AUdIoCoUrSeS
Joined: 31 Oct 2002
Posts: 2014
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| Week 7 - Sound Effects and Speech |
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HI all.
Here are your questions for this interesting topic:
Voiceover, talking books, poetry, drama, radio/drama, film and video, sound effects in music, cataloguing sound effects.
Again some repetition to help cement things place. Answer all the questions. All questions are taken from a bank that are used for the exams, just as you see each week.
Resources: (far from extensive)
http://home.sprynet.com/~palermo/mtr_radi.htm
http://www.hyperdictionary.com/dictionary/Abridging
http://www.talkingbookworld.com/
http://www.music.gla.ac.uk/HTMLFolder/Resources/StudioSite/
http://www.dmxl.net/coursenotes/thespokenword.html
1. What is a 'talking book'?
2. Why is it desirable to record a novel onto cassette or CD?
3. What is the difficulty in recording a novel onto cassette or CD?
4. What does 'abridging' mean?
5. Can any book be abridged?
6. How does the producer of an audio book set about the abrigement process?
7. What are the three components of a story? (characters, narrative, description)
8. What is meant by 'first person' and 'third person'?
9. How is the choice of reader made?
10. Is it significant for the reader to be known to the public?
11. Is it significant for the reader to seem to have some association with the story?
12. What skills does it take to be able to read a story well?
13. Describe a recording studio suitable for recording an audio book.
14. What equipment would be required to record an audio book?
15. Would any effects be used?
16. Would any background music be added?
17. Would much editing be necessary?
18. What significance does the MP3 format have for talking books?
19. Is there a market for poetry?
20. Is there a market for recorded poetry?
21. How is poetry difference from audio books?
22. What is the relevance of audio-only drama today?
23. Comment on the quality of the images in radio drama.
24. Compare the cost of drama production in television and radio.
25. Describe the layout of the recording area of a radio drama studio.
26. Comment on the use of space in a drama studio.
27. Describe the use of live sound effects
28. Describe the use of recorded sound effects.
29. Comment on the playback of recorded sound effects through a loudspeaker in the studio.
30. Describe the use of acoustic screens.
31. Describe the use of screens to simulate a car interior.
32. Communications: describe the use of talkback (including radio or infra-red talkback and cue lights.
33. Compare the control room to the control room of a music recording studio. |
Sun Jan 12, 2003 9:39 pm |
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resol69
Joined: 31 Dec 2002
Posts: 69
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| Nancy |
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More links:
http://www.virtuallyamerican.com/
http://www.audiotheater.com/
http://home.sprynet.com/~palermo/mtr_radi.htm
http://www.richsamuels.com/nbcmm/eb.html
1. What is a 'talking book'?
A talking book is a book that is recorded for use by the blind or physically impaired. The production value of talking books is low and the recording is sometimes done by volunteers. Audio books on the other hand are novels that are recorded on to cassette or CD an usually have higher production value. Talking books are a necessity, and audio books are used for entertainment.
2. Why is it desirable to record a novel onto cassette or CD?
People us audio books to listen to while they are driving, or perhaps because they don’t like to read and would like the story read to them.
3. What is the difficulty in recording a novel onto cassette or CD?
It can take six hours or more to record a novel, so it takes up several cassettes or CDs.
4. What does 'abridging' mean?
To condense a book. To take out unnecessary words, phrases or even pages. Abridging is necessary due to the length of the recording and because consumers like the recorded version of the book to be shorter than the written work.
5. Can any book be abridged?
No, you must have the permission and the legal right to abridge a book. Some author’s won’t allow it because they don’t want their work changed or passages omitted.
6. How does the producer of an audio book set about the abridgement process?
He should read the book and know the material. He must understand the storytelling that goes on in the in the book. The prodcuer can then prepare the text for reading and take out long passages of description. He/she must also choose performers can understand and capture the author's meaning and observe his phrasing and punctuation.
7. What are the three components of a story? (characters, narrative, description)
Characters: the people in the story, how they look, what they are feeling, how they affect other characters in the story. What are their words and actions.
Narrative: the telling of the story, what is happening, what are the characters doing, how to do they interact with each other. What is the plot.
Description: details of the story, characters or setting, etc.
8. What is meant by 'first person' and 'third person'?
first person means you are talking about yourself, “I went to the store.” Third person means you are talking about someone else, “She went to the store.”
9. How is the choice of reader made?
Usually, it is an actor or performer trained to do voiceover work. A trained professional can control breathe sounds, lips smacks, etc. It can depend on your budget to pay the reader. Sometimes a personality is used who is not trained and this will add to your recording and editing time and as a result, your budget.
