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The Podcast Dude

Updated 4 days ago

Rank #192 in Design category

Arts
Education
Design
How To
Read more

A show about how to make a great podcast. If you're interested in learning how to start a podcast, grow your audience, and improve as a podcaster, this show is for you.

Read more

A show about how to make a great podcast. If you're interested in learning how to start a podcast, grow your audience, and improve as a podcaster, this show is for you.

iTunes Ratings

105 Ratings
Average Ratings
101
2
1
0
1

Great Show

By Mars Cell - Aug 31 2019
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The usefulness and integrity of this show is fantastic. Love it. Thanks.

Tons of podcasting value!

By DaroldPinnock - Jul 09 2017
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Aaron is the best. I have learn so much from this guy. The best place to get podcasting value.

iTunes Ratings

105 Ratings
Average Ratings
101
2
1
0
1

Great Show

By Mars Cell - Aug 31 2019
Read more
The usefulness and integrity of this show is fantastic. Love it. Thanks.

Tons of podcasting value!

By DaroldPinnock - Jul 09 2017
Read more
Aaron is the best. I have learn so much from this guy. The best place to get podcasting value.

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Cover image of The Podcast Dude

The Podcast Dude

Updated 4 days ago

Read more

A show about how to make a great podcast. If you're interested in learning how to start a podcast, grow your audience, and improve as a podcaster, this show is for you.

Introduction to Recording Audio for a Podcast

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This week I’m sharing my pre-show checklist: 10 Steps to Recording Great Audio. This show is going to be an introduction to recording an audio track for your podcast. As I was planning today’s show, I was thinking about all the steps I take before I hit record. There’s a lot of preparation that goes into recording a show and making sure everything goes smoothly. I came up with a list of 10 things to do to get a great sounding recording.

Key Takeaways:

  • Raw audio recordings can be fairly large, so make sure you have plenty of space on your hard drive before you start a long recording.
  • Always wear headphones when recording.
  • Notifications will distract your listeners from your content and your message. Turn them off.
  • Don’t scramble to set everything up last minute. Be prepared in advance.

1. Find or create a quiet recording environment.

Turn off fans, AC, heaters, etc. Try to record in a room with minimal echo. You can also use couch cushion or pillows to reduce sound reflections.

2. Make sure your mic is plugged in and everything is switched on.

If you are using a XLR mic and interface, make sure phantom power (or 48v) is turned on if you’re using a condenser mic, or turned off if you’re using a dynamic mic.

3. If you’re using a laptop, make sure you’re plugged in and you have enough disk space to record.

This morning, I started setting up for this podcast, and I wondered how much disk space I had left on my hard drive. It had been a week or two since I checked, and I had been working on a bunch of video and podcast project. I’m glad I checked, because I only had 4gb of free space left on my 250gb hard drive.

Raw audio recordings are fairly large, so make sure you have plenty of space on your hard drive before you start a long recording.

4. Wear headphones while you’re recording.

If you don’t wear headphones, any audio coming from your speakers will be picked up by your microphone which cause an echo on your track that can’t be removed in post. You should also be monitoring yourself while recording so you can hear what you sound like, which will help with mic technique.

Always wear headphones when recording.

5. Set your phone and computer notifications to silent.

Notifications will distract your listeners from your content and your message. Turn them off.

6. Open your recording software, choose mic input, arm track for recording (if necessary).

If you’re going to record with Garageband, check to make sure that there aren’t any plugins enabled. Certain templates have echo and reverb plugins turned on by default, so make sure to disable those before you record. To check, open smart controls (B), hit the little "i" button just left of Master, and scroll down till you see plugins. This is also where you can set input gain levels if your mic doesn’t have a gain knob.

7. Check input gain levels and adjust them to make sure you're getting the best sound possible.

Set the input gain levels so that the loudest peaks of your comfortable speaking voice don’t go higher than -12db on the input gain meter.

For most recording programs or audio meters, this is where green turns into yellow, or about 80% of maximum. The red area of a meter is the danger zone. If your gain is hitting those red areas or getting close to 0, you need to turn down your gain knob or recording volume slider.

8. Make a test recording to see how you sound and check for any problems or audio issues. D

Do this before it’s time to record or stream. Don’t scramble to set everything up last minute. Be prepared in advance.

9. Have an outline prepared for your show.

Bullet points are fine, but decide how you are going to start and end your show, and what talking points you're going to cover before you begin.

10. Don't forget to hit record!

Choose to record uncompressed .wav or .aiff files, or the highest quality option available (24bit audio, 44,100Hz is fine).

After recording, you should export your recording as an uncompressed .wav or .aiff if you’re going to do any additional editing or adding music. These raw recordings are just for editing – after you edit a podcast, the final file should be exported as an MP3 file (either 64, 96, or 128kbps).

Double Enders and Backup Recordings

If you are going to be doing a podcast with a co-host, or interviewing a guest, I recommend having each person on the call record an audio file on their end, and then putting the individual audio files together later in an editing program. This is known as a double ended.

You can also record the audio from the Skype call using a program like Ecamm Call Recorder or Audio Hijack to have as a backup, in case anything goes wrong with one of the local recordings.

You might also be interested in checking out a web app like Squadcast.fm that will record multiple people at the same time.

If you do use Skype, it is a good idea to record the Skype audio to have as a backup, but I don’t recommend using Skype recordings for your podcast.

Skype often introduces artifacts and will drop parts of the audio, but a Skype recording can be a lifesaver if something goes wrong with the local recordings.

People make mistakes, sometimes choosing the wrong mic source or forgetting to hit record. It’s nice to have the peace of mind that a backup gives you.

If you are going to be talking to a co-host or guest over stripe, or streaming live, make sure to turn off any cloud or backup services (like Dropbox or Google Drive) that might hog your internet bandwidth. You’ll get a higher quality connection if you do.

Cool Stuff to Check Out:

May 11 2015

38mins

Play

How to Write Great Show Notes For Your Podcast (And Why It Matters)

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2019 update: I no longer do such intense transcribed show notes with timestamps. Still, this is a great episode that is worth listening to. Also, check out the Simplecast blog for a free episode notes template that I made for you, as well as a tutorial about how to add podcast chapters (chapter titles, timestamps, URLs, and images) to your episodes using the Forecast mac app.

This week I'm joined by special guests Sean and Laci McCabe to talk about how to supercharge your podcast with writing. I've seen how much value listeners get from the show notes for the seanwes podcast, so I wanted to bring Sean and Laci on the show to talk about how to find topics for episodes that will resonate with your listeners, and how to write show notes full of valuable information that will help grow your audience.

In the first half of this episode, Sean shares tips on how to finds topics that resonate with your audience, and how to prepares for episodes by writing outlines. In the second half, Laci shares her tips on writing show notes after the recording stops.

This episode is jam packed with great tips about how to use writing to make your podcast better. I hope it inspires you to take a little more time to prepare for your shows and invest time in writing great show notes that stand alone as valuable posts that your listeners will love and share with other people.

Key Takeaways:

  • Let people come up with episode topics for you. Make them feel like you’re reading their minds by answering their questions.
  • If you don’t have an audience, go where the conversations are happening. Find out what people are struggling with and answer their questions on your show.
  • Save questions and topic ideas in a text document or to-do list app.
  • Script enough to have structure but not so much that you smother spontaneity.
  • Imagine the person reading your show notes never listens to the episode. What takeaways and highlights can you give them in written form?
  • You can repurpose written content for other mediums. It all starts with writing.
  • Show notes don’t have to be an exact transcription. They can be a hybrid of transcription and blog post.
  • People will see you as an authority if you write or podcast about a topic consistently.

Aaron: The most important thing to think about is starting with the takeaway in mind. A great podcast episode has at least one takeaway. I love learning, so a perfect podcast for me is one that tells me right away (either in the title or the description) what the episode is going to be about. We’ll call that the takeaway.

Sean: So for this episode, the takeaway is a two part look at using writing for podcasting: How to prepare an outline for the episode, and then when you’re done recording, how to turn that outline into show notes.

Start With the Takeaway in Mind

Aaron: Depending on the structure of your show, the takeaway can be a large topic with a few sub-topics, or just a very focused look at a single topic.

A 20 minute episode about a single topic can be as valuable as a two hour show that covers a broad range of topics within the context of a larger topic.

I’ve found that starting an outline with a takeaway makes me think about the important sub-headlines for the episode, the important things I need to share with people. Over the course of a week, I’m thinking about the topic, writing, thinking, then writing again.

Sean: I’ve done two shows a week for the past year and a half, but recently, I started doing another podcast weekly as well, so that’s three shows per week. Coming up with topics is challenging, especially when you’re trying to come up with topics that people find valuable, but the real trick is letting people come up with topics for you. You want people to say, “How do you come up with an episode that’s exactly what I was wanting to learn?” You aren’t going to get that by guessing all the time. You’ve got to ask them. You have to ask them what they’re interested in.

The best way to do this is by pointing people to your website. Have an email signup form, so when people sign up, send them a welcome email, an autoresponder with three things:

  • Tell them who you are.
  • Explain what they can expect to get from your newsletter.
  • Ask them what they’re struggling with.

So you’re setting the stage as far as who you are and what they’re going to get from the newsletter, and then you’re asking them what they’re struggling with. They’re going to be eager to share their questions with you, and you can collect those questions and use those as topics for your podcasts. That’s how you create episodes that people will listen to over and over. Your listeners will feel like you’re reading their minds. All of my topics (at least as many as possible) are a direct response to someone’s question.

Let people come up with topics for you. Make them feel like you’re reading their minds by answering their questions.

Aaron: How do you keep track of all these questions?

Sean: I use a to-do list app called Wunderlist. I have a category for topics, and I’ll include titles, notes, and any specific questions that I can bring into the show.

Aaron: So you’ve got this bank of questions and show topics that you update when you get new questions or ideas.

How to Come Up with Topics When You Don’t Have an Audience

Sean: We’ve got a question in the chat from Marinda: How do you come up with topics when you don’t have anyone to ask yet? Should you only start a podcast with an existing audience?

Having an existing audience is great, but podcasting is a great way to build an audience. If you’re not getting those questions from anyone, you need to go out and start those conversations with people.

The autoresponder trick only works if you already have people coming to your website and signing up for your newsletter. If you aren’t getting that traffic, go where the people are. Start conversations. Go on Reddit, Twitter, Facebook, or Instagram, and start conversations with people in your niche.

Go where the people are and observe the things they’re talking about. Find out what they’re struggling with. If they’re posting about it in a public forum, that’s an opportunity for you to use it as a topic for your podcast.

If you don’t have an audience, go where the conversations are happening. Find out what people are struggling with and answer their questions on your show.

Aaron: I collect topics and questions in a app called nvALT. As I’m going through my week, anytime I see someone struggling with something or if someone asks me a question about podcasting or audio, I capture that as a possible topic for a future podcast episode. That gives me a starting point for a podcast episode.

Save questions and topic ideas in a text document or to-do list app.

Use Questions as Titles for Your Episodes

Sean: The title of the episode is the question you’re answering in that show. You aren’t giving away the answer or solution in the title, make the title something people are struggling with, then deliver a solution in the episode. Start with the takeaway and then flesh out an outline, the steps that lead up to the solution.

Script enough to have structure but not so much that you smother spontaneity.

Aaron: I did a lot of writing for my previous episode (How to Edit Podcasts Like a Pro). I spent multiple hours writing the outline over the course of a week, and preparing so much allowed me to focus on doing a great job with my delivery of the content.

Sean: I saw those show notes, and thought they were great. You told me that you had written them before you recorded the show: The outline can also serve as a structure for your show notes.

Prepare for a Solo Show by Writing a Detailed Outline

Aaron: If you’re doing a solo show, the more you write, the more you prepare, the more confident you’ll feel about delivering your message because you’ve thought it through and written it out.

Sean: You will need to script more for solo shows, because you don’t have a co-host to chime in. Don’t script out every single word you’re going to say, but make lots of bullet points. You’ll probably get through the list of bullet points faster than you’d expect, so prepare a little bit more than you think you’d need, but do it in bullet form, not word-for-word.

Aaron: Do you think it’s possible to read a pre-written blog post in a way that makes it sound completely natural?

Sean: I think you can, but your writing style must be very, very natural. That only comes though practice. It comes from writing something, recording yourself reading it out loud, then listening back and re-writing it to fit your “voice” or natural style of speaking.

Repeat that process over and over and your speaking will improve because you aren’t filling space with filler words because you’re reading what you wrote. Your writing will also improve, because you’ll find that some of the things you write aren’t written the way you speak, and it doesn’t sound very natural. Practicing those things will improve both your writing and your speaking.

How to Write Show Notes

Aaron: Laci, what is your previous experience with writing, and how did you get the job of writing show notes for seanwes?

Laci: I don’t have a background in writing as a job, but I wrote a lot when I was growing up and in college. My grandfather was an author that published a few books, and when I was 11 or 12, I did some editing for his books. My previous jobs had nothing to do with writing, but I volunteered to write show notes for Sean when he decided he wanted to hand off that responsibility to someone else. I had no idea what I was getting myself into at the time.

Sean: Laci has written over 10,000+ words for certain episodes. That’s intense.

Aaron: Many podcasters write fairly simple show notes for their podcasts, usually just a description and some links to things mentioned in the show. The show notes for seanwes episodes are much more detailed: They’re part transcription, part blog post, and part e-book.

Provide Value to Your Audience through Writing

Sean: We had a great question from Pam in the chat: “What’s the benefit of doing these exhaustive show notes? Is the investment worth it?”

Monetarily? No. We’re not making a ton of money from it. It’s about value to our readers and listeners.

There are a few ways that these show notes are beneficial to us, though. First, SEO. If you have a ton of written content on your site, search engines are going to notice. You’re going to show up in Google for all kinds of key words because you wrote them out.

Audio is impenetrable. You can’t scrub through it like on a video where you can hover over the timeline and see what you’re going to get. There’s no way to do that with audio, so having all of that audio content written out makes it more accessible, not only for search engines, but for humans.

The other thing is that we have deaf people in our audience. Writing exhaustive show notes allows them to read and enjoy the content.

Also, some people prefer to read a blog post instead of listen to a podcast. Maybe there’s a stay-at-home mom in our audience that doesn’t have an hour to listen to the podcast. Something we’ve started doing recently is what we call highlights and takeaways.
Imagine the person reading your show notes never listens to the episode. What takeaways and highlights can you give them in written form?

Aaron: Do you start by writing those takeaways and highlights before recording the show, or do those come from Laci listening through and pulling them out?

Sean: I used to do more of that myself, I would highlight them in the outline, but Laci has gotten really good at knowing what to put in the highlights and takeaways section. We’ve got a good team rhythm going where I don’t have to be super explicit about takeaways.

Reach the Broadest Audience with Writing

Aaron: Like you said, people consume content in different ways. Those extensive show notes are like a standalone blog post, and writing is never wasted time. People will find it later and read it and get a lot out of it.

Sean: Let’s say someone listened to this episode, maybe in the car or while running. They want to go back later and find certain nuggets without having to listen to the whole episode again. A lot of people that listen to the seanwes podcast go back later and reference things in the show notes. They can do a Google search for the name of the show plus a keyword, and because we do timestamps in the show notes, they can find the place in the episode where we were talking about that thing they searched for.

You can also repurpose written content for other mediums. It all starts with writing.

I talked about this on my podcast in episode #139. Everything starts with writing. If you only have audio, you don’t have written content. If you turn that into written content, you can repurpose it. You can copy that content into an email as a newsletter or a one-off response. You can turn it into a video – that’s what I did for seanwes tv. I took my written content and recorded video and put it on Youtube and reached a totally different audience.

Laci’s Tips for Writing Show Notes

Aaron: Laci, what happens after I finish editing an episode and send it back to you? What does your workflow look like?

Laci: The first thing I do is listen for the point where they get into the topic of the show. There’s usually around five minutes of chatting before they get into the topic of the episode, so I listen for that point and that’s where I start the show notes. I change time stamps when a different person starts talking, or after about a paragraph. If the same person is talking for a long time, I’ll break that up into paragraphs for readability. I think of the scroll of a screen as a page of a book. I don’t want them to have to read a full page of solid text, it’s easier to read if it’s broken up a little bit.

Sean: Maybe we should back up and talk about how we do transcripts. A lot of people might think you just write down every word that was spoken, but that’s not how you do it.

Laci: It’s not an exact dictation of what is spoken. It’s a condensed, readable format of what was said. Using the book example I mentioned earlier; books have dialog, but they’re not all dialog. You wouldn’t want to read 10,000 words of dialogue in a book of dialog, so you want to break that up.

Show notes don’t have to be an exact transcription. They can be a hybrid of transcription and blog post.

Laci: Another thing you can do to make your show notes more readable is eliminating verbal transitions. A lot of times, people will start a sentence with “so”, “yeah” or “and”, or use those kinds of words as transitions between sentences or thoughts. I listen to the sentences that are being said and think about how I can rewrite them to make them more readable.

Aaron: So you’re taking some liberties with how you write what was said. You listen to what the person said, and then you think about how you could re-write it to make more sense or be more readable.

Laci: Sometimes Sean will repeat something for emphasis. For example, he’ll say basically the same thing three in three different sentences. I’ll condense that into a single sentence so that people don’t have to read repetitive content.

Use Emphasis and Pull Quotes to Make Important Content Stand Out

Sean: There are several things we’re doing when writing show notes. We’re breaking up the sections, adding headers, and designating the people talking, and we’re also pulling out interesting parts of the discussion to use as pull quotes.

We do this because some people just skim the content, some are just looking for the gold nuggets, and there are people who will read the show notes all the way through. We want to cater to people at all different levels of engagement. There’s a few ways we do this.

First, we tell a story through the headers. So imagine someone only looks at the headers; what is the message they’re taking away? We also give them some of the best takeaways in pull quote format. Finally, we bold key phrases or takeaways throughout the show notes.

A lot of people will bold text for emphasis. For example, they’ll write, “The thing you really want to do it…” and they’ll bold or italicize the word “really”. When someone is skimming text, the things they’re going to notice are the things that stand out; headers, pull quotes, or bolded text. If you only use bold text for emphasis, that doesn’t tell a story or give your listener a takeaway. I ask Laci, “Would I tweet this? Is this a takeaway in and of itself?” Those are the things we bold.

Laci: We do use pull quotes, but these aren’t the same as pull quotes that you might see in a magazine, where a sentence or quote is pulled from the actual text. We try not to repeat content, so the pull quote is a short summary or a gold nugget. Any headlines, bolded text or pull quotes are takeaways that can stand alone.

We also use switch between italics and regular text to indicate which person is talking at the moment.

Sean: I started doing that so the reader could immediately tell who was talking without having to look back and check for their name.

Writing Builds Authority and Trust

Aaron: Writing extensive show notes also shows my potential clients that I’m familiar with these subjects. No matter what your niche is, if you’re recording podcasts and writing show notes about topics, that demonstrates that you know what you’re talking about and it makes you an authority on that topic.

Sean: If you want to make a name for yourself, write daily. That’s how people see if you’re an authority; they look at your website to see what you’ve written about a certain topic.

People will see you as an authority if you write or podcast about a topic consistently.

Aaron: You’ll also learn more about a topic by preparing an outline and writing show notes. If you start with the mindset of providing something useful and valuable, then you have to go out and learn in order to share that knowledge.

Q&A

Cory Miller asks: Should I invest in dictation software to help with show notes?

Laci: We tried using dictation software, but I stopped using it after two or three months. It was only about 50% accurate, so it was taking me more time to fix the mistakes than it would have if I wrote the words out myself. So depending on how fast you type, it might end up being faster to just do it yourself.

Cool Stuff to Check Out:

Jun 01 2015

1hr 8mins

Play

Is There Money In Podcasting? Seth Godin Talks Monetization And More In "Meta"

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Seth Godin recently released a podcast episode about podcasts on his show, Akimbo. In his episode, he talks about the unexpected growth of podcasting as a form of media, why it's currently difficult to monetize a podcast, why podcasting will continue to grow, and more.

Check it out.

You can find Seth's "Meta" episode here:

Cool Stuff to Check Out:

Sep 05 2019

1min

Play

Shooting My First Video Course Part 1 (with Special Guest Cory McCabe)

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I wanted to make this episode to inspire you if you've ever thought about creating an online course or screencast series. If you've never done it before, there's a lot to learn. You wonder, “How do I plan this thing? How do I write out what I want to say? How do I get good audio and record good video and how the heck do I record screencasts in the 16:9 aspect ratio? (Hint: just buy a 16:9 monitor.) The video guy for the seanwes network, Cory McCabe, joins me today to talk about setting up to shoot a video course. We're going to talk about how the first week of shooting went, the gear we're using, what went well, what didn't go well, and what we'd do differently next time.

Aug 01 2016

1hr 6mins

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How to Get a Job Producing Podcasts

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Most Jobs Don't Have An Official Job Posting

Not everyone can become a great artist, but a great artist can come from anywhere. - Anton Ego, Ratatouille

The best jobs are never advertised. - Unknown

The jobs I linked to in that Twitter thread just the ones I found easily on job boards with a quick Google search.

I know there are more podcasting jobs that aren't being shared on job boards because I've landed a few of them myself over the past 5 years, and that was before the big podcasting boom of 2017.

Podcasting is still a relatively new field, and many people, companies, and brands are only now beginning to think about starting a podcast.

They might want to hire someone to produce a podcast, but they may not know how to put together a job posting, or they may not want to. They might not know which skills are required or what kind of person they need to hire in order to end up with a good podcast.

This is a time of opportunity for motivated podcast producers at all levels.

Q: If I want to be a professional podcast producer, what do I need to know and be good at?

I took a look at the job postings again to get a sense of the most commonly listed skills and requirements, and here's what I think are the essential skills for podcast producers.

Essential Skills for Podcast Producers:

  • Content creation and direction: You should have experience developing shows and episode content, writing scripts and stories, participating in brainstorming sessions, etc
  • Audio recording and editing: You should know how to record audio that sounds good, how to put a project together and edit it in audio software, how to write narration (if necessary), add music, mix and master, and whatever else the production requires
  • Working well with others: You should be able to work with—and possibly manage—producers, writers, audio engineers, editors, freelancers, guests, and so on
  • Ability to work under deadlines: You can get stuff done and shipped on schedule (time management skills)
  • Proactive problem-solving skills: There's going to be stuff they don't know, stuff you don't know, so you should be able and willing to figure it out
  • Leadership skills: This means you have opinions and taste and are comfortable with setting goals and identifying how you'll measure success

Q: What if I don't have all those skills yet?

That's ok, I didn't have all those skills when I started producing podcasts either, and I'm still working on getting better at all of them.

Study those podcast producer job postings for insights into what you should study, but remember that you don't need to be a master of everything to produce a great podcast, and the best producers are always learning on the job anyways.

The important thing is to have a firm grasp on the basics and a willingness to work hard, experiment, take feedback and criticism, and keep learning.

But since this is a prescriptive advice podcast, here are a few things I believe you should focus on if you want to increase your chances of landing a job producing podcasts.

How to Increase Your Chance of Landing a Job Producing Podcasts

1. Learn everything you can about recording and working with audio

Study all the various options for capturing audio in studio and live environments: Microphones, audio interfaces, soundboards, etc.

Practice recording with different gear and in different locations. Learn how the gear and the room or environment changes the sound of a recording.

Learn everything you can about how to manipulate and work with audio once it's been recorded. Learn about editing and post-production: EQ, compression, noise removal, limiting, and loudness metering.

Learn how to organize and share your audio files, and how to backup and archive your finished projects.

You can learn the basics in a few hours, but mastering recording and working with audio is a life-long project. That might sound intimidating, but I promise that it's actually a lot of fun (doing the same thing every day sucks).

2. Learn pro audio software like ProTools, Logic Pro X, or Audition

Many people get started with podcasting using the free or easy tools like GarageBand or Audacity, but if you want to be a powerhouse podcast producer, you should acquire and master a professional DAW (Digital Audio Workstation) like ProTools, Logic Pro X, or Audition.

While it's true that you can make a successful podcast with almost any editing program, the professional DAWs have useful (maybe even essential) features that the free or cheap DAWs don't, including non-destructive and multitrack editing and other features for tweaking or enhancing audio once it's been recorded.

Professional production studios and other podcast producers are also likely using the one or more of these pro DAWs, so if you're serious about producing podcasts, try to master at least one of the three DAWS I listed above (Pro Tools, Logic, or Audition).

3. Learn the most popular technology and software tools used by podcasters

In addition to your DAW of choice, you should also learn and be familiar with (if not good at) all the various apps and software used by podcasters and podcast producers.

That includes:

  • Recording gear & software
  • Writing apps and other collaboration software for communicating with co-workers, developing episode ideas and scripts, show notes, and so on
  • Graphic design apps for developing visual assets
  • Content management systems (websites) and podcast hosting software (like Simplecast)
  • Social media platforms
  • and whatever else podcasters are using to make or grow their shows

You don't have to master every single app or software in each of the categories I listed above, but you should be able to learn and use them quickly if needed.

If you tell yourself you can't (or don't want to) learn new software tools, you're right, and you'll probably have a hard time being successful as a podcast producer. Keep an open mind and be willing to learn.

4. Study and learn from other producers (especially the great ones)

Producing great audio is a craft, and there are many great audio producers to learn from.

Keep your eyes open for them. Seek them out. Follow them on social media, subscribe to their shows, read their articles and books, and take their online courses.

Ask them questions when you get the opportunity, but analyze their work either way. It's a great way to learn about how things are done and may give you some ideas about things to improve or how to do things differently (and hopefully better).

5. Don't wait to get hired, start your career as a producer today

Don't wait for someone to hire you: Go out and start your own show, or help your friends start shows and try to figure out how to make them successful. Do the best you can and try to make work you can be proud of.

A good self-initiated portfolio will go a long way towards convincing other people to hire you, and you'll gain more experience (and probably even learn more) by doing instead of just reading or watching tutorials.

Q: What if I don't live in one of the big cities where these jobs are?

Good news! While it can certainly help to live near a large city like New York City or Los Angeles where there are podcast companies or businesses looking to hire podcast producers, you can help produce podcasts from almost anywhere.

The internet has made it possible to connect with people all over the world and the rise of broadband and fast internet means you can collaborate in real time or easily send audio files back and forth over Dropbox or Google Drive. And you can certainly learn everything you need to learn about podcast production as long as you have access to the internet and a library.

If you'd like to land a gig producing podcasts, I'd encourage you to invest time in developing the skills I listed earlier, but also in networking and connecting with other people in the industry or similar industries. For example, I've learned a lot from writers, web designers, programmers, marketers, managers, folks who work in the film and book industries, and many other kinds of professionals.

Again, don't wait to get hired as a producer. Start studying and producing shows today.

Have a question, or just want to say hi? Send an email to aaron@thepodcastdude.com. I love connecting with other podcasters.

Happy podcasting!

Dec 23 2018

14mins

Play

Don't Listen to This Episode (Just Use Simplecast)

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This episode was originally about hosting a podcast and how to get your show into Apple Podcasts and other places, but the information is outdated now so I'd recommend skipping it.

I now recommend Simplecast for hosting, and here's a tutorial about how to get your show into iTunes (now called Apple Podcasts), Google, Spotify, and the other podcast directories: https://help.simplecast.com/en/articles/2698480-how-to-publish-your-podcast-on-the-popular-podcast-apps

Useful Links:

Jun 08 2015

35mins

Play

How to Be a Podcast Editor: Q&A with Sidney Evans

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Cool Stuff to Check Out:

Questions Discussed in This Episode:

  • How do you find your first clients?
  • Do you need a website and/or tutorials to attract clients?
  • What are people hiring podcast editors looking for?
  • Should we be making tutorials and content to attract clients?
  • Should you invest time in trying to convince people to start podcasts?
  • Should you only work with shows that are aligned with your goals and values?
  • How much should you charge for your services?

Have a question or just want to say hi? Send an email to aaron@thepodcastdude.com. I love connecting with other podcasters.

Happy podcasting!

Nov 11 2018

33mins

Play

RSS Feeds Explained: How to Get Your Podcast Into All the Podcast Apps & Directories

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Q: What is an RSS feed?

An RSS feed is a formatted text document that contains all the important information about your show. It's hosted on a server somewhere (usually public) and has a URL so anyone can view or access its contents. It contains info about your show and your episodes: Things like your show’s title, description, episode titles, and links to the audio files for the episodes.

It is possible to write and update an RSS feed yourself, but it’s time consuming and errors or typos can break things, so managing the RSS feed is usually handled by a podcast host.

Q: Why do I need an RSS feed?

The RSS feed is basically your show. Without it, you’ll just have blog posts or audio files, but no way for people to subscribe and get new episodes unless they visit your website (or SoundCloud page or Youtube channel, etc).

Your show’s feed is what podcast apps and directories (like Apple Podcasts, Google, Spotify, and so on) will use to display your show and episodes in their apps.

People can also bypass the podcast directories and subscribe to your feed directly using any compatible app. Since RSS is an established standard, there are many apps that can subscribe to and display info from RSS feeds. In fact, I use a mac app called Reeder to subscribe to the RSS feeds for multiple blogs and websites.

Q: How do I make sure my new episodes get into Apple Podcasts and the other directories?

In order to get your show into Apple Podcasts and the other podcast directories, you’ll need to submit your show’s RSS feed URL to them. This is almost always done via a web portal, like Apple’s PodcastsConnect website or Spotify’s Podcasters.Spotify.com portal.

Once the podcast directory approves your feed (most places will within 48 hours), they will use the info in the feed to display your show in their directory. They’ll also check the feed regularly for changes and new episodes.

Here's how it works: Your show has an RSS feed and you’ve already submitted the feed url to the directories. You publish a new episode in your podcast host, and some new lines that contain info about the episode are added to your show's feed.

Since the directories are checking your show's feed for updates and new episodes, they see that a new episode has been added, and they use that info in the feed to display the episode in their app.

As soon as the directory gets the new episode and adds it to their app, anyone who has subscribed to the show through that directory will get the new episode as well.

Q: What do I do if my new episodes don’t show up in the directories right away or at all?

As long as you included the required info about your episode when you published it, the directories and apps should see the changes and update pretty quickly, although Apple says it can take them up to 24 hours to update their podcast directory.

If you can’t see the new episode in any of the podcast apps or directories, then it’s likely an issue on your end. Check with your podcast host or whoever manages/updates your show’s feed.

If you can see the episode in all the apps/directories except one, then it’s likely an issue with that directory and not anything wrong with your feed. If you’re concerned, reach out to that directory’s support team and ask if they would mind taking a look.

Q: Can I change podcast hosts or RSS feeds without breaking things or losing my show’s subscribers?

You can move hosts anytime, although it’s easier with some hosts than with others. Most hosts will copy an existing RSS feed and audio files over to their service.

After you have the URL for the new feed that was setup for your show, you’ll need to update the podcast directories so they check your new feed for updates and new episodes instead of the old one. This is usually done through the same web portal that you used to submit the show, although some places require you to send an email. Your host should be able to help if you have questions.

You can check out this article for links and instructions for submitting and updating feeds.

Q: What is a 301 redirect?

The 301 redirect directs anyone who visits the old feed URL over to the new feed URL for your show. It’s kind of like setting up a mail forward.

Your podcast host should allow you to add a 301 redirect to your old feed if you’ve moved your show to a new host and gotten a new feed for your show. If your podcast host doesn't make it easy for you to easily redirect your feed to a new feed, your host sucks.

Q: I’ve read or heard about an iTunes new-feed tag that needs to be added to a new feed. What’s that?

The iTunes new-feed tag just lets Apple know that this is a new feed URL for your show. I’m not sure why they ask for this if you also have to log into PodcastsConnect and update the feed URL for your show there, but they do. Your host should handle this for you (Simplecast adds this tag automatically whenever a show is imported).

Recap:

  • You don’t have to be afraid of RSS feeds. They are just formatted text documents that contain info about your show. You can access or copy them anytime.
  • If you move your show to a new host and get a new feed, you’ll need to redirect your old feed over to the new feed, and also update the podcast directories so they check the new feed for updates instead of the old one. You won’t lose any subscribers if you follow these steps.

Cool Stuff to Check Out:

Have a question, or just want to say hi? Send an email to aaron@thepodcastdude.com. I love connecting with other podcasters.

Happy podcasting!

Nov 19 2018

11mins

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I Just Started a Podcast. How Much Money Can I Expect to Make?

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I got a question from a listener awhile back that I want to answer in today's show. Zack asked: How much money could a podcaster just starting up expect to make?

I like making money. I know you like making money. But making money with podcasting can be tricky. It can be hard, especially if you don't already have an audience. So in this episode, I want to share some strategies for making money with your podcast.

Key Takeaways:

  • There are many ways to make money with podcasting, but you won’t make any money if you quit before you've built an audience.
  • Think about how podcasting plays into your long term goals.
  • If you haven’t started a show yet, or if your show is still new, spend some time thinking about ways to make to make money besides ads or Patreon.
  • Some things are more fun if you can do them without worrying about making money.

I want to start off by saying that it’s ok to want to make money from podcasting, but don’t let a lack of money keep you from doing your podcast.

How Soon Can I Expect to Make Money With Podcasting?

If you’re just starting out and you don’t have a pre-existing large audience), don’t expect to make any money with podcasting in the first few years. That doesn’t mean it’s not possible (it is), but it’s possible that you might not even grow a medium or large audience (1000+ listeners per episode) in the first few years.

Podcasting a long-term investment in your future, not a quick way to make money. That doesn’t mean it’s not worth it; there are many benefits to doing a podcast. I talked more about the benefits of podcasting in episode 27: Setting Acheivable Benchmarks for Your Show

There are ways to make money with podcasting, but you won’t make any money if you quit before you've built an audience.

Don’t Do It For the Money. Do It Because You Love It.

I want to give you an example here. I started playing drums when I was 12 years old (I’m 30 now). I practiced a ton when I was a teenager. I added the hours up and I’ve played for well over 10,000 hours.

I didn’t make any real money with it until I was in my mid twenties, but the first time I got paid to play was when I was in college. A friend’s band asked one of my friends to cover a show for them at a local bar.

We didn’t really have songs prepared, so we just kind of jammed for awhile. We did so poorly that the bar owner gave us money after 30 minutes and told us we didn’t need to play any more songs (ouch). He basically paid us to stop playing.

My point here is that if you’re new to something, it might take you awhile to figure out how to make money with it. Don’t take the lack of money as a sign that you should quit.

Think About Ways Your Podcast Can Make Money

Charli asked: I podcast, but I don’t earn money for it. Should I be?

It’s good that you’re asking this question. Seriously. It’s great that you’re thinking about it. So here’s another story for you.

I’ve been focusing on getting back in shape this year, and last week I had a conversation with my friend and Community member Alex Kelerman about running and diet, and it was really helpful. I started thinking about how fun it’d be to do a podcast where I interview people about health and fitness, you know, like their workout routines and habits, how they eat healthy, what their journey was like, things like that.

But I realized that while it’d be fun to make a podcast about fitness, I don’t have a good plan for monetizing it. If I did do a podcast about fitness, I’d be paying for hosting and investing a bunch of time into it. It’d still be worth it to me, and I know a lot of other people would find it valuable, but there’s something else I have to consider, and that’s opportunity cost.

The time I invest in that podcast would be time and mental energy that I wouldn’t be investing in other things, like the Successful Podcasting course I should be working on. I’d like to spend more time working on the course, not less.

I don’t have the time to do another podcast the right way. I like writing detailed show notes and preparing a ton. I like talking with people on Twitter and answering emails. That stuff takes a lot of time, and I already have this podcast to do. Another podcast would split my focus.

And then there’s the matter of consistency: Would I have time to do another podcast every week? Or would I just do it every couple of weeks or whenever I could get around to it?

While losing weight and being healthy is one of my long term goals, I’m not planning on making a living teaching people how to do it. If I did do a podcast about it, I’m not sure how I’d make money with it other than ads or doing Patreon.

Think About How Your Podcast Fits Into Your Long Term Goals

You have to think about how your podcast fits into your long term goals. This podcast fits into mine because producing podcasts has been my full time job for the past few years. Doing research for my episodes and teaching what I’ve learned helps me get better at my job. I’m also growing an audience of people interested in making podcasts, which is great because I’m working on courses and other products for podcasters.

Even though I’m not making a ton of money with the show right now, I have a plan for how to make money with it in the future. If you aren’t making money yet, start thinking about how you could possibly make money in the future.

Think about how podcasting plays into your long term goals.

How to Make Money With Podcasting

There are some obvious options when it comes to making money with a podcast. These are the ones that probably come to most people’s minds.

Sponsors/Ads

If you want to sell ads, what you’ll be doing is growing a specific kind of audience and finding companies that have products or services that your audience would be interested in.

This is why it’s important to have a narrow focus for your show. If you podcast about a very specific topic, you’ll grow an audience of people who care deeply about that topic, and you’ll have an easier time finding companies whose products or services will be a good fit for that audience.

You’ll also need to have a pretty sizable audience: Most advertisors look for shows that have at least a few thousand per episode, and some want more, although that number depends on the company.

Patreon

Patreon is a crowdfunding platform popular with YouTube content creators, musicians, and webcomic artists. It allows artists to obtain funding from their fans or patrons, on a recurring basis, or per artwork. This is basically asking people to support you out of the goodness of their hearts. This works for many people and is one of the easiest ways to make money with a podcast.

One problem with this is that it satisfies the rule of reciprocity. That is, if you’re providing a ton of value to someone, they feel obligated to repay you in some way. Supporting you through Patreon is one way they can square that debt, that is, not feel obligated to you anymore. If you’re willing to play the long game, instead of accepting donations through Patreon, you could use the rule of reciprocity to drive sales of a product or service you offer.

I’ve never used Patreon before because I have a different plan for making money with my podcast, but it’s a really interesting platform that I’d like to talk more about in a future episode (hit me up if you’re having success with Patreon, let’s talk).

Less Obvious Options for Making Money With Podcasting

Femke asked: If I want to make money from my podcast, but don’t want to engage in sponsorship, what are some other ways I could explore to make money from it?

There are many different ways to make money from a podcast. Selling ads isn’t the only option. There are other, far less obvious things, like using the podcast as a way to get new clients for your business, relationship marketing, building valuable relationships that can lead to full time jobs or collaborations in the future, affiliate sales, and so on.

If you haven’t started a show yet, or if your show is still new, spend some time thinking about ways to make to make money besides ads or Patreon.

Selling Products or Services to Your Audience

If you have a product to sell, for example, coffee, you could do a podcast to grow an audience of people who would be interested in buying your product.

I was on a podcast about coffee recently, talking about my coffee addiction. One of the sponsors of that podcast is a company that sells coffee subscriptions. That company recently started their own podcast, which is a great example of making a podcast to build awareness about the products you have for sale.

Your Podcast Can Help You Sell Client Services or Consulting

This is one way I make money with my podcast. Even though I’m a full-time employee currently, if I wasn’t, I would be offering my services as a podcast producer or editor.

If you offer any kind of client services, you could probably attract additional clients with a podcast.

Consulting is another way to make money with a podcast. If you have expertise, if you know how to do something or solve a problem, there are people out there willing to pay you for your knowledge or help.

For example, I’ve offered consulting services for several years. If you want one-on-one help with your podcast, you can email me and I’ll jump on a phone call with you (for a small fee).

I’ve also recently started offering podcast reviews as a service as well. As much as I love my listeners, I don’t have time to listen to and provide feedback on everyone’s podcast. But I can offer reviews as a service and charge for them.

Affiliate Sales

Amazon, iTunes, and many other companies offer affiliate accounts. You can make money by sending (referring) people to a company that has a product of service for sale.

I mainly do this with Amazon. Since many of the products I recommend are for sale on Amazon, I use affiliate links and get a little kickback from Amazon every time someone buys a product that I linked to in my show notes. It doesn’t cost them any extra, and I get to invest that money into more podcasting gear. Win/win.

Reasons to Podcast Besides Making Money

There are great reasons to podcast that have nothing to do with short-term income. I’ve said before that I think these things are more valuable in the long term. By “these things”, I mean:

#1. Relationships. I think relationships are extremely valuable.

I asked Twitter this morning, “Are you making money with your podcast? If so, how? If not, what are you getting out of it?”

Most of the people that responded said it was more about the relationships they were building with their podcast.

I personally believe that investing in relationships is one of the best long-term strategies. Getting to know a single person can change the entire course of your life.

Even if I knew there was no chance I would ever make money with podcasting, I still believe that the relationships I’d build would make it worth the time investment.

Also, some things are more fun if you can do them without worrying about making money.

#2. You’ll get better at communicating and writing. If you podcast consistently (and prepare for your episodes), you’ll get better at writing and talking which are both extremely valuable skills to have whether you’re looking for a job or trying to attract clients to your freelance business.

#3. You'll become known as an authority/expert in your field. One of the responses I got from Twitter in response to my question about podcasting was from Prescott Perez-Fox, who said, “I needed a way to become “famous” in my field w/o working for a top-flight firm.”

You can become known as an expert in your field by sharing what you’ve learned. Demonstrating your expertise will help you grow your audience.

Q&A

Charli said: Before the Community, I assumed that all legit podcasts have sponsors just because most seemed to. So I could see why people starting out could fall into that trap.

What does “legit podcast” even mean? Just because you don’t have 10,000 or 15,000 listeners, that means you’re not legit? I don’t buy that.

