Tutorial: Recording a Two-Way

I love Skype, and I hate Skype.  OK, hate is a strong word, but when Skype doesn’t work, when I find myself battling Skype, I feel like a goalie fighting the puck.  I’m trying to wrestle with it, and make it do what I think it should, rather than what it wants to do.

Skype is a great tool, don’t get me wrong.  It replaces hundreds of dollars of equipment with free software and a free service, and if you have someone on the other end of a Skype call who knows what they are doing, the results can be quite spectacular.  But the service can be frustrating as well, from changes in audio quality mid-call, to the ducking that is inherent when one person talks over another.  There are some solid tutorials on how to set up Skype for podcasting (like this excellent one from The Conversations Network), but in the end, if you record just the Skype call, one person will wind up sounding better and different than the other.

But my friends, there is a better way.  And you can do it with Skype, or just with a phone if you needed to.  It’s called the two-way.

A two-way recording is one where you record each end of the conversation locally, and then combine the two recordings later.  The final output can often sound like you are in the same room as the other person, and will give you the best possible quality for your recording.  Many radio interviews are done this way, with a host in one studio, and the guest in another.  If you have ever listened to NPR, and they tell you that a guest is in a studio at a member station, this is what they are doing.

You already know how to record a Skype conversation so that you can split the audio of yourself and the caller into two separate audio files.  For a two-way, both sides of the conversation will be recording the Skype call, in the same way.  I recommend both parties record the Skype call, and not just their own audio.  This way, if something were to go wrong with either person’s recording, you have the Skype call as a backup.  Also, recording the Skype call will help with any timing drifts.  Even though computers are good at recording audio very accurately, they tend to lose timing in tiny increments.  You won’t notice this much in a single, local recording, but you may notice it when you combine the two recordings.  Recording the Skype call seems to anchor this timing a little better.

OK, so you’re recorded your call, and your podcasting partner has recorded theirs.  The next step is to transfer the audio from one computer to another.  When I first started recording two-ways, I set up an FTP account for the other person to upload the audio to my webspace, which I would then download.  This was fine after some initial hiccups, but since then, I have started using Dropbox to transfer my files around.  Sharing a Dropbox folder allows me to transfer files with various people, and it’s drag and drop simple.  I use Dropbox folders to send voice-over recordings to people as well.

Once you have the other party’s audio, you can combine the two audio files in your editor, each side of the recording getting it’s own separate track (and therefore, it’s own processing and mixing).  Make sure that you have made the files mono, and mix them together in your digital audio software like you would any other audio.

As a quick tip, when you start your recording and before you start your show, have you and your partner count down from five.  When you go to combine your audio, line up this countdown, and you will be very close to the correct timing.  You may have to tweak the timing a bit (moving a track forward or back a half second or less) to really make it sound tight, but you will be very close.

The fun thing about recording a two-way is that you can do this with as many people as you like, at the same time.  You could record three, four, or more people, and combine them all later.  Doing this may seam labor-intensive, rather than just putting out a Skype call, but when you have multiple recordings, all with just one voice on a track, it can make editing out a section of audio a lot easier.  You don’t have to fight the cacophony of voices to find a good edit point, you just edit it like any other two-side conversation.

If you don’t have Skype, or don’t have access to a solid internet connection, and you still want to record a show, you can use a cell phone, and record each end of the conversation.  I did this when I was in Alaska and the internet was problematic, and other times when Skype was having issues beyond my control.  Recording a two-way can free you from the shackles of the single point of technology we rely on all the time, giving us more recording options (recording from the field, for example).

One final thought on the two-way: It isn’t for guests.  You have seen the setup involved in recording a Skype call, and for a two-way, you have to have this ability on both sides of the connection.  Walking someone through the setup may be simple for a regular podcaster, or someone used to recording audio, but for a one-time guest, they may not be up to the task.

I record the Avs Hockey Podcast as a two-way most of the time, since I am away from Denver quite often and don’t get the opportunity to be face to face with my show partner. Jay and I have found that this is the best way to make our podcast sound as good as possible.  You can hear an example of a two-way we recorded here.  You would have to listen pretty hard to be able to tell that we aren’t in the same room.

I hope this helps, and if you have any questions, please ask.  Comments are open.

What to Look For in an Audio In / Out Box.

