Ep. 3 Answering Your Burning Podcast Questions Part 2

Welcome to part two of our Dear Abby-ish podcast questions! 

We took questions from coaches and online service providers who are either already a podcaster themselves or are very interested in becoming a podcaster to market their online business.

All of us need guidance along this pod making journey, and Carin and Kacey (the duo behind PodMakers) are all about transparency and sharing whatever we know that can help you progress as you show up to the mic to give value to your listeners on the regular. 

The first episode covered topics like:

Licensing for intro/outro music

Copyrighting your podcast name

Consistency in podcast recording: what it really means and what we make it mean

When you should DIY your editing/producing vs hire a professional, like Carin

How to gauge a podcast’s “success” - is it metrics or something deeper?

The internal emotional and mindset work we all face in order to show up and share our voice

If you haven’t heard the first half of this two-parter yet, go ahead and give that one a listen so you’re on track for what we build on in this episode.

On to answering the rest of your burning podcast questions! 

In addition to serving as a great case study for showing up in your imperfection (Carin fighting a cold, Kacey’s internet dropped out mid-recording, but we make it WORK - listen and you’ll know what we mean), we’re also diving into topics like: 

Why many pod makers (us included) are tempted to filter ourselves on the mic and how to get past that urge [2:17]

Favorite software for recording and editing podcasts [15:29]

How to create those cute sound clips for social media - but like, should you? [18:31]

When it’s worth it to clean up old episodes vs when it makes sense to move forward [21:59]

Allllll things tech like headphones, mics, boom arms, shock mounts, and more [30:53]

Ready to dive deeper in your pod making journey? CONNECT WITH US:

Connect with Carin for podcast editing

Connect with Kacey for podcast guesting or content support

Transcript:

***This transcript is auto generated and contains errors.

Carin (00:00:02):

This is pod makers. Do you ever wonder how podcasting could help your business? Or even if you're doing business, right, do you ever wonder what it takes to start and maintain a podcast or about the reasons for starting or maintaining one? Do you ever wonder what other business owners and podcasters are going through behind the scenes, away from the highlight reels and shiny filters of social media wonder with us on podcasting and how to show up intentionally and be heard? I'm Karen, and this is Casey.

Kacey (00:00:42):

Hi.

Carin (00:00:43):

And we're here for part two today of questions of the Dear Abby style episode that we released last time. So we have a bunch more questions that we need to finish going through. I think last time we got through like three, two and a half questions. So we'll see how many questions we can get through this time. But we have some awesome write-ins with some really amazing questions that feel really, really important as far as starting and maintaining your show. So Casey, do you want to say anything here in this space before we get started? Do you feel like anybody needs to know anything about you today before we jump in?

Kacey (00:01:19):

I feel like I'm doing the Alexis Rose hair flip if anyone wants to know that, because I'm excited about today.

Carin (00:01:27):

Yes, I feel like we just hopped on and we were like, oh, we're finishing these questions. And we both just got really excited and we're like, we're not going to read these. We're just going to go. So we're both bringing some high energy, some Alexa hair flips. You can hear it in my voice, am sick. I will try to be. I told Casey I'll try to be as least gunky as possible on the actual recording. So I'll mute to cough and blow my nose and all of that, but I am sick as a dog, so bear with me in this voice. But thanks for being here. We're really excited to share these questions and these answers and and all knowledge that we can put around these things for y'all so that you can feel more informed and more empowered as you are creating and maintaining your show. So Casey, should we jump in?

Kacey (00:02:16):

Yes. I love this first question that I'm just now looking at for the first time from Nicole Ss. Can I go ahead and read it?

Carin (00:02:24):

Yes.

Kacey (00:02:25):

Okay. Okay. So I love this so much. Okay. Nicole Ss asks, any tips for just letting a solo episode flow out of you? I constantly am filtering myself or editing as I go. If I don't like the way I worded something, I think editing helps it sound good. But I'd love to be able to just not stop in the middle. Perhaps this takes more time in practice. I've been podcasting for one year.

Carin (00:02:49):

Yes. This question is awesome. Any tips for just letting a solo episode flow out of you? I'm constantly filtering. I love this. So do you want to take it first, Casey?

Kacey (00:03:00):

Well, I just want to say that I completely a thousand percent resonate with this question. I have a solo podcast of my own. Karen does too. Mine is more of a passion project. I call it my passion pod, and I talk about all kinds of things.

Carin (00:03:20):

You're amazing. I can never, the play on words just get me every time, especially when it's just words jam together. I love it,

Kacey (00:03:31):

But it's called Give it a Rest. And it's basically about saying give it a rest to all the things in life that we actually should quit. I think quitting is underrated and given a bad rap. Yeah. So anyway, just a little plug for my silly pod that I love, but I feel so deeply what this person is writing about. I constantly am filtering and editing myself as I go. I could have written that sentence, especially I picked up the podcast after a year away last week or the week before, and I was struggling. I was like, this sounds awful. Everything I say makes no sense. No one's going to want to listen to this, go back and edit, edit, edit. And it almost felt like I couldn't even speak at one point because I was like, this all sounds like crap. The self-censorship was so harsh.

(00:04:28):

And so I've been kind of toying with this in my own time and in my own way and journaling through it and all that. And my goal this week, and I think I told you about this, I was like, my goal is to record an episode this week where it's just completely unedited. I'm just going to sit down with the mic and have a topic ready and just go. And I'm not going to let myself edit it. I'll add the intro music or whatever. But other than that, I'm not going to cut out long pauses. And that's what I have the most trouble with, I think is the long pauses. I feel like it's just the way my brain works, it's the way I think, and I pause to think about what I'm going to say next. And I do it a lot. And for some reason that's become a real bugaboo for me, especially in podcasting. I'm like, no one's going to want to listen to my long pauses and people are going to skip it and they're going to think it's not as good, or I don't know what I'm talking about. And that's why I have to pause to think because I really don't know what I'm talking about. And then imposter syndrome and all the things that flare off of that.

(00:05:31):

So Nicole says that she's been podcasting. Yeah, just interject big sigh. And I mean, she's been podcasting for a year and I feel like that's a good amount of time to practice, but also it takes the time it takes for you to settle and figure out your process. And some people figure it out fast and some people it just takes longer. And that's just what we talk about. This is your art. It just takes the time that it takes and your process is your process. What do you think? Yes.