You can have a legit podcast with only 300 subscribers. No one starts off famous. You have to put in the time to get good and grow an audience.

John Loudon asked: Do you think it’s ok to offer a wider range of services than what you talk about on your podcast? For example, my show is about Ecommerce, but I offer a variety of web design services.

It comes down to what you want to do with your time, but I’m all for up-sells. If someone comes to you for an Ecommerce setup and you can sell them design and branding services, great, but I’m all for curation.

I mentioned a fitness podcast earlier in the show. One of the reasons I don’t think I’ll do it is because I don’t really want to be known as the fitness dude. I put myself in the podcasting “box” because that makes it easier for people to decide if they want to follow me or not, but I could very easily do three different podcasts. I could do a podcast about podcasting, I could do a podcast about being a musician, and I could do a podcast about fitness and diet.

Maybe I could grow a decent audience for all three, but that’s splitting my focus, and really, keeping all three from reaching their full potential because my time and attention would be split. If I focused on one instead, I would have three times as much time and energy to devote to it.

Always ask yourself if the thing you’re doing right now is going to help you get you closer to where you want to be in five or ten years. If you don’t know where you want to be in five or ten years, spend some time thinking about it.

Finally, here's a couple more links to check out related to making money with a podcast:

Cool Stuff to Check Out:

Mar 28 2016

35mins

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How to Provide Helpful Feedback

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My first negative iTunes review: Was it helpful? What would I do differently?

How much have you thought about the feedback you provide to the people in your life, and how you present it? It matters more than you might think.

Cool Stuff to Check Out:

Sep 24 2018

12mins

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I Already Make a Podcast: Should I Make Video Too?

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I only recently got comfortable with podcasting. I don't think I'm amazing at it yet, but it doesn't stress me out like it used to. I've been thinking a lot about video lately. Why do so many people spend so much time on YouTube? I watch a few videos here and there, but it seems like the audience for YouTube is much larger than the audience for podcasts. Am I missing something?

I was curious, so I spent a few hours doing research and what I discovered has changed the way I think about video. If you're like me and you've been mostly ignoring video so far, lend me your ear for a few minutes. I'm going to try to change your mind.

Key Takeaways:

  • Sight is our strongest sense: 90% of information transmitted to the brain is visual, and 40% of nerve fibers to the brain are connected to the retina.
  • Visuals are significant drivers in inciting emotion, instigating action, and achieving memory retention.
  • As with podcasting, making a video starts with a message—an idea of what you want to communicate.
  • If you want to grow an audience and reach people, start making videos.
  • If you don’t know what to say, start writing.

I’ve always been a little curious about why so many people are so into Youtube, because I prefer listening to podcasts, audiobooks, and reading. I do like TV shows and movies like anyone else, but when it comes to learning, I prefer reading or audio. But I started wondering: Why have I been ignoring making video for so long?

The other day, I saw an article that John Gruber linked to about a lawsuit where Apple sued Samsung for copying the industrial design of the iPhone.

Apple was saying that the visual design is so similar that people think Samsung phones are the same quality as the iPhone and therefore are more likely to buy them, so Samsung owed them the profits because Samsung was piggy-backing on their design. This group of 50 different industrial designers and companies (the best of the best) wrote this PDF called Professional Designers Amicus Brief and sent it to the courts.

This brief is a fantastic read on how visual design impacts sales and how important it is for things to be designed well, but inside this PDF was a quote from an article from MIT called The Rise of Visual Content Online that blew my mind:

Sight is our strongest sense: 90% of information transmitted to the brain is visual, and 40% of nerve fibers to the brain are connected to the retina.

As a result of this hardwiring, visuals are processed faster in the brain than text. Not only are visuals processed faster, they are processed better. Some suggest that 80%–85% of our perception, learning, cognition, and other mental activities are mediated through vision. Visuals are significant drivers in inciting emotion, instigating action, and achieving memory retention. One interesting experiment showed that when someone hears a piece of information, they will remember only 10% of it three days later.

Adding a picture to that information increases retention to 65%. Using visuals as a primary method of communication continues a longer trend towards short-form content and diminishing attention spans. In 2000, average customer attention span was estimated at 12 seconds, while today’s estimate is 8.25 seconds. Since it only takes humans about 0.25 seconds to process an image, we can still communicate much more information within these shortening attention spans with visual content.”

After reading this, I finally understood. Most people aren’t like me. Most people don’t love podcasts. Most people are visual learners.

To illustrate this point a little bit further, I read an article on Medium called Why a Visual Really is Worth 1,000 Words that had this great point: “The usefulness of text paired with visuals becomes obvious when you try to answer, “What is a circle?” The correct answer is: a circle is a curved line with every point an equal distance from the center.”

Sometimes it’s just easier to convey information with an image. You could just draw a circle! See how much simpler that is?

Is Video the Right Format for All Your Content? No.

Let’s look at a counter argument. An article called Video Is Not the (Only) Future of Media says: “There is a use case for PDF reports, just as there is a use case for text articles, audio clips, video clips, and other formats. For example, text is a lot easier to skim than video or audio content, so it makes sense to opt for that format if you want to give audiences the ability to do so (skim).

Additionally, videos are, by nature, attention hogs. It’s hard for audiences to get full value from the format if they’re not actively watching the visual content. So in return, you’d better be sure that your video is worth the time spent on it, or else it’s just another piece of clickbait. In other words, just because it can be a video, doesn’t mean it has to be a video.

Great digital strategies are a mix of formats optimized for how audiences actually want to read, listen, and watch what you have to say. Before you publish on a subject, ask yourself if it would be easier for your audience to watch or read what you’re trying to communicate. Ask yourself whether a video should be the focus of, or a supplement to, your editorial coverage.

My Experience With Video

I’m still not comfortable with video. I’ve still got a lot to learn. But I’m fooling myself if I can’t admit the truth: Most people prefer watching video instead of listening to podcasts. I talked with my friend Brett Terpstra yesterday and found out that he’s seen at least one of my Youtube videos but he’s never listened to my podcast. He didn’t even know I had a podcast.

He actually introduced me as a YouTube personality when I was a guest on his podcast. I laughed because I’m not trying to be a YouTube personality, I’m just trying to share and teach stuff that I care about. He said that he doesn’t listen to many podcasts, and I know most people don’t. Podcasting is on the rise, but I’m not convinced it’s ever going to be as big as video.

I don’t know that much about Youtube, but I need to learn. I need to start from the beginning. I need to swallow my pride and google “How to get started with Youtube”. I need to tackle learning this medium like I did with writing and podcasting. I still feel weird about YouTube personalities—all those vloggers who wander around and talk about whatever they want to, it just doesn’t appeal to me, but I can’t let that stop me from making videos. If you feel the same way, you need to stop for a second and think about why you’re resistant to making video.

If you want to grow an audience and reach people, start making video.

Yes, you’ll have to Google how to do it if you’ve never done it before. If you’re more comfortable just writing or taking pictures, you don’t have to make videos, but I want to encourage you to. Let’s do it together. I’ll share what I’ve learned, and you tell me what you’re up to. It’s also great practice for online courses, which are a great way to make money and establish yourself as an expert in your field.

How To Get Started With Video

You might be wondering, “How do I do this? I’ve never bought any video gear before. I’ve never shot a video. Maybe I’ve shot a little bit here and there, but I don’t really know how to put a full video together.”

As with podcasting, making a video starts with a message—an idea of what you want to communicate.

Write out your message, plan out the video, and hit record. You can get into shooting B-roll and getting different angles or investing in fancy gear, but it really comes back to what you have to say.

Start with writing. If you don’t know what to say, start writing. You don’t have to publish everything you write, but if you do a little bit every day, you’ll start finding things to share in all different mediums (blog posts, podcasts, and video).

If you aren’t sure what to write about yet, pay attention to the questions people ask you. Pay attention to the stuff you talk about with your friends. Figure out your message and record a short video. Don’t use gear as an excuse not to get started; you can get started shooting video with just a smartphone. I started with an iPhone, a Shoulderpod clip, and a tripod. Good audio is really important so I invested in a little Shure MV88 lighting microphone, but you could also get the Rode SmartLav+ mic for $80, it sounds good too.

If you’ve got an iPhone, get a microphone that plugs into your phone, a smartphone mount and a tripod, you’re good to go. As far as tripods go, you can either get something affordable like the Amazon 60 inch Tripod ($23) or the Moby GorillaPod ($23). If you want a sturdier tripod and you’ve got a little cash to spend, I’ve been very happy with the Slik Sprint Pro 2 ($70). You can buy some LED lights to get better lighting, but you’ve probably got some natural lighting in your room that you can use.

I learned a lot about lighting while shooting a mini-course called Getting Started With Video with Cory McCabe. I learned that you don’t want to have windows behind you when you’re shooting, so keep the windows in front of you and keep the camera between you and the windows so you’ll be lit up properly.

For editing, iMovie is great, and there are other free video editing apps out there too. If you want to record and edit screencasts, Screenflow ($99) is great for that (and for editing regular video, too).

If you want to use your podcasting setup for recording audio, you can pick up a Logitech c920 webcam ($62), which is great because you can clip it onto the top of your laptop or computer monitor or stick it on a tripod. It can act as a standalone camera that can record video straight to your computer while you use your podcasting setup to record audio.

If you already have a DSLR and are curious about microphones and interfaces for that, I actually figured out a way to run a shotgun microphone into an H4N portable recorder and then have a cable that runs out from the H4N straight into my DSLR. That way, the audio from the shotgun microphone was passing through and being recorded straight into the video, which comes in pretty handy if you don’t want to sync up audio files later.

It’s going to take some time to learn everything, but I don't want to ignore video anymore because most people learn visually and I’m not going to get romantic about the medium.

Cool Stuff to Check Out:

Aug 22 2016

20mins

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Shooting My First Video Course – Part 2 (Two-Week Recap)

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This is the second part in a two part series about shooting the video lessons for my upcoming Successful Podcasting course. If you're thinking about making a video or screencasting course, you'll want to listen to this! Cory McCabe and I just wrapped up shooting video and WOW. What a week. I've got the video gear packed into my car, and I'll be heading down to San Antonio in a few minutes to take it back to Sean, but I wanted to take a few minutes and share 7 lessons I've learned in the past two weeks.

Cool Stuff to Check Out:

Aug 15 2016

30mins

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How to Edit Podcasts Like a Pro

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2019 Update: For more tutorials about editing, check out my YouTube channel and Successful Podcasting course (the Logic and GarageBand courses in there will help you get started).

Editing is an essential part of producing a high quality podcast, but editing can be time-consuming and difficult if you aren’t experienced with professional audio editing software like Logic Pro X, Pro Tools, or Adobe Audition.

When I recorded this episode, I was spending roughly 20 hours every week editing podcasts in Logic Pro X. Over the course of the previous 3 years, I had learned a lot about how to edit a podcast quickly with Logic.

When I was new to podcast editing, Youtube tutorials and blog posts were helpful, but I learned a ton just by running into various problems and learning how to solve them.

My goal for this show is to share everything I've learned about audio, editing podcasts, and podcasting in general. Some of the content I want to share is better suited to screencasts (so you can see what I'm talking about), but I can share how I think about editing and some things I've learned that have made the process faster and easier, so that's what I'm going to do in this episode.

Key Takeaways:

  • Editing can be time consuming, so if you have a busy schedule already, consider hiring an editor.
  • Every audio editing program has a learning curve, but I found Logic Pro X is nearly perfect for podcast editing.
  • To streamline the editing process, invest in a good DAW like Logic, Pro Tools or Audition, and then create templates, channel strip templates, and learn all the keyboard shortcuts.
  • Music should serve a purpose other than to just sit in the background and distracting listeners from what you’re saying.
  • Invest in professional headphones made for mixing to accurately hear how your tracks sound.
  • When editing, cut mistakes or anything that distracts the listener from the message or content of the show.
  • Be careful not to edit out inhales. That sounds funny.
  • After you’re finished editing and mixing, export the audio as an MP3 file (either 96, or 128kbps).

Q: What is the Best Program for Editing Podcasts?

In preparation for this episode, I tried editing a podcast in Garageband, Audacity, Reaper, and Screenflow. A typical podcast that I edit had two or three hosts or guests, and intro and outro music.

The results were... disheartening. I found it frustrating and difficult to do the basic tasks that are required for quickly editing and mixing a show. Of the four programs I tried (not including Logic), Garageband seemed like the best option free or cheap option. If you disagree, please write in and tell me why: aaron@thepodcastdude.com

Logic Pro X is what I use and love

Since I'm most experienced with Logic, I'm going to talking about how I edit in Logic. If you want to edit your own show every week, I strongly recommend investing in a copy of Logic Pro X. I know it's an investment at $200, but if you produce and edit a podcast weekly, you'll end up making that money up with the time you save.

Garageband has most of the features that Logic does, but it is missing a few key features that Logic has, including the ability to quickly edit multiple tracks at the same time, which is a huge time saver.

Another feature that Logic has is a mixer view, which lets you see all the plugins for all the tracks in the same place. This view looks similiar to a hardware mixer used for live sound, and makes adjusting volume faders and working with audio plugins easier and faster.

If you've never opened a program like Garageband or Logic before, you may feel overwhelmed by all the different buttons and options available. I would start by watching an introduction video on Youtube.

You'll need to get familiar with creating a project, creating tracks inside the project, recording audio, adding audio files to your project, making edits or "cuts" to those files, moving the pieces of those files (commonly called regions) around, how to access plugins or other effects, and then how to bounce (or export) your project once you've finished making edits.

Here's a screencast I recorded to show the main differences between editing in Garageband and Logic, and some of the features that Logic has that I really like: https://www.youtube.com/watch?v=eW3qBMblR18

How to Reduce Time Spent Editing Podcasts

Here are a few things I’ve learned that have saved me hours of time every week.

1. Create templates.

After you create all your tracks and set up plugin settings, delete the unnecessary audio files and save the project as a template to use next time. You can also do this with channel strip or track settings in Logic (but not in Garageband).

If you are using Garageband, you can save the project as a template by saving the project file and then using it next time you need to record or edit a podcast. You won’t have to set up all the tracks and plugins from scratch which is a huge time saver.

2. Get familiar with keyboard shortcuts.

If you do something with a mouse, check to see if you can do it with a keyboard shortcut instead. This can save you hours over the course of a year.

3. Learn how to quickly zoom in, zoom out, and move things around.

This is often a combination of the shift, cmmd, option or control keys plus the trackpad or mouse wheel.

There’s a keyboard shortcut this is one of my favorite keyboard shortcuts in Logic. It’s shift-f, which select all regions in front of the currently selected region. This has saved me tons of time.

Remember: To streamline the editing process, invest in a good DAW like Logic, Pro Tools or Audition, and then create templates, channel strip templates, and learn all the keyboard shortcuts.

How to Import and Sync Audio Files

Most programs like Garageband, Audacity and Logic support drag and drop importing. So if you have created an empty track in your editing app, you can drag an audio file from your finder or desktop and drop it onto that track wherever you want.

Here's a problem you might run into at some point: People don’t always hit record at the same time. This can make lining up the audio files challenging, especially if you’re editing 3 or more tracks. I learned to solve this with a couple of tricks.

  1. People don’t always start recording at the same time, but they often hit stop around the same time. So if the files don’t line up at the beginning, check the ending.
  2. If you zoom all the way out and look at the wav forms in the tracks, you can see the places where someone is talking, and where they aren’t. I think about the tracks as puzzle pieces, so I zoom out and try to see how they fit together.
  3. You also have to listen and see how the flow of conversation goes. If someone asks a question, there usually isn’t a big gap before the other person responds. If there is, that track may be a little out of alignment.

How to Fix Audio Drift

Tracks recorded on different computers may drift out of sync over the course of an hour, even if both recordings were started at the exact same time. This is just something you have to be aware of when editing a podcast.

Skip to halfway or two thirds of the way through the podcast and listen to see if the conversation is still flowing like it should. You might need to nudge one of the tracks forward or backwards in the timeline.

Adding Music, Intros and Outros

Most podcasts I edit have some kind of intro and outro music, often added after the show has been recorded. The amount of time between the start of the music and where the talking starts is totally up to you, and will depend on the music itself. There isn’t a rule about this stuff, so try a few things out and see what sounds right to you. I wouldn’t play a full three minute track at the beginning of a show, though.

Q: Should I put background music in my podcast?

Personally, I don’t like background music playing while someone is speaking. I’ve heard it used well in certain shows, but they know how to use music effectively for emphasis and breaks.

Music should serve a purpose other than to just sit in the background and distracting listeners from what you’re saying.

How to Use Automation

Automation allows you to create changes over time to volume and various other settings. This is how you reduce the volume level of a music track when the host starts talking. Automation is much easier to understand if you see it in action, so here is a link to an automation tutorial.

You can also automate volume changes if you run into a situation where you or a guest back away from the mic or turn the input gain down or up significantly. I will sometimes use automation to change the volume level for a track at a specific point in a recording if compression isn’t the right solution.

EQ, Compression, Mixing and Mastering

Mixing and post-production are an essential part of podcast editing. The goal of mixing is to make sure the volume of all the tracks are roughly equal, so that listeners can hear everyone clearly without ever having to adjust playback volume.

You can do this using a variety of different plugins that are available in many editing programs. The stock plugins I use most commonly in Logic are the EQ, Compressor, Speech Enhancer (noise removal), and the Adaptive Limiter. I typically use these plugins in that order, although I usually put the limiter plugin on the master track and not the individual tracks.

These are all important plugins, so I’ve recorded some screencasts and gathered some great video tutorials for you to check out if you’re interested in learning how to use these plugins. You can find them in the resources section at the bottom of the show notes for this episode.

I use a few third party plugins for most editing projects. First is Izotope’s de-clipper for fixing clipping. Clipping happens when the input gain for a track is set too high, and the strength of the signal overloads the mic and causes the waveform to distort, or become clipped. This sounds bad, but happens pretty often in tracks that are sent to me for editing.

The second third party plugin I use is also from Izotope, and it’s the Dialog Denoiser. This plugin is magic. It does a great job with automatically removing background noise from a track and making audio sound cleaner.

You can get both of these plugins in the RX Elements bundle, which usually costs $129 but sometimes goes on sale for $29.

Headphones Matter

Not all headphones are made for mixing. Some will alter the way music sounds by boosting or cutting certain frequencies. Many consumer brand headphones aren’t designed to be precise and accurate so much as they are designed to make music sound really pleasant to the ears.

You’ll want to invest in professional headphones made for mixing to accurately hear how your tracks sound.

I recommend the Sony MDR-7506, they’ll give you an accurate idea of how your audio sounds at an affordable price.

Balancing Volume Levels

My goal when mixing a podcast is to get the volume of all the speakers roughly the same. You can do this with a few different plugins, most commonly compressors. I try to get the loudest peaks of each track to land between -9db and -6db, and then I add a few db of gain to the master track or vocal bus with a compressor or limiter.

What is a Bus (or Aux) Track?

The way most audio programs work is that the audio signal from each track is sent to a master track. This master track is what you’ll hear when you're listening to the project, or after you bounce or export the project.

A bus (or aux) track is just another channel strip that sits between the original track and the master track. If you create a single bus track, you can send the output from each of your vocal tracks to that bus track for some processing, and then the audio from that bus track will be sent to the master track.

I’ve started using bus tracks recently. I used to do EQ, compression and limiting on the master track, even though I only wanted to apply those effects to the vocal tracks. I didn’t want to EQ or compress the music, because most of the music tracks I work with have already been mixed and mastered by an engineer.

Now I send my vocal tracks to a bus track before they're passed on to the master track. In that bus channel strip, I have a few plugins: Dialog Denoiser by Izotope, a compressor doing a few decibels of dynamic reduction, and a limiter to make sure the loudest peaks of the audio don’t pass over -.8db.

The cool thing about the bus track is that I can make changes to all the vocal tracks combined before they go to the master track, instead of applying multiple plugins to every vocal track.

What Kinds of Things Should I Edit Out of My Podcast?

I cut mistakes or anything that distracts the listener from the message or content of the show. Most of the time, that’s coughs of other noise in the background of a recording, any false starts or do-overs, or anytime a guest or host stumbles over words before finding what they meant to say. I also remove long pauses unless they are there for emphasis.

When editing, cut mistakes or anything that distracts the listener from the message or content of the show.

Many people think that a podcast should be as tightly edited as possible, with no space or pauses between sentences, but I disagree. A few seconds of silence can be used to give the listeners time to digest something important. Sometimes the silence between sentences can be just as important as the words themselves.

Be careful not to edit out inhales. If you cut out inhales, your podcast will sound unnatural. (People don’t go six minutes without taking a breath in real life.)

You should also try to remove background or line noise as well. There are a few plugins that will reduce background noise (expanders, noise gates) but sometimes you have to manually cut the sections of a track that have background noises.

Exporting Your Finished Project

After you’re done doing editing and mixing, you’ll need to export the master track as an MP3.

If you’re using Logic or Garageband, you’ll need to set the end point for your project before bouncing or exporting it. This is a little gray triangle in the marquee bar that runs across the top of the editing window. This triangle sets where the file will end when you export it.

Q: I see something about kbps when I go to export an MP3 file. What should I set that to?

I recommend either 96kbps and 128kbps. The lower that number is, the smaller the audio file will be, but the audio quality will also be lower. 96kbps and 128kbps are both good options for your podcast, because they will sound good but also won't be big files (which take longer to stream or download).

Another way to get a smaller audio file size is to bounce your files in mono instead of stereo. This just means that you’ll only have a single channel of audio, instead of stereo, which is two channels (left and right). Most music is made for stereo speakers – certain instruments or tracks are panned to come out either in the left or the right speaker.

If you have a podcast that is heavily focused on music, you’ll probably want to use stereo. If your podcast is mostly just talking, mono will be fine and will make your MP3 file size smaller.

After you’re finished editing and mixing, export the project as an MP3 file (either 96 or 128kbps)

Q&A:

Christopher asks: How do I match EQ for additional lines or replacements that might be recorded in a different location from the original recording?

First, if you need to replace lines in a recording, have the person listen to the original recording at try to match the inflection of the lines being replaced. If you can’t record in the same location or with the same microphone setup, it will be difficult (although not impossible) to make the replacement parts sound identical to the original recording. Izotope made an EQ Match plugin specifically for this, but it’s part of the advanced version of RX4, which is $1200.

Ben asks: Have you used Adobe Audition? How does it compare to Logic?

I don’t have a lot of experience with using it, but I have downloaded and played with the demo. It has many of the same features and stock plugins as Logic, so if you’re using Windows, I think it’ll be a good choice.

Cory asks: Even if I can’t hire a professional, should I have someone else listen to my podcast before shipping?

I think that’s a great idea. There have been times where I’ve been doing hours and hours of mixing and mastering and my ears will fatigue and I’ll miss things. If you have a friend who knows about audio and has good ears, it’s always great to get a second opinion about your mix.

Cool Stuff to Check Out:

May 18 2015

45mins

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Let’s Take Your Show to the Next Level (Or Get Your Show Started)

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Cool Stuff to Check Out:

Where Have You Been, Aaron?

Fair question. After launching my Successful Podcasting course and joining Simplecast in late 2017, I immediately dove head-first into my customer success and support role there. In addition to traveling to multiple podcasting conferences and meetups in 2018, I also answered questions for thousands of podcasters about pretty much everything you could imagine.

It was super fun but also more challenging than I was anticipating, and didn't leave me with much creative juice for working on my show, so I would like to apologize for the lack of consistency over the past year (2018). I am going to continue working on this show, but it will be more of a side project for now as I'm putting 110% of my energy into helping Simplecast and our customers be successful.

That being said, the Simplecast team has been making some incredible tools and educational content for podcasters, so I'd encourage you to check out the links I've included in the episode notes.

I'm super excited to share what we've been building for podcasters over the past year, and I hope you'll follow along. As always, if you have any questions, you can reach me at aaron@thepodcastdude.com.

Happy podcasting!

Sep 15 2018

2mins

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Brief Hiatus (When Is the Right Time to Pause a Show?)

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Cool Stuff to Check Out:

Here are the original notes for this episode, published at the end of 2016.

So… I’m pausing my podcast.

The decision to quit or pause a podcast shouldn’t be taken lightly. There are many reasons to stop doing something, and many reasons to keep going even when it’s hard.

In this episode, I want to share why I’m pausing my show, and hopefully give you some clarity if you’ve been thinking about quitting or putting your show on hold as well.

Highlights, Takeaways & Quick Wins:

  • If your relationships or your personal health are suffering, it’s time to stop your podcast.
  • Tell people what you’re doing and why.
  • There’s a huge benefit to sticking with something for a long time, because it takes people time to notice you.
  • Once you’ve had a strong impact on someone, it’s okay to take a break and step away for a while. People won’t forget you.
  • If you want to make massive progress on one project, say no to everything but that one thing.

Why Am I Pausing My Podcast?

A lot of you know that I’ve been working on podcasting courses this year. I’m pausing my show to focus on finishing them and getting them launched. At the beginning of 2016, I said, “I’m going to get these courses done this year.” I started writing this big master course called Successful Podcasting.

I wanted to teach everything you’d need to know to start a podcast: planning a show, recording a show, getting good gear, getting the hosting set up, interacting with your audience, and everything that goes into making a great podcast. I wanted to do videos, screencasts, PDF downloads, checklists, and more.

I got it done (well, almost). I worked really hard on it this year, especially in the springtime. Cory McCabe (the video guy at seanwes) came up from San Antonio to help me shoot all the video lessons in the last two weeks in July.

I wrote something like 30,000 words for the course, and finished shooting all the videos in July (we ended up with 75 video lesson). The next thing was recording a short screencast course called GarageBand for Podcasters. That was six or seven screencasts about how to get started using GarageBand for podcasting. I got that done, too. The very last thing was my Logic Pro X for Podcasters course.

I knew my Logic Pro X course was going to be challenging. I knew it was going to be anywhere from 30 to 50 screencasts about everything I know about editing podcasts in Logic. I’m not quite done with that yet. I’ve recorded 90% of the screencasts and I have the other ones outlined, but life got crazy.

There’s so much I’m still doing: Editing shows on the seanwes network, trying to produce content, interacting with my audience, trying to answer questions for people, making videos, playing in a band...

It’s hard to do big, important work when you’re also doing lots of shallow work. I was trying to do a whole bunch of things and I wasn’t making much progress on the course as a result.

The primary reason for me pausing The Podcast Dude is so I can finish the Logic Pro X course, get it edited, and get all of these things launched. That way, people can invest in them and go through all the lessons at their own pace, on their own time.

I’m not going away completely. I’m pausing my podcast to free up time to finish my courses and get them launched. I’ll be returning to make more podcasts after I’m done with that.

I want to interact more with my audience and create more content that helps them specifically.

When is the Right Time to Pause a Podcast?

The biggest reason to stop podcasting is if your podcast no longer aligns with your long term goals.

If the thing you're podcasting about is no longer something you're passionate about, if you want to do something else, it’s okay to stop the podcast. It’s okay to change, to go from caring intensely about one thing to caring intensely about something else. You’re supposed to evolve as a human.

Don't Sacrifice Your Relationships

I asked my friend Cory, "What would cause you to stop doing a podcast?"

Cory said, “If my wife came to me and said, ‘I feel like our relationship isn’t good, like you’re investing a lot of time in this podcast and you’re sacrificing family time or personal time with me to do this podcast,’ that would cause me to quit the podcast.”

If your relationships or your personal health are suffering, it’s time to pause your podcast.

You might be doing too much. This is a trap a lot of people fall into, at least in America. We fill every second of our time with doing stuff, trying to get to the next level. At some point, you wake up exhausted, you’re out of shape, you don’t feel good about yourself or your life. If your relationships or things that are important to you are suffering, pause the podcast. Put your podcast on hold.

If your audience isn’t growing and you don’t see a way to make money from it, if it’s a huge time investment and you’re not enjoying it anymore, it might be time to quit.

You can change the format so that it takes less time to produce, or you can admit that the investment isn’t worth it for you, and that’s fine. Maybe you should be doing five minute YouTube videos instead. Maybe you should be writing instead.

This comes back to knowing your audience and what they want. I was listening to a writing podcast the other day, and they had their podcast editor on to talk about podcasting. Their guest said that she started a podcast for vapers (people who love electronic cigarettes). She thought, “There’s a huge, strong vaping community. They’re going to want to listen to a podcast.” She started a podcast about vaping and got no response.

She didn’t understand why the show didn’t get any traction. It might have been because she wasn’t well known enough, or maybe she hadn’t done it for long enough (she did it for four episodes and then cancelled it).

She said she realized that her target audience really wanted videos. They wanted to show off their gear and their clouds of smoke (it’s the dumbest thing in the world, but people get excited about blowing these huge clouds of smoke when vaping. Ridiculous.) She said that they wanted video, and the audio podcast just didn’t work for them.

There are some circumstances where video works better than audio.

Some topics just aren’t right for podcasts. For example, it’s really hard to explain how to do audio mixing and mastering on a podcast. It’s so much easier to record a screencast so your viewer can see what you’re doing.

Don’t Quit Just Because You’re Bored

Podcasting is a long term investment. You have to be thinking in terms of years rather than months when doing a podcast.

There are lots of benefits to podcasting: Meeting awesome people, growing your network, building an audience, and even getting clients (depending on what kind of show you’re making).

You’ll learn a lot of valuable skills, but in most cases, podcasting won’t make you a lot of money right away. You won’t get to 10,000 listeners and $5,000/month in sponsorships overnight. Many podcasters won’t ever get to that point, and if that's your only reason for podcasting, you'll probably end up disappointed.

If you’re looking for a quick return on your investment, podcasting is not the way to go. This ties into what I said earlier about your podcast not aligning with your long term goals: If your heart’s not in it, if you don’t really care about this thing that you’re podcasting about, it’s okay to shut it down.

Be Careful of Shiny Object Syndrome

Cory and I talked about this too. He said, “There’s one guy I know who always starts stuff and then stops and goes to something else.”

That’s Shiny Object Syndrome: You get excited about doing a new thing, and then it’s not as fun as you thought it would be or you get bored with it, and you move on to the next new thing. You bounce from thing to thing and never get really good at anything.

I see that happen in podcasting a lot. People get really fired up about the idea of starting a podcast, so they start a podcast. When it doesn’t turn out to be everything they dreamed it could be, when they don’t get Tim Ferriss levels of money coming back from it or tons of people talking to them and investing time in their show, they quit. They forget that getting good at podcasting and growing an audience takes time.

It takes time for people to notice you. You can announce, “Hey, I have a podcast,” one time, and most people aren’t going to notice.

You know what they’ll notice? They’ll notice if you post about your new podcast episode every single week for a year straight.

They’ll notice if you consistently talk about the same subject all the time. There are authors who don’t get noticed until their 10th, 20th, or 100th book.

Sometimes it’s hard to know when you should keep going or when to quit because the thing you’re working on just isn’t working out. Just be careful of Shiny Object Syndrome.

Quit Permanently, or Just Pause for Awhile?

You don’t have to quit permanently. It’s okay to take breaks, like I’m going to do. Bands take long breaks all the time.

There was a band I used to listen to when I was 14 (I think they were called Johny Q. Public). They put out a great CD in 1995, one of the first CDs I ever got, and I loved it.

5+ years later, I was browsing through the CDs at a record store and I came across a new record from this band (I hadn’t thought about them in years). They released a new record and I bought it, because I’d loved their first album many years before.

Once you’ve had a strong impact on someone, it’s okay to take a break and step away for a while. They won’t forget about you.

People don’t forget the people who've had an impact on their life. Momentum is important, and a track record of consistency is great, but sometimes you need to take a break to plan your next move.

Thank You for Listening!

Thank you for coming along with me on this journey. This podcast been one of the coolest and most rewarding things I’ve ever done. I want to say thanks to you for listening, sharing my show online, and for all the encouragement.

I hope I’ve had an impact on your life, encouraged, helped, or inspired you in some way. That’s why I do this.

Finally, I would really appreciate an iTunes review if you haven’t done that yet. It helps other people find the show, and I really appreciate it. Thanks again, and I’ll talk to you again soon!

Jan 01 2017

29mins

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A Day In the Life of an Audio Engineer (with Special Guest Ryan Monette)

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My guest this week is professional audio engineer Ryan Monette. Ryan graduated from Berklee College of Music with a degree in Music Production & Engineering. For the last 4.5 years he's been the Post-Production Audio Engineer on staff at Elevation Church, in Charlotte, NC, where he mixes their global TV show, and has many other responsibilities (boom operator, field recorder, sound designer, audio editor, etc.). You may have heard some of his work, as he sound-designed and mixed the opener video for the Circles conference for the past two years. He even had his own podcast for a short while (TheQueuecast.com). I asked Ryan to come on the show to share his journey towards becoming a professional audio engineer (a job that I've always wanted), and to get him to share some tips for anyone interested in working in audio/video professionally.

Highlights, Takeaways & Quick Wins:

  • Think long term and dream big.
  • If you want to do anything with audio, start by getting a cheap USB microphone.
  • Take advantage of free online courses to learn more about audio engineering.
  • Get started with whatever you have.
  • Your mix may sound completely different in a different environment, so listen with different headphones/speakers in different locations.
  • Master the basics and keep going back to them.
  • If you’re mixing a podcast, make sure your levels are consistent.
  • When mixing, always use a reference track.

Show Notes

Aaron: You graduated from Berklee College of Music with a degree in music production and engineering. For the last five years, you’ve been the post production audio engineer for Elevation Church in Charlotte, North Carolina. You have a lot of jobs there: boom operator, field recorder, sound designer, audio editor, and you mix their global TV show. Do you mix that live?

Ryan: Not necessarily. We can get into that later. There’s a process for that.

Aaron: Some of the creative people here might have heard of some of your work. You sound designed and mixed the opening videos for the past two years of Circles Conference, which I was at. Have you been there for the past two years?

Ryan: I haven’t been personally, no. I have wanted to go. I love it from afar, and I want to go in person.

Aaron: I wanted you to come on this show because when I first got started, I had dreams of being a professional audio engineer. I thought, “How cool would it be to work in audio and get paid for it? That’d be awesome!”

I fell backwards into it by doing podcast editing as a hobby first, then for money, then I met Sean McCabe and ended up working for him full time. I edit podcasts and help out with a ton of other stuff. I asked you to come on the show to share your advice for anyone who’s interested in working in audio/video professionally, and to talk about how you got there yourself. So tell me a little bit about how you got into audio. When did you first realize that this was something you wanted to do?

Ryan’s Journey to Becoming a Professional Audio Engineer

Ryan: I love listening to your podcast, Aaron, and what I love about it is I feel like you and I have a lot of similarities in our backgrounds. You’re a musician, a drummer, and I’m also a musician. I play several things. My primary instrument is bass, but along with that, I started on piano. I picked up bass, and with the bass I picked up guitar. I took some drum lessons here and there as well.

I sing as well. I dabbled in a little bit of everything. I’m kind of a jack of all trades, master of none. I’m okay at a lot of things, but I’m not superb at one thing. Anyway, right around junior high or high school, I started playing the bass. I started playing in little bands here and there. When it came time for college, I had no clue what I wanted to do. All I knew was that I loved music.

Aaron: Same here!

Ryan: I was living in Las Vegas at the time, so I decided, well, everyone has to have that college experience, and I didn’t want to go to college in the same city, so I decided that I needed that “being away from home” experience. I went to the University of Nevada, Reno. I took your basic, general classes, not knowing what I wanted to do. At this time, for my high school graduation, I had received a graduation present of a Macbook Pro.

With that, of course, you get the wonderful iLife suite, including Garageband. As a musician, a whole new world was opened up to me. When I was in a band in high school, I was the gear head—I loved the PA and putting cables together.

I was drawn to that. Once I had this Macbook Pro with Garageband and I had my bass and my guitar in my dorm, I was like, “I can create music!” I figured out how to work it and record myself. I bought a USB microphone, and that world was opened up. When I was there, I had a friend, and her brother went to this school where all they learned about was music. I was like, “Wait, you can do that? You can go to school for just music?”

That’s how I found out about Berklee School of Music. I applied, and you have to audition as well. I applied and auditioned, and the first time I tried, I actually didn’t get into the music school I wanted to go to.

Aaron: This sparks something in my mind. I feel like I might have read an article about Berklee or looked into it and thought, “No, they’re really strict on who they accept, based on your performance.” That was intimidating to me at the time, because I never felt like I was that good of a drummer.

Ryan: It was intimidating for me, too. Clearly, I wasn’t up to par.

Aaron: Yet you went for it. That’s more than a lot of people would do.

Ryan: Yeah. After I finished my first year at UNR, I moved back to Vegas and went to UNLV, the University of Nevada Las Vegas. I took all music classes, forgetting the general ed stuff you need to get a degree. I took all music classes—music theory, because I had never had actual music theory classes, so I thought I needed that. With that, there were some audio classes that I took as well. I was like, “Hey, I like this audio thing.”

At the University of Nevada Las Vegas, I had my first exposure to a formal audio class, where I learned all the proper techniques. Later on that year, I applied and auditioned again for Berklee. I got accepted, and the next year, I moved to Boston and went to Berklee for about three and a half years. Then I graduated. When I went to Berklee, the only thing that drew me as a major was Music Production and Engineering. I naturally loved the gear side of things. I fell in love with recording. I was like, “This is what I want to do.”

Aaron: You got to spend three and a half years there, studying and learning?

Ryan: It is non-stop, 24/7, music, audio, and to be honest, I miss being in that environment so much.

Aaron: That sounds fantastic. I always love setting aside time to take online classes, read books, and listen to interviews about audio.

Think Long-Term

Aaron: You were drawn to the audio engineering stuff, and then you graduated.

Ryan: I can remember a specific time in my life, and I’m pretty sure it was my last semester at Berklee. They went by semesters instead of years. It was in one of my capstone classes. Our instructor asked us the typical, “Where do you see yourself in five years?” question.

Aaron: I love that question now. I hated it when I was 22.

** Think long term and dream big**

Aaron: Plan out where you want to be, because if you can envision it, then you can figure out how to get there. But you have to start by saying, “I want to do this thing someday.” For me, it was, “I want to do work from a laptop. How do I get there?” Now I’m there. So you were 22 and someone asked you, “Ryan, where do you want to be? Where do you see yourself in five years?”

Ryan: At that moment, I was trying to figure that out, naturally, as you do when you’re approaching the end of college. While I was at Berklee, I loved music. I loved recording music, but my absolute favorite class—they only had one of them, but it was the class I yearned for, that I wanted to take and put in all these extra hours for—was audio for visual media, audio for video.

By far, that was my favorite class. The whole class, we were working toward our final project. You choose a five to seven minute clip from a well known movie, and all the audio is completely stripped. You have to recreate everything. That’s all the dialogue, all the foley, all the ambient background, all the hard effects, and so on. You have to connect with a film scoring student there at Berklee, and they have to provide the score. I absolutely loved every aspect of that project and the process. When it came time to decide what I wanted to do with my life, it was between audio engineering at a recording studio, working at Disney as an Imagineer, or doing audio at a church.

I have always been involved with church, playing on worship teams and whatnot, so I also saw myself doing audio for a church. Long story short, I was really privileged to dip my feet in all of those things after college. After I graduated, I moved back to Las Vegas. Eventually, I found an incredible recording studio, probably one of the top two recording studios in Las Vegas, and I landed an internship.

First Audio Engineering Jobs

Ryan: I say “internship” loosely, because your typical studio internship is all the stereotypical grunt work—taking out the trash, doing the coffee, and whatnot. I showed up, and they were like, “You went to Berklee? Berklee guys are cool. Here, hop in this session and help us out.” It was open to me, thrown at me, and next thing I knew, I was assisting on sessions with huge clients, I won’t name drop.

Aaron: You can drop a couple of names if you want.

Ryan: I had a pretty fun time helping out with a session with the famous engineer Eddie Kramer, who is engineering for Carlos Santana.

Aaron: Dang, man! That’s awesome.

Ryan: That was pretty incredible. But while I was there, I had this gut feeling inside of me saying, “This isn’t it.”

Aaron: It’s fine, but it’s not quite right?

Ryan: I could see myself staying there and working my way up, but it didn’t feel right. A few months after I realized that I didn’t want to stay at the studio, I applied and was offered a job at Walt Disney World in Orlando, Florida.

I packed my bags, moved to Orlando, and I was working as a stage technician at the Epcot park. There, they found out that I was an audio guy, so they pushed me toward the live audio side of things. I was mixing shows and bands at Epcot and what was at the time Downtown Disney, now Disney Springs, area. Same thing. Almost as soon as I got there, the same gut feeling came in.

I was like, “This isn’t it. I’m more of a studio engineer. I definitely don’t want to do live stuff.” Although I love Disney, it just wasn’t sitting right. I was only there three months before the next great opportunity came up, which is where I am right now. One of my friends told me about a job opening for this church in Charlotte, North Carolina, Elevation Church. I had actually been following them because of their podcast.

At the time, I was kind of like, “I’ve got a job, whatever.” For some reason, I ended up on their website, looking at the job. I was reading, and I was like, “Wait a minute, they’re looking for someone to do audio for video. That’s what I really want to do!” On a whim, I threw out my resume. Next thing you know, I’ve been here going on five years.

Aaron: Did you mention that you were a podcast listener when you sent in your resume?

Ryan: Yeah.

Aaron: The connections you can make through podcasting is really incredible.

