Aural Fixation
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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.

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Fundraising and Monetization for Audio Drama: Damn! Can a Brother GetSome Love Up in Here? Part II

Monetization 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.  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 we have KC Wayland of Wayland Productions sharing his experiences with us.  KC is one of the creators and producers of We’re Alive, an action-packed, edge-of-your-seat series that puts a whole new spin on the zombie genre.  We’re Alive. we're alive

We’re Alive is one of the most widely distributed modern audio drama and has won the 2010 Silver Ogle and 2009 Gold Ogle Awards and 4th Annual Dead Letter Award.  It was named Best of 2012 in the iTunes Arts category and was nominated Best Speculative Fiction Audio Drama Long Form for four consecutive years.

 

KcPortraitBorn in Orange CA, Kc Wayland attended Orange High School Media Arts program for both Acting and Film theory and production and graduated with the Principle’s Medallion.  Kc won several awards while in the school’s media arts program including the Award of Excellence in Arts and Best Student Editor (KOCE Media Festival) in 2001. In this program Kc also worked as a cinematographer on a video poem titled Blue Doll, a short that went to play at Sundance Film Festival in 2001. He was also involved in drama, starring in several stage performances such as the Music Man (as the lead Harold Hill), and also Hannibal in The Curious Savage.  During high school, Kc graduated with top honors in three animation field classes from CCROP and went to work developing special effects on several short films including Return to Innsmouth. In 2001 he was awarded an Academic scholarship and started attending Chapman University’s Film Program.  There he continued to produce several short films including Love Lost, The Creature, Where Dolls Lie, Butterfly, and several others. In January of 2002, shortly after 9-11, Casey enlisted in the US ARMY. He took a leave of absence from Chapman and was sent to boot camp in Fort Jackson, South Carolina, and then to train at the Defense Information School in Fort Meade Maryland.  He received two certifications in broadcast engineering and was awarded both Top Graduate and Distinguished Honor Graduate. In 2003 Kc returned to Chapman University to continue his degree, but was deployed to Iraq midway through his first semester. Kc spent over a year being deployed with the 222nd Broadcast Operations Detachment. He was nominated for a Bronze Star for meritorious service while stationed in the heart of Baghdad. He returned back to Chapman University in 2005 and went on to complete a documentary about his journeys overseas entitled 365 Boots on Ground. This feature length documentary went onto win Best Documentary at Chapman University 2005, Best Student Doc in the Bear Bear Film Festival, and Best Student Film at the Tiberon International Film festival. Kc continued to work and develop more shorts and scripts during his enrollment. Before graduating he worked as an editor and associate producer for another feature length documentary, Eastern State – Living Behind the Walls. His graduating thesis culminated with an 18 minute long self-animated short entitled Sopor that took over a year and a half to produce. He graduated in May of 2008 with the Cheverton Award (Valedictorian). Shortly after, Kc received a designated subjects credential and began teaching at Costa Mesa High School’s ROP program and also at OCHSA. After completing a year of instruction he received a full time staff position at Dodge College of Film and Media arts, where he currently works as the Digital Applications Specialist. In his time away from work he continues to write, produce, edit, and direct the award winning audio drama serial, We’re Alive.

 

*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.

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

Monetization

Monetization for Audio Drama:

Damn! Can a Brother Get Some Love Up in Here?

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, either to recoup production expenses, fund the next production or maybe even quit your day job. As we talk to more and more people we hear a lot of different ideas, trials, errors and successes. In an attempt to learn more about the funding methods that people are using, we rounded up a list of the usual suspects to talk about the relationship between money and audio drama. We hope that sharing their experiences will be instructional for all of us who are facing the same challenges.

fred-headshot

First to the podium is Mr. Fred Greenhalgh of FinalRune Productions. Fred is the creator of The Cleansed, an award winning full cast audio drama of post-apocalyptic proportions. He is also the owner/operator of Radio Drama Revival, showcasing the diversity and vitality of modern audio theater.

Frederick Greenhalgh has been writing stories since childhood and working in radio drama since 2006. Trained as an indie filmmaker, he has brought a filmic approach to his radio stories that include location production and cinematic sound design. His passion is in telling genre stories with a slant and reenvisioning how the audio format can entertain and illuminate in the twenty-first century. Greenhalgh lives with his wife and daughter in rural Maine in an off-grid home they built together.

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

Disclaimer

*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 yourself 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; much like this disclaimer.

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Power on the Go

One of the hallmarks of a good audio production is high-quality sound effects.  One of the best ways to build a library of first-rate SFX is to record and edit them yourself.  Recording your own SFX ensures that you have the right sound for your project (anyone else ever needed a coydog that growls, yips, yelps and whimpers?), that the SFX in your production are legitimately free and with the right equipment recording your own SFX is inexpensive.  While we do love our Sound Ideas library, there is something very satisfying about collecting your own sounds.