Carin (00:06:09):

Yeah. And that it's a creative process. Yes. So I am the worst, best person to talk about on this. So one, my initial knee jerk, my immediate reaction is of course is hire me, hire me. This is what I do for folks, and this is a big selling point for me and has been for years, is people that are trying to get away from scripting or getting away from a really strict outline or anything like that and feel as though that they are learning or can just kind of riff into the microphone on the topic that they want to talk about. So to paint a little bit of a picture of the clients that I work with, I work with a few people that have some, this is so related and it doesn't seem like it because you're just speaking into a microphone, but some public speaking experience in their backgrounds.

(00:06:57):

So my people that have public speaking experience can just rattle out an episode and still they hire me because they have the long pauses. They have the like, wait, wait, wait, Karen, I want to say that again. I'm thinking of one client in specific. There's a number of times throughout the episode, every episode almost that she'll be like, wait, wait, wait, Karen, I want to say that in a different way. So she's able to let these things rattle off, but then she does want to switch it up and there is a little bit of a difference that's not self-censoring, that is editing for clarity, which can happen when you're scripting or it can happen while you're speaking if you have an editor. So that's one side of it is if you want to be able to just totally free flow and you're confident in those skills or you are gaining confidence in those skills and editor is going to come in big time for you, and there's some really fun tricks that you can do.

(00:07:52):

There's dog training clickers that people use for voiceovers and stuff for their different takes. You take a take, you click it once you take another take, you click it twice so that your editor or so that you as the editor can find it really easy. There's easily, there's all of these little tricks to make your life easier, but that's getting weighed in the wormhole, but there's also the whole conversation that you're having, Casey, as far as I want to be able to just show up and it's an interior work exercise for me. Right, definitely. There's so much happening there, and when you were saying that you were coming to the microphone, there was so much judgment then there was so much confusion that confusion is a trauma response because of the judgment. So being really mindful of if you're coming to the microphone and it is just so clunky, you're being so hard on yourself and all of this stuff is happening.

(00:08:42):

There's some stuff going on inside. There's probably some negative voices, some past voices or some conditioning that's showing up there. So being able to have somebody to have that conversation with or using your other resources and tools. I feel like this is the thing, I am always bringing this up as a spiritual director and a podcaster that it's all the interior space and the showing up to the microphone, but I don't want people to get too tired of that. So we'll get back to the more fun stuff. But it takes practice that, like Nicole said, does it come from just practice over time? Absolutely. It also comes from getting safe with ourselves. Getting safe enough. So something that you and I talked about the other day even, and we'll have a different episode on this I think at some point, is just like, who's allowed in the studio when you're making?

(00:09:29):

So Casey in that experience, and I'm not going to have you dig into it because you haven't given me consent for that, but in that experience of experiencing so much judgment and then all the confusion, you had some specific voices coming into your mind of why you couldn't be in that space, why you weren't enough, why you weren't, you weren't smart, any of those, what do you call it, cassette tapes or whatever that play over and over in our heads. So to use your tools and your resources, using your tapping, using your meditation, using your grounding techniques before you get to the microphone or before you come into your studio so that when those voices pop up, you can go, oh, that's not my voice. That's not true. And you can get more comfortable. You can realize, and the first time it might be really hard, it's just learning anything else.

(00:10:16):

The first time it might be really hard and you might be really tempted to be really hard on yourself or you might have better days than others, but noticing when you've gotten safe enough to do it a little bit the way you wanted to do it and to reward yourself for that by recognizing and celebrating that. So that's a little bit in the weeds on this, but constantly filtering yourself and editing as you go. Oh my gosh, don't filter yourself and edit yourself as you go. If the goal is just a free flow as soon as you start, I saw this from somebody the other day. Oh, I'm in a therapeutic writing group with my friend that's a therapist and coach. It's so fun. We had this session last night, but she was saying, as soon as you start editing your brain, it almost hits a dead end.

(00:11:06):

If you're like, Nope, we can't go there, then you hit this dead end and your brain is like, oh, okay. And this starts another one. If you hit the dead end again, your brain's just going to quit. Like, oh, you've trained me that you don't like my creativity, you don't like my flow, so we're just going to stop. And creating that safety with yourself allows you to not filter as much. So there's a few things there who's allowed in your studio with you and you can think of your studio. I mean even if you're under a blanket with a microphone, that's your studio who's allowed in the studio with you as far as what voices are coming in, getting safe enough with yourself. And also I think there's a piece about just getting confident with your message, taking your stand for your people that it will infuse if you're like, this has to be out and this is worth getting out into the world.

(00:11:53):

Oh my gosh. I think the picture that just popped in my mind was somebody learning how to do moguls on a ski run. That shit can be bumpy as fuck, right? It can be rough. We hiked to a glacier the other day and some people were skiing down it and it was so icy, so carved and horrible. These people were just bombing down this thing and they got to the bottom and we were like, was it worth it? And they were like, fuck yeah, it was worth it. It was awesome. And I was like, okay. And that's what I'm thinking of. That's what the process kind of looks like some days is you just bomb your ass down this mountain, but you get down the mountain and then you feel confident because you did it because you have your back and you did it for yourself.

(00:12:38):

And then yes, a year I have no, I've been podcasting for one year. One year is like, I don't know if you've been releasing weekly, if you've been recording weekly, if you've been recording once a month, I don't know what that looks like and it's so personal to you. I would say one, throw yourself a little party because you've been podcasting for a year because it's fucking awesome. And two, it just takes time and practice. And the more you can do all of those things as far as taking your stand for your people that need to hear this, getting safe and using your resources as far as your coping skills and your coping mechanisms and then whatever. The first one I said was, I can't remember. The more that you can do those things, I think the shorter the time will take. But my friend, I've been working with people that have been podcasting for years and they still have some total bomb episodes sometimes in the way that they're bombing down the mountain. Like bomb fire also. Yes. But one of my highest downloaded shows the other day, she showed up to the microphone, she goes, Karen, I hate this. I hate being here today. I don't want to do this. This is going to be a disaster. Let's go. Right. It was a disaster, but what we turned out was awesome. We made it awesome and it was great, and her clients will love it. So anyway, I ranted

Kacey (00:14:00):

For two's minutes. That's inspiring. I love that. That's so good. Well, I really like that you made the point of, okay, because I read the question as an internal work thing. She says, I'm constantly filtering myself for editing as I go if I don't like the way I worded something. And you also brought up maybe you could use some external support, like an editor, someone to encourage you, someone to be there for you, someone with the skills to know we can totally take all this material you just recorded and make something awesome out of it. So I love that we have both of those perspectives and those sides of the question. I think that's really cool.

