I have been recording a number of tutorials lately for work. One of the challenges I have is remembering to include every piece of the process. This is easy enough in print form as you can add after the fact, but when you are clicking, talking and checking the script, things become a bit more complicated. To me, it is like texting while driving, it just doesn’t work.
Bookmarked 11 Best Microphones in 2020 for Your Home Studio by Andy Cush (Pitchfork)

The two most important mic categories you’ll want to get acquainted with are dynamic and condenser. Though there are always exceptions, you can chart the differences between them in a few key ways. Dynamics are well-suited to handling loud sounds; condensers are more sensitive to the nuances of quiet sounds. Dynamics require no power source to operate; condensers run on Phantom Power, a feature that comes standard on nearly all home-recording audio interfaces. Dynamics tend to be more rugged; condensers more fragile. Finally, dynamics tend to be cheaper; condensers more expensive.

Andy Cush unpacks everything you need to know about finding the right microphone. This is useful alongside Aaron Parecki’s tips for remote presentations and Philip Sherburne’s guide to home recording.
Replied to Recording an audiobook during a pandemic by Austin Kleon (austinkleon.com)

It took us two days to get through 42,000 words, which I’m told isn’t too bad! I had two big revelations:

1. Recording is a physical process. It’s actually really hard work — it requires a ton of concentration and performance while sitting on your ass. My throat and my nerves were raw and I was an exhausted wreck at the end of the day! You start to notice every single weird pop and click your horrible mouth makes. I drank probably 3 gallons of water. (I was told, too late, that a green apple helps with mouth noise.)

2. You should record the audiobook before you turn in the book. I always read my work out loud when I’m editing, but being forced to say your words into a microphone and hearing your voice over headphones turns up every wart and wrinkle in the text. “What illiterate wrote this script?” I thought, five minutes into recording. The books got even better in the course of recording.

Thank you Austin for sharing your recording experience. It sounds like the closet is the way to go.

The process of using tools provided and dialling in remotely reminded me of Jacob Collier’s reflections on the use of Source Connect on the Switched on Pop podcast.

Looking forward to hearing the books. Maybe it is a trick of the mind, but I always like hearing an author read their own work.

One of the interesting changes to music has been the space where it is created and recorded. On hold is Nils Frahm travelling to Spain to record in a well or Taylor Swift flying to New York because she woke up with an idea, instead most artists have been restricted to those resources they have at hand, something of a DIY approach. For some, this is fine, because this is the way it has always been. Take Jacob Collier for example, who seemingly has all he needs in his room, while for those artists he collaborates with, he connects remotely using Source Connect and captures their part that way.  For some the focus is about developing a space to flourish.
Replied to Plug and play studio (austinkleon.com)

So, for about a $150 investment, I can have all my old microphones, bass guitar, and keyboard plugged in at all times, and all you have to do is plug in an iPad (or an iPhone!), fire up Garageband, select the inputs, and go. I’ll often make a drum pattern with the built-in sequencer, then record myself singing and playing my old Yamaha piano through the MIDI input. It’s fun to do the basic tracks, unplug the iPad, then sit on the couch with headphones and do the mixing.

I remember getting a Creative soundcard for my desktop computer that had a single line in and line out. I would use this to record snippets to build tracks. How far technology has come.

I watched a documentary (I think that it involved Trent Reznor) and they were discussing the temperamental nature of early sampling where the computer (think it was an Apple) would sometimes just crash and they would need to wait hours for it to process again.