So now that you have read my arguments against USB mics (at least, most USB mics), and you are going on the straight and narrow path of an outboard device to get audio in and out of your computer, the next question is, what do you look for when you are ready to buy?

There are lots of models with all kinds of features on the market, and some are going to fill the needs of a podcaster better than others.  That’s the nature of n industry geared towards the larger market of the musician than the podcaster.  Walk into a music retail chain store, tell the people in the recording department that you are a podcaster, and watch their eyes gloss over (more on that later).  All you need to do is look at a picture of a radio station studio along side a recording studio, and you can see how the needs differ.

But you know that.  What you want are the features to look for, and what they mean.  Here we go.

 

Direct Monitor:

Direct Monitor

(Alesis io2 Express monitor mix knob)

Direct Monitor allows you to listen to the input of your I/O box directly, without the delay of going through your computer and back.  The processing of audio (analog to digital conversion, software processing, digital to analog conversion) takes time (commonly referred to as latency), and even though that time is measured in milliseconds, it’s enough to sound weird when you listen back.  While most devices provide this function, some do it better than others.  I like having one knob to dial between the direct feed, and the return from the computer. This is especially helpful when recording Skype calls, since your return from the call may be much louder or softer than what you are recording.

Mackie FireWire in section

(Mackie FW In Section)

Having one knob for balance makes your life much easier, but not every manufacturer goes this route. This is the firewire section for the Mackie U.420d mixer, a small format firewire mixer. They don’t make this mixer anymore, and even I’m struggling to find a use for it.  But this isn’t the most intuitive monitor section i’ve ever used.  Keeping it simple will allow you to make quick adjustments to your headphones while you are recording an interview or a show.  Simplicity has it’s place.  I think this is one of those places.

 

USB or Firewire?

This used to be a more debatable topic, but it doesn’t really matter as much anymore.  Firewire was the champion for more inputs and more stability, but the USB 2.0 spec (and the upcoming USB 3.0) pretty much eliminated the concern.

I use a Firewire device for most of my podcasting (the now discontinued Tascam Fireone), but I am not married to firewire.  The next portable box will most likely be a USB box, but a home mixer will probably be firewire (that’s what the market has that match my needs).

Smaller boxes with two to four inputs are usually USB.  There is no reason not to go USB.  In fact, I would lean towards USB simply because of the way both platforms have evolved.  Look at the connector change in the upgrade of firewire (different connectors for FW400 and FW800), and the way USB has kept the same connector and make it backwards compatible.  The USB plug is going to be around for a long time.  I would hedge my bets in that direction, but you aren’t going to lose anything performance wise going the firewire route.  In other words, it’s a personal preference.

 

Class Compliant vs. Drivers:

A class compliant device means that it doesn’t need drivers to work.  These boxes are about as plug and play as they get.  I use an Alesis io2 Express at times, and one of the reasons I got it was because it is class compliant.  I like being about to plug it in anywhere, and it simply works.  After trying to get a few other devices working on a friend’s computer, troubleshooting over the phone, and dealing with various driver downloads, I like the simplicity of the io2 Express.

Alesis io2 Express (index cards not included)

(Alesis io2 Express (index cards not included))

If a device isn’t class complaint, that means it will need drivers.  Drivers can provide extra functionality, but you also need to keep up with new releases and upgrades of the drivers.  This isn’t going to be brought to your attention as simply as most software you use.  Drivers rarely alert you to new versions like your word processor or recording software does.  This all sounds negative, but drivers can provide extra functions as well.  Drivers can be worth the bother, if you want what a device has to offer.

 

Phantom Power (+48v):

Phantom Power

Phantom power is a voltage sent to a microphone through the mic cable.  It is used to power a certain type of microphone (condenser).  Condenser mics are common in all kinds of studios and recording situations.  The other main microphone type (dynamic) does not need phantom power to operate.  There are other microphone types (such as ribbon mics, that can be damaged by sending it phantom power), but the two most common and valuable to the podcaster are condenser and dynamic.

A more detailed discussion of mic types will be coming, and it will be a little more involved than what I should provide in this post.  But if the choice is to have phantom power available or not, get the box with phantom power.  It opens up the choice of microphone you can use.

 

Those are my primary concerns when buying a simple audio I/O device.  A few other things that may or may not be important to you.

