Final Project

Logo: 

Videos:

The videos above are examples as to what i will do in my final project, my aim is to record as Dj doing a 20-30 minute set and shoot it in the style as the videos shown above. Before hand i’ll ask the artist to fill out a few questions and in the opening credits show the answers they have given to give the viewer an insight into the artist. Also i will do a short interview with the artist as a promotional tool to boost their profile. Equipement: Lighting equipment Sound Equipment Tripod 5X Cameras I will design an company logo & an artist logo to be projected during the recording of the performance, i have done a first design of how i want the company logo to look, i have included it in this piece of work. Also prior to the recording of the performace i will program the lighting effects so it saves time and gives me time to get them to my specifications, so will get the artist inn prior to it a program the lights to the levels of the music so it is in sync when it comes to the final performance recording.  I will need 5 camera in order to capture various shots of the performance aswell as the crowd. In the editing i have already had an idea of doing a split screen so the viewer can see both the artist & the crowd. Above are examples of what i want my logo to look like  As the audience that I’m aiming this piece of work to will immediately notice similarities within the design on my logo and then will be drawn toward my project as it will be centred around a subject and genre of music they like. This piece of work will not only serve as piece of work for my course and for my portfolio but also as promotional piece for the artist on show. I will put links to his social media sites in the description of the video below when i upload it to youtube. Also as part of creating a brand to represent I’m going to make an audio introduction. I thought of doing this when listening to a defected in the house radio podcast. I thought this would be a good idea as the defected podcast is another company that produce podcasts and live performance videos within the same style and same genre of music. This is also another good promotional tool Company’s who produce similar types of media: Boiler Room TV: Boiler Room is a music platform that hosts intimate live music sessions with an invite-only audience in mostly private locations,^[1] streaming the performances live on the Boiler Room website and through video streaming services such as YouTube and Dailymotion. Recordings are then stored in Boiler Room’s archive, with over 1.5m active subscribers. DJ Mag TV: They record DJ sets from various record lables at various locations across the world and upload them to their Youtube channel and website, they also advertise these videos within there magazine. Defected Records TV: They record sets from various DJs and artist on their label and upload them on to their Youtube channel. Aswell as this they release songs released on the label and interviews with DJs and artist on Defected Records and from various other labels. They also record and release podcast from there radio shows and also upload them to their youtube channel. Genre of music: House:House music is a genre of electronic dance music that originated in Chicago in the early 1980s. It was initially popularized in Chicago, circa 1984. In the mid-to-late 1980s, house music became popular in Europe, and then other major cities in North America, South America, and Australia. Early house music was generally dance-based music characterized by repetitive 4/4 beats, rhythms mainly provided by drum machines,[17] off-beat hi-hat cymbals, and synthesized basslines. While house displayed several characteristics similar to disco music, it was more electronic and minimalistic, and the repetitive rhythm of house was more important than the song itself. Deep House:Deep house is a subgenre of house music[1] that originated in the 1980s, initially fusing elements of Chicago house with 1980s jazz-funk and touches of soul music. The lengths of the tracks are usually around 7 and 10 minutes and lie between 120-130 bpm. This style of house music can often have an acoustic feeling.Beatport is credited in driving the popularity of Deep House,but also mislabeling a lot of artists in the process and giving rise to Future House. Tech House:Tech house is a subgenre of house music that mixes elements of techno with house. The term tech house developed as a shorthand record store name for a category of electronic dance music that combined musical aspects of techno, such as “rugged basslines” and “steely beats,” with the harmonies and grooves of progressive house.[1][2] The music originally had a clean and minimal production style that was associated with techno from Detroit and the UK. As a mixing style, tech-house often brings together deep or minimal techno music, the soulful and jazzy end of house, some minimal techno and microhouse (especially with a soulful feel, such as Luomo’s music), and very often some dub elements. There is some overlap with progressive house, which too can contain deep, soulful, dub, and techno elements; this is especially true since the turn of the millennium, as progressive-house mixes have themselves often become deeper and sometimes more minimal. However, the typical progressive-house mix has more energy than tech-house, which tends to have a more “laid-back” feel. Tech-house fans tend to appreciate subtlety, as well as the “middle ground” that adds a “splash of color to steel techno beats” and eschews the “banging” of house music for intricate rhythms. Multi Camera Set-Up: The multi-camera method used for filmmaking and video production involves two or more cameras running simultaneously from start to finish with no interruptions. This method is used to record many program formats such as talk shows, concerts, soap operas, sports events and many more. Cameras on the set carry out instructions from the director. Cameras A and B are used to shoot close up shots to concentrate on the two most active characters on the set. The central cameras are used to shoot a wider shot capturing all the action in the room. Not all TV productions use this exact layout but the cameras are set out similar to receive the same results. Many programs watched today use the multi-camera technique because it is a very quick and efficient way of capturing multiple shots in one take rather then starting and stopping the action. Advantages of Multi-camera production