Carin (00:14:35):

Totally. My clients will be like, Hey, this recording may be total trash, but let me know if it's total trash and I need to rerecord it. We make an awesome episode every single time given they're following an outline or some sort of thought process. So I'm not having to move huge chunks of things around because I would say that's a higher package, that's more production level than just editing. But it's funny what we can think about our material versus what everybody else will hear in our material too. So just relax the judgment a little bit. If you really struggle with judgment voices, my God, get some support. And that's the biggest thing that I sell people on with my editing packages is I'm here for them. I'm here to make them sound amazing no matter what they give me so I have their back. Yeah,

Kacey (00:15:28):

Definitely. Yeah. So the next part of the question will really be up your alley because she asks if we have any favorite software for episode recording, like GarageBand, zoom or Riverside.

Carin (00:15:41):

Yeah, absolutely. So I have not used, I mean I don't think it's possible. I have not used all of the things, so it's not from experience. I've definitely used GarageBand before. I worked on a show that we used, oh my gosh, you don't need to know any of this, but we used Ableton some more music production software. Anyway, GarageBand is perfect. That's what majority of my clients use, especially when they're just doing their solo shows and stuff. GarageBand, I have clients on Riverside. I also have clients on Zoom. I have one really big client refuses to use any sort of Riverside or any of that. Zoom works great. Zoom also can be finicky as far as you have got to. I mean depending on who's editing for you. If I'm editing for you, you have got to give me separate track recordings for each speaker.

(00:16:32):

If you're doing a solo show, I would say don't do Zoom. It's mashing your audio quite a bit, so I'm not going to be able to get in there and get everything out of it that I could. It kind of flattens, you don't sound as vibrant and as you could, right, because it's recording onto the cloud or whatever. So I just had a client that usually records her solos in garage band, got stuck on a layover, a canceled flight and everything out away from her house, and ended up recording her episode on Zoom so that her team could rip it off of Zoom and give it to me because she was really worried about upload, download, all of that as she was on the road. It worked fine and in the future I told her if you're on site or if you're doing anything like that, or even if you are at home and you have a mic Voice Recorder Pro you can download for iOS or for any cell phone.

(00:17:27):

I think it's in the app store. Voice Recorder Pro is awesome. You can still get in there and you can change your gain. I love Voice Recorder Pro and then I believe you can just email the recording straight from the app also to whoever you would need to send them to, so that's great. But if you're recording and editing in your own center, I would say GarageBand is great. Audacity is a free one that works really well on non iOS, on Windows, on whatever that is. Riverside is great also, especially for interviews. It's far more reliable. You and I are on Zencastr and I use Zencastr. I've had some issues with recovering drop stuff, which may have been my internet on my end, but I've definitely had some issues with Zencastr before. My clients that are on Riverside have never had any issues and it's amazing because you can also record high qual video if you use your videos for anything. So that's kind of the long and short of it. Is there any specifics that I could get into in any of those or did I miss anything, Casey?

Kacey (00:18:29):

No, that was awesome. I think that was great. The next part of Nicole's question is how do you do the little video clips of the podcast recording for marketing on reels? Is there any way to make this quick and easy? I think there's a few ways to do that. Do you have a favorite way?

Carin (00:18:47):

Yeah, so some of the hosts, I know you can do it right in there, which is amazing. That's what I

Kacey (00:18:54):

Was going to say.

Carin (00:18:55):

There's also, I originally used before everybody was integrating it into their host. There's a couple apps that you could do it on desktop or whatever or even on your phone, and it would just do that. You could upload the MP three and then you could select the timestamp. A really easy way to do this is to have somebody like Casey that already has the transcription and is able to pick out those little nuggets that are amazing that the person that actually recorded it may not think are the most amazing pieces.

Kacey (00:19:24):

That was my favorite thing to do. I love doing that and I use Headliner when I do this for clients. That's it.

Carin (00:19:32):

Yes.

Kacey (00:19:32):

The Onet Remember Headliner? Yep.

Carin (00:19:35):

I was like, it starts with an H and I've totally lost it. That's

Kacey (00:19:38):

The one they make it so easy it takes a little playing with, but you can figure it out, Nicole, if it's something you want to d i y, you can totally upload your brand colors and your cover art and all that stuff, and then you can select a little segment of audio of however many seconds you can choose your little wave forms, so you have the little animation of the wave going along as you talk, and then you can just, in the reel itself, you can just add your closed captioning so people can read it. So it's super simple. I would recommend Headliner if you don't have Buzz Brown or something.

Carin (00:20:12):

I have a little bit of a spicy question here though, Casey, have you seen people using these? I mean, I guess if you're using it, you can use it as a reel on Instagram because it's a video technically, so that's a bonus because then Instagram algorithm knows that you're using reels. I haven't seen these or used these in a really long time, so I would also wonder if the time that it takes to make it and to go through and finds the quotes is worth it. I think finding the quotes is really important anyway, because I think putting quotes and stuff like that on Pinterest is very important. I'm a big Pinterest fan, that's one of my platforms, but I'm just not seeing these used as much as I was for a while. So I

Kacey (00:20:52):

Don't think they are unless you specifically just want to do it for your own. You really love 'em and you really want to have 'em as part of your social media. Yeah, totally. I don't think really for user experience, I don't think anyone is stopping to listen to them anymore.

Carin (00:21:09):

So I also am just very biased in this because I never do anything on my phone with the sound on because I'm a very highly sensitive person and I can't have noise just pop out at me. So even when they were popular, I was never listening to them. So I was even making them for clients and that sort of thing, but I was never actually using them. So whatever grain of salt, if you want to know that, Nicole.

Kacey (00:21:35):

Yeah, I think as far as social performance, they don't perform that well. So it's knowing that do without what you will, you can do it anyway. You can do whatever

Carin (00:21:45):

You want. Yes. We'll never tell you what to do if you're really passionate about them and you love them and you think your audience likes them. Oh my god, do it. I love

Kacey (00:21:53):

It. So that's all for Nicole. Do you want to go to the next question from Megan?

Carin (00:21:59):

So Megan has a question of what to do with an old show and clean up old episodes, and so I've had this question come up with other clients as well as far as retrofitting old episodes, if they're not super in alignment with where they are now, putting on new intros, outros, all of that and figuring out how to move forward, which I know and recognize this is a much broader conversation and I would hop on a call with this person and really get into their goals of what they want for their show and where they're going so we can decide if this old show just needs to be tucked into bed and just live as it is where it is, or if there really is some massive value that could inform where they're going because sometimes there's a hard stop. Sometimes it is worth going back.

(00:22:47):

So it is completely and totally possible for an editor to go, and I've done this for clients before to go through and change all of the intros and outros on past shows. I've done that. It was an awesome way to get paid. It's easy work for me and it's very, very tedious, but it sends people, if you've changed your website, if you've completely rebranded, if you're pushing people to completely different things, this is all possible. It costs money. I'll definitely say that if you have an editor doing it, and I would say if you're creating more now and you're looking at DIYing all of this, it may not be the best use of your time. So all of these things to think about, but cleaning up old episodes, usually I would walk somebody through what is this about? Why are we wanting to clean up old episodes?