- Hi-Z / Instrument – This is for plugging in a guitar, bass, or other instrument in to your computer directly.  The output of an instrument falls somewhere between a microphone and a line level source (CD player, mp3 player).  Most boxes have this. If you want it, look for it. If not, don’t worry about it.

- Phono in – Turntables have special needs when it comes to interfacing with any audio device.  If you have ever seen a phono preamp, you know what I mean.  Records are produced with a specific audio curve designed to keep the needle on the record.  Phono inputs are tailored for this, but would sound awful with a line source plugged into it.  DJ mixers will have phono inputs.  So will some other devices, but they will be labeled as phono inputs.  Don’t assume that you can plug a turntable into just any input.

- MIDI – MIDI is a spec for electronic instruments to talk to each other.  This can be keyboards, rack synths, effects processors, or even lighting consoles.  MIDI does not transmit audio, but rather data and instructions.  If you don’t use instruments and effects outside of your computer, you don’t need MIDI.  (If you want to get a handle on MIDI, I highly recommend the book, MIDI for the Technophobe, by Paul White)

Pro Tools – Up until recently, if you wanted to use Pro Tools, you had to also have Pro Tools hardware.  This could range from the MBox and M-Audio hardware (and their M-Powered version of Pro Tools) to the full Pro Tools HD hardware.  I don’t use Pro Tools (I prefer Logic Pro), but it’s still a standard.  The latest version of Pro Tools (version 9) allows you to use it with any hardware.  But it is not cheap.

 

There are more options out there, like USB and Firewire mixers, and boxes with built in controllers, but this everything you would need to create a podcast.   It’s hard to make blanket recommendations, since your needs may be different from mine.  There are devices for every budget, and knowing what your needs are, and how much you have to spend can help guide you as much as knowing what features to look for.   If you have any questions, please feel free to ask.  I’m here to help.

 

Recording Skype with Audio Hijack Pro

I tend to travel a lot.  It’s a major part of my job, so I don’t get to have a regular podcast studio setup.  So I record almost all of my podcsats over Skype.  I love Skype for what it is (and I will talk about what it is – and isn’t – at a later time), and without it, I would have a much harder time recording my shows.

For my initial recordings, I use a program called Audio Hijack Pro.  I can’t say enough about AHP, and they people who make it have some really useful programs.  Audio Hijack Pro allows you to record the audio output of any program or source on your computer.  From the Rogue Amoeba site:

Record any audio – three simple words to explain Audio Hijack Pro. Record from applications like iTunes, Skype or DVD Player. Record from microphones, Radiosharks and other hardware. If you hear it, you can record it.

They aren’t kidding.  Audio Hijack Pro can record straight off your browser, into many different formats.  And at $32 US, it’s dirt cheap for such a helpful program.  But for our purposes here, we are recording a Skype call.

First, you want to set up AHP to record your Skype call on two separate channels of your audio file.  This will give you your audio on one side of the stereo file you wind up with, and the caller audio on the other.  Skype mixes all incoming calls together, so there is no way to break out separate incoming calls into individual tracks.

You can see on the image below that I have the Skype recording area open, and the input tab selected at the top of the window.  Click on the ‘Advanced….’ button, and you will be presented with a dialogue box:

Audio Hijack Pro Settings

Go ahead and set it up as shown, with the output on the left channel, and the input on the right channel.  If you would prefer to have your audio on the left channel and the caller audio on the right, just swap which channel the input and the output is on.

Now you can record your session. Clicking record will launch Skype (even though AHP can hijack the audio if Skype is already running, it is best to launch AHP first, and let AHP open Skype). Recording will start when the Skype call starts, and stop when the call ends.  If you want to start recording a new file, you can stop recording and start again, or push Split, and AHP will start a new recording in a new file.

I tend to watch the meters in the Effects tab of AHP, just to see what the volume looks like.  You can always edit the files later to adjust each individual track.

Skype Being Recorded

After the recording, you will be able to find your new file in the Recording Bin. I have a lot of files in there right now, and should really clean them out.

Audio Hijack Pro Bin

There are several other tools for recording Skype calls out there, but this is the one I use (partly because it does so much more as well).  If you use something else, can you leave a comment below?  I will try to do a round up of tools available soon.

Next tutorial, I will show you how to split this new file into two separate tracks, so you can edit it individually.  Hope this helps!