Podcast Editing Tips: Part 3 – Phase Shifting to Recoup Loss of Headroom

I’ve talked before about utilizing high-pass filtering to roll-off undesirable low frequencies in audio. This can be done in software via plugins or done in hardware (E.g., on a mixing console or microphone preamp). I suggest reading our primer on high-pass filtering before proceeding with today’s topic, which is phase shifting.

What happens to audio when processed through a high-pass filter?

So what exactly is phase shifting? Well, let’s first understand what happens to an audio signal as it travels through a high-pass filter. In the example below, you can see I’m rolling off frequencies below 75 Hz at 12dB per octave. High-pass filers typically allow the user to specify just how much is rolled off below the frequency cut off. The higher the decibel value is, the slop increases and a greater roll off occurs. Look at the screenshot above and you’ll see the slope.

75Hz-High-Pass-Filter

After applying the filter, you can see that on one axis, the energy of the waveform is displaced. The human voice is often said to be asymmetrical in nature, however high-pass filters can further increase asymmetry. This does not indicate a problem necessarily with the sound quality, but does pose challenges for podcast audio producers as it decreases headroom.

Asymmetric-Waveform

What is headroom?

Headroom is essentially the “wiggle room” you have as an engineer when processing audio before the source exceeds zero decibels relative to full scale (dBFS). Decibels relative to full scale (dBFS) is a unit of measurement for amplitude levels in digital systems, which have a defined maximum peak level. In the digital realm, 0dBFS is the absolute peak ceiling before audible clipping occurs (or distortion as it’s also known).

Now that you understand basic terminology, you see why displaced energy in a waveform can decrease headroom, creating processing challenges as you prepare for loudness normalization. Loudness normalization is an essential step after optimizing your audio (applying compression) as it targets optimal perceived average loudness. This creates consistency for the listener so they don’t need to crank the volume in louder environments and also aids intelligibility of spoken word. If you were to check the maximum true peak of your audio, pre phase shift, you’ll notice the loss of headroom. In the example below, the source checks in at -1.3dB. This is not the worst example, but you’ll get a better idea later on as we shift the phase of the source.

LM-Correct-pre-phase-shift

To better understand loudness normalization, please read “Loudness Compliance And Podcasts” and “Your Podcast Might Be Too Quiet Or Too Loud“.

Optimizing headroom through phase shifting

To restore headroom in your audio source after high-pass filtering, you can use third party tools to do so. This demonstration uses Waves’ InPhase plugin, however other tools such as iZotope RX suite contains an adaptive phase correction feature that is even easier.

Step 1.

My Digital Audio Workstation (DAW) of choice is Pro Tools. On a mono audio source, I select the clip and instantiate the LT (non live) version of Waves InPhase. I have created a default preset to handle phase shift correction, which you can download from here. Note that this preset is meant as a starting point, so values such as input gain and delay may be tweaked depending on the source you’re working with.

Here’s how I have the plugin configured:

Waves-InPhase

As illustrated in the screenshot, you can set the all-pass frequency 200 Hz and Q bandwidth to 2.0. ” Type” sets the phase shift filter type, and toggles between Off, Shelf (using the 1st order allpass filter) and Bell (using the 2nd order allpass filter.) In the example we use the bell filter type. Allpass filters to correct phasing issues between tracks. Here’s a quick rundown of what these settings are doing, as documented in the plugin manual:

An allpass filter is a signal processing filter that affects only the phase, not the amplitude of the frequency-response of a signal. This example demonstrates using a 2nd order filter, which is defined by the frequency at which the phase shift is 180° and by the rate of phase change. The rate of the phase change is dictated by the Q factor. Q sets the width of the 2nd order (Bell) allpass filter: A narrower Q results in a faster phase transition toward the selected frequency, leaving a larger portion of the frequency intact.

The InPhase settings came recommended by Paul Figgiani, but they’re meant as a starting point. The significance of the settings are fairly complex. I will continue to explore their significance.

Step 2:

Clicking “Render” will process the selected audio and should shift the phase slightly so that the energy of the waveform isn’t lopsided.

Asymmetric Waveforms Processed

Now that the phase has been shifted slightly in the correct direction, we have an optimal source to work with for loudness normalization. When the process was started, our our source checked in at -1.3dB. Analyzing the corrected version below, you can see we’ve restored quite a bit of headroom.