10. Is it significant for the reader to be known to the public?
Sometimes it can help sell the audiobook. If the consumer has listened to an audiobook by a certain reader, they may be inclined to buy another audio book with the same reader. It can also be helpful if a celebrity is the reader. Maritin Sheen and Susan Sarandon are some celebs who audio book readers here in the US.
11. Is it significant for the reader to seem to have some association with the story?
It can be helpful. For instance if you are recording an English novel, it would help if the reader had an English accent. It would get the reader more into the story, and as a result, really set the scene for the listener.
12. What skills does it take to be able to read a story well?
You have to speak clearly, control breathe sounds and lip smacking sounds. You have to be able to get into the character and “act” the part you are reading. You have to be ALL of the characters in the book and the narrator, so you will have to change the tone of your voice. If you just read the book deadpan, you’ll put the reader to sleep.
13. Describe a recording studio suitable for recording an audio book.
You should use a radio studio, or studio specializing in voice over for film and TV. The engineers will know how to get a good sound on tape. You could use a music studio, but the engineer would have to be trained about what kind
of sound you want on the tape. The studio should be small and have little or no natural reverb.
14. What equipment would be required to record an audio book?
Microphone, pre-amp. compressor, recorder (8 tracks are usually enough), table and chair for reader. Mixing console with large number of channels to mix different scenes and settings. Monitors.
15. Would any effects be used?
Some reverb may be used at points in the story to dramatize the story. But it is not used throughout the story since it can get irritating during extended listening.
16. Would any background music be added?
Sometimes, between chapters or at the beginning of the book.
17. Would much editing be necessary?
A lot. You should record on hard disk to make editing easier. Recording an audio book is tiring for the reader, so he/she may need to come back another day to rerecord some pieces of the material.
18. What significance does the MP3 format have for talking books?
You could fit an entire book, up to ten hours, on one CD. The quality of the recording would be lowered though. And if I recorded it, the levels would be too low. 
19. Is there a market for poetry?
Yes, but the poetry market is small compared to fiction and non-fiction.
20. Is there a market for recorded poetry?
There is a limited market for recorded poetry. Sometimes a poet will have a following, so the work may be recorded. On Amazon.com, only 9 titles came up when I searched for audio cassette/CD poetry.
21. How is poetry difference from audio books?
It’s shorter and does not involve a direct story-telling approach. For these reasons, more music and effects may be used to set the mood.
22. What is the relevance of audio-only drama today?
Although not as big as its heyday in the 40’s, there is till a market for audio-only drama. It is now available on the Internet as well as radio stations. It is not that popular with radio stations because music and talk radio bring in a lot more advertising money these days. It is also called audio theatre.
23. Comment on the quality of the images in radio drama.
The reading needs to inspire your imagination to create the images of the story. This is why science fiction works well in audio. You mind can dream up a better example of the author was trying describe than the art department for the TV or movie studio can. There are no restrictions on what you can think up.
24. Compare the cost of drama production in television and radio.
Audio drama is much cheaper than TV drama. You don’t have the cost of recording and developing film when recording for audio. You need much less space for recording audio. Also, actors can take on more than one role in a radio drama if they are skilled. With TV, you need an actor for every part.
25. Describe the layout of the recording area of a radio drama studio.
The studio needs different types of space:
A dead area to simulate an outdoor environment, a live are with variable reflection to simulate interiors, and effects are to create sound effects (like a Foley stage) and a narrator’s booth. During live broadcast, you can switch to the narrator while switching or resetting sets in the studio for action sequences.
26. Comment on the use of space in a drama studio.
The actors move around the space during recording, to make thier performance sound more realistic. There may also be space for an audience if it was a life broadcast.
27. Describe the use of live sound effects
Sound effects add realism, but should be used sparingly. In the production of radio drama, if a sound effect cue is missed, few listeners will notice. Use that as a guide and employ a minimum of sound effects. Only significant sounds are necessary. Sketch the scene, don’t perfect it. This isn't the same as the "Foley" sounds used in film. They deal primarily with human sounds (footsteps, keys, brushing lapels, fist fights, etc.) to re-create the real world in detail. Radio sound effects artists do both the Foley type sounds as well as car crashes, gunshots, bubbling vats, thunder, machines, battles, even the destruction of a planet.
You should keep materials handy in the studio to produce needed sound effects such as walking surfaces, doors, handles, phone, keys, glass, ect.
