It\u2019s a really heavily produced show and each episode takes a lot of work to put together.<\/p>\n\n\n\n If you\u2019ve ever thought about running your own Audio Drama series it can hard to figure out where to start, what to do, and in what order to do it.<\/p>\n\n\n\n In this article I\u2019m going to outline my production process for you.<\/p>\n\n\n\n My way certainly isn\u2019t the only way to do things, but I\u2019ve gradually honed it over the years, and it works for me.<\/p>\n\n\n\n Over time you\u2019ll develop your own workflow that suits you. But hopefully by looking through a pre-existing one this\u2019ll at least help you towards getting started!<\/p>\n\n\n\n Like any type of podcast, the key element is the speech.<\/p>\n\n\n\n Audio Dramas tend to be fully scripted. Completed scripts will then be recorded by the voice actors, either together in a studio, online over a call recording programme<\/a>, or independently and in isolation.<\/p>\n\n\n\n My first real post-production task is to get the dialogue into my DAW (I use Adobe Audition<\/a>) and check that there\u2019s no audio quality issues. This could be things like clipping, distortion, excessive reverb, or any other unwanted sounds.<\/p>\n\n\n\n I\u2019m also making sure that the dialogue works and flows together, especially if it has been recorded in isolation. Sometimes I\u2019ll need a retake on the odd line or two.<\/p>\n\n\n\n Recently, our two main voice actors (Sarah and David) have been performing the script online together, whilst recording their own audio independently.<\/p>\n\n\n\n This makes it much easier for me to sync up than if I was getting in two files of lines recorded in isolation. I\u2019d then need to run through and select the best takes before building the dialogue from scratch.<\/p>\n\n\n\n As our voice actors record with pro-level equipment in treated environments, it isn\u2019t necessary to do much \u201crestoration\u201d work to the source files.<\/p>\n\n\n\n I\u2019ll use Audition\u2019s Adaptive Noise Reduction feature<\/a> to take out the noisefloor (that light hiss under the vocals). With the ANR, I\u2019ll create a new \u201ccleaned\u201d version of each dialogue track.<\/p>\n\n\n\n The rest of the processes I apply are done in the Effects Rack, so they\u2019re \u201cnon-destructive\u201d and can be toggled on\/off, or tweaked.<\/p>\n\n\n\n I\u2019ll usually roll off the bottom 80Hz with the Graphic EQ feature, apply some light compression<\/a>, and sometimes the De-Esser if necessary.<\/p>\n\n\n\n The EQ<\/a> just removes really low frequencies that don\u2019t need to be there, because they\u2019re out with the range of normal human hearing.<\/p>\n\n\n\n The De-Esser is used to take the harshness out of the \u201cesses\u201d in a voice actor\u2019s lines. Whilst compression just helps level out the volume by pulling the quieter and louder bits closer together.<\/p>\n\n\n\n Music can really make or break an Audio Drama, in my opinion. Here’s where to find music for your podcast<\/a>. <\/p>\n\n\n\n In Hostile Worlds we use a lot of atmospheric beds and transitions. I prefer to lay these out before moving on to the sound effects and ambient layers.<\/p>\n\n\n\n I use Audition\u2019s Envelope feature<\/a> to \u201cduck\u201d music tracks in and out between the dialogue.<\/p>\n\n\n\n I fade music tracks in and out, chop them up, and sometimes overlap them.<\/p>\n\n\n\n Once this musical layer is built, the rest is really the icing on the cake.<\/p>\n\n\n\n I tend to place the small \u201cspot\u201d sound effects first. The ones that need tinkered with and moved around a bit for timing purposes. These are things like chair creaks, button presses, and general \u201cFoley\u201d. Here’s where to find podcast sound effects<\/a>. <\/p>\n\n\n\n Then the bigger ambient beds can go in. These are the overall sounds of the scene environments themselves. This might be anything from simple room noise to rain, wind, or thunder.<\/p>\n\n\n\n At this stage, though everything is laid out and in order, the volume levels are still all over the place.<\/p>\n\n\n\n I run through the session a few times making adjustments as I go.<\/p>\n\n\n\n My aim is that the listener shouldn\u2019t need to touch the volume dial when listening. Though at the same time, I want each episode to have as much dynamic range as possible.<\/p>\n\n\n\n I\u2019ll adjust volumes either by track (which alters the volume of every clip in that track), or by using the Envelope feature to tweak individual clips.<\/p>\n\n\n\n I shoot for an overall loudness of -19LUFS (LUFS is a loudness measurement) and can run the full episode mixdown through Audition\u2019s Match Loudness function<\/a> to see when I\u2019ve hit it.<\/p>\n\n\n\n I don\u2019t go mad with panning nowadays, as it can be jarring for some listeners. But I do still like to use it liberally.<\/p>\n\n\n\n I separate character voices with light panning. I\u2019ll also use the technique for effect in special scenes or transitions.<\/p>\n\n\n\n Basically, I\u2019m just looking to give some space and dimension to the finished piece. I like Audio Drama to be as immersive as possible.<\/p>\n\n\n![\"hostile](\"https:\/\/www.thepodcasthost.com\/wp-content\/uploads\/2019\/02\/Exploring_Our_Universe_banner.jpg\")
<\/figure>\n\n\n\nThe Dialogue<\/h2>\n\n\n\n
Cleaning Up<\/h3>\n\n\n\n
![\"Hostile](\"https:\/\/www.thepodcasthost.com\/wp-content\/uploads\/2019\/02\/Hostile-Worlds-Session-1024x691.png\")
<\/figure>\n\n\n\nAdding Music<\/h2>\n\n\n\n
Sound Effects and Ambience<\/h2>\n\n\n\n
Volume Levels<\/h2>\n\n\n\n
Panning<\/h2>\n\n\n\n