LM-Correct-post-phase-shift

Hot damn, look at that. Our source is now -2.5dB, a full 1.2dB of headroom recouped!

Step 3: Loudness normalization can be done on the source audio with the phase shifted in the correct direction. Headroom has been regained, which means when processing the audio with a true peak limiter, excessive limiting should not occur (this is a good thing as that can squash the dynamics of the human voice).


#Podcast editing tips: Phase shifting audio to recoup loss of headroom
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Conclusion

You should have a good understanding how most high-pass filters affect the human voice. It should be noted that the source audio worked with in these examples was high-pass filtered in hardware, not software. The reason why this matters is because linear phase filtering helps avoid the displaced waveform energy discussed, provided the source was not already high-pass filtered in hardware. Linear phase filters are a topic for another day, but effectively they ensure the original phase is not altered in any way during processing.

If you have any questions about how the aforementioned workflow is accomplished, don’t hesitate to reach out to us on Twitter and Facebook.

Acknowledgements

Many thanks to audio engineer Paul Figgiani, whose experience and breadth of knowledge rivals my own. He continues to be an inspiration and aided in the accuracy of this piece. Make sure to check out his blog: ProduceNewMedia.com.

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FeedPress Adds Support for New Apple Podcast Tags

Apple Podcast Spec Updates

The week of Apple’s World Wide Developer Conference (WWDC), Apple announced that they have updated their RSS podcast spec to include additional tags for podcast publishers. These tags will provide support for additional functionality inside of their own “Apple Podcasts” app. The tags themselves add features that many podcasters have been looking for, such as the ability to specify an episode as trailer, bonus, or full episode.

Apple Podcast Spec Updates

New Podcast Tags

We have added support for the following podcast tags:

  full
  trailer
  bonus

Customers who use FeedPress’ podcast publishing platform can use the “Episode Type” field to specify an episode as a trailer, bonus episode, or full episode, as illustrated below.

FeedPress Publisher Supports New Apple Podcast RSS Tags

it should be noted that whilst the tags can be included now, we won’t see the changes reflected until Apple releases iOS 11 to the public, which won’t be until September and likely after the release of iPhone 8.


FeedPress adds support for new Apple #Podcast tags
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Conclusion

It’s really exciting to see Apple moving the needle on podcasts to improve both the listener’s and publisher’s experience. What do you think of the new podcast tags and the changes to Apple’s podcast app on iOS 11? Leave a comment below to chat with us.

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FeedPress Adds Automatic JSON Feed Support

JSONFeed

Beloved Mac developers and long time bloggers, Brent Simmons and Manton Reece have launched JSON Feed. The take away for developers is as follows:

For most developers, JSON is far easier to read and write than XML. Developers may groan at picking up an XML parser, but decoding JSON is often just a single line of code.

Why care?

So why should anyone care about this with respect to podcasts when Apple controls the ecosystem? Although its early days for the spec, our opinion is that innovation in a space with an established, albeit old spec is a healthy thing.

RSS is and continues to be a workable transportation method for podcast data, but even RSS–which has been around since 1999–needs enhancement. That’s why open source initiatives like syndicated.media exist to take podcast functionality and RSS to the next level (we’re closely watching this).

What impact does it have?

Does this mean that JSON Feed will make any significant impact? That remains to be seen, but we’re pleased to see people move the needle forward.

Co-creator, Manton Reece wrote about how JSON Feed relates to podcast functionality:

JSON Feed includes an attachments array, which is similar to the enclosure element in RSS that enabled podcasting. We love podcasting and included an example podcast feed in the JSON Feed specification.

How FeedPress supports JSON Feed

Experimental JSON support is live on FeedPress. JSON Feed is generated every time the XML feed is refreshed and is not a replication from the source, it’s a creation. The JSON feed validates and it handles podcasts on RSS and Atom.

Conclusion

There is nothing FeedPress customers need to do in order to get JSON compatible feeds. Simply append the ?format=json parameter to the end of your RSS feed.

Here’s an example URL: https://podcast.hologramradio.org/master?format=json

FeedPress customers are encouraged to test this with compatible RSS readers and Podcast apps. We’d love to hear your feedback.