(00:23:41):

Is it an interior work thing that we need to do? That's an acceptance and compassion piece, or is it really just genuinely that when people listen to the really, really old episodes, you want them to go to the right place if they answer that call to action and there's everything and all of the things in between, but all of this is very much possible and to delete, show, delete episodes off the feed, I don't have any problems with that. I've had all of my clients, majority of my clients have had to do that for one reason or another. Do you have anything to say on that, Casey?

Kacey (00:24:13):

I'm learning so much. This is so cool. I love that you were saying let's go back and see is there a massive value add to this prior show still now with what you're offering now, or are the offerings just so different from then to now that it would make sense to start a new podcast to market what you're doing now? Things that I don't think about in the segment that I'm in the podcast world and it's so fascinating to me just to think about from the production side, from the editing side of how to really create a show where the content is still really landing with the people that you want it to land with. I love it.

Carin (00:24:51):

Yeah, yeah, absolutely. It's tough to, especially shows with big followings, it's really tough to just start a new show. I'm not a stickler for, I've had clients that have just changed the show name, changed the show artwork, gone in a totally different direction on the same R s Ss feed. So the same show, and I've done this personally multiple times because I pivot every five minutes, but it's totally possible. You also don't have to listen to all of the rules, the rules that someone made up and put out there as far as what it looks like to podcasts and what it looks like to create in this space. So if it makes sense to scrub them all, if you think that they have no value or they don't add to the conversation, great. If you think that they really are worth the work and the time to change the intros and the outros, really what I would coach this person around is all of this is possible, but this is your decision based off of what your goals are with this show and where you're moving toward. And we only want to do things that are in alignment with where we're going and not out of a place lacking self-compassion or acceptance for where we've all been before. So that's what I would kind of coach them around.

Kacey (00:26:09):

I love

Carin (00:26:09):

That. I think the only other piece in that question that I would barely hit on, and you may have some opinions on here too, this is kind of more falls in the category of starting a show or when you're recreating your show, but this person had their show broken up in seasons and they really don't like that anymore. So I would be like, okay, great. Don't do seasons. And I have a lot of really strong opinion on seasons also grain of salt because my life is supported by ongoing monthly packages. So I've got some skin in the game in those decisions. And also I don't love seasons. Some people do love seasons because it builds in an inherent break, and I'm also like, whose rules are you going by that you have to build in a season to have an inherent break built in? So there are other ways that we can build in breaks and build in pauses without having to be in seasons. I honestly think seasonal shows that aren't super intense investigative journalism shows or shows that take a lot of production and a lot of money to produce, I think it's a little bit outdated. I don't think it's necessary, and especially for the majority of my clientele who are just giving ongoing value to their clients or their future clients, seasons are just kind of a moot point. It doesn't matter.

Kacey (00:27:36):

I'm seeing that too in the people that I'm, the people I know that have podcasts and the people that are in the podcast space. It feels like kind of a moot point, like you said. Yeah, I agree with you. I mean obviously like you already said, and we will continue to say know the rules so you can break the rules and if you really want to do seasons frigging do a season, but absolutely it's not required and it's not required. Just however works best with integrating it into your life so that it's a sustainable thing that you presumably want to keep doing,

Carin (00:28:14):

Right. And anything works. You can build your workflow around what works without having this hard and fast line of seasons, which I mean, but again, like Casey said, if you really want to work in seasons, work in seasons, I have one client that works in seasons. I will tell you though, it's really, really, really challenging for that client to then again, prioritize the podcast with everything else going on every single season. I think it's challenging all of the big voices in the industry that are talking about shows that are their own business would be the most successful. Shows release weekly and don't ever stop kind of thing. And I don't listen to that bull crap either. Very robotic, you got to do your thing, but you can also take a break. You can record ahead of time, have 'em edited ahead of time, schedule 'em all. You can do a big push as if you're doing a season, but have content run all year long. There's all,

Kacey (00:29:13):

That's what I was about to say,

Carin (00:29:14):

Things of possibilities.

Kacey (00:29:15):

There's

Carin (00:29:16):

Just so many possibilities.

Kacey (00:29:17):

Think of it as a season because it works for your brain better that way and say maybe you want to have different themes for different sections of your show and for the first quarter of the year, you want to call it season one and you're focusing on one specific topic whether, okay, we're going to talk about marketing your business in season one, air quotes, but you're not actually taking a break after that. You're just changing topics for season two. Now we're going to talk about maintaining your podcast, whatever it is. Yes. But yeah, I feel that helps you to think of it that way, but I wouldn't actually take an extended time off just because like you said, when you lose that momentum, I feel like it makes it harder for you to get back in and more energy you have so hard to spend digging back into it and then you're just making it a chore for yourself.

Carin (00:30:06):

Totally. Absolutely. And there's all kinds of things as far as even when you were talking about if there's a big topical focus, you can still do series, you can do that with your titling. You can do that in different ways without having to do seasons. The only thing that I feel like I mentioned, investigative journalism shows that kind of thing where they're diving into one case study or one incident or anything like that for an entire season. That makes sense to me. Also, story focused shows where you're diving into one story for a season. That kind of thing makes sense to me. If you're a coach and you're just giving value to your audience and to your hopeful clients, I don't know why you would do seasons, honestly. Great. Let's move on to the next one. Is

Kacey (00:30:52):

That feel good? Yeah. This one's from Shiloh and Shiloh wants to know what tech do you need? What is a boom arm shock mount and all that quote stuff.

Carin (00:31:06):

I freaking love it. Yes. Casey, do you want to take this one? I'm just kidding. I'll take it.

Kacey (00:31:13):

I was like, you don't want me to take it.

Carin (00:31:15):

You're like, don't answer the tech questions. What tech do you need? Yeah, so this is really challenging and I'm actually going to get myself to the point. Something I'm planning on making very soon is some Kit CO's kits so that you can actually get on there and I'm going to make a few different price ranges. So you can actually get onto my little kits and see what microphone I recommend in this price range or this d i Y level. So the super DIYer that's on the cheap, the middle tier D iy, that's like I got some money to spend. And then the bigger one that's like I can spend money and we're doing this and I'm probably hiring an editor what kind of package that looks like. Okay, so I'm going to put those together. We'll let y'all know when that happens so that you can look at them because I know that it's so much easier, especially if you're not a tech or gearhead, which I am like, this is funny because I'm in this industry and also as a photographer, I am not a gearhead.

