• Pop Quiz: Before Public Media, I ...

    Clockwise from left: Kai Ryssdal (courtesy American Public Media); Sue Schardt (courtesy Mim Adkins); Jay Allison (courtesy Melissa Allison); Al Letson (courtesy "State of the Re:Union"); Julie Shapiro (courtesy Kate Joyce); Glynn Washington (courtesy "Snap Judgment").

     

    By Emily Boghossian

    Every producer has an origin story.

    Maybe you were raised checking levels and born with a boom in your hand, but AIR producers have, among other things, hocked wine, dabbled in banking, skinned salmon, and designed video games. AIRsters have had first jobs, second jobs and full-blown careers that somehow, slowly carried them to storymaking.

    At age 60, Nancy Camden (New Voices ‘13) made the switch from listener to producer.

  • Case study: How to promote a podcast

    by Emily Boghossian

    Here’s the idea in a nutshell: The producers of “Pitch,” a stories-behind-the-music podcast about bands and musicians, are trying to increase their audience, and see passionate music fans as the biggest area for potential growth.

    So why not launch the podcast’s second season as if it were an album, rolling out the first episode as if it were the first single?

    “I got the idea from how we release singles in my band,” Alex Kapelman said. “Essentially, in my band, I try to take advantage of song premieres on blogs. Before the song comes out officially, I’ll reach out to a website and ask them to ‘premiere’ it.”

  • Writers wanted

    Happy news: We're expanding the editorial content on AIR's websites, and we are hiring writers.
     
    ABOUT YOU
     
    We want to work with writers whose interest in and knowledge of public media go beyond the Top 25 podcasts on iTunes and that great piece you found through #YSLTF on Twitter. (It was a great piece; we follow #YSLTF, too!)
     
    You probably read CurrentNPR's Social Sandbox, and/or Nieman Lab on the regular.
     

  • Level Up: A reading list for audio nerds

    Adam Ragusea’s commentary in Current (“Why You’re Doing Audio Levels Wrong and Why It Really Does Matter”) struck a nerve when it was published last month.

    He explained in very simple terms how audio levels translate into listener experience and retention. It set off a massive conversation among listeners, producers, and sound engineers (sound engineers: “told you so”). 

    It definitely explained in laymen’s terms why I can’t listen to “This American Life” while riding the clattering, rattling trains of Boston’s T, but “Snap Judgment” is just fine.

  • Networking really isn't the worst

    Let's get back to basics: Here's how to work a conference. 

    Anthony Martinez

    Conferences aren’t supposed to be hard. Exciting, exhausting, educational? Yes. Difficult? Disappointing? Dull? No.

    But we’ve all been there, either as a newbie with big dreams and a small Rolodex or as a veteran who has heard the same panel discussion once too often.

    So, how does a conferencegoer make the best use of time and registration fees? We think the answer is the same, whether you’re overwhelmed and disoriented or starving for a little inspiration and creativity: Get back to the basics.