content that’s worth listening to. A lot of people are probably not aware of the amount of post-production and editing involved in producing a podcast. What kind of editing and post skills is a student likely to pick up in the Podcasting Fundamentals short course at AFTRS and how useful are these to the aspiring podcaster?

Yes that’s one of the biggest misconceptions with podcasting… people always underestimate how long it takes to make one episode! In our course you will learn everything you need to make your own podcast. We cover the technical side of it with recording, editing, signal processing, how to host your podcast etc. but we also teach our students how to conduct interviews and get the most out of their guests and most importantly how to tell a story. Also featured at the end of the course is how to grow an audience and market yourself and your podcast brand which is half the battle really.. Your CV is about as legit as they come in the Australian broadcast space, having worked with a veritable who’s who in Australian radio (Kyle and Jackie O, ABC). How did you get your start and have have you been able to maintain and sustain your trajectory in what is such a dynamic and competitive industry? I kind of fell into radio actually. My initial career goal was to be a print journalist but things happen and change your life path, and that’s exactly what happened to me. I met someone who was an audio producer and I visited their studio and saw a promo laid out in Pro Tools and it was literally one of those mind-blowing moments for me. I had never even imagined how radio promos were made and I was immediately fascinated and wanted to be a part of this world.

I found out early on in my radio career that being a female audio producer set me apart from the boys club that it was. Whilst I may stand out in that regard, my work has always had to speak for itself. You’re only as good as your last piece of production and so I’ve always just strived to produce the highest quality work possible. As an Audio Creative, you have been involved in some pretty major re-brands (ABC Sydney, KIIS 1065). How important is it for aspiring podcasters to  nd their own voice as a means of building a ‘brand’.

Well once you create a podcast, you really should consider it as a brand. You need to

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promote that brand or nobody will even know that your podcast exists. For many, podcasts have become a marketing tool to help promote an existing brand or business anyway. Podcasters must  nd their own voice because being a copycat makes it really hard to succeed in this super competitive podcast market. Find your niche and your point of difference and build that brand to make it something that we all want to consume. We make podcasts for people to listen to so we need to get it into as many ears as possible! What would be the one piece of advice you would give to aspiring podcasters, looking to make their mark in the content-creation space? Find something that you’re genuinely interested and passionate about because making a podcast involves a lot of research, reading and talking about that topic and if you’re not authentic in your delivery, your audience will see right through it.

Also, take some time to learn how to tell a compelling story… learn how to record and edit properly so that you’re making the best possible podcast you can. Find out more about AFTRS' courses online

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PART 1: INTERFACES

BEYOND

ZOOM LiveTrak L-8 RRP: $749 | INPUTS/OUTPUTS: 12X4

MIXDOWN SAYS: Zoom have built a loyal following in the world of portable digital audio devices in recent years. While you could use the LiveTrak L-8 in a home studio or live music capture setting, its clearly designed with podcasters in mind. As the name suggests, there’s eight inputs (six of which can operate at mic level with phantom power) and there’s four headphone outs which really help to get a better performance out of guests not as accustomed to correct microphone technique. All of these inputs can be recorded on individual tracks in to your DAW (up to 12) and also recorded to SD simultaneously; a perfect fail-safe to have up your sleeve. There’s six assignable Sound Pads to store your intros, outros or sound FX. There’s a TRRS cable included speci cally for remote interviews via smartphone, with an inbuilt function to prevent echo and feedback for both you and the caller. This accompanies the

Rode RodeCaster Pro RRP: $849 | INPUTS/OUTPUTS: 6X2

MIXDOWN SAYS: Hybrid interfaces/mixers provide a lot of routing options, but sometimes simplicity is king. The RodeCaster Pro is a compact solution with four microphone inputs, a TRRS input for phones, Bluetooth and USB input. There’s four headphone outputs so your guests can all hear themselves and eight programmable sound effects pads.

