This is the second part of my interview with Palmer, creator of the always fascinating podcast, WPLMR. In this part, we talk about music and podcast production.
GuyBehindtheGuy: I'm always impressed by the production values of the episodes. What kind of rig do you have?
Palmer: Episodes 1-4 were all recorded on a six-year old HP laptop. Just a POS laptop--probably $300 nowadays off of Craig's List. My mic is probably the most expensive component. I use a MXL-USB 006 that was about $130. I use $20 Sony studio headphones from Wal-Mart, and they work great. I use Audacity, which is amazing, for all of the audio production, and Inkscape for the logos--I'm big on open-source. And I host all of my mp3's on libsyn, which costs me $10/month. So, all-in-all, it probably cost me about $250 to start this podcast, since I already owned my laptop.
For sound effects, I use the Freesound Project. I have never not been able to find a sound effect there. Now granted, some of them I might have to build. For instance, just for the news reel, that's like ten different sounds, and I have to give credit for each one in the show notes.
And I have to say, that hands down one of things that's made the quality of the show so good is Audacity. There's just so much in there that you can do. I mean, I don't know dick about what I'm doing at all. But, it's just an amazing, well put-together, solid program that should cost $400-500, and it's free.
G: Obviously, the highlight of the show is the music. How do you go about choosing it?
P: The show is very formulaic--I have four sketches, four blocks of music, an opening song and a closing song; plus the news and the homework assignment. To choose the music, I go to Jamendo and I start with "Popular This Week." I also further restrict the search to albums that I can "edit or build upon," because I'm not sure with Creative Commons if just putting it in a podcast is the same as remixing, or if it just counts as transmitting the song. So I do that, and I get something like 350 pages of results.
"I mean, I don't know dick about what I'm doing at all."
After that, the first thing I look for is if the name of the album is in English. So, right there, I've knocked out a good half of the results. At this point, I'm focused on just the first page of results, which I believe is twenty albums. Then I'll look at what the tags for the album are, and skip any instrumental albums. So, now I've just narrowed that twenty albums down to about four.
I'll start listening to the first track of the first album, and I'm looking for a few things. First off, the riff that it starts out with has to grab me. You can tell pretty quickly if it's not top-quality, and I'm looking for top-quality tracks because between me mixing it and dumping it out to MP3, if it's already low-quality it's going to be shit by the time I put out an episode. Also, it has to have a good volume--I hate it when the artist doesn't normalize their songs.
Sometimes, the riff is amazing, and I'll be saying to myself "this is bad ass." But then they trick you--the singer will suddenly come on growling "Je m'appelle Andre. Pomme de terre!" And you're wondering what you're doing listening to a Frenchman who smokes eighteen packs a day talking about his name and potatoes. So, right there, if the singer doesn't match the quality of the music, that can turn me off. Now, there are definite contradictions--some of the punk stuff I love if it has a
Johnny Rotten-style singer who's just awful, but that fits that style of music perfectly.
Another thing that's a
huge turn-off and will quickly remove an album from my consideration is if I have to wait three-and-a-half minutes just to hear the lyrics. A lot of these bands are new and up-and-coming, so I don't know if the problem is that they're not confident enough in their lyrics, or for some reason they think they need a solo in every song, and that solo has to be in the beginning. I guess they've never heard of a bridge before. So, you'll hear this giant, epic instrumental at the beginning of every song, and you're thinking, "Get to the point! That's awesome and all, but let's get going."
So while picking the music is not as formulaic a process as laying out the show, here's how I would sum it up: if I like it, I listen to it; if I don't, I won't. It just has to grab me.
G: If the RIAA came up to you tomorrow and said, "We know we screwed up. What can we do to save ourselves?" What would you say to them?
P: I would love to see the labels band together and offer a free daily or weekly genre-based podcast. So, there's going to be a punk podcast, a rock podcast--and it's going to only be our newest and freshest acts. Those would be offered free, without DRM, and could be downloaded and shared with your friends however you want.
"Support local music. Support the independent artist."
Then, I'd like to see a service where you can download full
FLAC, high-quality audio files for a flat fee a month--$20 bucks a month, we'll say. For the cost of two CD's, you can download as much as you want. They could even have it tiered--for $5/month, you can download 1 GB. For $10/month, you can download 2GB, and unlimited for $20/month. And these need to be DRM free, because I want to be able to use it on my $250 iPod, my $400 iPhone, my $200 Zune; I want to be able to put it on any of that. Further, I want to be able to burn it onto a CD and listen to it on my car stereo if I want.
G: Any other thoughts?
P: Support local music. Support the independent artist. I mean, when it's all said and done, no matter how many dick-and-fart jokes I might pump into an episode, it's all really about me trying to share music that I really like from artists who are okay with me sharing it.
Thanks to Palmer for the great interview! I hope everyone enjoyed it, and make sure you check out
WPLMR for yourself.