(00:32:15):

I can get super nerdy about this stuff, but honestly I'm like, what's the best? Let's use that. What's the best within price range and the level that we need and all of that, and let's just do that. So I can just tell you what you need, but you can record with anything. You can record with your iPhone, you can record with your AirPods. You can do all of that. The biggest question I would ask you is what are your desires and your goals for quality and listener experience, and how much money do you have to spend? So we've got to gauge all of these things, right? There are some great U S B microphones that are out there that you can just plug in and use. I think that's what Casey set up on today that are great. You can go. So this is kind of funny.

(00:33:00):

I used to talk shit about Yeti for years and years and then one of my very top podcasters, like millions and millions of downloads, it was on a Yeti for years. She also had it dialed in and had a template within her garage band set up for her microphone and her room. That was Killer Yeti's not my favorite brand, but it's super workable and super usable. I would recommend if you're just on A U S B, at least something that has a gain knob on it so you can control your input coming in besides just in your system preferences. That would be wonderful. Something that some people find helpful, especially on interviews, is also having that mute button right on the mic, which may not be necessary as far as doing all of this virtual stuff. I have a mute button on Zencastr right now that I've been using.

(00:33:51):

So those are some things to consider. Audio Technica makes some amazing plug and play U Ss B mics. Girl, I get so into the weeds with all of this and this is where I get on calls, consult calls with people, and I just rattle like this and then after an hour they leave like, what the fuck? They're exhausted. So I'm going to try to be gentle. Okay, you need a dynamic or condenser card mic. Okay, that's all fucking crazy, right? If you just Google some podcasting mics or podcasting, mic, audio, Technica, podcasting, mic road, r o d e. You're going to get some great mics that just describes the vocal pattern of the mic and how you're coming in. So deciphers, how it's receiving you and how it's receiving all of the noise around you. So we have some mics that are made to pick up everything in the room because of their polar pattern.

(00:34:53):

We have other mics that are just trying to catch, that are prioritizing what's coming in just the top of them, like the one that I'm on right now. It's just prioritizing the top of it so you don't get as much of my room noise and then I'm talking right into it. So all of this is getting super into the weeds. I would say you need a microphone if that has to be your AirPods mic, if that has to be your, if you're just hopping on an interview with someone and you don't have your own show, the earbuds with the inline mic usually can do a pretty decent job. As far as the Apple ones specifically, AirPod Pros, I definitely get a much better sound from than the regular AirPods. If your AirPods have been through the washer, don't use those on an interview.

(00:35:41):

Sorry, jokes. This question can also just get so massive as far as tech, because we're talking hardware and we're talking software, you have to have a software that you're recording into. We mentioned that a little bit in before two questions ago. You have to have some sort of software that you're recording into. GarageBand is great. Audacity is free and great if you're editing and everything yourself, Adobe, and you already have an Adobe suite. Adobe audition is actually what I use as a professional editor. There's things all the way up to Hindenberg or Ableton and all of that, but you do not need to spend hundreds of dollars on software for this. Hardware can get really, really fancy. So one of my clients is on an incredible sure mic that I recommended. She needs to have a microphone amp going into her computer to get the best out of that mic.

(00:36:32):

So it depends on what you kind of choose to go with. If you're just starting out, I highly recommend just a U S B mic. That's good. Like the audio Technica, I think road makes some as well. Sure. Makes some really good approachable mics as well. So software to record into and a mic are like a big bust for me. Everything else, I have a mixing table that road makes specifically for podcasting. It was amazing for when we were in studio. I have all of my intros and outros on buttons on here. I can also have somebody call in. I can Bluetooth, I can have a line in that's a Bluetooth. So it was amazing for when I was doing more mixing on the spot in studio. But it's kind of an overkill if it's just you in your office or if you're recording interviews on Zoom or anything like that.

(00:37:19):

You don't need a whole table and everything. That sounds so cool though. It's pretty too, has rainbow buttons and my daughter loves to play with it. What is a boom arm, a shock mount, all that stuff. A boom arm. So I'm on one now. A boom arm will attach to your table. A boom is technically just anything in any sort of film or audio production that holds something up above something. So in film they use booms. You can have a handheld boom, which is usually used for all kinds of filming. They'll have a big fuzzy, the dead cat mic hanging right for someone. Casey's nodding, she's been on film sets. She knows what this looks like. So handheld boom, there's little crane booms. There's all kinds of, you can get super, super fancy and film, right? My boom arm is just a little metal and plastic with springs all around it so that when I move this arm, it stays where I want it.

(00:38:18):

So Casey and I were just talking before we started recording. She has a mic that's sitting on it. She has a tabletop mic and she doesn't love that she has to set it up. Every time I have my mic attached, it's hanging from a boom arm. I just fold my boom arm back on my desk so that it's out of the way. Mostly I was telling Casey I run into it, sometimes it folds up so that it's really accessible for me to just pop in. Especially if I recorded an interview with somebody and I didn't record their bio and all of that right in the track and I'm getting in there and editing and I'm like, oh my God, why didn't I just have thanks a lot past self? Why didn't we record this in the moment? I can just pop this down super easy, ready to go, ready to record right into that track.

(00:39:03):

I do recommend a boom arm just for that reason. It's accessibility reasons. It makes it easy to go. It makes another, it takes away another hindrance. Is it necessary 100%? No, absolutely not. But it could make you feel like a really fancy podcaster. That's a boom arm. A shock mount is something that would attach to your boom arm that your condensed likely condenser mic would sit inside of and would have a couple of screws that go in to hold. It usually has some springs or some bungees, that kind of thing around it so that your microphone kind of free floats in the space that isn't really attached to anything hard. So if I bump my table, if I bump my boom arm, you're likely still going to be able to hear it. A shock mount takes a little bit of that vibration out. So my hand talkers like me still want to be really mindful about bumping things, but the shock mount will take some of that, just some of that vibration out of it.

(00:40:04):

So another thing, this is funny. Usually when I have people that want to consult emergency consult, getting some buzzing or anything like that, anything else that's on your table can interfere with your mic. So my partner was having a really hard time with this weird sound coming in and we couldn't figure out what it was. I figured it was his cable. It was actually he had to take, he likes to play computer games, so he has a tower. We had to move the tower off of his desk because his tower was creating interference in the vibrational pattern of his. Oh, interesting. Yeah, it's all we can get. So in the weeds here, but I love to talk about how just recording audio is very, very primitive in a way because we're literally recording vibrations. So if you have other vibrations, oh, I think I lost Casey.

