Uploaded April 2016 | Updated September 2026, 5 days ago
How much preparation do you do before an episode? Some podcasters write out their entire show, some create an outline and some do no prep at all. What works for you and how do you decide how much work you do before you turn on the mic.?
Join Ray Ortega, Daniel J. Lewis, Dave Jackson, Jay Soderberg, Joe Stuber and others to discuss podcast prep.
This Round will be live (03/31/16) at 4:30pm PDT, 7:30pm EDT.
Join us at podcastersroundtable.com/live! to participate in the chat!
If you can't watch the live-stream, no worries, the archive will be immediately available at youtube.com/thepodcastersstudio.
The audio-only podcast version as well as the archived video (including all past Rounds) can be seen at http://PodcastersRoundtable.com.
You can subscribe to the RSS mailing list (eepurl.com/GnBwr) to get new Rounds delivered to your inbox automatically.
Thanks and I can't wait to see you on a future Roundtable!
How much preparation do you do before an episode? Some podcasters write out their entire show, some create an outline and some do no prep at all. What works for you and how do you decide how much work you do before you turn on the mic.?
Join Ray Ortega, Daniel J. Lewis, Dave Jackson, Jay Soderberg, Joe Stuber and others to discuss podcast prep.
This Round will be live (03/31/16) at 4:30pm PDT, 7:30pm EDT.
Join us at podcastersroundtable.com/live! to participate in the chat!
If you can't watch the live-stream, no worries, the archive will be immediately available at youtube.com/thepodcastersstudio.
The audio-only podcast version as well as the archived video (including all past Rounds) can be seen at http://PodcastersRoundtable.com.
You can subscribe to the RSS mailing list (eepurl.com/GnBwr) to get new Rounds delivered to your inbox automatically.
Thanks and I can't wait to see you on a future Roundtable!
![Canon 40mm f2.8 Unboxing
Get more behind the scenes videos like this at http://instagram.com/podcasthelper. ► All gear linked below*.
I bought the Canon 40mm f2.8 STM Macro pancake lens because it was so cheap. That doesnt mean its a bad lens and from the reviews Ive seen its quite the opposite, it looks like a really good lens.
It certainly is a great way to stay very compact and small as possible if you need your camera to be lighter or more travel-friendly.
Things I like about the lens upon first opening the box is of course its size, its really small and it feels well built. It has a metal mounting ring for durability and I was surprised how tightly it went on to my camera body. Probably the best connection Ive had on any lens.
I like that its macro but its not that macro. You still have to be about 11 inches from your subject but its nice that it can focus in tight spots. The aperture of 2.8 is great for low-light and the bokeh or out of focus shots look great. At 40mm its even easier than the 24mm version to get out blurry backgrounds.
It has an STM motor which would be great for continuous auto-focus shots on camera that support it like the Canon 70D and 80D but this is on my 60D so I cant test that.
It doesnt have manual focus override so if you want to switch from AF to Manual, you need to do that via the switch on the lens itself. The focus ring is very small and its very likely that you will get your finger in the shot when manually focusing, just something to be aware of.
This is just an unboxing and initial impressions so I cant tell how sharp the lens is or its other features but I will do a more in-depth review once I have spent more time using it.
Another reason I bought the 40mm over the 24mm is because the 40mm is an EF lens. Meaning it covers the sensor of a full frame camera whereas the 24 only covers crop sensors. Not a big deal if you have a crop sensor camera but one of the other things this does is the EF will mount to the Sigma MC11 adapter and if I move to Sony cameras, this lens, with that adapter, can go with me.
For the price, its hard not to own one of these extremely compact lenses.
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Track: “Blazin” by Wolves
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*Gear used to make this video:
• Canon 40mm f2.8 Lens http://podhelp.me/Canon40mmf2_8Zon
Check here for cheaper price http://podhelp.me/Canon40mmF2_8BH (no tax)
• Canon 60D DSLR camera http://podhelp.me/80DbodyBH
• Sigma 30mm f1.4 (old version). This is new version: http://podhelp.me/sig30mm1-4bh
• HQ-M MONO LAV MIC http://aspenmics.com/products/hq-m
• Transcend SD card 16 and 32GB Class 10 http://podhelp.me/trans32gbC10Ultim600_32GBU1
• Editrol audio recorder http://podhelp.me/r-05bh
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#dslrvideo #lenses Canon 40mm f2.8 Unboxing](https://i.ytimg.com/vi/cnqT4fQG9Mg/mqdefault.jpg)









![Zoom L-12 Review & Setup - Audio Interface and Recorder!
