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?
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.
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 firstname.lastname@example.org
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.
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?