1. Quick: Scenes may be shot far more quickly as there is no need for re-lighting and the set-up of alternate camera angles for the scene to be shot again from the different angle.
2. Efficient: This technique saves editing time as it reduces the complexity of tracking continuity issues that crop up when the scene is reshot from the different angles.
3. Consistent: Keeps up consistency of soaps/ live broadcasted programs

 Disadvantages of Multi-camera production Issue with lighting: there is less optimized lighting which needs to provide a compromise for all camera angles. Lack of flexibility: It can get complicated when trying to hide equipment from the other cameras, there is also less flexibility in putting the necessary equipment on scene such as microphone booms and lighting rigs. More expensive: A bigger production team is needed. There we have it the advantages and disadvantages are clear for both single camera and Multi-camera setups, but who’s to say which one is better? They are both useful to different program formats, I wouldn’t say ones better then the other. I have concluded they are just two different techniques with a similar outcome. Sound Editing and Production:

(Source: http://www.soundonsound.com/sos/nov11/articles/recording-live-show.htm)

Stereo Simplicity:

You have to start by considering why you’re doing the recording. That dictates the result you need and, consequently, the techniques and tools you’ll want to use. From there, you can figure out what’s practical, given the constraints of the venue, and decide what compromises and work-arounds will minimise hassle while still achieving a good result.

Recording your band’s gig, so that you can analyse your performance. All you really need is a stereo recording in which you can hear all the parts clearly, and this is pretty much what the current crop of solid-state stereo recorders are designed for. Some, such as the Zoom H4N, provide XLR inputs and 48V phantom power, which means that you can use professional condenser mics. Bear in mind that you might be recording for an hour or more, though: supplying phantom power will run the batteries down very quickly.

Multitrack:

When you hear a major act on TV, radio or a DVD, you’re usually listening to the result of complex multitracked recordings. Live broadcasts might be a basic level, pan, EQ and compression job, but on a band’s DVD the performance will usually have been edited and enhanced — to the extent that you might not even be hearing the bass performance from that night’s show, but instead one from a different night on the same tour!

To achieve professional results, then, you’ll probably want to do some post-production — correcting performance ‘issues’, reinforcing sounds that didn’t come across strongly on the night, picking out crucial lyrics that got lost in the mix, and so on — and that means you’ll want to capture a decent multitrack recording. The nature of the venues you’ll most likely be working in will limit what you can achieve, because of the quality of recording gear available, for example, or constraints imposed by the night, such as five-minute changeovers between acts.

Before you think about specifying and setting up your multitrack recording gear, though, consider where you, pitching up at a venue with your gear, stand in the great scheme of things — because, unfortunately, you’re not exactly the most important person in the venue.  On the technical side, then, their main concern will be what creates a good vibe: FOH sound, lines of visibility to the stage, and maybe a light show. They’ll share your desire that any recordings turn out well, but they’re unlikely to care much about your needs as a recordist until everything else is sorted. If you need to borrow an extension cable, then, and the FOH or lighting guy or any of the musicians need one too, you’re going to have to find your own.

