Topic: Noise Gating

Adam Curry discusses his vision for "Podcasting 2.0," which aims to fix payments and technical issues within the medium. He critiques the Rode Roadcaster Pro for lacking a noise gate on computer inputs and expresses surprise that the company has not sent him free gear despite his early influence on the product's concept.

The archive captures various "pre-show" moments where the hosts discuss technical logistics, such as recording directly to MP3 and managing Skype bandwidth. They debate the use of a noise gate to filter out background wind noise and acknowledge the live stream audience in the chat room. These clips provide a "behind the curtain" look at the show's production challenges during remote broadcasts.

The technical details of Glenn Beck's studio are revisited, specifically identifying his white microphones as custom Lewitt models. The hosts discuss the history of Rush Limbaugh's gold-plated microphone and share tips for listening to AM talk radio without commercials. The segment highlights the "art of noise gating" required for high-quality remote broadcasting.

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.

Modern hearing aid technology allows for sophisticated audio customization, including directional microphones and frequency filtering for different environments like shopping malls. The devices feature pre-programmed settings such as "party," "urban," and "music," which are toggled via physical buttons on the units. The units also utilize a "lost mate" alert system to notify the user if one earbud is missing.

Adam Curry explains why he uses a digital bell instead of a physical table bell sent by a listener. He demonstrates how his studio's noise gate, necessary due to loud construction and jackhammering in downtown Austin, cuts off the natural decay of a physical bell. John Dvorak suggests using the physical bell for dinner parties instead.

Reviewing older episodes, the hosts cringe at their past linguistic habits, such as the frequent use of "fact of the matter" and "at the end of the day." They also discuss the significant improvement in audio quality since 2010, moving from high-latency Skype calls with frequent dropouts to a sophisticated real-time digital plugin system. Curry notes his transition from portable digital setups to high-end outboard gear to achieve a professional sound.

Adam Curry explains his technical process for "sculpting" the show's sound using noise gates and compression to eliminate ambient room noise and create a sense of intimacy. They discuss how the silence created by noise gates can actually grab a listener's attention. The hosts joke about who the "star" of the show is, comparing their dynamic to the Smothers Brothers.

The hosts discuss the technical philosophy of using fast-acting noise gates to create "digital silence" when neither host is speaking. Curry explains how he helped fellow podcaster Andrew Horowitz set up a similar system for the DH Unplugged show. Dvorak compares the "dead" audio sound to the "Abyss" visual style used by Charlie Rose, which utilizes black velvet to create a void-like background.

Adam Curry explains his technical approach to the show's "custom sound," including the use of noise gates to create dramatic silence. They discuss their complementary partnership, rejecting the idea of a "star" or "sidekick" dynamic. Curry handles the primary production and button-pushing, which naturally dictates the show's pacing.

Curry explains the technical necessity of fast-acting noise gates to eliminate ambient room noise and create a "dead" sound similar to NPR. He mentions helping Andrew Horowitz set up a similar system for the "DH Unplugged" show. Dvorak compares his preferred "abyss" visual style for TV—a black velvet background—to the set of Charlie Rose.

A technical discussion addresses a bug where Bluetooth devices go into sleep mode during silent gaps in the podcast. This occurs because the show's digital noise gate drops the signal to absolute zero, triggering battery-saving features in headsets that then clip the first word of the next sentence. The hosts discuss potential workarounds, such as mixing in a low-level "comfort noise" signal.

The discussion shifts to the technical philosophy of podcasting, emphasizing the importance of listening for comprehension rather than just for a reply. The hosts explain their commitment to an audio-only format, arguing that video is a distraction that limits the listener's imagination. They detail their real-time production workflow, which utilizes outboard gear and noise gates to avoid the need for post-production editing.

Adam Curry demonstrates the effect of noise gates by turning them off to reveal the ambient hiss and background noise in his studio. They compare their "grungy" 1950s radio sound to the "dead" acoustic environment favored by NPR. Curry describes his role as the "Phil Spector of podcasts," using limiters and compressors to create a consistent, high-fidelity audio experience.

John Grumling and John Stregg are officially knighted as Sir Ready Kilowatt and Sir Streggalicious for their $1,000 contributions. The hosts also discuss the use of noise gates in their recording setup and thank their local mail carrier for his reliable service.

The hosts coordinate a remote broadcast from Amsterdam and Orlando, Florida. One host describes attending an enterprise software conference for Open Text in Orlando while the other manages local construction noise and car alarms in the Netherlands. They discuss the logistical challenges of time zone differences and maintaining a show schedule while traveling for business.

Adam Curry discusses the technical difficulties of producing a high-quality show while traveling, including managing hotel Wi-Fi and port forwarding. He mentions his work on the "Ultimate Podcast Device" to improve mobile production. The hosts emphasize their commitment to professional audio standards despite the challenges of remote broadcasting.

The discussion shifts to the technical aspects of radio production and the "theater of the mind." Dvorak recounts his time at TechTV's Silicon Spin, where he advocated for better sound engineering, citing MIT Media Lab studies that link high-quality audio to perceived picture quality. Curry explains his use of noise gates and compression to create a professional "custom sound" despite the limitations of Skype.

Production issues affect the remote broadcast from Bonaire as the connection fluctuates at 400 kilobits. Adjustments to the Skype settings and the implementation of a noise gate are discussed to improve audio quality. The hosts acknowledge the informal nature of remote location shows and the lack of a standard snappy opening.