FeedPress adds JSON Feed Support
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Update: As of May 31, 2017, the feed_url paramter has been added. As per JSON Feed spec documentation, it’s highly recommended:

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Your Podcast Might Be Too Quiet Or Too Loud

According to the 2017 edition of Edison Research’s “Infinite Dial” report, 65% of people listen to podcasts on mobile devices. Based on location listened to most often, they further break down that 52% of the sampled audience most listen to podcasts at home, 18% in a vehicle, 12% at work, 3% on public transit, 3% at the gym, and 3% walking around.

The Problem

FeedPress advocates podcast producers pay close attention to loudness compliance with their audio. Irrespective of listening environment, it’s just good practice.

Interest in podcast production techniques and the analysis of podcast audio is a growing trend. Engineers are analyzing many of the top ranking podcasts–including ones repackaged from radio–and are finding they exhibit a multitude of problems. Some of the problems podcasts have include an extended dynamic range, wide ranging degrees of loudness, and even clipped audio.

Why Care?

Overly loud podcasts may contain audible distortion, which can be extremely uncomfortable for listeners. Furthermore, your audience should not be frustrated and have to constantly reach for the volume controls when listening to podcasts. This is why audio engineers advocate that podcast producers aim for a target loudness of -16 Loudness Units relative to Full Scale (LUFS) for stereo files and -19 LUFS for mono files. LUFS is a standard designed to enable normalization of audio levels of broadcast TV, other video, and now podcasts.

There are two reasons why engineers are pushing for audio compliance: maintaining a level of consistency between program audio, and comfort in loud listening environments. Some examples of noisy listening environments include: the morning or afternoon commute by train, car, or walking outside. Working with spoken word requires attention to detail to maximize intelligibility and loudness for mobile device consumption.

Solutions

You are a story teller, editor, and producer and must ensure the quality of your audio matches the high bar set for your content. There are solutions to this complex problem that do not require an audio engineering degree. For example, podcast producers can use tools built into Adobe Audition such as “Match Loudness” to optimize and export their podcasts to recommended compliance targets.

Another solution is to use an online service such as Auphonic, which contains reasonable presets for novices. Note that even though there are tools that can make this job more efficient, you should still understand the fundamentals of why loudness compliance is needed and how it’s achieved.

Audio engineer Paul Figgiani of produceNewMedia blog, and a longtime advocate for loudness compliance, writes:

> I’ve discussed the reasons why there is a need for revised Loudness Standards for Internet and Mobile audio distribution. Problematic (noisy) consumption environments and possible device gain deficiencies justify an elevated Integrated Loudness target resulting in audio that is perceptually louder on average compared to Loudness Normalized audio targeted for Broadcast. Low level, highly dynamic audio complicates matters further. The recommended Integrated Loudness targets for Internet and Mobile audio are -16.0 LUFS for stereo files and -19.0 LUFS for mono. They are perceptually equal.

Conclusion

You now realize the importance of optimizing your podcasts for loudness compliance. To learn more about properly optimizing and mastering podcast audio, please read our in-depth article on loudness compliance.


As story tellers, we must ensure the quality of our audio matches our content.
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Apple Silently Adds Support for Let’s Encrypt Certificates on Podcast Feeds

FeedPress has had SSL support for RSS feeds and hosted podcast media since June 2016. Let’s Encrypt is an open source certificate authority that has been adopted by millions and provides easy access for companies like us to issue free SSL certificates to every customer.

An obstacle podcasters have had since Let’s Encrypt’s introduction is that iTunes Podcast Connect would reject feeds using their SSL certificates. The reason for this is because the iTunes Java Root Store was old and didn’t recognize Let’s Encrypt as a valid certificate authority.

This week we were alerted that the folks at iTunes had silently updated their infrastructure to support Let’s Encrypt. FeedPress has tested compatibility and is pleased to confirm that you can now submit podcast feeds to iTunes using Let’s Encrypt SSL certificates. As of the publication date of this blog post, Apple has yet to update their FAQ on official support for Let’s Encrypt.

Please refer to our tutorial below to learn how to enable HTTPS on podcast feeds:

http://support.feed.press/article/113-enabling-ssl-on-hosted-feedpress-feeds

Conclusion

Note that although SSL is a feature that is available in FeedPress, it’s not a compatibility requirement for iTunes at the moment. If you don’t feel comfortable turning it on, we recommend leaving it off until Apple provides a cut off date when it must be enabled.

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Podcast Publisher: Specify Publish Date And Time in Your Posts

Available today on our Podcast Publishing system, you can specify a publish date and time on posts. This was a requested feature and is something we wanted to get into v1 of the podcast publisher system but didn’t get to.