Matt Scoby Dam Harvesting Water

As a follow up to last week’s article “Sound Effects by Rubber Onion“, we thought we would share one of our cheap and easy methods for making sure you have power for your recorders while collecting sounds in the field on the go.

Our on-the-go field recording kit is purposefully small.  We like to travel and never know what we might come across, so we pack this basic kit for those just in case situations.  First we have the Zoom H4n, we have been impressed with the quality of this digital recorder for it’s price.

Zoom H4n

The draw back to this device is that it eats batteries like cookie monster eats cookies, and stamina mode, which extends battery life, limits your recordings to 44.1 kHz/16-bit.  Full professional battery packs cost in the hundreds.  So we came up with a solution; the Anker External Battery. Anker External Battery The external battery has USB ports, recharges quickly and is nearly the same size as the Zoom H4n.  We then use a USB Power cable to connect the recorder to the external battery.

H4n & ChargerAnd then to make it really classy we hold the two together with a few rubber bands.  Rubber bandsSo now you’re ready to plug in your headphones and go.

h4n & Charger Front h4n Charger Rubber Bands

We have also done this with the Zoom H1.  H1 and ChargerThe H1 requires a USB to mini USB cable to connect to the external battery and of course some snazzy rubber bands.H1 Attached to Charger

Next, just to see if we could, we tried hooking the external battery up to the Zoom R24 multitrack recorder.R24 & Charger BackR24 and ChargerR24-2 R24-2 In order to be portable this recorder requires 6 AA batteries.  That’s a lot of batteries to be using up.  BatteriesThe external battery powers the R24 nicely.  The only drawback to this solution is we can’t wrap a rubber band around it.

There are a variety of portable, hand held recorders available.  Before adding the Zoom H4n to our kit we used the Zoom H2n almost exclusively.  Sony offers the PCM-M10 and Tascam has the DR-05.  Both of these recorders are comparable to the Zoom hand held in both size and price range.  As long as the recorder uses a 5 volt power supply these external batteries can be adapted for use with nearly any configuration.Matt Recording at Scoby Dam

This mini kit fits into a small camera bag and goes with us whenever we hit the road.  We do have a larger kit for planned field recording excursions, but this one makes sure we can nab sounds as we encounter them.  Another advantage of the hand-held set up, is that you can conceal the recorder if you are out in crowded places (especially if you have a pair of these).  We all need a good variety of crowd sounds, but if you try to record a crowd they usually stop talking or start overacting.  The external battery can also be charged with a car charger, which makes it even more convenient for travel.

 

 

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Sound Effects by Rubber Onion

This week’s Aural Fixation is a great video on making your Sound Effects by Steven Brooks from Rubber Onion Animation, who posted this v in 2010 in the process of making his own animated film. I don’t necessarily agree with his choice of microphones for the sounds, and some of the sounds work well only for animation and comedy. The results are impressive nonetheless.

Enjoy!

In particular, I would recommend using shotgun or pencil mics for most of the recordings and using a large diaphragm condenser for some of the sounds with deeper more resonant layers and lower frequencies. For many of the gunshot takes, using a contact (piezo) microphone on the resonance box (in this case, the bin) as well as a good shotgun microphone to capture the attack and more metallic tones from the stapler would create a secondary, bass layer that would sound heavier and richer than pitch processing everything.

Steven does a great job demonstrating how easy it is with a good ear and a little ingenuity to create your own sound effects from scratch.

If you’re interested in getting started creating your own sound effects from scratch, I highly recommend reading, marking up and absorbing The Sound Effects Bible: How to Create and Record Hollywood Style Sound Effects by Ric Viers. It’s a good primer on creating both realistic and impressionistic sound effects.

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The Care and Editing of Scripts

I’ve found myself over the last few years editing quite a few scripts, enough of them to need to pull together a process for doing so. And as there is no Audio Drama without a script, I thought I would share my process with everyone else. I would also love to hear how the rest of you go about the difficult job of script editing, so leave a comment and spread your experience.

Step 1. Will I edit it?

Well if I wrote it then I guess I had better edit it, such is the art of writing. But before I will edit a script for anyone else I need to know a few things.

  1. Do you actually want it edited, or do you just want it read?
  2. Are you capable of accepting critique, or do you just want it read?
  3. Will we still be friends after this is over?

Step 2. Check for simple errors.


photo by Jan Verbist

We all make them, in spite of the fantastic technologies that make us not even need to open a dictionary anymore – if you’re old enough to even remember what a dictionary is.

  1. Typos
  2. Common misspellings or misuse of words. Their, They’re or There?
  3. And other grammar and structure errors that we were all taught in elementary school and then quickly forgot.

