Topic: Audio Gear

A TASCAM audio interface was discarded after listener feedback indicated it lacked the expected high-quality production sound. Comparisons are made to the MXL 990 microphone, which was noted for having a distracting "comb filter" effect that made it unsuitable for professional use. The technical limitations of the TASCAM and Roadcaster units are criticized, specifically regarding their inability to provide professional control over the audio chain and their tendency to produce a "calming" NPR-style sound rather than an aggressive, engaging tone.

A review of the Tascam MixCast 4 reveals significant engineering flaws despite its sleek form factor. The device lacks a headphone monitor for the final compressed output signal, forcing users to record without hearing their actual levels. Additionally, the eight programmable jingle buttons are restricted to single memory banks when using multi-track recording mode, a limitation compared to the Rodecaster Pro.

A review of new audio equipment features the Audio-Technica M50x headphones and the upcoming Tascam MixCast 4 console. The MixCast 4 is compared favorably to the Roadcaster Pro, specifically for its superior noise gating capabilities on USB and Bluetooth channels. The hosts invite Tascam to send a unit for professional testing and feedback.

A brief discussion on the history of Radio Shack brands identifies "Realistic" and "Optimus" as the company's former high-end audio labels. The hosts recall the era of Tandy Corporation and the decline of the electronics retailer.

The transition from laptop-based recording to professional-grade hardware is detailed, specifically the adoption of Universal Audio devices. This shift in technology reduced latency issues and moved the show toward a higher standard of audio fidelity. The hosts discuss how improved gear changed their attitude toward production, fostering a more perfectionist approach to the broadcast.

A discussion on the technical limitations of podcasting highlights the difficulty in achieving NPR-level sound quality without bulky professional gear. The hosts argue that legacy media companies are in a "slow-motion crash" because they are tied to outdated linear distribution models and cannot adapt to the internet's disruption.

Adam Curry and John C. Dvorak open Episode 794 of No Agenda from Austin, Texas and Northern California on January 28, 2016. The hosts discuss a major overhaul of their broadcasting equipment, noting improved audio clarity and reduced latency after three and a half years with the previous system.

The discussion shifts to the National Association of Broadcasters (NAB) floor, focusing on audio gear and microphone technology. Curry recounts visiting the Countryman booth and learning the correct way to wear earset microphones, noting that the capsule should be pressed against the cheek for optimal performance. He observes that many professional users wear these microphones incorrectly as small boom mics.

The hosts open the program from Austin, Texas, and Northern Silicon Valley, noting a recent illness and the debut of a new portable recording rig. This cutting-edge setup features a Universal Audio duo-core interface, a MacBook Air running OS X Mavericks, and a MIDI-controlled mixer designed to replace a massive analog rack. Despite the investment, the recording is plagued by system freezes and software instability during its first live trial.

An upcoming giveaway for a DBX compressor/limiter is announced for the No Agenda Producer Update. The hosts discuss the specific audio hardware used in their own signal chain, specifically the DBX 266 XL model, and debate the varying prices of the unit found on the internet.

The hosts discuss their respective mobile podcasting setups, focusing on microphone boom arms and travel cases. One host describes using a Rota boom that folds into a suitcase, while the other details a more improvised method involving a leather computer case and rubber padding to secure equipment while traveling.

The technical challenges of recording podcasts over Skype versus in-person studio sessions are explored, focusing on timing and audio delay. The hosts debate the merits of the expensive Countryman omnidirectional microphones, which are popular for stage use and travel due to their light weight, despite concerns about fit and "slushy" sibilance.