I and my friends are thinking about doing a podcast on YouTube, but the main problem is that we want a clear audio and can’t use the different collar mic because that would be hectic to arrange those multiple audios with the video and it is the whole lot of work. So, if you have any solution about that please do tell.

  • 1
    Producing good quality audio for video is a lot of work. That's a bit like a law of nature for creative works: the best ones usually show the most effort. You could have one mic for all four people but it seems like you are aware that it won't sound as good. Apr 16, 2017 at 15:10
  • Why not record them simultaneously?
    – SDsolar
    Apr 17, 2017 at 6:52

2 Answers 2


You need a camera that can send and sync with SMPTE time-code, and a four track recorder that also has time-code syncing (you may be able to do this in a DAW). The time-code is embedded in the video and all audio tracks, allowing you to have coordinated playback. The tracks will still have to be mixed before publishing.

Thinking about it, and as Todd commented about simplicity, another option that doesn't require any mic setup is the current generation of cameras with high definition audio and multi-track recording built in, such as the "Zoom Q8". I'm not recommending that particular product, but as an example of the class. I have used a smaller version for filimg students for youtube, and the omni-directional setting on the mic picks up the whole room very well, and the products are audio based, unlike some cameras that have awful built in sound.

You don't have any control of the mix, so what you get is what you get, but may be fine for a pod cast, depending on the scope of the project.

  • ... or a clapper & manual sync ;)
    – Tetsujin
    Apr 16, 2017 at 18:50
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    This might be overkill for a podcast. Just a mixer and four lav mics going to the mixer and then the output of the mixer going into the camera input would be fine. The reason why I didn't post that as an answer is, "[we] can’t use the different collar mic because that would be hectic to arrange those multiple audios with the video and it is the whole lot of work", which to me is like saying, "we want to do something without having to do it". Apr 16, 2017 at 20:14
  • Sure it's probably overkill, but the advantage to using timecode is that the mixing can be done after the recording and everything will still sync up. Mixing live into a camera requires either setting up the mixer levels well and hoping for the best, or having an extra person monitor the levels. Timecode generation is the easiest way to do post production on video, but does require either a timecode generator, or hardware and software that works well with each other. Apr 17, 2017 at 6:54
  • And I found more info on timecode than probably necessary: soundrolling.com/timecode Apr 17, 2017 at 7:04
  • Everything will only sync up if the software supports it and you use a timecode standard that is supported by the software and you use the same timecode standard on all devices. Manual clapper sync relies on matching playback rates of the video and audio, which would seem to be a given but can actually be a problem because editing software can interpret playback rates differently. Setting the camera for 24 fps video and 48 kHz audio and then recording separately at 48 kHz with a manual clapper (which could literally just be a hand clap) might be the best bet. Apr 17, 2017 at 18:38

You don't need anything complicated here; this is YouTube 101.

If you're recording audio separately from the video, start everything recording -- including the on-camera audio -- and clap your hands loudly in range of all the microphones, ideally equidistant from each of them.

That spike in audio can be used as a time marker in all the sources to line them up in post. There will be a slight delay from the mic(s) that were a bit farther away, but you should be able to sync them up close enough. Then, simply cut out the clap section from the finished product.

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