Computer/Recorded:

Once you know what signals you’re dealing with, you can decide what sort of recording system you need. My first piece of advice is to keep your setup compact and simple. It’s perfectly possible to take your laptop, audio interface and ADAT expander units if you need more inputs, but this will be a delicate and cumbersome system, with lots of trailing wires. If anyone inadvertently (or maliciously!) pulls out a Firewire, USB or ADAT cable, your recording will be a lost cause. Also, it’s not unknown for computers — yes, even Macs — to crash, and a re-boot can take a painfully long time. Finally, with all these devices and cables, ground loops will probably rear their ugly, humming heads. They’re usually easy to eliminate by powering a laptop from its battery. Dedicated hardware recorders, then, would be my first choice, where possible, with the 24-track Alesis HD24 (or, better still, HD24XR) and the Fostex D2424LV MkII coming top of my list when I need lots of I/O. These devices offer great value for money, but as we’re not talking pocket-money they’re only really worth investing in if you plan to do a lot of recording. Also, bear in mind that once you’ve added some good-quality looms, some mic preamps and additional mics, you could have laid out a good couple of thousand pounds! In this context, the JoeCo Black Box recorder I mentioned earlier starts to look reasonable. For those recording simpler, smaller gigs, with fewer tracks, something like the Zoom R16, which offers eight-track recording, should suffice.

If you do decide to use a computer, consider putting all your rackmount gubbins in a small rack case. It makes it far easier to get your gear on site and set up, and it provides somewhere for you to tidy away excess cable. You can even place your laptop on top (secure it with non-slip matting or velcro!). At the very least, find a temporary way of securing any stray Firewire and USB cables, even if it must be with tape. I’d also be tempted to use a DAW such as Reaper or Logic that doesn’t require a hardware dongle — even if I were to mix in a different DAW later on. A final tip is to create a project template that minimises the amount of fussing about during the session itself. Label tracks for the main instruments, and assign inputs from your interface. It’s also worth ganging controls so that you can record-enable or monitor-enable all tracks at once. You might need to change a few things (for example, if you plug the vox cable into the guitar channel — easy to do with the pressure of time), but it should still make life easier. In short, do anything you can to take potential problems out of the equation.

Recording & Montering:

 On the technical side, then, their main concern will be what creates a good vibe: FOH sound, lines of visibility to the stage, and maybe a light show. They’ll share your desire that any recordings turn out well, but they’re unlikely to care much about your needs as a recordist until everything else is sorted. If you need to borrow an extension cable, then, and the FOH or lighting guy or any of the musicians need one too, you’re going to have to find your own.One thing it’s well worth doing to avoid clipping is to leave plenty of headroom for vocals — because loud plosives can usually be removed in post-production, but only if they’ve not clipped.

It helps to have good, clear metering, as the monitoring environment will be difficult, at best. One thing I do like about computer-based setups is that the on-screen metering can be large, clear, scrollable and user-configurable.

Your monitoring setup itself may vary from venue to venue, but your options will always be limited. If you’re lucky, you may be able to run your system in a small room tucked away somewhere, where you could even set up a pair of speakers, but that’s a rare situation in my experience. More likely, the only place available will be within the live area, probably somewhere near the FOH desk. A decent set of closed-back headphones with good isolation is essential here, because, at best, without good isolation, you’ll get a sound you can’t monitor accurately with, polluted as it is by the sound in the room; and at worst, you’ll be tempted to turn up the levels such that it could cause hearing damage!

Testing/Timing:

By the time the band are soundchecking, you need to be ready to check and set your recording levels — so you’ll need to factor in some rigging time before that. For your first time out, find out when the FOH engineer is setting up, and turn up then. Wire everything up, load any project templates, test that your recording system is working (you should have done this the night before, but check it again!), scratch the mics and make sure you’re getting a signal and so on. They should be testing this stuff for the FOH sound, working through each mic and instrument in turn, so make sure you’re there to check you’re getting a decent signal.

Logos:

This another logo i have created

I started off with this picture with is one i took myself at a music event

The filters I have used over the orignal image are to give the viewer an in sight into the type of brand we are. Its has very rough, underground look to it which fits in with our brand.

Podcast:

I will now instead record and produce a 10 minute podcast consisting of a 5 minutes interviews with a DJs discussing various topics about the world of house music and various subjects related towards their different experiences within Djing and how they got into it and what inspires them.

I have designed an intro for the podcast using garageband, it will consist of a deep house instrumental on loop with voice recording specifying what the podcast will include, i took inspiration for this from podcast by defected records. I will start of with the music piece intro and then describe what will be included on the podcast such as who i will be interviewing, what the interview will be about and what tracks will be included on during the show.

I will also include a pre recored set from the DJ that will be played over their interview.

