In feature films the director is God; in documentary films God is the director.
Should documentary sound be real? Manipulated? Fake? We dig into the controversy.Read More...
"Again and again, the cicada's untiring cry pierced the sultry summer air like a needle at work on thick cotton cloth."
Recording location audio outside can be challenging at best. The video team wants an exterior shot because architecture or a landscape in the background can add to the image. But alas, there are often unwanted sounds like cars, HVAC blowers, and other manmade annoyances that we must work around. There's one sound though that is nearly impossible to eliminate, fix, mask, hide, or yell-at-to-be-quiet. It is guaranteed to ruin almost any exterior recording in the summer: the mating song of the cicada.
"The people will waken and listen to hear
The hurrying hoof-beats of that steed,
And the midnight message of Paul Revere."
Henry Wadsworth Longfellow
How authentic should sound designers be with history? If we were telling the story of Paul Revere's famous ride with sound, should I be accurate, or should I make it sound "Hollywood"?
Shadow: No, Mary. I suspected a trap, so after I opened the door, I walked across the room and stood behind them.
Apple Mary: But your voice.... it came from near the door.
Shadow: Ventriloquism. A simple trick of projecting the voice.
"The Blind Beggar Dies"
Radio broadcast: April 17, 1938
We're fooled by Mother Nature all the time. She uses light to conjure up a mirage on a hot desert day and Aurora Borealis on a cold Alaskan night. She also has a bag of tricks for sound, like flinging noises a hundred miles away. But one of her best is when she makes sound disappear. This slight-of-hand by Mother Nature may have even changed the outcome of several battles in the American Civil War. What are these shenanigans of sound? Magic? Illusions? Sorcery? As the old radio serial hero said, "Only The Shadow knows." They're called acoustic shadows.
"At one time there were voiceover artists, now there are celebrity voiceover artists. It's unfortunate because these people need the money less than the voiceover artist."
What does it take to perform a voice-over? After talking with several industry veterans, it turns out that it's not as easy as they make it sound - and that's the whole point. In Part 1, we found out how these four voice-over artists got into the profession. In Part 2, we learned about preparation and technique. In this last installment of our series, our nimble-tongued pros have advice to budding narrators and writers.
"In voice-over work, you have to actually do more work with your facial muscles and your mouth. You have to kind of exaggerate your pronunciation a little bit more, whereas with live action, you can get away with mumbling sometimes."
What does it take to perform a voice-over? After talking with several industry veterans, it turns out that it's not as easy as they make it sound - and that's the whole point. In Part 1, we found out how these four voice-over artists got into the profession. This month, we learn the nitty gritty of preparation and technique.
"One of the things that I love about voiceover is that it's a situation where - because you're not encumbered by being seen - it's liberating. You're able to make broad choices that you would never make if you were on camera."
What does it take to perform a voice-over? After talking with several industry veterans, it turns out that it's not as easy as they make it sound - and that's the whole point. We find out that each of these voice professionals have their own approach to achieving the nearly impossible task of a voice-over artist: making it sound sincere. Plus, find out what's been happening at Dynamix lately.
“When you read a book, the story definitely happens inside your head. When you listen, it seems to happen in a little cloud all around it, like a fuzzy knit cap pulled down over your eyes.”
Robin Sloan, Mr. Penumbra's 24-Hour Bookstore
We're continuing our series on the audiobook, an older idea that has been reborn from new technology. In this issue we're talking with Brad about character development, preparation, and tips for budding narrators.
“I love audio books, and when I paint I’m always listening to a book. I find that my imagination really takes flight in the painting process when I’m listening to audio books.”
There was a panic in 2009 during the recession, and it wasn't about housing. Or at least traditional houses. Publishing houses were facing the pinch as sales were cut in half. When it came to audiobooks, sales were down 20 percent mid-year. One of the reasons was obvious – lack of disposable income. Millions of workers were laid off and even more were holding on to their precious cash reserves. But a few other reasons were staring the publishers in the face. One was the sky-high price of audiobooks. The other was the changing pace of life. Between carting kids around, going to work, and running errands, a book is a commitment of precious time.