The pads can be recorded to directly from any input, or you can assign audio  les using the included software to the 512mb internal memory (so you don’t have to reprogram them every time you swap micro SD cards). Remote interviews are easy with the TRRS or Bluetooth connection, which uses mix-minus to automatically prevents echo or feedback. You can record stereo direct to the micro SD, or record each channel individually (as well as the main mix) visa USB to your DAW of choice. Those familiar with Aphex audio processors will be excited to see their technology included

USB connection to route audio from digital platforms such as Skype. Swapping routings for different situations can be a stress when the talent is waiting, the LiveTrak saves some of this stress by allowing you to store your settings in a Scene (you can save up to seven) and recall them at the touch of a button. Ultimately the Zoom LiveTrak L8 represents a new wave of mixer designed especially for podcasting and the fact you can run it on Four AA batteries for two and a half hours makes this an ideal solution for podcasting on the go.

to give your productions some professional  nesse.

Multistage dynamics, compression, limiting and de-essing further help re ne your inputs to help achieve a high production value recordings. The RodeCaster Pro suits those new to audio production, or anyone wanting a dedicated podcast interface, without the need for excess features more suited to music production.

PreSonus StudioLive AR8c RRP: $699 | INPUTS/OUTPUTS: 8X4

MIXDOWN SAYS: PreSonus’s StudioLive is another option for podcasters looking for an all in one mixer/ interface. It features six channels of recording at 24 bit at up to 96kHz for high de nition recording, plus the stereo mix. Channels 1 and 2 both have balanced mic inputs with XMAX preamps or unbalanced line/instrument inputs. Channels 3/4 and 5/6 both have mic inputs with XMAX preamps or stereo line inputs. The Stereo Super Channel can toggle between (or mix up to four stereo sources) various inputs including RCA, your computer playback, the SD recorder/player or Bluetooth - perfect for capturing phone calls. The Stereo SD Recorder works as a recording solution when you don’t have your computer and its playback is perfect for your intros, outros or other pre-recorded material. There’s latency free effects for musicians, a three band semi parametric EQ for  ne tuning as well as a

high pass  lter for each channel.

The StudioLive AR8c comes with PreSonus’ Capture live recording software and Studio One Artist DAW to add effects or bumpers. The Stereo SD recorder, USB-C compatibility round out this impressive hybrid mixer/interface which has everything you need for recording podcasts or producing music.

TC Helicon Go XLR RRP: $679 | INPUTS/OUTPUTS: 3X2

MIXDOWN SAYS: Maybe your live stream calls for more creative effects? TC Helicon’s GoXLR features a MIDAS preamp on the single XLR input, making this mixer best suited for live streaming applications like Twitch. In the world of audio production, motorised faders hold a certain allure and the four that the GoXLR boasts are a welcome feature. Instantly recall your various mix settings at the push of a button for a tactile command of your microphone, auxiliary line in, optical cable, USB or effects inputs.

The precise control over the microphone is the main draw of this simple mixer; there’s Real time EQ, Gate, Compressor and De-Esser to keep things sounding professional. Then you can get creative with the Reverb, Echo (delay), Pitch Shifting and the ever-essential Gender control. GoXLR also features an on-the- y sampler which will appeal to broadcasters and there’s even a Cough button for a quick mute

when you’re wanting to curse off air. A GoXLR app accompanies the hardware to give you access to more advanced settings.

Perhaps there’s creative autonomous podcast producers out there, but ultimately the GoXLR is perfect for gamers looking to level up their broadcast (it’s the RGB lighting that really drives this point home).

Steinberg UR22C Recording Pack RRP: $449 | INPUTS/OUTPUTS: 2X2

Apogee Duet RRP: $1099 | INPUTS/OUTPUTS: 2X4

MIXDOWN SAYS: Steinberg have a solid reputation for building quality audio interfaces. In this package, they’ve bundled the UR22C audio interface, STM01 microphone, ST-H01 Headphones and all the software you need to produce professional audio content. The UR22C audio interface records 32 bit/192kHz high de nition sound from its two inputs, driven by class A D-PRE preamps for transparent, detailed recording.