28. Describe the use of recorded sound effects.
Since the earliest days for radio drama, some of the sound effects used in live programs were recorded. It just wasn't possible to say fly an air plane in the studio and the director wanted a sound more realistic. Recorded sound effects also allows you to create a specific effect, but have control over it's creation, edit it, modify it or combine it with others.
29. Comment on the playback of recorded sound effects through a loudspeaker in the studio.
The sound takes on the character of the room, so it sounds more natural, and the actors are able to respond to the sound, making their performance more believable.
30. Describe the use of acoustic screens.
Screens are used to limit reverberation and separate sounds in different parts of the studio.
31. Describe the use of screens to simulate a car interior.
To simulate this in the studio, you could take three or four acoustic screens of the type with a glass panel, usually used to separate musicians acoustically while maintaining visual contact. Place these in a compact triangle or square and like magic you have the acoustic environment of the interior of a car. An extra embellishment would be to place absorbent material on the floor to simulate the soft seats of the car.
32. Communications: describe the use of talkback (including radio or infra-red talkback and cue lights. )
The director or producer needs to communicate with the production assistants in the studio, so they use a talkback mic that the assistants pick up using headphones. Infa-red talkback means the talkback system uses wireless, radio links so there are no extra wires cluttering up the room, and the assistant can move around freely. If you just need to give an actorr a ‘go signal” you can just switch on the cue light which would be placed in front of them.
33. Compare the control room to the control room of a music recording studio.
You would have less effects equipment in the control room. The room would include switches to any cue lights inside the studio. If the radio drama was live, you would have broadcast equipment in the studio and perhaps an audience PA. |
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Tue Apr 15, 2003 5:13 pm |
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Aidan
Joined: 08 Jan 2003
Posts: 38
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Links: www.dmxl.net/coursenotes
www.westernpublicradio.org
www.irdp.co.uk/production.htm
1.What is a talking book?
This is a recording of a book specifically produced for the blind.
2.Why is it desirable to record a novel onto cassette or CD?
Some people prefer to listen rather than read as an actor can bring a story to life.Its also more relaxing and not as tiring on the eyes.
3.What is the difficulty in recording a novel onto cassette or CD?
A novels length can be significantly longer than an average CD or cassette and this can be too long for the average listener-lets face it who has up to 6 hours to listen to anything.
4.What does abridging mean?
It means the shortening or condensing of a novel to fit into attention span of reader.Often a writer will describe conditions or scenario of a location which eats up pages and can be condensed in writing or even taken care of with a suitable sound effect.
5.Can any book be abridged?
Possibly although the cutting out of sections is subjective.In addition the permission and copyright must be obtained first from both publishes and author/s.
6.How does the producer of an audio book set about the abridgement process?
He must understand the needs of the storytelling process and must understand the meaning and basic story of the particular novel.He must decide what should be omitted without removing the essentials of the story.All this must be done with an eye on the overall length required.
7.What are the 3 components of a story?
Characters,narrative and description.Its difficult to know which of character or narrative comes first as some novels have great characters with a flimsy storyline and vice versa.But its important to know all characters,where they fit into story,how they are described and what arrative is most important.
8.What is meant by first person and third person?
If a story describes the actions of,and what happens to someone else,then it is said to be written in third person,eg "Aidan plugged in his trusty Fender and proceeded to show Steve Vai how the song went".A story written in first person is where the commentary or narrative comes from the main character,eg" I plugged in my trusty Fender and proceeded to show Steve Vai how thesong went".
9.How is the choice of reader made?
Often a personality or well known actor might be chosen to boost sales.In other cases an actor with a particular suitable accent or voice may be chosen.In othr case a link to the book might help,eg the author mimself or an actor who may have played the part in the play or film adaptation of the book.eg Robbie Coltrane reading Harry Potter.
10.Is it significant for the reader to be known to the public?
Yes it may well boost sales-certainly the better known the more interest will be shown.Certain actors have very recognisable voices which are considered pleasing on the ear.
11.Is it significant for the reader to have some association with the story?
Yes as in Q9 above- a well known author reading their own works can add to sales and also a reader who has acted in a play or screen adaptation will help sales.
12.What skills does it take to be able to read a story well?
Actors will be trained to read well and to pronounce words correctly and with the right emphasis when required.Avoidance of sibilance or lip smacks and good breath control is required.l .
13.Describe a recording studio suitable for recording an audio book.
Generally a studio set up for voice overs or for radio shows is used.It should be acoustically neutral with no colouration of the voice.
14.What equipment would be required to record an audio book.?
