DAWs: What’s the Best Audio Production Software? | Episode 109

In this packed episode we hear from some amazingly inspiring active creative audio drama producers re: their favourite D.A.W. There’s hints and tips and why people prefer one D.A.W over another. Thank you SO MUCH to the very talented Raul Vega (Rose Drive, PRO TOOLS) Edward Champion (Gray area, REAPER), Matthew McLean (A Scottish Podcast/Yap Audio, ADOBE AUDITION), Rick Cost (Fiona Potts interview, HINDENBURG) Travis Vengroff (Liberty Podcast, MIXCRAFT).

Sarah does ‘singing’. Fiona does spiel about punch and rolling. What’s not to like?


Rose Drive

Edward Champion
The gray area

Matthew MacLean
A Scottish Podcast and more…

Travis Vengroff
Liberty Podcast

Rick Coste
Fiona Potts interview + so many more

Fiona Thraille

Sarah Golding


Podcast host course on audacity Sarah is using
Podcast host microphone review

Some extra reading…if ya wanna…

Thank you to allll of our wonderful Patreon contributors…if you would like to become one, Fiona will do an audio dance, just for you. Sarah promises not to…. https://www.patreon.com/yapaudio

Tweet us – @yapaudio
Facebook – The Audio Drama Production Podcast
Matthew and Robert’s Naked Lawnmower Calendar Shoot order /
Any feedback or correspondence to:

Women in Audio Drama | Episode 106

In this International Women’s Day Special we’re celebrating women working in all areas of audio drama production.

Thanks to our contributors. Here is where to find them:

Sarah Buchynski, sound engineer, sound designer and novelist

Polarity Audio Works

Lauren Shippen, creator, writer, director, producer and actor for
The Bright Sessions

Emma Sherr-Ziarko, AVA-winning actor in Wolf 359

Anthology: Across the Sea

Molly Beth Morossa, writer, script supervisor, production pixie and actor

Wooden Overcoats

Laura Bramblette

Kessi Rilinki

Plus look up Trilunis on Facebook and follow the beginnings of creating a new epic podcast drama.

Women In Audio resources and networking groups mentioned:

Women of Fiction Podcasting series on ThePodcastHost.com

Women’s Audio Mission

Sound Girls

Sound Women Network

Music by Kevin Hartnell

Sound effects from Freesound.org

Warfare Drums by Jobro

Ultimate Advice For Making Audio Drama | Part 2

It’s part two of the Audio Drama Production Podcast’s 100th Episode. Listen to part one.

What advice would you give yourself before you started making Audio Drama?

That’s the question that’s going to be answered by our fantastic panel of creators from some of the best shows around.

Featuring input from

We’re Alive, Radio Theatre Workshop, The Stories of Mahabharata,Contador de Historia, Hidden Harbor Mysteries, Fiona Thraille, Hadron Gospel HourWooden Overcoats, Roswell B.C, Owen McCuen, Space Casey, The Cleansed, The Sting of the Dark TowerThe Vienna Jetschko PodcastLightnighBolt Theater of the Mind, Greater Boston, The Night KeepJarnsaxa RisingAlba Salix Royal Physician, Matt LeongShadows & Daylight, Atheist Apocalypse, & Rick Coste.

And, as always, you can get in touch with the show at podcast@audiodramaproduction.com

Ultimate Advice For Making Audio Drama | Part 1

It’s part one of the Audio Drama Production Podcast’s 100th Episode. Listen to part two.

What advice would you give yourself before you started making Audio Drama?

That’s the question that’s going to be answered by our fantastic panel of creators from some of the best shows around.

Featuring input from

Edict Zero FIS, Wireless Theatre Company, Radio Drama Revival, The Vienna Jetschko Podcast, Wooden Overcoats, Z-Poc Nation, The Grist Mill, Locke & Key, The Post-Meridian Radio Players, You Are Here, The Bright Sessions, The Truth, Slumberland, The Orphans, Nova Dark, Ohrenkneifer, The Once & Future Nerd, Valenhigh, and Archive 81

And, as always, you can get in touch with the show at podcast@audiodramaproduction.com

Should I Quit & Start Again?

It’s a common problem in Audio Drama. The first episodes of your show are often your very first steps in the world of recording and mixing audio. This can mean they’re a bit rough around the edges, and can cost you a few listeners who’ll judge you on their quality.

Does this mean you should abandon your ongoing series and start something new?

We’re also talking about the importance of practicing. It’s worth spending as much time as you can learning the craft of audio production, and just working on your show alone might not be enough.

As always, we welcome your feedback, comments, questions, suggestions, etc. Get in touch at podcast@audiodramaproduction.com

Pitching Audio Drama Ideas

The subject of pitching original content ideas to Audible has been a popular one this year.

It began with Eric Nuzum’s appearance on the podcast, and was followed up by Joseph Tucker’s interview with Audible “comisionee” Chris Winstanley.

Joseph returns this week with another interview – this time with Rebecca Fenton of Audible UK’s ‘Original Content’ team.

If you’ve got an idea for an Audio Drama you think they’d like to commission, you can get in touch with them at submit@audible.co.uk

You might also be interested in the Chasing Audible podcast, and in particular, their interview with Steven Jay Cohen (episode 10. This show takes a look at publishing on Audible as well as coming up with story ideas that might be pitch-worthy.

And Joseph himself has a new show out, we’ve mentioned it before, it’s called Mirth Defect. It’s absolutely hilarious, but not for the easily offended.

Neither is one of our own Audio Dramas, actually. We’ve been making one recently called A Scottish Podcast, so feel free to check that out too.

Oh, and we mention a great video by Mike Russell on producing Audio Drama in Adobe Audition’s new Essential Sound panel.

As always, you can get in touch with us about anything and everything at podcast@audiodramaproduction.com

What Can We Learn From Film Sound?

Some of the most famous and classic examples of sound being used to tell stories come from the world of cinema. On this episode we’re joined by Dr Kenny McAlpine of Abertay University as we take a look at what we can learn from film sound.

The main focus of this discussion is to define some specific terms that are common in connecting emotionally with the subconscious of the viewer – and to think about how we use this techniques for a listening, rather than watching audience.

We’re going to look at empathetic and anempathetic sound. Does the soundtrack serve to support the tone of the scene, or contrast it?

We’ll also look at diegetic and non-diegetic music. Is the music in your story part of the story world, or exclusively for the listener? Why might you choose one over the other, and does it matter?

And if you want to delve deeper in to this subject, I recommend a book called Audio-Vision: Sound on Screen by Michael Chion.

With thanks to Boyd Barrett of Roswell BC for creating the intro to this week’s show.

As always, we welcome your feedback, thoughts, contributions, and general abuse. Send it all to us at podcast@audiodramaproduction.com