Steinberg are keeping with the times by featuring a speedy USB 3.1 USB-C output and inbuilt DSP effects, so you can monitor wet signals with zero-latency. MIDI I/O gives you control over virtual instruments or other

MIDI compatible hardware, which is essential for music producers, while a handy Loopback function lets you mix the interfaces output with your DAW to make live streaming easy. The ST-M01 is a highly sensitive condenser microphone with a wide frequency response, perfect for singing, interviews, acoustic instruments or intricate ASMR recordings.

The Steinberg UR22C really works for producers looking for a dynamic sound recording solution without taking up too much real estate on their desk. MIXDOWN SAYS: The Apogee Duet was the  rst professional all-in-one audio interface for Mac back in 2007 and has held acclaim as delivering Apogee's renown A-D/D-A conversion in a compact device in the years since.

The Duet 2 has remained relevant thanks to the aforementioned legendary converters and 2 world-class preamps. It’s been a studio staple and helped elevate the sound of countless emerging home producers. Mic or line level inputs connect to the two inputs, which can also supply phantom power. Four analogue outputs provide balanced output for monitors or outboard gear while a headphone output lets you switch between signals; perfect for DJs. There's been three renditions over the years, the most recent supporting direct digital connection to iOS devices, making it an ideal choice for podcasters that incorporate an iPad into their studio setup. The original Apogee Duet built its brand on its Mac compatibility, but of course today full software control of the Duet 2 via Apogee’s Maestro program is supported across Mac, Windows and iOS devices. New digital audio technology dictates that most interfaces don’t last so long, but the Duet 2 remains a classic choice thanks to its professional sound in such a sleek, minimal design.

NT-USB Mini STUDIO-QUALITY USB MICROPHONE

The NT-USB Mini is a compact, studio-quality USB microphone designed for easy recording direct to a computer or tablet. Offering rich tone and handy features like an in-built pop filter, zero-latency headphone monitoring, a detachable magnetic desk stand and 360-degree swing mount, and simple controls, it’s perfect for podcasting.

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BEYOND

PART 2: MICROPHONES

RODE PodMic RRP: $149

MIXDOWN SAYS: Rode have been dominating the entry-level market of portable audio solutions for years now. In the portable camera world, their on-camera microphones are industry standard and now they look set to achieve the same for podcasters as the new Rode PodMic is built from the ground up for podcasting. It’s a broadcast quality, dynamic microphone with a rich, clean sound optimised for speech applications. An internal pop  lter saves your podcast from sharp, unnatural plosives and its all-metal construction gives it the weight that denotes a quality tool that will serve your production for years to come. XLR output connects to industry-standard interfaces but it’s been designed to be used with the RodeCaster Pro we mentioned earlier. A cardioid polar pattern minimises unwanted noise coming from behind the microphone,

Blue Microphones Yeti Pro RRP: $339

MIXDOWN SAYS: Following on from the best-selling Blue Yeti USB Microphone comes the Blue Yeti Pro. The Yeti Pro combines ultra high de nition digital audio recording with an analog XLXR output. The digital side of this hybrid microphone records at an unprecedented 24-bit/192kHz quality, making it the highest quality USB mic on the market. Add to this the convenience of a separate analog path for XLR output for use in a professional music or broadcast setting. Three condenser capsules and four patterns make this a highly adaptable microphone; there’s cardioid for vocals or podcasting, stereo for ASMR or acoustic instruments, omnidirectional for  eld recordings or AR/ VR sound design and bi-directional which is perfect for interviews or duets.

Latency can ruin any performance but the Yeti Pro features a zero-latency headphone output to keep you on beat. A gain dial and mute button give you additional control as well as

improving isolation to achieve the cleanest recording possible. All this equates to a lot of microphone (937 grams to be precise) for a very modest investment and the fact this produced by an Australian owned and operated company is yet another reason to get on board. The combination of the Rode PodMic with the Podcast Pro is sure to be a popular combination and this much attention to the unique demands of podcast producers is easy to see why.

an included desktop stand, XLR breakout cable and USB cable, everything you need to get recording. The Blue Yeti Pro’s intelligent hybrid design occupies a unique position and I\m sure we’ll see more like this moving forward. An ideal solution for anyone needing a quality microphone to cover a variety of applications.