I will also ask  a 5 question questionnaire at the end of there interview.

Favourite House Track:

Favourite DJ:

Favourite Mix:

Favourite Venue:

Favourite thing about house music:

I took inspiration for this questionnaire from the television interview series “Inside The Actors Studio” at the end of each episode they ask their guest the same questionnaire.

1. What is your favorite word?
2. What is your least favorite word?
3. What turns you on creatively, spiritually or emotionally?
4. What turns you off?
5. What is your favorite curse word?
6. What sound or noise do you love?
7. What sound or noise do you hate?
8. What profession other than your own would you like to attempt?
9. What profession would you not like to do?
10. If Heaven exists, what would you like to hear God say when you arrive at the Pearly Gates?

These 10 questions originally came from a French series, “Bouillon de Culture” hosted by Bernard Pivot. 

I have researched interviews with DJs online in order to give me a better idea of what type of questions to ask.

http://www.djforums.com/forums/content.php?131-Dj-Mic-One-Interview

Questions: 1. At what point in your life did you realize you wanted to be a club dj? Mic One: It started when I was about 17 years old. After playing with various bands and realizing it wasn’t working for me I bought a set of turntables. Once I became comfortable on the decks I started promoting myself,and that’s when I became a club dj. All in all I pretty much just fell into it.

2. Who Influenced you to be a DJ and a recording artist? Mic One: My main influences are the Plump Dj’s, DJ Infiniti and Massive Attack .Mainly artists with amazing production abilities. I’m a musician before a DJ,but I don’t take either one for granted.

3. What equipment did you start with?(mixing/producing) Mic One: I first but a pair of Gemini belt driven tables They were the most horrendous things.In hind sight it made me a better DJ .Production wise I just started with an Akai MPC 2000and the original version of Reason.

4. What equipment do you use now?(same) Mic One: I am all software based now. I use Reason 3,Cubase SX, and all my sequencing in Acid

5. 5. What was your first record? Mic One: The first record I bought was just a weird ass Sample record. Nothing really significant.

6. How many records do you bring to a gig, and how do you decide which? Mic One: Right now I bring a full flight case, a bag,and my final scratch. Mainly because I play anywhere from an hour set to a 3 hour set.Also, I don’t really believe in planning a set,so I like to be prepared.

7. What is your opinion on Digital Djing, such as CD, Laptop FS and Albeton Live? Mic One: I feel anything digital is ok as long as you use it to it’s full potential,and the software doesn’t mix it for you.

8. Do you ever get nervous before you play? Mic One: If there is a large crowd sometimes I get the shakes during the first mix. Once I get past the first mix I am fine.

9. Mic you’ve been spinning for 6 years, other than your love of music, what keeps your level of interest up? Mic One: Just those tunes that blow my mind. It seems that the breakbeat genre just seems to get better and better every day. It just makes me appreciate being a part of the breaks movement.

10. Do you prefer smaller clubs, or larger venues? Mic One: I don’t really have a preference. I just appreciate being able to play out live.

http://www.djforums.com/forums/content.php?209-DJF-asks-DJ-Vajra

Who or what made you first say “I NEED to be doing that!” when it came to DJing? How long have you been at it? I moved to Colorado in 1996. That’s when I met a guy named Mike Moen aka DJ EK77. He was the first person to show me a DMC battle video, and I was instantly hooked! [It’s been] 16 years now, and I don’t plan on ever stopping. Where did your name come from? ‘Vajra’ represents different things to different cultures; what does it mean to you? I chose it because it means “lightning” in Sanskrit. I have always wanted to be one of the fastest scratchers on Earth. Well that you certainly are. Let’s go back to the beginning: What was your first DJ vinyl? Do you still have it? My first record I ever bought was a Grand Puba “I Like It” 12 inch single. I bought that at Wooden Nickel Records in Ft Wayne, Indiana, where I grew up. When I moved to Colorado, I gave all my records to a DJ friend of mine, so no, I don’t have it anymore. Ouch! One thing I regret is getting rid of a bunch of my vinyl. As an artist, who did you look up to early on, and is there anyone — in music or life in general — that still inspires you today? There’s too many to name!!! I have always loved Michael Jackson, Stevie Wonder, Sly and the Family Stone, Jimi Hendrix, and Led Zeppelin. In the DJ world I look up to guys like Craze, Q-Bert, A-Trak, Z-Trip, Fast4Wrd, and many, many others. I played sports growing up, so I am also inspired by athletes like Michael Jordan and Tim Tebow who have an incredible work ethic. Do you still remember the battle routine from your first competition? Hmmmmmm… I think so! HA! I used to do this Ernie and Bert routine where I would drum on the upfaders and juggle their voices at the same time. I was kind of known for that routine for a while.