Customers requested this as it’s an expected feature in a CMS, but also because it’s handy when you migrate from other hosting services and need to re-create your posts and preserve the original publishing date and time.

Selecting a publish date and time

date and time fields

The new date picker

date picker

Updates to File Storage

Several months ago we increased the provisioned file storage from 250MB to 400MB for all customers. Today we made a tweak to File Storage to include a status that reflects whether or not that file is attached to a post. For example, if you have a draft post with an uploaded file, the file will say “Draft.” If you have a post that’s been published, the status of the file will reflect “Published.”

podcast file storage status


FeedPress podcast publisher updates: Specify a publishing date/time on posts.
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Publish your own podcast

You remember that feeling of delight you experienced when you first tried ice cream as a kid. That’s what podcasting on FeedPress feels like. Publish your own podcast today on a 14-day trial and experience delight once again.

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High-Pass Filtering: Getting Rid of Undesirable Low Frequencies

I care deeply about the level of production that goes into each podcast that I make. My production chain begins with using the best microphones I can afford and ends with carefully edited and mastered audio that is suitable for consumption by the listener. I enumerate my production chain below and how it flows to the final product:

  • Microphones
  • Outboard processing (compressors)
  • Mixer
  • Computer
  • Recording software
  • Editing
  • Mastering
  • Upload to the web

Disturbing frequencies you don’t want

A common problem in podcasts produced by the inexperienced is an abundance of undesirable low-end frequency. For example: excessive bottom end that’s audibly disturbing when people hit their microphones, slam their arms on a desk, or a car drives by with its subwoofer blaring. If you record in a noisy environment, this amplifies certain problematic frequencies. Short of recording in an acoustically treated room away from the noise of the outside world, you can’t completely get rid of all undesired frequencies. You can of course minimize the impact or “energy” of the problem.

If you have a dynamic or condenser microphone with an XLR connector, there’s a good chance you will find a switch on it that is a bass roll-off (sometimes referred to as HP or High-Pass). The characteristics of the bass roll-off implementation can vary from microphone to microphone. Consult the manual from the manufacturer to get the details on how they implemented a bass roll-off.

XLR cable

What frequencies should I filter?

A High-Pass filter, as the name suggests, allows high frequencies to pass through whilst unwanted low frequencies (below the threshold you specify) are removed.

For spoken word, I typically filter below 100Hz as you really don’t need frequencies below that. Most of the frequencies that live below 100Hz too easily creep into a recording, some are avoidable if you have poor microphone technique and bad habits, others may be out of your control (as described earlier). In the illustrated example below, the microphone I use is a Shure SM7B. At the rear, there are two switches: one provides a presence boost, the other a bass roll-off. Audio engineers will tell you filtering closest to the source is best. I would agree, but in some scenarios, you’ll find the bass roll-off too aggressive.

Shure SM7B

The SM7B is a fantastic microphone, but I don’t roll-off on the microphone because the filtering slope begins at around 200Hz. There are some lower frequencies in a male voice that I like to retain around 150Hz). Other dynamic microphones more commonly roll-off at around 100Hz or even 80z. There are other microphones that offer granular controls such as the Sennheiser MD-421 that have multiple bass roll-off options. If you don’t filter at the source, there are 3 other options: filter at the mixer level if you have the luxury of owning one, filter at the preamp/channel strip, or in software.

dbx 286s

Rolling off bass in software

My primary recording software is Adobe Audition. The example below applies to other popular software packages such as: Avid Pro Tools, Logic Pro X, GarageBand, or Audacity. Plugins are little software programs that can be inserted into an individual audio track to apply a particular desired effect such as: dynamic processing (compression), reverb, delays, equalization, and more. To filter out low frequencies, insert an EQ plugin into the problematic audio track.

Enable the HP button and specify a value for the filter. Note that I set mine to 100Hz.

Note: If you prefer, you can filter all tracks at once, and how you do that is by inserting the same EQ plugin on your “Master Bus” track. The Master Bus is a stereo bus that sums all of the individual audio tracks together.

Parametric EQ

You’ll notice in the screenshot below that below the “Frequency” option, there is “Gain” setting, which defaults to 24dB/Oct. This setting tells the filter by how much gain should it attenuate from the signal in db (decibel as the unit of measurement for the intensity of sound). In other words, how aggressively should it cut out the frequencies. The “Oct” stands for octave. In musical terms, an octave is described as follows:

A series of eight notes occupying the interval between (and including) two notes–one having twice or half the frequency of vibration of the other.

