Today, fabulous author and podcaster, Elizabeth Guizzetti, talks about how she turns prose stories into entertaining audio delights.
Thank you for having me today, Jennifer. I’d like to share some ins and outs of crafting a podcast specifically in regards to recording and editing
Recording:
Every podcaster has different preferences in recording equipment. When I first started in 2020, I used a Blue Yeti. However, it got knocked off my recording table and never sounded the same. That led me to test every display microphone at Guitar Center. This experience helped me better hear the nuances of my voice.
A Sterling Audio ST155 connected to my desk via a boom arm provides the sound quality I want within my budget. I’ve also recorded other voice actors and been happy with the results—although certain baritones, in particular, can produce an unintentional whistle. Lip gloss reduces this.
I’ve done my best to create a controlled recording studio in my closet. Voice actors do not have to look at my clothes, but they must walk through my bedroom to get inside. My setup includes a windscreen, a pop filter, a thick shield around the microphone, and foam lined walls and a quilt set up behind the actor over my bookcases. That being said, it’s more important to get started than to have the best setup. If all you have is the microphone on your phone, then put a blanket over your head and start recording!
After EVERY recording session, I save a version of the file entitled PROJECTTITLE_RAW_DATE
Editing Process:
Just like editing a story is about creating enjoyment for the reader, editing a podcast is about creating an enjoyable experience for the listener. This requires patience and attention to detail. I use Logic Pro X, but some people like Audacity, Garage Band, or Adobe Audition. The important thing is that you find what works for you and your setup. I started with Garage Band, so upgrading to Logic Pro X made perfect sense.
Roomtone:
The most important tool in your editing arsenal is roomtone – the ambient sound of your recording environment. It captures the subtle, unique noises, 
such as the hum of lights, a fridge, or distant traffic. Without changing the gain on the microphone, my dog and I leave the closet. I shut all the doors and then go into the living room and count to 100. This audio becomes invaluable during editing—it smooths transitions, masks cuts, and even helps when I flub a word and need to stitch a sentence together. I make a few different lengths: 1 beat, 2 beats, 4 beats, etc. My first step is to remove awkward pauses and distractions, like sirens, door slams, or other interruptions. Long mistakes are deleted and roomtone of an appropriate length is added. Between sentences there is 3-4 beats. To make it sound natural, listen to your own pause and make your roomtone that length. It sounds natural and unique to you.
Next, I listen to the entire recording and balance the audio levels. This ensures my voice sounds clear while leaving room for atmospheric background sounds. This phase includes EQ adjustments, compressing the audio to eliminate harsh peaks, and sometimes re-recording sections. I save another version of the file at this point. It is entitled PROJECTTITLE _Edit_DATE
Sound Effects and Music
For sound effects, I occasionally create my own, but often, I purchase licensed tracks from Pond5 or Storyblocks. Most editing software also offers handy patches for effects. For instance, to create the effect of someone speaking over a telephone or radio, I use Library > Voice > Telephone. For ghost voices, I use Library > Voice > Chorus and fine-tune it further under Section-Based Processes.
I save another version at this point entitled PROJECTTITLE _Sounds_DATE
Mastering:
Mastering the final track ensures consistent sound quality across different episodes and listening devices. My goal is for my podcast to sound great, however, every speaker system is different, so I focus on consistency rather than chasing perfection.
I save another version of the file at this point entitled PROJECTTITLE _Mastered_DATE
After bouncing the project, I listen to it in a few different places: headphones, monitors, car speakers. I readjust for large mistakes, but little things I let lie. I may notice tiny clicks or imperfect fades, most listeners won’t. Mistakes are inevitable. Over-editing drains the joy from the creative process, and ultimately, I need to move to the next episode to keep the stories coming.
Thanks for having me; I hope this is helpful to your readers!
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Elizabeth Guizzetti is a podcaster, illustrator, and author passionate about the eerie and the macabre. She is the creative mind behind the brand new podcast: Scary Stories Whispers in the Rain, a bi-weekly horror podcast where listeners enjoy haunting narratives and her thoughts on books she recently read. In addition, Elizabeth writes and performs as Loretta, a 300-year-old vampire historian on Vampires of the Paper Flower Consortium. Whether crafting her own tales or amplifying other horror authors’ voices, Elizabeth’s goal is to create podcasts where fans can indulge in the mysterious, eerie, and sometimes terrifying. She exists with her husband and dog in Seattle, WA.