Interview Techniques

(http://www.bbc.co.uk/academy/journalism/article/art20130702112133431
Listen to the answers and do not become preoccupied with the questions)

Try to understand and empathise with the interviewee

Engage and converse

Challenge only if a statement demands it, or if it will improve the quality of the conversation.

Face-To-Face Interviewing Tips (http://www.acep.org/Advocacy/Effective-Media-Interview-Techniques/)

Tip 1: Be prepared. Find out exactly what the reporter wants to discuss. Identify two or three key messages you want published. Be aware that a preliminary question, for example, about the protocols for treating abdominal pain, may signal that the reporter is doing a story about a missed diagnosis. In cases like this, it is appropriate to say something like “I can’t comment on the specifics of this patient’s case or what the hospital did, but I can describe the protocols for diagnosing abdominal pain.” Guard against having your statements inadvertently or inappropriately used in legal cases.

Tip 2: Relax and be personable. Keep a good sense of humor.

Tip 3: Support your facts with written materials, if possible. Provide charts, news articles, and data from reputable sources.

Tip 4: Be honest; avoid even the appearance of deception. Dishonesty, or the appearance of it, can severely damage your reputation.

Tip 5: Use body language and facial expressions to help convey your message, even though you’re not on camera. This will help persuade your interviewer, who in turn may persuade the readers.

Tip 6: If you want to speak “off the record” or “for background only,” make sure the reporter agrees. If you feel the reporter needs further clarification, and you want to be sure you won’t be quoted, say this is “off the record” or for “deep background and not to be attributed to me or quoted,” and “is that okay?” If the reporter agrees, then continue. Be aware, a reporter does not have to honor this request.

Radio:

Tip 1: Make sure you can hear questions clearly. If you are even slightly uncomfortable with the volume or connection, say so.

Tip 2: Be sure you can pronounce the interviewer’s name correctly.

Tip 3: Have facts readily available. Consider using note cards.

Tip 4: Use descriptive language to illustrate your points to help the audience visualize what you’re talking about.

Tip 5: If the interviewer’s voice seems distant, resist speaking louder.

Tip 6: Don’t talk over the interviewer’s question.

Tip 7: Be careful about what you’re saying when you’re on the air live.

Tip 8: If you’re taping the interview, and you didn’t make your points clearly, ask to be taped again.

(http://www.skillstudio.co.uk/help/media-skills/media-skills-tips-for-radio-interviews.htm)

Even though time is limited and the natural tendency may be to speak as quickly as possible in order to get your message across, this can have an adverse effect. If you speak too quickly on radio the following things may happen

You will trip up over your words
You will um and err
You will ramble on and on………….

It can be especially nerve racking when you are waiting to be interviewed on ‘live’ radio.

There is that awkward moment when you are waiting for the radio presenter / interviewer to speak to you. The nerves can build up while you are waiting.

So use this time to focus on what the presenter is saying before he/she gets to your interview. You may pick up on some useful information or background context to the interview topic that you can use in your responses to the questions you get asked.

You can also practise these three vocal techniques beforehand – so that it becomes natural to speak in this way when you are being interviewed on the radio.

It is common to feel nervous about being interviewed on the radio. But by using the techniques we have discussed in this article, you don’t have to fear messing up your interview. So, to help give successful radio interviews remember to:

Avoid rushing

Be clear and succinct

Listen carefully

Maintain your energy

These simple but effective radio techniques will help you to stay in control of the interview and deliver your responses with confidence and impact.

It’s easy to lose energy in your voice when you are being interviewed on radio. Nerves can make a voice tense and dull.

And even though you may only be speaking for a very short amount of time, the need to maintain an interesting voice is very important.

