Audio vs. Video Podcasts – Why Audio Is More Than Just the “Easier” Option

I’ve been following the ongoing debate about audio podcasts versus video podcasts, and I have to admit, some of the arguments are interesting—and some of them are downright amusing.

One point that keeps coming up is that most podcasts are still consumed as audio. People listen while driving, exercising, working around the house, or doing just about anything else. That’s absolutely true.

The other common argument is that audio is easier for creators. You don’t have to worry about lighting, camera angles, editing visuals, or even what you’re wearing. If video stresses you out, the advice is often simple: skip it and just record audio.

From a practical standpoint, I understand that advice.

But I think something important gets lost when we reduce audio to simply being the easier option.

To me, spoken-word audio is an art form.

I can’t imagine legendary voices like Paul Harvey treating audio as the format they chose because they didn’t have to get dressed for the camera. Their voices carried emotion, personality, and imagination. They understood that the human voice has a unique ability to connect with people in a way that’s difficult to replicate anywhere else.

When someone listens to an audio podcast, your voice travels just a few inches into a microphone and ends up directly in their ears. It’s an incredibly personal experience. There are no visual distractions. The listener is focused entirely on your words, your pacing, your emotion, and your delivery.

That’s powerful.

As creators, I think we should approach audio differently than we often do. Instead of thinking, “At least I don’t have to be on camera,” we should ask ourselves:

  • How can I make this audio experience memorable?
  • How can I communicate genuine passion?
  • How can I paint pictures with nothing more than my voice?
  • How can I create a story that lives in the listener’s imagination?

Even subtle vocal inflection can completely change the way a story is experienced. A simple sentence can become suspenseful, emotional, humorous, or dramatic depending entirely on how it’s delivered.

That’s the beauty of audio.

Now, don’t misunderstand me—video absolutely has its place.

On The Billy Dees Podcast, many of the authors and guests I interview appreciate having professionally produced video. It gives them content they can share on YouTube, embed on their websites, and use across social media. That’s an important part of today’s content marketing landscape, and I understand why it matters.

But I don’t think audio should be viewed as the consolation prize.

Audio deserves its own creative approach.

When I record an audio-only episode, I want to think about rhythm, pacing, tone, pauses, and emotion. I want listeners to hear the enthusiasm in my voice and visualize what I’m describing. If they can build the scene in their own imagination, then the audio has done something video can’t always accomplish.

The next time you’re deciding between an audio podcast and a video podcast, don’t simply ask which one is easier.

Ask yourself which format best serves your message.

And if you choose audio, embrace it for what it is—not just a practical alternative, but a storytelling medium with a unique ability to connect, inspire, and leave a lasting impression.

That’s where the real magic happens.

Are Wireless Microphones Really Worth It for Content Creators Just for the Sake of Being Wireless?

If you’ve spent any time looking at microphones lately, you’ve probably noticed that wireless models are everywhere. One microphone that’s been getting a lot of attention is the Maono PD200W, and after spending some time with it, I can honestly say it’s a solid microphone for the money. (About $119.00) It delivers surprisingly good sound quality, and its wireless connection performs well at short distances. If you’re looking for an affordable option for creating content on your phone or other mobile devices, it’s certainly worth considering.

That said, I always try to evaluate new technology with one simple question: Does it actually improve the final product? If the answer is no, I’m usually hesitant to recommend it.

Wireless technology is a perfect example.

The biggest advantage of going wireless isn’t better sound—it’s convenience. There are absolutely situations where wireless microphones are the right choice. If I’m covering a news event in the field, I’m going to use a wireless lavalier microphone. If I’m running sound for a live event and the lead singer wants to move freely around the stage, a wireless microphone is almost essential.

But those situations are the exception, not the rule.

For most studio recordings, podcasts, livestreams, or YouTube videos, a microphone is sitting on a boom arm or desktop stand. Once it’s in place, it doesn’t move. In that case, I have to ask: why add another layer of technology that doesn’t improve the audio?

Throughout my career in broadcasting and live sound, I’ve learned to appreciate simple, dependable equipment. Take the legendary Shure SM57, for example. It’s been trusted everywhere from presidential podiums to rock concerts for decades. It’s versatile, durable, sounds great, and with a wired connection, it’s incredibly reliable.

The more technology you introduce, the more potential points of failure you create.

With a wireless microphone, you now have to think about the transmitter, the receiver, battery life, charging, and possible wireless interference. During a live performance, troubleshooting those issues can become stressful in a hurry. That’s one reason professional wireless systems often cost close to $1,000—they’re engineered to minimize those risks.

Even then, experienced sound engineers often keep a wired microphone ready as a backup.

For content creators, the conversation is a little different. The Maono PD200W isn’t trying to compete with high-end broadcast microphones. It’s designed for people creating videos on their phones, recording social media content, or working away from a traditional desk setup. In that role, it does a very good job.

What I don’t buy into is the idea that wireless somehow makes a microphone more desirable simply because it is wireless.

