A careful attention to acoustic and operational details is the key to designing a successful podcast studio.
This rapid rise in podcasting has led to many companies building audio with video studios, complete with IP networking and state-of-the-art acoustical treatments. These studios can be retrofitted conference rooms or greenfield spaces that accommodate from one to eight people, depending upon the programs produced.
For designers of such studios, there are many aspects of the project to consider and get right. The staff at WSDG (Walters-Storyk Design Group) in upstate NY provided some insight into what it takes to create a suitable space.
The design principles discussed here are applicable to any audio recording space.
Choosing The Right Space
The key is to choose a space that is minimally affected by external noise, like rooms that don’t share walls with common areas.
The first step to any design project is identify a space and do a survey to see if it’s suitable. In a place like NYC that’s always challenging because the designers have to figure out how to install cabling in and around existing walls, pipes, and HVAC. Filters should be low-velocity, large ducts so you don’t get whistling noises.
One tip when picking the space: the ceilings have to be at least 10 feet high to have the acoustics work and to accommodate a floating floor (about six inches high) under which the cables will be run.
In addition, if you are building a technical audio facility, you must pay a lot of attention to power. If you have a lot of analogue devices within the design, you want to go with Isolated Ground (IG) power and a mitigating transformer for three-phase power.
Podcast studios can be located in a variety of situations, although project completion time depends on whether it’s being built in an existing building or a greenfield project.
In general, the older the building, the more you might have an issue with ground. A difference of voltage on your ground in your neutral leg will equal noise in your audio signals.
“If you measure a neutral leg in your control room on your IG power and you have about 100 millivolts of voltage, there’s going to be noise in the system,” said Judy Elliott-Brown, Senior Systems Designer.
To cut down on noise, all of the critical production systems (audio console, talk-back system, intercom, etc.) need to be isolated from air conditioners, switching power supplies, heating, water pipes and other potentially intrusive elements.
A short check list would include confirming the subject matter and its requirements (area, grid/lighting height, number of cameras required for the shoot), confirming access requirements (sound/light locks, size of sets), and confirming support requirements (talent, shop, storage). Mechanical, electrical and plumbing engineering (MEP) requirements are hugely important as well to confirm there’s enough power and enough (quiet) cooling.
What Does The Client Want?
The first step in every project is to sit with the client and figure out what they want to accomplish in the studio. How many people will be involved in any one show? Does the space have to accommodate several shows a week/day? How will you bring in outside “guests” to the show?
This is important to how the project will proceed. Not every project requires a major new build. For example, one podcasting company wanted to move from a single conference room to a new building with four separate rooms. But they only had a week to make the move, and didn’t want to disrupt audience engagement. This short completion time meant that the equipment being used at the old facility would be carried over to the new one, as that was what the operators were used to and there was no time for a learning curve for new technology.
They carved out a 2000 sq. ft. section of the new 20,000 sq. ft. building for a new production studio. Decoupled floors, wall and ceiling structures were implemented to insure the level of isolation required between the various studios positioned adjacent to each other and acoustic treatments were added to further enhance the overall sound environment.
“There was no time to re-invent the wheel, here,” said Elliott-Brown. “We knew that the operators were comfortable with what they were using and were careful to stay with that to ensure a smooth transition to the new building and keep the clients working.”
They “cleaned up” their Dante audio network and gave them a few more bells and whistles (e.g., a new phone call-in system for guests), but it was basically the same workflow they already had in place. And the client was very happy with the results.
Choosing The Right Technology
For a ground-up build, (a 28,000 sq. ft. production facility in downtown Brooklyn, NY), designers had much more time to think about what they were going to install and how. In fact, the project was started before the pandemic, so the subsequent shutdown allowed for more technology and space considerations. In fact it took a year to complete the project, which now includes a dozen podcasting rooms—six with cameras added. The studios fit together in a honeycomb fashion, maximizing the use of the available space while providing comfort and an abundance of natural light.”
In addition to the podcast spaces, the production facility also boasts a traditional recording studio with additional soundproofing and a 375 square foot live room. The abundance of space allows ample room, enabling in-house recording of music for a variety of podcasts.
One of the challenges with the new build was that it had to accommodate both veteran podcasters and newbies that were not so technically experienced. The system had to be comfortable for both types of users.
However, the CTO of the company did not want to be locked into a proprietary technology platform that would not allow him to future-proof the infrastructure and seamlessly expand as they need to. So, the designers worked closely with the CTO to implement a cloud-based audio, video and control platform built around an all-IP infrastructure on premise. All of the operators use iPads to control the audio mixing console, microphones and other podcast elements.
Within the IP system, the only analogue devices were inside the podcast room, things like microphone preamps. So, as the talent are talking, the signal goes through the mic preamp and out over a Dante network to the control room, where commercials and other sound effects are added before it is delivered to the outside world via the Internet.
They also installed three PTZ cameras in each room that run on a