Ryan: It is. And I’ve been working there for 5 years now.

How to Get Into Audio Engineering

Aaron: I want to jump into what you do at your job at Elevation, but let’s pause and do a section on what advice you would tell someone who’s wanting to get started. I wrote a couple of things down here. I think it’s hilarious that you got a Macbook and your first microphone was a USB microphone.

Ryan: Which was the Blue Snowball, by the way.

Aaron: That’s the worst microphone!

Ryan: I had no idea how to use it, either. If I find some of the earliest recordings I did, there are times I’m clipping to the max, square waves.

Aaron: Probably bad mic technique, too. But hey; it got you started!

If you want to do anything with audio, start by getting a cheap USB microphone.

Any USB mics will work for getting started. I like the Blue Yeti, but it’s like $100. The ATR-2100 is fine, too. You just have to get something that can record some audio and start playing with it.

Start playing with Garageband. Start playing with the free programs. Learn how to enable recording on a track, how to set your input device to the microphone, how to set your output device to wherever your headphones are plugged into, whether that’s your mic or your computer. It took me so long to figure that stuff out. I was like, “Why can’t I hear the audio in my headphones? What is going on?”

Ryan: Same here.

Aaron: You have to set input and output, then you have to record enable or do the input monitoring, all that stuff. But start with the USB microphone. Take some basic classes. There are so many great online classes. If you don’t have any money at all, if you’re super broke like I was when I started, watch some free YouTube videos. Read a book.

Ryan: If you go to Coursera.org, they’re a website where you can pay to take online courses and get certifications and whatnot, but they also offer free online courses. They even offer free online courses from Berklee. I’ve seen a music production class there. I’ve taken a free online song writing class.

Check out free online courses, because they can be a pool of incredible knowledge.

I took a photography class on there. Coursera is a great place. They’re great if you want to take free online courses.

Aaron: There are places where you can learn all this stuff. You just have to invest some time. You really just have to start: Don’t wait until you have $500 for an interface and $200 for some professional headphones and microphone. Whether you want to start a podcast, start recording audio for a video, or record and mix a demo for a band, start doing something.

Stop spending all your time thinking about how you can’t do anything because you don’t have certain gear or you’re not in the right place. You’ll learn as you do, especially in audio. You’re going to make a ton of mistakes.

Ryan: That’s how you learn, though! That’s one of the most valuable things I’ve learned in life. You learn from your mistakes.

Aaron: You don’t really learn when everything goes well.

Just Start

Aaron: Any other advice you would give somebody, thinking back on how you got to where you are right now?

Ryan: Honestly, you hit the nail on the head with “just start.” It’s as simple and cliche as Nike, “Just do it.” There is always going to be the next latest craze, the gear, and we’ve all been susceptible to that. We say, “Oh, well, I could do this if I had X.” It starts with the drive and determination, wanting to do it. There’s knowledge out there everywhere. You just have to dig for it.

Chances are, you have at least something you can start with. Record something on your phone.

Aaron: I have a friend who makes some awesome music on his iPhone.

Ryan: Oh, totally. It’s as simple as getting an adapter. You can plug your guitar or whatever into your phone.

Aaron: Kids these days have it so easy!

Ryan: You have Garageband on your phone. I remember when I was figuring this out in high school, and we actually had a four track tape recorder. That was my first start. Get started with whatever you have.

Aaron: What kind of stuff do you do at the church? What’s your day to day life like? Are you there every day, or is it just a couple of days a week?

Ryan: Oh no, I’m definitely there every day. It has been a whirlwind for sure. In the past five years, I have probably played every audio role that there is to be played here. My main thing now is audio for broadcasts, pretty much anything that leaves the church. Our biggest output is the sermon, which goes to a lot of places.

It also goes in the TV episode, which we talked about, which goes locally, nationally, and, I believe, globally as well. That’s a lot of what I’ve done. We also create a lot of films, short films, for our worship experiences, anything you can imagine that’s video and audio related. Audio post production, like we talk about. I’m constantly on video shoots using field recorders, the boom op, anything you can think of. Audio for video, I’ve done it.

The Gear Ryan Uses

Aaron: Let’s talk about your gear a little bit. What kind of stuff are you using most in everyday life? I’ll do a quick recap: I have the Shure Beta 87A Mic as my main podcasting microphone. It’s attached to a Scarlett 18i20 USB Interface (update: I’m now using my Zoom H6 exclusively), which is plugged into a quadcore iMac that’s a couple years old.

Nothing super fancy, but I’m really happy with where I am. I remember wanting all this stuff back in 2011, thinking how awesome it would be to have it. I have a Zoom H6 portable recorder and a couple of SM58 microphones. I’ve been pairing down my gear collection because I’m planning on moving in the spring.

What kind of stuff are you working with? I use Logic Pro X for editing, and then Izotope iZotope RX 5 for cleaning up background noise or fixing clipping. What about you? What’s your day to day favorite gear?

Ryan: We use a lot. There’s a bunch of gear for field recording and then in my office, which is where I’m at right now. I’ll start with my office. Right now, I’m talking into my personal mic, which is a Rode NT1A. It’s very affordable.

The Rode NT1A is a nice beginner mic which works and sounds great, and I use it for a lot of voiceover projects.

Aaron: I like those mics.

Ryan: I’m talking into that right now. We also use the Shure SM7B. We have a nice Neumann that we’ll use for bigger projects. We like to use Universal Audio Interfaces, so I’ve got one of those. They’re great. They’re rock solid. You really can’t beat them.

At our main recording/editing audio work station, we use Pro Tools. That’s very standard, and I’ve been using that for years and years. I use a lot of plugins. I use a lot of the Waves Plugins. I do use RX as well, and that’s the bulk of it. I do a lot of processing, depending on the project.

I have a really huge sound library for if I’m doing narrative pieces that involve sound design, sound effects. I have a great app called Audio Finder, which a lot of electronic musicians use to help them find sounds. I use it to help me find sounds. It’s a nice way to catalogue sounds if you’re a sound designer or anything like that.

You can basically tag all these audio files with meta data, and you can search for sounds by their title. Or, if you type in a word in the search bar, it can pull up things based off the the metadata. If you have notes on something, it can find it. Audio Finder is a great way to find sounds.

I have some other things in here. I have the Artist Mix Controller made by Avid. I use those if I’m automating stuff. I use those a lot, actually, when I’m mixing the sermons. I do a lot of automation for that. If I’m mixing a piece with a music bed or something, I like to automate the music by hand.

It feels more natural, as opposed to clicking and making little dots. That’s the bulk of it here in the office. All of our audio engineers have a nice pair of Focal monitors. I also have another set of monitors I built myself. When I mix TV episodes, I have an output routed to a TV here in my office so I can hear how it translates on TV speakers.

Recording Audio for Video

Ryan: On the front end of things, if we’re doing shoots for videos, we use Sound Devices field recorders. We have three different models: the Sound Devices 788T 8 Channel Recorder, a 702 2 Channel Recorder, and then a 633 6 Channel Recorder. That last one is one of their newer models, which is great.

Sound Devices are steep in price, but they are rock solid.

One of the most trustworthy, well known field recorder brands on the market. That’s what you’ll see on pretty much every big budget shoot in some way. I do a lot of freelance on the side, which gives me the opportunity EPK shoots or BTS shoots for, recently, a show on HBO called Outcast.

Aaron: Outcast? I’ve been seeing that (I watch Westworld).

Ryan: I’m pretty sure it’s the same writers or producers or something. I know it’s the same writer as The Walking Dead. They shoot here in North Carolina, so with a local production company, we’ve done some interviews with some of the cast and crew. It’s been really neat to be on set and see what they’re using. It’s cool to see how similar their world is to what we’re doing day to day, just with more money and more resources.

It’s the same thing. Most of their audio guys have some sort of Sound Devices. A lot of them use the 788 as a backup recording rig, and they’ve got larger multitrack recorders as well, that are also made by Sound Devices. Sound Devices is a great brand. They’re crazy expensive, but when you buy that, you know you’ve basically got it for life.

Aaron: Yeah, I’m looking at the Sound Devices 788T SSD 8 Channel Portable Solid State Audio Recorder. It’s almost $7,000. I love that! So fancy.

Ryan: That SSD does have an internal hard drive. Ours has a hard drive as well, so it’s great, because it has the internal hard drive, but you can also use CF cards. You can record on two different mediums. In case something runs out of space, you have it in two places.

Aaron: This is super professional stuff.

Ryan: Yeah. It is. It’s top of the line.

Aaron: Fantastic. For all the rest of you, just go with the Zoom H4N or the H6.

Ryan: Hey, we do have a Zoom H4N, and we do use that every now and then. Before I came on staff, our first field recorder was the Zoom H4N.

Aaron: If I could start over and go back to before I had any kind of interface at all, I think I would buy myself an H4N or an H6. Not only are they portable field recorders so you can walk around with them—they have little stereo condensor mics on them—but they work as audio interfaces, too. You can plug it into your computer with a USB cable and record straight to your computer if you do any kind of podcasting or stuff like that.

It’s good for the price. Otherwise, the little two channel interfaces are great. They’re about $100 for a good one, but they aren’t portable. You can’t take them to a show or out to a video shoot the way you can an H4N or an H6 or something.

Ryan: Speaking of Zoom, they’ve recently come into the more professional field recording market. About a year ago, they releases the F8, I believe, which is an 8 channel field recorder with 8 mic pres. It’s $999 for something very comparable to a Sound Device. It’s not quite as high-fidelity, but for anyone starting out, you’re really not going to notice the difference.

Mixing On Expensive Headphones or Monitors

Aaron: I was going to ask you this earlier. You mentioned that you had Focal monitors. Did you listen to the episode I did a few episodes back where I talked about mixing on headphones (Episode 69: Do You Need Expensive Headphones to Mix a Podcast?)?

Ryan: Yes, I did.

Aaron: I mix on $10 Panasonics. What do you think about that? You can be totally honest with me. You can tell me that it’s a stupid idea or that it’s okay.

Ryan: I agree to a certain extent. I agree that you should be listening to what you’re making on whatever the majority of people are going to be listening to it on. For a lot of audio engineers mixing music, that’s iPod earbuds, those standard earbuds you get. Something like that. When I mix TV, I have an output routed to a TV in my office, so I can hear it on TV speakers.

I do also believe in mixing on something with some sort of higher fidelity type of monitoring environment, whether that’s nicer speakers or nicer headphones. Naturally, you’re going to hear things differently. The main thing to take away is how things translate.

If you’re listening to something on one source and you make it sound good there, that’s great, but in a different environment, it may sound completely different.

iPhone earbuds may not have the bass that a car stereo has. You want to hear how it translates from one thing to another. That’s why it’s good to at least listen to it on two different sources and not just narrow yourself down to one cruddy thing. That’s good in theory, but again, the key takeaway is translation.

Aaron: Maybe it’s a little bit different for me and I can get away with it because of the consistency of the microphones and the recording environment set we use.

Ryan: Yeah, totally.

Aaron: I think if I was doing more stuff like you are, with videos and clients and all that kind of stuff, I would absolutely be using my higher fidelity headphones.

Ryan: Very true. The bulk of your work is dialogue, podcasts.

Aaron: Yeah, that’s really it. Just dudes talking into a microphone.

Ryan: Yeah. I have done a lot of work here where I’m working in a small studio, but a lot of my mixes have played in auditoriums and arenas.

If you’re working on projects like music or film that have different audio frequencies and spectrums, remember that sound will be perceived differently in different places.

Aaron: How do you even test for that?

Ryan: Here, I at least have a sense of how our auditorium sounds, so I’ve trained my ear to hear in advance and understand how it’s going to translate. For something like when we did a live recording in the biggest arena here in Charlotte, we had a video opener piece. I was on point for mixing that, so basically, I had to work with tech and production to find a time after setup where I can bring my session, copy it onto a laptop, and play it through the PA.

Then I can make any final mix tweaks there in the auditorium or the arena. I perfected it in my studio, and any small tweaks I was able to do in that actual environment. Granted, a lot of the times, we may not have that luxury. There are also great plugins you can buy that simulate different monitoring environments, like Sonarworks.

If you have certain pairs of headphones, you can tell the program, “I have these headphones, now make my mix sound like it’s coming through these headphones or these speakers,” so you can hear how it might translate. In that program, they have a final output like the Beats headphones. You can hear how it might sound on there, super bass heavy.

Aaron: I hear they’re getting better, but I still have never bought any Beats headphones. I probably should (just for testing purposes).

Ryan: There are definitely programs out there to help you see how things translate to different monitors.

On Location Gear

Ryan: We were talking about the gear we use for on location recording. Sound Devices would be our main recorders. For our mics, we use Schoeps. It’s a shotgun microphone, so it’s a narrow polar pattern with good off axis rejection. Schoeps is a great brand. Again, you’ll see this on professional movie sets.

That’s the mic we use. We have some Sennheiser shotguns as well, the ME66, we have a couple of those, which is more their entry shotgun mics. Recently, I rented some of the MKH416.

Aaron: I would like one of those. The Sennheiser 416 is well known as the classic TV shotgun mic, right?

Ryan: Exactly. I rented those out because I wanted to try it out for that reason. The Schoeps is very good and very well known on set as well, but so is the 416. I rented it to try it out. It’s a trusted mic that a lot of people use for these professional things, and it doesn’t really break the bank for what it is.

Aaron: They’re like $1,000, I think.

Ryan: Yeah, and it sounded great.

Aaron: The next mic I get is either going to be that or the Rode NTG 3.

Ryan: I’ve heard a lot of great things about that. I haven’t tried one myself.

Aaron: That’s the shotgun mics we shot my podcasting courses with.

Ryan: Yeah, I know that Sean uses that for all of his videos.

Aaron: I’m excited about getting to go work with those (I’m moving to San Antonio in March or April).

Master the Basics

Aaron: That’s a pretty good run through of your gear. I’m sure you could keep going and discuss a lot more, but I don’t think we need to go into that. It seems like you guys are at a super professional, high quality. You have made big investments in professional gear, which is fantastic. I encourage everyone to strive for that, to aim for that, but like we said earlier, use what you have right now. I don’t have anything close to what you guys have, but I’m still doing my podcast. I’m doing the best I can with what I have.

Ryan: It still sounds great.

Aaron: Thanks! It’s mostly just knowing how to set gain levels and not having a noisy room. It’s crazy how far the basics will get you— everything else is just icing on the cake.

I’ve been watching this video course called Zen and the Art of Work, which I really recommend to everybody. It’s mindfulness training mixed with productivity training, which is such a great combination.

In this course, he says, “So many of the masters continually revisit the basics.” Mastery is staying on a path. It’s not reaching some final goal, it’s more about being with the work and investing in getting better, but also revisiting the basics. He was talking about playing piano. He was like, “A lot of times, I just start by touching the keys, pressing the keys, and then doing basic scales over and over again.”

It’s true. When you get so good at the basics that you don’t have to think about it, that’s when you start to expand and get to that level where people say, “Wow, you’re so good at that. How did you get so good?” You’re like, “That was just doing the basics. It’s not anything fancy.”

It’s so important to master the basics and keep going back to them.

Learning More

Aaron: What’s next for you? How do you invest in yourself and improve? Or are you working so much that you always have more learning opportunities? Do you buy books or courses or follow any websites to learn more about this audio stuff?

Ryan: Honestly? We had a shift at work to where my role has shifted to mainly just broadcasts. That has enabled me to have a little bit more flexibility and free time, so I’ve been doing a lot more freelance work. That’s great, because it energizes me and keeps me engaged. It keeps me from routine. Routine is great.

I love routine, that’s very much my personality, but freelance work keeps things interesting.

For me, it’s all about where and how I can get inspired and constantly feeding that. It’s about feeding my desire for creativity. We’re all creatives. We like to create. We were designed to be creators, really. Everything I try to do is about how I can become a better creator and what I can create next. It’s about finding things that inspire me, really. We touched lightly on a few of the resources that I like, things I’ve learned and places I’ve picked things up.

If you’re interested in audio for post production, there are a couple of great books by Ric Viers. I have two books by him that are really great. The first one is The Sound Effects Bible, and it’s not just sound effects in there. He talks about everything from gear to microphones, basics, setting proper gains, compression, some mixing techniques, etc. He also has The Location Sound Bible.

There are a lot of similarities, but there’s also a lot of talk about gear, shotgun mics, lop mics, recorders, and then he also dives into some of the basics when it comes to mixing, proper gain staging, and so on. Those are a really great pool of knowledge in book form. There are a lot of other books out there, but I have found those two to be really helpful.

Other than that, when it comes to audio for video, it’s a very small, niche field. There isn’t a crazy amount of stuff out there, like there might be for mixing music. For that, you’ve got tons. You’ve got Pensado’s Place, all these people on YouTube putting out channels on mixing, mixing from home, mixing on a budget, etc. There’s plenty of that.

Aaron: Graham Cochrane and Joe Gilder are pretty awesome resources for anyone who wants to start a home studio.

Ryan: YouTube can be a pool of knowledge for anything and everything, too. You have to dig a little bit and do some searching. On the inspiration side, for me, since I love audio for video, Sound Works Collection is a great place. They’ll do mini videos interviewing the sound people that did sound for X movie. Whether it was the last Harry Potter or anything and everything, big budget films, they’ll sit down with the recording people, the sound designers, the mixers…

It’s really cool, because they’ll show footage of them doing stuff on location or the foley artists. It’s cool to see their process. For me, that helps me stay inspired. It gives me ideas to do other things. They have a podcast as well, and that’s great. The videos can be kind of short, maybe 10 minutes or so, but the podcast will go on at length, talking to the audio guys who have made sound for videos possible.

It will also be music composers for movies as well. That’s really great. I found that great not only as inspiration, but to know what and how audio professionals for big budget films get inside their minds, how they’re thinking, and what their process looks like.

It’s neat to see stuff about sound engineers for big movies and realize that we’re not so different.

Dealing With a Broad Loudness Spectrum (Dynamics)

Aaron: I have a nerdy question here. This is about normalizing and compression, I think. Aiya had asked, “I’m so torn about normalizing sound clips. If I’m working on a longer project in segments, would it be better to adjust my peaks manually for the sake of consistency? It’s for a video project.” I’m hearing that there are differences in video volumes. How do you deal with that? Do you do compression? Do you do automation for the different parts? How do you deal with dynamics?

Ryan: It depends on the project. I’ll talk about how I would mix a sermon, because that’s very dynamic. Our pastor will go from whispering, holding his handheld mic close to his stomach, to screaming, holding the microphone, cupping the capsule. Power and respect to him, because it creates a certain atmosphere, which has a powerful effect. That’s what I’m dealing with on a weekly basis.

That dynamic range is tremendous. Keep in mind, this is going to TV eventually. TV has very strict restrictions. It’s not so much on level, but on perceived level. There’s a difference between what you see meter and what you’re hearing. I can talk at length about that, too.

Aaron: Could you give us a super short version? I’m kind of aware of that, but since I just mix in Logic, I’m not sure how to measure it. Is there a way to measure it in Logic? Do you know? Is there a plugin you use?

Ryan: I use a plugin from Waves. It’s a loudness meter, and its just that. It has a lot of presets, so I’ll use the TV standard preset. I’ll use it for ATSE85, and I’ll use it for a dialogue bus. They’ve also got one for a master bus. The standard right there is your average level around -24 dB LUFS, so that’s full scale. If you have a classic meters, your peak would be zero, so that would average metering right around -10. At least for TV, I’ve got a hard limiter at -10 dB, to where nothing can go above that.

The difference between levels on a meter vs. perceived loudness is the differences between what we hear and the actual energy.

In our TV program, we’ll have the sermon, but we’ll also have a talking heads segments, which is dialogue and a music bed. We’ll also go into segments where they’ll go into worship from our live album, which had been mixed and mastered as an album. That thing is slammed. If you look at the wave form, it’s a sausage. If I’m setting all that by the meters alone and they’re all hitting -10, it may look right, but if I look at my loudness meter, that worship segment is going to be off the charts.

There’s so much more content in there. There’s so much going on with all the different frequency ranges as opposed to a dialogue track, which is a narrow field in the frequency spectrum. That’s the gist of it. When it comes to my technique for controlling dynamics, for something like mixing a sermon, if I’m going down my plugin chain, the first thing I naturally have is a high pass filter. I’m rolling off those unnecessary lows that are hogging energy.

The next thing I’ll do is use a compressor, and I’ll set the attack to right in the middle, so not fast or slow, and I’ll have the release time at fast. We don’t want to hear it pumping, letting go. That’s catching my peaks. It’s not doing a crazy amount, but it kind of is. That’s helping do a lot of the bulk compression. Before anything really hits the compressor, I will go through, and as I work my way through the mix, I will clip gain the wave form, so that, say, if he’s whispering somewhere, I might keep that, depending on how I have my compressor set.

Then, if we go up to a part where he’s screaming and my wave form is huge, I will take that down and create those nodes, those dots in the wave form, and drag the actual clip volume down, that gain down. That way, it’s not going into the compressor at this high gain level. It’s hitting the compressor evenly as the rest of it would. That way, it’s not driving the compressor crazy. Then I’ll go through and do some EQ and DSing and whatnot. I might add some more compressors in there, just to grab some of those little things coming through. After that, it’s subtle, just smoothing it out.

Aaron: It is a little bit of both. If she has access to an audio editing program—I don’t know what she’s using for editing. If you can put a compressor on the track, do that. It’s not exactly the same, but I did a YouTube video about how I process podcast vocals, and it’s very similar. For podcast vocals, I start with a Logic noise removal plugin.

Ryan: I actually have my noise suppressor, and I’ll use that later on down in my signal chain. My way of thinking is that if I’ve got all this compression going on, the compression is narrowing that dynamic range, so it’s bringing up that noise floor. I tend to do my noise suppression after the bulk of that compression, because the noise floor is higher and it’s easier to work on a supressor. If that makes sense.

Aaron: I’ve thought a lot about whether you should do the noise removal before or after you add a bunch of gain with a compressor or something, and I can’t think of a good reason that it matters. You can take out the noise before you add a bunch of gain, or you can add a bunch of gain and take out the noise afterwards. Which is better? I don’t know. Anyways, after the noise removal plugin, I put an EQ with a high pass filter, a peak compressor, an RMS or an average level compressor, and then a limiter.

Ryan: Like I mentioned earlier, before I had my long-winded answer, it also depends on what it is you’re mixing—whether it’s music, or a podcast, or something for film.

When it comes to dialogue for film, you want it to sound as natural as possible, but you also want to be able to hear if someone is whispering.

When it comes to that, I’ll still use a compressor, but it will be very, very light. If there’s anything I need to do to meet loudness, that I will automate the volume on my dialogue bus. I’ll bring that up. That way, it sounds a little bit more natural, instead of solely relying on a compressor to do all the work for you.

Aaron: That makes sense. For podcasts, if I notice that there’s a section where someone was talking much quieter, like if a guest backed away and talked like that for four or five minutes and then went back to the normal distance from the microphone, in Logic, I’ll turn that into its own clip. I make a cut on either side of the quiet part, and then, in Logic, you can double click on it and change gain by hitting Control G. Then you can add 3, 4, or 5 dB to it.

That works out pretty well. If it’s every five seconds or I have to do it more than five or six times in an episode, I won’t do the clip gain changes, I’ll just use a compressor.

Look at the overall audio file and see if there are long stretches where you can use automation to change the gain, or change the clip gain.

Common Audio Mistakes Podcasters Make

Ryan: You asked a question that I think would be good to talk about in regards to podcasting. You had asked, “What do you like about podcasts? What common mistakes do you hear people make?” Initially, I read this and thought, “I don’t know,” but I spent some time thinking about it. This is great, because it piggybacks off the loudness thing.

A lot of the mistakes that I hear when it comes to podcasts in regards to audio is the levels and loudness aspect. I’ll listen to some podcasts that sound great, and I’ll put on another podcast where the whole thing is super quiet. Then they start laughing, and it’s really loud. There are some, like mine, where they have a music bed underneath the entire thing, and then sometimes the music bed is so quiet that you hardly know it’s there.

You’re like, “What the heck is that noise in the background?” Sometimes, it’s the opposite. Sometimes, the music bed is way too loud. That’s a few of the things I’ve noticed. A lot of the fixes relate to what we just talked about. It helps to have knowledge of levels and perceived loudness.

If you’re mixing a podcast, make sure your levels are consistent.

One of the biggest things I can recommend for anyone mixing anything, whether it’s music, movies, a podcast, is the importance of having a reference track.

Aaron: Yeah, I don’t talk about that enough.

Ryan: That is huge. Professional audio engineers who mix platinum records still do this. They will pull in a track from a different song that is mixed well and is mixed how they want theirs to sound, and they’ll have it muted in their session. When they want to have a reference to listen to or train their ear, they’ll un-mute it, and they’ll go, “Oh, okay.”

I’m sure you’ve done the same thing as me, where you’ll be so involved in a mix, you’re in it, and you think it sounds great, and then maybe you go away. You go home, sleep, and maybe you come back, and you open it up and you go, “Woah! What was I thinking!” You can get so involved in it that the blinders go up. You get tunnel vision, and you’re not aware to some things.

It’s good to have a reference track or get an outsider’s opinion on a mix.

The main takeaway here is the reference track. That would help with anything, whether it’s the timbre, how you’re EQing, or the loudness. You pull in their track and it’s far louder than yours, and you automatically know that you need to do something about it.

Aaron: That’s a great idea. You can kind of do this before or after. You go through and you edit your whole podcast, get everything set up the way you want, create an extra track, and then find a podcast that sounds really good—This American Life or pretty much anything by NPR—download an episode, drop it into your editing program, and play it, mute it, and see what the difference is. Maybe you need to add some gain with an adaptive limiter or with a compressor, or maybe you can tell that your track sounds way sharper or harsher.

Are there are too many high frequencies or too much bass compared to your reference track? You can adjust those things. I’m so glad you mentioned that. I’ve never thought of that before, and that’s such a good idea.

Ryan: It’s one of those things you don’t think of much, but once you do it, you’re like, “Oh my gosh!” It’s really eye opening and really helpful.

You can find Ryan online at ryanmonette.com, and follow him on Twitter @RyanMonette.

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Dec 19 2016

1hr 8mins

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Improving Your Productivity and Creative Output Through Deep Focus with Shawn Blanc

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Highlights, Takeaways & Quick Wins:

  • For big projects, you need long stretches of uninterrupted time to think and work.
  • Work on building your focus muscle.
  • The first five minutes of focus time are the hardest.
  • Pick a task, pick a time, and do the task at that time.
  • Show up every day and do your best creative work.
  • If you can’t overcome fear, push through it—fear is a sign that you’re doing something that matters.
  • The way you feel about a product doesn’t change how much it’s worth, which is how much the market is willing to pay for it.
  • Protect your morning productivity time and your mental energy by setting out your clothes the night before.
  • Don’t undervalue your products.
  • Pick one thing, do it for two months, and allow yourself to suck at all the other areas of your life—after that, pick a new thing.
  • Pick one action you can do tomorrow morning that will get you closer to the most important goal.

Show Notes:

Aaron: We both really loved Cal Newport’s Deep Work book. When did you get interested in the idea of intense focus and structuring your life in a way to make sure you get your best creative work done? When did you find that book or that idea and really start working on that?

Shawn: I think I found the idea years ago. When I was a creative marketing director, like I mentioned, I was doing 80 hours a week. Part of my schedule was that on Fridays, I would come home and work from home. I wouldn’t be on email or answer the phone. I had an assistant, and anyone who needed to get ahold of me needed to go through my assistant. She would screen anything and see if it was urgent or important for the day. If it was, she’d let me know.

I set up this distraction-free work time for myself on Fridays, because as the director for the marketing and all the creative stuff we were doing, it was on me to make sure that our marketing campaign for this big, end of the year, 25,000 person conference was going to happen. It was all on me. I had to drive that. You can’t do that in 10-minute time blocks scattered throughout your day.

For big projects, you need long stretches of uninterrupted time to think, process, come up with ideas, and work on stuff.

That was my first experience of going, “I have to have this. If I don’t, I won’t be able to do my job, and I will always be in reaction mode.” That was my first experience, and that was in 2008 when I came across that idea. It was born out of necessity for me. Obviously, that’s not new to the world, but it was new to me. When I quit my job and started blogging for a living, I came to that same spot of saying, “I need to set aside time every day to write without distractions, intentionally.”

That has evolved as we’ve had kids, schedules have changed, and seasons of life go up and down. I need uninterrupted stretches of time on a regular basis to do my most important work and to focus on the stuff that’s not urgent today but is very important. If I neglect it, those things will become urgent, or the needle is going to start going backwards and I’m going to start losing ground.

Why Deep Focus Matters

Shawn: Focused time has always been important. Then I came across Cal’s book, So Good They Can’t Ignore You. I read that in 2015. That’s a fantastic book. There was this chapter in there on intentional practice, and that resonated with me so much. It’s very similar to Mihaly Csikszentmihalyi’s book, Flow.

He has a lot of books on very similar topics on finding flow, getting in the flow, whatever. He has one book called Flow and another one called Finding Flow. It’s the idea that not only do you need those times of uninterrupted work, but when you’re in that moment, if you can get into the flow, it’s challenging, it’s hard, etc, but you feel more rewarded. You feel better. You have a higher motivation about the work you’re doing. You feel like you accomplished something.

I don’t know if anyone listening can relate to this. You spend your whole day in reaction mode, bouncing around between your email inbox, your Twitter feed, your Facebook feed, your Instagram feed, back to email, back to Twitter, back to Instagram, back to Facebook, back to email. You’re bouncing around all these inboxes, and then you’re like, “Wow, I just spent four hours. I haven’t done anything.”

Aaron: You read a bunch of short emails, maybe you replied, maybe you sent some tweets, maybe you saw some articles.

It’s so easy to spend all day doing short, quick tasks that don’t really change anything.

Shawn: Exactly. They don’t change anything, and you feel zero satisfaction afterwards. You don’t feel like you got anything done, as opposed to if you took those four hours and, instead, spent it focused on something intentional, something that was challenging. If you set aside time to do deep work, when you come out of that time (even if it’s just one hour or half an hour), if it was distraction free and you’re focused and being intentional, you come out feeling better.

After spending intentional time working on something without any distractions, you feel more motivated and you have more energy. It’s this muscle. You have a focus muscle that you have to work on, as opposed to the distraction muscle.

Why is Creating Focused Time So Hard?

Shawn: The hardest thing for getting into that focused work time, getting into the flow, is called the Activation Energy, just getting started. The first five minutes of focus time are the hardest. Something I like to do is have a set time every day when I am going to have my focused writing time, and before I even get there, the day before, I write down what my single most important thing is that I’m going to be writing about. I have the time on my calendar, and I have the challenge, project, or task that I’m going to be working on.

As Cal Newport would say, what’s the artifact that I’m going to try and get from that focused time? Then I come, sit down, and do the work. I know that the first five minutes will be hard and I probably won’t be into it. I have to power through those first five minutes, and then you get into that flow. Time begins to get lost. Anyone who has been a painter, artist, musician, whatever, you can usually relate. You say, “I was just in the flow. I was in the zone.” That’s where your best work is going to be created.

That’s where you’re going to feel the most satisfaction with your job. That’s where you’re going to increase your skill level as a creative person. You’re going to level up your ability to do stuff. Sean has talked about this so much with his Learn Lettering course: he did 9,000 hours of intentional practice! That’s what he was doing every day. He had this focused time where he was practicing letters. You have to put in the time.

How to Stop Procrastinating and Do Your Best Work

Aaron: Everyone should read Cal Newport’s books, So Good They Can’t Ignore You and Deep Work. Both of those books are phenomenal. It’s so important as podcasters to pick a day to outline and record an episode, and write the topic in advance. Say, “I’m going to spend 30 to 45 minutes at this time writing about this thing, and then I’m going to record an episode.”

Otherwise, what ends up happening, and this is true of so many areas of life, is that you will spend a lot of time thinking about how you should do a thing. I’ve been thinking about how I should record a screencast for three weeks now. “Hey, I have to record that ‘introduction to limiting’ screencast for my Logic course,” and I’ve been thinking a lot about it, but I haven’t done it yet. It’s so silly, but that’s how procrastination works. You spend more time thinking about how you should do a thing instead of just doing the thing.

Pick a task, pick a time, and do the task at that time.

That’s such a simple version of an idea presented in Deep Work that is so life changing. I talk about that book all the time because I love it, and I know there are still some people who haven’t read it yet. It is a book that anyone who wants to create stuff for a living professionally needs to go listen to. Shawn, you should do a whole series of videos or interviews where you talk about deep focus for creative people.

Shawn: I do. I did some stuff, like the TheFocusCourse.com/margin page. I interviewed Cal Newport, and we talked about this. I interviewed a few other folks and wrote some articles, and it was on this topic of having margin in your life, the breathing room, so that you can do your best creative work. That’s our mantra over there at The Focus Course: Show up every day and do your best creative work.

I think margin is a huge part of that. The deep work, the focus, it’s a huge part of it. Otherwise, you’re just working on your email inbox all the time. That’s no fun.

Push Through Fear

Aaron: The first question I want to talk about is this one from Mariali. She asked, “How did you overcome the insecurity of giving birth to a new idea you weren’t sure people would respond well to?” I think this was about a book but it could be about anything, really.

Shawn: I didn’t overcome the fear. I put it out there and stuck to the plan. The way that worked with my Delight is in the Details book, was that I had done it as a podcast mini series for my members only. It was a little five part podcast, and I got a lot of positive response from people. I had teased it out, and I got a positive response, so I thought, “I should sell this for maybe like $5 as a sample for the Shawn Blanc membership thing.”

I thought, “I should rewrite it, so it’s a little bit more structured. I’ll rerecord it so it doesn’t have the welcome in it, so it’s a little bit more of its own product.” As I’m doing that, it goes from five episodes to like 12. There were all these extra chapters that I ended up writing. Then I thought, “Gosh, if I’m going to to this, I might as well interview some other people, and then I can charge more for the thing.” Instead of charging $10, I could charge like $20. That would double what I’d make from it.

So I made the book, and when I was getting ready to sell it, that was the hard part. That launch day, I just felt super insecure. I felt bad and sick to my stomach. I texted a few friends of mine. I was like, “This book is coming out in an hour. People are going to hate it.” Everyone was like, “Stick to your plan. Put it out there.” The people I trusted, who’s opinions I cared about, all said, “You’re fine, keep going.” I listened to them, and I did. I kept going and it. I pushed through that fear.

I never overcame the fear—I just pushed through it.

I kept going. You begin to learn that the fear becomes this mile marker for you, a sign post that you’re probably doing something that matters and creating something that matters. Now I’ve learned that when I feel that, “This might not work,” or, “Holy crap, what am I doing? I’m in over my head!” I should probably keep going, because I might be on to something that matters at this point.

Aaron: That’s fantastic advice.

The Market Decides What a Product Is Worth

Aaron: I’ve been thinking about this a lot lately, and I talked about this in the Fired Up Mondays podcast this morning, which is that the market decides what’s valuable. People will complain when they see a product that they don’t think is worth as much as the company is charging for it. Let’s say that you look at a Lamborghini, and you’re like, “I don’t know why anyone would ever pay $400,000 for that car. Why would you want that car? You could just buy a 1999 Toyota Camri that has 140,000 miles on it for $4,000.”

“This ’99 Camry works great. It gets me everywhere. Good gas mileage, pretty comfortable. Not the most amazing sound system, but it does have a Bose sound system in it, so it’s fine. Why would anyone spend $400,000 on a Lamborghini?”

The way you feel about a product doesn’t change how much it’s worth, which is how much the market is willing to pay for it.

There’s somebody out there willing to pay that much money. They have that much money, and it doesn’t matter what you think about that product. Somebody else went out and made that, and they’re going to make money from that while you’re at home complaining about how somebody else is spending $300 for a picture book from Apple. How you feel about the price of a product doesn’t matter.

Shawn: It’s how the people that are buying it feel that matters. To say, “I’m not going to start a Lamborghini company because used Toyota Corollas exist,” that’s silly, but that’s how we feel.

Aaron: Relating to my courses, which I’m getting close to wrapping up, pricing is interesting for me. If I hadn’t met Sean and the people in the seanwes Community, I think I would have charged a fraction of what I’m planning on charging. I probably would have charged closer to $20. I would have put all this time and energy into it and not priced it high enough, because I didn’t realize that there are people out there that sell courses for $1,500 and $10,000.

Don’t Undervalue Your Products

Shawn: I bought a course recently that cost me $2,000.

Aaron: So many people don’t know that. A lot of us still think that $2,000 is a ton of money. For a lot of people, it is. That doesn’t mean that you have to apply such a low price to the product that you’re making, just because you feel like $50 is a lot of money.

Don’t charge too little for your product because you feel like a higher price is a lot of money—that’s an easy trap to fall into.

Shawn: That’s very true. You have to step back. This course I bought, for me, it was a no brainer. I bought the book that was written by the guy, and I went through the book and implemented some of the stuff in there, and it helped me launch my time management class. That did $20,000 its first launch week. I spent something like $18 on this guy’s book, and it helped me make $20,000. So his $2000 course was a no brainer for me.

This master class version of that book, the online course version of it, that was a no brainer for me. There were a ton of videos, all this implementation stuff, coaching, and all this stuff that was involved in it. There were all these things you can do that can increase the value of your stuff. Don’t increase your price just because. Start with your basic price and then double it and double it again. Now you’re probably at a decent starting point.

You’re so prone to under-valuing your own work. You don’t just jack the price up because people say so. You need to look objectively and say, “Alright, am I providing the value?” If someone comes in and takes my Focus Course, for example, we charge $350 for it. It’s not a lot, but it isn’t a little, either. If someone spends $350 and goes through this course, are they going to be able to walk away with at least, ideally, $700 worth of value? I want them to get at least double the value they’re paying for it.

Can I get it to be even more? Can I get them to walk away with $3,500 worth of value, 10X the amount of value that I’m providing? You charge that, and if people take it seriously, they’ll walk away with something that wil literally change the way they spend their time with work, family, health, and finances. This is across the board for their life, and you can’t put a price on that.

Objectively ask yourself if you’re delivering on your promises and providing the value that you say you are.

With your stuff, Aaron, with podcasting, if you can help people get a podcast off the ground, they can turn that into a full time business. That’s worth $50,000 or $100,000. Someone could say, “Thanks to your stuff, I started a business that’s now thriving. I do this as my job.” That’s worth so much money! To charge $20 for it? Don’t undervalue your stuff.

First Steps to Improve Your Focus

Aaron: I want to answer Kyle’s question here in the chat. I’m going to read his question and I’ll let you take a stab at it, Shawn. Kyle asked, “Is there a best first step to improved focus? I can think of so many directions I should go: exercise more, eat better, write down what I’m doing the next day, sleep better, etc. Trying to do all of it at once isn’t sustainable. What should I start with?”

Shawn: This is great, Kyle, excellent question. I feel like there are two best first steps (which obviously doesn’t make sense, you can only really have one first step, but play along). We talked about this in the Focus Course. On the very first day of the Focus Course, there’s this super dorky assignment. You have to set out your clothes for what you’re going to wear tomorrow. Tonight, when you go to bed, pick out tomorrow’s outfit. It’s super dorky. You can do it in two minutes. In the morning, you have to wear the outfit you picked out the night before.

You have to actually follow through with your commitment. You set this thing out, and you say, “I’m going to wear these pants and this shirt,” etc. In the morning, you wake up, and you have to wear it. You’ve made a commitment to yourself the night before. In the morning, you wake up and you follow through on that commitment. It’s a small step towards strengthening your personal integrity, which is your ability to follow through with your commitments to yourself. That’s super powerful.

The other component to setting out your clothes the night before and then putting them on is that it’s your current self helping your future self. You’ve saved your future self five minutes in the morning. The quality of my time in the morning is super valuable. My mind is fresh, it’s the beginning of the day, there are no fires happening yet. That’s my best chance to get my best work done, early in the morning.

Protect your morning productivity time and your mental energy by setting out your clothes the night before.

It’s this idea of helping your future self. Once you get your toe in that water, you begin to see all the other areas of your life where you can begin to help your future self. We were talking during the podcast about this. Kyle says, “Yes, I’ve done this.” That’s awesome. As Aaron and I talked about earlier, when you have that deep work focused time, try to decide ahead of time what that focus is going to be. This is your current self helping your future self.

It’s so powerful. For me, I write down my topic that I’m going to be writing about tomorrow when it’s time for me to write. I have the topic ahead of time, so I know what to write about. Then, when I sit down, I don’t have to think about. I have the singular focus to write about this topic that I’ve already chosen. That can really help with improving focus.

Be ahead of your own curve and help your future self.

Those of you who are registered for the Creative Focus Online Summit will get to hear Josh Kaufman and I talk about this. He talks about the importance of going on a walk in the morning and having 30 minutes where you leave your phone at home. You go outside, you’re moving, you’re getting sunlight, but also, it’s 30 minutes of thinking time where you can be undistracted. You can just think. He calls it “noodling.”

You let your mind “noodle.” He talks about how when you have a productivity system and a focus system that gives you space to think and to be uninterrupted for a little bit, you’re going to be far more productive than if you have a system that doesn’t give you space to think. For him, he says that that is the number one, single most important component of being more productive and focused—actually having carved out time on a regular basis where you can just think.