To put this all together, my High-Pass filter will filter out frequencies at 100Hz or lower and will cut them on a relatively aggressive slope of 24db per octave.

HP filter


Podcast tip: Remove undesirable low frequencies from your podcast audio with High-Pass filtering.
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Coda

You now have an understanding of problematic frequencies that you want to remove from your podcast audio, how to remove them, and what exactly is going on from a technical perspective behind the scenes.

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Improving Your Podcast Interview

Last week I wrote about booking guests for your podcast. Today I’m going to address interviewing performance. There are two types of interviews that I’ll elaborate on and why they’re different.

In journalism school you learn how to conduct interviews. You must prepare, including getting as much background information as possible about your guest as well as having a deep understanding of the subject matter for discussion. Research and preparedness is critical, irrespective of the transmission medium: radio or podcast. My favourite interviewers are ones that engender an environment of safety and comfort. A skilled interviewer will be able to elicit the most interesting responses from the subject.

Research your guests

Knowing your subject is conducive to a better interview for both parties. By collecting as much background information as possible, you will be more confident during the interview. Spending the time to take interest in learning about the subject will make your guest feel more comfortable with you. It’s never about you, so act selflessly.

Write down critical topics to discuss

Preparing questions in written format is not something I use during interviews, but I do write down the critical topics for discussion and order them appropriately. The reason why I won’t write questions down is because I don’t want to read them, which makes the interview sound scripted and unnatural. My goal is for the listener to feel like a fly on the wall in a private conversation. If I can do that, I have done my job.

Look for something interesting to delve deeper

If you’re asking the right kinds of questions, the flow of the conversation should naturally progress and lead from one interesting topic to another. You should use reflective listening techniques to focus on what the other person is saying. Reflective listening is different from active listening and is described as follows:

Reflective listening is a communication strategy involving two key steps: seeking to understand a speaker’s idea, then offering the idea back to the speaker, to confirm the idea has been understood correctly. It attempts to “reconstruct what the client is thinking and feeling and to relay this understanding back to the client”. Reflective listening is a more specific strategy than the more general methods of active listening. It arose from Carl Rogers’ school of client-centred therapy in counselling theory. Empathy is at the centre of Rogers’ approach.

When your subject mentions something intriguing, don’t just let the moment pass. Ask them to tell you more about it. This can often lead into new, interesting, and unexpected territory.


First time interviewing: invite a friend to interview and record the talk so you can review later.
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Coda

You can only improve your interviewing skills and level of comfort by conducting many interviews. If you haven’t interviewed before and don’t know where to start, ask a friend if you could use them as a test subject. Make sure you record the interview and listen back to it so you can critique your own performance.

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Booking Guests for Your Podcast

Last Monday I took the day off for Canadian Thanksgiving while Maxime held the fort. Today I’m speaking to you about booking guests to interview on your podcast.

If interviewing is something you enjoy but you’re having a hard time finding guests or are unsure of how to approach people, I’ll elucidate on some things you will be doing. There’s no easy way around going out there and chasing the people who you want to interview, however I’ll give you some pointers so you don’t feel lost or make mistakes you will regret.

Where do you start? Make a list

Instead of going week to week scrambling for ideas of who you should approach and then trying to contact them, write a list of as many people as you can think of that you want to interview. The more the better. It doesn’t matter what tools you use for keeping track of the guests you want to contact, just make sure that fill it with as much helpful information as possible.

Spreadsheets work well for financial data but they also work well tracking who you want to talk to. In a spreadsheet, my suggestion is to create columns that include the following headings:

  • Name
  • Email
  • Website
  • Phone
  • Skype
  • Social
  • First attempt (the date you contacted)
  • Second attempt (the date you contacted)
  • Booked

This will be your database to keep tabs on your prospects.

One thing you will discover is that people have preferred contact methods. Some like email over phone or Skype to give one example. Make a note of which communication method your prospect prefers. I like to colour code the preferred contact method so I can refer back to that later.

Reach out to people

You have a list ready and now will begin scouring the web and social media for contact information. This is not difficult but will require time and effort on your part. The hard part will be getting your prospective guests to respond and agree to the interview.