You would need a microphone suitable for speech ,say an AKG D202,Neumann U47 or an Electrovoice RE20.A pre amp to ensue good levels to the desk,a compressor to ensure steady levels of speech,a recorder,and a suitable non reflective table with a chair.Stands will be required for mics.
15.Would any effects be used?
Apart from compression to ensure consistent levels the only other effect generally used is some reverb to warm up voice and take away dry feel.
16.Would any background music be used?
It can be used at start during introduction and at chapter breaks but it is rarely used throughout the reading.
17.Would much editing be necessary?
Yes as it would be difficult for a reader to read the whole story without a break.In addition coughs ,dry throats etc will occur.
18.What significance does the MP3 format have for talking books?
Its possible to record longer on MP3 thus obviating need for abridging but at present this market is small and this longer recording hasnt been properly tried or marketed.i
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Tue Apr 15, 2003 9:18 pm |
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Dani
Joined: 28 Jan 2003
Posts: 35
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1. What is a 'talking book'?
Talking books are made mostly for the blind and poorly sighted people. They have low production values and are often made by volunteers.
2. Why is it desirable to record a novel onto cassette or CD?
It is desirable because both mediums are relatively inexpensive to produce. Plus, a tape can be stopped at the point where the listener wants finish listening and then the tape can be restarted where they left off.
3. What is the difficulty in recording a novel onto cassette or CD?
The length of the book can mean having to spead the story over severla cd's or tapes. The average cd can hold 74-80 minutes of audio, some books can take over 6 hours to read.
4. What does 'abridging' mean?
Abridging means to shorten.
i.e. "Jack and his friend Jillian decided one fine sunny day to go for a walk up to the local viewing point, where the local well was situated. To kill two birds with one stone, they both decided it would be a good idea to bring back a bucket of water with them. Unfortunately........"
Abridged; "Jack and Jill went up the hill to fetch a pale of water."
Mostly uneeded description can be cut, but it's important to leave plot elements in place.
5. Can any book be abridged?
With enough patience and a good producers hand, you can shorten any story, if only by a few words. It is important though, that you get permission from the author or publisher first.
6. How does the producer of an audio book set about the abrigement process?
They have to work out what text they can cut. An understanding of the importance of the different components of the storytelling process, narative, characterisation and description. It is possible to cut cut more of one component, depending on the type of story being told.
7. What are the three components of a story? (characters, narrative, description)
Characters; The protagonists in the story. Good characterisation leaves the listener with an understanding/empathy/hatred for the main players.
Narrative is how the story is told. The bits in between the dialogue.
Description. The picture painting part of the story, this sets the scene for the listener and helps them imagine the locations.
8. What is meant by 'first person' and 'third person'?
First person is the story as told by me; "I sat for four hours doing the recording techniques assignment."
Third person is the story as told be an unknown watcher. Perhaps with a little more narrative. "Dani sat for four hours completing week seven's recording techniques assignment. He thought about suicide a lot, but there was something so god dammed exciting about audio books, that the sharpended razor mearly hovered a few times above his wrist."!
9. How is the choice of reader made?
Try to find a trained voice actor or one with a historical/geographical link with the subject matter.
10. Is it significant for the reader to be known to the public?
It is not nescessary for a talking book to have a known talent as the reader. Although it is not unkown to have sales of the product increased by using a known personality.
11. Is it significant for the reader to seem to have some association with the story?
Yes, it helps the storytelling process to have the listener link the talent to the story. It gives the story a little more believablity.
12. What skills does it take to be able to read a story well?
A good measured, pleasing voice with good control over unwanted mouth noises.
13. Describe a recording studio suitable for recording an audio book.
Quote: The type of studio suitable for recording an audio book would be a radio studio, or a studio specializing in voiceover for film and TV.
14. What equipment would be required to record an audio book?
A DAW would be preference. For the easy edit of the audio. A good quality microphone would also be a must. AKG D202's, Neumann U47's and Electrovoice RE20's make very good voice mics. Mic strip/pre amp and compressor.
15. Would any effects be used?
Maybe compression would be used, although probably after the recording process, to leave more options open. Maybe even a little reverb to warm up the voice and there is also the possiblilty of using reverb to add dramatic ambience the the recording.
16. Would any background music be added?
Possibly, even if it's used only as an intro to different chapters.
17. Would much editing be necessary?
The chances are there would be a lot of editing required. An talent would have to be good indeed to read an entire book in one take without sniffing, coughing, getting their lines wrong or other audio misdemeanors.
