Content Creation

The term “content creation” is relatively new in the context of technical (and not so technical) audio, having only recently gained popularity in the early 2010s. It’s a big, icky term meant to encompass a wide range of disciplines, each with its own set of technical considerations and ideas about workflow and equipment.

In reality, the various sub-sections and denominations that make up the mass of daily online content we consume are far too complex and nuanced to ever allow for such convenient articulation, but still need a language to talk about it effectively, at least on a technical level.

Twitch streaming has about as much in common with podcasting as studio recording does with live sound (at least in terms of workflow and equipment), but both of these endeavors are still classified as content creation. New media is maturing at a faster rate than common generalizations can keep up with, which is one of the reasons why there appear to be so few definitive technical pieces floating around about these types of workflows. The information will most likely be out of date by the time you read them, and the language will be borderline archaic, as is the nature of being on the cutting edge of something.

Regardless of where we are on the media evolutionary timeline, or what else is going on in technology, the zeitgeist, or whatever, content creation is still a branch of the larger audio tree, and as such, is subject to the same fundamental truths as everyone else. Audio quality reigns supreme, and mics and monitors, as well as gain staging, room acoustics, and everything else, remain crucial. Regardless of the means of distribution, that kind of stuff is and always will be impervious to change.

The overarching commitment to directivity in all forms is where the various flavors of content creation differ greatly from traditional audio. Directivity in signal flow, directivity in polar patterns, direct distribution, direct audience conversations, directly bolting a microphone stand to a table. Content creation recognizes that the quickest route from point A to point B is a straight line, and it maintains this position throughout the production process. This dedication to directivity makes a lot of sense, especially when we consider the creators’ almost entirely DIY approach and the fact that so few of them have a technical background in music.

Consider the high turnover of online content and its vocal and demanding audience (who expect nothing less than the level of audio quality they’ve come to expect from professional broadcast), and you’ll see that content creators and audio manufacturers alike have their work cut out for them in inventing and implementing workflows that will allow for this level of quality at the breakneck speed demanded by the post-internet era.

Then there are the medium’s inherent global challenges, such as the introduction of visual considerations such as sight lines and shot composition, as well as the impact these non-audio influences have on equipment selection, cable runs, acoustic treatment, and other factors that we don’t normally see in standard audio.

Not only that, but there’s also the IT environment, as well as compromises in the content’s playback/serving, as well as the inherent cost of using such a direct method of distribution. The audible effects that file size/compression, formatting, and packet data can have on an audio signal, as well as the fact that our traditionally high-definition, pristine audio tracks now have to share their kilobytes with their much more appealing, popular video counterparts.

To be a content creator, you must accept that the technical learning curve will be steep. However, the creative freedom and artistic synergy that comes from refining one’s technique and setup to a level of audio quality at least bordering on professional broadcast, is something that will ultimately liberate you from the equipment and the medium altogether—giving you a direct, un-obfuscated connection with your audience.

From basic studio connections and DAW software introductions to gain staging, microphone/headphone selection, broadcast monitoring, post-processing and editing, effective shot composition, common audio protocols/file management, playback calibration, and more, this course covers it all.