Be distraction free. That’s why he says to take a walk. You can combine that with movement, being outside, getting sunlight, and things like that. It’s easier than sitting on your couch and staring at the wall for 30 minutes. I don’t say that to put that idea down, but it can be easier to be undistracted when you’re outside walking around and you leave your phone at home. As opposed to, you put your phone next to you on the couch and you hope that it doesn’t buzz.

You can put it in airplane mode, obviously, but it’s still right there. You want to grab it and take it off of airplane mode. So coming back to Kyle’s question: You have so many directions you want to go. Exercising, eating, writing down what you’re doing the next day, sleeping better. Right? People say, “I want to improve my relationship with my spouse. I also want to get better at budgeting my finances. I also want to get better at budgeting my time. I also want to read these books.”

You look at it, and there is so much stuff that you want to do. You can’t do all of it right now, so pick one thing. What’s the one that’s most exciting?

Build One Habit at a Time

Shawn: Kyle, you listed exercise as the first thing on your list, so I would start with that. Not to pitch my course, but I’m going to pitch my course. We go through all the core areas of your life: your job, your relationships, your finances, your “down time,” your physical health, and your inner or spiritual life. These are the six areas of your life. We go through each one of those and spend time on each one, where you list out what’s important to you in this area of your life.

What’s a goal that you want to have or a lifestyle practice that you want to implement, and how can you move the needle forward toward that goal? You come up with six goals and six action plans, one each for the main areas of your life. Spoiler here, at the end of the course, you pick one.

Focus on improving one area of your life for six months and ignore the other ones.

Don’t ignore them in terms of ignoring your wife for two months while you’re focusing on work, but you pick one area to build a habit, a routine, a lifestyle practice, that has you making meaningful progress in that area of life. A lot of people say that it takes 21 days to build a habit. Actually, if you’re a habit building master, you might be able to do it in 21 days, but it takes most people 60 days to build a habit. That’s the average. That’s two months!

I think a lot of people are probably familiar with the Jerry Seinfeld productivity tip with the calendar. You write a joke every day and you put a big X on your calendar, and you don’t want to break the chain. It’s the same with this new habit of yours. Say, “What’s one thing I can do on a daily basis that’s going to help me move toward my goal of exercising more, of being more physically active?” What’s the minimum dose, the smallest thing you can do?

You’re going to go walk for 20 minutes, or whatever it is. Do that every single day for two months. It’s a small start, but now you’ve done it. You’re two months in, and now, instead of it being this thing you are trying to get the motivation for to move forward, you’re doing it. It has become routine for you, which requires far less activation energy, far less mental energy. It has moved into your life. It’s there. It’s something that you’re doing on a daily basis.

Now, you pick the next thing. “Okay, I have the exercise thing.” Keep that and layer the next thing on top of it. You’re doing that for your physical health. What about for your inner life, your spiritual life? What’s something you would want to layer on top of that, something you could do? Now, during that walking time, maybe you’re going to think about something. If you read a Bible or something like that, you could say, “I’m going to have a Bible verse that I think about during my 30 minute walk.”

Maybe you’re trying to improve your relationship with your spouse. Bring them along on your walk. Now, you can incorporate this. Say, “I’m going to do this on a regular basis,” and you do that for two more months. Then you pick the next layer. Maybe it doesn’t build on that 30 minute walk itself. Maybe it’s an entirely different part of the day, but the core is the same.

Pick one thing, do it for two months, and allow yourself to suck at all the other areas of your life—after that, pick a new thing.

This is why New Year’s resolutions never work. We say, “I’m going to go to the gym for five hours a day every day starting on January 1st, and I’m going to start budgeting, and I’m going to stop eating chocolate, and I’m going to go on date nights every week, and I’m going to read a book a week.” January 1st, go! It’s so much. You’re going to run up and try to push a truck, but you don’t have the energy, the strength, to move and change that much that quickly.

With the truck analogy, if you’re driving a car and you want to try and tow another car, you don’t gun it with all this slack on the tow line. You’re going to rip both of the bumpers off. You start super, super slow. You slowly build up that speed. That’s how you do it without getting in a wreck. You actually make that momentum. Start with just one thing.

The hard part is giving ourselves permission to pick one thing and focus on that for two whole months.

That’s the hardest part, really. It’s not in the doing. It’s in the not despising those small beginnings. That’s the crash course of the Focus Course right there. This is the value. If you stick around for the after show at seanwes, this is what you get.

Aaron: I’ll agree with Shawn and say this: pick one action you can do tomorrow morning that will get you closer to the most important goal. I know how many goals you have right now. I know, because I have that many goals, too. Pick one thing and write it down. Get a little calendar. Make a big X. Do that every day.

You’ll get other stuff done, too, but you need to think about doing one important thing first thing in the morning right after you wake up. Get that thing done, and then pat yourself on the back, feel good about it, and move on to the next thing.

You can follow Shawn Blanc on Twitter @ShawnBlanc, and be sure to check out his website at www.shawnblanc.net.

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Dec 12 2016

35mins

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Content Strategy and Growing an Audience with Shawn Blanc

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Shawn Blanc is a writer, small-business owner, productivity coach, and creative entrepreneur living in Kansas City with his wife and their three sons. Shawn has been teaching and learning about creativity, diligence, and focus for over a decade, and his online courses have helped thousands of people do their best creative work while learning to thrive in the midst of life’s tensions. A while back, Shawn sent an email that caught my attention. He wrote about the importance of creating a customer avatar and developing a content strategy to connect with them and help them achieve their goals. I liked the email so much that I emailed him back and asked him to come on my show to talk about his journey to making a living through writing online and what he’s learned about growing an audience. Shawn also shares my passion for productivity and deep focus; so much so that he’s gathered 12 incredibly smart people for a free 5 day online summit about the power of focused life. In this episode, Shawn shares how he was able to make a full-time living by writing online, and we discuss how you can grow your audience by creating a customer avatar (your ideal listener) and creating content that addresses their needs and desires.

Highlights, Takeaways & Quick Wins:

  • Interview your customers to get a real life picture of your audience.
  • Start selling products as early as possible.
  • Your customer avatar is a real person that exists out there.
  • Use the language of your customer avatar in your content to create a deep connection with them.
  • Be in people’s weekly cycle at a minimum.
  • Your niche is going to draw your audience but your ancillary interests will keep people interested.
  • Show up consistently to earn people’s trust and create an anticipation of future value.
  • Do guest-based podcasts to grow your audience.
  • Reach people that are far outside of your social circle by connecting with the people you can connect with right now.

Show Notes

Aaron: Shawn Blanc is a writer/small business owner/productivity coach/creative entrepreneur living in Kansas City with his wife and their three sons, and Shawn is a member of our Community. He’s been teaching and learning about creativity, diligence, and focus for over a decade now.

His online courses have helped thousands of people do their best creative work while learning to thrive in the midst of life’s tensions. A while back, Shawn sent an email that caught my attention. He was writing about the importance of creating a customer avatar, that’s knowing who you’re creating for and what you want to help them achieve, what kind of person you want to help them become.

I thought it was really interesting, so I sent him an email right back. I said, “Shawn, do you want to come on the show to talk about this? I think podcasters need to hear about this idea of customer avatars and also content strategy.” Shawn agreed, and he also shares my passion for productivity and focus, so much so that he has gathered 12 incredibly smart people for a five day online summit about the power of a focused life, and that’s going to be starting, I believe, as this episode comes out.

If you’re listening to this in your podcast player, it’s starting today, I think. I’ll give you that link later. In this episode, I want to talk with Shawn about why you as a podcaster need to create a customer avatar, know who you’re creating for, develop a content strategy, and then also the benefits of deep focus, what we call deep work.

A few small changes in your daily habits can lead to big improvements in your productivity and creative output.

Shawn, that’s one of the longer intros I’ve ever done. Thanks for joining me today. I really appreciate you being here.

Shawn: Thanks, Aaron. I love it. Super excited to be here.

Shawn Blanc

Aaron: I think of you, Shawn, as a writer and as the creator of an online course called The Focus Course, which is great. You’re so much more than that. Do you want to give everyone a quick introduction, how you got here and where you came from? I would also like to hear what your biggest struggles have been over the years of getting to the point where you’re at right now.

Shawn: Absolutely. I’m in Kansas City. Originally, I’m from Denver. I’m a Colorado guy at heart. I’ve been married for going on 12 years, and my wife and I have three boys. It’s insane at our house. We used to call the first two the Twin Tornadoes, but we just had our third eight or nine weeks ago.

Aaron: Congrats!

Shawn: It’s awesome. Love it. I love being a dad. I used to be a drummer. I know that we have a lot of musicians around here. Sean McCabe plays a little bit of music, I think.

Aaron: Yeah, he used to write music, just like he used to do lettering. I still play drums.

Shawn: I used to play drums for a large ministry here in Kansas City, and I ended up transitioning out of that. It’s a long story, but I ended up becoming a marketing and creative director. I ran a team, an in-house design team, with about 17 people—web developers, print designers, web designers, writers, editors, project managers, whatever. We did a bunch of stuff. One of our huge things was that we would host a conference at the end of the year that I was running.

25,000 people would come out for that. I did that for several years, and then my wife and I got pregnant with our first kid. I was like, “I don’t want to do this work as a dad.” Part of it was just super demanding. Anyone who has experienced working in the corporate design scene knows that it’s a very demanding spot.

Everything is urgent all the time. I was doing like 80 hours a week, and I really enjoyed it. I had a lot of fun, but I was like, “There’s no way. I don’t want to do 80 hours a week as a dad.” I had that, plus I had this little blog on the side, where I had been writing about marketing stuff. I felt like, “This would be a good opportunity to quit what I’m doing and take a leap, see if I can take my website full time. Could I blog for a living?” That was the thought.

I was doing about $1,000 a month in advertising and some affiliate stuff. I figured that if I could give it 40 hours a week, I could get the revenue up to a spot where it could pay the bills. I figured that it could grow from there.

Aaron: How old were you at this point?

Shawn: I was just about 30, not quite 30, like 29, when I made that jump. I asked everyone that was reading on the site. I said, “I’m quitting. I’m going to do this thing full time.” I asked people if they would be interested in supporting me to write the site for a living. I was like, “If you like what I’m doing, I’ll write more if you want to give me some money to do it.” I did this little membership drive. I was going to charge $3 a month for membership. I was doing a daily podcast as a perk of membership.

Aaron: You aren’t still doing that, are you?

Shawn: It’s on hiatus at the moment. We’ll see. I’m going to be diving back into the podcast scene starting early 2017. I miss podcasting. It’s fun.

Aaron: You decided to ask people to support you, give you $3 a month, to go full time with your writing?

Shawn: Basically. I figured if I could get 500 people, at $3 a month that’s $1,500, plus the other $1,000 I was doing, and that would be $2,500 a month. That’s not a ton, but I figured that would be enough to cover the bare necessities. I figured that things could grow from there. People signed up, and I hit the 500 person mark by the end of the month before I had even quit.

I started my new job, April 4th 2011, basically fully funded as an independent blogger.

Aaron: I bet that was exciting.

Shawn: It was really exciting. I felt like I got this permission slip from my audience to go for it. As a creative person, sometimes you need that. Sometimes you want to be like, “Do you guys care? I’m here. I’m making this stuff.” A lot of the work we do as creative entrepreneurs is for your audience. I know that we’re going to talk about this in a little bit, the customer avatar profile. It’s for these people that you really want to serve. When you hear back from them and they go, “Hey, we like what you’re doing. Let’s keep the relationship going,” it’s like having a DTR with your audience.

There’s something cool about that kind of permission slip moment. It’s like when you sell your first product, or whatever it is. People are interested. You get your first positive review on iTunes or whatever. Obviously, there’s going to be the junk that comes later, but whatever.

Aaron: Some of the haters that come later?

Shawn: You forget about that stuff and you keep moving on.

Aaron: That’s awesome.

Asking for Money

Aaron: When you think back, do you remember any big struggles or hurdles that you really had to overcome about that period in your life?

Shawn: There were so many. It’s hard to say, “If I could do it differently, I would do it this other way,” because who knows? If I had done things differently, maybe it wouldn’t have turned out the way I thought it would. One of the biggest struggles for me was asking for money. It was a huge challenge related to the membership drive. I was asking folks to support me on a regular basis to write for a living. I was like, “Who am I? What kind of a dork says, ‘Give me money so I can blog for a living.'”

Aaron: Nobody pays for things online anymore. Nobody wants to pay for writing.

Shawn: Exactly. That was a huge challenge. It has continued to be a challenge for years. I have been doing this for almost six years now, full time. When I came out with my first book, it’s called Delight is in the Details, and it was an eBook package thing. I did some interviews.

I charged $29 for my book, and I felt like this huge hypocrite.

It was this feeling of, “This is information. Information should be free on the internet. Why would anyone ever buy this?” I felt like there was no value in this thing that people would pay for. I was like, “I have to do it. I’m going to charge for it.”

Aaron: Sorry to jump in, but at the time, did you really feel like $30 was a lot of money?

Shawn: Oh my gosh. I woke up feeling sick to my stomach the day I was going to launch it. I was like, “I can’t believe how much I’m asking for this.”

Aaron: What did you think was going to happen?

Shawn: I thought that people would buy it because they trusted me, and then they would read it and come and burn my house down because I had ripped them off so bad. I charged so much money for something.

Aaron: It was your first time launching a product, right?

Shawn: It was. It was my first product launch ever. It ended up bringing in like $5,000 in that first 48 hour launch window. It made $5,000 that first couple of days. In hindsight, it was this huge inflection point for me. I think I spent about 100 hours building the thing, made $5,000 from it in the first week, and I thought, “Woah, that was a great return on my time investment! Now I have this product that I can continue to sell.”

Since then, in the last four or five years that I’ve sold it, I want to say that it’s sold $50,000 over the years. That’s awesome. There’s something great about creating a product, and it changed a lot.

Producing and selling a book changed my relationship with my audience.

Now I’m creating products for them to buy.

That initial hurdle was huge. $29 was so much money. I think that was probably the biggest struggle, of being able to properly identify how much value I’m providing people and to price it correctly. That’s just hard. I think that’s why you should start selling stuff as early as possible, because you have to learn. There isn’t a formula for how much value you’re providing and how much you should charge for it.

You can’t just plug your stuff into a worksheet and get a number back. You have to feel out the market, your market, your audience, your skill level. How much polish are you doing? How much depth of information are you providing? Whatever skill, service, or product it is you’re providing, you have to learn how to make money and price your stuff! It’s hard to do it when you’re starting.

The biggest challenging for me at first was becoming comfortable asking for money and learning to accurately price my products.

Aaron: The other thing is that once you launched that book and got familiar with all that stuff, that was a stepping stone to your future products, your future books and courses, and everything else that you’re doing. I’m sure, at that point, you felt like, “Okay. I’ve done this once before already. Now it’s like riding a bike. I just need to get back on and keep peddling, keep going.”

Shawn: Yeah, absolutely. It really was a huge stepping stone. One thing I loved about creating and launching a product was that there was a start and an end date to it. This thing has to ship. I worked on it, and I was done. I put it out there. Boom, now it’s there. I’m done. It’s out in the world. Obviously, you iterate on it. A year later, I added some new interviews. I added some new chapters. I created some videos. I remastered all of the audio for the audio book.

Product Launch Hiccups

Shawn: Super random story related to this. It was the relaunch of Delight is in the Details, a year after it had come out, and I put it out there. People are buying it during that relaunch period. I get an email from someone going, “I was just listening to the audio book, and the last chapter sounds like it’s not edited correctly. Something is weird about the last chapter. You should check it out.”

I recorded the audio book and edited it by myself. I go and I open up the audio book for the last chapter and I’m listening to it, and it is the original take that I did of the book. The way I did the audio book, I’m reading it into my microphone in GarageBand. If I goofed up in the middle of a paragraph, I would just take a pause, say, “Okay, again,” and then I would start talking again. That was my marker. The last chapter of the book was that track, the whole thing.

The audio track should have been 10 or 12 minutes for that chapter, and it was 30 minutes because of all my edits, retakes, and pauses. The whole thing. What’s worse is, it was there from the very beginning. For a year, I had been selling that thing. I was mortified. For a year, I had been selling my book with the last chapter all messed up, and I was mortified.

Aaron: Nobody said anything??

Shawn: They didn’t. Either no one listened to it, or when they listened to it, they just assumed… I don’t even know. I was so mortified. There you go. What worse thing can happen? Earlier, I had been so concerned about selling something that people weren’t going to consider valuable. Here’s this huge, huge mistake. What a goof!

Aaron: I need to remind everyone that this audiobook is called Delight is in the Details.

Shawn: The irony, right? That was one of the selling points of the book, too. I was like, “If you buy this book, it’s a case study in sweating the details itself. You’ll see all the areas where I’ve sweated the details in this product.” Whatever. Oh man. I was mortified.

Aaron: Thankfully, no one came and burned down your house, and it was over a year before anyone even said anything. A lot of us are so curious about people who do such good work, so when a mistake does happen, it’s almost humanizing. It’s like, “Now I can relate to this person, because they’re not 100% on top of everything all the time, either, like I struggle with. I make a lot of mistakes, so it’s kind of nice when you see a really awesome musician on stage mess up a part and then jump back into it. You’re like, “Oh, they are humans, too.” That’s really cool. Nobody burned your house down, thankfully.

Shawn: That’s why it’s so helpful to ship early. You get stuff out the door and you start learning. I love it.

Aaron: I tell people this a lot, too, when it comes to podcasts. If you’re thinking about making a podcast, there are so many things you can tweak, improve, or work on forever, but it’s so much better to say, “What’s the minimum I have to do? I want to try and do a good job, but let’s do this, ship it, and iterate and improve on it every single week.”

If you don’t ship something, you'll just pick at it and tweak it endlessly.

Before you know it, it’s been a year and a half, and you’ve got three or five episodes you recorded 18 months ago that you’re still working on. In the meantime, nothing has happened.

Start Moving

Shawn: As well, we have this picture of what we want something to look like and what we want it to be, but we have zero experience. I like the analogy of those lifesize mazes. Especially around Halloween and Thanksgiving, there are those corn mazes. They’re these giant things. Imagine someone standing at the entrance of this life size maze, staring at the entrance to it, and in their mind, trying to figure out how to get to the end so they can get straight to the end the fastest way possible without making any mistakes along the way.

Impossible! Not going to happen. You have to go in the maze and go left to realize that you should have gone right. Then turn around. You have to go through the thing to make it through. I like the phrase, “Action brings clarity.”

Action brings clarity.

You’re waiting for clarity before taking action, and it’s not going to happen—you have to start moving.

You just have to get going and you adjust course as you go. You start to realize what you should major on and what you shouldn’t.

Aaron: That’s an incredible analogy. I’m totally going to use that in the future now. It’s perfect. You sit there and you imagine yourself being at the end of the maze. That’s where you see a bunch of other people. Your friends have gone through the maze and they’re at the end, so you’re like, “I have to get to the end fast. I can’t make any mistakes. I can’t take a wrong turn, because that’s where all my friends are, and that’s where I want to be.” You do have to go through it. That’s really incredible.

Creating a Customer Avatar

Aaron: Shawn, you sent out an email and you were talking about this. I want you to explain how you think about customer avatars, and then if you did something like that for yourself when you were just starting, or if this is something that evolved over time. Customer avatar and content strategy, go!

Shawn: This is great. When I first started as a writer, I was doing ShawnBlanc.net. My entire job was publishing articles and links on my website. I didn’t have a customer avatar or a customer profile, what I had was an ideal reader. I think, in terms of podcasting, it’s very similar. Who’s your ideal listener? For me, I actually had a person who was my ideal reader, who’s name was Shawn Spurdee.

He was a really good friend of mine. He and I had become friends through the blogging Twitter-sphere back in the day. When I wrote articles or links, I had him in mind. I thought, “Is this something he would find interesting? Is there a story in here that he’s going to want to read? Is this a link to something he would like?” You had that ideal reader. John Gruber wrote about this for his site, Daring Fireball.

He talked about his ideal reader, and he called it “a second version of himself.” He goes, “This person is interested in all the same things I’m interested in, and he cares about what I care about. All the design decisions I make on the site, all the articles I choose to link to, the stories I choose to tell, all of that stuff is with this ideal reader/listener in mind.”

It was instrumental for me to have an “ideal reader” for all of the work I was doing.

You know who you’re trying to target. I’m still the writer for sure, but we’ve switched a lot more of our focus onto direct sales, building a customer base, and selling products to our audience. I still don’t have that ideal reader. Who am I writing this for? Who is this product being created for? It has gone beyond just an individual person that I know. We did a customer profiling thing. I have a guy who works for me full time, and his name is Isaac. We took a couple of big, giant sticky pad things, two feet by three feet, they’re huge, these giant sticky notes.

Aaron: Where do you get those? Can you get those on Amazon?

Shawn: You can get a lawnmower on Amazon, so I’m sure you can get sticky notes. We got ours at Office Max, an Office Depot kind of thing. It’s weird. You drive to this store, and you can walk in, and they sell products on their shelves. You have to pick it up with your hand and drive it home yourself.

Aaron: It seems like a waste of time.

Shawn: For this customer profiling session or whatever, basically, we had these four quadrants. What do they think? What do they feel? What do they want? What do they say? Something like that. You’re trying to get this picture of this person. Who is this person? What are the things that they say? Like, “I love my family. I like to watch Netflix.” Whatever.

Aaron: “I want to learn how to make a podcast.”

Shawn: Exactly. It’s not just business, it’s just life. What are the kind of phrases they might say? If you ask them what they care about, what things would they list? What are their pain points that they’re feeling in life? For us, creating this customer avatar, we named him Brian. We found a random picture of somebody and stuck it up there to begin to humanize the person.

Your customer avatar is a real person that exists out there.

We talked about, “Here’s Brian,” and we came up with this stuff. Brian has a job that he kind of likes, but he’s got these other creative ideas that he really wants to pursue. Maybe he wants to take it full time. Maybe not. That’s not really the most important thing for him. The most important thing for him is getting his best creative work out there and being able to do it and feel like he’s making progress on the areas of life that matter to him. He’s also a dad and a husband, and he cares about his family quite a bit.

He cares about his kids. He still wants to be available for them. When he comes home from work, he’s really tired, so the evenings don’t feel like a good time to do his creative work, but he’s not a morning person either, so he doesn’t know when he’s going to get the time. These are some of the scenarios, the stories, that begin to emerge as you begin to write stuff about this person. What are the pain points that they feel?

When they look around, what do they see? What kind of car does Brian drive? Does he like minivans? Does he have a minivan? How many kids does he actually have? You really kind of start to come up with this stuff, and there’s a lot you can do to get to a higher level of doing these customer profiles. You can actually do interviews with your customer base.

Aaron: I do this! I try to meet people and talk to them, especially when it comes to podcasting.

When you interview your customers, you can actually begin to get a real life picture of your real life audience.

Creating an Empathy Map

Shawn: There’s this thing that we did, an empathy map, and you take the empathy map to create your customer profile. We ran this survey to our email list, and we ran a separate one to our customer list. It was, “When it comes to focus, what’s your single greatest challenge?” It was just this open-ended question where people could write stuff down.

Some people say, “Time.” Or, “I can’t focus. I’m distracted.” Then you get some people who go, “I’m trying to build my photography portfolio website on the side because I love photography and I’m trying to grow it. I’m working this other job, and when I come home in the evenings, family is first. I spend time with family, so by the time the kids are in bed, I’ve only got about an hour left in the day. I’m so tired, and I don’t want to spend time trying to work on my photography website, so I don’t know where to get started.”

The person who gives an in depth answer to the challenge like that, vs. someone who just says “time”, they’re really in touch with their pain point. There’s a book called Ask by Ryan Leveque, and you can find it on Amazon. He teases out, “You ask these questions, and you separate the people with the longest answers. You put their answers up at the top.”

You cut the list at 20%. The bottom 80%, forget about those people, and look at the top 20%, these “hyper-responders.” What are their challenges? What are their pain points? Aaron, you could do this. You could say, “When it comes to building a podcast, what is your single greatest challenge?” You’ll probably have someone who says, “Building my list.” Or, “Building my audience.” Or, “Technical stuff.” But then you might have someone who really gives this heartfelt, in-depth answer.

If someone gives you a heartfelt, in-depth answer, they’re hungry for a solution.

That person is going to pay for a solution. That person is going to digest this, and when you give them something, they’re going to check it out. Look for these hyper-responders and cater your response to them. That’s what we did. That’s how we figured out that our biggest pain points for people who go through the Focus Course are one of four primary buckets, so to speak. It’s time management, getting traction on their business or side projects, finding clarity on what’s important to them and what they should be doing about it, and a lot of people also feel overwhelmed by all that’s already happening in life.

Or, they look at the thing that they’re trying to make progress on, and they feel overwhelmed. They don’t even know where to start. Really, all of these things feed off of each other. When one is in a rough spot, the others start to be in a rough spot as well. We go, “Okay, these are the main challenges we’re going to address as part of the Focus Course, in all of our writing. This is it.” The people that fit within these four buckets are the ones who are willing to pay for a solution.

Use Your Audience’s Language

Shawn: Read the actual responses, the answers, and take the language that people are saying and use it in your articles. Answer their actual questions in podcast episodes. You use it in your marketing language. The landing page for your product, or your podcast, or your sign up, or whatever—use the actual language of your hyper-responder customers. Now, not only are you listening to them and you know who that ideal customer is, but you’re also even speaking their language.

A) it’s going to be cool because hopefully you’ll do more sales, but B) you’ll actually get to connect with the people you want to connect with. That’s the whole point. That’s why we’re here.

That’s one of the huge benefits of having these customer profiles. It can help you stay focused on who you’re trying to talk to and what it is you’re trying to talk about, to help them.

Aaron: That’s mindblowing. That’s fantastic. At the core, I kind of know this stuff, but hearing you explain it made it even more clear to me. I love that. I want to take it in this direction.

How to Grow Your Audience & Create Deeper Connections

Aaron: One of the most common questions I get about podcasting is about growing an audience. It’s always, “How do I get more attention? How do I get more listeners? How do I grow an audience?” I love what you said right here.

Use the language of your customer avatar in your content to create a deep connection with them.

That’s where listeners come from. So many people think that they’ll magically get 100,000 people to listen to their podcast, and they won’t have any idea of who these people are. They’re nameless, faceless avatars on the internet. No! Especially in the beginning, you start small. You develop relationships with people who care passionately about the thing that you’re talking about.

By investing in them, getting to know them, and asking them questions—regardless of whether you’re doing some kind of business thing or not—by just talking to them and getting to know their language, that’s how you’re going to resonate with them and even more people. What methods have you found effective for growing an audience and developing deeper relationships?

Shawn: I think that’s a great question. Everyone wants to know the answer to this. For me, there are three primary keys to growing an audience:

  • Consistency
  • Honesty and transparency
  • Relationships.

1. Consistency

Shawn: Consistency is core. This is a phrase in the seanwes Community, and it’s a phrase I like to use, and that’s this: show up every day. That’s consistency. We’re just people of habit. The internet is a thing of habit, so you have to have that consistency where you’re in people’s regular cycles. Sean McCabe talks about this a lot. You want to be in people’s weekly cycle at a minimum.

Show up on a regular basis. Also, that’s how people know you’re going to be there. There’s something about that consistency. One of the ways you develop an audience where people are tracking with you and paying attention when you’re showing up consistently.

When you show up consistently, not only do you earn people’s trust, but you create an anticipation of future value.

You want to have that. That’s huge. People are like, “I want to know what’s next. I want to follow this story and be here.” Consistency is huge.

2. Honesty & Transparency

Shawn: This comes out in a lot of ways. In some ways, you want to have the transparency like Nathan Barry talks about, to “teach what you know.” Share what you know. Also, there’s a human element, passion and persona, who you are as an individual. Humanizing yourself is so helpful. We don’t want to connect with brands, we want to connect with people. As indie entrepreneurs or indie creative folks, when you are running your own thing, you are a brand but you’re also a person.

You’ve got to keep the person aspect of it, the human aspect of it, you have to keep it there. Allow your mistakes to show through. Allow your passions to show through. For me, at ShawnBlanc.net, I cut my teeth and grew my audience originally by writing about Apple stuff. I wrote tons of product reviews. It was super nerdy, gadgety stuff. I would also write about coffee, camera gear, books I was reading, music, and things like that.

Aaron: Stuff you cared about.

Shawn: Exactly. Other interests that were related to Apple gear because it was my site, and I can write about whatever I want. That humanized the work that I was doing. So many people came to my site because of the Apple stuff but they stayed because of the coffee stuff.

Your focus, your niche, is going to draw your audience, but your ancillary interests will keep people interested.

You’re a real person with real interests who is not just this robot spinning off the same thing all the time.

3. Relationships

Shawn: This is huge. I stink at it, but I’m trying to reply to emails. When people email me, replying back to them. Also, here’s a prime example, having me on your show, Aaron. The practicality of it is that when this show goes live, I’m going to tweet about it. I’m going to link to it. I’m going to point the people that track with me over to your stuff. That’s a way for you to grow your audience, but it’s also a way for me to grow my audience.

Your listeners, a lot of people, don’t know who I am. Now, hopefully, some of them will come check me out and sign up for our stuff. There’s a really cool dynamic here of introducing your group to someone else. Hopefully, that person will also introduce their audience to who you are.

Doing guest-based podcasts is an awesome way to grow your audience.

I did some back in the day, when I was first starting my site. I did interviews, blog interviews. The whole thing was conducted over email, and it was just this back and forth email. I did one with Daniel Jalkut, who used to work at Apple and then started Red Sweater. He has the best blogging app on the planet for Mac, MarsEdit. It’s a super great app. I emailed him and did an interview with him.

I did an interview with John Grubar. I did an interview with Brett Simmons, all these people who are super famous Apple people. I’m going back and forth with these guys and posting their interviews. They link to me on my site, and I get this influx of new readers. Or you find software that’s awesome. I would do super in-depth reviews about this stuff, and then people would link to those reviews. Honoring other people, connecting with other people, and doing stuff that’s worth talking about.

Then the word will spread. That consistency, being transparent and honest about who you are, having that passion and that human dynamic to the work that you do, and then just trying to connect with other people. Do things that people are going to want to talk about. Another example is the summit that we’re doing, the Focus Summit. I’m punching way above my weight class here with some of these folks, and it’s a chance to hopefully get some of their audience to discover the work that we’re doing and visa versa.

I hope that people who sign up for this summit will get introduced to some new people and that they’ll find some incredible resources. It’s just fun. We’re all just folks trying to do our best work, right?

Aaron: Absolutely. I love that. That’s one of the best answers for building an audience that I’ve ever heard.

The Importance of Investing One-on-One Time in Your Listeners

Aaron: The thing that I’m working on, and I just want to share this, is investing more time in my listeners. It’s hard sometimes, because you can spend all the time in the world talking to people on the internet, as I’m sure you know, Shawn. I’m sure people are constantly emailing you, asking for your thoughts, your advice, and your feedback on stuff, and you try to stay really focused. Something I’ve wanted to do is spend a little bit of time every day, like on Twitter, reaching out and telling people that I appreciate what they do.

Or, if somebody emails me, having a conversation. In depth, giving them 15 or 20 minutes of focus time to reply, and even asking them questions. Someone says, “Hey, thanks for doing your show. I really appreciate this thing.” I’ll reply and say, “Thank you so much. How is your podcasting journey going? What are you working on right now? What do you want to get better at?” Some great conversations have come out of that.

I’m trying to invest a little bit more in my listeners. I’m at the point now where I’ve started inviting some of them on the show. “Hey, you sound like you’d be a cool person to talk about podcasting with. Would you like to come on the show?” It just spreads.

It’s the building of community that will eventually attract people to you.

When I started, I had 30 or 40 friends, maybe a couple hundred followers. Every new person that finds my show and gets to know me as a person, who respects the work I do, they might have 200 people that follow them, and they share my show with those people. It just spreads out from there. It becomes this big net.

You can eventually reach people that are far outside of your social circle just by connecting with the people you can connect with right now.

Let them do the work of sharing your stuff with their people, too.

Shawn: Yeah, exactly.

Focus Summit & Products

Aaron: That’s fantastic. We’re getting close to the end of the episode. We need to wrap it up. I told everyone in the beginning that I would get you to talk about this Focus Summit that you’ve got coming up. What’s the deal with this? Tell us a little bit about that.

Shawn: The summit! I’m so excited about this. We have Jocelyn Glei, who just wrote this book called Unsubscribe, which is a fantastic book. It’s about email distractions and stuff like that. We’ve got Josh Kaufman, who wrote The Personal MBA. Anyone who is trying to do anything related to business, you need to read The Personal MBA. It is a bargain.

Aaron: So much good advice.

Shawn: It’s like a $35 book, and that book is so packed. Excellent, excellent stuff. Sean McCabe is on it, and Sean and I talk about how quantity leads to quality, which ties right into this stuff on showing up every day. The summit is going to be really, really cool. When this podcast drops, the summit is going to be kicking off. Here’s the link: The Creative Focus Summit.

After the summit wraps up, we’re opening up registration for our Focus Course. That has become my flagship product. It changed everything for me, in terms of what I was focusing on. I came up with this course as the next product in a series. I had done Delight is in the Details, and I wanted to write a book about diligence and productivity. I wrote the book, and then, long story short, I realized that it needed to be a course.

I felt like the way that I wanted to get these ideas across wasn’t a book that someone would read, highlight, think was cool, and then puts back on their shelf and returns to life as usual. I want something that’s really going to effect change. I knew that a book would probably go farther, broader, and reach a total number of more people. I would rather fewer people go through the course but have a higher number of them really get real impact.

For me, the book ended up turning into the Focus Course, and we’ve had close to 1,300 people go through it. It’s basically productivity training for creative people and entrepreneurs and leaders. It’s way, way more than that. It’s not tips and tricks. It’s what I call “meaningful productivity.” It actually gets to the core, the heart, and the foundation. What do you really care about? How are you really spending your time?

This is not a “Five Life Hacks That Will Help Me Go Through My Email Inbox Better.” It’s hard questions that will make me challenge my assumptions about my family, my work, my down time, and my rest time. Anyone that thinks that taking a nap will improve productivity, the Focus Course is for you.

Aaron: That’s me!

You have to have a healthy life to do your best work.

Shawn: You can’t sprint this. This is a marathon, so you have to have that breathing room. The Focus Course opens up after the summit is over, and I’m super excited about it. We’re going to have a whole group of people cruising through in January. We’re doing a winter class for it. We’ve got some forums, so everyone can share their progress. It’s going to be a blast. I’m really excited about it. The summit is free, and the Focus Course itself is going to be something we charge for, obviously.

Aaron: You have to charge for things, or else people won’t take it seriously.

Shawn: It’s so true.

Aaron: You have to invest.

Shawn: That’s something else. We didn’t get into that earlier when we were talking about the pricing stuff, but that’s another reason to charge for your work. Someone is actually going to have skin in the game. They’re going to find value for it.

Aaron: They have to ask themselves, “Okay. Do I think this is going to help me enough in my life journey to actually put money towards it?” If they answer that question for themselves and then make the choice to give you that money, they are going to say, “I told myself, I believe, that this is worth my time, so I need to invest my time in it.”

Shawn: Exactly. Very true.

Aaron: Where should people go if they want to follow you, connect with you, or ask you questions?

Shawn: Twitter is a great spot. I’m @shawnblanc on Twitter.

More Links:

Dec 05 2016

51mins

Play

Streamlining Your Podcast Workflow (with Martine Ellis)

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This week seanwes Community member Martine Ellis joins me to share her podcasting journey and how she created a detailed checklist to help streamline her podcast workflow. We discuss how niching down can help you attract a dedicated audience and how to spend less time creating a podcast without sacrificing quality. We also walk through Martine’s 9 step podcast workflow checklist and discuss our favorite podcast tools and tricks.

You can find Martine at https://martineellis.com/. The link to her 9 Step Checklist is currently broken (I'll email her), but you can grab a PDF of my process here.

Cool Stuff to Check Out:

Nov 28 2016

49mins

Play

Recording Audio at a Conference

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I just got back from a 3 day conference in Austin, Texas. I knew I wanted to record some audio interviews, so in this episode, I share how I planned for the conference, what gear I deciding to bring along, and some general tips and thoughts about attending a conference as a podcaster.

Cool Stuff to Check Out:

Nov 21 2016

21mins

Play

It's December and I Gained 12 Pounds During Thanksgiving Week

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Welcome to The Podcast News, a weekly show for podcast producers and anyone who loves podcasting. My name is Aaron Dowd. Here are the most interesting news articles and tutorials for the fourth week of November, 2019.

This week:

  • Ollie Judge (podcast producer from the UK) argues that we need a new standard for how podcasts are delivered and consumed (RSS feeds just aren't cutting it anymore)
  • Sonal Chokshi and Connie Chan from the A16Z podcast share a detailed behind-the-scenes looks at their production process
  • Amanda Hickman from AIR shares what she's learned about media salaries and pay rates in radio and podcasting
  • 6 tips about how to improve your interviews
  • How to make your podcast SEO-friendly
  • and more

Quick note before we get started: I've decided to make some big changes and try something new.

Beginning in 2020, I will continue to publish a “light” version of the show each week for free via Simplecast, but I’ll be publishing a longer and more detailed “full” version (and other exclusive content) for paying subscribers.

Full episodes will be available for free until the end of this year, but if you’d like to lock in the best price and begin receiving the email newsletter version of the show right now, I’ve created a 50% off for life discount for early supporters that will be available until December 31st.

Feel free to let me know if you have any questions, and thanks to everyone who has supported me so far, I greatly appreciate it.

Also, this is the last episode of this show I'll be posting on The Podcast Dude feed.

Alright. Now on to the show.

1

From OllieJudge.com: Podcasting Needs A New Standard

On a daily basis, whether it's internally, to clients or even friends, I find myself saying "Remember.. podcasts are just MP3s and RSS feeds." It helps contextualize why podcast analytics are a mess, why different directories index things at different times or even just why sometimes podcasts feel difficult for new-to-podcasting listeners to find.

While RSS feeds are brilliant and have been a bastion of openness for the industry for years, podcasting has gone beyond what it started out as, which, if we simplify the whole thing was just an audio blog.

Podcasting is an intimate medium, it works in moments where other media cannot. Cramped in a train? Listen to a podcast. Doing the laundry? Listen to a podcast. Trapped on the endless nothingness of being on a treadmill? Listen to a podcast. Podcasting gets more focus from a consumer due to the nature of when we listen to them and for longer. It's because of that, that we want to know more. The current setup can't give us more.

We need an open platform that can give producers the ability to offer more around their shows and easy way listeners to navigate that information.

We're in a splintered word of traditional podcasting apps, streaming services and connected devices. While RSS used to be the ideal rock of owning your own podcasting profile, it's getting difficult. We need a new open system for listeners to use and a way for producers to still own the value they create for themselves and the listeners.

Ollie makes a good point in the beginning, but I'm not optimistic that we'll be moving away from the RSS feed standard anytime soon. While it is inconvenient for producers, or people new to podcasting who don't know how a podcast app works, or companies who would like to keep shows behind a paywall and listeners exclusively in their app, it makes it possible for anyone in the world to subscribe and listen to a show in any number of apps.

The section of the article about paid feeds is spot on though:

Paid feeds are becoming ever more popular. With Patreon offering support to help creators manage ad-free Patron feeds, we've seen multiple shows pick up this model. We've also seen platform owning brands like Stitcher and Luminary gate certain premium content from within their apps.

The rub here is the experience for a listener. Even if the donate button is in your favourite app, you're still probably going to end up having to hunt down a custom RSS feed that you need to paste into an obscure menu of your favourite app.

Paid feeds are a feature that many producers and listeners want. Aside from running your own app eco-system, things are tricky to navigate.

In a perfect world, I would be able to deliver certain episodes to paying subscribers via my show's RSS feed, episodes that the non-paying subscribers wouldn't be able to see or access unless they signed up for a paid subscription.

I'd love to see Apple offer a feature that would allow podcasters to sell individual episodes or access to a show. I know this would go against the whole "open ecosystem" idea and is probably more of a limitation with the way RSS feeds work currently, but nothing wrong with making a wish list, right?

•••

2

From Sonal Chokshi and Connie Chan on the A16Z podcast: How We Podcast

In this special 500th (!) episode of the a16z Podcast, editor-in-chief and showrunner Sonal Chokshi (in conversation with a16z general partner Connie Chan) shares answers to FAQs about the how, what, and why of the a16z Podcast, and broader editorial operation. They also take us behind the scenes to reveal some unexpected moments and lessons learned along the way, positions on tics and swear-words, failed experiments, and new directions. And where is podcasting going?

I always enjoy hearing about how other folks make their shows, and this is a great episode from some really smart podcasters.

Couple big takeaways for me:

  • They spend a lot of time on the preparation stage for each episode (which makes a huge difference in the quality of a show, in my experience)
  • They do not send guests questions in advance (“it's much better raw and real the first time”)
  • Sonal does the initial edit of an episode using a transcript, which is helpful because you can see the whole narrative of the episode, but tricky because you can't hear the audio

There are lots of great takeaways and tips in the episode, so I'd actually recommend listening to it twice and taking notes.

•••

3

From Amanda Hickman from AIR: Here’s What I’ve Learned About Media Salaries and Pay Rates

I’ve spent a large part of the summer and fall interviewing indies in radio and podcasting about their rates and talking to employers about what they pay, both to freelancers and to staff. Those interviews have been confidential, but they form the foundation for the rate guides that we’ve been rolling out at AIR.