(00:40:57):

So if you have other vibrations going on on your desk and around your desk and that sort of thing, that could come in. So that would be where if you have a really fancy or really sensitive mic, a shock mount could be important, but is absolutely, totally not necessary. One other thing that I would recommend here, and I know that I'm just going so overboard with this, but one other thing that I would recommend here, I have one I suggest most of my clients use. One is a pop filter. So do you need a boom arm? No. Do you need a shock mount? No. Do you need a pop filter? Probably. It's what it sounds like. There's these things called plosives, which are sounds like that we can create plosives anytime we do p p d, any of that, we can create a plosive. And your pop filter is just protecting your mic from that pop of air or that pop of sound coming off of your lips.

(00:41:53):

So do you need a boom arm? No. Do you need a shock mount? No. Are they all great? And will they help the experience? Totally. Do you need a pop filter? Yes. So because Casey and I are having some connectivity issues, but as she gets back in the room, I'm going to answer this other question because it is a tech question. Also, why do I need to wear headphones? So if you're recording on an interview, it's really important that you use headphones because I can get, as an editor, I will sometimes get your speakers are picked up by your microphone. And so I can actually hear in the background of the track the other person's track also, which is a big, big, big, big, big issue for me. I have to go in using key frames and take down anytime the other person's talking, while retaining, anytime that you're talking.

(00:42:45):

It's like a really big, big, big mess. So anytime that you can wear headphones, wear headphones, and also a note with headphones to be mindful about if you have dangly earrings that are bumping into your headphones, I as an editor will be mad. Don't wear your fancy earrings to a podcast interview. But if you're just recording a solo episode, I like to wear my headphones so that it blocks out all of my noise so that it helps me focus. I'm a little bit, it helps me to focus on what I'm doing and what I'm saying. I can be way more in my head without any of the little tiny bumps and sounds of the house, which then I'm worried about coming through on the mic. So the headphones just help me focus when I'm doing my solo episodes. So it's really important during interviews, less important on your solo episodes.

(00:43:31):

So Shyla has a couple more questions, but I'm going to wait until Casey can answer one of them with me as far as the intro, how to do an intro and outro because I think Casey will have more to say there. There's another tech question though here. As far as suggested editing software, I think I mentioned this before. My editing software that I use just because I'm Adobe literate is Adobe Audition. I also use all kinds of other software as far as plugins, third party software for audio processing. This is only going to matter for editors, other editors probably, or producers. I use Isotope Rx for any of my sound treatment, my equalization, condensing, any of that. I use RX nine, but suggested editing software, if it's just you on a mic and your editing yourself, GarageBand is great, audacity is great. I have not used any of the softwares that are present within the hosts since everybody's going in this direction of having this one-stop shop of where you record, edit, publish of that.

(00:44:32):

I don't use any of that because the fine tuning, that doesn't seem to be there. But also, I'm a professional editor, so I'm just not going to use stuff like that. I'm using the big guns. So if something is more accessible to you like that, that's great. Most people have some sort of proficiency or level of access with things like GarageBand or Audacity because they run so similarly to the language that they already use. So Audacity using more of a language of Microsoft Windows, GarageBand, using more of a language of iOS. Apple, you need to use what's right for you and within your budget. Audition is a monthly you can, if you don't have the Adobe entire suite audition is a monthly, you can do it, I think for like $35, something like that. Audacity is free. GarageBand comes on every Apple device. Let's see.

(00:45:29):

Okay, so we are such an excellent case study in the ways that we can manage to do all of these things because Casey and I are long distance friends and colleagues and Casey lives in a rural area with internet connection. That can be a little bit rough. So we have switched to cellular, we're throwing it back to cellular. Cellular is always a great backup. It's what a lot of NPR R shows still use, and we'll use recording apps or hardware to record with them, but you're going to hear it in our sound. So Casey sounds like the eighties, nineties call in radio voice. So super fun. So thanks for bearing with us as we case study all of this for you and we get to share all of this experience with you. But back into it. Casey, how are you feeling after our, we also, I should also name that we had a little break. We got our lunch, I watched some shows, so we're coming back in here in a little different head space. How was your break, Casey?

Kacey (00:46:32):

It was nice. I had some lunch, all that good stuff. I'm focused. My blood sugar's balanced now it's good.

Carin (00:46:39):

Perfect. We're here. We're here. We're balanced. We're regulated as possible. I love it. Very cool. Well, so we were still hitting on Shiloh's question. Thankfully Shiloh threw out a whole bunch of questions to us. I just wrapped up a whole bunch of techie questions for y'all. And so let's start with Casey answering this one. Shiloh says, how do you do an intro slash outro? What are some of your thoughts and opinions, Casey on intro, outro?

Kacey (00:47:03):

My thoughts on intro, outro with a lot of this process is it depends on your preference. And I think like you have said before, it depends on your goals for the show. I personally enjoy recording an episode first and then figuring out the intro outro from there. And it just depends on what you want to do really. There's a whole lot of this personal choice intro I like to do after the episode because then I can lead up to it in a way that maybe explain things. Just clarification for things before we dive into episode, because sometimes you have an episode planned and it goes a different way and it might be fun to clarify things in the intro before you dig into things. And then outro again, kind of the same thing just in reverse order. I do like the idea of having the music, so it's an audio cue you up for the episodes starting when you hear your favorite show. Come on. And it's the music that starts the show. It gets your brain in a space of being ready to listen and receive information. And then music does the same thing. It closes it out for you, gives that happy little sense of closure. Oh, now I know tons of really successful podcasts and podcasters and you speak Karen, have the same intro for every single episode for hundreds ands of episodes. And it's totally fine. It just depends on your goals.

Carin (00:48:42):

Yeah, absolutely. I totally agree with that. It totally depends on your goals. It totally depends on what's important to you. I have seen the entire gamut of, as far as I listen to a show that of somebody that I've listened to for years and years and years. They've been in the podcasting space for a really, really long time. And also to note that they're a celebrity. They've had a celebrity and an author, they've had a massive following for a long time, but they don't have any intro, outro or any music at all throughout their show. It's a very low production show where they just hop on the microphone and record. So everything is possible. But also within that to remember, that's a celebrity that already has a following. And when people come to that podcast and come to that name, or when a friend of theirs sends them an episode of that show, they probably know who that is and what they're about.

(00:49:30):

So when people are dropping into your show, think of people sending an episode. I mean, God hopefully, think of people sending an episode of your show to a friend of theirs because they're like, oh my gosh, this really helped me, or I really enjoyed this, or this was really funny. This person has a lot to say blah, blah, blah, right? If they send it to a friend and this friend is just jumping into your show real quick, has no context of who you are and what you do, that's what I want to know from an intro. I also want the music to match the feel of the show that I'm going to get. I don't want it to be super disjointed. So if you get super, super caffeinated and you are so fucking jammed on your own show, you are just feeling it and you totally perform your intro, you nail it, you match it with this super high beats per minute music track, and then we jump into your show and you're like, Hey, it's me.