To help achieve this, try the following techniques when you speaking on the radio:

Telling a story – if you imagine each of your responses are a short story – this will automatically inject more energy and expression into your voice
Emphasise important words – these are the key words that make up the essence of your sentences and will help you to sound more convincing
Smile – when you smile your voice smiles and it comes across more appealing and personable to the listeners.

Radio Interview Tips

(http://www.westwindcos.com/33-radio-interview-tips/)

Go to a quiet room in your home or office; be sure staff and/or family know you are on a radio interview and cannot be interrupted.

Do not use a speaker phone or a headset; again, it’s about good sound quality.

Practice your sound bites out loud before the interview. Communicate your main points succinctly. Practice this out loud.

\

After looking at various articles from various different blogs and DJ Forums and looking at the different type of questions i have decided on the questions i will be asking.

Script:

Intro music piece

This is underground house radio with your host ….. and today were are with DJ……. we caught up him/her recently and discussed his begins into the DJing, his inspirations, favourite artist, tracks and why he/her is one of the most talented unsigned DJs on the circuit today, we’ll also have todays 5 minute mini mix recored by the girl/man herself/himself featuring tracks from………. so lets get in to it today and hers our interview with DJ…..

• So first things first when did you first start Djing?
• and what first inspired you to start and is there any specific tune or DJ that first got you interested in dance music?
• so how long have you been DJing now?
• what do you see as the next step for you?
• what do you think the state of the state of dance music is now?
• are they any current DJs that you look up to and admire they’re music?
• Who is your favourite current DJ?
• What is your favourite current track?
• what do you think separates you and makes different from all other DJs on circuit today?
• in the word of dance today you see Djs and producers like amine edge& dance taking inspiration from hip hop and fusing it together with house to make a completely different sound to anything else out there and making they’re own distinktive sound with the G-House scene, so  than dance music are there any there any other artist or genres that you take inspiration from when your DJing or creating music.
• and finally were do you see yourself in 5 years time?
• thank you for your time today and if anyone wants to find music or sets from you where can we find it?

Questionnaire:

Favourite House Track:

Favourite DJ:

Favourite Mix:

Favourite Venue:

Favourite thing about house music:

In preparation i have watched various radio interviews online and took inspirations from all of them in terms of the questions that are asked aswell as the style in which the presenters approach them.

Examples:

The reason i have taken inspiration from these interviews is they are shot and presented in a similar way to the way id present them in term of they are mainly based on the music of the artist aswell as they ask what inspires them to make music which is a main part of my interview. Also they play a set from the featured artist over the interview which is something i’d planned to do also. Also the type of music that is being covered is in the same genre as me so and they are very well received so i feel taking inspirations from these particular examples will give me a much better idea on how to present and produce my interview to appeal to the market in the best possible way

Producing a podcast:

Podcasting Equipment: Despite what you might think, you don’t need to spend tons of money on capable recording equipment. Buying microphones and mixers will surely improve sound quality, but there’s no need for a Mackie Firewire Interface — or other high-end components — to record basic audio on your computer. There are countless podcasting kits that typically come with bundled with a microphone, headphones, microphone cable, and a compact mixer

• USB Microphone: In all reality, podcasters should consider purchasing an external microphone, such as Blue Microphones’ four-star Spark Digital ($205) or the classic and affordable Shure SM58 ($136). USB mics, such as Blue Microphones’ Yeti ($150), plug directly into your computer and interface with your recording software, offering superior sound and greater flexibility than your computer’s built-in option.
• Recording Software: While you could opt for high-end recording programs such as Pro Tools, there are several reputable free options out there. The first, Audacity, is an open-source editing and recording program that’s compatible with most operating systems and works well for beginners. Though it dons a rather unflattering exterior, you’ll be able to record live audio directly onto the site, or import a variety of different of audio files including MP3 and WAV. There’s even an a standard crash recovery option. Acoustica Basic Edition is another option, providing freemium audio recording and editing within a well-designed interface. However, you’ll have to pay extra for features like multi-track editing and other advanced settings.
• Mixer: Beginning podcasters don’t necessarily need to purchase a mixer, as any worthwhile piece of recording software allows users to directly record their voice and store it as an audio file. Of course mixers can add benefits, such as greater control and effects options, simply not offered elsewhere. A mixer is valuable, for instance, if you’d like to include music or movie clips.
• Pop Filter: Every hear of popped plosives? Well, pop filters are represent an inexpensive way to decrease explosive breath sounds common among casual vocal delivery. There’s a bevvy of offerings out there, from Generic ($5) to Nady ($25), each of which is designed to eradicate the sudden burst in air pressure and the bassy response that ensues when saying words chock full of “p” and “b.”