In addition to those interviews, however, I’ve been compiling and reviewing a ton of research, some ad hoc, some methodical, to understand the range of compensation both of independent contractors and staff in (and adjacent to) radio and podcasting.

If you're interested in learning about what people working in podcasting and radio are getting paid, this is the article for you. A huge list of links and resources.

•••

Notable Mentions:

From Megan McCoy at Pandora: What Makes an Effective Audio Ad?

Couple takeaways:

The first few seconds of an audio ad really matter. Use this time wisely to introduce your brand, offer, or capture a listener’s attention in a creative way.

Consider short-form audio. We’ve seen through many experiments that if you can get your message across in less time, then do so! If a listener’s attention is greatest in the first few seconds, short-form audio may be all that your brand needs.

•••

From Damian Radcliffe and Journalism.co.uk: Six tips to improve your radio and podcast interviews

The tips:

  1. Preparation is key
  2. Location matters
  3. If in doubt, move (change your location)
  4. Silence is golden
  5. Work on your interviewing skills
  6. Edit sparingly

•••

From Lane DeGregory on Poynter.org: Pulitzer Prize winner Lane DeGregory and her editor just recorded their 100th podcast. Here’s what they’ve learned.

I wanted to make a podcast like Sarah Koenig’s “Serial,” or Chris Goffard’s “Dirty John.” I was working on this murder story and had killer audio. So my editor, Maria Carrillo, and I went to talk to our friends at Poynter to see if they could help.

But they had another idea. “You should do a podcast about writing, about craft,” someone suggested. “Talk about your stories and how you got them, dissect the process.”

Who would listen to that? I asked. And how many topics would there be? You mean a different episode every month?

No, said the Poynter people. If you’re going to do this, you have to do it every week. To build an audience, they said, you have to develop the habit in listeners. Make them want it. But don’t make them wait too long for the next episode.

So with no idea how to make a podcast, much less produce and disseminate it, we dove in.

Another great writeup about the experience of getting started with podcasting, along with some handy tips.

•••

From Kara McGuirk-Allison on Medium: What I learned as a “Solo Podcaster”

How do you make a podcast without editors, engineers, studio space, producers and reporters?

I decided that I needed to find out, so I created The Ghost In My Room….a look at folklore, legends and ghost stories and the people who try to prove they are real. A solo-podcasting project. Me, doing all the things. I traveled for a year with a paranormal team to historic locations in Maryland and Pennsylvania, and created an 11-part series that launched Sept. 1 2019. This is what I learned.

Here are a couple of the takeaways:

There is an under-appreciated luxury producing for a radio station or media group.

NO one will support or love your podcast as much as you do.

YOU ARE GOING TO HAVE TO WORK REALLY REALLY HARD TO GET DOWNLOADS.

The best thing about podcasts, is anyone can have a podcast.

The worst thing about podcasts, is anyone can have a podcast.

•••

From Manish Dudharejia on SearchEngineJournal.com: Podcasts & SEO: How to Make Your Podcast SEO-Friendly

As of June, there were more than 30 million podcast episodes in iTunes.

Until recently, podcasts – and other forms of audio content – were not seen as direct SEO assets. Podcasting was more of a way to get your name out there, promote expertise, and network with others in the industry.

Google has talked about making audio searchable several times over the past few years. Back in May, Google announced at I/O 2019 that podcasts will soon be indexed. Since the announcement, we’ve started to see podcasts trickle into the organic search results.

YouTube clips have been a part of the organic SERPs (which stands for Search Engines Result Pages) for a while now. And it seems podcasts are gearing up to take on a bigger role in 2020 and beyond!

So how can you prepare?

If you'd like to learn more about how to get your podcast to show up higher in search results, you'll love this article. Some of the main takeaways:

  1. Know the trends (which keywords and topics you want to build your show around)
  2. Develop a podcast voice (you have to sound good and clear for the computers looking for keywords in your audio files)
  3. Get transcripts made for your episodes (they will help, especially if they have keywords in them
  4. Create chapters for your episodes, put keywords in the chapter titles (here's how I add and edit chapters with a free Mac app called Forecast)
  5. Write great notes for your episodes (here's a tutorial I wrote about that)

•••

Add to Your Watch List:

From Chris Peterson on Medium: Monetizing Podcasts at Digital Hollywood

Last week, Digital Hollywood held a conference at the Skirball Center in Los Angeles. For the first time, they included a podcast track as part of the conference. I had the opportunity to moderate a panel on monetization in the podcast space, covering not only ad-supported models but also branded content and premium subscription models. Joining me on stage were:

Steve Pratt, Co-founder, Pacific Content

Jeanine Wright, COO & CLO, Simplecast

Zachary Davis, VP, Premium Content, Himalaya Media.

Matt Turck, Chief Revenue Officer, Megaphone

Jason Baron, Senior Vice President, Direct Response, Warner Media, Ad Sales

Quite the group of experts, to say the least.

The 45-minute discussion brought up a lot of positives in the podcast space and highlighted just how much of a blue ocean there is for brands to connect with a highly engaged audience, and for creators to engage more by offering premium content.

I haven't had the chance to watch this yet, but I'm adding the link to my watch list now.

•••

From Abu Zafar on Lifehacker: How to Make Your Podcast Sound Like NPR

One of the first things listeners will notice about your podcast is the quality of the audio. Bad audio is a surefire way to sound unprofessional and lose listeners, so make it a priority to produce the highest quality audio you can.

In the video above, I go in-depth on how to make your podcast sound good. I cover topics like microphone placement, vocal performance, and mixing audio.

Yes, thank you. Good audio for everyone everywhere, please!

•••

Thanks for listening to (or reading) this week's episode! Please share the show with a friend and send feedback, thoughts, and cool stories or articles to aaron@thepodcastdude.com.

Have a great week, and happy podcasting.

Aaron Dowd

Subscribe to support the show and get full episodes and exclusive content: https://thepodcastnews.substack.com

•••

If you enjoyed this episode, please take a moment to leave a rating and review in Apple Podcasts, or share the episode with a friend. Thank you! 💙

This show was produced by me, Aaron Dowd.
Music and SM7B illustration by Sean McCabe.
Hosting and technology by Simplecast.

Dec 02 2019

18mins

Play

Pre-Thanksgiving Podcast News and Tutorials

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Welcome to The Podcast News, a weekly show for podcast producers and anyone who loves podcasting. My name is Aaron Dowd. Here are the most interesting news articles and tutorials for the third week of November, 2019.

This week: Why articles in audio format increase member loyalty, behind the scenes of podcast advertising, 10 things new podcasters can do to boost downloads, building a podcast studio from scratch, tools to make your podcasts sound good, startup opportunities in podcasting, and more.

1

From Sara Alfort of Zetland (Danish magazine): Why Articles in Audio Format Increase Member Loyalty

What happens when all articles are available as audio? Loyalty goes up.

Danish magazine Zetland transformed itself completely into audio during the summer of 2017, and the results have surprised us: It has improved retention and member satisfaction. Listeners consume more, they stay longer with each story.

The decision of publishing all articles in an audio version was a complete transformation of our media in a relatively short time. And it turned out to be a great success. In two months 40% of the consumption was audio, in less than 6 months it was 50%.

Last summer we spend a lot of money on commercials on national television to attract attention. This summer we chose a different path, and asked our members to become our ambassadors. In just one month these ambassadors managed to get 2806 new paying members to sign up to Zetland. For us that means a growth of 25 percent. Way more than the tv commercials ever gave us.

A compelling argument for investing in audio to deepen relationships and grow a community.

•••

2

From Dave Jackson on the School of Podcasting podcast: Heather Osgood - Behind the Scenes of Podcast Advertising

A fantastic interview from The School of Podcasting podcast about podcast advertising. Worth a listen if you're interesting in getting sponsors for your show, or if you work with podcasters who might be.

•••

3

From Tae Haahr of Part-Time Podcaster: 10 Things New Podcasters Can Do to Boost Downloads

When you’re a brand new podcaster, there’s so much to think about from planning, producing and publishing episodes to promoting them. And the number one question I get asked by new or soon-to-be podcasters is “how can I get more listeners?”

The truth is, there are so many things that factor into and every podcast is different that it’s hard to say that there’s one thing that works better than others. But I do notice that a lot of new podcasters don’t utilize the tools that they already have at their disposal to promote their podcast.

So, after taking a look at the promotional practices of new podcasters and deriving from my experience, here are 10 things that you can do to help boost those download numbers.

If you're an experienced podcaster, you've probably heard most of these tips before, but #8 caught my eye: Ditch the text-based promotional content.

When it comes to promoting your content on social media, it’s important to know that the best types of content aren’t boring text-based posts. While almost every post requires text attached to it, your content has a chance to go further if you focus on other types of content instead.

Opt for photos, infographics (but make sure they’re not all text-based), videos or, my personal favorite for podcasts, audiograms. This type of content can not only help your posts go further, thus bringing in potential listeners but it can also help give followers a taste of your podcast in various forms.

I admit I've been lazy too often when it comes to creating promotional content for my episodes. I have been using Simplecast's Recast audiogram feature more lately though.

•••

4

From Multitude: A Studio of One’s Own: How we planned, built and paid for a podcast studio from scratch

A very detailed walkthrough of how the folks at Multitude (an independent podcast collective + production company) built a small podcast recording studio in a closet in their office in Brooklyn for about $10,000. Check this out if you're interested in building a recording room or studio or improving the acoustics of the space you're currently recording in.

•••

5

From Reddit: What kind of tools do you guys use to make your podcasts sound good?

Question from user mpbeau:

What kind of tools do you guys use to make your podcasts sound good? Is it all about the recording quality or is audio mixing/processing really important as well?

There's some good discussion in the thread about how to get good audio quality for your show. My two favorite comments:

  1. If you're doing a podcast but not in person, having everyone record their own native audio is key. Many podcasts just hit record on a Skype call or Discord and it comes out much worse. Record your own native track and combine them in whatever program you prefer. Sounds much better.
  2. I refuse to record anyone on a phone. It’s just not worth it. The sound always comes out terrible.

If you're interviewing remote guests regularly, it's worth investing in a subscription to https://squadcast.fm/, which is a web app that records an individual track for everyone on the call.

And while we're talking about Squadcast, check out their podcast Between Two Mics, a show "exploring challenges, opportunities, & new ideas that push the limits of what’s possible in podcasting."

•••

Closing Thoughts and Notable Mentions:

From Colin Keeley: Where are the Startup Opportunities in Podcasting?

In the nearly 15 years since Apple kicked off the podcasting era, podcasting has exploded, but the tools have remained shockingly rudimentary. I started podcasting over 3 years ago at Tech In Chicago and use many of the same tools today. Podcaster workflows often include a bunch of apps that aren’t designed for what they are used for.

Here is where I see major opportunities for improvement.

Good breakdown of the current challenges and opportunities in podcasting.

•••

From Dan Misener and Pacific Content: Do you publish more than one podcast? New tools to understand audience overlap

•••

From Matthew McLean on The Podcast Host: My Podcast Has Disappeared From iTunes/Apple Podcasts! Help!

Great tips for what to do if you discover that your podcast is no longer in Apple Podcasts. First two steps:

  1. Double check to make sure your show is actually not available (don't rely on Apple Podcasts's search functionality as it's not always reliable)
  2. Double check to make sure your show's RSS feed is still online and available.

If you're not familiar with what an RSS feed is or how it works, I wrote an introduction to RSS feeds article that you should check out.

•••

From The Podcast Dude (my podcast!): Professional Podcast Production Q&A with Steph Colbourn, founder of Edit Audio

Steph's a boss. Her clients include Harpers Baazar, Stack Overflow, Element AI, Cosmopolitan, Glossier, Postlight, Tinder, and more. If you'd like to learn about podcast production from a pro, check out this episode.

•••

From Christopher Balkaran on Medium (hat tip to Podnews for the link): How Podcasting Has Changed My Life

Nice writeup about the challenges and rewards of starting a podcast. Worth a read through if you're thinking about starting a show.

•••

From Chris Makara on the bulk.ly blog (hat tip to Matthew Passy for the link): Social Media Automation – How To Be Balanced & Not Look Like a Robot

Chris asks:

When you decide to use social media automation software to assist with your social media initiatives, where do you draw the line?

A great article exploring the upsides and downsides of social media automation, and when you should or shouldn't use automation.

Me? I don't automate anything social media, currently. All manual, baby.

•••

Finally, from Mati Sojka on his blog: What’s up in European podcasting? A status assessment

This was published back in October and updated earlier this month, but somehow I missed it back then. This is a deep deep dive into the state of podcasting over in Europe. I'm talking like 5000 words deep, spend-a-whole-afternoon-reading-this-thing deep.

Anyways, if you're curious about what's going on with podcasting over in Europe, you might enjoy that.

•••

Thanks for listening to (or reading) this week's episode! Please share the show with a friend and send feedback, thoughts, and cool stories or articles to aaron@thepodcastdude.com.

Couple things before I go: It's Thanksgiving week here in the Unites States, and I am taking a road trip with a friend to go see Manchester Orchestra and some other bands play at their annual Thanksgiving concert/festival in Atlanta, The Stuffing. If you're in the area or going to that show, let me know and let's hangout and grab lunch or coffee.

I'm still planning on doing an episode next weekend, although it might be a little shorter. We'll see what happens in the world of podcasting.

Big thanks to Scotty Russell for leaving this show's first written review in Apple Podcasts. If you're looking for some badass illustrative lettering or if you know someone who is, get in touch with Scotty through his website https://www.perspective-collective.com/. And be sure to check out his show, the Perspective Podcast.

Finally, I know most of you are listening to this episode because you're subscribed to The Podcast Dude feed, but in a couple episodes I'll be only publishing new episodes of The Podcast News in that feed, so please visit thepodcastnews.simplecast.com or search for The Podcast News in your favorite podcast app and subscribe for free to continue getting new episodes every week. Thank you!

Have a great week, and happy podcasting!

Aaron Dowd

https://thepodcastnews.simplecast.com

If you enjoyed this episode, please take a moment to leave a rating and review in Apple Podcasts, or share the episode with a friend. Thank you! 💙

If you like this show, you might also like my other show, The Podcast Dude.

This show was produced by me, Aaron Dowd.
Music and SM7B illustration by Sean McCabe.
Hosting and technology by Simplecast.

Nov 25 2019

12mins

Play

Professional Podcast Production Q&A with Steph Colbourn (Founder of Edit Audio)

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My guest today is Steph Colbourn, founder of Edit Audio, a podcast consultation and production company.

In this episode, we discuss how she got into podcast editing and production, how she connects with and on-boards new clients, her process for working with them and helping them be successful, what she's learned about launching and marketing shows, how she manages money and scheduling, why she's optimistic about the future of podcasting, and so much more.

About Steph and Edit Audio

Steph is passionate about creating high-quality podcasts, driven to get more womxn and LGBTQ+ people behind and in front of the mic, and working to ensure more voices are heard and to create media more representative of the world we live in.

Her company, Edit Audio, is a team of womxn working to record, produce, and market high-quality podcasts. She started the company in Toronto in 2012 and quickly expanded into the US and UK markets. Their clients include Harpers Baazar, Stack Overflow, Element AI, Cosmopolitan, If These Ovaries Could Talk, Glossier, Postlight, Tinder, and more.

Connect With Steph:

More Cool Stuff to Check Out:

If you enjoyed this episode, please take a moment to leave a rating and review in Apple Podcasts, or share the episode with a friend. Thank you! 💙

Nov 20 2019

47mins

Play

Transcriptions, Submissions, Automations, Conversions, and More

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Welcome to The Podcast News, a weekly show for podcast producers and anyone who loves podcasting. My name is Aaron Dowd and here are the most interesting news articles and tutorials for the second week of November 2019.

This week: Rev.com (popular online transcription service) lowers pay rates for their contract workers, Apple now allows you to hide new shows in Podcasts Connect while you wait for their review and approval, the podcast industry is grappling with the prospect of automated ads, Podsights looks at conversion rates for pre-roll, mid-roll, and post-roll podcast ads, and more.

1

Rev.com (Popular Online Transcription Service) Lowers Pay Rates for Transcriptionists

I've been tracking this story since Monday, November 11th. It started with a tweet I saw from Andy Dehnart (@realityblurred):

If you use Rev for transcriptions, read this thread. I’d love to know how Rev justifies keeping 70 cents for every $1 customers pay, and giving the actual transcriptionist 30 cents per minute of audio.

Since Rev.com is the transcription service I've recommended and used before (I really liked the ease and quality of the service), I took a look at the message Andy retweeted from @thricedotted.

all right folks, i'm about to post a thread that's going to endanger the last reliable source of income i have. spoiler: it's yet another example of a gig economy startup brazenly mistreating its workers. let's go! - https://twitter.com/thricedotted/status/1193928787857039362?s=20

I'd encourage you to go read through the entire back and forth between all parties because it's worth understanding the details, but the short of it seems to be Rev.com made a change that lowered the pay for their contract workers to a point where they're not going to be able to make a livable wage.

I'm thinking about two things related to this.

The first being pay and benefits for people doing gig economy and skilled labor work full-time: They should be paid a living wage and provided benefits. Also, we need universal healthcare in the United States ASAP.

The second thing I'm thinking about is the alternative to transcriptionists, which is transcripts made by computers and software.

In my experience, these transcripts produced by computers require quite a bit of work to fix (depending on the show format and length, of course), so the end result is that you end up spending a non-trivial amount of time doing the same things you'd pay a transcriptionist to do. Except they do it better and faster than you, so you quickly realize why they're worth paying for.

I see automated computer-generated transcriptions getting more accurate over time, which means fewer requests for podcast transcripts. If I were currently working in podcast transcription, I would begin offering other related services, like creating show notes and blog posts, managing the admin work and social media accounts for the show, and so on.

Regardless, all workers deserve fair pay. Erika Hall summed it up perfectly in a tweet: Underpaying contract workers is not a technology.

Dig into what happened here:

Alternatives to Rev:

Finally, here's a petition to Rev's CEO Jason Chicola asking for fair wages for Rev.com workers. Please consider signing it.

•••

2

From Apple: You can now hide new shows in Podcasts Connect while waiting for them to be approved by Apple's team.

From an email from the Apple Podcasts team:

Manage Show Launches

You can now hide shows while being reviewed for approval. This way you can easily manage the launch of new shows directly from Podcasts Connect.

Simply select "Hide Podcast" after submitting it for review — this action will not impact or delay the feed’s review process. When approved, you can then select "Unhide Podcast" and allow up to 24 hours for your show to become searchable on Apple Podcasts.

Learn more about planning and promoting your new shows on Podcast Marketing Best Practices.

I'm very pleased by this update. In the past (and presently with other podcast directories), there wasn't a way to get a new show reviewed and approved and listed without also having it go public as soon as the show was approved. This meant that it wasn't really possible to coordinate the launch of a show with when the show would show up in Apple Podcasts and other podcast directories.

The best workaround was to publish a trailer episode and then submit the show feed for review and approval, and then publish the first full episodes when you were ready to "launch the show".

This new update solves that problem. Thanks Apple Podcasts team!

Also worth noting:

Holiday Submission Schedule

If you plan to release new shows on Apple Podcasts in November or December, be aware of the following periods of delayed submission activity:

  • November 22 to December 2
  • December 23 to January 2

•••

3

From The Wall Street Journal: Podcast Industry Grapples With the Prospect of Automated Ads

Couple excerpts from the article:

As podcasts attract more advertisers, podcast publishers and ad sellers are beginning to embrace tactics that are common on the internet, including the automated buying and selling of targeted ads.

The vast majority of podcast ads today are sold directly, not auctioned through programmatic technology vendors. Most also are read by hosts or producers and baked into episodes during the recording, though they are sometimes edited in afterward.

The trick is figuring out how to apply ad tech to podcasting without breaking what’s working, industry executives said.

Programmatic sales remain a sliver of the podcast ad business. They grew to 1.3% of U.S. sales last year from 0.7% in 2017, according to research by the Interactive Advertising Bureau and PricewaterhouseCoopers LLP.

Couple thoughts I had after reading this:

  1. Almost anytime I hear a programmatically inserted ad, I start tapping the skip ahead 15 seconds button.
  2. I'd bet long-time hard-core podcast listeners are more sensitive to programmatic ads then people who recently started listening to podcasts, although no one likes ads for things they aren't interested in. The hard part is finding brands/services/products that your audience will be into.
  3. In my mind, the best option for the listener is having the hosts read the ads, and then dynamically inserting those recordings into various places in the show.
  4. From marketingcharts.com: Podcast Listeners Open to Ads; Host-Read Perform Best

I like what Tom Webster wrote about ads in an article called The Secret Sauce of Podcast Advertising:

Second-by-second measurement of podcasts is coming. And when it does, the impact of a crappy ad, or too many ads, will be as clear as day.

Ads for irrelevant products, poorly-produced spots, and even host-read ads that ramble without a point for 4 minutes are all going to be skipped. And when ads get skipped, ads don’t perform. And when ads don’t perform, podcasting will suffer as an ad medium.

It will truly become that bane of all marketing — another thing we ruined with advertising.

What do you think? Would you allow programatic ads that were recorded by someone else for stuff your audience might not be into to be put into your episodes if it meant a little extra cash at the end of the month?

•••

4

From Podsights: Which Podcast Ad Placement Converts the Best?

We looked at four campaigns totaling 7.7 million impressions that purchased some combination of pre-roll, mid-roll, and post-roll spots.

We found pre-rolls were 47% more effective than mid-rolls, and post-rolls were 58% less effective than mid-rolls.

Interesting findings from Podsights. Now I'm wondering if I should be asking people to rate and review and share at the beginning of the episode instead of the end of the episode.

Hmmmm.

•••

5

From Reddit: Can someone explain to me why some podcasts are hard to physically listen to?

u/nosfaretwo: I find some of the episodes hard to listen to in a physical sense. I don't know if it's the way the audio is mixed or recorded or if the bit rate is low, but I'm often left with a headache if I listen to episodes that sound like this.

It isn't just this podcast either - several podcasts seem to sound like this and are difficult to listen to. It sounds compressed or condensed, or not equalized properly. I'm not sure how to describe it.

Can someone with some experience in audio engineering ELI5 (explain this like I'm 5) for me? I want to understand why some podcasts sound like this.

Another user responded, “It's called listener fatigue and depends on the quality of audio recording and it's editing” and shared a link to a Wikipedia article about listener fatigue.

I recommend learning about best practices for recording audio and common audio mistakes to avoid so you can make your show sound good.

Good audio is worth investing in for a number of reasons, including preventing your potential fans from experiencing listener fatigue.

•••

Closing Thoughts and Notable Mentions:

From Podnews: Bots are scanning podcasts for music - How to use commercial music in your podcast.

Wordpress launches a Reocurring Payments feature.

From NPR and Edison Research: The Spoken Word Audio Report for 2019 - My favorite two points here:

  • Podcast daily listenership has more than doubled in the past five years
  • Spoken Word Audio listening peaks in the 7-8am hour (publish those episodes early!)

From the IAB: Recommendations for Marketers in a Screenless World - I haven't had a chance to dig into this yet, but it looks interesting. Heckin long article, though.

My brother-in-law Casey shared a link to a YouTube video from the Computerphile channel that might be interesting to some of you: How Alexa Works (Probably!). Check out this gem from the comments section:

1960: “I hope the gov doesn't wiretap my house.”
2019: “Wiretap, what's on my shopping list?”

From Colin Gray (The Podcast Host): How to Be a Great Podcast Interviewee.

From Jay Acunzo on the Marketing Show Runners website: A CMO’s Business Case for Branded Shows: Data and Ideas to Get Buy-In.

From Katharine Kerr (Podcast Pioneers) on Medium: 10 Predictions for UK Podcasting in 2020.

From the New York Times: How to — Literally — Sound More Confident and Persuasive - Here's a summary for you folks who don't have a subscription:

According to a paper published in the Journal of Personality and Social Psychology, you can come off as more persuasive by speaking slightly louder than you normally do, and by varying the overall volume of your voice (i.e., speaking both more loudly and softly).

•••

That's going to do it for the show this week: Thanks for listening to (or reading) this week's episode.

Please share the show with a friend and send feedback, thoughts, and cool stories or articles to aaron@thepodcastdude.com.

Until next time, have a great week, and happy podcasting.

Aaron Dowd
November 18, 2019

https://thepodcastnews.simplecast.com

If you enjoyed this episode, please take a moment to leave a rating and review in Apple Podcasts, or share the episode with a friend. Thank you! 💙

This show was produced by me, Aaron Dowd.
Music and SM7B illustration by Sean McCabe.
Hosting and technology by Simplecast.

Nov 18 2019

14mins

Play

Introducing The Podcast News

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This week I'd like to introduce The Podcast News, a new weekly news show for podcast producers and anyone who loves podcasting.

If you'd like to stay up to date with the latest important podcasting news and tutorials, you can subscribe for free over at thepodcastnews.simplecast.com. New episodes will be dropping every week!

This week: Pacific Content writes about what makes a great podcast host, Google and PRX launch a new Podcasting 101 series, and I'd like to know: Are you listening to podcasts on your smart home speaker?

I share AIR's rates list for podcast engineering and composition with someone from Reddit, podcasters shared their top frustrations with the folks at the Hot Pod newsletter, and more.

1

First, an article from Pacific Content: What makes a great podcast host? A checklist for brands

I thought this was a great article, both for people looking to hire a podcast host to produce a show, but also for anyone interesting in doing podcast hosting for a job.

Dan Misener writes:

“I’ve worked with many different brands to help develop many different podcasts. In every single show development session, these questions always come up:

  • Who should host our show?
  • Do we hire a celebrity?
  • Do we choose someone internally?
  • Should my boss be the host?

It’s an important choice. A good host plays a crucial role in the success of any podcast.”

Good stuff.

Here are some of the things they look for :

  • A spirit of partnership
  • Performance skills
  • Storytelling skills
  • Interviewing skills
  • Credibility and subject area expertise
  • An audience of their own

Definitely bookmark that one.

---

2

Google and PRX are Launching the Podcasting 101 Series

A 10-part instructional video series to support early-stage podcasters around the world, from PRX and the Google Podcasts creator program.

Hosted by podcast veterans Luvvie Ajayi, author of the New York Times best-seller I’m Judging You: The Do-Better Manual and host of the Rants & Randomness and Jesus & Jollof podcasts, and Sean Rameswaram, host of Vox Media’s daily news podcast Today, Explained, this video series is subtitled and transcribed in Spanish, Hindi, French, Arabic and Portuguese to reach podcasters anywhere.

I'm always happy to see high-quality tutorials about podcasting.

---

3

From The Verge: After five years of Amazon’s Alexa, why isn’t it better? Alexa’s functionality is miles wide but inches deep

James Vincent writes:

> “I started using an Echo speaker not long after it became available in the UK, and after messing around with some lackluster skills on Amazon’s haunted house of an app store, I quickly settled on a few key use cases: playing music and radio, setting timers, and occasionally asking about the weather and Wikipedia-level trivia. Years later, I still have an Echo, and I still use it for the exact same tasks. Nothing has changed. Don’t get me wrong, I think the Echo performs these functions pretty well. But like many users, I’ve learned that posing any trickier queries is asking for trouble.”

I'm curious, how do you use smart speakers in your home?

I currently have a HomePod in my kitchen that I'll occasionally stream podcasts to from my iPhone. But other than that, I mostly just ask it to play me news from NPR or the latest episode of the Daily in the morning while I make coffee or breakfast. Most of my podcast listening happens through headphones or in my car.

Seems like smart speakers may be nice for listening to shows you already know and enjoy, but I can't imagine ever discovering new content on one.

---

4

From Reddit: Any guides on rates for producing podcasts?

User /touchtheclouds asks:

I am having trouble finding rates/prices for producing podcasts. Can anyone link me to a site or forum with some sort of insight or breakdown on this topic? Or does anyone have any personal experience out there?

I have been offered an opportunity to produce a podcast for a high profile bank in a major city. I want to make sure the rate I give them is fair for both myself and the company.

This would involve travel to and from the city (an hour by train), setting up and breaking down their video/audio equipment, filming/audio engineering the podcast, then editing together a 45 minutes episode.

Not sure if I should charge per hour, per episode, what the rate should be, do include travel? Etc etc.

Any and all insights would be greatly appreciated.

I shared a link to AIR Media's Rate Guide for Engineering and Composition, and there was some great discussion in the thread about pricing, and how clients prefer to be billed on a per-episode basis.

Worth a read through if you're a producer or editor, or if you'd like to get into working in the podcasting industry.

---

5

From Nieman Lab: As Hot Pod turns 5, these are the problems podcasters are most frustrated by

The podcast industry is bigger, richer, more professionalized, and more corporate than when Hot Pod launched five years ago today. Here are the worries that’ll need to be addressed in the next five years.

I saw Nick from the always entertaining Hot Pod newsletter put out the question (what are you most frustrated by?) a few weeks ago, and I've been looking forward to seeing the results ever since.

I thought about it for awhile, but didn't respond to the inquiry.

But those responses: Man. Check those out if you want to understand the struggles of the people who are making podcasts or helping other people make them. 

Here are a couple of the ones that stood out to me:

1. It is so hard to get people to know my show exists. I’ve tried everything to boost my numbers…it’s so hard to promote yourself above the sea of podcasts, especially if you’re not a new buzzy show.

2. Lack of ways to monetize expensive shows to produce (and by the way traditional CPM model doesn’t take into consideration the quality of the content or cost to make).

3. In larger corporations that have decided to add a podcasting arm, or attempted to get into the industry, most people being put into positions of power are people with little to no experience actually producing podcasts — or even audio of any kind. This means that often you end up working for people who have no idea how labor-intensive it is to produce a podcast, how much it costs, how to market or promote a podcast, how to monetize a podcast. This means constantly having to educate people who are above you in the hierarchy, and wasting a lot of time trying things that you know will not work, or producing less-than-ideal-quality work, or making bad business deals or over-promising clients.

I feel you. For reals, I know it's tough out there.

---

6

From Josh Kaplan on Medium: Lessons learned from selling Morning Brew’s first podcast ads

Morning Brew just started monetizing our first podcast. Turns out, it’s low key very different than selling newsletter ads. Newsletter ads are fun! We write the ad, the partner approves it, we send the newsletter to an exact number of people and we show success via open rates, click throughs and brand lift surveys. Podcast ads are… not so easy. In order for publishers to make the best experience for listeners and profit, we have some work to do. So here’s some baseline knowledge we have recently collected and a few of my initial observations.

Good things to keep in mind if you're considering trying to monetizing your show with ads.

---

Closing thoughts:

Have a great week, and happy podcasting.

Aaron Dowd, November 9, 2019

https://thepodcastnews.simplecast.com

If you enjoyed this episode, please take a moment to leave a rating and review in Apple Podcasts, or share the episode with a friend. Thank you! 💙

This show was produced by me, Aaron Dowd. 
Music and SM7B illustration by Sean McCabe.
Hosting and technology by Simplecast.

Nov 09 2019

11mins

Play

Is There Money In Podcasting? Seth Godin Talks Monetization And More In "Meta"

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Seth Godin recently released a podcast episode about podcasts on his show, Akimbo. In his episode, he talks about the unexpected growth of podcasting as a form of media, why it's currently difficult to monetize a podcast, why podcasting will continue to grow, and more.

Check it out.

You can find Seth's "Meta" episode here:

Cool Stuff to Check Out:

Sep 05 2019

1min

Play

Show Trailer: A Podcast About Podcasting, for Podcasters

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Hi there! My name is Aaron Dowd. This show is for anyone who wants to make a great podcast.

If you're interested in learning how to start a podcast, grow an audience, or improve at all the various skills that are a part of being a podcaster, this show is for you.

In this trailer episode, I'm going to share my back-story and talk about why I decided to start this podcast, who this show is for, and what topics I’ll be covering in future episodes.

Little bit about me:

I'm a podcast producer and editor from Fort Worth, Texas. I started helping people make podcasts back in 2013. I was a full-time editor, producer, and consultant for a small podcast network and a bunch of independent shows for several years before joining Simplecast in late 2017 to be their customer success lead.

My job for the past 6 years has basically been to answer questions and help people make great podcasts.

I started this podcast in 2015 to share everything I'd learned about podcasting. After producing 75 episodes, I took a break to finish a couple of online courses about podcasting called Successful Podcasting, Logic Pro X for Podcasters, and GarageBand for Podcasters.

Topics I'll Be Covering in This Show

As I'm recording this trailer episode in September of 2019, I've actually already published 80 episodes about a wide range of topics related to podcasting, including:

Most of these episodes were recorded between 2015 and 2017, when I was working as a podcast editor and producer for my friend Sean McCabe.

While a lot of the advice and tips I shared in these episodes are still helpful, a lot has changed in podcasting since I recorded them, and I've improved as a podcaster as well, so I'm going to re-write and re-record a lot of these episodes.

I hope you find my podcasting journey helpful and inspiring (remember, you don't have get everything perfect the first time).

My Story (How I Ended Up a Professional Podcast Editor and Producer)

My story really starts with music. My mom is a classically trainer singer who also plays guitar and piano, she taught me (and my siblings) how to sing and gave us piano lessons when we were very young, and I started learning how to play drums when I was 12. Pretty soon after that I decided I wanted to be a professional drummer, but I wasn’t sure how to make that happen or if I could even make any money with it.

As I got into my late teens and into my college years, I didn't really have a plan for how to achieve my dreams, so I ended up just kinda drifting for awhile, working lame jobs and wasting a lot of time and money.

I woke up one day when I was 21 and realized I hated the life I had, so I decided I'd make a big change, set some goals, and start pursuing my dreams. I wanted to be in a band and tour, but I knew that most musicians don’t make much money, and I didn't have much money, so I wasn't sure what to do.

I had started working in an automotive parts factory around that time, but the work sucked and didn't pay much, and I didn’t want to be broke my whole life. I got the idea in my head that I could find a job I could do on a laptop so that I could make money while traveling with a band.

Hey Google, How Do I Make Money From a Laptop?

So in my early twenties, I googled "how to make money from a laptop". I found some articles about how it was possible to start a web design business and work from anywhere, so I started trying to learn how to be a web and graphic designer. I discovered podcasts around this same time too, and started listening to shows like Radiolab and This American Life, but also independent shows about business and marketing and web design and audio engineering, all kinds of interesting shows. This was all between about 2009 and 2012.

How I Got Into Podcasts and Podcast Production and Editing

Podcasts played a huge role in my self-education because I could listen to shows while working, driving, or doing chores. I was learning valuable things constantly and being introduced to ideas and potential opportunities I wouldn’t have known about otherwise.

Around this same time, I also started studying audio engineering. Being a musician, I was interested in recording, mixing and mastering because I wanted to make demos for my bands.

I started a podcast with some friends I met on a now defunct social network called App.net (the show was called Social Converse). I knew the most about working with audio, so I volunteered to be the editor, and that’s where I learned how to record audio, get audio from all the co-hosts, edit it together, and get it published in an RSS feed and out into the podcast apps/directories.

Around that same time, I noticed that a lot of my favorite independent podcasts didn't have terribly great audio quality. There was a show I really liked called the Shoptalk Show. Back then, they were recording their Skype conversations and using the raw audio from that for their podcast. This was a pretty common practice back in 2012, and is actually still pretty common.

There would occasionally be problems with their audio (levels all over the place, dropped calls, stuff that could have been edited out). I really liked the show and thought I could help, so I sent them an email and said, “I'm a big fan, and I’d like to help you by taking over the editing for the show. If you can get everyone on the call to record a track on their computer and send the files to me afterwards, I’ll put them all together, so some editing and mixing, and make it sound good.”

They agreed and even offered to pay me a little bit of money for each episode (which was super exciting for me). So that was really the start of my career as a podcast editor and producer.

Around the same time I started working with the Shoptalk Show guys, I saw a job posting on Authentic Jobs from Dan Benjamin (founder of the 5by5 network) who was looking for an audio engineer for his podcast network. That planted a seed in my mind: Maybe podcast editing could be a full-time, remote job for me. (I didn't get the job then, but I did end up editing shows for 5by5 for awhile in 2014.)

I had also joined a band around that same time, so I was traveling around, playing shows, working weird hours and filling all my free time either listening to podcasts or editing them.

The guys from the Shoptalk Show kept referring people interested in starting podcasts to me, so I had a few more weekly clients and I was answering a lot of questions about podcasting and helping people start shows.

I really enjoyed helping people make podcasts and answering questions, but I got tired of writing responses to the same questions over and over, so I put up a page on my personal website offering podcast editing services and also wrote a few blog posts to answer some of the most frequently asked questions. After a few months, my site showed up in the #1 on Google if you searched for “Podcast Editor”. That brought more questions, but also more clients.

I started getting more and more podcast editing clients, and eventually I had enough to quit the day job I'd landed a few months before as a junior front-end web developer.

All this happened between about 2010 and early 2014. Around that time, I met a hand lettering artist from San Antonio who wanted to start a podcast network and online community for artists and entrepreneurs. I ended up helping him start a show and a small podcast network, and that was around the time I started this show too. A few years later, I joined my favorite podcast hosting company, Simplecast, to help them with customer support, education, and more.

You'll be able to hear the original episodes of this show until I re-record them and replace them with new versions, but the original versions of all the episodes are available at https://seanwes.com/podcastdude-archive/.

If you want, you can go listen and hear what I sounded like when I was first getting started with podcasting. You can also check out all the original show notes I made as well.

Anyways, that's a not so quick introduction to me. Thanks for listening!

You can check out thepodcastdude.com/episodes to see a full list of the available episodes for this show.

If you have a question that I haven't answered in one of those episodes (or if you just want to say hi and introduce yourself), you can reach me via email at aaron@thepodcastdude.com, leave a voicemail at 8173818219, or drop a comment on my YouTube channel.

I hope you enjoy the rest of the show, and happy podcasting.

Aaron Dowd
September 2, 2019

Cool Stuff to Check Out:

Sep 02 2019

14mins

Play

How to Get a Job Producing Podcasts

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Cool Stuff to Check Out:

Most Jobs Don't Have An Official Job Posting

Not everyone can become a great artist, but a great artist can come from anywhere. - Anton Ego, Ratatouille

The best jobs are never advertised. - Unknown

The jobs I linked to in that Twitter thread just the ones I found easily on job boards with a quick Google search.

I know there are more podcasting jobs that aren't being shared on job boards because I've landed a few of them myself over the past 5 years, and that was before the big podcasting boom of 2017.

Podcasting is still a relatively new field, and many people, companies, and brands are only now beginning to think about starting a podcast.

They might want to hire someone to produce a podcast, but they may not know how to put together a job posting, or they may not want to. They might not know which skills are required or what kind of person they need to hire in order to end up with a good podcast.

This is a time of opportunity for motivated podcast producers at all levels.

Q: If I want to be a professional podcast producer, what do I need to know and be good at?

I took a look at the job postings again to get a sense of the most commonly listed skills and requirements, and here's what I think are the essential skills for podcast producers.

Essential Skills for Podcast Producers:

  • Content creation and direction: You should have experience developing shows and episode content, writing scripts and stories, participating in brainstorming sessions, etc
  • Audio recording and editing: You should know how to record audio that sounds good, how to put a project together and edit it in audio software, how to write narration (if necessary), add music, mix and master, and whatever else the production requires
  • Working well with others: You should be able to work with—and possibly manage—producers, writers, audio engineers, editors, freelancers, guests, and so on
  • Ability to work under deadlines: You can get stuff done and shipped on schedule (time management skills)
  • Proactive problem-solving skills: There's going to be stuff they don't know, stuff you don't know, so you should be able and willing to figure it out
  • Leadership skills: This means you have opinions and taste and are comfortable with setting goals and identifying how you'll measure success

Q: What if I don't have all those skills yet?

That's ok, I didn't have all those skills when I started producing podcasts either, and I'm still working on getting better at all of them.

Study those podcast producer job postings for insights into what you should study, but remember that you don't need to be a master of everything to produce a great podcast, and the best producers are always learning on the job anyways.

The important thing is to have a firm grasp on the basics and a willingness to work hard, experiment, take feedback and criticism, and keep learning.

But since this is a prescriptive advice podcast, here are a few things I believe you should focus on if you want to increase your chances of landing a job producing podcasts.

How to Increase Your Chance of Landing a Job Producing Podcasts

1. Learn everything you can about recording and working with audio

Study all the various options for capturing audio in studio and live environments: Microphones, audio interfaces, soundboards, etc.

Practice recording with different gear and in different locations. Learn how the gear and the room or environment changes the sound of a recording.

Learn everything you can about how to manipulate and work with audio once it's been recorded. Learn about editing and post-production: EQ, compression, noise removal, limiting, and loudness metering.

Learn how to organize and share your audio files, and how to backup and archive your finished projects.

You can learn the basics in a few hours, but mastering recording and working with audio is a life-long project. That might sound intimidating, but I promise that it's actually a lot of fun (doing the same thing every day sucks).

2. Learn pro audio software like ProTools, Logic Pro X, or Audition

Many people get started with podcasting using the free or easy tools like GarageBand or Audacity, but if you want to be a powerhouse podcast producer, you should acquire and master a professional DAW (Digital Audio Workstation) like ProTools, Logic Pro X, or Audition.

