Jackson, and a Judge Dredd-style badge that Christopher Sebela 3D printed for me.
AUTOANSWER 2015 SKYPE HOW TO
Fun fact: I only learned how to properly use those recently thanks to the wonderful cartoonist/candle expert that is Liana Kangas! There’s also a T-Rex on there that dispenses sticky notes, a Chopper Black Series figure my pal John Hendrick (from Big Bang Comics in Dublin) sent me, Burt Macklin and Luna Lovegood Pop figures, a Shaft figure circa Samuel L. I also have assorted candles, because I like nice smells and ambiance. Art on there includes – left to right – an Impulse by Chris Samnee, a framed Marvel Universe Series 2 Fin Fang Foom card drawn by Arthur Adams, and a Max Fischer (from Rushmore) drawn by Dustin Harbin. There’s also a pair of Sony WH-1000XM4 headphones, which are incredible, but are so effective at noise-canceling that someone could rob my home while I’m wearing them and I wouldn’t even realize it.īesides that, my desk is a mess of randomness. I use a mechanical keyboard that is pleasantly loud and tactile, unless you’re one of my cats and you’re sleeping on my lap, in which case it’s a living nightmare. My non-audio setup includes two screens, with one being a pretty vanilla (but sizable) monitor and the other being my Macbook. It did! Somehow, that all combines to make high quality audio. Someone gifted me it because they suggested it would help. In terms of the gear side of things, it’s really just a Blue Yeti microphone, which is completely plug and play with my Macbook Pro.
AUTOANSWER 2015 SKYPE PROFESSIONAL
It’s not a professional setup, but apparently it works! While just plugging a USB microphone into a computer and hoping for the best wouldn’t work for most, having an office that’s the right size with a door on it ensures a consistent audio quality. I have a home office for my work and for my endlessly swelling comic collection.
AUTOANSWER 2015 SKYPE PRO
While I’ve considered getting one of those fancy microphone arm things that swivel out if and when I want to record a show - or even a webcam of a higher quality rather than the onboard Macbook Pro camera I use - every time I do, I get preemptively exhausted and decide against it. As proof of that, here’s a photo of my desk during non-podcasting times. More specifically, about two minutes before I record an episode of the show, I move my keyboard forward about eight inches, frantically grab my microphone – which typically resides on the floor to the left of my desk – place it on my desk, plug it into my computer, and then get going.
The only real difference between my desk at regular times and during a podcast recording is I add a microphone. (Excluding the times when I’m writing a coffee shop or something) (As I am right now) It’s just the desk I work at for my day job and write at for SKTCHD. This is where I dispel with any useful mysteries about my studio. I loved hearing it, even if it made me grimace as I looked around at my actual setup. When the hosts talked about the show, one commented about how good it sounds, openly wondering about what my studio looks like to produce that quality. I listened to a podcast that discussed the best comic podcasts a while back, one that Off Panel was fortunate enough to show up on. What does your podcasting “studio” and workspace like? The goal is to cover all the bases here, but if you have any additional questions, let me know in the comments! That’s what we’ll be doing today, as I answer both real and theoretical questions about my processes, and in a way that’s typically exhaustive and exhausting. I’ll even take you inside my head when it comes to the little fandom things that make us each unique flowers rather than homogenous comic readers. However, because I am more “fortunate urchin” than “actual professional,” my response is perhaps best depicted in my second favorite Nick Young gif, as shown below, followed by eternal silence.įor that reason, I’ve had designs on providing subscribers and patrons an inside look at everything I do, from answers to some of the questions that are asked the most to a look at my office. There are only so many ways to reinvent those wheels.īut I’ve also had people ask me things like, “What’s your podcasting studio like?” or, more recently, “What’s your interviewing ethos?” Those are extremely legitimate, reasonable, thoughtful questions to ask a professional who does the sort of things I do. Most of my approach is extremely similar to how everyone would do this kind of thing: sit at a keyboard and then type until you’re done typing, or speak into a microphone in a conversational fashion. That’s not to say what I do is some sort of great mystery. If there’s one consistent topic that comes up from subscribers and listeners that isn’t strictly related to thoughts about comics, it’s questions about what I do and how I do it.
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