Zoom L-12 lets you record & stream at the same time! See my complete write up along with gear http://thepodcastersstudio.com/L-12
The number one feature of the L-12 that impresses me most is its ability to both record to the SD card (multi-channel) while also being an audio interface, sending multi-channel audio to your computer at the very same time. Most mixers with built in recorders or even recorders that are also interfaces, make you choose which function you want to use, not allowing you to do both at the same time.
You get eight combo (XLR/Line In) inputs which provide you with the ability to connect up to eight microphones, each with its own preamp with 60db of gain. Channels one and two have Hi-Z power while three through eight provide a pad (-20db) for line in inputs. All channels provide 48 volts of phantom power for condenser microphones. And the preamps themselves are nice. I can easily power a dynamic mic like the Sennhieser e835 (as heard in the video), using ~75% of the gain. After this point, it sounds like the preamps might introduce a little bit of noise but overall they are clean.
Below the gain/trim knob, each microphone channel includes one-knob compression. This does a really nice job of preventing clipping while also helping to maintain a consistent audio level. Important to note that as you raise the compression you’ll also raise the gain because the compressor includes make-up gain. So as you increase the amount of compression, I found that about more than half way was a nice balance for preventing peaking, you’ll want to decrease your gain in order to maintain the same level and gain staging as when you are not using any compression.
With this digital mixer, your channel stops actually represent six different custom setups. In addition to the master mix, you get five custom setups which allow you to create five different “scenes” that can all be routed to their own output. For podcasters this means that you can create up to five different mix-minus setups! The setup is a little different than using aux-sends on an analog mixer but the result is the same. See the video for how to achieve a mix-minus setup. Each of these channels also includes the ability to setup a custom EQ.
The five separate headphone outputs also replace another piece of gear that podcasters with multiple people in studio often use, a headphone amplifier. Each of the five headphone outputs on the L-12 has it’s own gain knob so each person connected to one of the five outputs can control the level of audio going to their own headphones. The headphone preamps are also clean (without added noise) unlike the Zoom F8 that I have which has one headphone output and creates noise when turned up higher than 75%. I was happy to hear that the L-12 headphone preamps were clean and allowed me hear exactly the audio that was going into the mixer.
Each channel also includes a mute button. However, this does not work the way I’d want it to. The mute only follows through to the master mix. So when you press mute on any channel, the individual tracks being recorded to the SD card as well as the audio going out of the USB is not affected by the mute. Because of this the mute has little value, at least to me.
If you’re looking for a multichannel audio interface, the Zoom L-12 is a device I would seriously consider. The addition of a recorder built-in really makes this device worth the price. The recorder provides you with the ability to record a backup which for me is critical in any recording setup. Other mixers that provide you with this many aux sends (most only go up to 4) cost just as much as the L-12 and don’t provide as much functionality.
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*Gear used to make this video:
► Zoom L-12 http://podhelp.me/zoomL12BH
► Sony a6500: http://podhelp.me/a6500BodyBH
► Sony 28mm F2 lens http://bit.ly/sonyfe28f2BH
► Tokina 11-16mm lens http://podhelp.me/tokina11-16CanonAPSCBH
► SD Card http://podhelp.me/trans32gbC10Ultim600_32GBU1
► Aspen Mics Stereo Lav mic kit http://amzn.to/2j66TDL
► Sennheiser e835 microphone http://podhelp.me/SennE825BH
PICTURE PROFILE: PP7: S-Log2
EDITED AND GRADED: Adobe Premiere Pro CC using Lumetri Color Presets (tweaked to my liking).
*all links should be considered affiliate links. Using these links helps support this content. I always encourage you to shop around for the best prices at the time you are viewing this. You can read my ethics statement via http://thepodcastersstudio.com/ethics. Thanks for the support! Zoom L-12 Review & Setup - Audio Interface and Recorder!](https://i.ytimg.com/vi/gbvtGJiRbTw/mqdefault.jpg)