While it's true that you can make a successful podcast with almost any editing program, the professional DAWs have useful (maybe even essential) features that the free or cheap DAWs don't, including non-destructive and multitrack editing and other features for tweaking or enhancing audio once it's been recorded.

Professional production studios and other podcast producers are also likely using the one or more of these pro DAWs, so if you're serious about producing podcasts, try to master at least one of the three DAWS I listed above (Pro Tools, Logic, or Audition).

3. Learn the most popular technology and software tools used by podcasters

In addition to your DAW of choice, you should also learn and be familiar with (if not good at) all the various apps and software used by podcasters and podcast producers.

That includes:

  • Recording gear & software
  • Writing apps and other collaboration software for communicating with co-workers, developing episode ideas and scripts, show notes, and so on
  • Graphic design apps for developing visual assets
  • Content management systems (websites) and podcast hosting software (like Simplecast)
  • Social media platforms
  • and whatever else podcasters are using to make or grow their shows

You don't have to master every single app or software in each of the categories I listed above, but you should be able to learn and use them quickly if needed.

If you tell yourself you can't (or don't want to) learn new software tools, you're right, and you'll probably have a hard time being successful as a podcast producer. Keep an open mind and be willing to learn.

4. Study and learn from other producers (especially the great ones)

Producing great audio is a craft, and there are many great audio producers to learn from.

Keep your eyes open for them. Seek them out. Follow them on social media, subscribe to their shows, read their articles and books, and take their online courses.

Ask them questions when you get the opportunity, but analyze their work either way. It's a great way to learn about how things are done and may give you some ideas about things to improve or how to do things differently (and hopefully better).

5. Don't wait to get hired, start your career as a producer today

Don't wait for someone to hire you: Go out and start your own show, or help your friends start shows and try to figure out how to make them successful. Do the best you can and try to make work you can be proud of.

A good self-initiated portfolio will go a long way towards convincing other people to hire you, and you'll gain more experience (and probably even learn more) by doing instead of just reading or watching tutorials.

Q: What if I don't live in one of the big cities where these jobs are?

Good news! While it can certainly help to live near a large city like New York City or Los Angeles where there are podcast companies or businesses looking to hire podcast producers, you can help produce podcasts from almost anywhere.

The internet has made it possible to connect with people all over the world and the rise of broadband and fast internet means you can collaborate in real time or easily send audio files back and forth over Dropbox or Google Drive. And you can certainly learn everything you need to learn about podcast production as long as you have access to the internet and a library.

If you'd like to land a gig producing podcasts, I'd encourage you to invest time in developing the skills I listed earlier, but also in networking and connecting with other people in the industry or similar industries. For example, I've learned a lot from writers, web designers, programmers, marketers, managers, folks who work in the film and book industries, and many other kinds of professionals.

Again, don't wait to get hired as a producer. Start studying and producing shows today.

Have a question, or just want to say hi? Send an email to aaron@thepodcastdude.com. I love connecting with other podcasters.

Happy podcasting!

Dec 23 2018

14mins

Play

RSS Feeds Explained: How to Get Your Podcast Into All the Podcast Apps & Directories

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Q: What is an RSS feed?

An RSS feed is a formatted text document that contains all the important information about your show. It's hosted on a server somewhere (usually public) and has a URL so anyone can view or access its contents. It contains info about your show and your episodes: Things like your show’s title, description, episode titles, and links to the audio files for the episodes.

It is possible to write and update an RSS feed yourself, but it’s time consuming and errors or typos can break things, so managing the RSS feed is usually handled by a podcast host.

Q: Why do I need an RSS feed?

The RSS feed is basically your show. Without it, you’ll just have blog posts or audio files, but no way for people to subscribe and get new episodes unless they visit your website (or SoundCloud page or Youtube channel, etc).

Your show’s feed is what podcast apps and directories (like Apple Podcasts, Google, Spotify, and so on) will use to display your show and episodes in their apps.

People can also bypass the podcast directories and subscribe to your feed directly using any compatible app. Since RSS is an established standard, there are many apps that can subscribe to and display info from RSS feeds. In fact, I use a mac app called Reeder to subscribe to the RSS feeds for multiple blogs and websites.

Q: How do I make sure my new episodes get into Apple Podcasts and the other directories?

In order to get your show into Apple Podcasts and the other podcast directories, you’ll need to submit your show’s RSS feed URL to them. This is almost always done via a web portal, like Apple’s PodcastsConnect website or Spotify’s Podcasters.Spotify.com portal.

Once the podcast directory approves your feed (most places will within 48 hours), they will use the info in the feed to display your show in their directory. They’ll also check the feed regularly for changes and new episodes.

Here's how it works: Your show has an RSS feed and you’ve already submitted the feed url to the directories. You publish a new episode in your podcast host, and some new lines that contain info about the episode are added to your show's feed.

Since the directories are checking your show's feed for updates and new episodes, they see that a new episode has been added, and they use that info in the feed to display the episode in their app.

As soon as the directory gets the new episode and adds it to their app, anyone who has subscribed to the show through that directory will get the new episode as well.

Q: What do I do if my new episodes don’t show up in the directories right away or at all?

As long as you included the required info about your episode when you published it, the directories and apps should see the changes and update pretty quickly, although Apple says it can take them up to 24 hours to update their podcast directory.

If you can’t see the new episode in any of the podcast apps or directories, then it’s likely an issue on your end. Check with your podcast host or whoever manages/updates your show’s feed.

If you can see the episode in all the apps/directories except one, then it’s likely an issue with that directory and not anything wrong with your feed. If you’re concerned, reach out to that directory’s support team and ask if they would mind taking a look.

Q: Can I change podcast hosts or RSS feeds without breaking things or losing my show’s subscribers?

You can move hosts anytime, although it’s easier with some hosts than with others. Most hosts will copy an existing RSS feed and audio files over to their service.

After you have the URL for the new feed that was setup for your show, you’ll need to update the podcast directories so they check your new feed for updates and new episodes instead of the old one. This is usually done through the same web portal that you used to submit the show, although some places require you to send an email. Your host should be able to help if you have questions.

You can check out this article for links and instructions for submitting and updating feeds.

Q: What is a 301 redirect?

The 301 redirect directs anyone who visits the old feed URL over to the new feed URL for your show. It’s kind of like setting up a mail forward.

Your podcast host should allow you to add a 301 redirect to your old feed if you’ve moved your show to a new host and gotten a new feed for your show. If your podcast host doesn't make it easy for you to easily redirect your feed to a new feed, your host sucks.

Q: I’ve read or heard about an iTunes new-feed tag that needs to be added to a new feed. What’s that?

The iTunes new-feed tag just lets Apple know that this is a new feed URL for your show. I’m not sure why they ask for this if you also have to log into PodcastsConnect and update the feed URL for your show there, but they do. Your host should handle this for you (Simplecast adds this tag automatically whenever a show is imported).

Recap:

  • You don’t have to be afraid of RSS feeds. They are just formatted text documents that contain info about your show. You can access or copy them anytime.
  • If you move your show to a new host and get a new feed, you’ll need to redirect your old feed over to the new feed, and also update the podcast directories so they check the new feed for updates instead of the old one. You won’t lose any subscribers if you follow these steps.

Cool Stuff to Check Out:

Have a question, or just want to say hi? Send an email to aaron@thepodcastdude.com. I love connecting with other podcasters.

Happy podcasting!

Nov 19 2018

11mins

Play

How to Be a Podcast Editor: Q&A with Sidney Evans

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Cool Stuff to Check Out:

Questions Discussed in This Episode:

  • How do you find your first clients?
  • Do you need a website and/or tutorials to attract clients?
  • What are people hiring podcast editors looking for?
  • Should we be making tutorials and content to attract clients?
  • Should you invest time in trying to convince people to start podcasts?
  • Should you only work with shows that are aligned with your goals and values?
  • How much should you charge for your services?

Have a question or just want to say hi? Send an email to aaron@thepodcastdude.com. I love connecting with other podcasters.

Happy podcasting!

Nov 11 2018

33mins

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How to Provide Helpful Feedback

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My first negative iTunes review: Was it helpful? What would I do differently?

How much have you thought about the feedback you provide to the people in your life, and how you present it? It matters more than you might think.

Cool Stuff to Check Out:

Sep 24 2018

12mins

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Let’s Take Your Show to the Next Level (Or Get Your Show Started)

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Cool Stuff to Check Out:

Where Have You Been, Aaron?

Fair question. After launching my Successful Podcasting course and joining Simplecast in late 2017, I immediately dove head-first into my customer success and support role there. In addition to traveling to multiple podcasting conferences and meetups in 2018, I also answered questions for thousands of podcasters about pretty much everything you could imagine.

It was super fun but also more challenging than I was anticipating, and didn't leave me with much creative juice for working on my show, so I would like to apologize for the lack of consistency over the past year (2018). I am going to continue working on this show, but it will be more of a side project for now as I'm putting 110% of my energy into helping Simplecast and our customers be successful.

That being said, the Simplecast team has been making some incredible tools and educational content for podcasters, so I'd encourage you to check out the links I've included in the episode notes.

I'm super excited to share what we've been building for podcasters over the past year, and I hope you'll follow along. As always, if you have any questions, you can reach me at aaron@thepodcastdude.com.

Happy podcasting!

Sep 15 2018

2mins

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Brief Hiatus (When Is the Right Time to Pause a Show?)

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Cool Stuff to Check Out:

Here are the original notes for this episode, published at the end of 2016.

So… I’m pausing my podcast.

The decision to quit or pause a podcast shouldn’t be taken lightly. There are many reasons to stop doing something, and many reasons to keep going even when it’s hard.

In this episode, I want to share why I’m pausing my show, and hopefully give you some clarity if you’ve been thinking about quitting or putting your show on hold as well.

Highlights, Takeaways & Quick Wins:

  • If your relationships or your personal health are suffering, it’s time to stop your podcast.
  • Tell people what you’re doing and why.
  • There’s a huge benefit to sticking with something for a long time, because it takes people time to notice you.
  • Once you’ve had a strong impact on someone, it’s okay to take a break and step away for a while. People won’t forget you.
  • If you want to make massive progress on one project, say no to everything but that one thing.

Why Am I Pausing My Podcast?

A lot of you know that I’ve been working on podcasting courses this year. I’m pausing my show to focus on finishing them and getting them launched. At the beginning of 2016, I said, “I’m going to get these courses done this year.” I started writing this big master course called Successful Podcasting.

I wanted to teach everything you’d need to know to start a podcast: planning a show, recording a show, getting good gear, getting the hosting set up, interacting with your audience, and everything that goes into making a great podcast. I wanted to do videos, screencasts, PDF downloads, checklists, and more.

I got it done (well, almost). I worked really hard on it this year, especially in the springtime. Cory McCabe (the video guy at seanwes) came up from San Antonio to help me shoot all the video lessons in the last two weeks in July.

I wrote something like 30,000 words for the course, and finished shooting all the videos in July (we ended up with 75 video lesson). The next thing was recording a short screencast course called GarageBand for Podcasters. That was six or seven screencasts about how to get started using GarageBand for podcasting. I got that done, too. The very last thing was my Logic Pro X for Podcasters course.

I knew my Logic Pro X course was going to be challenging. I knew it was going to be anywhere from 30 to 50 screencasts about everything I know about editing podcasts in Logic. I’m not quite done with that yet. I’ve recorded 90% of the screencasts and I have the other ones outlined, but life got crazy.

There’s so much I’m still doing: Editing shows on the seanwes network, trying to produce content, interacting with my audience, trying to answer questions for people, making videos, playing in a band...

It’s hard to do big, important work when you’re also doing lots of shallow work. I was trying to do a whole bunch of things and I wasn’t making much progress on the course as a result.

The primary reason for me pausing The Podcast Dude is so I can finish the Logic Pro X course, get it edited, and get all of these things launched. That way, people can invest in them and go through all the lessons at their own pace, on their own time.

I’m not going away completely. I’m pausing my podcast to free up time to finish my courses and get them launched. I’ll be returning to make more podcasts after I’m done with that.

I want to interact more with my audience and create more content that helps them specifically.

When is the Right Time to Pause a Podcast?

The biggest reason to stop podcasting is if your podcast no longer aligns with your long term goals.

If the thing you're podcasting about is no longer something you're passionate about, if you want to do something else, it’s okay to stop the podcast. It’s okay to change, to go from caring intensely about one thing to caring intensely about something else. You’re supposed to evolve as a human.

Don't Sacrifice Your Relationships

I asked my friend Cory, "What would cause you to stop doing a podcast?"

Cory said, “If my wife came to me and said, ‘I feel like our relationship isn’t good, like you’re investing a lot of time in this podcast and you’re sacrificing family time or personal time with me to do this podcast,’ that would cause me to quit the podcast.”

If your relationships or your personal health are suffering, it’s time to pause your podcast.

You might be doing too much. This is a trap a lot of people fall into, at least in America. We fill every second of our time with doing stuff, trying to get to the next level. At some point, you wake up exhausted, you’re out of shape, you don’t feel good about yourself or your life. If your relationships or things that are important to you are suffering, pause the podcast. Put your podcast on hold.

If your audience isn’t growing and you don’t see a way to make money from it, if it’s a huge time investment and you’re not enjoying it anymore, it might be time to quit.

You can change the format so that it takes less time to produce, or you can admit that the investment isn’t worth it for you, and that’s fine. Maybe you should be doing five minute YouTube videos instead. Maybe you should be writing instead.

This comes back to knowing your audience and what they want. I was listening to a writing podcast the other day, and they had their podcast editor on to talk about podcasting. Their guest said that she started a podcast for vapers (people who love electronic cigarettes). She thought, “There’s a huge, strong vaping community. They’re going to want to listen to a podcast.” She started a podcast about vaping and got no response.

She didn’t understand why the show didn’t get any traction. It might have been because she wasn’t well known enough, or maybe she hadn’t done it for long enough (she did it for four episodes and then cancelled it).

She said she realized that her target audience really wanted videos. They wanted to show off their gear and their clouds of smoke (it’s the dumbest thing in the world, but people get excited about blowing these huge clouds of smoke when vaping. Ridiculous.) She said that they wanted video, and the audio podcast just didn’t work for them.

There are some circumstances where video works better than audio.

Some topics just aren’t right for podcasts. For example, it’s really hard to explain how to do audio mixing and mastering on a podcast. It’s so much easier to record a screencast so your viewer can see what you’re doing.

Don’t Quit Just Because You’re Bored

Podcasting is a long term investment. You have to be thinking in terms of years rather than months when doing a podcast.

There are lots of benefits to podcasting: Meeting awesome people, growing your network, building an audience, and even getting clients (depending on what kind of show you’re making).

You’ll learn a lot of valuable skills, but in most cases, podcasting won’t make you a lot of money right away. You won’t get to 10,000 listeners and $5,000/month in sponsorships overnight. Many podcasters won’t ever get to that point, and if that's your only reason for podcasting, you'll probably end up disappointed.

If you’re looking for a quick return on your investment, podcasting is not the way to go. This ties into what I said earlier about your podcast not aligning with your long term goals: If your heart’s not in it, if you don’t really care about this thing that you’re podcasting about, it’s okay to shut it down.

Be Careful of Shiny Object Syndrome

Cory and I talked about this too. He said, “There’s one guy I know who always starts stuff and then stops and goes to something else.”

That’s Shiny Object Syndrome: You get excited about doing a new thing, and then it’s not as fun as you thought it would be or you get bored with it, and you move on to the next new thing. You bounce from thing to thing and never get really good at anything.

I see that happen in podcasting a lot. People get really fired up about the idea of starting a podcast, so they start a podcast. When it doesn’t turn out to be everything they dreamed it could be, when they don’t get Tim Ferriss levels of money coming back from it or tons of people talking to them and investing time in their show, they quit. They forget that getting good at podcasting and growing an audience takes time.

It takes time for people to notice you. You can announce, “Hey, I have a podcast,” one time, and most people aren’t going to notice.

You know what they’ll notice? They’ll notice if you post about your new podcast episode every single week for a year straight.

They’ll notice if you consistently talk about the same subject all the time. There are authors who don’t get noticed until their 10th, 20th, or 100th book.

Sometimes it’s hard to know when you should keep going or when to quit because the thing you’re working on just isn’t working out. Just be careful of Shiny Object Syndrome.

Quit Permanently, or Just Pause for Awhile?

You don’t have to quit permanently. It’s okay to take breaks, like I’m going to do. Bands take long breaks all the time.

There was a band I used to listen to when I was 14 (I think they were called Johny Q. Public). They put out a great CD in 1995, one of the first CDs I ever got, and I loved it.

5+ years later, I was browsing through the CDs at a record store and I came across a new record from this band (I hadn’t thought about them in years). They released a new record and I bought it, because I’d loved their first album many years before.

Once you’ve had a strong impact on someone, it’s okay to take a break and step away for a while. They won’t forget about you.

People don’t forget the people who've had an impact on their life. Momentum is important, and a track record of consistency is great, but sometimes you need to take a break to plan your next move.

Thank You for Listening!

Thank you for coming along with me on this journey. This podcast been one of the coolest and most rewarding things I’ve ever done. I want to say thanks to you for listening, sharing my show online, and for all the encouragement.

I hope I’ve had an impact on your life, encouraged, helped, or inspired you in some way. That’s why I do this.

Finally, I would really appreciate an iTunes review if you haven’t done that yet. It helps other people find the show, and I really appreciate it. Thanks again, and I’ll talk to you again soon!

Jan 01 2017

29mins

Play

A Day In the Life of an Audio Engineer (with Special Guest Ryan Monette)

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My guest this week is professional audio engineer Ryan Monette. Ryan graduated from Berklee College of Music with a degree in Music Production & Engineering. For the last 4.5 years he's been the Post-Production Audio Engineer on staff at Elevation Church, in Charlotte, NC, where he mixes their global TV show, and has many other responsibilities (boom operator, field recorder, sound designer, audio editor, etc.). You may have heard some of his work, as he sound-designed and mixed the opener video for the Circles conference for the past two years. He even had his own podcast for a short while (TheQueuecast.com). I asked Ryan to come on the show to share his journey towards becoming a professional audio engineer (a job that I've always wanted), and to get him to share some tips for anyone interested in working in audio/video professionally.

Highlights, Takeaways & Quick Wins:

  • Think long term and dream big.
  • If you want to do anything with audio, start by getting a cheap USB microphone.
  • Take advantage of free online courses to learn more about audio engineering.
  • Get started with whatever you have.
  • Your mix may sound completely different in a different environment, so listen with different headphones/speakers in different locations.
  • Master the basics and keep going back to them.
  • If you’re mixing a podcast, make sure your levels are consistent.
  • When mixing, always use a reference track.

Show Notes

Aaron: You graduated from Berklee College of Music with a degree in music production and engineering. For the last five years, you’ve been the post production audio engineer for Elevation Church in Charlotte, North Carolina. You have a lot of jobs there: boom operator, field recorder, sound designer, audio editor, and you mix their global TV show. Do you mix that live?

Ryan: Not necessarily. We can get into that later. There’s a process for that.

Aaron: Some of the creative people here might have heard of some of your work. You sound designed and mixed the opening videos for the past two years of Circles Conference, which I was at. Have you been there for the past two years?

Ryan: I haven’t been personally, no. I have wanted to go. I love it from afar, and I want to go in person.

Aaron: I wanted you to come on this show because when I first got started, I had dreams of being a professional audio engineer. I thought, “How cool would it be to work in audio and get paid for it? That’d be awesome!”

I fell backwards into it by doing podcast editing as a hobby first, then for money, then I met Sean McCabe and ended up working for him full time. I edit podcasts and help out with a ton of other stuff. I asked you to come on the show to share your advice for anyone who’s interested in working in audio/video professionally, and to talk about how you got there yourself. So tell me a little bit about how you got into audio. When did you first realize that this was something you wanted to do?

Ryan’s Journey to Becoming a Professional Audio Engineer

Ryan: I love listening to your podcast, Aaron, and what I love about it is I feel like you and I have a lot of similarities in our backgrounds. You’re a musician, a drummer, and I’m also a musician. I play several things. My primary instrument is bass, but along with that, I started on piano. I picked up bass, and with the bass I picked up guitar. I took some drum lessons here and there as well.

I sing as well. I dabbled in a little bit of everything. I’m kind of a jack of all trades, master of none. I’m okay at a lot of things, but I’m not superb at one thing. Anyway, right around junior high or high school, I started playing the bass. I started playing in little bands here and there. When it came time for college, I had no clue what I wanted to do. All I knew was that I loved music.

Aaron: Same here!

Ryan: I was living in Las Vegas at the time, so I decided, well, everyone has to have that college experience, and I didn’t want to go to college in the same city, so I decided that I needed that “being away from home” experience. I went to the University of Nevada, Reno. I took your basic, general classes, not knowing what I wanted to do. At this time, for my high school graduation, I had received a graduation present of a Macbook Pro.

With that, of course, you get the wonderful iLife suite, including Garageband. As a musician, a whole new world was opened up to me. When I was in a band in high school, I was the gear head—I loved the PA and putting cables together.

I was drawn to that. Once I had this Macbook Pro with Garageband and I had my bass and my guitar in my dorm, I was like, “I can create music!” I figured out how to work it and record myself. I bought a USB microphone, and that world was opened up. When I was there, I had a friend, and her brother went to this school where all they learned about was music. I was like, “Wait, you can do that? You can go to school for just music?”

That’s how I found out about Berklee School of Music. I applied, and you have to audition as well. I applied and auditioned, and the first time I tried, I actually didn’t get into the music school I wanted to go to.

Aaron: This sparks something in my mind. I feel like I might have read an article about Berklee or looked into it and thought, “No, they’re really strict on who they accept, based on your performance.” That was intimidating to me at the time, because I never felt like I was that good of a drummer.

Ryan: It was intimidating for me, too. Clearly, I wasn’t up to par.

Aaron: Yet you went for it. That’s more than a lot of people would do.

Ryan: Yeah. After I finished my first year at UNR, I moved back to Vegas and went to UNLV, the University of Nevada Las Vegas. I took all music classes, forgetting the general ed stuff you need to get a degree. I took all music classes—music theory, because I had never had actual music theory classes, so I thought I needed that. With that, there were some audio classes that I took as well. I was like, “Hey, I like this audio thing.”

At the University of Nevada Las Vegas, I had my first exposure to a formal audio class, where I learned all the proper techniques. Later on that year, I applied and auditioned again for Berklee. I got accepted, and the next year, I moved to Boston and went to Berklee for about three and a half years. Then I graduated. When I went to Berklee, the only thing that drew me as a major was Music Production and Engineering. I naturally loved the gear side of things. I fell in love with recording. I was like, “This is what I want to do.”

Aaron: You got to spend three and a half years there, studying and learning?

Ryan: It is non-stop, 24/7, music, audio, and to be honest, I miss being in that environment so much.

Aaron: That sounds fantastic. I always love setting aside time to take online classes, read books, and listen to interviews about audio.

Think Long-Term

Aaron: You were drawn to the audio engineering stuff, and then you graduated.

Ryan: I can remember a specific time in my life, and I’m pretty sure it was my last semester at Berklee. They went by semesters instead of years. It was in one of my capstone classes. Our instructor asked us the typical, “Where do you see yourself in five years?” question.

Aaron: I love that question now. I hated it when I was 22.

** Think long term and dream big**

Aaron: Plan out where you want to be, because if you can envision it, then you can figure out how to get there. But you have to start by saying, “I want to do this thing someday.” For me, it was, “I want to do work from a laptop. How do I get there?” Now I’m there. So you were 22 and someone asked you, “Ryan, where do you want to be? Where do you see yourself in five years?”

Ryan: At that moment, I was trying to figure that out, naturally, as you do when you’re approaching the end of college. While I was at Berklee, I loved music. I loved recording music, but my absolute favorite class—they only had one of them, but it was the class I yearned for, that I wanted to take and put in all these extra hours for—was audio for visual media, audio for video.

By far, that was my favorite class. The whole class, we were working toward our final project. You choose a five to seven minute clip from a well known movie, and all the audio is completely stripped. You have to recreate everything. That’s all the dialogue, all the foley, all the ambient background, all the hard effects, and so on. You have to connect with a film scoring student there at Berklee, and they have to provide the score. I absolutely loved every aspect of that project and the process. When it came time to decide what I wanted to do with my life, it was between audio engineering at a recording studio, working at Disney as an Imagineer, or doing audio at a church.

I have always been involved with church, playing on worship teams and whatnot, so I also saw myself doing audio for a church. Long story short, I was really privileged to dip my feet in all of those things after college. After I graduated, I moved back to Las Vegas. Eventually, I found an incredible recording studio, probably one of the top two recording studios in Las Vegas, and I landed an internship.

First Audio Engineering Jobs

Ryan: I say “internship” loosely, because your typical studio internship is all the stereotypical grunt work—taking out the trash, doing the coffee, and whatnot. I showed up, and they were like, “You went to Berklee? Berklee guys are cool. Here, hop in this session and help us out.” It was open to me, thrown at me, and next thing I knew, I was assisting on sessions with huge clients, I won’t name drop.

Aaron: You can drop a couple of names if you want.

Ryan: I had a pretty fun time helping out with a session with the famous engineer Eddie Kramer, who is engineering for Carlos Santana.

Aaron: Dang, man! That’s awesome.

Ryan: That was pretty incredible. But while I was there, I had this gut feeling inside of me saying, “This isn’t it.”

Aaron: It’s fine, but it’s not quite right?

Ryan: I could see myself staying there and working my way up, but it didn’t feel right. A few months after I realized that I didn’t want to stay at the studio, I applied and was offered a job at Walt Disney World in Orlando, Florida.

I packed my bags, moved to Orlando, and I was working as a stage technician at the Epcot park. There, they found out that I was an audio guy, so they pushed me toward the live audio side of things. I was mixing shows and bands at Epcot and what was at the time Downtown Disney, now Disney Springs, area. Same thing. Almost as soon as I got there, the same gut feeling came in.

I was like, “This isn’t it. I’m more of a studio engineer. I definitely don’t want to do live stuff.” Although I love Disney, it just wasn’t sitting right. I was only there three months before the next great opportunity came up, which is where I am right now. One of my friends told me about a job opening for this church in Charlotte, North Carolina, Elevation Church. I had actually been following them because of their podcast.

At the time, I was kind of like, “I’ve got a job, whatever.” For some reason, I ended up on their website, looking at the job. I was reading, and I was like, “Wait a minute, they’re looking for someone to do audio for video. That’s what I really want to do!” On a whim, I threw out my resume. Next thing you know, I’ve been here going on five years.

Aaron: Did you mention that you were a podcast listener when you sent in your resume?

Ryan: Yeah.

Aaron: The connections you can make through podcasting is really incredible.

Ryan: It is. And I’ve been working there for 5 years now.

How to Get Into Audio Engineering

Aaron: I want to jump into what you do at your job at Elevation, but let’s pause and do a section on what advice you would tell someone who’s wanting to get started. I wrote a couple of things down here. I think it’s hilarious that you got a Macbook and your first microphone was a USB microphone.

Ryan: Which was the Blue Snowball, by the way.

Aaron: That’s the worst microphone!

Ryan: I had no idea how to use it, either. If I find some of the earliest recordings I did, there are times I’m clipping to the max, square waves.

Aaron: Probably bad mic technique, too. But hey; it got you started!

If you want to do anything with audio, start by getting a cheap USB microphone.

Any USB mics will work for getting started. I like the Blue Yeti, but it’s like $100. The ATR-2100 is fine, too. You just have to get something that can record some audio and start playing with it.

Start playing with Garageband. Start playing with the free programs. Learn how to enable recording on a track, how to set your input device to the microphone, how to set your output device to wherever your headphones are plugged into, whether that’s your mic or your computer. It took me so long to figure that stuff out. I was like, “Why can’t I hear the audio in my headphones? What is going on?”

Ryan: Same here.

Aaron: You have to set input and output, then you have to record enable or do the input monitoring, all that stuff. But start with the USB microphone. Take some basic classes. There are so many great online classes. If you don’t have any money at all, if you’re super broke like I was when I started, watch some free YouTube videos. Read a book.

Ryan: If you go to Coursera.org, they’re a website where you can pay to take online courses and get certifications and whatnot, but they also offer free online courses. They even offer free online courses from Berklee. I’ve seen a music production class there. I’ve taken a free online song writing class.

Check out free online courses, because they can be a pool of incredible knowledge.

I took a photography class on there. Coursera is a great place. They’re great if you want to take free online courses.

Aaron: There are places where you can learn all this stuff. You just have to invest some time. You really just have to start: Don’t wait until you have $500 for an interface and $200 for some professional headphones and microphone. Whether you want to start a podcast, start recording audio for a video, or record and mix a demo for a band, start doing something.

Stop spending all your time thinking about how you can’t do anything because you don’t have certain gear or you’re not in the right place. You’ll learn as you do, especially in audio. You’re going to make a ton of mistakes.

Ryan: That’s how you learn, though! That’s one of the most valuable things I’ve learned in life. You learn from your mistakes.

Aaron: You don’t really learn when everything goes well.

Just Start

Aaron: Any other advice you would give somebody, thinking back on how you got to where you are right now?

Ryan: Honestly, you hit the nail on the head with “just start.” It’s as simple and cliche as Nike, “Just do it.” There is always going to be the next latest craze, the gear, and we’ve all been susceptible to that. We say, “Oh, well, I could do this if I had X.” It starts with the drive and determination, wanting to do it. There’s knowledge out there everywhere. You just have to dig for it.

Chances are, you have at least something you can start with. Record something on your phone.

Aaron: I have a friend who makes some awesome music on his iPhone.

Ryan: Oh, totally. It’s as simple as getting an adapter. You can plug your guitar or whatever into your phone.

Aaron: Kids these days have it so easy!

Ryan: You have Garageband on your phone. I remember when I was figuring this out in high school, and we actually had a four track tape recorder. That was my first start. Get started with whatever you have.

Aaron: What kind of stuff do you do at the church? What’s your day to day life like? Are you there every day, or is it just a couple of days a week?

Ryan: Oh no, I’m definitely there every day. It has been a whirlwind for sure. In the past five years, I have probably played every audio role that there is to be played here. My main thing now is audio for broadcasts, pretty much anything that leaves the church. Our biggest output is the sermon, which goes to a lot of places.

It also goes in the TV episode, which we talked about, which goes locally, nationally, and, I believe, globally as well. That’s a lot of what I’ve done. We also create a lot of films, short films, for our worship experiences, anything you can imagine that’s video and audio related. Audio post production, like we talk about. I’m constantly on video shoots using field recorders, the boom op, anything you can think of. Audio for video, I’ve done it.

The Gear Ryan Uses

Aaron: Let’s talk about your gear a little bit. What kind of stuff are you using most in everyday life? I’ll do a quick recap: I have the Shure Beta 87A Mic as my main podcasting microphone. It’s attached to a Scarlett 18i20 USB Interface (update: I’m now using my Zoom H6 exclusively), which is plugged into a quadcore iMac that’s a couple years old.

Nothing super fancy, but I’m really happy with where I am. I remember wanting all this stuff back in 2011, thinking how awesome it would be to have it. I have a Zoom H6 portable recorder and a couple of SM58 microphones. I’ve been pairing down my gear collection because I’m planning on moving in the spring.

What kind of stuff are you working with? I use Logic Pro X for editing, and then Izotope iZotope RX 5 for cleaning up background noise or fixing clipping. What about you? What’s your day to day favorite gear?

Ryan: We use a lot. There’s a bunch of gear for field recording and then in my office, which is where I’m at right now. I’ll start with my office. Right now, I’m talking into my personal mic, which is a Rode NT1A. It’s very affordable.

The Rode NT1A is a nice beginner mic which works and sounds great, and I use it for a lot of voiceover projects.

Aaron: I like those mics.

Ryan: I’m talking into that right now. We also use the Shure SM7B. We have a nice Neumann that we’ll use for bigger projects. We like to use Universal Audio Interfaces, so I’ve got one of those. They’re great. They’re rock solid. You really can’t beat them.

At our main recording/editing audio work station, we use Pro Tools. That’s very standard, and I’ve been using that for years and years. I use a lot of plugins. I use a lot of the Waves Plugins. I do use RX as well, and that’s the bulk of it. I do a lot of processing, depending on the project.

I have a really huge sound library for if I’m doing narrative pieces that involve sound design, sound effects. I have a great app called Audio Finder, which a lot of electronic musicians use to help them find sounds. I use it to help me find sounds. It’s a nice way to catalogue sounds if you’re a sound designer or anything like that.

You can basically tag all these audio files with meta data, and you can search for sounds by their title. Or, if you type in a word in the search bar, it can pull up things based off the the metadata. If you have notes on something, it can find it. Audio Finder is a great way to find sounds.

I have some other things in here. I have the Artist Mix Controller made by Avid. I use those if I’m automating stuff. I use those a lot, actually, when I’m mixing the sermons. I do a lot of automation for that. If I’m mixing a piece with a music bed or something, I like to automate the music by hand.

It feels more natural, as opposed to clicking and making little dots. That’s the bulk of it here in the office. All of our audio engineers have a nice pair of Focal monitors. I also have another set of monitors I built myself. When I mix TV episodes, I have an output routed to a TV here in my office so I can hear how it translates on TV speakers.

Recording Audio for Video

Ryan: On the front end of things, if we’re doing shoots for videos, we use Sound Devices field recorders. We have three different models: the Sound Devices 788T 8 Channel Recorder, a 702 2 Channel Recorder, and then a 633 6 Channel Recorder. That last one is one of their newer models, which is great.

Sound Devices are steep in price, but they are rock solid.

One of the most trustworthy, well known field recorder brands on the market. That’s what you’ll see on pretty much every big budget shoot in some way. I do a lot of freelance on the side, which gives me the opportunity EPK shoots or BTS shoots for, recently, a show on HBO called Outcast.

Aaron: Outcast? I’ve been seeing that (I watch Westworld).

Ryan: I’m pretty sure it’s the same writers or producers or something. I know it’s the same writer as The Walking Dead. They shoot here in North Carolina, so with a local production company, we’ve done some interviews with some of the cast and crew. It’s been really neat to be on set and see what they’re using. It’s cool to see how similar their world is to what we’re doing day to day, just with more money and more resources.

It’s the same thing. Most of their audio guys have some sort of Sound Devices. A lot of them use the 788 as a backup recording rig, and they’ve got larger multitrack recorders as well, that are also made by Sound Devices. Sound Devices is a great brand. They’re crazy expensive, but when you buy that, you know you’ve basically got it for life.

Aaron: Yeah, I’m looking at the Sound Devices 788T SSD 8 Channel Portable Solid State Audio Recorder. It’s almost $7,000. I love that! So fancy.

Ryan: That SSD does have an internal hard drive. Ours has a hard drive as well, so it’s great, because it has the internal hard drive, but you can also use CF cards. You can record on two different mediums. In case something runs out of space, you have it in two places.

Aaron: This is super professional stuff.

Ryan: Yeah. It is. It’s top of the line.

Aaron: Fantastic. For all the rest of you, just go with the Zoom H4N or the H6.

Ryan: Hey, we do have a Zoom H4N, and we do use that every now and then. Before I came on staff, our first field recorder was the Zoom H4N.

Aaron: If I could start over and go back to before I had any kind of interface at all, I think I would buy myself an H4N or an H6. Not only are they portable field recorders so you can walk around with them—they have little stereo condensor mics on them—but they work as audio interfaces, too. You can plug it into your computer with a USB cable and record straight to your computer if you do any kind of podcasting or stuff like that.

It’s good for the price. Otherwise, the little two channel interfaces are great. They’re about $100 for a good one, but they aren’t portable. You can’t take them to a show or out to a video shoot the way you can an H4N or an H6 or something.

Ryan: Speaking of Zoom, they’ve recently come into the more professional field recording market. About a year ago, they releases the F8, I believe, which is an 8 channel field recorder with 8 mic pres. It’s $999 for something very comparable to a Sound Device. It’s not quite as high-fidelity, but for anyone starting out, you’re really not going to notice the difference.

Mixing On Expensive Headphones or Monitors

Aaron: I was going to ask you this earlier. You mentioned that you had Focal monitors. Did you listen to the episode I did a few episodes back where I talked about mixing on headphones (Episode 69: Do You Need Expensive Headphones to Mix a Podcast?)?

Ryan: Yes, I did.

Aaron: I mix on $10 Panasonics. What do you think about that? You can be totally honest with me. You can tell me that it’s a stupid idea or that it’s okay.

Ryan: I agree to a certain extent. I agree that you should be listening to what you’re making on whatever the majority of people are going to be listening to it on. For a lot of audio engineers mixing music, that’s iPod earbuds, those standard earbuds you get. Something like that. When I mix TV, I have an output routed to a TV in my office, so I can hear it on TV speakers.

I do also believe in mixing on something with some sort of higher fidelity type of monitoring environment, whether that’s nicer speakers or nicer headphones. Naturally, you’re going to hear things differently. The main thing to take away is how things translate.

If you’re listening to something on one source and you make it sound good there, that’s great, but in a different environment, it may sound completely different.

iPhone earbuds may not have the bass that a car stereo has. You want to hear how it translates from one thing to another. That’s why it’s good to at least listen to it on two different sources and not just narrow yourself down to one cruddy thing. That’s good in theory, but again, the key takeaway is translation.

Aaron: Maybe it’s a little bit different for me and I can get away with it because of the consistency of the microphones and the recording environment set we use.

Ryan: Yeah, totally.

Aaron: I think if I was doing more stuff like you are, with videos and clients and all that kind of stuff, I would absolutely be using my higher fidelity headphones.

Ryan: Very true. The bulk of your work is dialogue, podcasts.

Aaron: Yeah, that’s really it. Just dudes talking into a microphone.

Ryan: Yeah. I have done a lot of work here where I’m working in a small studio, but a lot of my mixes have played in auditoriums and arenas.

If you’re working on projects like music or film that have different audio frequencies and spectrums, remember that sound will be perceived differently in different places.

Aaron: How do you even test for that?

Ryan: Here, I at least have a sense of how our auditorium sounds, so I’ve trained my ear to hear in advance and understand how it’s going to translate. For something like when we did a live recording in the biggest arena here in Charlotte, we had a video opener piece. I was on point for mixing that, so basically, I had to work with tech and production to find a time after setup where I can bring my session, copy it onto a laptop, and play it through the PA.

Then I can make any final mix tweaks there in the auditorium or the arena. I perfected it in my studio, and any small tweaks I was able to do in that actual environment. Granted, a lot of the times, we may not have that luxury. There are also great plugins you can buy that simulate different monitoring environments, like Sonarworks.

If you have certain pairs of headphones, you can tell the program, “I have these headphones, now make my mix sound like it’s coming through these headphones or these speakers,” so you can hear how it might translate. In that program, they have a final output like the Beats headphones. You can hear how it might sound on there, super bass heavy.

Aaron: I hear they’re getting better, but I still have never bought any Beats headphones. I probably should (just for testing purposes).

Ryan: There are definitely programs out there to help you see how things translate to different monitors.

On Location Gear

Ryan: We were talking about the gear we use for on location recording. Sound Devices would be our main recorders. For our mics, we use Schoeps. It’s a shotgun microphone, so it’s a narrow polar pattern with good off axis rejection. Schoeps is a great brand. Again, you’ll see this on professional movie sets.

That’s the mic we use. We have some Sennheiser shotguns as well, the ME66, we have a couple of those, which is more their entry shotgun mics. Recently, I rented some of the MKH416.

Aaron: I would like one of those. The Sennheiser 416 is well known as the classic TV shotgun mic, right?

Ryan: Exactly. I rented those out because I wanted to try it out for that reason. The Schoeps is very good and very well known on set as well, but so is the 416. I rented it to try it out. It’s a trusted mic that a lot of people use for these professional things, and it doesn’t really break the bank for what it is.

Aaron: They’re like $1,000, I think.

Ryan: Yeah, and it sounded great.

Aaron: The next mic I get is either going to be that or the Rode NTG 3.

Ryan: I’ve heard a lot of great things about that. I haven’t tried one myself.

Aaron: That’s the shotgun mics we shot my podcasting courses with.

Ryan: Yeah, I know that Sean uses that for all of his videos.

Aaron: I’m excited about getting to go work with those (I’m moving to San Antonio in March or April).

Master the Basics

Aaron: That’s a pretty good run through of your gear. I’m sure you could keep going and discuss a lot more, but I don’t think we need to go into that. It seems like you guys are at a super professional, high quality. You have made big investments in professional gear, which is fantastic. I encourage everyone to strive for that, to aim for that, but like we said earlier, use what you have right now. I don’t have anything close to what you guys have, but I’m still doing my podcast. I’m doing the best I can with what I have.

Ryan: It still sounds great.

Aaron: Thanks! It’s mostly just knowing how to set gain levels and not having a noisy room. It’s crazy how far the basics will get you— everything else is just icing on the cake.

I’ve been watching this video course called Zen and the Art of Work, which I really recommend to everybody. It’s mindfulness training mixed with productivity training, which is such a great combination.

In this course, he says, “So many of the masters continually revisit the basics.” Mastery is staying on a path. It’s not reaching some final goal, it’s more about being with the work and investing in getting better, but also revisiting the basics. He was talking about playing piano. He was like, “A lot of times, I just start by touching the keys, pressing the keys, and then doing basic scales over and over again.”