(00:50:23):

I'm going to be like, this does not fit. I feel out of alignment with this person because I don't feel like they set me up for who they are and what to expect in this space. So as a producer, that's what I'm looking for as far as setting up the space. I want it to feel similar to the content that's given. I also want to know as a listener who you are, what you're doing here and what you're talking about. The outro, the biggest thing. Again, who you are, what you're doing here, what you offer to folks. Remembering that our audience is online business owners, what offerings you have or what services you offer. And keeping that super short because your C t A, your call to action is really important in your outro. This is really getting into the weeds a little bit, but overall in your planning for your show, looking at the goals for your show is where is your show in your funnel?

(00:51:19):

Is your show funneling people to your email list? Is your show funneling people to a group or a course? What does it look like? Where does your podcast fall in your quote funnel? Which I'm not a huge funnel person, but it really helps us think about how to structure all of these things. Where do you want to push people to and just have one? I'm horrible at this. All of my outros have 20 million calls to action, but just have one call to action do, as I say, not as I do have one call to action so that it's really clear for people. But I love what you said, Casey. As far as the intro, outro script, I usually have people script it so that I have clients though that don't do that. They just totally go off the cuff, which is amazing. They've been doing this for a long time.

(00:52:01):

But I suggest scripting it. I suggest scripting it last. Always suggest doing the show description first, so you get really get your feet wet in the like, what the fuck is this show? Who is it for? What are we doing here? And then actually script your teaser next. And then script your intro and your outro. You can probably steal pieces of your teaser, but script your intro and outro after you've already done your show description and all of that so you have this longer cut of what you're hearing and what you're doing. That's your description. And then you have this really short one that we really want to hear your voice. Something that I think is really important. You're going to hear us say this about everything, but just that you do it as you need to do it. Do as you can and not as, you can't pay attention to the intros and the outros that you really like to listen to, that you don't skip.

(00:52:55):

So a lot of people do skip intros and outros as they listen to shows. At least I've heard from the podcasting industry. I do not. I love to. I'm an artist. I'm a feely person. I love to get in the zone. I am very much like a warmup person. So I love to get in the zone and I love to feel what we're getting into. It totally helps set the stage. And something within that, Casey that you also touched on that I think is important is remembering how our brains work within all of this. So remembering what your audience's day is looking like. You're just dropping into an hour of their day, right? They're like, you're with them in the car, you're with them while they're, I listen to podcasts while I'm chopping veggies to prep dinner. I'm thinking of that. And then also thinking about how our brains really, really love sameness.

(00:53:45):

We love things that we can expect. We love being able to expect the outcome. We love to be able to expect the feel, especially if we're talking about individuals that have experienced trauma, which is everyone. We like to know what we're getting into. And so having an intro or an outro that's the same every time can really provide that comfortability our brains at the same time that I don't think that that's a must or a have to. I think that if you want to do a little bit, if you want to read your script every time, but it's fresh and new or if you want to have a script, but you sub different words a little bit every time over your music or no music, whatever that looks like, I do recommend having something at the beginning and the end that is a book marker that feels similar every single time.

(00:54:34):

And this is something that Casey and I are like, we can be your case study too, but we're exploring with all of this. So on my own personal show I have tracks, and this is how I do it for all of my clients as well, but I have tracks so that I can create templates to make everything really, really easy on the editing end. So I have the music and the intro and everything all mixed and mastered and all of that, that I can just pop into a template that I can jump into and record with so that as soon as I hit record, it's in the right spot, we're ready to go. All of that. So our own individual shows or she went into the top, give it a rest minus Heal and go public. You can find it on Spotify, apple Podcast, wherever you listen.

(00:55:17):

I have the same one every single time just because that's removing some barriers for me to access. So I need to know that there's this recording process and this getting stuff out into the world process is easy. I have so many other things on my plate, it's got to be accessible. So in different seasons, I love the idea of popping in and just recording it off the cuff every time, and that's something that you have done in the past. On old shows, before I had a kiddo when I was just recording passion projects with friends, we would record our intro every single time, but it was a script and we would rotate who read it and all of that. Some other ideas as far as what's possible, I do have a client and I have had past clients that we rotate outro CTAs. So I have three or four different outros that I have a list and I rotate those outros every single time so that it's a pattern kind of in the lineup.

(00:56:12):

We go 1, 2, 3, 1, 2, 3, that kind of thing. So that's all possible. You can pop on different outros and to get clear on that, it's the same music. It comes in at the same time, it's the same timing and everything I've nailed really dialed it in. It's just a different vocal track so that she can give a different call to action every single time. So there's limitless possibilities with all of this. You've got to do as you want it to be and what you can access at the time. But definitely listen to the shows that you love and that you're drawn to and see what they're doing with intros and outros.

Kacey (00:56:47):

I love that. That's so good. So next in Shiloh's question Bank.

Carin (00:56:56):

Yes.

Kacey (00:56:57):

Is it good to have an outline slash niche?

Carin (00:57:03):

Let's take that question as, so she says, is it good to have an outline slash niche? Let's take it from let's do niche first. Is it good to have a niche, Casey, with your show overall? Definitely.

Kacey (00:57:15):

Yes, definitely

Carin (00:57:18):

Yes. Done and done.

Kacey (00:57:20):

You want to have something driving your purpose of the show. You need to know who you're talking to, what they need to hear. So having a niche, and like we said before, it doesn't have to be like, okay, our audience is online business owners, service providers. It doesn't have to be online business owners and service providers, I think you said, who have cats and drive red cars. You don't have to dial it in that much, but to have something always driving your why and your purpose for showing up and recording, yes, to have a niche and to know who your audience is and who your listeners are and how you're helping them every week or every two weeks or how often you record yes to definitely niche down is a good idea.

Carin (00:58:04):

Yeah. Fuck yeah, nailed it, Casey. I love it. Yeah, absolutely. I totally agree. I'm 100% on the same page from that especially, I can't emphasize enough from that interior space of when you're doubting if you should show up to the microphone, you're showing up for these people, you're showing up for these people that need your voice and need to hear what you're saying about this because it's going to help. And if that's thinking about your one-on-one clients and how that specifically helps them, whatever you can access, think about a niche. Don't get too, too specific, but yeah.

