Like the Guardian Newspaper – which is owned by the Scott Trust – the Irish Times Trust gives the publisher greater scope than those with more commercial obligations. In the digital age, it was one of the first 30 newspapers in the world to go online when it had the domain Ireland.com – now owned by the Irish Tourism – and now, it is becoming a digital first publication.
Declan Conlon is The Irish Times’s podcast producer. We met in their radio studio in a converted office just off the main newsroom.
By their very nature podcasts are always pre-recorded. A “live” edition is one recorded in front of an audience. Over on the Facebook group “UK Podcasters” a question was asked about recording with an audience. As it’ not something I have included in either book, I thought an answer here (and there) might be useful.
As we reach episode 21 … this is the story so far. Now the podcast is part of a project with two books Podcasting for Communities and Podcasting for Student Journalists.
Along with this blog they are a guide for anyone who wants learn to produce podcasts or community radio. I’ve looked at production strategies such as structure, technical challenges, organising a production team, podcast platforms, community management and purpose
Talking to Alex and Freddie of the QI Elves about No Such Thing as a Fish, not only because I’m a fan, but because of the technical and production approach they take. I wanted to know how they do what they do.
With some 40 year’s experience in journalism, Barbara McCann has worked in radio, TV and print. She talks about interviewing and her approach to getting answers.
As an anchor on the BBC News channel, Maxine Mawhinney probably spends more time interviewing than anything else. The interviewees will be in the studio or remote – somewhere else in the country or really, anywhere in the world. Maxine shares tips on interviewing and presenting.
Mitch Lafon has been writing and then podcasting about music since he was 11 years old. His podcast One on One with Mitch Lafon offers something that many music podcasts don’t.
People listen to podcasts differently. I have often sat in my car to hear the end of a programme or interview. Now, I can catch up on demand. If I am enjoying a podcast, I might listen to the end, but if I must stop listening, I’ll return to the story next time.
Trying to put Malachi into any convenient category is far from easy. His work, hobbies and interests constantly overlap. But the core is journalism. He is a podcaster, photographer, journalist, writer, commentator in print and broadcast media.
In London a new start up called Jukedeck is using artificial intelligence to create unique music. Anyone can use it – musician or not. And there is no cost.
All the music used in this edition of the podcast comes from Jukedeck.
Finding rights free music for podcasts and videos is very difficult, but the Free Music Archive is a brilliant resource.
Johnny Seifert is part of the production team at TalkRADIO in London. He is the showbiz expert and a producer on the Paul Ross Full Set Breakfast show.
It is one of the thorniest problems. You want to add some music to your podcast. You don’t have a friendly composer and musician to make the music for you and you decide you would like to use some of your favourite music.