It’s true. When you get so good at the basics that you don’t have to think about it, that’s when you start to expand and get to that level where people say, “Wow, you’re so good at that. How did you get so good?” You’re like, “That was just doing the basics. It’s not anything fancy.”

It’s so important to master the basics and keep going back to them.

Learning More

Aaron: What’s next for you? How do you invest in yourself and improve? Or are you working so much that you always have more learning opportunities? Do you buy books or courses or follow any websites to learn more about this audio stuff?

Ryan: Honestly? We had a shift at work to where my role has shifted to mainly just broadcasts. That has enabled me to have a little bit more flexibility and free time, so I’ve been doing a lot more freelance work. That’s great, because it energizes me and keeps me engaged. It keeps me from routine. Routine is great.

I love routine, that’s very much my personality, but freelance work keeps things interesting.

For me, it’s all about where and how I can get inspired and constantly feeding that. It’s about feeding my desire for creativity. We’re all creatives. We like to create. We were designed to be creators, really. Everything I try to do is about how I can become a better creator and what I can create next. It’s about finding things that inspire me, really. We touched lightly on a few of the resources that I like, things I’ve learned and places I’ve picked things up.

If you’re interested in audio for post production, there are a couple of great books by Ric Viers. I have two books by him that are really great. The first one is The Sound Effects Bible, and it’s not just sound effects in there. He talks about everything from gear to microphones, basics, setting proper gains, compression, some mixing techniques, etc. He also has The Location Sound Bible.

There are a lot of similarities, but there’s also a lot of talk about gear, shotgun mics, lop mics, recorders, and then he also dives into some of the basics when it comes to mixing, proper gain staging, and so on. Those are a really great pool of knowledge in book form. There are a lot of other books out there, but I have found those two to be really helpful.

Other than that, when it comes to audio for video, it’s a very small, niche field. There isn’t a crazy amount of stuff out there, like there might be for mixing music. For that, you’ve got tons. You’ve got Pensado’s Place, all these people on YouTube putting out channels on mixing, mixing from home, mixing on a budget, etc. There’s plenty of that.

Aaron: Graham Cochrane and Joe Gilder are pretty awesome resources for anyone who wants to start a home studio.

Ryan: YouTube can be a pool of knowledge for anything and everything, too. You have to dig a little bit and do some searching. On the inspiration side, for me, since I love audio for video, Sound Works Collection is a great place. They’ll do mini videos interviewing the sound people that did sound for X movie. Whether it was the last Harry Potter or anything and everything, big budget films, they’ll sit down with the recording people, the sound designers, the mixers…

It’s really cool, because they’ll show footage of them doing stuff on location or the foley artists. It’s cool to see their process. For me, that helps me stay inspired. It gives me ideas to do other things. They have a podcast as well, and that’s great. The videos can be kind of short, maybe 10 minutes or so, but the podcast will go on at length, talking to the audio guys who have made sound for videos possible.

It will also be music composers for movies as well. That’s really great. I found that great not only as inspiration, but to know what and how audio professionals for big budget films get inside their minds, how they’re thinking, and what their process looks like.

It’s neat to see stuff about sound engineers for big movies and realize that we’re not so different.

Dealing With a Broad Loudness Spectrum (Dynamics)

Aaron: I have a nerdy question here. This is about normalizing and compression, I think. Aiya had asked, “I’m so torn about normalizing sound clips. If I’m working on a longer project in segments, would it be better to adjust my peaks manually for the sake of consistency? It’s for a video project.” I’m hearing that there are differences in video volumes. How do you deal with that? Do you do compression? Do you do automation for the different parts? How do you deal with dynamics?

Ryan: It depends on the project. I’ll talk about how I would mix a sermon, because that’s very dynamic. Our pastor will go from whispering, holding his handheld mic close to his stomach, to screaming, holding the microphone, cupping the capsule. Power and respect to him, because it creates a certain atmosphere, which has a powerful effect. That’s what I’m dealing with on a weekly basis.

That dynamic range is tremendous. Keep in mind, this is going to TV eventually. TV has very strict restrictions. It’s not so much on level, but on perceived level. There’s a difference between what you see meter and what you’re hearing. I can talk at length about that, too.

Aaron: Could you give us a super short version? I’m kind of aware of that, but since I just mix in Logic, I’m not sure how to measure it. Is there a way to measure it in Logic? Do you know? Is there a plugin you use?

Ryan: I use a plugin from Waves. It’s a loudness meter, and its just that. It has a lot of presets, so I’ll use the TV standard preset. I’ll use it for ATSE85, and I’ll use it for a dialogue bus. They’ve also got one for a master bus. The standard right there is your average level around -24 dB LUFS, so that’s full scale. If you have a classic meters, your peak would be zero, so that would average metering right around -10. At least for TV, I’ve got a hard limiter at -10 dB, to where nothing can go above that.

The difference between levels on a meter vs. perceived loudness is the differences between what we hear and the actual energy.

In our TV program, we’ll have the sermon, but we’ll also have a talking heads segments, which is dialogue and a music bed. We’ll also go into segments where they’ll go into worship from our live album, which had been mixed and mastered as an album. That thing is slammed. If you look at the wave form, it’s a sausage. If I’m setting all that by the meters alone and they’re all hitting -10, it may look right, but if I look at my loudness meter, that worship segment is going to be off the charts.

There’s so much more content in there. There’s so much going on with all the different frequency ranges as opposed to a dialogue track, which is a narrow field in the frequency spectrum. That’s the gist of it. When it comes to my technique for controlling dynamics, for something like mixing a sermon, if I’m going down my plugin chain, the first thing I naturally have is a high pass filter. I’m rolling off those unnecessary lows that are hogging energy.

The next thing I’ll do is use a compressor, and I’ll set the attack to right in the middle, so not fast or slow, and I’ll have the release time at fast. We don’t want to hear it pumping, letting go. That’s catching my peaks. It’s not doing a crazy amount, but it kind of is. That’s helping do a lot of the bulk compression. Before anything really hits the compressor, I will go through, and as I work my way through the mix, I will clip gain the wave form, so that, say, if he’s whispering somewhere, I might keep that, depending on how I have my compressor set.

Then, if we go up to a part where he’s screaming and my wave form is huge, I will take that down and create those nodes, those dots in the wave form, and drag the actual clip volume down, that gain down. That way, it’s not going into the compressor at this high gain level. It’s hitting the compressor evenly as the rest of it would. That way, it’s not driving the compressor crazy. Then I’ll go through and do some EQ and DSing and whatnot. I might add some more compressors in there, just to grab some of those little things coming through. After that, it’s subtle, just smoothing it out.

Aaron: It is a little bit of both. If she has access to an audio editing program—I don’t know what she’s using for editing. If you can put a compressor on the track, do that. It’s not exactly the same, but I did a YouTube video about how I process podcast vocals, and it’s very similar. For podcast vocals, I start with a Logic noise removal plugin.

Ryan: I actually have my noise suppressor, and I’ll use that later on down in my signal chain. My way of thinking is that if I’ve got all this compression going on, the compression is narrowing that dynamic range, so it’s bringing up that noise floor. I tend to do my noise suppression after the bulk of that compression, because the noise floor is higher and it’s easier to work on a supressor. If that makes sense.

Aaron: I’ve thought a lot about whether you should do the noise removal before or after you add a bunch of gain with a compressor or something, and I can’t think of a good reason that it matters. You can take out the noise before you add a bunch of gain, or you can add a bunch of gain and take out the noise afterwards. Which is better? I don’t know. Anyways, after the noise removal plugin, I put an EQ with a high pass filter, a peak compressor, an RMS or an average level compressor, and then a limiter.

Ryan: Like I mentioned earlier, before I had my long-winded answer, it also depends on what it is you’re mixing—whether it’s music, or a podcast, or something for film.

When it comes to dialogue for film, you want it to sound as natural as possible, but you also want to be able to hear if someone is whispering.

When it comes to that, I’ll still use a compressor, but it will be very, very light. If there’s anything I need to do to meet loudness, that I will automate the volume on my dialogue bus. I’ll bring that up. That way, it sounds a little bit more natural, instead of solely relying on a compressor to do all the work for you.

Aaron: That makes sense. For podcasts, if I notice that there’s a section where someone was talking much quieter, like if a guest backed away and talked like that for four or five minutes and then went back to the normal distance from the microphone, in Logic, I’ll turn that into its own clip. I make a cut on either side of the quiet part, and then, in Logic, you can double click on it and change gain by hitting Control G. Then you can add 3, 4, or 5 dB to it.

That works out pretty well. If it’s every five seconds or I have to do it more than five or six times in an episode, I won’t do the clip gain changes, I’ll just use a compressor.

Look at the overall audio file and see if there are long stretches where you can use automation to change the gain, or change the clip gain.

Common Audio Mistakes Podcasters Make

Ryan: You asked a question that I think would be good to talk about in regards to podcasting. You had asked, “What do you like about podcasts? What common mistakes do you hear people make?” Initially, I read this and thought, “I don’t know,” but I spent some time thinking about it. This is great, because it piggybacks off the loudness thing.

A lot of the mistakes that I hear when it comes to podcasts in regards to audio is the levels and loudness aspect. I’ll listen to some podcasts that sound great, and I’ll put on another podcast where the whole thing is super quiet. Then they start laughing, and it’s really loud. There are some, like mine, where they have a music bed underneath the entire thing, and then sometimes the music bed is so quiet that you hardly know it’s there.

You’re like, “What the heck is that noise in the background?” Sometimes, it’s the opposite. Sometimes, the music bed is way too loud. That’s a few of the things I’ve noticed. A lot of the fixes relate to what we just talked about. It helps to have knowledge of levels and perceived loudness.

If you’re mixing a podcast, make sure your levels are consistent.

One of the biggest things I can recommend for anyone mixing anything, whether it’s music, movies, a podcast, is the importance of having a reference track.

Aaron: Yeah, I don’t talk about that enough.

Ryan: That is huge. Professional audio engineers who mix platinum records still do this. They will pull in a track from a different song that is mixed well and is mixed how they want theirs to sound, and they’ll have it muted in their session. When they want to have a reference to listen to or train their ear, they’ll un-mute it, and they’ll go, “Oh, okay.”

I’m sure you’ve done the same thing as me, where you’ll be so involved in a mix, you’re in it, and you think it sounds great, and then maybe you go away. You go home, sleep, and maybe you come back, and you open it up and you go, “Woah! What was I thinking!” You can get so involved in it that the blinders go up. You get tunnel vision, and you’re not aware to some things.

It’s good to have a reference track or get an outsider’s opinion on a mix.

The main takeaway here is the reference track. That would help with anything, whether it’s the timbre, how you’re EQing, or the loudness. You pull in their track and it’s far louder than yours, and you automatically know that you need to do something about it.

Aaron: That’s a great idea. You can kind of do this before or after. You go through and you edit your whole podcast, get everything set up the way you want, create an extra track, and then find a podcast that sounds really good—This American Life or pretty much anything by NPR—download an episode, drop it into your editing program, and play it, mute it, and see what the difference is. Maybe you need to add some gain with an adaptive limiter or with a compressor, or maybe you can tell that your track sounds way sharper or harsher.

Are there are too many high frequencies or too much bass compared to your reference track? You can adjust those things. I’m so glad you mentioned that. I’ve never thought of that before, and that’s such a good idea.

Ryan: It’s one of those things you don’t think of much, but once you do it, you’re like, “Oh my gosh!” It’s really eye opening and really helpful.

You can find Ryan online at ryanmonette.com, and follow him on Twitter @RyanMonette.

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Dec 19 2016

1hr 8mins

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Improving Your Productivity and Creative Output Through Deep Focus with Shawn Blanc

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Highlights, Takeaways & Quick Wins:

  • For big projects, you need long stretches of uninterrupted time to think and work.
  • Work on building your focus muscle.
  • The first five minutes of focus time are the hardest.
  • Pick a task, pick a time, and do the task at that time.
  • Show up every day and do your best creative work.
  • If you can’t overcome fear, push through it—fear is a sign that you’re doing something that matters.
  • The way you feel about a product doesn’t change how much it’s worth, which is how much the market is willing to pay for it.
  • Protect your morning productivity time and your mental energy by setting out your clothes the night before.
  • Don’t undervalue your products.
  • Pick one thing, do it for two months, and allow yourself to suck at all the other areas of your life—after that, pick a new thing.
  • Pick one action you can do tomorrow morning that will get you closer to the most important goal.

Show Notes:

Aaron: We both really loved Cal Newport’s Deep Work book. When did you get interested in the idea of intense focus and structuring your life in a way to make sure you get your best creative work done? When did you find that book or that idea and really start working on that?

Shawn: I think I found the idea years ago. When I was a creative marketing director, like I mentioned, I was doing 80 hours a week. Part of my schedule was that on Fridays, I would come home and work from home. I wouldn’t be on email or answer the phone. I had an assistant, and anyone who needed to get ahold of me needed to go through my assistant. She would screen anything and see if it was urgent or important for the day. If it was, she’d let me know.

I set up this distraction-free work time for myself on Fridays, because as the director for the marketing and all the creative stuff we were doing, it was on me to make sure that our marketing campaign for this big, end of the year, 25,000 person conference was going to happen. It was all on me. I had to drive that. You can’t do that in 10-minute time blocks scattered throughout your day.

For big projects, you need long stretches of uninterrupted time to think, process, come up with ideas, and work on stuff.

That was my first experience of going, “I have to have this. If I don’t, I won’t be able to do my job, and I will always be in reaction mode.” That was my first experience, and that was in 2008 when I came across that idea. It was born out of necessity for me. Obviously, that’s not new to the world, but it was new to me. When I quit my job and started blogging for a living, I came to that same spot of saying, “I need to set aside time every day to write without distractions, intentionally.”

That has evolved as we’ve had kids, schedules have changed, and seasons of life go up and down. I need uninterrupted stretches of time on a regular basis to do my most important work and to focus on the stuff that’s not urgent today but is very important. If I neglect it, those things will become urgent, or the needle is going to start going backwards and I’m going to start losing ground.

Why Deep Focus Matters

Shawn: Focused time has always been important. Then I came across Cal’s book, So Good They Can’t Ignore You. I read that in 2015. That’s a fantastic book. There was this chapter in there on intentional practice, and that resonated with me so much. It’s very similar to Mihaly Csikszentmihalyi’s book, Flow.

He has a lot of books on very similar topics on finding flow, getting in the flow, whatever. He has one book called Flow and another one called Finding Flow. It’s the idea that not only do you need those times of uninterrupted work, but when you’re in that moment, if you can get into the flow, it’s challenging, it’s hard, etc, but you feel more rewarded. You feel better. You have a higher motivation about the work you’re doing. You feel like you accomplished something.

I don’t know if anyone listening can relate to this. You spend your whole day in reaction mode, bouncing around between your email inbox, your Twitter feed, your Facebook feed, your Instagram feed, back to email, back to Twitter, back to Instagram, back to Facebook, back to email. You’re bouncing around all these inboxes, and then you’re like, “Wow, I just spent four hours. I haven’t done anything.”

Aaron: You read a bunch of short emails, maybe you replied, maybe you sent some tweets, maybe you saw some articles.

It’s so easy to spend all day doing short, quick tasks that don’t really change anything.

Shawn: Exactly. They don’t change anything, and you feel zero satisfaction afterwards. You don’t feel like you got anything done, as opposed to if you took those four hours and, instead, spent it focused on something intentional, something that was challenging. If you set aside time to do deep work, when you come out of that time (even if it’s just one hour or half an hour), if it was distraction free and you’re focused and being intentional, you come out feeling better.

After spending intentional time working on something without any distractions, you feel more motivated and you have more energy. It’s this muscle. You have a focus muscle that you have to work on, as opposed to the distraction muscle.

Why is Creating Focused Time So Hard?

Shawn: The hardest thing for getting into that focused work time, getting into the flow, is called the Activation Energy, just getting started. The first five minutes of focus time are the hardest. Something I like to do is have a set time every day when I am going to have my focused writing time, and before I even get there, the day before, I write down what my single most important thing is that I’m going to be writing about. I have the time on my calendar, and I have the challenge, project, or task that I’m going to be working on.

As Cal Newport would say, what’s the artifact that I’m going to try and get from that focused time? Then I come, sit down, and do the work. I know that the first five minutes will be hard and I probably won’t be into it. I have to power through those first five minutes, and then you get into that flow. Time begins to get lost. Anyone who has been a painter, artist, musician, whatever, you can usually relate. You say, “I was just in the flow. I was in the zone.” That’s where your best work is going to be created.

That’s where you’re going to feel the most satisfaction with your job. That’s where you’re going to increase your skill level as a creative person. You’re going to level up your ability to do stuff. Sean has talked about this so much with his Learn Lettering course: he did 9,000 hours of intentional practice! That’s what he was doing every day. He had this focused time where he was practicing letters. You have to put in the time.

How to Stop Procrastinating and Do Your Best Work

Aaron: Everyone should read Cal Newport’s books, So Good They Can’t Ignore You and Deep Work. Both of those books are phenomenal. It’s so important as podcasters to pick a day to outline and record an episode, and write the topic in advance. Say, “I’m going to spend 30 to 45 minutes at this time writing about this thing, and then I’m going to record an episode.”

Otherwise, what ends up happening, and this is true of so many areas of life, is that you will spend a lot of time thinking about how you should do a thing. I’ve been thinking about how I should record a screencast for three weeks now. “Hey, I have to record that ‘introduction to limiting’ screencast for my Logic course,” and I’ve been thinking a lot about it, but I haven’t done it yet. It’s so silly, but that’s how procrastination works. You spend more time thinking about how you should do a thing instead of just doing the thing.

Pick a task, pick a time, and do the task at that time.

That’s such a simple version of an idea presented in Deep Work that is so life changing. I talk about that book all the time because I love it, and I know there are still some people who haven’t read it yet. It is a book that anyone who wants to create stuff for a living professionally needs to go listen to. Shawn, you should do a whole series of videos or interviews where you talk about deep focus for creative people.

Shawn: I do. I did some stuff, like the TheFocusCourse.com/margin page. I interviewed Cal Newport, and we talked about this. I interviewed a few other folks and wrote some articles, and it was on this topic of having margin in your life, the breathing room, so that you can do your best creative work. That’s our mantra over there at The Focus Course: Show up every day and do your best creative work.

I think margin is a huge part of that. The deep work, the focus, it’s a huge part of it. Otherwise, you’re just working on your email inbox all the time. That’s no fun.

Push Through Fear

Aaron: The first question I want to talk about is this one from Mariali. She asked, “How did you overcome the insecurity of giving birth to a new idea you weren’t sure people would respond well to?” I think this was about a book but it could be about anything, really.

Shawn: I didn’t overcome the fear. I put it out there and stuck to the plan. The way that worked with my Delight is in the Details book, was that I had done it as a podcast mini series for my members only. It was a little five part podcast, and I got a lot of positive response from people. I had teased it out, and I got a positive response, so I thought, “I should sell this for maybe like $5 as a sample for the Shawn Blanc membership thing.”

I thought, “I should rewrite it, so it’s a little bit more structured. I’ll rerecord it so it doesn’t have the welcome in it, so it’s a little bit more of its own product.” As I’m doing that, it goes from five episodes to like 12. There were all these extra chapters that I ended up writing. Then I thought, “Gosh, if I’m going to to this, I might as well interview some other people, and then I can charge more for the thing.” Instead of charging $10, I could charge like $20. That would double what I’d make from it.

So I made the book, and when I was getting ready to sell it, that was the hard part. That launch day, I just felt super insecure. I felt bad and sick to my stomach. I texted a few friends of mine. I was like, “This book is coming out in an hour. People are going to hate it.” Everyone was like, “Stick to your plan. Put it out there.” The people I trusted, who’s opinions I cared about, all said, “You’re fine, keep going.” I listened to them, and I did. I kept going and it. I pushed through that fear.

I never overcame the fear—I just pushed through it.

I kept going. You begin to learn that the fear becomes this mile marker for you, a sign post that you’re probably doing something that matters and creating something that matters. Now I’ve learned that when I feel that, “This might not work,” or, “Holy crap, what am I doing? I’m in over my head!” I should probably keep going, because I might be on to something that matters at this point.

Aaron: That’s fantastic advice.

The Market Decides What a Product Is Worth

Aaron: I’ve been thinking about this a lot lately, and I talked about this in the Fired Up Mondays podcast this morning, which is that the market decides what’s valuable. People will complain when they see a product that they don’t think is worth as much as the company is charging for it. Let’s say that you look at a Lamborghini, and you’re like, “I don’t know why anyone would ever pay $400,000 for that car. Why would you want that car? You could just buy a 1999 Toyota Camri that has 140,000 miles on it for $4,000.”

“This ’99 Camry works great. It gets me everywhere. Good gas mileage, pretty comfortable. Not the most amazing sound system, but it does have a Bose sound system in it, so it’s fine. Why would anyone spend $400,000 on a Lamborghini?”

The way you feel about a product doesn’t change how much it’s worth, which is how much the market is willing to pay for it.

There’s somebody out there willing to pay that much money. They have that much money, and it doesn’t matter what you think about that product. Somebody else went out and made that, and they’re going to make money from that while you’re at home complaining about how somebody else is spending $300 for a picture book from Apple. How you feel about the price of a product doesn’t matter.

Shawn: It’s how the people that are buying it feel that matters. To say, “I’m not going to start a Lamborghini company because used Toyota Corollas exist,” that’s silly, but that’s how we feel.

Aaron: Relating to my courses, which I’m getting close to wrapping up, pricing is interesting for me. If I hadn’t met Sean and the people in the seanwes Community, I think I would have charged a fraction of what I’m planning on charging. I probably would have charged closer to $20. I would have put all this time and energy into it and not priced it high enough, because I didn’t realize that there are people out there that sell courses for $1,500 and $10,000.

Don’t Undervalue Your Products

Shawn: I bought a course recently that cost me $2,000.

Aaron: So many people don’t know that. A lot of us still think that $2,000 is a ton of money. For a lot of people, it is. That doesn’t mean that you have to apply such a low price to the product that you’re making, just because you feel like $50 is a lot of money.

Don’t charge too little for your product because you feel like a higher price is a lot of money—that’s an easy trap to fall into.

Shawn: That’s very true. You have to step back. This course I bought, for me, it was a no brainer. I bought the book that was written by the guy, and I went through the book and implemented some of the stuff in there, and it helped me launch my time management class. That did $20,000 its first launch week. I spent something like $18 on this guy’s book, and it helped me make $20,000. So his $2000 course was a no brainer for me.

This master class version of that book, the online course version of it, that was a no brainer for me. There were a ton of videos, all this implementation stuff, coaching, and all this stuff that was involved in it. There were all these things you can do that can increase the value of your stuff. Don’t increase your price just because. Start with your basic price and then double it and double it again. Now you’re probably at a decent starting point.

You’re so prone to under-valuing your own work. You don’t just jack the price up because people say so. You need to look objectively and say, “Alright, am I providing the value?” If someone comes in and takes my Focus Course, for example, we charge $350 for it. It’s not a lot, but it isn’t a little, either. If someone spends $350 and goes through this course, are they going to be able to walk away with at least, ideally, $700 worth of value? I want them to get at least double the value they’re paying for it.

Can I get it to be even more? Can I get them to walk away with $3,500 worth of value, 10X the amount of value that I’m providing? You charge that, and if people take it seriously, they’ll walk away with something that wil literally change the way they spend their time with work, family, health, and finances. This is across the board for their life, and you can’t put a price on that.

Objectively ask yourself if you’re delivering on your promises and providing the value that you say you are.

With your stuff, Aaron, with podcasting, if you can help people get a podcast off the ground, they can turn that into a full time business. That’s worth $50,000 or $100,000. Someone could say, “Thanks to your stuff, I started a business that’s now thriving. I do this as my job.” That’s worth so much money! To charge $20 for it? Don’t undervalue your stuff.

First Steps to Improve Your Focus

Aaron: I want to answer Kyle’s question here in the chat. I’m going to read his question and I’ll let you take a stab at it, Shawn. Kyle asked, “Is there a best first step to improved focus? I can think of so many directions I should go: exercise more, eat better, write down what I’m doing the next day, sleep better, etc. Trying to do all of it at once isn’t sustainable. What should I start with?”

Shawn: This is great, Kyle, excellent question. I feel like there are two best first steps (which obviously doesn’t make sense, you can only really have one first step, but play along). We talked about this in the Focus Course. On the very first day of the Focus Course, there’s this super dorky assignment. You have to set out your clothes for what you’re going to wear tomorrow. Tonight, when you go to bed, pick out tomorrow’s outfit. It’s super dorky. You can do it in two minutes. In the morning, you have to wear the outfit you picked out the night before.

You have to actually follow through with your commitment. You set this thing out, and you say, “I’m going to wear these pants and this shirt,” etc. In the morning, you wake up, and you have to wear it. You’ve made a commitment to yourself the night before. In the morning, you wake up and you follow through on that commitment. It’s a small step towards strengthening your personal integrity, which is your ability to follow through with your commitments to yourself. That’s super powerful.

The other component to setting out your clothes the night before and then putting them on is that it’s your current self helping your future self. You’ve saved your future self five minutes in the morning. The quality of my time in the morning is super valuable. My mind is fresh, it’s the beginning of the day, there are no fires happening yet. That’s my best chance to get my best work done, early in the morning.

Protect your morning productivity time and your mental energy by setting out your clothes the night before.

It’s this idea of helping your future self. Once you get your toe in that water, you begin to see all the other areas of your life where you can begin to help your future self. We were talking during the podcast about this. Kyle says, “Yes, I’ve done this.” That’s awesome. As Aaron and I talked about earlier, when you have that deep work focused time, try to decide ahead of time what that focus is going to be. This is your current self helping your future self.

It’s so powerful. For me, I write down my topic that I’m going to be writing about tomorrow when it’s time for me to write. I have the topic ahead of time, so I know what to write about. Then, when I sit down, I don’t have to think about. I have the singular focus to write about this topic that I’ve already chosen. That can really help with improving focus.

Be ahead of your own curve and help your future self.

Those of you who are registered for the Creative Focus Online Summit will get to hear Josh Kaufman and I talk about this. He talks about the importance of going on a walk in the morning and having 30 minutes where you leave your phone at home. You go outside, you’re moving, you’re getting sunlight, but also, it’s 30 minutes of thinking time where you can be undistracted. You can just think. He calls it “noodling.”

You let your mind “noodle.” He talks about how when you have a productivity system and a focus system that gives you space to think and to be uninterrupted for a little bit, you’re going to be far more productive than if you have a system that doesn’t give you space to think. For him, he says that that is the number one, single most important component of being more productive and focused—actually having carved out time on a regular basis where you can just think.

Be distraction free. That’s why he says to take a walk. You can combine that with movement, being outside, getting sunlight, and things like that. It’s easier than sitting on your couch and staring at the wall for 30 minutes. I don’t say that to put that idea down, but it can be easier to be undistracted when you’re outside walking around and you leave your phone at home. As opposed to, you put your phone next to you on the couch and you hope that it doesn’t buzz.

You can put it in airplane mode, obviously, but it’s still right there. You want to grab it and take it off of airplane mode. So coming back to Kyle’s question: You have so many directions you want to go. Exercising, eating, writing down what you’re doing the next day, sleeping better. Right? People say, “I want to improve my relationship with my spouse. I also want to get better at budgeting my finances. I also want to get better at budgeting my time. I also want to read these books.”

You look at it, and there is so much stuff that you want to do. You can’t do all of it right now, so pick one thing. What’s the one that’s most exciting?

Build One Habit at a Time

Shawn: Kyle, you listed exercise as the first thing on your list, so I would start with that. Not to pitch my course, but I’m going to pitch my course. We go through all the core areas of your life: your job, your relationships, your finances, your “down time,” your physical health, and your inner or spiritual life. These are the six areas of your life. We go through each one of those and spend time on each one, where you list out what’s important to you in this area of your life.

What’s a goal that you want to have or a lifestyle practice that you want to implement, and how can you move the needle forward toward that goal? You come up with six goals and six action plans, one each for the main areas of your life. Spoiler here, at the end of the course, you pick one.

Focus on improving one area of your life for six months and ignore the other ones.

Don’t ignore them in terms of ignoring your wife for two months while you’re focusing on work, but you pick one area to build a habit, a routine, a lifestyle practice, that has you making meaningful progress in that area of life. A lot of people say that it takes 21 days to build a habit. Actually, if you’re a habit building master, you might be able to do it in 21 days, but it takes most people 60 days to build a habit. That’s the average. That’s two months!

I think a lot of people are probably familiar with the Jerry Seinfeld productivity tip with the calendar. You write a joke every day and you put a big X on your calendar, and you don’t want to break the chain. It’s the same with this new habit of yours. Say, “What’s one thing I can do on a daily basis that’s going to help me move toward my goal of exercising more, of being more physically active?” What’s the minimum dose, the smallest thing you can do?

You’re going to go walk for 20 minutes, or whatever it is. Do that every single day for two months. It’s a small start, but now you’ve done it. You’re two months in, and now, instead of it being this thing you are trying to get the motivation for to move forward, you’re doing it. It has become routine for you, which requires far less activation energy, far less mental energy. It has moved into your life. It’s there. It’s something that you’re doing on a daily basis.

Now, you pick the next thing. “Okay, I have the exercise thing.” Keep that and layer the next thing on top of it. You’re doing that for your physical health. What about for your inner life, your spiritual life? What’s something you would want to layer on top of that, something you could do? Now, during that walking time, maybe you’re going to think about something. If you read a Bible or something like that, you could say, “I’m going to have a Bible verse that I think about during my 30 minute walk.”

Maybe you’re trying to improve your relationship with your spouse. Bring them along on your walk. Now, you can incorporate this. Say, “I’m going to do this on a regular basis,” and you do that for two more months. Then you pick the next layer. Maybe it doesn’t build on that 30 minute walk itself. Maybe it’s an entirely different part of the day, but the core is the same.

Pick one thing, do it for two months, and allow yourself to suck at all the other areas of your life—after that, pick a new thing.

This is why New Year’s resolutions never work. We say, “I’m going to go to the gym for five hours a day every day starting on January 1st, and I’m going to start budgeting, and I’m going to stop eating chocolate, and I’m going to go on date nights every week, and I’m going to read a book a week.” January 1st, go! It’s so much. You’re going to run up and try to push a truck, but you don’t have the energy, the strength, to move and change that much that quickly.

With the truck analogy, if you’re driving a car and you want to try and tow another car, you don’t gun it with all this slack on the tow line. You’re going to rip both of the bumpers off. You start super, super slow. You slowly build up that speed. That’s how you do it without getting in a wreck. You actually make that momentum. Start with just one thing.

The hard part is giving ourselves permission to pick one thing and focus on that for two whole months.

That’s the hardest part, really. It’s not in the doing. It’s in the not despising those small beginnings. That’s the crash course of the Focus Course right there. This is the value. If you stick around for the after show at seanwes, this is what you get.

Aaron: I’ll agree with Shawn and say this: pick one action you can do tomorrow morning that will get you closer to the most important goal. I know how many goals you have right now. I know, because I have that many goals, too. Pick one thing and write it down. Get a little calendar. Make a big X. Do that every day.

You’ll get other stuff done, too, but you need to think about doing one important thing first thing in the morning right after you wake up. Get that thing done, and then pat yourself on the back, feel good about it, and move on to the next thing.

You can follow Shawn Blanc on Twitter @ShawnBlanc, and be sure to check out his website at www.shawnblanc.net.

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Dec 12 2016

35mins

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Content Strategy and Growing an Audience with Shawn Blanc

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Shawn Blanc is a writer, small-business owner, productivity coach, and creative entrepreneur living in Kansas City with his wife and their three sons. Shawn has been teaching and learning about creativity, diligence, and focus for over a decade, and his online courses have helped thousands of people do their best creative work while learning to thrive in the midst of life’s tensions. A while back, Shawn sent an email that caught my attention. He wrote about the importance of creating a customer avatar and developing a content strategy to connect with them and help them achieve their goals. I liked the email so much that I emailed him back and asked him to come on my show to talk about his journey to making a living through writing online and what he’s learned about growing an audience. Shawn also shares my passion for productivity and deep focus; so much so that he’s gathered 12 incredibly smart people for a free 5 day online summit about the power of focused life. In this episode, Shawn shares how he was able to make a full-time living by writing online, and we discuss how you can grow your audience by creating a customer avatar (your ideal listener) and creating content that addresses their needs and desires.

Highlights, Takeaways & Quick Wins:

  • Interview your customers to get a real life picture of your audience.
  • Start selling products as early as possible.
  • Your customer avatar is a real person that exists out there.
  • Use the language of your customer avatar in your content to create a deep connection with them.
  • Be in people’s weekly cycle at a minimum.
  • Your niche is going to draw your audience but your ancillary interests will keep people interested.
  • Show up consistently to earn people’s trust and create an anticipation of future value.
  • Do guest-based podcasts to grow your audience.
  • Reach people that are far outside of your social circle by connecting with the people you can connect with right now.

Show Notes

Aaron: Shawn Blanc is a writer/small business owner/productivity coach/creative entrepreneur living in Kansas City with his wife and their three sons, and Shawn is a member of our Community. He’s been teaching and learning about creativity, diligence, and focus for over a decade now.

His online courses have helped thousands of people do their best creative work while learning to thrive in the midst of life’s tensions. A while back, Shawn sent an email that caught my attention. He was writing about the importance of creating a customer avatar, that’s knowing who you’re creating for and what you want to help them achieve, what kind of person you want to help them become.

I thought it was really interesting, so I sent him an email right back. I said, “Shawn, do you want to come on the show to talk about this? I think podcasters need to hear about this idea of customer avatars and also content strategy.” Shawn agreed, and he also shares my passion for productivity and focus, so much so that he has gathered 12 incredibly smart people for a five day online summit about the power of a focused life, and that’s going to be starting, I believe, as this episode comes out.

If you’re listening to this in your podcast player, it’s starting today, I think. I’ll give you that link later. In this episode, I want to talk with Shawn about why you as a podcaster need to create a customer avatar, know who you’re creating for, develop a content strategy, and then also the benefits of deep focus, what we call deep work.

A few small changes in your daily habits can lead to big improvements in your productivity and creative output.

Shawn, that’s one of the longer intros I’ve ever done. Thanks for joining me today. I really appreciate you being here.

Shawn: Thanks, Aaron. I love it. Super excited to be here.

Shawn Blanc

Aaron: I think of you, Shawn, as a writer and as the creator of an online course called The Focus Course, which is great. You’re so much more than that. Do you want to give everyone a quick introduction, how you got here and where you came from? I would also like to hear what your biggest struggles have been over the years of getting to the point where you’re at right now.

Shawn: Absolutely. I’m in Kansas City. Originally, I’m from Denver. I’m a Colorado guy at heart. I’ve been married for going on 12 years, and my wife and I have three boys. It’s insane at our house. We used to call the first two the Twin Tornadoes, but we just had our third eight or nine weeks ago.

Aaron: Congrats!

Shawn: It’s awesome. Love it. I love being a dad. I used to be a drummer. I know that we have a lot of musicians around here. Sean McCabe plays a little bit of music, I think.

Aaron: Yeah, he used to write music, just like he used to do lettering. I still play drums.

Shawn: I used to play drums for a large ministry here in Kansas City, and I ended up transitioning out of that. It’s a long story, but I ended up becoming a marketing and creative director. I ran a team, an in-house design team, with about 17 people—web developers, print designers, web designers, writers, editors, project managers, whatever. We did a bunch of stuff. One of our huge things was that we would host a conference at the end of the year that I was running.

25,000 people would come out for that. I did that for several years, and then my wife and I got pregnant with our first kid. I was like, “I don’t want to do this work as a dad.” Part of it was just super demanding. Anyone who has experienced working in the corporate design scene knows that it’s a very demanding spot.

Everything is urgent all the time. I was doing like 80 hours a week, and I really enjoyed it. I had a lot of fun, but I was like, “There’s no way. I don’t want to do 80 hours a week as a dad.” I had that, plus I had this little blog on the side, where I had been writing about marketing stuff. I felt like, “This would be a good opportunity to quit what I’m doing and take a leap, see if I can take my website full time. Could I blog for a living?” That was the thought.

I was doing about $1,000 a month in advertising and some affiliate stuff. I figured that if I could give it 40 hours a week, I could get the revenue up to a spot where it could pay the bills. I figured that it could grow from there.

Aaron: How old were you at this point?

Shawn: I was just about 30, not quite 30, like 29, when I made that jump. I asked everyone that was reading on the site. I said, “I’m quitting. I’m going to do this thing full time.” I asked people if they would be interested in supporting me to write the site for a living. I was like, “If you like what I’m doing, I’ll write more if you want to give me some money to do it.” I did this little membership drive. I was going to charge $3 a month for membership. I was doing a daily podcast as a perk of membership.

Aaron: You aren’t still doing that, are you?

Shawn: It’s on hiatus at the moment. We’ll see. I’m going to be diving back into the podcast scene starting early 2017. I miss podcasting. It’s fun.

Aaron: You decided to ask people to support you, give you $3 a month, to go full time with your writing?

Shawn: Basically. I figured if I could get 500 people, at $3 a month that’s $1,500, plus the other $1,000 I was doing, and that would be $2,500 a month. That’s not a ton, but I figured that would be enough to cover the bare necessities. I figured that things could grow from there. People signed up, and I hit the 500 person mark by the end of the month before I had even quit.

I started my new job, April 4th 2011, basically fully funded as an independent blogger.

Aaron: I bet that was exciting.

Shawn: It was really exciting. I felt like I got this permission slip from my audience to go for it. As a creative person, sometimes you need that. Sometimes you want to be like, “Do you guys care? I’m here. I’m making this stuff.” A lot of the work we do as creative entrepreneurs is for your audience. I know that we’re going to talk about this in a little bit, the customer avatar profile. It’s for these people that you really want to serve. When you hear back from them and they go, “Hey, we like what you’re doing. Let’s keep the relationship going,” it’s like having a DTR with your audience.

There’s something cool about that kind of permission slip moment. It’s like when you sell your first product, or whatever it is. People are interested. You get your first positive review on iTunes or whatever. Obviously, there’s going to be the junk that comes later, but whatever.

Aaron: Some of the haters that come later?

Shawn: You forget about that stuff and you keep moving on.

Aaron: That’s awesome.

Asking for Money

Aaron: When you think back, do you remember any big struggles or hurdles that you really had to overcome about that period in your life?

Shawn: There were so many. It’s hard to say, “If I could do it differently, I would do it this other way,” because who knows? If I had done things differently, maybe it wouldn’t have turned out the way I thought it would. One of the biggest struggles for me was asking for money. It was a huge challenge related to the membership drive. I was asking folks to support me on a regular basis to write for a living. I was like, “Who am I? What kind of a dork says, ‘Give me money so I can blog for a living.'”

Aaron: Nobody pays for things online anymore. Nobody wants to pay for writing.

Shawn: Exactly. That was a huge challenge. It has continued to be a challenge for years. I have been doing this for almost six years now, full time. When I came out with my first book, it’s called Delight is in the Details, and it was an eBook package thing. I did some interviews.

I charged $29 for my book, and I felt like this huge hypocrite.

It was this feeling of, “This is information. Information should be free on the internet. Why would anyone ever buy this?” I felt like there was no value in this thing that people would pay for. I was like, “I have to do it. I’m going to charge for it.”

Aaron: Sorry to jump in, but at the time, did you really feel like $30 was a lot of money?

Shawn: Oh my gosh. I woke up feeling sick to my stomach the day I was going to launch it. I was like, “I can’t believe how much I’m asking for this.”

Aaron: What did you think was going to happen?

Shawn: I thought that people would buy it because they trusted me, and then they would read it and come and burn my house down because I had ripped them off so bad. I charged so much money for something.

Aaron: It was your first time launching a product, right?

Shawn: It was. It was my first product launch ever. It ended up bringing in like $5,000 in that first 48 hour launch window. It made $5,000 that first couple of days. In hindsight, it was this huge inflection point for me. I think I spent about 100 hours building the thing, made $5,000 from it in the first week, and I thought, “Woah, that was a great return on my time investment! Now I have this product that I can continue to sell.”

Since then, in the last four or five years that I’ve sold it, I want to say that it’s sold $50,000 over the years. That’s awesome. There’s something great about creating a product, and it changed a lot.

Producing and selling a book changed my relationship with my audience.

Now I’m creating products for them to buy.

That initial hurdle was huge. $29 was so much money. I think that was probably the biggest struggle, of being able to properly identify how much value I’m providing people and to price it correctly. That’s just hard. I think that’s why you should start selling stuff as early as possible, because you have to learn. There isn’t a formula for how much value you’re providing and how much you should charge for it.

You can’t just plug your stuff into a worksheet and get a number back. You have to feel out the market, your market, your audience, your skill level. How much polish are you doing? How much depth of information are you providing? Whatever skill, service, or product it is you’re providing, you have to learn how to make money and price your stuff! It’s hard to do it when you’re starting.

The biggest challenging for me at first was becoming comfortable asking for money and learning to accurately price my products.

Aaron: The other thing is that once you launched that book and got familiar with all that stuff, that was a stepping stone to your future products, your future books and courses, and everything else that you’re doing. I’m sure, at that point, you felt like, “Okay. I’ve done this once before already. Now it’s like riding a bike. I just need to get back on and keep peddling, keep going.”

