The Yellow Studio circa September 2019

It only took one day. To dismantle the Yellow Studio.

It took a small generous community of podcast supporters. To help make it become a reality.

Rode Rodecaster Pro now residing inside The Yellow Studio

The donors are now on a special email list where I've been keeping them updated. This group will continue to remain special and enjoy some inside updates. It's just one small way I can thank you for making the Rode Rodecaster Pro possible.

Now, let's geek out just a little bit for those of you interested in the technicalities of podcasting. For the rest of you, bear with me.

Years ago when I built The Yellow Studio there were basically two methods or workflows used in podcasting. The first was by far the most popular because it was the least expensive route, RECORDING. To be fair, all podcasts are recorded. That became the very definition of the medium - serialized, subscribable audio content. People could listen at will. On their own timetable. It was all pretty slick and we were as excited to get an email as we were to get a new episode of our favorite podcast.

RECORDING methodology just required a microphone and some software (much of it free). To gussy up the sound you needed fancier software. This also meant you spent time editing. The first recording wouldn't necessarily be the final version. This workflow demanded significant after-the-fact work.

BROADCASTING was the other methodology. This wasn't nearly as popular because it required hardware. And hardware was (still is) expensive. The benefits are high. The minute you hit "record" the sound is recorded digitally exactly as it will sound when listeners hit "play." Other than editing for content - not for sound quality - it's more of a "what you hear is what you get" process.

I instantly wanted to go the BROADCAST route because I preferred to put my work in ahead of hitting the record button. It wasn't about avoiding work. At least not for me. It was about when to do that work. I wanted to spend time doing the work ahead of recording, not afterward.

This meant investing in gear. Thankfully, I had the ability to make the investment. And I had some expert help in figuring out what I should get.

Click here for the episode I recorded in 2015 to answer the persistent question, "What does your studio look like?"

I embarked on finding and assembling equipment that was mostly broadcast quality. Built to withstand hours and hours of non-stop operating without any problems. In short, I was building a small 2-mic station with just about everything other than a transmitter. My transmitter was going to be the Internet.

The microphones came first. Two Heil Sound PR40 microphones. Others picked them because of longtime broadcaster/podcaster, Leo Laporte. Leo is a tech guy who has enjoyed radio and Internet success. He used the Heil PR40.

Well, I didn't know of Leo when I got the PR40s. But I had heard of Bob Heil because I was very into music. I also had (still have it) a fondness for the sound of great condenser microphones, but I knew my space wouldn't be ideal for a condenser mic because they pick up EVERYTHING. My space was going to be pretty solid for recording, but it wasn't going to be like a professional voice booth (commonly used by voiceover artists) or like a professional recording studio with extensive sound isolation. Enter the PR40. Its large diaphragm has condenser mic qualities in a dynamic mic.

Two Heil PR40s, each on its own boom arm and mounted inside its own shock mount. Those were the first items purchased.

Next came the coveted Aphex 230 microphone preamps. Radio people and voiceover artists alike have run to the Aphex sound for years. Microphones have to be plugged into something that ...