{"id":141204,"date":"2019-11-27T09:00:38","date_gmt":"2019-11-27T14:00:38","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=141204"},"modified":"2019-11-27T15:44:17","modified_gmt":"2019-11-27T20:44:17","slug":"behind-the-scenes-of-the-paris-review-podcast","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2019\/11\/27\/behind-the-scenes-of-the-paris-review-podcast\/","title":{"rendered":"Behind the Scenes of \u2018The Paris Review Podcast\u2019"},"content":{"rendered":"

\"\"<\/a><\/p>\n

The second season of our celebrated podcast<\/a> is here to carry you away from all the troublesome sounds of Thanksgiving squabbles. And if you\u2019d like to know how something so excruciatingly exquisite gets made, read on for a behind-the-scenes interview with executive producer John DeLore. He is a senior editor and tenured audio engineer at Stitcher\u2019s NYC studio. In addition to <\/em>The Paris Review Podcast,\u00a0he has worked on<\/em> Stranglers,<\/em> Beautiful\/Anonymous,<\/em> The Longest Shortest Time,<\/em> Couric,<\/em> Clear + Vivid with Alan Alda,<\/em> Fake the Nation,<\/em> The Sporkful, and\u00a0<\/em>Household Name. He answered some questions from our engagement editor, Rhian Sasseen, about his preferred microphones, the differences between Season 1 and Season 2, and how to respect both the language and the listener.<\/em><\/p>\n

INTERVIEWER<\/p>\n

In the spirit of the many times \u201cpencil versus pen?\u201d has been asked in The Paris Review<\/em>\u2019s Writers at Work interviews, what\u2019s your preferred setup for recording?<\/p>\n

JOHN DELORE<\/p>\n

Most of the process is not a solitary craft. And while a lot of recording happens in our studio where we\u2019ve got our preferred tools and our studio vibe, a lot of it is happening out in the world, or \u201cin the field,\u201d as they say.<\/p>\n

And for me, I\u2019m sort of\u00a0always<\/em>\u00a0\u201cin the field.\u201d I\u2019ve had the same silver Zoom H2 portable recorder for almost ten years, and I carry it just about everywhere I go. And these days I\u2019ve been using the iPhone VoiceMemo app. It\u2019s like a butterfly net. I hear something in the world, like a train on an elevated track, or a nice bird, or a thunderstorm, and I capture it. I label it and throw it in this massive folder of random sounds.<\/p>\n

<\/p>\n

INTERVIEWER<\/p>\n

Is there a particular type of, say, microphone you gravitate toward over all others\u2014or are only writers this superstitious about the tools they use?<\/p>\n

DELORE<\/p>\n

When I will be more intentionally hunting down sounds, in those cases I\u2019ve got a more proper setup. My Sennheiser shotgun mic with a pistol grip and a big wind cover, plugged into a more robust recorder. And then there are other situations, where I\u2019m lugging around a suitcase of gear, like the time Jamaica Kincaid invited me into her home to record her reading and discussing her work. I packed extra mics, cables, an extra recorder, an excessive amount of AA batteries. Those are the situations where you\u2019ve got one shot to capture that moment in time, and in those cases it\u2019s less about \u201csuperstition\u201d and more about discipline and preparation.<\/p>\n

If someone reading this is not interested in specific technical details, then jump to the next question. For the rest of you, here\u2019s a little bit of detail.<\/p>\n

In the studio we use Shure Sm7B microphones. I\u2019ve always liked the way they sound. They don\u2019t add any color to the sound, and it\u2019s a very straightforward and clean-sounding mic. In the field I like a Sennheiser MKE #600 shotgun paired with a Zoom H5. The H5 lets you simultaneously record a stereo image with the built-in microphones while also recording the shotgun mic onto a third track. The stereo image can go a long way in terms of making the listener feel they\u2019re surrounded by a place.<\/p>\n

