Aural Stage Studios, Inc. is excited to partner with Walt Disney World® Resorts to bring you the opportunity be a holiday hero this season. Head over to http://auralstage.com/contests to enter for your chance to win Four Walt Disney World® passes! One lucky winner will be drawn on December 24th!
Don’t forget to make your amazon purchases through out charitable link. The AmazonSmile Foundation will donate 0.5% of the purchase price from your eligible AmazonSmile purchases. Same Amazon, same prices + knowing that you’re supporting the arts!
I’ve been using Audition since it was Cool Edit 1.0. It has always been my go-to software to getting things done. And coupled with Pro Tools, I had a mighty editing suite indeed. But last week I stepped up to a personal challenge that changed my workflow permanently.
I typically design in Pro Tools and use Adobe Audition as my go-too tool for builds and destructive work. However, the dialog editor, Eli McIlveen works predominantly in Reaper, so I decided to give it a go to keep things consistent. To cover clean up and mastering, which I typically do in Audition, I opted to use iZotope RX4 Advanced.
The first day was slow, but eye opening: I had before me a suite that made designing feel like designing again, an artistic process, rather than a technical one. Despite the learning curve, I was still able to flow and work within Reaper, and it required almost none of the special tweaking I have to do to get Audition or Pro Tools running smoothly.
All total, it probably took me about 45 minutes to get my computer setup into a reasonably workable configuration and start designing. That said, Reaper also incorporates a lot of new functionality that I will definitely be implementing.
Probably my favorite feature is the folders. Both Pro Tools and Audition have grouping functions, but nothing like this. Reaper allows me to configure groups of people, settings and grouped builds under a master folder that acts as a bus for all of it’s sub folders. This is incredible useful, if like me, you tend to build your designs into a space.
Another super easily accessible feature of Reaper is the ability to render audio quickly on the fly. This takes a lot of power off of the processor, which means I can use all the plugins I need to without burning out all my available processing.
As for RX4, the ambience matching alone makes the software indispensable. After all, with enough room tone, one could conceivably build the world. More than that, though, is RX4′s Dereverb and EQ matching, which allows you to take otherwise unmatched material and make everything sound clean and usable. It’s no substitute for a clean track, but anyone who’s not listening for it, will hardly know the difference, making it perfect for tracks that are otherwise buried in the mix.
Sometime back in September we decided we wanted to produce a quick horror audio drama, just for fun.
We asked some of the fellow audio drama producers living in the Northeast if they wanted to be a part of some #worldaudiodramaday mayhem. The response was a resounding “Hell Yes!”, And 11th Hour Audio Productions was born.
Twenty-three different people, representing eleven different audio drama and podcast production groups converged to celebrate what we love about modern audio drama…
Standing around and looking confused; I mean… telling stories.
Buffalo writer, Justin Mullane, volunteered a script idea he had been kicking around for a while and within a week, had written 30-minutes of strange, horrific fun. With the rough draft in hand Monique Boudreau began editing the script for audio, while Matthew Boudreau and Richard Wentworth began casting.
In a very short time they had almost all of the roles cast and Mr. Wentworth began location scouting, while Aural Stage Studios, Inc. began gathering equipment and props.
On October 23rd we traveled to historic Lowell, Massachusetts to meet up with some outstanding, creative and crazy people to create a little last minute mischief and horror.
On this special day for Audio Drama we would just like to take a moment to thank every person who volunteered their time, energy and enthusiasm for this project! This show was made entirely out of determination, schmeared with love (or was it insanity?) for nothing more than the opportunity to meet and greet some fantastic people in Audio Drama.
Written by – Justin Mullane
Michael McQuilkin as Gary Seana Carmody as Shelly Featuring Rich Wentworth as Dr. Maidenthorp Steve Schneider as Bill Bryan Lincoln as Steve Sarah Golding as Operator Matthew McLean as Adam Owen McCuen as Adam Robert Cudmore as Paramedic Sibby P Wieland as Television News Reporter Matthew J Boudreau as Paul and Hank Pete Lutz as Testimonial Katey Falvey as Barbara and David Jarvis as Television News Reporter Score by – John Carl Toth Music by Matthew and Javert Boudreau VWT (Lucas Messier) Ithaca Studios Dialog Editing by Eli McIlveen Sound Design and editing by Matthew J Boudreau Script Editing and Artwork by Monique Boudreau
Henry Wentworth, Matthew J Boudreau, Fred Greenhalgh’s Rode NT4, Rich Wentworth, Scott Hickey, Bryan Lincoln, Pete – Throat Warbler Mangrove Sweet Butts -Lutz, Audrey Wentworth, Javert Boudreau, Steve Schneider’s Shovel, The Watermelon, Rebekah White, Mr. Body and Katey Falvey