Shawn: Yeah, absolutely. It really was a huge stepping stone. One thing I loved about creating and launching a product was that there was a start and an end date to it. This thing has to ship. I worked on it, and I was done. I put it out there. Boom, now it’s there. I’m done. It’s out in the world. Obviously, you iterate on it. A year later, I added some new interviews. I added some new chapters. I created some videos. I remastered all of the audio for the audio book.

Product Launch Hiccups

Shawn: Super random story related to this. It was the relaunch of Delight is in the Details, a year after it had come out, and I put it out there. People are buying it during that relaunch period. I get an email from someone going, “I was just listening to the audio book, and the last chapter sounds like it’s not edited correctly. Something is weird about the last chapter. You should check it out.”

I recorded the audio book and edited it by myself. I go and I open up the audio book for the last chapter and I’m listening to it, and it is the original take that I did of the book. The way I did the audio book, I’m reading it into my microphone in GarageBand. If I goofed up in the middle of a paragraph, I would just take a pause, say, “Okay, again,” and then I would start talking again. That was my marker. The last chapter of the book was that track, the whole thing.

The audio track should have been 10 or 12 minutes for that chapter, and it was 30 minutes because of all my edits, retakes, and pauses. The whole thing. What’s worse is, it was there from the very beginning. For a year, I had been selling that thing. I was mortified. For a year, I had been selling my book with the last chapter all messed up, and I was mortified.

Aaron: Nobody said anything??

Shawn: They didn’t. Either no one listened to it, or when they listened to it, they just assumed… I don’t even know. I was so mortified. There you go. What worse thing can happen? Earlier, I had been so concerned about selling something that people weren’t going to consider valuable. Here’s this huge, huge mistake. What a goof!

Aaron: I need to remind everyone that this audiobook is called Delight is in the Details.

Shawn: The irony, right? That was one of the selling points of the book, too. I was like, “If you buy this book, it’s a case study in sweating the details itself. You’ll see all the areas where I’ve sweated the details in this product.” Whatever. Oh man. I was mortified.

Aaron: Thankfully, no one came and burned down your house, and it was over a year before anyone even said anything. A lot of us are so curious about people who do such good work, so when a mistake does happen, it’s almost humanizing. It’s like, “Now I can relate to this person, because they’re not 100% on top of everything all the time, either, like I struggle with. I make a lot of mistakes, so it’s kind of nice when you see a really awesome musician on stage mess up a part and then jump back into it. You’re like, “Oh, they are humans, too.” That’s really cool. Nobody burned your house down, thankfully.

Shawn: That’s why it’s so helpful to ship early. You get stuff out the door and you start learning. I love it.

Aaron: I tell people this a lot, too, when it comes to podcasts. If you’re thinking about making a podcast, there are so many things you can tweak, improve, or work on forever, but it’s so much better to say, “What’s the minimum I have to do? I want to try and do a good job, but let’s do this, ship it, and iterate and improve on it every single week.”

If you don’t ship something, you'll just pick at it and tweak it endlessly.

Before you know it, it’s been a year and a half, and you’ve got three or five episodes you recorded 18 months ago that you’re still working on. In the meantime, nothing has happened.

Start Moving

Shawn: As well, we have this picture of what we want something to look like and what we want it to be, but we have zero experience. I like the analogy of those lifesize mazes. Especially around Halloween and Thanksgiving, there are those corn mazes. They’re these giant things. Imagine someone standing at the entrance of this life size maze, staring at the entrance to it, and in their mind, trying to figure out how to get to the end so they can get straight to the end the fastest way possible without making any mistakes along the way.

Impossible! Not going to happen. You have to go in the maze and go left to realize that you should have gone right. Then turn around. You have to go through the thing to make it through. I like the phrase, “Action brings clarity.”

Action brings clarity.

You’re waiting for clarity before taking action, and it’s not going to happen—you have to start moving.

You just have to get going and you adjust course as you go. You start to realize what you should major on and what you shouldn’t.

Aaron: That’s an incredible analogy. I’m totally going to use that in the future now. It’s perfect. You sit there and you imagine yourself being at the end of the maze. That’s where you see a bunch of other people. Your friends have gone through the maze and they’re at the end, so you’re like, “I have to get to the end fast. I can’t make any mistakes. I can’t take a wrong turn, because that’s where all my friends are, and that’s where I want to be.” You do have to go through it. That’s really incredible.

Creating a Customer Avatar

Aaron: Shawn, you sent out an email and you were talking about this. I want you to explain how you think about customer avatars, and then if you did something like that for yourself when you were just starting, or if this is something that evolved over time. Customer avatar and content strategy, go!

Shawn: This is great. When I first started as a writer, I was doing ShawnBlanc.net. My entire job was publishing articles and links on my website. I didn’t have a customer avatar or a customer profile, what I had was an ideal reader. I think, in terms of podcasting, it’s very similar. Who’s your ideal listener? For me, I actually had a person who was my ideal reader, who’s name was Shawn Spurdee.

He was a really good friend of mine. He and I had become friends through the blogging Twitter-sphere back in the day. When I wrote articles or links, I had him in mind. I thought, “Is this something he would find interesting? Is there a story in here that he’s going to want to read? Is this a link to something he would like?” You had that ideal reader. John Gruber wrote about this for his site, Daring Fireball.

He talked about his ideal reader, and he called it “a second version of himself.” He goes, “This person is interested in all the same things I’m interested in, and he cares about what I care about. All the design decisions I make on the site, all the articles I choose to link to, the stories I choose to tell, all of that stuff is with this ideal reader/listener in mind.”

It was instrumental for me to have an “ideal reader” for all of the work I was doing.

You know who you’re trying to target. I’m still the writer for sure, but we’ve switched a lot more of our focus onto direct sales, building a customer base, and selling products to our audience. I still don’t have that ideal reader. Who am I writing this for? Who is this product being created for? It has gone beyond just an individual person that I know. We did a customer profiling thing. I have a guy who works for me full time, and his name is Isaac. We took a couple of big, giant sticky pad things, two feet by three feet, they’re huge, these giant sticky notes.

Aaron: Where do you get those? Can you get those on Amazon?

Shawn: You can get a lawnmower on Amazon, so I’m sure you can get sticky notes. We got ours at Office Max, an Office Depot kind of thing. It’s weird. You drive to this store, and you can walk in, and they sell products on their shelves. You have to pick it up with your hand and drive it home yourself.

Aaron: It seems like a waste of time.

Shawn: For this customer profiling session or whatever, basically, we had these four quadrants. What do they think? What do they feel? What do they want? What do they say? Something like that. You’re trying to get this picture of this person. Who is this person? What are the things that they say? Like, “I love my family. I like to watch Netflix.” Whatever.

Aaron: “I want to learn how to make a podcast.”

Shawn: Exactly. It’s not just business, it’s just life. What are the kind of phrases they might say? If you ask them what they care about, what things would they list? What are their pain points that they’re feeling in life? For us, creating this customer avatar, we named him Brian. We found a random picture of somebody and stuck it up there to begin to humanize the person.

Your customer avatar is a real person that exists out there.

We talked about, “Here’s Brian,” and we came up with this stuff. Brian has a job that he kind of likes, but he’s got these other creative ideas that he really wants to pursue. Maybe he wants to take it full time. Maybe not. That’s not really the most important thing for him. The most important thing for him is getting his best creative work out there and being able to do it and feel like he’s making progress on the areas of life that matter to him. He’s also a dad and a husband, and he cares about his family quite a bit.

He cares about his kids. He still wants to be available for them. When he comes home from work, he’s really tired, so the evenings don’t feel like a good time to do his creative work, but he’s not a morning person either, so he doesn’t know when he’s going to get the time. These are some of the scenarios, the stories, that begin to emerge as you begin to write stuff about this person. What are the pain points that they feel?

When they look around, what do they see? What kind of car does Brian drive? Does he like minivans? Does he have a minivan? How many kids does he actually have? You really kind of start to come up with this stuff, and there’s a lot you can do to get to a higher level of doing these customer profiles. You can actually do interviews with your customer base.

Aaron: I do this! I try to meet people and talk to them, especially when it comes to podcasting.

When you interview your customers, you can actually begin to get a real life picture of your real life audience.

Creating an Empathy Map

Shawn: There’s this thing that we did, an empathy map, and you take the empathy map to create your customer profile. We ran this survey to our email list, and we ran a separate one to our customer list. It was, “When it comes to focus, what’s your single greatest challenge?” It was just this open-ended question where people could write stuff down.

Some people say, “Time.” Or, “I can’t focus. I’m distracted.” Then you get some people who go, “I’m trying to build my photography portfolio website on the side because I love photography and I’m trying to grow it. I’m working this other job, and when I come home in the evenings, family is first. I spend time with family, so by the time the kids are in bed, I’ve only got about an hour left in the day. I’m so tired, and I don’t want to spend time trying to work on my photography website, so I don’t know where to get started.”

The person who gives an in depth answer to the challenge like that, vs. someone who just says “time”, they’re really in touch with their pain point. There’s a book called Ask by Ryan Leveque, and you can find it on Amazon. He teases out, “You ask these questions, and you separate the people with the longest answers. You put their answers up at the top.”

You cut the list at 20%. The bottom 80%, forget about those people, and look at the top 20%, these “hyper-responders.” What are their challenges? What are their pain points? Aaron, you could do this. You could say, “When it comes to building a podcast, what is your single greatest challenge?” You’ll probably have someone who says, “Building my list.” Or, “Building my audience.” Or, “Technical stuff.” But then you might have someone who really gives this heartfelt, in-depth answer.

If someone gives you a heartfelt, in-depth answer, they’re hungry for a solution.

That person is going to pay for a solution. That person is going to digest this, and when you give them something, they’re going to check it out. Look for these hyper-responders and cater your response to them. That’s what we did. That’s how we figured out that our biggest pain points for people who go through the Focus Course are one of four primary buckets, so to speak. It’s time management, getting traction on their business or side projects, finding clarity on what’s important to them and what they should be doing about it, and a lot of people also feel overwhelmed by all that’s already happening in life.

Or, they look at the thing that they’re trying to make progress on, and they feel overwhelmed. They don’t even know where to start. Really, all of these things feed off of each other. When one is in a rough spot, the others start to be in a rough spot as well. We go, “Okay, these are the main challenges we’re going to address as part of the Focus Course, in all of our writing. This is it.” The people that fit within these four buckets are the ones who are willing to pay for a solution.

Use Your Audience’s Language

Shawn: Read the actual responses, the answers, and take the language that people are saying and use it in your articles. Answer their actual questions in podcast episodes. You use it in your marketing language. The landing page for your product, or your podcast, or your sign up, or whatever—use the actual language of your hyper-responder customers. Now, not only are you listening to them and you know who that ideal customer is, but you’re also even speaking their language.

A) it’s going to be cool because hopefully you’ll do more sales, but B) you’ll actually get to connect with the people you want to connect with. That’s the whole point. That’s why we’re here.

That’s one of the huge benefits of having these customer profiles. It can help you stay focused on who you’re trying to talk to and what it is you’re trying to talk about, to help them.

Aaron: That’s mindblowing. That’s fantastic. At the core, I kind of know this stuff, but hearing you explain it made it even more clear to me. I love that. I want to take it in this direction.

How to Grow Your Audience & Create Deeper Connections

Aaron: One of the most common questions I get about podcasting is about growing an audience. It’s always, “How do I get more attention? How do I get more listeners? How do I grow an audience?” I love what you said right here.

Use the language of your customer avatar in your content to create a deep connection with them.

That’s where listeners come from. So many people think that they’ll magically get 100,000 people to listen to their podcast, and they won’t have any idea of who these people are. They’re nameless, faceless avatars on the internet. No! Especially in the beginning, you start small. You develop relationships with people who care passionately about the thing that you’re talking about.

By investing in them, getting to know them, and asking them questions—regardless of whether you’re doing some kind of business thing or not—by just talking to them and getting to know their language, that’s how you’re going to resonate with them and even more people. What methods have you found effective for growing an audience and developing deeper relationships?

Shawn: I think that’s a great question. Everyone wants to know the answer to this. For me, there are three primary keys to growing an audience:

  • Consistency
  • Honesty and transparency
  • Relationships.

1. Consistency

Shawn: Consistency is core. This is a phrase in the seanwes Community, and it’s a phrase I like to use, and that’s this: show up every day. That’s consistency. We’re just people of habit. The internet is a thing of habit, so you have to have that consistency where you’re in people’s regular cycles. Sean McCabe talks about this a lot. You want to be in people’s weekly cycle at a minimum.

Show up on a regular basis. Also, that’s how people know you’re going to be there. There’s something about that consistency. One of the ways you develop an audience where people are tracking with you and paying attention when you’re showing up consistently.

When you show up consistently, not only do you earn people’s trust, but you create an anticipation of future value.

You want to have that. That’s huge. People are like, “I want to know what’s next. I want to follow this story and be here.” Consistency is huge.

2. Honesty & Transparency

Shawn: This comes out in a lot of ways. In some ways, you want to have the transparency like Nathan Barry talks about, to “teach what you know.” Share what you know. Also, there’s a human element, passion and persona, who you are as an individual. Humanizing yourself is so helpful. We don’t want to connect with brands, we want to connect with people. As indie entrepreneurs or indie creative folks, when you are running your own thing, you are a brand but you’re also a person.

You’ve got to keep the person aspect of it, the human aspect of it, you have to keep it there. Allow your mistakes to show through. Allow your passions to show through. For me, at ShawnBlanc.net, I cut my teeth and grew my audience originally by writing about Apple stuff. I wrote tons of product reviews. It was super nerdy, gadgety stuff. I would also write about coffee, camera gear, books I was reading, music, and things like that.

Aaron: Stuff you cared about.

Shawn: Exactly. Other interests that were related to Apple gear because it was my site, and I can write about whatever I want. That humanized the work that I was doing. So many people came to my site because of the Apple stuff but they stayed because of the coffee stuff.

Your focus, your niche, is going to draw your audience, but your ancillary interests will keep people interested.

You’re a real person with real interests who is not just this robot spinning off the same thing all the time.

3. Relationships

Shawn: This is huge. I stink at it, but I’m trying to reply to emails. When people email me, replying back to them. Also, here’s a prime example, having me on your show, Aaron. The practicality of it is that when this show goes live, I’m going to tweet about it. I’m going to link to it. I’m going to point the people that track with me over to your stuff. That’s a way for you to grow your audience, but it’s also a way for me to grow my audience.

Your listeners, a lot of people, don’t know who I am. Now, hopefully, some of them will come check me out and sign up for our stuff. There’s a really cool dynamic here of introducing your group to someone else. Hopefully, that person will also introduce their audience to who you are.

Doing guest-based podcasts is an awesome way to grow your audience.

I did some back in the day, when I was first starting my site. I did interviews, blog interviews. The whole thing was conducted over email, and it was just this back and forth email. I did one with Daniel Jalkut, who used to work at Apple and then started Red Sweater. He has the best blogging app on the planet for Mac, MarsEdit. It’s a super great app. I emailed him and did an interview with him.

I did an interview with John Grubar. I did an interview with Brett Simmons, all these people who are super famous Apple people. I’m going back and forth with these guys and posting their interviews. They link to me on my site, and I get this influx of new readers. Or you find software that’s awesome. I would do super in-depth reviews about this stuff, and then people would link to those reviews. Honoring other people, connecting with other people, and doing stuff that’s worth talking about.

Then the word will spread. That consistency, being transparent and honest about who you are, having that passion and that human dynamic to the work that you do, and then just trying to connect with other people. Do things that people are going to want to talk about. Another example is the summit that we’re doing, the Focus Summit. I’m punching way above my weight class here with some of these folks, and it’s a chance to hopefully get some of their audience to discover the work that we’re doing and visa versa.

I hope that people who sign up for this summit will get introduced to some new people and that they’ll find some incredible resources. It’s just fun. We’re all just folks trying to do our best work, right?

Aaron: Absolutely. I love that. That’s one of the best answers for building an audience that I’ve ever heard.

The Importance of Investing One-on-One Time in Your Listeners

Aaron: The thing that I’m working on, and I just want to share this, is investing more time in my listeners. It’s hard sometimes, because you can spend all the time in the world talking to people on the internet, as I’m sure you know, Shawn. I’m sure people are constantly emailing you, asking for your thoughts, your advice, and your feedback on stuff, and you try to stay really focused. Something I’ve wanted to do is spend a little bit of time every day, like on Twitter, reaching out and telling people that I appreciate what they do.

Or, if somebody emails me, having a conversation. In depth, giving them 15 or 20 minutes of focus time to reply, and even asking them questions. Someone says, “Hey, thanks for doing your show. I really appreciate this thing.” I’ll reply and say, “Thank you so much. How is your podcasting journey going? What are you working on right now? What do you want to get better at?” Some great conversations have come out of that.

I’m trying to invest a little bit more in my listeners. I’m at the point now where I’ve started inviting some of them on the show. “Hey, you sound like you’d be a cool person to talk about podcasting with. Would you like to come on the show?” It just spreads.

It’s the building of community that will eventually attract people to you.

When I started, I had 30 or 40 friends, maybe a couple hundred followers. Every new person that finds my show and gets to know me as a person, who respects the work I do, they might have 200 people that follow them, and they share my show with those people. It just spreads out from there. It becomes this big net.

You can eventually reach people that are far outside of your social circle just by connecting with the people you can connect with right now.

Let them do the work of sharing your stuff with their people, too.

Shawn: Yeah, exactly.

Focus Summit & Products

Aaron: That’s fantastic. We’re getting close to the end of the episode. We need to wrap it up. I told everyone in the beginning that I would get you to talk about this Focus Summit that you’ve got coming up. What’s the deal with this? Tell us a little bit about that.

Shawn: The summit! I’m so excited about this. We have Jocelyn Glei, who just wrote this book called Unsubscribe, which is a fantastic book. It’s about email distractions and stuff like that. We’ve got Josh Kaufman, who wrote The Personal MBA. Anyone who is trying to do anything related to business, you need to read The Personal MBA. It is a bargain.

Aaron: So much good advice.

Shawn: It’s like a $35 book, and that book is so packed. Excellent, excellent stuff. Sean McCabe is on it, and Sean and I talk about how quantity leads to quality, which ties right into this stuff on showing up every day. The summit is going to be really, really cool. When this podcast drops, the summit is going to be kicking off. Here’s the link: The Creative Focus Summit.

After the summit wraps up, we’re opening up registration for our Focus Course. That has become my flagship product. It changed everything for me, in terms of what I was focusing on. I came up with this course as the next product in a series. I had done Delight is in the Details, and I wanted to write a book about diligence and productivity. I wrote the book, and then, long story short, I realized that it needed to be a course.

I felt like the way that I wanted to get these ideas across wasn’t a book that someone would read, highlight, think was cool, and then puts back on their shelf and returns to life as usual. I want something that’s really going to effect change. I knew that a book would probably go farther, broader, and reach a total number of more people. I would rather fewer people go through the course but have a higher number of them really get real impact.

For me, the book ended up turning into the Focus Course, and we’ve had close to 1,300 people go through it. It’s basically productivity training for creative people and entrepreneurs and leaders. It’s way, way more than that. It’s not tips and tricks. It’s what I call “meaningful productivity.” It actually gets to the core, the heart, and the foundation. What do you really care about? How are you really spending your time?

This is not a “Five Life Hacks That Will Help Me Go Through My Email Inbox Better.” It’s hard questions that will make me challenge my assumptions about my family, my work, my down time, and my rest time. Anyone that thinks that taking a nap will improve productivity, the Focus Course is for you.

Aaron: That’s me!

You have to have a healthy life to do your best work.

Shawn: You can’t sprint this. This is a marathon, so you have to have that breathing room. The Focus Course opens up after the summit is over, and I’m super excited about it. We’re going to have a whole group of people cruising through in January. We’re doing a winter class for it. We’ve got some forums, so everyone can share their progress. It’s going to be a blast. I’m really excited about it. The summit is free, and the Focus Course itself is going to be something we charge for, obviously.

Aaron: You have to charge for things, or else people won’t take it seriously.

Shawn: It’s so true.

Aaron: You have to invest.

Shawn: That’s something else. We didn’t get into that earlier when we were talking about the pricing stuff, but that’s another reason to charge for your work. Someone is actually going to have skin in the game. They’re going to find value for it.

Aaron: They have to ask themselves, “Okay. Do I think this is going to help me enough in my life journey to actually put money towards it?” If they answer that question for themselves and then make the choice to give you that money, they are going to say, “I told myself, I believe, that this is worth my time, so I need to invest my time in it.”

Shawn: Exactly. Very true.

Aaron: Where should people go if they want to follow you, connect with you, or ask you questions?

Shawn: Twitter is a great spot. I’m @shawnblanc on Twitter.

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Dec 05 2016

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This week seanwes Community member Martine Ellis joins me to share her podcasting journey and how she created a detailed checklist to help streamline her podcast workflow. We discuss how niching down can help you attract a dedicated audience and how to spend less time creating a podcast without sacrificing quality. We also walk through Martine’s 9 step podcast workflow checklist and discuss our favorite podcast tools and tricks.

You can find Martine at https://martineellis.com/. The link to her 9 Step Checklist is currently broken (I'll email her), but you can grab a PDF of my process here.

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Nov 28 2016

49mins

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Recording Audio at a Conference

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I just got back from a 3 day conference in Austin, Texas. I knew I wanted to record some audio interviews, so in this episode, I share how I planned for the conference, what gear I deciding to bring along, and some general tips and thoughts about attending a conference as a podcaster.

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Nov 21 2016

21mins

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Do You Need Expensive Headphones to Mix a Podcast?

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I’ve been watching an online audio mastering course on Creative Live called DIY Mastering (by Jesse Cannon). In it, he was talking about how he always checks his work on cheap speakers and Apple earbuds, since that’s what most people use to listen to music. It got me thinking about the importance of good headphones, and how much they really matter. Are expensive headphones really necessary for mixing podcasts? Do you really need the best gear to make great work, or are you just procrastinating?

My goal for this episode is to encourage you to do more with what you have and not fall into the trap of believing that better gear is the secret to success.

Key Takeaways:

  • Don’t fall into the trap of believing that better gear is the secret to success.
  • You don’t need expensive headphones or speakers that are made for mixing music to make a podcast sound good.
  • The difference between cheap and expensive headphones is subtle, but some people want and need that subtlety.
  • Quality gear usually lasts longer than cheap gear.
  • Terrible sound quality can ruin great content, but great sound quality won’t make terrible content interesting or compelling.
  • Invest in educating yourself at first rather than investing in better gear.
  • All the expensive gear in the world doesn’t make a difference if you’re not creating stuff.
  • Constraints can help you create great things.

Don’t fall into the trap of believing that better gear is the secret to success.

I’ve been going through an online course about audio mastering from a mixing and mastering engineer, Jesse Canon. In this course (DIY Mastering) he talks about how he always checks his work on cheap speakers and Apple earbuds.

He said, “It’s because that’s what most people use to listen to music these days.” He mixes the music on expensive speakers and headphones, but then he checks on cheap headphones because he wants to know what it sounds like. This set a lightbulb off in my head, and made me wonder: Do you have to have expensive gear when you’re making podcasts? And are expensive headphones really necessary for mixing podcasts?

Why Do People Recommend Expensive Headphones and Speakers for Mixing and Mastering music?

Mixing and mastering are all about making choices about how to make audio sound. Better headphones and speakers let you hear more detail in your audio so you can make more informed decisions about how to shape those sounds, how to do EQ, compression, reverb, and special effects.

Podcasts are not that complicated. Most of the time, a podcast is just a single person talking. You don’t use a bunch of effects (unless you’re making a show like Radiolab or Deep Vault). There aren’t a bunch of changes in volume and dynamics. It just needs to be consistent and pleasant to listen to. Much of that comes down to recording with a good mic, setting input gain levels correctly, using good mic technique, and not recording in a noisy room or a room with a ton of natural reverb or echo.

What Headphones Are Your Listeners Using?

Most people listening to podcasts are probably either using Apple earbuds, cheap earbuds, less than $100, or listening in a car. I would be very, very surprised if the number of people listening to podcasts on audiophile quality, expensive gear was higher then 5% or 10% of the overall population. I don’t think you need great headphones or speakers that are made for mixing music to make a podcast sound good.

I’m an audio nerd. Before I got into editing podcasts, I was studying recording, mixing, and mastering music. I want great audio gear, but these days, I mix a lot of podcasts on $10 Panasonic earbuds.

Even though I mix a lot of the seanwes podcasts I work on on cheap earbuds from Amazon, we haven't gotten complaints from listeners.

In fact, in most cases, people talk about how great the sound quality is. That’s because Sean invested money in some great mics, like the Shure SM7Bs, and some pre-proccessors, the DBX-286s. He knows how to set input gain levels correctly and he uses pop filters.

The only bad thing I can say about the recordings that Sean makes is that he doesn’t have sound treatment in his room. I can hear a little bit of the room sound, but it’s not enough to bother the majority of his listeners. I don’t think most people even notice it. I notice it because I’m a nerd, and I pay attention to things like that.

Why Do People Want to Buy Expensive Gear?

Everybody is different in their motivation and what they want, but if I can break it down a little bit, I think that beginners want expensive gear because they see their idols using it. They see a pro using it, that pro is doing great work mixing for great bands or doing great podcasts, and they think, “If I get the same gear that he/she has, I’ll be successful like him/her.”

They think the gear is why the pro has had success. So they drool over the gear, over the expensive microphones, the expensive computers, the expensive headphones, the expensive plugins, or whatever the pro is using. They’re forgetting the years that the pro invested in learning everything, making mistakes, going through processes, putting out work, trying, experimenting, failing, and trying again.

Why do the pros buy expensive gear and headphones? People who listen to a lot of audio develop their “ear” over the years, so they can hear subtle differences in the headphones—in the way that music sounds and in the way that podcasts sound. It’s nice to be able to hear everything really clearly. The $300 pair of Sennheiser HD 600 headphones that I have sound better than the $10 earbuds.

Here are the top four reasons I think pros invest in quality headphones:

  1. They sound great
  2. They’re comfortable
  3. They usually last longer than cheap headphones
  4. You get to feel fancy

Do expensive headphones sound way better? Maybe. Will they help you make a podcast that sounds drastically better? Probably not.

The difference between cheap and expensive headphones is subtle, but some people want and need that subtlety.

More expensive headphones are often more confortable. These HD 600s I have are stupid comfortable. I can wear them for 12 hours, they sound great, feel great, and they’re pretty lightweight. They’re a joy to wear.

Also, quality gear usually lasts longer than cheap gear. The cheap $10 headphones that I buy will often break after six or eight months. A good pair of headphones should last you for years, maybe even decades.

If you’re going to spend some money, ask yourself, “Should I buy three pairs of $10 earbuds or a pair of $30 headphones that will last the same time as the three pairs of cheap headphones?” I think that’s a tossup, but reliability and quality are worth paying for.

Finally, you also get to feel fancy when you have expensive headphones. That’s more about your ego, but it does feel good to have great gear.

I like having nice things, and it’s fine for you to want that too. It says something about you, that you’re willing to invest in quality gear for whatever kind of work you do. If it’s audio work, it’s nice to be able to have this gear, and there’s nothing wrong with a little bit of showing off, taking pride in the stuff that you invest in.

What’s More Important: Great Sound or Great Content?

Terrible sound quality can ruin great content, but great sound quality won’t make terrible content interesting or compelling.

Crappy gear can ruin great content, but great gear isn’t going to make average or boring content interesting or compelling. Time spent looking at and lusting over fancy gear you don’t have is time you could have spent making stuff with the gear you do have. It’s a distraction. It’s procrastination.

Time spent looking at fancy gear is time that you’re not spending creating. The thing you’re giving attention to is taking up your headspace, so it blocks out everything else from your life.

Let’s use notebooks as an example. I know a lot of people write and a lot of people draw. What benefit does a $40 notebook have over a $3 notebook? They’re both paper, and you can write on either one of them. Will a $40 notebook help you write better than a $3 notebook?

What about writing apps? Do you have to pay $40 or $50 for Ulysses or $100 for Scrivener, or could you write a book or a blog post in the TextEdit app in your Mac? It might not look exactly how you want, but you could get the job done.

When I started podcasting, the microphone I had was a $150 Shure PG27 USB microphone. I thought I was fancy at the time. I have $250 BETA 87A now, running into a $500 interface… I have so much more now than when I started.

The point is that I got started with something, with what I could afford at the time. It didn’t sound amazing, but it sounded okay. I had to go through the process of learning all the different pieces that make up podcasting.

Eventually I got to a point where I wanted to get better at my craft and I invested in a better microphone. But what really made the difference in my sound quality was learning how to do things like EQ and compression, mixing and mastering.

If you have to choose, invest in educating yourself rather than investing in better gear.

Don’t get distracted by the gear. Don’t procrastinate by spending a bunch of time reading reviews and drooling over expensive gear.

At the end of the day, all the expensive gear in the world doesn’t make a difference if you’re not creating stuff.

If you don’t have an audience now, buying super expensive gear isn’t going to magically bring you a ton of listeners, viewers or readers.

I do believe that there is a minimum threshold of quality you should strive to meet, but it’s in the range of hundreds of dollars, not thousands or tens of thousands. If you’re just getting started or you’re a year or two into it, buying a $10,000 mic is not going to make your podcast better than buying a $250 microphone. You’re not going to know how to use it to the best of of your ability. You may have other problems with your podcasting setup and your workflow that you’re not even aware of yet.

Improve what you can, and don’t spend all your time looking at gear.

Examples of People Who Create Great Work Without Great Gear

I’m sure some of you have heard of Tim Farriss before. I don’t like the way he starts off his episodes with five minutes of ads, but that’s my only complaint. Other than that, he has a lot of great content. It’s not always stuff I’m interested in, but you can’t argue that he’s a very interesting person, and he’s producing very interesting content, especially on self improvement.

That being said, based on his sound quality, it sounds like he’s using a $100 USB microphone.

Most of the time it sounds like he uses a Skype call recording when he interviews people. He doesn’t have the most amazing sound quality on his podcast and he starts every episode with minutes of ads, which is kind of annoying, but it doesn’t matter that much.

Tim Farriss has a huge audience because he’s producing interesting content all the time. He’s focused on making great content and not having the best gear or sound quality, and he’s doing well because of that.

Another example is Robert Rodriguez. I heard him on an episode of Marc Maron’s podcast. He was talking about how he made his very first movie (El Mariachi) with a $7,000 budget. It was a tiny, tiny budget, but the movie blew up and ended up making $2,000,000 in the US. I watched it, and it was obviously low budget—but it was enough to kickstart his career.

He said that because he had so little money, he only shot a take or two for each scene. He did the best he could with the constraints he had, and he didn’t wait until he could afford the best movie gear.

You can create great work with constraints, and oftentimes it even helps.

If I had access to all the most amazing microphones, the best headphones, computers, audio interfaces, and all that stuff, I still couldn’t sit down in a studio with a band and make a record that sounded as good as someone who’s been doing it for 20 years. There’s too much that I don’t know. The gear isn’t what’s holding me back, it’s the knowledge. It’s practice and years of experience.

Remember that most people are listening on affordable headphones or Apple earbuds. You don’t need expensive headphones to make a podcast that sounds good.

It’s ok to get to know the gear and invest in good gear if you want to, but don’t trick yourself into believing that good gear will guarantee you success. You have to put in the time to learn and hone your craft.

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Nov 07 2016

24mins

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How to Promote Your Podcast on Twitter

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You’re not sure how to get new listeners to your podcast, and you don’t have many followers on Twitter. On top of that, Twitter and many other social media platforms have a ton of noise on them. How do you stand out and get people to notice you and your show? You want to use social media to promote your podcast but you aren’t sure how to get started.

These are three problems that many people face. In this episode, I’m going to talk about the solutions.

Key Takeaways:

  • Go where your audience is. The platform doesn’t matter, the attention does.
  • Prove that you can deliver something valuable to someone else’s audience, and then go out and do it.
  • Don’t use social media for a bunch of different things—it dilutes the focus of your feed.
  • Know if your content is going to be relevant to someone before you promote your work to a stranger.
  • The more narrow your focus, the better chance you’ll have of attracting the right people.
  • If necessary, create new social media accounts for your podcast.
  • Your Twitter bio needs to be your mission statement.
  • Don’t be afraid to be yourself.
  • Think about the kind of people you want to attract and share things that will attract those people to you.

Problem #1: You Don’t Have Enough Listeners or Followers

You’re not sure how to get new listeners to your podcast, and you don’t have many followers on Twitter. Do you have to use social media to get new listeners? No, you don’t. But it helps.

Ask yourself, “Where are my people?” It might be Twitter. It might not be. Where is the attention? Where are the people who would be interested in your show? You need to go there. Don’t spend energy on platforms that don’t have many people or that don’t have engagement.

If you’re making a show for older CEOs, they probably aren’t going to find and follow you on Snapchap. Try LinkedIn.

Likewise, if you’re making a podcast for the younger generation, posting on LinkedIn will be a waste of time.

Know your audience and go where they are.

Go where your audience is, where their attention is.

You Have to Produce Great Work Consistently

You might look up these podcasters that have huge followings who are so engaged. What do these famous podcasters all have in common? They showed up and produced work consistently for a long time.

You have to create good work, good podcasts, good blog posts, and you have to do it consistently. It takes a long time. You have to build up a body of work.

On top of that, you also have to share valuable stuff that other people create. Sharing other people’s work–especially if it’s stuff your audience will be interested in–is a great way to get attention. It’s a great way to be seen as someone who’s plugged in and connected with what’s going on in the world of whatever your niche is.

Focus on Creating Real Connections with People

Nothing bothers me more than random people sending me messages saying, “Hey, check out my podcast! It’s about mowing yards.” I think, “I don’t care about that, man! Why are you wasting my time? Why are you wasting your time?”

Don’t waste people’s time. Don’t spam strangers by asking them to listen to your podcast. If you don’t know a person and you don’t have a good reason to believe that they would be interested in your show, don’t bother them.

Instead, look for people who need your help, who are part of your community (someone who cares about the same thing you do a podcast about).

Find the people talking about the stuff that you talk about, have conversations with them. Don’t jump in by saying, “Check out my show! Check out my show!” Get to know them first. You qoulsn'r go up to an attractive person on the street and ask them to marry you, do you? No, you have to find out if you have common interests first.

Be a Part of a Community

Interview people with common interests on your show, and ask to be a guest on other shows. You’d be surprised at who will say yes to an interview request if you frame it as something their audience will find interesting.

Prove that you can deliver something valuable to someone else’s audience, and then go out and do it.

Q: Can I Reach Out to Total Strangers to Promote My Podcast?

What about reaching out to strangers to promote your show? It really depends on the situation and what your show is about. Are you sure your show is something they’ll be interested in?

Let’s say that you make a podcast about making YouTube videos. You run a search for “problems with my video” on Twitter. You see a total stranger who says, “I can’t figure out the audio problem on my Canon 70D,” and you remember that you have a podcast episode that talked about that exact problem.

Tweet at them and say, “Hey, I had that problem too. Here’s what I did”, and send them a link to your podcast episode. That's an example of how to promote your content without spamming someone.

Know if your content is going to be relevant to someone before you promote your work to a stranger.

Problem #2. Social Media Is Full of Noise

There’s a lot of noise online, especially on Twitter. People aren’t paying as much attention as they used to. Some people follow thousands of people (and you know those people aren’t reading everything in their feeds, that would take forever).

How do you stand out?

Ryan Magner posted this in the chat earlier, “I’m listening to Seth Godin this morning. Good bit of talk on brands: Seth said, ‘I worked hard to listen to what it was [the customer] wanted to tell me, what they needed from me, so I could deliver on the promise they wanted me to make.’ That mindset requires you to commit to the marketplace you want to be in.”

“If one minute you’re selling snow shovels, the next minute you’re selling life insurance, and the minute after that you’re helping people beat traffic tickets, nobody can figure out who you are. Nobody can figure out what to expect from you next. There’s a difference between being a ‘meaningful specific,’ and a ‘wandering generality.’ A wandering generality is looking for the next thing all the time, and can’t possibly build a brand.“

I love this. This speaks to a problem that a lot of people have when they have a Twitter or social media account, which is posting a bunch of different stuff. I’m guilty of this too. My Twitter account is @thepodcastdude, and I mostly keep it to podcasting stuff, but every once in a while, I’ll think, “Here’s a random thing I want to Tweet about,” and I tweet about it.

If you're trying to reach a specific audience, don’t use social media to talk about a bunch of different things—it dilutes the focus of your feed.

You might need to create a new Twitter account for your podcast.

Some people might be interested in following you as a person (humans want to connect with other humans). I love following people, especially people that are cool podcasters. But some people might just want to see updates about your podcast, or whatever it is that your podcast is about.

Imagine creating a YouTube channel where half the videos you post are related to your podcast, and the other half are completely random, unrelated stuff. You’ll turn a lot people off. Probably not everyone, but people subscribe to channels and other people online for a reason. The more narrow your focus, the better chance you’ll have of attracting the right people.

Problem #3. How Do I Get Started Promoting My Podcast on Social Media?

You’re overthinking this. What are the big social media platforms? Go create an account and start sharing what you make.

Yes, it’s a time investment. You’ll have to invest time to figure out how the platform works and how to get attention there, but just like anything else, you have to learn this stuff.

Some platforms might not be right for you or your audience. Do some research. Find out what kind of people are on it, what the age groups are, whether your audience is there. In the bio section, describe the show you make and who it’s for, and what your purpose is.

Related: See How to Write a Better Podcast Description That Attracts New Listeners.

If you do a podcast and you really just have a personal Twitter profile, I really think that your bio needs to be your mission statement.

Your bio is important. It tells people why they should follow you.

You have to tell people why they should listen to your podcast.

Three things that you need to include to convince people to listen:

  1. This is what this episode is about.
  2. This is what it’s going to do for you.
  3. Here’s why you should listen, here’s why you should care.

Put some thought into how you describe your episode. Otherwise, people are going to scroll right past it. If you don’t tell people why they should care, they’ll swipe up. Or down. Whatever.

Don’t Be Afraid to Share Links to Old Episodes

Promote your older episodes too. If you’ve made a lot of content, it’s okay to promote it. It’s okay if it’s six months old, unless you’re just doing a new show. That’s a whole other problem. New shows are hard. If you’re making content that’s remotely evergreen, which means that it will still be interesting to listen to six months, a year, or three years from now, promote that stuff online.

Don’t be afraid to re-post your old content.

You’ll get new followers all the time and some of your current followers will miss the first time you post something. People aren’t paying close attention. You can post a link to a new episode three or four times a week, every other day, and most people won’t notice. Just make sure that you change the wording, the description, the value proposition a little bit every time.

There’s no magic shortcut to growing an audience online. Buying followers is not going to get you there. Sign up for accounts, add your information, and start sharing your work.

Step #1: Make good work.

Step #2: Talk about it. Share it.

*Quick tip: Before posting something to social media, ask yourself: Is this something that my audience is going to care about? *

Sit with that for a couple of minutes. More people would be in a much better place if they asked themselves that question before posting stuff on Twitter.

Don’t Be Afraid to Be Yourself

We all have personalities, values, and goals. Some people share too much, but some people don’t. Some people are afraid to let their personalities come through in their work or their social media accounts. They try to keep it professional and it ends up feeling sterile. I

t’s okay to share and talk about things that you love. Realize that the stuff you put out will attract people that are interested in that same stuff, so be careful. If you’re using a lot of negative messages, you’re going to attract negative people.

On the flip side, if you’re a positive, encouraging person, you’re going to attract people like that.

Think about the kind of people you want to attract and share things that will attract those people to you.

Q&A:

Allison asks: “I’ve heard people say that you should post on social at least once a day. I find it really hard to do that, and it feels like I’d overwhelm my audience. Thoughts?”

I’m not sure which platform you’re talking about when you say “social,” but if it’s Twitter, once a day would be pretty easy, because it’s just text.

Think about your audience. If you’re an artist like Allison, who’s a musician, share stuff that you find valuable or interesting related to your style of music.

Snapchat? You could definitely post more than once a day.

Instagram? I’ve heard that some people lose followers because they post to Instagram more than once a day.

Don’t worry about those people. It’s about relevance, whether your audience will find it interesting. Curation is important.

You might not be sharing your old content because you think that everyone that followed you back then is still following you and that they’ll get annoyed. But if it’s good, it’s good. Post it. Link to it.

Julia asks: “Am I the only one who feels that keeping up with your own social media schedule is a full time job?”

It’s hard. It can be time consuming. There’s a pressure to keep up with everyone else who is active and sharing everything they do on social media. There’s a problem with that, though: There is so much content out there, you could spend your whole life watching other people live their lives.

Anyone can buy a GoPro and live-stream their life. You can fill every second of your life watching other people, and it’s not going to get you any closer to anything.

For me, social media is about sharing the work I make, helping other people, and paying attention to really smart, successful people that are teaching things I want to learn about.

I see so many people spending hours every day watching other people, but I have personal goals, and watching other people live their lives doesn’t get me closer to having the kind of life I want.

Cal Newport has a lot of interesting things to say about social media and paying attention to things, so check out his blog, Study Hacks.

Adina asks: “How often should you promote the same podcast in a day, in a week?”

You can promote it three or four times a week. I don’t promote my own show that often, but I should be. Just change the message every time, add a new takeaway or valuable insight from the episode to keep it fresh.

Cool Stuff to Check Out:

Oct 31 2016

30mins

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