Audio-Technica AT-BP40 RRP: $499

MIXDOWN SAYS: While being the producer behind some studio classics, many offerings from Audio-Technica remain sleepers in the current market and this microphone in particular, is a prime example. The Audio-Technica AT-BP40 is a broadcast vocal microphone with a beautifully rich sonic depth that delivers condenser-like performance from a large-diaphragm design. This largediaphragm features a patented  oating edge construction, maximising diaphragm surface area and optimising overall performance. The BP40 captures a commanding vocal presence, recording character and distinction even when your application separates your source from your mic, thanks to optimised capsule placement. Any broadcast application is bolstered by its stylish waveform design and its multistage windscreen offers internal pop  ltering, delivering superior, articulate clarity. A switchable 100 Hz high pass  lter

further guards against unwanted noise and a humbucking coil prevents electromagnetic interference. At this price point, you’d be hard swayed if you’re just starting out with podcast production, but if you want to make an investment in your future or are a working studio looking at vocal microphones (as well as the other applications of a large-diaphragm mic of this calibre) you really can’t go wrong with such a well-designed quality studio piece.

Shure SM7B RRP: $729

MIXDOWN SAYS: The Shure SM7B is famous for being the vocal microphone used on best-selling albums such as Michael Jackson’s Thriller, and more recently, being Joe Rogan’s mic of choice. It’s a dynamic mic with a wide-range frequency response engineered to deliver rich presence from both vocal performance and instrumentation.

A pop  lter and air suspension shock isolation eliminate harsh or mechanical noises while advanced electromagnetic shielding prevents unwanted hum from studio equipment polluting your production. Rich, natural sounding low end is captured with utmost distinction and clarity. A cardioid pattern rejects off-axis audio, so you can use the SM7B at whatever comfortable angle you desire, with minimal coloration. The sensitivity to the delicate highs of vocal performance can be further increased by removing the windshield in favour of a traditional pop  lter.

Shure’s famous rugged construction protects the cartridge from the day to day stress of studio use. Being a dynamic microphone, it does require a high level of clean gain, so use with consumer grade preamps may not yield desired results. It’s a classic for a reason and in the right situation is hard to beat for capturing stunning vocal performance.

MIXDOWN SAYS: For years the Electro-Voice RE20 has been instantly recognizable as a broadcast industry standard dynamic microphone. Its patented ‘Variable-D’ design minimises proximity effect, and its true cardioid design results in no colouration from off-axis sound sources, resulting in a neutral, accurate recording even in untreated spaces.

A low-frequency roll-off and condenser-like response make it ideal for capturing presence and clarity in speech or vocal performance, but it also works well in capturing bass-heavy instruments such as kick drums. It features a large diaphragm and heavy-duty internal pop  lter making it shine at close range which is part of why it’s so celebrated for voice-over work. Its iconic grey shell is 21 cm long and weighs 737 grams so it can require some careful positioning in certain applications and does bene t from a spider shock mount, but the outstanding results it delivers make it well worth this minor inconvenience. Podcasting is the radio broadcasting of today, so if you’re looking for professional results for recorded speech than the consistently good results and solid construction are what you’ll get from upgrading to an Electro-Voice RE20 and any music studio could bene t from its versatility.

MIXDOWN SAYS: While not the most obvious choice, the MD-421 originally cut its teeth as a large diaphragm dynamic for the broadcast crowd and if this list has taught us anything, it’s that broadcast style large diaphragm dynamics make incredible podcasting mics (surprise, surprise). The MD-421 has many of the same robust tonal qualities of mics like the Shure SM7b and Electrovoice RE20 (with a slightly more de ned top end than the aforementioned mics). tonal qualities of mics like the Shure SM7b and Electrovoice RE20 (with a slightly more de ned top end than the aforementioned mics).

Its iconic  ve-position roll-off switch ensures that excess boom and proximity effect can be reigned in on the spot. As well as making an awesome pod mic, the MD-421 is a bona  de classic in the music domain, lending its versatility to sources like bass cab, kick, toms, vocals and guitar amps (and anything else you want to chuck it in front of.) An absolute classic.