Step 3. Look for redundancies, passive voice, unnecessary adverbs and vagaries.

Unfortunately, common parlance doesn’t make very good writing. It makes good characters, but not good writing. Why? Because if you actually listen to a conversation (not participate in one) you will notice that we speak in passive voice, or clip words, we have different dialects, we have pet phrases or make up hyperbolic adjectives, we interrupt each other, we don’t finish our sentences or use punctuation and the majority of what we are communicating is not even verbal. While all of that makes for a decent conversation, it doesn’t play out well in a script…unless you’re Anthony Burgess.

Step 4. Dig into the plot and structure of the story.


photo by Krzysztof Szkurlatowski

Here are the things I look for as an editor, in no particular order.

1. How strong is the opening, does it capture my attention?

The beginning of the needs to grab my attention, I need to know where and when I am, what’s going on and who I am going on this journey with.

2. Does it start with a dream sequence, flashback or other abstract scenario?

Photo by Ember Lavoi
Photo by Ember Lavoi

This may be a personal aversion, but starting your listeners out in some murky abstract world is tiresome and breaks more than one of Kurt Vonnegut’s “8 Basics of Creative Writing”.

3. What’s the hook?

I need to know pretty quickly what choices the protagonist is presented with and what decisions will propel us through the story arc.

4. Do I care about the protagonist?

If I don’t care about your main character, I won’t really care about your story.

5. Is there enough of a reason for the characters to proceed? What is at stake?

No hero does anything just because the writer told them to. No villain does things just because they’re “evil”. Is it clear why the characters are doing the things necessary to sustain your plot; are they motivated?

6. When does the inciting incident occur? Is it too soon or too late?

This is all about pace, in order for your listeners to root for your protagonist we need to know who they were and what happened to them to form the basic structure of your story. If you take too long introducing the incident, you risk losing your audience. But don’t forget to introduce us to your setting, so we can identify where and when we are and what is going on. There are at least two dynamics – who the protagonist was before the inciting incident and who they are becoming as a result.

7. Can a scene, description or sequence be heard in an aural medium or is it too visual? The Care and Editing of Scripts

This is a common mistake that we audio drama writers tend to make, usually because we didn’t start out as audio drama writers. Every writer has their own quirks and common errors; it’s the job of the editor to catch them and save the writer from potential embarrassment and rejection.

8. Is there unnecessary voice over or narration?

Now I’m not saying that there can be NO voice overs, inner monologues, narration or disembodied voice-type exposition.

The Care and Editing of Scripts
Moses: The Lord, the Lord Jehovah has given unto you these fifteen…
[drops one of the tablets]
Moses: Oy! Ten! Ten commandments for all to obey!

What I am saying is go easy with it. If you’re stopping the action in the middle of a nicely tense scene to have someone suddenly pop in and tell me what’s going on, it kind of annoys me. It’s too distracting. Let your characters do the explaining through dialog whenever possible. Please.

9. What is the point of view? Is it consistent?

Many shows have multiple points of view; a well-crafted story has multiple subplots and therefore multiple points of view. Just make sure it’s clear who is guiding us through the scene and from what perspective. This is especially important for the future sound designer of your script.

10. Do the characters grow over the span of the story? Do they have depth? Are they necessary?

The main character has to discover, learn, adapt and grow. If they don’t you may as well be playing with action figures. photo by Lisa Kong The green army man with the bazooka can only do two things; shoot a bazooka and/or die. Don’t let your main character be a green army man. And if you have characters whose main purpose in your story is to shoot a bazooka and/or die, then you may want to consider whether you actually need them. If you have walk-on characters don’t give them names. Just kill them and get on with the story.

11. Is the dialogue natural or is it stiff and awkward?

Give some consideration to the background of your characters, how do they speak? No two characters should sound alike. photo by Emil Bacik And unless your character actually is an Eastern European-aristocratic-fiend-of- the-night, don’t make them sound like one.

12. Is there any conflict outside of the main conflict? How do the characters interact?

As the reader, can I follow the subplots and tensions? A story has a plot. A good story has subplots. Are they clear and do they follow the main arc of the story? To be a good editor you first have to make sure that the writer believes in doing what is best for the story, and then you must be merciless – to the story, not the writer. It is a difficult balance to maintain.

As a writer, I have spent so much time working on a particular scene, character or subplot. I can be very clever, and be in love with my creations. But if they ultimately don’t work – don’t progress the plot, don’t move your characters towards their goals – then they have to be cut. My advice is to save them somewhere where they can grow into their own stories.

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IMPULSIVE RESPONSE ABOUT IMPULSE RESPONSES

I recently received a question from Fred Greenhalgh of Final Rune Productions and Radio Drama Revival, asking about my preferences for convolution-reverb packages.

So here goes!

First, what is Convolution Reverb?