Once you’ve obtained the proper gear, you’re ready to begin your recording. Keep in mind the basics of your podcast and try to stay on topic when recording your first episode, and while radio vets can produce quality content with slight preparation, you’re only just beginning. Most professionals have spent years condensing stories and honing their craft in the studio, likely encountering the same technical difficulties as you will along the way. Best to embrace your relative inexperience before the show begins.

Open recording software — Launch your recording software when you’re ready to record. The recording software can be intimidating at first given the novice podcaster will be unfamiliar with the many modular controls, so for now, it’s best to simply ensure your USB microphone can successfully interface with your recording software. While this task should be easy, it’s possible that you’ll encounter several technical problems. Again, that’ why you recruited a friend with sound-engineering experience. However, you can always reference the tutorials for your respective recording software if need be. Both experts and novices have written volumes written about sound engineering and recording.
Troubleshooting — Expect to run into some problems . Everything from technical components to general inexperience will present a challenge for podcasters. Obviously, technical issues can be very frustrating, especially with how mysterious audio production can be when you first start out. Try to treat each challenge you encounter as an opportunity to learn more about the software and sound recording in general.

Step 3: Convert the audio file into podcast

Presto! You have an audio file (or files) for that pilot podcast episode. It’s not really a podcast until it’s online and available to the public, though.

Post production — Not only applicable to podcasters mixing interfaces to create multitrack recordings, post-production editing is key to nearly every podcast. Masterful editing takes time to learn, though, so don’t be concerned if you can’t pull of some of the more advanced procedures and actions in the beginning. As far as basics go, you want to ensure your vocal volumes are roughly the same across speakers and work on tightening dead space between phrases. If you have other audio components, such as miscellaneous sound effects and background music, make sure the volume levels are low enough you can still hear the speakers. You can also work to trim your file to the specified length, or adjust the bit rate and other audio facets for your desired medium. Editing deserves a tutorial on its own, but for most casual podcasters, most of it can be done without expensive software or substantial time. It’s not quite music.

Uploading to a host site — Sadly, there’s really no point in a podcast if you don’t intend to share it with others. To do so, you must host your resulting audio file somewhere online, prior to linking to the file from elsewhere. There are numerous ways to go about hosting your podcast, though same are better than others. Websites like WordPress and Blogger provide a free and simple means for hosting audio files, but they’re limited in terms of flexibility and exhibit a general lack of control. HostGator, though more complicated, offers more advanced features and your own domain at a relatively low cost. However, if you do go with WordPress, the site will automatically add the RSS2 enclosure when you add a link to your audio file to make it possible to use as a podcast. Uploading your audio file will make the necessary RSS2 enclosure tag and can generate your XML feed. Alternatively, check out our roundup of the best free Web hosting sites for other options.

Indexing — Technically, podcasts are XML files that index the MP3 files and metadata that represent each episode. Content management systems like SquareSpace and the aforementioned WordPress, with a plugin like podPress, can generate a podcast XML feed. Regardless of which way you author your podcast’s XML file, be sure to follow Apple’s podcast specifications for best results. Afterward, once your XML file is online, use an RSS validator likefeedvalidator.org to make sure you didn’t make any mistakes before submitting your feed to the iTunes store.
http://www.digitaltrends.com/how-to/how-to-make-a-podcast/

Sound recoring for podcasts:

Schedule:

• May 5th-8th:

Make contact with potential participants

Find recording space

• May 11th-15th:

Practise using recording system

Sort out recording equipment

• May 18th-22nd:

Prepare questions

Record podcast and Music Set

• May 25th-29th

Edit sound of podcast

Upload to soundcloud/youtube

• June 1st- June 9th

Evaluate Project

Submit completed project included final edited recording of podcast, research and evaluation.