Despite the wrecked economy, smartphones and tablets started to infiltrate our daily lives. These little on-the-go media centers were a gift to publishers. Downloading and listening to audiobooks became convenient - and cheaper. Traditionally, publishers could sink upwards of $50,000 in production costs per title, with much of that towards CD packaging, production, and distribution. Companies like Audible (a subsidiary of Amazon) could produce titles for much less, thanks to downloading.
As a result, the number of audiobook titles have surged from 7,000 in 2011, to 35,000 in 2013. And that number is growing. Scribd subscribers logged 270,000 listening hours in two months when 30,000 audiobooks were added to their library in 2014. Faster internet speeds, better digital audio software, and more narrators jumping onto the bandwagon are helping to fuel the renaissance of audiobooks.
One of these narrators, Brad Wills, has been narrating audiobooks since 2013. Brad has recorded more than thirty books, a baker's dozen of those with Dynamix since 2014. He mostly reads in the historical romance genre, but also in historical adventure, gothic horror, and fantasy. Brad also has more than 25 years of professional acting experience, from Broadway to nationally acclaimed musical tours. I recently sat down with Brad and talked with him about his thoughts and experiences as an audiobook narrator and producer. Surprisingly, his three decades of professional acting did little to prepare him for his new role.
"I’ve never felt like I benefitted from any kind of training or acting," Brad told me. "Everything I do is instinctual. It’s stuff I’ve done my entire life. I’ve always imitated people, I’ve always had crazy voices ever since I can remember."
But being an audiobook narrator can be tough at first, even to the most seasoned stage actor. "I remember my very first session with my very first book," Brad lamented. "I thought 'this guy’s going to throw me out of the studio, and I’m never going to do this again.' It took me about a year before I was able to read with any consistency and not make any mistakes."
Now, Brad is not only a narrator, but a producer. When asked what this expanded role is, Brad replied, "To give technically the best performance and the best quality production that you can give. It’s a matter of clean editing, clean recording, rhythm, tempo. And I think what is also really beneficial is to have an engineer that you can really trust, offer good input." In this dual role as producer/narrator, Brad emphasizes that he must make sure that "you as the narrator deliver the intent of the piece - not to lose track of it, keep it clear for the listener, not lose track of the story, not lose track of the line, or where a paragraph happens to be going at any time."
Also as a producer, Brad must find the right studio and engineer. Having worked with two other studios besides Dynamix, his primary goal in finding someplace to record has always been to "look for an engineer that’s been in the business a long time. I look for somebody who has a more than adequate setup. I look for some place that's pretty much state of the art." A studio and engineer with audiobook experience is crucial. "It’s very, very different from doing a radio spot, because there’s no music, no sound effects," Brad explains. "It has to be clean, no noise, no background noise. Editing - someone who will take the time to finesse it down to the most minuscule control management points."
With hundreds of thousands of audiobooks out there now, it's not surprising that there is a huge range in technical quality. "I’ve read reviews by people who have listened to books that have been poorly edited and produced," he said. "They’ll mention it in their notes and reviews: 'It’s really bad,' 'a line is repeated here,' 'I could hear dogs barking in the background,' and 'It sounds like the person recorded this sitting at their kitchen table.' So people know."
No matter the budget, Brad cares "about the product that goes out there. It has my name on it, and it will have the engineer’s stamp on it as well."
In the next installment, we'll dig down deep into character development, preparation, and tips for budding audiobook narrators.
"I hope I inspire people who hear. Hearing people have the ability to remove barriers that prevent deaf people from achieving their dreams."
Did you know that more than 37 million Americans aged 18 or older have some kind of hearing loss? And 30 million Americans aged 12 or older have hearing loss in both ears? With a media-rich society, that makes listening to narration, dialog, and speech in general difficult for them. Before 1972, anyone hard of hearing had to watch television with the volume turned up.