My two final Radio Programmes – Coming Soon

Probably my final two radio productions (at least under the sound and vision scheme), were both completed last year. By coincidence they’re both coming to air really soon.

Download: The Listening Stage and Mic Drop Trailer

Each year, legendary radio dramatist Roger Gregg teaches a unique intensive course in radio drama. The Listening Stage follows students of The Gaiety School of Acting’s radio drama course, as they pursue their hopes and dreams of fame. This fly on the wall doc embeds us in Roger’s annual weeklong workshop, introducing actors to the exciting world of audio theatre. The course culminates in a live performance of a radio comedy. We follow the crafting of this production from initial script reading to rehearsals, to the development of sound effects and music, the creation of memorable characters, all the way through to the final performance. Taking a look, for the first time ever, behind the curtain of this legendary drama school’s radio drama workshop.

Broadcasts: Saturday March 31st: 9pm, on Newstalk 106-108 FM.

You’ll also be able to stream the show from Soundcloud, or download it from the Dead Medium Podcast right after broadcast.

Mic Drop is a new one off drama, starring Adam Tyrell, fleshing out the play of the same name that debuted to critical acclaim at the ‘Scene + Heard’ Festival in Summer 2017. This one-man show tells the story of Irish web entrepreneur Perry Pardo. Perry is the living embodiment of the new Ireland. A working class boy made good, Perry moved to San Francisco to make his fortune, and now he’s back to teach a room full of eager listeners how to replicate his success. This satirical business seminar rapidly descends into a dark exploration of contemporary Ireland, as Perry’s hard partying catches up with him and he undergoes a breakdown – revealing his background and failings through fragments of story and song. In the process Perry reveals the anxieties and hypocrisies that can underlie the success stories of Irish entrepreneurship, and the dark side of wealth.

Broadcasts: Tuesday 17th April at 2PM, on Phoenix FM.

You’ll also be able to stream the show from Soundcloud, or download it from the Dead Medium Podcast right after broadcast.

Coming Soon – Radio Drama Adaptation of Mic Drop

The latest round of the Sound and Vision scheme awarded funding to an audio drama interpretation of my play Mic Drop. Mic Drop was initially staged at the Scene + Heard festival last summer. The radio drama version will go into production for Phoenix FM over the next couple of months, featuring up and coming actor Adam Tyrell (star of the stage production) in the lead role.

Building a studio for podcasts & radio drama


I’ve been very gradually building up a home studio setup over the past four years, as Dead Medium Productions came together. Although my setup is very modest and modular, it’s capable of recording ‘broadcast quality’ radio either indoors out out, capturing four performers simultaneously, and editing the whole shebang in multichannel stereo.

I thought it might be interesting to go through the tech I use, as a guide for radio producers starting out. There’s lot of great advice out there about mics and speakers and so on, but it tends to focus on equipment which is way out of the price range of folks working on podcasts or public radio productions. For example This American Life have some great mic recommendations, but these tend to be very expensive, or not generally available in Europe.

To my mind, if you’re buying a 600 euro / 800 dollar microphone, you probably already work for This American Life. Mere mortals are more likely to be looking for better bargains. You really don’t have to spend crazy money to get good equipment. To start with, all you need to record audio is a WAV recorder. If you need to get a bit more professional, you can add in a computer, microphone, and an audio interface (to get the microphone to talk to the computer).



This is the most basic item of kit anyone capturing sound needs to have. Wav recorders cost anything from less than 100 euro, to thousands, and come in a bewildering variety of sizes and capacities. I use the Zoom H4N, a mid range device which is capable of great results, both with its two onboard condenser mics and external mics plugged directly into the bottom of the device.

The preamps on the zoom are weak, and button placement is pretty awful for run and gun recording. So the next step up if you can afford it, is the H4N’s big brother, the Zoom H6. The H6 boots up much quicker (which can be important say in an interview situation), and allows up to four external mics to be plugged in. It also supports a variety of different mic attachments. This is a huge advantage, as not only can you use different mics for different situations, but if the mic breaks you haven’t lost your whole investment. I’ve always been nervous about the exposed mics at the top of the H4N; and I’d definitely consider upgrading in future. The H6 is also built more sturdily, and has more intuitive controls. Preamps still suck though. In the same sort of price range Marantz offer larger, bulkier, sturdier devices, at a slightly higher price.

For interviews, I’ve often used the H4N handheld (with the included handle). It’s not ideal – the sensitive mics cause a lot of ‘handling noise’, it’ll pick up background sounds (say in a coffee shop) much too well too – but it’s extremely light and portable, and has been my workhorse for most of the current documentary series.

I’ve left the best part till last. You can use the Zoom H4N (or H6) as an audio interface for multi-track recording, with or without a PC. This means you can run two mics into the device (and even record a third person, using the two small condenser mics attached), and capture multitrack audio right onto the Zoom. So you can have your H4N set up on a table, without the need for a (potentially noisy) computer, and get amazing sound from two people from external mics, or great sound for one person from the internal mics.



For voiceover, radio drama, podcasting and so on, a condenser mic is highly recommended. More sensitive to sound than a dynamic mic, they tend to require a quieter room, and tend to cost more too. However, a single good condenser can last you years, and serve multiple functions (from recording a singers vocals, to narration, to presenting).

