Sound School Podcast Folgen

Greg Warner is one of Rob Rosenthal's favorite radio writers. He deftly put the "broken narrative" to good use in an episode of his NPR podcast "Rough Translation." In fact he's so good at it, you'd have no idea he was using it. What is the broken narrative? You'll have to listen.

Why is it so hard to sound like yourself when reading narration for radio stories? Transom's Viki Merrick offers some voicing coaching gold. You'll wanna take notes.

After teaching documentary storytelling for seventeen years, I feel confident in the advice I give students, most of the time. But, as soon as someone brings up sound design, I’m flummoxed. I feel like my advice is next to useless. Typically, what happens is this: a student feels like their story is boring so they want to throw some sound in — something from a sound effects library. They think it will make the story more dynamic. And, typically, I respond by saying, “If your story is boring, write better. Or, play around with the structure. Or, find better quotes. Don’t expect to solve a problem by tossing in some sound. It will end up sounding cheesy.” I do think that’s solid advice. But, in reality, there are times when a bit of sound design might actually help a story. Not to make it less boring, but to drive home a point or help the story be more visual. That’s when I return to my problem as an instructor: I don’t know how to help. But here’s the good news. I produce a podcast about audio storytelling and I can actually ask people for advice! And so, I did. My first stop was Matthew Boll. Matt works at Gimlet as a lead producer and music composer. Of particular interest to me was his work on Crimetown, a podcast on crime and politics in Providence, Rhode Island, that uses a lot of sound design. Matt and I covered quite a bit of ground but I feel like I’ve only started to understand how sound design works. So, consider this the first in an ongoing, from time-to-time, set of episodes on sound design that will appear over the next few months.