X

Recording Podcasts: Tips for Recording Remotely

The COVID-19 pandemic resulted in many people taking up podcasting for the first time while existing podcasters found themselves having to rethink their methods of recording in the absence of face-to-face interaction.

Remote recording has always been a great way of interviewing people who might not live anywhere near you, even before the pandemic (not to mention the fact that you may be working from a home studio on a tight budget), but it has arguably become a much more widespread practice over the past two years. It undoubtedly has its challenges, but recording remotely doesn’t mean you have to sacrifice audio quality. Assuming you already have the ideal setup on your end (if not, there are some great tips to be found in other SoundGirls contributors’ blogs), here are some ways you can get the most out of your guests, no matter where they may be in the world.

Equipment checklist

Ideally, your guest should have a good-quality microphone. There are plenty of affordable USB mics on the market which will do the job, but if they’ve never been on a podcast before, you may be limited to their built-in computer mic (as an editor, I’ve found that some of these can be surprisingly good). Headsets, on the other hand, can be quite hit-and-miss. Some sound great while others sound no better than a phone line, and I’ve had many an editing nightmare as far as plosives are concerned. Always check things out with the guest beforehand; you don’t want to hit ‘record’ only to find that the quality is terrible and you don’t have any other options. You should also make sure they’re using headphones or earbuds at all times.

Eliminate background noise

Just as important as the equipment your guest uses is the environment they record in. Unless you’re fortunate and they have a studio of their own, you’re probably not going to get flawless acoustics. But you can (and should) make sure they’re in a quiet room with no distractions as far as possible. Home life can be chaotic, of course; this can sometimes spill over into a recording despite our best efforts. The dog barks for attention, the kids forget that you asked them to be quiet, and your neighbor decides to start mowing their lawn outside. Fortunately, these can all be edited out if they don’t last very long and parts can be re-recorded. But try to make sure other avoidable noises are taken care of in advance: ask your guest to switch off any fans or air conditioning, have their phone on silent, and close any tabs on their computer that are likely to play notification sounds. If they’re not used to the recording process, encourage them to stay ‘on the mic’ and avoid moving around too much, shifting in their chair, or brushing against the mic and any cables.

Choose the right recording software

In the past, it was common to use Skype to record podcasts. Now a lot of people are using Zoom, which arguably gives better quality and allows you to create separate audio files for each participant. However, you still have to rely on both you and your guest having a stable internet connection. For this reason, you should consider opting for a platform like Zencastr or Riverside.fm, which allows you to set up online studios and record each track locally. So even if the internet connection drops, everything will still be recorded in high quality to your, and your guest’s, computer. Even better, all you have to do is send them a link and they can access the recording window in their browser. It’s worth noting that both platforms also have video recording capabilities.

There’s probably no perfect substitute for sitting face-to-face in a studio, but with a little preparation, you can get your remote recordings sounding top-notch.

Article by: Sarah Stacey

The mission of SoundGirls.org is to inspire and empower the next generation of women in audio. Our mission is to create a supportive community for women in audio and music production, providing the tools, knowledge, and support to further their careers. SoundGirls.Org was formed in 2013 by veteran live sound engineers Karrie Keyes and Michelle Sabolchick Pettinato and operates under the Fiscal Sponsorship of The California Women’s Music Festival, a 501(c)3 non-profit organization. In 2012, Karrie and Michelle participated in the “Women of Professional Concert Sound” panel at the AES Conference in San Francisco. The panel was hosted by the Women’s Audio Mission (WAM) and moderated by WAM founder Terri Winston. Terri brought together five women working in live and broadcast audio. The groundbreaking panel (which also included Jeri Palumbo, Claudia Engelhart and Deanne Franklin), provided young women and men a glimpse into life on the road, tips and advice, and a Q & A with the panelists. More importantly though, was how incredibly powerful the experience was for the panelists. We had all been in the business for 20 years or more, yet most of us had never met before that day and within minutes we bonded like long-lost sisters. We were struck by how similar our experiences, work ethics, and passions were and wondered why our paths had never crossed and how our careers would have been different had we been there to support each other through the years. Each of us are strong on our own, but together we were even stronger and a powerful force. We were empowered. Each of us had been asked hundreds of times in our careers: Are there other women doing sound? How did you get into sound? How would a young woman go about getting into sound? Through creating SoundGirls.Org, we hope to establish a place for women working in professional audio to come for support and advice, to share our success and failures, our joys and frustrations, and for empowerment and inspiration.

Back to Home

This post was last modified on November 16, 2025 1:42 am

SoundGirls: The mission of SoundGirls.org is to inspire and empower the next generation of women in audio. Our mission is to create a supportive community for women in audio and music production, providing the tools, knowledge, and support to further their careers. SoundGirls.Org was formed in 2013 by veteran live sound engineers Karrie Keyes and Michelle Sabolchick Pettinato and operates under the Fiscal Sponsorship of The California Women’s Music Festival, a 501(c)3 non-profit organization. In 2012, Karrie and Michelle participated in the “Women of Professional Concert Sound” panel at the AES Conference in San Francisco. The panel was hosted by the Women’s Audio Mission (WAM) and moderated by WAM founder Terri Winston. Terri brought together five women working in live and broadcast audio. The groundbreaking panel (which also included Jeri Palumbo, Claudia Engelhart and Deanne Franklin), provided young women and men a glimpse into life on the road, tips and advice, and a Q & A with the panelists. More importantly though, was how incredibly powerful the experience was for the panelists. We had all been in the business for 20 years or more, yet most of us had never met before that day and within minutes we bonded like long-lost sisters. We were struck by how similar our experiences, work ethics, and passions were and wondered why our paths had never crossed and how our careers would have been different had we been there to support each other through the years. Each of us are strong on our own, but together we were even stronger and a powerful force. We were empowered. Each of us had been asked hundreds of times in our careers: Are there other women doing sound? How did you get into sound? How would a young woman go about getting into sound? Through creating SoundGirls.Org, we hope to establish a place for women working in professional audio to come for support and advice, to share our success and failures, our joys and frustrations, and for empowerment and inspiration.
Related Post