18. What significance does the MP3 format have for talking books?
MP3's are compressed audio files, which have the benefit of being small enough to fit 10 hours or so of speech on to one CD. This means entire books, which in the past had to be spanned over many cd's or abridged can now be enjoyed my more listeners. The cost implication is imense.
19. Is there a market for poetry?
The poetry market is small.
20. Is there a market for recorded poetry?
The market for recorded poetry is limited. But when recorded poetry is produced is does leave room for more artistic lecince in the sound effects department.
21. How is poetry difference from audio books?
Poems are a lot shorter in length than audio books.
22. What is the relevance of audio-only drama today?
Because of the need for most radio stations to survive using revenue from advertising, audio drama is being replaced by more advertiser freindly "pop" songs. But some radio stations, such as the British Broadcasting Company who do not rely on advertising revenue, but instead rely on fining people £2000's for not having a licence to watch TV, can readliy air anything they want. So radio drama is still alive and doing very well in blighty, thank you very much.
23. Comment on the quality of the images in radio drama.
?
24. Compare the cost of drama production in television and radio.
Radio drama is much much cheaper to produce, for one thing there are no sets to build, no locations to book, no logistical problems moving equipment/actors and you can even hire actors who sound like the actor it's supposed to be, like in the 1980's recording of Star Wars for radio. The only real actors where Mark Hammil and Anthony Daniels, all the others where cheap, sorry, inexpensive actors.
25. Describe the layout of the recording area of a radio drama studio.
Quote: The specialized audio drama studio is a studio different to any other. Rather than put each individual actor in front of their own microphone, and mix their voices together into a simulacrum of believability, the story is acted out physically in space in a kind of semi-staged production that would even be acceptable to a live audience if there were sets, costumes and props. The drama studio needs to have a variety of spaces that provide the acoustics of real life:
26. Comment on the use of space in a drama studio.
A dead area with hardly any reflection. This is used to simulate an outdoor environment.
A live area with a variable reverberation time, dependent on surface coverings, which can simulate the acoustics of various kinds of interiors.
Effects areas to simulate special acoustic environments such as kitchen, telephone booth, staircase with various types of treads (carpet, wood, concrete).
Narrator's booth, obviously for narration. This has the additional benefit, if the script calls for it, that a live broadcast, or 'as live' recording can continue while the other areas of the studio are reset.
27. Describe the use of live sound effects
Live sound effects are important in audio drama. Walking surfaces - concrete, wood, gravel trays etc.
Doors, handles, catches and locks.
Telephone
Keys to jangle.
Kitchen equipment - kettle, crockery, cutlery, microwave etc.
Water tank for all types of water sounds.
28. Describe the use of recorded sound effects.
Certain sound effects cannot be recreated live in the studio, such as an apollo rocket launch. Sound effects like these are played in live by and operator during the recording.
29. Comment on the playback of recorded sound effects through a loudspeaker in the studio.
The recorded sound effects are played into the studio to get a realistic representaion of the acoustics of the actors. It also helps the actors react to the noises.
30. Describe the use of acoustic screens.
Acoustic screens can be used to simulate the interior of small spaces by deadening the sound. of a car for instance. By using a glass panel it further enriches the sound by giving the reflections of the windows in the car.
31. Describe the use of screens to simulate a car interior.
By setting three acoustic screens in a triangle you can simulate the small confines of a car. By using a glass panel it further enriches the sound by giving the audio reflections of the windows in the car.
32. Communications: describe the use of talkback (including radio or infra-red talkback and cue lights.
Quote: Communication between the director or producer is important in the drama studio, remembering that the drama is being broadcast live, or recorded 'as-live', and the rehearsal schedule will have been very tight - possibly just a read-through, once or twice. Hence communication can be by headphones to an assistant in the studio, or perhaps to an actor. Radio links, or infra-red, help in keeping cables out of the way in what can be a very busy environment. There are many occasions where it isn't necessary to speak, just give a 'go' signal. In this case a cue light system can be used just as in a theater.
33. Compare the control room to the control room of a music recording studio.
The recording medium wouldn't have to be as advanced as a music recording studio, as little as 8 tracks are needed at the most. A mixing desk with a lot of faders on it would be good, the engineer can then setup different mics for different environs and simply move faders up when the actor is at a specific mic.
Quote: For the playing in of music and effects, once again live or as-live, it is necessary for the playback devices to have 'fader start'. This means that there is a microswitch in the fader that closes immediately the fader moves up from the completely off position. This sends a signal to the CD player, tape recorder, cart machine or gram to start straight away, without the start button having to be pressed. |
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Thu Apr 17, 2003 7:06 pm |
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