MR’s Diary of a Dominatrix Podcast: #4 – ‘Adventures in Chastity’

It’s been a while since we’ve published one of Mistress Roulette’s podcasts, and a lot of our friends has asked if we’d given up on them. Far from it, I had made a significant investment in some very expensive audio mixing equipment and two rather expensive microphones. Sadly, that equipment just collected dust for a few months, but no more.

Mistress Roulette has recently teamed with myself and local figure in the Los Angeles kinky scene, Master No One, to record not one but two podcasts. The first is on chastity play, and is available now for your listening pleasure. The second will be up next week, so be patient.

Spin of the Wheel, Part 4

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One Response to “MR’s Diary of a Dominatrix Podcast: #4 – ‘Adventures in Chastity’”

  1. Roulette Says:

    Ah, yes, but do not forget, my darling, that up until this last recording, I could not dare to release any of the prior tracks we laid down since July. Not in good conscience, anyway.

    I expect high quality in all things, and my Podcast is certainly one of them! That, and while I’m sure it will simply bore some, I’ll give a bit of background into why I’m such a stickler. It starts with my father — producer, audio engineer, and electronics mad genius — who taught me very young how to mix and lay down good audio.

    This was NOT good audio. In fact, I could call it ‘barely listenable’ at absolute best. Headslave and I make a great team because we balance each other out. He’s not a perfectionist, and prefers anything to be in existence rather than nothing at all. And, depending upon everything else going on, it doesn’t always matter if that product is of poor quality. That’s fine if it’s his own project — but NOT mine. Oh, no, no, no. Never mine. And since I have final say on whether or not something’s ready or done, well, sometimes it takes a while. The best things often do.

    He was incredibly thoughtful shortly after we moved into our new place to buy what we’d need to make everything the kind of quality I demand it be: two beautiful condenser mikes which look as lovely as they sound, a couple more inexpensive but very good cardioids, and an excellent digital 4-channel board with built-in pre-amp. If I’ve not already said it, I will: there’s nothing like multi-track recording.

    We were pretty psyched to get everything up and start playing, so before the night was out, we had it all running. Later that week, we brought in the same local kinkster and lifestyle dom Master No One, and one not featured in Podcast #4: ‘Adventures in Chastity’, Scarlett, to do an enlightening — and rather serious — show on the dangers of abuse in BDSM relationships. Content-wise, it was amazing. Really, really good stuff.

    In terms of production quality?

    ABYSMAL.

    16 hours later, and several days, and I’m STILL editing this thing. Finally, we just decided to screw it and record a new one. Seeing as it was recorded, edited, and released within about 2-3 days, I’d say that’s progress. So, what was the problem at first? Well, you didn’t come here for Audio Engineering 101, but tough titties — you’re gonna get a crash course.

    The condenser microphone is a marvel of echoic engineering — and the wish come true to many professional recording artists. All mikes have a ‘sweet spot’ — that particular portion of the unit where the filament vibrates in just the right way to produce the cleanest, sharpest, and most full sound. Cardioids are more forgiving, but their range is less than that of a condenser. Whereas the cardioid allows the speaker to move more easily and maintain a decent sound, the mid-range is known to suffer most, the highs not as crisp, and the lows more shallow. While requiring more rigidity, the condenser fixes this, providing a more concentrated sound that can delivery quality akin to that of being live. You know that feeling that it’s like they’re in the room with you? Isn’t that cool? Moreover, isn’t it always worth it?

    To me, it is, and anything less than that slightly collarbone-rattling, and scalp-tingling is just not acceptable. But then it’s no surprise I’m a hard-ass.

    A lot of it has to do with properly using the really good equipment. If you’re in a space which is an acoustical nightmare, (like a glass table) then the sound waves will NOT be directed to where they NEED to be going, and thus bouncing all over the place. The beauty of a condenser is quickly lost; the speaker sounds as if they’re in a concert hall talking into a tin can, miles and miles away. How can anyone bear to listen to that? I certainly can’t. No One and Scarlett were more fortunate, as we had them setup on cardioids. Unsurprisingly, they came through clear as a bell. I was the only one sounding as if I was in the next county. And no amount of editing, gain changing, normalising, or gating could disguise the fact that it was just really, really poorly recorded.

    But we learn quickly. I fixed the acoustics, we broke back out the condensers (and one cardioid which was gated to control the highs and expand the lows) and No One, MP and myself did the absolute, hands-down, best produced Podcast we’d done since the beginning. And anyone can feel it, too. I have to confess, I get a bit giggly just listening to an excerpt of it in any setting: headphones, earphones, laptop speaker, or Dolby 5.1. It doesn’t matter. It sounds incredible.

    So, then. Now you’ve got the whole story. There’s something to be said for patience. Good things truly do come to those who wait.

    We hope you enjoy the latest addition to Diary of a Dominatrix. I certainly am.

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