Adron Buske – PES 042

Adron Buske - host and co-producer of the Nerd for a Living podcast, and co-founder and creative director at Armadian Creative

Welcome to session #42 of The Podcast Engineering Show! Listen and Subscribe in Apple PodcastsSpotifyGoogle Play, iHeart RadioStitcher, TuneIn RadioAndroid, RSS.

My guest is Adron Buske, host and co-producer of the Nerd for a Living podcast, and co-founder and creative director at Armadian Creative.

We had a riveting conversation about his equipment and workflow, which he was nice enough to outline for us here:


  1. Mixer – Alesis Multi-Mix 8 – USB
  2. Pyle 4 channel headphone amplifier
  3. Backup – M-Audio MobilePre Amp (2 channel)
  4. Mics
    • MXL 990 – main interview mic (large diaphragm condenser)
    • AudioTechnica AT875R condenser mic – narration mic
    • Sterling S50 condenser mic – secondary interview mic
    • MXL 2006 condenser mic – new interview mic in testing
    • Sennheiser boom mic – location recording with Rycote Softie windscreen
  5. Zoom H4n recorder – on location recording
  6. Monoprice Acoustic Isolation Shield – narration station
  7. Boom Arms – NEEWER Microphone Suspension Boom Scissor Arm Stand
  8. Pop Guards – Sterling Audio mesh filters, plus a cheap on-mic windscreen


  1. iMac – 27-inch, Late 2012 – 3.4 GHz Intel Core i7 – 32 GB ram
  2. Adobe Audition (Creative Cloud)
  3. Tagr / ID3 Editor


  1. Record interview via Skype with ECAMM Recorder plug-in
  2. Make sure to get 15 seconds of room-tone before we start
  3. Use ECAMM Movie Tools to split track and process into WAV
  4. Modular editing process
  5. Capture Noise Print from raw WAV file, and run Noise Reduction Process
    • Have to be careful with this, because it can cause some tinny, odd sounds if over-processed
  6. Edit the episode, and export a “RAW INTERVIEW” without additional processing
  7. Import the raw edit, and re-export to WAV with processing:
    • Hard limiter
    • Multiband compressor
    • DeHummer (if necessary after noise printer or to alter sound)
    • Automatic click remover
    • DeEsser (rarely necessary)
  8. Record my intro/outro narration directly into Audition, using my “narration station” (AudioTechnica mic and isolation shield)
  9. Edit narration and export to WAV with processing:
    • Noise Print Capture / Reduction Process
    • Hard limiter
    • Multiband compressor
    • DeHummer (if necessary after noise printer or to alter sound)
  10. Import Interview and Narration WAVs into MASTER EDIT template
  11. In Master Edit:
    • Piece together narration over music beds
    • Insert sponsor messages
    • Layer in “Theme Song”
    • Insert interview edit
    • Add Outro and music beds
    • Adjust audio levels
    • Usually 6 tracks, plus Master track
    • Occasionally use an FFT Filter to adjust tone on interview – frequency adjustment
  12. Export Master to:
    • MP3 – 96K – CBR – MONO
    • OGG – VBR Quality 40%
  13. Edit MP3 with ID3 Editor or Tagr to add info and graphic

Thanks for sharing so much with us, Adron!

DID YOU KNOW……..We exist for the purpose of helping you, so please comment below with any questions or remarks. Thanks for listening!

Want to Start a Business or Have a Career as a Podcast Producer/Engineer?

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4 thoughts on “Adron Buske – PES 042”

  1. Looking back at this 6 months later, and I have a few changes to note:

    – After 5 years of use, my Alesis Multi-Mix 8 shorted out. I replaced it with a Samson MixPad MXP124FX. It’s a nice little mixer, though it has some quirks I don’t love. One of which is a bit of line noise that I can sometimes hear but doesn’t show up in the recording, UNLESS I’m making a phone call over Skype. In which case it destroys the audio from my side. (Thankfully Skype-to-phone is rare for us.)

    – Replaced the Pyle 4 channel headphone amplifier with a Samson QH4. The Pyle was super bare-bones, and had to be unplugged when not in use, and sometimes allowed line interference. The QH4 is a much higher quality headphone amp, and is also configured in a way that makes much more sense (jacks on the front, instead of the back like the Pyle).

    – In my “process”, I’ve basically swapped around #6 and #7. Meaning that I do all the processing and clean-up on the wav files BEFORE I edit them. (Should have been doing that all along.) I also work in a mix-minus setup now, so I have the host and guest tracks separate, allowing for greater control over quality of sound.

    Thanks again for having me, Chris. (And apologies for how strangely serious I sound on here!)

    1. Wow thanks for the update, Adron! I always like hearing about the (never-ending, hehe) evolution of people’s equipment and workflow.

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