Aural Fixation Archive

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Why I’m Giving Up on Pro Tools and Audition

Why I’m Giving Up on Pro Tools and Audition

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 had one week to edit a half-hour audio piece for Halloween, Vultures over Low Doves

Why I’m Giving Up on Pro Tools and Audition

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.

Why I’m Giving Up on Pro Tools and Audition

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.

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Movies in My Head: Audiodrama & Film | SXSW 2015 Event Schedule

Movies in My Head: Audiodrama & Film

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SXSW 2015 Event Schedule
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For those of you attending SXSW in Austin:

Several of us have the rare privilege of speaking about audio drama at the SOuth by Southwest Film Festival in Austin, TX. We’ll be discussing how to tell riveting stories through the medium of sound with film makers and film enthusiasts from all over the world.

We haven’t even left yet, and I have already had the honor of making the acquaintance of Mr. Otavio de Moreas with 11:11, a company from Brazil that houses musicians, audio engineers and sound designers. You should check them out at www.1111ads.com.br. Don’t worry yourself with the non-privacy warning. The site is legit.

So tonight we ride. Monique and I will jump in the car – as we are wont to do – and drive our way to Texas, where we will meet with other talented Audio Dramatists: Fred Greenhalgh, Patience Wieland, Sonia James, Kc Wayland, and a slew of talents whom I have not had the pleasure to meet yet.

This is an incredible opportunity – for Aural Stage Studios (inc!) and for audio drama. I hope to represent us well.

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Sound FX Search tool launched | Designing Sound

Sound FX Search tool launched | Designing Sound:

I can always use more sounds, but I’m not a fan of scouring through the freesounds library of audio recorded with an individuals iphone. Here’s a resource to search through free and paid sound effects libraries to find exactly what you need to get the job done.

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Life Lessons and Audio Education | Designing Sound

Life Lessons and Audio Education | Designing Sound:

Why having an audio education is important, even when they tell you it’s not…

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10 Things Everyone Gets Wrong About Intellectual Property Law

10 Things Everyone Gets Wrong About Intellectual Property Law:

I find that copyright law is really only grey when people want it to be. Here’s a few things you might not be aware of regarding intellectual property.

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John August is one of my favorite writers professionally. I…

John August is one of my favorite writers professionally. I love a writer who is not afraid to share his craft, because while you may write, you will never write like John August. And that’s a good thing. John August already has that job.

Today’s share is on #Writing and it’s from johnaugust.com, a site I highly recommend for any aspiring script writer, regardless of the medium. The notes on the audio can be found at http://johnaugust.com/2014/twelve-days-of-scriptnotes.

These guys are a lot of fun, so strap in and get ready for some great writing discussion.

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The Horizon

The Horizon

I want to apologize to everyone for the radio silence lately. We’ve been scheming and planning and reworking Aural Stage Studios into a major contributor and contender in the audio market.

You might have noticed some changes going on with Aural Stage Studios. Maybe not. Whether you have or haven’t big changes are on the horizon.

One of those changes is moving Aural Fixation over here to tumblr, where others can partake of the audio goodness and follow us on our journey to creating professional audio.

There are a whole lot of stars aligning lately, from the success of various audio dramas in the public arena, to our involvement in an audio drama produced and funded by a major audio publisher and featuring some major talent.

More on that when we’re allowed to say more.

We are also working with local Buffalo talent, businesses and ventures to create a new series. We are still in development stages, so it’s still a bit early to say much, but it’s going to be fun…

More soon…

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theboardofdirectorslovesyou: This winter, HartLife is excited…

theboardofdirectorslovesyou:

This winter, HartLife is excited to share a new Exclusion Day Special- an Our Fair City retelling of the classic “Christmas Carol.”   This episode is a new experiment in recording for us, and will sound very different from previous episodes.  Recorded “live,” without significant editing or retakes, we hope to capture the fun of sitting around a living room, telling stories into a microphone.

  • Dr. Emily Caligari— Marsha Harman
  • Larry Joiner, Guest Narrator—Ryan Lucas
  • Clay—Clint Worthington
  • Sandy—Abby Doud
  • Andrew Snidge—Frank Sjodin
  • Flint—Clayton Faits
  • Roman—Jeffrey Gardner
  • Dr. Moro—Mark Soloff
  • Lindsey the Time Traveler—Kat Evans
  • Neal Henderson— Sebastian H. Orr
  • Ol’ Silty— Sebastian H. Orr
  • Dr. Herbert West Ryan Schile
  • Cassie Wilkins— Ele Matelan
  • Lily Wilkins— Kat Evans
  • Mrs. Wilkins— Lauren Faits
  • Loamy— Kat Evans
  • Ash— Ryan Lucas
  • Ferrous— Lauren Faits
  • George Chamberlain— Jim McDoniel
  • Ebeneezer Scrooge— Ryan Lucas

Written by Jim McDoniel.  Produced by David Rheinstrom.  Live foley designed and performed by David Rheinstrom and Jeffrey Gardner.  Musical Direction by Betsey Palmer.  Sound Engineering by Clayton Faits.  Production Management by Betsey Palmer.  Created by Clayton Faits.