Many folks starting out (especially podcasters) are tempted by USB microphones, since they’re cheap, sound fine and don’t require an audio interface to connect to your computer. Don’t do it. USB mics are a dead end. You’re unlikely to be able to get more than one to work with your computer at a time, which means you’ll have to spend twice as much if you want to add a mic to your setup in the future. Start right, with a nice low end XLR condenser mic, a cheap 2 or 4 port USB interface (or mixing desk if you can’t afford the interface yet – they’re often available dirt cheap second hand), and some free recording software. You can build up from there – adding mics, WAV recorders, etc as needed.

I’ve had my Rode NT1-A since 2008, and I’ve recorded some part of every scripted radio series I’ve made on it. It’s a beautiful, particularly sensitive piece of kit, and available with a ‘shock mount’ and ‘pop shield’ (to prevent plosive ‘puh’ sounds from ‘popping’ during recording) for around 150 euro / 200 dollars.

If you’re looking for something cheaper – say you need two or three mics to record a podcast. I’d recommend the Audio Technica AT2020. These mics don’t have the amazing sound response of the Rode. They also don’t pic up an ants sneeze like the Rode will, and are much better if you need to simultaneously mic several folks.


To keep it simple, I’d recommend a couple of desk tripod stands for recording spoken podcasts etc. Or a full sized ‘boom stands‘ for recording radio drama.



Lets say you want to record two or four people chatting. Ideally you’ll want to record each voice separately, in case you need to adjust levels later. You can run all those tracks into a mixer (like a DJ might use for a live gig) but they come out mixed, feeding only one track into the computer. Instead you need an audio interface. I recently picked up the ‘AKAI EIE PRO‘. It’s a cheap, light four port device which outputs through USB. The AKAI is pretty much hassle free to set up and has a very clean sound – no detectable noise whatsoever. You can carry it in a backpack, for a good portable setup. It is a little quiet though, so you might want to pre-amp the microphones you’re feeding into it. In retrospect, I could have picked up a Zoom H6 for only 100 more, which would have served many more functions. Doh.



If you have a Mac, Garage Band is free, reliable and easy to use for multitrack recording and editing alike. Just because I’m used to it, and because it’s so quick and flexible for ‘cutting’ audio, I prefer Adobe Audition. Like Garageband, audition supports multitrack recording. Audition’s great advantage is that it’s insanely fast. You can open a dozen audio tracks, each an hour long in audition in a couple of seconds, and play and edit them without lag – something other program struggle with. With a little practice, you can zoom in and out of the recording and cut it extremely quickly. Audition does take time to master however, I’ve been using it for three years and I would say I’m intermediate with the program.

Many editors / producers prefer AVID’s Protools, which is a nice program and certainly fully featured, but has one massive disadvantage. Protools not only requires you to plug a dongle in (using up a precious USB slot) when in use, but also requires your computer to be plugged into an audio interface (containing a DSP, or digital signal processer), usually the one the software came with. You can forget recording or editing your audio in a library or coffee shop, with pro-tools you’re chained to your studio. To me this seems ludicrous, but if it doesn’t hamper you too much protools is definitely an industry standard, and worth learning. It’s cheaper little brother Pro Tools LE, comes bundled with many audio interfaces (including the AKAI EIE).


I record and edit radio drama on a 2013 Macbook Air i7, with 8 gigs RAM. This is probably overkill, but the speed definitely lets me work faster. Really any computer with a usb slot or even a line in will let you record audio. Any modern laptop or desktop (although probably not a netbook), whether Windows or OSX, should be fast enough to record and edit audio. I certainly do recommend the air for it’s speed, although the battery life is much better on the i5 models.



There are as many mic recommendations as there are situations in which to use them. For indoor recording, condensers like the ones recommended above are great. For a noisy environment, you might want to use a more traditional dynamic stage microphone like the Sure SM58. If you’re going to be wandering around outside however, or capturing sound in a variety of locations, some noisy, some quiet, you’re best off with a shotgun mic. I’ve just picked up a very low end model, the Rode NTG1.

Already I can tell it’s loud, muted and ideal for a outdoor recording. While the sound is very ‘flat’ compared to a condenser mic, it’s much easier to control the volume and direction. This will be my go to mic for interviews. You will need some sort of additional grip to use this thing off a stand (as it only comes with a mic stand adaptor).

For recording on location drama in stereo, I’d recommend Rode’s stereo condenser, the Rode NT4. Rode sell a kit that goes with this mic (or with the NTG1), which includes a ‘pistol grip’ and ‘blimp’. With this setup you can record outside, even in windy conditions and get better sound than you’ll hear on almost all radio program (and even movies). We used the NT4 and blimp to record all of ‘Any Other Dublin‘.



Any cheap pair of headphones are fine for monitoring a live recording, or basic mixing. If you’re starting to produce for radio, a decent mid range pair of Sony or Seinheiser headphones will do fine. Unless you’re producing music, missing some high and low range sound will in practice not interfere with editing. If you do want to spend the money, I’d recommend Beyerdynamic’s D150’s. These headphones are balanced which means they support proper balanced audio for mixing. They have a very flat accurate response, so they’re not ideal for bass heavy music. For cutting voice though, they’re a great pair of light, comfortable, hardy headphones.



I’m no expert on speakers, so I’ll just go ahead and recommend the kit I picked up on Chipzel’s recommendation. A pair of KRK Rokit 6’s. You’ll want surge protected power for these guys to protect them from power spikes, and ideally a DI box to, to protect them from damaging signals (especially if you’re going to play a guitar right into them).