Convolution Reverb consists of a recorded sample (called an Impulse Response) of an acoustic space to excitation from a signal such as a sweep tone, starter gun, or snare drum crack, and the effect on the space of that signal after it has been removed and usably transformed by the convolution processor. Convolution reverbs essentially record and process the reverberant behaviorunique to a real acoustic space (Ken Hamburg).

So essentially, the reverb unit takes the impulse – the hand clap or sweep – and removes it. It measures what’s left by frequency to see the changes in reverb and eq. If a higher frequency sustains longer, it maps that. If a lower frequency is absorbed quickly, it maps that and essentially multiplies your audio file to that map to simulate the measurements as if the sound were in that space at the exact position of the recording device.

What this means is that we can place a sound in any environment, in any speaker system, in any sonic space that can be recorded, without ever having the actor in that space and without having direct access to the telephone, radio, megaphone or Sydney Opera House that the audio requires.

So back to Fred’s question.

Fred Greenhalgh

“What convolution-reverb package are you sporting these days? Are you happy with that choice or would you choose a different one in hindsight? What would be your choice, not choosing the least expensive option just because you had to, but also not just spending a whole bunch of money because it’s fun?”

I did a lot of research on Impulse Response (IR). No, really A LOT.

research
Too much research!

And here’s the conclusion that I’ve come to and work with.

Waves IR is okay, but for the price, it’s a little too mediocre, but it does come with a crap-ton of IRs on disk.

IR 1 boxI’ve used both IR-1 and IR-L Both are really overpriced for the package and neither do anything better than any other IR package. I currently run IR-L when I absolutely have to.

 

 

 

IR_L_boxAnd by “absolutely have to” I mean that it came with an IR environment that I need for the scene and would otherwise have to pay for something that I already own.

 

 

From what I hear, Altiverb, while nice, is mostly touted for it’s collection of IRs as well.

Altiverb 7However, while many IR programs accept only one method of making IRs – a white noise impulse such as a hand clap, cap gun or starter pistol. Altiverb allows not only that method, but other methods, including the much more accurate frequency sweep method. The sweep impulse allows you to run a frequency sweep from 20-20000hz and truly map out the place. This is definitely a better way to do IR, however it requires absolute silence when running the sweep and a decent speaker setup to get an accurate response curve. So, on the really super-pro, (i.e. having lots of time & resources) level, that would be the direction I would go. However, in our world of get in there, get the IR and move on with our day, a cap gun or starter pistol is pretty useful.

cap gunAside from that, most convolution reverbs work on the same mathematical premise and therefore are at core, the same. The difference usually tends to be in how it dials in. That said, I use Audition’s built in convolution verb when I’m working in Audition. It works well and the controls are pretty intuitive.

In Pro-Tools, I forego Waves (as Waves has been linked to a lot of Pro Tools crashes) and go right for my first love, Liquid Sonics Reverberate, which ranges from cheap-as-free to really-dirt-cheap depending on the version you opt for. I use Reverberate Core and it holds up well, without over-burdening my system.

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A Prophets Guide – Pt 2

Play

A Prophets Guide – Pt 2

Written and directed by Matthew J Boudreau
Comedy/Fantasy

Click here to listen to Part 1

When Karl (PG Lorusso) gives up his appointed quest to chase after the Muffin Girl (Carolyn Lansom) from the local coffee shop, three prophets, Zoe (Sophia Howes), Morgan (Daniel Mink), and Destin (G. Anton Moore) team up with a six-foot silverfish named Bob (Jerry Hudson) and find themselves on a real quest in which a prophet-turned-hero is allied with a villain-turned-mentor to defeat a prophet-turned-villain to save their society from its own absurd facades.

This is a lower quality, ad-interrupted version of A Prophets Guide.  To listen to the complete show at high quality without interruption, visit http://auralstage.bandcamp.com.

Music and Sound Design by Matthew and Monique Boudreau
Artwork by Monique Boudreau

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A Prophets Guide – Pt 1

Play

A Prophets Guide – Pt 1

Written and directed by Matthew J Boudreau
Comedy/Fantasy

When Karl (PG Lorusso) gives up his appointed quest to chase after the Muffin Girl (Carolyn Lansom) from the local coffee shop, three prophets, Zoe (Sophia Howes), Morgan (Daniel Mink), and Destin (G. Anton Moore) team up with a six-foot silverfish named Bob (Jerry Hudson) and find themselves on a real quest in which a prophet-turned-hero is allied with a villain-turned-mentor to defeat a prophet-turned-villain to save their society from its own absurd facades.

This is a lower quality, ad-interrupted version of A Prophets Guide.  To listen to the complete show at high quality without interruption, visit http://auralstage.bandcamp.com.

Music and Sound Design by Matthew and Monique Boudreau
Artwork by Monique Boudreau