Below are links examples of written interviews from similar artist as to the ones i will also interview and i feel will help me with presenting and podcast interview.

http://djmag.com/node/36420

http://djmag.com/content/chase-status-interview

http://www.beatsandbeyond.com/music/interviews/bnb-interview-mk.html

http://www.mixmag.net/feature/amine-edge-dance-feature/

These helped me as they gave me ideas of the types of questions to ask in my podcast as they are centered around the same types of artists and the same genre that my podcast will be using.

Videos to edit for YouTube Submission:

In Preparation for my podcast production I researched into the popularity of podcasts to help me see whether this would be a good route to pursue and whether they are in demand at the moment, I have annotated the best points show with an article I found on http://tunheim.com/ (Link found below) showing the growth in popularity of podcasts using both opinion and statistics to back it up . This reassured me that doing a podcast was a good route to follow and what I could do to make it the best possible podcast.

http://tunheim.com/the-rising-popularity-of-podcasts-why-listeners-are-rediscovering-podcasts/

When I was starting my communications career, a director of digital strategy marched up to me and said, “You need to be listening to podcasts.” Why the heck would I listen to podcasts, I wondered? I thought podcasts were the product of aging geeks looking to spread their uninteresting ideas to the world—essentially the late-night FM show of the Internet generation.

And I’m not alone in my perception of podcasts being the nerdiest form of media. I conducted a quick poll of Tunheim employees asking what words they associate with podcasts. The most common descriptors included “boring, long and uninteresting.”

However, over the last few years, something has changed:

• According to a USA Today article titled, “Remember podcasting? It’s back – and booming,” Apple has surpassed 1 billion subscriptions for podcasts via iTunes.
• Stitcher, a podcast streaming app, has seen its available podcasts grow from 5,000 in 2011 to 18,000 in 2013.
• Plus, a just-released Edison Research reportstated that an estimated 39 million Americans have listened to a podcast in the past month—an all-time high.

If the numbers aren’t proof enough that podcasts are cool, consider that Hannah, Lena Dunham’s character in the uber-popular Girls, even listened to This American Life in a recent episode.

For both marketers and consumers of media it is clear—podcasts are a channel worth consideration.

Who’s creating podcasts?

So if it’s not the nerds in the basement, who is producing the most-listened to podcasts? According to iTunes downloads, public radio is king. Six of the top 10 podcasts in the U.S. are created by public media, such as Radiolab and Freakonomics Radio from WNYC, and NPR’s TED Radio Hour and Fresh Air.

This isn’t surprising considering the long-form, topic-specific nature of the platform. Podcasts can dive into a topic in a way similar to the type of content public radio has produced for years. From the light-hearted look into what it takes to be happy to the in-depth five-month project at Harper High School, one of the toughest schools on Chicago’s Southside, podcasts offer in-depth reporting that is often informative and inspiring.

The public radio connection also makes sense from a funding perspective. NPR has mastered public funding, which is how many podcast producers keep the lights on and the tape rolling.

Who’s listening to podcasts?

Podcast listeners are a highly sought-after demographic for marketers, largely because it’s composed of well-educated, social sharers who find ways to consume commercial-free media.

According to an Edison Research study, the podcast audience skews young (half of all listeners are age 12-34) and affluent (4 in 10 podcast listeners have a household income of at least $75,000). They are more likely than the average American to have consumed media in a non-traditional way (by watching on a computer, cell phone or tablet) and are more likely to be social media users (78 percent compared to 56 percent of the U.S. population).

In short, it’s the type of demographic many marketers are vying for given their disposable incomes and affinity for social sharing.

What’s the future for podcasts?

I predict the popularity of podcasts will continue to grow as the expansion of smart TVs, wearable technology and in-car media become more widespread. People expect to listen to exactly what they want, where they want, without waiting. And with traditional media continually moving more towardnewstainment, podcasts offer a much-needed alternative for those of us who are curious to learn about our world.

I researched house music podcast and found these examples displaying the popularity of the genre of house music and of podcasts, both of which i am covering in my project.

1.

This shows that an independent house music podcast company have a big following without any massive promotions, therefore showing a demand for podcast within the genre.

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This shows that the demand for house music as these 3 podcast episodes all have a high number of listeners.

This shows there is a demand for house music podcast on a higher level as this shows there a multiple podcasts from various different DJs high up in the overall podcast charts on iTunes