Use social media

Social media is ubiquitous. As of June 2016, Facebook reported on average 1.13 billion daily active users and 1.03 billion mobile daily active users. For the same month, Twitter reported 313 million active users of which 82% accessed the service from a mobile device. There’s a good chance you will find someone to talk to on either of these outlets.

My personal experience is most low to mid level “celebrities” (I use that loosely) are pretty receptive to speaking with people about what they do. It also gives them a platform to further plug their creative work.

Twitter: Begin with an @ reply and see if you can ask for an interview (you only have 140 characters to do that). Give them some time to reply. If you don’t hear back from them within a week, try a DM (Direct Message) and see if that goes through (this depends on the recipients privacy settings. DMs now have a 10,000 character limit, so make sure to briefly explain why you want to interview them and let them know you’re open to whatever communication method they prefer.

If you don’t hear back within 2 weeks, try tweeting them again. Keep in mind that people are busy. Depending on how many followers they have, they may not even notice your inquiries (my observation is that becomes an increasing issue for 10,000+ followers).

Facebook: It’s an excellent platform without some of the character limitations of Twitter. Creative people (I’ll lump writers, actors, musicians, makers into that term) often use a business page to showcase what they make. Begin by writing a message on their page (seen publicly) and ask them if they would be open to an interview. Remember to mention what it’s for and that you’re flexible to their preferred communication method. Brevity is key (don’t ramble on).

Email

Email, yes email, is still an effective means of communication for an overwhelming majority of people. If social media efforts led nowhere, check for a link to their website from their social profile and see if there’s an email address or contact form. I recall many times where my prospects responded first over email rather than social.

Checklist of things to mention

  • Why you want to interview the individual (your podcast about “x”)
  • You can arrange to communicate via email, phone, Skype or whatever works best for them.
  • Give them an idea of how long you need them (I always say it will around an hour at most)
  • If they agree to the interview, be flexible and work around their schedule to book a time

Tips for booking a podcast guest: Research and persistence is key.
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Coda

In the coming weeks I’ll be delving into building on your interviewing skills. Hopefully this will provide some valuable information so you can book your own interviews. Please remember that when both parties have agreed and the place, date, and time, you should create a calendar event and also write down in your spreadsheet that the booking was successful. In the aforementioned section regarding making multiple attempts at contacting people, you should not give up if you don’t hear back. If you’ve made a couple of attempts, you can always come back to them later and move on to the next person. Some people are incredibly difficult to reach, but persistence is key. If it takes six months to book your favourite guest, then so be it.

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Review: Changes To Your Feed Dashboard

Over the last couple of months, we’ve made some changes to the feed dashboard you should know about. An overwhelming majority of customers have responded positively to the new changes and improvements with podcast feed creation, importing feeds, and feed merging.

When you login to your FeedPress account, your feed dashboard is the first page to greet you. There are four buttons laid out horizontally across the top of the page: Create Feed, Import Feed, FeedBurner Migration, Merge Feed.

Feed dashboard buttons

Create Feed

To create a new podcast feed and to utilize the new podcast post creation system, you will use Create Feed to get started. We’ve had a few reports from people who inadvertently used this method when what they really wanted was to import an existing podcast feed that they own. We added some additional text to the button to make it clear this is for podcasters that want to create a new feed from scratch.

Import Feed

If you own a feed that you wish to import into FeedPress, be it a podcast or blog feed, you will import it so you can get analytics or add podcast hosting if you need it. Note that if you are running WordPress, you can also install our plugin to speed-up setup. Our plugin can import the feed and redirect as well as do a few other advanced things. Importing feeds means they are from a third-party. For example: WordPress, Tumblr, Blogger, Libsyn, SoundCloud.

FeedBurner Migration

If the label didn’t give it away, within a couple of clicks, you can easily move your blog and podcast feeds from FeedBurner directly into FeedPress. We port the feeds and data, which include any newsletter subscribers.

Merge Feed

A sought after feature requested by our customers, you can take two or more feeds and merge their content together. This is useful for podcast networks that want a single “master” feed that contains all of their podcasts. Bloggers also find it useful since you can take different feeds that contain different content and create a “master” feed with all of their writing.


Create Feed vs Import Feed in FeedPress: we explain the differences.
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Coda

We have some bigger updates planned for the dashboard in the future, but for now, I hope this clarifies some of the recent changes we’ve made. If you have any questions, we’re available 7 days a week to help. Get in touch with us via email.

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