#Sound editing

[luxradium]

A recommendation to all the audio drama creators out there:

Always listen to your show in the way your audience is listening to your show.

We tend to edit using nice gear. Good over-the-ear headphones. Quiet rooms. But most of your audience will not listen to your show this way. A recent poll indicated that almost 20% of AD listeners listen with a *single* earbud in. Almost 10% listen on their phone speaker. That's a significant part of your audience that is listening in a mono environment or with tiny speakers (or both). You also likely have listeners with hearing loss in one of their ears*, and you want your show to be accessible to them. Before you release your show, make sure to listen to it at least once on a single earbud in a noisy environment. Is your show still legible this way? Can a listener still enjoy it like this, and understand all the plot beats and character moments? If not, it's a good idea to spend some more time on your edit so that they can. (And it's still definitely OK to make your show sound *great* for those who have a great audio setup! Just make sure the show still works for those who don't.) *You likely also have audience members with hearing loss in *both* ears. Transcripts are important. I'm behind in getting them posted for Metropolis, I need to get on that. (Episode 3 of Metropolis is live, BTW. Just waiting for Spotify to pick up the RSS feed before the big announcement. 😅)

[rqbossman]

How was it that in a podcast with some of the grossest sound effects I've ever had the pleasure of listening to, the sound of kissing was where you and Johnny drew the line? It's just funny to me xD

Because kissing is gross. Well I mean, all human processes are gross but kissing... blerg. Jokes aside, it's hard to explain. I guess it is worse hearing something that is meant to sound nice and isn't than something that was meant to sound bad from the start. Certainly enough listeners agreed that I think I am onto something here, not sure yet.

[bluebellowl]

Imagine if animatronic Ingo just had an unbearably loud voice after falling.

Could either work as a jumpscare noise, or as a sort of warning to gregormy.

HI

MY TIME HAS COME!!

Yes, I've thought about that too! I'm drawing Emmet's cracks like he fell on his back and Ingo's cracks like he fell on his front. This means that his chest and his voice box are damaged too.

While thinking about their voices, I've been making sound edits of their Masters Ex but with the Secturity Breach voice effects.

And I did the same with my hc voices for them. George Clooney for Ingo and Jason Schwartzman for Emmet. Emmet's voice lines come from Gideon Graves in Scott Pilgim Takes Off, so there's a bunch of villain lines. Apologies for that.

And then I thought, WELL while I'm at it, I could also do Ingo with a cracked voice box. I didn't put any glitches in because I don't really know how without making it sound odd. So let's say it's just the hardware that's been damaged, not the software.

HEADPHONE WARNING!

[jaubaius]

Source

[zee-rambles]

Guys! Why is no one talking about this? They WON a golden reel award! Much deserved! Woooo!

Save Rise of the TMNT!

[cleolinda]

(Kitten vs A Scary Thing)

Again, I beg you to turn on the sound.

[satan-in-a-tea-cup]

Brilliant fkn hilarious sound edit by Buttons on Soundcloud

Stede: "I think this is my new favorite thing. I do have some notes, though."

Transcript by Kninjaknitter (AO3, soundcloud, twitter)

[bluemoonperegrine]

WBN, sound design, and the flaming tuba

Yesterday I finally watched this 50-minute video about the sound design and editing of Werewolf By Night. Since I know next to nothing about sound design and this is mostly an interview with Michael Giacchino and some of the post-production team via Zoom, I wasn't sure if it would be entertaining. It is, largely because Giacchino and the other four professionals have such good rapport. They enjoy working together.

The video below will start at at the 44-minute mark when the host brings up the end of the special. The whole thing was a very late addition. Until the last few days of shooting they had nothing scripted for it. The special just sort of ended. They knew they needed more and eventually came up with what we saw after some suggestions from Gael. It's worth watching the last 10 minutes just for that, the behind the scenes info, and what Ted actually says to Jack that makes him laugh. 😂

The segment before that one is about how the flaming tuba guy, who's actually one of the long-time producers of The Simpsons and Giacchino's BFF, happened.

WBN was a labor of love and collaboration. They made up a lot of it as they went along!

[luxradium]

An FYI to Audio Drama Creators

All music made and recorded before 1929 1925 is in the public domain in the US. There are so many 78s out there with incredible music that will sound fantastic on your show – give them a shot! They might require a little cleanup, but often with an expander and a little EQ, they brighten right up and they're ready to use. One of the delights of making Metropolis is - I can use diegetic music from the 20s. It turns out, a lot of this music is wonderful! Mamie Smith! Paul Whiteman! The discovery of this stuff has been wonderful, and with Metropolis, we get to pass it forward a little bit. :)

[harveyguillensource]

WWDITS 2023 Emmy nominations

Outstanding Production Design For A Narrative Program (Half-Hour) What We Do In The Shadows • The Night Market • FX • FX Productions Shayne Fox, Production Designer Aaron Noël, Art Director

Outstanding Picture Editing For A Single-Camera Comedy Series What We Do In The Shadows • Go Flip Yourself • FX • FX Productions Yana Gorskaya, ACE, Editor Dane McMaster, ACE, Editor

Outstanding Fantasy/Sci-Fi Costumes What We Do In The Shadows • The Wedding • FX • FX Productions Laura Montgomery, Costume Designer Barbara Cardoso, Assistant Costume Designer Judy Laukkanen, Costume Supervisor

Outstanding Sound Editing For A Comedy Or Drama Series (Half-Hour) And Animation What We Do In The Shadows • The Night Market • FX • FX Productions Steffan Falesitch, Supervising Sound Editor Chris Kahwaty, MPSE, Dialogue Editor David Barbee, MPSE, Sound Effects Editor Steve Griffen, Music Editors John Guentner, Foley Editor Sam Lewis, Foley Editor Ellen Heuer, Foley Artist

[the-eyeless-watcher]

vanilla curls by Teddy Hyde, but it was for a Disco Elysium animation i never started or finished. i just added some Disco Elysium sounds

[denimbex1986]

Ripley is officially an Emmy winner! 😀

Congrats to John Bowers (VFX), Robert Elswit (cinematography) and Larry Zipf (sound editing) - here's hoping Andrew Scott joins them with an accolade next weekend!

[theatticmonologues]

The Attic Monologues team is looking to recruit more audio editors for season two! This is a remote, paid role: we are offering £50 per episode.

Click here to learn more and to apply.

Feel free to DM us or leave a message in our askbox with any questions you might have!

[krissiefox]

As I am now caught up with the current list of models for Unlucky, I'm now working on sound design for the game, making good use of the portable recorder I bought last year. It's been quite fun so far! :) Today I got to splash around in a lot of water to get splooshy sound effects. I should probably towel down my bathroom sink now, it's a bit wet in there. Hopefully soon I'll have time to go for a walk and record some nature sounds outdoors, that should be fun as well. :D