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Funding and Monetization for Audio Drama: Damn! Can a Brother Get SomeLove Up in Here? Part IV

MonetizationFunding and Monetization for Audio Drama: Damn! Can a Brother Get Some Love Up in Here? Part IV An important part of producing audio drama is figuring out how to pay for it.  Every audio drama producer we speak with is talking about how to (or whether to) make money from the productions that we put so much work into, or at least how to raise enough money to produce the next show.  As we talk to more and more people who are making modern audio drama there are a lot of different ideas, trials, errors and successes that are being discussed.  In an attempt to learn more about the methods that people are using to generate or recoup funds, we rounded up a few producers to talk about the relationship between money and audio drama.  We hope that sharing their experiences will be instructional for everyone facing similar challenges. For our final installment of this series Matthew speaks with Clayton Faits and Jeffrey Gardner of Hartlife NFP, the team responsible for the remarkable and unexpected series Our Fair City. hartlife_logo The Hartlife NPC team’s enthusiasm and commitment to quality has quickly made them a notable entry in the modern audio drama world. Hailing from Chicago, Our Fair City is produced by a group of theatre veterans, experienced sound designers, and science educators, the series has won awards and critical acclaim for its dynamic acting, incisive writing, and high level of production.  The group has won multiple Mark Time Awards, and was a Finalist for a 2013 Parsec Award. Our Fair City was named the year’s Best Original Comedy in the 2013 Audio Verse Awards. Our Fair City Our Fair City has also appeared at the 2013 Chicago Fringe Festival, at CONvergence in Minneapolis, MN, and as part of Fringe Radio for the 2013 Atlanta Fringe Festival.  Our Fair City has been broadcast on National Public Radio through Columbus, OH’s WCBE 90.5FM, Minneapolis/St. Paul’s KFAI 90.3 FM, Portland, Maine’s WMPG 90.9 FM, Nova Scotia’s CKDU 88.1 FM, and by affiliate radio stations across Canada and the world, and has been featured on The Sonic Society, Radio Drama Revival, The Sci-Fi Diner, and Chris and Crys take over the World. Led by creator Clayton Faits and executive producer Jeffrey Gardner, the HartLife NFP team produces original audio drama, as well as a comic anthology, a series of live performances, and high-concept launch parties. Our Fair City is available for free streaming online, through iTunes, or through your favorite RSS feed service. img_53a185328b3fb Clayton Faits Creator/Head Writer/Actor (Nathan Rourke, VP Carter, Flint, The Three, Various) Clayton Faits grew up in Southwick, Massachusetts, where the days are short and the winters are long. After studying theater and history at Tulane University, he moved to Chicago where conditions are much the same. In addition to writing for Our Fair City, he enjoys games of all kinds, toys that fly, and jokes that aren’t funny. Jeffrey1SHO7956 Jeffrey Gardner Exectutive Producer/Director/Actor (The Voice of HartLife, Roman, Various) Jeffrey is a director and dramaturg living and working in Chicago, IL. His local stage credits include Sideshow theatre, New Leaf Theatre, Eclipse theatre, the Steppenwolf Garage, Collaboraction, WildClaw theatre’s Deathscribe festival, and the Chicago Fringe Festival, among others.  He is a former adjunct instructor in the theatre department at Kenyon College, Marketing Coordinator for Collaboraction, and now serves as an Operations Coordinator for the Museum of Science and Industry of Chicago.  In his copious spare time, Jeffrey enjoys playing folk music slightly faster than it was meant to be played, complicated board games, and commuting via bicycle. *The views expressed in the following interview are that of the person doing the speaking.  It’s not our fault if you don’t like what he or she is saying.  If you want to get passive-aggressively confrontational with a computer screen about the contents of this interview please try to remember that you are also exercising the right to express your views in a public forum.  Don’t be that person. **The masculinized title of this series is not meant to imply that there are no other-gendered audio content producers, providers or listeners.  It is simply a humble attempt at humor.

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Funding and Monetization for Audio Drama: Damn! Can a Brother Get SomeLove Up in Here? Part III

MonetizationAn important part of producing audio drama is figuring out how to pay for it.  Every audio drama producer we speak with is talking about how to (or whether to) make money from the productions that we put so much work into.  As we talk to more and more people who are making modern audio drama there are a lot of different ideas, trials, errors and successes that are being discussed.  In an attempt to learn more about the methods that people are using to generate or recoup funds, we rounded up a few producers to talk about the relationship between money and audio drama.  We hope that sharing their experiences will be instructional for everyone facing the same challenges.

This week Mariele Runacre Temple the producer for The Wireless Theatre Company shares her experience with us.

Since 2009 The Wireless Theatre Company has been regularly recording award winning original audio content for download for a growing audience.  They have over 140 original plays that are available to download covering all genres including: Drama, Comedy, Science Fiction, Thrillers, Musicals, featuring celebrity actors such as: Stephen Fry, Jo Brand, Josephine Tewson, Nicholas Parsons, Brian Blessed, Catherine Cusack and many more.

Their productions have won several awards including:

Best Radio Drama Producer 2009 (Fringe Report Awards),

Best Entertainment Producer & Best Online Multi Platform Creator 2011 (Radio Academy Awards), Best Horror/Fantasy Audio 2012 (Mark Time Ogle Award),

Best Long Form Documentary 2013 (British Public Radio Awards) and they are featured in Radio Drama Reviews Top Best 20 Productions of 2012

Wireless Theatre Company also offers workshops and talks in schools around the country through its Wireless Theatre In Education Programme.  They provide Voice Over & Recording services to Corporate Clients, hold live recording events throughout the UK and consistently acts as the most favoured platform for, new writers to air their creativity.

Visit Wireless Theatre Company at http://www.wirelesstheatrecompany.co.uk and subscribe today to experience some of their productions.

 

*The views expressed in the following interview are that of the person doing the speaking.  It’s not our fault if you don’t like what he or she is saying.  If you want to get passive-aggressively confrontational with a computer screen about the contents of this interview please try to remember that you are also exercising the right to express your views in a public forum.  Don’t be that person.

**The masculinized title of this series is not meant to imply that there are no other-gendered audio content producers, providers or listeners.  It is simply a humble attempt at humor.