Many demonstrations compare a wireless microphone held close to someone’s mouth against a phone’s built-in microphone several feet away. Of course the dedicated microphone sounds better. That’s largely because of microphone placement and something called the proximity effect—the closer a quality microphone is to your mouth, the richer and fuller your voice will sound. You don’t need wireless technology to achieve that.

In fact, one of my biggest pet peeves is seeing podcast guests trying to do interviews using only the microphone built into their laptop. Even an inexpensive external microphone—wired or wireless—is going to make a dramatic difference.

At the end of the day, I think the Maono PD200W is a good microphone. It sounds better than I expected, the wireless performance is stable, and it’s an affordable option for mobile content creators. If that’s how you plan to use it, I think you’ll be pleased.

But if you’re recording at a desk, behind a microphone that’s already mounted on a stand, I’d encourage you to ask the same question I always do: What am I really gaining by going wireless?

Sometimes convenience is worth it. Sometimes it isn’t.

For me, reliable audio will always come first.

Overview of the Zoom PodTrakP2

We are always on the watch for cool stuff!

This video is a quick and practical overview of the Zoom PodTrak P2. This unit is an interface, mini-mixer, and an onboard recorder for USB microphones.

You may find this very interesting if you use USB microphones for your content creation.

For more information about this device please visit Zoom.

Capturing Good Conversation Long Distance

Jeanne Giddens
Jeanné Giddens

This installment of our Twitter interviews is with Jeanné Giddens, otherwise known as @TuneTalks to her Twitter followers. Jeanné is a talented song writer, voiceover artist, and host.

As an old school radio and audio recording guy, I have always felt the best way to record an interview is with the guest in the recording studio. The benefits of this are obvious. You can interact with your guest one on one and have complete control of the recording. However, there are times when this is just not practical. For example, in this case Jeanné is based in Florida and I am in Ohio.

Recording options in these types of cases vary and a lot depends on the guest. Many interview subjects do not have any audio gear. Others have busy schedules promoting their work and do not have the patience to be walked through a technical process of some kind. In these cases phone signals may be the most expedient choice and other times maybe a VOIP service will work just fine at getting the job done.

With Jeanné, however, there were better options available. She is in the audio production business and has good tools at her disposal. So, we decided to use Zencastr for this interview. In simple terms this type of technology does not record “over” the internet per say. Both subjects are recorded locally and then those two audio tracks are combined in post.

The results are terrific but there are also other important steps to take.

For one, use the most dependable connections with your gear. I would avoid using WiFi with your computer or using any type of wireless microphone or headset. Also, close all of the programs on your computer.

Let me throw in some information about microphones. There is a lot of confusion about USB microphones in particular.

There are basically four types of microphones in terms of how they capture sound; dynamic, condenser, ribbon, and contact. There are variations of each but those are the basic groups.

Many of the widely popular USB microphones are condenser microphones. I have heard them referred to as “digital” microphones and that term is as overused as “pro” is in the audio and video equipment industry. The key difference between a USB condenser microphone and a standalone XLR condenser is that the USB microphone has a USB interface built into it. Combination units in general are designed to hit a price point and as plug and play devices for their ease of use.

I have used USB microphones to have my clients record audio into their PowerPoint presentations. They are also good for gaming, YouTube, and for basic podcasting. I would stop short, however, of considering any USB microphone truly a professional’s first choice.

I have been in many radio stations, media production studios in advertising agencies, and music recording studios. I have never run across a USB microphone being used as a primary recording tool in any of these applications. An entry level pro audio interface alone costs more than the average USB microphone. Many voiceover agencies will ask what microphone that you are using and if the answer is a USB microphone that might be a missing check mark on your credentials list.

The sky is the limit in terms of what you can pay for pro audio gear but there are cost effective options. Yes, separates do cost more but come with some practical benefits in addition to better quality, namely interchangeability. That professional XLR microphone that you bought for your podcast will plug into a USB interface, a digital recorder, a mixing board and so on. You can also upgrade your interface or microphone without replacing both or purchase more microphones to use with the same interface.

For the interview with Jeanné I used a (XLR) Golden Age D2 dynamic microphone. I happen to like dynamic microphones for voiceovers but that is largely my preference. My favorite is probably the (XLR) Shure SM7B and my runner up would be the (XLR) Electro-Voice RE20. Jeanné used her (XLR) RODE NT1 which is a condenser microphone. Both the Golden Age D2 and the RODE NT1 are not “cheap” when compared to most USB microphones, however, in the professional ranks these microphones are extremely cost effective and for anyone considering getting started doing voice work these are good choices. For this particular interview we both also used Focusrite interfaces.

To sample the sound quality captured with these microphones and Zencastr here is an excerpt. Notice how it sounds almost as if both of us were in the same studio.

For your convenience the entire interview is available at the bottom of this post. The Billy Dees Podcast is also available on your favorite podcasting service including Apple Podcasts, Spotify, and iHeartRadio.

You can follow Jeanné on Twitter at @TuneTalks and me at @BillyDees.

People on Twitter by Billy Dees Interview with @TuneTalks Song Writer and Creative