Kacey (00:58:37):

And then as far as outline, I mean for us, I would say it's, for me, it definitely is to be able to have something to guide my thoughts. My creative brain likes to go in all different places. I'll lose my train of thought easily just because my brain sometimes fragments in all different directions and I can't remember which direction I was trying to go. So have an outline to help me guide myself as I is really helpful and it doesn't have, it can be scripted. Sometimes I do script, sometimes I don't. Sometimes I do this weird amalgam of pieces that I'll script and I'll just go off script. It just depends where my brain is at that day and the topic that I'm diving into and my level of comfort I guess with talking about it and how long I can talk about it and all that. And I think just practice over time with different formats like that until you find what works for you is probably the best thing. I know that's not what anyone wants to hear. You just want to hear that you can wave a wand and it'll be easier, but it really does just take practice and be willing to show up and it be a little messy sometimes or whatever it might be until you find the way that really works for you and your brain.

Carin (01:00:00):

Yes, totally. I completely agree. I have done always, I've done it always, and it just works differently for me in different seasons. I have clients that have done it always. I have clients and past clients that script and are able to be very performative with it and sound amazing, and it doesn't sound like they're scripted. I also know that I have scripted in the past and I'm performative also, but you can still tell that it's scripted and I don't think I care about that. It's more about just how do I have to, what do I have to do in order to best deliver this information without that best word, getting trapped into perfectionism. What can I access today to be able to get this episode out tomorrow is sometimes what it looks like if scripting it is what's happening because I'm really shaky with my voice as far as coming out of my mouth.

(01:00:53):

We're going to script it and we're going to perform it. If I'm feeling super confident in the topic and feeling very clear-minded depending on where we are in my cycle for the month or whatever it looks like, whatever is the influence. I am not great at keeping a train of thought, and that was especially pervasive after having my child and hormones were all over the place. I had a really hard time focusing and staying out of confusion or letting my thoughts drift. So that was a time when I scripted a lot more or had very thorough outlines. I'm also not a person that's great at public speaking. I can't just have a slideshow with a couple of words that then I'm able to jump these entire thoughts off of. I like to have actual phrases that I like pop in there that I've formulated at different times.

(01:01:42):

So I do it all differently. But as far as interviews go, I definitely think keeping it really organic is extremely important. I actually am practiced to the point where I do not write down questions unless I have a specific guest that I've been thinking about for a while and I've been really excited about their interview and I've written some questions in a note, or if I'm really nervous to talk to this person, I have a guest coming up soon that I'm really nervous to talk to. So I'm going to write down some questions in advance, but I'm going to let it be really free flowing. I'm going to allow myself to scan those questions throughout and see which question makes sense to fit next. And as I grow in comfortability in that session, hopefully I won't be going off of those questions, but just to throw in a thought there on interviews as well, I think the biggest thing for me is that you show up as organic as possible and as authentic as possible. And sometimes that means that people are going to see you bumble through a script and that's going to be human and endearing. There's going to be a connection there also. Sometimes that means you're going to be able to show up to the mic and just be your total full self, no bars. How do you say it? No hold.

Carin (01:02:59):

I dunno what to say.

Kacey (01:03:01):

No hold barred.

Carin (01:03:02):

I dunno.

Carin (01:03:03):

I was relying on you. You're going to be able to be free. No

Kacey (01:03:07):

Hold

Carin (01:03:08):

Barred there. It's no holds barred. I was like, when it was coming out of my mouth though, I was like, that can't be right. You'll be able to be totally you and show up just very fluid and flowy and people are going to resonate with that. Different people will resonate with that one day too. So also just there's a level of trust in the process that has to be in place, but overall, the answer is to outline or not outline. You got to do what's right for you and it's going to change. Your process is going to change over and over again, and as long as you have the permission and the space for you to do that with compassion and gentleness, you're going to be golden.

Kacey (01:03:44):

What a good note to end this episode on,

Carin (01:03:47):

And I think that's the overall thing is just if you can be kind to yourself in this process, I'm sure we'll just say this on every episode in one way or another. If you can just be a real human and be in touch with yourself and what you need to do and how you need to do this process and grow and trust for yourself and the process, you're going to be great. You're going to be a successful podcaster. So I'm so grateful for everybody that wrote questions in. I have had just the best time with this and I hope listeners have had a great time with us too.

Kacey (01:04:16):

Me too. I learned so much from you about all this tech stuff. I'm super excited that I have these little nuggets of knowledge now, and I'm sure a lot of the listeners will be too.

Carin (01:04:25):

Yes, likewise. Yeah. Yeah, it's super fun. It's super fun to compare our knowledge to and see our different takes and what we've seen and what we're drawn to, because even within this, you and I probably wouldn't do. We have a lot of alignment, but we're not going to make a show in the exact same way either, even though we're making a show together. So I think it's also fun to lift the curtain a little bit for folks to see how we're doing things, even with the case study of today with tech and everything as far as, yeah, long distance recordings sometimes show up up, the internet fucks up and it messes up our recording and we've literally, this is the second time today we're sitting down to finish this recording. So shit happens. We're doing the best we can and perfectionism has no space here, and it's just a really fun art form that has the power to really impact people's lives. So kudos to everybody looking at creating a podcast or that you do create a podcast. If you showed up to your microphone this week, I'm super proud of you, and look at us on our microphones now. I'm super proud of us. I

Kacey (01:05:34):

Know. I'm super proud of us. Hell yeah.

Carin (01:05:40):

Well, thanks everybody for being here today. I'm Karen Hiner. I am a podcast editor and artist in Denver, Colorado. You can find my work@karenhiner.com. That's C A R I N H U E B N E R. And I am currently taking new editing clients, which is a rare thing. So if you want to get on my books, do it now. You can get a discovery call with me. That's a free one hour call. I will give you, I'll, like I said, in a different portion of this episode, I'll completely bombard you with information, but I'll also ask you all about your goals for your show, help you define what success means for you in having a podcast and get you on some action steps towards either creating your show or making your show more in alignment with you and where you're going in this life. So you can do that by going to my website again, C A R I N H U E B N E r.com. I would love to meet with you, Casey. How can people connect with you and how do you work with them?

Kacey (01:06:41):

Oh my God, that was so beautiful. So, hi, I'm Casey Hayes and I'm a podcast guesting strategist, and I also offer ongoing podcast content support, like repurposing your episodes into search friendly blogs. You can find me@caseyhayes.com. That's K A C E Y H A Y E ss.com. You can get on a 30 minute strategy call with me. We can talk about all the goals you have for your business and how podcast guesting can help you meet those goals and grow your impact because we really here on our show, believe in the impact of podcasting or we would not be here. So let us help you how we can.

Carin (01:07:23):

All right, thanks everybody for listening, and we'll be with you next time.

Kacey (01:07:26):

Bye.