The shotgun mic is designed with a \u201cthrow\u201d so you can capture good direct sounds without being right next to the source. These are used in movie shoots. They\u2019re the mics that boom operators are holding above the actors\u2019 heads, just outside the camera frame. In the first season, when you hear Jamaica Kincaid talking about the birds in her backyard, I think I was about six feet away from her using the shotgun mic.<\/p>\n

That \u201cthrow\u201d also makes the shotgun very useful in the field because you can put it on a coffee table or a desk a few feet from a speaker and still get a full-sounding recording. That smaller desktop mic stand is also much more portable. But if I\u2019ve got a car, or a budget to expense a taxi, I\u2019ll sometimes bring a Neumann KMS #105, which is a really great sounding microphone. But that mic requires more proximity to the speaker\u2019s mouth to get the full-spectrum sound, so it requires bringing a bigger mic stand. So sometimes a technical decision is made based on the fact that I\u2019m riding the subway and I don\u2019t want to carry all the extra stuff. Okay. Nerd alert over. Next question.<\/p>\n

INTERVIEWER<\/p>\n

Do you have any favorite moments from recording or editing Season 2?<\/p>\n

DELORE<\/p>\n

For this season, I was there for the Alex Dimitrov in-studio session. It was actually the very first thing we recorded for this season. His poem \u201cImpermanence<\/a>\u201d is really beautiful. It\u2019s one of those poems where the personal aspect gradually moves into this bigger, more abstract and more indefinable space.<\/p>\n

I remember reading it, and it\u2019s one of those poems where you read it, then you reread it, and when it\u2019s\u00a0on the page<\/em>\u00a0you can linger on different stanzas or lines for as long as you like. But when it\u2019s put into a podcast, all that subjective patience disappears. Everyone is now locked to the same timeline. So when we recorded that poem, and all the other works, we spent a little time trying to find the right pacing for a few choice moments, to create a listening experience that gives folks room to digest and enjoy the progress of the poem.<\/p>\n

Of course, we also try to get a little bit of ephemeral interview tape from our readers, and Alex gave this really beautiful answer to Emily Nemens\u2019s question, \u201cWhy do you write poetry?\u201d His poem and his answer are in\u00a0the first episode<\/a>, so if you\u2019re curious to hear his answer, by all means,\u00a0subscribe<\/a>\u00a0to the podcast right now!<\/p>\n

INTERVIEWER<\/p>\n

The relationship between writing, editing, and reading is clearly a source of continued fascination and relevance within the pages of The Paris Review<\/em>. Did you approach editing Season 2 differently from Season 1?<\/p>\n

DELORE<\/p>\n

For us, editing often means taking all the raw tape and editing the best takes together. Sometimes we have a reader try a line a half dozen times, just to have options. After we have the audio all edited together, we start adding sound design and scoring. Those decisions will often alter the pacing of the read a bit. For example, if there\u2019s a particularly emotional section in the middle of a story, we\u2019ll let the music post for a solid moment, maybe as long as ten to fifteen seconds. In the audio version, we create pockets of space to leave room for listeners to process and digest an idea or an emotion. Sometimes it\u2019s just a second or two, but other times it\u2019s a longer moment of scoring.<\/p>\n

I think that in both seasons we\u2019re abiding by the same general principle of respecting both the language and the listener. We\u2019re presenting a lot of really beautiful language\u2014as well as some really complicated language\u2014so we need to create a space where the listener has room to process in real time, and where the language is supported by the vocal performance, the pacing we create around the read, and the scoring and sound-design choices we make to underline the read. To me, Season 2 feels a bit more like the pieces are in conversation with one another. Less themes, more echoes.<\/p>\n

 <\/p>\n

Read more behind the scenes interviews. Producer\u00a0Helena de Groot<\/a> delves into the art of interviewing, executive producer Brendan Francis Newnam<\/a> discusses the finer points of recording and producing, and composers David Cieri<\/a>\u00a0and\u00a0Emily Wells<\/a>\u00a0talk about scoring Seasons 1 and 2.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

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