Boston Made, the media and marketing brand of Boston Made, Inc. at bostonmade.com, covers the craft behind brand storytelling. In interview-driven video, sound is often the difference between a polished piece and an amateur one. Audiences will tolerate a slightly soft image, but muffled, echoing or distorted voices make people stop watching. This guide explains the fundamentals of recording clean interview audio with accessible equipment.
Why Audio Deserves Equal Attention
In most interviews, the information lives in what people say. If the words are hard to understand, the video fails at its main job. Audio problems are also difficult to fix after the fact. Editing software can reduce some noise, but heavy cleanup often leaves voices sounding thin or robotic. The most reliable approach is to capture good sound at the source.
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Choosing a Microphone
The built-in microphone on a camera or phone is designed to capture everything around it, which is exactly the problem. A dedicated microphone placed close to the speaker is the single biggest improvement most small productions can make. Common options include:
- Lavalier microphones: small clip-on mics worn on the speaker’s clothing. They stay a consistent distance from the mouth and are well suited to seated interviews. Wireless versions offer freedom of movement.
- Shotgun microphones: directional mics mounted on a boom pole or stand, aimed at the speaker from just outside the frame. They sound natural and keep equipment off the subject.
- Handheld or desk microphones: visible in the shot, which suits podcast-style or event formats.
Many crews record with two microphones at once, such as a lavalier and a shotgun, so one can serve as a backup if the other picks up a rustle or fails.
Placing a Lavalier Correctly
A lavalier usually sits on the chest, roughly a hand’s width below the chin, centered or angled toward the side the speaker will face. Common issues include clothing rustle, the mic brushing against jewelry and cables pulling as the speaker moves. To reduce them:
- Secure the cable with a small loop and tape so movement does not tug on the mic head.
- Avoid placing the mic where a necklace, scarf or collar can rub against it.
- Ask the speaker not to touch their chest or tap the microphone while talking.
- If hiding the mic under clothing, use a cover or mount designed to reduce rustle.
Choosing and Preparing the Room
The room shapes the sound as much as the microphone does. Hard, empty rooms with bare walls and floors cause echo, which makes voices sound distant. Soft furnishings absorb sound. Good interview rooms tend to have carpets, curtains, upholstered furniture or bookshelves.
Before recording, sit silently in the room for a minute and listen. Common culprits include:
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- Air conditioning, heating vents and ceiling fans.
- Refrigerators and vending machines.
- Fluorescent light buzz.
- Traffic, construction or nearby conversations.
- Phones and notification sounds.
Where possible and safe, turn off noisy appliances for the duration of the interview, and leave a reminder note to turn them back on afterward. Hanging blankets or moving cushions can also tame echo in a pinch.
Setting Recording Levels
Recording levels determine how loud the signal is when it is captured. Levels that are too low force the editor to boost the audio later, which raises background noise. Levels that are too high cause clipping, a harsh distortion that cannot be repaired.
A common practice is to have the speaker talk at the volume they will use in the interview and set levels so normal speech peaks comfortably below the maximum, leaving room for laughter or emphasis. Many recorders and cameras offer a safety track recorded at a lower level as protection against unexpected loud moments.
It also helps to disable automatic gain control where possible. Automatic gain constantly adjusts levels and can amplify background noise during pauses.
Always Monitor With Headphones
Listening through headphones during recording is the only way to catch problems as they happen. A buzzing cable, a rustling mic or a distant siren may be inaudible in the room but obvious on the recording. Closed-back headphones block outside sound and give a clearer picture of what the microphone is capturing.
Record Room Tone
Room tone is thirty seconds to a minute of the room’s natural ambient sound with no one speaking. Editors use it to fill gaps when cutting between sentences so the background does not abruptly drop to silence. Record it at the start or end of each setup, with everyone in the room staying still and quiet.
Syncing Separate Audio and Video
When audio is recorded on a separate device, it must be synchronized with the video in editing. A simple hand clap in view of the camera at the start of each take gives a sharp visual and audio marker. Many editing programs can also sync clips automatically by comparing the camera’s reference audio with the external recording, so it is still worth recording sound on the camera itself.
Remote Interviews
For interviews conducted over video calls, ask the guest to use wired headphones and, if possible, an external microphone. Suggest they sit in a carpeted room away from windows, close other applications and use a wired internet connection. Where feasible, ask each participant to record their own audio locally as well, which avoids compression and dropouts introduced by the call.
A Pre-Interview Audio Checklist
- Fresh batteries in microphones and recorders.
- Mic placement checked and cable secured.
- Noisy appliances identified and, where appropriate, switched off.
- Levels set with normal speech and a test of loud speech.
- Headphones on and monitoring.
- Room tone recorded.
- Sync marker at the start of each take.
Good audio is rarely noticed by viewers, which is exactly the point. When the sound is clean, attention stays on the story.
Quick check: What is “room tone” used for in interview editing?
- Filling gaps between edits so the background sound stays consistent
- Setting the camera’s white balance
- Measuring how loud the speaker’s voice is
Show answer
A. Room tone is a recording of a room’s natural quiet that editors lay into gaps so cuts do not drop to unnatural silence.