From the Twittersphere Jade Madison Scott @JadeMScott took the time to pass off some wisdom about a service that could be really valuable for those struggling with transcripts.
Descript has an “Automatic and human-powered transcription with industry-leading accuracy and powerful collaboration tools.” So, if you want to try something that won’t cost a lot. Give them a try.
We may just get the Sonic Speaks interviews out in text form that way!
A handful of fading memories, the remains of a research project, and a garbled tape recorder are all Dr Miranda Quan has to her name… all this and more can be heard in this week’s feature as Jack and David present Alex Yun, Andrea Klassen and Procyon Podcast Network’s Station to Station on the final day of NADSWRIM 2021. Your wait is over… It’s AUDIO DRAMA TIME!
If there’s one thing we hear a lot in the audio drama circles is that there’s just not enough love to demonstrate how much hard work and dedication goes into making our favourite stories. From the writers and actors to the directors, musicians, and producers. Audio Drama is a collaborative process and the Seneca Awards are an amazing opportunity to have your works known. The Seneca Awards focus on celebrating the very best in family-friendly entertainment. Have you created an audio drama the entire family could appreciate?
Enter your submission for this year’s Seneca Awards now!
Producer, artist, software developer, actor, and all around Renaissance man Steven Jay Cohen has your back when it comes to getting the best recording levels.
Check out this post on his site: Setting Your Own Recording Levels: A Step-by-Step Guide.
Something has changed. You bought a new mic? A new pre-amp? You added some new sound treatment? Or, your set-up is the same, but the room its in is different? Any variation in your recording space means that you really should go through all of your settings again. Don’t be afraid. There is no reason to be overwhelmed.
If you take it step-by-step, it’s really not that difficult to do.
It’s always great when we who use Reaper get great help. Tanja Milojevic from Lightning Bolt Theater of the Mind posted this little gem of a youtube channel. I must see for those of us struggling to always make better audio works!
The Internet is buzzing with the news that Audible.com has decided to launch a five million dollar fund to find and play audio drama writers. The Digital-Reader has all the details:
Audible, the digital audiobook giant, announced Tuesday that it would create a $5 million fund to commission new works from emerging playwrights — not for the stage, but for people’s headphones and speakers.
As audio fiction seems to be having a moment, in the realm of podcasts, Audible plans to draw from the vast pool of young writers to create one- or two-person plays. They will be available beginning late this year, the company said.
Playwrights can apply for grants to cover both “industry standards” for new commissions and the cost of production, said Donald R. Katz, Audible’s chief executive and a former journalist and author.
“I’m hoping that people just come out of the woodwork,” Mr. Katz said.
Audible is hoping to fund dozens of playwrights. This will certainly help put proof in the pudding that we’re entering a new age of Audio Drama listeners and production!
Students in the Lighting Design class work to hang lights for the upcoming production of “The Cabinet of Dr. Caligari” in the Salisbury Theatre.
This great OnStage article was shared on Facebook by our amigo, Jeff Billard a grand thaumaturge in both the audio and stage dramatic varieties. It suggests that all actors should spend some time behind the scenes understanding what goes on from the purposes of stage managing.
As usual, we ask the question. Should all audio actors take a turn audio editing as well? Would there be some great value for actors to understand the challenges in isolating the clearest sound?
Similarly, how valuable would it be for all audio editors to take some time behind the microphone and see the challenges in clean delivery?
What do you think? Would that kind of experience make both roles in an audio drama production better?
Someone said to me recently that they felt that audio drama folks weren’t as snobby as podnovel folks.
That was a strange comment to make. Looking back, I do notice that Audio Drama has been seen as the ugly step-child of the podcast community somewhat. Through the years there’s even been some suggestions that audio dramatists could “graduate” to audio novelists if they were good writers. It made me wonder if there were similar ideas between stage playwrights and novelists. Or television writers and movie scriptwriter writers.
Is there a kind of hierarchy of writing and production?
When I think of it I have witnessed some strange behavior through the years. Now, I’m the first one to admit I’m a literary snob of some sort. I enjoy story beyond and above everything else. Good story, for me, is key to any writing in any genre.
I have heard some various forms of audio snobbery though from various quarters:
These are the forms that come to mind for me. What snobbery do you see in the art form? Is it justified?
The indomitable Richard Summers (aka Captain Radio) posted an awesome link in Facebook the other day.
Global Map of Accents is a huge project that has audio recordings of people from various parts of the world so that audio voice actors can get a feel for the accent of the region. This is a phenomenal tool for those of us trying to inhabit a place in their characters. Try it out!
Prosound has a great article on In the Studio: Tips for Controlling Vocal Sibilance. If you’re unaware of what “sibilance” is, very quickly it is the strong consonants that are stressed (sometimes overly so) in recordings. If you’ve ever listened to someone who let’s their S’s linger a little longer than usual, that could be a problem of sibilance in a recording. This lovely article focuses on how to set up your recording area to cut back on sibilance, and what tips you could use to de-esser them.
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